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Classic Calligraphy for Beginners: Essential Step-By-Step Techniques for Copperplate and Spencerian Scripts - 30+ Simple, Modern

為了解決Writing Brush的問題，作者Chung, Younghae 這樣論述：

Classic Calligraphy for Beginners introduces the fundamental techniques for mastering two classic calligraphic scripts, Copperplate and Spencerian, plus easy-to-follow exercises and fun, modern projects. Guided by instructions and illustrations by noted calligraphy artist and teacher Younghae Chu

ng, you will: Get a detailed yet concise overview of tools, supplies, and terminology Try out your materials with basic warm-ups and nib exercisesLearn the essential principles or strokes and create the lowercase and uppercase letters of the featured scripts Take your letters to the next level and

add flourishes with confidence Explore brush pens and non-flexible writing tools to emulate the look of calligraphy on large-scale and unusual surfacesReinforce core skills by applying the scripts to a variety of simple, modern projects on paper, wood, glass, fabric, and other surfaces, and get ins

piring tips on how to add beautiful details that lend a modern touch Find sample guide sheets for Copperplate, Spencerian, and brush calligraphy Discover the timeless beauty of calligraphy with Classic Calligraphy for Beginners.

Writing Brush進入發燒排行的影片

高其佩的生平與繪畫研究──兼論高秉《指頭畫說》的成書

為了解決Writing Brush的問題，作者蔡政杰 這樣論述：

　　本論文以清初畫家高其佩（1661 - 1734）為研究對象，旨在梳理高氏的生平、思想與藝術生涯發展。高其佩出自鐵嶺高家，該氏族自晚明起多有人丁投奔後金勢力，並在清代得到朝廷重用。高其佩在高家的餘蔭下，自青年時便得以出任知州，爾後更累官至刑部右侍郎、正紅旗漢軍都統。　　高其佩一生多次出任官職，其亦認同自身為文人。然而，文人的身分卻與其審美與創作愛好相互掣肘。在康熙朝正統畫派、文人畫家普遍追捧對南宗正派筆法傳衍之際，高其佩的創作養分不僅根源於世俗、職業繪畫的風格與題材。尤甚者，他更捨棄了自唐代張彥遠（815 - 907）以降文人畫論賴以為繪畫本體的筆蹤，而以手指沾墨進行創作。然而，其種種鶴立

雞群的手法與思想卻招致其他文人同儕的傾軋與非難。　　本論文以為，正是高其佩種種特出於其時主流文人畫論的審美、雅俗與繪畫理論觀點，使之終其一生的指畫創作皆在反覆與文人畫傳統進行辯證與對話，從而聲明自身為文人畫家的合法性，最終更擴展了文人畫的思想。然而，高其佩的文人畫理念在其當代並未產生濃墨重筆的影響。另一方面，出於自身對繪畫去物質性的概念，高氏中晚年時大量地應畫導致部分作品的品質下降。加之贗品與真品的混雜，自18世紀中葉起，人們對於高其佩創作的真實面貌與成就已產生疑義。對此，高秉（1721 – 1775以後）寫作了《指頭畫說》企圖導正世人對於其從祖父乃至於指畫創作的誤解。再者，高秉寫作《指頭畫說

》的總總資訊來源，多半反映著中晚年的高其佩藝術形象，此也致使該書的內容多與高其佩早年的創作面貌不相吻合。

A Complete Guide to Chinese Brush Painting: Ink Paper Inspiration - Expert Step-By-Step Lessons for Beginners

為了解決Writing Brush的問題，作者 這樣論述：

Caroline Self has studied Asian brush painting for over thirty years. She holds a B. A. in bacteriology and public health, a teaching credential in art from UC Berkeley, and a master’s degree in art education and sculpture from San Diego State University. She taught art in the San Diego City Schools

for twenty-five years and taught Asian brush painting to children for six years at the San Diego Museum of Art. She has studied traditional brush painting with teachers in Southern California, Japan, China, and Taiwan. She also paints and exhibits her colorful watercolor and acrylic paintings. Susa

n Self studied art in college and on trips to Europe and Asia, often accompanying her mother. She has a Ph.D. in comparative literature from UC San Diego, where she taught in writing programs. She worked as a technical writer documenting software development tools before transitioning into the wirel

ess telecommunications industry, where she works as a writer and research consultant.

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Writing Brush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。