Search Results (303)

The rise of virtual production has created an urgent need for both efficient and high-fidelity 3D face generation schemes for cinema and immersive media, but existing methods are often limited by lighting–geometry coupling, multi-view dependency, and insufficient artistic quality. To address this, this study proposes a cross-modal 3D face generation framework based on single-view semantic masks. It utilizes Swin Transformer for multi-level feature extraction and combines with NeRF for illumination decoupled rendering. We utilize physical rendering equations to explicitly separate surface reflectance from ambient lighting to achieve robust adaptation to complex lighting variations. In addition, to address geometric errors across illumination scenes, we construct geometric a priori constraint networks by mapping 2D facial features to 3D parameter space as regular terms with the help of semantic masks. On the CelebAMask-HQ dataset, this method achieves a leading score of SSIM = 0.892 (37.6% improvement from baseline) with FID = 40.6. The generated faces excel in symmetry and detail fidelity with realism and aesthetic scores of 8/10 and 7/10, respectively, in a perceptual evaluation with 1000 viewers. By combining physical-level illumination decoupling with semantic geometry a priori, this paper establishes a quantifiable feedback mechanism between objective metrics and human aesthetic evaluation, providing a new paradigm for aesthetic quality assessment of AI-generated content. Full article

The Buades Gallery (1973–2003) was not merely a commercial space in Madrid. In the history of art in Spain, it served as a professional and political node for Spanish conceptualism, an art form which, due to its idiosyncrasies, required its own channels of distribution. This article seeks to examine the trajectory of Mercedes Buades in alignment with this movement, re-evaluating her role from a feminist perspective and highlighting the importance of certain agents who have traditionally been invisibilised. To this end, a theoretical approach is adopted, following the sociology of art and the social history of art, paying particular attention to the contributions of Enrico Castelnuovo, Pierre Bourdieu and Núria Peist. These frameworks enable an analysis of the role of the gallerist as a structuring agent within the artistic field, capable of generating symbolic capital and establishing dynamics of production, circulation and consumption in the context of post-Franco Spain, a country that lacked a consolidated museum infrastructure at the time. Even so, Mercedes Buades established a model of gallery practice that, beyond its commercial dimension, contributed decisively to the symbolic configuration of contemporary art in Spain and formed part of a network of artistic visibility that promoted experimental art. Full article

Fluid effects are important in films and advertisements, where their realism and aesthetic quality directly impact the visual experience. With the rapid advancement of digital technology and computer-aided design (CAD), modern visual effects are used to simulate various water-related phenomena, such as flowing water, ocean waves, and raindrops. However, creating these realistic effects is not solely dependent on advanced software and hardware; it also requires an understanding of the technical and artistic aspects of visual effects artists. In the creation process, the artist must possess a keen aesthetic sense and innovative thinking to craft stunning visual effects to overcome technological constraints. Whether depicting the grandeur of turbulent ocean scenes or the romance of gentle rain, the artist needs to transform fluid effects into expressive visual language to enhance emotional impact, aligning with the storyline and the director’s vision. The production process of fluid effects typically involves the following critical steps. First, the visual effects artist utilizes CAD-based tools, particle systems, or fluid simulation software to model the dynamic behavior of water. This process demands a solid foundation in physics and the ability to adjust parameters flexibly according to the specific needs of the scene, ensuring that the fluid motion appears natural and smooth. Next, in the rendering stage, the simulated fluid is transformed into realistic imagery, requiring significant computational power and precise handling of lighting effects. Finally, in the compositing stage, the fluid effects are seamlessly integrated with live-action footage, making the visual effects appear as though they are parts of the actual scene. In this study, the technical details of creating fluid effects using free software such as Blender were explored. How advanced CAD tools are utilized to achieve complex water effects was also elucidated. Additionally, case studies were conducted to illustrate the creative processes involved in visual effects production to understand how to seamlessly blend technology with artistry to create unforgettable visual spectacles. Full article

Stained glass has played important roles in heritage building construction, however, conventional fabrication techniques have become economically prohibitive due to both capital costs and energy inefficiency, as well as high-level artistic and craft skills. To overcome these challenges, this study provides a new design methodology for customized 3D-printed polycarbonate (PC)-based stained-glass window alternatives using a fully open-source toolchain and methodology based on digital fabrication and hybrid crafts. Based on design thinking and open design principles, this procedure involves fabricating an additional insert made of (i) a PC substrate and (ii) custom geometries directly 3D printed on the substrate with PC-based 3D printing feedstock (iii) to be painted after the 3D printing process. This alternative is intended for customizable stained-glass design patterns to be used instead of traditional stained glass or in addition to conventional windows, making stained glass accessible and customizable according to users’ needs. Three approaches are developed and demonstrated to generate customized painted stained-glass geometries according to the different users’ skills and needs using (i) online-retrieved 3D and 2D patterns; (ii) custom patterns, i.e., hand-drawn and digital-drawn images; and (iii) AI-generated patterns. The proposed methodology shows potential for distributed applications in the building and heritage sectors, demonstrating its practical feasibility. Its use makes stained-glass-based products accessible to a broader range of end-users, especially for repairing and replicating existing conventional stained glass and designing new customizable products. The developed custom patterns are 50 times less expensive than traditional stained glass and can potentially improve thermal insulation, paving the way to energy efficiency and economic savings. Full article

This study examines the architectural ceramic corpus—comprising azulejos (tiles) and alicatados (tiling mosaics)—preserved in the Alhambra Museum, with the aim of elucidating its historical, artistic, and technical significance. Through a systematic methodology combining visual analysis, documentary research, and typological classification, a representative selection of ceramic artefacts was assessed. This article explores the artistic characteristics and technological principles of pieces produced using painted, relief, metallic lustre, incrustación, alicatado, cuerda seca, and arista techniques and reconstructs the historical trajectory of these decorative practices, tracing their origins in the pre-Islamic world to their adaptation within the Alhambra Palatine City. This diachronic perspective contextualises the innovations observed in the citadel, where production strategies reflect both inherited traditions and local adaptations across different historical phases. The findings highlight the richness and diversity of the Nasrid (mediaeval era) and Christian (modern era) ceramic legacy in the Alhambra and contribute to a more nuanced understanding of manufacturing processes and conservation challenges associated with these architectural elements. This preliminary characterisation establishes a basis for future material analysis and supports broader initiatives in documentation and heritage management. Full article

3D concrete printing (3DCP) technology holds significant potential to revolutionise traditional concrete production methods, offering designers and architects greater flexibility in creating intricate and innovative structures. Beyond structural applications, 3D printed concrete products encompass decorative elements, customised design solutions, and even artistic installations. The 3DCP process is highly automated, often integrating building information modelling (BIM) systems, minimising the need for manual labour and generating minimal material waste. 3DCP is regarded as one of the most advanced and efficient methods for fabricating concrete components in the future. This paper examines 3DCP technology and equipment, focusing on the selection of binder types, aggregates, and chemical admixtures, suitable for printable concrete mixes. Particular attention is given to the consistency and workability of 3DCP mixtures. Furthermore, the study evaluates the influence of 3D printing parameters on the mechanical properties of hardened concrete. The insights presented in this review contribute to a deeper understanding of 3D concrete printing technologies, equipment, and materials, benefiting researchers, structural engineers, and designers in the pursuit of enhanced durability and performance of 3D printed concrete structures. Full article

Carbon-fiber-reinforced polymer (CFRP) preforms are vital for high-performance composite structures, yet the real-time detection of surface yarn alignment defects is hindered by complex textures. This study introduces a novel machine vision framework to enable the precise, real-time identification of such defects in CFRP preforms. We proposed obtaining the frequency spectrum by removing the zero-frequency component from the projection curve of images of carbon fiber fabric, aiding in the identification of the cycle number for warp and weft yarns. A texture structure recognition method based on the artistic conception drawing (ACD) revert is applied to distinguishing the complex and diverse surface texture of the woven carbon fabric prepreg from potential surface defects. Based on the linear discriminant analysis for defect area threshold extraction, a defect boundary tracking algorithm rule was developed to achieve defect localization. Using over 1500 images captured from actual production lines to validate and compare the performance, the proposed method significantly outperforms the other inspection approaches, achieving a 97.02% recognition rate with a 0.38 s per image processing time. This research contributes new scientific insights into the correlation between yarn alignment anomalies and a machine-vision-based texture analysis in CFRP preforms, potentially advancing our fundamental understanding of the defect mechanisms in composite materials and enabling data-driven quality control in advanced manufacturing. Full article

When it comes to acting in modern productions of Shakespeare’s plays, size is more than all talk. That is, though how much a character speaks often serves as the measure of a role’s size, “small parts” may have a lot to say—and, as it turns out, the actors playing them may have a lot (or too little) to do. Some modern approaches to dramaturgy and practice may mean that the performers playing roles not qualified as large are susceptible to isolation throughout the artistic process, possibly having reduced rehearsal time. If the number of spoken lines influences the number of rehearsal hours, an actor playing a “small part” may be at a disadvantage when it comes to opportunities for character development and the benefits of creative collaboration. (In a rehearsal process for A Midsummer Night’s Dream, for example, how active might Hippolyta’s participation be if she is not doubling as Titania?) Additionally, having fewer lines on the stage can mean inheriting more labor behind the scenes, since an available body is a valuable commodity in the economy of production (what tasks might Ursula undertake during Much Ado About Nothing?). The tension between “playing conditions” and “working conditions” in the theater is thus especially heightened for Shakespeare’s women, whose onstage existence can throw an uncanny shadow upon the offstage experiences of those who play them. Full article

The production and creation of jewelry in al-Andalus must be understood as a phenomenon having to do with images signifying power; not only that of rulers, but also of families boasting high socio-economic status. This study aims to highlight the adoption of Middle Eastern models in the design of some pieces, as can be appreciated in the examples studied, dated between the end of the 10th century and the beginning of the 11th. To undertake this study, it was necessary to consult written sources that reveal the use of jewelry as images of power, and its importance in the society of al-Andalus. Rulers used jewels as symbols of personal authority, but also as gifts for other leaders and prominent members of their families and members of the social elite. It was necessary to formally study all the treasures preserved and dated between the end of the tenth century and the beginning of the eleventh, which made it possible to establish formal parallels with pieces of Eastern jewelry, from Fatimid Egypt and Iraq, dating from the same time. These artistic parallels manifest the adoption of Eastern models in al-Andalus jewelry, through the commercial relationships maintained with the East, especially as of the ninth century. Full article

Folk art includes objects that are items for everyday use and, at the same time, gracefully reflect the Greek artistic point of view, drawing its inspiration from life itself, the environment and its beauties, and local tradition. An 18th c. wood-carved and painted chest coming from the famous wood-carved centers of Epirus in Greece is presented in this study. As the number of studies and the general bibliographical references are limited for these kinds of items, prior to interventive conservation, a protocol of analysis was followed to identify the damages, the construction materials, and previous alterations. The main goal of this study is to identify the component materials using non-destructive techniques. The methodology followed for the documentation of the artifact includes the following: a. digital microscopy to identify damage from insects, different cracks and losses on the gesso and paint surface, corrosion products, etc.; b. 3D imaging using a polycam, with special attention given to the inside decoration of the cap; c. IR and UV photography to identify any previous alterations or signs of alterations in the varnish layers; d. and XRF analysis to identify the three (3) main colors of the chest, such as the blue used extensively as a background, red, and white. Nevertheless, the Greek folklore painting palette is limited, and for this reason, this study can be a foundation for research on similar artifacts. Full article

This article critically examines the star persona of Lola Flores, an iconic Spanish flamenco artist, within the historical and political context of Francoist Spain (1939–1975). It argues that Flores’s carefully constructed star image not only persisted into post-Franco Spain but also served as a covert vehicle for the continued propagation of National-Falangist Catholic ideology. The article primarily focuses on two major productions: the book Lola en carne viva. Memorias de Lola Flores (1990) and the television series El coraje de vivir (1994). Both portray a linear and cohesive version of her life from childhood to her later years, carefully curated to defend and rehabilitate her image. While many view Flores as a self-made artist, the article argues that her star persona was a deliberate construct—shaped by Suevia Films, a major Francoist-era film studio, and media narratives that aligned her with traditional gender roles, Catholic values, and Spanish nationalism. Despite emerging in post-Franco Spain, Flores’s narrative does not mark a rupture from the ideological frameworks of the past. Instead, it repackages Francoist values—particularly those surrounding patriarchal gender norms, suffering, and the glorification of sacrifice—to ensure her continued relevance. Suevia Films (1951) played a significant role in shaping her star persona as a symbol of Spanish folklore, aligning her with Francoist ideals of nation, Catholic morality, and submissive femininity. Her image was used to promote Spain internationally as a welcoming and culturally rich destination. Her persona fit within Franco’s broader strategy of using flamenco and folklore to attract foreign tourism while maintaining tight ideological control over entertainment. Flores’s life is framed as a rags-to-riches story, which reinforces Social Spencerist ideology (a social Darwinist perspective) that hard work and endurance lead to success, rather than acknowledging systemic oppression under Francoism. Her personal struggles—poverty, romantic disappointments, accusations of collaboration with the Franco regime, and tax evasion—are framed as necessary trials that strengthen her character. This aligns with the Catholic ideal of redemptive suffering, reinforcing her status as the mater dolorosa (Sorrowful Mother) figure. This article highlights the contradictions in Flores’s gender performance—while she embodied passion and sensuality in flamenco, her offstage identity conformed to the submissive, self-sacrificing woman idealized by the Francoist Sección Femenina (SF). Even in her personal life, Flores’s narrative aligns with Francoist values—her father’s bar, La Fe de Pedro Flores, symbolizes the fusion of religion, nationalism, and traditional masculinity. Tico Medina plays a key role by framing Lola en carne viva as an “authentic” and unfiltered account. His portrayal is highly constructed, acting as her “defense lawyer” to counter criticisms. Flores’s autobiography is monologic—it suppresses alternative perspectives, ensuring that her version of events remains dominant and unquestioned. Rather than acknowledging structural oppression, the narrative glorifies suffering as a path to resilience, aligning with both Catholic doctrine and Francoist propaganda. The article ultimately deconstructs Lola Flores’s autobiographical myth, demonstrating that her public persona—both onstage and offstage—was a strategic construction that perpetuated Francoist ideals well beyond the dictatorship. While her image has been celebrated as a symbol of Spanish cultural identity, it also functioned as a tool for maintaining patriarchal and nationalist ideologies under the guise of entertainment. Full article

Archaeology is a well-established discipline that sheds light on human history and uncovers the mysteries of materials, their origins, production methods, and areas of use. It provides significant insights into various topics such as the production history of glass and other materials, trade routes, manufacturing processes, degradation mechanisms, regional usages, and coloring com-positions. Glass, an ancient yet contemporary material, can transmit, absorb, and reflect light. Appreciating glass art requires recognizing its rich history, offering artists technical and aesthetic possibilities in modern life and architecture. This study examines the influence of archaeological research and the artistic character of ancient glass on contemporary glass art. Archaeological findings from Turkey and around the world have been reviewed, with a particular focus on the Phrygian Valley, located in and around Eskişehir, an important region for the Phrygian civilization. Artifacts unearthed through excavations and sur-face surveys conducted in the Phrygian Valley, and preserved in the Eskişehir Eti Archaeology Museum, have been analyzed. The museum houses approximately 22.500 artifacts, including sculptures, steles, ceramics, glass vessels, metal objects, jewelry, and coins. Inspired by these artifacts and Phrygian culture, original glass designs have been created using techniques such as stained glass, lampworking, and glass painting. The aim of the study is to interpret Phrygian art and culture through innovative designs. Full article

The convergence of art and technology represents an emerging trend, and it has become crucial to apply advanced technologies to traditional art forms in order to drive innovation in the way art is created, experienced, and understood. The aim of this paper is to explore new paths for the integration of art and technology through the development of a symmetric dual-arm collaborative ceramics robot, thereby facilitating the automation and technologization of ceramics creation. This study utilizes machine vision techniques and path planning algorithms. Specifically, machine vision technology is utilized to identify and locate the clay embryos and to complete the production of purple clay teapots through dual-arm collaboration. The successful application of the pottery robot proves the possibility of art-enabling technology, which helps to promote the innovative development of the entire art field and broaden the forms and boundaries of artistic expression. Full article

Skin is the largest organ of the human body and holds the functions of sensing, protecting, and regulating. Since ancient times, people have decorated their skin by painting themselves, cutting, and using accessories to express their personality and aesthetic consciousness as a kind of artistic expression, one that shows the development and change of aesthetic consciousness. However, there are concerns regarding the inconvenience, high time cost, and negative body perception with traditional tattoos. In addition, the trend of skin decoration has gradually withdrawn due to a lack of intelligent interaction. In response to these problems, we proposed a wearable electronic skin tattoo that offers a novel means of communication and emotional expression for individuals with communication impairments, WABEIT. The tattoo uses skin-friendly PDMS as the base material, combines multi-mode sensing components such as silver wire circuit, a programmable Surface-Mounted Device (SMD), a thin-film-pressure sensor, and a heart rate sensor, and combines the embedded development board Arduino Nano for intelligent interaction, forming a wearable electronic interactive tattoo capable of sensing the environment, human–computer interaction, and the changeable performance of intelligent perception. The sensor is also equipped with a mobile power supply to support portability. The advantages of WABEIT are as follows: first, it avoids the pain, allergy, and long production process of traditional tattoos. Second, the patterns can adapt to different needs and generate feedback for users, which can effectively express personal emotions. Thirdly, the facility of removal reduces social discrimination and occupational constraints, which is especially suitable for East Asia. Experimental results indicate that the device exhibits a high sensitivity in signal response, a wide variety of pattern changes, and reliable interactive capabilities. The study demonstrates that the proposed design philosophy and implementation strategy can be generalized to the interactive design of other wearable devices, thereby providing novel insights and methodologies for human–computer interaction, electronic devices, and sensor applications. Full article

In this paper, I argue for a ‘social art history’ that embraces all protagonists of ancient Egyptian artistic production and integrates them into the global process of creating prestige through art. The raison d’être of artists is to translate their skills into material and immaterial media using culturally embedded codes and ideological trends of their time. In the process, artists—or at least top artists who accessed restricted knowledge—created value and prestige as a means of competition between rival elites (and the sub-elite emulating them). This paper aims to address the question of defining social value embedded in material artifacts, especially when owned by intermediary social categories such as the New Kingdom metalworkers. It will touch upon what was seen as valuable and prestigious from the Egyptians’ perspective by looking at the iconography of New Kingdom metalworkers. The paper will examine 18th–20th dynasty goldsmiths’ self-depictions as they were in charge of creating artifacts in gold, a metal connected with solar symbolism and intertwined with the divine, kingship, and membership in the high elite. Ultimately, the paper aims to tackle the question of self-presentation for people who were not part of the elite per se, i.e., the sub-elite illustrated here by the metalworkers. In so doing, it uses, in a preliminary attempt, some concepts inherited from the Chicago School of Sociology. Full article