613 research outputs found

    A handlist of films showing printing & typesetting

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    Fine Art Pattern Extraction and Recognition

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    This is a reprint of articles from the Special Issue published online in the open access journal Journal of Imaging (ISSN 2313-433X) (available at: https://www.mdpi.com/journal/jimaging/special issues/faper2020)

    Colour coded

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    This 300 word publication to be published by the Society of Dyers and Colourists (SDC) is a collection of the best papers from a 4-year European project that has considered colour from the perspective of both the arts and sciences.The notion of art and science and the crossovers between the two resulted in application and funding for cross disciplinary research to host a series of training events between 2006 and 2010 Marie Curie Conferences & Training Courses (SCF) Call Identifier: FP6-Mobility-4, Euros 532,363.80 CREATE – Colour Research for European Advanced Technology Employment. The research crossovers between the fields of art, science and technology was also a subject that was initiated through Bristol’s Festival if Ideas events in May 2009. The author coordinated and chaired an event during which the C.P Snow lecture “On Two Cultures’ (1959) was re-presented by Actor Simon Cook and then a lecture made by Raymond Tallis on the notion of the Polymath. The CREATE project has a worldwide impact for researchers, academics and scientists. Between January and October 2009, the site has received 221, 414 visits. The most popular route into the site is via the welcome page. The main groups of visitors originate in the UK (including Northern Ireland), Italy, France, Finland, Norway, Hungary, USA, Finland and Spain. A basic percentage breakdown of the traffic over ten months indicates: USA -15%; UK - 16%; Italy - 13%; France -12%; Hungary - 10%; Spain - 6%; Finland - 9%; Norway - 5%. The remaining approximate 14% of visitors are from other countries including Belgium, The Netherlands and Germany (approx 3%). A discussion group has been initiated by the author as part of the CREATE project to facilitate an ongoing dialogue between artists and scientists. http://createcolour.ning.com/group/artandscience www.create.uwe.ac.uk.Related papers to this research: A report on the CREATE Italian event: Colour in cultural heritage.C. Parraman, A. Rizzi, ‘Developing the CREATE network in Europe’, in Colour in Art, Design and Nature, Edinburgh, 24 October 2008.C. Parraman, “Mixing and describing colour”. CREATE (Training event 1), France, 2008

    Non-destructive characterization of artworks in paper support using spectroscopic techniques

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    Tese de doutoramento, Física, Universidade de Lisboa, Faculdade de Ciências, 2013The work here presented aims at demonstrating the efficacy of X-ray fluorescence (XRF) with portable setups, sometimes complemented by Raman spectroscopy in providing answers for characterization, conservation and authentication issues related with artworks in paper and parchment support. The work begins with a short section regarding the state of the art on the use of portable XRF and Raman spectroscopy in the study of artworks in paper and parchment support. The suitability of the techniques has already been greatly established, however constant improvements from the technological point of view, grant different capabilities. The work is presented as a group of case studies with the intention of providing answers in three major topics: the application of μ-XRF to the study of discolorations in paper documents and drawings, the study of the pigments used in Namban paper folding screens to accomplish their characterization, dating and authentication and the establishment of methodologies for determining/evaluating the thickness of gold leaf used for gilding. In some of these case studies we were approached by conservators who had specific demands and then we pursued similar artworks to improve the corpus of study. The most remarkable aspect of these studies is that all XRF analyses were performed in situ and when there was need for complementary information micro-samples were collected for Raman analysis. This way, the main goals in Cultural Heritage studies were obtained: the artworks were not damaged nor removed from their original location.Fundação para a Ciência e a Tecnologia (FCT, PhD grant SFRH/BD/60778/2009

    Watercolour rendering of portraits

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    Applying non-photorealistic rendering techniques to stylise portraits needs to be done with care, as facial artifacts are particularly disagreeable. This paper describes a technique for watercolour rendering that uses a facial model to preserve distinctive facial characteristics and reduce unpleasing distortions of the face, while maintaining abstraction and stylisation of the overall image, employing stylistic elements of watercolour such as edge darkening, wobbling, glazing and diffusion

    Shading with Painterly Filtered Layers: A Process to Obtain Painterly Portraits

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    In this thesis, I study how color data from different styles of paintings can be extracted from photography with the end result maintaining the artistic integrity of the art style and having the look and feel of skin. My inspiration for this work came from the impasto style portraitures of painters such as Rembrandt and Greg Cartmell. I analyzed and studied the important visual characteristics of both Rembrandt’s and Cartmell’s styles of painting.These include how the artist develops shadow and shading, creates the illusion of subsurface scattering, and applies color to the canvas, which will be used as references to help develop the final renders in computer graphics. I also examined how color information can be extracted from portrait photography in order to gather accurate dark, medium, and light skin shades. Based on this analysis, I have developed a process for creating portrait paintings from 3D facial models. My process consists of four stages: (1) Modeling a 3D portrait of the subject, (2) data collection by photographing the subjects, (3) Barycentric shader development using photographs, and (4) Compositing with filtered layers. My contributions has been in stages (3) and (4) as follows: Development of an impasto-style Barycentric shader by extracting color information from gathered photographic images. This shader can result in realistic looking skin rendering. Development of a compositing technique that involves filtering layers of images that correspond to different effects such as diffuse, specular and ambient. To demonstrate proof-of-concept, I have created a few animations of the impasto style portrait painting for a single subject. For these animations, I have also sculpted high polygon count 3D model of the torso and head of my subject. Using my shading and compositing techniques, I have created rigid body animations that demonstrate the power of my techniques to obtain impasto style portraiture during animation under different lighting conditions
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