Pigment Research Articles

Expression of Concern: Oil painting color image enhancement recognition method based on artificial intelligence: applications of an AI model in environmental research

ABSTRACT Due to the pollution of the air and water environment and the problem of forgery, it is difficult to identify oil paintings. The reason is that air pollution and water pollution can lead to moisture, mold, and even water stains on the picture, which will seriously damage the integrity and color performance of the picture. At the same time, chemicals in the water may also have a corrosive effect on the oil painting, further destroying the color and detail of the picture. The problem of relying entirely on the conventional experience of experts is too subjective. Some controversial works are difficult to convince people with rational identification evidence, so it is necessary to explore a scientific and effective method to quantify the authenticity of oil paintings. This paper constructs an oil painting authenticity identification method based on multi-feature fusion based on the artistic style analysis and feature extraction of oil painting shape, color and texture. The recognition accuracy of the proposed method is compared with that of the existing neural network. The results show that the recognition rate of the proposed model is 73.0%, which is the best performance.

Industrial chimneys – as a potential art object

Industrial chimneys – as a potential art object

Chinese Ancient Paintings Inpainting Based on Edge Guidance and Multi-Scale Residual Blocks

Chinese paintings have great cultural and artistic significance and are known for their delicate lines and rich textures. Unfortunately, many ancient paintings have been damaged due to historical and natural factors. The deep learning methods that are successful in restoring natural images cannot be applied to the inpainting of ancient paintings. Thus, we propose a model named Edge-MSGAN for inpainting Chinese ancient paintings based on edge guidance and multi-scale residual blocks. The Edge-MSGAN utilizes edge images to direct the completion network in order to generate entire ancient paintings. It then applies the multi-branch color correction network to adjust the colors. Furthermore, the model uses multi-scale channel attention residual blocks to learn the semantic features of ancient paintings at various levels. At the same time, by using polarized self-attention, the model can improve its concentration on significant structures, edges, and details, which leads to paintings that possess clear lines and intricate details. Finally, we have created a dataset for ancient paintings inpainting, and have conducted experiments in order to evaluate the model’s performance. After comparing the proposed model with state-of-the-art models from qualitative and quantitative aspects, it was found that our model is better at inpainting the texture, edge, and color of ancient paintings. Therefore, our model achieved maximum PSNR and SSIM values of 34.7127 and 0.9280 respectively, and minimum MSE and LPIPS values of 0.0006 and 0.0495, respectively.

ChromaFusionNet (CFNet): Natural Fusion of Fine-Grained Color Editing

Digital image enhancement aims to deliver visually striking, pleasing images that align with human perception. While global techniques can elevate the image's overall aesthetics, fine-grained color enhancement can further boost visual appeal and expressiveness. However, colorists frequently face challenges in achieving accurate, localized color adjustments. Direct composition of these local edits can result in spatial color inconsistencies. Existing methods, including color style transfer and image harmonization, exhibit inconsistencies, especially at boundary regions. Addressing this, we present ChromaFusionNet (CFNet), a novel approach that views the color fusion problem through the lens of image color inpainting. Built on the Vision Transformer architecture, CFNet captures global context and delivers high-fidelity outputs, seamlessly blending colors while preserving boundary integrity. Empirical studies on ImageNet and COCO datasets demonstrate CFNet's superiority over existing methods in maintaining color harmony and color fidelity. Robustness evaluations and user studies have further validated the effectiveness of CFNet. In conclusion, CFNet introduces an innovative approach to seamless, fine-grained color fusion, paving the way for advancements in the domain of fine-grained color editing. Code and pretrained models are available at our project page: https://yidong.pro/projects/cfnet.

Antimicrobial Activities and Painting Application of Pigmented-Producing Actinobacteria Isolated from Rhizospheric Soils of Mosses (Taxithelium nepalense (Schwägr.) Broth. and Barbula indica (Hook.) Spreng.)

In the survey of biodiversity of actinobacteria associated with mosses (Taxithelium nepalense (Schwägr.) Broth. and Barbula indica (Hook.) Spreng.), certain strains of pigment producing actinobacteria were isolated and purified on SCA and incubated at 30°C for 1 week. Based on deep-shade color of actinobacterial pigments, 4 strains were collected and used for painting color preparation. To evaluate the antimicrobial activities, the crude extracts were prepared from 4 actinobacterial strains and tested with Escherichia coli PSRU-01 and Staphylococcus aureus PSRU-01. The results indicated that the crude extracts of C7, C13, C15 and D13 could not inhibit growth of E. coli PSRU-01, but S. aureus PSRU-01 was inhibited. Two fungal testers, including Colletotrichum sp. PSRU-01 and Fusarium sp. PSRU-01, were completely inhibited by the crude pigment extracts of C13, C15 and D13. Based on phylogenetic results, the actinobacterial strains were closely related to Streptomyces californicus (C7, 100% identity), Streptomyces bungoensis (C13, 99.8% similarity), Streptomyces humi (C15, 99.9% similarity), and Streptomyces rectiverticillatus (D13, 99.8% similarity). They also shared phenotypic characteristics with Streptomyces. The cultivated cells of actinobacteria on broken-milled rice were used for pigment extraction and followed by determination of the extracted pigments for mixing with acrylic color in the shade violet, green, orange and pink colors. Application of actinobacterial pigments in painting is the first report and it is an innovative utilization of actinobacterial pigments in non-scientific field in Thailand.

Dynamic large-array terahertz imaging display based on high-performance 1D/2D tellurium homojunction modulators

Mixed-dimensional van der Waals systems could improve terahertz modulators’ performance by utilizing the advantages of different dimensional materials. However, the reported available mixed-dimensional heterojunctions using two-dimensional (2D) and three-dimensional materials usually sacrifice the modulation speed to realize a higher modulation depth. Here, we creatively integrate one-dimensional (1D) nanowires with 2D nanofilms to construct the novel mixed-dimensional tellurium (Te) homojunction and achieve optimal indices with an ultrahigh modulation depth and a shorter carrier lifetime. In addition, a Te-based large-array imaging element was fabricated to successfully reproduce the painting colors under specific pump conditions as well as the dynamic multicolor display. Further measurements with the introduction of metamaterials prove that the required energy consumption can be significantly reduced by one order of magnitude. Our proposed 1D/2D integration strategy opens a new way to build high-performance terahertz functional devices and greatly expands the application fields of Te nanomaterials.

Tinjauan Komposisi, Warna Dan Bentuk Pada Hasil Lukis Dengan Media Payung Di Sanggar Lukis Qalam Jihad

This research aims to determine the ability to organize compositions, process colors, adjust colors, and determine the level of suitability of shapes in the results of paintings using umbrella media at the Qalam Jihad Painting Studio Pematangsiantar. This research uses a qualitative descriptive method, by researching a topic in a systematic, factual and accurate manner obtained from data collection in the field and carried out based on existing facts and characteristics. This research is to review the composition, color and shape of paintings using umbrella media by studio students aged 13-15 years. The composition aspect gets the lowest score and the color aspect gets the highest score. This can be seen from the good coloring and color combinations with dark and light on the objects and colors that are seen clearly and appropriately by the studio students. Based on this, it produces a higher color aspect than other aspects. The classification of the results of reviewing the composition, color and shape of paintings using umbrella media at the Qalam Jihad Pematangsiantar painting studio is that 7 students are categorized as good with a score of 241.4 to 266 and an average score of 80.5 to 88.6. 8 students were quite good with scores of 211.2 to 234.9 with an average score of 70.4 to 78.3.

The Influence of the Color and Composition in Chinese Painting on the Animation"Cowboy's Flute"

This journal article examines the animation "Cowboy's Flute" produced in 1963 at the animation studio in Shanghai, focusing on its use of coloring and composition influenced by traditional Chinese watercolor and ink painting. By analyzing specific elements within the animation, such as the overall composition, depiction of nature, and the portrayal of a shepherd boy riding a buffalo, this article explores how the film embodies authentic Chinese aesthetics. Drawing upon the symbolism and cultural significance associated with these artistic elements, this article sheds light on the theme and artistic choices made in "Cowboy's Flute." The findings reveal the strong influence of traditional Chinese painting on the animation and its contribution to the portrayal of Chinese cultural values and aesthetics.

Retracted: Painting Color Editing System Based on Virtual Reality Sensor Technology

Retracted: Painting Color Editing System Based on Virtual Reality Sensor Technology

Time-of-day perception in paintings.

The spectral shape, irradiance, direction, and diffuseness of daylight vary regularly throughout the day. The variations in illumination and their effect on the light reflected from objects may in turn provide visual information as to the time of day. We suggest that artists' color choices for paintings of outdoor scenes might convey this information and that therefore the time of day might be decoded from the colors of paintings. Here we investigate whether human viewers' estimates of the depicted time of day in paintings correlate with their image statistics, specifically chromaticity and luminance variations. We tested time-of-day perception in 17th- to 20th-century Western European paintings via two online rating experiments. In Experiment 1, viewers' ratings from seven time choices varied significantly and largely consistently across paintings but with some ambiguity between morning and evening depictions. Analysis of the relationship between image statistics and ratings revealed correlations with the perceived time of day: higher "morningness" ratings associated with higher brightness, contrast, and saturation and darker yellow/brighter blue hues; "eveningness" with lower brightness, contrast, and saturation and darker blue/brighter yellow hues. Multiple linear regressions of extracted principal components yielded a predictive model that explained 76% of the variance in time-of-day perception. In Experiment 2, viewers rated paintings as morning or evening only; rating distributions differed significantly across paintings, and image statistics predicted people's perceptions. These results suggest that artists used different color palettes and patterns to depict different times of day, and the human visual system holds consistent assumptions about the variation of natural light depicted in paintings.

Sarindar Dhaliwal: When I grow up I want to be the namer of paint colors

Sarindar Dhaliwal: When I grow up I want to be the namer of paint colors

Effect of Hydrogen Gas on Titanium Dioxide using Heterostructure H2-TiO2: An ab-initio Study

High significant importance in energy and environmental research, its non-toxic and non-flammable character and relatively abundance and environmental friendly nature, Titanium Dioxide is an interesting Transition Metal Oxide. With its good corrosion resistance property it is also used as pigment in paint colours and in the coatings. A potential candidate for high-temperature gas sensing applications bleveraging its nanoparticles due to its notable excellent sensitivity and stability. It is also attractive due to its significance as photocatalysts in solar cells as a semiconductor material. In this ab-initio study, we designed a 2D H2-TiO2 heterostructure considering rutile and anatase based and observed comparative variation in diverse properties of Titanium Dioxide due to Hydrogen Gas. In this ab-initio study, we designed a 2D both rutile and anatase based H2-TiO2 hetrostructure and observed comparative variation in diverse properties of Titanium Dioxide due to Hydrogen Gas considering potential application in Hydrogen Fuel based engine and container where TiO2 is used. In this study we presented its predicted impact under high pressure inside the border exertion of DFT exhausting Quantum ESPRESSO software using High Performance Computing and comparatively investigated and discussed various related properties of the heterostructure.

Green synthesis of Eucalyptus globulus zinc nanoparticles and its use in antimicrobial insect repellent paint formulation in bulk industrial production

Mitigating climate change can be achieved by opting for sustainable, plant-based materials instead of relying on hazardous chemicals that come with various side effects. Various natural plant extracts find widespread application in synthesizing insect-repellent coatings, particularly in industries such as paint manufacturing. The increasing demand for these coatings has led us to find out the effects of different plant extracts for the efficient preparation of paints with more advanced impacts and low cost. For this purpose, zinc nanoparticles of Eucalyptus globulus L. and its extracts were used in this study due to their remarkable biocidal and antimicrobial activities. The extract was prepared by the process of oven-drying and heating followed by their filtration. Then, they were subjected to different phytochemical tests that were performed in which plant material did not contain flavonoids and glycol. The comparison of the size of nanoparticles was visible during the weighing which was found to be 4.451 mg. Advanced characterization techniques like FTIR, UV visible spectroscopy, and particle size analysis were adopted for the analysis of nanoparticles of plant extract. The FTIR analysis of the plant material was reported to lie in the range of 1000–1800 cm−1. On the other hand, the results of UV visible spectroscopy of nanoparticles of plant extract showed absorption peaks around 300 nm. The produced material was integrated into paint formulations to impart insect-repellent and antibacterial characteristics. Painted panels exhibited notable antibacterial efficacy, presenting an inhibition zone of 0.7 cm for Escherichia coli and 0.3 cm for Staphylococcus aureus when utilizing biocide. Plant nanoparticles yielded inhibition zones of 1 and 1.2, while aqueous extract resulted in zones of 0.2 and 0.5, respectively. A thorough evaluation of the paint's color attributes, including ΔL, Δa, Δb, and ΔE, indicated noteworthy differences. The CMC ΔE values from the trials exceeded 1, indicating a substantial change in shade. The batches of paints containing E. globulus extracts and nanoparticles were found to be lighter in color specifically green and yellow colors. Their antimicrobial and insect repellant activity was tested using the mosquitos of Aedes aegypti with an age of 4–5 weeks, revealing that formulations with plant extracts exhibited a 61 % effective period, greater than the 7 % observed in non-biocidal formulations. The paint responded best towards these mosquitoes in terms of repellency and the ultimate target of this study was achieved.

The Role of Exterior Paints in Enhancing Energy Efficiency: An Analysis of Buildings in Cities

Energy efficiency has become a significant issue in the construction industry today. Reducing the energy consumption of buildings is a crucial step to provide environmental sustainability and economic advantages. In this context, the impact of exterior paints on energy efficiency is being examined to determine how they can be used to reduce the energy consumption of structures. A study conducted in the cities of Ankara, Antalya, Istanbul, Izmir, Kars, Kayseri, Konya, Mersin, and Tokat has developed a model for energy efficiency analysis. In this study, the absorptance values of external facades for each city were adjusted to 0.1, 0.4, and 0.7 using different types of paints. The building under investigation was chosen to have a U-value of 0.28 W/(m² °C) and an R-value of 20 h.ft²°F/Btu. Building models with these paint values were created using the Energy 3D program, and separate analyses were conducted to evaluate them.
 The aim of the study is to examine the impact of colors used in exterior paints on the energy efficiency of buildings in cities. Therefore, models were created using different absorptance values of paints. The results obtained were evaluated separately for each city. Analyses revealed differences in energy consumption for buildings painted with different types of paint. Exterior facades with low absorptance values reflect sunlight and keep the interior temperature low, thereby increasing the energy efficiency of buildings and reducing energy consumption. Energy efficiency analyses conducted for Ankara, Antalya, Istanbul, Izmir, Kars, Kayseri, Konya, Mersin, and Tokat have revealed the potential for energy savings by using different absorption values (0.1, 0.4, 0.7) for exterior paint colors in these cities. These findings can be considered a crucial factor in the selection of colors for exterior paints to enhance the energy efficiency of buildings and to achieve sustainability goals in the respective regions.

Retracted: Research on the Performance of Impressionist Painting Color Visual Communication Based on Wireless Communication and Machine Vision

Retracted: Research on the Performance of Impressionist Painting Color Visual Communication Based on Wireless Communication and Machine Vision

Unveiling Patterns and Colors in Architectural Paintings: An Analysis by K-Means++ Clustering and Color Ratio Analysis

Unveiling Patterns and Colors in Architectural Paintings: An Analysis by K-Means++ Clustering and Color Ratio Analysis

PELATIHAN PEMBUATAN TOTEBAG DENGAN MENGGUNAKAN TEKNIK ECOPRINT DI DESA KARANGPATRI

Karangpatri village is one of the villages in pebayuran district, Bekasi Regency. Therefore, in this community service activity the author carried out a training program for making totebags using the ecoprint technique as community empowerment with the hope that this activity could become a goal of increasing insight, skills and an economic business opportunity for women in karangpatri village by utilizing natural materials around us, such as leaves, flowers, stems, or other parts that have color pig ments and using certain fabric media. The KKN program carried out by this author aims to develop innovation in making totebags using the Ecoprint technique in karangpatri village socialization and training activities for making totebags were carried out Through community service activities or KKN (Real Work Lecture) activities, this time we invite PKK mothers in karangpatri village to take part in socialization and also take part in making Totebags with this activity of making Totebags using the Ecoprint Technique which is simple and easy, it is hoped that it can make the village community become more interested in making Totebags using the Ecoprint Technique.

The Tungkot Tunggal Panaluan Batak Statue As A Source Of Inspiration For The Creation Of Painting Artworks

The author's fascination inspired the creation of this work with the Tungkot Tunggal Panaluan Batak statue, a significant element of Batak culture, notable for its shape, history, and function. This statue portrays seven individuals supporting each other, diminishing in size, set against diverse backgrounds. The research seeks to visualize the form, history, and applicability of the Tungkot Tunggal Panaluan statue from the distant past to the present day, manifesting as paintings accompanied by descriptions of their meanings and the techniques employed in their creation. The author produced 12 paintings in this study using acrylic and oil paints on canvas. These artworks feature human figures and primitive Batak figurative statues, characterized by stylized forms, set against a simple village backdrop that serves as a historical context for Tungkot Tunggal Panaluan. Historically, this statue was employed by leaders in traditional Batak community events. The author combined three techniques—plaque, chiaroscuro, and bravura—to infuse the paintings with dynamic impressions, contrasts, and vitality. Notably, the chiaroscuro technique was employed to balance dark and light, utilizing paint colors derived from raw umber and yellow ocher combined with primary colors to evoke a vintage atmosphere. The outcomes of this research comprise 12 paintings, each titled uniquely, reflecting the author's interpretation of the Tungkot Tunggal Panaluan statue in the realm of fine art. These works offer a profound insight into the statue's form, history, and function, contributing significantly to the author's impact on the evolution of painting.

Retracted: Application of Intelligent Image Color Technology in Teaching Chinese Painting Color

Retracted: Application of Intelligent Image Color Technology in Teaching Chinese Painting Color

Race and Women in Painting

This article investigates the intricate relationship between race, gender, and identity within the domain of painting. It delves into the historical depiction of women from diverse racial backgrounds, aiming to shed light on the intersectional experiences and challenges encountered by women of colour in the art world. Through an examination of prominent artworks and an analysis of their social and cultural contexts, this research seeks to enhance our comprehension of how race and gender intersect in artistic representation. The study employs a multifaceted research methodology, including a thorough literature review, visual analysis of selected paintings, socio-cultural contextualization, and an intersectional analysis. The results of the study reveal a historical pattern of underrepresentation and misrepresentation of women of colour in painting, characterized by Eurocentric beauty standards, exoticization, and objectification. However, the analysis also uncovers instances where artists have challenged these stereotypes and presented more diverse and empowering representations. By highlighting these findings, the research emphasizes the importance of fostering inclusivity and appreciation for the diverse voices and narratives of women in painting, ultimately contributing to a more equitable and diverse art world.