Journal articles: 'Retouching'

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Koshelev, V. A. "Pushkin Without Retouching." Russian Studies in Literature 36, no. 1 (1999): 7–19. http://dx.doi.org/10.2753/rsl1061-197536017.

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Singer, Kate. "Retouching Scalar Landon." Pedagogy 18, no. 2 (2018): 225–34. http://dx.doi.org/10.1215/15314200-4359149.

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Ma, Qiufu. "RETouching upon Mechanoreceptors." Neuron 64, no. 6 (2009): 773–76. http://dx.doi.org/10.1016/j.neuron.2009.12.014.

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Jacobs, Karen. "Retouching Queer Kinship." GLQ: A Journal of Lesbian and Gay Studies 23, no. 1 (2017): 1–29. http://dx.doi.org/10.1215/10642684-3672285.

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Br. Bangun, Yesika Prebina. "Analisis Retouching Foto Close Up Karya Petra Sinuraya Menggunakan Teknik Digital." Journal of Education, Humaniora and Social Sciences (JEHSS) 4, no. 2 (2021): 629–41. http://dx.doi.org/10.34007/jehss.v4i2.695.

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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.

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Fokin, Pavel. "Four Portraits, No Retouching." Неизвестный Достоевский 7, no. 3 (2020): 97–113. http://dx.doi.org/10.15393/j10.art.2020.4801.

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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.

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Sheller, Mimi. "Retouching the “Untouched Island”." Téoros: Revue de recherche en tourisme 26, no. 1 (2007): 21. http://dx.doi.org/10.7202/1070991ar.

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Françoise, Séverine, Laurence Mugniot, and Laurence Mugniot. "“Grisaille reconstitution” as a colourless visible retouching method: the case of Les Puys d’Amiens, a set of paintings dating from the 16th century." Ge-conservacion 18, no. 1 (2020): 207–15. http://dx.doi.org/10.37558/gec.v18i1.826.

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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.

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Jacqmin, Clémence, and Alexia Soldano. "Retouching unvarnished acrylic emulsion paintings, a comparative study." Ge-conservacion 18, no. 1 (2020): 221–27. http://dx.doi.org/10.37558/gec.v18i1.849.

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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.

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Araújo, Sara. "Filling and retouching techniques in outdoor tiles with saline efflorescence problems. A case study." Ge-conservacion 18, no. 1 (2020): 238–46. http://dx.doi.org/10.37558/gec.v18i1.841.

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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.

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Carnazza, Paola, Serena Francone, Philip Morelli, Rita Reale, and Maria Pia Sammartino. "Retouching matt contemporary paint layers: a new approach using natural polymers." Ge-conservacion 18, no. 1 (2020): 384–93. http://dx.doi.org/10.37558/gec.v18i1.842.

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Different painting techniques, materials and application methods that characterise contemporary artworks, with predominantly matt surfaces and uniform tones, make retouching one of the most complicated conservation treatments, since sameness is the main target. The retouching intervention carried out at the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome on Tempi prospettici (1969), an installation by the Italian artist Carlo Alfano, gave the opportunity to investigate a method to obtain different matt/glossy values through the use of natural polymers as binders. The binders chosen (different polysaccharides, cellulose derivatives and isinglass) were analysed, both individually and mixed, through colorimetric and glossmetric measurements. The pigment-binder ratio and the addition of silica to get a modulation of the matt appearance of paint formulations were also evaluated. The comparation of the colorimetric values of painting samples and those of the original paint led to the identification of the best solution for the retouching of the artwork

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Tonini, Francesca. "Retouching and surroundings: tips and tricks for conservation students." Ge-conservacion 18, no. 1 (2020): 216–20. http://dx.doi.org/10.37558/gec.v18i1.824.

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Since the publication of the “Teoria del restauro” by Cesare Brandi in 1963, the question of retouching still raises theoretical debates among the stakeholders. Deliberately focusing on the practical context in which retouching is performed, and relaying on personal experience as a professional restorer and professor, here are some useful tools to best accomplish this phase of intervention: the setting up of the work space, the choice of light, the care of clothing, the implementation of procedures for the protection of health and personal and environmental safety.

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Martellotta, Eva Francesca, Yinika L. Perston, Paul Craft, Jayne Wilkins, and Michelle C. Langley. "Beyond the main function: An experimental study of the use of hardwood boomerangs in retouching activities." PLOS ONE 17, no. 8 (2022): e0273118. http://dx.doi.org/10.1371/journal.pone.0273118.

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Retouched lithic tools result from the functional modification of their edges following knapping operations. The study of the later stages of the reduction sequence is fundamental to understanding the techno-functional features of any toolkit. In Australia, a gap exists in the study of the chaîne opératoire of lithic tools shaped or re-shaped through percussion retouching. In our previous works (Martellotta EF., 2021, Martellotta EF., 2022), we have presented evidence for the use of hardwood boomerangs for retouching purposes in Australian Aboriginal communities. Through a detailed experimental protocol, the present study demonstrates how boomerangs can function as retouchers. We found that the use-wear generated on the boomerang’s surface during retouch activity is comparable to retouch-induced impact traces observed on Palaeolithic bone retouchers, as well as to experimental bone retouchers generated in our replication experiments. Finally, we explore the role that microscopic lithic chips embedded in the retouchers’ surface play in the formation process of retouching marks. Our results address the need for a deeper investigation of percussion retouching techniques in Australian contexts, opening the possibility that uncommon objects—such as boomerangs—could be used for this task. This concept also highlights the broader topic of the highly diverse multipurpose application of many Indigenous tools throughout Australia. At the same time, the study reveals a deep functional connection between osseous and wooden objects—a topic rarely investigated in archaeological contexts.

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Ciatti, Marco. "CLEANING AND RETOUCHING: AN ANALYTICAL REVIEW." Studies in Conservation 35, sup1 (1990): 59–62. http://dx.doi.org/10.1179/sic.1990.35.s1.014.

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Lank, Herbert. "EGG TEMPERA AS A RETOUCHING MEDIUM." Studies in Conservation 35, sup1 (1990): 156–57. http://dx.doi.org/10.1179/sic.1990.35.s1.032.

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Kee, E., and H. Farid. "A perceptual metric for photo retouching." Proceedings of the National Academy of Sciences 108, no. 50 (2011): 19907–12. http://dx.doi.org/10.1073/pnas.1110747108.

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Jiang, Lijing. "Retouching the Past with Living Things." Historical Studies in the Natural Sciences 46, no. 2 (2016): 154–206. http://dx.doi.org/10.1525/hsns.2016.46.2.154.

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Chinese scientists working during the early twentieth century are often understood as radical modernizers. A close examination of research practices in biology at the time, however, complicates such a view. Influential biologists in Nanjing examined in this paper appropriated traditional styles, concerns, and knowledge as crucial constituents in conducting and communicating biological subjects, such as plant taxonomy, comparative anatomy, and goldfish evolution. This paper shows that the prioritized study of those species collected within China was crucial in sustaining traditional styles and knowledge essential to modern biology. As biologists reinterpreted classics, poems, Confucian morality, and historical texts, incorporating them into a scientific life, they changed what it meant to be traditional and scientifically modern at the same time. Particularly, these trends shaped a predominant focus on indigenous species and taxonomic science over experimentation in Nanjing, forging a direction that ran counter to an experimental turn in biology in the wider world. Emphasis on the importance of indigenous species for science, however, added to a full-blown scientific nationalism during the Nanjing Decade (1928–1937), when territorial and economic sovereignty became major concerns for the Guomindang government. With expanding research programs and communities, biologists increasingly presented species within China as potent symbols for national sovereignty in classrooms, at customs, and for museum display. By showing ways of appropriating indigenous species in these scientific and cultural activities, this paper exposes intricate associations between biological things and scientific nationalism in Republican China.

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Rathgeb, Christian, Angelika Botaljov, Fabian Stockhardt, et al. "PRNU‐based detection of facial retouching." IET Biometrics 9, no. 4 (2020): 154–64. http://dx.doi.org/10.1049/iet-bmt.2019.0196.

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Lanfranchi, Maria Rosa. "GIOTTO’S STIGMATIZATION OF SAINT FRANCIS: AN APPROACH FOR THE RECONSTRUCTION OF THE IMAGE." Protection of Cultural Heritage, no. 8 (December 20, 2019): 159–74. http://dx.doi.org/10.35784/odk.1078.

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For the conservation restoration of Giotto’s Stigmatization, painted in the transept of Santa Croce, it was considered the possible new retouching of forms replaced by some old reconstruction, totally out of context after cleaning. The logical process followed in this specific case study was based on the drawing repetitions demonstrated by Giotto in his creations. The nature of the proposal of our of retouching it’s guaranteed by the reintegration technique that allows to recognize the new reconstructed forms and the reversible binder (watercolours) will allow a future cancellation of the fills.

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Wen, Xue, Lianxin Xie, Le Jiang, et al. "RetouchFormer: Semi-supervised High-Quality Face Retouching Transformer with Prior-Based Selective Self-Attention." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 6 (2024): 5903–11. http://dx.doi.org/10.1609/aaai.v38i6.28404.

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Face retouching is to beautify a face image, while preserving the image content as much as possible. It is a promising yet challenging task to remove face imperfections and fill with normal skin. Generic image enhancement methods are hampered by the lack of imperfection localization, which often results in incomplete removal of blemishes at large scales. To address this issue, we propose a transformer-based approach, RetouchFormer, which simultaneously identify imperfections and synthesize realistic content in the corresponding regions. Specifically, we learn a latent dictionary to capture the clean face priors, and predict the imperfection regions via a reconstruction-oriented localization module. Also based on this, we can realize face retouching by explicitly suppressing imperfections in our selective self-attention computation, such that local content will be synthesized from normal skin. On the other hand, multi-scale feature tokens lead to increased flexibility in dealing with the imperfections at various scales. The design elements bring greater effectiveness and efficiency. RetouchFormer outperforms the advanced face retouching methods and synthesizes clean face images with high fidelity in our list of extensive experiments performed.

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Kuznetsov, A. V., and M. V. Gashnikov. "Remote sensing data retouching based on image inpainting algorithms in the forgery generation problem." Computer Optics 44, no. 5 (2020): 763–71. http://dx.doi.org/10.18287/2412-6179-co-721.

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We investigate image retouching algorithms for generating forgery Earth remote sensing data. We provide an overview of existing neural network solutions in the field of generation and inpainting of remote sensing images. To retouch Earth remote sensing data, we use imageinpainting algorithms based on convolutional neural networks and generative-adversarial neural networks. We pay special attention to a generative neural network with a separate contour prediction block that includes two series-connected generative-adversarial subnets. The first subnet inpaints contours of the image within the retouched area. The second subnet uses the inpainted contours to generate the resulting retouch area. As a basis for comparison, we use exemplar-based algorithms of image inpainting. We carry out computational experiments to study the effectiveness of these algorithms when retouching natural data of remote sensing of various types. We perform a comparative analysis of the quality of the algorithms considered, depending on the type, shape and size of the retouched objects and areas. We give qualitative and quantitative characteristics of the efficiency of the studied image inpainting algorithms when retouching Earth remote sensing data. We experimentally prove the advantage of generative-competitive neural networks in the construction of forgery remote sensing data.

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Sinatra, Michelle, and Christian Anggrianto. "Peran Digital Retouching Pada Iklan Dalam Peningkatan Brand Image dan Brand Attitude Suatu Brand." Jurnal VICIDI 9, no. 2 (2019): 23–32. http://dx.doi.org/10.37715/vicidi.v9i2.1329.

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This study aims to determine the role of digital retouching in advertising in improving the brand image and brand attitude of a brand. To find out, research will be conducted based on primary data in the form of interviews with expert users and extreme users. Secondary data retrieval is also held by collecting data from various books, journals and websites that contain advertising theory, the influence of brand image and brand attitude on brands, consumer behavior, marketing communication through visual design and psychology of advertising. The results of the study concluded that digital retouching can increase the brand image and brand attitude of a brand.

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McBride, Caitlin, Nancy Costello, Suman Ambwani, Breanne Wilhite, and S. Bryn Austin. "Digital Manipulation of Images of Models' Appearance in Advertising: Strategies for Action Through Law and Corporate Social Responsibility Incentives to Protect Public Health." American Journal of Law & Medicine 45, no. 1 (2019): 7–31. http://dx.doi.org/10.1177/0098858819849990.

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AbstractContext:Widespread digital retouching of advertising imagery in the fashion, beauty, and other consumer industries promotes unrealistic beauty standards that have harmful effects on public health. In particular, exposure to misleading beauty imagery is linked with greater body dissatisfaction, worse mood, poorer self-esteem, and increased risk for disordered eating behaviors. Moreover, given the social, psychological, medical, and economic burden of eating disorders, there is an urgent need to address environmental risk factors and to scale up prevention efforts by increasing the regulation of digitally altered advertising imagery.Methods:This manuscript summarizes the health research literature linking digital retouching of advertising to increased risk of eating disorders, disordered weight and appearance control behaviors, and body dissatisfaction in consumers, followed by a review of global policy initiatives designed to regulate digital retouching to reduce health harms to consumers. Next, we turn to the US legal context, reporting on findings generated through legal research via Westlaw and LexisNexis, congressional records, federal agency websites, law review articles, and Supreme Court opinions, in addition to consulting legal experts on both tax law and the First Amendment, to evaluate the viability of various policy initiatives proposed to strengthen regulation on digital retouching in the United States.Findings:Influencing advertising practices via tax incentives combined with corporate social responsibility initiatives may be the most constitutionally feasible options for the US legal context to reduce the use of digitally alternated images of models' bodies in advertising.Conclusions:Policy and corporate initiatives to curtail use of digitally altered images found to be harmful to mental and behavioral health of consumers could reduce the burden of eating disorders, disordered weight and appearance control behaviors, and body dissatisfaction and thereby improve population health in the United States.

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Salis, Rita. "The retouching in Maria Lai’s outdoor artworks: documenting Ulassai’s open-air museum." Ge-conservacion 18, no. 1 (2020): 200–206. http://dx.doi.org/10.37558/gec.v18i1.818.

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From 1981 to 2009, Maria Lai created a series of site-specific outdoor artworks made of different materials (above all cement, then painted with acrylic colour) located in her hometown Ulassai (Sardinia), which became an open-air museum. This paper focuses on a project regarding each artwork, with the creation of a documentation record on their history and conservation issues. Over the years, retouching and repainting interventions were realized by the artist and local workers without any conservator-restorer being involved in the process. The paper also aims to provide a description of these interventions with a focus on three case-studies, exploring the challenges related to maintenance, particularly the ones involving retouching and repainting.

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Calvo Manuel, Ana. "Mixing and Matching. Approaches to Retouching Paintings." Ge-conservacion 1 (December 12, 2011): 261–63. http://dx.doi.org/10.37558/gec.v1i1.73.

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Reseña del libro:Mixing and Matching. Approaches to Retouching Paintings AA.VV. Editado por Rebecca Ellison, Patricia Smithen y Rachel Turnbull Publicado por Archetype Publications con el Icon Paintings Group y la British Association of Paintings Conservator-Restorers (BAPCR) London, 2010 179 páginas, ilustraciones, gráficos, figuras, 24,5 x 17,5 cm. ISBN: 978-1-904982-50-0

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Bharati, Aparna, Richa Singh, Mayank Vatsa, and Kevin W. Bowyer. "Detecting Facial Retouching Using Supervised Deep Learning." IEEE Transactions on Information Forensics and Security 11, no. 9 (2016): 1903–13. http://dx.doi.org/10.1109/tifs.2016.2561898.

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Leonard, Mark, Jill Whitten, Robert Gamblin, and E. René de la Rie. "Development of a new material for retouching." Studies in Conservation 45, sup1 (2000): 111–13. http://dx.doi.org/10.1179/sic.2000.45.supplement-1.111.

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Albertson, Rita, and Winifred Murray. "Mixing and Matching: Approaches to Retouching Paintings." Studies in Conservation 55, no. 4 (2010): 313–15. http://dx.doi.org/10.1179/sic.2010.55.4.313.

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Innamorati, Carlo, Tobias Ritschel, Tim Weyrich, and Niloy J. Mitra. "Decomposing Single Images for Layered Photo Retouching." Computer Graphics Forum 36, no. 4 (2017): 15–25. http://dx.doi.org/10.1111/cgf.13220.

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., Meenakshi Sundaram A. "IMAGE RETOUCHING AND IT'S DETECTION - A SURVEY." International Journal of Research in Engineering and Technology 04, no. 26 (2015): 30–34. http://dx.doi.org/10.15623/ijret.2015.0426007.

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Bailão, Ana. "Colour discrimination in conservation students: the Farnsworth-Munsell 100– hue test." Ge-conservacion 3 (December 14, 2012): 105–16. http://dx.doi.org/10.37558/gec.v3i0.102.

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The matching colour in retouching depends on the ability of the observer to differentiate colour. This ability was measured on 28 volunteer conservation students of varying aged using a specific test of colour discrimination – the Farnsworth-Munsell 100-hue test. Fourteen of the subjects were aged between 18-28, six between 29-38, seven between 39-48, and one was over 49 years. The final results are: 50% of subjects showed a wide-ranging ability to differentiate colour: none of them was colour blind; 7% of the students, however, have low ability to discriminate hues but only one was aware of his deficiency. The author aims to reveal the importance of this test for the conservators, using it as a detector to select eligible subjects with high sensibility in colour discrimination, which is an essential predisposition to perform accurate colour matching in retouching.

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Staniforth, Sarah. "Retouching and Colour Matching: The Restorer and Metamerism." Studies in Conservation 30, no. 3 (1985): 101. http://dx.doi.org/10.2307/1505925.

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Hook, John. "THE IIC CONGRESS, BRUSSELS "CLEANING, RETOUCHING AND COATINGS"." AICCM Bulletin 17, no. 3-4 (1991): 87–89. http://dx.doi.org/10.1179/bac.1991.17.3-4.011.

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Staniforth, Sarah. "Retouching and colour matching: the restorer and metamerism." Studies in Conservation 30, no. 3 (1985): 101–11. http://dx.doi.org/10.1179/sic.1985.30.3.101.

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Harrison, Kristen, and Veronica Hefner. "Virtually Perfect: Image Retouching and Adolescent Body Image." Media Psychology 17, no. 2 (2014): 134–53. http://dx.doi.org/10.1080/15213269.2013.770354.

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Kozhekin, Nikita, Vladimir Savchenko, Mikhail Senin, and Ichiro Hagiwara. "An approach to surface retouching and mesh smoothing." Visual Computer 19, no. 7-8 (2003): 549–64. http://dx.doi.org/10.1007/s00371-003-0218-y.

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Lin, Tsung-Ying, Yu-Ting Tsai, Tsung-Shian Huang, Wen-Chieh Lin, and Jung-Hong Chuang. "Exemplar-based freckle retouching and skin tone adjustment." Computers & Graphics 78 (February 2019): 54–63. http://dx.doi.org/10.1016/j.cag.2018.11.002.

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Sheth, Kinjal Ravi, and Vishal Suryakantbhai Vora. "A comparative study on image forgery-facial retouching." Bulletin of Electrical Engineering and Informatics 12, no. 2 (2023): 851–59. http://dx.doi.org/10.11591/eei.v12i2.4481.

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Forgery with the digital images is being very easy now days due to the very advanced and open source image editing tools, software and devises which supports a high quality of resolutions. Tempering with digital documents for changing identity or sometimes for fun is increasing day by day as the era is of digital world. Detecting clues of tampering and verifying the authenticity of images is an important issues now-a-days and growing research field. The existing research in the area of digital image forgery identification is discussed here. Different types of image forgery attacks along with its detection and classification are discussed too. A general review of facial image authentication is studied and discussed here along with the current methods and techniques for the detection and classification. A comparative analysis is presented here for the researchers as a mind mapping to work in the same field.

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Wang, Binglu, Chengzhe Lu, Dawei Yan, Yongqiang Zhao, Ning Li, and Xuelong Li. "Learning pixel-adaptive weights for portrait photo retouching." Pattern Recognition 143 (November 2023): 109775. http://dx.doi.org/10.1016/j.patcog.2023.109775.

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Teofilov, Kamen. "From Painting – to Picture]." Pedagogika-Pedagogy 96, no. 2 (2024): 179–94. http://dx.doi.org/10.53656/ped2024-2.03.

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The article proposes a model for visual activities in the seventh grade, which is based on H. Rorschach's test. Part of the tasks are designed to be implemented in a digital environment through photography and digital retouching of bitmap images.

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Schirmer, Nadine A., Manfred Schwaiger, Charles R. Taylor, and John P. Costello. "Consumer Response to Disclosures in Digitally Retouched Advertisements." Journal of Public Policy & Marketing 37, no. 1 (2018): 131–41. http://dx.doi.org/10.1509/jppm.16.188.

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The issue of digitally retouching models has begun to gain the attention of the public and regulators in multiple parts of the world, with some countries considering legislation or even passing restrictions, including requiring disclosures on retouched ads. This study adds insight into this debate by examining the impact of the addition of a disclosure to digitally retouched ads on women's advertising response. A 2 (disclosure) × 2 (product type) experiment was conducted with a sample of 495 women in Germany. The study also develops a typology of four levels of digital retouching via a factor analysis of survey data, with consumer aversion increasing when postproduction modifications became extreme. Disclosures had a nonsignificant effect on advertising response and credibility of the ad, yet purchase intent was significantly higher for ads that contained disclosures. Product type made no difference for any consumer group. Implications for companies and policy makers are discussed.

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Prajakta, Harne, Mishra M.K, and Sodhi G.S. "Variation in Length of Signatures in Case of Simulated Forgery." Journal of Forensic Chemistry and Toxicology 4, no. 2 (2018): 83–88. http://dx.doi.org/10.21088/jfct.2454.9363.4218.2.

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Simulated or imitation forgery is one of the pervasive forgeries among the group of forgers, where genuine signature of signatory authority is available to forger and he attempts to execute by following the pictorial effect of the design of the signature by simply drawing the same. However, several factors are revealed during this act of forgery. Not every reproduction has a perfect evidence of poor line quality, retouching, and other “classic” features that may establish it as a fraud. Others, specifically those carried out when copying simple short signatures may have a line quality not very diverse from the signature and can be made without pen lifts, retouching, or tracing. In such cases, it may not be probable to opine with an extraordinary degree of confidence that the questioned writing is an imitation, but, according to its degree of inaccuracy, that exist, it may be apparent to postulate forgery.\

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I Gede Sujana Eka Putra and Ni Luh Putu Labasariyani. "Dashboard Model Design for Tuna Fish Processing (PT. XYZ)." Global Journal of Engineering and Technology Advances 14, no. 1 (2023): 039–49. http://dx.doi.org/10.30574/gjeta.2023.14.1.0012.

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The dashboard systems provide visualization model help the management to make decision which shows the data summary in each processing stage and comparison of total result of main product and side product in specific periods of time at fish processors. This research proposes dashboard model to designed in fish processors which huge of complex processing data available and have difficulties to analyze and require some times to process data analytical to display the production result in each processing stage. We design analytical dashboard to show the quantity fish processed and seafood product summary analysis in each processing stage i.e. total weight of receiving, cutting, retouching, packing and shipment. The dashboard system helps the management to make quick decision based on analytical information related to how many fish processed, product result per each processing stage, and also help to compare yield in cutting and retouching process based on type of raw materials (dirty loin and clean loin). This dashboard also displayed details total production and total side product (by-product) i.e. black meat, belly, red meat, and residue. The scope of this research is to display summary analytical data from the periods September until November of 2022. Based on the calculation, the yield of cutting process during the period September to November was 63.7%, while the yield for retouching process was 57.65%. In this research it explained that by-product percentage for dirty loin cutting shows a higher percentage compared to clean loin because the dirty loin has more parts to remove.

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Pozzi, Federica, Silvia A. Centeno, Federico Caro, Gillian McMillan, Lena Stringari, and Vivien Greene. "The Life of a Painting as Traced by Technical Analysis: Original Materials and Posthumous Alterations in Édouard Manet’s Woman in Striped Dress." Coatings 11, no. 11 (2021): 1334. http://dx.doi.org/10.3390/coatings11111334.

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Among the holdings of the Solomon R. Guggenheim Foundation, New York, is a large-scale portrait by Édouard Manet that remained apparently unfinished upon the artist’s death, in April 1883. This work, now known as Woman in Striped Dress, belongs to Manet’s late artistic production and dates from around 1877 to 1880. A collaborative endeavor entailing archival research and scientific analysis revealed that the composition had suffered dramatic alterations prior to its arrival at the museum in 1965 as an extended loan, likely carried out to “finish” the picture in order that it would be marketable and to increase its sale value. Among the main changes explored in this technical study are the reductions in the canvas size and subsequent varnishing campaigns. Furthermore, along with a detailed characterization of the original materials present in the ground and paint layers, this research contributed to the identification of posthumous retouchings, possibly executed concurrently with trimming the canvas along both sides and at the top edge. The investigation was instrumental in devising an appropriate treatment to remove the discolored varnish and select areas of retouching, which obscured significant details of the composition and Manet’s delicate brushwork.

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Borghi, Guido, Annalisa Franco, Gabriele Graffieti, and Davide Maltoni. "Automated Artifact Retouching in Morphed Images With Attention Maps." IEEE Access 9 (2021): 136561–79. http://dx.doi.org/10.1109/access.2021.3117718.

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Withycombe, Celia. "Retouching of Art on Paper by Tina Grette Poulsson." Journal of the Institute of Conservation 33, no. 1 (2010): 111–12. http://dx.doi.org/10.1080/19455220903558215.

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Nakano, Tamami, and Yusuke Uesugi. "Risk Factors Leading to Preference for Extreme Facial Retouching." Cyberpsychology, Behavior, and Social Networking 23, no. 1 (2020): 52–59. http://dx.doi.org/10.1089/cyber.2019.0545.

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Rathgeb, C., C. I. Satnoianu, N. E. Haryanto, K. Bernardo, and C. Busch. "Differential Detection of Facial Retouching: A Multi-Biometric Approach." IEEE Access 8 (2020): 106373–85. http://dx.doi.org/10.1109/access.2020.3000254.

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McAusland, Jane. "The practicalities and aesthetics of retouching: Rationality versus intuition." Paper Conservator 26, no. 1 (2002): 13–19. http://dx.doi.org/10.1080/03094227.2002.9638618.

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Chang, H. J., S. N. Oh, M. Y. Park, S. E. Rha, and B. G. Choi. "Fraudulent retouching of digital radiographic images – a potential risk." Clinical Radiology 65, no. 12 (2010): 967–73. http://dx.doi.org/10.1016/j.crad.2010.02.001.

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Journal articles on the topic 'Retouching'

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