Relevant bibliographies by topics / Maine painter

Contents

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

Academic literature on the topic 'Maine painter'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Maine painter"

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Taylor, David A., and Jeff Todd Titon. "Hap Collins of South Blue Hill, Maine: Lobsterman, Craftsman, Painter, Fiddler, Poet." Journal of American Folklore 107, no. 425 (1994): 429. http://dx.doi.org/10.2307/541698.

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Coco, Janice. "Dialogues with the Self: New Thoughts on Marsden Hartley's Self-Portraits." Prospects 30 (October 2005): 623–49. http://dx.doi.org/10.1017/s0361233300002209.

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Scholars have long acknowledged the crucial role biography plays in Marsden Hartley's oeuvre, as many have used his autobiography Somehow a Past and his homosexuality to interpret his recurring motifs. As a recognized writer and painter, he figured prominently in American modernism and was among the first to explore abstraction as his prime expression. Heavily influenced by European models, he forged a mature style drawn from German expressionism and his affinity for the mystic transcendentalism of writers such as Ralph Waldo Emerson, William James, and Walt Whitman. A lifelong transient, he stood apart from those in the Alfred Stieglitz circle (Figure 1), spending more time outside the United States than in, returning at the end of his life to become “the painter of Maine.” General consensus allows that Hartley's early life influenced his images directly; but, more specifically, art historian Bruce Robertson suggests that Hartley turned to self-portraiture in his last years to work through childhood issues of loss and abandonment. Following suit, this essay considers these tender issues further with a reading of four late paintings, of which two are not yet recognized as self-portraits.The paintings themselves are treated as sites to explore and define the self, in the words of the psychoanalyst D. W. Winnicott, as a “potential space” in which the artist reengages with and attempts to resolve past issues. More specifically, Winnicott describes a psychological transition, a buffer zone between mind and reality, used to cope with maturational issues. In this metaphorical space, one creates symbols and forms object relationships, meaning, a personal language with which to negotiate the real world and one's place in it. All cultural production, Winnicott argues, results from this interim process, which acts as a defensive filter to mitigate harsh truths — in Hartley's case, the loss of both parents and feelings of rejection. From this perspective, I focus narrowly on the symbolic arrangement by which identity issues merge with metaphysics, sex, and death. Although much has been written on these themes, I interpret the paintings' usefulness to Hartley, the ways that they functioned as tools, moving him toward personal integration. In dealing with issues of loss and mourning, I necessarily reflect on dark subject matter; even so, this study is not meant to represent the whole of Hartley's character. A complex person, he was not in a constant state of turmoil and, as Jonathan Weinberg, Donna Cassidy, and many others have demonstrated, Hartley was driven by much more than psychological angst. However, the lens of psychoanalysis (in this case, psychobiography and object relations) provides an additional way to interpret these late images.
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Jones, Michael T., Lisabeth L. Willey, Derek T. Yorks, Peter D. Hazelton, and Steve L. Johnson. "Passive transport of Eastern Elliptio (Elliptio complanata) by freshwater turtles in New England." Canadian Field-Naturalist 134, no. 1 (2020): 56–59. http://dx.doi.org/10.22621/cfn.v134i1.2379.

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Dispersal of freshwater mussels (order Unionida) is primarily as glochidia on the fins and gills of host fish. Adult mussels are more sessile, generally moving short distances (<2 m/week) along lake and river beds. Between 2007 and 2016, we observed seven instances of adult Eastern Elliptio (Elliptio complanata) and one instance of a fingernail clam (Sphaerium sp.) attached to the feet of freshwater turtles in streams and ponds of New England, United States. Observations included five instances of mussels attached to Wood Turtles (Glyptemys insculpta) in Maine and Massachusetts, one instance of a mussel attached to the fingernail of an Eastern Painted Turtle (Chrysemys picta) in Massachusetts, one instance of a mussel attached to a Snapping Turtle (Chelydra serpentina) in Massachusetts, and one instance of a fingernail clam attached to the fingernail of an Eastern Painted Turtle in Massachusetts. We suggest that Eastern Elliptio may be susceptible to transport by freshwater turtles foraging in mussel beds and that transport of adult mussels by freshwater turtles could result in otherwise atypical long-distance, upstream, or overland dispersal between waterbodies.
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Moignard, Elizabeth. "(J.H.) Oakley The Achilles Painter. Mainz: von Zabern, 1997. Pp. xvi + 199, ill. 3805318898." Journal of Hellenic Studies 119 (November 1999): 226. http://dx.doi.org/10.2307/632386.

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Hutchison, Janet. "Simple Forms and Vivid Colors: An Exhibition of Maine Painted Furniture, 1800-1860, at the Maine State Museum, July 8, 1983-February 28, 1984. Edwin A. Churchill." Winterthur Portfolio 21, no. 1 (1986): 83–84. http://dx.doi.org/10.1086/496265.

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Waldron, Michael. "‘The wish to paint’: Bowen and the Visual Arts." Irish University Review 51, no. 1 (2021): 85–99. http://dx.doi.org/10.3366/iur.2021.0497.

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Throughout her life, Elizabeth Bowen maintained a rich network of artist friends and acquaintances. She often attended exhibitions and was an astute, sometimes caustic critic in letters as well as reviews. Her short tenure as an art student is an often mentioned but rarely, if ever, explored biographical fact, yet it was a key moment in her creative development. It is perhaps unsurprising then that she began to write while ‘still under the influence of … the wish to paint.’ This essay considers Bowen's significant relationship with the visual arts, from her art training and networks to her critical engagement and deeply visual prose. In childhood, Bowen was taught to paint by Elizabeth Yeats and forged a lasting friendship with Mainie Jellett, one of Ireland's great modernists. In 1918, Bowen enrolled at the LCC Central School of Arts and Crafts but, convinced she lacked the requisite artistic talent, she withdrew from her studies after only two terms. This sense of failure plunged her into an artistic crisis from which writing offered a creative way forward. Tellingly, Bowen later reflected that her earliest stories ‘had the character of a last hope’. In describing the best of her writing as ‘verbal painting’, Bowen offers us a lens through which to conceptualise the dynamic dialogue between her more experimental prose and visual modernism. Drawing together aspects of her artistic formation, milieu, and taste, this essay ultimately seeks to provide a series of layered contexts to enrich our understanding of Bowen's fictions, including The Last September (1929) and To the North (1932).
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Moignard, Elizabeth. "Two Greek Vase-Painters - John H. Oakley: The Phiale Painter. (Forschungen zur antiken Keramik, II. Reihe, Kerameus, 8.) Pp. xii+ 121; 96 drawings, 15 figs., 152 plates (2 colour). Mainz: Von Zabern, 1990. DM 140. - J. Burow: Der Antimenesmaler. (Forschungen zur antiken Keramik, II. Reihe, Kerameus, 7.) Pp. xii+ 126; 2 colour plates, 160 black and white plates, 6 figures. Mainz: Von Zabern, 1989. DM 180." Classical Review 41, no. 2 (1991): 447–49. http://dx.doi.org/10.1017/s0009840x00280918.

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Hilton, Jeffrey. "S. G. Miller: The Tomb of Lyson and Kallikles. A Painted Macedonian Tomb. Pp. xlv+129; 32 plates. Mainz am Rhein: Philipp von Zabern, 1993. Cased, DM 148." Classical Review 45, no. 1 (1995): 195. http://dx.doi.org/10.1017/s0009840x00293219.

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Arafat, K. W. "The Kleophrades Painter - E. Kunze-Götte: Der Kleophradesmaler unter den Malern schwarz-figuriger Amphoren. Eine Werkstattstudie. Pp. xii+176; 72 plates (= 198 photographs): Mainz am Rhein: Philipp von Zabern, 1992. Cased, DM 150." Classical Review 45, no. 1 (1995): 130–31. http://dx.doi.org/10.1017/s0009840x00292548.

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Oakley, John H. "The Eretria Painter and his Associates - Adrienne Lezzi-Hafter: Der Eretria-Maler: Werke und Weggefährten. (Forschungen zur Antiken Keramik, II Reihe, Kerameus, 6.) 2 vols. Vol. I (text), pp. xiv + 383; Vol. II (plates), pp. xxiv+196 plates; 113 illustrations, 921 photographs. Mainz: Von Zabern, 1988. DM 198." Classical Review 40, no. 2 (1990): 420–21. http://dx.doi.org/10.1017/s0009840x0025436x.

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Dissertations / Theses on the topic "Maine painter"

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Palonka-Cohin, Anetta. "La peinture religieuse dans le Haut-Maine au XVIIe siècle." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040176.

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Le recensement des tableaux du XVIIe siècle conservés dans les églises sarthoises a permis de constater une forte activité des peintres manceaux à cette époque, jusque là encore très mal connue. Pourtant, elle a contribué à l’élaboration d’une manière propre aux milieux artistiques manceaux d’alors qui ont su prolonger loin dans le siècle la séduction du maniérisme, sans pour autant raidir celui-ci. La prédominance, puis la persistance du maniérisme s’expliquent par l’immense diffusion de la gravure anversoise à la charnière des XVIe et XVIIe siècles. Plus tard, l’autorité des maîtres parisiens, italiens et flamands reposa sur la reproduction de leurs oeuvres par l’intermédiaire des estampes. Éloignée des grands foyers artistiques, la peinture mancelle était en général conservatrice et répétitive, cherchant tout d’abord à vivement frapper le fidèle. Les tableaux religieux de l’époque post tridentine étaient surtout des oeuvres fonctionnelles, limitées à l’interprétation stricte des scènes, et pour lesquels pouvaient suffire des talents médiocres, et où le recours à la copie était très courant. Cette thèse permet de constater que le milieu des peintres manceaux, tout en gardant ses particularités provinciales, fût dynamique, ouvert aux apports nouveaux et riche en personnalités intéressantes. Leurs oeuvres ont constitué une sorte de tournant dans la production régionale dont l’évolution a suivi les mêmes directions que les grands courants parisiens, quoique avec un écart inévitable. Sont d’abord étudiés la Commande, les Peintres, la Création, les OEuvres et l’Évolution de la peinture mancelle (I). Vient ensuite le Dictionnaire des peintres manceaux (II), et enfin le Catalogue des oeuvres (III)
The inventory of 17th-century paintings in churches in the département of Sarthe reveals that painters in Le Mans, hitherto little known, were prolific at that time. This hive of activity gave rise to an artistic scene in the province of Maine, in and around the city of Le Mans, which prolonged the style of mannerism well into the century, until it was replaced by the authority of Parisian, Italian and Flemish masters. A far cry from main artistic centres, Maine painting was generally conservative and repetitive. Above all, it sought to strike religious believers. Religious works by Maine painters during the post-Tridentine era were functional works, content to merely portray a scene. They required little or no talent and copying was very widespread. This thesis shows that the painting scene in and around Le Mans, although doggedly provincial, was dynamic, open to new contributions and full of interesting characters. Their work marked a turning point in regional production and its evolution followed the same trends as the major Parisian currents, albeit with an evitable delay. We shall examine commissioning, the artists, creation, works and the evolution of painting in Le Mans (I). This will be followed by the dictionary of Maine painters (II) and the catalogue of works (III)
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Jackson, S. M. "An investigation of the biology of marine fouling microorganisms with special reference to biocide control." Thesis, University of Portsmouth, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234694.

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Mudge, Stephen Michael. "Carbonic anhydrase in marine organisms." Thesis, Bangor University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318943.

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El-Hassan, Ahmed Abu El Gassim. "A study of the main religious motifs in the decoration of Meroitic painted and stamped pottery." Thesis, University of Southampton, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242763.

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Tacey, Elisabeth Irene. "Laboratory testing of self polising anti fouling copolymers by capacitance measurement and atomic emission spectrometry." Thesis, King's College London (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361415.

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Dingle, Pope Nicholas. "The bioavailability of sediment-bound tributyltin (TBT)." Thesis, University of Plymouth, 1998. http://hdl.handle.net/10026.1/2606.

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Tributyltin is arguably the most toxic compound ever to be deliberately introduced into the marine environment as an ingredient of antifouling paints. It has had widespread toxic effects on a range of marine organisms, with some gastropod species being particularly sensitive. Effects of TBT on non-target species have resulted in partial bans on its use in many countries, so that new inputs to the water column have decreased in most areas. One of the physicochemical features of TBT is that it is readily sequestered by suspended particulates due to its low solubility and its hydrophobicity, therefore becoming incorporated into estuarine sediments. The availability of this sediment-bound TBT has been investigated through its potential for re-release back to the water column, and directly from the sediment using the sediment dwelling gastropod Hinia reticulata. The sorption process itself has been investigated using natural components to determine the sediment-water partition coefficient (Kd) together with factors affecting its magnitude. Sorption by sediments has been shown to be rapid (minutes), although the achievement of equilibrium may take longer (hours), and exhibits a Freundlich-like dependence on the TBT concentration due to the variable energies of TBT sorption sites on sediment particles. The major determinant of Kd is sediment type, greater adsorption occurring in fine-grained organic rich sediments compared to low organic sands; although both salinity and pH modify the degree of adsorption. The sorption process has been shown to be reversible, so that previously contaminated sediments may act as reservoirs of TBT, releasing the compound back to the overlying water for many years. Hinia reticulate has been shown to be an effective and quantitative accumulator of both dissolved and sediment-bound TBT, principally acquiring TBT from water across the respiratory surfaces. When additionally exposed to sediments, significantly higher body burdens were accumulated, with up to 80% of the total attributable to the sediment. Uptake of TBT across the surface of the headtfoot appears to be an important pathway for sediment-exposed Hinia reticulata, while the ingestion of contaminated sediment does not appear to occur. Hinia reticulata is capable of metabolising TBT to lesser butylated and presumably less toxic products which are excreted, making its accumulated body burdens responsive to changing environmental TBT levels, and increasing its value as a biomonitor When exposed to a range of TBT contaminated sediments, Hinia reticulata showed there to be greater TBT availability from sediments with a low sorptive capacity (sands), principally through desorption of TBT to the overlying water. Fine-grained organic-rich muds, which have a greater capacity for TBT, produced lower accumulated burdens in Hinia reticulata, but may represent more important long-term sources of TBT to benthic organisms in estuaries.
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Le, Vu Truong. "Mechanistic aspects of acylal hydrolysis." Thesis, King's College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243833.

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Kolharkar, Mangesh Suresh. "Development and assessment of an inspecting technique for coating evaluation." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukymeen2004t00136/MKthesis.PDF.

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Thesis (M.S.)--University of Kentucky, 2004.
Title from document title page (viewed June 21, 2004). Document formatted into pages; contains x, 63 p. : ill. Includes abstract and vita. Includes bibliographical references (p. 61-62).
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Sandberg, Jan. "Corrosion-induced release of zinc and copper in marine environments." Licentiate thesis, Stockholm : Division of corrosion science, Department of materials science end engineering, School of industrial engineering and management, Royal institute of Technology, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4051.

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Cooley, Brock J. Mr. "Student Directing Thesis: Directing a Main Stage Show." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/188.

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My thesis gives insight on directing a main stage production at the collegiate level as a student. Specifically directing Tradin’ Paint, an original piece from playwright Catherine Bush a native of Abingdon Virginia, and a company playwright for the Barter Theatre. In the thesis I discuss how I arrived at different conclusions for my show through different research. I discuss the experience of being a director over professors, and my own peers, and how all of these challenges and discoveries eventually gave me a finished product to be proud of. If a director were to look at this work, they will find chapter two interesting, as it is my prompt book, with blocking and little notes on the script. This thesis is a great representation of a student directing thesis: Directing a Main stage Show.
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Books on the topic "Maine painter"

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Heller, Joan R. Joan Thurber Baldwin: A Maine painter. J.R. Heller, 1995.

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Nicoll, Jessica F. Abraham J. Bogdanove (1886-1946): Painter of Maine. Spanierman Gallery, LLC, 1997.

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Stark, Whiteley, Brandywine River Museum, and William A. Farnsworth Library and Art Museum., eds. Paul Wescott, landscape and marine painter: Brandywine River Museum, Chadds Ford, Pennsylvania, June 3 through September 4, 1989 : William A. Farnsworth Library and Art Museum, Rockland, Maine, November 7 through December 31, 1989. Brandywine River Museum, 1989.

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Jacobsen, Antonio N. G., 1850-1921. and Mariners' Museum (Newport News, Va.), eds. Antonio Jacobsen's painted ships on painted oceans. Mariners Museum, 1994.

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The artist's Mount Desert: American painters on the Maine Coast. Princeton University Press, 1994.

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Coggins, Jack. Marine painter's guide. Dover, 2005.

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The dictionary of sea painters. Antique Collectors Club, 1989.

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1878-1958, Patterson Charles Robert, ed. Sailor-painter: The uncommon life of Charles Robert Patterson. Flat Hammock Press, 2005.

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Marine art & Liverpool: Painters, places & flag codes, 1760-1960. Waine Research, 1986.

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David, Joel. Charles Brooking 1723-1759: And the 18th century British marine painters. Antique Collectors' Club, 2000.

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Book chapters on the topic "Maine painter"

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Berendsen, A. M. "Paints and Paint Systems." In Marine Painting Manual. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_4.

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Berendsen, A. M. "Storage and Application of Paints." In Marine Painting Manual. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_6.

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Berendsen, A. M. "Maintenance of Paint Systems." In Marine Painting Manual. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_7.

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Berendsen, A. M. "Paint Contracts and Specifications." In Marine Painting Manual. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_8.

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Morelli, Laura. "L’esperienza formativa di Anton Domenico Gabbiani a Venezia. Disegni e dipinti inediti." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.08.

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This paper aims to cast new light on Anton Domenico Gabbiani’s first sojourn in Venice, which took place between 1678 and 1681, by following the two main biographies of the artist, written by Ignazio Enrico Hugford and Francesco Saverio Baldinucci, and by analysing new archival documents. Specific attention is given to the constant study of artworks by the great Venetian masters of the Sixteenth century, especially Titian, to whom Gabbiani devoted himself also in his later years, copying famous masterpieces of the Cadore painter. Through some unpublished drawings of the Uffizi and new or little-known paintings, the Venetian component of Gabbiani’s style is identified in the way of composing and in the execution of airy and light figures. The highlights and intense Venetian colorism contributed to the creation of sophisticated chiaroscuro modulations expressed in the mimetic rendering of animals and landscape settings.
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Harino, Hiroya. "Emerging Issues on Contamination and Adverse Effects by Alternative Antifouling Paints in the Marine Environments." In Biological Effects by Organotins. Springer Japan, 2016. http://dx.doi.org/10.1007/978-4-431-56451-5_3.

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Droit, Julie. "Careening areas in marinas, anchorages, and private shipyards. Status of implementation of the MSFD measure." In Proceedings e report. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-147-1.69.

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Ship careening, which consists of stripping antifouling paint, generates waste. These residues contain different chemical contaminants that can have an impact on the marine environment. The implementation of the Marine Environment Strategy Framework Directive has been declined through the adoption of Action Plans. Cerema was mandated by the Ministry of Ecology to carry out a national study identifying the level of equipment in fairing areas of marinas, anchorages and private shipyards. The data collected are available on the Geolittoral site: www.geolittoral.developpement-durable.gouv.fr
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Tsuji, T. "Studies on the Paint System Applied to the Marine Steel Structure Simultaneously with Cathodic Protection." In Ocean Space Utilization ’85. Springer Japan, 1985. http://dx.doi.org/10.1007/978-4-431-68284-4_64.

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Krystek, Jolanta, Sara Alszer, and Szymon Bysko. "Virtual Commissioning as the Main Core of Industry 4.0 – Case Study in the Automotive Paint Shop." In Advances in Intelligent Systems and Computing. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97490-3_36.

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Green-Cole, Ruth. "Painting Blood: Visualizing Menstrual Blood in Art." In The Palgrave Handbook of Critical Menstruation Studies. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_57.

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Abstract While there are isolated cases of reverence for menstruation, many societies impose a strict set of rules about the visualization of menstrual blood in art and visual culture. Green-Cole examines these hegemonic and patriarchal codes controlling discussion, commemoration, or visualization of menstruation, which have been internalized by millions of women worldwide as negative and shameful. One of the main tools used to maintain menstrual stigma is to erase the presence of the scene of menstruation in speech, image, and representation. Green-Cole argues that by publicly acknowledging menstruation and making it visible, the artworks discussed in this chapter are instrumental in undermining this stigma. She demonstrates how this process of undermining also changes what we assume to be the function and value of art. Finally, Green-Cole analyzes the ways in which artists have used paint to signify or stand in for blood as a challenge to the decorum of modernist formalism, which conveniently erased women’s issues.
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Conference papers on the topic "Maine painter"

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Pitt, B. J. A. "Tank Lining & Protection of Ballast Spaces Using Epoxy Paints Under Adverse Weather Conditions." In Marine Corrosion Prevention. RINA, 1994. http://dx.doi.org/10.3940/rina.marco.1994.15.

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Makarevičs, Valerijs, and Dzintra Ilisko. "Figuratively Semantic Analysis of Works of Art." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.044.

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Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the life experience of their creators. Results obtained and the most important conclusions: This is important for the author of a painting to convey his/her thoughts and feelings to the viewer. Still, there remains a problem. The author uses the language of the image and symbol, which the viewer needs to reveal. Psychology of art offers two main options for solving this problem. The essence of the first option which is the ability of the painter to direct the viewer's sight. It is called the Dutch approach. The second approach to the analyses of art is called the Italian approach. In this case this is important to understand the symbolism and knowledge gained historically by relating one’s art works to the biography of the painter. The authors of this article focus on the second approach by illustrating it with examples of analysis from the works of Van Gogh, Velázquez, and Repin. The results of this study might be of interest for those who are interested in arts and psychology.
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Manoj, Sekar, Santhanakrishnan Mahesh, and Narasimalu Srikanth. "Review of Biofouling Paints on the Marine Vessel." In 2018 Asian Conference on Energy, Power and Transportation Electrification (ACEPT). IEEE, 2018. http://dx.doi.org/10.1109/acept.2018.8610796.

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Cook, David J., Scott J. Sharpe, Seonkyung Lee, and Mark G. Allen. "Terahertz Time Domain Measurements of Marine Paint Thickness." In Optical Terahertz Science and Technology. OSA, 2007. http://dx.doi.org/10.1364/otst.2007.tub5.

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Guerguer, Mohamed, Mounia Karim, Sanae Naamane, Zineb Edfouf, and Olivier Raccurt. "Degradation of solar glass mirrors paints at marine outdoor site." In SolarPACES 2017: International Conference on Concentrating Solar Power and Chemical Energy Systems. Author(s), 2018. http://dx.doi.org/10.1063/1.5067232.

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Zakaria, Mohd Amir, and Shukor Md Nor. "Population estimate of painted stork (Mycteria leucocephala) in three main breeding sites Peninsular Malaysia." In THE 2018 UKM FST POSTGRADUATE COLLOQUIUM: Proceedings of the Universiti Kebangsaan Malaysia, Faculty of Science and Technology 2018 Postgraduate Colloquium. AIP Publishing, 2019. http://dx.doi.org/10.1063/1.5111267.

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Mountford, John A., and Milton R. Scaturro. "Titanium – Attributes, Benefits, Use and Applications In the Marine Market." In SNAME Maritime Convention. SNAME, 2009. http://dx.doi.org/10.5957/smc-2009-p16.

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Abstract:
Titanium creates value through its attributes - light weight, corrosion immunities, strength, environmentally non-toxic, performance & proven durability providing benefits of reduced fuel consumption, greater payloads/storage, reduced maintenance, labor & weight while eliminating needs for material replacement, coatings & paints. The paper outlines these attributes, benefits and specific Marine applications.
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8

Nakamura, Tsubasa, Yasuhiro Ootsuka, Seizo Furuya, and Nobuhiro Harada. "Application to Marine Paint Adhesion Improvement by Atmospheric Pressure Discharge Plasma." In 38th Plasmadynamics and Lasers Conference. American Institute of Aeronautics and Astronautics, 2007. http://dx.doi.org/10.2514/6.2007-4377.

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9

Pal, M. "Low-pressure cold metal spray coatings for repair and protection of marine components." In 14th International Naval Engineering Conference and Exhibition. IMarEST, 2018. http://dx.doi.org/10.24868/issn.2515-818x.2018.043.

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The marine environment is hostile to most engineering materials, a combination of in-service wear and exposure to marine environment leads to an accelerated material degradation. Insufficient or poor protection of the substrates further assists the accelerated material degradation in marine environment. There is a direct relationship between the material-state of a ship and its operational capability, readiness, and service life. The current state-of-the-art practice is to use paint-based coatings to maintain the material-state of ships. However, the protection offered by paint coatings is usually brief due to inherent permeability and low damage tolerance of these coatings. For this reason, the paint coatings require renewal at regular intervals, typically less than 5-years, to maintain a minimum level of protection from the marine environment. The need for regular painting of ships results in a significant negative impact on the through-life availability, operational capability/readiness, and the cost of maintenance/operation of naval ships. Therefore, the fleet owners and operators should look beyond the conventional paint-based coatings to achieve significant breakthrough improvements in maintaining and enhancing the material-state of naval ships. Metallic coatings, if selected and applied appropriately, will outperform the paint coatings in the marine environment. Historically, the cost and performance of metallic coatings, mainly thermal metal spray (TMS) coatings, prevented their widespread use in the marine industry. The TMS coatings also have their own inherent application and performance related limitations that are widely reported in the literature. However, the cold metal spray (CMS) coating process can overcome the application and performance related limitations that are typically associated with the TMS coatings, therefore creating an opportunity for widespread use of metallic coatings in shipbuilding and fleet upkeep/maintenance. In this paper, the ability of low-pressure (LP-CMS) coatings to repair and reclaim damaged marine components, and application of functional coatings to improve in-service damage tolerance of the damaged/new components is investigated. The results of the investigation show that two LP-CMS coatings, Al-alloy and CuZn-alloy, can be used to repair and preserve both new and damaged components. The accelerated salt-spray and natural immersion corrosion testing of the LP-CMS coatings showed that each coating will be better suited to a particular operational environment, i.e. CuZn-alloy coating performed well in both immersion and atmospheric corrosion environments, whereas Al-alloy coating performed well only in atmospheric corrosion environment.
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Krespi, Nayane Thais, and Anselmo Chaves Neto. "METODOLOGIA BOX & JENKINS E ANÁLISE DE DADOS EM PAINEL NA PREVISÃO DE SÉRIES FINANCEIRAS." In XVIII Simpósio de Pesquisa Operacional & Logística da Marinha. Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/marine-spolm2015-140822.

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