Relevant bibliographies by topics / COLOURS IN PAINTING

Contents

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

Academic literature on the topic 'COLOURS IN PAINTING'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "COLOURS IN PAINTING"

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Nieves, Juan Luis, Juan Ojeda, Luis Gómez-Robledo, and Javier Romero. "Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings." Journal of Imaging 7, no. 4 (2021): 72. http://dx.doi.org/10.3390/jimaging7040072.

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In an early study, the so-called “relevant colour” in a painting was heuristically introduced as a term to describe the number of colours that would stand out for an observer when just glancing at a painting. The purpose of this study is to analyse how observers determine the relevant colours by describing observers’ subjective impressions of the most representative colours in paintings and to provide a psychophysical backing for a related computational model we proposed in a previous work. This subjective impression is elicited by an efficient and optimal processing of the most representative
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Vinay, Kumar. ""COLOR AS FIELD" Weightless & Floating Free." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–5. https://doi.org/10.5281/zenodo.887517.

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“Although the composition and function of colour are two of the most important factors in determining the qualitative content of a painting, the reciprocal relation of colour to colour produces a phenomenon of a more mysterious order. This new phenomenon is psychological. A high sensitivity is necessary in order to expand colour into the sphere of the surreal without losing creative ground. Colour stimulates certain moods in us. It awakens joy or fear in accordance with its configuration. In fact, the whole world, as we experience it visually, comes to us through the mystic realm of colours. O
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Dhiman, Kiran. "COLOURS IN PAINTING (CHITRKALA ME RANG)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3555.

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Colours are life of paintings. Without colours ‘painting’ seems incomplete and dull. Painting is visual expression, which is made combining two basic elements ‘drawing’ and ‘colouring’. Colours add the charm to an artwork. Monochrome shade is also having its own value but colours make it more appealing and lively.Since the upper paleolithic prehistoric times human being practice 'art' specially paintings in rock shelting to express their thoughts, which means it was a mode of communication from the beginning. This art creates, for the viewer, a degree of experiential contact with prehistoric a
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Kougemitrou, I., G. Economou, J. Giovanopoulos, I. Baziotis, G. Leontakianakos, and V. Stathopoulos. "A mineralogical study of pigments used in two Iakovidis paintings: Verification of artwork authenticity using Raman micro-spectroscopy method." Bulletin of the Geological Society of Greece 47, no. 1 (2013): 392. http://dx.doi.org/10.12681/bgsg.11014.

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For the purpose of the current study, we examined two paintings, an original and a fake one, entitled “Still life with grapes”, and claimed both to be created from the Greek Painter G. Iakovidis. The current Research Project has been carried out at the Centre Nikias, an innovative Research Centre specialised on certification, maintenance and restoration of art works. Raman spectroscopic analysis has been carried to verify the authenticity of the used pigments and also the originality of the two paintings. The Raman spectra acquired confirmed four different colours in both painting`s pigments:
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Dr., Pooja Gupta. "DIFFERENCE BETWEEN PAINTING COLOURS & TECHNICAL COLOURS." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–3. https://doi.org/10.5281/zenodo.887499.

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For a minute can we imagine the world around you without colors, how boring and unexciting life would be. Colors play a very important role in our life and it has been confirmed that our actions and responses are influenced by them. Every color has a unique effect on individuals and arouses various responses. In modern time there are lots of confusions regarding colour theory or colour concepts as for a painting student colour theory is different and for computer designer a colour theory is extremely high configure. The whole concept is based on misconceptions which we face. To make it clear w
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Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3534.

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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1. Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details.
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Kiran, Dhiman (Research scholar). "COLOURS IN PAINTING (CHITRKALA ME RANG)." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–3. https://doi.org/10.5281/zenodo.888703.

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Colours are life of paintings. Without colours ‘painting’ seems incomplete and dull. Painting is visual expression, which is made combining two basic elements ‘drawing’ and ‘colouring’. Colours add the charm to an artwork. Monochrome shade is also having its own value but colours make it more appealing and lively. Since the upper paleolithic prehistoric times human being practice 'art' specially paintings in rock shelting to express their thoughts, which means it was a mode of communication from the beginning. This art creates, for the viewer, a degree of experiential contact with prehistoric
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Gupta, Pooja. "DIFFERENCE BETWEEN PAINTING COLOURS & TECHNICAL COLOURS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3517.

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For a minute can we imagine the world around you without colors, how boring and unexciting life would be. Colors play a very important role in our life and it has been confirmed that our actions and responses are influenced by them. Every color has a unique effect on individuals and arouses various responses. In modern time there are lots of confusions regarding colour theory or colour concepts as for a painting student colour theory is different and for computer designer a colour theory is extremely high configure. The whole concept is based on misconceptions which we face. To make it clear w
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Bellia, L., F. Fragliasso, and E. Stefanizzi. "Effects of light source spectrum and background colour on the perception of paintings." Lighting Research & Technology 52, no. 1 (2019): 36–63. http://dx.doi.org/10.1177/1477153519847254.

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This paper presents an experiment on the effect of light on the perception of paintings. The experiment was performed in a test-room where a typical museum exhibition set-up was simulated. Two different paintings were shown to 44 participants, under different light scenes obtained by using tuneable LED (Light Emitting Diode) wallwashers. To set the light scenes, the following parameters were modified: correlated colour temperature of the lighting, illuminance on the painting and the colour of the background wall. Participants answered a questionnaire to assess the perception of the paintings’
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Wango, Kamau. "‘Foundations of Landscape Painting’ – Colour Application, Textural Effects and Development of Holistic Composition. Analysis of Selected Landscape Paintings by Second Year Students at Kenyatta University, Nairobi, Kenya." East African Journal of Arts and Social Sciences 5, no. 1 (2022): 284–317. http://dx.doi.org/10.37284/eajass.5.1.744.

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Landscape painting is a popular undertaking among students, particularly those taking formative painting units, some of whom have never used prescribed media such as watercolours, oils or acrylics; and others who have not been exposed to painting at the university level. In one of the second-year painting units where students study colour and its application, they are required to paint landscapes in watercolours and either acrylics or oils. Landscape painting gives them the opportunity to study and apply colour on paper or canvas since landscapes and other outdoor painting studies provide them
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Dissertations / Theses on the topic "COLOURS IN PAINTING"

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Šrom, Samuel. "Reflexe prostoru." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2019. http://www.nusl.cz/ntk/nusl-396111.

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The diploma thesis “ Reflections of Space” aims to change the approach at material anodizing and to move this purely technological process to the artistic level. The first part of the thesis summarises concisely a process of anodising and seeks for its demonstrations in the field of culture. The second part of the thesis describes the intention itself and the results of the research in the framework of technological proofs which are presented in the figurative part of the thesis.
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Derefeldt, Gunilla. "E. Delacroix och J.M.W. Turner - Det sublimas, färgens och ljusets mästare under 1800-talets första hälft." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-122344.

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Mellan Delacroix´s och Turners verk finns ibland en släktskap trots de stora skillnaderna i stil. Syftet med denna uppsats har varit att försöka fånga den känsla av likhet, som finns mellan några av deras verk, som uttrycker patos och kamp på liv och död mot naturens starka krafter eller människors ondska. Exempel på sådana verk är Delacroix´s Death of Sardanapalus, 1826 och Turners Slave Ship (Slavers Throwing Overboard the Dead and Dying, Thyphon Coming On), 1840 samt Delacroix´s The Lion Hunt, 1855 och Turners Whalers, 1845. Dessa verk ger uttryck för sublim storhet. Gemensamt för verken är
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Wheeler, Elizabeth. "Colour, immateriality & uncertainty in painting." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/28007.

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The objective of the research paper is to explore the theoretical concerns raised in the studio work. The paper discusses concerns such as colour activity and perception; the interdependence of the material and the immaterial in painting; and the uncertainty inherent in the process of painting and how that relates to wider experiences of uncertainty. The discussion focuses on the practice of artists who engage with such concerns, comparing and highlighting commonalities in their work, the objective being to articulate the central concerns of my own practice and in doing so, po-sition it within
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Belda, Angel. "PAINTING MUSIC : Creating a new performance to explore the relation between music and painting." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4206.

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This work seeks to explore the relationship between two arts: music and painting. The aim of this thesis is the creation and execution of an interdisciplinary performance in which music and painting dialogue live, "Painting music", to investigate how both arts relate and influence each other when they are part of a single artistic act and how performers and audience perceive this relationship. To do so, we will investigate interdisciplinary performances, synesthesia (union of perceptions) and the different ways in which painting and music can relate to each other.
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D'Angelo, Tiziana. "Painting Death with the Colors of Life: Funerary Wall Painting in South Italy (IV-II BCE)." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10920.

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This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wide
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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
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DeLancey, Julia Anne. "Aspects of colour modelling in Florence from 1480-1530." Thesis, University of St Andrews, 1997. http://hdl.handle.net/10023/15316.

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This thesis sets out to examine two new issues; the use of the colour modelling system in Florence in the late fifteenth and early sixteenth-centuries and the way it impacts the relationship between six artists who lived and worked for the most part in Florence during that period. Among these artists exist strong ties of studios, common patrons and working locations. Florence has traditionally been identified with disegno and Venice with colorito, although these associations are gradually being overturned; by looking at the clear and consistent use by Florentine artists of colour for expressiv
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Wenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity." Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.

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Studio: The work submitted for examination in December 2007 at SCA Galleries, consists of a painting constructed within the gallery space, and is the culmination of the research undertaken during the Masters of Visual Arts program. Untitled (Vinyl wall composition) I (2007) investigates how the act of making can function as a speculative activity interested in both the materiality of painting and the architectural context in which the work is placed. Research Paper: The objective of this research paper is to investigate the theoretical concerns raised by the studio work. It expl
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Weddell, Di, and n/a. "The relationship of colour systems to the perceptual discrimination of colour in Year 7 students." University of Canberra. Education, 1995. http://erl.canberra.edu.au./public/adt-AUC20061110.113934.

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Colour mixing is fundamental to learning to paint. Students in visual art classes in secondary schools face problems in manipulating paint and discriminating colour. The kinds of base paints to be presented to students could be an important factor in learning about colour relationships and pigments. The purpose of this study was to determine whether Year 7 students generating colour mixes with paint using a triad of magenta, cyan and yellow were able to mix and discriminate more colours than if they used a triad of red(scarlet red), blue (ultramarine light) and yellow (lemon yellow) which is a
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Carbonell, Martínez Pau. "La representació i comprensió de la forma en la pintura per capes." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/455138.

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Aquesta tesi tracta del mètode pictòric i la tècnica d'execució de tres exercicis pictòrics, set retrats en total realitzats per l'autor, com un procés d'aprenentatge i evolució de les mateixes capacitats representatives. Amb l'anàlisi de l'obra personal i de com aquesta s'adapta en l'àmbit de la pintura realitzada amb capes amb poca acció de cobertura, així mateix es realitza l'anàlisi d'aquests set retrats dels quals es desenvolupa el seu procés pictòric per fases i estadis. Mitjançant la documentació amb imatges fotogràfiques dels diferents passos realitzats. A mesura que se succeeixen l
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Books on the topic "COLOURS IN PAINTING"

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Bolte, Mari. Water colours. Raintree, 2014.

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Tahir, M. Athar. Lahore colours. Alhamra Books, 1997.

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Amita, Sahaya, Dancing Brushes (Calcutta India), and Gallerie Nvya (New Delhi, India), eds. Colours & palettes, Bengal. Dancing Brushes, 2005.

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Tahir, M. Athar. Pakistan colours. Oxford University Press, 2001.

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Schelble, Indra. Indra: Colours of void. Oberösterreichisches Landesmuseum, 2014.

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Stryjek, Dmytro. Colours of the imagination: Recent paintings. Diefenbaker Centre, University of Saskatchewan, 1985.

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Azim, Mubinul. Mubinul Azim: Colours and dreams. Bengal Publications, 2015.

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Bristow, Ian C. Interior house-painting colours and technology, 1615-1840. Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 1996.

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Rayyis, ʻAbd al-Qādir. The colours of my life. Dubai Cultural Council, 2007.

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Feng, Zhengjie. Ben se: Feng Zhengjie = Primary colours : Feng Zheng Jie. Singapore Art Museum, 2008.

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Book chapters on the topic "COLOURS IN PAINTING"

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Lameris, Bregt. "4. Oscillating Op Art." In Feeling Colour. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0380.05.

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Chapters Three and Four discuss the two main ways to juxtapose and combine (contrasting) colours, known as successive and simultaneous contrasts. Chapter Three elaborates on successive contrasts, that are created through a rapid succession of contrasting colours, as is often the case in films through the principle of montage. The chapter mainly elaborates on two types of successive contrasts. One is extreme dark-light contrasts, which, at the time, were also used to create hypnotic states and imaginary colours in what was known as the Flicker Film. The other type is succeeding colours, which a
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Lameris, Bregt. "3. Shocking, Shifting, Straining." In Feeling Colour. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0380.04.

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Chapters Three and Four discuss the two main ways to juxtapose and combine (contrasting) colours, known as successive and simultaneous contrasts. Chapter Three elaborates on successive contrasts, that are created through a rapid succession of contrasting colours, as is often the case in films through the principle of montage. The chapter mainly elaborates on two types of successive contrasts. One is extreme dark-light contrasts, which, at the time, were also used to create hypnotic states and imaginary colours in what was known as the Flicker Film. The other type is succeeding colours, which a
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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "Theodore Henry Fielding, ‘Introduction’, Ackermann's Manual of Colours, Used in the Different Branches of Water-Colour Painting." In Victorian Material Culture. Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-20.

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "Frontispiece to Theodore Henry Fielding, Ackermann's Manual of Colours, Used in the Different Branches of Water-Colour Painting." In Victorian Material Culture. Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-19.

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "Winsor and Newton's Catalogue of Colours and Materials for Watercolour Painting, Pencil, Chalk, Architectural Drawing." In Victorian Material Culture. Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-5.

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Hodge, Susie. "Colour-Field-Painting." In 50 Schlüsselideen Kunst. Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-39328-0_42.

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "Mary Merrifield, The Art of Fresco Painting as Practised by the Old Italian and Spanish Masters with a Preliminary Enquiry into the Nature of the Colours Used in Fresco Painting with Observations and Notes." In Victorian Material Culture. Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-23.

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O’Connor, Zena. "Color Field Painting." In Encyclopedia of Color Science and Technology. Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-642-27851-8_240-1.

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O’Connor, Zena. "Color Field Painting." In Encyclopedia of Color Science and Technology. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89862-5_240.

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Molinari, Elena. "Color field painting." In Binocular Vision. Routledge, 2023. http://dx.doi.org/10.4324/9781003388838-7.

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Conference papers on the topic "COLOURS IN PAINTING"

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Corda, Dijana Nazor, Jana Ziljak Grsic, and Helena Bacinger Skrlec. "CREATING AN ARTISTIC WOOL RUG WITH A DOUBLE IMAGE IN THE VISUAL AND NEAR-INFRARED SPECTRA." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/vs10.19.

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Years of research (since 2014) of the properties of colour twins based on InfraredArt theory the recording in the visible (V) and near-infrared (NIR) spectra, allowed the image to be depicted in two spectral ranges. Continued work in the field of InfraredArt painting led to the idea in 2022 of applying this artistic method to creating an artistic wool rug with a double (dual) image. This was made possible through collaboration with designers and technologists at the company reGalerija in Zabok. After numerous attempts, black pigments were found that allowed a hidden image to be created in the
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Takazaki, Mayumi, and Shinji Mizuno. "Proposal of an interactive color painting method for mid-air CG objects reflecting finger movements and colors." In International Workshop on Advanced Imaging Technology (IWAIT) 2025, edited by Jae-Gon Kim, Chia-Hung Yeh, Kemao Qian, Masayuki Nakajima, Chuan-Yu Chang, and Phooi Yee Lau. SPIE, 2025. https://doi.org/10.1117/12.3058062.

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Boyd, Susan. "Organizing and Deploying Volunteers to Preserve Historic Army Tanks for a Military Museum." In SSPC 2018. SSPC, 2018. https://doi.org/10.5006/s2018-00010.

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In the summer of 2014 Vulcan Painters spearheaded a project to do surface preparation and recoat seven historic military tanks, asking for help from the industrial painting community, from contractors and suppliers. The aim of the project was to finish the work without expense to the foundation that sought to build a new museum to house 200 years of U.S. Army armor and cavalry history. This talk details the project from its beginning without even a space to paint, specifications for the tanks to be painted, or the tanks themselves selected, and moves through outreach to the industry through va
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Ganchimeg, Ganbold, Mengbo You, Kouichi Konno, and Bataa Otgonbayar. "Restoration of Taikhar Rock Painting with Color Image Processing." In 2024 International Conference on Cyberworlds (CW). IEEE, 2024. https://doi.org/10.1109/cw64301.2024.00061.

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Zhao, Qiang, Rui Zhang, and Xin Bai. "Research on the Relationship Between Color Features and Painting Styles." In 2024 IEEE 2nd International Conference on Image Processing and Computer Applications (ICIPCA). IEEE, 2024. http://dx.doi.org/10.1109/icipca61593.2024.10708986.

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Leong, Wai Yie. "AI-Powered Color Restoration of Faded Historical Paintings." In 2025 Joint International Conference on Digital Arts, Media and Technology with ECTI Northern Section Conference on Electrical, Electronics, Computer and Telecommunications Engineering (ECTI DAMT & NCON). IEEE, 2025. https://doi.org/10.1109/ectidamtncon64748.2025.10961986.

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Ault, J. Peter, Tim McCullough, and Felix Padilla. "Effective Protective Coating Warranties for Steel Bridges." In CONFERENCE 2025. AMPP, 2025. https://doi.org/10.5006/c2025-00550.

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Abstract The service life of steel bridge coatings is occasionally shorter than the intended design life, resulting in the need for increased maintenance painting. Warranty clauses could improve the situation by incentivizing higher quality and requiring repair of defects which become apparent within the warranty period. This paper examines the value of warranty terms in painting contracts to improve the quality and durability of steel bridge coatings. The paper is based on research and survey data collected from transportation agencies. The use of warranty contracts for bridge painting remain
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Revnew, Steve. "Coating Masonry Substrates Enhancing Appearance and Performance through Masonry Coatings." In Paint and Coatings Expo (PACE) 2009. SSPC, 2009. https://doi.org/10.5006/s2009-00039.

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Abstract This presentation will focus on the performance and aesthetic issues encountered when painting masonry surfaces. Contractors will also learn how to cost-effectively add color and improve appearance and weather protection to masonry jobs. Objectives of the presentation are: education on proper surface preparation, how to select an appropriate coating for a long-lasting finish and new coating technology.
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Rafie, Bill. "Coating Masonry Substrates." In Paint and Coatings Expo (PACE) 2005. SSPC, 2005. https://doi.org/10.5006/s2005-00044.

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Abstract This presentation will focus on the performance and aesthetic issues encountered when painting masonry surfaces. Contractors will also learn how to cost-effectively add color and improve appearance and weather protection to masonry jobs. Objectives of the presentation are: education on proper surface preparation, how to select an appropriate coating for a long-lasting finish and new coating technology.
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Okuda, S., S. Taguchi, M. Melgosa, and K. Okajima. "PREFERRED LIGHTING FOR UKIYO-E, JAPANESE WOODBLOCK PRINT PAINTINGS." In CIE 2023 Conference. International Commission on Illumination, CIE, 2023. http://dx.doi.org/10.25039/x50.2023.po129.

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In most cases the appearance of cultural properties depends on surface colours, materials and lighting conditions. This study aims to clear the preferred lighting conditions for the appearance of specific cultural properties named Ukiyo-e, Japanese woodblock print paintings. We used two kinds of Ukiyo-e as visual targets and investigated their appearance under 12 illuminants (D65, A, D50 plus nine LEDs proposed in CIE 015:2018), and three levels of vertical illuminance (50, 200 and 500 lx). According to the results, the preferred appearance of Ukiyo-e was affected by the lighting conditions as
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Reports on the topic "COLOURS IN PAINTING"

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Poloboc, Alina. Fancy Fifi. Intellectual Archive, 2023. http://dx.doi.org/10.32370/iaj.2996.

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The painting is a fascinating work that captures the essence of extravagance and vibrant lifestyle of Miami through its main character, a confident and fun-loving woman. The artist has depicted a stylish and elegant figure walking through the city streets with a posture that reflects her confidence and determination. The choice of blue as the main color throughout the painting is a bold and impactful decision. Blue is typically associated with tranquility and calmness, but the artist has used it to create an atmosphere full of energy and vitality. Additionally, there are eye-catching details i
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Poloboc, Alina. Fancy Pink Goat. Intellectual Archive, 2023. http://dx.doi.org/10.32370/iaj.2998.

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"Fancy Pink Goat" is a contemporary art piece from the Fancy Collection, created in Spain in 2022. It is a vividly colorful painting dominated by pink and blue, which are the signature colors of the artist`s style. The painting features a fancy goat walking through the jungle with its elegant collar and abstract, long legs. Surrounding the Fancy Pink Goat are a variety of other unusual creatures inhabiting the jungle and keeping the goat company. The artist`s signature red high-heeled shoes are also present, adding a touch of sophistication and style to the painting. This artwork is an impress
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Poloboc, Alina. Josh Tampico. Intellectual Archive, 2023. http://dx.doi.org/10.32370/iaj.2988.

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Josh Tampico is a painting from the Fancy Collection 2022, portraying a charismatic and creatively charged character with a keen sense of music. This vibrant portrayal depicts the brilliant music composer from Madrid, known for his distinctive blue hair. Having collaborated with numerous internationally renowned singers, Josh Tampico is a noteworthy figure in the music industry. The creation of this artwork is the result of a collaborative artistic project. The strategic use of the color blue by the painter Alina Poloboc in this piece symbolizes strength, trust, and creativity. Notably, the pa
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Handy, Frank. An exploration into aspects of broken color as exemplified in the works of the Impressionists and Neo-Impressionists and the application of these theories within painting experiences of the adolescent student. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.883.

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Brinster, Gregory L., Mona Hodaei, Aser M. Eissa, et al. Leveraging LiDAR Intensity to Evaluate Roadway Pavement Marking Retroreflectivity. Purdue University, 2025. https://doi.org/10.5703/1288284317806.

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Clearly visible lane markings are important for all road users, particularly autonomous vehicles. In general, nighttime retroreflectivity is one of the most challenging marking visibility characteristics for agencies to monitor and maintain, particularly in cold weather climates when agency snowplows remove retroreflective material during winter operations. Traditional surface-applied paint and glass beads typically only last one season in climates with routine snowplow activity. Recently, transportation agencies in cold weather climates have begun deploying improved recessed, durable pavement
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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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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. Th
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