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2021 ◽  
Vol 8 (1) ◽  
pp. 63-77
Author(s):  
Zhengyu Huang ◽  
Yichen Peng ◽  
Tomohiro Hibino ◽  
Chunqi Zhao ◽  
Haoran Xie ◽  
...  

AbstractSpecial skills are required in portrait painting, such as imagining geometric structures and facial detail for final portrait designs. This makes it a difficult task for users, especially novices without prior artistic training, to draw freehand portraits with high-quality details. In this paper, we propose dualFace, a portrait drawing interface to assist users with different levels of drawing skills to complete recognizable and authentic face sketches. Inspired by traditional artist workflows for portrait drawing, dualFace gives two-stages of drawing assistance to provide global and local visual guidance. The former helps users draw contour lines for portraits (i.e., geometric structure), and the latter helps users draw details of facial parts, which conform to the user-drawn contour lines. In the global guidance stage, the user draws several contour lines, and dualFace then searches for several relevant images from an internal database and displays the suggested face contour lines on the background of the canvas. In the local guidance stage, we synthesize detailed portrait images with a deep generative model from user-drawn contour lines, and then use the synthesized results as detailed drawing guidance. We conducted a user study to verify the effectiveness of dualFace, which confirms that dualFace significantly helps users to produce a detailed portrait sketch.


Author(s):  
C. Liang

The purpose of the article is to analyze the phenomenon of music teachers’ artistic and educational activity in the artistic and value context as well as projections for professional training. The integral content of such activity in the teaching profession is revealed in general, and its connection with the values of culture is considered. It is emphasized that art education covers all disciplines of professional music and pedagogical training. At the same time, the tasks of the particular discipline always are in the centre of the solution of problems of other disciplines. Moreover, the place of education in life and work of prominent artists and teachers of Ukraine, China, and other countries is indicated. The role of poly-artistic training of music teachers as a basis for the formation of artistic values is emphasized. The requirements of artistic and educational activity for professional training of music teachers are outlined as the following: attitude towards educational activity, self-development of cultural skills, mastery of information space, development of performing skills, mastering the techniques of verbal and nonverbal communication with the audience. The article specifies the essence of music teacher’s artistic and educational activity as a purposeful permanent process that integrates various components of artistic cognition. The interdependent vectors of professional training of music students are formulated. They are the following: a directed influence on artistic values of others and conscious enrichment of one’s own artistic value sphere. The potential of music teacher’s artistic and educational activity as a foundation and reference point for acquiring personal artistic values is revealed, which includes motivation to expand general artistic erudition, the possibility of holistic practice-oriented immersion in art, presentation of the results of artistic search, and self-presentation.


2021 ◽  
Vol 14 (33) ◽  
pp. e15613
Author(s):  
Pedro Rolando Apolo Valdivia ◽  
Fernando Esteban Núñez Vara ◽  
Francis Díaz Flores ◽  
Felipe Guizado Oscco

This article includes in essence the revision of the curriculum structure in force at the Professional School of Art of the University of San Marcos, where the curriculum has been analyzed    in detail, with the intention of showing the articulation of competences and their proper integration into the curricular lines that make up the educational program of the career. Also, for this purpose has it been prevailing to observe the egress profile, since only through the proper identification of the process’s evaluation can measure the achievement of skills, skills and skills required in artistic training. The study is based on the curriculum design strategies proposed by the authors Becerra and La Serna (2019).


Author(s):  
Olena Malytska

The synthesis of the arts is not the latest concept, but at the beginning of the XXI century it acquired a unique, compared to other eras, role in the artistic culture of modern society. Modern artistic practices are characterized by new synthetic properties, and therefore approaches to the mastery of modern teachers of modern art forms should take into account the relevant features of perception of works of art and synesthetic features of the process of artistic creation. Updating the technologies of art education and its methodological basis in the context of artistic synthesis is a factor in effectively solving the problems of artistic training of future teachers.


Author(s):  
Dalia Judovitz

Georges de La Tour’s (b. 1593–d. 1652) artistic contributions were largely ignored by posterity until his “rediscovery” in 1915 by the art historian Hermann Voss. The patronage of such luminaries as the Duke of Lorraine, King Louis xiii, and Cardinal Richelieu, and the plethora of early copies, attest to his success during his lifetime. His eventual lapse into obscurity lasting almost three centuries led to the reattribution of his works to Italian, Netherlandish, Spanish, or French Baroque painters. While more than seventy oil paintings have been attributed to La Tour, fewer than forty are accepted as originals. The existence of his paintings in two or more versions, some as autograph replicas or as copies, along with questions about his son Étienne de La Tour’s possible pictorial contributions, left the attribution and chronology of his works mired in conjecture and controversy. Born the second son of a baker of some means at Vic-sur-Seille, he married a widow of minor nobility in 1617. Resettling to Luneville in the Duchy of Lorraine, he gained recognition as a painter in a region devastated by the ravages of the Thirty Years’ War (1618–1648). A casualty of an epidemic, La Tour died a few days after his wife at the height of his artistic career. The scarcity of documentary sources about his life is compounded by the total absence of evidence concerning his artistic training, professional travels, and artistic influences. La Tour’s pursuit of likeness between image and the natural world is believed to bear the influence of Caravaggio or his followers, reflecting post-Tridentine calls for the revitalization of religious imagery. La Tour’s paintings have been traditionally divided into daylight and night-time works, despite notable exceptions. Depictions of daylight serve to bring into moralizing relief foibles of secular life shown in realist genre scenes of brawling, cheating, and fortune-telling. Biblically inspired, his mysterious nocturnal or tenebrist works glow with a poetic luminosity imbued with spiritual connotations. Suspended in the stillness of religious contemplation, his candlelight paintings bear witness to the presence of inner life, depicting modes of consciousness that painting may only suggest but cannot ultimately show. Celebrated for their aura of mystery, his paintings continue to invite scholarly interest and public fascination.


Author(s):  
Інна Терешко ◽  
Лариса Пшемінська

The methodical concepts of organization, recording, processing and documentation of folklore by the outstanding Ukrainian composer, conductor, teacher Mykola Leontovych are defined in the article. The artist's interest in folk songs is revealed, and his purposeful work as a recorder of folk melodies is studied. The composerʼs approaches to collecting, studying and popularizing the folklore of Ukraine are defined. The memories of friends and students, which reveal the composer’s and folklore activities, are analyzed.Much attention is paid to the definition of individual perception, techniques and methods of presentation of folklore in the professional activities of M. Leontovych, in particular, describes the diverse and multilevel system of the composerʼs creative approach to folk songs and outlines the leading role of folklore in music and aesthetic education. The article considers the national originality of M. Leontovych’s choral music, reveals the close connection of the composer’s activity with the rich folk song culture of Ukraine, highlights the composer’s innovative approaches to the embodiment of folklore in Ukrainian music, traces the artist’s influence on the development of the choral miniature genre. The paper presents a creative understanding of the folk song heritage of the composer and the use of its best examples in the education and artistic training of todayʼs young generation. Some aspects of the development of professional skills of future teachers of music are highlighted. The use of certain forms, methods, techniques of educational activities contribute to the formation of studentsʼ readiness to use arrangements of M. Leontovychʼs song folklore in modern secondary schools in the context of the New Ukrainian School.


2020 ◽  
pp. 17-27
Author(s):  
Elena A. Zaeva-Burdonskaya ◽  
Yuri V. Nazarov

Nowadays, the lighting designer is becoming one of the leading figures in forming of the concept of theatrical scene design. Lighting technologies with great potential of illumination, colour and graphic capabilities allowed the profession to occupy the leading positions in the space of any object. Today’s orientation of the whole visual culture to staginess alongside with avant-garde inventions of stage designers in the early 20th century have formed the main artistic trends of this art. Nowadays, the modernistic findings of the past are supplemented by innovative multimedia technologies. Visual techniques worked out in stage shows have seriously affected the people’s attitude towards the stage space. They have made theatrical performance very dynamic by using lighting and media effects, sufficiently widened the scope of visual and expressive abilities of an artist. The new paradigm of light as an active tool of form-making allowed modelling the space by means of lighting technologies. Stage light has become a form possessing great emotional power inseparably associated with the dramatic composition of performance. At the same time, the goal of a lighting designer cooperating with theatre designers and costume designers should permanently lead the audience to catharsis and innovative light engineering techniques play a great role in it. Naturally, such innovations in theatre art made it necessary to correct the programmes of training of universal specialists required in this area. Professional education of a theatre lighting designer, apart from knowledge of technology and basics of scenography, requires serious artistic training. The methodological experience obtained in scenography training of future designers in the Environment Design sub-department of S.G. Stroganov MGHPA may provide an example of new design approaches to solving of comprehensive problems of scenography. Design training techniques used in the sub-department include the method of environmental approach, the method of script modelling using a virtual design model and the method of conceptual design.


2020 ◽  
Vol 12 (2) ◽  
pp. 604 ◽  
Author(s):  
Maria Huhmarniemi ◽  
Timo Jokela

There has been growing interest in Arctic arts and culture as well as in sustainability among artists, researchers, and policy makers. However, until recently, the comprehension of Arctic arts and culture within the framework of sustainable development has remained vague. In this study, by analysing diverse debates from the Arctic Arts Summit 2019 in Rovaniemi, we investigate how the arts and culture sector promotes Arctic sustainability. An analysis of abstracts, conclusions, blogs and newspaper articles reflecting the presentations, art events, exhibitions and dialogues showed that the discourse on sustainability is organised around five themes: (1) global politics and ecological crises as part of the cultural politics of the Arctic; (2) indigenous and non-indigenous Arctic arts and culture; (3) ‘handmade’ and the material culture of the Arctic; (4) place-making, revitalisation and regional development; and (5) economy and sustainability. These partly interlinked themes have relevance for policy making, defining principles for arts and culture funding, artistic practice and research on the Arctic. In addition, education and artistic training are important for all of the five themes; therefore, resources for educational institutions are crucial for the sustainable future of the Arctic. Arts, culture and education have the potential to empower people in the Arctic, increase cultural pride, educate and inform global audiences and create connectedness between the past, present and future. Arts, culture and education contribute to Arctic sustainability.


Author(s):  
Fabiana Fátima Cherobin ◽  
Edilaine Aparecida Vieira ◽  
Vagner Luiz Kominkiewicz

The article presents a reflection about the experience of the Young Agrarian Residence course held in Santa Catarina. Its general objective is to understand the importance of training and schooling the youth linked to the MST. Based on the study and analysis of youth participation in the organization and struggles of the working class, with reference to research that addresses this theme, it has been shown that there are still few studies and research that address the youth of the field linked to the MST and that youth, as well as other rural workers, have experienced a long process of exclusion, which is reflected mainly in the absence of access to education, health and culture. Concerned with the training of young people, the MST has sought to make it possible through partnerships to carry out educational and training activities for the youth of the settlements and camps. The Youth Residency course provided young people with moments of political, cultural and artistic training, living in the university, exchanging experiences, understanding and experiencing the contradictions and limits of life in the MST settlements and camps, as well as making it possible to form youth and the strengthening of the Landless identity.


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