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Relevant bibliographies by topics / Ink painting, Chinese

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Academic literature on the topic 'Ink painting, Chinese'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Ink painting, Chinese"

1

Jin, Yueling, Zeyang Li, and Tiantian Lu. "The Style Transfer of Photos and Landscape Paintings Based on CycleGAN Combined with Nested Edge Detection Module." Applied and Computational Engineering 8, no. 1 (August 1, 2023): 171–79. http://dx.doi.org/10.54254/2755-2721/8/20230118.

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Chinese landscape paintings, especially Chinese landscape ink paintings have always been the treasure of the Chinese, or even the world culture. Due to the advancement of the science and knowledge, there are always interests for finding ways to produce Chinese landscape paintings through the way of the technology. In this paper, based on the original CycleGAN model, we are trying to transfer a real-world photograph to a typical Chinese landscape painting. To be specific, the brushwork in Chinese ink paintings contains enormous numbers of distinct and technical brush strokes which makes it extremely hard for CycleGAN to recognize and transfer Chinese ink painting. We improved the brushstroke effect of Chinese ink painting still by incorporating the Holistically Nested Edge Detection (HED) method into the CycleGAN model. The HED module puts the source image and the corresponding generated image into the convolution layer of five stages to generate their respective edge maps. The balanced cross-entropy loss calculated with edge maps is added to the total loss of CycleGAN to train the generator which is confronted with discriminator to improve output results. The addition of HED enables the extraction of edge features from the images, preserving the structural information and enhancing the accuracy of the style transfer, so the detailed of the Chinese ink painting can be transferred better in this sense. Experimental process with model building, training, validating, and predicting concludes that, complementing HED method into the original CycleGAN models well preserved distinct features in the conversion processes from real-world photographs to traditional Chinese landscape paintings.

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Zhang, Hao. "A Comparative Study on the Painting Forms of Western Oil Painting and Chinese Ink Painting." American Journal of Arts and Human Science 3, no. 2 (May 15, 2024): 39–45. http://dx.doi.org/10.54536/ajahs.v3i2.2778.

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Since modern international students introduced oil painting on a large scale to China, oil painting has been developing in China for over a hundred years. In citing the process of progress, learning, integration, and improvement, the change in titles from “Western painting” and “Western painting” to “oil painting” and then to “Chinese oil painting” indicates that oil painting, as an art form, has deeply embodied the characteristics and connotations of traditional Chinese culture. During this period, its development is closely related to the historical background of the entire China, reflecting the continuation and evolution of traditional Chinese freehand brushwork spirit in the complex and changing context of the times. This article compares oil paintings imported from abroad with domestic ink painting, taking the artistic realm of painting in both the East and the West as the starting point. The main axis that runs through them is Chinese ink painting and Western oil painting landscapes. Showcasing the similarities and differences between Chinese ink wash landscape painting and Western oil painting landscapes, Chinese landscape painting emphasizes the expression of emotions and a sense of awe and emotion towards nature, with the main idea of “learning from nature”; The Western oil painting landscape emphasizes the realism of the scenery, which is a re-creation of nature, allowing people to have a realistic feeling of being there when watching the painting. The main reason there are these differences between Chinese ink painting and Western oil painting landscapes is due to different social and cultural backgrounds and fields of consciousness.

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Hu, Manran. "A Study of the Development History and Stylistic Features of Chinese Ink Painting." Pacific International Journal 6, no. 1 (March 31, 2023): 71–76. http://dx.doi.org/10.55014/pij.v6i1.310.

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The modern ink painting in China started in the 1980s and it didn't become popular until the late 1990s. Up till now, it has become a major branch of Chinese art and painting. This paper makes a brief review on the historical development of Chinese ink painting based on the current studies on the topic. Compared with the western painting, the Chinese ink painting enjoys a special position in terms of spiritual forms, Artistic function, Language Structure, ink and brush form. The study finds that ink painting has a strong philosophical conception of Chinese cultural traditions and an ideology that matches its history, culture and religious beliefs. The values and ideology of the traditional Chinese philosophical outlook can be glimpsed in ink painting, and the ancient subsistence smallholder economic system also permeated and influenced the way of painting in terms of economic and social development. This influence ultimately reflected in the ancient philosophical system of thinking .

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Ma, Caixia. "Morphological Structural Element Optimization for Automatic Line Characterization of Ink Drawings." Security and Communication Networks 2022 (May 11, 2022): 1–7. http://dx.doi.org/10.1155/2022/8595203.

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As a traditional Chinese art, the tools of Chinese ink painting are mainly brushes, ink, and rice paper and ink stone. As an important form of ink painting, ink landscape painting consists of ink lines that first outline the overall trend of the mountain and then complete the basic process of painting with rich chapping techniques. The article proposes a process to draw water animation based on Chinese painting style; this method first perceives the position of water form in Chinese painting and enhances it by morphological structural elements used to automatically draw the line feature analysis of ink painting; next, the image rendering technique is used to render the water form, firstly using BF for noise removal processing and then gradienting by Canny edge detection operator to get the gradient amplitude. Next, morphological optimization is applied, and finally the image is visualized. In the process of morphological optimization, the optimal parameters of the structural elements are found through the threshold segmentation number, and the rendering algorithm for ink-based landscape painting is explored in depth, starting from the ink lines. The results reveal that the method is more accurate than typical marker-watershed algorithm segmentation, and that changing different structural elements and their parameters has a bigger impact on the ink painting drawing effect.

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Chen, Feifei. "Opera Figures in Ink and Wash Scene — Analysis of Guan Liang and Han Yu’s Ink and Wash Opera Figures." Studies in Art and Architecture 2, no. 4 (December 2023): 50–57. http://dx.doi.org/10.56397/saa.2023.12.08.

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In the long history of records, China is a big country, has a complete set of its own cultural system, and these systems will always reveal a subtle connection. The combination of Chinese painting and Chinese opera is enough to reflect the extensive and profound Chinese culture. In the folk tradition, there are a lot of folk art to stage opera characters for the performance of the theme, while opera art has become more and more popular. In the form of painting to describe the opera, in the Ming and Qing Dynasties, some artists began to use this way to express the opera, but the number is very small and did not form a large scale, and it did not break away from the style of literati painting, resulting in the failure to cause more researchers at the time of the pro-gaze. After the modern society, a group of overseas artists returned, the advanced western humanistic thought into the painting, bold attempt to a variety of painting language performance, the theme of the performance is also more extensive. Mr. Guan Liang’s opera figure painting is a model of this period. He is an explorer who takes opera figures as the main performance theme of painting, and combines his own creative experience to successfully create countless opera figures with different personalities in the performance language of Chinese painting. Finally, he formed his own independent painting style, different from the artistic style of literati painting. After that, more and more painters began to express operas in Chinese paintings. Among them, Han Yu, Gao Made, Lin Fengmian and so on, the works have their own unique spiritual outlook, explored a new path of painting, these excellent works not only from the inheritance of traditional culture, but also reflects the rich and colorful art of today’s era, in the history of Chinese art will leave a glorious page.

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Qian, Xingyu. "Oriental Consciousness in André Masson’s Automatic Paintings." SHS Web of Conferences 183 (2024): 03001. http://dx.doi.org/10.1051/shsconf/202418303001.

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André Masson has long been regarded as a representative figure of surrealist and automatism painting, but a closer look at his works makes it easy to find a dialogic nature with ancient Chinese calligraphy and painting. Influenced by Breton's concept of automatic writing, his works also draw on Chinese ink paintings of the Song Dynasty, abandoning perspective and playing the important role of white space. This paper tries to sort out the lineage of the emergence of Oriental consciousness in Masson's automatic paintings and explains the specific expression of Chinese painting in his art.

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Long, Dapeng, Preechawut Apirating, and Pat Kotchapakdee. "The Creation of Loneliness in Contemporary Chinese Ink Painting - Revelation from Harald Sohlberg's Paintings." International Journal of Religion 5, no. 7 (May 11, 2024): 638–56. http://dx.doi.org/10.61707/yjptjm89.

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This research employs methods of iconography analysis to dissect the visual representation of loneliness in the paintings of Harald Sohlberg, aiming to inspire in the creation of loneliness within Contemporary Chinese ink painting. The article unfolds by delving into Sohlberg's painting style, cultural origins, and the profound meanings embedded within his works, subsequently exploring the revelations of Sohlberg's paintings for contemporary Chinese ink painting, and thereby elucidating the author's creation. By providing novel perspectives and methodologies, this paper contributes to the realm of cross-cultural research in the arts, demonstrating the existence of commonalities diverse backgrounds, cultures, and artistic genres, with the aspiration of fostering mutual understanding and exchange across different cultures and nations. Furthermore, this article serves to inspire painters in their creations and aids in enhancing the audience's appreciation and aesthetic sensibilities towards painting.

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Wei, Hua. "Aesthetic Consciousness of Literati Painting and its Application in Urban Planning." Open House International 44, no. 3 (September 1, 2019): 92–95. http://dx.doi.org/10.1108/ohi-03-2019-b0024.

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In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.

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Ma, Feifei. "My Opinion on Urban Figure Ink Painting." International Journal of Education and Humanities 11, no. 2 (November 6, 2023): 110–11. http://dx.doi.org/10.54097/ijeh.v11i2.13547.

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There are skillful and clumsy works, and ancient and modern paintings. Since the development of ink and wash figure painting, there have been many themes of ancient costumes, ethnic minorities, and drama, but there are few themes of urban characters. It seems that there are special reasons for this. Traditional Chinese ink and wash character themes generally focus on ancient costumes, with long and complex clothing patterns. Many Chinese character painters nowadays depict a large number of Tibetan people, dance figures, or new ladies. The characters have long clothing patterns and lines, and their shapes are also closer to traditional ancient costume character costumes. Therefore, it is relatively easy to graft traditional pen and ink programs onto the above-mentioned themes, which is quite lazy in the current innovation of ink characters. In the process of socialization today, urban culture is an important representation of modern culture. If we continue to draw contemporary urban characters in a conservative traditional ink style, it will feel out of place. The theme of urban figures is a major challenge and opportunity in the process of Chinese figure painting. How to use more vivid language to depict urban characters is an important topic that contemporary Chinese character painters need to ponder deeply.

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Chen, Tian Ding. "Chinese Calligraphy Brush Stroke Interactive Model with Ink Diffusion Style." Advanced Materials Research 108-111 (May 2010): 507–12. http://dx.doi.org/10.4028/www.scientific.net/amr.108-111.507.

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This paper presents an interactive method of using ink diffusion, and gradually approaching simulation brush character with style of Chinese painting and calligraphy. Try to use materials based on the Chinese ink painting: ink and rice paper, according to their characteristics to build the diffusion rules to simulate text ink. Although the initial can show the phenomenon of ink rendering, they can only show diffusion of the ink with black lines, Can not rendering a complete ink diffusion behavior, it is difficult to form a sense of artistic calligraphy. It proposes Interactive model to amend the power of the brush pen and puts forward a binding behavior of ink broken down. The results show that based on the pratice physical meaning, considering the interaction of the two materials(ink and rice paper), appropriate to improve the mathematical equation model to render the calligraphy image more in line with Chinese ink painting style.

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Dissertations / Theses on the topic "Ink painting, Chinese"

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Ng, Yuk-lan. "Sesshu and Chinese academic painting." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20565653.

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Lai, Mei Lin. "Lui Shou Kwan & modern ink painting." Phd thesis, Department of Art History and Theory, 2011. http://hdl.handle.net/2123/9258.

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Ng, Yuk-lan, and 吳玉蘭. "Sesshu and Chinese academic painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hdl.handle.net/10722/210304.

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Wong, Shan Elaine, and 黃山. "Flaring brush and ink: Chinese calligraphy and painting centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986870.

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Wong, Shan Elaine. "Flaring brush and ink : Chinese calligraphy and painting centre /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949834.

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Ng, Yuk-lan, and 吳玉蘭. "Mid-Muromachi flower and bird painting in Ashikaga painting circles." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45015624.

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Wang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.

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SHENG, Hung. "Hong Kong ink painting : its role in the development of Chinese painting in the second half of the twentieth century and beyond." Digital Commons @ Lingnan University, 2017. https://commons.ln.edu.hk/vs_etd/11.

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This research investigates the field of modern ink painting, in particular the advocacy of shuimohua (水墨畫, literally water ink painting) which appeared in Hong Kong in the mid-1960s. The research is based on textual materials such as artworks, writings, treatises, newspaper and periodical documentation, as well as interviews with artists or artists’ families. Because of the emergence of numerous terms related to ink painting and ink art in recent decades, it is crucial to trace their origins in order to develop a foundation from which to understand the complexities of the field related to ink. The starting point chosen for this research is the 1960s in Hong Kong which was a period of in which Hong Kong enjoyed much greater freedom in the arts compared to the mainland China and Taiwan. This atmosphere of greater freedom nurtured various new directions for Chinese painting, including the advocacy of shuimohua initiated by Lui Shou Kwan (呂壽琨 1919–1975) who wrote and lectured extensively about his ideas on shuimohua. The advocacy of shuimohua opened a host of possibilities and influenced Lui’s students and contemporaries. Lui stressed the value of sincerity, gen (根 root), shi (適 adaption), inner expression and innovation. Lui held that these are fluid concepts subjected to change according to individuals. Five artists, Hon Chi Fun (韓志勳b. 1922), Irene Chou (周綠雲 1924–2011), Wucius Wong (王無邪b. 1936), Kan Tai Keung (靳埭強b. 1942) and Leung Kui Ting (梁巨廷b. 1945) were selected to examine the impact of shuimohua. These artists are consistent with Lui’s ideas of a broader concept and vision of art, but they all developed their own visual language and style in their artistic paths. There is no evidence of a “Lui’s School” or stylistic resemblance. Another advocate of modern ink painting Liu Kuo Sung (劉國松 b. 1932) and his students, in addition to modern ink painters overseas like Tseng Yuho (曾佑和b. 1924) are also explored to provide a more comprehensive analysis of the scene. Art with the media of ink, such as experimental ink painting, blossomed in mainland China in the 1980s. This research tries to touch upon the evolution and relationship between shuimohua and ink art. Exploring the character of Lui’s advocacy of shuimohua and tracing the origin of terminology related to ink painting and ink art are small but necessary steps to further conversations about the development of ink today. This contributes an historical as well as a Hong Kong perspective that may provide insights into the modernization of ink painting in the larger context of Chinese painting.

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Xu, Heidi Ping. "Between likeness and unlikeness a fusion of Chinese ink painting aesthetics into the medium of photography : a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design (MA&D), 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/365.

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David, Elise. "Networks Sketched in Ink: Wu Shujuan (1853-1930) and the Business of Female Celebrity in the Shanghai Art World." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574694405893491.

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Books on the topic "Ink painting, Chinese"

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N, Newland Joseph, ed. Chinese ink painting now. Seattle: Produced by Marquand Books, 2010.

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Self, Caroline. Chinese brush painting. Rutland, Vt: Tuttle, 2007.

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I-Ching. Chinese brush painting--workstation. Los Angeles, CA: Price Stern Sloan, 1993.

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Wang, Lucy. Chinese brush painting. Laguna Hills, Calif: Walter Foster Pub., 2002.

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Ting, Francisca. Chinese painting. New York: Dover Publications, 1991.

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Chen, Ve-na C. Loving Chinese brush painting. Irvine, Calif: James Pub. Co., 1999.

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Self, Caroline. The art of Chinese brush painting: Ink "paper" inspiration. Tokyo: Tuttle Pub., 2009.

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Self, Caroline. The art of Chinese brush painting: Ink, paper,inspiration. Tokyo: Tuttle Pub., 2009.

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Franklin-Carrier, Marguerite. Chinese painting: Ideas and inspiration. London: Studio Vista, 1995.

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Franklin-Carrier, Marguerite. Chinese painting: Ideas and inspiration. London: Studio Vista, 1995.

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Book chapters on the topic "Ink painting, Chinese"

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Man, Eva Kit Wah. "Spiritual Rituals of Chinese Ink Painting: The Suggestions of Shitao." In Chinese Contemporary Art Series, 3–20. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0210-1_1.

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Chen, Ge. "Research on the Reference of Traditional Ink Painting Elements in Chinese Watercolor Painting." In Proceedings of the 2nd International Conference on Culture, Design and Social Development (CDSD 2022), 470–76. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-018-3_53.

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Lam, Ng Woon. "Comparison of Chinese Calligraphy and Ink Painting Brushes with Western Water-Media Painting Brushes." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 571–76. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_56.

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Jiang, Yunyun, and Hefei Wang. "Style Transfer Method Based on Deep Learning for Chinese Ink Painting." In Artificial Intelligence in Data and Big Data Processing, 473–84. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97610-1_37.

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Man, Eva Kit Wah. "Metaphysics, Corporeality and Visuality: A Developmental and Comparative Review of the Discourses on Chinese Ink Painting." In Chinese Contemporary Art Series, 37–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_6.

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Zhou, Chuanhong, Kunpeng Chen, and Shiyu Pan. "The Research on Image-Based Chinese Ink Painting NPR Based on Deep Learning." In Lecture Notes in Electrical Engineering, 382–89. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0572-8_48.

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Tien, Chung-Ho, Wei-Jiang She, and Xia-Na Ma. "An analysis of innovative thinking of the color of Kuki Shuzo's Iki and chinese ink painting." In System Innovation for a World in Transition, 292–97. London: CRC Press, 2023. http://dx.doi.org/10.1201/9781003460763-59.

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Wei, Yuan, Vimala Perumal, and Roopesh Sitharan. "Cultural Identity in the Deep Sea (2023): A Study of “Particle Ink Painting” Technology in Chinese Animation." In Proceedings of the 3rd International Conference on Creative Multimedia 2023 (ICCM 2023), 77–90. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-138-8_8.

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Lu, Xiqun. "A Wavelet Statistical Model for Characterizing Chinese Ink Paintings." In Advanced Concepts for Intelligent Vision Systems, 186–93. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11558484_24.

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Brubaker, David Adam, and Chunchen Wang. "Conflicts and Confrontations: The Journey of China’s Contemporary Chinese Ink Paintings." In Chinese Contemporary Art Series, 3–8. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-44929-5_1.

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Conference papers on the topic "Ink painting, Chinese"

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Liang, Hao, Shuai Yang, Wenjing Wang, and Jiaying Liu. "Instance-Aware Coherent Video Style Transfer for Chinese Ink Wash Painting." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/114.

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Recent researches have made remarkable achievements in fast video style transfer based on western paintings. However, due to the inherent different drawing techniques and aesthetic expressions of Chinese ink wash painting, existing methods either achieve poor temporal consistency or fail to transfer the key freehand brushstroke characteristics of Chinese ink wash painting. In this paper, we present a novel video style transfer framework for Chinese ink wash paintings. The two key ideas are a multi-frame fusion for temporal coherence and an instance-aware style transfer. The frame reordering and stylization based on reference frame fusion are proposed to improve temporal consistency. Meanwhile, the proposed method is able to adaptively leave the white spaces in the background and to select proper scales to extract features and depict the foreground subject by leveraging instance segmentation. Experimental results demonstrate the superiority of the proposed method over state-of-the-art style transfer methods in terms of both temporal coherence and visual quality. Our project website is available at https://oblivioussy.github.io/InkVideo/.

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Liu, Siran, and Ergun Akleman. "Chinese ink and brush painting with reflections." In SIGGRAPH '15: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2787626.2792613.

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Liu, Siran, and Ergun Akleman. "Chinese ink and brush painting with reflections." In SIGGRAPH '15: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2785585.2792525.

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Zhang, Yao, Zhenjiang Miao, Yanghua Liu, and Wei Zhou. "An ink-diffusion-based rendering method for Chinese ink painting." In Fourth International Conference on Digital Image Processing (ICDIP 2012), edited by Mohamed Othman, Sukumar Senthilkumar, and Xie Yi. SPIE, 2012. http://dx.doi.org/10.1117/12.976037.

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Ma, Xiangyu, and Chengqi Xue. "Evaluation of Elements Layout Design of Ink Painting Posters Based on Aesthetics Model." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001759.

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With the development of the times, perceptual design, as an important part of humanized design, has received great attention. Through experimental research, people have repeatedly verified the correlation attribute between sensibility and rationality, and confirmed that there is a strong correlation between the beauty and usability of design. Aesthetic evaluation is a calculation method that abstracts the interface elements that affect the user's aesthetic experience from the interface layout by using the theories and methods of perceptual engineering, graphics, system engineering and psychophysics. It includes 12 evaluation indexes such as balance, simplicity and symmetry. Aesthetic evaluation has become an important research direction in the fields of graphic design, product design and interface design.Ink painting is a painting made by mixing water and ink into different shades of ink. It is a form of painting and is regarded as traditional Chinese painting. Chinese painting has a long history and is a powerful carrier for the Chinese nation to inherit culture. It embodies the national consciousness and aesthetic taste of the Chinese nation. Due to its characteristics in materials, writing and artistic conception, it is unique and systematic in the field of world art.With the return of local consciousness, more and more designers choose to obtain design inspiration from their own culture. The ingenious application of ink elements in modern poster design shows the broad space for the combination of ink elements and graphic design. Ink transportation by lines is a traditional Chinese painting form. It combines with graphic design to show a unique national language and show the profound cultural connotation and spiritual heritage of the Chinese nation to the people of the world.Through the research on the attractiveness of graphic poster design with ink painting as the background, this paper abstracts the interface elements that affect the user's aesthetic experience from the interface layout, studies the main constituent elements in ink painting as modules, and obtains a unified result by means of quantitative calculation of the public's aesthetic investigation and beauty, in order to obtain the key factors affecting the attractiveness of ink painting form posters. The experimental results show that the most significant factors affecting the beauty of poster typesetting with ink painting as the background are symmetry, integrity and rhythm. In addition to the "degree of balance", they all correspond to the application of the law of formal beauty of ink painting. This conclusion can be applied to provide quantitative optimization basis for the typesetting form of the combination of ink elements and poster design, so as to better integrate traditional art into modern design.

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Zhou, Renjie, Jeong Hoon Han, Hyeon Seok Yang, Woojin Jeong, and Young Shik Moon. "Fast Style Transfer for Chinese Tranditional Ink Painting." In 2019 IEEE 9th International Conference on Electronics Information and Emergency Communication (ICEIEC). IEEE, 2019. http://dx.doi.org/10.1109/iceiec.2019.8784632.

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Zheng Wang, Meijun Sun, Jizhou Sun, and Peng Lv. "Neural network-based Chinese ink-painting art style learning." In 2010 IEEE International Conference on Intelligent Computing and Intelligent Systems (ICIS 2010). IEEE, 2010. http://dx.doi.org/10.1109/icicisys.2010.5658312.

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Wang, Yinghui, Lijuan Wang, Wen Hao, Xiaojuan Ning, Zhenghao Shi, and Minghua Zhao. "A stylization method of Chinese ink painting for 3D tree." In the 13th ACM SIGGRAPH International Conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2670473.2670507.

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Wen, Shuli. "The application of Chinese ink painting in the modern clothing." In International Conference on Education, Management and Computing Technology (ICEMCT-16). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemct-16.2016.160.

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Cheng, Ai, Qing Wu, Xiaomin Chen, Xinyue Liu, Yimei Feng, Miao Tan, and Xiaofang Yu. "Comparative Study of Minimalist Art and Chinese Traditional Ink Painting." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.162.

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