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17 results for “digital drawings”
FIGURE 7 in Picking up the pieces: the digital reconstruction of a destroyed holotype from its serial section drawings
FIGURE 7. The state of preservation of the wax model of BP/1/1821. 1, the right side of the snout showing the deformation of the canine; 2, the palate showing the broken vomer; 3, the basicranium showing multiple cracks, nails and sticks around the pterygoid; 4, view of the right orbit showing multiple cracks, nails and sticks; 5, dorsal view of the of the mandible showing multiple cracks, nails and sticks; 6, detail of the inner side of the left ascending ramus of the mandible showing a stick embedded in the wax; and 7, lateral view of the mandible showing the incomplete reflected lamina of the angular. The arrows point to the nails, dotted lines demarcate the cracks. Not to scale.
FIGURE 6 in Picking up the pieces: the digital reconstruction of a destroyed holotype from its serial section drawings
FIGURE 6. Comparison between the digital model (top) and the wax model (bottom), in rostral (left) and lateral views (right). Arrows indicate the direction of deformation of the wax model. Scale bar equals 10 mm.
FIGURE 5 in Picking up the pieces: the digital reconstruction of a destroyed holotype from its serial section drawings
FIGURE 5. Segmentation of the skull bones of BP/1/1821, (1) in the cranium and (2) in the lower jaw. Scale bar equals 10 mm.
FIGURE 4 in Picking up the pieces: the digital reconstruction of a destroyed holotype from its serial section drawings
FIGURE 4. The slices of specimen BP/1/1821 finally put back together again, as seen in the hands of the CT scan facility technician K. Jakata (ESI). This 3D printed model is the first time in 55 years that BP/1/1821 has been accurately reconstructed at life-size.
FIGURE 3 in Picking up the pieces: the digital reconstruction of a destroyed holotype from its serial section drawings
FIGURE 3. The digital model in (1) right lateral, (2) left lateral and (3) ventral view in stereopairs. Scale bar equals 10 mm. See also the supplementary video in Appendix 2.
FIGURE 2 in Picking up the pieces: the digital reconstruction of a destroyed holotype from its serial section drawings
FIGURE 2. Comparison of the different reconstructions of BP/1/1821 in dorsal (left) and ventral (right) views. 1, the wax model; and 2, the original illustrations by Brink, found with the serial section drawings.
FIGURE 1 in Picking up the pieces: the digital reconstruction of a destroyed holotype from its serial section drawings
FIGURE 1. The label on the first page of the serial section drawings. It is written "Specimen N°1821 (FN). MN° 346. Complete Aneumogomphius? skull therocephalian. Sections ½ mm. Magnification x4." The document is signed "A.S. Brink". Abbreviations: FN, Field Number; MN°, Museum Number.
Data from: Two new species of Limbodessus diving beetles from New Guinea - short verbal descriptions flanked by online content (digital photography, μCT scans, drawings and DNA sequence data)
Background: To date only one species of Limbodessus diving beetles has been reported from the Island of New Guinea, L. compactus (Clark, 1862), which is widerspread in the Australian region. New information: We describe two new species of microendemic New Guinea Limbodessus and use a compact descriptive format flanked by enriched online content in wiki powered species pages. Limbodessus baliem sp.n. is described from ca. 1,600 m altitude in the Baliem Valley of Papua and Limbodessus alexanderi sp.n. from >3,000 m altitude north of Sugapa, Papua. Based on our analysis, we also transfer three species from other genera to Limbodessus Guignot, 1939, with the following changes: Limbodessus deflectus (Ordish, 1966), new combination; Limbodessus leveri (J. Balfour-Browne, 1944), new combination; and Limbodessus plicatus (Sharp, 1882), new combination.
FIGURE 3 in Substituting time-consuming pencil drawings in arthropod taxonomy using stacks of digital photographs
FIGURE 3. Creation of the drawing with the WACOM board using a crustacean appendage as an example. a, stacks of micrographs are imported in a drawing software and arranged into one picture; focus levels can be selected by clicking on the level selector (arrow); b, the outlines of the photos are made using the levels of the stacks that are in focus; c, once all details are drawn, the photos are deselected and the drawing can be used.
FIGURE 2 in Substituting time-consuming pencil drawings in arthropod taxonomy using stacks of digital photographs
FIGURE 2. Making of micrographs. a, stacks of photos are taken with a camera mounted on a microscope (1), directly transferred onto a computer (2) and drawn with a WACOM Intuous 2 DIN A3 drawing tablet (3); b, all camera functions are controlled by the remote capture task software, in the preview window of this software where focus of the microscope is being controlled. Moving the lever 1 up will zoom out the dark margins; pushing the button 2 will expose a picture and automatically transfers it onto the computer.
FIGURE 1 in Substituting time-consuming pencil drawings in arthropod taxonomy using stacks of digital photographs
FIGURE 1. Preparation of permanent slides. a, maceration of appendages on a hot plate removing tissue from the appendages; b, creation of permanent slides using Euparal, arrow points to a cover slip with drop of Euparal, resting to allow the mounting medium to becoming somewhat harder; c, lignin-pink stained distal part of a leg of an amphipod crustacean mounted in Euparal.
Data from: Two new species of Limbodessus diving beetles from New Guinea - short verbal descriptions flanked by online content (digital photography, μCT scans, drawings and DNA sequence data)
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Figure 2 from: Coleman ChO (2018) Shadings in digital taxonomic drawings. Zoosystematics and Evolution 94(2): 529-533. https://doi.org/10.3897/zse.94.28624
Figure 2 A) In Photoshop use "Magic Wand Tool" and the "shift" key to mark areas in the drawing for shading. B) Create a new layer, by clicking on second icon from the right in the icon bar at the lower end of the window. C) Select the newly created layer before applying the shading. D) Select "Brush", modify "Master Diameter" and set "Flow" at about 3–4%.
Figure 4 from: Coleman ChO (2018) Shadings in digital taxonomic drawings. Zoosystematics and Evolution 94(2): 529-533. https://doi.org/10.3897/zse.94.28624
Figure 4 A) Place pixel cloud, saved without outlines from Photoshop into Illustrator using the File-Place command. B) Move the pixel cloud in the corresponding areas of the vector graphics in Illustrator.
Figure 3 from: Coleman ChO (2018) Shadings in digital taxonomic drawings. Zoosystematics and Evolution 94(2): 529-533. https://doi.org/10.3897/zse.94.28624
Figure 3 A) In Photoshop select newly created layer and apply shading by spraying pixels onto selected areas. B) After airbrushing, make first layer, containing the outlines, invisible by clicking on eye icon in "Layers". By this only the pixel clouds are retained.
Reliability and Equivalence of Alternate Forms of the Digital Clock Drawing Test
ClinicalTrials.gov study NCT04496752. IPD Sharing: NO. Countries: 1. Publications: 0.
Figure 1 from: Coleman ChO (2018) Shadings in digital taxonomic drawings. Zoosystematics and Evolution 94(2): 529-533. https://doi.org/10.3897/zse.94.28624
Figure 1 A) Export plate from Illustrator into Photoshop format (.psd). B) Use "Flat Image" option.
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