Artwork Production Research Articles

Immersive experience of Chinese poems and paintings

Chinese painting incorporated with poems is famous for its distinct characteristics and unspeakable moods. Ink lines are used to depict scenes in paintings while concise words are used to describe scenes and events in poems, making for a beautiful yet enigmatic art style. Such an art style requires viewers to patiently examine the details and attempt to understand the meaning, which creates a barrier for a wide audience to relish and disseminate it. The condition can be effectively improved with immersive and interactive animation techniques. In this paper, we present the design and production of an interactive 3D animation entitled "Illustrating Ten Poems" based on the famous Chinese painting with the same name. Compared with viewing the original painting, the animation provides immersive scene reconstruction in Chinese painting style, interactive characters and visual-audio experience. Rather than complete three-dimensional reconstruction, we attempted some innovative methods which proved to be effective and efficient in Chinese painting style artwork production.

Inquiry-Based Learning (IBL) Approach in The Artwork Production of Visual Arts Education in Primary School Using Dry Media

Visual Arts Education (PSV) is a familiar topic at both the primary and secondary school levels. This course becomes one of the most crucial electives for helping students achieve their best degree of creativity. This study was done to assess the efficacy of inquiry-based learning (IBL) in the development of artworks utilising dry media. The choice of dry media was based on its extensive use in primary school art creation. In the study done by the researcher, a total of 25 respondents comprised of second-year students were chosen at random. This research collects both quantitative and qualitative data. This study's assessment tool was comprised of questionnaires and document analysis from respondents. In conclusion, the IBL strategy is believed to boost students' level of comprehension and motivation when producing Visual Arts Education (PSV) artworks utilising dry media.

Eric Pesanelli: Utilizing Tools and Resources to Ensure Image Integrity in Scholarly Publishing

Graphic arts cover an ever-expanding range of options, and those who major in it in college might expect their job titles to be graphic designer or perhaps professor of graphic design. The field plays an intriguing role in scholarly publishing, and ideally the results display information effectively and meaningfully to readers. As Publisher, Art at the American Physiological Society (APS), Eric Pesanelli is responsible for the production and quality control of all artwork published in APS journals, from developing policy and procedures for journal artwork production to supervising art department staff and independent contract artists and managing the process for addressing image integrity. Science Editor’s Anna Jester recently spoke with Eric about how he came to his position at APS and how he approaches his role in ensuring image quality and integrity. Science Editor: Please tell us about your job and whether your position historically existed at your organization. Eric Pesanelli: I am not the first to be in this position, and titles evolve over time, but I am the first person with this job title at my organization who has had to address image integrity as a major component of the department’s responsibilities. Previously, as the Editorial Art Manager for APS, I was managing production art editing for all the APS journals. Neither myself nor my staff have any scientific training beyond a few college level courses—we are all graphic arts majors. We do understand how images and graphics are created and published and began seeing and questioning irregularities […]

Factors Influencing Parenting Stress in the Mothers of Infants and the Effects of Artwork Production.

The importance of support for the mothers of infants to cope with parenting stress due to isolated parenting environments is being emphasized. In order to reduce the parenting stress in parenting mothers while improving the quality of parenting support for them, it is important to identify factors influencing such stress. We investigated the effects of artwork production in different styles, conducted self-evaluation of such production, and identified factors influencing parenting stress in mothers, involving those who participated in a handprint artwork production workshop. We included 140 mothers who participated in a handprint artwork production workshop, dividing them into 2 groups: A: 70 with children younger than 3 years of age who engaged in artwork production alone; and B: 70 who engaged in it through collaboration with their children aged 3 years or older. The instructor distributed an anonymous, self-administered questionnaire to all the mothers, and collected their responses. The questionnaire examined the following items: attributes, the number of participations in the workshop, artwork production self-evaluation, and parenting stress. There were 140 (100%) responses, and the number of valid responses was 65 from Group A and 54 from Group B, a total of 119 (85%). The mean [parenting strain] score was significantly higher in Group B. Multiple regression analysis identified the child's age and presence/absence of his/her siblings overall and in Group A, and <confidence in one's work>, an item for artwork production self-evaluation, in Group B as factors influencing the total [parenting strain] score. The present results suggest that the child's age and presence/absence of his/her siblings could influence parenting stress in the mothers. Additionally, there was a correlation between the level of parenting stress and score for <confidence in one's work> among the mothers who engaged in artwork production through collaboration with their children.

Public Art and Percent for Art Strategy

Public art plays a number of roles in the economic, social and cultural transformation of cities. The cultural policies of cities are significant for the interest in public art. The percent for art strategy as an important policy is one of the methods to promote public art in cities and finance artwork production. Many cities have been successfully implementing public art in their cultural policies. The cities of Chicago, Barcelona and Dublin can be mentioned as those which have different experiences in the implementation of this strategy. They can be taken as exemplars of cultural policies and public art strategies for the specific case of Izmir, Turkey. This article intends to discuss public art as part of cultural policies in Izmir, demonstrating how public art can find more space in the urban environment. In line with this purpose, the main question focuses on how the percent for art scheme can be applied as a method that ensures the realization of public art practices for Izmir. The resultant findings obtained from proposed models show that an alternative financial resource can be provided via the percent for art strategy in Izmir city. In the end, the percent for art program is believed to offer a range of opportunities which should increase the presence of public art in the city.

Basic Survey Study for Preservation of Damaged Tile Sculpture Artwork

This is a basic study on the artwork of the artist Ji Yeong Kim, “Ascending up the river against the current ...” currently being exhibited in the sculpture park of Suwon World Cup Stadium and it was confirmed that tiles used in the artwork production are classified into 2 types, namely, porcelain tile and ceramic tile, through scientific analytic method. It was confirmed that the tiles that form the overall background of the artwork are unglazed porcelain tiles with the same exterior and interior physical state that experienced absorption rate of 0.4% and firing at high temperature of more than 1,300℃. It was possible to discern that tiles used for the portion presumed to have embodied fish tail are 3 types with the different exterior and interior physical state from each other that have experienced absorption rate of more than 10% and firing at temperatures in the range of 1,000∼1,20 0℃, and that they were manufactured by being coated with glaze in which pyrophylite or dolomite range mineral has been mixed. As the result, it was possible to discern that porcelain tiles were used as the material for outdoor tile sculpture artwork due to its advantages including stability such as durability and water-resistance, etc. while ceramic tiles were used due to their ability to realized diversified colors and patterns through scientific analysis.

미술은 왜 배우는가?

Objectives This study started from the fact that confinement in the formalism of art expression cannot persuade students to answer the question of ‘What is the reason for learning art?’. Hence, the purpose of this study is to clarify whether learner’s recognition on art can be changed through the case on teaching art expression. Methods This study is done for the objects of the three 6th graders with insufficient confidence in practical skills in art. The researcher planned and practiced art expression class for one 6th grader and analyzed the study result by focusing on the student’s work and the interview details. ‘What type of person am I?’ and ‘What type of person will I want to be?’ are presented as subjects, and the artwork was planned and produced through the story-telling of the student from plan preparation. Only one student’s (alias-Ayeong) work is used with the content of the interview with the student as data due to the limit of space to understand a typical case and do analysis as the qualitative case study on researching the culture pattern. Results A-yeong recognized art as ‘the thing not requiring the use of her head’, ‘making a thing’, and ‘the thing that is not study’ in the pre-interview and was doing an art activity like that of a kindergartener or a low grader even though she was a high grader in the elementary school. Before the actual class, she selected the best photo expressing her to talk about herself and provide the prior experience connecting the meaning and the image. She made the acrylics entitled ‘Vine’ through storytelling and expressed the mind of becoming a warm person to people around her with the huge pot decorated with the vine, the rocker, etc. The changes of learner’s recognition on art could be checked after artwork production. Those changes are ‘A drawing plays the role not replaced by a photo.’, ‘Finding self through art expression’, ‘A good artwork is unique and satisfying.’, and ‘The scope of art expression is wider than that of writing’. Conclusions First, conversation with a student helps a student organize the meaning suitable to the subjects and properly implement the meaning with the formative language. Second, the art creation of an upper elementary school grader should be the creative activity based on the higher quest for the life of self beyond the level of an infantile art activity. Third, the meaning of learning art is convincing only if a teacher cannot directly teach it but a student should experience and realize it for itself.

Streamlining Document Management and Artwork Production with Advanced NLP and Deep Learning Techniques

Streamlining Document Management and Artwork Production with Advanced NLP and Deep Learning Techniques

엔트로피를 응용한 바디아트 작품 제작 연구

Entropy is a unit of the degree of disorder, and the amount of entropy is characterized by the thermodynamic theory, in which it is said to increase irreversibly in all the phenomena of material-energy, from micro-thermal motion to the human environment, and even up to the energy of the Earth. In this study entropy was grafted into the contemporary art fields of painting, sculpture, and architecture, categorized into the perspectives of producers and receivers, and through this, the characteristics of entropy were analyzed to find the phenomenon of entropy appearing in multiple dimensions. The purpose of producing body art works is to derive and classify the characteristics of entropy appearing in contemporary art in the process of body art work production and to apply the characteristics to produce body art work. The research method of this study combines literature research and empirical research. As a method of literature research, it examines entropy, contemporary art, and body art through data collection and analysis of domestic and international prior studies, books, and newspaper articles, and targets catalogs, magazines, and web pages of exclusive works by contemporary artists. By producing 12 pieces of work using the characteristics of entropy, body art, like other art fields, has the entropy characteristics of order, disorder, diversity, versatility, atypical, usefulness, and complexity. It can found that the characteristics of entropy can be expressed in the work through the materialization of body art and art behavior of visualization.

Streamlining Artwork Production with Computer Vision Technology

Streamlining Artwork Production with Computer Vision Technology

Developing a Co-Creative Methodology of Narrative Artwork Production for the BEACONING Platform Metagame.

This paper presents an emergent co-creative methodology for the conception, making and sharing of narrative artwork for a gamified learning platform. Drawing on cinema, the graphic novel, and comic book art, two unusual characters were developed by Student Activators working with researchers at the Disruptive Media Learning Lab, Coventry University. The creative process began by using Clean Language and Clean Space to bring the artists’ character sketches to life, and developed into a series of basic, linear and interactive narratives with original working practices. Extending this collaboration, the paper is co-authored with the two students involved. The authors reflect from their different perspectives on the Collaborative process, creation of narrative artwork and building of a series of metagames for the BEACONING platform ‘Breaking Educational Barriers with Contextualised Pervasive and Gameful Learning’, co-funded by Horizon 2020 programme of the European Union.

People’s Reflections in the City: Exploring the Painting Practices of Figurative Expressionism by Academic Research

This paper is a practical outcome of a multidisciplinary research project conducted by the authors on the contemporary and modern practices of the Improvisation in Arts. All the authors are research-oriented practitioners in the fields of visual arts, performance arts, multimedia, Information and communication technologies as well as vocational training. Furthermore, the drawings, paintings, and sketches are all made by the correspondent author Assistant Professor Dr. Mohammed Baker Mohammed Al-Abbas as part of his research-oriented artistic practice through the hybrid painting techniques. Abstract The present studio-based paper aims to explore the creative reflections of the aesthetics of otherness within the practical phases of the painting production. This paper represents an experimental endeavor to create a two-dimensional artwork, which is a hybrid painting technique on canvas with mixed media and acrylic paints. Within such a specific practice-based context, each phase of this practical approach outlines a critical significance from the first phase of creating that painting to the completing phase. The practical methodology is the tool that converts the researcher's/artist's vision into creative academic production. The process of creating the painting on the canvas is the methodology; such manner turns to be a primary reference for the present exploration. There is a significant paradigm in this approach, which focuses on the artwork as a morphological creature being created by the researcher/artist rather than a consequent result that only exists as a finished/complete/polished outcome. The outcome of this research is the record of the artwork production itself. This record presents visual references of the artwork progress as well as a textual reflective narrative to describe this process with written words. This research-oriented artistic attempt introduces the artists and researchers in the domains of the Fine Arts to integrate the process of art-making into the methodologies of academic research. It is an academic text, reflective text as well as sequential images recording the artwork making. This studio-based experimentation is significant because it examines the aesthetics of the otherness into the expressive figurative abstraction in painting. Furthermore, the impact of such a studio-based approach manifests on advancing applications of the artistic oriented research in the field of Fine Arts globally on curatorial and academic levels. Keywords: Contemporary Art Practice, Studio-Based Methodology, Practice-Based Research, Hybrid Painting Techniques, Multimedia, Mixed media, Photography DOI: 10.7176/JEP/11-10-08 Publication date: April 30 th 2020

The Ecological Model of Visual Artists in the Malaysian Contemporary Visual Arts Industry: A Framework Proposal

The increasingly challenging and competitive artwork production environment has prompted visual artists to have an arrangement of state-of-the-art art production practices. Currently, the system of production and marketing of works does not have a clear guideline in the industry that can help in the survival of professional visual artists in Malaysia. Therefore, this study is designed to get clear feedback from those who are already active in this industry related to the challenges faced and the marketability of the works of visual artists to continue to compete in the local and international art production stage. This paper aims to identify the non -technical practices required for the successful implementation and marketing of works of art in Malaysia. The results of this study will provide a detailed study of the practices of visual artists in the implementation and marketing that need to be considered by those who will venture into the arena of professional production. Through this paper, a framework has been developed through a comprehensive review from the point of view of literature as well as practical practice. Keywords: Non -technical practice, production of works, visual artists, visuals, art work.

Uncovering the Oppenheimer Siddur: using scientific analysis to reveal the production process of a medieval illuminated Hebrew manuscript

The aim of this research was to use non-invasive scientific analysis to uncover evidence of the planning process and relationship between pigments used in text copying and artwork production in the Oppenheimer Siddur (Oxford Bodleian Library MS Opp. 776), an illuminated 15th-century Hebrew prayer book. In many medieval Hebrew illuminated manuscripts, the authorship of the artwork is unknown. This manuscript’s colophon states that it was copied by its scribe-owner for personal family use but does not confirm who was responsible for the artwork. Prior deductive analysis suggested that the scribe-owner may also have been the manuscript’s artist, based on common motifs and an apparent shared colour palette appearing in both texts and artwork. Visual examination using high resolution digital images also identified points of contact between pigments used in the manuscript’s texts and artwork, raising questions about the pigment application sequence, and concurrent versus sequential text copying and artwork production. An in-house developed remote spectral imaging system (PRISMS) with 10 filters spanning the spectral range from 400 to 880 nm was modified for close-range application to image two of the folios to examine the sequence of production, identify the pigments and compare the materials used for the illumination and the text. Optical microscopy and Fourier Transform Infrared spectroscopy in the attenuated total reflection mode (FTIR-ATR) were used directly on the folios to complement the spectral imaging data in binding media and pigment identification. The results revealed close matches in reflectance spectra for the colorants and inks used in both text copying and illuminations, suggesting that the same mixture of colorants and inks have been used. The spectral imaging in the near infrared bands revealed a hidden underdrawing, indicating a design change during production of the manuscript, and the outlining of letters prior to coloured pigment being applied. The pigment use, the variation in the binder for different pigments and some elements of its production were found to be consistent with those described in historical sources. The evidence from this study supports the hypothesis that the scribe applied pigments for the manuscript’s artwork at the same time he did some of the scribal work which has implications for understandings of Jewish medieval visual cultures.

Comparing the effects of art education and science education on creative thinking in high school students

ABSTRACTWhat is the link between art and creativity? The purpose of this study was to determine the role of art education in creative thinking. A causal-comparative research design was used. Arts and science high school students (N = 162) participated. Results showed that creative thinking in visual arts students in Grade 10 with high scores differed significantly from that in music and science students; however, this difference was not found among students in Grade 11. A main reason for this result in Grade 10 students might be the non-routine problem-solving process in visual arts education, in which artwork production is an important component in creative thinking development. Considering this result, it was concluded that the effect of different education disciplines—called education department effect—on creative thinking can be significant.

Usage of marble wastes in traditional artistic stoneware clay body

Abstract Recycling of industrial wastes aids environmentally friendly production and has the advantage of lowering costs. Marble production generates large amounts of waste. Recycling of such wastes by incorporating them into ceramic industry is a practical solution for pollution problem. The aim of this work is to assess the possibility of the recycling of marble wastes in the production of stoneware clay bodies as a raw material for ceramic artwork production. Five different clay body mixes containing marble waste up to 27% were prepared and evaluated for firing color, water emission, morphology, microstructure, thermal expansion coefficient and thermal behavior. The results of the tests show that the utilization of marble waste in stoneware body is feasible for ceramic artwork production.

Linking the Nature of Secondary School Students who are Highly Artistic with Curriculum Needs and Instructional Practice

This exploratory qualitative investigation examined the nature of 7 secondary school students who are highly artistic to link visual arts programs that best ac-commodate their learning needs. Instrumentation for data collection included 1 questionnaire, 3 in-depth semistructured one-on-one interviews, artwork docu-ments, observations, and field notes. Findings related to creativity, motivation, social and emotional perspectives, and cognitive processes supported the signifi-cance and benefits of visual arts in student growth. Results identified the development of critical thinking, problem-solving skills, risk-taking, meeting chal-lenges, transferability of skills, extending local and world connections, and environmental and societal concerns. Through artwork production and insight into their needs, students conveyed valuable suggestions for programming en-hancements and visual arts classroom settings. These findings are meaningful for educators and curriculum developers as they distinguish the importance of diver-sified and differentiated learning opportunities in engaging students who are highly artistic to meet their optimal potential, and suggest implications for educa-tional practice.

Art, the brain, and family resemblances: Some considerations on neuroaesthetics

The project of neuroaesthetics could be interpreted as an attempt to identify a “neural essence” of art, i.e., a set of necessary and sufficient conditions formulated in the language of neuroscience, which define the concept art . Some proposals developed within this field can be read in this way. I shall argue that such attempts do not succeed in individuating a neural definition of art. Of course, the fact that the proposals available for defining art in neural terms do not work does not mean that such an enterprise is in principle doomed to failure. However, I maintain that there are good reasons to suspect that in general such a definition cannot be worked out. This does not mean, though, that the study of neural correlates in artwork production and fruition is a senseless project. Neuroaesthetics could succeed in individuating widespread mechanisms common to different forms of art coming from remote cultural contexts, which presumably rely on aspects of our mind and/or brain's functioning that are innate and biologically determined, thus contrasting the idea that artistic phenomena are entirely dependent on cultural factors.

Experiencing Clay: Inquiry‐based Learning and Assessment for Learning

AbstractThis article presents an examination of the effects of using an inquiry‐based learning pedagogy to teach ceramics to pre‐service teachers (my students) at the Hong Kong Institute of Education. At the beginning of the study the students were asked to conduct experiments on the properties of clay. The results indicate that half of them were able to transfer the knowledge and inquiry skills they had acquired from the experiments to their subsequent artwork production, but that the other half could not. I realised that the students needed more guidance to bridge the gap between their initial inquiries and their subsequent artistic creations. This could be done by explaining clearly the objectives of the inquiry‐based learning activities; employing strategies of assessment for learning: that is, setting explicit assessment criteria; involving the students in self‐assessments; and focusing more on methods of knowledge transfer and ways of bringing about improvements.

Hay vida más allá del ictus: cinco historias de valor y un actor desesperado

Stroke is a terrible disease conditioning in an important manner the lives of patients. Recovery is, often, very laborious. The cases of six well-known artists who suffered it are presented and also theirs efforts to defeat it. Patobiographic data of the painters CF Friedrich, L. Krasner and C. Close, poet and artist G. Apollinaire, the films director and cartoonist F. Fellini and actor K. Douglas are discussed. The vital changes introduced by a such process, the strength to recover and the poststroke artwork production are commented. The artist premorbid personality influenced notably the recovery. These artists faced to the disease and with their masterpieces also bequeathed to the posterity theirs examples of courage.