Search results for: painting motifs

Authors: César Oliveira, Ana M. S. Bettencourt, Luciano Vilas Boas, Luís Gonçalves, Carlo Bottaini

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Funerary megalithic monuments are probably under the most remarkable remains of the Neolithic period of western Europe. Some monuments are well known for their paintings, sometimes associated with engraved motifs, giving the funerary crypts a character of great symbolic value. The engraved and painted motifs, the colors used in the paintings, and the offerings associated with the deposited corpses are archaeological data that, being part of the funeral rites, also reveal the ideological world of these communities and their way of interacting with the world. In this sense, the choice of colors to be used in the paintings, the pigments collected, and the proceeds for making the paints would also be significant performances. The present study will focus on the characterization of painted art from megalithic monuments located in different areas of North-Western Portugal (coastal and inland). The colorant composition of megalithic barrows decorated with rock art motifs was studied using a multi-analytical approach (XRD, SEM-EDS, FTIR, and GC-MS), allowing the characterization of the painting techniques, pigments, and the organic compounds used as binders. Some analyses revealed that the pigments used for painting were produced using a collection of mined or quarried organic and inorganic substances. The results will be analyzed from the perspective of contingencies and regularity among the different case studies in order to interpret more or less standardized behaviors.

Keywords: funerary megalithic monuments, painting motifs, archaeometrical studies, Northwest Iberia, behaviors

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Authors: Unchalee Inkampa, Tuanjai Somboonwiwat

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Painting process of automobiles and automobile parts, which is a continuous process based on EDP (Electrode position paint, EDP). Through EDP, all work pieces will be continuously sent to the painting process. Work process can be divided into 2 groups based on the running time: Painting Room 1 and Painting Room 2. This leads to continuous operation. The problem that arises is waiting for workloads onto Painting Room. The grading process EDP to Painting Room is a major problem. Therefore, this paper aim to develop production sequencing method by applying EDP to painting process. It also applied fixed rate launching for painting room and earliest due date (EDD) for EDP process and swap pairwise interchange for waiting time to a minimum of machine. The result found that the developed method could improve painting reduced waiting time, on time delivery, meeting customers wants and improved productivity of painting unit.

Keywords: sequencing, mixed model lines, painting process, electrode position paint

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Authors: Pawinee Sorawech

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The purpose of this study was to investigate the quality improvement of painting assignments for grade 4-6 students by using PDCA cycle. This study employed a qualitative technique. Suan Sunandha Rajabhat University and its demonstration school were selected as the area of study. An in-depth interview was utilized. The findings revealed that model of PDCA cycle was a proper model to increase the quality of painting assignments for grade 4-6 students. The six steps of improvement included: studying the PDCA model, setting up a plan, determining the scope of work, creating a strategy, developing a quality for painting assignment, and coming up with a handbook for a quality improvement of painting assignment.

Keywords: quality, painting assignments, PDCA cycle, grade 4-6 students

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Authors: Chen-Fu Wang, Lin-Ya Kung

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For traditional painting materials, the artisan used to combine the pigments with different binders to create colors. As time goes by, the materials used for painting evolved from natural to chemical materials. The vast variety of ingredients used in chemical materials has complicated restoration work; it makes conservation work more difficult. Conservation work also becomes harder when the materials cannot be easily identified; therefore, it is essential that we take a more scientific approach to assist in conservation work. Paintings materials are high molecular weight polymer, and their analysis is very complicated as well other contamination such as smoke and dirt can also interfere with the analysis of the material. The current methods of composition analysis of painting materials include Fourier transform infrared spectroscopy (FT-IR), mass spectrometer, Raman spectroscopy, X-ray diffraction spectroscopy (XRD), each of which has its own limitation. In this study, FT-IR was used to analyze the components of the paint coating. We have taken the most commonly seen materials as samples and deteriorated it. The aged information was then used for the database to exam the temple painting materials. By observing the FT-IR changes over time, we can tell all of the painting materials will be deteriorated by the UV light, but only the speed of its degradation had some difference. From the deterioration experiment, the acrylic resin resists better than the others. After collecting the painting materials aging information on FT-IR, we performed some test on the paintings on the temples. It was found that most of the artisan used tune-oil for painting materials, and some other paintings used chemical materials. This method is now working successfully on identifying the painting materials. However, the method is destructive and high cost. In the future, we will work on the how to know the painting materials more efficiently.

Keywords: temple painting, painting material, conservation, FT-IR

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Authors: Shuruq Ghazi Nahhas

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Islamic art is a decorative art that depends on repeating motifs in various shapes to cover different surfaces. Each motif has its own characteristics and style that may reflect different Islamic periods, such as Umayyad, Abbasid, Fatimid, Seljuk, Nasrid, Ottoman, and Safavid. These periods were the most powerful periods which played an important role in developing the Islamic motifs. Most of these motifs of the Islamic heritage were not used in new applications. This research focused on reviving the vegetal Islamic motifs found on Islamic heritage and redesign them in a new format to decorate various products, including scarfs, cushions, coasters, wallpaper, wall art, and boxes. The scarf is chosen as one element of these decorative products because it is used as accessories to add aesthetic value to fashion. A descriptive-analytical method is used for this research. The process started with extracting and analyzing the original motifs. Then, creating the new motifs by simplifying, deleting, or adding elements based on the original structure. Then, creating repeated patterns and applying them to decorative products. The findings of this research indicated: repeating patterns based on different structures creates unlimited patterns. Also, changing the elements of the motifs of a pattern adds new characteristics to the pattern. Also, creating frames using elements from the repeated motifs adds aesthetic and contemporary value to decorative products. Finally, using various methods of combining colors creates unlimited variations of each pattern. At the end, reviving the Islamic motifs in contemporary vision enriches decorative products with aesthetic, artistic, and historical values of different Islamic periods. This makes the decorative products valuable that adds uniqueness to their surroundings.

Keywords: Islamic motifs, contemporary patterns, scarfs, decorative products

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Authors: Suwit Sadsunk

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This research paper was aimed to study different motifs found on Thai kites in order to be create new fabric printing designs. The objectives of the study were (1) to examine different motifs of Thai kites; and (2) to create appropriate printing designs for fabric based on an examination of motifs of Thai kites from primary and secondary sources. The study found that designs, motifs and colors found on Thai kites were various based on individual artisans’ imagination in each period. From the historical review, there have been 4 kinds of Thai kites namely I-Loom Kite, Pak Pao Kite, Chula Kite and Dui Dui Kite. Nowadays, the kite designs have been developed to be more various by shape and color such as snake- shaped kite, owl-shaped kite and peacock-shaped kite.

Keywords: Thai kites, fabric printing design

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Authors: Natália Botica, Luís Luís, Paulo Bernardes

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The Côa Valley, listed World Heritage since 1998, presents more than 1300 open-air engraved rock panels. The Archaeological Park of the Côa Valley recorded the rock art motifs, testing various techniques based on direct tracing processes on the rock, using natural and artificial lighting. In this work, integrated in the "Open Access Rock Art Repository" (RARAA) project, we present the methodology adopted for the vectorial drawing of the rock art motifs based on orthophotos taken from the photogrammetric survey and 3D models of the rocks. We also present the information system designed to integrate the vector drawing and the characterization data of the motifs, as well as the open access sharing, in order to promote their reuse in multiple areas. The 3D models themselves constitute a very detailed record, ensuring the digital preservation of the rock and iconography. Thus, even if a rock or motif disappears, it can continue to be studied and even recreated.

Keywords: rock art, archaeology, iron age, 3D models

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Authors: Zahra Ahmed Al-zadjali

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The influence of Islam on arts can be found primarily in calligraphy, arabesque designs and architecture. Also, geometric designs were used quite extensively. Muslim craftsmen produced stunning designs based on simple geometric principles and traditional motifs which were used to decorate many surfaces. The idea of interlacing simple rectilinear lines to form the patterns impressed Arabs. Nomads of Persia, Turks and Mongols were equally impressed with the designs so they begin to use them in their homes in carpet weaving. Islamic designs, motifs and colours which were used became common place and served to influence people’s tastes. Modern life style and contemporary products have changed the style of people’s daily lives, however, people still long for the nomadic way of life. This is clearly reflected in people’s homes. In a great many Muslim homes, Islamic decorative motifs can be seen along with traditional ‘Bedouin’ style furnishing, especially in homes of the Arabian Peninsula.

Keywords: art, craft, design, Oman, weaving

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Authors: Iqraq Kamal, Akmal Razif, Sivadas Chandra Sekaran, Ahmad Syazwan Hisaburi

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Painting plays a crucial role in the aerospace manufacturing industry, serving both protective and cosmetic purposes for components. However, the traditional manual painting method is time-consuming and labor-intensive, posing challenges for the sector in achieving higher efficiency. Additionally, the current automated robot path planning has been a bottleneck for spray painting processes, as typical manual teaching methods are time-consuming, error-prone, and skill-dependent. Therefore, it is essential to develop automated tool path planning methods to replace manual ones, reducing costs and improving product quality. Focusing on flat panel painting in aerospace manufacturing, this study aims to address issues related to unreliable part identification techniques caused by the high-mixture, low-volume nature of the industry. The proposed solution involves using a spray gun and a UR10 robotic arm with a vision system that utilizes one-shot object detection (OS2D) to identify parts accurately. Additionally, the research optimizes path planning by concentrating on the region of interest—specifically, the identified part, rather than uniformly covering the entire painting tray.

Keywords: aerospace manufacturing, one-shot object detection, automated spray painting, vision-based path optimization, deep learning, automation, robotic arm

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Authors: Nawaporn Srisarankullawong

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The study on the design of decorative flower patterns from Suan Sunandha Palace is the innovative design using flowers grown in Suan Sunandha Palace as the original sources. The research instrument included: 1) the photographs of flowers in watercolors painted by one of the lady in waiting of Her Royal Highness Princess Saisawareepirom as the source for investigating flowers used to grow in Suan Sunandha Palace, 2) pictures of real flowers used to grow in Suan Sunandha Palace, 3) Adobe Illustrator Program and Adobe Photoshop Program in designing the motif and decorative patterns including the prototype. The researcher chose 3 types of Suan Sunandha Palace flowers; moss rose, orchid, and lignum vitae. The details of the flowers were cut down to make simple motifs which were developed for elaborative decoration. There were 4 motifs adapted from moss roses, 3 motifs adapted from orchids, and 3 motifs adapted from lignum vitae. The patterns were used to decorate photo frames, wrapping paper, and gift boxes or souvenir boxes.

Keywords: Suan Sunandha Palace, design of decorative, flower patterns, decorative flower

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Authors: Arezoo Seifollahi

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One of the topics that is receiving a lot of attention in artistic circles and among Iran today and has been the subject of many conversations is the issue of Iranian graphics. In this research, the functional and practical aspects of Iranian painting as a visual-identity language in Iranian graphics have been investigated by relying on Iranian cultural and social posters in order to gain an understanding of the trend of contemporary graphic art in Iran and to help us reach the identity of graphics. In order to arrive at Iranian graphics, first, the issue of identity and what it is has been examined, and then this category has been addressed in Iran and throughout the history of this country in order to reveal the characteristics of the identity that has come to us today under the name of Iranian identity cognition. In the following, the search for Iranian identity in the art of this land, especially the art of painting, and then the art of contemporary painting and the search for identity in it have been discussed. After that, Iranian identity has been investigated in Iranian graphics. To understand Iranian graphics, after a brief description of its contemporary history, this art is examined at the considered time point. By using the inductive method of examining the posters of each course and taking into account the related cultural and social conditions, we tried to get a general and comprehensive understanding of the graphic features of each course.

Keywords: Iranian painting, graphic visual language, Iranian identity, social cultural poster

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Authors: Kholod Khairy Salama, Shabban Hassan Thabet

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In the present study, a comprehensive investigation has been undertaken into an Egyptian mural painting with feet wear slippers approach to choose the most successful restoration methods. The mural painting under examination dates back to the Amarna period; it was detached from a wall of an unknown tomb in Egypt, and currently, it is initially displayed in a showcase at the Egyptian Museum – Tahrir Square – Cairo, Egypt. The main objectives of this research were to (a) reveal the pigment used in the mural painting, (b) reveal the medium used with colours, (c) determine the technique of manufacturing, (e) determine the ground support, and (f) reveal the main deterioration aspects. The analytical techniques used for investigation were Optical Microscopy, Raman, X-ray Florescence, X-ray diffraction, and Fourier transform infrared coupled with attenuated total reflectance “FTIR-ATR”. The investigation revealed that the vital deterioration factors affecting the object. This research aims to examine and analyze the mural painting to choose the suitable method for the restoration process (a) define the colours through comparative analysis to choose the suitable material for cleaning, (b) define the natural structure of the ground support layer, which appeared as mud layer (c) determine the medium used with colours (d) diagnosis the presence of the white wash layer, and (e) choose the suitable restoration methods according to the results. Conclusion: This study focused mainly on the physical and chemical properties of the mural painting compound and the main changes that happened to the mural painting material, which caused deterioration and fall down of the painting parts, so we can find the best and optimum restoration ways for this object.

Keywords: mural paintings, Tal Al-Amarna, digital microscope, Raman, XRF, XRD, FTIR

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Authors: Irokanulo I. Emmanuel

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The idea of ‘Oshinowoism’ is a representational school, which is a concept based on pure and rustic energy in painting. It is described as any painting that depicts the actions of significant through simple illusions. The idea is never to replicate a photographic resemblance with paint but to create an affinity between what one sees and what one artistically intends to create as a representation of that which one beholds in society as an illusion of reality, not as a reality in itself, but as subjective analysis of reality. The disciples of ‘Oshinowoism’ pursue their art from a representational point of view, creating material realities within feels of colours, forms and space, not trying to confuse the art as a substitute for reality nor reality as a substitute for art, but giving each its space and materialism to exist. The depictions of Oshinowo are the constant reminders or perhaps interpretations of those developments that emerged in contemporary African societies because of neocolonialism. This essay has three objectives. First, it examines the misconception around the development of this thought. Secondly, it contextualizes the later contemporary development of painting as art and craft in present-day Lagos, and third, it constructs the misconception and misconstruction of the concept of ‘Oshinowoism’ and offers a correct ideology of this thought with the body of Oshinowo’s work to give the existence to this philosophy. This study looks at the students of Kolade Oshinowo, especially those students who share similar elements and an affinity with the master painting skills, as a way of reconstructing and addressing the misconception in his style. The early works of Olaku, Edosa, and Lara Ige Jacks are plausible evidence of the existential essence of Oshinowo’s artistic philosophy. To this end, therefore, this study would explore the quality of their pictorial techniques and skills in painting as a way of preserving their master’s philosophy.

Keywords: Oshinowoism, colour scheme, drawing, philosophy, representations

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Authors: Esra Alhamal

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Islamic architecture is known for the ornamental patterns that cover the architectural surfaces: floors, walls, and ceilings. This quality in Islamic buildings has long impressed other civilisation, and it is a visual language that exists across the Islamic lands. Ornamentation is divided into three types: geometry, biomorphs, and Arabic calligraphy. The focus of this study is the biomorphic ornaments. This paper will aim to define and characterise biomorphic patterns and trace their development from the 7th to the 18th centuries. Although the time period is seemingly long, the biomorphic patterns and their motifs have been consistent and supported by a geometric system underlying the free flowing, symmetrical motifs. The methodology of this paper consists of analysing and comparing biomorphic patterns from each Islamic period using rules of geometry and symmetry. The study is concluded with a table showcasing the main motifs and how they developed under each Islamic dynasty. This research is a documentation of the biomorphic language and having this record will help contemporary designers employ biomorphic ornaments thoughtfully.

Keywords: architectural surface, biomorphic patterns, Islamic patterns, Islamic ornamentation

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Authors: Zhepeng Rui, Zhenyu Gu, Caitilin de Bérigny

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In the current study, we designed an interactive meditation and brain painting application to cultivate users’ creativity, promote meditation, reduce stress, and improve cognition while attempting to learn a foreign language. User tests and data analyses were conducted on 42 male and 42 female participants to better understand sex-associated psychological and aesthetic differences. Our method utilized brain-computer interfaces to import meditation and attention data to create artwork in meditation-based applications. Female participants showed statistically significantly different language learning outcomes following three meditation paradigms. The art style of brain painting helped females with language memory. Our results suggest that the most ideal methods for promoting memory attention were meditation methods and brain painting exercises contributing to language learning, memory concentration promotion, and foreign word memorization. We conclude that a short period of meditation practice can help in learning a foreign language. These findings provide new insights into meditation, creative language education, brain-computer interface, and human-computer interactions.

Keywords: brain-computer interface, creative thinking, meditation, mental health

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Authors: Ratna Sharma, Kaveri Dutta

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Assam (India), the gate way to the Northeast India is mainly known for its exquisite silks, the art and craft. The state has a rich collection of traditional jewellery which is unique and exclusive to the state. These jewelleries hold a special place in the heart of the Assamese women. Similarly handloom industry of Assam is basically silk oriented. Among the wild silk, Eri silk fabric has remained as “the poor man’s silk” but it is closely attached to the assamese society, dress for it's warm quality. In view of the changing market trends, fashion and consumer demands, Silk is emerging as a fashion fabric both in India and abroad. In case of Eri silk fabric it has limited use in clothing and accessories. Hence the restructured and redesigned traditional jewellery motifs of Assam (India) over Eri silk products will have greater potential in reviving the decline of art, generate revenue, self employment towards craftsmen and also recognition of the art. The information incorporated in the paper is primary and the data have been collected by purposive sampling method. This work of art was expressed on Eri silk fabric in the form of traditional hand embroidery as it is closely connected with the era of the individual in history of mankind and reflects the personal expression of an entity. For this study selected traditional motifs of Assamese ornaments was used. Some of the popular traditional Assamese jewellery include earrings with exquisite Lokaparo, Keru, Thuriya, Jangphai, etc. An array of necklaces including Golpata, Satsori, Jon biri, Bena, Gejera, Dhol biri, Doog doogi, Biri Moni, Mukuta Moni, Poalmoni, Silikha Moni and Magardana and diversified rings including Senpata, Horinsakua, Jethinejia, bakharpata and others. Selected two motifs each from necklace, earring and finger ring designs. Selected motifs were further developed into 3 categories- the border, the main motif and all over butta followed by placement of developed patterns on products. Products developed were stoles, scarf’s, purses, brooch pins, skirts for women and ties, handkerchief, jackets for men. The developed products were surveyed by selected respondents. From the present study it can be observed that the embellished traditional jewellery motifs resulted in fresh and colourful pattern on developed Eri silk products. Moreover the motifs which were gradually fading among the community itself showed a very good recognition towards art. The embroidered Eri silk fabric also created a huge change in a positive way among craftsman.

Keywords: Art and craft of Assam, eri silk, hand embroidery, traditional Assamese jewellery motifs

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Authors: M. Top, H. Telli

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Plaster material has been a preferred material especially in the Middle East geography in terms of economy, easy process and thermal insulation since very old times. However, due to the unstable nature of the material, very little has been reached today. For this reason, both finds and studies about stucco ornamentation are very few. In this study, the excavated plasterwork finds used in the architectural ornamentation in the Hosap Castle (Van/Turkey) were considered worth examining since they are rare examples. The stucco relief finds that were found in the castle is discussed. The finds of engraved artifacts on the plasterworks were not addressed. Only the pieces found in Area II and Area III (harem) and surrounding during the cleaning and excavation work carried out at Hosap Kalesi between 2007-2015, will be discussed. This is a general assessment about the finds. It is unknown where many of the pieces found. For this reason, only general appraisal was able to done. Most of the parts are made of mold technique. The motifs on the fragments are similar to the motifs of Ottoman period tiles. Parallel to the settlement history of the castle, thought that these plaster pieces belong to the 16th-17th centuries.

Keywords: stucco decoration, Eastern Anatolia, Ottoman motifs, ornamentation, plasterwork

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Authors: John Gibbs, Benjamin Flanders, Dylan Pozorski, Weixuan Liu

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Weight Painting–adjusting the influence a skeletal joint has on a given vertex in a character mesh–is an arduous and time con- suming part of the 3D animation pipeline. This process generally requires a trained technical animator and many hours of work to complete. Our skiNNer plug-in, which works within Autodesk’s Maya 3D animation software, uses Machine Learning and data pro- cessing techniques to create a deep neural network model that can accomplish the weight painting task in seconds rather than hours for bipedal quasi-humanoid character meshes. In order to create a properly trained network, a number of challenges were overcome, including curating an appropriately large data library, managing an arbitrary 3D mesh size, handling arbitrary skeletal architectures, accounting for extreme numeric values (most data points are near 0 or 1 for weight maps), and constructing an appropriate neural network model that can properly capture the high frequency alter- ation between high weight values (near 1.0) and low weight values (near 0.0). The arrived at neural network model is a cross between a traditional CNN, deep residual network, and fully dense network. The resultant network captures the unusually hard-edged features of a weight map matrix, and produces excellent results on many bipedal models.

Keywords: 3d animation, animation, character, rigging, skinning, weight painting, machine learning, artificial intelligence, neural network, deep neural network

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Authors: Geetanjali Sachdev

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This paper explores the decorative uses of plant motifs and symbols in traditional Indian art and craft practices in order to assess their pedagogical significance within the context of plant study in higher education in art and design. It examines existing scholarship on decoration and plants in Indian art and craft practices. The impulse to elaborate upon an existing form or surface is an intrinsic part of many Indian traditional art and craft traditions where a deeply ingrained love for decoration exists. Indian craftsmen use an array of motifs and embellishments to adorn surfaces across a range of practices, and decoration is widely seen in textiles, jewellery, temple sculptures, vehicular art, architecture, and various other art, craft, and design traditions. Ornamentation in Indian cultural traditions has been attributed to religious and spiritual influences in the lives of India’s art and craft practitioners. Through adornment, surfaces and objects were ritually transformed to function both spiritually and physically. Decorative formations facilitate spiritual development and attune our minds to concepts that support contemplation. Within practices of ornamentation and adornment, there is extensive use of botanical motifs as Indian art and craft practitioners have historically been drawn towards nature as a source of inspiration. This is due to the centrality of agriculture in the lives of Indian people as well as in religion, where plants play a key role in religious rituals and festivals. Plant representations thus abound in two-dimensional and three-dimensional surface designs and patterns where the motifs range from being realistic, highly stylized, and curvilinear forms to geometric and abstract symbols. Existing scholarship reveals that these botanical embellishments reference a wide range of plants that include native and non-indigenous plants, as well as imaginary and mythical plants. Structural components of plant anatomy, such as leaves, stems, branches and buds, and flowers, are part of the repertoire of design motifs used, as are plant forms indicating different stages of growth, such as flowering buds and flowers in full bloom. Symmetry is a characteristic feature, and within the decorative register of various practices, plants are part of border zones and bands, connecting corners and all-over patterns, used as singular motifs and floral sprays on panels, and as elements within ornamental scenes. The results of the research indicate that decoration as a mode of inquiry into plants can serve as a platform to learn about local and global biodiversity and plant anatomy and develop artistic modes of thinking symbolically, metaphorically, imaginatively, and relationally about the plant world. The conclusion is drawn that engaging with ornamental modes of plant representation in traditional Indian art and craft practices is pedagogically significant for two reasons. Decoration as a mode of engagement cultivates both botanical and artistic understandings of plants. It also links learners with the indigenous art and craft traditions of their own culture.

Keywords: art and design pedagogy, decoration, plant motifs, traditional art and craft

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Authors: Christena Stephen, Biju Kunnumpurath

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This study intends to comprehend the effect of the Tilt Brush (TB) Virtual Reality 3D Painting application on creativity among final year architecture students. The research was done over the course of 30 hours and evaluated the performance of a group of 20 university students. Using a Structured Observation Form (SOF), the researcher assessed the research's progress. Four recently graduated artists, educators, and researchers used a Rubric to assess student designs. During the training, the study group was instructed in the fundamentals of virtual Reality, design principles, and TB. The design process, which began with the construction of a 3D design, progressed with the addition of texture, color, and script to items and culminated in the creation of a finished project. The group in the design process is rated as "Good" by the researcher based on feedback from SOF. The creativity evaluation rubric used by the experts rates their work as "Accomplished." According to the researcher's assessment, the group received a "Good" rating. Based on these findings, it can be said that including virtual reality 3D painting in the curriculum for art and design classes will help students improve their imagination and creativity as well as their 21st-century skills in education.

Keywords: creativity, virtual reality, 3D painting, tilt brush, education

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Authors: Matthias Stange

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In the early modern period, a different image of man began to prevail in Europe. The focus was on the self-determined human being and his abilities. At first, these developments could be seen in Italian painting and architecture, which again oriented itself to the concepts and forms of antiquity. For example, through the discovery of perspective representation by Brunelleschi or later the orthogonal projection by Alberti, after the ancient knowledge of optics had been forgotten in the Middle Ages. The understanding of reality in the Middle Ages was not focused on the sensually perceptible world but was determined by ecclesiastical dogmas. The empirical part of this study examines the rediscovery and development of perspective. With the paradigm of antiquity, the figure of the architect was also recognised again - the cultural man trained theoretically and practically in numerous subjects, as Vitruvius describes him. In this context, the role of the architect, the influence on the painting of the Quattrocento as well as the influence on architectural representation in the Baroque period are examined. Baroque is commonly associated with the idea of illusionistic appearance as opposed to the tangible reality presented in the Renaissance. The study has shown that the central perspective projection developed by Filippo Brunelleschi enabled another understanding of seeing and the dissemination of painted images. Brunelleschi's development made it possible to understand the sight of nature as a reflection of what is presented to the viewer's eye. Alberti later shortened Brunelleschi's central perspective representation for practical use in painting. In early modern Italian architecture and painting, these developments apparently supported each other. The pictorial representation of architecture initially served the development of an art form before it became established in building practice itself.

Keywords: Alberti, Brunelleschi, central perspective projection, orthogonal projection, quattrocento, baroque

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Authors: Dweepabiswa Bagchi, D. V. Senthilkumar

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Numerous studies have typically demonstrated the devastation of invasions on an isolated ecosystem or, at most, a network of dispersively coupled similar ecosystem patches. Using such a simplistic 2-D network model, one can only consider dispersal coupling and inter-species trophic interactions. However, in a realistic ecosystem, numerous species co-exist and interact trophically and non-trophically in groups of 2 or more. Even different types of dispersal can introduce complexity in an ecological network. Therefore, a more accurate representation of actual ecosystems (or ecological networks) is a complex network consisting of motifs formed by two or more interacting species. Here, the apropos structure of the network should be multiplex or multi-layered. Motifs between different patches or species should be identical within the same layer and vary from one layer to another. This study investigates three distinct ecological multiplex networks facing invasion from one or more external species. This work determines and quantifies the criteria for the increased extinction risk of these networks. The dynamical states of the network with high extinction risk, i.e., the danger states, and those with low extinction risk, i.e., the resistive network states, are both subsequently identified. The analysis done in this study further quantifies the persistence of the entire network corresponding to simultaneous changes in the strength of invasive dispersal and higher-order trophic and non-trophic interactions. This study also demonstrates that the ecosystems enjoy an inherent advantage against invasions due to their multiplex network structure.

Keywords: increased ecosystem persistence, invasion on ecosystems, multiplex networks, non-trophic interactions

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Authors: Van Huong Mai, Kanokwan Nithiratphat, Adool Booncham

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The Movement of Contemporary Life consisted of two purposes, which were to study the movement and development of the modern life and to create the visual arts, which were paintings expressed via the form of apartment buildings was used from mixed media (digital printing and acrylic painting on canvas) which conveyed the rapid pace of modern life leading to diverse movements in viewer’s feeling. The operation of this creation was collected field data, documentary data, and influence from creative work. The data analysis was analyzed in order to theme, form, technique, and process to satisfy of concept and special character of the pieces.

Keywords: movement, contemporary life, visual art, acrylic painting, digital art, urban space

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Authors: Amit Chaudhary, B. S. Yadav, P. K. Maurya, A. M., S. Srivastava, S. Singh, A. Mani

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Cold shock protein A (CspA) is major cold inducible protein present in Escherichia coli. The protein is involved in stabilizing secondary structure of RNA by working as chaperone during cold temperature. Two RNA binding motifs play key role in the stabilizing activity. This study aimed to investigate implications of low temperature on structure and RNA binding activity of E. coli CspA. Molecular dynamics simulations were performed to compare the stability of the protein at 37°C and 10 °C. The protein was mutated at RNA binding motifs and docked with RNA to assess the stability of both complexes. Results suggest that CspA as well as CspA-RNA complex is more stable at low temperature. It was also confirmed that RNP1 and RNP2 play key role in RNA binding.

Keywords: CspA, homology modelling, mutation, molecular dynamics simulation

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Authors: Eni Puji Astuti

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Yogyakarta has a rich and various form of traditional ornament which can be found on many media. Traditional Ornament has a classical form and being a local identity that can be easily recognized. The retention of traditional ornament can be done in many ways, one of them is aplicating tradisional ornament on modern architecture. This paper is aimed at identifiying the representation of traditional ornament on modern architecture in Yogyakarta. Kawung, parang, tumpal are some of Javaness motifs which often implemented on modern architecture because of their simple and welknown form. The motifs that actually aplicate on textiles ornament, recently often applied on modern architecture as aesthetical element on the facade, interior walls and furniture. The application of traditional ornaments as aesthetic architectural elements provide a strong local identity of Yogyakarta. Traditional ornaments that are applied, no longer refers to the origin local values, norms, and traditions. The form previously be simplified and adapted to the shape of minimalist style of modern architecture.

Keywords: traditional ornament, representation, Yogyakarta, modern architecture

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Authors: Morinta Rosandini

Abstract:

Bima Tembe is an excellent sample of cultural artifact that many people regard it as: (1) manufactured by a traditional techniques, (2) contained with variety forms and great philosophical motifs, and (3) having valued functions related to women status in the society. This research examined elements of Bima Tembe and their relations and one of the usage of tembe, named Rimpus. The elements include: (1) the traditional techniques of making Bima Tembe, (2) the variety forms (3) and philosophical motifs of Bima Tembe. Rimpu, is a cultural women clothes in Bima, which use Bima Tembe as a main part. From this reseacrh found that the Bima Tembe made by weaving technique using a traditional loom, and has two types of Tembe; Tembe Istana and Tembe Rakyat, with various motif each type. The The usage of Rimpu is as a symbol of the obedience to God and the type of Rimpu indicate the women status in the society.

Keywords: bima, tembe, rimpu, clothes

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Authors: A. A. Azemati, H. Hosseini

Abstract:

By using an adequate paint in buildings, energy consumption can be decreased. In this research, a range of wall paints in different climatic conditions has been investigated to observe its effect on energy consumption. In the current study, the researchers have investigated the effect of different parameters including climatic condition, absorption coefficient, and thermal loads on paint coating. In order to study these effects, heating and cooling loads of a typical building with different color paints have been calculated. The effect of building paint in different climatic condition was studied and a comparison was drawn between paints and painting coats with inorganic micro particles in temperate climate to obtain optimized energy consumption.

Keywords: climate, energy consumption, inorganic, painting coats

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Authors: Noranis Ismail, Shamsul H. A. Rahman

Abstract:

The objective of this research is to accentuate the importance of Visual Corporate Identity by utilizing Malay motifs amalgamated with Malay proverbs to enhance the corporate brand of The Design School (TDS) of Taylor’s University. The researchers aim to manipulate festive money packet as a mean to communicate to the audience by using non-verbal visual cues such as colour, languages, and symbols that reflect styles and cultural heritage. The paper concluded that it is possible to utilize Hari Raya packet as a medium for creative expressions by creating high-impact design through the symbolism of selected Malay proverbs and traditional Malay motifs to enhance TDS corporate visual identity. It also provides a vital contribution to other organizations to understand an integral part of corporate visual identity in heightening corporate brand by communicating indirectly to its stakeholders using visual mnemonic and cultural heritage.

Keywords: corporate branding, cultural cues, Malay culture, visual identity

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Authors: Kaveri Dutta, Ratna Sharma

Abstract:

Indian traditional textile is a synthesis of various cultures. Art and crafts of a country showcases the rich cultural and artistic history of that nation. Prehistorically Indian handicrafts were basically made for day to day use; the yearning for aesthetic application soon saw the development of flooding designs and motifs. Similarly, Bagh print a traditional hand block Print with natural colours an Indian handicraft practiced in Bagh, Madhya Pradesh(India). Bagh print has its roots in Sindh, which is now a part of Pakistan. The present form of Bagh printing actually started in 1962 when the craftsmen migrated from Manavar to the neighboring town of Bagh situated in Madhya Pradesh and hence Bagh has always been associated with this printing style. Bagh printing basically involved blocks that are carved onto motifs that represent flora such as Jasmine, Mushroom leheriya and so on. There are some prints that were inspired by the jaali work that embellished the Taj Mahal and various other forts. Inspiration is also drawn from the landscapes and geometrical figures. The motifs evoke various moods in the serenity of the prints and that is the catchy element of Bagh prints. The development in this traditional textile is as essential as in another field. Nowadays fashion trends are fragile and innovative changes over existing fashion field in the short span is the demand of times. We must make efforts to preserve this cultural heritage of arts and crafts and this is done either by documenting the various ancient traditions or by making a blend of it. Since this craft is well known over the world, but the need is to document the original motif, fabric, technology and colors used in contemporary fashion. Hence keeping above points in mind this study on bagh print textiles of Madhya Pradesh work has been formulated. The information incorporated in the paper was based on secondary data taken from relevant books, journals, museum visit and articles. Besides for the demographic details and working profile of the artisans dealt with printing, an interview schedule was carried out in three regions of Madhya Pradesh. This work of art was expressed in Cotton fabric. For this study selected traditional motifs for Bang printing was used. Some of the popular traditional Bagh motifs are Jasmine, Mushroom leheriya, geometrical figures and jaali work. The Bagh printed cotton fabrics were developed into a range of men’s ethic wear in combination with embroideries from Rajasthan. Products developed were bandhgala jackets, kurtas, serwani and dupattas. From the present study, it can be observed that the embellished traditional Bang printed range of ethnic men’s wear resulted in the fresh and colourful pattern. The embroidered Bagh printed cotton fabric also created a huge change in a positive way among artisans of the three regions.

Keywords: art and craft of Madhya Pradesh, evolution of printing in India, history of Bagh printing, sources of inspiration

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Authors: Shaza Melies, Abeer Refky, Nihad Mansoor

Abstract:

Multimodality involves the communication between verbal and visual components in various discourses. A painting represents a form of communication between the artist and the viewer in terms of colors, shades, objects, and the title. This paper aims to present how multimodality can be used to decode the verbal and visual dimensions a painting holds. For that purpose, this study uses Kress and van Leeuwen’s theoretical framework of visual grammar for the analysis of the multimodal semiotic resources of selected paintings of Salvador Dali. This study investigates the visual decoding of the selected paintings of Salvador Dali and analyzing their social and political meanings using Kress and van Leeuwen’s framework of visual grammar. The paper attempts to answer the following questions: 1. How far can multimodality decode the verbal and non-verbal meanings of surrealistic art? 2. How can Kress and van Leeuwen’s theoretical framework of visual grammar be applied to analyze Dali’s paintings? 3. To what extent is Kress and van Leeuwen’s theoretical framework of visual grammar apt to deliver political and social messages of Dali? The paper reached the following findings: the framework’s descriptive tools (representational, interactive, and compositional meanings) can be used to analyze the paintings’ title and their visual elements. Social and political messages were delivered by appropriate usage of color, gesture, vectors, modality, and the way social actors were represented.

Keywords: multimodal analysis, painting analysis, Salvador Dali, visual grammar

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