High Relief from Brush Painting

Relief is an art form part way between 3D sculpture and 2D painting. We present a novel approach for generating a texture-mapped high-relief model from a single brush painting. Our aim is to extract the brushstrokes from a painting and generate the individual corresponding relief proxies rather than recovering the exact depth map from the painting, which is a tricky computer vision problem, requiring assumptions that are rarely satisfied. The relief proxies of brushstrokes are then combined together to form a 2.5D high-relief model. To extract brushstrokes from 2D paintings, we apply layer decomposition and stroke segmentation by imposing boundary constraints. The segmented brushstrokes preserve the style of the input painting. By inflation and a displacement map of each brushstroke, the features of brushstrokes are preserved by the resultant high-relief model of the painting. We demonstrate that our approach is able to produce convincing high-reliefs from a variety of paintings(with humans, animals, flowers, etc.). As a secondary application, we show how our brushstroke extraction algorithm could be used for image editing. As a result, our brushstroke extraction algorithm is specifically geared towards paintings with each brushstroke drawn very purposefully, such as Chinese paintings, Rosemailing paintings, etc

Doug und Mike Starn

Doug and Mike Starn: Evolution from Photography to Public Art investigates the pioneering installations and public art by Doug and Mike Starn, establishes their position within the complete oeuvre and examines the confluence of media they have worked in, while situating the artists and their work within the contemporary art historic context. Intrinsic characteristics of the Starn brothers’ work are the principles of interconnectedness, continuity, duality and change, a continuous evolution combined with a stunning ability to reinvent their work, redefining entire art genres in the process. Identical twins Doug and Mike Starn, born in 1961 and included in the 1987 Whitney Biennial at the age of 26, work collaboratively. The primary medium of photography characterizes their early work, evolving in the 1990s to include artist books, large-scale video projections, and installations. Incidentally, their first permanent public art commission is tied to the reconstruction of New York’s infrastructure following the tragedy of September 11, 2001. The goal is to delineate context, process, and significance of the artists’ foray into public art. An analysis and interpretation of artistic production, context, partnerships, process, scale and reception will reveal the transition from stellar gallery production to installation art and exceptional public art. Highlights of the pair’s stellar career include the completion of two important public art projects in New York City in 2008 and 2010, one permanent and one temporary: the permanent public art environment See it split, see it change on the concourse of South Ferry Subway Station at the tip of Manhattan and the temporary, monumental Big Bambú installation on the Metropolitan Museum’s roof garden. These outstanding works were preceded by years of artistic inquiry and development in the genre of photography, whose path the study explores.Das Œuvre von Doug und Mike Starn spannt den Bogen von der Fotografie zur Kunst am Bau und zur Kunst im öffentlichen Raum. Zwischen diesen Polen bewegt sich die Entwicklung der Künstlerzwillinge, die sich in ihrer Zusammenarbeit mit den Themen Licht, Kontinuität und Vergänglichkeit beschäftigen. Als junge Künstler entwickelten sie groß-formatige, mit Klebeband zusammengesetzte Foto-Collagen, die bereits 1987 zur Beteiligung am Whitney Biennial führten. Zu den Höhepunkten ihres künstlerischen Schaffens gehören zwei wichtige Projekte im öffentlichen Raum mit Standort New York. See it split, see it change (2008) wurde für die South Ferry Transitstation geschaffen und die monumentale, temporäre Installation Big Bambú (2010) war auf dem Dach des Metropolitan Museum of Art installiert. Ersteres Werk ist die umfangreichste Glasinstallation der New Yorker öffentlichen Verkehrsbetriebe, letzteres die größte Außenausstellung in der Geschichte des Metropolitan Museum. Den bahnbrechenden Arbeiten der Starns gingen zwei Jahrzehnte künstlerischer Entwicklung voraus, deren Zusammenhang mit dem späteren Werk in dieser Studie aufgezeigt wird. Sie steht im Brennpunkt technischer und politischer Umwälzungen, die durch fortschreitende Digitalisierung und den 11. September geprägt sind

Radiant Sites: Projection and the Mobile Spectator in Contemporary Moving-Image Installations

This dissertation examines contemporary moving-image installations that use projected images to expand and elaborate upon the cinematic experience. It focuses on works by Douglas Gordon (b. 1966), Jim Campbell (b. 1956), and the partnered artists Janet Cardiff (b. 1957) and George Bures-Miller (b. 1960), all of whom have reconfigured the classical cinematic system of viewing since the 1990s. Through their works, I trace the term “expanded cinema” as a literal extension of projected light from the screen into the open gallery and beyond. I argue that the term “projection” – as thrown light, mental anticipation, and moving bodies – brings together cinema’s apparatus, text, and reception as a cohesive experience. These artists transport their light-based images to the gallery, exposing the projected image to mobile spectators, as well as to lighting conditions less conducive to a clear picture. However, the works I will discuss also maintain an explicit connection to the theatrical projection of narrative film. As these artists expand the exhibition spaces of cinema from theater to gallery, they also converge numerous cinematic formats, including celluloid film, magnetic videotape, digital video, still photography, and dynamic audio. I offer “projection” as a term which tethers the myriad trajectories of cinema’s expansion back to its apparatus, and even to the mobile spectator. Beyond the light phenomenon, I also draw from psychoanalytic theories of projection, especially relevant given its foundational contribution to film theory since the 1970s by authors such as Laura Mulvey, Christian Metz, and Mary Ann Doane. Furthermore, the “suture” theory of Kaja Silverman and others offers a link between classical Hollywood editing conventions and the spatial orientation of the gallery spectator. From these theorists, I ultimately offer a notion of the projecting viewer, a physically active version of the “embodied viewer” as conceived by phenomenological film theorist Vivian Sobchack. By observing their similarities to the common multiplex, art house, or even living rooms, these otherwise uprooted screens reveal in fleeting flickers traces of what we might intuitively call “the cinematic.

Material Traces: Mapping Habitat Loss in Northern British Columbia

This material research examines the movement of data between digital and analog space, tracing its migration between states, the falling away of its meaning and its reconstruction. This idea was tested by visualizing ecological data models through an automated reduction process to simulate a continuity of wildlife migratory patterns. This process explores material as a vector for accumulated knowledge, illustrating a recession of Woodland Caribou populations in British Columbia through a contraction of their herd ranges over a twenty-two year period. The use of modern GIS and digital manufacturing processes references visually a history of narrative and spatial representation, such as bass relief carving, cartographic projection, and cognitive mapping, relevant today as the meaningful interface between man, the wilderness, the wood matrix and landscape changes. The wood matrix, our forestry industry is composed of primary, secondary and tertiary sectors. The primary sector processes raw materials, including saw milling, pulp and paper, and composite panel manufacturing. The secondary ‘value-added’ sector covers re-manufactured wood products, engineered components, mill work, furniture, pallets and containers. Tertiary sector covers equipment supply, education, research, consulting, transport and distribution. These historical examples of spatial representation and digital manufacturing processes have informed the production of artifacts, which record a body of data that points towards a probabilistic future, a forewarning of a vanishing point of biodiversity.In support of the fulfillment of the degree of Master of Design at Emily Carr University of Art and Design.Material researchDigital manufacturingMappingData visualizatio

Morgawr: an experimental Bronze Age-type sewn-plank craft based on the Ferriby boats

Photographs and a link to a video showing the construction and launch of "Morgawr" can also be found in ORE: http://hdl.handle.net/10871/14703This paper reports on the construction of a full-scale Bronze Age-type sewn-plank boat based on the Ferriby boats. The boat, which was named Morgawr, was constructed in the National Maritime Museum Cornwall in Falmouth, England, during 2012 and the first months of 2013, as part of a larger exhibition in the museum. This paper provides the background and context of the project, describes the process of building the craft, and reflects in particular on differences between Morgawr and the ‘hypothetical reconstruction of a complete sewn-plank boat’ published in 1990 by Ted Wright and John Coates which formed the basis for this project.Arts and Humanities Research Council (AHRC

Textiles in Ancient Mediterranean Iconography

This volume provides an ambitious synopsis of the complex, colourful world of textiles in ancient Mediterranean iconography. A wealth of information on ancient textiles is available from depictions such as sculpture, vase painting, figurines, reliefs and mosaics. Commonly represented in clothing, textiles are also present in furnishings and through the processes of textile production. The challenge for anyone analysing ancient iconography is determining how we interpret what we see. As preserved textiles rarely survive in comparable forms, we must consider the extent to which representations of textiles reflect reality, and critically evaluate the sources. Images are not simple replicas or photographs of reality. Instead, iconography draws on select elements from the surrounding world that were recognisable to the ancient audience, and reveal the perceptions, ideologies, and ideas of the society in which they were produced. Through examining the durable evidence, this anthology reveals the ephemeral world of textiles and their integral role in the daily life, cult and economy of the ancient Mediterranean

On the popularization of digital close-range photogrammetry: a handbook for new users.

Εθνικό Μετσόβιο Πολυτεχνείο--Μεταπτυχιακή Εργασία. Διεπιστημονικό-Διατμηματικό Πρόγραμμα Μεταπτυχιακών Σπουδών (Δ.Π.Μ.Σ.) “Γεωπληροφορική

Electronic Imaging & the Visual Arts. EVA 2012 Florence

The key aim of this Event is to provide a forum for the user, supplier and scientific research communities to meet and exchange experiences, ideas and plans in the wide area of Culture & Technology. Participants receive up to date news on new EC and international arts computing & telecommunications initiatives as well as on Projects in the visual arts field, in archaeology and history. Working Groups and new Projects are promoted. Scientific and technical demonstrations are presented

Assessment of plastics in the National Trust: a case study at Mr Straw's House

The National Trust is a charity that cares for over 300 publically accessible historic buildings and their contents across England, Wales and Northern Ireland. There have been few previous studies on preservation of plastics within National Trust collections, which form a significant part of the more modern collections of objects. This paper describes the design of an assessment system which was successfully trialled at Mr Straws House, a National Trust property in Worksop, UK. This system can now be used for future plastic surveys at other National Trust properties. In addition, the survey gave valuable information about the state of the collection, demonstrating that the plastics that are deteriorating are those that are known to be vulnerable, namely cellulose nitrate/acetate, PVC and rubber. Verifying this knowledge of the most vulnerable plastics enables us to recommend to properties across National Trust that these types should be seen as a priority for correct storage and in-depth recording