Academic literature on the topic 'Raster editors'

This article discusses a very well-known and frequently used technique for an implementation of a variety of artistic projects - a collage created by means of information technology. The article tells about using collage in higher education for teaching graphics, in particular, raster editors. Graphics editors such as Adobe Photoshop or GIMP are included in the Computer Science and Information Technology program. Students get the opportunity to create graphic images regardless of their prior art education. The introduction of the topic "Creating a collage by means of a raster editor" introduces a creative element into IT disciplines and develops the student's associative thinking at the level of brain functioning. As a rule, raster editors are used to edit an image, not to create it. Therefore, preparation for these classes encourages students to search for the necessary visual material on the Internet. In order to obtain more personal images, a deep study of photography techniques is required. It is also useful to study the history of photo and film collages, their texture and structure. The scope of the collage use is various. This is psychology, teaching foreign languages and, of course, fine arts. Advertising posters that we see in large numbers in the media and transport are also collages. The article traces the history of collage creation from ancient Egyptian history to modern advertising products. It is especially interesting to study the time when collage became a conscious technique. This is a great layer of avant-garde art.

The article discusses the main approaches to develop a modern teaching methodology for the theme "Vector and raster graphics" in basic school based on the use of free graphic packages — the vector editor OpenOffice.org Draw and the raster editor GIMP. A detailed analysis of the educational and methodical literature devoted to the subject under consideration is given, the ICT competencies formed by students in the process of training on this theme are listed, a collectible-modular methodological approach to the construction of the methodology is formulated and described.

Development of post-processing algorithms which cannot be detected by forensic tools is an active area of research in image processing. Median Filter (MF) is one among the denoising schemes which is specifically targeted by the forensic toolsbecause of its wide application in commercial raster graphic editors, simplicity, fast computation and detail preserving characteristics. Methodsbased on Convolutional Neural Networks (CNN) and Variational Deconvolution (VD), meant for reducing the forensic detectability of MF by removing the traces of filtering from the output images are computationally intense. A simple and computationally feasible approach for removing the traces of median filtering from the output images, thereby to reduce the forensic detectability of MF is proposed in this paper. In the proposed approach, blurred edges in the output of MF are restored with the help of Unsharp Masking (UM). Optimum value of the amount which controls the degree of sharpening in the UM algorithm is determined via minimum error sense criterion by making use of Peak Signal to Noise Ratio (PSNR) between input and processed images as objective function. Values of PSNR and Structural Similarity Index Metric (SSIM) between input and output images exhibited by the proposed algorithm are found to be higher than those exhibited by methods based on CNN, VD and combined framework of VD and Total Variation (TV) minimisation.

From 1969 until 1972 the South-African writer and graphic artist Breyten Breytenbach published 29 poems, prose texts and three drawings in the Dutch experimental periodical Raster (first edition: 1967). H. C. ten Berge, writer, poet and Raster's main editor, attributed Breytenbach an unusually prominent position in his magazine. In the Dutch language area of the late sixties and early seventies, Breytenbach was mostly known for his political engagement within the anti-apartheid movement. Ten Berge, however, also praised his work for its formal and experimental aesthetic qualities. According to Ten Berge experiment and engagement are related to one another in a very unique way. By examining the position of Breytenbach in Raster, the paper presents a documentation of the exceptional literary relationship between Breytenbach and Ten Berge, as well as their shared interest in certain motifs in poetry, the use of a specific metaphoric language (e.g. perception of nature and body) and a common belief in the power of poetic language.

Pushidrosal ditetapkan sebagai Lembaga Hidrografi Nasional berdasarkan Perpres Nomor 62 Tahun 2016. Pushidrosal bertugas menyelenggarakan pembinaan hidro-oseanografi yang meliputi survei, penelitian, pemetaan laut, publikasi, penerapan lingkungan laut, dan keselamatan navigasi pelayaran baik untuk kepentingan TNI maupun untuk kepentingan umum, dan menyiapkan data dan informasi wilayah pertahanan di laut dalam rangka mendukung tugas pokok TNI Angkatan Laut. Salah satu produk Pushidrosal yang digunakan secara resmi dalam pelayaran di kawasan Perairan Indonesia adalah peta laut. Pushidrosal menggunakan tiga tool software dalam pembuatan peta laut, salah satunya yaitu Caris HPD. Perangkat lunak HPD (Hydrographic Production) terdiri dari Source Editor, Product Editor dan Paper Chart Editor (PCE). Pembuatan dan pengelolaan Peta Laut Kertas menggunakan Paper Chart Editor (PCE). Peta kertas yang dihasilkan berupa format vektor atau raster dari gudang data, sehingga terjaga konsistensinya dari duplikasi data.

<p><strong>Abstract.</strong> Three-dimensional images of the area were begun to create in the middle ages. The discoveries of new territories had led to the necessity of their mapping. On the perspective-panoramic maps of that time cities and fortresses were often depicted as they could be seen by an approaching traveler, usually from the most impressive side, from "bird's eye view". Cartographic images were performed manually, by the method of engraving on wood or on copper.</p><p> One of the first panoramic maps of Belarusian cities was a cartographic image of the city of Grodno, presented in The Large Atlas of Cities called "Civitates Orbis Terrarum" ("Cities of the world"). The Atlas was published by the cartographer Georg Braun and engraver of maps Franz Hogenberg in Cologne in 1572–1617. The main method of presentation of the cities in it was a picture.</p><p> A significant contribution to the development of cartography in Belarus was made by cartographer, artist, engraver and printer, the creator of the map of The Grand Duchy of Lithuania (1613) Tomasz Makowski. For many years Makowski were traveling all over the country and thoroughly studying its features as a topographer, historian, artist and geographer. He examined and sketched the most outstanding objects, as evidenced by his panoramic images of some cities. In particular, he created panoramic engravings of Nesvizh, Grodno, Brest and other cities of modern Belarus.</p><p> Nowadays, the traditions of medieval art cartography in Belarus have received a new development in the works of artist-cartographer Ruben Atoyan. Initially, cartographic images were made manually with ink and watercolors. Panoramic maps of the main cities of Belarus, including Minsk, Grodno, Gomel, Mogilev, Mir, Nesvizh, Novogrudok, etc. were created in a such way.</p><p> With the usage of computer technologies at the present stage, the technique of creating of artistic cartographic images has significantly changed. The majority of types of work which was performed previously by creating on paper, now is possible to implement using a personal computer, graphics tablet and vector and raster graphics programs. During this process – and it's very important – the handwritten style of images is kept and the ability of operative update of the content is provided. However, there are some types of artistic and cartographic work which easier and faster to accomplish manually than on the computer, for example, drawing of different types of trees, grasses, waters of rivers and lakes. In this case it's possible to speak about the combined handwriting-automated technology of artistic map image creation which includes elements made manually and the separated stages and elements which advisable to perform on the computer.</p><p> The construction of the perspective image of an urban landscape according to the method developed by the author conditionally consists of several stages.</p><p> The first step includes the selection of the projection direction and determination of the territory coverage by remote sensing images of the Earth and the city plan. The previously developed template of perspective (central) projection is used to build a perspective grid on the sheet of the drawing paper. Then the road network and configuration of the structures are drawn.</p><p> The second stage is the construction of buildings’ frames of complex configuration (for example, architectural monuments) and drawing them in ink.</p><p> The third stage includes the color design (with watercolor) of significant parkland, forests, and water areas. It was determined empirically that this type of work is more appropriate to perform manually.</p><p> The handwritten component of this technique is completed by scanning of the image in high resolution. Further, the creation of a panoramic map is carried out with the usage of vector and raster graphics programs.</p><p> The fourth stage involves the detailing of the facades, i.e. filling the frames with structural elements from the pre-created library of signs (different types of windows, doors, arches, balconies, etc.) (using the vector graphics program Adobe Illustrator).</p><p> At the final, the fifth stage, the concluding color design of the panorama is realized according to the library of colors and textures (using the raster graphics program Adobe Photoshop).</p><p> The similar steps are performed in graphic editors during the creating of a panoramic map using the automated technique. This method involves the usage of computer technologies only. Thus, at the first level of visualization the plan of the territory based on an aerial photograph of the city is created in the program Adobe Illustrator. Then this scheme is transformed into a perspective projection using the tool “Perspective Distort” in the Free transform toolset. The construction of all buildings’ frames (including structures of complex configuration) is also implemented in vector format with the tools "Pen" and "Line Segment" (the second level of visualization). At the third and fourth levels, the frames are filled with structural elements, and then the whole cartographic image is made in color according to the libraries of textures and colors.</p><p> Operational updating of the content of panoramas created earlier is carried out mainly by the combined technique with the usage of Adobe Photoshop: new buildings which were drawn manually or on a computer are combined with the scanned original, the colors of facades and roofs are updated, park spaces and road junctions are added. For these purposes the following tools are used: "Polygonal Lasso", "Brush", "Clone Stamp", "Color Replacement ", – as well as the options "Curves", "Color Balance", "Hue/Saturation" of the section Image/Adjustment.</p><p> The combined handwritten and automated method of constructing of three-dimensional cartographic images was tested by the author during the creating and updating of the panoramic maps of cities not only of Belarus, but also other world-class cities: Berlin, Moscow, Yerevan, Astana.</p><p> Currently, the author is working on the practical usage of this method of creating of artistic cartographic images for the development of electronic multi-scale applications for the cities of the Republic of Belarus.</p>

In this article Dirk Gindt discusses Ingmar Bergman's 1951 production of Tennessee Williams's The Rose Tattoo in the small Swedish town of Norrköping, demonstrating how Bergman methodically ignored the tragicomic nature of the play in order to develop and exaggerate its comic and grotesque elements. After extensive cuts and alterations in the script, the character Serafina delle Rose became even more overpowering than in the original text and dominated the action from beginning to end. Karin Kavli, a leading lady in Swedish post-war theatre and a frequent collaborator with Bergman, played the character not as a mourning widow but as a possessed disciple of Dionysus in an unabashedly entertaining and sexualized production which, despite reservations from critics, became a success with audiences. Dirk Gindt now works as a Postdoctoral Research Fellow at Stockholm University. He is co-editor of Fashion: an Interdisciplinary Reflection (Stockholm: Raster, 2009), and has published numerous articles in journals such as Nordic Theatre Studies, The Tennessee Williams Annual Review, Theatre Survey, and Fashion Studies, as well as chapters in edited volumes. He is the editor-in-chief of Lambda Nordica: Journal for GLBT-Studies, for which he has edited a special issue on masculinities (2008) and a double issue on queer fashion (2009).

Main goal of this master´s thesis is to propose and implement improvements to an original purely raster version of Flame Painter editor. An enhancement of the undo/redo system with emphasise to its functionality and memory requirements has been implemented. Moreover, the editor was extended by adding an ability to edit brush strokes using vector primitives which effectively assist the user in future stroke editing. This project was created in cooperation with employees of the Escape Motions Company.

Кваліфікаційне дослідження присвячене дослідженню педагогічного потенціалу використання хмарних сховищ даних для удосконалення освітнього процесу в системі середньої освіти. У першому розділі «Гурткові заняття в системі позаурочної роботи ЗЗСО» на основі аналізу науково-педагогічних джерел охарактеризовано зміст, особливості та вимоги до організації гурткових занять, уточнено особливості організації гурткових занять з інформатики. У другому розділі «Растрова графіка та особливості її вивчення на гурткових заняттях з інформатики» охарактеризовано особливості комп’ютерної графіки як сучасного напряму в інформатиці, подано аналіз редакторів растрової графіки, описано особливості опанування растрової графіки та редакторів растрової графіки за шкільною програмою з інформатики, а також подано авторські матеріали щодо планування роботи гуртка з вивчення растрової графіки та редакторів растрової графіки. Наведено приклад одного із занять. Практичне значення одержаних результатів полягає у систематизуванні теоретичних матеріалів за темою роботи, що дає змогу їх подальшого використання у наступних педагогічних дослідженнях.<br>Qualification research is devoted to the study of the pedagogical potential of using cloud data warehouses to improve the educational process in secondary education. The first section "Group classes in the system of extracurricular activities ZSSO" based on the analysis of scientific and pedagogical sources describes the content, features and requirements for the organization of group classes, clarifies the features of the organization of group classes in computer science. The second section "Raster graphics and features of its study in computer science classes" describes the features of computer graphics as a modern direction in computer science, presents an analysis of raster graphics editors, describes the features of mastering raster graphics and raster graphics editors in the school curriculum in computer science. author's materials on planning the work of the raster graphics study group and raster graphics editors are also presented. An example of one of the classes is given. The practical significance of the results is to systematize theoretical materials on the topic of work, which allows their further use in future pedagogical research.

The field of paediatrics and child health is exciting and varied. It is one of the few remaining fields of medicine where ‘generalist’ skills remain absolutely necessary, even for the ‘sub-specialist’. A typical ward round in a district hospital paediatric ward will cover a range of medical conditions, from heart murmurs to headaches, and from abdominal pain to skin rashes. This diversity makes every day a little different and every working shift an exciting challenge. It is hoped this handbook will give its readers the grounding and reference to keep them as young and as enthusiastic in outlook as the patients they are looking after. The editors unashamedly think paediatrics is the best career path any doctor could choose—we hope this book will help you agree!

One of the main defences against allegations of copyright infringement is that no infringement took place because copyright does not subsist in the subject matter at issue. This could be because the subject matter is not a ‘work’ in the copyright sense, or is not protected by copyright because it is not original or fixed in a tangible form. Digital technologies exacerbate this controversy. For instance, does a copy of a public domain image qualify for a new copyright by virtue of its digital processing (using, for instance, a raster graphics editor such as Photoshop)? Does a short sentence such as a tweet attract copyright and can strings of characters such as hashtags and hyperlinks be ‘copyright works’ in their own right? What about works created through artificial intelligence such as a search engine’s automatic translations? Or cases where more than one author contributes facts or pieces of information to a work that is subject to constant modification such as Wikipedia entries? The rationale for excluding subject matter from protection rests on the principle that mere ideas, facts, or commonplace elements should remain free to use, ensuring a robust public domain. In this regard, requesting the negation of copyright subsistence can serve as a defence against allegations for infringement and, in a broader sense, it can also help innovation and creativity through the re-use of subject matter that does not attract copyright protection. This chapter examines the way in which a negation of copyright subsistence can form a defence against allegations of infringement by making specific references to new technological uses. Significant reference is made to the doctrinal interpretation of the concepts ‘work’ and ‘originality’ as developed by the Court of Justice of the European Union and the national courts of EU Member States, and the way in which these doctrines impact on the scope of permissible use.