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Journal articles on the topic 'Practical Painting'
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1
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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Baimetov, Botir Boltabayevich, and Pardaboy Khudoiberganov. "Use The Theoretical Foundations Of Color Science In Teaching Students To Work With Educational Productions From Painting." American Journal of Social Science and Education Innovations 03, no. 03 (March 30, 2021): 330–37. http://dx.doi.org/10.37547/tajssei/volume03issue03-50.
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The article provides students with information about color in painting lessons, a brief history of its development, the basics of color science in teaching students to work with drawings. As a practical exercise, a step-by-step example of painting a still life is given.
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Bozhko, E. M., and M. V. Spornik. "VALUE OF ARTIFICAL EDUCATOIN FOR ARCHITECTURAL LANDSCAPE AT THE MODERN STAGE." Regional problems of architecture and urban planning, no. 14 (December 29, 2020): 160–66. http://dx.doi.org/10.31650/2707-403x-2020-14-160-166.
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Analyzing relevant and informative sources for acquaintance with modern fine art, catalogs of various art exhibitions, article questions and problems associated with the creation of architectural and landscape compositions are considered from a practical point of view. A significant role in art belongs to the architectural landscape, as a genre variety. Promising types of cities - Veduta (A. Canaletto, V. Bellotto) have become separate types of architectural landscape. The genre of painting is the Veduta, which developed in the eighteenth century in Venice. This is an image of views of the city and its environs. Lead amaze with its accuracy. At that time, such images served as photographs. The requirements for the paintings corresponded to their purpose: the accuracy of the image of objects, down to the smallest detail. With the advent of photography, the requirements for graphic images have lost their relevance. The camera can accurately capture the object, transmit small details better than the artist. The changes that are taking place in modern realistic painting are connected precisely with the appearance of photography. Many modern impressionists, trying to impress the landscape they saw, write sketches with wide, wide strokes. For the sake of such a technique, they ignore many important elements of the landscape in order to maximize the expressiveness of their work. Modern artists working in the realistic direction of the architectural landscape pay attention to color reproduction, color of painting, while paying due attention to drawing, linear perspective and construction. Painting and photography at the present stage are fundamentally different from each other. Painting corresponds to its name - living writing, generalization, typification and stylization of forms, the viewer's impression of lightness, airiness and illumination. Modern realistic painting is modified relative to the painting of the VIII-XIX centuries. This process is due to the technical development of the modern world, the advent of digital photography, new materials for creativity. Picturesque language goes into the language of flowers. Professional art education plays a fundamental role in understanding the landscape as a genre of painting. Education allows you to combine composition, the picturesque effect, which is an innovation in realistic landscape painting, for the complete deep impression of the viewer.
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Piskunov, Y. "Practical aspects of colour science in the educational process. Using a limited palette." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 188–92. http://dx.doi.org/10.33838/naoma.27.2018.188-192.
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The paper presents the practical aspects of colour science in the context of the interaction of colours and obtaining certain shades. As a practical teaching methodology, the use of a limited palette of three primary colours in several modifications has been offered. The given individual author's observations and conclusions formed in the process of teaching painting in the higher art school. The paper presents some of the author's observations and conclusions emerged in the process of teaching painting in a higher art school. A practical problem is the shallow knowledge of the physical features of colour, the standardization of the educational palette, the absence of an individual artist's palette. To avoid those problems, the students were asked to use a limited palette instead of the standard one. It is based on three primary colours in different versions. For each task, two options of a basic paints set were offered with the condition that other ready-mixed paints would not be used. The painting task prompted the creation of a wide scale of cold and warm colour tones. Relying on the colour theory, the students had to create their own palette of complementary colours (purple, orange, green), as well as their shades. In the course of work, it turned out that the very fact of the finished palette absence was the most difficult for the students. The first attempts to mix the main colours took a lot of time, but at this stage they began to be more attentive to the properties of paints, to notice the difference in shades, to vary the saturation of colour. Almost all the students have achieved the effect of a wide range of ochre and brown colours and have created a fairly wide palette. The resulting colours have turned out to be easy to reproduce and convenient to use. The results of the work prove that practical tasks with a limited palette use are informative and useful in teaching painting. An empirical research of the interaction of pigments will help students to learn and successfully embody their own painting intentions.
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Davidova, Maria G. "Project Proposal of Mural Painting in the Chapel of the Stieglitz Saint-Petersburg State Academy of Art and Industry." Observatory of Culture, no. 6 (December 28, 2015): 36–40. http://dx.doi.org/10.25281/2072-3156-2015-0-6-36-40.
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This article is dedicated to common problems connected with a modern decorative program of Christian mural painting for a chapel or other compact liturgical architectural space. The article considers some neoclassical models, unrelated to the canonical language of an icon, and offers several practical recommendations for artists involved in the monumental church painting.
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Zhan, Yun, and Jie Lei. "The Research of the Digital Image-Processing of Colorful Painting." Advanced Materials Research 926-930 (May 2014): 3709–12. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.3709.
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The research of the digital image-processing of colorful painting is mainly to aim at the objective circumstances between the digital image and drawing flat vision distortion. This paper is based on the basic concepts of the digital image-processing technique. It expounds digital images advantage, collect, characteristics, recognition and the choice of the color space, the practical application of the digital image in the painting area in sequence. Through the study, we found computer has powerful ability to analyze management in the colorful painting field.
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Nosachenko, Tetiana, and Elmira Haybatovа. "Studying features of contemporary painting in the professional training of the future teacher as a pedagogical problem." HUMANITARIUM 44, no. 2 (December 31, 2019): 106–14. http://dx.doi.org/10.31470/2308-5126-2019-44-2-106-114.
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The article deals with the problems of studying modern painting as a basic academic discipline in the modern system of artistic and pedagogical training of future teachers of the visual arts. The study of painting provides for the formation of artistic excellence in students on the basis of visual literacy, practical skills in working with color, and the ability to organize a harmonious color scheme.Teaching the basics of painting is built on the study of the techniques and means of composite construction on the plane of the pictorial form, the transfer of its proportions, volume, textural and spatial qualities. The implementation of educational tasks in painting requires the inclusion of students to productive educational, creative and artistic activities, stimulates creative thinking, motivation for self-improvement and self-development.The basis of study of warehouse painting is practical, the process of which students have the necessary professional skills and knowledge, to develop the intellectual and logical mission, become an active process of aesthetic drawing.The picking up a picture for students of pedagogical mortgages at the knowledge of students with theoretical studies about the main aspects of the genre of painting, straightforward storyboard development, materials and tools.The main component of the complex of forms and methods is to achieve the success of the professional and individual self-development of the future teachers of the creative-learning, self-designed robot of students. The target – form of self-sustainability, activate of creative activity, love of creativity, development of creativity, mastery of different technical and material materials, satisfactory training and security.An important condition for students to achieve a high level of professional mastery in painting is adherence to the basic didactic principles of teaching, the formation of subject competences in drawing, composition, color science, an individual approach to the artistic and educational activities of each student.
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Malina, Frank J. "Kinetic Painting: The Lumidyne System." Leonardo 40, no. 1 (February 2007): 81–90. http://dx.doi.org/10.1162/leon.2007.40.1.81.
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The paper discusses briefly kinetic painting systems that have been devised for producing a pictorial composition on a transluscent flat surface that changes with time without resorting to the projection of light through film in a darkened room. The Lumidyne system developed by the author in 1956 is described in detail. Basic principles of its design, together with variations of the system, are given as well as the method of painting used by the author. Examples of several works are shown. The picture produced by the system is considered from the point of view of real motion and of change of transparent colour with time. The need for aesthetic guide lines for the kinetic painter is stressed. The author concludes that the Lumidyne system, after ten years of experience with it, as a practical, controllable and economical artistic medium.
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Zinchenko, V. P. "The importance of outdoor lessons for students." E3S Web of Conferences 273 (2021): 12126. http://dx.doi.org/10.1051/e3sconf/202127312126.
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In the article, we consider the problems of teaching painting to students of art specialties in plein air practice. Based on a historical study of the stages of development and formation of landscape as an independent genre in the fine arts, the specifics, and features of teaching the art of painting in the open air are determined. The definition of the concept “Motif in the fine arts” is being clarified. The dependence of the format of practical tasks and stages of work on a pictorial etude on the goals and objectives of teaching painting in the plein air is established. Research methods: analysis of literature on the research problem (art history, theory, and methods of teaching fine arts, etc.); student work performed in plein air practice; works of famous artists; survey of students and teachers. The results of the research can be used in the process of teaching painting to bachelors, masters, and specialists in the field of painting, graphics, design, architecture.
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Karimov, Artur, Ekaterina Kopets, Georgii Kolev, Sergey Leonov, Lorenzo Scalera, and Denis Butusov. "Image Preprocessing for Artistic Robotic Painting." Inventions 6, no. 1 (March 14, 2021): 19. http://dx.doi.org/10.3390/inventions6010019.
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Artistic robotic painting implies creating a picture on canvas according to a brushstroke map preliminarily computed from a source image. To make the painting look closer to the human artwork, the source image should be preprocessed to render the effects usually created by artists. In this paper, we consider three preprocessing effects: aerial perspective, gamut compression and brushstroke coherence. We propose an algorithm for aerial perspective amplification based on principles of light scattering using a depth map, an algorithm for gamut compression using nonlinear hue transformation and an algorithm for image gradient filtering for obtaining a well-coherent brushstroke map with a reduced number of brushstrokes, required for practical robotic painting. The described algorithms allow interactive image correction and make the final rendering look closer to a manually painted artwork. To illustrate our proposals, we render several test images on a computer and paint a monochromatic image on canvas with a painting robot.
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Hosseini, Anita. "Haptik und Optik Jean-Siméon Chardins Malerei als ›Schule des Sehens‹." Zeitschrift für Kunstgeschichte 79, no. 4 (December 30, 2016): 542–63. http://dx.doi.org/10.1515/zkg-2016-0038.
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Abstract In the seventeenth and eighteenth centuries, philosophers explored the idea of sight through mind games and practical experiments. Investigating initial vision and tackling the problem of (actual and hypothetical) blindness, they eventually realized that sight itself only transmits the idea of forms and colors. In conclusion, the visual understanding of plasticity and distance postulates an exchange between optical and tactile experiences. Beholding paintings requires the same correlation, as the painted canvas also evokes the illusion of space and body. In his still lifes, Jean-Siméon Chardin uses colors in an activating manner and creates paintings that oscillate between real and represented matter. But they also show the presence of light and air and visually dematerialize the painted objects. Hence, these seem to disperse in light and color and to float in a sphere between painting and beholder. The outcome of this is an experience of a mere vision.
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Both, Mária Gabriella. "Mozaikok a tájfestészet és a geográfia kapcsolatából." Kaleidoscope history 11, no. 22 (2021): 379–88. http://dx.doi.org/10.17107/kh.2021.22.379-388.
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At the turn of the 18th and 19th centuries, natural sciences supported and drove economic development in a previously not experienced way. Europe created a new “mental image” of nature, scientific ideas with a newly emerging confidence while combining theoretical and practical researches. The Age of Enlightenment is best characterized by A. Humboldt’s discovery travels. The utilitarian approach of the age radically changed the relationship between landscape and people, first in the English speaking countries. This study endeavours to present the interrelations of men and landscape through the changes in landscape painting at the beginning of the 19th century while emphasizing the earlier definition of the geographic environment and indicating geography as an heir of the landscape painting. John Constable broke with the tradition of academic painting and found the idyllic landscape in rural England. In the New World, landscape painting used the European traditions, exemplified by the works of Thomas Cole, the first major American landscape painter. His iconic painting ’Oxbow’ followed the patterns of the traditional European landscape imaging, indicating ideas of the Sublime and the Beautiful of Poussin’ works.
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Li, Li, and Zhen Ling Wang. "Experimental Research on Shear of Interface between New and Old Concrete with Bond-In Reinforcement and Practical Calculation." Advanced Materials Research 941-944 (June 2014): 756–60. http://dx.doi.org/10.4028/www.scientific.net/amr.941-944.756.
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The shear property of bonding interface between new and old concrete with bonding-in reinforcement was researched. The shear experiment was done to 6 groups with 18 specimens with 5 interface agent types of casting new concrete directly, painting neat cement, painting merchandise agent and with bonded-in reinforcement. The shear properties of bonding interface were analyzed, and the shear strengths were compared with each other. The experiment results show that the shear strength of the interface could be enhanced remarkably with bonded-in reinforcement. The practical calculation formula was proposed, considering the influence of interface roughness, agent and bonded-in reinforcement. In the end, the formula was validated by other experiment and could be used in the strengthening design for concrete structure.
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Lailam, Tanto, Awang Darumurti, and Ani Yunita. "Latar Omah Art – Desa Wisata Kaki Langit: Integrasi Kerajinan “Lukis Api” dan Homestay “Sahara” Menuju Wisata Berkelanjutan." PengabdianMu: Jurnal Ilmiah Pengabdian kepada Masyarakat 6, no. 1 (December 31, 2020): 48–56. http://dx.doi.org/10.33084/pengabdianmu.v6i1.1400.
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This service program focuses on developing competitive and cultured superior village tourism, with the leading partner as the latar omah art of kaki langit village tourism. This service is carried out with an empowerment approach (active participation) through training, mentoring, and facilitation. Some of the programs carried out are (1) training and practice of painting fire for the community of mangunan and surrounding areas, which aim to support the fire painting program and improve human resources in the field of crafts; (2) excellent service training for culinary and homestay managers, homestay managers are expected to have practical, friendly, professional homestay management; (3) facilitation of fire painting tools as a medium for innovating craft tourism; (4) tourism packaging and promotion as a means to introduce and develop tourism villages in a sustainable manner.
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Conti, Claudia, Marco Realini, Chiara Colombo, Alessandra Botteon, Moira Bertasa, Jana Striova, Marco Barucci, and Pavel Matousek. "Determination of thickness of thin turbid painted over-layers using micro-scale spatially offset Raman spectroscopy." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (December 13, 2016): 20160049. http://dx.doi.org/10.1098/rsta.2016.0049.
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We present a method for estimating the thickness of thin turbid layers using defocusing micro-spatially offset Raman spectroscopy (micro-SORS). The approach, applicable to highly turbid systems, enables one to predict depths in excess of those accessible with conventional Raman microscopy. The technique can be used, for example, to establish the paint layer thickness on cultural heritage objects, such as panel canvases, mural paintings, painted statues and decorated objects. Other applications include analysis in polymer, biological and biomedical disciplines, catalytic and forensics sciences where highly turbid overlayers are often present and where invasive probing may not be possible or is undesirable. The method comprises two stages: (i) a calibration step for training the method on a well characterized sample set with a known thickness, and (ii) a prediction step where the prediction of layer thickness is carried out non-invasively on samples of unknown thickness of the same chemical and physical make up as the calibration set. An illustrative example of a practical deployment of this method is the analysis of larger areas of paintings. In this case, first, a calibration would be performed on a fragment of painting of a known thickness (e.g. derived from cross-sectional analysis) and subsequently the analysis of thickness across larger areas of painting could then be carried out non-invasively. The performance of the method is compared with that of the more established optical coherence tomography (OCT) technique on identical sample set. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.
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Rus, Traian, Alina Ruxana Caramitu, Livia Carmen Ungureanu, Virgil Marinescu, Adriana Mariana Bors, and Danut Ionel Vaireanu. "Ageing of Some Painting Materials Subjected to Thermal Treatment in Natural Esters." Materiale Plastice 55, no. 1 (March 30, 2018): 28–32. http://dx.doi.org/10.37358/mp.18.1.4957.
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This paper describes the evaluation of the aging process of some polymeric painting materials subjected to a thermal treatment in electro insulating fluids, based on natural esters (vegetable oils). The paint layers surface morphology was comparatively characterized by FESEM technique, prior to the exposure, and after 1000 h of exposure to vegetable oil, heated at 130oC. The results show a substantial increase in the pulling resistances for all the painting materials subjected to this investigation, especially in the presence of the Kraft insulating paper and copper foil (inserted compulsory to emulate the actual working environment), due to an increase in the painting material adhesion, as well as an increase of the tensile strength of the paint layer. These findings may open new theoretical and practical research prospects, particularly in the field of preliminary treatments for materials used for heavy duty industrial transformers.
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Kołtan, Jacek, and Anna Sobecka. "Martwa natura Philippa Sauerlanda i narodziny nowoczesnej podmiotowości." Porta Aurea, no. 19 (December 22, 2020): 96–113. http://dx.doi.org/10.26881/porta.2020.19.04.
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The Allegory of Transience by Philipp Sauerland (Gdańsk 1677 – Wrocław 1762), an artist specializing in still life and animal painting, was purchased in 2015 by the National Museum in Gdańsk. The painting allows us to deepen our knowledge of Sauerland’s artistic roots, as well as the interpretation of the painting in the socio-cultural context of the development of Europe in the early 18th century.
In the paper a thesis is put forward about the Leiden sources of Sauerland’s work, which are connected with the painting tradition of the so-called fijnschilders, especially the work of Willem van Mieris. In the first decade of the 18th century, Sauerland painted The Young Woman in the Kitchen Interior, surrounded by perfectly rendered victuals, showing a similar gesture as in the famous painting by Van Mieris The Mouse Trap. In the signed painting from a private collection in New York, Sauerland chose historical themes. He presented a rare scene of David Giving Uriah a Letter to Joab. The painting refers to two famous works by Pieter Lastmann, but it is placed in an architectural set design analogous to Van Mieris’s paintings. An important element of the Allegory of Transience, in turn, is the relief visible by sliding down a carpet. This motif is also taken from the work of Van Mieries, but the iconography of the sculptural representation refers to Gerard de Lairesse’s print showing Chronos prevented by Prudence from destroying the statues. Sauerland is therefore close to the artists from Leiden in terms of the choice of themes, motifs, and the way they are painted. He also usually used a similar format of paintings. Like Van Mieris, the artist from Gdańsk signed his works with longer inscriptions. Although references to the Leydians are obvious in Sauerland’s early works, he does not make copies of their works, but focusing on the still life genre, he transforms them in his own style.
The second thesis of our essay is related to the transformation of vanitas motifs, which in Sauerland’s work reveal their secularized character. The traditional symbolism of transience, which draws on religion, is replaced by the ideas of rationalism, accompanied by the idea of reason that opens a possibility of overcoming sensual and emotional limitations. The work becomes an expression of emancipatory processes that take place at the turn of the 17th and 18th centuries in European culture. Referring to the philosophical work of Baruch Spinoza (notion of knowledge), we interpret Sauerland’s work as an expression of the emerging modern ideal of freedom, which was based on a rationalistic paradigm. It is thanks to wisdom (sapientia) that the subject is able to transcend the reality of the sensual guise.
In the last part of the text we point to the important role of practical wisdom (prudentia) and art (ars) in the process of liberalization that accompanied the social changes of the time. Using illusionism, Sauerland proposes an interpretative key to the viewer: the meaning of life is complemented by art: by making art, understanding art, or collecting artworks, the rational man can free himself from the fear of his own finiteness. The function of this still life is not to remind us of death, but to point out that contemplation of art is an intellectual and spiritual exercise that allows us to find the right attitude to life.
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Тарасенко, А. А., and Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА." Art and Design, no. 2 (September 21, 2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.
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The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks to which the synthesis of arts is reached. Classical architecture and the original spatial architectonics of the upper temple altar barrier determined the theme and the style of the icon-painting. It was found out that the decoration and the icons in the Transfiguration Cathedral upper and lower churches’ iconostases combine the multi-temporal traditions of Christian art. The upper church central iconostasis reflects the influence of Renaissance architecture and art. The icon painting characteristic feature is a combination of the European art heritage, specifically Italian and Northern Renaissance, classicism, baroque and academicism of the XIX century. A three-dimensional style of painting based on the Western European tradition is observed. The decoration of the lower temple altar barrier contains architectural elements of Byzantium, Ancient Rus and baroque. The icon painting was created in the canonical Byzantine style of the Paleologue Renaissance period. By studying the features of the Transfiguration Cathedral iconostases, the main trends in church art of the second half of the XX–XXI centuries were identified: the application and combination of the renaissance-academic and the Byzantine-Ancient Rus styles. A detailed study of Odessa Cathedral iconostases was conducted for the first time. The features of the icon-painting themes and stylistics in the connection with the architectonics of the iconostases and the temple’s architecture were revealed. Practical significance is due to the possibility of using research materials in monographs on art history of Odessa, in the preparation of textbooks and methodological instructions with an in-depth study of icon-painting, monumental and decorative art, in the working-out of lectures’ and practical classes’ texts.
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Rus, Traian, Iosif Lingvay, Alina Ruxana Caramitu, Adriana Mariana Bors, and Danut Ionel Vaireanu. "Comparative Studies on the UV Radiations Resistance of Some Painting Materials." Materiale Plastice 54, no. 4 (December 30, 2017): 720–25. http://dx.doi.org/10.37358/mp.17.4.4931.
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UV radiation has a long-term effect on the durability of anti-corrosive coatings applied by painting, generating conditions for accelerated localized corrosion of the protected metallic structure with adverse effects on operational safety. This paper presents a comparative study of the behavior of some painting materials ageing by exposure to UV radiation relevant by the investigation of dielectric behavior using dielectric spectroscopy in conjunction with the thermal stability investigated by coupled techniques of thermal analysis. From a practical point of view, the UV radiation behavior of two materials based on epoxy resins and polyurethane resin used as paints for protective decorative coatings was studied. The results of experimental investigations have shown that in the aging process of the studied painting materials there is a direct correlation between the evolution of the maximum temperature characteristic of the first thermooxidation process and the evolution of the dielectric performances (dielectric loss - tgd).
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Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.
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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
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Zhang, Jia Tian, Xiao Mei Zhang, and Zheng Guo Yan. "The Design of C-Language Graphics Library Functions Based on JRD320240B." Advanced Materials Research 271-273 (July 2011): 417–22. http://dx.doi.org/10.4028/www.scientific.net/amr.271-273.417.
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The paper mainly introduces C-language graphics library functions based on JRD320240B. For example, it can display Chinese word, character list, painting line and picture on any point of the LCD. And gives the corresponding hardware interface circuit, software flow diagram of C8051F020 and JRD320240B.The paper has reference value in practical application.
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Zhang, Jia Tian, Jian Guo Zhan, Zheng Guo Yan, Xiong He, and Lin Ma. "Design of Software and Hardware Based on JRB230240B LCD." Advanced Materials Research 301-303 (July 2011): 467–71. http://dx.doi.org/10.4028/www.scientific.net/amr.301-303.467.
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This paper introduces the basic content of JRB320240B, including LCD tube foot function and operation sequence. Gives a kind of simple and practical hardware interface circuit of LCD and MCU. Design two general functions ,the painting line and circle; and indicate the algorithm of the bottom function. Then realize dials clock based on bottom function.
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Wild, T. Cameron, and Don Kuiken. "Aesthetic Attitude and Variations in Reported Experience of a Painting." Empirical Studies of the Arts 10, no. 1 (January 1992): 57–78. http://dx.doi.org/10.2190/gl02-dngu-j86l-ewl1.
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Empirical-phenomenological methods were used to assess effects of aesthetic attitude on variations in aesthetic response. Immediately before viewing a painting, thirty participants were randomly assigned to conditions in which they either attempted to physically relax or attempted to physically relax and psychically distance themselves from practical concerns. Then, participants: 1) provided verbal accounts of their experiences during three one-minute viewings of Raphael's La Fornaria, 2) completed a version of Gardner's painting style identification task [1], and 3) rated the target painting, the experimental procedures, and their background in art. Numerically aided phenomenological methods [2] revealed five distinct types of reported experience: tentative psychological interpretation, stereotyped rejection, quiet encounter, impatient overfamiliarity, and positive painterly evaluation. Analyses of the style identification data and of participants' ratings provided convergent validation for these types of aesthetic response. Although the manipulation of aesthetic attitude was not optimal, numerical phenomenological methods allowed assessment of subtly differentiated types of aesthetic response. These types of reported experience argue against a rigid dichotomy between aesthetic and nonaesthetic responses.
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Meijer, Gert, Jacco Steenhuijsen, Matthieu Bal, Katrien De Jaeger, Danny Schuring, and Jacqueline Theuws. "Dose painting by contours versus dose painting by numbers for stage II/III lung cancer: Practical implications of using a broad or sharp brush." Radiotherapy and Oncology 100, no. 3 (September 2011): 396–401. http://dx.doi.org/10.1016/j.radonc.2011.08.048.
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Ho, Li-Hsing, Hung Sun, and Tsun-Hung Tsai. "Research on 3D Painting in Virtual Reality to Improve Students’ Motivation of 3D Animation Learning." Sustainability 11, no. 6 (March 16, 2019): 1605. http://dx.doi.org/10.3390/su11061605.
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The purpose of this study was to investigate the use of 6-DoF high immersive virtual reality for stereoscopic spatial mapping to assess the impact of perceived spatial capabilities on 3D software learning motivation. This study wasn’t a bound course with mandatory participation, and students were free to participate in the trial, and employed HTC VIVE, which provides highly immersive experiences, to elicit strong emotional responses. A total of 111 students from a university digital media department were invited to participate in a 3D VR painting experiment in which students created paintings using Google Tilt Brush. A 5-point scale based on the ARCS learning motivation model was adopted to collect student data. Perform a factor analysis of the data twice to select the appropriate factor (p = 0.000 < 0.05). Specifically, exploratory factor analysis was used to classify factors based on four constructs. The Cronbach alpha values of ARCS were 0.920, 0.929, 0.693 and 0.664, respectively, both >0.6, which still indicate favorable reliability. The results show that immersive VR can promote students’ motivation and interest in learning 3D animation. However, the practical application of this technology requires solving problems related to hardware and space.
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Dilibal, Savas, Ertan Guner, and Nizami Akturk. "Three-finger SMA robot hand and its practical analysis." Robotica 20, no. 2 (March 2002): 175–80. http://dx.doi.org/10.1017/s0263574701003757.
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Gripping of different types of objects with a multi-finger robot hand is a vital task for robot arms. Grippers, which are end effector elements in robot applications, are employed in various industrial operations such as transferring, assembling, welding and painting. However, if a gripper is considered for handling different jobs or to carry different types of parts in an assembly line, a general-purpose robot hand is going to be required. There are various technological actuators of robot hands such as electrical, hydraulic and pneumatic motors, etc. Besides these conventional actuators, it is possible to include Shape Memory Alloys (SMA) in the category of technological actuators. The SMA can give materials motion by moving to a predetermined position, at a specific temperature. The conversion of this motion to a gripping action of the robot hand is the heart of the matter. In this study, a robot hand is developed using Ni-Ti SMA and a set of experiments were performed in order to check the compatibility of the system in an industrial environment.
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AIGA, Takehide, and Atsumi IMAI. "118 A Study of Practical Corrosion Diagnosis and Partial Repair Painting of Weathering Steel Bridge." Proceedings of the Symposium on Evaluation and Diagnosis 2011.10 (2011): 77–80. http://dx.doi.org/10.1299/jsmesed.2011.10.77.
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Alkaya, Emrah, and Göksel N. Demirer. "Improving resource efficiency in surface coating/painting industry: practical experiences from a small-sized enterprise." Clean Technologies and Environmental Policy 16, no. 8 (March 8, 2014): 1565–75. http://dx.doi.org/10.1007/s10098-014-0732-9.
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Mote, Prof P. S. "Practical Study of Residential Society." International Journal for Research in Applied Science and Engineering Technology 9, no. VII (July 15, 2021): 1126–28. http://dx.doi.org/10.22214/ijraset.2021.36477.
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The project of this residential building was very successful. It has all the amenities that can make life easier and happier. We have take this project to understand the function and system to build a best residential buildings in future which will help us to achieve good knowledge of work and things to be considered while construction of residential buildings. This project has help us to achieve practical experience and basic concepts clearly. Also we learned how to take care of clients desirable flat and how to build according to that. We have learnt how to build the amenities like club house, gym, kids play area, jogging track, etc and give them a great infrastructure for eg. Jogging track :- it should have concrete blocks arranged in a patterned colour and track should be surrounded with plant's and tree's and width of the track should be spacious. We also learned how to build and where to build the things that must have in the flats and building of residential construction that includes lift, Refuge area, electricity connection , fire alarming system installation, etc. In this project we did taken part in the plan of flat construction and we observed the process from making wall till painting and finishing of it. We did helped to build the wall and coloum construction with the help the workers and under the guidance of chief engineer. By the help of this project we learned to use our knowledge at best level and construction of buildings that is good in infrastructure, good for comfortable and lavish lifestyle and at reasonable cost. Overall this project has given us practice experience and knowledge so that we can perform better and give out best in our career as a civil engineer.
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Giménez-Berger, Alejandra. "Ethics and Economies of Art in Renaissance Spain: Felipe de Guevara’s Comentario de la pintura y pintores antiguos*." Renaissance Quarterly 67, no. 1 (2014): 79–112. http://dx.doi.org/10.1086/676153.
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AbstractThe Comentario de la pintura y pintores antiguos (Commentary on Painting and Antique Painters) by the humanist Felipe de Guevara stands as the first art treatise of its type produced in Renaissance Spain. Critical studies underscore the reliance on ancient texts in spite of significant divergences from the sources. Philological studies of near-contemporary texts and a close reading of the author’s extant writings provide an alternative framework for understanding these transformations. Through the appropriation of ancient texts, Guevara calls for the practical overhauling of the Spanish artistic system. The text addresses the art of painting as having both transcendental and intrinsic values, focusing on its formative capabilities and virtue ethics as the most important for the former, and its role in the larger Spanish economy for the latter.
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Bychkova, N. V., V. V. Volkov, and E. V. Synkova. "Using Forms of Mutual Training of Students at Drawing and Painting Classes." Prepodavatel XXI vek, no. 3, 2020 (2020): 221–30. http://dx.doi.org/10.31862/2073-9613-2020-3-221-230.
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The artical is devoted to the current psychological and pedagogical problem of searching for effective forms of mutual training of students in drawing and painting. The problem requires theoretical justification and practical development. It considers the theoretical foundations of the organization of mutual learning of students, as well as describes a psychological and pedagogical experiment to identify the effectiveness of using in various forms of mutual learning in the process of studying the discipline “Drawing and Painting” by students. The following effective forms of mutual learning are offered: a joint individual form, a joint and consistent form, a joint and interacting form. In addition, the importance of the use of electronic learning tools such as: interactive animation, electronic presentations, interactive technological instructions is indicated. Along with the theoretical justification of the possibilities and necessity of using the above forms of mutual learning of students in the classroom, the article suggests specific practical methods of organizing training assistance by students advisers. As part of providing training assistance by students advisers positive impact of presentations, demonstration of presentations, interactive animation was indicated. During the practical classes they used the developed interactive technological instructions. The effectiveness of the considered publication of forms and methods of mutual learning of students is presented in the description of psychological and pedagogical experiment. The results of this experiment are expressed in diagrams and theoretical conclusions. At the same time, the stages of the experiment are described in detail: diagnostic, ascertaining, forming, control and evaluation, indicating the criteria for analyzing the creative work of students. The main criteria are presented such as: literacy of compositional construction; constructional drawing; a coloristic solution; transmission of tonal relations; creation of an artistic image by picturesque means. The effectiveness of the application of these forms of mutual learning of students is justified in describing the test and evaluation stage of the experiment and the conclusions of psychological and pedagogical research.
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Meijer, G., M. Bal, K. de Jaeger, D. Schuring, J. Steenhuijsen, and J. Theuws. "324 oral DOSE PAINTING BY CONTOURS VERSUS DOSE PAINTING BY NUMBERS FOR LOCALLY ADVANCED LUNG TUMOURS; PRACTICAL IMPLICATIONS OF USING A BROAD OR SHARP BRUSH." Radiotherapy and Oncology 99 (May 2011): S130. http://dx.doi.org/10.1016/s0167-8140(11)70446-7.
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Chen, Wenzhuo, Yan Chen, Bo Li, Weiming Zhang, and Ken Chen. "Design of redundant robot painting system for long non-regular duct." Industrial Robot: An International Journal 43, no. 1 (January 18, 2016): 58–64. http://dx.doi.org/10.1108/ir-06-2015-0113.
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Purpose – The purpose of this paper is to design a special automatic redundant robot painting system (RRPS), which can automatically navigate and paint in the long non-regular duct. Design/methodology/approach – The RRPS is designed with three subsystems: a redundant robot, a spraying system and a control and safety system. Based on the modular design theory, the robot falls naturally into a mobile platform, a 4-DOF location mechanism and a 10-DOF manipulator. The restriction of the distance between the links and the duct axis is used to plan the trajectory of the manipulator so that it would not collide with the duct. The restriction model is constructed by minimizing the sum of the weighed distances between the duct axis and the special points. Findings – A fully working prototype system has been developed. Test results show that the minimal distance between the robot joints and duct is 18 mm, and it can finish painting long non-regular ducts at the speed of 12.5 cm/s and the spraying distance of 16 cm. The quality of coating layers is good. Practical implications – The RRPS was used to paint non-regular rectangular ducts, cylindrical ducts and long non-regular ducts. The feasibility of painting long non-regular duct is proved with the prototype implementation and successful test results. Originality/value – The RRPS shows a novel solution that is based on the 14-DOF redundant robot design for painting long non-regular ducts which is used in airplane.
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Bąkowska, Małgorzata. "IMAGES IN ARCHITECTURE – FROM MURALS TO ILLUMINATING PROJECTIONS." Journal of Architecture and Urbanism 31, no. 1 (March 31, 2007): 54–61. http://dx.doi.org/10.3846/13921630.2007.10697090.
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As in every other domain of art, in contemporary mural painting it is possible to indicate great projects and realizations as well as failures. However, many examples confirm the thesis of an especially significant role of depicting in architectural and urban space. After all, like in other kinds of painting, the main feature here is the talent of an artist. Artistic quality of depicting in architectural scale is so important because of its aesthetical, ethical and education role. It is hard to answer the question about the future of mural paintings and the role of the new media of transmitting color and illusion in architectural space. Nowadays, in the time of instant development of science and technology, increasing tempo of life and continuous need of changes, it may turn out that the digital and hologram pictures better fulfil the expectation of the present recipient. It is not unlikely that the practical values of these techniques – their energetic and light features – might cause the elimination of traditional wall paintings which have accompanied architecture for so many ages. On the other hand, we could observe in the present culture evident “retro” tendencies – the growth of interest in the past, the recognition of traditional forms of expression, and a desire for their continuation. Materiality, touchable texture, and some mysterious load of energy executed by artists in traditional techniques are the elements acting to the advantage of old- fashioned painted walls. Paveikslai architektūroje – nuo freskų iki šviečiančių projekcijų Santrauka Sienų tapyba, kaip architektūros elementas, per amžius turėjo įvairių paskirčių: magišką, simbolinę, estetinę. Freskos suteikė vietai prestižo, perdavė religinio turinio žinias ir įamžino svarbiausias įvykius. Kadangi sienų tapyba visuomet egzistuoja architektūriniame kontekste ir perima architektūrinės formos specifiką, jos negalime suvokti kaip visiškai autonomiško meno. Dėl savo masto, spalvos, simbolinės prasmės ir tam tikrais atvejais aukštos meninės vertės freskos yra išraiškingi orientyrai miesto erdvėje, padedantys geriau susivokti „kognityviuose žemėlapiuose“. Šalia tradicinės sienų tapybos neseniai architektūrinėje aplinkoje ėmė atsirasti naujomis technologijomis – skaitmenine, lazerine ar hologramomis – atlikti paveikslai. Jų meninė vertė yra ypač svarbi dėl jų estetinės, etinės ir edukacinės reikšmės.
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Perry, Rachel E. "Paint Boldly!: Dubuffet's DIY Manual." October 154 (October 2015): 87–110. http://dx.doi.org/10.1162/octo_a_00238.
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In 1948, Jean Dubuffet wrote a thirty-one-page pamphlet entitled Peinturez hardi (Paint boldly!) for his unrealized Almanach de l'art brut. Divided into twelve monthly installments, this “treatise on the techniques of painting” reads like a how-to manual, presenting concise, straightforward guidelines for what materials to use and how to use them. As a practical guide for the amateur, it inventories and evaluates products on the market (much like an issue of Consumer Reports) and then offers more economical, do-it-yourself recipes for the “common man.” Drawing largely from the techniques and materials of house painting, Dubuffet aligns himself with the worker as opposed to the professional artist and insists upon art as labor. As yet unpublished, Peinturez hardi underscores materiality as absolutely central to Dubuffet's understanding of what art brut is and how it differentiates itself from arts culturels.
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Zhang, Qing Liang. "Energy Management for the Automotive Paint Workshop." Applied Mechanics and Materials 713-715 (January 2015): 300–303. http://dx.doi.org/10.4028/www.scientific.net/amm.713-715.300.
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Paint workshop energy consumption cost is always the prominent part in the production and manufacturing. How to achieve the purpose of saving energy, improving economic efficiency has been the focus of the industry. The principle, characteristics and application prospect of energy management for the automotive paint workshop are illustrated. Combined with the practical application in painting process and paint equipment, energy saving techniques regarding to the paint assembly is analyzed.
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Penava, Željko, Diana Šimić Penava, and Marijana Tkalec. "Experimental Analysis of the Tensile Properties of Painting Canvas." Autex Research Journal 16, no. 4 (December 1, 2016): 182–95. http://dx.doi.org/10.1515/aut-2015-0023.
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Abstract In this paper, the practical application of uniaxial testing of painting canvas for determining its mechanical properties is presented. Painting canvases have a complex composite structure whose mechanical properties are considerably improved in relation with the initial basic material. Painting canvas or coated fabrics are obtained by applying a certain number of coatings to raw fabrics. Experimental testing and determining mechanical properties of painting canvas under tensile force at different angles in relation to the weft direction are discussed in the paper. The fabrics were tested before coating, as well as after one, two and three coatings. The values of tensile force in relation to relative extension of coated textiles were measured, as well as breaking force values, elongation at break, contraction at break, work to rupture. Based on the experimentally obtained values, modulus of elasticity, Poisson’s ratio and the level of anisotropy of the coated textile materials were calculated. The experimental results demonstrate the applicability of theoretical formulae. The number of coated layers on the raw fabric exerts a significant impact on the Poisson’s ratio. The values of breaking force, elongation at break, work to rupture and modulus of elasticity increase with an increase in the number of coated layers, and at the same time coefficient of anisotropy decrease. It has been shown that by increasing the number of coated layers in a coated material, its anisotropic properties decrease, while isotropic properties increase. With an increase in the number of coatings, the differences between experimental and theoretical values of modulus of elasticity decrease.
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Walaszek, Z., M. Hanausek, and T. J. Slaga. "The Role of Skin Painting in Predicting Lung Cancer." International Journal of Toxicology 26, no. 4 (July 2007): 345–51. http://dx.doi.org/10.1080/10915810701490422.
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The mouse skin cancer model provides an important system for studying mechanisms involved in the various stages of carcinogenesis and for bioassaying tobacco smoke constituents and additives for carcinogenic/cocarcinogenic and tumor-promoting properties as well as for identifying compounds that may inhibit tumor formation and malignant conversion. In addition, it is an excellent model for studying the formation of precancerous lesions as well as squamous cell carcinomas. It relates very well to other squamous cell carcinoma models and contributes to better understanding of the human epithelial cancers including lung cancer. The SENCAR mouse is an established model system demonstrated to be more sensitive than the B6C3F1 or Swiss CD-1 strains in the initiation/promotion skin-painting test method. Although the relationship between mouse skin tumors and any manifestation of the toxicity of tobacco smoke and other complex environmental mixtures in humans is unknown, the skin-painting model is the only assay that provides a practical method of obtaining a tumorigenic end point with cigarette smoke condensates and other complex mixtures. This assay provides a rapid response with relative ease of quantification of various parameters of tumorigenic response including tumor incidence, latency, multiplicity, and malignancy.
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Harris, Wendell V. "Ruskin's Theoretic Practicality and the Royal Academy's Aesthetic Idealism." Nineteenth-Century Literature 52, no. 1 (June 1, 1997): 80–102. http://dx.doi.org/10.2307/2934030.
Full textAbstract:
While Ruskin's personal eccentricities and intellectual foibles are well known, the influence exerted by Modern Painters, The Seven Lamps of Architecture, and The Stones of Venice was in no small part a result of a kind of practicality and reasonableness not generally associated with Ruskin. He began writing at a fortunate time-seventy years of effort by the Royal Academy, seconded by the formation of other societies of British artists and the founding of the Dulwich Gallery and the National Gallery, had prepared a public eager for instruction about the values of art. This kind of instruction had not been available: Ruskin spoke to a public happy to be shown both the links between aesthetic, moral, and religious values and how to judge merit in painting and architecture. Although Ruskin could be acerbic about Royal Academicians, the volumes that appeared in the first two decades of his writing career were effective in no small part because they were modifications rather than repudiations of the principles that, thanks to the Royal Academy, had become cultural commonplaces. He was thus able to alter accepted perspectives sufficiently to justify art as a mode of expressing appreciation for God's creation, to shift the concept of the grand style away from an exclusive dedication to historical painting, to focus serious attention on landscape painting (in which British artists were more successful than in historical painting and which the British public more fully appreciated), and to give both moral and practical reasons for the Gothic architecture that was already returning to favor.
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Genovez, Mário Celso, Luiz Henrique Araújo, Tiago Dinis Pinto, and Radim Hrdina. "New concept of corrosion protection in the presence of water: V-active VCI. Concept and application." Anti-Corrosion Methods and Materials 62, no. 1 (January 5, 2015): 53–58. http://dx.doi.org/10.1108/acmm-06-2013-1271.
Full textAbstract:
Purpose – This work describes test results that were obtained using a newly-developed type of organic inhibitor: V-active VCIs. The findings demonstrate that is possible to eliminate or reduce the oxidizing action of water, thereby extending the allowable time before painting after hydrojetting, and that the new corrosion inhibitor technology does not interfere with the final quality of paint adhesion. Design/methodology/approach – Metallic specimens were treated/washed by hydrojet (35000 Psi). It was employed as a 2 per cent V-active VCI SPH 1,712 water solution by dilution of the inhibitor in industrial water. Metal sample plates were examined after blasting and after subsequent drying, and were submitted to the paint adhesion tests, to evaluate the duration of temporary protection, oxidation prevention and influence on the adherence of paint (pull off). Findings – Using the V-active VCI proposed technology, it was possible to minimize or eliminate the oxidizing action of the water when the metal is exposed to the saline moisture in a closed environment, extending the acceptable time before painting without interference in the final quality of painting. Practical implications – The proposed technology allows to the area of prepared (wet blasted) steel surface to be increased during cleaning and preparation, thereby reducing labor and product costs, and reduces water consumption during the preparation process. Practical applications in the shipbuilding, ship maintenance and oil and gas production industries, include the preservation of internal tubes and pipes, protection during hydrostatic test processes and cleaning with water and corrosion prevention in diesel tanks contaminated with water. Originality/value – The intent of this paper is to present the obtained results for a new formulation of organic chemical inhibitors that use water medium as the application method. In addition to this property, this group of organic inhibitors maintains the property of volatile inhibitors. Thus, these compounds are generically known as V-active VCI.
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Jelley, Jane. "From Perception to Paint: the Practical Use of the Camera Obscura in the Time of Vermeer." Art & Perception 1, no. 1-2 (2013): 19–47. http://dx.doi.org/10.1163/22134913-00002006.
Full textAbstract:
This is a report of a studio experiment to explore how images from the camera obscura could have been used directly by artists of Vermeer’s era. It has a pragmatic and practical approach, bringing a painter’s eye and experience to the problems of transferring images from the lens to a canvas, using the primitive technology and unrefined materials available then. It addresses how an artist could use the condensed, flattened images from camera obscura projections in his painting process, when the subject could appear reversed and inverted on the screen or on the wall. It considers how the limitations of the materials that make transfers possible might affect studio practice, and ultimately the stylistic qualities of the work produced. This paper outlines a simple printing method that would enable the seventeenth-century painter to transfer monochrome images, corrected in orientation, from the lens to a canvas with relative ease, for use as the painting progressed in the stages prescribed at the time. Prints made on the ground layer could form the basis of underpainting, while those on top layers could transfer highlights and optical effects, not seen with the naked eye. This technique would allow the painter to be in the light of his studio, facing his motif, when working in colour. Reference is made to art historical literature and contemporary workshop treatises, and all materials used are authentic. The results obtained using this process are consistent with the visual evidence of the way in which Vermeer applied his paint, and with recent scientific examination of his work. The findings suggest possible causes for some of the unusual qualities of Vermeer’s work, in particular the strong tonal polarity in the underpainting with no evidence of drawing, his choice of material in the ground layers, and the qualities of variable focus.