Relevant bibliographies by topics / Practical Painting

Contents

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

Academic literature on the topic 'Practical Painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Practical Painting"

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Yu, Lan, and Yukari Nagai. "Painting Practical Support: A Study about the Usage of Painting Materials in Children’s Painting Works." Social Sciences 9, no. 4 (March 26, 2020): 33. http://dx.doi.org/10.3390/socsci9040033.

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Painting materials are one of the mediums that help painters to show the effects of paintings. The use of different painting materials can help the painter to display different painting styles and artistic conception. Six hundred sixty-seven children aged 7 to 13 participated in the study. This study is mainly about the impact of the use of different painting materials on children’s painting creation. The questionnaire survey was conducted based on primary school fine arts education to study the influence of painting materials on children’s painting ability. The content of the questionnaire survey was to investigate children’s usage of different painting materials in painting works and the grasp of painting materials knowledge. This research also provided some painting materials training methods for primary school fine arts teachers to guide children to use different painting materials for painting creation based on the study results.
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Yu, Lan, and Yukari Nagai. "An Analysis of Characteristics of Children’s Growth through Practical Art." Healthcare 8, no. 2 (April 24, 2020): 109. http://dx.doi.org/10.3390/healthcare8020109.

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Children’s paintings reflect their growth environments and psychological conditions, and these growth environments represent children’s family and educational environments in primary schools. The characteristics of these paintings change as children grow, and children’s expressiveness in the paintings also improves. Children’s paintings are a representation of their perceptions of things; children transform their perceptions into images that can be understood and observed by people. This research studies the growth characteristics of children based on professional painting techniques. A digital image analysis method was used to analyze the painting techniques of children aged between 7 and 13. The growth characteristics of the different age groups were combined to analyze the representative characteristics of children’s paintings at different ages. Lastly, the results of part of a questionnaire survey were used to assist in studying these characteristics. Analysis of these paintings shows that children have a poor ability to control the scale of the objects. Furthermore, the details of the objects are ignored, and children have a poor imitation ability. Young children have lower spatial cognitive abilities than older children, and girls prefer to participate in painting more than boys.
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Wu, Taixia, Guanghua Li, Zehua Yang, Hongming Zhang, Yong Lei, Nan Wang, and Lifu Zhang. "Shortwave Infrared Imaging Spectroscopy for Analysis of Ancient Paintings." Applied Spectroscopy 71, no. 5 (November 24, 2016): 977–87. http://dx.doi.org/10.1177/0003702816660724.

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Spectral analysis is one of the main non-destructive techniques used to examine cultural relics. Hyperspectral imaging technology, especially on the shortwave infrared (SWIR) band, can clearly extract information from paintings, such as color, pigment composition, damage characteristics, and painting techniques. All of these characteristics have significant scientific and practical value in the study of ancient paintings and other relics and in their protection and restoration. In this study, an ancient painting, numbered Gu-6541, which had been found in the Forbidden City, served as a sample. A ground-based SWIR imaging spectrometer was used to produce hyperspectral images with high spatial and spectral resolution. Results indicated that SWIR imaging spectral data greatly facilitates the extraction of line features used in drafting, even using a single band image. It can be used to identify and classify mineral pigments used in paintings. These images can detect alterations and traces of daub used in painting corrections and, combined with hyperspectral data analysis methods such as band combination or principal component analysis, such information can be extracted to highlight outcomes of interest. In brief, the SWIR imaging spectral technique was found to have a highly favorable effect on the extraction of line features from drawings and on the identification of colors, classification of paintings, and extraction of hidden information.
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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (July 31, 2017): 204–23. http://dx.doi.org/10.4312/ah.11.1.204-223.

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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.
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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (July 31, 2017): 204–23. http://dx.doi.org/10.4312/ars.11.1.204-223.

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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.
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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.

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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most complete disclosure of the specifics of this process possible, determines its place in culture. During the research the system approach was used as well as such methods: experiment, modeling, structural-functional, statistical and comparative. In order to test the hypothesis, to reproduce the model of information system developed by author in real conditions, arose the need of organization of empirical study. An experiment was chosen as a method that assumes the allocation of significant factors which affect the results of the formation of a particular interaction model within the system «artist—painting—recipient». The investigation with recipients' poll aims to study cause-effect relationships in painting perception process, which assumes the practical modeling of the phenomenon and conditions of its course. Results. It is substantiated that the artistic strategy of two groups — narrative «Paryzka komuna» and non-narrative «Zhyvopysnyi zapovidnyk», has created a unique matrix of Ukrainian visuality, and the art code of paintings enables the revealing of patterns of historical development of National visual experience. Review and analysis of the specific features complex of modernist and postmodernist paintings allowed to identify the origins of four different perception models formation by recipients. Within the framework of the study there were critically comprehended known published painting perception algorithms. As a result of investigation, the informational painting perception system was formed and at the same time there was carried out its correlation with fundamental researches of Western scientists. In particular, they relate to perceptual, cognitive and informational aesthetic theories; achievements in neuroaesthetics and psychology of painting perception. Present model is an attempt to take into account the whole complex of components, parameters and context of communication process with the painting, as well as interpretive art models of corresponding period. Conclusions. Summarizing the results of the experiment, we can conclude that recipients from the range of artistic community clearly manifested the change of perception model — from nonclassical to post-nonclassical. It depended on presented painting — whether narrative artwork or «painting-opened-structure-object» was shown. The first one personifies the painters' works of «Paryzka komuna», and the second — artists' painting practice of «Zhyvopysnyi zapovidnyk». Also there were stated the individual manifestations of primordial and classical interaction painting models with their complexes of inherent specific features. Obtained results can form the support material for the evaluation of artworks — both within and outside the art institutions. Also the main theoretical positions can be relevant for artists in process of their work with the construction of further strategy, as well as for recipients interacting with painting
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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.

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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.
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Lee, Haemiru, and Sungnam Kim. "The Characteristics of Practical Color Combination in Body Painting." Fashion business 19, no. 1 (February 28, 2015): 77–94. http://dx.doi.org/10.12940/jfb.2015.19.1.77.

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Dubrovin, V. M., and P. A. Chekantsev. "Landscape Painting: Features of Educational Creative Work." Prepodavatel XXI vek, no. 1, 2020 (2020): 200–205. http://dx.doi.org/10.31862/2073-9613-2020-1-200-205.

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Landscape is a traditional genre of easel painting and graphics. In the educational process, this genre is present in theoretical and practical courses in the disciplines of “Drawing”, “Painting” and “Composition”, its elements hold an important place in the Plein air programs. The landscape cannot be simply “copied” from nature, striving to make the image extremely similar to what you see. The authors recommend that students persistently master the methods of practical work on a realistic landscape, complementing them with the study of the theoretical foundations for solving the spatial, compositional, color and tonal problems of the complex art of landscape painting both in the classroom and in the open air.
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Yang, Zhaoxiang, Yonglin He, Shenglong Liao, Yingchao Ma, Xinglei Tao, and Yapei Wang. "Renatured hydrogel painting." Science Advances 7, no. 23 (June 2021): eabf9117. http://dx.doi.org/10.1126/sciadv.abf9117.

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Hydrogel coatings pave an avenue for improving the lubricity, biocompatibility, and flexibility of solid surfaces. From the viewpoint of practical applications, this work establishes a scalable method to firmly adhere hydrogel layers to diverse solid surfaces. The strategy, termed as renatured hydrogel painting (RHP), refers to adhering dehydrated xerogel to a surface with appropriate glues, followed by the formation of a hydrogel layer after rehydration of the xerogel. With the benefits of simplicity and generality, this strategy can be readily applied to different hydrogel systems, no matter what the substrate is. Hydrogel adhesion is demonstrated by its tolerance against mechanical impact with hydrodynamic shearing at 14 m/s. This method affords powerful supplements to renew the surface chemistry and physical properties of solid substrates. In addition, we show that the RHP technique can be applied to living tissue, with potential for clinical applications such as the protection of bone tissue.
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Dissertations / Theses on the topic "Practical Painting"

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Laube, Mary NaRee. "Practical joy." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2925.

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I will be presenting my work in two parts. The first section is dedicated to recent paintings that comprise my M.F.A. thesis exhibition: Practical Joy. The second section will investigate Practical Joy as an installation. I will raise questions regarding the relationship between my paintings and the exhibition space in order to situate my work into a contemporary discourse.
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Boothroyd, Brooks Hero. "Practical developments in English easel-painting conservation c.1824-1968 from written sources." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300536.

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Howey, Barbara. "Self/painting practice/social practice." Thesis, Anglia Ruskin University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341656.

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Branham, Barbara Leedy. "Some visual issues of painting : an exploration of the painting process." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3856.

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Clancy, Majella. "Painting, gender and space : an examination of contemporary women's painting practice." Thesis, Ulster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695399.

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This thesis explores aspects of contemporary women's painting practice. It investigates cultural, geographical, social and pictorial space across representations of class, gender and race. It begins with an examination of modernist histories through the language of paint. Modernist codes of sexual and cultural difference are interrogated and disrupted allowing for alternative readings of gender, culture, race and painting practices. I examine concepts of space and time found in modernist and postmodemist theory. I propose strategies in paint that collapse boundaries and categorisations, creating a space in-between canonical meaning and definitions allowing for oscillating feminine positions and perspectives. This research focuses on two women painters as case studies - the African-American painter Ellen Gallagher and the Pakistani-born, American-based painter Shahzia Sikander. Selected works from their practice are analysed alongside my own painting practice where links are established and variances highlighted, thus reflecting a contemporary understanding of women's painting in a global context. Significantly my thesis proposes feminist strategies in painting whereby cross-cultural exchange and multiple visual strategies are employed to signify new terms and conditions for contemporary women's painting. I examine hybridity and its relationship to feminine painted space where the complexities of cultural identity are interrogated. I conclude by analysing the position of contemporary women's painting within the framework of the global exhibition. This research uses a feminist methodology and works across art practice, art theory and art history. It creates a space from which contemporary women's painting can be understood as a materially and theoretically expanded practice.
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Paxson, Patricia P. "Reflections on, and refractions in, painting practices." Thesis, Goldsmiths College (University of London), 2004. http://research.gold.ac.uk/176/.

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My aim in the written thesis is to scrutinize a particular stage in the process of image making by means of ideas generated by psychoanalytic theory, in particular Lacan’s concept of the gaze. I propose a three stage model of image making: 1) planning, 2) absorption or ‘un-thought’, and 3) judging; they are seen together as a spiral process. My primary interest is the second stage, both in my studio practice and in the written thesis. In the studio this can be seen in the conjunction between passages emphasizing energy, for instance passages emphasizing a ‘re-invigoration’ of the figure by means of an investigation into mark making and cartoon elements, and passages emphasizing form and colour. In the written work, by using Lacan’s concept of the gaze as template, then employing ideas such as ‘figure’ and ‘dissimulation’ within the libidinal economy (Lyotard), syncretistic scanning and the ability of the primary processes to learn and develop (Ehrenzweig), and the matrixial gaze (Lichtenberg-Ettinger), I aim to illuminate the ‘un-thought’ stage of image making by means of a consideration of libidinal as well as semiotic processes. By including aspects of schizoanalysis (Deleuze and Guattari), I ‘re-contextualize’ Lacan’s concepts of ‘lack’ and the empty signifier and retain his other ideas relating to his (late) concept of the gaze. Schizoanalysis, in providing an extended concept of the unconscious, aids in re-considering Lacan’s concept of the gaze within the context of the process of image making. Working from this basis I propose a grouping of (existing) ideas that I term the libidinal gaze, brought together for the purpose of reflecting on the un-thought stage in the process of image making. In doing so, I consider both concepts of perception as influenced by the processes and energy of the unconscious, and concepts of the unconscious as reflected through post-Freudian and post-Lacanian psychoanalytic thought.
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Wentworth, Nigel. "The phenomenology of the practice of painting." Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309296.

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Weng, Cheng-Chu. "Shaping shadows : a practice of expansion painting." Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/423572/.

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Shaping Shadows: A Practice of Expansion Painting is a practice-based doctoral thesis. It centres upon a sustained art practice, offering a body of new work as a means to extend an understanding of painting in the expanded field. The practice in question is defined as a ‘sense’ of painting space, which operates through painterly compositional methods but developed through site-specific considerations of architectural spaces, bodies, and differing levels of consciousness when interacting in such spaces. The artworks range in scale from small punctuations in a room to large installations that fill and resonate with a defined space. The works are typically constructed out of unobtrusive materials, notably Japanese tissue papers, fabric, MDF board and wood, but crucially they are also ‘made’ of the immaterial elements of light, air and shadows. In differing ways, the works are experienced and completed by both artist and viewers, so establishing a set of conditions in which one’s individual thoughts and space-body dynamics are in play. Rather than simply presenting the work as further examples of painting in the expanded field (i.e. as a discursive, conceptual re-categorisation of painting), the thesis explores through its art practice a form of ‘expansion painting’, by which it is meant the artist’s sense of painting deliberates upon an expanded awareness of spaces, the in/visible materialities of light, shadow, air, and memories that accumulate from inner, private imagery and external shapes, patterns and forms. As a key element, medium and metaphor, shadow is at the heart of my practice research. It is both a component of practice and a metaphor of ambivalence (being both of and outside of an object, and suggestive of both distinctive and indistinct forms). Shadow becomes an ideal term and site of practice to build and examine subtle as well as alternative systems or structures, often ones that echo or ‘shadow’ existing dynamics of space, so that a ‘relief’ of images emerge, and/or are activated (as experienced physically in the space, and in the mind while engaging in the work). As such, the resulting artworks seek to provide an awareness of ‘being’ through what is referred to as ‘structures of ambiguity’. The thesis is brought together through both its practice and a written component. The latter offers an Introduction, setting out the main themes and concepts as well as ‘Notes on Practice’, which presents a ‘catalogue’ of the artworks produced. These opening components are followed by two main chapters. Chapter 1, ‘Painting in the Expanded Field’, establishes the historical and theoretical debates of painting in the expanded field and draws upon more recent literatures specific to the expansion of painting. It then considers the artist’s own work in relation to a series of examples of historical and contemporary practice (including remarks on the influence of minimalist art, as well as three specific case studies of contemporary artists whose works explore similar themes and material practice). Crucially, through ‘practicing’ a sense of painting space – defined as expansion painting – a phenomenological reading is undercurrent, which in turn enables a critical consideration of ‘structures of ambiguity’, which is the focus of Chapter 2, ‘Structures of Ambiguity: Grid, Frame, Screen and Stage’. This chapter offers an explicit account and contextualising of the mediums, materials and effects of the works. It leads to another way of seeing, as a deconstruction of space and in-between spaces. The thesis document concludes with ‘Finish: a Practice of Expansion Painting’, which draws together the key themes of the research through further contextualization of art history and theory. Expansion painting is not simply derived from historical, theoretical and philosophical debate, but must emerge through making and viewing the artwork as an open-ended experience. The artworks ‘finish’ at different moments of our being; they also respond to intellectual debates about the status of painting after the modern; and they are made of a very particular im/material ‘finish’ that is the signature of the practice. The underlying problematic of this thesis is the consideration of where objects and experiences begin and end, where boundary lines do or do not run. The ‘shaping’ of shadows is an attention to existing, spatial structures and their confluence with virtual structures of thought and experience. Thus, the medium of painting itself is pushed and pulled in this research, both expanding upon theoretical debates of the ‘expanded field’, as well as advancing its own practical inquiry. Indeed, ‘painting’ is presented as an exemplar of thinking and making.
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Thompson, Terry Foster. "An exploration of some aspects of mystery." PDXScholar, 1990. https://pdxscholar.library.pdx.edu/open_access_etds/4119.

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This thesis project consists of twenty-four paintings, drawings and lithographs dealing with three sub-themes of the larger subject of mystery: the mystery of existence; the mystery of religion; the mystery of the unknown. These themes are explored through manipulations of light, color, compositional arrangement and painting and drawing techniques.
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Forster, June. "Seeking equivalence : exploring dualities in landscape painting practice." Thesis, Aberystwyth University, 2014. http://hdl.handle.net/2160/50bf1c35-ff6e-4c3b-91b3-b2521ddc712f.

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Dualities evident in aspects of the visual world provide a framework for exploring how equivalence of landscape experience might be portrayed through the medium of paint. Research into micro/macro, past/present and here/there is driven by the text/image duality. This duality encompasses ekphrasis and gives rise to discussion on the process of making a visual but non-illustrative response to a poem. The writings of Gilles Deleuze (1925 – 1995) on Francis Bacon (1909 – 1992) are instrumental in investigating the function of paint to transmit feeling and act as a catalyst for the painting process itself. Each duality comprises two opposing or paired concepts or themes and in attempting to find accordance between each pair a tension is created that leads to a flow of ideas. This is exemplified by the micro/macro duality that invites comparison of small structures observed in rock fragments to large scale landscape formations and generates an imaginative response. Through juxtaposition of dualities new links between seemingly disparate subject matter are formed: geology and poetry, for instance, are brought together in a project that combines a particular rock type found in Cumbria with poems by Wordsworth (1770 – 1850). This provides a basis for autobiographical reflection on the here/there and past/present. Such juxtaposition acts to enrich the substance and scope of project material, forming a matrix of possibilities for further research. This process can be seen as a precursor towards a rhizomic approach, one where connections can be made between similar and dissimilar subjects with no barriers or hierarchical boundaries.
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Books on the topic "Practical Painting"

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Practical portrait painting. New York: Dover Publications, 1989.

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Jean, Long. Practical Chinese painting: Colour nature essence. Poole: Blandford, 1988.

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Practical Chinese painting: Colour, nature, essence. London: Blandford, 1989.

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Practical knowledge of hardboard scratch painting. Jaipur: Chiranukriti Kalashram, 2008.

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Chan, Joseph. Chinese brush painting: A practical guide. Singapore: Times editions, 1991.

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Decorative paint effects: A practical guide. Pleasantville, N.Y: Reader's Digest, 1996.

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Flory, Phoebe. Watercolor portraiture: A practical guide. New York: Dover, 1985.

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Lynda, Howarth, ed. Painting glass: Stylish designs and practical projects. Asheville, NC: Lark Books, 1998.

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The practical encyclopedia of acrylics, oils and gouache. London: Lorenz, 2004.

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Chinese landscape painting for beginners: A practical course. New York: Sterling Pub., 1993.

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Book chapters on the topic "Practical Painting"

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Zhang, Xiaoping, Wenyu Yang, Xuegang Cheng, and Wei Zhu. "A Practical Calibration Method for Spray Painting Robot in Factory." In Intelligent Robotics and Applications, 164–73. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33509-9_16.

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Van Meer, Pleuntje. "Learning from Arts: Using Abstract Painting to Discover New Understandings and Approaches That Are Relevant for Both Personal Development and Consulting Practice." In Sensuous Learning for Practical Judgment in Professional Practice, 221–44. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98863-4_10.

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Hristova, Evgenia, Severina Georgieva, and Maurice Grinberg. "Top-Down Influences on Eye-Movements during Painting Perception: The Effect of Task and Titles." In Toward Autonomous, Adaptive, and Context-Aware Multimodal Interfaces. Theoretical and Practical Issues, 104–15. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-18184-9_10.

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Dasu, Alexandru, and Iuliana Toma-Dasu. "Dose painting by numbers - do the practical limitations of the technique decrease or increase the probability of controlling tumours?" In IFMBE Proceedings, 1731–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-29305-4_455.

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Wu, Hao, Ming Lu, XinJie Zhou, and Philip F. Yuan. "Application of 6-Dof Robot Motion Planning in Fabrication." In Proceedings of the 2021 DigitalFUTURES, 340–48. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5983-6_31.

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AbstractIn practical robotic construction work, such as laying bricks and painting walls, obstructing objects are encountered and motion planning needs to be done to prevent collisions. This paper first introduces the background and results of existing work on motion planning and describes two of the most mainstream methods, the potential field method, and the sampling-based method. How to use the probabilistic route approach for motion planning on a 6-axis robot is presented. An example of a real bricklaying job is presented to show how to obtain point clouds and increase the speed of computation by customizing collision and ignore calculations. Several methods of smoothing paths are presented and the paths are re-detected to ensure the validity of the paths. Finally, the flow of the whole work is presented and some possible directions for future work are suggested. The significance of this paper is to confirm that a relatively fast motion planning can be achieved by an improved algorithmic process in grasshopper.
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Bruyn, J., B. Haak, S. H. Levie, P. J. J. Van Thiel, and E. Van De Wetering. "Studio practice and studio production." In A Corpus of Rembrandt Paintings, 12–50. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-0811-6_2.

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Ossman, Susan. "Making Art Ethnography: Painting, War and Ethnographic Practice." In Between Art and Anthropology, 127–34. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003230694-11.

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Camerota, Filippo. "Masaccio's Elements of Painting. Geometrical Practice in the Trinity Fresco." In Perspective as Practice, 335–60. Turnhout: Brepols Publishers, 2019. http://dx.doi.org/10.1484/m.techne.5.117732.

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Burnstock, Aviva, Klaas Jan van den Berg, Judith Lee, and Bronwyn Ormsby. "Challenges in Research: Connecting Scientific Analysis with Conservation Practice." In Conservation of Modern Oil Paintings, 1–10. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_1.

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Mednick, Thor J. "Principle and Practice in Nineteenth-Century Danish Landscape Painting." In A Companion to Nineteenth-Century Art, 335–52. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118856321.ch20.

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Conference papers on the topic "Practical Painting"

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Khamzina, Svetlana Ruslanovna. "Painting Exercises with Watercolors in Art Classes." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2021. http://dx.doi.org/10.21661/r-554058.

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Frolova, Albina Nikolaevna. "Skin painting using traditional and modern methods." In XI International Scientific and Practical Conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-119040.

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Sargsyan, Sevada Mushegh. "The Methodological Guidebook of the Possible Landscape Painting Tasks from One View 1 = (60 + 60) ∙ 4 ∙ 2 = [960; + ∞]." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2019. http://dx.doi.org/10.21661/r-508981.

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This methodological guidebook is based on the observations and pedagogical experience of the author. This experience is summed up and as a consequence, the theory of possible landscape painting tasks from one view is presented in axiomatic way. The possibilities of 960 and more tasks’ acting from one view during plein air is proved and at the same time not obligated which will be greatly helpful for lecturers of plein air practice for organizing their work more effectively.
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Ulianova, Nataliia Borisovna. "The Main Methodological Approaches To The Practical Study Of Painting." In International Scientific Congress «KNOWLEDGE, MAN AND CIVILIZATION». European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.05.218.

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Jabbarov, Rustam, and Murad Rasulov. "FURTHER FORMATION OF STUDENTS' CREATIVE ABILITIES BY DRAWING LANDSCAPES IN PAINTING." In THEORETICAL AND PRACTICAL ASPECTS OF MODERN SCIENTIFIC RESEARCH. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-30.04.2021.v2.09.

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Ahtyrskaya, Yulia Victorovna, Renata Sergeevna Kornetova, Irina Sergeevna Kirikova, and Aleksandra Vladimirovna Mazgunova. "Preschoolers' emotional thinking and emotional generosity development by means of art. Music and painting." In 3rd International research and practical conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-114816.

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Liu, Haotian. "ANALYSIS ON THE EXPRESSION FORMS OF THE ARTISTIC LANGUAGE OF OIL PAINTING." In THEORETICAL AND PRACTICAL ASPECTS OF MODERN SCIENTIFIC RESEARCH. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-30.04.2021.v2.61.

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Takeno, Masahiro, Akira Matsumura, Shigeru Sakamoto, Yoshihito Sakai, and Atsushi Shirato. "Practical Uses of Painting Robot for Exterior Walls of High-Rise Buildings." In 6th International Symposium on Automation and Robotics in Construction. International Association for Automation and Robotics in Construction (IAARC), 1989. http://dx.doi.org/10.22260/isarc1989/0036.

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Kang, Derui. "Discussion on the Creation of Watercolor Painting in Practical Teaching in Colleges and Universities." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.85.

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Zhang, Yuanming. "Interpretation of the Practical Significance of the Peasant Theme in Contemporary Chinese Oil 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-16.2017.130.

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Reports on the topic "Practical Painting"

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Seamans, Thomas, and Allen Gosser. Bird dispersal techniques. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, August 2016. http://dx.doi.org/10.32747/2016.7207730.ws.

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Conflicts between humans and birds likely have existed since agricultural practices began. Paintings from ancient Greek, Egyptian, and Roman civilizations depict birds attacking crops. In Great Britain, recording of efforts at reducing bird damage began in the 1400s, with books on bird control written in the 1600s. Even so, the problem persists. Avian damage to crops remains an issue today, but we also are concerned with damage to homes, businesses, and aircraft, and the possibility of disease transmission from birds to humans or livestock. Bird dispersal techniques are a vital part of safely and efficiently reducing bird conflicts with humans. The bird must perceive a technique as a threat if it is to be effective. No single technique can solve all bird conflicts, but an integrated use of multiple techniques, each enhancing the other, generally provides relief.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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