scholarly journals Book of Play! With Northwest Coast Native Art

2012 ◽  
Vol 2 (3) ◽  
Author(s):  
Lisa Vanness
Keyword(s):  
Fine Arts ◽  
Natural World ◽  
Primary Students ◽  
Northwest Coast ◽  
Facial Features ◽  
Text Book ◽  
Colour Palette ◽  
Native Art ◽  
Tap Dance ◽  
Early Primary

LaFortune, Doug et al. (2012). Book of Play! With Northwest Coast Native Art. Vancouver: Native Northwest. Print board book. This attractive children’s board book from publisher Native Northwest features the work of nine Northwest Coast Native artists. Bright colours appear throughout and a matte finish compels the reader’s eye to look, and look again. While a traditional Northwest Coastal art colour palette would include two to four colours, this board book incorporates more than fourteen colours for its attractive design. Natural animal forms such as ravens, turtles, fish, and more are illustrated using form lines and the characteristic U forms, S forms, and ovoids that distinguish Northwest Coastal art. The fantastic art is reason enough to purchase this book, but the fun activities are engaging as well. Each page turn is interesting as every page uses a different layout for text and images, and many of the pages ask the reader to interact in some way with the book. Readers are encouraged to count numbered toes on a foot, point to various coloured hummingbirds, find facial features on a totem, categorize animals based on how they travel, match stylized fish, and navigate a simple graphic maze. Due to the very simplistic text, Book of Play! is most appropriate for toddlers, pre-K, and early primary students. It stands out as a board book for having high-interest pictures, introducing young learners to Northwest Coastal art, and emphasizing the natural world. Highly recommended: 4 out of 4 stars Reviewer: Lisa Vanness Lisa Vanness is an elementary Fine Arts teacher in British Columbia and a Teacher-Librarian in training. She can tap dance, play the piano, and eat pickles - all at the same time.

Tantisuk, Sawasdi (1925--)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Fine Arts ◽  
Natural World ◽  
Buddhist Philosophy ◽  
Urban Life ◽  
Art Practice ◽  
Oil Paintings ◽  
Western Art ◽  
Outdoor Scenes ◽  
The 1960S

Born in Thonburi, Thailand, Sawasdi Tantisuk is a contemporary of Tawee Nandakwang; both artists were trained at Silpakorn University and the Academy of Fine Arts in Rome. As a prominent figure in early Thai modernism, Tantisuk favored watercolor, as its unforgiving and immediate characters resonated with his approach to art practice, which drew on the Buddhist philosophy wherein each action—in this case, brushstroke—cannot be undone. Tantisuk’s early works were in the impressionist genre, but following his four years in Rome, his work became more abstracted and geometric as he absorbed some of the major trends in Western art, with color and texture being characteristics of many oil paintings of the 1960s. As his career progressed, abstraction remained his favored approach to painting, though he maintained some realist elements in his watercolor outdoor scenes. Tantisuk used color to evoke emotion in his works, depicting both the serenity and wonder of the natural world and the bustle of Thai urban life. A consistent painter, he has received many awards throughout his career and has remained involved with the art profession. He received an Honorary PhD from Silpakorn University in 1991, and was Thailand’s National Artist (painting) that same year.

scholarly journals Does disruptive camouflage conceal edges and features?

2015 ◽  
Vol 61 (4) ◽  
pp. 708-717 ◽  
Author(s):  
Richard J. Webster
Keyword(s):  
Object Recognition ◽  
Natural World ◽  
Future Research ◽  
Facial Features ◽  
Global Feature ◽  
Edge Information ◽  
Research Directions ◽  
Future Research Directions ◽  
Characteristic Features ◽  
Local Edge

Abstract Camouflage is ubiquitous in the natural world and benefits both predators and prey. Amongst the range of concealment strategies, disruptive coloration is thought to visually fragment an animal’s’ outline, thereby reducing its rate of discovery. Here, I propose two non-mutually exclusive hypotheses for how disruptive camouflage functions, and describe the visual mechanisms that might underlie them. (1) The local edge disruption hypothesis states that camouflage is achieved by breaking up edge information. (2) The global feature disruption hypothesis states camouflage is achieved by breaking up the characteristic features of an animal (e.g., overall shape or facial features). Research clearly shows that putatively disruptive edge markings do increase concealment; however, few tests have been undertaken to determine whether this survival advantage is attributable to the distortion of features, so the global feature disruption hypothesis is under studied. In this review the evidence for global feature disruption is evaluated. Further, I address if object recognition processing provides a feasible mechanism for animals’ features to influence concealment. This review concludes that additional studies are needed to test if disruptive camouflage operates through the global feature disruption and proposes future research directions.

Nandakwang, Tawee (1925–1991)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Visual Arts ◽  
Emotional Response ◽  
Modern Art ◽  
Fine Arts ◽  
Natural World ◽  
Southeast Asian ◽  
The Subject ◽  
The 1950S ◽  
Northern City

Tawee Nandakwang was one of the pioneers of modern art in Thailand. Born in the northern city of Lamphun, he trained at Silpakorn University and also completed a diploma in painting at the Academy of Fine Arts in Rome in 1961. Nandakwang established his reputation as a leading artist early in his career, winning numerous prizes in the 1950s. Work from this period was heavily influenced by Impressionism and Cubism, drawing on familiar subjects such as portraits, landscape scenes and still lifes. He eventually settled into his own distinct style, which demonstrated a close interest in technique: each mark on the canvas was carefully considered. He had an affinity with the natural world and strove to create an aesthetic that did not mimic reality, but conveyed an emotional response to the scene. For example, flowers were not simply painted for their beauty; they became vehicles for conveying the changing atmospheric qualities of light and weather through the day. Buddhism was also an influence. There is a reflective quality in his paintings, in which feeling and impression override any direct rendering of the subject. Nandakwang was recognized for his innovation and skill, receiving several awards, including the Association of Southeast Asian Nations (ASEAN) Visual Arts (painting) Award in 1990. His works are represented in Thai and international collections.

scholarly journals Anatomy, technology, art, and culture: toward a realistic perspective of the brain

2009 ◽  
Vol 27 (3) ◽  
pp. E2 ◽  
Author(s):  
Daniel D. Cavalcanti ◽  
William Feindel ◽  
James T. Goodrich ◽  
T. Forcht Dagi ◽  
Charles J. Prestigiacomo ◽  
...  
Keyword(s):  
Brain Imaging ◽  
Fine Arts ◽  
Anatomical Study ◽  
Natural World ◽  
Leonardo Da Vinci ◽  
Linear Perspective ◽  
Social Phenomena ◽  
Anatomical Dissection ◽  
Art And Culture ◽  
The Brain

In the 15th century, brain illustration began to change from a schematic system that involved scant objective rendering of the brain, to accurate depictions based on anatomical dissections that demanded significant artistic talent. Notable examples of this innovation are the drawings of Leonardo da Vinci (1498–1504), Andreas Vesalius' association with the bottega of Titian to produce the drawings of Vesalius' De humani corporis fabrica (1543), and Christopher Wren's illustrations for Thomas Willis' Cerebri Anatome (1664). These works appeared during the Renaissance and Age of Enlightenment, when advances in brain imaging, or really brain rendering, reflected not only the abilities and dedications of the artists, but also the influences of important cultural and scientific factors. Anatomy and human dissection became popular social phenomena as well as scholarly pursuits, linked with the world of the fine arts. The working philosophy of these artists involved active participation in both anatomical study and illustration, and the belief that their discoveries of the natural world could best be communicated by rendering them in objective form (that is, with realistic perspective). From their studies emerged the beginning of contemporary brain imaging. In this article, the authors examine how the brain began to be imaged in realism within a cultural and scientific milieu that witnessed the emergence of anatomical dissection, the geometry of linear perspective, and the closer confluence of art and science.

‘Bulldozers aren’t just for boys’: respectful relationships education challenges gender bias in early primary students

2021 ◽  
pp. 1-15
Author(s):  
Debbie Ollis ◽  
Cassandra Iannucci ◽  
Amanda Keddie ◽  
Elise Holland ◽  
Maria Delaney ◽  
...  
Keyword(s):  
Gender Bias ◽  
Primary Students ◽  
Early Primary
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