A Conceptual and Technical Discussion on Digital Painting as New Media Art: Introducing Some Malaysian Works

The revolution of media technology offers artists a lot of possibilities to create different art forms. The artist explored and manipulated different media to give different impact in their works since modernism and post modernism period. Malaysia as one of Asian country also committed to art development where artist explore various media in painting including conventional and technological media as well. Digital technology and art movement were developed in two separate segments. In fact, new media art does not establish in art history plot. Therefore, the word digital painting poses an ambiguity to describe its status. The convergence of scientific term and art term called digital painting will be discussed into two sections under conceptual issues and technical issues. In conceptual issues, digital painting will be linked to the ingredient and components of art including the artist, the form, the audience and its surrounding, the subject, and the content. This paper will also discuss what is behind digital painting which includes some technical issues including concept of digital image, the hardware and the software. This paper will confer some Malaysian digital paintings situation and scenario. Subsequently, it summarizes the core elements in digital painting to be implemented in further studies

A Conceptual and Technical Discussion on Digital Painting as New Media Art: Introducing Some Malaysian Works

The revolution of media technology offers artists a lot of possibilities to create different art forms. The artist explored and manipulated different media to give different impact in their works since modernism and post modernism period. Malaysia as one of Asian country also committed to art development where artist explore various media in painting including conventional and technological media as well. Digital technology and art movement were developed in two separate segments. In fact, new media art does not establish in art history plot. Therefore, the word digital painting poses an ambiguity to describe its status. The convergence of scientific term and art term called digital painting will be discussed into two sections under conceptual issues and technical issues. In conceptual issues, digital painting will be linked to the ingredient and components of art including the artist, the form, the audience and its surrounding, the subject, and the content. This paper will also discuss what is behind digital painting which includes some technical issues including concept of digital image, the hardware and the software. This paper will confer some Malaysian digital paintings situation and scenario. Subsequently, it summarizes the core elements in digital painting to be implemented in further studies

Applied aspirations : design and applied art at the Ballarat Technical Art School during the early twentieth century

Applied art and design schools operate at the nexus of art, industry, and education. During the early decades of the twentieth century, the regionally located Ballarat Technical Art School (BTAS) was the leading institution of its kind in Victoria, Australia, amid shifting economic, cultural, and pedagogical conditions. Emerging from a 1907 amalgamation of institutions, and subsequently administrated by the School of Mines Ballarat (SMB), BTAS was equipped with the assets, experience, and historic reputation necessary to surpass its provincial and metropolitan rivals. This micro-historical case-study employs qualitative analysis of primary sources to investigate the aims, outputs, and importance of BTAS, contextualised by the expectations and influences it operated under during the inaugural principalship of artist and educator, Herbert Henry Smith. Smith oversaw the training of designers, craftspeople, artists, and teachers from 1907 until his retirement in early 1940—a period of tumultuous events, fiscal obstacles, and social and cultural debate. The institution was accountable to diverse stakeholders and arbiters of taste, and successive cohorts learned in a contested space between tradition, origination, and modernisation. Pierre Bourdieu’s cultural theory serves to navigate this web of hierarchies, assumptions, and tensions, while secondary sources help contextualise findings. This thesis also discusses the suite of drawing, design and material-based disciplines delivered at BTAS as single subjects, full courses, and supplementary art-trade training. Throughout, featured students provide examples of regionally trained, Australian designer-maker and artist-teacher experiences. BTAS students learned from ambitious and skilled men and women, benefited from strong professional networks, and fostered a notable esprit-de-corps. The school was significant for its contribution to female technical training. The school’s pre-eminent position was modified during the late 1920s, when much art and art-teacher training was re-centred in Melbourne. Yet, the valuable, compelling, and widespread influence of Ballarat Technical Art School graduates resonated for decades.Doctor of Philosoph

Desktop publishing

Information centres (ICs) cater to a multitude of needs of their users. For quite some time now, ICs are depending heavily on information technology to serve their clientele better, faster and in a professional way. Like CD-ROM and video disc technologies, which are being widely accepted as a part of modem information centres, desktop publishing (DTP) also entered the scene with a bang to provide a professional image to the information services. ICs with their diverse nature of functions can make use of DTP as a tool to enhance the efficiency and effectiveness of document production in information services. This article briefly overviews various aspects of DTP to provide the user an idea about what it is and where the technology can be used

The Marian Philatelist, Whole No. 28

https://ecommons.udayton.edu/imri_marian_philatelist/1027/thumbnail.jp

The Marian Philatelist, Whole No. 28

https://ecommons.udayton.edu/imri_marian_philatelist/1027/thumbnail.jp

Manual / Issue 2 / Lorem Ipsum

Manual, a journal about art and its making. Lorem Ipsum.The second issue. In potently meaningful and deliberately meaningless ways, this issue, “Lorem ipsum,” celebrates text. The standard placeholder text used by designers and printers, lorem ipsum isn’t really Latin. Mangled over centuries of use, the passage has become meaningless and untranslatable—and yet it is highly useful in that in its incomprehensibility, it occupies space. Over the centuries and across many inventions and innovations in type and printing, lorem ipsum has acted as a space filler and form shaper in conventional printing, desktop publishing, and electronic typesetting. Join us as we read and read into calls to action, incantations, prayers, portrayals, missives, notes, proclamations, and musings. Softcover, 60 pages. Published 2014 by the RISD Museum. Manual 2 (Lorem Ipsum) contributors include James Allen, Alison W. Chang, Kenneth Goldsmith, Cyrus Highsmith, Jan Howard, Kate Irvin, Antoine Revoy, and Nancy Skolos.https://digitalcommons.risd.edu/risdmuseum_journals/1001/thumbnail.jp

Enriching Architecture: Craft and its conservation in Anglo-Irish building production, 1660–1760

Refinement and enrichment of surfaces in stone, wood and plaster is a fundamental aspect of early modern architecture which has been marginalised by architectural history. Enriching Architecture aims to retrieve and rehabilitate surface achievement as a vital element of early modern buildings in Britain and Ireland. Rejected by modernism, demeaned by the conceptual ‘turn’ and too often reduced to its representative or social functions, we argue for the historical legitimacy of creative craft skill as a primary agent in architectural production. However, in contrast to the connoisseurial and developmental perspectives of the past, this book is concerned with how surfaces were designed, achieved and experienced. The contributors draw upon the major rethinking of craft and materials within the wider cultural sphere in recent years to deconstruct traditional, oppositional ways of thinking about architectural production. This is not a craft for craft’s sake argument but an effort to embed the tangible findings of conservation and curatorial research within an evidence-led architectural history that illuminates the processes of early modern craftsmanship. The book explores broad themes of surface treatment such as wainscot, rustication, plasterwork, and staircase embellishment together with chapters focused on virtuoso buildings and set pieces which illuminate these themes