In my childhood, I doodled in the margins and had a difficult time with subjects not open to interpretation, like algebra. I kept a binder of drawings, for example, a detailed castle with every stone drawn and different types of space-faring vehicles, each labeled with its function. I struggled to freehand drawings of original subjects because they never seemed to look right. However, I could look at an image and draw it straightforwardly with precision.
AMALGAMATION OF CONTOUR, TEXTURE, COLOR, EDGE, AND SPATIAL FEATURES FOR EFFICACIOUS IMAGE RETRIEVAL
Content-based image retrieval is an active and fast advancing research area since the 1990s as a result of advances in the Internet and new digital image sensor technologies. However, many challenging research problems continue to attract researchers from multiple disciplines. Content-based image retrieval uses the visual contents of an image as features to represent and index the image to be searched from large scale image databases. The quality of the selected features relies mainly on the degree of the invariance property that is ensured under acceptable manipulations. This paper proposes an efficient method for compactly representing color and texture features and combining them for image retrieval. The performance of retrieval based on these compact descriptors obtained by the proposed techniques is analyzed and tested on wang database images yielding satisfactory accuracy rates. A comparative study demonstrated that the developed feature extraction scheme outperformed the other schemes being compared with.
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2010 2nd IEEE International Conference on Information Management and Engineering
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Many image retrieval systems use global features to retrieve images such as color and texture. But the previous results provide too many false positives while using these global features to search for similar images. Content-based image retrieval system works with the entire image and searching is based on comparison of the query image with image database. CBIR uses the visual information of an image such as color, texture and edge to represent and index the image. These contents can be obtained by applying color, texture and edge based techniques. These techniques are applied on both query image and database to get an image from the database more accurately. Color images are indexed by error diffusion block truncation coding (EDBTC). To improve the accuracy of color histogram based matching YCbCr color space is added into EDBTC indexing scheme. Texture analysis is more important because it is used to improve the discriminatory ability of the extracted image features. The speed of edge based retrieval and texture based retrieval can be enhanced by using canny edge detection and gray level co-occurrence matrix. GLCM is used to extract second order statistical texture feature of image. These proposed techniques are used to improve the accuracy of the result. Keywords: Content based image retrieval (CBIR), Gray level co-occurrence matrix (GLCM), feature extraction ________________________________________________________________________________________________________
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2009 International Symposium on Signals, Circuits and Systems
All Colors Make Black
The Color Black, in Flowers
The color black has a long and symbolic history in art, culture, and power. Black can represent darkness, evil, magic, mourning, authority, law, secrecy, misfortune, falsehood, illegality. Black has another side; elegance, sophistication, solemnity, functionality, and authority.
I am drawn to this duality of black. On the one hand, black can be defined as the absence of all light and all hue—an absolute nothingness. On the other hand, a black pigment can also be defined as the appropriate mixture of all pigments—a total amalgamation.
Since 1984, The de Young Museum, in San Francisco, has hosted an annual Bouquets to Art exhibit, pairing floral designers with the permanent collection to interpret a work of art through botanicals. The 2016 florists were already chosen, however I decided to participate anyways, and I created a floral installation as an interpretation of the piece of art I look at every morning, Make Black, a print by Shaun O’Dell.
Make Black, 30 1/8″ x 21 3/4″, an etching from 5 aquatint plates by Shaun O’Dell. His piece was made during a residency at Island Press in St. Louis in fall 2013. I’m drawn to the piece for many reasons: its bold use of nuanced color, the way it shows process, and the slow patience required to execute the work.
Seeing Color
I have always been sensitive to, and curious about color. My senses are soothed and uplifted when I experience moments in the world of pleasing color harmonies. I am often drawn to dark, moody, full-bodied color with intensity, depth, and saturation. I always get excited by the bold and rich colors nature provides.
I remember drawing with my father as a child. We would look out into nature– the hills in Marin– and he would say, “See how many shades of green there are. There are purples, and blues, and oranges, and reds, and blacks in all those greens.” His drawings would be alive with contrasting and complimentary color, even though we were just looking at a swath of green trees. Its with this lens I look at Make Black and interpret its color through black calla lilies, plum branches, and willow all naturally occurring in their dark hues.
Contemporary Art & Flowers
Contemporary art and flowers are both luxuries, aesthetic pursuits, and at times, seem trivial in the big picture. However, I have spent much of my life in both worlds, and am fortunate to do so. Lately, I have been thinking about how flowers and art fit together. I was enchanted to read a recent NY Times article about a contemporary art gallery and flower shop pairing in London. I immediately felt a kindred spirit.
I think it’s possible black is the liaison which connects art and flowers.
- Black calla lillies
- Brown willow (2 varieties)
- Yellow forsythia
- Red tulips
- Oxblood plum branches
- Orange ranunculus and geum
- Violet lilac
- Blue cornflower and hydrangea
- Green palms and poppy pods
Posted in Color
Spraying the Background
After the latex dries on all the fish, flowers, and handle, spray a 10:1 underglaze to gum solution on the exterior surface to fill the background (10). I spray the exterior of the piece using complimentary color schemes or to reference sunrise, sunset, or nightfall. To satiate my inner narrator, I like to play with phrases when adding color to the work. This piece’s phrase would be Vessel of Spiritual Cleansing for Sunrise on a Good Education. It’s a built-in way to create titles if Cherry Blossom Teabowl 3 doesn’t make contextual sense. I prefer a slightly thinned underglaze for the background to prevent running since the latex areas aren’t absorbent. To prevent it from removing the underglaze below, allow the sprayed background to completely dry before peeling off the latex (11).
Finishing Touches and Luster Application
Next, using a slip-trailing tool, add finer details, outline the imagery with black underglaze, and touch up any missed background or foreground colors (12). I enjoy using the AirPen slip-trailing tool to mitigate carpal tunnel and tennis elbow symptoms for precise underglaze and glaze application.
After that, pour an opaque glaze inside the piece and brush the rim with the same glaze. I also brush on and line areas where the background doesn’t quite line up with the imagery (13) with glaze—another celebration of imperfections and playful subversion of my process.
Slowly fire the pieces to cone 6 with a 20-minute hold to allow the glaze to move slightly. (Applying some areas of glaze thicker than the liner achieves the illusion of flow.) Once the work is fired, clean specific areas with alcohol to apply luster to.
Caution: When using luster, wear gloves and a respirator fitted with a vapor filter. Brush on premium gold luster over the glaze for a glossy finish and on the surface of the underglaze for a matte finish (15). I do this to subvert the perception of how precious gold is.
The final firing is a slow cone 018 with a 15-minute hold. Once cooled to room temperature, wet sand the bottom with high-grit diamond sanding pads to create a nice polish.
Final Thoughts
It is from personal experience that I amalgamate differing ideas and processes for my approach to surface treatment on ceramic vessels. I make objects of use because I want to feel useful, and reference teabowls for their communal use. I put flowers on them to honor family and continue the language of flowers. I often include a fancy goldfish, a fish out of water, among the flowers—the fish is how I see myself. I add gold, honoring its complicated relationship with humans. Though I’m not a universal representation of autistic artists, I feel lucky to be here and I hope that this small contribution to the ceramic’s community is meaningful. ¡Viva la Ceramica!
Michael A. Hall resides in Kansas City, Missouri, along with his two cats Wabi and Sabi. He teaches art at a local college, at a non-profit, and at a private studio. To see more, visit @michael.hall.pottery on Instagram.
