Denna rapport handlar om hur man jobbar med en matte painting, och utgår ifrån bristfälligt material som inte är skapat för ändamålet, och med detta material ändå skapar en matte painting efter ad`s (art director)önskemål..

Nordic Summer Evening is a theoretical painting, today an important icon of Nordic art from the turn of the century. The purpose of this essay is to analyse the painting, and to investigate and identify its declaration of program, and in a wider context, the emergence of a program of the nationalistic art at the turn of the last century. The essay also investigates how the painting has become more popular throughout the century, and why Americans tend to see the painting as an exposé over a quarrel, filled with sexual tension, while Swedes tend to make a point out of the harmony and stillness of the painting..

Det här kandidatarbetet kommer framförallt att beröra filmtekniken, Matte Painting, men vi kommer även röra oss runt omkring ämnet och presentera andra delar från filmproduktionen och framförallt postproduktionen för att lättare kunna sätta Matte Painting i ett relevant sammanhang. Vi jämför Matte Painting med en teaterkuliss, en bakgrund som på nära håll eller ses från fel vinkel kan bryta illusionen av att det är en verklig miljö. Vi undersöker och presenterar hur man kan bygga upp en digitalt skapad Matte Painting som möjliggör att inte behöva åka land och rike runt efter den idealiska filmplatsen, utan kan spela in filmscenen i en studiomiljö. Vi analyserar existerande filmscener som har använt sig av Matte Painting, gör jämförelser mellan olika användningsområden för Matte Painting samt diskuterar fram en slutsats som besvarar vår frågeställning: ?Hur har utvecklingen av filmtekniken, Matte Painting, sett ut och hur kan man tillämpa en digital Matte Paint i postproduktion för att förstärka helhetsupplevelsen av en filmscen?? --- This thesis will primarily concern the film technique, Matte Painting, but we will also roam around the subject and introduce other elements of the film production, and above all post production for ease of putting Matte Painting in a relevant context.

Det här kandidatarbetet kommer framförallt att beröra filmtekniken, Matte Painting, men vi kommer även röra oss runt omkring ämnet och presentera andra delar från filmproduktionen och framförallt postproduktionen för att lättare kunna sätta Matte Painting i ett relevant sammanhang. Vi jämför Matte Painting med en teaterkuliss, en bakgrund som på nära håll eller ses från fel vinkel kan bryta illusionen av att det är en verklig miljö. Vi undersöker och presenterar hur man kan bygga upp en digitalt skapad Matte Painting som möjliggör att inte behöva åka land och rike runt efter den idealiska filmplatsen, utan kan spela in filmscenen i en studiomiljö. Vi analyserar existerande filmscener som har använt sig av Matte Painting, gör jämförelser mellan olika användningsområden för Matte Painting samt diskuterar fram en slutsats som besvarar vår frågeställning: ?Hur har utvecklingen av filmtekniken, Matte Painting, sett ut och hur kan man tillämpa en digital Matte Paint i postproduktion för att förstärka helhetsupplevelsen av en filmscen?? --- This thesis will primarily concern the film technique, Matte Painting, but we will also roam around the subject and introduce other elements of the film production, and above all post production for ease of putting Matte Painting in a relevant context. We compare Matte Painting with a theatrical backdrop, a background that closely or viewed from the wrong angle can break the illusion that it is a real world environment. We will investigate and present how to build a digitally created Matte Painting that enables not having to travel across the country for the ideal film location, but can shoot the scene in a studio environment. We analyze existing film scenes that have made use of Matte Painting, making comparisons between different uses for Matte painting and discuss a conclusion that answers our main question: "How has the evolution of the film technology, Matte Painting, looked like and how you can apply a digital matte paint in post production to enhance the overall experience of a movie scene?".

Seabased Industry AB develops system for extracting electrical energy from ocean waves with a Wave Energy Converter (WEC). The components is bought from subcontractors and then assembled into wave energy converters, buoys and marine substations by Seabased. In the future Seabased will produce more of the components themselves to reduce costs and to have better control over tolerances. The production line will also include the painting of the WECs and substations, which is performed in a painting line.The purpose of this thesis work is to study what is required to build a painting line, regarding the types of stations, transporting types and the space needed. This will result in layouts for the painting line.To receive the necessary information about production theory and corrosion and surface treatment, literature concerning this area has been studied.

Titel in original language: Marmorerningsmåleri ? behov av samsyn och kommunikationLanguage of text: SwedishNumber of pages: 45.

The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism..

The artist Pehr Hilleström has been credited as the founder of the Swedish genre painting. In the second half of the 18th century he began painting everyday subjects of the different social stratums. Today his paintings are noted for their way of showing us the culture of the time since the photograph still had still not been introduced.   Hilleström was a court painter for King Gustav III who wanted him to depict the Swedish people and their different costumes. The king thought the costumes were of great significance for their psychological impact on people and therefore used them as a way to unite the nation psychologically, both by the genre paintings and also by making a national costume. The costumes were used as a symbol of an unbroken tradition and national heritage.

Matte painting och camera projection är ett relativt snabbt och kostnadseffektivt sätt att skapa miljöer som inte existerar. I denna rapport redovisar jag om matte paintings användning inom VFX-produktion och går igenom hur man uppnår ett effektivt arbetsflöde med godtagbara slutprodukter. Jag redovisar skillnaden mellan 2D, 2.5D och 3D-genererade miljöer och vad som bör användas vid olika situationer. Jag rapporterar även om områdets generella utveckling samt i vilken riktning dess utveckling ser ut att gå..

Uppsats för avläggande av filosofie kandidatexamen iKulturvård, Konservatorsprogrammet15 hpInstitutionen för kulturvårdGöteborgs universitet2012:21.

The aim of this essay is to examine the relationship between picture and room, between wallpainting and architecture. The basis for such exploration is the mural painting in Sweden at the turn of the 20th century, and the artist in focus is Prince Eugen (1865-1947).His works "Sommar"(1904), "Rimfrosr"(1909) & "Staden vid vattnet"(1922) and the rooms in which they are in make for an anlysis concerning how the totality of the space is experienced by the viewer.The main issue in mentioned expeience is how the mural is perceived with regard to the other elements in the room. And here, the walls' "flatness" enhancing its decorative qualities plays in. The problem with a mural built on the principles of perspective becomes evident when a wall is seen to vanish through the painting of an illusion on it..

My aim of this investigation has been to study Delacroix relation to the Orient, based on a number of key questions:What was specific for Delacroix oriental works?How did his oriental painting change and mature over time?How was Delacroix relation to the oriental discourse?The paper is divided into three parts: the time before his trip to Morocco in 1832, the trip to Morocco and the period after Morocco.Although many have wanted to see Delacroix as a revolutionary, he worked the whole time within, and dialogue with, the classical tradition. In Delacroix quest for renewal of history painting, the oriental works play an important role. In the period before his trip to Morocco the literary sources dominated. He constructed his own Orient in his studio.It is clear that Delacroix did not stood outside the oriental discourse.

The concept of large paintings includes panoramas, cycloramas and other paintings thatin size exceeds the normal magnitude of wall hung paintings. When these large paintingsare mounted in the ceiling, they are referred to as plafonds. When they are performedon canvas, certain kinds of structural distortions and stress occurs. In addition, becauseof their size and mounting high up in the ceiling, plafond paintings are often difficult tohandle, which leads to less or no maintenance. A plafond may therefore be left withoutattendance for many decades.This thesis has its focus on what happens with plafond paintings on canvas when they areexposed to gravitational forces, and the problems involved in restoring large paintingsmounted in the ceiling.

The purpose of this paper is to bring a British mural painting that originated in England in the 1920?s into the limelight and introduce it to the Swedish public. The mural was commissioned by Tate Gallery, currently known as Tate Britain. The work of art was designed for a semi-public space as a decoration in the Refreshment Room of the gallery, located in the basement where there was little natural light. The artist, a young British man named Rex Whistler, was transformed from being a student at an art school into a celebrated professional artist by this piece of art.

A richer language when painting before speaking? ? What is a rich language and can painting stimulate towards a richer language?In this work I seek to answer two questions. What may a ?richer? language mean and does it become richer when the informants, as a preparation, paint what they are going to talk about in front of the class, than when they do not paint? This I try to do by studying earlyer research about how to measure the richness in languages and by analysing video recordings of speeches when the students in an sfi-class (Swedish for foreigners) painted or did not paint before the speech, and by analysing the richness in their language. The result is my own definition of what rich language is in this context, and a conclusion that painting stimulates the students to use more words and to use specific words that they need to bring the audience their message..