Digitalisasi Proses Melukis Dengan Teknik Splattering

Digitalisasi proses melukis merupakan hal penting dan berguna untuk pembelajaran seni lukis di perguruan tinggi seni. Dalam hal ini, digitalisasi berupa perekaman video proses penciptaan lukisan khususnya untuk teknik yang tidak mudah untuk ditampilkan lewat foto apalagi hanya keterangan tertulis. Untuk itu, penelitian berjudul “Digitalisasi Proses Melukis dengan Teknik Splattering” bertujuan untuk merekam dalam format video terhadap proses pembuatan lukisan dengan teknik splattering atau cipratan. Digitalisasi dalam bentuk video untuk teknik splattering ini menjadi urgen dalam pendidikan seni lukis. Penelitian ini menggunakan metode improvisasi. Tahapannya berupa persiapan material dan alat, pendasaran kanvas, pencipratan, peresponan bentuk, dan make up lukisan. Keragaman bentuk cipratan dapat dihasilkan dari alat yang beragam maupun arah cipratan yang berbeda

Methods in Visual Mathematics: Reductionism in Researching Mathematical Principles in Art

The visual arts offer a reflective source for understanding the processing of aesthetics and beauty that is significant to an awareness of brain function and the human psyche. Evaluating and determining what factors are integral to the experience of aesthetics holds value for understanding deeper psychological implications of perception. I conducted a survey of Western portraiture determined to be famed through repeated Internet searching of famous art and best-selling prints for the purpose of examining the works for mathematical attributes proposed to cause the experience of visual pleasure. While mathematical principles and patterns can be found within each example of portraiture, the overarching issue encountered is the validity of the methods that are present in the research that declares the merit of the principles and patterns used. As the data suggesting the value of the attributes sought in the works is flawed, so too is any conclusion based upon it. The ability to quantify the qualitative in an objective manner does not yet exist. Therefore, it is invalid and reductionist to assert the experience of visual pleasure as relates to fame is based on a singular attribute that cannot be empirically established. Attempts to discover adequate methods are not wasted, as the discussion generated by inquiry into the experience of aesthetics offers positive philosophical and critical thinking applications. Furthermore, the promising new frontier for aesthetic research involves utilization of social networking and the Internet as tools

Digitalisasi Proses Melukis Dengan Teknik Splattering

Digitalisasi proses melukis merupakan hal penting dan berguna untuk pembelajaran seni lukis di perguruan tinggi seni. Dalam hal ini, digitalisasi berupa perekaman video proses penciptaan lukisan khususnya untuk teknik yang tidak mudah untuk ditampilkan lewat foto apalagi hanya keterangan tertulis. Untuk itu, penelitian berjudul “Digitalisasi Proses Melukis dengan Teknik Splattering” bertujuan untuk merekam dalam format video terhadap proses pembuatan lukisan dengan teknik splattering atau cipratan. Digitalisasi dalam bentuk video untuk teknik splattering ini menjadi urgen dalam pendidikan seni lukis, khususnya di Program Studi Seni Rupa Murni, Fakultas Seni Rupa (FSR), Institut Seni Indonesia (ISI) Yogyakarta. Penelitian ini menggunakan metode improvisasi. Tahapannya berupa persiapan bahan, proses splattering, respon terhadap cipratan, dan penyelesaian akhir. Luaran penelitian ini berupa karya seni dalam bentuk lukisan dengan pencatatan HAKI, video hasil proses melukis, dan artikel di jurnal ilmiah. Tingkat Kesiapterapan Teknologi (TKT) penelitian ini ada di level 6, yaitu demonstrasi model atau prototipe sistem/subsistem dalam lingkungan yang relevan. Demostrasi model berarti demonstrasi prototipe untuk video teknik splattering dalam penciptaan seni lukis; adapun linkungan yang relevan dalam hal ini adalah studio seni lukis di kampus ISI Yogyakarta. Indikator level ini berupa hasil uji yang layak secara teknis karena dikerjakan berdasarkan teori dan portofolio penciptaan lukisan maupun video. Selain itu, kondisi lingkungan operasi juga telah diketahui, yaitu Prodi Seni Murni FSR ISI Yogyakarta

Evaluating the Historical Accuracy of Blackwork Embroidery with Fractal Analysis

The intricate monochromatic embroidery that graced the collars and cuffs of Renaissance nobility and domestic materials from that era has been little studied beyond the historical costuming and crafting communities. This style, known as blackwork, for it was traditionally done in black silk on white linen, exemplifies how complex and visually-appealing designs can arise from repetition of simple forms, often demonstrating the fractal property of self-similarity. Though most blackwork patterns are not true fractals, fractal analysis offers a means of objectively quantifying their complexity and new lens through which to examine this embroidery technique. The purpose of this study was to look for trends that could be used to evaluate the historical accuracy of blackwork patterns. Images of historical patterns from the Renaissance period, historically-inspired, and modern patterns were gathered from eight published books on blackwork. The fractal dimensions of these patterns were calculated using FracLac, a fractal analysis plugin for the ImageJ software. Subsequent statistical analyses revealed several significant differences between the fractal dimensions of patterns for fillings, borders, and complete projects. Though there was some variation, a trend noted was that Renaissance-era patterns had a fractal dimension around 1.75

Computational color analysis of paintings for different artists of the XVI and XVII centuries

We have performed a computational color analysis of images of paintings for six master painters: Titian, Rubens, El Greco, Velázquez, Rembrandt, and Vermeer. These painters show the evolution from the renaissance to the baroque style. Different first and second-order statistical parameters have been obtained and analyzed in order to fix which of them can be common for the different artists and which of them can be representative of a certain period of time or the evolution of the art. The firsts include the orientation and semi-axes ratio of the ellipses that define the gamut in the chromaticity diagram and the dependencies with the frequency of the power of the Fourier transforms. Most differences among artists can be found in the volume and area of the gamut, the number of discernible colors which is greater for Titian, El Greco and Rubens, compared to Velázquez, Rembrandt and Vermeer, the average value of L* and the number of dark pixels.Ministerio de Industria Economia y Competitividad for their support and grant in the project DPI 2015-6471_

Drip Paintings and Fractal Analysis

It has been claimed [1-6] that fractal analysis can be applied to unambiguously characterize works of art such as the drip paintings of Jackson Pollock. This academic issue has become of more general interest following the recent discovery of a cache of disputed Pollock paintings. We definitively demonstrate here, by analyzing paintings by Pollock and others, that fractal criteria provide no information about artistic authenticity. This work has also led to two new results in fractal analysis of more general scientific significance. First, the composite of two fractals is not generally scale invariant and exhibits complex multifractal scaling in the small distance asymptotic limit. Second the statistics of box-counting and related staircases provide a new way to characterize geometry and distinguish fractals from Euclidean objects