Paint Program Research Articles

Separate and Reassemble: Generative AI through the lens of art and media histories

AI image generation represents a logical evolution from early digital media algorithms, starting with basic paint programs in the 1970s and advancing to sophisticated 3D graphics and media creation software by the 1990s. Early algorithms struggled to simulate materials and effects, but advances in the 1970s and 1980s led to realistic simulations of natural phenomena and artistic techniques. Generative AI continues this trend, using neural networks to combine and interpolate visual patterns from extensive datasets. This method of digital media creation underscores the modular and discrete nature of computer-generated imagery, distinguishing it from traditional optical media.

Exploring the Impact of Metaphors on Resilience in Art Therapy Using Mixed Methods

ABSTRACT The use of metaphors in art making for individuals experiencing chronic stress or trauma can enhance their psychological resilience. This study explored the therapeutic value of metaphors in improving resilience among distressed individuals in art therapy using mixed methods. Six female university students with a history of highly stressful or traumatic events participated in a two-week online painting program, creating either metaphorical or non-metaphorical paintings. Pre and post-treatment questionnaires assessed resilience factors, including global resilience, self-awareness, self-efficacy, and communication skills. Post-treatment interviews were conducted to explore subjective changes in resilience. The interviews revealed several themes, including greater affect recognition, acceptance of life circumstances, and a more remarkable ability to redefine their lives. Although questionnaire scores showed no significant increases in resilience during the intervention, the results suggest that metaphors can facilitate resilience-building mechanisms in art therapy.

An Example of Shahnameh Prepared for a Ruler (Promotion and Evaluation)

Ferdowsi' Shahnameh, which has been the subject of debate for a thousand years since it was written, is one of the most important works of world literature. There are examples of the work, of which we have encountered illustrated examples since the 14th century, that have not yet been discovered and have not reached a wide readership. The Shahnameh copy, which is the subject of our study, was prepared by artists from Samarkand for Ish Mohammad, who reigned in the Khiva region for a short time between 1556 and 1557. The work is preserved in the Institute of Oriental Studies of the Academy of Sciences of Uzbekistan N. 1811, where the original examples of Central Asian painting are kept. The importance of the copy stems from the fact that the work has survived to the present day as a complete text without fragmentation and the name of the miniaturist is mentioned in a few of the existing paintings. This indicates that the work has been preserved in an original way. In the copy, we encounter 115 paintings by another artist and a manuscript illumination bearing period characteristics. The copy contains several paintings by Mohammad Morâd Samarqandî, who represents the original Samarkand painting school, as can be understood from his signature. Some researchers claim that most of the unsigned paintings belong to Mohammad Morâd Samarqandî in terms of style, while the remaining paintings belong to the 17th century. The main purpose of this study is to introduce the work, which is not well known among the copies of Shahnameh, to introduce it to the masses, to evaluate it in terms of style, to give information about the content of the work, to introduce the artist, to explain the formation of the painting program, and thus to contribute to the literature.

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.

Программа росписи придельной церкви преподобного Саввы собора Рождества Богородицы Саввино-Сторожевского монастыря

The article is devoted to the general analysis of the monumental painting program of 1649–1650 in St. Savva’s Chapel of the Nativity Cathedral at the Savvino-Storozhevsky Monastery near Zvenigorod. The article studies the murals and iconography of some compositions for the first time, considers the reasons for the appearance of different themes in the program, and reconstructs the conception of the whole program. Despite the original murals being covered with the late 19th century painting, it is highly probable that the existing layer closely follows the 17th century program based on earlier traditions. This is confirmed by the presence of the image of Saint Gury of Kazan, whose image of which has been known since the beginning of the 17th century, the vita cycle of Saint Savva, the structure and content of which are similar to the monuments of the second half of the 16th — middle of the 17th century, and also composition “The Appearance of the Virgin to Apostle Peter of the breaking of bread”, also known in monumental painting since the beginning of the 17th century.

Applying the Artistic Psychological Painting Course to Improve the Mental Health of Middle School Students

Purpose: This study aims to verify the significance of the Artistic Psychological Painting program for developing middle school students' psychological well-being through an educational program and a multi-factorial experimental design based on feedback from teachers and students.
 Methodology: This paper presents the format and content of the Artistic Psychological Painting program to test the program's effectiveness. The subjects were 12-15-year-old middle school students in the first and second grades of Southwest University South China Town Middle School (middle school) in Chongqing, China, and the Artistic Psychological Painting course they took at school.
 Findings: The study showed that the Artistic Psychological Painting program positively affected middle school students' emotional intelligence and self-identity. Accordingly, based on the initial definition and exploration of the connotation and extension of the Artistic Psychological Painting curriculum, we have communicated with school leaders, subject experts, in-service teachers, and students to propose the implementation of the "Artistic Psychological Painting".
 Recommendation: The program is designed to complement the psychological education curriculum in Chinese public schools and to provide a vision for school-based and community-based curricula.
 

ЦИКЛ АПОСТОЛЬСКИХ СТРАДАНИЙ В КАПЕЛЛЕ НАД ЮЖНЫМ АЛТАРЕМ ЦЕРКВИ СВЯТОЙ СОФИИ В ОХРИДЕ: К ВОПРОСУ ОБ ИКОНОГРАФИЧЕСКОМ СОСТАВЕ И ПРОИСХОЖДЕНИИ ПРОГРАММЫ

This study attempts to reconstruct the composition of the plot in the cycle of apostolic suffering, located on the northern wall of the upper southern chapel of the Church of St. Sophia in Ohrid. This fragment of the mural has been little studied, as has the iconography of the apostolic passions in general. To date, there were two interpretations of partially or completely destroyed scenes in the chapel, proposed by P. Milkovich-Pepek and G. Babich. This study proposes an alternative reconstruction of the composition of the cycle, offers an additional series of analogies, and puts forward a hypothesis concerning the example, under the influence of which the author of the chapel painting program might have worked.

Optical methods of measuring the hair diameter

When dealing with various tasks of medicine, in mathematical modelling of processes in the human body, it is necessary to know the physical parameters of biological tissues. In cosmetology and dermatology, these are the physical properties of hair − diameter, density, heat capacity, thermal conductivity, and optical parameters. Existing methods can solve the problem of measuring these parameters, but as a rule, they take a great deal of time and resources. Therefore, the purpose of this paper is to develop and study fast and cheap optical methods for measuring the diameter of a human hair using computer methods for processing the results of the experiment.
 Several methods for measuring the diameter of a human hair have been studied. The hair diameter was measured by analysing the pattern of laser scattering and using a microscope with a digital attachment and an eyepiece micrometer. Measurements by diffraction methods are consistent with each other within the limits of errors. Measurements using PAINT program are a little more accurate (the average error is 0.7 μm) than using MATHCAD program (the average error is 1.3 μm). Measurements using MATHCAD program are more complicated. Therefore, of the two remaining methods, the first one is preferable. Measurements using a microscope require more manual work; especially focus adjustment, which, with a large magnification of the lens (20x – 40x), is a time-consuming operation. The measurement error (1 μm) is comparable with the error of diffraction methods. Thus, of the four methods considered, the diffraction method with the processing results using PAINT program, which is included with all versions of Microsoft Windows system, has the greatest advantages, in contrast to the paid MATHCAD program, which has be installed on a computer.

Virtual Reality and Embodiment in Multimodal Meaning Making

Immersive virtual reality (VR) technology is becoming widespread in education, yet research of VR technologies for students’ multimodal communication is an emerging area of research in writing and literacies scholarship. Likewise, the significance of new ways of embodied meaning making in VR environments is undertheorized—a gap that requires attention given the potential for broadened use of the sensorium in multimodal language and literacy learning. This classroom research investigated multimodal composition using the virtual paint program Google Tilt Brush™ with 47 elementary school students (ages 10–11 years) using a head-mounted display and motion sensors. Multimodal analysis of video, screen capture, and think-aloud data attended to sensory-motor affordances and constraints for embodiment. Modal constraints were the immateriality of the virtual text, virtual disembodiment, and somatosensory mismatch between the virtual and physical worlds. Potentials for new forms of embodied multimodal representation in VR involved extensive bodily, haptic, and locomotive movement. The findings are significant given that research of embodied cognition points to sensorimotor action as the basis for language and communication.

Kyiv Metropolitans were in the Artistic Process of the Kyiv-Pechersk Lavra at the End of the 18th – the Early 20th Centuries

The purpose of the article is to discover the mechanism of Kyiv Metropolitans influence processes in the monumental painting of the Kyiv-Pechersk Lavra. The research methodology is based on complex using historical and cultural analysis, art study analysis, hermeneutical and biographical methods. Scientific novelty. Based on archival materials the author determines the specific means of Kyiv Metropolitans influence the evolution and preservation of the Kyiv-Pechersk Lavra’s sacral painting in 1786–1917. This influence is investigated in the theoretical and practical aspects. The scheme of the Metropolitans influences the mural painting processes is revealed: the Spiritual Council (preparatory stage) – Metropolitan (decision) – the head of the painting workshop (responsible for fulfillment) − artists (fulfillment). The Metropolitans leading role in forming the painting programs of temples and preserving the Lavra’s artistic tradition has been proved. Conclusions. In theoretical works, reports to the Holy Synod the Metropolitans gave thoughts and facts that entered the art history of the Kyiv-Pechersk Lavra. They directly influenced the artistic process: controlled and directed the processes of evolution and preservation of mural painting, financial and personnel issues. Their influence was implemented in visas and codicils (visas were an information basis for painting dating). Their orders were performed by the head of Lavra’s painting workshop (icon-painting workshop). Metropolitans took care of preserving Lavra’s artistic traditions and artistic features of painting compositions. Heads of the painting workshop ensured the continuity in mural paintings, they followed the imitation principle. The interpretation of the artistic tradition was reflected in new mural paintings. Metropolitans determined the painting programs of Lavra’s churches.

Life and Worldview of the Sogdians according to the Afrasyab Paintings

This article focuses on the relations between Sogdiana and neighboring kingdoms during the second half of the seventh century CE as reflected in the Afrasyab paintings (Samarkand). In this unique painted program to be precisely dated to the period btween 650-675, Sogdian artists represented several foreigners such as Turks, Chinese, Indians, Koreans, and-possibly- Tibetans, Bactrians, and other Central Asians. All these groups gathered in Samarkand on a special occasion that scholars identified as the celebration of the New Year festival. Chinese written sources of the Sui-Tang period mentioned a royal pavilion in central Sogdiana where the local king was used to pray every day. Such an information seems to match well with the paintings preserved in Afrasyab. The present paper is divided in four parts, each one dedicated to one of the kingdoms mentioned in Chinese sources that present some parallels in the paintings.

Immersive virtual reality (VR) for digital media making: transmediation is key

ABSTRACT The rapid evolution of virtual reality (VR) technologies and their adoption for learning opens up new possibilities for shifting semiotic content across modes, with underexplored scope for transmediating content in visual, haptic, and auditory ways in immersive media literacy practices. This research investigated users’ creative digital designing involving a popular, three-dimensional virtual painting program with upper elementary students who used a VR head mounted display and sensors. The analysis attended to how students transmediated the same story across written, verbal, and virtual painting modes, tracing key themes of the students’ virtual experience: (i) immersion and three-dimensionality, (ii) subjective presence, (iii) sensory illusion, and (iv) interactivity with motion tracking. Students reassembled and shifted narrative content, sometimes seamlessly, while experiencing ambiguity and complexity about three-dimensional representation in an immersive world. Producing stories across modes invited adaptation and generative thinking to overcome the lack of equivalence between writing, drawing, and virtual painting modes.

The Survival of Maya Blue in Sixteenth-Century Mexican Colonial Mural Paintings

ABSTRACT The famous Maya blue, a nanostructured hybrid organic–inorganic material, has been the subject of numerous studies since its discovery in 1931. These mainly focused on mural paintings, manuscripts, cultural artifacts from ancient Mesoamerica, and notable examples of syncretic art produced in early colonial times in New Spain as a result of the convergence of Mesoamerican and European traditions. This article reports on the identification of Maya blue in the wall painting programs of four mendicant monasteries founded in Southern and Central Mexico during the sixteenth century. It discusses the pictorial effects, painting mixtures, and artistic inventiveness of indigenous artists who expressed themselves through the quality of color and the meanings of materials by using Maya blue in Christian images. This article proposes that Maya blue reappeared in the palette of local artists in the second half of the sixteenth century, as a traditional technology that integrated the complex worldview of Mesoamerican cultures and their knowledge of its extraction, production, and use in the art of painting.

Implications of US radiomics signature for predicting malignancy in thyroid nodules with indeterminate cytology.

The purpose of this study was to evaluate the role of the radiomics score using US images to predict malignancy in AUS/FLUS and FN/SFN nodules. One hundred fifty-five indeterminate thyroid nodules in 154 patients who received initial US-guided FNA for diagnostic purposes were included in this retrospective study. A representative US image of each tumor was acquired, and square ROIs covering the whole nodule were drawn using the Paint program of Windows 7. Texture features were extracted by in-house texture analysis algorithms implemented in MATLAB 2019b. The LASSO logistic regression model was used to choose the most useful predictive features, and ten-fold cross-validation was performed. Two prediction models were constructed using multivariable logistic regression analysis: one based on clinical variables, and the other based on clinical variables with the radiomics score. Predictability of the two models was assessed with the AUC of the ROC curves. Clinical characteristics did not significantly differ between malignant and benign nodules, except for mean nodule size. Among 730 candidate texture features generated from a single US image, 15 features were selected. Radiomics signatures were constructed with a radiomics score, using selected features. In multivariable logistic regression analysis, higher radiomics score was associated with malignancy (OR = 10.923; p < 0.001). The AUC of the malignancy prediction model composed of clinical variables with the radiomics score was significantly higher than the model composed of clinical variables alone (0.839 vs 0.583). Quantitative US radiomics features can help predict malignancy in thyroid nodules with indeterminate cytology.

Latar Omah Art – Desa Wisata Kaki Langit: Integrasi Kerajinan “Lukis Api” dan Homestay “Sahara” Menuju Wisata Berkelanjutan

This service program focuses on developing competitive and cultured superior village tourism, with the leading partner as the latar omah art of kaki langit village tourism. This service is carried out with an empowerment approach (active participation) through training, mentoring, and facilitation. Some of the programs carried out are (1) training and practice of painting fire for the community of mangunan and surrounding areas, which aim to support the fire painting program and improve human resources in the field of crafts; (2) excellent service training for culinary and homestay managers, homestay managers are expected to have practical, friendly, professional homestay management; (3) facilitation of fire painting tools as a medium for innovating craft tourism; (4) tourism packaging and promotion as a means to introduce and develop tourism villages in a sustainable manner.

Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları

1300’lü yılların başında Floransa’da Santa Croce Kilisesi bünyesinde masrafları kentin yerlisi önemli aileler tarafından karşılanarak inşa edilen şapellerin dekoratif programı pek çok çalışmada incelenmiştir. Bu makale ise, Santa Croce içinde Peruzzi ailesi tarafından inşa edilen Peruzzi Şapel’inde Giotto tarafından yapılan Aziz Yuhanna ve Vaftizci Yahya’nın hayatından sahneler sunan panelleri kısaca tanıtıp ardından mikro bir analiz önererek Drusiana’nın diriltilmesi anlatısına odaklanır. Olay, İncil yazarı Aziz Yuhanna’ya atfedilen ve Yuhanna'nın Eylemleri olarak bilinen, Yeni Ahit’e eklenmiş bir yan metinde bahsedilen bir mucizedir ve Bizans dönemi Anadolu’sunun en önemli kutsal kentleri arasında sayılan, ve adını Aziz Yuhanna’dan alan, Ayasoluk kentinde gerçekleşmiştir. Yazı kapsamında, şapelin dekoratif programı genel çerçevesiyle incelendikten sonra, Giotto’nun Aziz Yuhanna’ya atfedilen bu mucizevi eylemi nasıl resme döktüğü, hangi mimari ip uçları sayesinde Ayasoluk kurgusunu yarattığı ve bu görsel kurgunun taşıdığı anlamlar tartışılacaktır. Ayrıca, Geç Orta Çağ veya Erken Rönesans dönemi resim sanatında kent imgesinin vurgulanmasında kent kapıları, surlar, ve dinî yapılar ve diğer mimari detayların Giotto tarafından nasıl kullanıldığı Roland Barthes’ın “gerçeklik etkisi” teorisi bağlamında incelenecektir. Ayrıca, Giotto’nun 14. yüzyıl Floransa’sında Ayasoluk’un kentsel dokusunu canlandırması girişiminin Peruzzi ailesinin siyasi, ekonomik ve kültürel gücünün yansıtma aracı olarak kullanması dinamiği de metinde irdelenmektedir.

Carcass and meat quality of Nellore cattle (Bos taurus indicus) belonging to the breeding programs

The objective of this study was to estimate and describe phenotypic traits for carcass and meat quality in Nellore cattle belonging to the breeding programs. Data from 718 Nellore animals participated in the Delta Gen, CRV Paint and Nelore Qualitas breeding programs were used. Meat quality traits were measured and the data were analyzed. The following means and standard deviations of the meat quality traits were obtained: shear force (SF = 5.7 ± 1.3 kg), myofibril fragmentation index (MFI = 32.0 ± 15.3), cooking loss (CL = 27.7 ± 3.1%), intramuscular lipid content (ILC = 0.9 ± 0.5%), backfat thickness (BFT = 4.2 ± 1.4 mm), marbling score (MS = 2.6 ± 0.36), rib eye area (REA = 72.8 ± 7.35 cm2) and instrumental color (lightness (L* = 27.9 ± 2.7), redness (a* = 12.4 ± 1.86), yellowness (b* = 5.5 ± 1.0)). Significant phenotypic correlations were observed between BFT and MS (0.2314), and between MS and ILC (0.1308). A negative and significant correlation was found between SF and MFI (-0.5525); however, the correlation with MFI was low in animals with SF values ​​higher than 6 kg. In principal component analysis (PCA), the first four eigenvalues of the matrix of direct additive genetic variance explained 61.26% of the total additive genetic variance in the meat quality traits. The most important meat quality traits in PC1 were a*, b* and CL. PC2 was characterized by MFI and color (a* and b*), PC3 by MS, BFT and L* and PC4 by ILC, L* and b*. Furthermore, BFT was positively associated with MS, SF and CL, and SF was negatively associated with MFI. The present study suggests that muscle growth and backfat thickness were satisfactory; however, intramuscular fat deposition and meat tenderness still require more attention from the breeding programs.

The Features of the Monumental Paintings by V. Rudakov and N. Zheltomirska in Odessa Eparchy orthodox temples

In the article the monumental paintings by V. Rudakov and N. Zheltomirska in Odessa temples are considered. Characteristic features of contemporary sacred art are revealed due to the use of iconographic, iconological and comparative research methods. The principles of applying Byzantium icon-painting canon in the temples spaces are reviewed. The process of creating painting programs of churches interiors in connection with their dedication to a particular saint or to one of the Great Feasts is analyzed. The technological features of the creation of monumental and decorative design in the selected temples have been ascertained. The process of decorating Odessa churches by the icon painters of the XXI century is considered as a new wave of Christian art development based on Byzantine and Old Russian stylistics.

El rito bautismal y las imágenes pintadas en la iglesia de Curahuara de Carangas

In the baptistery of the church of Santiago de Curahuara de Carangas, built at the end of the 16th century, a complex mural painting program was executed in the last quarter of the 18th century. The present text intends to establish the links between the scenes painted and the rite of baptism. We do not see a direct or evident relationship in a didactical or performative sense. The images are there to be potentially activated during the liturgical ceremony in order to reveal the efficacy of the sacrament. We have the advantage of working with a set of images that remain in their original location. Therefore, this essay proposes a potential relationship among gesture, words and paintings, as they could have been related in the 18th century. In the analysis, we put into dialogue the resonances intended by the Church and the reception by the indigenous community.

Pengembangan Media Permainan Ilmu Pengetahuan Alam untuk Meningkatkan Minat dan Hasil Belajar MI/ SD di Gunung Kidul Jogjakarta

This research is to know the development procedure of IPA game media for class IV MI / SD, to know the quality or feasibility of IPA game media for MI / SD students based on media expert and material expert, and to know the result of IPA game media development in increasing interest and learning result for fourth grade student MI Muhammadiyah Jalakan and SD Muhammadiyah Bogor in Gunungkidul. This type of research is Research and Development (R &amp; D). Development procedures include potentials and problems, planning, drafting of products, design validation, design revisions, limited field trials, revisions of limited field trial results, broad field trials, and final product revisions. The results of the research are: 1) The game media in question is the game of Petir Pelangi and Monopoli IPA which is a game form in which there are IPA materials specially in Chapter Change of Earth Appearance and Celestial Material for class IV made by using Paint program, and equipped with auxiliary tools. 2) The results of validation of media experts and material experts indicate that the game of Petir Pelangi and Monopoli IPA is feasible or better used as media of learning media. This is based on the score score of Petir Pelangi game and Monopoli IPA respectively reaching an average of 4.3 in very good category, and 4.08 in good category. 3) In limited field trials and extensive field trials of rainbow lightning games and IPA monopolies can only increase consecutive learning interest by 6.55 with a standard gain of 0.41 in the medium category and 4, 64 with a standard gain of 0.27 in the low category. Whereas for the average of the students' learning outcomes on the limited field test and the wide field test of both game media can increase 12.77 with the standard gain of 0.31 in the medium category and 13.4 with the standard gain of 0.33 at medium category