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Journal articles on the topic 'Crayon'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

True, Charlene Jewell. "Broken Crayon." Kappa Delta Pi Record 47, no. 2 (January 2011): 96. http://dx.doi.org/10.1080/00228958.2011.10516570.

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2

KAMEGAWA, Manabu. "Crayon^|^middot;Pas." Journal of the Japan Society of Colour Material 75, no. 10 (2002): 500–504. http://dx.doi.org/10.4011/shikizai1937.75.500.

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3

Tsang, Henry. "Sound producing crayon." Journal of the Acoustical Society of America 123, no. 3 (2008): 1235. http://dx.doi.org/10.1121/1.2901366.

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4

SWISCHUK, LEONARD E. "Choking on crayon." Pediatric Emergency Care 13, no. 4 (August 1997): 285–86. http://dx.doi.org/10.1097/00006565-199708000-00013.

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5

Brieschke, Patricia. "One Beige Crayon." Urban Education 33, no. 1 (March 1998): 50–70. http://dx.doi.org/10.1177/0042085998033001004.

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6

Raverty, Dennis. "Art Theory and Psychological Thought in Mid-19th-Century America: The Case of The Crayon." Prospects 24 (October 1999): 285–96. http://dx.doi.org/10.1017/s0361233300000387.

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Associationism as a school of 19th-century psychological thought has been mentioned as an important influence on American landscape painters of that period by several authors, yet little systematic investigation of the influence of contemporaneous psychological theories on 19th-century artistic thought has been attempted. This essay explores these psychological dimensions in the writings of Henry James Sr., Justin Winsor, and John B. Brown, regular contributors to the Crayon: A Journal Devoted to the Graphic Arts and the Literature Related to Them. Published in New York from 1855 to 1861, the Crayon was unique among art publications in its theoretical emphasis. Among the philosophical problems the Crayon took up were questions that today would have been identified as psychological. The ideas of these three authors concerning perception, creativity, and reception are among the clearest and most articulate of the essays in the Crayon in terms of displaying a coherent psychology. Their psychological thought will be extracted from the texts and reconstituted within the contending psychological debates of the time. It will be shown that although associationism was an important influence on artists and critics, other psychological theories stemming from different premises were of equal or even greater importance.
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7

Becker, Jean-Jacques. "Le crayon-baïonnette de forain." Vingtième Siècle, revue d'histoire 13, no. 1 (1987): 106–8. http://dx.doi.org/10.3406/xxs.1987.1832.

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8

Becker, Jean-Jacques. "Le crayon-baionnette de forain." Vingtième Siècle. Revue d'histoire, no. 13 (January 1987): 106. http://dx.doi.org/10.2307/3769906.

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9

Blouin, Louise. "Du romantisme au crayon feutre." Urgences, no. 26 (1989): 74. http://dx.doi.org/10.7202/025557ar.

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10

Turk-Adams, Deborah, and Theresa St. Gelais. "“Nurses Wielding the Purple Crayon”." Journal of PeriAnesthesia Nursing 23, no. 3 (June 2008): E9. http://dx.doi.org/10.1016/j.jopan.2008.04.034.

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11

GODWIN, GAIL. "WALTZING WITH THE BLACK CRAYON." Yale Review 87, no. 1 (September 20, 2010): 44–53. http://dx.doi.org/10.1111/j.1467-9736.1999.tb00089.x.

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12

Marin, Jean-François, Michel Morel, and Bernard Gautier. "Le comportement du crayon combustible." Revue Générale Nucléaire, no. 3 (May 1988): 215–17. http://dx.doi.org/10.1051/rgn/19883215.

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13

Ling, Jue, Gaowa Naren, Jessica Kelly, David B. Fox, and A. Prasanna de Silva. "Small molecular logic systems can draw the outlines of objects via edge visualization." Chemical Science 6, no. 8 (2015): 4472–78. http://dx.doi.org/10.1039/c5sc01537e.

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14

Zapiro. "Coup de crayon : l'Asie vue d'Afrique." Politique africaine 113, no. 1 (2009): 117. http://dx.doi.org/10.3917/polaf.113.0117.

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15

Maldonado, Héctor I., and Aminda H. Sierra. "Crayon Obliteration over Ballpoint Pen Writing." Journal of Forensic Sciences 37, no. 6 (November 1, 1992): 13359J. http://dx.doi.org/10.1520/jfs13359j.

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16

Lilja, Marilyn. "G/C/T Review: Magic Crayon." G/C/T 8, no. 1 (January 1985): 49. http://dx.doi.org/10.1177/107621758500800126.

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17

Robinson, Adi, and Mark D. Fairchild. "Recreating the Munsell crayon color spectrum." Color Research & Application 43, no. 6 (September 11, 2018): 811–14. http://dx.doi.org/10.1002/col.22265.

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18

Syabaniah, Rifa Nurafifah, Agung Wibowo, and Eva Marsusanti. "Penggunaan Alat Mewarnai Gambar Bagi Pemula Menggunakan Metode AHP dan Weight Product." Indonesian Journal of Computer Science 9, no. 1 (April 10, 2020): 32–43. http://dx.doi.org/10.33022/ijcs.v9i1.239.

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The process of selecting a drawing coloring tool in one of the Cianjur city painting studios takes a long time, because the child must first try each type of drawing coloring tool. based on this problem discussed about the selection of coloring tools for beginners by using the Analytic Hierarchy Process (AHP) and Product Weight (WP) methods. AHP test results obtained five criteria, namely comfort, convenience, safety, color quality and product quality of the ten recommended criteria based on observations and interviews. The five criteria are used as criteria for determining the selection of drawing tools for crayons, colored pencils, watercolors, markers, and oil pastels. the final result of the calculation of the Analytical Hierarchy Process (AHP) method shows that crayons are the most important alternative with a weight value of 0.20. while the test results of the Weighted Product (WP) method conclude that the brand code V4 is the crayon product brand chosen because the brand code V4 has the highest alternative value of the other ten products namely V4 = 0.118.
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19

Bush, Elizabeth. "The Crayon Man: The True Story of the Invention of Crayola Crayons by Natascha Biebow." Bulletin of the Center for Children's Books 72, no. 7 (2019): 288–89. http://dx.doi.org/10.1353/bcc.2019.0154.

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20

Yamaguchi, Shinichi. "1204 Introduction of TOYOTA EV Commuter system "Crayon"." Proceedings of the Transportation and Logistics Conference 2000.9 (2000): 245–48. http://dx.doi.org/10.1299/jsmetld.2000.9.245.

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21

Rao, B. Madhu, Petros Xanthopoulos, and Qipeng Phil Zheng. "Case—Production Scheduling at DeLand Crayon Company." INFORMS Transactions on Education 20, no. 2 (January 2020): 99–101. http://dx.doi.org/10.1287/ited.2019.0216cs.

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22

Tai, Jiing Lei, Guang Xue Chen, Qi Feng Chen, Bao Ling Tang, and Xiao Yong Zhuo. "Automatic Packing Machine Hopper of Six-Prism Pastel." Advanced Materials Research 236-238 (May 2011): 1559–62. http://dx.doi.org/10.4028/www.scientific.net/amr.236-238.1559.

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Currently, in almost all stationery business, pastel, which is product with excellent performance and high value-added, is completely artificial packaged. Pastels have many colors (24, 36, 48, 54, etc.), and packaging workers are apt to confuse the colors of pastels which are loaded sequentially. To achieve rapid and orderly pastel packaging, it is necessarily to complete by automatic machinery. Unlike crayons, pastel is soft and easy to deformation, abrasion, adhesion. And six-prism pastel is easy to arching in hopper, leading to poor blanking. Therefore, present automatic packaging machine of crayon is unable to be used for pastel packaging. For the six prism Pastels automatic packaging machine, there are two problems to be solved: first, feed hopper and drop method, and second, the manner and control of orderly loading pastel into prop box. This study only considers the hopper, and blanking mode. The final hopper including bins, anti-bridging picks, kick wheel, blanking roller, etc. basically achieve controllable smooth six-prism pastel blanking.
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23

Sanchez, David. "When the 96-Crayon Box doesn't Cut it." Phi Delta Kappan 94, no. 2 (October 2012): 72–73. http://dx.doi.org/10.1177/003172171209400219.

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24

Monje, Jane Gladys Abran, and Michael A. Manuel. "Development and Innovation of a Crayon Recycling Device." Indian Journal of Science and Technology 12, no. 02 (January 2019): 1–5. http://dx.doi.org/10.17485/ijst/2019/v12i2/138532.

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25

Blanpain, P., J. Rouault, and B. Salles. "Le comportement du crayon combustible REP sous irradiation." Revue Générale Nucléaire, no. 6 (November 2000): 48–51. http://dx.doi.org/10.1051/rgn/20006048.

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26

Wylie, Hal, and Louis-Philippe Dalembert. "Le crayon du bon Dieu n'a pas de gomme." World Literature Today 71, no. 4 (1997): 850. http://dx.doi.org/10.2307/40153465.

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27

de Perthuis, Bruno. "Loubet le cabossé sous le crayon frondeur d'Orens Denizard." Sociétés & Représentations 36, no. 2 (2013): 65. http://dx.doi.org/10.3917/sr.036.0065.

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28

Reid, Zoë, Niamh McGuinne, and John Fields. "THE YEATS ARCHIVE: A METHOD OF IDENTIFYING WAX CRAYON." Studies in Conservation 47, sup3 (September 2002): 176–79. http://dx.doi.org/10.1179/sic.2002.47.s3.036.

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29

Wallace, Robert K. "Melville after turner: “The piazza,”the crayon,and Ruskin." Nineteenth-Century Contexts 19, no. 3 (January 1996): 285–303. http://dx.doi.org/10.1080/08905499608583427.

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30

Richardson, Jennifer (Eisenhauer). "The yellow crayon: rhetoricity, mental disability, and art education." InSEA ART Education VISUAL Journal IMAG #8 1 (December 30, 2019): 8–15. http://dx.doi.org/10.24981/2414-3332-7.2019-3.

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31

Alim, Melvi Lesmana. "PENGEMBANGAN MOTORIK HALUS ANAK DENGAN PENERAPAN METODE DRILL DALAM KEGIATAN MEWARNAI GAMBAR MEDIA KRAYON DI POS PAUD AQILA KIDS RIMBO PANJANG." KINDERGARTEN: Journal of Islamic Early Childhood Education 1, no. 1 (July 30, 2018): 55. http://dx.doi.org/10.24014/kjiece.v1i1.5522.

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Tujuan penelitian ini adalah ntuk meningkatkan perkembangan motorik halus anak dengan penerapan metode drill dalam kegiatan mewarnai media Krayon Pos PAUD Aqila Rimbo Panjang . Adapun subyek penelitian adalah di Pos Paud Aqila Kids Rimbo Panjang yang berjumlah 20 orang anak, terdiri dari 11 anak perempuan dan 9 anak laki-laki, dengan usia anak 5-6 tahun. Waktu pelaksanaan direalisasikan selama 2 bulan. Metode penelitian ini menggunakan Penelitian tindakan kelas. Berdasarkan hasil perbaikan pengembangan pada siklus II (kedua) dalam kegiatan mewarnai gambar dengan media crayon pada pengembangan motorik halus, maka dapat dikatakan bahwa perbaikan pengembangan cenderung menjadi lebih baik. Pada siklus I (pertama) penulis melakukan perbaikan pengembangan anak-anak yang mampu menyelesaikan tugas mewarnai gambar sederhana dengan baik hanya 9 anak atau 50 %, pada pertemuan hari kelima (hari terakhir) perbaikan pengembangan siklus II, anak-anak yang mampu mewarnai gambar sederhana meningkat menjadi 18 anak atau 85 %, ini menunjukkan bahwa perbaikan pengembangan yang dilakukan penulis mengalami peningkatan. Dari hasil ini, penulis dapat mengatakan bahwa perbaikan pengembangan yang dilakukan berhasil karena telah mencapai lebih dari setengah anak-anak yang mampu mewarnai gambar atau sudah lebih dari 50% . Maka penulis memutuskan untuk menghentikan perbaikan pengembangan ini pada siklus yang kedua. Penerapan metode drill dalam kegiatan mewarnai gambar dengan media crayon terbukti dapat mengembangkan kemampuan motorik halus anak
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32

Collinet, Jean-Pierre. "La Fontaine artiste : ses coups de crayon et sa palette." Le Fablier. Revue des Amis de Jean de La Fontaine 15, no. 1 (2004): 9–14. http://dx.doi.org/10.3406/lefab.2004.1091.

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33

Naouri, M., and J. M. Mazer. "Influence de la durée d’impulsion dans l’interaction laser/crayon blanc." Annales de Dermatologie et de Vénéréologie 140, no. 6-7 (June 2013): S206. http://dx.doi.org/10.1016/j.annder.2013.04.047.

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34

Naouri, M., and J. M. Mazer. "Influence de la durée d’impulsion dans l’interaction laser/crayon blanc." Annales de Dermatologie et de Vénéréologie 140, no. 12 (December 2013): S458. http://dx.doi.org/10.1016/j.annder.2013.09.222.

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35

Wagner, Heinke. "Lent Retour de Peter Handke. Un voyage avec l'Histoire du crayon." Cahiers jungiens de psychanalyse 107, no. 2 (2003): 41. http://dx.doi.org/10.3917/cjung.107.0041.

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36

Bordy, Michel. "ECI - Examens de Crayon Individuel pour une meilleure connaissance du combustible." Revue Générale Nucléaire, no. 4 (July 1992): 332–37. http://dx.doi.org/10.1051/rgn/19924332.

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37

Sleth, J. C., and C. Sleth. "Déformation d’une aiguille pointe crayon 25G au cours d’une ponction rachidienne." Annales Françaises d'Anesthésie et de Réanimation 30, no. 5 (May 2011): 445–46. http://dx.doi.org/10.1016/j.annfar.2011.03.001.

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38

Sangidun. "PORNOGRAFI DALAM SERIAL ANIME ANAK (ANALISIS SEMIOTIKA DALAM SERIAL CRAYON SHIN CHAN)." KOMUNIKA: Jurnal Dakwah dan Komunikasi 9, no. 1 (January 23, 2017): 103–13. http://dx.doi.org/10.24090/komunika.v9i1.833.

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Crayon Shin Chan, a Japanese two-dimension animation series broadcast in one of private Indonesian TVs, is categorized into child’s program since it is broadcast at child’s prime time, Sunday 08.30 a.m. In spite of its broadcast time, this series consist of symbols directed not for children, such as some acts that are not appropriate to be done by children, especially in Indonesia. Moreover, adult symbols of sex are also found in the program. For this reason it will be interesting to analyze it using semiotic analysis. Semiotics is the study of symbol and its meaning which its principle concept is that both signifier and signified consist of symbols and are related to denotation and connotation. Crayon Shin Chan merupakan serial animasi dua dimensi yang tayang di salah satu stasiun televisi swasta di Indonesia. Ini merupakan produk animasi 2 dimensi yang diimpor dari Jepang. Di Indonesia, serial ini masuk dalam kategori acara anak. Hal ini dapat dilihat dari jam penayangannya yang merupakan waktu prime time bagi anak, yakni pada hari minggu pukul 08.30. Akan tetapi, pada serial ini banyak simbol-simbol yang mengarah pada tayangan yang bukan untuk anak-anak, yakni adeganadegan yang tidak pantas dilakukan oleh anak khususnya di Indonesia. Serta adanya pula simbol-simbol yang mengarah pada tayangan berbau dewasa. Tentu akan menarik jika tayangan ini diteliti menggunakan analisis semiotika. Semiotika sendiri merupakan kajian ilmu mengenai tanda dan makna. Yang pada prinsipnya, konsep penting seperti penanda (signifier) dan petanda (signified) sama-sama terdiri dari tanda dan terkait dengan denotasi dan konotasi.
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39

Bazin, Maëlle. "Brandir un crayon, geste-emblème des rassemblements post-attentats de janvier 2015." Mots, no. 110 (May 9, 2016): 67–82. http://dx.doi.org/10.4000/mots.22227.

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40

Bessas, Takis, Ifigenia Vamvakidou, and Argyris Kyridis. "Greek Pre-Schoolers Crayon the Politicians: A Semiotic Analysis of Children's Drawing." Contemporary Issues in Early Childhood 7, no. 2 (June 2006): 162–73. http://dx.doi.org/10.2304/ciec.2006.7.2.162.

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41

Friedemann, Pascal, and Lucie Steiner. "Du crayon à la souris : Axis, système de gestion documentaire des nécropoles." Bulletins et Mémoires de la Société d'anthropologie de Paris 8, no. 3 (1996): 169–79. http://dx.doi.org/10.3406/bmsap.1996.2439.

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42

Formel, François. "Léger crayon du duc de Beauvillier, gouverneur des Enfants de France II." Cahiers Saint Simon 44, no. 1 (2016): 101–15. http://dx.doi.org/10.3406/simon.2016.1763.

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43

Wang, Xu, Peimin Zhu, Timothy M. Kusky, Na Zhao, Xiaoyong Li, and Zhensheng Wang. "Dynamic cause of marginal lithospheric thinning and implications for craton destruction: a comparison of the North China, Superior, and Yilgarn cratons." Canadian Journal of Earth Sciences 53, no. 11 (November 2016): 1121–41. http://dx.doi.org/10.1139/cjes-2015-0110.

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We present a comparative tectonic analysis of the North China Craton (NCC), which has lost parts of its root, with the Yilgarn and Superior cratons, which preserve their roots. We compare the geophysical structure and tectonic histories of these cratons to search for reasons why some cratons lose their roots, while others retain them. Based on the comparison and analysis of geological, geophysical, and geochemical data, it is clear that the lithospheric thinning beneath craton margins is a common phenomenon, which may be caused by convergence between plates. However, craton destruction is not always accompanied by lithospheric thinning, except for cratons that suffered subduction and collision from multiple sides. The Western Block (also known as the Ordos Block) of the NCC, Yilgarn and Superior cratons have not experienced craton destruction; the common ground among them is that they are surrounded by weak zones (e.g., mobile belts or orogens) that sheltered the cratons from deformation, which contributes greatly to the long-term stability of the craton. Subduction polarity controlled the water released by the subducting plate, and if subducting plates dip underneath the craton, they release water that hydroweakens the overlying mantle, and makes it easy for delamination or sub-continental lithospheric mantle erosion to take place in the interior of the craton. Thus, subduction polarity during convergence events is an important element in determing whether a craton retains or loses its root.
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44

Sunarto and Irfanda Rizki Harmono Sejati. "The Art Education Drawing on Configuration of Art Education: Philosophy Perspective." Technium Social Sciences Journal 8 (May 22, 2020): 64–70. http://dx.doi.org/10.47577/tssj.v8i1.631.

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This article discusses about drawing on configuration of art education, a philosophy perspective. Drawing is discussed philosophically which is based on: ontology, epistemology, and axiology. Drawing is a work of fine arts. Drawing can be defined as a picture or diagram which is drowned by using pencil, pen or painting crayon, especially a monochrome picture. From philosophical side, drawing has a “truth”. Drawing that comes pure from mind represent a shape of two dimensional look. Education; drawing will form honesty (Logico Aestheticus) and truth (Logico Mathematicus). Ontologically (intrinsic substance), drawing actually is observing a shape detail and will relate to thought from science perspective and other knowledge towards object observation.
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45

Naouri, M. "Brûlures induites par quadrillage au crayon « blanc » de zones épilées par laser Alexandrite." Annales de Dermatologie et de Vénéréologie 138, no. 12 (December 2011): A142—A143. http://dx.doi.org/10.1016/j.annder.2011.10.055.

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46

Naouri, M. "Brûlures induites par quadrillage au crayon « blanc » de zones épilées par laser Alexandrite." Annales de Dermatologie et de Vénéréologie 139, no. 6-7 (June 2012): H76—H77. http://dx.doi.org/10.1016/j.annder.2012.04.123.

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47

Fischer, Sarah. "Reading with a Crayon: Pre-conventional Marginalia as Reader Response in Early Childhood." Children's Literature in Education 48, no. 2 (August 18, 2016): 134–51. http://dx.doi.org/10.1007/s10583-016-9292-4.

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48

Godfrey, Robert W., and Sue A. Lakos. "PSX-28 Using estrus detection patches or a ram wearing a marking harness to monitor estrus in synchronized hair sheep ewes." Journal of Animal Science 98, Supplement_4 (November 3, 2020): 460. http://dx.doi.org/10.1093/jas/skaa278.802.

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Abstract Determining when a ewe is in estrus is important when using estrous synchronization and artificial insemination in sheep. This study was conducted to compare the efficacy of estrus detection patches (Estrotect™) and rams wearing marking harnesses for monitoring estrus in synchronized hair sheep ewes. St. Croix White (STX) ewes (3.5 ± 0.3 y of age, 89.7 ± 2.2 d post-partum) were synchronized using progesterone releasing inserts (Eazi-Breed™ CIDR) for 12 d. On the day of CIDR removal (d 1) ewes were administered prostaglandin (Lutalyse®; 15 mg i.m.) and placed with fertile STX rams in 0.55 ha pastures. One group of ewes (n =10; MH) was placed with a ram wearing a marking harness and a second group (n = 16; EP) had estrus detection patches placed on their rumps before being placed with a ram without a harness. Estrus detection was conducted using visual observations twice a day through d 7. A ewe was considered to be in estrus when crayon marks were observed on the rump or the patch was activated, based on product guidelines. Cumulative percentage of ewes in estrus was analyzed using the CATMOD procedure with treatment, day and the interaction in the model. All patches stayed in place on the EP ewes through d 7. By d 4 90% of MH ewes and 75% of EP ewes had been observed in estrus (P < 0.05). By d 7 90% of MH ewes and 81.25% of EP ewes had been observed in estrus (P < 0.05). With costs of $1.33 per patch or $29.33 for one harness and crayon the patches may be more economical when dealing with up to 21 ewes per ram. Estrus detection patches can be used on hair sheep ewes to detect estrus just as effectively as a ram with a marking harness.
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49

Doyen, C., V. Risler, Y. Contejean, I. Amado, C. Launay, P. De Bois Redon, I. Burnouf, and K. Kaye. "Je joue donc je pense : remédiation cognitive chez lesenfants au Centre Hospitalier Sainte-Anne." European Psychiatry 28, S2 (November 2013): 66. http://dx.doi.org/10.1016/j.eurpsy.2013.09.174.

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L’intérêt de la remédiation cognitive (RC) s’appuie sur l’observation de défaillances des fonctions exécutives dans de nombreux troubles psychiatriques. L’hypothèse est celle d’une restructuration cognitive du fait de la plasticité cérébrale et de la possibilité de remaniements cellulaires neurologiques stimulo-dépendants. Chez les enfants et les adolescents, des essais ont été réalisés chez des sujets cérébro-lésés et chez des sujets présentant un trouble déficit de l’attention/hyperactivité, un trouble du spectre autistique, un trouble des apprentissages ou une anorexie mentale [2–5]. Les programmes de remédiation cognitive s’appuient sur des tâches informatisées ou papier–crayon ou sur des jeux de société ciblant les déficits des fonctions exécutives. Le Centre Hospitalier Sainte-Anne a développé, depuis 2010, un centre psychiatrique de référence de remédiation cognitive et de réhabilitation psychosociale (C3RP) qui propose à des sujets adultes des programmes de Cognitive Remediation Therapy (CRT) [1]. En outre, depuis 2011, notre équipe réalise un travail clinique préliminaire de faisabilité en proposant à des enfants, en complément d’approches classiques appliquées en routine (rééducatives et/ou psychothérapiques), une prise en charge en RC. Nous utilisons des tâches « papier–crayon » de la CRT adaptées à l’enfant ainsi que des jeux de société issus des programmes anglo-saxons qui permettent à l’enfant d’utiliser différentes ressources cognitives. Notre but est d’améliorer les performances cognitives de ces enfants dans les domaines suivants : la flexibilité mentale, l’attention, la mémoire et la planification ainsi que l’estime de soi. Une évaluation neuropsychologique incluant un WISC-IV ; une figure de Rey et des sub-tests de la NEPSY mettent en avant des résultats prometteurs, illustrés par une vignette clinique portant sur un enfant qui a fait de nets progrès dans quatre dimensions sur cinq ciblées (Fig. 1). Ces résultats doivent être étendus à d’autres patients et sur d’autres centres pour envisager la généralisation de cette approche.Fig. 1
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50

Roy, Stéphane. "Imiter, reproduire, inventer." reproduire, no. 17 (September 8, 2011): 31–51. http://dx.doi.org/10.7202/1005747ar.

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Cette étude met l’art et la pratique de la gravure en relation avec l’émergence de nouveaux procédés de reproduction de l’image à la fin du 18e siècle. En contribuant à la diversification de la culture de l’image imprimée au siècle des Lumières, les différentes innovations technologiques (gravure en manière de crayon et aquatinte, entre autres) et le recours croissant à divers dispositifs techniques (physionotrace et zograscope) ont eu un impact considérable sur les praticiens de l’estampe. En quête de reconnaissance au sein d’une société valorisant spectacle et performance, les graveurs ont été les initiateurs et les bénéficiaires de ces innovations, conférant ainsi une signification nouvelle (pratique plutôt que théorique) aux termes « imiter », « reproduire » et « inventer ».
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