Smart Wall Painting System

The objective of this paper is to outline a smart wall painting system for little and medium scale operations. These days robots are broadly utilized as a part of relatively every application like medicinal application, amusement, military, production lines vehicle businesses, and so on. However, the utilization of robot is as yet not generally utilized as a part of constructional work. Robots are fundamentally design to build speed and maximize accuracy of construction field work. The basic point of the paper is to design, develop and actualize Remote Operated Wall Painting Machine which helps for accomplishing painting hardware requiring little to no effort because of which the sketch work can be effectively done proficiently and in particular at extremely ostensible cost. The painting machine keeps away from coordinate contact of chemicals which can be harmful to the human painters, for example, eye, skin and respiratory system issues.. Besides that the idea of painting method that requires rehashed work time and hand rising make it physical torment, and exertion devouring. Moreover, it would offer the chance to decrease or take out human introduction to troublesome and dangerous worked system conditions, which would take care of a large portion of the issues associated with security when numerous activities happen in the meantime. This machine is is easy to operate and no need of labour required to operate effectively. At the point when development specialists and robots are appropriately coordinated in building tasks,the entire development process can be better overseen and savings in human work and timing are acquired as an outcome. wall painting is a redundant, debilitating and risky process which makes it a perfect case for automation. Painting had been mechanized in car industry however not yet for the development business. There is a strong requirement for a portable robot that can move to paint walls of buildings. In this paper, the conceptual plan of a an autonomous wall painting robot is portrayed comprising of an arm that sweeps the dividers vertically and is fitted on a versatile robot base to give the lateral feed movement to cover the painting area. The design objective is to fulfill the criteria of straight forwardness, low weight, ease and quick painting time. Ultrasonic sensors are fitted on the arm and the portable base to alter as far as possible and move in the room territory. A control system is intended to direct the arm movement and plan the versatile base movement

Painted depiction of Genius of Sopianae

A preceding archeological excavation opened the way for the recovery of a larger building complex on Kossuth Square, Pécs. A wall-painting islet consisting of fragmented, but contigious pieces was unearthed, was a part of a larger painting decorating the northern wall of the room of the building complex in Severan times. The half man size figure surviving in bust was created with a brilliant brushwork using rich colours on a white background. The figure can be identified as Genius based on his attributes (the cornucopia and the crown) and the inscription of the painting. This paper discusses reconstruction possibilities of the wall-painting, painting techniques and materials applied, and deals with the possible functions of the room the wall-painting was unearthed in

Kajian Analisis Identifikasi Iklan Luar Ruang Wall Painting

Iklan luar ruang merupakan alat komunikasi komersial konvensional yang digunakan oleh kebanyakan produsen untuk memberikan informasi dan menancapkan identitas produk pada benak konsumennya. Media yang digunakan umumnya menggunakan papan reklame atau billboard, neon sign, neon box, spanduk, Baligo, poster, pamplet dan media luar ruang lainnya. Kepadatan iklan dalam sebuah kota senantiasa dipantau oleh dinas pendapatan dan pertamanan daerah karena dalam penempatannya harus sesuai dengan undang-undang yang berlaku. Perkembangan iklan luar ruang semakin marak dengan hadirnya iklan wall painting yang terletak pada beberapa bangunan kota yang memiliki dinding yang kosong yang dapat dimanfaatkan sebagai objek media iklan. Ruang tersebut umumnya dibiarkan kosong dan hanya berisi warna plain dengan adanya kreativitas pekerja media dinding tersebut dijadikan media iklan. Meski ukurannya besar dan dapat digolongkan sebagai media luar ruang sejenis billboard namun dalam visualisasinya memiliki perbedaan. Visualisasi pada wall painting memiliki keterbatasan karena faktor teknis dan tingkat keterlihatan objek. Penelitian ini lebih melihat mengenai analisa deskripsi iklan wall painting yang terdapat pada ruang publik kota. Fokus analisa terhadap identifikasi pada visualisasi iklan wall painting yang di dominasi oleh produk dari operator telekomunikasi. Diantaranya; Telkomsel, XL, Indosat dan Axis. Karakter visual yang berbeda yang lebih sederhana dan hanya mengutamakan merek menunjukkan identifikasi visual yang jelas pada iklan tersebut

Особливості декорування традиційного житла українців Буго-Дністровського межиріччя і Буджака

У статті проаналізовано мистецтво настінного розпису українців на теренах лісостепового й степового Буго-Дністровського межиріччя та Буджака у ХХ ст., окреслено локальні й регіональні особливості стінопису та чинники впливу на його розвиток. Традиція народного стінопису була відома українцям лісостепової та степової зони до Чорного моря. Однак тільки в лісостеповій частині регіону вона існувала до 1980‑х років. У Буджаку традиції настінного розпису були втрачені.В статье дан анализ искусству настенных росписей украинцев на территории лесостепного и степного БугоДнестровского междуречья и Буджака в ХХ в., указаны локальные и региональные особенности настенных росписей, а также факторы, влияющие на его развитие. Традиция настенных росписей была известна украинцам лесостепной и степной зоны вплоть до Черного моря. Но только в лесостепной зоне региона она просуществовала до 1980‑х годов. В Буджаке традиция настенных росписей утрачена.The art of wall painting examined on the territory of the forest-steppe of steppe country between the Bug and the Dniester in the 20‑th century is examined in this article. L ocal and regional characteristic features of wall-painting and the factors which influence the wall-painting development are defined and considered here. The forest-steppe and steppe before the 1940‑s wore aware of the tradition of wall painting spread up to Black Sea. But it was on the forest-steppe territory that this tradition lasted up to the 1980-s. In the Budzhak region this tradition was lost

Advanced documentation methodologies combined with multi-analytical approach for the preservation and restoration of 18th century architectural decorative elements at Palazzo Nuzzi in Orte (Central Italy)

This contribution reports the documentation of the conservation status and the pictorial technique of a wall painting and a stucco arch at Palazzo Nuzzi in Orte, central Italy (Viterbo district), achieved using a wide combination of non-invasive and micro-invasive diagnostic techniques. Specifically, a photogrammetric approach has been used for 2D and 3D ultraviolet fluorescence (UVF) acquisitions. Moreover, the conservation status of the wall painting has been also investigated by a non-invasive active infrared thermograghy technique, i.e. Pulse Compression Thermography (PuCT), used here for the first time on a wall painting to map the surface and sub-surface cracks in the first layers. Pigments, grounds and organic binders were characterised by X-ray fluorescence spectroscopy, micro-stratigraphic analysis, Fourier transform infrared spectroscopy and gas chromatography coupled with mass spectrometry. The results of this unique combination of advanced tools corroborated the historical-artistic attribution to the school of the architect Andrea Pozzo

„BEFORE WE UNDERSTAND WHAT WE ARE DOING, WE NEED TO KNOW HOW WE THINK”

The article deals with an interesting debate following a project that started with the question raised by the press: “Why not overpaint or reconstruct the missing parts of a famous wall painting?” and concluded with a panel discussion that conveyed a better understanding of restoration theories on the part of both the press and the parish. Moreover, part of the project featured an exhibition to communicate the basis of our restoration theories and understanding, whilst requesting a dialogue with the priest and the parish; so, they might communicate their intentions and opportunely discuss theological interpretations with regard to the missing part in the wall-painting, which was important for us in reaching an understanding of the principles behind their ideas.The article deals with an interesting debate following a project that started with the question raised by the press: “Why not overpaint or reconstruct the missing parts of a famous wall painting?” and concluded with a panel discussion that conveyed a better understanding of restoration theories on the part of both the press and the parish. Moreover, part of the project featured an exhibition to communicate the basis of our restoration theories and understanding, whilst requesting a dialogue with the priest and the parish; so, they might communicate their intentions and opportunely discuss theological interpretations with regard to the missing part in the wall-painting, which was important for us in reaching an understanding of the principles behind their ideas

Unilateral NMR: a Noninvasive Tool for Monitoring In Situ the Effectiveness of Intervention to Reduce the Capillary Raise of Water in an Ancient Deteriorated Wall Painting

Portable unilateral NMR was used to quantitatively map in a fully noninvasive way the moisture distribution in an ancient deteriorated wall painting before and after an intervention to reduce the capillary raise of water through the wall. Maps obtained at a depth of 0.5 cm clearly showed the path of the capillary raise and indicated that, after the intervention, the moisture level was reduced. Maps obtained by measuring the first layers of the wall painting were affected by the critical environmental conditions of the second hypogeous level of St. Clement Basilica, Rome, and by the presence of salts efflorescence and encrustations on the surface of the wall painting. The morphology and the elemental composition of salts investigated by SEM-EDS indicated that efflorescences and encrustations were mostly constituted of gypsum and calcite. The presence of these salts is explained with the presence of high concentration of carbon dioxide and sulphur-rich particles due to pollution which, along with the high-moisture level and the extremely feeble air circulation, cause recarbonation and sulphation processes on the plaster surface

Lothar Goetz - Black

Solo exhibition showing new works of Lothar Goetz Wall painting, drawings on paper, drawings on board - all dealing with the phenomenon of the " colour " blac

Remote multispectral imaging with PRISMS and XRF analysis of Tang Tomb paintings

PRISMS (Portable Remote Imaging System for Multispectral Scanning) is a multispectral/hyperspectral imaging system designed for flexible in situ imaging of wall paintings at high resolution (tens of microns) over a large range of distances (less than a meter to over ten meters). This paper demonstrates a trial run of the VIS/NIR (400-880nm) component of the instrument for non-invasive imaging of wall paintings in situ. Wall painting panels from excavated Tang dynasty (618-907AD) tombs near Xi’an were examined by PRISMS. Pigment identifications were carried out using the spectral reflectance obtained from multispectral imaging coupled with non-invasive elemental analysis using a portable XRF