Journal articles on the topic 'Glass art Technique'
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1
Choi, Kee. "Developing Inlaid Colouring Technique for Hot-Glass Making Process." Arts 7, no. 4 (November 26, 2018): 89. http://dx.doi.org/10.3390/arts7040089.
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This article discusses both the complexity and technical benefits of developing an inlaid colouring technique for the hot glass-making process. This technique was inspired by the ancient Korean ceramic decorative technique known as Sanggam, and has allowed me to delineate geometric patterns and counterfeit letters onto glass artworks, before encapsulating them between layers of transparent glass. By developing a typography design that deliberately chooses the wrong consonant and vowel letters, and combines Korean characters, the resulting designs do not fit into either South Korean or British visual culture. A number of optical properties (in particular refraction, reflection, and distortion) provoke a sense of ambiguity in the viewer’s visual experience of, as well as their response to, a series of glass artworks created for experimental purposes. The technique offers an innovative creative tool for artists working in the field of glass art, enabling them to depict expressive drawings and images through a line drawing style, using diverse colours, and in a more controlled manner than the hot glass-making process of the ‘Graal’ technique. The technical possibilities and limitations of the inlaid glass colouring technique are addressed at each step of the development process, while examples of the technical palette serve as a useful reference for artists working in the field of glass art.
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Lifshitz, Lev Yuryevich. "On Teaching Tiffany Stained Glass in Art School." Secreta Artis, no. 3 (November 20, 2020): 6–23. http://dx.doi.org/10.51236/2618-7140-2020-3-3-6-23.
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The article describes the multi-layer stained glass making technology, an art technique most vividly reflected in the projects designed and produced by L. C. Tiffany. The present paper is a continuation of the series of academic articles published in the scientific journal Secreta Artis in 2018 and 2019 that reveal the step-by-step process of creating a Tiffany stained glass, from sketch and cartoon preparation to artwork finalization. The proposed method has been tried out and proven in practice: taught to students at the Academy of Watercolor and Fine Arts of Sergey Andriaka, the technology is, likewise, used to create original pieces of art, as well as make stained-glass windows as part of various architecture projects. A multi-layer stained glass allows one to significantly expand the glass palette at hand, enrich compositions with exquisite color and tonal effects, which are particularly difficult to achieve in a single-layer stained glass, insert different objects and materials in-between layers of glass. The purpose of the article is to demonstrate to artists, designers, teachers, students and all fine art lovers artistic possibilities of Tiffany stained glass and provide a step-bystep guide to its production. The outlined technique can be applied in a stained glass workshop, with a basic set of tools and equipment. The article formulates key multi-layer stained glass making methods and delineates some of the most typical challenges and ways to overcome them. The methodology is exemplified by L. C. Tiffany’s work in stained glass, along with the artwork designed by the author of the article.
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Ivanyshyn, Ostap. "Experiment in the art of Klaus Moje." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 265–77. http://dx.doi.org/10.37131/2524-0943-2019-39-18.
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The paper overviews a lifetime achievement of german native australian artist Klaus Moje in the field of decorative glass art. An article traces the development of his artwork in the late 1900th - early 2000th. Much attention is given to Moje`s innovative approach of traditional technique. It is made an attempt to evaluate the implementation of new methods and technics to the educational process. It is analysed a contribution of an artist in the context of the studio glass movement. The paper describes most creative periods and examines appropriate artworks. The results of collaboration between an artist and a manufacturer of coloured glass are revealed. Main articles to the theme is observed. The determination of kilnforming, as an independent medium technique is considered. The results obtained confirm the significant contribution of an outstanding artist, which allows to determine his prominent place in thу world history of art
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Mauro, Silvio José, Adriana Beatriz Silveira Pinto Fernandes, Fernando Yamamoto Chiba, Renato Herman Sundfeld, Suzely Adas Saliba Moimaz, and Cléa Adas Saliba Garbin. "Microscopic evaluation of rotatory and handle caries removal on glass ionomer cement/dentin interface." Brazilian Journal of Oral Sciences 17 (April 3, 2018): 1–9. http://dx.doi.org/10.20396/bjos.v17i0.8651902.
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Aim: This study evaluated the interface between glass ionomer cement (GIC) and dentin using the conventional and atraumatic restorative treatment (ART) techniques for removal of decayed tissue. Materials and Methods: After preparation of the cavities by the conventional (Group I – GI) and ART (Group II – GII) techniques, the specimens were divided into 3 subgroups according to the GIC used (n=10). The conventional GIC KETAC FILL (3M/ESPE) was used in the groups GI-1 and GII-1, the conventional GIC VIDRION R (SS WHITE) in the groups GI-2 and GII-2, and the modified GIC FUJI II LC (GC Corporation) in the groups GI-3 and GII-3. For the microscopic analysis, the teeth were decalcified in a solution containing equal portions of 50% formic acid and 20% sodium citrate, dehydrated and submitted to paraffin baths. The samples were sectioned (6mm in thickness), stained by the Brown and Brenn method, and evaluated in a light microscope. Results: The microscopic analysis revealed interaction between the material and dentin structure only with the FUJI II LC. In addition, the behavior was superior for the conventional technique in comparison to the ART technique. Conclusion: It was concluded that the technique used for carious dentin removal does not seem to be determinant for the bonding of ionomeric materials to the dental structure, except for the resin-modified GIC in which the formed hybrid layer was higher using the conventional technique.
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Suryawan, I. Gde. "PEMBELAJARAN EKSTRAKULIKULER SENI LUKIS KACA DI SMP NEGERI 3 SUKASADA." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 10, no. 2 (January 23, 2019): 146. http://dx.doi.org/10.33153/bri.v10i2.2328.
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<p><em>Glass painting art as a “Kosa Rupa Bali” wealth especially Buleleng was very important to keep, one of them was in education. Because of that, it must be trained and directed for skill development through glass painting art extracuricular in many level, in this research focus on junior high scool especially at SMP N 3 Sukasada. The problem, that would be analyzed in this research are: (1) How are the glass painting art extracuricular learning process at SMP N 3 Sukasada. (2) How is the result of glass painting art extracurricularat SMP N 3 Sukasada. (3) What are the factor that affect the glass painting art extracuricular at SMP N 3 Sukasada. The research method that used was qualitative. The location that was choose for this research was SMP N 3 Sukasada. The technique that was used for collecting the data included: observation, interview, and documentation. The data was analysed by descriptive.</em></p><p><em> </em></p><p><em>Keywords: Learning, Ekstracuricular, Glass Painting</em></p>
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Gook, Leonid, and Halyna Khavkhun. "APPLICATION OF ART GLASS IN INTERIORS OF PUBLIC BUILDINGS." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 166–71. http://dx.doi.org/10.32347/2519-8661.2021.22-23.166-171.
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The aim of the research is to identify the compositional methods of using art glass in the interiors of public buildings in order to increase their aesthetic expressiveness. In the article the information on the history of art glass development is given. According to the results of the historical analysis, it is concluded that new directions of glass application arose with the development of new technologies of glass production and processing - this process continues to this day. An overview of the state of study of the problem, in particular the research of Kazakova L.V., F.Petryakova, Som-Serdyukova O.M., Daineko V.V., and identified the main areas in which research is conducted. The physical properties of glass and its types by technological features are considered. A historical overview of the development of gutnitsy on the territory of Ukraine. The two main trends in studio glassmaking to date have been identified and a conclusion has been drawn about the evolution of art glass from the subject form to the art object. The current state of art glass formation is characterized by associativity, metaphoricalness, and increased decorativeness. The classification of art glass according to the function of application in public interior is carried out. The basic compositional methods of placing art glass in the space of public interior are revealed. Three degrees of integration of art glass with elements of architecture are formulated: the decor on architectural elements, as a part of architectural elements, is directly an architectural and constructive element. Examples of objects that demonstrate the integration of art glass with architectural elements are given. Henri Matisse's stained glass windows in the Dominican Sisters' Chapel in Mans, France, are described as an example of the use of the "rhythm" compositional technique and Dale Chihuly's glass garden gallery in Seattle with a glass installation that dominates the pavilion. It is concluded that the choice of compositional methods of including art glass in the interior space depends on many factors - the functional purpose of the room, the specifics of space, its size, etc. and should take into account aspects of its psychological impact on man, principles of structural and compositional organization and features life processes.
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Schreiner, M., B. Frühmann, D. Jembrih-Simbürger, and R. Linke. "X-rays in art and archaeology: An overview." Powder Diffraction 19, no. 1 (March 2004): 3–11. http://dx.doi.org/10.1154/1.1649963.
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An overview of the techniques used in art and archaeology is presented and the applicability of X-ray radiography, X-ray fluorescence (XRF), and X-ray diffraction analysis (XRD) as a tool for nondestructive investigations of objects of art and archaeology is discussed. X-ray radiography, for example, is a standard technique widely used and accepted by art historians, archaeologists, curators, and conservators as this method enables information about the manufacturing process and the condition of an object without “touching” the artifact. XRF and XRD enable a nondestructive determination of the material composition of artifacts and the determination of the crystalline structure of the components too. Air path systems and instruments with the micro-beam of X-ray and synchrotron radiation were applied for the analysis of easel paintings, pigments in paint layers, glass artifacts, and coins.
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Lo, E. C. M., Y. Luo, H. P. Tan, J. E. Dyson, and E. F. Corbet. "ART and Conventional Root Restorations in Elders after 12 Months." Journal of Dental Research 85, no. 10 (October 2006): 929–32. http://dx.doi.org/10.1177/154405910608501011.
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Successful use of atraumatic restorative treatment (ART) in children has been reported, but little information is available regarding its use in older adults. The hypothesis of this study was that survival rates of root restorations placed by both ART and the conventional technique were similar. Root-surface caries lesions in 103 institutionalized elders in Hong Kong were treated randomly by either: (1) the conventional approach—caries removed by dental burs, and the cavity filled with light-cured resin-modified glass ionomer; or (2) the ART approach—caries removed by hand instruments, and the cavity filled with chemically cured high-strength glass ionomer. In total, 84 conventional and 78 ART restorations were placed. After 12 months, 63 conventional and 59 ART restorations were reviewed, and the respective 12-month survival rates were 91.7% and 87.0% (p > 0.05). It is concluded that the survival rates of both types of root restorations were high and similar.
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Raggio, Daniela Prócida, Clarissa Calil Bonifácio, Marcelo Bönecker, José Carlos P. Imparato, Anton J. de Gee, and Willem Evert van Amerongen. "Effect of insertion method on knoop hardness of high viscous glass ionomer cements." Brazilian Dental Journal 21, no. 5 (2010): 439–45. http://dx.doi.org/10.1590/s0103-64402010000500011.
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The aim of this study was to assess the Knoop hardness of three high viscous glass ionomer cements: G1 - Ketac Molar; G2 - Ketac Molar Easymix (3M ESPE) and G3 - Magic Glass ART (Vigodent). As a parallel goal, three different methods for insertion of Ketac Molar Easymix were tested: G4 - conventional spatula; G5 - commercial syringe (Centrix) and G6 - low-cost syringe. Ten specimens of each group were prepared and the Knoop hardness was determined 5 times on each specimen with a HM-124 hardness machine (25 g/30 s dwell time) after 24 h, 1 and 2 weeks. During the entire test period, the specimens were stored in liquid paraffin at 37ºC. Significant differences were found between G3 and G1/G2 (two-way ANOVA and Tukey's post hoc test; p<0.01). There was no significant difference in the results among the multiple ways of insertion. The glass ionomer cement Magic Glass ART showed the lowest hardness, while the insertion technique had no significant influence on hardness.
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Radomsky, M. "Remembering Oleksandr Pronin: the Stained Glass Art Laboratory of KSADA in 1980–2000s." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 363–82. http://dx.doi.org/10.33625/visnik2021.02.363.
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The material covers the years of creative life of a famous Ukrainian artist-monumentalist, O. Pronin (1934–2002), associated with his leadership of the Department of Monumental Painting of the Kharkiv State Academy of Design and Arts and the development of stained glass as a technique and a form of monumental and decorative art in education. The author focuses on the formation of a school of artistic stained glass in Kharkiv, the founders of which were professors Oleksandr Pronin and his wife Galyna Tishchenko. The article has some features of autobiography and is presented in the form of memoirs about the activities of the stained glass workshop of KSADA – Kharkiv Art and Industry Institute, and life of the author and the main character of the story, O. Pronin, and his students, around this workshop. These are the times of formation of the laboratory, certain stages of gaining experience in the stained glass industry, analysis of works of art and the spread of stained glass art through the work of the head of the department and laboratory and his many followers. Documentary and illustrative materials on the activities of the stained glass workshop, which was created by O. Pronin in 1967 and is still developing thanks to the efforts and activities of the author of the article, who is a direct student and a follower of the master, mention significant for Kharkiv and all Ukraine monumental art projects, behind which O. Pronin stood as the author or leader. The facts and memoirs presented by the author of the article have historical and scientific value, since the author himself took part in the creation of the stained glass laboratory of KSADA as its head. Although the emphasis is made on the 1980–2000s, which was the period of the heyday of the laboratory, the author also cites the modern works of O. Pronin’s and his own students, showing the continuity of the traditions in the Kharkiv school of stained glass.
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Sharma, Sumit, Ramya Raghu, and Ashish Shetty. "Current status of atraumatic restorative treatment in restorative dentistry." Journal of Restorative Dentistry and Endodontics 1 (May 31, 2021): 9–16. http://dx.doi.org/10.25259/jrde_8_2020.
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This review highlights the importance of atraumatic restorative treatment (ART) as a minimal intervention procedure for managing dental caries (pit and fissures caries) and restoring cavitated dentin carious lesions using restorative materials such as glass-ionomer cement. ART technique uses only hand instruments and requires no electricity. Its low cost and simplified protocol makes it more convenient and suitable for use in remote areas as well as underdeveloped nations with insufficient resources to provide the adequate restorative care. This technique can be used in all population groups including children, older people, and disabled. In the present scenario of the COVID-19 pandemic, the dental profession is facing a challenging task in managing restorative needs of the patients all over the world. ART technique is a safe and effective approach to manage the progression of carious lesions. As this technique involves no aerosol generation during the procedure, it should be well adopted in our routine practice by taking necessary precautions. The survival and retention rates of ART also appear to be fairly acceptable based on various studies.
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Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA." Jurnal Budaya Nusantara 3, no. 1 (October 23, 2019): 46–51. http://dx.doi.org/10.36456/b.nusantara.vol3.no1.a2114.
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Conventional Graphic Art is understood by academics through the history of its development.The Chinese nation is thought to have started the tradition of print as the forerunner of graphicart in its 'primitive' era, while the Romans began etching-glass techniques for portraying gladiators.Furthermore, the Japanese in the 8th century had begun their first authentic print by tracing andprinting Buddhist faces. When the Europeans used it as a printing technique as a medium forartistic expression, the word "printmaking" emerged, which was later adopted by the field of artuntil now. Later the graphic arts were increasingly used to reproduce various human needs. Inearly 1900 the Dutch introduced the technique of Graphic Printing in education at the BandungTechnical College is now the Bandung Institute of Technology. History and development ofIndonesian Graphic Arts in history began at Institute of Technology Bandung (ITB) as the firstacademic provider of formal education in the Department of Fine Arts, then now a Faculty ofFine Arts and Design (FSRD) of ITB. Conventional Graphic Printing Techniques become oneof the main areas of interest, the Graphic Arts Studio of the Fine Arts Department, then becamethe Fine Art Study Program and the Graphic Art Printing Technique until now is still the mainarea of interest and subject matter in the curriculum of the FSRD ITB Fine Arts Study Program.
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Bonifácio, Clarissa Calil, Daniela Hesse, Rachel de Oliveira Rocha, Marcelo Bönecker, Daniela Prócida Raggio, and W. Evert van Amerongen. "Survival rate of approximal-ART restorations using a two-layer technique for glass ionomer insertion." Clinical Oral Investigations 17, no. 7 (October 11, 2012): 1745–50. http://dx.doi.org/10.1007/s00784-012-0859-1.
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Cefaly, Daniela Francisca Gigo, Terezinha de Jesus Esteves Barata, Celiane Mary Carneiro Tapety, Eduardo Bresciani, and Maria Fidela de Lima Navarro. "Clinical evaluation of multisurface ART restorations." Journal of Applied Oral Science 13, no. 1 (March 2005): 15–19. http://dx.doi.org/10.1590/s1678-77572005000100004.
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The aim of this study was to evaluate the performance of two different glass-ionomer cements: a high-density (Ketac Molar - ESPE) and a resin-modified cement (Fuji VIII - GC) using the Atraumatic Restorative Treatment technique to restore multisurface cavities in permanent teeth. A total of 60 ART restorations (30 with each material) were placed in schoolchildren (9-16 years of age) by two operators. After a period of 6 months, two independent examiners evaluated 59 restorations according to the criteria used in previous ART studies. Data were submitted to McNemar and Fischer tests. The success rate of the treatment was 98.3%. One restoration (Ketac Molar) was replaced by another material and was recorded as failure. The success rates of the restorations were 100% and 96.6% for Fuji VIII and Ketac Molar, respectively. There was no statistically significant difference in the restorations success between baseline and 6 months (p>0.05). In the same way, no significant differences were found between materials, cavity types or operators (p>0.05). The ART approach was highly appropriate and effective in restorations involving two or more tooth surfaces, after 6 months. The results showed a promising performance of the ART technique with both materials.
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Bresciani, Eduardo, Wendell Lima de Carvalho, Lúcia Coelho Garcia Pereira, Terezinha de Jesus Esteves Barata, Franklin García-Godoy, and Maria Fidela de Lima Navarro. "Six-month evaluation of ART one-surface restorations in a community with high caries experience in Brazil." Journal of Applied Oral Science 13, no. 2 (June 2005): 180–86. http://dx.doi.org/10.1590/s1678-77572005000200017.
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The aim of this study to evaluate the success rate in one-surface ART restorations placed in permanent molars using a glass ionomer cement especially developed for ART in a community with high caries experience; to evaluate the operator influence on its success, post-operative sensitivity and technique acceptance by patients. Prior to placement of the restorations, the Gingival Bleeding Index, Visible Plaque Index, DMFT, dmft indices and treatment needed were assessed. One hundred and fifty five one-surface restorations were placed in permanent molars of school children, according to the WHO ART manual, 1997. After 6 months, the success rate was verified clinically and by slides. At baseline, the mean DMFT was 2.56 (±1.08) and the mean dmft, 2.53 (±2.33). Operators A and B have placed 102 and 53 ART restorations respectively. The mean time of placement was 16 minutes and 25 seconds to operator A and 14 minutes and 43 seconds to operator B. At 6-month follow up, 152 ART restorations were evaluated and 97.3% were assessed to be successful. Two restorations were excluded from the sample because the ART restorations were replaced by amalgam fillings. Only 4 restorations have failed, in which 2 due to caries, 1 due to fistula presence and the other because the restoration was lost. Four patients reported postoperative sensitivity. At this study period, ART treatment seems to be suitable for its purpose. Further evaluations are necessary to the new glass ionomer cements especially developed for ART technique provided good results at 6-month follow up in a community with high DMFT and dmft indices. The success rate for one-surface cavities in permanent molars was 97.3%, and the studied indices seemed to have no influence in this early evolution period.
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Zanata, Régia Luzia. "Research proposal: evaluation of ART in adult patients." Journal of Applied Oral Science 14, spe (2006): 25–29. http://dx.doi.org/10.1590/s1678-77572006000700006.
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The primary objective of the Atraumatic RestorativeTreatment (ART) is to reduce the indication of tooth extraction by means of a low-cost technique. Considering the difficulties of Brazilian public services to meet the demand of care of the low-income population, with lack of care to the adult population, which usually receives only emergency care, the aim of this study is to assess the performance of high-viscosity glass ionomer cements accomplished by the modified atraumatic restorative treatment in one- and multiple-surface cavities, compared to the conventional restorative approach. It will be analyzed the clinical performance of the materials; cost (material and human resources); patient satisfaction with the treatment received; and preventive effect of treatment.
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Batul Fatema Mubarak, Pathan. "THE EXPRESSIONISTIC TECHNIQUE OF PRESENTING NARRATOR AND MEMORY IN TENNESSEE WILLIAMS THE GLASS MENAGERIE." International Journal of Advanced Research 9, no. 03 (March 31, 2021): 543–45. http://dx.doi.org/10.21474/ijar01/12614.
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Expressionism was a movement in art and literature which presented a very subjective view of the world. The movement itself revolted against realism and naturalism, while the technique distorted reality, displayed the human emotions and tried to reveal the psycho-spiritual truth in the Modern world. The Glass Menagerie (1944) tells the story of a broken modern family with three characters- Tom, Laura and Amanda, all of whom live in their own reality. This familys encounter with another worldly character Jim, however, crashed their fragile world around them. In the modern era, when people are often fed extraordinary dreams through different channels, The Glass Menagerie tells the story of sufferings, unfulfilled desires, purposes, ambition, and fear of losing self, familial discord and exposes the reality to them. Tennessee Williams in his play uses expressionism to give his audiences a look into this undetected reality of the world.
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Guo, Jianli, Yusuke Matsuzawa, Gota Yamaguchi, and Hidekazu Mimura. "Atomic-level smoothing of glass and silicon surfaces by water polishing with an acrylic polymer plate." Applied Physics Letters 120, no. 9 (February 28, 2022): 094105. http://dx.doi.org/10.1063/5.0078593.
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Polishing techniques have been used since antiquity but remain important in high-value manufacturing processes in optics and semiconductor fields. State-of-the-art polishing enables the production of atomically flat surfaces of even advanced materials, such as diamond, SiC, and GaN, by exploiting the exceptional chemical characteristics of particle surfaces, fluid solutions, and pad surfaces. Although various effective chemical reactions are employed, chemical reactivities of organic polymer surfaces have not been thoroughly explored. We demonstrate a water-only and slurry-less polishing technique using an acrylic polymer plate. We investigated the possibility of glass processing with several polymer materials and found that normal acrylic polymers have remarkable properties for polishing. Glass and silicon surfaces with atomic-level flatness can be produced using only an acrylic polymer plate and water. We believe that the developed polishing methods will become popular in the future because they are simple and cost-effective processes.
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Yeung, Edward C., and Colin K. W. Chan. "Glycol methacrylate: the art of embedding and serial sectioning." Botany 93, no. 1 (January 2015): 1–8. http://dx.doi.org/10.1139/cjb-2014-0177.
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Glycol methacrylate (GMA) is a popular embedding medium used for high resolution light microscopy. Since the introduction of the GMA embedding method by Feder and O’Brien (1968, Am. J. Bot. 55: 123–142), improvements have been made to this technique. The purpose of our work is to detail some important advancements in the GMA embedding method and discuss different approaches to ensure successful processing and serial sectioning of GMA blocks. The best sectioning method is to combine the use of Ralph glass knives with a rotary microtome with a retraction return stroke. Moreover, softening the polymerized blocks with the addition of polyethylene glycol 400 during polymerization allows the blocks to be sectioned using a conventional rotary microtome with a disposable knife system.
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Maksimova, Olena. "UNCONVENTIONAL TECHNIQUES OF FINE ARTS IN WORKING WITH PRESCHOOL CHILDREN." Scientific Bulletin of Uzhhorod University. Series: «Pedagogy. Social Work», no. 1(50) (May 31, 2022): 182–85. http://dx.doi.org/10.24144/2524-0609.2022.50.182-185.
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Culture is an integral part of a child's socialization. Getting acquainted with various techniques of fine arts enriches the child's experience, worldview, ideas about the properties of the surrounding world, develops imagination, increases interest in productive activities. The article analyzes educational programs for young and preschool children in terms of their recommendations to use unconventional techniques in children's art activities; the peculiarities of the organization of teaching children unconventional techniques of fine arts in preschool education are considered; techniques available to preschoolers are offered and their essence is revealed. We used research methods such as analysis and comparison to identify the degree of attention paid by current educational programs to the introduction of unconventional techniques in children's art work; analysis, synthesis, generalization of literature, video material, observation of the activities of educators to find out the essence of unconventional techniques used today in kindergarten, their advantages and possible disadvantages. Features of work in such techniques as stamping (half of a mushroom, apple, potato, Beijing cabbage, leaves, cork, polyfoam, etc.), monotype (reflection of half of symmetrical drawing on a pure half of a sheet), aquatipia (drawing on glass, film and reflection on coated paper), drawing on snow, drawing on crumpled paper, drawing with a fork, toothbrush, cotton swabs, candle, drawing with soap bubbles, three-dimensional paints, sand, poppy, application of stabilized moss, technique «water printing», ebru technique (creating a picture on water and transferring it to paper). Uncoventional techniques of art contribute to the fact that children are more interested in this process. After all, pupils with different levels of development of artistic abilities easily get a beautiful image, feel success.
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Domingos, Patricia Aleixo dos Santos, Livia Maria Prado Fonseca, and Ana Luisa Botta Martins de Oliveira. "Reduction of dental fear and anxiety: the outlook of atraumatic restorative treatment." Journal of Research in Dentistry 3, no. 4 (January 19, 2016): 730. http://dx.doi.org/10.19177/jrd.v3e42015730-740.
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AIM: This study aimed to report a case in which the technique used was the atraumatic Restorative Treatment (ART) in patients with fear of conventional treatment. MATERIAL AND METHODS: This procedure consisted in the treatment of carious lesions in the patient associated with the program of educational and preventive measures which the patient has undergone. The technique described here was performed on tooth 85, which presented atypical carious lesion cavity, through the removal of softened carious tissue with the use of hand instruments, without anesthesia and use of direct restorative material with fluoride release (glass ionomer cement). RESULTS: As a result of this technique, there was greater patient cooperation and decrease of anxiety initially revealed. CONCLUSION: Thus, it might be concluded that the Atraumatic Restorative Treatment is a technique already established that showed clinical effectiveness in controlling the evolution of the carious process and that being well indicated, was able to induce more cooperation from the patient, leading to the success of therapy restorer. The conventional glass ionomer cement showed excessive surface wear and therefore should not be used to restore atypical cavities.
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Michalikova, Jana, Štefan Michalik, Jozef Bednarcik, Pavol Hvizdos, Matthias Alfeld, and Hermann Franz. "Strain Mapping of Indented Zr-Based Bulk Metallic Glass Using Nano-Diffraction." Key Engineering Materials 662 (September 2015): 51–54. http://dx.doi.org/10.4028/www.scientific.net/kem.662.51.
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The state-of-the-art nano-diffraction technique available at the P06 beamline of the synchrotron radiation source PETRA III was used to observe the strain distribution induced within bulk metallic glass by nano-indentation. Bulk metallic glass (BMG) with nominal composition Zr52.5Ti5Cu17.9Ni14.6Al10 at.% was prepared by conventional copper mold injection casting. Using the Berkovich indenter a series of indents forming a line was introduced on to the polished surface of the BMG sample. It has been shown that spatially resolved matrix scans with a nanometer sized beam (600 × 600 nm2) can identify positions of the indents and quantitatively describe the strain state after nano-indentation.
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Kunešová, Jana. "Podmalby na skle ze sbírek Oddělení starších českých dějin Národního muzea. Příspěvky k tvorbě Gerharda Janssena, Daniela Preisslera, Vincenze Jankeho a jejich současníků. K fenoménu a uplatnění techniky verre églomisé. I. část." Časopis Národního muzea. Řada historická 190, no. 1-2 (2022): 59–92. http://dx.doi.org/10.37520/cnm.2021.003.
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Reverse paintings on glass from the collections of the Department of Older Czech History of the National Museum. Articles regarding the works of Gerhard Janssen, Daniel Preissler, Vincenz Janke and their contemporaries. In regard to the phenomenon and application of the verre églomisé technique, part I. This two-part paper presents a diverse collection of approximately 120 reverse paintings on glass produced in the Czech lands and Central Europe, from the beginning of the 18th century to the second half of the 19th century. The first part is devoted to their topics from the aspect of religion, allegory, landscape and genre and also discusses their iconography, authorship, templates, techniques (particularly verre églomisé) and provenience in the context of Czech and foreign collections. The most valuable of these items include newly identified Baroque works by Gerhard Janssen, the allegorical cycle by Daniel Preissler and works by the Augsburg School. The 19th century is dominated by the workshop of Vincenz Janke producing works falling between art and craftwork, and specific regional works, which are also represented by folk paintings. The second (prepared) part of the thesis will be separately devoted to portrait reverse paintings on glass.
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Palupi, Ajeng Putri. "Nilai Estetika yang Terdapat pada Limbah Kaca di Galeri Otak Atik Daerah Yogyakarta." INVENSI 4, no. 1 (July 9, 2019): 43–52. http://dx.doi.org/10.24821/invensi.v4i1.2669.
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Abstrak
Limbah kaca adalah bahan yang sulit diuraikan dan bersifat tajam, banyak ditemukan di sekitar lingkungan. Limbah kaca dianggap sebagai benda yang tidak memiliki nilai, oleh sebab itu diperlukan suatu proses pengolahan limbah kaca agar menghasilkan suatu hiasan kaca yang bernilai estetik. Selain itu, pemilihan bahan baku kaca sangat berpengaruh pada hasil jadi pembuatan hiasan kaca tersebut. Proses pengolahan limbah kaca ini sangat menarik untuk diteliti karena prosesnya yang berbeda dengan hasil yang sangat menarik.
Metode pengumpulan data yang digunakan adalah metode deskriptif
kualitatif. Teknik pengumpulan data yang digunakan adalah teknik observasi, teknik wawancara dan teknik dokumentasi. Analisis data yang digunakan adalah analisis data menggunakan pendekatan estetika. Seniman kaca di Galeri Otak Atik Yogyakarta ingin menciptakan inovasi baru dengan cara mengubah limbah kaca, barang yang dianggap berbahaya dan tidak berguna menjadi suatu karya seni yang memiliki estetik tinggi. Dengan keterampilan yang dimiliki seorang seniman, kaca mampu menciptakan suatu karya seni yang sangat indah dan unik.
Abstract
Glass waste is a material that is sharp and difficult to decipher. It is widely found around the environment. Glass waste is considered a thing that has no value. To make it valuable, it is required processing steps to produce an aesthetic glass decoration. In addition, the selection of glass raw materials is very influential on the finish products of glass ornaments. The processing of glass waste is a very interesting topic for a research because the processing steps are different from other aesthetic products. Data collection method used is descriptive qualitative method. Data collection methods used are observation, interview, and documentation technique. Data analysis used in this research is data analysis using aesthetic approach. Glass artists at the Yogyakarta Otak Atik Gallery want to create new innovations by changing glass waste, that is considered harmful and useless good, into a work of art that has a high aesthetic value. The skills of the glass artists can create a work of art that is very beautiful and unique.
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Jungmeier, Ariane, Wolfgang Wildner, Dietmar Drummer, and Ines Kühnert. "Compression-Induced Solidification: A Novel Processing Technique for Precise Thermoplastic Optical Components with Negligible Internal Stresses." ISRN Optics 2012 (July 1, 2012): 1–10. http://dx.doi.org/10.5402/2012/872816.
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In the field of optical components, thermoplastics are replacing more and more glass mainly because of their better freedom of design and their cost-effective processing techniques. Nevertheless, especially lenses do not have an ideal design for plastic processing, because of their varying thickness from the centre to the edge. These lead to great differences in shrinkage due to the dif-ferent coefficients of thermal expansion of melt and solid state and, consequently, directly lead to warpage and residual stresses with state-of-the-art processing techniques. A promising solution is a new, innovative technique—compression-induced solidification (CIS)—where the melt is compressed at constant temperature until it solidifies. This results in isochronic solidification of the whole part even at high temperatures and reduces residual stresses and warpage due to the cooling of a body with homogenous shrinkage. In this paper, CIS integrated in the injection molding process is introduced, and the influence of process parameters on inner properties and dimensional accuracy of CIS polycarbonate parts are illustrated. Trials carried out indicate that an optimum level of compression pressure at the end of glass transition range and a sufficiently long period of holding time (hereinafter the adapting time) for reaching homogeneous temperatures within the melt until pressure is applied will generate parts with low residual stresses and high dimensional accuracy.
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Ratnayake, Jithendra, Arthi Veerasamy, Hassan Ahmed, David Coburn, Carolina Loch, Andrew R. Gray, Karl M. Lyons, et al. "Clinical and Microbiological Evaluation of a Chlorhexidine-Modified Glass Ionomer Cement (GIC-CHX) Restoration Placed Using the Atraumatic Restorative Treatment (ART) Technique." Materials 15, no. 14 (July 20, 2022): 5044. http://dx.doi.org/10.3390/ma15145044.
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The aims of this study were to investigate the clinical effectiveness and patient acceptability of a modified glass ionomer cement placed using the atraumatic restorative treatment (ART) technique to treat root caries, and to carry out microbiological analysis of the restored sites. Two clinically visible root surface carious lesions per participant were restored using ART. One was restored with commercial glass ionomer cement (GIC) (ChemFil® Superior, DENTSPLY, Konstonz, Germany) which acted as the control. The other carious root lesion was restored with the same GIC modified with 5% chlorhexidine digluconate (GIC-CHX; test). Patient acceptability and restoration survival rate were evaluated at baseline and after 6 months. Plaque and saliva samples around the test and control restorations were collected, and microbiological analysis for selected bacterial and fungal viability were completed at baseline, and after 1, 3, and 6 months. In total, 52 restorations were placed using GIC and GIC-CHX in 26 participants; 1 patient was lost to follow-up. After reviewing the restorations during their baseline appointments, participants indicated that they were satisfied with the appearance of the restorations (n = 25, 96%) and did not feel anxious during the procedure (n = 24, 92%). Forty-eight percent (n = 12) of the GIC-CHX restorations were continuous with the existing anatomic form as opposed to six for the GIC restorations (24%), a difference which was statistically significant (p = 0.036). There was no statistically significant reduction in the mean count of the tested microorganisms in plaque samples for either type of restorations after 1, 3, or 6 months. Restoration of carious root surfaces with GIC-CHX resulted in higher survival rates than the control GIC. ART using GIC-CHX may therefore be a viable approach for use in outreach dental services to restore root surface carious lesions where dental services are not readily available, and for older people and special needs groups.
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Shintome, Luciana Keiko, Marcos Paulo Nagayassu, Rebeca Di Nicoló, and Silvio Issáo Myaki. "Microhardness of glass ionomer cements indicated for the ART technique according to surface protection treatment and storage time." Brazilian Oral Research 23, no. 4 (December 2009): 439–45. http://dx.doi.org/10.1590/s1806-83242009000400014.
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Tak Ho, Tom Fu, Roger Joseph Smales, and Daniel Tak Sang Fang. "A 2-year clinical study of two glass ionomer cements used in the atraumatic restorative treatment (ART) technique." Community Dentistry and Oral Epidemiology 27, no. 3 (June 1998): 195–201. http://dx.doi.org/10.1111/j.1600-0528.1998.tb02010.x.
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Tak Ho, Tom Fu, Roger Joseph Smales, and Daniel Tak Sang Fang. "A 2-year clinical study of two glass ionomer cements used in the atraumatic restorative treatment (ART) technique." Community Dentistry and Oral Epidemiology 27, no. 3 (June 1999): 195–201. http://dx.doi.org/10.1111/j.1600-0528.1999.tb02010.x.
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MAZZOLDI, P., G. W. ARNOLD, G. BATTAGLIN, F. GONELLA, and R. F. HAGLUND. "METAL NANOCLUSTER FORMATION BY ION IMPLANTATION IN SILICATE GLASSES: NONLINEAR OPTICAL APPLICATIONS." Journal of Nonlinear Optical Physics & Materials 05, no. 02 (April 1996): 285–330. http://dx.doi.org/10.1142/s0218863596000209.
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Implantation of metal ions (e.g., silver, copper, gold, lead) in glass substrates leads under certain circumstances to the formation of nanometer-radius colloidal particles in a thin surface layer. These particles exhibit an electron plasmon resonance which depends on the optical constants of the implanted metal and on the refractive index of the glass host. The nonlinear optical properties of such colloids, in particular the enhancement of optical Kerr susceptibility by both dielectric and quantum-confinement effects, suggest that the ion implantation technique may play an important role for the production of all-optical switching devices. A review of the state-of-the-art of the research in this field will be presented from the perspective of the nonlinear optical properties of ion-implanted glasses.
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Arroyo, Elsa, Adriana Cruz Lara, Manuel Espinosa, José Luis Ruvalcaba, Sandra Zetina, Elsa Hernández, and Shannon Taylor. "The Influence of Glass in the Color of Red Lakes Layers in Oil Painting: A Case Study in a Pictorial Series Attributed to Murillo Located in Guadalajara, Mexico." MRS Proceedings 1374 (2012): 61–72. http://dx.doi.org/10.1557/opl.2012.1378.
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ABSTRACTThis paper discuss the presence of powdered glass and quartz integrated in the red lake layers of two paintings attributed to the Sevillian painter Bartolome Esteban Murillo that belongs to the Guadalajara’s Regional Museum’s art collection. A laboratory experimental reproduction of the Sevillian painting technique was made using three different lakes (cochineal, madder lake and brazilwood) mixed with four varieties of glass to explore the optical properties and the influence of the transparent and translucent aggregates into the oil paint layers. The experimental reproductions were analyzed using ultraviolet-visible spectroscopy, optical and fluorescence microscopy and scanning electron microscopy (SEM-EDX). A comparison between the originals and the reproduced red lakes layers was carried out to understand the artistic process of Murillo’s color application. Preliminary results suggest that glass was not used as a siccative agent as the historical treatises mentioned but mainly as an additive to increase brightness, thickness and color saturation of the red lake layers related to the artist’s intention.
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Wu, Shih-Jeh, Hsiang-Chen Hsu, and Wen-Fei Lin. "GLASS CUTTING WITH ELONGATION OPTICS IN COMPARISON TO CONVENTIONAL METHODS BY LASER." Transactions of the Canadian Society for Mechanical Engineering 40, no. 5 (December 2016): 923–32. http://dx.doi.org/10.1139/tcsme-2016-0076.
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In this study, the authors applied a pico-second 532 nm laser with state of art elongated optics on cutting soda lime glasses and compared the results with three other methods by conventional focusing technique namely; dice-and break, direct wobbling cut (both by UV laser), and stealth cut (by pico-second IR laser). The dice-and-break method has the fastest speed, however, the roughness is poor. The wobbling method is poor in both roughness and cutting speed. The dual-focused beam has the smoothest cross-section with fast speed in one step. Of the four methods, the elongation optics has the best overall performance. The improved quality attributes to a well-managed energy distribution.
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Lohtaja, Aleksi, and Taneli Viitahuhta. "Walter Benjamin, taiteen toinen tekniikka ja avantgarden kulttuuripolitiikka." Kulttuuripolitiikan tutkimuksen vuosikirja 3, no. 1 (May 2, 2018): 38–50. http://dx.doi.org/10.17409/kpt.63289.
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This article provides a fresh look into Walter Benjamin’s famous essay, “Artwork in the Age of Mechanical Reproduction” (1936). Following Benjamin scholar Esther Leslie, we claim that Benjamin’s lesser-known concept of “second technique” is integral for understanding both the meaning of essay as well as mapping the political and artistic aims of the 1920’s avant-garde movements in general. The article is structured around two cases of avant-garde, both of which are central already for Benjamin, but remain somewhat under-theorized in connection to Benjamin. These are the Soviet constructivist film and the idea of glass construction in Weimar-era German architecture.
Keywords: Walter Benjamin, second technique of art, avantgarde, film, architecture
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Kıbrıslı, Orhan, Erdinç Erol, Ali Erçin Ersundu, and Miray Çelikbilek Ersundu. "CdSe and CsPbBr3 quantum dot Co-doped monolithic glasses as tunable wavelength convertors." Journal of Physics D: Applied Physics 55, no. 10 (November 30, 2021): 105301. http://dx.doi.org/10.1088/1361-6463/ac3b10.
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Abstract CdSe and CsPbBr3 quantum dots (QDs) are well studied photoluminescent materials due to their extraordinary emission properties. However, their vulnerability against environmental conditions limits their integration into further applications. At this point, glass encapsulation offers promising durability features due to its robust and dense structure. In this study, CdSe and CsPbBr3 QDs are successfully synthesized in the same glass host through the melt-quenching technique followed by a single heat-treatment process. Excitation wavelength dependent photoluminescence properties are investigated and emission color tunability of monolithic glasses from yellow-green to red is demonstrated. Favorable quantum yield values are obtained as 21.78% and 16.63% under 345 and 365 nm excitation wavelengths, respectively. The prepared glasses demonstrate high potential to be used as tunable wavelength convertors for state-of-the-art photonic and opto-electronic applications.
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Prabhakar, A., V. Raja Sekhar, and Ameet Kurthukoti. "Leaching of Ions from Materials used in Alternative Restorative Technique under Neutral and Acidic Conditions: A Comparative Evaluation." Journal of Clinical Pediatric Dentistry 34, no. 2 (December 1, 2009): 125–30. http://dx.doi.org/10.17796/jcpd.34.2.y0860544254x7371.
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This study was undertaken to gain an insight into the interaction of conventional glass ionomers (GC Fuji II, GC Fuji IX GP and Chem Flex™ restorative materials) commonly used in Alternative Restorative Technique(ART) with aqueous solutions in terms of water sorption, solution buffering and ion release. Both immature and mature specimens of all materials evaluated, showed a substantial increase in mass, pH and release of Na, Ca, Sr, Al, Si, P and F following immersion in deionized water, lactic acid (pH 2.7) and lactic acid (pH 5.2). However, the ion release profiles were found to be greater in acidic media (Lactic Acid pH 2.7 > Lactic Acid pH 5.2) than in deionized water.
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Widiarti, Lisa, and Eliya Pebriyeni. "KARYA SENI GLASS PAINTING SEBAGAI OBJEK PENGEMBANGAN PEMBELAJARAN SENI RUPA DAN KETERAMPILAN DI SMPN 1 DAN SMPN 2 KOTA PADANG." Gorga : Jurnal Seni Rupa 8, no. 1 (July 2, 2019): 167. http://dx.doi.org/10.24114/gr.v8i1.12986.
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AbstrakPelaksanaan pendidikan seni rupa di sekolah umum terutama tingkat pendidikan lanjutan harus berdasarkan prinsip bahwa pendidikan seni merupakan wahana bermuatan edukatif dan membangun kreativitas siswa. Orientasi mata pelajaran Seni budaya/Seni Rupa di SMP adalah memfasilitasi pengalaman emosi, intelektual, fisik, konsepsi, sosial, estetis, artistik dan kreativitas kepada siswa dengan melakukan aktivitas apreasiasi dan kreasi terhadap berbagai produk benda di sekitar siswa yang bermanfaat bagi kehidupan manusia. Pemilihan media yang tepat dalam berkarya seni bagi siswa merupakan hal yang tepat untuk terciptanya hasil karya yang kreatif dan juga akan membuat siswa lebih tertarik dalam pembelajaran dan akan berlangsung dengan menyenangkan. Namun dalam pelaksanaannya, mata pelajaran Seni Budaya seringkali digantikan dengan mata pelajaran lain dikarenakan banyak guru yang tidak menguasai materi pembelajaran Seni Budaya tersebut. Kenyataan di lapangan, khususnya pembelajaran dalam bidang Seni rupa dan keterampilan dihadapkan dengan berbagai permasalahan, diantaranya kualitas keahlian tenaga pengajar serta waktu pembelajaran pada setiap pertemuan di kelas yang sangat singkat. Hal ini menjadikan guru sulit menyelesaikan materi yang digariskan oleh GBPP; dan akhirnya mengakibatkan masalah materi pembelajaran menjadi rancu karena sering berubah-ubah. PKM ini difokuskan kepada aspek pelatihan terhadap guru dalam mengatasi masalah penguasaan materi dan alternatif bahan yang dapat dimanfaatkan untuk praktikum pada pembelajaran Seni Rupa. Salah satu upaya dalam pengembangan media berkarya yang menyenangkan bagi siswa yaitu membuat karya seni glass painting, dengan menggunakan media kaca, gelas atau memanfaatkan botol-botol kaca bekas. Dalam hal ini para guru akan diajarkan bagaimana memanfaatkan bahan bekas seperti kaca atau botol-botol kaca, untuk membuat karya seni murni atau terapan yang relatif mudah untuk diajarkan kepada murid SMP serta relatif membutuhkan waktu yang cukup singkat. Penentuan masalah prioritas dilakukan bersama antara Tim Pelaksana dengan Pimpinan Mitra. Pemecahan masalah dilakukan dengan metode: (1) ceramah, (2) demonstrasi/peragaan, dan (3) pelatihan dengan bimbingan para instruktur dan diakhiri dengan tanya jawab. Rencana target luaran kegiatan adalah: (1) mempublikasikan artikel pelatihan (2) peningkatan pemahaman guru mitra tentang pengertian, teknik dan proses yang cukup sederhana dalam memanfaatkan media kaca, dan (3) menghasilkan produk / karya: minimal setiap peserta menghasilkan dua karya seni glass painting, berupa satu karya seni murni dan satu lagi karya seni terapan.Kata Kunci: karya seni glass painting, proses, teknik..AbstractThe implementation of fine arts education in public schools, especially the level of further education, must be based on the principle that art education is an educationally charged vehicle and builds students' creativity. The subject orientation of Cultural / Fine Arts in Middle School is facilitating emotional, intellectual, physical, conception, social, aesthetic, artistic and creativity experiences to students by carrying out activities of appreciation and creation of various objects products around students that benefit human life. Choosing the right media in creating art for students is the right thing to create creative work and will also make students more interested in learning and will take place pleasantly. But in its implementation, Cultural Arts subjects are often replaced with other subjects because many teachers do not master the Cultural Arts learning material. Reality in the field, especially learning in the field of Fine Arts and skills are faced with various problems, including the quality of the teaching staff's expertise and the learning time at each meeting in a very short class. This makes it difficult for teachers to complete the material outlined by GBPP; and finally resulting in the problem of learning material becoming ambiguous because it often changes. This PKM is focused on aspects of training of teachers in overcoming the problem of mastering the material and alternative materials that can be used for practicum in the learning of Fine Arts. One effort in developing creative media is fun for students, namely making glass painting artworks, using glass media, glass or using used glass bottles. In this case the teachers will be taught how to use used materials such as glass or glass bottles, to make pure or applied works of art that are relatively easy to teach to middle school students and relatively require a relatively short amount of time. Determination of priority issues is carried out jointly between the Implementation Team and the Partner Leaders. Problem solving is done by methods: (1) lectures, (2) demonstrations / demonstrations, and (3) training with the guidance of instructors and ending with questions and answers. The activity target plan is: (1) publishing training articles (2) improving the understanding of partner teachers about understanding, techniques and processes that are quite simple in using glass media, and (3) producing products / works: at least each participant produces two glass artworks painting, in the form of one pure art work and one applied art work. Keywords: glass painting, process, technique, artwork.
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Bolon, Brad, Ingrid D. Pardo, and Georg J. Krinke. "The Science and Art of Nerve Fiber Teasing for Myelinated Nerves: Methodology and Interpretation." Toxicologic Pathology 48, no. 1 (May 22, 2019): 49–58. http://dx.doi.org/10.1177/0192623319850773.
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Nerve fiber teasing is a sensitive technique utilized in diagnostic neuropathology practice, laboratory research, and animal toxicity studies for characterizing changes in single myelinated nerve fibers over extended distances. In animal toxicity studies, a nerve portion (approximately 10 mm in length) is stained with Sudan black for 24 to 48 hours and then transferred into a drop of viscous medium (eg, glycerin) mounted on an adhesive-coated glass slide, positioning it such that the proximodistal orientation is known. Individual fibers are removed using fine forceps while the sample is viewed under a stereomicroscope. In general, lesions can be identified during teasing, but more detailed characterization and photodocumentation is undertaken once nerve fibers have been dried and coverslipped. Nerve fiber teasing is particularly useful for distinguishing early stages of axonal degeneration (which presents as ovoid fiber fragments in the midinternodal region) from segmental demyelination (which presents as loss of original myelin segments and their replacement by thinner, shorter segments in the absence of axonal damage). The slow, laborious nature of nerve fiber teasing dictates that the technique will be employed on a few samples as an auxiliary method to better define the pathogenesis of nerve lesions first identified by conventional histopathologic assessment.
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Sajapala, Suraphan. "HDliveFlow in the Assessment of Fetal Circulation." Donald School Journal of Ultrasound in Obstetrics and Gynecology 9, no. 4 (2015): 462–70. http://dx.doi.org/10.5005/jp-journals-10009-1433.
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ABSTRACT With the appearance of the latest three/four-dimensional (3D/4D) ultrasound machine (HDliveFlow, Voluson E10, GE Healthcare, Zipf, Austria), HDliveFlow with glass-body rendering mode or silhouette mode will facilitate more precise assessments of the fetal heart and peripheral circulation. The resolution of 3D/4D color/power Doppler using the HDlive technique shows a significant improvement compared to conventional 3D/4D color/power Doppler and the fetal heart with great vessels, small peripheral vessels, and placental blood flow can now be clearly recognized. HDliveFlow with glass-body rendering mode or silhouette mode combines the advantages of a spatial view of the great arteries in addition to the visualization of anatomical landmarks, such as the spine or diaphragm. Its use may provide potential advantages in cases of congenital heart anomalies and placental vascularity over the use of conventional 3D/4D color/power Doppler. This novel technique may assist in the evaluation of the fetal cardiovascular system and fetoplacental vascularity, and offer potential advantages relative to conventional 2D color/power Doppler assessments. In this article, we present the latest state-of-the-art HDliveFlow with glass-body rendering mode or silhouette mode of normal and abnormal fetal hearts, placentas, and umbilical cords. We also discuss the present and future applicability of 3D/4D color/ power Doppler to assess the fetal circulation. HDliveFlow with glass-body rendering mode or silhouette mode may become an important modality in future research on fetal cardiac and placental blood flow, and assist in the prenatal diagnosis of fetal congenital heart disease and placental vascular abnormalities. How to cite this article Hata T, AboEllail MAM, Sajapala S, Ito M. HDliveFlow in the Assessment of Fetal Circulation. Donald School J Ultrasound Obstet Gynecol 2015;9(4):462-470.
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ROCHA, Marcia Falleiros Evangelista da, Mitsue FUJIMAKI, Renata Corrêa PASCOTTO, Lucila Lemuch Castilho MENDES, Carla Martins LACERDA, Omar Cléo PEREIRA, Renata Iani WERNECK, and Raquel Sano Suga TERADA. "Survival analysis of ART restorations in primary molars of preschool children: 1 year follow-up." Revista de Odontologia da UNESP 47, no. 2 (March 2018): 112–18. http://dx.doi.org/10.1590/1807-2577.03318.
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Abstract Among the minimally invasive approaches available today, the atraumatic restorative treatment (ART) has demonstrated promising results both in the primary and permanent dentition. Objective To evaluate the survival of Class I ART restorations in preschoolers with two Brazilian brands of glass ionomer cements (GIC) in comparison with a reference GIC. Material and method The cavities of 49 preschool children (three to five years) with carious lesions in the posterior teeth (N=81) were filled by two experienced pediatric dentists according to the ART technique. The Brazilian GICs Maxxion-R (MR) and Vitro-Fil LC (VF), and the reference GIC Ketac-Molar (KM) were placed in a randomly pre-established sequence. Restorations were evaluated after 6 and 12 months by another investigator. Scores 0 and 1 were considered successful, while scores 3-9 were classified as failures. Kaplan-Meier survival analysis and the log-rank test were performed (p<0.05). Result No statistically significant differences in survival rates of the tested GIC were observed after 12 months. Conclusion The clinical performance the low-cost Brazilian GICs MR and VF observed after 12 months suggests that they may be an alternative for Class I ART restorations to safeguard the natural exfoliation of primary teeth. However, until further studies involving a larger number of restorations and longer follow-up periods are conducted, reference GIC such as KM should continue to be the material of choice for ART restorations.
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Vieira, Ana Luiza Falavinha, Nildiceli Leite Melo Zanella, Eduardo Bresciani, Terezinha de Jesus Esteves Barata, Salete Moura Bonifácio da Silva, Maria Aparecida de Andrade Moreira Machado, and Maria Fidela de Lima Navarro. "Evaluation of glass ionomer sealants placed according to the ART approach in a community with high caries experience: 1-year follow-up." Journal of Applied Oral Science 14, no. 4 (August 2006): 270–75. http://dx.doi.org/10.1590/s1678-77572006000400011.
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The aim of this study was to investigate the retention rates and effect on occlusal caries incidence of two glass ionomers used as sealants, placed according to the Atraumatic Restorative Treatment (ART) approach, in a high caries-risk community. A total of 150 newly erupted first molars of 42 schoolchildren, between 6-8 years of age were selected. The teeth were divided into two groups: experimental and control groups. In the experimental group, 76 teeth were sealed using Vidrion R-SS White (conventional GIC) and in the control group, 74 teeth were sealed using ChemFlex-Dentsply (high-viscosity conventional GIC). The sealants were applied by one operator following the "press finger technique", described in the ART-WHO manual. Two calibrated independent examiners carried out the evaluation according to the ART criteria. The intra and inter-examiner agreements were 0.84 and 0.81, respectively. Data were submitted to Mann-Whitney and Chi-square tests (p<0.05). At the 1-year follow-up, 136 (90.7%) sealants were evaluated. In the control group: 28 (41.8%) of the sealants were partially or completely retained, 38 (56.7%) completely lost, and 1 (1.5%) was replaced by another treatment. In the experimental group, 30 (43.5%) of the sealants were partially or completely retained, 38 (55.1%) were clinically scored as complete loss and 1 (1.4%) were replaced by another treatment. Seven sealants in both groups were not evaluated. Secondary caries was not observed in both groups. There was no statistically significant difference between the retention (p=0.49) and effect on caries incidence rates for both groups (p=0.84). The clinical performance of the glass ionomer sealants of both groups was considered satisfactory with a high success rate (98.5%). Although the sealants placed according to the ART approach showed retention rates lower than 50% after 1 year in newly erupted first molars, this approach seems to be appropriate for communities with high caries experience.
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Koshkina, Olga Yu. "The Art of Old Artists as a Source of Inspiration in the Bookplates by Konstantin Kalinovich." Observatory of Culture 19, no. 5 (November 14, 2022): 536–48. http://dx.doi.org/10.25281/2072-3156-2022-19-5-536-548.
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Konstantin Yuryevich Kalinovich (b. 1959), an artist and illustrator who demonstrates exclusive techniques and a high degree of detail in the field of printed graphics, is the owner of a large number of international awards, prestigious art prizes and the title of Corresponding Member of the Royal Society of Painter-Printmakers of the United Kingdom (1992). K.Yu. Kalinovich’s professionalism is also convincingly manifested in small forms — in the art of ex-libris. The artist’s formation as an etcher began in the Leningrad period of his studies in the experimental lithographic workshop of the Leningrad Institute of Civil Engineering under the guidance of G.P. Pakharevsky, and then continued at the Faculty of Graphics of the Ivan Fyodorov Ukrainian Polygraphic Institute. The creative heritage of A. Brunovsky and personal acquaintance with the Slovak master had a great influence on the formation of the individual graphic style. The artist’s bookplates, made in etching, are often homages in memory of old masters: the images created by H. Bosch, Pieter Bruegel the Elder, A. Dürer, H. Avercamp, J. Vermeer, and Rembrandt excite and inspire him to visual interpretation. The chosen range of artistic means is miniature, synthesis, printmaking as an independent expression of ex-libris. The technique is etching, less often watercolor, gouache. The type is a plot bookplate with the preserved function of belonging to a private library and the implementation of the customer’s idea. To the depth, picturesqueness and wide tonal range of etching, the artist adds original technical features: a dial from an old clock is selected as an etching board, and details of the clock mechanism are involved in the image base, correcting and warping the format and field of the etching with blind impressions. The plot echoing with the great artists and the meticulous thoroughness of K.Yu. Kalinovich’s technique generate original stories about the joy and pain of being, framed by a high form of appreciation for the art of the past. In the works of Kalinovich, the involvement in the composed metaphysical world, the visual images of which are fantastically realistic, monstrously attractive and historically filled, is clearly accentuated. The homage to the old artists’ art in Kalinovich’s bookplates is his world, forcing the viewers to reach for a magnifying glass so as not to miss a single line, while mastering the knowledge of the world art history.
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Machoy, Monika, Julia Seeliger, Liliana Szyszka-Sommerfeld, Robert Koprowski, Tomasz Gedrange, and Krzysztof Woźniak. "The Use of Optical Coherence Tomography in Dental Diagnostics: A State-of-the-Art Review." Journal of Healthcare Engineering 2017 (2017): 1–31. http://dx.doi.org/10.1155/2017/7560645.
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Optical coherence tomography provides sections of tissues in a noncontact and noninvasive manner. The device measures the time delay and intensity of the light scattered or reflected from biological tissues, which results in tomographic imaging of their internal structure. This is achieved by scanning tissues at a resolution ranging from 1 to 15 μm. OCT enables real-time in situ imaging of tissues without the need for biopsy, histological procedures, or the use of X-rays, so it can be used in many fields of medicine. Its properties are not only particularly used in ophthalmology, in the diagnosis of all layers of the retina, but also increasingly in cardiology, gastroenterology, pulmonology, oncology, and dermatology. The basic properties of OCT, that is, noninvasiveness and low wattage of the used light, have also been appreciated in analytical technology by conservators, who use it to identify the quality and age of paintings, ceramics, or glass. Recently, the OCT technique of visualization is being tested in different fields of dentistry, which is depicted in the article.
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Chistyakova, Olga. "Artistic and Stylistic Features of Yusupov Glassworks in Arkhangelskoye." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 125–38. http://dx.doi.org/10.36340/2071-6818-2019-15-3-125-138.
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The article deals with the main periods, the history of the emergence of Yusupov glassworks in the Arkhangelskoye estate and its importance in the development of Russian glass art. Yusupov glass-making in Arkhangelskoye was developing under the influence of European trends in shaping and decoration in synthesis with the Russian tradition and the specifics of Russian materials, raw material bases and national perspective on the wide range of techniques and technologies. The author pays special attention to the artistic, stylistic and technological features of the manufactured products, as well as to the decor specifics of cut glass technique. Author divided the history of the Yusupov factory into two main stages. The first one lasted from 1811 to 1820. During this time the enterprise was operating as a full-scale production and the process of manufacturing crystalware or glassware was going through all stages: from the preparation of the mixture and the cooking of “crystal material” to the decorative processing of finished objects. Although in fact such a cycle was fully followed only three times in the period of 1814-1816. However, the institution was regarded as a factory from 1811 until 1820, and only after the fire, the idea of reviving the production was finally rejected. During the second stage, from 1820 to early 1827, the factory was turned into a lapidary workshop, where the craftsmen were engaged in decorative processing of the purchased unfinished glassware. The identification of stylistic features and characteristic techniques of processing the products made in the estate factory and their evolution at different periods of the production history makes it possible to attribute the tableware of N. Yusupov’s enterprise in the collections of other museums. Moreover, the results could provide the basis for the re-emergence of the lapidary workshop in the modern Arkhangelskoye Estate Museum where craftsmen could reproduce the decorative techniques typical of the Yusupov factory based on the finished unprocessed glassware.
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Siregar, Samuel Joan Parasian. "Tinjauan Estetika Hiasan Kaca Patri Pada Gereja Katolik Inkulturatif Paroki Santo Fransiskus Asisi Berastagi Berdasarkan Prinsip Seni Rupa." Journal of Education, Humaniora and Social Sciences (JEHSS) 4, no. 2 (October 24, 2021): 660–70. http://dx.doi.org/10.34007/jehss.v4i2.713.
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This study aims to describe the aesthetic quality of the stained glass decoration work at the Catholic Church of St. Francis of Asisi Berastagi based on the principles of fine arts, especially in the aspects of unity, balance, rhythm, proportion, composition, and center of interest. This study used descriptive qualitative method. The subjects in this study were part of the stained glass in the Catholic Church of St. Francis of Asisi, which is also a sample in this study, amounting to five samples. The sampling technique used was total sampling. The results of this study explain that the visual quality of the stained glass works in the Catholic Church of St. Francis, if viewed based on the principles of art, shows some deficiencies in these works can be seen from the number of works that only get points below three (<3), wrong the only thing is that there are still most of the works that have shortcomings in terms of composition and there is no balance in them, this is due to the color selection and placement of objects that are not quite right, plus there are still some deficiencies in the objects that are formed that are not proportional. However, even so, there are still some works that have sufficient to excellent quality, where these works are able to get points above three (> 3).
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Gangalakurti*, Laxminarayana, K. Venugopal Reddy, and I. M. Chhabra. "Multi-layer Laser Mirrors for Optical Sensors Deposited by Electron Beam Deposition and Ion Assisted Electron Beam Deposition." International Journal of Engineering and Advanced Technology 10, no. 3 (February 28, 2021): 249–55. http://dx.doi.org/10.35940/ijeat.c2153.0210321.
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High reflectivity and low loss mirrors are very much essential for state-of art sensors like Ring Laser Gyroscopes widely used for navigation of moving platforms. Surface scattering is the main source of loss for the Laser mirrors of high reflectivity. Surface scattering also lead to coupling of back reflected light leading to dead band of optical sensors at low input rotation. Super polished glass substrates have been prepared from low expansion glass ceramic material. Surface roughness is achieved about 3-5Å (RMS value) for the ceramic glass substrates prior to thin film coating. The substrates are deposited with 41 alternative layers of SiO2 and Ta2O5 of Quarter-Wave optical thickness with Electron Beam Deposition (EBD) technique. Ion beam Assisted Electron Beam Deposition (IAEBD) is used for another batch of substrates to coat identical stack of layers on glass substrates of the same surface quality. The key process parameters of both the coating processes are presented. The optical constants of the films are evaluated with spectroscopic Ellipsometer from 400nm to 1600nm. Total Integrated Scattering is estimated from the achieved surface finishing of mirrors deposited. The multi-layer coatings are characterized with UV-Vis-IR Spectrophotometer and Cavity Ring Down(CRD) loss meter. The quantitative optical loss of the mirrors is measured at 45o angle of incidence with CRD loss meter. The merits of ion assisted EB process over simple EB coating processes are evaluated against optical constants of thin films and performances of mirrors. Fitness of the processes for realizing Laser mirrors for optical sensors at 632.8nm is evaluated.
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Mallow, Durward, and Klaipo. "Restoration of permanent teeth in young rural children in Cambodia using the atraumatic restorative treatment (ART) technique and Fuji II glass ionomer cement." International Journal of Paediatric Dentistry 8, no. 1 (March 1998): 35–40. http://dx.doi.org/10.1046/j.1365-263x.1998.00058.x.
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Bresciani, Eduardo, Terezinha de Jesus Esteves Barata, Ticiane Cestari Fagundes, Akimi Adachi, Marina Martins Terrin, and Maria Fidela de Lima Navarro. "Compressive and diametral tensile strength of glass ionomer cements." Journal of Applied Oral Science 12, no. 4 (December 2004): 344–48. http://dx.doi.org/10.1590/s1678-77572004000400017.
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The aim of this study was to compare, in different periods of time, the compressive and diametral tensile strength of a traditional high viscous glass ionomer cement: Fuji IX (GC Corporation), with two new Brazilian GIC's: Vitro-Molar (DFL) and Bioglass R (Biodinamica), all indicated for the Atraumatic Restorative Treatment (ART) technique. Fifteen disk specimens (6.0mm diameter x 3.0mm height) for the diametral tensile strength (DTS) test and fifteen cylindrical specimens (6.0mm diameter x 12.0mm height) for the compressive strength (CS) test were made of each GIC. Specimens were stored in deionized water at 37º C and 100% of humidity in a stove until testing. Five specimens of each GIC were submitted to CS and DTS test in each period, namely 1 hour, 24 hours and 7 days. The specimens were tested in a testing machine (Emic) at a crosshead speed of 1.0mm/min for CS and 0.5mm/min for the DTS test until failure occurred. The data were submitted to two-way ANOVA and Tukey tests (alpha=0.05). The mean CS values ranged from 42.03 to 155.47MPa and means DTS from 5.54 to 13.72 MPa, with test periods from 1h to 7 days. The CS and DTS tests showed no statistically significant difference between Fuji IX and Vitro Molar, except for CS test at 1-hour period. Bioglass R had lowest mean value for CS of the cements tested. In DTS test Bioglass R presented no statistically significant differences when compared with all others tested GICs at 1-hour period and Bioglass R presented no difference at 24-hour and 7-day periods when compared to Vitro-Molar. Further studies to investigate other physical properties such as fracture toughness and wear resistance, as well as chemical composition and biocompatibility, are now needed to better understand the properties of these new Brazilian GIC's.
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Bosworth, Lucy A., Matthew Lanaro, Danielle A. O’Loughlin, Raechelle A. D’Sa, Maria A. Woodruff, and Rachel L. Williams. "Melt electro-written scaffolds with box-architecture support orthogonally oriented collagen." Biofabrication 14, no. 1 (December 30, 2021): 015015. http://dx.doi.org/10.1088/1758-5090/ac41a1.
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Abstract Melt electro-writing (MEW) is a state-of-the-art technique that supports fabrication of 3D, precisely controlled and reproducible fiber structures. A standard MEW scaffold design is a box-structure, where a repeat layer of 90° boxes is produced from a single fiber. In 3D form (i.e. multiple layers), this structure has the potential to mimic orthogonal arrangements of collagen, as observed in the corneal stroma. In this study, we determined the response of human primary corneal stromal cells and their deposited fibrillar collagen (detected using a CNA35 probe) following six weeks in vitro culture on these box-structures made from poly(ϵ-caprolactone) (PCL). Comparison was also made to glass substrates (topography-free) and electrospun PCL fibers (aligned topography). Cell orientation and collagen deposition were non-uniform on glass substrates. Electrospun scaffolds supported an excellent parallel arrangement of cells and deposited collagen to the underlying architecture of aligned fibers, but there was no evidence of bidirectional collagen. In contrast, MEW scaffolds encouraged the formation of a dense, interconnected cellular network and deposited fibrillar collagen layers with a distinct orthogonal-arrangement. Collagen fibrils were particularly dominant through the middle layers of the MEW scaffolds’ total thickness and closer examination revealed these fibrils to be concentrated within the pores’ central regions. With the demand for donor corneas far exceeding the supply—leaving many with visual impairment—the application of MEW as a potential technique to recreate the corneal stroma with spontaneous, bidirectional collagen organization warrants further study.
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Chen, Weiyan, Fusang Zhang, Tao Gu, Kexing Zhou, Zixuan Huo, and Daqing Zhang. "Constructing Floor Plan through Smoke Using Ultra Wideband Radar." Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 5, no. 4 (December 27, 2021): 1–29. http://dx.doi.org/10.1145/3494977.
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Floor plan construction has been one of the key techniques in many important applications such as indoor navigation, location-based services, and emergency rescue. Existing floor plan construction methods require expensive dedicated hardware (e.g., Lidar or depth camera), and may not work in low-visibility environments (e.g., smoke, fog or dust). In this paper, we develop a low-cost Ultra Wideband (UWB)-based system (named UWBMap) that is mounted on a mobile robot platform to construct floor plan through smoke. UWBMap leverages on low-cost and off-the-shelf UWB radar, and it is able to construct an indoor map with an accuracy comparable to Lidar (i.e., the state-of-the-art). The underpinning technique is to take advantage of the mobility of radar to form virtual antennas and gather spatial information of a target. UWBMap also eliminates both robot motion noise and environmental noise to enhance weak reflection from small objects for the robust construction process. In addition, we overcome the limited view of single radar by combining multi-view from multiple radars. Extensive experiments in different indoor environments show that UWBMap achieves a map construction with a median error of 11 cm and a 90-percentile error of 26 cm, and it operates effectively in indoor scenarios with glass wall and dense smoke.
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Sarim, Ali, Bo Ming Zhang, and Chang Chun Wang. "Tensile and Compression Behavior of Woven Glass/Epoxy Nano Composites Based on Spraying Methodology." Applied Mechanics and Materials 446-447 (November 2013): 27–31. http://dx.doi.org/10.4028/www.scientific.net/amm.446-447.27.
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Nanocomposites have been utilized increasingly because of their high strength, stiffness, toughness, and through-thickness properties. The incorporation of carbon nanofibers with a high aspect ratio and extremely large surface area into glass/epoxy polymer composites improve their tensile and compression properties significantly. Although a number of efforts have been made to improve various properties by mixing nanoparticles directly into resin, however, it could lead to high viscosities which create problems during processing. In this particular study, an attempt has been made to investigate tensile and compression behavior of nanocomposites by using, state of the art, a different technique i.e spraying the Carbon nanoFibers (CNF) on dry woven glass pre-form before infusion. The nanocomposite samples were prepared using a spraying methodology i.e dispersing the 2.0 weight percent CNF solution on glass fabric, and evaporating the solvent such that only nanofibers remain on perform, followed by Vacuum Assisted Resin Transfer Molding (VARTM). Tensile and compression tests were performed to evaluate the effectiveness and behavior of CNF addition on these mechanical properties. Results indicated simultaneous improvement in tensile and compression properties by incorporating a very small amount of carbon nanofibers into the matrix system. 1821 percent improvement in tensile strength and 6-9 percent in compressive strength, with respect to the neat composite. The rise in their modulus has also been discussed in detail and part of this study. For in-depth analysis, microscopic approaches were also carried out to investigate the fracture behavior and mechanism of material. Scanning electron microscopy of fractured surfaces revealed improved primary fibermatrix adhesion and indications of CNF-induced matrix toughening due to the presence of CNFs. SEM evaluation also revealed relatively less damage in the tested fracture surfaces of the nanophased composites in terms of matrix failure, fiber breakage, matrixfiber de-bonding, and de-lamination, compared to the neat system.