Watercolor Painting Research Articles

Effectiveness of Mindfulness-Based Art Therapy (MBAT) Utilizing Watercolor Painting on Emotion Regulation, Mindfulness, and Obsessive Symptoms

Effectiveness of Mindfulness-Based Art Therapy (MBAT) Utilizing Watercolor Painting on Emotion Regulation, Mindfulness, and Obsessive Symptoms

Ink Drawing Technique: Prescriptions from the Nineteenth-Century Art School According to Gustave Frepon

Continuing its series of articles on drawing techniques, Secreta Artis presents an abridged and adapted translation of a unique text from a manual on ink drawing methods, accompanied by a commentary. The text and illustrations, which outline and demonstrate three pen techniques: lining, hatching, and dotting (extremely rare and methodologically valuable information), were published in 1897 in the French artist Gustave Fraipont's book "L'art d'appliquer ses connaissances en dessin: fusain, crayon, plume, eau-forte, lithographie, execution des dessins pour la photogravure et la gravure sur bois, l'art de prendre un croquis". Fraipont's comprehensive work explores a wide array of graphic arts, including charcoal, pencil, etching, lithography, woodcut, and more.However, despite the popularity of G. Fraipont's works in the latter half of the 19th century, including seven manuals on watercolor painting, composition, drafting, and sketching that were translated and published in Moscow and St. Petersburg between 1893 and 1895, his work on ink drawing techniques was not translated into Russian. This material is highly relevant for studying the history of 19th-century graphics, the academic art school of that era, and for mastering drawing techniques.

Cultural Approach in Teaching Visual Arts and Literary Reading at the Primary General Education Level: Principles and Methodological Solutions

Introduction. Introducing elementary school students to the values of artistic culture in the lessons of fine arts and literary reading is an important aspect of primary education. The authors of the article focus on the cultural approach, which contributes to the expansion of space for interpersonal and intercultural interaction, self-expression and realization of essential, creative in nature, human forces, allowing to rely on the dominant system of values in society and build educational strategies based on the ideas of dialogue and humanism as a basic basis for common approaches in teaching different subjects. Methodology. The article presents a number of principles, including: the principle of continuity, continuity, the principle of combining theory and practice-oriented, communicative interaction, openness, inclusiveness of the educational environment, cultural appropriateness. The integration of these principles in the process of implementation of the subjects “Fine Arts” and “Literary Reading” at the level of primary general education allows the teacher to strengthen the educational context of the taught subject, to expand the possibilities of searching and justification of actual methodological solutions in the context of cultural approach in education. Results. The research resulted in methodological solutions presented in the form of variants of tasks for students on the material of studying watercolor painting and works of various genres in elementary school. Conclusions. The solutions proposed by the authors can be considered by teachers as methodological guidelines that demonstrate and reveal the specifics of the implementation of the cultural approach in teaching the subjects “Fine Arts” and “Literary Reading”.

Depiction and Description: Insights into Southern Alps Glaciers Conveyed by John Gully’s Paintings and Julius Haast’s Paper at the Royal Geographical Society

In June 1862, Julius Haast (1822–1887), the Canterbury Provincial Geologist, wrote to Joseph Hooker, Assistant Director of the Royal Botanic Gardens at Kew, informing him that “being now naturalized I think it my duty to offer my work to the scientific societies in England.” Haast informed Hooker that as soon as his topographical map was finished, he would send the botanist “an account of the geological features of the Alps, on deposits of the glacial period, accompanied by maps, sections and sketches,” requesting him to present the account to the Geological Society of London.[i] Although this anticipated initial foray into publishing in British scientific journals did not eventuate until 1865,[ii] on 12 November 1863 Haast sent a copy of his large topographical map of the Southern Alps,[iii] accompanied by extensive notes on the physical geography of that region and a set of 12 watercolour paintings (e.g. fig. 1), to the geologist Sir Roderick Murchison,[iv] President of the Royal Geographical Society. Haast hoped that those landscape paintings would “best enable the members, to gain an insight into the wild mountain masses [of the Southern Alps], with their snowfields, glaciers and lakes [emphasis added].”[v] [i] Sascha Nolden, Esme Mildenhall and Simon Nathan, The Correspondence of Julius Haast and Joseph Dalton Hooker, 1861–1886 (Wellington: Geoscience Society of New Zealand, 2013), 22. Haast became a British citizen in February 1861. [ii] See Julius Haast, “Notes to a Sketch-Map of the Province of Canterbury, New Zealand, Showing the Glaciation During the Pleistocene and Recent Periods as Far as Explored,” Quarterly Journal of the Geological Society of London 21, nos. 1–2 (1865): 87–96. [iii] On 11 June 1863, Haast informed Hooker that he was sending Murchison a large map with a set of watercolour drawings by the next mail (Nolden, Mildenhall and Nathan, Correspondence Haast-Hooker, 42–43). [iv] Ibid., 57. [v] Julius Haast, “Notes Accompanying a Map of the Province of Canterbury” (Royal Geographical Society Manuscript Archive, 1862), 1.

The Transformation of Animated Character Images: A Perspective on the Shift in Contemporary Chinese Public Aesthetics

As a rising star among various film categories in China, animated films hold a pivotal position. Directly targeting a vast audience of children and teenagers, they enjoy a natural advantage in cultural dissemination and ideological guidance. Since the creation of China’s first animated film, The Big Stir in the Studio in 1926, a distinctive national style has been one of the most prominent hallmarks of domestic animation. With the integration of modern artistic concepts and advanced animation production technologies, Chinese animation has, after a rich developmental journey, ultimately formed its unique creative paradigm and aesthetic philosophy. As a “young” art form, animation employs a wide array of content expression methods, encompassing artistic forms such as ink wash painting, sculpture, watercolor, and oil painting. Its “all-encompassing” nature also determines that animation art possesses a strong “moldability,” making it more susceptible to the influence of various cultural trends during the creation process. This is particularly evident in the evolution of character design influenced by aesthetic preferences in different periods since the founding of New China. This article will delve into the transformation of public aesthetics since the establishment of New China by examining the artistic expression and gender body structures in characters from domestic animated films. It aims to contribute to the development of China’s animation industry and promote outstanding Chinese culture.

The Role and Place of Art in Waldorf School

The relevance of the study is determined by the need to analyse the humanistic Waldorf experience and insufficient coverage of the issues of teaching painting in Waldorf school in Ukrainian scientific sources. The purpose of the study is to reveal the role and place of art in Waldorf school. The research tasks are the following: to highlight R. Steiner’s views on the role and place of art in the education of the younger generation; to characterize the process of teaching painting to schoolchildren at different levels of Waldorf education. The characteristic features of 12-year Waldorf art education are highlighted. They are: increasing the role of subjects of the artistic and aesthetic cycle to the level of academic (general education) and craft-applied branches; a wide range of arts (painting, drawing, sculpting, declamation, recitation, eurhythmy, singing, playing musical instruments, participation in the choir and orchestra, dramatic performances, etc.); art integration into the academic cycle (especially at the initial stage); artistic and aesthetic design of the entire educational space and school environment (in particular, school architectonics, premises interior, etc.). It has been found that teaching painting covers all children and is aimed at forming abilities, which promotes child’s harmonious development and revelation of their natural talents. Painting classes correspond to schoolchildren’s age characteristics and are connected with other subjects (native language, mathematics, zoology, botany, history, geography, physics). The content of teaching painting is characterized: from drawing, based on colour, and understanding the emotional and moral impact of colours through the search for colour forms for the mineral, plant, animal and human worlds, the transformation of a “black and white” image into a colour one, copying masterpieces of painting art, to implementation of significant artistic projects, in particular, in wall painting, painting scenery for theatrical performances, etc.). The various types (watercolour painting, oil and pastel painting) and techniques (liquid paints, lasering) of artistic activity are highlighted. The authors reveal the pedagogical expediency of studying, creatively comprehending and using Waldorf school experience to solve the current problems of the modern national school – person’s holistic development, their mental, volitional, emotional and sensual abilities, moral and social qualities, overcoming age-related and individual problems.

An alternative macro‐Raman mapping algorithm, adapting the numbers of accumulations

AbstractMacro‐Raman mapping is an approach that is well suited to study the distribution of molecules over a surface of typically several cm2, such as the pigment distribution on a painting. During such an experiment, thousands Raman spectra are recorded in a predefined array of points. As there can be a huge difference in Raman sensitivity between different molecules, an alternative approach is proposed, where measurement times are adapted according to the quality of the Raman scatterer. Therefore, an iterative process is implemented, involving recording short accumulations, followed by a quick evaluation. As soon as the accumulated spectrum reaches a quality criterium, measurement of the next point is started, while in the other case further accumulations are added. The influence of using multiple accumulations opposite to a single measurement for a prolonged period has been assessed by comparing the overall measurement time and the spectral intensity of the main Raman band (520.5 cm−1) of silicon. Another prerequisite for this algorithm to be successful is the need for a quick and reliable evaluation of the spectral quality. This was examined by applying this function on the accumulations of Raman spectra of 49 paint samples from a colour chart. Finally, the variable‐accumulation algorithm is applied during a macro‐Raman mapping experiment of a watercolour painting on paper. Despite a significant gain in overall measuring time, this novel approach yields a qualitative data set that can be used for creating clear Raman maps, using different data processing methods.

Diversity of Popular Expressions in Arab Maghreb Drawings

The current research addresses the study of the diversity of popular expressions in the drawings of the Arab Maghreb which can be employed in formative formulations that are consistent with the concepts of modernity in art, as the heritage expressions was associated with the authentic civilizational concepts and with the myths and folkloric stories that have an active presence in the memory of the Arab consciousness. The current research included four sections, the first contained the theoretical framework of the research. It identified the research problem which was summarized in the following question: What is the diversity in the popular expressions in the Arab Maghreb? In addition to its inclusion of the importance of the research and the need for it, and the research objective represented by (identifying the popular expressions in the Arab Maghreb), and it also included the research limits, including the objective that was determined by studying the representations of popular expressions in drawings of the Arab Maghreb executed with acrylic, watercolor and oil paints within the time limits confined between (1955_2018) and the spatial limits in the countries of the Arab Maghreb (Morocco, Tunisia and Algeria), reaching the definition of the terms mentioned in the research. The study analyzed a sample of 4 models from the works of artists from each of the countries of the Arab. Th results showed that the Moroccan artist sought to enrich his artistic experience with subjects related to the local and folkloric richness in the diversity of popular expressions, as in all the sample models of the research. The research concluded with proposals, in which it was suggested to conduct a comparative study between popular symbols in the countries of the Maghreb and the Arab Gulf countries.

A Visual Teaching Guide: Step-by-Step Watercolor Painting of a Winter Landscape with Layering Technique. A Ground Blizzard

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A three-dimensional audiobook design based on the Luo Yue culture of the Zhuang people, “Book Travel in Huashan”

The illustration design of this three-dimensional book is re-innovated based on the “North Sea Water Color Painting” style. The design features are in line with the development laws of children’s psychology. With rich colors, complex illustrations, wonderful storylines, and interactive book forms, it also Follow the development rules and learning characteristics of young children to create theme stories, and then carefully study the graphic symbols, summarize and refine the characteristics and essence of the Huashan blessing elements, extract and modernize the “human pattern totem”, and finally Restore the real characters and reserve high-quality picture book resources for preschool children who like Zhuang traditional culture, which is conducive to the promotion and inheritance of local intangible cultural heritage. In the last part, the results of the research on Huashan rock painting graphics and design application ideas are finally attributed to the creative practice of three-dimensional audio book design, completing the entire process from theory to practical application exploration, and then enhancing the national confidence and identity of the Zhuang people.

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.

The identities of three plants of unknown origin revealed by ancient paintings

AbstractArchives and correspondences are often overlooked resources in assessing taxonomic and nomenclatural information and this sometimes affects taxonomic proposals. Here we show that unpublished illustrations not only can definitively help in identifying unresolved or poorly known names but can be themselves original material and sometimes must serve as types, avoiding neotypes or misleading synonymizations. We present the case of three names introduced by the Neapolitan botanist Michele Tenore (Muscari strangwaysii, Asparagaceae; Pogostemon suavis and Salvia menthifolia, Lamiaceae). They have been interpreted differently over time because herbarium specimens that constituted original material were not accurately searched for (M. strangwaysii) or were unavailable (P. suavis, S. menthifolia). Although these three names are currently synonymized (with M. neglectum, P. cablin, and S. chamaedryoides) we demonstrate that these synonymies are not correct, based on the detailed study of original nineteenth‐century watercolour paintings, a re‐examination of protologues and specimens preserved in the Botanical Garden of Naples (NAP). The watercolour paintings are crucial for application of the names, because diagnostic features often disappear with drying (M. strangwaysii), or because they are the only extant original material (P. suavis). In all three cases we introduce new typifications for the names and update the synonymy to M. botryoides, P. heyneanus, and S. microphylla, respectively.

Research on Teaching Methods of Integrating Watercolor Techniques and Information Technology in Higher Education Art Education

Abstract Watercolor painting is a visual and creative discipline, which is closely related to the development of digital technology, which also affects the methods and means of basic art education in China. In this paper, we detect the trajectory of gesture movement after preprocessing the gesture data collected from students in watercolor painting using a Leap Motion sensor. We use Euclidean distance and nearest neighbor laws to identify and classify gesture movements in order to recognize students’ gesture movements in art education. Then, the virtual interactive system is designed with Unity 3D software, and finally, the art teaching method combining watercolor techniques and information technology is established. The results of teaching practice show that the level of students’ watercolor technique skills in all dimensions under innovative teaching is much higher than that of students under traditional teaching, and the significance values are all less than 0.05, which indicates that the use of VR technology has a very obvious impact on the teaching of watercolor painting. Meanwhile, the scores of students’ watercolor painting works were also improved with the assistance of VR technology. This study can provide a case reference for the subsequent research on the application of augmented reality technology and related teaching resources to art education and can enrich the construction of a new model of art learning activities in colleges and universities with technical support.

The MEDITAGING study: protocol of a two-armed randomized controlled study to compare the effects of the mindfulness-based stress reduction program against a health promotion program in older migrants in Luxembourg

BackgroundMigration is a phenomenon worldwide, with older migrants, particularly those with fewer socioeconomic resources, having an increased risk of developing adverse cognitive and health outcomes and social isolation. Therefore, it is of utmost importance to validate interventions that promote healthy aging in this population. Previous studies have shown a positive impact of mindfulness based-stress reduction (MBSR) on outcomes such as cognition and sleep. However, only a few studies verified its potential in older adults, especially with vulnerable populations such as migrants. This article presents the protocol of the MEDITAGING study, which is the first to investigate the MBSR effects in migrants aged ≥55 in comparison to a health promotion program.MethodsMEDITAGING is a two-arm randomized, double-blinded, controlled study, which will include older Portuguese-speaking migrants (n = 90). Participants are randomized to the MBSR or a health promotion program. Both interventions are conducted in groups over a total of 8 weeks, incorporating weekly meetings, an additional 4-hour class, and extra at-home tasks. The health promotion program has the same structure as the MBSR but comprises different activities related to dementia prevention, healthy habits, cognitive stimulation, sleeping, nutrition, watercolor painting, and physical activity. The assessment of executive functioning, physiological stress measures, self-reported questionnaires, and qualitative interviews are conducted at baseline, after 8 weeks (post-intervention), and at a follow-up session (from one to 3 months thereafter). Analyzes will be conducted using a modified intention-to-treat approach (all participants with at least 3 days of participation in the group-sessions and one post-intervention observation).DiscussionThis study will test effects of a mindfulness-based intervention against an active control condition in older adult migrants, which few studies have addressed.Trial registrationClinicalTrials.gov NCT05615337 (date of registration: 27 September 2022; date of record verification: 14 November 2022).

Striking (Up) Interspecies Collaborations with Crows and Falcons

This essay discusses two different kinds of human collaboration with wildlife. First, I consider the short non-fictional text Krähengekrächz (2016) by German author Monika Maron. Second, I look at young artist Hara Walther’s body of work, including her falconry, work she performs with her animal companion Sicilia.1 I deem both creative engagements to be two distinct yet related cases of zoopoetics (more on this below).2
 Maron’s text is an incomplete and tentative account (in German Erzählung) of her attempts at striking up a friendship with a crow in the Berlin neighbourhood where she lives. As the writer announces at the outset, her experiment in interspecies companionship is initially in the service of a planned novel featuring a crow among its main characters.3 However, as I shall argue, while explicitly conceived with such an agenda in mind, precisely by following the crow’s movements, Maron’s text strays from such a goal –or map– but rather follows what Thom van Dooren might call the crow’s “interjections”. For Van Dooren, an interjection involves an interruption of the status quo, a getting in between what is and what might be, whether verbally or bodily, in an effort to realize something different, to propose an alternative configuration of how we may get on together.4 Indeed, Maron’s text functions as one such interjection itself, for, in being “recruited” by the crows, the narrative breaks away from any specific genre. As I hope to make clear below, this story or rather collection of stories is less the result of the author’s intention than a meandering response to the crows’ own experimental gestures in the emergent interspecies contact zone where woman and crows meet.5
 Walther’s art is the offspring of her long partnership with Sicilia. For example, Walther has created colouring books for children, books she uses to teach falconry in her school Falconette, as well as watercolour paintings and assemblages with materials acquired during her hunts with Sicilia.6 Her art is made of markings that, as is the case in Maron’s text, are neither authorial nor authoritative. In contrast, her art follows the trail left by her wild animal companion and collects the traces as gifts. Issues of creativity, vulnerability, and impermanence punctuate the joyous gestures of cobecoming in Walther’s work. For this artist, therefore, falcon and human are creatively joined in the everyday practices of falconry, teaching, and art.

Integration and Exploration of Digital Painting and Traditional Watercolor Painting

In the 20th century, sociologist and critic Walter Benjamin affirmed that works of art became more accessible through mechanical and industrial production and lost their aura. Although paintings and sculptures have remained rarity throughout the history of art due to their uniqueness, emerging fields such as photography and design required new ways of creating value at the time. The most common solution to creating value for such art is to limit the number of versions, in other words, to oppose the reproducibility of these items. In Benjamin's thesis, the "Aura" as the only feature of the artwork will decline with the continuous development of technology. The rise of digital art at this stage just confirms this point of view, and the art form of traditional painting has encountered unprecedented challenges. Edmond Belamy, a portrait created by artificial intelligence, was successfully sold at Christie's in 2018 for a transaction price of $ 432,500. This marks that the commercial world auction organization has recognized the art produced by artificial intelligence. The fields involved include painting, architecture, and installation art. The main research question of this article is whether the aesthetic standards and values of the electronic painting are consistent with traditional painting? Especially the direction of digital painting?

Short-term training in watercolor painting on psychological anxiety of adult students from the perspective of art psychology

BackgroundAnxiety disorders often involve excessive and persistent feelings of worry and fear, which develop to a peak in a short period of time. The etiology of anxiety disorder is complex, and its pathogenesis is not clear. Genetic factors are one of the important risk factors of anxiety disorder, and neurobiochemical factors, psychological factors and biosocial factors may lead to this disease. In order to explore more ways to intervene in psychological anxiety, the study introduced psychology into the short-term training course of watercolor painting, and analyzed its influence mechanism and effect on psychological anxiety of adult students.Subjects and Methods Forty-six adult students with psychological anxiety in a painting training course were randomly divided into the experimental group and the control group. The experimental group participated in the watercolor painting training course from the perspective of psychology. Symptom self-rating Scale SCL-90, social anxiety scale LSAS and Hamilton anxiety Scale HAMA were used for assessment before treatment, the second, fourth and eighth weeks after treatment, respectively.Results The scores of HAMA, LSAS and SCL-90 in the experimental group after receiving painting training from the perspective of psychology were lower than those before participation (P<0.05), and the differences were statistically significant.ConclusionsThe short-term painting training course from the perspective of psychology has a positive effect on the psychological anxiety of adult students, which can maintain attention for a long time, improve the quality of sleep, and avoid the anxiety of nervousness or excessive thinking.

CIE L＊a＊b＊ 시스템을 이용한 패키지디자인 색상 요소에 관한 연구

The brand awareness of Chinese watercolor pigments is not as good as the overseas brands, and they have less experience in shaping brand images. There is less research on watercolor paint packaging design in China. Packaging design is the most direct way to communicate with consumers. Therefore, this study investigated the current status of color use in packaging design for watercolor paint brands sold in China to supplement research data. According to the survey in Chinese brand watercolor paint packaging designs, high brightness and medium brightness colors are more frequently used and highly saturated yellow and low saturated green are more commonly used Low-saturated blue is used more frequently in the design of imported watercolor paints from overseas. Study's purpose is to determine the color usage in watercolor paints packaging design with the highest sales, and assist watercolor paint brands in providing important color data references in packaging design and marketing strategies.

Analysis of the Use of Emotional Expression in the Creation of Watercolor Art

Time is progressing, modern art is also booming, painting is not only focusing on beauty but a way of communication, painting can convey the emotions we want to express, which cannot be replaced by language. A good painting can integrate the creator's emotion with the painting, and reflect the performance of artistic thinking, so that the painting becomes lifelike, more vivid and natural as if reading the author's heart, as if communicating with the author, the form of language is the basis to support all the paintings. Watercolor painting has a long history, from the West into the land of China, by the influence of oriental art, formed a unique contemporary watercolor language form, showing a unique painting style. Emotion is the core of formal language as the creation of painting, and it is the bridge between emotion and concrete expression, and the two are complementary to each other.

"VICTORIOUS AND UNDEFEATED". HEROIC THEME IN WATERCOLOR PAINTING. From the review of the graduate qualification work by I. V. Karamalikova, supervised by S. N. Andriaka

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