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Reports on a study where 111 primary age children were asked to map four model landscapes of increasing complexity. The results show an age-related progression from representing hills in elevation only to early experiments with the use of contours. Includes maps, graphs, and statistical data. (MJP)

This article describes a cooperative project between a teacher and sculptor to link sculpture with academic subjects within a self-contained class for 13-year-old students with learning disabilities. The nine-week project focused on biological habitats and included the construction of three-dimensional habitats on pieces of wood. (DB)

"The Great Exhibition of the Industry of all Nations", held at the Crystal Palace in London in 1851, hosted an array of objects that testified to both artistic and technical virtuosity, while their display served as a spectacle for the public. This paper takes up the rich history of mechanical technologies in the service of art using the example of the machine for reproducing sculptures, which was presented as a cutting-edge innovation at the Great Exhibition. Drawing on the history of early photography and in particular the historical context of various techniques of three-dimensional reproduction (such as the 'photo-sculpture' introduced later in 1862), the process of reproducing and displaying works of art on a small scale will be explored. The study of mechanically minded sculptors, who celebrated the almost magical qualities of their machines and the demonstration of the production processes, reveals their ambition to join the ranks of the great inventors, alongside the situation of the pioneers of early photography. The presentation of sculptures, reliefs and objets d'art in the milieu of technical knowledge, industry and manufacture at the universal exhibition of 1851 is thus put up for discussion, also with a view to subsequent international exhibitions. [ABSTRACT FROM AUTHOR]

The article looks at the 1934 study of Byzantine ivories by Adolf Goldschmidt and Kurt Weitzmann and analyzes the concepts of painterly and relief, and the place of Byzantine art in early 20th-century German studies on Renaissance, Baroque and Greco-Roman art. Topics discussed include the painterly group and malerisch style of Byzantine ivories, light and shadow effects in painting, Baroque and post-Renaissance sculpture and architecture, and approach to the relief of the painterly ivories.

As immersive media, including VR, AR, MR, and XR, continues to expand rapidly during the pandemic era, there remains limited research on its comprehensive characteristics and its potential to create new forms of experience and aesthetics. This may be attributed to a lack of an understanding that immersive technologies exist encompassing both realms of reality and virtuality, leading to misconceptions that they are radically disconnected from traditional notions of materiality. In contrast, this study identifies an emerging trend characterized by the material implementation of immersive technologies in the domain of making culture in VR, which is referred to as "virtual craft" in this research. By reviewing studies on immersive media, materiality, making culture, and triadic semiotics, an integrated conceptual framework was developed to assess the experiences, aesthetics, and potential of immersive making culture. This framework is then applied to a specific case study involving virtual craft, with a particular focus on the 3D painting application, Tilt Brush, and related applications that the author has observed and tested. In conclusion, this paper presents a vision of the future of virtual craft and discusses the sustainability of immersive making culture, highlighting the potential for continued innovation and integration in various fields. [ABSTRACT FROM AUTHOR]

Washi is paper made by hand from the bark of native Japanese shrubs. Washi is a common medium used for printmaking and paper crafts. Artists who have studied nagashi-zuki, a sheet-forming method unique to washi, often import Japanese fibers because alternatives with similar properties have not been identified. We propose Dirca L. (leatherwood), a shrub endemic to North America, as a source of fibers with properties similar to those plants traditionally used to make washi. The thinness and strength of the leatherwood paper allows it to withstand repeated bending, folding and creasing better than paper made from species of Wikstroemia (Japanese fiber), suggesting an alternative for use with various printmaking techniques and paper arts and crafts that involve folding, such as origami. We engaged printmakers and origami artists in creating original pieces using our leatherwood paper and evaluated how the paper responds to various printmaking techniques and complex folding. We identified Dirca mexicana as a source of fibers with similar properties to species of Wikstroemia used to make gampi washi. Handmade D. mexicana bark paper was successfully used as a paper medium for intaglio, lithography, relief, digital, and screenprinting printmaking techniques, as well as, complex folding origami sculptures. [ABSTRACT FROM AUTHOR]

In this article, the author takes us into the world of images and books by Olaf Wegewitz, the great explorer of nature in paper. It mentions papyrus binding alone elevates the otherwise unnoticed or disregarded plants by referring to Ancient Egypt and thus placing them in a genealogy; and also mentions tissue paper and Japanese paper are glued together with cell glue which is solid, light and flexible and has a surface in relief.

An essay is presented which argues that visuality and materiality should be considered related in medieval intellectual and artistic discourses. It examines Italian paintings from the late Middle Ages that use gilded sculptural forms to create three-dimensional effects. The author suggests that these reliefs reflect the interdependence between optical theory and material practice in medieval times.

Relief is an art form part way between 3D sculpture and 2D painting. We present a novel approach for generating a texture-mapped high-relief model from a single brush painting. Our aim is to extract the brushstrokes from a painting and generate the individual corresponding relief proxies rather than recovering the exact depth map from the painting, which is a tricky computer vision problem, requiring assumptions that are rarely satisfied. The relief proxies of brushstrokes are then combined together to form a 2.5D high-relief model. To extract brushstrokes from 2D paintings, we apply layer decomposition and stroke segmentation by imposing boundary constraints. The segmented brushstrokes preserve the style of the input painting. By inflation and a displacement map of each brushstroke, the features of brushstrokes are preserved by the resultant high-relief model of the painting. We demonstrate that our approach is able to produce convincing high-reliefs from a variety of paintings(with humans, animals, flowers, etc.). As a secondary application, we show how our brushstroke extraction algorithm could be used for image editing. As a result, our brushstroke extraction algorithm is specifically geared towards paintings with each brushstroke drawn very purposefully, such as Chinese paintings, Rosemailing paintings, etc. [ABSTRACT FROM AUTHOR]

12 Game Pieces, Plastic Pants, Digital Design, [...]

3D Prints, Digital Design, [...]

3D Prints, Digital Design, [...]

3D Prints, Digital Design, [...]

We have previously developed a mixed reality (MR) painting system with which a user could take a physical object in the real world and apply virtual paint to it. However, this system could not provide the sensation of painting on virtual objects in MR space. Therefore, we subsequently proposed and developed mechanisms that simulated the effect of touch and movement when a brush device was used to paint on a virtual canvas. In this paper, we use visual and haptic feedback to provide the sensation of painting on virtual three-dimensional objects using a new brush device called the MAI Painting Brush++. We evaluate and confirm its effectiveness through several user studies. [ABSTRACT FROM AUTHOR]

Although the making of relief prints hardly seems to fit with László Moholy-Nagy’s reputation as an innovator working with new media and industrialized production, Moholy-Nagy did in fact make a few dozen woodcuts and linocuts in the 1920s. In this article, the author seeks to understand Moholy-Nagy’s engagement with these techniques by focusing on the manual prints of the 1924 version of his “Dynamic of the Metropolis,” the text of which is devoted to photographic media. Examining the roles of photomechanical and manual prints in avantgarde magazines, the author argues that relief prints played a key role in the circulation of Moholy-Nagy’s work and served as a substitute for media that posed difficulties for small-scale production. [ABSTRACT FROM AUTHOR]