124,280 research outputs found

    Integrating photovoltaic cells into decorative architectural glass using traditonal glasspainting techniques and fluorescent dyes

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    Photovoltaic cells can be integrated into decorative glass, providing a showcase for this renewable technology, whilst assisting in the creation of sustainable architecture through generation of electricity from the building surface. However, traditional, opaque, square, crystalline-silicon solar cells contrast strongly with their surroundings when incorporated into translucent, coloured glazing. Methods of blending photovoltaic cells into their surroundings were developed, using traditional glass painting techniques. A design was created in which opaque paint was applied to the areas of glass around underlying photovoltaic cells. Translucent, platinum paint was used on the glass behind the photovoltaic cells. This covered the grey cell backs whilst reflecting light and movement. The platinum paint was shown to cause a slight increase in power produced by photovoltaic cells placed above it. To add colour, very small amounts of Lumogen F dye (BASF) were incorporated into a silicone encapsulant (Dow Corning, Sylgard 184), which was then used hold photovoltaic cells in place between sheets of painted glass. Lumogen dyes selectively absorb and emit light, giving a good balance between colour addition and electricity production from underlying photovoltaic cells. When making sufficient quantities of dyed encapsulant for a 600 x 450 mm test piece, the brightness of the dye colours faded, and fluorescence decreased, although some colour was retained. Improvement of the method, including testing of alternative encapsulant materials, is required, to ensure that the dyes continue to fluoresce within the encapsulant. In contrast, the methods of adding opacity variation to glass, through use of glass painting, are straightforward to develop for use in a wide variety of photovoltaic installations. Improvement of these methods opens up a wide variety of architectural glass design opportunities with integrated photovoltaics, providing an example of one new medium to make eco-architecture more aesthetically pleasing, whilst generating electricity

    Mathematics in the Mind\u27s Eye: Michael Schultheis Paints Poetic and Conceptual Geometries

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    Michael Schultheis is an established artist and a formally-educated mathematician. In his practice the two disciplines are inextricably linked. His large-scale lyrical paintings at first glance seem to focus on the effects of light and atmospheres, representing cloudscapes or waterscapes in resonant color. Yet moving through these mists are decidedly mathematical references --- drawn geometric shapes and hand-written equations. These are employed by Schultheis to represent the physical world or to express feelings (or both). For example, he may examine the structure of a pine cone or reflect on human relationships or do both at the same time. The resulting works of art present a personal world understood conceptually through geometry and made tangible through paint

    Sensory Substitution, Key to Inclusive Learning

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    Visually impaired students, in primary education, encounter unique challenges while learning creative skills, exploring artistic expression and developing problem-solving skills, because so much instructional content is delivered visually. Sensory substitution—an approach that replaces visual information with feedback from other intact senses like touch, sound, taste or smell—provides an opportunity to address those challenges. Through the use of sensory substitution, this thesis proposes concrete ways to capitalize on the enhanced abilities of visually impaired primary school students. The research outcome of this thesis is a system of templates that puts these enhanced abilities to work for visually impaired students, to support them while they learn creative skills and practice problem-solving in a classroom setting. Each template contains a lesson that can be learned by using the process of paper quilling. The templates work equally well for sighted and visually impaired students, since all will be able to understand the lesson by using the sense of touch, as they learn by making

    Scan and paint: theory and practice of a sound field visualization method

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    Sound visualization techniques have played a key role in the development of acoustics throughout history. The development of measurement apparatus and techniques for displaying sound and vibration phenomena has provided excellent tools for building understanding about specific problems. Traditional methods, such as step-by-step measurements or simultaneous multichannel systems, have a strong tradeoff between time requirements, flexibility, and cost. However, if the sound field can be assumed time stationary, scanning methods allow us to assess variations across space with a single transducer, as long as the position of the sensor is known. The proposed technique, Scan and Paint, is based on the acquisition of sound pressure and particle velocity by manually moving a P-U probe (pressure-particle velocity sensors) across a sound field whilst filming the event with a camera. The sensor position is extracted by applying automatic color tracking to each frame of the recorded video. It is then possible to visualize sound variations across the space in terms of sound pressure, particle velocity, or acoustic intensity. In this paper, not only the theoretical foundations of the method, but also its practical applications are explored such as scanning transfer path analysis, source radiation characterization, operational deflection shapes, virtual phased arrays, material characterization, and acoustic intensity vector field mapping

    Toile

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    Toile is a painting series that explores constructions of taste and the semiotics of manufactured fabrics. Through the use of irony, paradox and deconstructions of rhythm, shape, color and form, the paintings are a response to the formal and historical content in the fabric. The idyllic landscape, notions of identity, sexism and liminality are some of the themes considered in the series. The paintings in this exhibition attempt to correct and mediate outdated models of representation through the exploration of painting as a process that is open and malleable

    Studying Form, Color, and Pictorial Composition in the New England Landscape

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    When I applied for a grant through the Research and Apprenticeship Program (REAP) at the University of New Hampshire (UNH) during the spring of 2016, my intention was to gain more experience in the art of painting outdoors. By looking through the student work of my favorite painters I realized that most of them had spent some concentrated period of time studying landscape painting and producing dozens or even hundreds of small sketches of different scenes and times of day outdoors. I knew that if I was going to advance toward my own artistic goals, I needed to apply myself to those studies as well. First, I wanted to study different effects of light outdoors and learn more about color relations through the constant practice of observation and color mixing. Second, I wanted to learn more about how to express complex forms in a broad and simplified way, an underlying principle of theway nearly all great painters see the world. Third, I wanted to learn more about composing pictures by persistently producing small studies (usually between 8 x 10 inches and 12 x 16 inches) and thinking about the principles of good composition for each one. The complexity of landscape as a subject made it a great source of practice for all three of my goals.The best thing I gained from the summer’s work was actually something I lost. I lost the crippling timidity that often kept me from painting outside.I can deal with the fear of failure that stares back at you when you look at a blank canvas. I can deal with people laughing at my silly painting outfit or coming up and asking questions, with the wind blowing a wet canvas off my easel and into my clothing, with standing in the sun for hours on a hot day wearing long pants and a long-sleeved shirt to shield my Irish skin. All that is part of the fun of landscape painting, and none of it distracts me much anymore. That’s good, because a landscape painter has too much else to think about

    A vision-based system for inspecting painted slates

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    Purpose – This paper describes the development of a novel automated vision system used to detect the visual defects on painted slates. Design/methodology/approach – The vision system that has been developed consists of two major components covering the opto-mechanical and algorithmical aspects of the system. The first component addresses issues including the mechanical implementation and interfacing the inspection system with the development of a fast image processing procedure able to identify visual defects present on the slate surface. Findings – The inspection system was developed on 400 slates to determine the threshold settings that give the best trade-off between no false positive triggers and correct defect identification. The developed system was tested on more than 300 fresh slates and the success rate for correct identification of acceptable and defective slates was 99.32 per cent for defect free slates based on 148 samples and 96.91 per cent for defective slates based on 162 samples. Practical implications – The experimental data indicates that automating the inspection of painted slates can be achieved and installation in a factory is a realistic target. Testing the devised inspection system in a factory-type environment was an important part of the development process as this enabled us to develop the mechanical system and the image processing algorithm able to perform slate inspection in an industrial environment. The overall performance of the system indicates that the proposed solution can be considered as a replacement for the existing manual inspection system. Originality/value – The development of a real-time automated system for inspecting painted slates proved to be a difficult task since the slate surface is dark coloured, glossy, has depth profile non-uniformities and is being transported at high speeds on a conveyor. In order to address these issues, the system described in this paper proposed a number of novel solutions including the illumination set-up and the development of multi-component image-processing inspection algorithm
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