A visual art technique first described in an early issue of CR&A is discussed here in the way it has been modified to expand its practicality. As a first-of-its-kind application of additive color mixture in the two-dimensional visual arts, the fluorescent mosaic technique is considered in terms of its historical context, and its conceptual and technical development are presented as it grew out of an awareness of a theoretical dissonance between the worlds of art and science. Three visual designs created in the additive fluorescent mosaic technique as proof-of-concept demonstrations are presented and discussed as they evolved from early methods requiring special lighting, which severely restricted the technique's applicability, to a more broadly functional method requiring only white light that is strong in blue content, such as average daylight. Because digital photography and electronic displays capture the appearance of fluorescent mosaic images quite well, their use as an educational instrument for teaching color mixture theory on a wide-scale basis is promising. An outline of basic procedures for creating fluorescent mosaic artwork is provided. As a fine art medium, it is an area of visual expression that is virtually unexplored. Lastly, other approaches to creating visual art using luminous mosaic imagery are suggested.

中文翻译：

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重新审视荧光马赛克技术

在 CR&A 早期一期中首次描述的视觉艺术技术在此讨论，其经过修改以扩展其实用性。作为加色混合在二维视觉艺术中的首次应用，荧光马赛克技术从其历史背景来考虑，其概念和技术发展呈现为一种意识的产生。艺术与科学世界之间的理论不和谐。展示并讨论了在添加荧光马赛克技术中创建的三种视觉设计作为概念验证演示，因为它们从需要特殊照明的早期方法演变而来，这严重限制了该技术的适用性，到更广泛的功能方法只需要白光蓝色含量强，例如平均日照。由于数字摄影和电子显示器可以很好地捕捉荧光马赛克图像的外观，因此它们作为在广泛基础上教授色彩混合理论的教育工具很有前景。提供了创建荧光马赛克艺术品的基本程序的概述。作为一种美术媒介，它是一个几乎未被探索的视觉表达领域。最后，建议使用发光马赛克图像创建视觉艺术的其他方法。这是一个几乎未被探索的视觉表达领域。最后，建议使用发光马赛克图像创建视觉艺术的其他方法。这是一个几乎未被探索的视觉表达领域。最后，建议使用发光马赛克图像创建视觉艺术的其他方法。