Relevant bibliographies by topics / Drawing on canvas

Contents

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

Academic literature on the topic 'Drawing on canvas'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Drawing on canvas"

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John Joseph, Renien. "Single Page Application and Canvas Drawing." International journal of Web & Semantic Technology 6, no. 1 (January 31, 2015): 29–37. http://dx.doi.org/10.5121/ijwest.2015.6103.

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Egmond, Florike. "Aldrovandi, truthfully drawing naturalia, and local context." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 81–96. http://dx.doi.org/10.5617/acta.9020.

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This essay focuses on the 16th -century Bolognese naturalist and collector Ulisse Aldrovandi (1522-1605) and his enormous image collection of naturalia. Do these images present a specifically Bolognese form of visual natural science, and was his visual format of truthfulness new at the time? Did Local visual culture leave clear marks on Aldrovandi's image collection? On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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Khanmohammadi, Ehsan, Mostafa Zandieh, and Talieh Tayebi. "Drawing a Strategy Canvas Using the Fuzzy Best–Worst Method." Global Journal of Flexible Systems Management 20, no. 1 (December 4, 2018): 57–75. http://dx.doi.org/10.1007/s40171-018-0202-z.

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Liu, Wen Tao. "Applied Information Technology in Graphics Algorithm Implementation Based on the Web Canvas." Advanced Materials Research 908 (March 2014): 543–46. http://dx.doi.org/10.4028/www.scientific.net/amr.908.543.

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The canvas in the HTML5 provides very powerful ability to realize complex graphics and image operations. It can be used for developing information application about graphics such as chart module, scientific computing visualization, drawing software, animation system and information visualization and so on. It will play an important role in the web game for PC or mobile platform because the HTML5 has the platform-independent feature. In this paper a system of graphics algorithm presentation is provided and it uses the prototype object and image data structure of canvas rendering context 2D model to define the custom function to implement the graphics algorithm. It demonstrates the realization process of the principle of graphics algorithms and it shows that the canvas has great flexibility and scalability characteristics.
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Benkara, Dana. "Restaurarea unei picturi pe pânză de Aurél Náray (1883–1948)." Anuarul Muzeului Etnograif al Transilvaniei 34 (December 20, 2020): 317–30. http://dx.doi.org/10.47802/amet.2020.34.17.

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"The restoration of a painted canvas by Aurél Náray (1883-1948) This study shows the restoration work made on the painted canvas of the Hungarian artist Aurél Náray (1883-1948), depicting an ecclesiastic subject (Saint Joseph with the infant Jesus). This oil painting comes from a private art collector and has the following dimensions: 42x57.5 cm, being sustained by a wooden stretcher. The painting is signed and dated by the artist himself on the lower left corner (“Aurél Náray 909”). The canvas is fixed on the underframe with metallic nails; as a result of the wood having dried, the frame shows slight distortions. The face of the painting displays small portions of missing white primer and/ or colour, erosions of the paint layer, two little punctures in the canvas, and a small area of distorted canvas placed toward the lower edge of the painting. Adherence of thin dirt can be observed on the surface of the painting while the back of the canvas bears heavy traces of dust and dirt, especially on its margins. The actual restoration process of the painted canvas referred to the following: drawing up the initial photograhic documentation, superficial dust cleaning on the back of the canvas, detachment of the painting from its old underframe and the building of a new and proper wooden stretcher. After the plainness of the painting was restored and the two small pricked points on the canvas were consolidated (with the use of Beva 371 adhesive), a strip lining on the margins of the canvas was carried out, in order to be able to fix the canvas on the new underframe. Cleaning of the surface came next, followed by the filling of the missing primer layer with putty. The chromatic integration of the painting was accomplished (after having sealed the original paint with a thin layer of intermediary varnish) with the use of low oil content colours and the final protection of a second satin varnish layer. Keywords: painted canvas, restoration, stretcher, strip lining, varnish "
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Salem Khalifa, Azaddin. "Drawing on students' evaluation to draw a strategy canvas for a business school." International Journal of Educational Management 23, no. 6 (August 14, 2009): 467–83. http://dx.doi.org/10.1108/09513540910981014.

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Kelly, Gwen, Tim Ewers, and Lanna Proctor. "Activities for Students: Developing Spatial Sense: Comparing Appearance with Reality." Mathematics Teacher 95, no. 9 (December 2002): 702–12. http://dx.doi.org/10.5951/mt.95.9.0702.

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Drawing changed radically when someone discovered that three-dimensional objects could be made to look real on a two-dimensional canvas. The ability to work with perspective is critical in many fields, including engineering, architecture, and construction. Beyond that, most of us use perspective skills almost daily, for example, when interpreting pictures of three-dimensional objects.
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Katayama, Shinya, Takushi Goda, Shun Shiramatsu, Tadachika Ozono, and Toramatsu Shintani. "On a Drawing-Frequency based Layered Canvas Mechanism for Collaborative Paper Editing Support Systems." International Journal of Networked and Distributed Computing 2, no. 2 (2014): 91. http://dx.doi.org/10.2991/ijndc.2014.2.2.3.

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Bhattacharya, Joydeep, and Hellmuth Petsche. "Drawing on mind's canvas: Differences in cortical integration patterns between artists and non-artists." Human Brain Mapping 26, no. 1 (2005): 1–14. http://dx.doi.org/10.1002/hbm.20104.

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Lee, Joonsung. "A Development of Drawing Canvas Generates Interactive Textile Pattern - Focusing on Christmas Pattern Using Processing -." Journal of Digital Design 13, no. 4 (October 2013): 621–31. http://dx.doi.org/10.17280/jdd.2013.13.4.061.

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Dissertations / Theses on the topic "Drawing on canvas"

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Zhou, Lily M. Eng Massachusetts Institute of Technology. "Paper Dreams : an adaptive drawing canvas supported by machine learning." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/122990.

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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2019
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 55-58).
Despite numerous recent advances in the field of deep learning for artistic purposes, the integration of these state-of-the-art machine learning tools into applications for drawing and visual expression has been an underexplored field. Bridging this gap has the potential to empower a large subset of the population, from children to the elderly, with a new medium to represent and visualize their ideas. Paper Dreams is a web-based canvas for sketching and storyboarding, with a multimodal user interface integrated with a variety of machine learning models. By using sketch recognition, style transfer, and natural language processing, the system can contextualize what the user is drawing; it then can color the sketch appropriately, suggest related objects for the user to draw, and allow the user to pull from a database of related images to add onto the canvas. Furthermore, the user can influence the output of the models via a serendipity dial that affects how "wacky" the system's outputs are. By processing a variety of multimodal inputs and automating artistic processes, Paper Dreams becomes an efficient tool for quickly generating vibrant and complex artistic scenes.
by Lily Zhou.
M. Eng.
M.Eng. Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science
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Thokala, Kalyan Chakravarthy. "Haptic Enabled Multidimensional Canvas." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1312424725.

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Pavlíček, Jiří. "Trofeje." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232345.

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18 metres long drawing on canvas, describing my own six years long live on high school and in my home town or my cottage. Trophies, the most important theme for my art, is growing in this drawing. The canvas is reeled in wooden machine and it is scrolling with the handle. In this installation there are some of my trophies and founded fragments of nature.
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Rousseau, Leslie Corder. "From the Edge." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/918.

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Paintings and drawings are the physical representations of my dialogue with the world around me. Art is how I connect to what is too large, or too vague, or too personally meaningful to express in any other way. Space and its transformation by light and color have always been central to this dialogue. I am particularly intrigued by spatial ambiguity. Space exists for us only in how it relates to us and so, space changes. One viewpoint or state of mind might make space seem freeing, while another makes the same space feel confining. Barriers are sometimes delineated, sometimes obscured. At other times, they are broken. This has a political implication which appears in my work as fissures, fences, compression, and collapse.The space of my inner self, the space outside, and the space between the two are relationships that drive what I paint and draw. My art is the place where I acknowledge the cracks in the ice and where I try to keep from falling through when the ground opens up. Shifting planes are where I try to keep my balance while peeking through the cracks and over the edge.
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Ericsson, Duffy Mikael. "DRAWN TO LIFE: Exploring real-time manipulation of the digitally represented surface in comics on smartphones and tablets." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23439.

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This research thesis is an exploration into what possibilities lie beyond the representation of analog material when it transcends into the digital realm. Specifically, how printed comics can be altered in realtime by creator- allowed user interaction, when adapted for presentation within the digital sphere of mobile smartphones and computer tablets. Using legacy computer-game techniques like parallax scrolling with modern digital layer filters, device sensors and applying them in realtime to the comic creators digitally layered content, alternative forms of presentation arise.This is an investigation into the comic creator’s will of allowing possibilities of added depth perception, interactivity and alternative visual narratives in their comic, manga or graphic novels when employing new techniques based on sensor data input from a reader, like accelerometer-, gyroscope- or eye-tracking sensors. Several different techniques are evaluated. The focus is mainly on the context of creators of comics or manga who use digital tools and layer compositions when producing their work. Several aspects of the user-centered experience are also explored.Although mainly an interaction design project, most of the design methods are used from a service design approach, emphasizing co-design techniques like interviews, observations and user tests. The results are digital prototypes and proof-of-concepts featuring technology tests that support final design conclusions.The results will show both enthusiasm and reluctance from test subjects towards the new technologies presented. The professional craft of comic, manga and graphic novel creation has a deeply rooted aesthetic and production cycle in its history of the printed form. It could be difficult to alter its standard, reverence and nostalgia in the eyes of its readers and creators, when pursuing the digital format and narrative possibilities of the future. A video explaining the project’s “Drawn To Life” technology is available online.
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Jackson, Megan R. "Drawing on a painted canvas identity and modernism in fin-de-siècle Westphalia /." 2009. http://etd.utk.edu/2009/May2009Theses/JacksonMegan.pdf.

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Books on the topic "Drawing on canvas"

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translator, Chang Mi-Kyoung, ed. Mina's white canvas. White Plains, New York: Peter Pauper Press, Inc., 2015.

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Jeff, Fulton, ed. HTML5 canvas. Sebastopol, CA: O'Reilly Media, 2011.

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Botero, Fernando. Botero: New works on canvas. 3rd ed. Bogota, D.C., Colombia: Villegas Editores, 2001.

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Botero, Fernando. Botero: New works on canvas. New York: Rizzoli, 1997.

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Fonseca, Caio. Caio Fonseca: Paintings on canvas and paper [exhibition] August 14-September 29, 2008, The Drawing Room. East Hampton, N.Y: Drawing Room, 2008.

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Woodforde, Samuel. A passion for drawing: An exhibition of original oil sketches on canvas or paper and drawings in pencil or watercolours by Samuel Woodforde, Royal Academician 1763-1817. London: Kyberg Gallery, 1989.

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Husain, Maqbul Fida. Images of the Raj: Water colours, acrylic on canvas, drawings. Bangalore: Sista's Art Gallery, 1987.

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Giuseppe, Pavanello, and Canova Antonio 1757-1822, eds. Antonio Canova: I disegni del taccuino di Possagno. Cittadella, Padova: Bertoncello artigrafiche, 1999.

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Prickett, Elizabeth. Ruskin lace & linen work. New York: Dover Publications, 1985.

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Prickett, Elizabeth. Ruskin lace & linen work. London: Batsford, 1986.

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Book chapters on the topic "Drawing on canvas"

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van der Spuy, Rex. "The Canvas Drawing API." In Advanced Game Design with HTML5 and JavaScript, 59–92. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4302-5801-8_2.

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Joshi, Bipin. "Drawing with the Canvas." In HTML5 Programming for ASP.NET Developers, 83–118. Berkeley, CA: Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-4720-3_4.

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Sharan, Kishori. "Drawing on a Canvas." In Learn JavaFX 8, 1033–42. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-1142-7_25.

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Jackson, Wallace. "Interactive Drawing: Using Paint and Canvas Classes Interactively." In Pro Android Graphics, 479–513. Berkeley, CA: Apress, 2013. http://dx.doi.org/10.1007/978-1-4302-5786-8_17.

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Amunategui, Manuel, and Mehdi Roopaei. "Interactive Drawing Canvas and Digit Predictions Using TensorFlow on GCP." In Monetizing Machine Learning, 263–88. Berkeley, CA: Apress, 2018. http://dx.doi.org/10.1007/978-1-4842-3873-8_8.

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Meyer, Jeanine. "Building the HTML5 Logo — Drawing on Canvas, with Scaling, and Semantic Tags." In HTML5 and JavaScript Projects, 1–18. Berkeley, CA: Apress, 2011. http://dx.doi.org/10.1007/978-1-4302-4033-4_1.

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Meyer, Jeanine. "Building the HTML5 Logo: Drawing on Canvas with Scaling and Semantic Tags." In HTML5 and JavaScript Projects, 1–21. Berkeley, CA: Apress, 2018. http://dx.doi.org/10.1007/978-1-4842-3864-6_1.

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Laredo Torres, Taciana, and Ricardo Santonja Jiménez. "Drawing on Architectural Skin. Mud Dihedral in “Paso Doble” of Miquel Barceló and Josef Nadj: Canvas of a Tragedy for Empirical Knowledge Through the Body and Senses." In Graphic Imprints, 1424–32. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93749-6_118.

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Benassai, Silvia. "Disegni di Cesare e Pietro Dandini dalla raccolta Dandini-Targioni Tozzetti." In Studi e saggi, 97–105. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.07.

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The essay concerns two drawings by the Florentine baroque painters Cesare and Pietro Dandini, coming from the Dandini-Targioni Tozzetti collection. The naturalist Giovanni Targioni Tozzetti (1712-1783), consort of Maria Brigida, daughter of Ottaviano Dandini, brought together the impressive set of drawings belonging to the Dandini family, which were divided into twenty volumes, probably dismembered in the Nineteenth century. The paper presents two drawings which belonged to that collection: a sheet in sanguine by Cesare Dandini depicting a male figure, and a drawing by Pier Dandini depicting The glory of Saint Verdiana, a preparatory study for an altarpiece that was part of a series of large canvases executed by Pier Dandini between 1706 and 1710 for the basilica of Santa Trinita in Florence.
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Byrd, Clavon, and Sean T. Lansing. "Putting Paint to Canvas." In Research Anthology on Adult Education and the Development of Lifelong Learners, 1156–76. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-8598-6.ch058.

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The purpose of this chapter is to inform the readers about how to artfully design seamless instruction for adult learners. The authors approached this concept by drawing a connection between the processes of making beautiful art and designing instruction geared toward adult learners. The authors identified several aspects of adult learning theory applied to the following instructional strategies: clear learning objectives, differentiated instruction, formative and summative assessment, and use of descriptive feedback. The authors provided several examples of these instructional strategies intended to support adult learners.
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Conference papers on the topic "Drawing on canvas"

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Hashida, Tomoko, Yasuaki Kakehi, and Takeshi Naemura. "Photochromic canvas drawing with patterned light." In ACM SIGGRAPH 2010 Posters. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1836845.1836873.

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Ong, Lay Teen, Kaitlyn Ng, Sivaguru Sivagnanam, Tony Varghese, Hua Peng Liew, and Yang Boon Quek. "A Voice-controlled Electronics Drawing Canvas Assistive System for People with Cerebral Palsy." In 2019 IEEE 8th Global Conference on Consumer Electronics (GCCE). IEEE, 2019. http://dx.doi.org/10.1109/gcce46687.2019.9015404.

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Oki, Mika, Baptiste Bourreau, Issey Takahashi, and Kenji Suzuki. "CANVAS: A Drawing Tool for AR-aided Special Needs Education using Interactive Floor Projection." In 2019 IEEE International Conference on Systems, Man and Cybernetics (SMC). IEEE, 2019. http://dx.doi.org/10.1109/smc.2019.8914003.

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Mohanty, Ronak R., Umema H. Bohari, Vinayak, and Eric Ragan. "Kinesthetically Augmented Mid-Air Sketching of Multi-Planar 3D Curve-Soups." In ASME 2018 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/detc2018-86141.

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We present haptics-enabled mid-air interactions for sketching collections of three-dimensional planar curves — 3D curve-soups — as a means for 3D design conceptualization. Haptics-based mid-air interactions have been extensively studied for modeling of surfaces and solids. The same is not true for modeling curves; there is little work that explores spatiality, tangibility, and kinesthetics for curve modeling, as seen from the perspective of 3D sketching for conceptualization. We study pen-based mid air interactions for free-form curve input from the perspective of manual labor, controllability, and kinesthetic feedback. For this, we implemented a simple haptics-enabled workflow for users to draw and compose collections of planar curves on a force-enabled virtual canvas. We introduce a novel force-feedback metaphor for curve drawing, and investigate three novel rotation techniques within our workflow for both controlled and free-form sketching tasks.
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Fujita, Masaki, and Suguru Saito. "Hand-drawn animation with self-shaped canvas." In SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3102163.3102212.

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Agrawal, Anupam, N. Venkata Reddy, and P. M. Dixit. "Optimal Blank Shape Prediction Considering Sheet Thickness Variation for Multistage Deep Drawing." In ASME 2015 International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/msec2015-9376.

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Deep drawing is one of the very old and widely practiced processes in the sheet metal industries for producing beverage cans and automobile components. Many of the deep drawn components need multiple draws to achieve the required dimensions, because often it is not possible to obtain the desired reduction in the first draw. Among several defects that occur during the process, earing is one of the prominent and common defect. In the present work, analysis has been carried out by dividing the total deformation region into several zones. Analysis of each zone is carried out by proposing kinematically admissible velocity field, i.e. the velocity field satisfying the condition of normal velocity continuity and volume constancy. The input material (already drawn cup) for redrawing is pre-strained from the previous stage drawing operation and this has been considered while carrying out the analysis. Thickness and punch load predictions are validated by comparing them with the published results and are found to be in good agreement. The optimal blank shape, that will result in earing free cup after the final drawing operation, has been determined. For the prediction of optimal blank shape for multistage deep drawing, addition-subtraction scheme has been developed and successfully implemented; the modification of the initial blank is done after each stage of drawing. The optimal blank shape obtained has been tested, using simulation, to draw the cup and it yields the final cup height with percentage earing less than 1%. However, in a few cases, three or four iterations for the modification of blank may be required, to bring the percentage earing within the specified limit.
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Waipara, Zak. "Ka mua, ka muri: Navigating the future of design education by drawing upon indigenous frameworks." In Link Symposium 2020 Practice-oriented research in Design. AUT Faculty of Design and Creative Technologies, 2020. http://dx.doi.org/10.24135/lsa.4.

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We have not yet emerged into a post-COVID world. The future is fluid and unknown. As the Academy morphs under pressure, as design practitioners and educators attempt to respond to the shifting world – in the M?ori language, Te Ao Hurihuri – how might we manage such changes? There is an indigenous precedent of drawing upon the past to assist with present and future states – as the proverb ka mua ka muri indicates, ‘travelling backwards into the future,’ viewing the past spread out behind us, as we move into the unknown. Indigenous academics often draw inspiration from extant traditional viewpoints, reframing them as methodologies, and drawing on metaphor to shape solutions. Some of these frameworks, such as Te Whare Tapa Wh?, developed as a health-based model, have been adapted for educational purposes. Many examples of metaphor drawn from indigenous ways of thinking have also been adapted as design or designrelated methodologies. What is it about the power of metaphor, particularly indigenous ways of seeing, that might offer solutions for both student and teacher? One developing propositional model uses the Pacific voyager as exemplar for the student. Hohl cites Polynesian navigation an inspirational metaphor, where “navigating the vast Pacific Ocean without instruments, only using the sun, moon, stars, swells, clouds and birds as orienting cues to travel vast distances between Polynesian islands.”1 However, in these uncertain times, it becomes just as relevant for the academic staff member. As Reilly notes, using this analogy to situate two cultures working as one: “like two canoes, lashed together to achieve greater stability in the open seas … we must work together to ensure our ship keeps pointing towards calmer waters and to a future that benefits subsequent generations.”2 The goal in formulating this framework has been to extract guiding principles and construct a useful, applicable structure by drawing from research on two existing models based in Samoan and Hawaiian worldviews, synthesised via related M?ori concepts. Just as we expect our students to stretch their imaginations and challenge themselves, we the educators might also find courage in the face of the unknown, drawing strength from indigenous storytelling. Hohl describes the advantages of examining this approach: “People living on islands are highly aware of the limitedness of their resources, the precarious balance of their natural environment and the long wearing negative effects of unsustainable actions … from experience and observing the consequences of actions in a limited and confined environment necessarily lead to a sustainable culture in order for such a society to survive.”3 Calculated risks must be undertaken to navigate this space, as shown in this waka-navigator framework, adapted for potential use in a collaborative, studio-style classroom model. 1 Michael Hohl, “Living in Cybernetics: Polynesian Voyaging and Ecological Literacy as Models for design education, Kybernetes 44, 8/9 (October 2015). https://doi.org/ 10.1108/K-11-2014-0236. 2 Michael P.J Reilly, “A Stranger to the Islands: Voice, Place and the Self in Indigenous Studies” (Inaugural Professorial Lecture, University of Otago, Dunedin, New Zealand, 2009). http://hdl.handle.net/10523/5183 3 Hohl, “Living in Cybernetics”.
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Sugahara, Ryo, and Akio Kuroyanagi. "Research Regarding the Conceptual Change Observed in the Sea City Concept." In ASME 2018 37th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/omae2018-77741.

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From the 1960th to 1980th years in the second half of the 20th century, numerous “sea city concepts” were proposed as a new city image. Among these concepts, in Japan, the sea city concept reflecting the current urban development situation of that time, was drawn by the architects as an image of the ideal city. During that period, in Japan for the purpose of the further economic development, the landfilled industrial zones were created in the surroundings of large metropolitan areas of Tokyo, Osaka and Nagoya. It led to the concentration of the population due to the people fleeing to the big cities from the provinces for employment, which created various problems of big cities such as population overcrowding, land shortage, traffic jams, air pollution, etc., so the different tasks became apparent. As a way to solve such problems, a sea city plan has been proposed. The oldest initiative was the Tokyo Bay concept of 1958 which proposed the creation of a new city by creating a new land by landfilling Tokyo Bay. However, that initiative only covered the expansion of the existing land, and didn’t make any advantage of “ocean” resources. For that reason, the further proposals subsequently enabled taking advantage of the sea by creating the canals, artificial islands or pile-style structures which led to adoption of proposal to float up. After that, the sea city concepts basing on the floating type had increased, and the subjected water area transited from the shallow water to the offshore area. Furthermore, the authors are planning to arrange the process of transition of the concept of the sea city by taking into account the changes the way oceans are treated and the structures relative to time.
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Hodapp, David, Stephan den Breejen, Tomasz Pniewski, Hai Ming Wang, and Zhen Lin. "On the Likelihood of Encountering Design Conditions During Heavy Transport - A Case Study of 56 Replicate Voyages From Korea to the Suez Canal." In Offshore Technology Conference. OTC, 2021. http://dx.doi.org/10.4043/30932-ms.

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Abstract A critical element in heavy transport design is the identification of design wave conditions. Since most transports are one-of-a-kind, statistically meaningful comparisons of observed vs. design conditions are nonexistent. The present paper examines the experience from a recent oil and gas giga-project, encompassing 56 replicate voyages from Korea to the Suez Canal. In doing so, this paper provides an anchor point for assessing the real-world likelihood of exceeding design wave conditions during heavy transport. Voyage maximum wave conditions from the 56 replicate voyages are found to closely follow a Weibull distribution, allowing for the ready evaluation of observed 1-in-N voyage extremes. These observed wave conditions are compared with corresponding design values on both a year-round and seasonal (3-month) basis. Three important observations are drawn from these comparisons. First, operating limits established by heavy transport contractors to avoid waves above a predetermined threshold do not eliminate the need to design for higher wave conditions. Over the 56 replicate voyages studied, observed wave conditions slightly exceeded the contractor's self-imposed operating limit (i.e., by approximately 10% or less) on five separate voyages; on a sixth voyage, this same operating limit was exceeded by approximately 40%. Second, simplified tools for evaluating design wave conditions using Global Wave Statistics do not consistently estimate the 1-in-10 voyage extreme. While the simplified approach is shown to be conservative for the route studied, the associated design margin varies considerably throughout the year. Third, SafeTrans voyage simulations are observed to well-predict the 1-in-10 voyage extreme for the route studied.
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10

Chard, P. M. J., M. Brown, P. D. McClelland, N. Hopes, T. W. Turner, and S. N. Watson. "Optimisation of Non Destructive Assay Equipment for Intermediate Level Waste in the B462.27 Vault Store at Harwell." In ASME 2003 9th International Conference on Radioactive Waste Management and Environmental Remediation. ASMEDC, 2003. http://dx.doi.org/10.1115/icem2003-4820.

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Abstract:
The UKAEA owns and operates a suite of cells designed to process and repackage Remote Handleable Intermediate Level Waste (RH-ILW) at the Harwell site in the UK. Cans of RH-ILW are retrieved and assayed using Non Destructive Assay (NDA) prior to repackaging in Nirex approved drums for interim above — ground storage, and eventual disposal in a national repository. The NDA system comprises a combined passive/active neutron interrogator (NI) and also a gamma spectrometer (GS). The results are used in conjunction with an expert system to aid the reconciliation between the declared / historical records and measured fissile mass and β/γ radionuclide inventories. The assay system was originally designed to accommodate the unique diverse range of waste streams, which are stored within B462. To this end, a key feature of the design was the inclusion of state of the art features such as matrix compensation, fissile material location correction, and self-shielding compensation for the active cycle of the neutron interrogator. The systems were originally designed and calibrated in the laboratory during the early 1990’s. Commissioning proceeded through staged acceptance tests and commissioning trials for the equipment. Active commissioning using selected real waste drums has recently been completed, and the UKAEA is now operating the plant under a testing phase of full trial operations. The UKAEA is rapidly gaining experience in both the operation of the equipment, and its performance for various waste streams. This has led to a number of recommendations for significant improvements with respect to both the mode of operation, and the physics algorithms. By modifying the operating procedures, it is possible to improve the level of management control over the interpretation of the assay results, so that a greater degree of confidence can be demonstrated in the conclusions drawn. The approach has been to streamline the use of all the available information (historical records, assay and expert system data), coupled with extensive operator training, in order to ensure that operations staff are in control of the decision–making process. Sentencing decisions are now made using a proceduralised, open framework / methodology using the experience gained from the commissioning trials to provide extensive operator training, thereby eliminating the risks associated with previous “black box” treatment of expert systems. Technical changes include, for example, a simplification of the treatment of self-shielding in lumps of fissile material, leading to more robust data interpretation, and substantial throughput improvements. In establishing the new procedures and system enhancements, the UKAEA is following the new national Good Practice Guide for NDA measurements. In this paper, we describe the approach being followed to identify and implement these changes, as well as describing some of the important changes in some detail. We also describe UKAEA’s plans to undertake a comprehensive system refurbishment, in order to modernise the equipment for increased throughout and minimal plant down–time, using supportable high reliability components. This will also maximise the operational lifetime of the equipment.
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