Collaborative digital and wide format printing: Methods and considerations for the artist and master printer

This thesis investigates the collaborative production of fine art digital prints for artists,a process which is used by many contemporary practitioners including RichardHamilton and Damien Hirst. Digital print as a fine art process has emerged over the last twenty years, and as yet, there is no in depth evidence on the collaborative endeavour and production process which is central to the digital Master Printer’s role.The investigation first establishes the historical context and significance of the Master and Printer in traditional printmaking, and the more recent development of the digital print studio and the digital print pioneers of the 1990s. A series of seven artists’ case studies in the context of the collaborative digital print studio are then offered to demonstrate the working process. The analysis of these proposes a best practice model for Master Printers working with contemporary artists to produce high quality, fine art, wide format inkjet digital prints.The study also compares production methods at the cutting-edge digital facility of the Rijksakademie in The Netherlands, to assess the validity of the practices proposed through a facility closest to the study’s research base at the CFPR’s digital studio. The comparative study also explored the expanding digital production process and the role of the Master Printer. Evolving production processes are also considered in this study as a response to the advancement of digital print technology alongside a practical exploration of what actually constitutes a digital print in this rapidly expanding field of fine art printmaking.This study aims to reveal the inner workings of the digital collaborative process between the artist and Master Printer, and appraise the digital Master Printer’s role.It offers a set of best practice methods for the digital Master Printer developed from this research. The study also considers how the digital print, and the digital print studio may evolve in line with current and future developments in new technologies

Collaborative digital and wide format printing : methods and considerations for the artist and master printer

This thesis investigates the collaborative production of fine art digital prints for artists,a process which is used by many contemporary practitioners including Richard Hamilton and Damien Hirst. Digital print as a fine art process has emerged over the last twenty years, and as yet, there is no in depth evidence on the collaborative endeavour and production process which is central to the digital Master Printer’s role. The investigation first establishes the historical context and significance of the Master and Printer in traditional printmaking, and the more recent development of the digital print studio and the digital print pioneers of the 1990s. A series of seven artists’ case studies in the context of the collaborative digital print studio are then offered to demonstrate the working process. The analysis of these proposes a best practice model for Master Printers working with contemporary artists to produce high quality, fine art, wide format inkjet digital prints. The study also compares production methods at the cutting-edge digital facility of the Rijksakademie in The Netherlands, to assess the validity of the practices proposed through a facility closest to the study’s research base at the CFPR’s digital studio. The comparative study also explored the expanding digital production process and the role of the Master Printer. Evolving production processes are also considered in this study as a response to the advancement of digital print technology alongside a practical exploration of what actually constitutes a digital print in this rapidly expanding field of fine art printmaking. This study aims to reveal the inner workings of the digital collaborative process between the artist and Master Printer, and appraise the digital Master Printer’s role. It offers a set of best practice methods for the digital Master Printer developed from this research. The study also considers how the digital print, and the digital print studio may evolve in line with current and future developments in new technologies.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Display At Your Own Risk: An experimental exhibition of digital cultural heritage

A research-led exhibition experiment concerned with the use and reuse of digital surrogates of public domain works of art produced by cultural heritage institutions of international repute.This publication is issued in conjunction with the exhibition Display At Your Own Risk, held at The Lighthouse in Glasgow and made available as an open source exhibition at displayatyourownrisk.org. The print exhibition is on view in Glasgow on 8 June 2016.This research project is funded by CREATe, University of Glasgow (under a joint grant from Arts and Humanities Research Council AHRC, Economic and Social Research Council ESRC and Engineering and Physical Sciences Research Council EPSRC). The exhibition is supported in part by the National Library of Scotland, the Glasgow Print Studio and the Glasgow University Archive Services. Print services for the exhibition were provided by the National Library of Scotland and the Glasgow Print Studio; digitization services were provided by the University of Glasgow Photographic Unit within the Glasgow University Archive Services

Pedagogical approaches in the use of technology for Visual Arts in Ghanaian high schools

Thesis (PhD)--University of Pretoria, 2022.study has investigated pedagogical approaches to the use of technology in Visual Arts (VA) at Ghanaian High Schools. The research has focussed on how technology interacts with established pedagogical practices and the degree of influence it exercises on training learners as future creative thinkers and productive citizens. To this end, I suggested ways to bridge possible gaps between the established traditional teaching and learning methodologies and the innovative technology-based approaches in VA instruction. Through my research, I have realised the following objectives: a) I identified the technological tools currently used in teaching and learning in VA; b) I critically discussed the way and extent to which modern technology and traditional tools are being used in Ghana; c) I comparatively assessed the impact of technology versus traditional tools and established the educational role of using technology in VA class; d) I critically analysed the related challenges and problems; e) I proposed adopting modern technological tools to facilitate practical training for improving VA teaching and learning in the concerned schools. My research was guided by the following main question: How can integrating technology and traditional tools improve visual arts teaching and learning at the Ghanaian SHS? I have adopted the qualitative methodology, based on interpretivism and the epistemological stance of constructionism, which has proved the most suitable theoretical paradigm for my investigation. This approach, linked with the study's theoretical framework and ‘symbolic interactionism’, has assisted me as a guideline to move from theory to data and vice-versa. Through accurate information and awareness, the study aimed to incorporate technology as an additional medium in teaching VA constructively and productively. In this context, for the understanding and correct application by the involved teachers, I have identified and developed the TPACK model as a strategy for the effective VA instruction process. The choice of TPACK has helped me to understand how individuals interact with their environment and consequently interpret and give meaning to the surrounding objects and concepts. The study sample included four South districts, high schools, twenty-four VA participants, eight teachers, and sixteen learners' artworks in Eastern Ghana. The data collection comprised interviews, observation field notes, and photos of artworks. The study finds that the integration of ICT in VA education by teachers' inadequate understanding and proficiency. The study recommends creating awareness about the importance of ICT in teaching and learning, training VA teachers on integrating ICT into their subject, and providing them full access to ICT tools.Curriculum StudiesPhDUnrestricte

TESTING COLOR APPEARANCE MODELS IN COMPLEX SCENE

The sensation of sight is our primary mechanism to perceive the world around us. However it is not yet perfectly clear how the human visual system works. The images of the world are formed on the retina, captured by sensors and converted in signals sent to the brain. Here the signals are processed and somehow interpreted, thus we are able to see. A lot of information, hypothesis, hints come from a field of the optical (or visual) illusions. These illusions have led many scientists and researchers to ask themselves why we are not able to interpret in a correct way some particular scenes. The word \u201cinterpret\u201d underlines the fact that the brain, and not only the eye, is involved in the process of vision. If our sight worked as a measurement tool, similar to a spectrophotometer, we would not perceive, for example, the simultaneous contrast phenomenon, in which a grey patch placed on a black background appears lighter than an identical coloured patch on a white background. So, why do we perceive the patches as different, while the light that reaches the eyes is the same? In the same way we would not be able to distinguish a white paper seen in a room lit with a red light from a red paper seen under a white light, however humans can do this. These phenomena are called colour appearance phenomena. Simulating the appearance is the objective of a range of computational models called colour appearance models. In this dissertation themes about colour appearance models are addressed. Specific experiments, performed by human observers, aim to evaluate and measure the appearance. Different algorithms are tested in order to compare the results of the computational model with the human sensations about colours. From these data, a new printing pipeline is developed, able to simulate the appearance of advertising billboard in different context

Save as Buddha.tif: Buddhist iconography and the Australian Sangha imaged through digital transformation

This research encompasses a body of photographic work that documents and artistically interprets Buddhist influences in Australia by using digital photography, both in manipulated and representational form. The collection of images provides an aesthetic experience to further an understanding of Buddhism in the West and also generates a creative interpretation of new media art inspired by traditional Buddhist forms. Buddhism’s increasing popularity parallels a movement in the West away from traditional Newtonian physics, i.e. models based on solid forms, to post-modern relative physics, i.e. models posited on flows of energy. This writing looks at the influences of technological development and scientific exploration which inform the understanding of the photographic image. Debates fueled by the advent of digitisation pose new questions in visual culture in understanding what is real. The uniqueness of digital artwork is challenged by the shift from fixed form to flow. The works of several artists which relate to contemporary Buddhism, consumerism and digitisation are investigated as part of the development of the imagery formed through this research. Consumer trends coupled with technological advancement have generated a proliferation in photographic imagery, a phenomenon that is echoed in the ubiquity of religious and spiritual products on sale to the general public. A critique of kitsch as it relates to the photographic image is further investigated by documenting popular expressions of Buddhism in Australia, including personal collections of iconography and larger public festivals

Multimedia Forensics

This book is open access. Media forensics has never been more relevant to societal life. Not only media content represents an ever-increasing share of the data traveling on the net and the preferred communications means for most users, it has also become integral part of most innovative applications in the digital information ecosystem that serves various sectors of society, from the entertainment, to journalism, to politics. Undoubtedly, the advances in deep learning and computational imaging contributed significantly to this outcome. The underlying technologies that drive this trend, however, also pose a profound challenge in establishing trust in what we see, hear, and read, and make media content the preferred target of malicious attacks. In this new threat landscape powered by innovative imaging technologies and sophisticated tools, based on autoencoders and generative adversarial networks, this book fills an important gap. It presents a comprehensive review of state-of-the-art forensics capabilities that relate to media attribution, integrity and authenticity verification, and counter forensics. Its content is developed to provide practitioners, researchers, photo and video enthusiasts, and students a holistic view of the field

Multimedia Forensics

This book is open access. Media forensics has never been more relevant to societal life. Not only media content represents an ever-increasing share of the data traveling on the net and the preferred communications means for most users, it has also become integral part of most innovative applications in the digital information ecosystem that serves various sectors of society, from the entertainment, to journalism, to politics. Undoubtedly, the advances in deep learning and computational imaging contributed significantly to this outcome. The underlying technologies that drive this trend, however, also pose a profound challenge in establishing trust in what we see, hear, and read, and make media content the preferred target of malicious attacks. In this new threat landscape powered by innovative imaging technologies and sophisticated tools, based on autoencoders and generative adversarial networks, this book fills an important gap. It presents a comprehensive review of state-of-the-art forensics capabilities that relate to media attribution, integrity and authenticity verification, and counter forensics. Its content is developed to provide practitioners, researchers, photo and video enthusiasts, and students a holistic view of the field

Clinical considerations in facial transplantation

Facial transplantation has emerged as the next step on the reconstructive ladder for severe facial disfigurement. Clinical issues surrounding facial tissue donation are examined, comprising pre-transplant facial vessel delineation; pre-operative aesthetic matching; and attitudes towards donation. An anatomical study of 200 consecutive facial and transverse facial vessels was performed using colour Doppler ultrasound. Facial vessels were measured at three landmarks and their branching pattern documented. The facial artery main branch was detected at the lower mandibular border in 99.5% of cases, the accompanying facial vein in 97.5%. The transverse facial artery was present in 75.5% of cases, the vein found in 58%. When the facial artery was undetectable, there was transverse facial artery dominance. When the facial vein was absent it was replaced with a transverse facial vein. This provides valuable pre-operative information regarding vessel status. A quantitative eleven point skin tonal matching scheme is described using digital analysis of facial imagery. Attitudes towards tonal mismatch in facial and hand transplantation are examined in two representative skin types. There was more scope for skin tonal mismatching in skin tone 2 (slightly tanned white) than in skin tone 6 (light golden brown) participants. Tonal mismatches were more tolerated in facial than in hand transplant simulations in both groups. More acceptable donor tonal groups exist for males than females. Targeted matching of skin tone is thus required. Attitudes and beliefs of 170 transplant professionals were examined. Areas of concern included the organ retrieval process; impact on the retrieval team and donor family. In-depth analysis of a transplant donor focus group was performed; provision of information, posttransplant contact, and post-retrieval donor facial appearance was deemed important. A method of fabricating a donor-specific artificial prosthesis within the time frame of facial graft retrieval is described. Finally, a method of framing the informed consent process is described

The Confessional

This paper is an examination of the production of the thesis film The Confessional. Each of the key areas of the production are examined, including the writing, directing, production design, cinematography, editing, sound, and technology. In each of these areas, many choices came together to form the final version of the film. The paper also includes an analysis of the success of these decisions, based on research and audience feedback