Complete Painting Research Articles

Are we taking too many pictures? An investigation of the impact of smartphone photography on memory

ABSTRACT Smartphones are a fundamental part of modern life and have resulted in a vast increase in photo-taking. How smartphone use can affect cognitive processes, including memory, is poorly understood, but research shows taking photographs can result in a photo-taking-impairment effect. Across 3 laboratory experiments, we aimed to replicate the impairment effect and shed light into the underlying mechanisms by manipulating encoding type (intentional vs. incidental) and recognition stimuli (zoomed-in vs. complete paintings). During the presentation of a mock museum tour, participants observed or photographed presented artworks. In Experiment 1 and 3 following intentional encoding, a photo-taking impairment effect impacting accuracy and confidence was observed. In Experiment 2, this impairment effect did not persist when encoding was incidental. Zoomed-in images did not modulate the photo-taking-impairment effect in Experiment 3. Results are discussed in relation to cognitive offloading and attentional disengagement hypotheses and appear to oppose attentional disengagement as a contributing mechanism.

An Evaluation on the Pictures of Jâmiʿ Al-Tevârîkḫ 's Tashkent Copy, Numbered 1620

This research is an evaluation of the Tashkent copy of the illustrated work Jâmiʿ al-tevârîkḫ, which was prepared by the vizier Rashid al-Din (d. 1318) and collective writers in the early 14th century, near Tabriz, the capital of the Ilkhanid dynasty. The copy, which was preserved in N. 1620 at the Institute of Oriental Studies, named Abu Rayhan Beruni, of the Academy of Sciences of the Republic of Uzbekistan, is one of the copies prepared in the first quarter of the 14th century, which has the least painting program among the Jâmiʿ al-tevârîkḫ copies that have survived to the present day. The illustrated Tashkent copy does not show any resemblance to the usual compositions of other Jâmiʿ al-tevârîkḫ copies that have survived to the present day. The fact that only the throne scenes are included in the completed painting program of the work, that a few paintings have the quality of sketches, and that crowded compositions are avoided, indicate that the work was prepared in a workshop outside the centers where the other copies were produced. In the study, a comparison will be made on the Paris copy of Jâmiʿ al-tevârîkḫ compiled in Tashkent and Timurid palace and a few pictures in the Diez Album. The subject chosen to be depicted, the figure in the composition and the similar and different aspects of the clothing features will be evaluated. In our study, the codicological features of the copy will be examined. It is thought that the work was prepared by other local artists who were influenced by Tabriz-based workshops under the rule of the Ilkhanids.

В поисках утраченной традиции: к истории церковной живописи 1830 — 1-й пол. 1840-х годов

Fast moving Europeanisation of Russia, started by Peter the Great and continued by his successors, showed itself, among other things, in founding the Imperial Academy of Fine Arts and in the birth of Russian academic school, whose brilliant achievements were not in the least the legacy of Russian art tradition, especially that of icon-painting, for the latter was only allowed to exist as the arts of the commoners. This state of things was regarded as something to overcome during the reign of Nicholas I, when gradual re-establishment of the ties with tradition begins, seen in particular in the "Byzantine style" in Church architecture, invented by K.A. Ton in late 1820s - early 1830s at the behest of the emperor. Conservative ideology, expressed as it was in the so called theory of the official nationhood (narodnost'), starting from the times when S.S. Uvarov, the author of this theory, was appointed Minister of Public Instruction, was not reflected, however, in the academic Church painting and in the paintings which belonged to historic genre as a whole. This article is focused on the views on the academic Church paintings and traditional icon-paintings that were typical of the educated class of the 1830s and early 1840s. It is shown that the contemporaries of Russian "historical" painters, including those in the Church, saw their calling in commitment to the people (narodnost'), for "there is a need to assume... one's own character, which, while retaining its originality, would tend toward the general harmony with the European Art"; at least a part of the society has come to the opinion that at the time of the decline of famous schools of the West, it is in Russia that paintings show "life and development". (I.V. Kookolnik). In Church paintings of the 1830s the "Russian" style, oriented at the monuments of the past, originated not in the academic school itself, but in the adminicular activity, that is, as a by-product of the artistic and archaeological studies of F.G. Solntsev. A.N. Olenin, the President of the Academy of Arts, on whose intiative these studies were performed, envisaged their outcome as "the complete painting course of archaeology and ethnography for the artists". This course was born in the 1830s during two works of the artist: the making of Church calendar and the painting of Terem Palace and the churches in the Moscow Kremlin.

Multiscale and Multi-Technical Approach to Characterize the Hot-Dip Galvanized Steel Surface and Its Consequence(s) on Paint Adhesion and Tendency to Blistering

It is well known that the surface state (cleanliness, composition) of galvanized steel prior to the application of an organic coating is an important parameter. The surface state will affect the adhesion properties of the complete system and therefore will also impact its corrosion resistance and its tendency to blistering. Before the application of a pretreatment layer, galvanized steel strips are normally alkaline cleaned. This step is known to remove the native oxide film formed on hot dip galvanized steel after processing and appears as one of the most important steps to study the impact of the surface properties on the performance of painted systems. This study focused on making use of the cleaning step to input a variability on the surface composition (mainly surface concentration of aluminum) and evaluate its consequence(s) on the performance of a complete paint system. The results showed that, a variability in terms of surface aluminum concentration could be achieved by the cleaning step and that signs of performance improvement in terms of adhesion and tendency to blistering were spotted with a low content of aluminum at the surface.

Practical numerical method for erosion risk prediction on ship propellers

It is important to make predictions of cavitation-induced erosion risk on ship propellers in the design phase. Since a cavitation tunnel test on a propeller model coated by soft paint, that is, a standard experimental method for evaluating erosion risk, is costly and time-consuming, numerical methods are necessary for erosion risk predictions. DES is made for cavitating flows around the propeller with a numerically modelled hull wake at the inflow. After achieving a converged solution, an erosion risk index is computed in each cell connecting to the blade surface and accumulated over a propeller rotation. Cavitation simulations are made for two propellers designed for a single-screw ship, of which one showed an erosion indication and the other showed no indication after cavitation tunnel tests with soft paint coating. Three index formulations are compared with the experiment result. The high value region of Index 1 based on the potential energy density of collapsing bubbles corresponds better with the eroded spot indicated by partial and complete paint removals in the experiment than those of the other indices. The maximum value of Index 1 for the non-eroded propeller is lower by more than an order of magnitude than that for the eroded one, whereas the maximum values of the other indices are of the same order of magnitude for both propellers. The validation of Index 1 is in agreement with the criterion that the maximum index needs to be below 1,000 J/m3 for erosion-free propeller designs. The design evolution based on the erosion risk index and propulsive efficiency from CFD shows that it can be a practical tool for a quantitative evaluation of blade surface erosion risk in the propeller design phase.

PERENCANAAN GEDUNG SENI LUKIS DI KOTA SAMARINDA

Painting is one of two dimensions of art that is rarely found by the public. Samarinda has a variety of painting communities, including mural painting, graffiti painting and typographic painting. The background of this writing is due to the community's need to be able to know and learn about mural painting, graffiti and typography as well as providing facilities for the painting community in Samarinda City. The formulation of the problem in this study is how to plan the Painting Building in Samarinda City with a hybrid architecture approach to the building. So that the purpose of this research is to plan the Painting Building in Samarinda City which has complete painting facilities with a Hybrid Architecture approach to the building. Making this research using data collection methods with field observations and literature studies that support the theory of problem solving. The method used in this research is descriptive research methods and analytical research methods, descriptive research methods are primary data and secondary data, for the analysis method is a space program analysis, site analysis and analysis with a hybrid architecture approach with 3 stages namely, ectetic, manipulation, and merging. From the results of the discussion in the form of a total amount of space equal to KDB of 4,896 m2 and KDH of 11,424 m2, the land requirement used is 16,320 m2, for selected locations located on Jalan Kadrie Oening kec. Samarinda Ulu with a score of 14. In the analysis and concept emphasis is prioritized on building facades with basic shapes of circles and squares.Keywords: painting, building, hybrid

Overview of a Complete Paint Mixing Room

Overview of a Complete Paint Mixing Room

Swarm-based painting of an area cluttered with obstacles

ABSTRACT This article studies the problem of painting of a rectangular region cluttered with horizontal obstacles, by a swarm of mobile robots. Initially, the robots are deployed randomly within the target area. From the initial configuration, the robots are assembled on the left boundary of the region. Upon assembling on the left boundary, the robots first explore the entire area collectively to make a virtual partition of it and then collectively paint the target region in a subsequent phase. The proposed algorithm assumes that robots work in look–compute–move model. The robots follow a completely distributed algorithm to paint the region. The robots are either synchronous or semi-synchronous. The outcome of the proposed algorithm is a complete painting of an area without any repetition and collision.

Naive Way-Thoughts on Portrait Creation

As a master in fine art in twentieth century, Matisse gave up the completed painting system and techniques during the Renaissance. He drew nourishment from primitive art and Eastern painting, and began to paint in a more direct, naive and simple way. I also try to follow this approach during my painting creation. This article is divided into three parts to explain the naivety in portrait creation. The first part is the original intention of my topic selection and the significance of the research topic; the second part introduces in detail the characteristics and reasons of Matisse's portrait painting; the third part is my creative practice and my thinking in the process.

Controllable digital restoration of ancient paintings using convolutional neural network and nearest neighbor

Ancient paintings are valuable culture legacy which can help archaeologists and culture researchers to study history and humanity. Most ancient artworks have damage problems, such as degradation, flaking and cracking. This work presents a novel controllable image inpainting framework with capability of incorporating suggestions from experts, which can help artists envisage how the ancient painting may have looked after a restoration. The framework leverages the content prediction power of deep convolutional neural network (CNN) and the nearest neighbor based pixel matching, where a deep CNN is designed to produce a coarse estimation of complete paintings by filling in missing regions and nearest neighbor based pixel matching is designed to map a mid-frequency estimation obtained from the deep CNN to high quality outputs in a controllable manner. In addition, we design a pixel descriptor using multi-scale neural features from different layers of a pre-trained deep network to capture different amounts of spatial context. Experimental results demonstrate that the proposed approach successfully predicts information in large missing regions and generates controllable high-frequency photo-realistic inpainting results.

User-Guided Chinese Painting Completion–A Generative Adversarial Network Approach

Image completion models based on deep neural networks have been a research hot spot in computer vision. However, most of the previous methods focus on natural images, such as faces and landscapes. In this paper, we propose a novel image completion model for a special set of artificial ancient Chinese paintings to address this limitation. Specifically, we integrate three complements: the Wasserstein Generative Adversarial Networks (WGAN), Perceptual loss, and Mean Squared Error (MSE) to train the model robustly. We propose a unique generator which can not only pay more attention to complete the details of ancient Chinese paintings but also can provide the synthesized lines to help artists to analyze paintings conveniently. Additionally, we also allow a user to supply a structure hint to guide our model to complete Chinese paintings according to his/her preference. Extensive experiments firmly demonstrate the effectiveness of our approach to complete ancient Chinese paintings and remove abnormal color blocks from them.

Hunting the fleeing work of art

In the Decameron Pier Paolo Pasolini chooses the role of the pupil helping Giotto, who is busy painting a fresco in a cathedral. When the work of art is nally complete, while the bells of the monks ring in celebration, Pasolini takes a look at it one last time and says: «Ma io mi chiedo: perche realizzarla, quando e cosi bello soltanto sognarla?» It’s the nal phase of the movie, and the line is acted by the director-actor acquiering, obviously, a meta-meaning: it’s true both for the completed painting as it is for the movie that has been shot, and has come to an end. It’s always true for every work of art. It’s true because often, the distance between the initial dream and its realisation is profound.

Centroid Selection Process Using WCSS and Elbow Method for K-Mean Clustering Algorithm in Data Mining

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Investigating the effect of artists\u2019 paint formulation on degradation rates of TiO2-based oil paints

This study reports on the effect of artists’ paint formulation on degradation rates of TiO2-based oil paints. Titanium white oil paint exists in a multitude of different recipes, and the effect of the formulation on photocatalytic binder degradation kinetics is unknown. These formulations contain, among others, one or both titanium dioxide polymorphs, zinc oxide, the extenders barium sulfate or calcium carbonate and various additives. Most research performed on the photocatalytic degradation process focusses on pure titanium white-binder mixtures and thus does not take into account the complete paint system. Since photocatalytic oil degradation is a process initiated by the absorption of UV light, any ingredient or combination of ingredients influencing the light scattering and absorption properties of the paint films may affect the degradation rate. In this study three sets of experiments are conducted, designed using the design of experiments (DoE) approach, to screen for the most important formulation factors influencing the degradation rate. The benefits of using DoE, compared to a more traditional ‘one factor at a time approach’ are robustness, sample efficiency, the ability of evaluate mixtures of multiple components as well as the ability to evaluate factor interactions. The three sets of experiments investigate (1) the influence of the TiO2 type, (2) the impact of different mixtures of two types of TiO2, ZnO and the additive aluminum stearate and (3) the influence of common extenders in combination with photocatalytic TiO2, on the photocatalytic degradation of the oil binder. The impact of the formulation on the degradation rate became apparent, indicating the shortcoming of oversimplified studies. The protective effect of photostable TiO2 pigments, even in a mixture with photocatalytic TiO2 pigments, as well as the negative effect of extenders was demonstrated. Furthermore, the ambiguous role of ZnO (photocatalytic or not) and aluminum stearate is highlighted. Neither can be ignored in a study of degradation behavior of modern oil paints and require further investigation.

A hybrid ray-wave optics model to study the scattering behavior of silver metallic paint systems

The gonioapparent lightness of a metallic paint system depends strongly on the 3D microstructure of the platelet-containing basecoat layer, and on the platelet roughness. Current optical models which are used to simulate the paint’s appearance, however, ignore the multi-scale and multi-dimensional microstructural features, which limits their predictive power. Here, we describe a hybrid, ray-wave optics model for metallic paints. This model incorporates the ray-optics of the 3D platelet microstructure and the wave effects that result from the surface roughness of the platelets. This model is used to link the roughness to the reflection lobes of the aluminum platelets, and to the gonioapparent lightness of the paint system. Predicted lightness values from our model matched, at most viewing angles, measurements from physical paint samples. This model can be used to explore the effect of platelet surface roughness on the lightness of the complete paint system and predict the appearance of paints with different platelet microstructures.

Art Making From the HEART

Diagnosis and treatment of childhood cancers are a potentially traumatic time of both emotional and physical distress for affected children and parents. Psychosocial palliative care interventions are needed to assist children to cope with unpleasant adverse effects during oncology treatments. Positive distraction techniques, such as art making, have shown evidence to reduce perceived pain and anxiety responses during cancer treatments. This exemplar case study highlights benefits of implementing an art-making project with an 11-year-old girl undergoing treatment for neuroblastoma, using an innovative and developmentally appropriate activity called the heirloom art-making (HEART) intervention. In the HEART intervention, the child and parent choose a meaningful photograph or picture that is transformed into a paint-by-number canvas, providing a fun activity for the parent and child to focus on together. The completed painting can be kept as a cherished family keepsake. Art-making projects, such as the HEART, can potentially be used by nurses to foster developmentally appropriate, nonpharmacological, palliative care interventions to help children focus on secondary-control coping strategies (ie, distraction) during oncology treatments. Art-making projects also provide a fun mechanism to foster positive interactions between nurses and patients, an opportunity for parent involvement, and a sense of normalcy for child and parents during oncology treatments.

The influence of nanosecond laser pulse energy density for paint removal

The effect of paint removal by laser is directly related to laser action mechanism, which is determined by the laser energy density. Therefore, it is very necessary to investigate the relationship between paint removal mechanism and incident laser energy density. In this paper, comparison observation has been made to paint ablation features and paint removal effects on a metal substrate under the effects of different laser energy densities. Through these observations, the ideal parameters for the complete removal of paint have been obtained. In addition, a theoretical investigation has been achieved on different ablation effects caused by different laser energy densities on the paint removal. The resulting experimental and theoretical observations can provide a guideline and practical references for achieving the complete paint removal by controlling the laser irradiation energy densities.

Process development and monitoring in stripping of a highly transparent polymeric paint with ns-pulsed fiber laser

Laser paint removal was studied with ns-pulsed fiber laser on the combination of 20μm-thick, white polymeric paint and Al alloy substrate. The response of paint to single pulse ablation was evaluated to measure the ablated zone dimensions. With this information, the effect of overlap, number of passes and pulse repetition rate was evaluated to investigate machining depth. Optical emission spectroscopy was used to investigate the machining behaviour as well as to propose monitoring strategies. The results showed that despite the high transparency of the paint, complete paint removal can be achieved with reduced substrate damage (Sa=1.3μm). The emission spectroscopy can be used to identify removal completion as well as the reach of substrate material. The observations were also used to explain a paint removal mechanism based on thermal expansion of the paint and mechanical action provided by the plasma expansion from the substrate material.

Organic dyes in illuminated manuscripts: a unique cultural and historic record.

In this study, we successfully addressed the challenges posed by the identification of dyes in medieval illuminations. Brazilwood pigment lakes and orcein purple colours were unequivocally identified in illuminated manuscripts dated by art historians to be from the thirteenth to the fifteenth centuries and in the Fernão Vaz Dourado Atlas (sixteenth century). All three works were on a parchment support. This was possible by combining Raman microscopy and surface-enhanced Raman spectroscopy with microspectrofluorimetry. To the best of our knowledge, this is the first time that brazilein, the main chromophore in brazilwood lake pigments, has been unequivocally identified by surface-enhanced Raman spectroscopy in an illuminated work (the Dourado Atlas). Complementing this identification, through microspectrofluorimetry and micro-Fourier transform infrared spectroscopy, it was possible to propose a complete paint formulation by comparison with our database of references; the dark pink hues, in the three case studies, were produced by combining brazilwood pigment lakes and gypsum in a protein- and gum arabic-based tempera. Orcein purple, also known as orchil dye, has been previously identified in medieval manuscripts, dated from the sixth to the ninth centuries. Our findings in fourteenth-sixteenth century manuscripts confirm the hypothesis that this dye was lost during the High Middle Ages, to be later rediscovered.This article is part of the themed issue 'Raman spectroscopy in art and archaeology'.

Experimental manipulation of size and shape of tail spots and sexual selection in barn swallows.

Barn swallows Hirundo rustica have white spots on their tail feathers, and they have been hypothesized to be a handicap because white spots are prone to feather breakage, ectoparasites are disproportionately common in white spots, and size of white spots increases with tail length. Here I test for attractiveness of narrow and long tail spots by manipulation of their shape while using complete painting of spots and an absence of treatment as a control. Female barn swallows are known to differentially invest in reproduction when mated to attractive males. Spot manipulation took place during laying of the first clutch, and there were no effects of treatment on clutch size or brood size of first or second broods. In contrast, the incidence of second clutches and the total number of eggs and fledglings produced during the breeding season was larger in males with painting of the side of tail spots rather than painting of the tip of spots, painting of entire spots, or no treatment. These findings are consistent with the hypothesis that it is the shape rather than the size of tail spots that affects differential reproductive effort by female barn swallows.