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Journal articles on the topic 'Water-color painting'
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1
Bian, Xiangyang, and Meng Niu. "The Feasibility and Methodology for Water and Land Paintings in the Study of the Ming Dynasty Costumes." Asian Social Science 14, no. 1 (December 26, 2017): 136. http://dx.doi.org/10.5539/ass.v14n1p136.
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Chinese Water and Land painting contains lots of figure costume modeling, providing intuitive and vivid image data for the study of ancient costumes. It is a new medium for the study of Chinese ancient costumes. This paper analyzes the feasibility and methodology for Water and Land paintings in the study of the Ming Dynasty. With the Ming costumes in the Water and Land Paintings, this paper discusses the shape, color, texture and fabric patterns of the ancient dresses. The feasibility of using Water and Land Paintings to study ancient costumes is further analyzed in this paper. This paper emphasizes the importance of ancient dresses in Water and Land Painting for the study of its wearing effect, and the specific methods of research that are put forward.
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Kong, Xiangfeng, and Xiangzhen Meng. "Application of Chemical Technology of Water-Based Acrylic Dipping Paint in Art Painting Creation." Journal of Chemistry 2022 (August 25, 2022): 1–7. http://dx.doi.org/10.1155/2022/7715011.
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In order to better sort out the superiority of water-based acrylic in painting art, explore and understand the uniqueness of water-based acrylic painting materials and apply this to art creation. The author proposes a chemical process based on water-based acrylic dipping paint, by discussing the coating and film properties of water-soluble acrylic dip paint, combined with the practical application of a casting tank; summarizing the countermeasures to solve the disadvantages of common paint films; and proving that the paint has a good comprehensive performance by comparing with other dipping paints. Experimental results show that based on the chemical process of water-based acrylic dipping paint, it has waterproof, high gloss, gloss retention, color retention, high weather resistance, and good corrosion resistance in the process of art painting; the physical parameters are better than other dipping paints, such as gloss can reach 70∼80%. Conclusion. In art painting, water-based acrylic dip paint is a kind of comprehensive performance paint with waterproof, high gloss, gloss retention, and color retention.
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Chandra, Fitri, Onggal Sihite, and Mesra Mesra. "Eksperimen Bahan Makanan Sebagai Alternatif Cat Warna Air." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 3 (March 3, 2021): 904–12. http://dx.doi.org/10.34007/jehss.v3i3.431.
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This research aims to describe the process of creating water color paints and the resulting colors made of foodst materials. The making of this water color paint through several stages, such stages are, observation, exploration, experimental, and quality testing. This experiment focused on foodstings as dye paint making materials. The exploration stage is about the materials used as additives, pigments, solvents, and binders in paints. Experimental stages in the form of making groceries into dye paints. The quality test stage is the process of comparing the quality of the experiment's color paint and the factory-made color paint. The concept of making color paint explores ingredients from food namely, kanji flour, baking soda, vinegar, food coloring, and water. And aids like, bowls and spoons, plastic containers, and toothpicks. The paint is realized into the form of a painting using aquarel painting technique.
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Pasquale, Stefania, Massimo Zimbone, Francesco Ruffino, Giuseppe Stella, and Anna Maria Gueli. "Evaluation of the Photocatalytic Activity of Water-Based TiO2 Nanoparticle Dispersions Applied on Historical Painting Surfaces." Heritage 4, no. 3 (August 17, 2021): 1854–67. http://dx.doi.org/10.3390/heritage4030104.
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This paper aims at assessing the use of nanomaterials in painting conservation and in cleaning practices that could be alternative to the traditional ones to overcome the limits of new green materials. Titanium dioxide nanoparticles have been spread and studied on historical painting surfaces with good results. In particular, the properties of TiO2 nanoparticles have been considered useful for self-cleaning and protective purposes against the accumulation of dirt and dust that represents the first phase in deterioration of historical painting surfaces. TiO2 nanoparticles, prepared in distilled water by Pulsed Laser Ablation in Liquids, were applied on painting mock-ups realized in the laboratory according to old recipes and using historical binders and pigments. The surface characteristics of the painting were investigated by contact angle measurement and by Atomic Force Microscopy. The optical and aesthetical compatibility of the colloidal dispersions with the painting was assessed by spectrophotometry, and then the cleaning efficiency was evaluated by discoloration of a dye under ultraviolet irradiation, at fixed time intervals, using colorimetric technique. Because of the high reactivity of nanoparticles, the possibility of degrading the painting surface, together with the chromatic marker, was examined by colorimetric measurements. The evaluation of the color changes is important for all the materials belonging to cultural heritage, especially painting, for which the color modification induced by protective and/or cleaning interventions could irremediably compromise the work of art.
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Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (September 27, 2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.
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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.
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Fu, Peng, Ge-Le Teri, Xiao-Lian Chao, Jing Li, Yu-Hu Li, and Hong Yang. "Modified Graphene-FEVE Composite Coatings: Application in the Repair of Ancient Architectural Color Paintings." Coatings 10, no. 12 (November 28, 2020): 1162. http://dx.doi.org/10.3390/coatings10121162.
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In recent years, based on the urgent need in the field of cultural heritage conservation, the research and development of coatings have attracted much attention. FEVE (trifluorovinyl chloride and vinyl ether copolymer) is one of the reinforcing materials in the protective coatings of color paint. However, it has problems such as compactness, low tensile strength, and poor resistance to aging. Therefore, modified graphene was introduced and combined with FEVE coatings (FEVE/m-GO) to optimize their adhesion, compactness, resistance to corrosion, and performance at shielding the paintings from ultraviolet light. The structural features of the hybrid films were characterized by UV–Vis spectroscopy, transmission electron microscopy, infrared spectroscopy, etc. In addition, the water absorption, mechanical properties, color difference test, and aging resistance of the FEVE/m-GO and simulated samples were investigated. The results showed that the hybrid film with 0.04% m-GO incorporation as an effective consolidant exhibited outstanding comprehensive performance. This composite material was used in the protection and consolidation of the Sanyou Xuan ancient architectural color painting in the Palace Museum, which opened up a new way of thinking about the long-term conservation of color paintings.
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Widodo, Widodo, Devi Etivia Purlinda, and Ahmad Riadi. "Perbandingan Berbagai Metode Pengecatan Spora pada Bacillus Cereus." Jaringan Laboratorium Medis 4, no. 2 (November 1, 2022): 91–94. http://dx.doi.org/10.31983/jlm.v4i2.8493.
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Endospores are formed by members of several genera of gram-positive bacteria, such as Bacillus and Clostridium. The spores are very resistant structurally; withstand the temperature of boiling water for two hours or more. They contain very little water and show very few chemical reactions. The favorable external environment will cause the spores to break down and the vegetative cells to appear to grow and reproduce. Identification of endospore-forming pathogens is important in food and medical microbiology. However, the spores contain multiple protective layers, which cannot be easily penetrated by simple staining or Gram staining techniques. Therefore, it is necessary to apply heat to help penetrate the color, with various methods of Gram stain, fluorescent spore painting, Schaeffer and Fulton spore painting and Client's spore painting method. The results of the fluorescent painting method have better results but require much more expensive equipment using a fluorescent microscope considering the facilities that must be provided for the Schaeffer and Fulton painting method as an alternative if they do not have these facilities.
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Bila, Narciso Fernando, Rosilani Trianoski, Andrade Fernando Egas, Setsuo Iwakiri, and Marcio Pereira da Rocha. "Evaluation of the quality of surface finish of messassa wood for three types of varnishes." Journal of Biotechnology and Biodiversity 8, no. 2 (June 26, 2020): 122–30. http://dx.doi.org/10.20873/jbb.uft.cemaf.v8n2.bila.
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The aim of this study was to evaluate the performance of the messassa wood Brachystegia spiciformis and Julbernardia globiflora for three types of finishing products for use in the furniture and frames industries. Coating performance was assessed by adhesion strength, impact deformation resistance, abrasiveness, gloss and overall color variation tests based on technical standards. Copal painting application was higher for gloss, adhesion and lower abrasiveness compared to water based and polyurethane. The impact deformation was higher for polyurethane than water-based and copal for both species. The darkening of wood for Brachystegia spiciformis and a slight lightening of wood by Julbernardia globiflora characterize the overall color variation after application of the coating products. According to these results, the varnishes can be used to add value to the messassa wood as a finish in solid wood furniture and frames.
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Jiang, Bingchao, and Min-Lyoung Choi. "A Study on Water-based Paints Applied for Art Makeup." Journal of the Korean Society of Cosmetology 28, no. 5 (October 31, 2022): 1054–71. http://dx.doi.org/10.52660/jksc.2022.28.5.1054.
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In creating works of ‘Art Makeup’ called ‘the pinnacle of makeup’ specific and systemic learning is required for inexperienced beginners or students to acquire basic knowledge or quality of art makeup. For this reason, we analyzed characteristics of water-based paints in order to examine what changes in colors there were when these paints mixed with water were applied to the skin and became completely dry in a certain time. We also looked into their consistency-how long they lasted against drying speed, stimulation or contact. The findings are as follows. First, in the water-based paints we analyzed, we saw color fading with change in color purity and decreased saturation compared to original products when they were completely dry. Especially, in the case of achromatic color, white, completely dry, decreased in lightness, resulting in very low whiteness compared to the original product, whereas black, completely dry, increased in lightness, resulting in low blackness compared to the original product. Therefore, in expressing works with black and white in high lightness, it would be better if achromatic color is used for the sake of painting over or applying a little achromatic color on a small part of the skin for highlight effect. Second, water-based paints which are applied to the works undergo a drying process to preserve the works. In the drying process, we found a very large deviation in time depending upon color. Hence, in creating art makeup works, arranging sequence of colouring needs to take into account the drying speed which varies depending upon color. Finally, water-based paints had consistency against stimuli such as a little bit movement unless there were direct stimuli to them after they were applied to the skin and became completely dry. But they turned out to be vulnerable to watery stimuli such as sweat. Therefore, location, lighting, and temperature should be taken into consideration in creating works. Especially, in a sweating-triggered environment, a lot of attention should be paid to keep the works intact. If necessary, water resistant products may be a good choice.
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이헌형 and Yon-Sun Park. "A Study on the Water Painting Pigment and Marker Dye's Color Change - Focused on color change and light stability based on ultraviolet rays -." Journal of Korea Society of Color Studies 27, no. 3 (August 2013): 95–106. http://dx.doi.org/10.17289/jkscs.27.3.201308.95.
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Indrawati, Ratih, Gervacia Jenny Ratnawati, and Sri Tumpuk. "Senggani Fruit Anthocyanins (Melastoma Malabathricum Auct, Non Linn) As Bacterial Dyes Differential Painting Techniques." INTEK: Jurnal Penelitian 9, no. 1 (April 1, 2022): 18. http://dx.doi.org/10.31963/intek.v9i1.2987.
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Bacteria are difficult to see with a light microscope, because they do not absorb or refract light. Dyes absorb and refract light so that the contrast of bacteria with their surroundings is enhanced. Anthocyanins are water-soluble pigments that are naturally found in various types of plants. As the name implies, this pigment gives color to flowers, fruits, and leaves of green plants.This research is a type of descriptive research. The treatment consisted of painting bacterial preparations with anthocyanin pigment extract of senggani fruit with 70% ethanol solvent and control with gram staining. The treatments were: T1: staining of bacterial preparations with gram staining, T2: painting of bacterial preparations with anthocyanin extract of senggani fruit added with 14% citric acid as a substitute for safranin and NH4Cl as a substitute for crystal violet. The results of the study showed that anthocyanin pigment extract was proven to be used as a dye for Staphylococcus aureus, Escereria coli as a substitute for synthetic dyes Safranin and Crystal violet in Gram staining.
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Germinario, Giulia, Fabio Talarico, and Mauro Torre. "Microanalyses and Spectroscopic Techniques for the Identification of Pigments and Pictorial Materials in Monet's Pink Water Lilies Painting." Microscopy and Microanalysis 28, no. 1 (November 15, 2021): 27–41. http://dx.doi.org/10.1017/s1431927621013556.
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In this work, the technique and the pictorial materials employed by Claude Monet in Pink Water Lilies, presently housed at the National Gallery of Modern and Contemporary Art in Rome, were investigated. The painting underwent noninvasive investigations such as energy-dispersive X-ray fluorescence and visible reflectance spectroscopies. The combined use of these techniques allowed us to identify most of the inorganic pigments such as cobalt blue and violet, zinc oxide, cadmium yellow, vermilion, and mixtures. Particularly, the spectrophotometric curves allow for the detection of the anhydrous and hydrated chromium greens. Two micro-fragments of the painting were also examined with micro-Fourier transform infrared spectroscopy and the cross-sections obtained were analyzed with the optical microscope and with scanning electron microscopy (SEM) and energy-dispersive X-ray spectrometry (EDS). Fourier Transform Infrared spectroscopy analyses allowed us to recognize the animal glue used for priming the canvas, which was covered with a ground layer consisting of calcite and lead white mixed with an oil binder. A lipidic binder was also detected in the color layer. Optical microscopy and SEM-EDS were useful to retrieve information about the stratigraphy, the distribution of pigments, and a more complete palette identification of phosphate, arsenate, and magnesium arsenate cobalt violets, and the red lake was possible.
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Markwick, Michael. "The Swimmer." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (October 6, 2020): 242. http://dx.doi.org/10.37536/ecozona.2020.11.2.3436.
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My works are a depiction of a spiritual relationship with the natural environment. I am drawn to the energy, light, color, materiality, surfaces, and compilations of complex forms found in the spaces where man-made structures collide with natural areas. Childhood memories of Michigan wetlands and forests play into my personal creative language, but I also respond to the mixed urban and natural landscape of Berlin. Piles of bones, discarded building materials, and even the energy of strong weather can appear in my works. I aim to capture a relationship with nature that is charged with the playful flux and flow of creation and destruction. I am an intuitive artist who freely explores the painting process.
In this recent large-scale work, “Swimmer” (2019), an abstracted skeletal figure in the upper left of the canvas is caught in a tidal wave of bright blue water and debris. The architectonic aspects of this painting bring to mind the harder-edged shapes of building materials; these forms, too, are being shattered by the water. The great shifting forces of nature can be epic and overwhelming; this “swimmer” becomes a symbol of fragility in the environment.
The Swimmer (2019)
180 x 150 cm (71 x 57 in.)
Acrylic, pigment, and mixed media on linen
Photo: Eric Tschernow
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Sansonetti, Errj, Dace Cīrule, Edgars Kuka, Bruno Andersons, Ingeborga Andersone, and Maris Danieks. "Characterization and Evaluation of Water-Based Ecological Paint for Protection of Wood Materials Coated Using Dipping Technique." Materials Science Forum 1071 (October 18, 2022): 147–54. http://dx.doi.org/10.4028/p-87j1r4.
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The aim of this study was to characterize and evaluate the performance of two wood species, pine (Pinus sylvestris L.) and spruce (Picea abies Karst.) used for wooden furniture in outdoor coated with a water based ecological paint and subjected to artificial weathering. Another task of this research was to investigate the potential of the application of paint using dipping method in alternative to traditional brush or spraying coating application methods, since, if wood samples are grouped in stacks, the processing time can be reduced, compared to samples painted singularly. From the analysis of the dipping parameters, such as time and paint concentrations, more practical and specific knowledge was obtained regarding this painting method.From the characterization of the painted samples and from the measurements of color changes during artificial weathering it was observed that coated wood surfaces have similar optical properties also in case of different dipping times, although the type of wood could affect the performance of final product during artificial weathering test as in case of spruce wood samples, specifically those prepared with the shortest dipping time: for these samples a lower resistance to weathering and higher color changes were observed.
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., Muhammad Rafiki, I. Gusti Made Budiarta, S. Pd ,. M. Pd ., and Dra Luh Suartini, M. Pd . "KARAKTERISTIK KARYA FINGER PAINTING ANAK-ANAK DI TAMAN KANAK-KANAK AISYIYAH BUSTANUL ATHFAL SINGARAJA." Jurnal Pendidikan Seni Rupa Undiksha 9, no. 1 (July 22, 2019): 13. http://dx.doi.org/10.23887/jjpsp.v9i1.18775.
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Penelitian ini bertujuan untuk mendeskripsikan (1) alat dan bahan yang digunakan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter hasil gambar anak yang dihasilkan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja. Sasaran penelitian ini adalah anak-anak kelompok B TK Aisyiyah Bustanul Athfal Singaraja yang terdiri atas 5 kelas kelompok B. Penelitian ini adalah penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) observasi, (2) wawancara, (3) teknik kuesioner/angket, (4) dan kepustakaan. Data yang terkumpul kemudian dianalisis dengan cara (1) analisis domain, (2) analisis taksonomi, (3) dan analisis tema.
Hasil penelitian menunjukkan bahwa (1) alat dan bahan yang digunakan dalam kegiatan finger painting ini adalah panci, gelas, sendok, centong, kompor gas, mangkok besar, mangkok kecil, cat/media warna finger painting, kertas gambar, tepung kanji, tepung terigu, pewarna makanan, air dan minyak goreng. 2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja dimulai dari mempersiapkan media dan perlengkapan pembelajaran, mengenalkan media dan mendemostrasikannya, mengarahkan dan membimbing, setelah selesai kegiatan anak bercerita dan guru mengapresiasi serta mengevaluasi hasil kerja anak-anak, akhir kegiatan guru melakukan penilaian dengan menggunakan portofolio. 3) Hasil karya finger painting kelompok B TK Aisyiyah Bustanul Athfal Singaraja memiliki subject matter dan visual yang beraneka ragam, penelitian ini dikelompokkan berdasarkan pada karakteristik karya yang dihasilkan oleh anak-anak, dan diperoleh hasil sebagian besar karya anak cenderung mengacu pada tipe haptic dan tipe naturalistik, serta bentuk visual yang sering muncul yaitu bentuk rumah, bunga dan orang.Kata Kunci : finger painting, karakteristik, subject matter This study aims to describe (1) tools and materials used in finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (2) the process of finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter of children's drawings produced in activities finger painting at TK Aisyiyah Bustanul Athfal Singaraja. The target of this study was children of group B TK Aisyiyah Bustanul Athfal Singaraja which consisted of 5 classes in group B. This study was a qualitative descriptive study. Data collection in this study was carried out by techniques (1) observation, (2) interviews, (3) questionnaire / questionnaire techniques, (4) and literature. The collected data is then analyzed by (1) domain analysis, (2) taxonomic analysis, (3) and theme analysis.
The results showed that (1) the tools and materials used in finger painting activities were pans, cups, spoons, centongs, gas stoves, large bowls, small bowls, paints / color media finger painting, drawing paper, starch, flour food coloring, water and cooking oil. 2) the process of finger painting activities in TK Aisyiyah Bustanul Athfal Singaraja starts from preparing the media and learning equipment, introducing the media and demonstrating it, directing and guiding, after the completion of the activities the children talk and the teacher appreciates and evaluates the work of the children, the end of the teacher's assessment by using a portfolio. 3) The results of group B's finger painting work TK Aisyiyah Bustanul Athfal Singaraja have a variety of subject matter and visual, this research is grouped based on the characteristics of the work produced by children, and the results of most children's work tend to refer to haptic and type types naturalistic, and visual forms that often appear, namely the shape of the house, flowers and people.keyword : finger painting, characteristics, subject matter
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Stefaniak, Regina. "Replicating Mysteries of the Passion: Rosso's Dead Christ with Angels." Renaissance Quarterly 45, no. 4 (1992): 677–738. http://dx.doi.org/10.2307/2862634.
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During his sojourn in Rome from 1524 to 1527, Rosso painted a panel of a dead Christ with angels for his friend Leonardo Tornabuoni, bishop of Borgo San Sepolcro. Vasari saw the painting in the house of Giovanni della Casa at mid-century, but subsequently it was lost from general sight until the 1950s, when it was acquired by the Boston Museum of Fine Arts (Fig. 1). The panel has been assessed by art historians as one of signal importance, at once a high water mark in Rosso's own work and masterpiece of the early Roman maniera, a painting remarkable for its great beauty and artfulness, composed after long study of Michelangelo and the antique. The first considered estimation of the work emphasized its sculptural qualities, its formal tensions in pose and color, and its artistic virtuosity, suggesting that the subject was a version of the imago pietatis, reworked into a resurrecting Christ, emblematic of the patron's titular see. Although still impressed with the suavity of the panel in relation to Rosso's previous work, a subsequent critic was more conscious of its ambivalences, discerning a continuity with the young Rosso's individualistic and eccentric sensibilities, finally identifying the subject as an assertion of the eucharistic real presence. Analogies with language have been advanced, among them an allusion to the intensely equivocal nature of the painting. For one scholar the artfulness of the panel and Rosso's artistic attitudes were separate from their religious purpose; for another, they were absolutely at odds.
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Nascimento, Matheus Vinícios Leal do, Patrick Luan Ferreira dos Santos, João Victor Costa, Juliana Trindade Martins, Roberto Lyra Villas Bôas, and Leandro José Grava de Godoy. "Durability and concentration of organic colorant in the visual quality of Discovery TM bermudagrass." Ornamental Horticulture 26, no. 4 (December 2020): 621–32. http://dx.doi.org/10.1590/2447-536x.v26i4.2211.
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Abstract The painting of sports turfs with colorants is a common practice, with the main objective to maintain grass appearance for maximum aesthetic quality. Colorants are used to provide green color to grasses during periods of stress and dormancy and are considered an alternative for warm weather grasses during the winter months. Recent increases in the use of colorants is due to water conservation efforts as well as lower operating costs compared to winter overseeding. The objective of this study was to evaluate durability and doses of organic colorant in terms of visual quality of DiscoveryTM bermudagrass. The experiment was installed in the field, subdivided into plots of DiscoveryTM bermudagrass treated with lawn-specific commercial, organic colorant as follows 0 ml L-1 (Control); 33 ml L-1; 50 ml L-1; 66.6 ml L-1 (manufacturer’s recommendation); 83 ml L-1; 100 ml L-1. At 10 day intervals the green color index, reflectance, normalized difference vegetation index (NDVI), and digital images were measured and assessed. The results indicate that, given the durability of the product, doses between 66.6 and 83.3 ml L-1 are recommended.
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Wardany, Octalyna Puspa. "Research In Creating Artworks – Comparison 3 Case Studies of Fine Art Creative Process." International Journal of Creative and Arts Studies 3, no. 1 (December 29, 2017): 31. http://dx.doi.org/10.24821/ijcas.v3i1.1871.
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In fine arts, creating artworks need doing research. The research has many types. Mostly, it is not the scientific research type. But, nowadays, scientific research is commonly implementing in creating artworks too. It is important to know the various researchs in creating artworks, so it could be able to understand how research has the significant role in creating artworks. This study examines the research in creating artworks through comparation of 3 case studies of fine art exhibitions; (1) the creative process of water color painting exhibition Climen by Surya Wirawan in 2012 which the process held for 4 years (2008-2012), (2) the painting exhibition Melupa by Ugo Untoro in 2013 which the process held for 13 years (2000-2013), (3) the art project Tentang Hutan by gerimisUngu Production 2014 which the process held for 4 years (2011-2014). Each of those 3 creative process has different type of research, methods, and period, artworks as the output, experience of the artist whom get involved, and certain location in Indonesia. These 3 case studies describe that the research in creating artworks can be scientific with fully consideration, or semiscientific in consideration, or unscientific between consideration and uncosideration. And, the certain research implemented in creating artworks is related to the artist (individual and cultural), purpose of the artworks and exhibition, and content of the artworks which appointed.
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Neamțu, Călin, Ioan Bratu, Constantin Măruțoiu, Victor Constantin Măruțoiu, Olivia Florena Nemeș, Radu Comes, Ștefan Bodi, Zsolt Buna, and Daniela Popescu. "Component Materials, 3D Digital Restoration, and Documentation of the Imperial Gates from the Wooden Church of Voivodeni, Sălaj County, Romania." Applied Sciences 11, no. 8 (April 11, 2021): 3422. http://dx.doi.org/10.3390/app11083422.
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The wooden churches from Transylvania, Romania, are a unique and representative cultural heritage asset for rural communities, both in terms of architecture and the style of painting that defines them as monuments of national heritage. These churches are in danger of degradation because rural communities are beginning to abandon them for various motives (e.g., they are too small, are expensive to maintain, or are being replaced by modern churches, built of stone and modern materials). The reason behind their accelerated degradation is that they are covered with shingles that need to be periodically changed and repaired to prevent water from reaching the inner painting layer, a process that is, in many cases, ignored. Imperial gates are the symbol of these churches and separate the nave from the narthex. They are made entirely out of wood and were sculpted and painted manually by skilled craftsmen and still represent the central element of these churches, in terms of art and aesthetics. The digital preservation of these heritage assets is an interdisciplinary undertaking, which begins with the physico-chemical analysis of the pigments in the painting layer, continues with three-dimensional (3D) digitization of the monument and of the objects of interest (such as the imperial gates), and finishes with a digital restoration of these monuments and artefacts. This paper presents a working methodology, successfully applied in digitizing and digitally restoring imperial gates from wooden churches in Transylvania, namely from the wooden church of Voivodeni, Sălaj County, Romania (Transylvania region). X-ray fluorescence and FTIR spectroscopy were used to determine the pigments in the painting layer of these artefacts, and after they were identified, they were synthesized in laboratory conditions. The resulting color was digitized and used for digitally restoring the artefact(s) to its (their) pristine condition. To popularize these cultural heritage assets, the authors make use of virtual reality to mediate the interaction between the general public and heritage objects in their current state of preservation, in a digital environment. Moreover, to showcase how these heritage objects were degraded over time, a digitally restored version of the artefact in pristine condition is presented alongside a version in its current state (as is, digitized, but not yet digitally restored).
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Lamuraglia, Raffaella, Andrea Campostrini, Elena Ghedini, Alessandra De Lorenzi Pezzolo, Alessandro Di Michele, Giulia Franceschin, Federica Menegazzo, Michela Signoretto, and Arianna Traviglia. "A New Green Coating for the Protection of Frescoes: From the Synthesis to the Performances Evaluation." Coatings 13, no. 2 (January 26, 2023): 277. http://dx.doi.org/10.3390/coatings13020277.
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This work presents the formulation and characterization of a new product for the protection of outdoor frescoes from aggressive environmental agents. The formulation is designed as an innovative green coating, prepared through a zero-waste one-pot-synthetic method to form silver nanoparticles (AgNPs) directly in a chitosan-based medium. The AgNPs are seeded and grown in a mixed hydrogel of chitosan, azelaic, and lactic acid, by the reduction of silver nitrate, and using calcium hydroxide as precipitating agent. The rheological properties of this coating base are optimized by the addition of a solvent mixture of glycerol and ethanol with a 1:1 volume ratio. The new formulation and two commercial products (Paraloid® B72 and Proconsol®) are then applied by brush to ad hoc mock-ups to be evaluated for chemical stability, color and gloss variations, morphological variation, hydrophobicity, and water vapor permeability via Fourier-transform infrared spectroscopy (FT-IR) in attenuated total reflection (ATR) mode, spectrophotometer analysis, stereomicroscope observations, UNI EN 15802, and UNI EN 15803, respectively. The results show that the application of the hybrid chitosan-AgNPs coating is promising for the protection of outdoor frescoes and that it can underpin the development of new products that address the lack of conservation strategies specifically designed for wall painting.
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Kumar Tiwari, Pawanendra. "COLORS IN MEDIEVAL BOOK PICTURES AND MINIATURES." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3669.
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In medieval India, colors for drawing were obtained from a variety of substances such as minerals, compounds or natural salts. Some colors were derived from natural materials such as plant biomass. For example, neem and wormwood etc. were used in large scale not only in pictures but also in writing. Similarly, because of red ink written in silver and gold, Swanakshari Shetakshari was named. Red ink was used to draw margins at the end of the prominence, in the lines, in the instruments, etc. Books written with gold and silver powder were more expendable and they had more sense of grandeur. It was also relatively difficult to write the letters of silver and gold and in reading it there was a lot of emphasis on the eyes. Most of the mineral colors have been used in the West Indian painting style. These were finely powdered and brought into color. The natural state of the dyes was impure, so it was purified by dissolving it in water. Heavy impurities used to sit at the bottom and the top water was drained and separated. This process was repeated many times and color refinement was used to dry it and used it for illustration. This action was called color washing.
मध्यकालीन भारत में चित्रण के लिए रंग कई प्रकार के पदार्थो जैसे खनिजों योगिको अथवा प्राकृतिक लवणों से प्राप्त किये जाते थे। कुछ रंग प्राकृतिक वस्तुओं जैसे वनस्पति जैव पदार्थो से प्राप्त किये जाते थे। उदाहरण के लिए नीम तथा कृमिदाना आदि काजल का प्रयोग न केवल चित्रो में बल्कि लेखन कार्य में भी बडे पैमाने पर हुआ। इसी प्रकार लाल स्याही चाँँदी तथा सोने में लिखा होने के कारण स्वणाक्षरी शेत्याक्षरी नाम दिया गया । लाल स्याही का प्रयोग अहमायो के अन्त में हाशिये खीचने में वृन्तों रेखाओं यंत्रों आदि में हुआ। स्वर्ण रजत चूर्ण से लिखी जाने वाली पुस्तके अधिक व्यय-साध्य थी उनमें वैभव-प्रदर्शन की भावना अधिक होती थी। चाँदी तथा स्वर्ण के अक्षरों को लिखना भी अपेक्षाकृत कठिन होता था तथा उसको पढने में भी आखो पर अधिक जोर पडता था। पश्चिम भारतीय चित्र-शैली में अधिकतर खनिज रंगों का प्रयोग किया गया है। इन्हें बारीक चूर्ण के रूप में लाकर रंग बनाया जाता था। रंगो की प्राकृतिक अवस्था अशुद्ध होती थी अतः उसको पानी में घोलकर निथारकर शुद्ध किया जाता था। भारी अशुद्धियाँ नीचे बैठ जाती थी तथा ऊपर का पानी निथारकर पृथक् कर लिया जाता था। इस क्रिया को कई बार दोहराकर रंग का शोधन किया जाता था इसे सुखाकर चित्रण-कार्य में प्रयुक्त करते थे। इस क्रिया को रंग धोना कहते थे।
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Soodsang, Nirat. "Effects of Community Based Learning in Ceramic, Sakraloke’s Sukhothai." Asian Social Science 13, no. 2 (January 19, 2017): 41. http://dx.doi.org/10.5539/ass.v13n2p41.
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The purposes of this research were 1) to establish the community-based learning process of Sukhothai Sangkhalok ceramic work; 2) to design Sangkhalok ceramics for marketing competitiveness and community economic development; and 3) to evaluate the learning outcome of student with the community on Sukhothai Sankhalok designs. The research involved a simple-random sample of 40 second year students majoring product and packaging design of the Department of Art and Design. The community-based learning model in Sukhothai Sankhalok ceramic work as a research tool consisted of the learning plan, activities, and evaluation form. The researcher undertook a field work to collect data from the 3 Sangkhalok ceramics manufacturers in Sukhothai province, namely: 1) Suthep Sangkhalok, Tambon Muang Kao, Amphur Muang Suthothai; 2) Usa Sangkhalok Tambon Muang Kao, Amphur Muang Suthothai 3) Bua Sangkhalok, Tambon Muang Kao, Amphur Muang Suthothai. The data analysis focused on 2 areas, i.e. the analysis of ceramics community on its history, community’s operation model, and the analysis of students’ learning outcome. The analysis employed descriptive statistics and a comparison of learning outcomes against the 80 % criterion with one-sample statistics. The findings suggested that the community-based learning model of Sukhothai Sangkhaloke ceramic work as obtained in this research comprised 4 components: 1) strengthening community economics and community enterprise development; 2) promoting participatory learning process; 3) naintaining and building the capacity of local wisdom, and 4) building network and collaboration to link the knowledge and local wisdom. The Sangkhalok ceramic design works were in 3 collections: 1) Sangkhalok ceramics in swan shape with decorating technique of color painting under the glaze, in 4 styles, and 2) Sangkhalok ceramics in dragon shape with decorating technique of gold color water drawing, in 4 styles, and 3) Sangkhalok in Ganesh shape, in 3 styles. Students who designed the ceramics by the concept of Sukhothai ceramic art model showed the learning outcome with average scores at 84.50 % which was higher than the set criterion at 0.05 level of significance.
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Enina, Ivetta A. "ARTISTIC FEATURES OF THE NORTHERN “WHITE NIGHT” MOTIF IN THE LANDSCAPES OF ALEXANDER BORISOV AND LOUIS APOL." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 77–87. http://dx.doi.org/10.36340/2071-6818-2021-17-5-77-87.
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The article examines the peculiarities of the color and light atmosphere of the phenomenon of white night in the Far North in the seascapes of the Russian and Northern European art. Attention is drawn to the period from the second third of the 19th century to the first quarter of the 20th century, when scientific and artistic exploration of the Arctic begins to take place on a regular basis. The article shows that the motive of the luminous night at the turn of the century appeared in connection with the appeal of artists to the study of natural contrasts of the Far North. Owing to the comprehending of the monotonous northern landscape, the palette of paintings was enriched with cold light shades of a lightair environment, the artists caught its special glow in the reflections in the water, ice floes and on the snow cover. The article mentions works of art by K. A. Korovin, V. A. Serov, V. V. Perepletchikov, N. V. Pinegin, A. A. Rylov and A. N. Benois, created during their participation in polar expeditions in late XIX and early XX centuries. Attention is drawn to the fact that the painters are branching out from marine pictorial art towards the study of special natural phenomena, such as images of light and dark polar nights, the northern lights, floating ice, fogs and snowy shores. It is carried out an art analysis and comparison of the works of the Russian “artist of eternal ice” Alexander Borisov and the Dutch “winter artist” Louis Apol, who were the first to depict such a phenomenon as a white night in the Far North. But their artistic interpretation of this phenomenon differs. A. Borisov perceives the North as a kind of “living” space in his own experience of figurative-symbolic comprehension of the world order, but at the same time does not lose touch with his realistic painting manner. And L. Apol impartially captures the surrounding nature, remaining in the principles of the features of compositional construction, which are characteristic of late romanticism. The European painter prefers muffled coloring, while on the canvas of the Russian artist, the paints literally ring and glow.
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Dmitrieva, Natalya Y., and Tatyana V. Malyutina. "THE DIALECTIC OF SELF-KNOWLEDGE PORTRAYED IN ARTISTIC IMAGERY IN THE PAINTINGS OF V.M. VASNETSOV “ALYONUSHKA”." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 139–48. http://dx.doi.org/10.17223/22220836/41/11.
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The purpose of the research is a philosophical and art criticism analysis of V.M. Vasnetsov’s work “Alyonushka” in 1881, aimed at identifying its ideological essence. The methodological and theoretical foundations of the research are: the conceptual provisions of the theory of reflection By G.V.F. Gelel, the structuralist method in art studies, in particular, the semiotic approach that justifies the idea of a holistic consideration of the form and content (phenomenon and essence) of a work of art, the principle of classification of signs by C.S. Peirce. Research problem. To present the work of V.M. Vasnetsov “Alyonushka” as a complex multi – level structure of the dialectical unity of the essence (meaning) and the phenomenon (sign) – a logogram, where the logos is the cause, the creative principle that binds and holds together the essence (meaning) of the work and its sign phenomenon. In the process of creative relationship (dialogue) between the work and the viewer in the space of an artistic image, reveal the content of the three levels of the logogram of the work. Vasnetsov’s “Alyonushka”: an index level consisting of elementary cells-figures filled with paint of a certain color, an iconic level that collects index elements into a visual “image-icon”, and finally, a symbolic level that keeps the content of the index and icon statuses in the removed quality and is crystallized in the compositional formula of the work. To reflect on the meaning of the symbolism of the compositional formula of the logogram of V.M. Vasnetsov’s painting “Alyonushka” as a special kind of communication between the viewer and the work. A consistent study of the content of the index, iconic and symbolic levels of the logogram of the artistic image of V.M. Vasnetsov's painting “Alyonushka” of 1881 presents the following conclusions. The analysis of the index status of the logogram of the work revealed a complex horizontal “score” of the canvas in an even metric alternation of four layers. The image of water, earth, forest and sky in the picture in the form of wide horizontal monumental tiers embodies the universality, stability and fundamental laws of the infinite transcendent universe. The analysis of the iconic status of the logogram of the work reveals the image of a solitary, prayerful process of contemplation by the heroine of a pantheistically presented image of nature. The analysis of the symbolic level of the logogram of the painting reveals the main compositional formulas of the work as a concentrated expression of the essence of an integral artistic image. The study of the symbolism of the compositional formulas of the artistic image allows one to formulate the essence of the work of art V.M. Vasnetsov, expressed in the contemplative dialectic of the emanative movement from the infinite transcendental to the human finite and immanent movement from the finite human to the infinite absolute, represented as the ratio of the teenage girl and the surrounding pantheistic image of nature.
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Andreeva, Olga Pimenovna, Svetlana Petrovna Akhmetova, and Evelina Valerianovna Mikhailova. "Fine receptions of water coloring painting as a means of realization of creative ideas of future designers." Interactive science, no. 3 (37) (March 27, 2019): 47–49. http://dx.doi.org/10.21661/r-486225.
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This article deals with the task of design education in the training of specialists who are ready to implement creative ideas in the design of environmental objects. It gives a detailed analysis discipline of academic painting. It is reported about the study of pictorial techniques, rules and patterns of academic painting, which are necessary when performing creative tasks. The stages of color design of the project are considered in detail, with the implementation of which various graphic techniques of watercolor painting are used.
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Sassoni, Enrico, Elisa Franzoni, Milyana Stefanova, Zdravko Kamenarov, Paolo Scopece, and Emanuele Verga Falzacappa. "Comparative Study Between Ammonium Phosphate and Ethyl Silicate Towards Conservation of Prehistoric Paintings in the Magura Cave (Bulgaria)." Coatings 10, no. 3 (March 9, 2020): 250. http://dx.doi.org/10.3390/coatings10030250.
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This study aimed at evaluating the effectiveness and the compatibility of two alternative treatments, in view of their possible use for conservation of prehistoric paintings in the Magura cave (Bulgaria). The paintings are made of bat guano applied over limestone; therefore, two sets of laboratory specimens were considered: stone specimens and stone specimens covered with a layer of sterilized bat guano. The two investigated treatments were a commercial product based on ethyl silicate (“ES”) and a solution of diammonium hydrogen phosphate (“DAP”), aimed at forming calcium phosphates. The results of the study indicated that both treatments were able to increase the mechanical properties of stone, the increase being higher for “DAP”. Both consolidants caused acceptable color changes, but the “ES” treatment significantly decreased stone wettability, water absorption, and water vapor permeability, while the “DAP” treatment slightly affected those properties. In the stone + guano specimens, the presence of the guano layer affected the penetration of the consolidants, thus partly reducing their effectiveness. Compared to the stone samples, the guano layer experienced a more intense color change, alongside visible cracking. However, the adopted methodology to replicate the cave paintings was not completely successful, as the so-deposited guano layer was very prone to detachment when dry, unlike cave paintings. Future work will be dedicated to assessing the consolidant performance onto samples that resemble even more closely the conditions of the cave paintings, by improving the methodology for the guano layer deposition and by contaminating specimens with soluble salts before consolidant application.
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Marey Mahmoud, Hussein Hassan. "The Efficiency of Polymeric Coatings for the Conservation of Ancient Egyptian Wall Paintings, El-Qurna Necropolis, Upper Egypt." Ge-conservacion 3 (December 14, 2012): 89–104. http://dx.doi.org/10.37558/gec.v3i0.97.
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The present work aims at studying the long-term protection of damaged Egyptian wall paintings (tomb of Ameneminet, No. TT277, Ramesside Period), El-Qurna necropolis, Upper Egypt. To achieve this, the efficiency of some polymeric materials for the consolidation of laboratory samples similar to the ancient murals was evaluated. The climatic conditions of the area play an important role in accelerating the damages process of the paintings. Crystallization cycles of salts exert additional pressure by producing cracking, powdering and flaking, in addition to pulverization of the pictorial layers. Different commercial products based on acrylic and silicone consolidation materials were tested in this study. The evaluation of the consolidation process was performed using the visual observation, scanning electron microscopy (SEM), contact angle values, color measurements and determining the physical and mechanical properties. The results showed that the superior behavior of water repellency was obtained by the micro emulsion Wacker VP 1311. Moreover, the application of the stone strengthener Wacker OH and the acrylic co-polymer Paraloid B82 helped in improving the physical and mechanical properties of the treated samples. In conclusion, Wacker OH could be used to enhance the durability of the inner matrix; however, the application of the microemulsion Wacker VP 1311 as a protective layer will increase the material’s water repellency in areas subjected to moisture or ground water attack.
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Bhardwaj, Kumkum, and Parvinder Rathore. ""COLOR AND NATURE IN CONTEMPORARY FEMALE PAINTER ARPITA BASU'S PAINTINGS" (IN REFERENCE TO ENVIRONMENT)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3676.
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Like human life, the history of color and the emergence of nature is also very mysterious and vast. From the moment when man opened his eyes in the lap of nature, he saw nature with colors. Life cannot be imagined without color and nature.Color and nature have an unbreakable relationship with the creation of nation. Nature without colors and colors without nature cannot be imagined, every nature thing present in the earth like: - tree - plant, animal - bird, animal - animal, river, mountain, fire, water, sky etc. Colors are taken with the look
मानव जीवन की भांति रंग एंव प्रकृति के उद्रय का इतिहास भी बडा रहस्यमय ओर विराट है मनुष्य ने जिस समय प्रकृति की गोद मे अपनी आॅख खोली उस समय से ही उसने प्रकृति को रंगो के साथ में देखा । रंग एंव प्रकृति के बीना जीवन की कल्पना नहीं की जा सकती है।सष्ट्रि के निर्माण के साथ ही रंग एंव प्रकृति का अटूट संबंध रहा है। रंगो के बिना प्रकृति तथा प्रकृति के बिना रंगो की कल्पना नहीं की जा सकती है सष्ट्रि में उपस्थित प्रत्येक प्रकृति वस्तु जैसे:- पेड - पौधे ,पषु - पक्षी, जीव - जन्तु ,नदी ,पहाड ,अग्नि ,जल, आकाष आदि सभी एक निष्चित स्वरुप के साथ रंग लिए होते है
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Cruz, S., N. A. Pérez, J. Cárdenas, J. R. Vidal-Solano, and L. Alatorre. "Conservation of Volcanic Tuffs Bearing Rock Paintings at La Pintada, Sonora Archaeological Site." MRS Proceedings 1618 (2014): 195–205. http://dx.doi.org/10.1557/opl.2014.468.
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ABSTRACTThe Archaeological Site La Pintada is located near Hermosillo, Sonora, Mexico; this is one of the most important sites in the region due to its extension and wide archaeological evidence. This site was a gathering point for various indigenous groups since the pre-Hispanic age to the first contacts with the Spanish conquerors; they left their live experiences and worldview in the form of rock paintings along a wide natural canyon. Several of these paintings are in risk due to weathering processes of their rock support: the volcanic tuff.In order to preserve these paintings the characterization of the volcanic tuff was made with petrographic analyses and X-Ray Diffraction, and among with the results obtained from environmental monitoring, different degrees of alteration were established. According to these results, the conservation treatment proposed was the consolidation of the tuff.The consolidants used for this treatment were alkoxysilanes in two variations: Silicate and alumino-silicate which were developed in Mexico for volcanic tuff consolidation. The consolidants were synthetized in the laboratory, and afterwards were tested on powders and cubic probes of the rock in Hermosillo’s environmental conditions (24°C, 45%RH).The consolidants were tested in two different types of application: aspersion and injection. The consolidated probes were evaluated for hardness, water absorption and color change. Afterwards, in situ tests were performed. The results of this evaluation showed that the Silicate consolidant was the best for this treatment, since it was easy to manipulate, improved the rock’s properties and did not cause a change appearance; making this Mexican material suitable for the conservation of the rock paintings.
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Medynska-Gulij, Beata. "Who were cartographers of manuscript topographic maps in the Enlightenment?" Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-247-2019.
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<p><strong>Abstract.</strong> The most difficult challenge is to provide the name of the cartographer, i.e. the author of graphic picture of topography with the use of watermedia on paper, for each important European topographic work. Even though we know the names of chiefs of survey and the most important engineers in field mapping teams, it is not possible to precisely describe their role in creating graphic style for fair copy. The aim of this study was to identify several types of design authorship of manuscript topographic maps in the Enlightenment.</p><p>Wrede’s map of Silesia was developed under King Frederick II’s supervision, who was himself theoretically and practically competent in map making. The mapping and the resulting protraction copy were made by Wrede and his team, but the draughtsmen were probably coordinated by Oelsnitz, head of the Potsdam drawing room. Such a hierarchical production structure, might also be recognized in the map of Norway developed by order of Huth &ndash; the Staatsminister and mathematician &ndash; who delegated the coordination of surveying and drawing activities to Staffeldt. In fact, the men responsible for the original map were cartographer Stabell and other engineers. A similar solution would explain the map of the Electorate of Hanover, produced by Hogrewe and his subordinate engineers, formally supervised by du Plat, but with the personal involvement of King George III in the decisions over segment division and cartographic content.</p><p>Institutional authorship, or maps produced by the head of a specific drawing room and his subordinate draughtsmen. The map of England, attributed to Gardner and the personnel of the Tower of London drawing room, was developed according to this system. Authorship in tandem: those engineers who performed field surveys and sketches, and later produced fair copies (e.g. Roy and Sandby’s map of Scotland) &ndash; the former drew topographic objects and the latter was the sole author of landform painting; Avico and Carello (map of Susa Valley) &ndash; both put their ink signatures on the map, independent of the cartouche content.</p><p>Collective authorship where the maps were produced by draughtsmen associated with particular drawing rooms or employed to draw maps according to the protracted copies supplied. The former included, for instance, the case of the map of NE France with Lorraine (from Naudin’s atelier) or the over 3,000 map segments (map of the Habsburg Dominion) developed by officers in Vienna. A further example would be the map of Austrian Netherlands, most probably involving draughtsmen educated in France.</p><p>The comparison of maps with the actual topographic situation in the countryside, also made us realize that the perception and cartographic work of various groups of map-making officers in similar cultural and surveying conditions, but in different topographic situations, might be interpreted as elements in a broader phenomenon of the understanding of space in the Enlightenment. The use of water-based media allowed for the representation of lands throughout Europe. No other technique offered map makers and artists an opportunity to reflect landscape so realistically. It is, no wonder, then, that it strongly affected the development of modern principles for cartographic design, even being translated through into the engraving and lithographic world of print. The map-making initiatives conducted in the Enlightenment were distinctive, helping define an age and a new emerging Europe. In these manuscript maps, we can see how eighteenth-century European contemporaries helped develop conventions &ndash; in the use of line, color, perspective, tone and topographic form &ndash; that shaped how their world was seen: on maps, in art, in the political imagination.</p>
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MILLER, DOUGLASS R., and IAN C. STOCKS. "New genera and species of felt scales (Hemiptera: Coccomorpha: Eriococcidae), with descriptions of new species and immature instars of described species." Zootaxa 5221, no. 1 (December 15, 2022): 1–213. http://dx.doi.org/10.11646/zootaxa.5221.1.1.
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In this work, emphasis is placed on the Eriococcidae (Hemiptera: Coccomorpha) of the Nearctic Region including the immature instars of many species not previously described, two new genera (Carphococcus Miller and Stocks and Ypofloiococcus Miller and Stocks), and 11 new species (Acanthococcus pennyae Miller and Stocks, Carph. apodus Miller and Stocks, Carpochloroides eugeniae Miller and Stocks, Ovaticoccus betsyae Miller and Stocks, Ov. gordoni Miller and Stocks, Ov. haigi Miller and Stocks, Ov. maryfoleybensonae Miller and Stocks, Ov. telotrichus Miller and Stocks, Ov. tuttlei Miller and Stocks, Ov. villanuevorum Miller and Stocks and Y. libeauae Miller and Stocks). In addition to the new taxa, descriptions and illustrations are provided for adult females, adult males and/or immature instars of Ac. arenosus (Cockerell), Ac. coccineus (Cockerell), Ac. dennoi Miller and Miller, Ac. gallicolus (Cockerell & Rohwer), Ac. hoyi Miller and Miller, Ac. kemptoni (Parrott), Apezococcus idiastes Ferris, Carpo. mexicanus Ferris, Cryptococcus fagisuga Lindinger, Cr. williamsi Kosztarab and Hale, Hypericicoccus hyperici (Ferris), Ov. agavacearum Pellizzari and Kozár, Ov. agavium (Douglas), Ov. cornutus (Ferris), Ov. densus (Miller), Ov. eriogoni (Miller), Ov. exoticus Pellizzari and Kozár, Ov. neglectus (Cockerell), Ov. peruvianus (Granara de Willink & Díaz), Ov. salviae Miller, Ov. sanguineus (Miller), Ov. tippinsi Miller and Miller, Ov. variabilis Miller, Spiroporococcus braggi (Cockerell & Robinson), S. yuccae (Ferris) and Xerococcus foquieriae Ferris. Lectotype designations are made for Ap. idiastes. Carpo, mexicanus and H. hyperici. New collection data are provided for Ov. californicus McKenzie, Ov. johnsoni (Miller), Ov. mackenziei Miller, Ov. parvispina (Chaffin) and Ov. viscosa (Kondo). Dichotomous keys are given for: determination of most eriococcid instars of both sexes; Nearctic genera of the Eriococcidae based on adult females; adult females, second-instar females, second-instar males, and first-instar nymphs of Ovaticoccus Kloet 1944; and the seven species of Acanthococcus Signoret 1875 treated here, based on first-instar nymphs. Oregmopyga Hoy 1963 and Cornoculus Ferris 1955 are treated as junior subjective synonyms of Ovaticoccus. Atriplicia Cockerell and Rohwer 1909 has been placed previously as a junior synonym of Eriococcus but here is regarded as a junior subjective synonym of Acanthococcus. We treat 44 species; new descriptions are provided for 101 treated instars, and detailed line drawings are given for all but three of them. The following species, listed in ScaleNet as occurring in the Nearctic Region, are transferred to Acanthococcus from Eriococcus Targioni Tozzetti 1868: Acanthococcus actius Miller and Miller 1993 rev. comb.; Ac. arenariae Miller and Miller 1993 rev. comb.; Ac. barri Miller 1991 rev. comb.; Ac. beshearae Miller and Miller 1993 rev. comb.; Ac. dennoi Miller and Miller 1993 rev. comb.; Ac. droserae Miller, Liu and Howell 1992 rev. comb.; Ac. epacrotrichus Miller and Miller 1992 rev. comb.; Ac. froebeae Miller 1991 rev. comb.; Ac. gallicolus (Cockerell & Rohwer 1909) comb. n.; Ac. hoyi Miller and Miller 1992 rev. comb.; Ac. mackenziei Miller and Miller 1992 rev. comb.; Ac. macrobactrus Miller and Miller 1992 rev. comb.; Ac. megaporus Miller and Miller 1993 rev. comb.; A. mesotrichus Miller and Miller 1993 rev. comb.; Ac. microtrichus Miller and Miller 1992 rev. comb.; Ac. monotrichus Miller and Miller 1993 rev. comb.; Ac. ophius Miller and Miller 1993 rev. comb.; Ac. stauroporus Miller and Miller 1992 rev. comb.; Ac. washingtonensis Miller and Miller 1992 rev. comb.; and Ac. whiteheadi Miller 1991 rev. comb. In addition, two species are transferred to Acanthococcus from Rhizococcus Signoret: Ac. coccineus (Cockerell 1894a) rev. comb. and Ac. kemptoni (Parrott 1900) rev. comb. Three images of water color paintings by Mary Foley Benson are included.
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Yang, Hye Ri, Chan Hee Lee, and Jeongeun Yi. "Analysis of pigments and damages for the 19th century White-robed Water-moon Avalokitesvara Painting in Gongju Magoksa Temple, Republic of Korea." Heritage Science 9, no. 1 (October 30, 2021). http://dx.doi.org/10.1186/s40494-021-00600-6.
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AbstractThe White-Robed Water-Moon Avalokiteshvara painting displayed on the rear wall of Daegwangbojeon (main hall) in Magoksa temple, is one of the representative Buddhist paintings in the late nineteenth century of Korea, and a valuable resource for understanding the coloring techniques and characteristics of Buddhist paintings in terms of expression and description in landscape painting. In this painting, the contours and colored surface remain undamaged, but blistering and exfoliation appear on some pigment layers. Furthermore, the partial decomposition of wooden materials due to wood-decay fungi and insect damage were found on the rear wall requiring proper treatment for long-term conservation. As the results of chromaticity and P-XRF analysis regarding the color pigment layer of the painting, the pigments were classified into ten types. The results suggest that the colors other than blue, green, yellow, red, black, and white were prepared by mixing two or more pigments. The types of pigments according to colors, were determined as traditional pigments with azurite; emerald green or clinoatacamite; 0 massicot; minium or hematite; Chinese ink; and kaolin, white lead, and gypsum, respectively. Violet and pink colors were assumed to have been prepared by mixing white with blue and red. In most of these pigments, small amounts of synthetic compositions from the modern era were detected at many points.
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Miller, Sharon K. R., Bruce A. Banks, and Greg Tollis. "Treatment and Analysis of a Paint Chip from “Water Lilies” a Fire Damaged Monet." MRS Proceedings 712 (2002). http://dx.doi.org/10.1557/proc-712-ii1.3.
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ABSTRACTA museum fire in 1958 severely damaged a Monet “Water Lilies” (1916-1926) painting that was on display. The surface of the painting is very dark with areas of blistering and charring. Over the years, traditional techniques have been found to be ineffective at removal of the soot and char from the surface. The painting, which is now in the care of the New York University (NYU) Conservation Center of the Institute of Fine Arts, was the subject of a study to determine if atomic oxygen treatment could remove the soot and char without damaging the fragile painting underneath. For test purposes, a small chip of paint was removed from the edge of the painting by a conservator at NYU and supplied to NASA Glenn Research Center for atomic oxygen treatment and analysis. The diffuse spectral reflectance, at three locations on the paint chip, was monitored at intervals during the atomic oxygen treatment process. Photo documentation of the chip during treatment was also performed. The color contrast was calculated from the spectral reflectance data as a function of treatment duration. Results of the testing indicated that the contrast improved as a result of the treatment, and the differentiation of colors on the surface was significantly improved. Soot and char could be removed without visibly affecting the gross surface features such as impasto areas. These results indicate the feasibility for the treatment of the “Water Lilies” painting.
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Filippova, Olga. "NATURE OF THE RUSSIAN NORTH IN THE CREATIVE WORK OF E.E. VOLKOV (1844–1920)." Young Scientist 11, no. 87 (2020). http://dx.doi.org/10.32839/2304-5809/2020-11-87-73.
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It is known that the landscape in Russian painting is formed quite late – only in the last quarter of the XVIII century. The first Russian landscape painters – F.Y. Alekseev, F.M. Matveev, M.N. Vorobyov, Semyon Fedorovich and Sylvester Feodosievich Shchedrin, etc. – focused mainly on the nature of Italy, cultivated Russian landscapes (noble estates and parks) and urban panoramic views. The flowering of the Russian landscape, the hero, becomes the nature of the Central and Northern Russia, second half XIX century – this time is the work of artists, the Wanderers, A.K. Savrasov, E.E. Volkov, I.I. Shishkin, F.A. Vasiliev, A.I. Kuindzhi, I.I. Levitan... Their paintings of the 1870-ies and 1880-ies were exempt from academic canons and established realistic principles. Particular attention was paid to the theme of the swamp, which could probably be explained by the aesthetic attitude common to different types of art to the image of the ordinary and ordinary. However, the opening of the swamp theme does not belong to Peredvizhniki. The first swamp was written in 1863 by P.A. Sukhodolsky (1835-1903), an artist who consistently adhered to the canons of academic painting in composition, drawing, and the General tone of his works. This is especially noticeable in his painting: «Swamp». It is difficult to determine what time of day is depicted-early morning or evening, we can also assume that the darkness is forced by a thundercloud. The feeling of anxiety is enhanced by the color scheme – a General dark color. The painting by P.A. Sukhodolsky clearly bears traces of mythological ideas about the danger that the swamp is fraught with. Motifs associated with swamp mysticism are also found in other artists (A.K. Savrasov and A.I. Kuindzhi, E.E. Volkov). So, in the picture of E.E. Volkov: "Swamp in autumn" (1871) the swamp is shown as a reality of peasant life. This is a familiar and habitable space: poor, thatched huts, bald clumps of bushes, stunted birches and lush swamp vegetation, ducks swim peacefully, on the right you can see the figure of a woman with a sheaf of reeds, expanding the side space of the picture. All these details seem to be embraced by the darkening sky, but there is no sense of anxiety, rather a sense of everyday calm. This is a kind of pictorial story about the difficult peasant life, in the spirit of the democratic mood of the time, expressed in literature. This type of landscape can also be attributed to a later painting by E.E. Volkov: «Landscape. Swamp» (1880-ies). The artist makes the figure of a man on a horse as the compositional center, but keeps in view the vast distance, the viscous swamp soil, and the sky with rare blue gaps repeated in the water. Thus, E.E. Volkov has a special predilection for the theme of the swamp, which is diverse and varies in its landscapes.
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Suharson, Arif, and Dwita Anja Asmara. "KONTEMPORER FINISHING PADA MEDIA GERABAH NON SILIDRIS DENGAN TEKNIK PAINTING IN THE WATER." CORAK 2, no. 2 (November 28, 2013). http://dx.doi.org/10.24821/corak.v2i2.2333.
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Creative terracotta products are required to meet the best possible standard ofmaterial, technique, and finishing method. Innovation in the shapes and finishing application ofnon-cylindrical terracotta products can be an appropriate solution to crease centre of interest,and to meet the need for contemporary and modern terracotta products in the market. Most ofthe artisans of terracotta products have not diversified their products. Neither have they madeinnovation about the design for non-cylindrical terracotta products for interior or exteriorornaments. The finishing of products has not improved due to the minimal knowledge in thecomposition of color and technique.This study is an applied research to identify the innovation in shapes of non-cylindricalterracotta products and the quality of terracotta art products. Finishing is the last step in theprocess of production. It has to be in harmony with the contemporary design and trend in orderto increase the price of products. This study specifically found the finishing composition withthe method of painting in the water the process of which is performed in the water to result inunique and artistic color combination.Products of the creative industry of terracotta have attracted both domestic andinternational consumers’ attention. Innovation in non-cylindrical shapes and application ofcontemporary finishing technique of painting in the water will be attractive and beneficial inimproving the quality of terracotta productions in global market era. Therefore, they can resultin superior advantages that lead to the increase of economic welfare especially for thoseinvolved in creative works of terracotta.Key words: finishing, terracotta, product, creative, technique Produk-produk kreatif seni gerabah terracotta dituntut mampu memenuhi standarkualitas baik dari segi, bahan, teknik, dan finishingnya. Inovasi bentuk gerabah non silindris danaplikasi finishing mampu menjadi solusi yang tepat untuk membuat centre of interest, danmengarah pada pemenuhan kebutuhan gerabah kontemporer atau modern, sehingga dapatmemenuhi keinginan pasar. Kalangan pengrajin banyak yang belum melakukan diversifikasidan inovasi desain bentuk gerabah non silindris yang difungsikan sebagai elemen seni hias interior/eksterior. Finishing produk gerabah juga mengalami kendala dan seolah hanya pasrahdengan finishing yang ada, dikarenakan minimnya pengetahuan dalam mengkomposisikanwarna dan teknik finishing baru yang dianggap sulit.Penelitian ini merupakan penelitian terapan yang mengarah pada inovasi bentukproduk gerabah non silindris dan pencapaian mutu finishing pada produk seni gerabahterracotta. Finishing merupakan teknik akhir dalam menyelesaikan produk agar menjadi lebihbaik, menyelaraskan dengan trend desain terkini, dan mampu mengangkat harga jual suatuproduk. Penelitian ini akan menemukan komposisi finishing dengan metode painting in thewater. Dimana proses pelaksanaan finishing gerabah dilakukan dalam air dengan hasil finishingkontemporer dengan perpaduan warna yang unik dan artistik.Produk-produk dari dunia industri kreatif terutama seni gerabah terracotta mulaibanyak diminati oleh konsumen, baik dari dalam negeri maupun luar negeri. Inovasi bentukgerabah non silindris dan aplikasi finishing kontemporer dengan teknik painting in the waterakan menjadi salah satu daya tarik dan mampu meningkatkan mutu produksi seni gerabahterracotta yang akan memberikan dampak kemajuan pada seni tradisional di era pasar global.Sehingga mampu memberikan keunggulan yang berdampak pada penghasilan ekonomikesejahteraan, terutama bagi insan dunia kreatif pada bidang seni gerabah terracota. Kata kunci: finishing, gerabah terracotta, produk, kreatif, teknik
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Martínez Samper, Carmen. "Debussy y Monet en el concierto "La danza de los colores". Intervención interdisciplinar de Música y Pintura. Grado en Bellas Artes TITLE: Debussy and Monet in the concert "The dance of the colours". Interdiciplinary music and painting intervention..." DEDiCA Revista de Educação e Humanidades (dreh), no. 16 (August 20, 2019). http://dx.doi.org/10.30827/dreh.v0i16.8462.
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Romper la dinámica habitual del aula para mejorar el rendimiento de los estudiantes e incentivar su espíritu de aprendizaje y su creatividad nos lleva a aceptar retos para generar un aprendizaje significativo. En este artículo abordamos una experiencia multisensorial que se organizó junto al Conservatorio Profesional de Música de Teruel (España). Las artes visuales colaboraban como invitadas en el concierto homenaje al pianista y compositor Claude Debussy (en el centenario de su muerte) y para ello se diseñó una intervención mural. La asignatura de Color I, del área de pintura, trabajó el proyecto a partir del repertorio seleccionado, tomando como punto de partida la sinestesia, que nos servía de puente entre ambas formas de expresión y creación artística. De esta forma, música y pintura se conjugaban en una obra conjunta dentro de un proyecto colaborativo que se construía simultáneamente. En nuestra propuesta elegimos a Claude Monet, a sus pinturas de nenúfares, para recrear un estanque en cuatro paneles murales que serían pintados in situ por los estudiantes del primer curso. Al trabajar de forma conjunta se proyectó un trabajo colaborativo atendiendo a la percepción sensorial, a la destreza técnica, y como punto de unión entre ambas disciplinas, los colores y los sonidos que invitaban a sentir y percibir tonos, brillo y armonía en una actividad de innovación. La intervención mural y la transformación del espacio permitieron que las notas de color y el sonido danzasen dentro de una misma melodía, metáfora de un paisaje sensorial creado sobre el escenario.ABSTRACTBreaking the usual dynamics of the classroom to improve students´ performance and to encourage their learning spirit and creativity leads us to accept challenges to generate meaningful learning. In this article we approach a multisensory experience which was organized together with the Professional Conservatory of Music of Teruel (Spain). Visual Arts collaborate as guests in a concert-tribute to the pianist and composer Claude Debussy (on the centenary of his death) and, for this, a mural intervention was designed. The subject of Color I, from the Painting Area, developed a project from the selected repertoire, taking as a starting point synesthesia, which acted as a bridge between both forms of artistic expression and creation. In this way, music and painting were conjugated in a joint work within a collaborative project that was being constructed simultaneously. In our proposal, we chose Claude Monet and his water lily paintings, to recreate a pond in four mural panels that would be painted in situ by the first course’ students. Working together, we projected a collaborative work based in sensory perception, the technical skill, and as a point of union between both disciplines, the colors and sounds, which invited to feel and perceive tones, brightness and harmony in an activity of innovation. The mural intervention and the transformation of the space allowed the notes of color and sound to dance within the same melody, metaphor of a sensorial landscape created on the stage.
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Azka, Elsa Nurita, Andita Ayu Mandasari, and Setyo Dwi Santoso. "Comparison of Natural Dyes from Telang Flower Extracts (Clitoria ternatea L) as a Substitute for Methylen Blue in Diff Quik Painting." Procedia of Engineering and Life Science 1, no. 2 (July 8, 2021). http://dx.doi.org/10.21070/pels.v1i2.990.
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Telang flower (Clitorea ternatea L) is a type of vine that grows wild in rice fields and has been widely used as food coloring. Telang flowers contain several active compounds, which is anthocyanin gives a blue color. This research was conducted with the aim of knowing the telang flower extract as a natural dye to substitute methylenen blue in diff quik painting. The analysis samples used were oral mucosal ephithelial cells which were taken by scraping the oral mucosa using cytobrush. Dried and mashed telang flower was then dissolved with distilled water (1:5) to make an extracts before the trial process of the samples. The results showed that the epithelial cells stained with methylene blue were better than telang flower extract. The immersion time of 15 minutes gave different colors to the cell nucleus and cytoplasm compared to 2 minutes and 5 minutes of immersion.
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Dölle, Klaus, Karl Palmer, Nicolas Palumbo, Brian Neary, Ian Shick, and Ian Rothwell. "Straw Paper for Art Applications – A Paper Development Study." Journal of Engineering Research and Reports, February 20, 2022, 33–48. http://dx.doi.org/10.9734/jerr/2022/v22i117518.
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Each paper grade, especially art papers have their own unique requirements by the artist using the paper in regard to mechanical integrity, surface topography, optical appearance and printability based on the unique artistic process applied during printing.
Wheat straw fiber, a left over product from agricultural operations, can be used in many papermaking grades if properly processed prior to papermaking.
A wheat straw containing art paper for artistic water color, oil, and encaustic (wax) painting applications was development and produced with a 10% and 15% northern bleached softwood content using a 12-inch (304 mm) wide laboratory scale paper machine, operated at a speed of 3.76 ft/min (1.14 m/min) with and without operating a calendar. The basis weight of the paper product was 350 g/m² with a caliper of 1050 μm to 1640 μm,
The paper products burst load in psi ranged between 2.49 and 4.71. Tensile peak load measured in kilogram-force (kgf) per 15mm wide testing strip ranged from 4.08 to 9.32 for the machine direction and 1.96 to 4.74 for the cross machine direction.
The roughness range of the wheat straw art paper was 2909 ml to 2963 ml for the top side and 2880 ml to 2954 ml for the bottom side of the paper.
The ISO brightness and opacity of the yellowish wheat straw art paper was at 22.74% and 100.00%, The ISO color value was for the L*, a*, b* Hunter color scale 69.46%, 02.02, and 15.47 respectively.
The finished art paper product met the expectations by the artists. The paper was used for several encaustic art studio projects.
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Lucas, Robert. "About the Cover." Pathogens and Immunity 3, no. 2 (September 12, 2018). http://dx.doi.org/10.20411/pai.v3i2.261.
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About the Cover The Burning of the Houses of Lords and Commons, 16 October 1834, 1835 Joseph Mallord William Turner (British, 1775-1851) oil on canvas, Framed: 123.5 x 153.5 x 12 cm (48 9/16 x 60 3/8 x 4 11/16 in.); Unframed: 92 x 123.2 cm (36 3/16 x 48 1/2 in.). Bequest of John L. Severance 1942.647 Image Credit: Cleveland Museum of Art On the night of October 16, 1834, fire consumed the Houses of Parliament in London. Londoners gathered along the banks of the river Thames to gaze in awe at the horrifying spectacle. Initially, a low tide made it difficult to pump water to fire-fighting equipment on land; likewise, it hampered steamers towing fire-fighting equipment up the river. Although the tides eventually shifted, the effort was futile, as the fire burned uncontrollably for hours. Turner records this as the steamers in the lower-right corner head toward the flames.Although Turner based the painting on an actual event, he used the disaster as the starting point to express man’s helplessness when confronted with the destructive powers of nature, here dissolved in brilliant swaths of color and variable atmospheric effects that border on abstraction.
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"Soundboard Scholar no. 3: Cover." Soundboard Scholar 3, no. 1 (2017). http://dx.doi.org/10.56902/sbs.2017.3.2.
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The color portrait of Fernando Sor which appears on the cover of this issue, not previously published as far as we know, is a hand-colored version of a printed (b&w) copy of a painting—an original portrait (now lost) of Sor—by one Innocent Louis Goubeau. Before it disappeared it was copied, in the mid-1820s, by both a lithographer and an engraver, probably in response to public demand. The lithograph, according to the British Museum exemplar now online and well documented (No. 1893,0123.45), bears the attribution “Goubeau pinxit / Lith de Engelmann / Lithod par Bordes,” which means that the original painter was Goubeau, the preparer of the image on the lithographic stone was Joseph Bordes, and the craftsman who inked the stone and pulled the prints was Godefroy Engelmann. The engraved copy, slightly sharper than the lithographic one, has this attribution: “Drawn by L. Goubeau / Engraved by M.N. Bates.” Our cover illustration apparently began its existence as a paper print and was over-painted by hand (water-colored). It is a one-of-a-kind miniature version (the inner oval being 9.5 x 7.3 cm.– about 3.7 x 2.9 in.) of how the original portrait might have appeared. The present owner, Norbert Fischer, who kindly gave us permission to reproduce the portrait, is “a classical guitarist and guitar teacher who lives with his family in a little N. German village some 60 km. from Bremen.” He acquired it from an antiquarian dealer in response to an eBay posting of 2015. —Thomas Heck
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Pasquale, Stefania, and Anna Maria Gueli. "Effect of water in color changes of historical paintings." Color Research & Application, May 22, 2021. http://dx.doi.org/10.1002/col.22683.
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Miller, Mary E. "The Maya Battle, 786–1519." Ancient Mesoamerica, February 13, 2023, 1–8. http://dx.doi.org/10.1017/s0956536121000122.
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Abstract A careful reading of the battle in the Bonampak murals offers new insights into eighth-century strategies for warfare, and the importance of overwhelming force in both aggression and deterrence. These same two strategies were critical during the Spanish invasion, especially in defense of freshwater resources. The murals of Bonampak provide insights into the Maya battle, including the emphasis on teamwork in execution of battle tactics and the seemingly contradictory emphasis on the individual, in terms of hieroglyphics. Despite exhaustive study of the paintings, the potential consideration of color-defined and pattern shields also may reveal groupings of warriors previously unrecognized in both battle and presentation of captives. Sixteenth-century accounts by Spanish invaders confirm a practice that includes defense of water sources along the coast of Yucatan, with details that can be evaluated regarding eighth-century Maya practice.
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Marey Mahmoud, Hussein. "An effective polymer nanocomposite based on tetraethoxysilane (TEOS) and SiO2-Al2O3 nanoparticles for super protection of damaged ancient Egyptian wall paintings." Pigment & Resin Technology ahead-of-print, ahead-of-print (July 16, 2021). http://dx.doi.org/10.1108/prt-01-2021-0013.
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Purpose This contribution aims to introduce an effective low cost polymer-nanocomposite for possible application to achieve a super protection for highly damaged ancient Egyptian wall paintings. Design/methodology/approach SiO2 and Al2O3 nanoparticles were synthesized by the sol-gel method. Then, the polymer-nanocomposite was prepared by simple mixing and dispersing the nanoparticles into the tetraethoxysilane polymer solution, with the aid of an ultrasonic dismembrator. The application of the polymer-nanocomposite and other polymeric nanodispersions, on laboratory models, was performed by the brushing technique. Next, the materials stability was evaluated by means of digital optical microscope, colorimetry, FE-scanning electron microscope, measuring the static contact angle and water absorption rates. Findings The results were promising in creating a superhydrophobicity and the static contact angle (?S) measured for the polymer-nanocomposite reached 135o. An average of three measurements of the water absorption rate after polymer-nanocomposite treatment was 0.66 g/m2 s, compared to 2.60 g/m2 s for the control model (untreated). Further, an average of color difference (?E*) for the treated surface was 2.78, and after the accelerated thermal aging was 3.6. Observing the surface morphology, the polymer-nanocomposite enhanced the roughness of the treated surface and showed a high resistance to laboratory salt weathering. Practical implications Preparation of a polymer-nanocomposite by adding SiO2 and Al2O3 NPs to tetraethoxysilane polymer has been proposed. As a promising conservation material, the produced polymer-nanocomposite helped to form an efficient protective film. Originality/value This paper attains to develop an economic polymer-nanocomposite to maintain a high protection to damaged ancient Egyptian wall paintings and similar objects.
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Shiu, Cao. "Tan Dung «organic music» concept for the example of fortepian suite «Memories about eight watercolor paintings»." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2019, 166–79. http://dx.doi.org/10.33398/2310-0583.2019.44.166.179.
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To study the concept of «organic music» Tan Dung, the following tasks were solved: the factors influencing the formation of his work; A general analysis of creativity and a suite «Memories of eight watercolor paintings» was performed; defined styles of creativity; the essence of organic music is explained and the origin of sources of non-typical sounds for musical art is systematized; The experimental and innovative approaches of composer in work on musical works are summed up. A set of methods has been used to achieve the goal and to solve the set tasks: analytical - in the study of scientific literature; axiological - that allows to reveal value orientations for the development of own stylistics; systematization - for determining the techniques of avant-garde music; musicology - for the analysis of the composer's suite in the aspect of the essence of «organic music». The example of the piano suite «Memories of the eight watercolor paintings» identified the style features of Tan Dung's creativity, the most typical of which is the mixing of musical traditions of the editors, multimedia and theatrical-ritual imagery. The essence of organic music and the origin of non-typical sources of sound, which appeared in the use of natural materials, was clarified. The desire for experimentation and innovation was manifested in the subtle feeling and imitation of the sounds of nature («music of water», «paper music», «music stones»); in combination of theatrical imagery and timbre of orchestral (national and European) musical instruments; in capturing the color of sound effects; in a combination of traditional national and western avant-garde; in the individuality of the approach to the use of pointillism. The practical value of the study is the possibility of using its materials in further research on the problem of «organic music». Originality - in the lead in the study of this specific phenomenon.
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Long, Ke. "Ping’s opera art in Guangdong in the traditions and the present." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2019, 179–89. http://dx.doi.org/10.33398/2310-0583.2019.44.179.189.
Full textAbstract:
To study the concept of «organic music» Tan Dung, the following tasks were solved: the factors influencing the formation of his work; A general analysis of creativity and a suite «Memories of eight watercolor paintings» was performed; defined styles of creativity; the essence of organic music is explained and the origin of sources of non-typical sounds for musical art is systematized; The experimental and innovative approaches of composer in work on musical works are summed up. A set of methods has been used to achieve the goal and to solve the set tasks: analytical - in the study of scientific literature; axiological - that allows to reveal value orientations for the development of own stylistics; systematization - for determining the techniques of avant-garde music; musicology - for the analysis of the composer's suite in the aspect of the essence of «organic music». The example of the piano suite «Memories of the eight watercolor paintings» identified the style features of Tan Dung's creativity, the most typical of which is the mixing of musical traditions of the editors, multimedia and theatrical-ritual imagery. The essence of organic music and the origin of non-typical sources of sound, which appeared in the use of natural materials, was clarified. The desire for experimentation and innovation was manifested in the subtle feeling and imitation of the sounds of nature («music of water», «paper music», «music stones»); in combination of theatrical imagery and timbre of orchestral (national and European) musical instruments; in capturing the color of sound effects; in a combination of traditional national and western avant-garde; in the individuality of the approach to the use of pointillism. The practical value of the study is the possibility of using its materials in further research on the problem of «organic music». Originality - in the lead in the study of this specific phenomenon.