The earliest iconographic record of Gobioides broussonnetii La Cepède, 1800 (Gobiiformes: Gobiidae): the species identity of the “Caramuru” paintings of Dutch Brazil (1624-1654)

During the Mauritian period of Dutch Brazil (1637‑1644), a great deal of information about the biota of northeastern Brazil was obtained, consisting of both written records and paintings. Among them is an eel-like fish, depicted in two paintings labeled “Caramurû” and “Caramuru”, whose taxonomic identity is controversial. One of them, attributed to Albert Eckhout, is part of the Theatrum Rerum Naturalium Brasiliae collection, stored at the Jagiellonian University Library, in Poland. This painting was possibly a model for the second “Caramuru”, of unknown authorship, which is deposited at the Archive of the Russian Academy of Sciences. These paintings are doubtfully identified as the snake eel Echiophis intertinctus (Ophichthidae, Anguilliformes), a proposal likely induced by the vulgar name “caramuru”, which is applied to muraenids and ophichthids in Brazil. After careful examination of these two paintings regarding the anatomical details depicted, we concluded that the fish corresponds, with great certainty, to Gobioides broussonnetii (Gobiidae, Gobiiformes), popularly known as “aimoré” and “tajasica”. Furthermore, we suggest the possibility that the written counterpart of these paintings is the description associated with the woodcut of the fish labeled as “Tajasica” in the Historia Naturalis Brasiliae (Marggraf in de Laet, 1648). The confusion probably stems from mismatches between Georg Marggraf’s descriptions and the images of organisms produced at the time, perhaps before the return of Johan Maurits van Nassau-Siegen’s entourage to Europe. In an attempt to support our conclusions about the identity of that fish, as well as for historical purposes, we also discuss the vernacular names applied to G. broussonnetii and the authorship of the notes made on those paintings

Painterly rendering techniques: A state-of-the-art review of current approaches

In this publication we will look at the different methods presented over the past few decades which attempt to recreate digital paintings. While previous surveys concentrate on the broader subject of non-photorealistic rendering, the focus of this paper is firmly placed on painterly rendering techniques. We compare different methods used to produce different output painting styles such as abstract, colour pencil, watercolour, oriental, oil and pastel. Whereas some methods demand a high level of interaction using a skilled artist, others require simple parameters provided by a user with little or no artistic experience. Many methods attempt to provide more automation with the use of varying forms of reference data. This reference data can range from still photographs, video, 3D polygonal meshes or even 3D point clouds. The techniques presented here endeavour to provide tools and styles that are not traditionally available to an artist. Copyright © 2012 John Wiley & Sons, Ltd

Methods and techniques of contemporary American magazine illustrators.

Thesis (Ed.M.)--Boston Universit

3D Line textures and the visualization of confidence in Architecture

technical reportThis work introduces a technique for interactive walkthroughs of non-photorealistically rendered (NPR) scenes using 3D line primitives to define architectural features of the model, as well as indicate textural qualities. Line primitives are not typically used in this manner in favor of texture mapping techniques which can encapsulate a great deal of information in a single texture map, and take advantage of GPU optimizations for accelerated rendering. However, texture mapped images may not maintain the visual quality or aesthetic appeal that is possible when using 3D lines to simulate NPR scenes such as hand-drawn illustrations or architectural renderings. In addition, line textures can be modi ed interactively, for instance changing the sketchy quality of the lines, and can be exported as vectors to allow the automatic generation of illustrations and further modi cation in vector-based graphics programs. The technique introduced here extracts feature edges from a model, and using these edges, generates a reduced set of line textures which indicate material properties while maintaining interactive frame rates. A clipping algorithm is presented to enable 3D lines to reside only in the interior of the 3D model without exposing the underlying triangulated mesh. The resulting system produces interactive illustrations with high visual quality that are free from animation artifacts

Integrating Computer Technology and Traditional Art Tools: A Visual Literacy Handbook

Throughout history technology has advanced because new tools have been invented. Within the past fifty years the computer grew to be a new tool for business and industry. In the last twenty years, computers have become a tool for helping with daily activities. Now computers are being recognized as a tool for creativity. Artists have incorporated digital tools in their traditional toolbox. A review of related literature shows that computer generated digital art has been integrated into many aspects of the fine arts, including galleries and museums. This technology is being incorporated into the curriculums of our schools as well. Students are developing visual literacy through activities and lessons that make use of current computer technology along with materials and tools in the traditional fine arts program. This handbook shows ways digital art can enhance the learning of visual literacy in a fine arts program

PERANCANGAN LIGHT NOVEL SITTI NURBAYA DENGAN ILUSTRASI CAT AIR

The design of this thesis aims to attract the reading interest of the Indonesian millennial generation to Indonesian old literature with light novel, The title is Sitti Nurbaya, adapted from the work of Marah Rusli with a similar title. It tells about Sitti Nurbaya's classic love story with forced marriage problems and other values in it.The research method used is a qualitative descriptive approach by collecting data from observations, literature studies and interviews.In this study, the authors obtained the results of a questionnaire distributed to 100 respondents who argued that the old Indonesian literature would be more interesting if added with illustrations because being able to build a new world of imagination created by stories and illustrations, unfortunately still rarely found illustrated novel books that lift old Indonesian literary works so that the old Indonesian literary works lacked the attention of the millennial generation. In this questionnaire, the author found that the genre of books that are of interest to the millennial generation is romance.To make this light novel take more time and effort starting from data collection, design process to production process. This also needs many attention to each design and illustration rule in order to attract readers. Through this design, it is expected to increase the appreciation of the millennial generation for Indonesia's old literary works

Automatic painting with economized strokes

Journal ArticleWe present a method that takes a raster image as input and produces a painting-like image composed of strokes rather than pixels. Unlike previous automatic painting methods, we attempt to use very few brush-strokes. This is accomplished by first segmenting the image into features, finding the medial axes points of these features, converting the medial axes points into ordered lists of image tokens, and finally rendering these lists as brush strokes. Our process creates images reminiscent of modern realist painters who often want an abstract or sketchy quality in their work

Watercolour rendering of portraits

Applying non-photorealistic rendering techniques to stylise portraits needs to be done with care, as facial artifacts are particularly disagreeable. This paper describes a technique for watercolour rendering that uses a facial model to preserve distinctive facial characteristics and reduce unpleasing distortions of the face, while maintaining abstraction and stylisation of the overall image, employing stylistic elements of watercolour such as edge darkening, wobbling, glazing and diffusion

Digital Pompeii: Dissolving the Fieldwork- Library Research Divide

The advent of new forms of digital archaeological practice is revolutionizing the ways in which archaeologists work in the field. We have already witnessed the first part of the revolution, which has transformed archaeological methods of data collection and how such data are accessed and deployed in the field. In the second act of this revolution, published scholarship in digital form will be as easy to implement in the field as the trowel, effectively (if theoretically) dissolving the spatio-temporal division between fieldwork and library work. This paper describes two examples of this dissolution of the fieldwork-library divide, one archival in nature (Pompeii Quadriporticus Project) and the other bibliographic (Pompeii Bibliography and Mapping Project). The brief discussion of each sets the stage for a more speculative foray into how such digital practices will transform archaeological practice in the coming decade.https://dc.uwm.edu/arthist_mobilizingthepast/1008/thumbnail.jp