![]() ![]() The substrate was a transparent adhesive tape that held the varnish film firmly. Kaolin and ethanol served as additional primary products to create the cracks, as these products rapidly evaporate. The primary material used was ordinary commercial nail varnish, mostly composed of nitrocellulose, toluene, and formaldehyde. Materials are easily obtained in the market. Here a brief description of the utilized materials is now presented. Cracks are universal phenomena, and many ways exist to describe and analyze them. Further, a simple model can explain the evolution of the central peaks of painting histograms. The experiments described herein allow the entropy dynamics in paintings to be described and compared. Computational and experimental data support our conclusions. The last section contains concluding remarks. Section 6 is concerned with explicit comparisons between crack entropies in these paintings. These asymmetries affect the entropy functional and become related to saturation loss. Important asymmetries and the degree of the disorder are noted around the angles 0° and 90°. Explicitly, entropy is quantified in every case. In Section 5, histograms are presented and analyzed for Vermeer’s painting as well as other paintings. A simple model of two interacting modes is fitted. Section 4 features a simple experiment that was used to obtain guidelines on crack dynamics and entropy production. This package evaluates local directionalities by a gradient orientations method. Section 3 is briefly devoted to describing the image treatment by means of the free software package “ImageJ”. In fact, the operative idea is simple: for the histograms defining local crack directions in a given painting, the functional entropy will be explicitly evaluated in every case. Section 2 is concerned with the definition of directional entropy. Considerations from the theory of elasticity and cracks in master paintings also appear in. Specifically, cracks develop when the bulk energy surpasses the fissure energy related to chemical bonds. As is well-known technically, bulk stress energy is the driver in cracking. ![]() ![]() References considered the role of variable film thickness, and Romero et al. ![]() In Reference, the crack evolution was studied in colloidal systems. Experiments related to the relationship between crack areas and thicknesses are described in Ma and Burton. Flores constructed a mean-field elastic-mechanical-stress approach to study cracks in paintings and their correlations with film thickness. Pioneering experimental crack studies on pictures were also conducted by Mecklenburg and Karpowicz, whereas Cornelis et al. performed an analysis of the direction of illumination for this painting. Using computational methods, Johnson et al. The girl’s face seems more illuminated on the right side than on the left, with the former also showing larger crack polygons. ![]()
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