Painting Method Research Articles

Effective Method for Multi-Probe Electrical Measurements of Organic Single Crystals: Four-Terminal Natural Adhesion Contact

A technique to establish electrical contact and perform multi-probe electrical measurements (e.g., four-probe measurements), even at low temperatures, is presented in this work. The natural adhesion contact (NAC) is applicable to the wide range of dimensions of organic crystals. Furthermore, the precise electrode patterns required to carry out multi-probe measurements are guaranteed, in contrast to fine conductive paste painting methods. We demonstrate four-probe electrical measurements of α-(BEDT-TTF)2I3 (where BEDT-TTF = bis(ethylenedithio) tetrathiafulvalene) at temperatures down to 100 K. The obtained temperature dependence showed a steep meta l–insulator transition and exhibited zero hysteresis throughout several measurement sequences.

Application of Intelligent Image Color Technology in Teaching Chinese Painting Color

This paper presents an in-depth analysis and research on the application of intelligent image color technology in teaching Chinese painting color. A feature reorganization-based approach to Chinese painting image style migration is proposed. Using the connection between depth features in neural networks and image semantics, the artistic style expression method of traditional Chinese painting is combined with existing methods to match the feature matrix in the generative network by feature reorganization, and finally, the migrated image is generated using a decoder. The texture of the target image is input to the generator as an additional condition, and the discriminator is changed to a relativistic discriminator to build a new generative adversarial network. To demonstrate the effectiveness of the method, a large number of Chinese ink and wash style landscape paintings and natural landscape photos are used as experimental data. The experimental results show that the obtained generated images after style migration are 8% better in realism and quality. An image color intelligent analysis system was designed, which integrates a color classification module, a pigment analysis module, an output saving module, and a pigment sample library to achieve the automatic classification of different color areas in Chinese painting, and ultimately allows a judgment to be made on the most likely pigment to be used for each type of color. In the teaching of Chinese painting, the system can transform the traditional “ear-listening” color transmission through vision into eye perception, which makes the teaching of Chinese painting vivid, arouses the enthusiasm of the classroom, and greatly promotes the color teaching of Chinese painting.

Structured light illumination for pressure-sensitive paint measurement under ambient light

We propose a pressure-sensitive paint (PSP) method under ambient light based on structured light illumination. In the PSP method, pressure is obtained by measuring the variation of the emission light intensity from a PSP coating when it is illuminated by a light source. Since the extraction of the emission light from ambient light is difficult in the conventional PSP method, the existence of ambient light induces a noticeable measurement error. While spatially uniform light is used as illumination light in the conventional PSP method, structured light, the spatial intensity of which is actively controlled, is used in the proposed method. By measuring the PSP emission by varying the spatial pattern of the structured light illumination, one can eliminate ambient light, which is not synchronized with the structured light and can measure pressure without the effect of ambient light. In this study, we demonstrate the pressure measurement under ambient light using structured light with a sinusoidal wave generated by a digital mirror device. The measured pressure agrees well with the pressure measured by a pressure transducer connected to a pressure tap. The proposed method is promising under ambient light conditions.

The Application Research of Visual Touch Based on Computer Vision in Artistic Visual Image Design

As a branch of artistic design, artistic visual image design focuses on the visual image, because the scope of artistic visual image design is relatively wide. This research takes ice flower as the research object. After a brief introduction to computer vision and visual touch, it focuses on the current situation of the application of ice flower graphics, the creative graphic design of dew ice flower, the artificial production method of ice flower painting, the method of subject research, the repetition and arrangement of elements, and the type of gradients for ice drawing graphic elements. In addition, the principle of the visual tracking algorithm is introduced through the formula, and the tracking accuracy and success rate of the algorithm in this paper and other algorithms are compared during the experiment, and the experiment shows the formation conditions of the ice flower. Experiments show that tracking results combined with deep features perform the best, with an overall average of 66.95%. The closer the tracking sample is to the real target, the better the tracking performance can be guaranteed. This also proves the effectiveness of using the characteristics of deep features to select candidate samples related to the target and also proves that deep features are more robust in dealing with various challenging factors.

Stable all-solid-state lithium metal batteries enabled by ultrathin LiF/Li3Sb hybrid interface layer

The PEO-LLZTO composite solid electrolyte is considered to be one of the most promising solid electrolytes. However, there is still a heavily short circuit caused by dendrite penetration due to the uneven deposition of Li on the solid electrolyte/Li anode interface. In this paper, the SbF3 is used as the precursor to treating commercial Li foils by spray painting method, and an ultrathin LiF/Li3Sb hybrid interface layer is constructed. The interface layer can improve the deposition of Li and enhance the solid electrolyte/anode interface stability effectively contributed by the high Li-ion conductivity of LiF and lithiophilic Li3Sb. Using SbF3@Li as the anode to assemble solid symmetric cells, a high current density of 0.6 mA·cm–2 and an extended cycle life at 0.2 mA·cm–2 for 0.2 mAh·cm–2 are obtained. Moreover, assembling full cells with the LiFePO4 or single crystal LiNi0.6Mn0.1Co0.3O2, it is found that the cycle stability and coulomb efficiency are greatly improved. The LiFePO4|PEO-LLZTO|SbF3@Li cell delivers stable cycling at 0.2 C over 200 cycles (94.5% capacity retention), and it also exhibits a superior rate capability of 127.9 mAh·g–1 at 1 C. These results demonstrate that the modified Li anode holds large potential for all-solid-state lithium metal battery applications.

A multi-analytical study of the palette of impressionist and post-impressionist Puerto Rican artists

This paper presents the pigment characterization in six impressionist and post-impressionist paintings by three leading Puerto Rican artists: Francisco Oller (1833–1917), José Cuchí y Arnau (1857–1925), and Ramón Frade (1875–1954). The paintings, belonging to the Corporación de las Artes Musicales and Museo de Arte de Puerto Rico (San Juan, Puerto Rico), were investigated through a combination of complementary non- and micro-invasive scientific techniques. The use of non-invasive macro-X-ray fluorescence (MA-XRF) and reflectance imaging spectroscopy (RIS) was applied for the first time to characterize Puerto Rican artists’ palette. The non-invasive approach was integrated with spectroscopic techniques such as Raman and/or Fourier-transform infrared (FTIR) spectroscopy, as well as high pressure liquid chromatography coupled to diode array detector and tandem mass spectrometry (HPLC-DAD-MS/MS), when sampling was possible. While this technical investigation reveals pigments that are typical for late 19th/early twentieth century paintings, it also emphasizes some unexpected findings, including the use of cobalt green and synthetic yellow lakes, which enabled the date given to some of the paintings to be refined to post 1910 rather than their current dates of ca. 1890. This study confirms that the Puerto Rican artist’s palettes are very similar to their European contemporaries, underscoring both their European training and their attempt to adapt these methods of painting to a new Caribbean identity emerging from the Spanish American War.

High efficient pH-universal photo-Fenton degradation of antibiotics by amorphous FeSiB microspheres decorated TiO2 nanowire hybrid film

Immobilized reactors with catalyst films fixed in are widely used for photodegradation of water pollutants, in which the photocatalyst film is critical for the reactors’ performance. In this work, trace amount of amorphous FeSiB microspheres decorated TiO2 nanowires hybrid films were fabricated by the simple painting method, and they exhibit excellent photodegradability for antibiotic contaminants. The heterogenous photocatalytic films were characterized by microscopic, spectroscopic and photoelectrochemical techniques, and were demonstrated with great tetracycline degradation at universal pH conditions between 2 and 12. By optimizing the FeSiB content in the composite film, it was found that the film containing 1 wt% FeSiB exhibited the best performance with the tetracycline degradation efficiencies of 98.2% (pH = 2) and 85.5% (pH = 12) within 4 h. Furthermore, the FeSiB/TiO2 hybrid films exhibited a high degradation efficiency of > 80% after 3 recycling, and the enhanced reusability was attributed to the corrosion resistance of FeSiB microspheres wound by the TiO2 nanowires. This study combines the merits of FeSiB metallic glass and TiO2 nanowires to improve their degradation performance of antibiotics through building the Z-Scheme FeSiB-TiO2 heterojunction, which accelerated the separation of photogenerated electrons/holes on the photocatalyst films and the conversion between Fe2+ and Fe3+ in the photo-Fenton reactions.

Main Intersections in the Approaches of Russian and Chinese Artists to Chinese Landscapes Painting

The article is devoted to the study of Chinese landscapes painting by Chinese and Russian artists. Comparative analysis of landscape painting by Chinese and Russian artists dedicated to China allows to identify the most important trends and patterns in the methods of landscapes painting in Russia and China of the late XX в - early XXI century. The purpose of this study is to determine the main intersections in the approaches of artists of the two countries. The specificity of the artistic and expressive language of Chinese and Russian landscape artists in the embodiment of landscapes of China is determined primarily by the influence of the modern national school of painting, as well as the desire to develop and update existing traditions, finding inspiration in foreign experience, coming into contact with foreign culture and artistic tradition. The main conclusions of the study are that landscape painting by artists of Russia and China reveals similarities in formal terms: artists of both countries use techniques of both, realistic school and impressionism. Scientific novelty is determined by the fact that the mechanism of integration of the principles of realism and Western impressionism by Chinese painters is revealed. The author introduces an extensive body of artistic materials of Russian and Chinese painters into Russian science, notes that there are significant differences between the artists of the two countries.

A Comparison of Watercolor Painting and Boneless Painting: From Technique to Connotation

Watercolor painting is a western painting method, which is concerned with the relationships of light and shadow as well as brightness and darkness. Chinese painting includes brush painting and ink painting; there is a special painting method that is known as “boneless painting.” This technique involves painting directly with color without outlining, and it is between brush painting and freehand brushwork. Both, boneless painting and watercolor painting are rich in color expression, and their techniques have many similarities in expressing the relationship between man and nature as well as the inner feelings of the painter. Watercolor painting was introduced to China from the West at the end of the 19th century, and it soon became a popular type of painting. The technique of brush painting in boneless painting has a history of several thousand years, from the Warring States period to the Song Dynasty. It pursues the shape of modeling and focuses on realism. Boneless painting, on the other hand, is mainly concerned with flowers and birds, between brush painting and painting with a sense of style, without outlining, directly painting flowers and leaves with colors or ink. They are both painted with brushes on paper, and they use water as a medium to mix pigments. The wet and dry intensity of watercolor painting as well as the interplay of ink and colors in Chinese painting have both developed their own unique charms. The two different types of painting represent the cultural epitomes of two different nationalities. In contemporary times, the techniques of watercolor painting and Chinese painting can be learned from each other. This paper explores the different connotations and expressions of boneless painting and watercolor painting through the combing of watercolor and Chinese painting techniques.

Inquiry Teaching of Chinese Traditional Painting Based on Virtual Reality Technology—Take Han Xizai’s Banquet as An Example

Due to its immersion, interactivity and other characteristics, virtual reality technology has been tentatively applied as an auxiliary tool in the field of education. It can change the previous education mode of one-way knowledge output to a certain extent and enhance the autonomy and personalization of teaching. The application of virtual reality technology in Chinese traditional painting teaching is not to bring Chinese painting into reality, but to bring students into the aesthetic thinking of Chinese painting. Through virtual simulation experiment teaching, students can better understand the beauty of Chinese painting. In the teaching method of traditional Chinese painting, the teaching idea of using virtual reality technology lies in the stimulation of individual characteristics based on commonness. With the support of virtual reality learning environment, teachers and students interact in the learning environment through virtual reality equipment and platform, which constitutes the process of teaching and learning. Students are naturally immersed in learning. Teachers use the immersion and scene characteristics of virtual reality technology to lead students into the cultural depth behind Chinese painting images, and use its interactive and imaginative characteristics to explore and try modeling, composition and techniques in observation methods and expression methods. Taking the famous Chinese painting “Han Xizai’s banquet picture” as an example, this paper carries out inquiry teaching combined with virtual reality technology to explore new ideas for the teaching method of Chinese traditional painting, in order to be helpful to the reform of Chinese painting teaching.

Painting methods and visual processing: initial considerations

In recent studies comprising arts and neurosciences focus has been given to artistic objects in their final shape and appearance, generally paintings, and how viewers react to them. In this paper we suggest the artistic methods, with special emphasis in painting methods, as another approach to art in intersectional studies involving both areas of knowledge.

Oligo-FISH Paints in Triticeae.

We developed seven oligonucleotide (oligo) pools based on single-copy sequences, targeting chromosomes 1 to 7 of barley (Hordeum vulgare L.) and wheat (Triticum aestivum) for chromosomal Oligo-FISH painting methods. The probes were applied to high-throughput karyotyping for the Triticeae tribe of over 350 species including 30 genera such as Triticum, Hordeum, Secale, Aegilops, Thinopyrum, and Dasypyrum, as well as several wheat alien-derived lines. In combination with other nondenaturing FISH (ND-FISH) procedures using tandem-repeat oligos, the newly developed Oligo-FISH painting technique provides an efficient tool for the identification of individual chromosomes with homologous linkage groups to establish standard karyotypes, particularly with any wild Triticeae species having nonsequenced genomes for chromosome evolutionary analysis. © 2022 Wiley Periodicals LLC. Basic Protocol 1: Oligo-pool probe development Basic Protocol 2: Nondenaturing FISH Basic Protocol 3: Oligo-FISH painting.

Rapid fabrication of frescoes using a geomimetic ceramic formation process

Frescoes were developed as religious paintings in medieval Europe before the rise of oil paintings. When coloring with natural pigments on a slaked lime plaster, calcium carbonate gradually forms a coating on the pigments at the surface of the plaster over a period of decades to a hundred years. Many frescoes have been maintained for hundreds of years and have become part of historic heritage. However, the making of frescoes is rarely selected as a general art painting method because it takes a lot of time for complete carbonation to occur. This study demonstrated that a geomimetic ceramic hardening technique using calcium hydroxide and calcium carbonate, followed by subsequent acceleration of carbonation at the surface of the calcium hydroxide with supercritical carbon dioxide, could assist in forming frescoes in a short time. The immobilization of the pigment used on the base calcium hydroxide body was evaluated by a scratch test with emery paper, and pigment color differences were measured by a colorimeter. Furthermore, the micromorphology of the resultant frescoes fabricated by the geomimetic technique in a short time was investigated to evaluate the progress of carbonation. As a result, frescoes could be fabricated in a short time by combining a geomimetic technique and carbonation with supercritical carbon dioxide using a novel pigment that is a mixture of pigment and calcium hydroxide. The pigment in the final sample was completely fixed to the base calcium hydroxide body, and the pigment color was brighter than the original pigment color due to the densification of calcium carbonate after supercritical carbon dioxide treatment.

Multicomponent (Hf0.25Zr0.25Ti0.25Cr0.25)B2 ceramic modified SiC–Si composite coatings: In-situ synthesis and high-temperature oxidation behavior

High-entropy ceramics, a novel type of multicomponent materials with broad application prospects, have stirred up world-wide interests for over a decade. In the current work, in-situ high-entropy (Hf0.25Zr0.25Ti0.25Cr0.25)B2 ceramic modified SiC–Si (HETMB2-SiC-Si) coating was deposited on carbon/carbon (C/C) composites via gaseous reactive infiltration of Si assisted slurry painting (GRSI-SP) method, to improve the oxidation protective ability of C/C composites at 1973 K. The formation and oxidation mechanisms of the coating was explored by first-principles simulation, experiment and thermodynamic analyses. The coating prepared at 2373 K shows dense mosaic structure filled with HETMB2-rich Si-based multiphase. This coating adheres well with the C/C substrate, which is ascribed to the formed zigzagged SiC–Si transition layer. This coating protected C/Cs from oxidation for more than 205 h at 1973 K. The enhanced oxidation protective ability is mostly ascribed to the subsequently generated compact and stable Hf-Zr-Ti-Cr-Si-O composite oxidation scale. This research will start up novel research ares of developing high-entropy materials modified coatings with improved protective ability under extreme environments.

Copying and Recreation Methods of Painting Works Relying on Mobile Digital Multimedia Big Data Analysis.

In order to improve the effect of copying and recreation of painting works, this paper combines mobile digital multimedia big data technology to improve the image coding algorithm, identify the characteristics of existing works, apply the algorithm to the detailed analysis of painting works, and construct the main functional structure modules of the system. Moreover, this paper combines the existing hardware equipment to construct the painting works' recreation system and obtains the image processing module. After the system is constructed, the effect of copying and recreating painting works is analyzed through the mobile digital multimedia big data analysis technology. Finally, this paper constructs the system of this paper through simulation methods and uses experiments to calculate the feature recognition effect and copy effect of the painting works of the system. Through experimental analysis, it can be known that the copying and recreation system of painting works based on mobile digital multimedia big data analysis proposed in this paper can help painters effectively improve the effect of recreation.

Effect of Narration and Painting Methods on the Self-concept of Children with Thalassemia Major Before and Three Months After Intervention: A Randomised Clinical Trial

Introduction: Children with thalassemia are at risk for mental and behavioural disorders due to their reduced quality of life. Interventions to improve their mental health have shown good outcomes. The narration and painting intervention approaches have a positive effect on self-concept. Aim: To compare the effect of two methods of narration and painting on the self-concept of children with thalassemia. Materials and Methods: This randomised clinical trial with post-test/pretest method was carried out on 35 children with thalassemia major, admitted to hospitals affiliated to Tehran University of Medical Sciences, Iran. Children who met the inclusion criteria were divided into two groups based on the intervention: narration (n=19, six sessions of 90 minutes) and painting (n=16, six sessions of 30 minutes, drawing whatever they wanted). At the end of the first session, and three months later, the Piers-Harris questionnaire was used for self-concept assessment. To analyse the data Paired t-test and Chi-squared test were used. Results: The mean age in the painting group was 12.4 years, and in the narration group was 12.6 years. Girls constituted 43.9% (n=9) in the painting group, and 31.6% (n=6) in the narration group. The mean score of self-concept in the children belonging to the narration group was 46.46±7.74 before the intervention, which increased to 48.10±9.61 after the intervention (p=0.579). In the painting group, the mean score of self-concept in the preintervention phase was 42.44±6.30, and increased to 48.87±9.41 after the intervention (p=0.033). Conclusion: The implementation of two methods of narration and painting in children with thalassemia major had a favourable effect on their self-concept. Considering that various psychotherapy methods are used to help patients to adapt to complications of their disease, narration and painting therapies as a non invasive, affordable and low-cost methods can also be used in this regard.

The history of the method of teaching realistic oil painting in China

The history of the method of teaching realistic oil painting in China

Maulbertsch und die tragische Malerei : die Deckenbilder der Legende des hl. Stephan in der Pfarrkirche von Pápa

The narrative unfolding in the ceiling paintings at Pápa can be taken for a painted tragedy of a complex plot based on Aristotle's notions of change of fate (peripeteia) and recognition (anagnorisis), the precedents of which are not to be sought in ceiling painting but much rather in the history of pictures of the classical approach produced in the early modern age. In terms of classical rhetoric, the style of the three ceiling frescoes corresponds to Quintilian's second category, the sublime and vehement mode of representation (genus sublime, genus vehemens) aimed at moving the recipient. The vision of heaven has a crucial role in the cycle, for the celestial sphere, in the plot the promise of salvation ensures areversal of fortune, an auspicious denouement. The earthly events stir the recipients' emotions but the involvement of justice in the afterlife calms them, thus allowing perfect catharsis to happen. The change of fate in the third fresco is related to the moment of recognition. Through the great masters of the 16th and 17th centuries, pathos theory and the conception of peripeteia became a fundamental, even commonplace pictorial narrative method in history painting and Tridentine religious art of the early modern age. With the Pápa ceiling frescoes Franz Anton Maulbertsch (1724–1796) gave evidence of his broad pictorial culture by choosing from among these visual panels and formulas with a keen eye and shaping them to his own liking.

Электрохимические свойства антикоррозионных покрытий на основе органосиликатной композиции в сочетании с ингибиторами коррозии

The article considers the effect of atmospheric corrosion inhibitors “NOTEH”, “N-M-1”, “FMT” and phosphating primer VL-02 on the electrochemical properties of anticorrosive coatings based on a new modification of the organosilicate composition — brand OS-51-03M. For corrosion tests using the method of potentiodynamic polarization, carbon steel plates of the St3sp5 brand were used, on which coatings were applied by the paint and varnish method. It was revealed that the aqueous phosphating composition “NOTEH” and the corrosion inhibitor “N-M-1” significantly increase the corrosion resistance of organosilicate coatings in an aggressive environment — 3 % NaCl solution. For these coatings, it is impossible to register the current and corrosion potential after 1 month of exposure of coatings in a corrosive environment. Under similar measurement conditions, the electrochemical parameters of steel plates with unmodified organosilicate coating were recorded — the corrosion current density and corrosion potential were equal to 8·10-9A/m2 and –144 mV, respectively. It was revealed that the phosphating primer VL-02 has a negligible effect on increasing the duration of anticorrosive protection of the organosilicate coating system. The type of inhibitory protection of atmospheric corrosion inhibitors has been determined.

The Combination of Technology Elements and Painting Art in Aesthetic Perspective

When science and technology enter into artistic creation, the artistic styles and creation methods of painting show various types and characteristics. For the purpose of innovation in traditional painting style, the elements of light, electricity, photography and sound are integrated into the painting, which reflects the unique charm and characteristics of painting. Along with the change of painting genre and style, the aesthetic style of painting art also shows a novel aesthetic feeling. Aesthetic feeling is the aesthetic cognition and experience of the viewers on the works of art. The cultural language of different times shapes different works of art, and different works of art produce different aesthetic perceptions. With the infiltration of modern technological elements, the art of painting has emerged. It brings the aesthetic feeling into the realm of multi-level and multi-field, and provides new possibilities for the creation and development of art.