Academic literature on the topic 'Retouching'

This study aims to describe the concept and process of visualization of the close-up photo retouching technique by Petra Sinuraya. This research method is descriptive analytic research on the work. The subject of this type of research is Petra Sinuraya's close up photography retouching work. Data were analyzed descriptively analytic with percentage analysis using simple statistical procedures. Data obtained by using interview and documentation methods. The instrument was designed based on interview and documentation guidelines, and was developed based on situations that occurred in the field. The research was conducted by taking and selecting documents in the form of 10 pieces of art photos. The results showed that the close-up photo retouching process used by Petra Sinuraya was a digital technique by sharpening skills through the touch of tools available in Photoshop software. The role of composition in the retouching process is very important for client needs so that the photo looks more attractive in the final result. As for what Petra Sinuraya does in Close Up photo retouching is in various ways such as the Spot Hiling Brush for Smoothing the Skin, Burn and dodge tool for eye retouching, Dodge and Burn for Lightening / Darkening Contrast, filter noise and Gaussian blur - for flawless skin. and the Patch tool to enhance photos.

Researchers are still raising questions related to the time and place of shooting of certain portraits in the scarce photographic iconography of F. M. Dostoevsky. First of all, this pertains to a set of early photographs, whose dating ranges between 1857 and 1863, according to various sources. The article offers new arguments in favor of attributing several portraits of F. M. Dostoevsky to 1859. This refers to photographs that captured an image of F. M. Dostoevsky that is unusual for most of his admirers, namely, without a beard. Two of them were taken in Semipalatinsk by the photographer S. A. Leibin, while in one of them F. M. Dostoevsky was captured together with the Kazakh educator Ch. Ch. Valikhanov, whom he befriended during the years of his exile. Another photo has not been precisely attributed. A comprehensive analysis of the details depicted on them, the facts of the biography of Ch. Ch. Valikhanov and the letters of F. M. Dostoevsky allows to date the Semipalatisk photographs with greater accuracy. The article proposes that another one of the portraits taken in Tver was carried out simultaneously with the shooting of the portrait of M. M. Dostoevsky. A comprehensive examination of various details and circumstances also leads to the same conclusions. To date, only a few copies of photographs with Ch. Ch. Valikhanov and a photograph allegedly taken in Tver are known. The original solitary portrait made in Semipalatinsk has been lost. The conducted research allows to assert that other copies of these photographs may exist. The proposed conclusions are made on the basis of a study of the originals of photographs in the collection of The V. I. Dahl State Museum of the History of Russian Literature.

An innovative visible retouching method was successfully attempted on a set of seven paintings, the Puys d’Amiens, amongst which three of them presented large losses. The challenge was to find a retouching solution that would enable presenting all seven paintings together, improve understanding of the damaged paintings while maintaining discernibility of the retouching. After several digital simulations, the most promising ones were attempted on the loss of the Puy 1518. Based on archives, the agreed solution was baptised “grisaille reconstitution” and consists in reconstituting figures, outlines and values of the original painting whilst purposely omitting multi-colour restitution. This method has been carried out onto the three damaged paintings.

Acrylic films have specific characteristics such as sensibility to polar organic solvents (and in some extent water) and are prone to accidental superficial alterations. Most of the necessary retouching caused by accidental alterations is directly on the film so the notion of reversibility is crucial. This is why this study is focused on retouching media that are already proven to be suitable for acrylic paintings. Those materials are then soluble in either water or aliphatic hydrocarbons. The tested materials are Aquazol® 200 and 500, Klucel® G, gum Arabic, and Regalrez® 1094 mixed with pigments. Ready to use materials (Aquacryl®, QOR®, and Winsor & Newton® watercolours) were also tested. Various criteria were examined: first, all the materials were tested unpigmented and mixed with titanium white. Then, their gloss and colour change were measured, to see which material is more prone to produce matte films. A set of samples were then exposed to artificial light aging, and another set exposed to high relative humidity in order to isolate the impact of light and humidity on the gloss and colour of the resins (like yellowing) and observe how the retouching could behave in poor conservation conditions. Empirical tests were also conducted: the resins were mixed with five different pigments to see difference in opacity and saturation between materials. Most importantly, the materials were tested on naturally aged acrylic paintings, to see which material(s) are easier to use. The aim of this study was not to find the best retouching material, but rather to validate and enlarge the possibilities for the retouching of acrylic painting.

This article will be focusing on a retouching conservation and restoration treatment, of two figurative ceramic tiles panels belonging to the Baroque artistic period. The ceramic tiles of blue and white colors dating from the final of the 18th century are inserted in a relevant historical period for the Portuguese tiles art entitled Grande produção Joanina. The purpose of the intervention was the return the readability of the scenes in the panels, without hiding major signs of degradation. This conservation treatment was made within a rehabilitation project of the building that holds them, which had its own intervention criteria and in which the conservation criteria had to fit. One of the issues during this case study, was to find a commitment between the conservation ethical approaches, considering the panels will continue to be exposed outdoors and there are soluble salts present on the wall where they are settled. The intervention criteria chosen was made, using diverse solutions within materials and techniques such as the application of new ceramic elements, filling gaps with lime mortars and al fresco retouching. A capillarity and permeability based method was used to fill the glazed gaps. Retouching methods were tested including neutral tone or continuing the shapes and tones. In the end al fresco retouching method was chosen and the preparation of the new ceramic elements supported by a study of graphic and photographic documentation, completing the big gaps in the panels. The results of the chosen al fresco technique show a satisfactory level of mimicry, enough to return the readability of the panel. This technique revealed to be suitable for the retouching of ceramic substrates affected by soluble salts. The reading of the scene panels became passively also, by completion the missing parts, with the introduction of new elements what, was achieved with success too.