Painted Decoration Research Articles

Unveiling Brand Patronage Dynamics in Retail Settings for Decorative Paints

Indian paints industry is one of the fastest growing industry and is estimated to grow to 12.22 billion USD five years from now. In this scenario, the support of paint retailers to manufacturers and an insight into factors influencing customer patronisation become important. The purpose of this study is to understand the retailers’ patronisation and perception on assortment of marketing factors that plays a major role in brand preference. Further, the factors influencing customer purchase of decorative paints from retailers’ perspective is also analysed. The study follows a descriptive research design. Primary data was collected using structured a questionnaire from 79 decorative paint retailers. IBM SPSS® 22 was used for data analysis. To characterize and summarize data, descriptive statistics were employed. Paired sample t test was used to find the gap between the expected and actual outcome of retailers on factors for a brand taken for study. Regression analysis is used to find out relationship between the overall willingness of retailers with factors considered in the study. It was found that there is a significant gap in the opinion of decorative paint retailers between the expected and actual outcome on most of the factors. The outcome of the research suggests that brand reputation of paint brans play a significant role in the choice of paint brands stocked by retailers and paint brands demanded by customers. Price of a paint brand is given the least importance while a purchase decision is made.

An Early Iron Age cup with unique decoration from Fertőrákos (NW Hungary)

The Early Iron Age cemetery at Fertőrákos-Kőhidai dűlő is one of the best-known sites in the vicinity of Sopron. Excavations took place there in 1970, but the material was published only in 2009. During the nearly four decades inbetween, heritage management was reorganised several times, and the excavated material was divided between two separate museums, so reuniting it required a small-scale revision, including a reevaluation of the record. The aim of this article is to present the unique painted decoration of an Early Iron Age cup.

Application of Traditional Painted Decoration and Modern Technology in Ceramic Art Design

Introduction: Traditional painted decoration, with its rich cultural heritage and artistic style, plays a vital role in ceramic art design. As a medium for cultural expression, ceramics offer a platform for reinterpreting traditional motifs using modern technologies. Digital design, 3D printing, and AR/VR provide new creative tools, transforming traditional decorations in design techniques, presentation, and user engagement. Objectives: This study explores the integration of digital design, 3D printing, and AR/VR into ceramic art to enhance the visual appeal, precision, and cultural significance of traditional motifs. It also examines how technological innovation supports the internationalization and cultural exchange of ceramic design. Methods: Using a mixed-methods approach, the study combines literature review, expert interviews, case analysis, experiments, and quantitative research. It critically examines existing studies, gathers insights from practitioners, analyzes artworks, and evaluates market trends to understand how modern technologies influence ceramic craftsmanship and cultural heritage. Results: Through the digital reconstruction and dynamic reinterpretation of traditional decorative motifs, ceramic art can present more diverse visual effects and cultural meanings. The precision and flexibility provided by modern production technologies allow for the realization of intricate patterns and complex forms that were previously difficult to achieve. Furthermore, the integration of technology and art fosters cross-cultural exchanges, enriching ceramic design with an international perspective and facilitating the creation of works that balance both traditional and innovative elements. Conclusions: Digital tools enable intricate patterns and diverse visual effects, revitalizing traditional motifs. Advanced production techniques enhance design precision and flexibility. Moreover, integrating technology and art fosters cross-cultural exchanges, enriching ceramic design with both traditional and contemporary elements.

Preparation and characterization of crosslinked poly (styrene-butyl acrylate) for applications in interior decorative paints

Preparation and characterization of crosslinked poly (styrene-butyl acrylate) for applications in interior decorative paints

A Study on the Atlas and Influencing Factors of Architectural Color Paintings in Tibetan Timber Dwellings in Yunnan

Architectural color painting is one of the cultural heritages of the Tibetan people. To address the issues of “loss” and “variation” in architectural color paintings during the renovation of traditional Tibetan timber dwellings in Yunnan, it is essential to organize and categorize the forms and cultural content of ethnic minority timber architectural paintings. This approach will help supplement foundational research on the subject. This study, based on linguistic research findings, focuses on the Diqing South Locus Dialect Region as the research area, conducting field investigations in over 30 settlements (involving more than 80 dwellings). This study analyzes patterns, colors, and forms across various architectural elements to develop a detailed atlas of decorative painting patterns. A combined analysis of historical documentation reveals three primary folk causes behind the architectural color paintings of Tibetan timber buildings in Yunnan: (1) primitive worship under animism; (2) decorative norms guided by religious beliefs; and (3) cultural fusion resulting from ethnic heritage. This will help people understand the cultural essence behind architectural paintings, avoiding the cognitive limitation of knowing only their form but not their meaning. This paper aims to raise awareness of the cultural heritage of regional timber buildings, providing a basis for typological accumulation and model references for the protection and transmission of regional timber architectural color paintings.

DECORATIVE PAINTING AS A MEANS OF TRANSLATING CULTURAL SEMANTIC NARRATIVE

Purpose. The research involves analyzing folk decorative painting and transferring its most typical compositional techniques and characteristics into souvenir items. Methodology. To achieve the research goal, a comprehensive approach was employed, utilizing general scientific methods of literature analysis and visual examination of historical materials and contemporary souvenir products. Results. During the research, the features of decorative painting, its techniques, and methods were studied; the morphological components of decorative painting and the ways of interpreting its elements were analyzed. Scientific novelty. The study highlights the cultural and historical significance of decorative painting in the design of souvenir products. A comparative analysis of various types of decorative painting has been conducted and systematized; the compositional elements employed in the creation of souvenir product designs have been analyzed. Practical significance. The research focuses on assessing the feasibility of incorporating elements of decorative painting into souvenir product design and highlights the issue of transmitting semantic narratives that contribute to enhancing the cultural value and aesthetic appeal of contemporary souvenir items.

Exploring the Cultural Inheritance and Artistic Innovation of Cloisonné Filigree Craft Paintings in the New Art Field

This paper thoroughly discusses the cultural inheritance and artistic innovation of cloisonné filigree craft paintings in the new art field. Through analyzing their historical origins and craft characteristics, it expounds on their applications in fields such as modern decorative paintings and environmental art. It also proposes methods for inheritance and innovation as well as prospects for future development.

Application of LIBS and LA-ICP-MS analysis to Hellenistic tableware

Greek and Hellenistic painted vases have attracted scholars of classical archaeology for centuries, either because of the artistic value of the painted decorations or because of the depicted scenes of ancient everyday life. Due to the application of thin slips on the surface, different methods are used for the chemical characterisation of the slips and the body of the same vase. The slips are commonly analysed by X-ray microanalysis, offering point-by-point analysis of mostly major elements, while different tools, such as X-ray fluorescence (XRF), inductively coupled mass spectrometry (ICP-MS), and instrumental neutron activation analysis (INAA), are used for bulk body analysis. This can cause difficulties in comparing the bulk composition and thus in determining the similarities and differences in the preparation process of the clay paste for the slips and bodies of an object. Given the artistic value of these objects, museum curators tend to be reluctant to provide samples for invasive characterisation. Micro-destructive laser ablation methods offer a robust solution to addressing both the relationships between ceramic body and surface treatment chemistry and destructive sampling. To provide a proof-of concept, we analysed slips and bodies of a small sample of Hellenistic fine wares from the Greek colony of Issa in modern Croatia with Laser-Induced Breakdown Spectroscopy (LIBS) and Laser ablation-ICP-MS. Results show remarkable diversity in the use of clay types and processing techniques.

THE INFLUENCE OF THE DEVELOPMENT OF COMPUTER TECHNOLOGIES ON THE PROCESS OF ARCHITECTURAL DESIGN

Problem statement. The history of the development of Petrykiv painting, including the study of the work of folk masters and their followers, their works, as well as consideration of problems and their solutions. The purpose of the article. To study the history of the origin and development of the art of Petrykivka painting. Determination of the stages of development and features in its different periods. Conclusion. The art of Petrikovsky painting is a unique relic of the national artistic tradition, which delegates to the modern world the original culture of the historical cradle of the Zaporizhia Cossacks. His powerful spirit, originality of poetic worldview and profound ethnic folk artistic thinking. Petrykiv decorative painting has in its potential immeasurable possibilities of ancient and eternally young folk art, for entering the sphere of modern life, enrichment of national and world culture. The war situation exacerbates and activates artistic creativity as much as possible. Thanks to the enthusiasm of Petrykiv masters-artists, their desire to support and develop our art, to pass on their skills to descendants, to show the beauty of Petrykiv painting to the whole world, this art form continues to live, improve and surprise with its unique ornament. Due to the significant economic difficulties accumulated during the last decades, an important branch of national culture has reached the critical limit of survival. Ensuring the preservation of historical centers of folk art and folk art crafts of Ukraine is a necessary component of the formation of national consciousness. The following most important strategic directions: state support and protection of the central figure of the industry − its producer, bearer of folk artistic traditions, folk craftsmen and enterprises of historical centers of folk artistic industries; preparation of the future change of folk masters in the creative environment of historical centers of folk art, by reaching different age categories of students, including the creation of specialized secondary educational institutions (schools), which will be gradually expanded as the industry develops; creation of museums in historical centers of folk arts and crafts for the purpose of their popularization, scientific research, assistance in education of future change, development of centers and tourism industry in Ukraine; Petrykiv painting will survive if it finds a new organic “usability”, either by artists of decorative art or by masters of folk art.

Prints and miniatures made by Donat Hübschmann in Vienna for clients from Hungary

Originating from Leipzig and active in Vienna, the printmaker and painter Donat Hübschmann (†1583) had clients from Hungary who were close to the joint Hungarian and Bohemian royal and imperial court in Vienna of the composite Habsburg Monarchy, to which the Kingdom of Hungary belonged. Miklós Oláh (Nicolaus Olahus), humanist prelate and Archbishop of Esztergom, and head of the Hungarian Court Chancellery based in Vienna, commissioned him to make a copy of his etched portrait. János Zsámboky (Johannes Sambucus), who entered court service as a humanist, ordered two works from him. In 1564–65 Zsámboky had an illustrated broadsheet made to commemorate the coronation in Pozsony (now Bratislava, Slovakia) as King of Hungary of Archduke Maximilian II of Habsburg in 1563, which was decorated with a woodcut by Donat Hübschmann: a veduta of Pozsony. Further, in 1566 he assigned Donat Hübschmann to produce a copy of the earliest surviving printed map of Hungary (Lazarus secretarius, Tabula Hungariae, 1528). Other Hungarian-related works can be found among the master’s prints, such as a woodcut portrait of Hans Francolin the Younger, Hungarian Herald of Ferdinand I. It is likely that Donat Hübschmann was also responsible for the painted decoration on five letters patent, which were commissioned by Hungarian noblemen and issued by the Hungarian Court Chancellery in Vienna. In every case, the miniature coats of arms were signed with the monogram “DH”. The calligraphic decoration of these can be attributed to the noted calligrapher György (George) Bocskay and his workshop.

Development of Glaze Compositions to Increase the Durability of Decorative Paints Used in Glazed Porcelain

Colorful paint works are carried out to highlight the visuality of ornamental and tableware products, such as cups and plates. As these products come into contact with detergents, food products or grime, erosion and abrasion occur in paint and patterns over time. In this study, transparent glaze compositions that can be applied on patterned products have been developed in order to minimize wear and damage to the paint on ornamental and tableware products such as porcelain cups and plates. It is aimed to have a compatibility with the glaze layer and the porcelain body, to have high transparency and brightness. Different glaze compositions have been implemented to porcelain wares containing precious metallic paints. Then the glazed products were coducted to final firing between 870˚C-900˚C. Colours values of porcelain wares were determined with L-a-b spectrophotometer colours measurment devices and ΔE values was found to be lower than 0.50. Erosion and abrasion resistance were determined by staining test and washing test. According the results, the mass loss values are in the range of 2.7-3.4 mg (24h washing) and 7.9-8.3 mg (168 h washing). The morphology of the samples and the analysis of the phases formed during sintering were determined by X-ray diffraction (XRD) technique and scanning electron miscroscopy (SEM and EDX). Quartz-SiO2 and Albite-Na (AlSi3O8) phases were observed in the structure of the glazes. The results showed that glaze compositions with high transparency and wear resistance can be obtained with only 30% frit content.

Improving the process of teaching students the basics of decorative painting

Improving the process of teaching students the basics of decorative painting

Family Emotional Decorative Paintings: Interaction Design for Communication

This paper describes an approach applied to decorative home paintings: an emotional interaction approach. The study utilizes the theory of constructed emotion and the Wizard of Oz research methodology to extend the user's emotional experience in home scenarios with emotional self-reflection and regulation. Family Emotion Decorative Painting uses the family-shared photo library as the image base data, obtains the emotion type through facial expression and voice emotion recognition, and correlates the moment's emotion with the emotion reacted in the picture. Through qualitative research, we found that family emotional decorative painting can bring emotional arousal and soothing to participants. Family Emotional Decorative Paintings also provoked reflection on technology in and around the home. These findings suggest several opportunities, such as designing for anticipation, better supporting reflection on the past. The study also allowed the team to question the traditional interaction design view that more frequent and prolonged human-computer interactions are a measure of good design. The team will next focus on ways for users to engage in novel and meaningful ways outside of the application.

Application of computer data model in the characteristics and evolution of ceramic decorative painting

With the rapid development of computer technology, computer information technology has made intelligent transformation to all industries. It is particularly important to optimize the computerization of ceramic painting. This paper analyzes the development of ceramic decorative painting and the basic principle of computer data model, determines the method of combining ceramic decorative painting with computer data model, and establishes a computer data model for feature extraction of ceramic decorative painting. And 1015 images of self-made ceramic decorative paintings are applied to carry out simulation analysis. The results show that compared with the traditional classification algorithm based on non deep learning and the partial classification algorithm based on deep learning, the average F1 value of the hybrid neural network model is 96.4%, which is 1.5% higher than the best traditional model. This shows that the designed computer data model for feature extraction of ceramic decorative painting has a good effect on the classification and feature recognition of ceramic painting. This has laid a certain foundation for the computerized optimization of ceramic decorative painting and provided a good support for the healthy development of ceramic decorative painting in the information age.

Production technique and multi-analytical characterization of a paint-plastered ceiling from the Late Antique villa of Negrar (Verona, Italy)

The research focuses on analyzing the production techniques and materials of a Roman paint-plastered ceiling from a Late Antique Roman villa near Negrar (Verona, Italy), recently uncovered. Stylistic features of the decoration, found in reworked collapse debris during the villa’s excavation, date the ceiling to the original construction phase in the 4th century CE. The paper presents the protocol we adopted for recovering and analyzing the painted decoration of the villa, which was in-laboratory recomposed in its original layout after a meticulous and systematic retrieval of fragmented materials. Microsamples of mortar and pigment were then taken to fully reconstruct the execution technique and raw materials used in the paint-plastered ceiling, detailing the application of the tectorium and pigment preparation. Mortar samples were analyzed to define preparatory layer properties, using various analytical techniques including Transmitted-Light Polarized Optical Microscopy (TL-OM) and Scanning Electron Microscopy with Energy Dispersive X-Ray Analysis (SEM-EDS). Optical reflected-light microscopy detected guide incisions on the preparatory mortar, while Reflected-Light Optical Microscopy (RL-OM) revealed the microstratigraphy of pictorial micro-layers. Micro-samplings of painted decorations were conducted to define pigment palettes, determining their mineralogical composition through X-Ray Powder Diffraction (XRPD) analysis coupled with micro-Raman analyses for the determination of carbon-based compounds. The research aims to establish a comprehensive protocol for future endeavors, integrating archaeological reassembly with precise micro-analyses of pigments and mortars, deciphering the intricate layout of ancient, fragmented decorations. This study is the first of its kind in Northern Italy, overcoming challenges posed by fragmented and reworked artifacts in previous research, enabling detailed analytical studies like those conducted here. Moreover, this study of the paint-plastered ceiling of the Late Roman villa of Negrar aims to provide a new impulse for the knowledge of Late Antique painting techniques and materials, which were only marginally considered within Roman painting tradition so far.

Cu(II)-binder complexes in azurite and malachite pictorial mixtures: An EPR study

Degradation processes of paintings, frescos, illuminations, and painted decorations represent a relevant challenge in the cultural heritage field for both conservators and scientists dealing with the causes of these processes. It is very important understanding the molecular origin of colour changes, like fading, yellowing, blackening, as well as the molecular origin of damages due to degradation, like cracking and fall of pictorial layers. Metal complexes, often indicated as “metal soaps”, when referred to metal carboxylates, play a relevant role in degradation. However, their identification is not easy, and the involvement of the metal ions in the degradation mechanisms is often not clear. Continuous Wave Electron Paramagnetic Resonance (CW-EPR) spectroscopy is a very sensitive tool towards paramagnetic species (e.g., transition metal ions like Fe(III), Cu(II), Mn(II), radicals, etc.), providing relevant information on these species, not always well-characterized with other methods. In this paper, we use CW-EPR to study the formation of Cu(II)-binder complexes in natural malachite and azurite pigments mixed with several organic binders. We show that CW-EPR technique is able to detect easily Cu(II) complexes with organic ligands, and can additionally provide information on the pigments themselves. In particular, the first coordination sphere of the Cu(II) complexes is characterized by applying the Peisach-Blumberg method. Moreover, CW-EPR shows that binders can affect the structure of the raw pigments.

The use and production of black Mn‐based pigments for painting late (c. 900–1450) and Inca (c. 1450–1600) periods ceramic vessels in Northwestern Argentina: a multi‐analytical approach using μRaman, FT‐IR, and XRD

AbstractLate and Inca period pottery in the Northwestern Argentine region present two or three characteristic prefiring colors (red, black, and white or cream) in their decoration. Sanagasta and Belén vessels from Late Period are characterized by a bichrome black‐on‐red/cream and black‐on‐red painted decoration, respectively, whereas Inca vessels exhibit a black‐on‐red painted decoration. Analytical results obtained by μRaman, FT‐IR, and XRD analyses on a relatively large number of samples show that the pre‐Hispanic potters during Late and Inca periods used a manganese‐based technique to obtain black colours in these large vessels fired in an oxidising atmosphere. Black paints were produced by the systematic use of different mineral complex mixtures of Mn (pyrolusite, bixbyte, and hausmannite) and hematite. As a result, spinel phases like jacobsite (a Fe‐Mn compound) and magnetite were formed at different firing temperatures. Red paints were obtained using the mineral hematite. A detailed discussion is presented concerning the firing conditions to obtain these black hues.

PENINGKATAN KREATIVITAS MENGGAMBAR DEKORATIF SISWA KELAS III MELALUI PENERAPAN MODEL CONTEXTUAL TEACHING AND LEARNING (CTL)

The study aimed to improve student’s creativity in decorative painting, and describe the constraints and solutions in the implementation of Contextual Teaching and Learning. It was classroom action research. The subjects were teacher and students of third grade at SDN 1 Mekarsari. The data used is in the form of qualitative and quantitative data. Data collection techniques using tetst, observations, and interviews. Data validity uses triangulation of sources and techniques. Data analysis with data reduction, data presentation, and drawing conclusions. The results indicated that Contextual Teaching and Learning (CTL) improved student’s creativity in decorative painting. The students had interesting and unique ideas in painting. The student’s learning outcomes and works improved. The constraints were the teacher had difficulty to manage the students when drawing and they needed much times to finish. The solutions were the teacher provided more efforts to manage the students. It concludes that the implementation of Contextual Teaching and Learning (CTL) improves creativity in decorative painting to third grade students

Study on the Decorative Art of Ancient Theatre Stage in East Coast of Zhejiang, China under the Analysis of Big Data

Abstract This paper tries to extract the architectural decorative features of ancient theatre from the three levels of architectural form, architectural appearance and architectural structure. Combined with the historical status of the ancient theatre as well as its developmental lineage, the programmed and ceremonial nature of the theatre is taken as the main component influencing the decorative style of the ancient theatre. The decorative art of the ancient opera stage in the coastal area of East Zhejiang is comprehensively analysed in terms of motifs (construction decoration, carving decoration, painting decoration), graphics (tattoo symbols), and colours (traditional colours), respectively. Based on the development of opera in the Ming and Qing Dynasties, focusing on the Ming and Qing Dynasties, the structural changes of some of the opera stages in the coastal area of East Zhejiang during the Ming and Qing Dynasties are recorded and compiled. The craft techniques, application embodiment, humanistic connotations, and current problems of ancient stage decoration techniques are being analyzed. The modern development of the decorative art of ancient theatre is analyzed in relation to the interviewees’ concern for the decorative art of ancient theatre. The decorative art of ancient times was the overall expression of patterns, graphics, and colors. The ancient stage in the coastal area of East Zhejiang is decorated with five types of patterns: animal and bird patterns, human and god patterns, flower and grass patterns, geometric patterns, text patterns, as well as a combination of various patterns, and the colours are often embodied in the whole (monochrome) and part (coloured), showing the effect of the simplicity of the overall situation and the details.

Research on Affective Ergonomics of User Preferences towards Train Compartment Design

Trains as public transportation have experienced quite significant passenger growth. One type of train that has just been developed is a compartment, a room to maintain passenger’s privacy during the trip. However, train design needs to pay more attention to passenger preferences. Uncovering this can be done using the Kansei Engineering method, which has successfully increased the value of products such as cars and others. Previously, research had been carried out with the results of favorite compartment designs with a minimalist theme, green color palette, decorative painting, glossy, and dominant wood motif finishing. However, this research has not addressed the affective side’s influence on design specifications more deeply. The research objective is to determine train compartment interior design specifications that suit user preferences and respondent clustering. This research will be carried out using a questionnaire with a semantic differential scale, which is tested using Principal Component Analysis (PCA) and Cluster Analysis. The research results show that user preferences influence the interior design specifications of the compartment and the favorite design samples chosen by most respondents. The results of this research can be a reference for train manufacturers and the general public.