The similarity in fractal dimensions of paint “blobs” in samples of gestural expressionist art implies that these pigment structures are statistically indistinguishable from one another. This conclusion suggests that such dimensions cannot be used as a “finger-print” for identifying the work of a single artist. To overcome this limitation, the authors have adopted the multifractal spectrum as an alternative tool for artwork analysis. For the pigment blobs, it is demonstrated that this spectrum can be used to isolate a construction paradigm or art style. Additionally, the fractal dimensions of edge structures created by luminance gradients on the canvas are analyzed, yielding a potential method for visual discrimination of fractally similar paintings

The author describes his development of a computer-based paper-marbling tool, based on a traditional Turkish art form in which marbled-paper figures and patterns are created on the surface of a liquid bath. Similar works can be obtained by simulating fluid flows on a computer, using the Navier-Stokes equations as the physical model of the fluid flows. The author has created an application program that includes marbling tools. Such a program must run in real time, so that hand-eye coordination is required of the user. Real-time simulation of fluid flows requires much processor power. The author has attempted to adapt this technique for use with a personal computer. To decrease the processing power required, the image size may be decreased, but the results may not be as satisfactory

Functional Magnetic Reso-nance Imaging (fMRI) scans of a skilled portrait artist and of a non-artist were made as each drew a series of faces. There was a dis-cernible increase in blood flow in the right-posterior parietal region of the brain for both the artist and non-artist during the task, a site normally associated with facial per-ception and processing. However, the level of activation appeared lower in the expert than in the nov-ice, suggesting that a skilled artist may process facial information more efficiently. In addition, the skilled artist showed greater acti-vation in the right frontal area of the brain than did the novice, which the author posits indicates that such an artist uses “higher-or-der” cognitive functions, such as the formation of associations and planning motor movements, when viewing and drawing a face.