Digital painting的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列線上看、影評和彩蛋懶人包

The Beginner’’s Guide to Digital Painting: Create Stunning Works of Art in Procreate and Photoshop

為了解決Digital painting的問題，作者Tepes, Sara 這樣論述：

Sara Tepes is a self-taught artist, freelance illustrator, graphic design student and art educator who dedicates her Patreon account to teaching digital and traditional art. She has notably partnered with Netflix, Dell, Wacom, Trekell and Wix. Sara lives in Lynchburg, Virginia.

Digital painting進入發燒排行的影片

結合範例影像修復法與CIE色彩空間進行中式水墨畫自動修復

為了解決Digital painting的問題，作者林天水 這樣論述：

中國清朝皇帝時常在閱覽過不少宮廷收藏之水墨畫作後，在畫作空白處用毛筆寫作題文 (墨字)、以及蓋上自己的御用印章 (紅字)，用來表達自身的感想，但此舉大大影響原作的藝術價值、以及後人觀賞原作的不適觀感。為了能保留畫作內容的完整性，本研究在不同色彩空間中使用2種影像修復演算法來自動移除水墨畫上的部分圖案，結合Python 程式語言與 OpenCV 函式庫，去偵測中式水墨畫上面的特定位置，並用不同色彩空間 (CIELAB 和YCrCb) 的提取方式去做比較，提取後的結果當作遮罩，最後進行繪畫影像的還原與修復 (移除紅色印章或墨色毛筆字，以及青綠山形的提取)，使用的修復演算法包含運用逐像素填充法的「

快速匹配法 (Fast Marching Method)」和利用逐區塊填充法的「基於範例影像修復法 (Exemplar-Based Image Inpainting)」。本研究設計成自動提取圖畫的紅色、墨色或青綠色區域，把提取的結果當作影像修復用的遮罩，並利用兩種色彩空間去比較較為合適的遮罩，來證明不管是什麼修復方式都需要採用較佳的色彩空間，才能讓色彩取樣達到較好效果。

Contemporary Chinese Cinema and Visual Culture: Envisioning the Nation

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為了解決Digital painting的問題，作者Lu, Sheldon 這樣論述：

Sheldon Lu’s wide-ranging new book investigates how filmmakers and visual artists from mainland China, Hong Kong and Taiwan have envisioned China as it transitions from a socialist to a globalized capitalist state. It examines how the modern nation has been refashioned and re-imagined in order to ke

ep pace with globalization and transnationalism. At the heart of Lu’s analysis is a double movement in the relationship between nation and transnationalism in the Chinese post-socialist state. He considers the complexity of how the Chinese economy is integrated in the global capitalist system while

also remaining a repressive body politic with mechanisms of control and surveillance. He explores the interrelations of the local, the national, the subnational, and the global as China repositions itself in the world. Lu considers examples from feature and documentary film, mainstream and marginal

cinema, and a variety of visual arts: photography, painting, digital video, architecture, and installation. His close case studies include representations of class, masculinity and sexuality in contemporary Taiwanese and Chinese cinema; the figure of the sex worker as a symbol of modernity and mobil

ity; and artists’ representations of Beijing at the time of the 2008 Olympics. Sheldon Lu is Professor of Comparative Literature at the University of California, Davis, USA, where he has served as the Chair of the Department of Comparative Literature, Director of the Graduate Program in Comparativ

e Literature, and Founding Co-Director of the Film Studies Program. He is the author and editor of more than a dozen books in English and Chinese. These include Chinese Modernity and Global Biopolitics: Studies in Literature and Visual Culture (2007), China, Transnational Visuality, Global Postmoder

nity (2001), andFrom Historicity to Fictionality: The Chinese Poetics of Narrative (1994). Chinese-Language Film: Historiography, Poetics, Politics (co-edited with Emilie Y. Y. Yeh, 2005) was named a Choice Outstanding Academic Title.

大專院校學生使用個人化穿戴式擴增實境博物館導覽對 情境興趣、注意力、放鬆度與學習成效之影響

為了解決Digital painting的問題，作者洪逸庭 這樣論述：

本研究探討大專院校學生使用個人化傳統導覽、非個人化傳統導覽、個人化穿戴式擴增實境、非個人化穿戴式擴增實境進行博物館教育，對學習者情境興趣、注意力、放鬆度以及學習成效之影響。本研究採準實驗研究法以103名大專院校學生為研究對象，透過學習風格量表測驗結果將學習者分為個人化傳統導覽組（19人）、非個人化傳統導覽組（32人）、個人化穿戴式擴增實境組（20人）、非個人化穿戴式擴增實境組（32人）。兩個傳統導覽組使用語音導覽進行學習，兩個穿戴式擴增實境組使用穿戴式擴增實境進行學習。並透過情境興趣量表、腦波測量、先備知識測驗、學習成效測驗及開放式問卷收集量化與質性資料進行分析。研究結果顯示，使用穿戴式擴增

實境的新穎性顯著高於使用傳統導覽，而使用傳統導覽的注意需求則顯著高於使用穿戴式擴增實境。在注意力方面，非個人化穿戴式擴增實境組顯著高於個人化擴增實境組，且個人化傳統導覽組顯著高於個人化擴增實境組。此外，個人化穿戴式擴增實境組與非個人化穿戴式擴增實境組學習成效顯著高於個人化傳統導覽組。整體而言，個人化穿戴式擴增實境有助於新穎性與學習成效。本研究建議，在未來教學上可以改善穿戴式擴增實境設備的舒適性，以及增加適當的學習任務，以提升個人化擴增實境對於學習的成效。