792 resultados para Landscape painting.
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A section of the Sign Painting Department is shown with students working at tables. A variety of signs can be seen hanging around the room including one for a Holiday Inn, an American Meat Market, and one for a Laundrette. Black and white photograph with slight damage from a tear.
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This field report presents fieldwork undertaken in Hjaltadalur, Skagafjördur, northern Iceland during summer 2010. The main aim was to initiate coring in selected mires in order to determine the composition of organic material and sediments in the mires, sub-sample for sedimentological and palaeoecological analyses, and initiate advanced landscape analysis of Hjaltadalur. Three mires were selected for sediments coring in Hjaltadalur: Ástunga close to Kolkóus, Hólakot at Viðvik, and Hólar. All three represented a landscape transect in NW to SE direction, from close to the coast to valley interior, i.e. close to the old settlement at Hólar.
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For my freshman Jan Plan at Colby I painted a mural in Runnals Union illustrating a William Blake poem. This effort began a four year painting project which I pursued my sophomore and junior years by finishing the Hall of the Machines in Runnals and by commencing the Paper Wall in Roberts. As a Senior Scholar, I've continued my undertaking by painting eleven more panels. Eight of these are in the Paper Wall and the other three are in the Spa in Miller Library. In my wallpainting up until this year my major interest has been in a strong two-dimentional design created by color juxtaposition. Over these two semesters I've developed a greater concern with the role of color value contrasts in achieving a sense of three-dimensional space. As one views my paintings in chronological order, he can see that gradually colors become less intense, value contrasts more effective, and subject matter becomes based on observation rather than imagination. Please judge my achievement solely on observation of the walls in these three rooms as this paper is only a very brief catalogue of works and the slides are not the best reproductions.
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The purpose of my Senior Scholar project was to create a series of sculptures that are based on the interaction of natural forms within a selected landscape setting. I hope to convey a sense of how I view and interpret the landscape and to create works that stimulate a sense of wonder in the mind of the viewer. This fascination, perhaps even obsession, with the power of the landscape has kept me going throughout the year. As a source of ideas and imagery, the landscape can never be depleted. There will always be new combinations of landscape elements, different light conditions, and changing seasons to provide me with fresh ideas. Research for the project took me to many different places, be it my trip to Monhegan Island or driving to New York City to study the cityscape. I began the year working in steel and plaster, combining the two in works that explore the interaction between living tree roots and inanimate rocks. This led to a series entitled Landscape Recollections, comprised of welded steel forms housed in protective wooden boxes and lit from inside. After visiting New York City, architecture began to playa role in my work, as seen in the two Roadcut pieces and the Cathedral Woods series. Roadcut #1 and Roadcut #2 explore the relationship between a man-made road and the landscape that lies beneath and around it. The Cathedral Woods pieces incorporate architecture in a more abstract manner, using imagery derived from Gothic cathedrals to convey a sense of quiet peacefulness. The soaring verticality of Gothic architecture integrates with the tall tree forms in each piece, enabling me to intertwine these two elements into one another and create a harmonious relationship between architecture and nature. Throughout the year I have kept a sketchbook in which I draw from life, jot down ideas, and take notes on how the project is progressing. I have also completed several large charcoal drawings of my sculptures in which I explore different ways of viewing the steel forms. I am grateful to have had the opportunity to undertake this project, as it has been a very difficult but rewarding process of observing, interpreting, and manifesting the landscape according to my personal vision and experiences.
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A professor instructs two students working on a large sign for the "Carousel Shoppe." Black and white photograph.
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The aim of this thesis was to evaluate historical change of the landscape of Madeira Island and to assess spatial and temporal vegetation dynamics. In current research diverse “retrospective techniques”, such as landscape repeat photography, dendrochronology, and research of historical records were used. These, combined with vegetation relevés, aimed to gather information about landscape change, disturbance history, and vegetation successional patterns. It was found that landscape change, throughout 125 years, was higher in the last five decades manly driven by farming abandonment, building growth and exotic vegetation coverage increase. Pristine vegetation was greatly destroyed since early settlement and by the end of the nineteenth century native vegetation was highly devastated due to recurrent antropogenic disturbances. These actions also helped to block plant succession and to modify floristical assemblages, affecting as well as species richness. In places with less hemeroby, although significant growth of vegetation of lower seral stages was detected, the vegetation of most mature stages headed towards unbalance between recovery and loss, being also very vulnerable to exotic species encroachment. Recovery by native vegetation also occurred in areas formerly occupied by exotic plants and agriculture but it was almost negligible. Vegetation recovery followed the successional model currently proposed, attesting the model itself. Yet, succession was slower than espected, due to lack of favourable conditions and to recurrent disturbances. Probable tempus of each seral stage was obtained by growth rates of woody taxa estimated through dendrochronology. The exotic trees which were the dominant trees in the past (Castanea sativa and Pinus pinaster) almost vanished. Eucalyptus globulus, the current main tree of the exotic forest is being replaced by other cover types as Acacia mearnsii. The latter, along with Arundo donax, Cytisus scoparius and Pittosporum undulatum are currently the exotic species with higher invasive behaviour. However, many other exotic species have also proved to be highly pervasive and came together with the ones referred above to prevent native vegetation regeneration, to diminish biological diversity, and to block early successional phases delaying native forest recovery.
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
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The general statement that birds are recorded more often on morning than on afternoon counts is quite common and widespread among ornithologists. Although many investigators have reported temporal variations in bird detections using Point Counts in temperate regions, few researches regarding the same objectives have been conducted in Neotropical habitats or used transect counts as field method. We used transect counts to test the hypothesis that birds are evenly recorded between times of day in a predominantly open Cerrado landscape in southeastern Brazil. Although not always significantly, the number of species and individuals were consistently greater during the morning counts, which corroborates the fact that birds can be more detectable during this time of day. However, a few families as well as a small percentage of species were more likely to be recorded during either one of the two periods we analyzed. Our results suggest that morning counts should detect higher number of both species and individuals in our study area, but specific taxa show distinct patterns of detection which should be acknowledged prior to sampling.
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)