DRAWING, PAINTING AND PRINTMAKING CONFERENCE


Drawing, Painting and Printmaking Conference is one of the leading research topics in the international research conference domain. Drawing, Painting and Printmaking is a conference track under the Humanities and Social Science Conference which aims to bring together leading academic scientists, researchers and research scholars to exchange and share their experiences and research results on all aspects of Humanities and Social Science.

internationalconference.net provides a premier interdisciplinary platform for researchers, practitioners and educators to present and discuss the most recent innovations, trends, and concerns as well as practical challenges encountered and solutions adopted in the fields of (Humanities and Social Science).

Drawing, Painting and Printmaking is not just a call for academic papers on the topic; it can also include a conference, event, symposium, scientific meeting, academic, or workshop.

You are welcome to SUBMIT your research paper or manuscript to Drawing, Painting and Printmaking Conference Track will be held at .

Drawing, Painting and Printmaking is also a leading research topic on Google Scholar, Semantic Scholar, Zenedo, OpenAIRE, BASE, WorldCAT, Sherpa/RoMEO, Elsevier, Scopus, Web of Science.

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I. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

MARCH 19 - 20, 2019
ISTANBUL, TURKEY

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III. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

AUGUST 21 - 22, 2019
LONDON, UNITED KINGDOM

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IV. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

OCTOBER 08 - 09, 2019
NEW YORK, UNITED STATES

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V. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

DECEMBER 12 - 13, 2019
ROME, ITALY

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VI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

FEBRUARY 13 - 14, 2020
LONDON, UNITED KINGDOM

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VII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

APRIL 15 - 16, 2020
BARCELONA, SPAIN

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VIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

MAY 11 - 12, 2020
ISTANBUL, TURKEY

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IX. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

JUNE 05 - 06, 2020
SAN FRANCISCO, UNITED STATES

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X. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

JULY 20 - 21, 2020
PARIS, FRANCE

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XI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

AUGUST 10 - 11, 2020
NEW YORK, UNITED STATES

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XII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

SEPTEMBER 10 - 11, 2020
TOKYO, JAPAN

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XIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

SEPTEMBER 16 - 17, 2020
ZÜRICH, SWITZERLAND

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XIV. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

OCTOBER 21 - 22, 2020
BARCELONA, SPAIN

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XV. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 02 - 03, 2020
SAN FRANCISCO, UNITED STATES

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XVI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 12 - 13, 2020
ISTANBUL, TURKEY

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XVII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 19 - 20, 2020
SINGAPORE, SINGAPORE

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XVIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

DECEMBER 15 - 16, 2020
BANGKOK, THAILAND

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XIX. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

DECEMBER 28 - 29, 2020
PARIS, FRANCE

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XX. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

FEBRUARY 13 - 14, 2021
LONDON, UNITED KINGDOM

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XXI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

APRIL 15 - 16, 2021
BARCELONA, SPAIN

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XXII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

MAY 11 - 12, 2021
ISTANBUL, TURKEY

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XXIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

JUNE 05 - 06, 2021
SAN FRANCISCO, UNITED STATES

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XXIV. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

JULY 20 - 21, 2021
PARIS, FRANCE

FINISHED

XXV. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

AUGUST 10 - 11, 2021
NEW YORK, UNITED STATES

FINISHED

XXVI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

SEPTEMBER 10 - 11, 2021
TOKYO, JAPAN

FINISHED

XXVII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

SEPTEMBER 16 - 17, 2021
ZÜRICH, SWITZERLAND

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XXVIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

OCTOBER 21 - 22, 2021
BARCELONA, SPAIN

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XXIX. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 02 - 03, 2021
SAN FRANCISCO, UNITED STATES

FINISHED

XXX. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 12 - 13, 2021
ISTANBUL, TURKEY

FINISHED

XXXI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 19 - 20, 2021
SINGAPORE, SINGAPORE

FINISHED

XXXII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

DECEMBER 15 - 16, 2021
BANGKOK, THAILAND

FINISHED

XXXIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

DECEMBER 28 - 29, 2021
PARIS, FRANCE

Humanities and Social Science Conference Call For Papers are listed below:

Previously Published Papers on "Drawing, Painting and Printmaking Conference"

  • The Use of Symbolic Signs in Modern Ukrainian Monumental Church Painting: Classification and Hidden Semantics
    Authors: Khlystun Yuliia Igorivna, Keywords: Iconography, painting of Orthodox Church, Orthodox Church, semiotic signs in modern iconography, classification of symbols in painting of Orthodox Church. DOI:10.5281/zenodo. Abstract: Monumental church paintings are often perceived either as the interior decoration of the temple or as the "Gospel for the illiterate," as the temple painting often contains scenes from Holy Scripture. In science the painting of the Orthodox Church is mainly the subject of study of art critics, but from the point of view of culturology and semiotics, it is insufficiently studied. The symbolism of monumental church painting is insufficiently revealed. The aim of this paper is to give a description of symbolic signs, to classify them, to give examples for each type of sign from the paintings of modern temples of Eastern Ukraine, on the basis of semiotic analysis of iconographic plots used in monumental church painting. We offer own classification of symbols of monumental church painting, using examples from the murals of modern Orthodox churches in Eastern Ukraine, mainly from the Donetsk region. When analyzing the semantics of symbolic signs, the following methods of the culturological approach were used: semiotic, iconological, iconographic, hermeneutic, culturological, descriptive, comparative-historical, visual-analytical. When interpreting the meanings of symbolic signs, scientific, cultural and theological literature were used. Photos taken by the author have been added to the article.
  • Pictorial Multimodal Analysis of Selected Paintings of Salvador Dali
    Authors: Shaza Melies, Abeer Refky, Nihad Mansoor, Keywords: Multimodality, multimodal analysis, paintings analysis, Salvador Dali, visual grammar. DOI:10.5281/zenodo. Abstract: Multimodality involves the communication between verbal and visual components in various discourses. A painting represents a form of communication between the artist and the viewer in terms of colors, shades, objects, and the title. This paper aims to present how multimodality can be used to decode the verbal and visual dimensions a painting holds. For that purpose, this study uses Kress and van Leeuwen’s theoretical framework of visual grammar for the analysis of the multimodal semiotic resources of selected paintings of Salvador Dali. This study investigates the visual decoding of the selected paintings of Salvador Dali and analyzing their social and political meanings using Kress and van Leeuwen’s framework of visual grammar. The paper attempts to answer the following questions: 1. How far can multimodality decode the verbal and non-verbal meanings of surrealistic art? 2. How can Kress and van Leeuwen’s theoretical framework of visual grammar be applied to analyze Dali’s paintings? 3. To what extent is Kress and van Leeuwen’s theoretical framework of visual grammar apt to deliver political and social messages of Dali? The paper reached the following findings: the framework’s descriptive tools (representational, interactive, and compositional meanings) can be used to analyze the paintings’ title and their visual elements. Social and political messages were delivered by appropriate usage of color, gesture, vectors, modality, and the way social actors were represented.
  • The Impact of Scientific Content of National Geographic Channel on Drawing Style of Kindergarten Children
    Authors: Ahmed Amin Mousa, Mona Yacoub, Keywords: National Geographic, children drawing, kindergarten, Goodenough-Harris Test. DOI:10.5281/zenodo. Abstract: This study depends on tracking children style through what they have drawn after being introduced to 16 visual content through National Geographic Abu Dhabi Channel programs and the study of the changing features in their drawings before applying the visual act with them. The researchers used Goodenough-Harris Test to analyse children drawings and to extract the features which changed in their drawing before and after the visual content. The results showed a positive change especially in the shapes of animals and their properties. Children become more aware of animals’ shapes. The study sample was 220 kindergarten children divided into 130 girls and 90 boys at the Orman Experimental Language School in Dokki, Giza, Egypt. The study results showed an improvement in children drawing with 85% than they were before watching videos.
  • Rock Paintings with Libyan Inscriptions of Grande Kabylia, Algeria
    Authors: Samia Ait Ali Yahia, Keywords: Grande Kabylia, Libyan inscriptions, Libyan stele, rock paintings. DOI:10.5281/zenodo. Abstract: The rock paintings of Grande Kabylia contain a good number of Libyan inscriptions. Of the 54 sites discovered, 23 have inscriptions painted in red ocher. We find them in rock shelters, on blocks of sandstone in the northern part of Kabylia. Our job is to collect as many cave paintings as possible with Libyan inscriptions. Then we will make an analysis on the epigraphic level, the different forms of the characters and their frequencies. The other purpose of this research is to bring out the different characters used in these paintings and compare them with those of the Libyan steles of Grande Kabylia.
  • The Cave Paintings of Libyc Inscriptions of Tifra, Kabylia, Algeria
    Authors: Samia Ait Ali Yahia, Keywords: Cave painting, Libyc inscription, conservation, valorization. DOI:10.5281/zenodo.2363262 Abstract: The Tifra site is one of 54 sites with rock paintings discovered in Kabylia (Algeria). It consists of two shelters: Ifran I and Ifran II. From an aesthetic point of view, these two shelters appear poor. It shows a human silhouette, a hand, enigmatic designs and especially Libyc inscriptions. The paint used, is the natural red ocher. Today, these paintings are threatened by the frequentation of tourists to the sites as well as by the degradation which result from it. It is therefore vital to us to list and analyze these paintings before they disappear. The analysis of these paintings will be focused on the epigraphic and iconographic level and their meanings.
  • Applying Hybrid Graph Drawing and Clustering Methods on Stock Investment Analysis
    Authors: Mouataz Zreika, Maria Estela Varua, Keywords: Clustering, force-directed, graph drawing, stock investment analysis. DOI:10.5281/zenodo.1112033 Abstract: Stock investment decisions are often made based on current events of the global economy and the analysis of historical data. Conversely, visual representation could assist investors’ gain deeper understanding and better insight on stock market trends more efficiently. The trend analysis is based on long-term data collection. The study adopts a hybrid method that combines the Clustering algorithm and Force-directed algorithm to overcome the scalability problem when visualizing large data. This method exemplifies the potential relationships between each stock, as well as determining the degree of strength and connectivity, which will provide investors another understanding of the stock relationship for reference. Information derived from visualization will also help them make an informed decision. The results of the experiments show that the proposed method is able to produced visualized data aesthetically by providing clearer views for connectivity and edge weights.
  • Valorization and Conservation of Rock Paintings and Engravings of Kabylia Region, Algeria
    Authors: S. Ait Ali Yahia, Keywords: Kabylia, preservation, rock paintings and engravings, valorization. DOI:10.5281/zenodo.1110099 Abstract: In Algeria, the most impressive and most known prehistoric art is the painted or engraved rock art which is present with abundance in several regions. The existence of rock art in Great Kabylia region has been known for over sixty years. The main purpose of this research is to show the dangers facing these rock paintings and engravings and what are the arrangements for their protection and recovery. As every vestige destroyed is a part of the world's memory which disappears, some steps have to be taken in order to protect these historical and archaeological heritages.
  • The Influence of Ancient Artifacts on Contemporary Culture (exemplified by the Painting and Sculpture of Kazakhstan)
    Authors: Yerbol B. Kairanov, Arnur Zh. Karymsakov, Keywords: ancient artifacts, Golden Man, nomadic culture, sculpture, painting DOI:10.5281/zenodo.1086043 Abstract: Petroglyphs, stone sculptures, burial mounds, and other memorial religious structures are ancient artifacts which find reflection in contemporary world culture, including the culture of Kazakhstan. In this article, the problem of the influence of ancient artifacts on contemporary culture is researched, using as an example Kazakhstan-s sculpture and painting. The practice of creating petroglyphs, stone sculptures, and memorial religious structures was closely connected to all fields of human existence, which fostered the formation of and became an inseparable part of a traditional worldview. The ancient roots of Saka-Sythian and Turkic nomadic culture have been studied, and integrated into the foundations of the contemporary art of Kazakhstan. The study of the ancient cultural heritage of Kazakhstan by contemporary artists, sculptors and architects, as well as the influence of European art and cultures on the art of Kazakhstan are furthering the development of a new national art.

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