Relevant bibliographies by topics / Intaglio printing

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Intaglio printing'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Intaglio printing"

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Son, Keunbada, Jung-Ho Lee, and Kyu-Bok Lee. "Comparison of Intaglio Surface Trueness of Interim Dental Crowns Fabricated with SLA 3D Printing, DLP 3D Printing, and Milling Technologies." Healthcare 9, no. 8 (August 3, 2021): 983. http://dx.doi.org/10.3390/healthcare9080983.

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This study aimed to evaluate the intaglio surface trueness of interim dental crowns fabricated with three 3-dimensional (3D) printing and milling technologies. Dental crown was designated and assigned as a computer-aided design (CAD) reference model (CRM). Interim dental crowns were fabricated based on CRM using two types of 3D printer technologies (stereolithography apparatus and digital light processing) and one type of milling machine (n = 15 per technology). The fabricated interim dental crowns were obtained via 3D modeling of the intaglio surface using a laboratory scanner and designated as CAD test models (CTMs). The alignment and 3D comparison of CRM and CTM were performed based on the intaglio surface using a 3D inspection software program (Geomagic Control X). Statistical analysis was validated using one-way analysis of variance and Tukey HSD test (α = 0.05). There were significant differences in intaglio surface trueness between the three different fabrication technologies, and high trueness values were observed in the milling group (p < 0.05). In the milling group, there was a significant difference in trueness according to the location of the intaglio surface (p < 0.001). In the manufacturing process of interim dental crowns, 3D printing technologies showed superior and uniform manufacturing accuracy than milling technology.
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Zahrawaan, Amy. "Tetra Pak Printing: Sebuah Model Pengolahan Sampah Berbasis Seni." Urban: Jurnal Seni Urban 6, no. 1 (April 13, 2022): 41–56. http://dx.doi.org/10.52969/jsu.v6i1.55.

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Garbage is often seen as something that cannot be reused and becomes a problem. On that basis, art can be an alternative to respond to these problems. This article will describe a review of the results of the analysis of the use of waste waste that can be an alternative resource in making works of art through the Tetra Pak Printing model using the intaglio technique. This research is reviewed using art-based research methods, namely research on a problem through an artistic approach. This research will specifically examine and show how the waste management model uses graphic art practices carried out by the Huru Hara Graphic artist group (GHH) in the 2020-2022 period through the Tetra Pak Printing model. Tetra Pak Printing uses Tetra Pak branded beverage packaging waste as the main material. The use of alternative media aims to replace or find media that can be easily accessed by the public and are more environmentally friendly. As a comparison, this paper also includes several examples of ecological-based art practices, in addition to the utilization of Tetra Pak packaging waste. The findings of the analysis show that the Tetra Pak Printing model can be an alternative model for the intaglio technique because it is easier, practical, and economical and can be reached by all levels of society. In addition, Tetra Pak Printing can be said to have been able to answer and be a solution to one of the ecological challenges through art, especially in terms of waste management in the community.Sampah sering dianggap sebagai sesuatu yang sudah tidak bisa didayagunakan kembali dan menjadi sebuah masalah. Atas dasar itu, kesenian dapat menjadi salah satu alternatif untuk menanggapi problematika tersebut. Artikel ini akan menguraikan tinjauan hasil analisis terhadap pemanfaatan limbah sampah yang dapat menjadi sumber daya alternatif dalam pembuatan karya seni melalui model Tetra Pak Printing menggunakan teknik intaglio. Penelitian ini ditinjau menggunakan metode riset berbasis seni, yakni penelitian terhadap suatu masalah melalui pendekatan artistik. Penelitian ini secara khusus akan mengkaji dan memperlihatkan bagaimana model pengelolaan limbah sampah menggunakan praktik seni grafis yang dilakukan oleh kelompok seniman Grafis Huru Hara (GHH) dalam kurun waktu 2020-2022 melalui model Tetra Pak Printing. Tetra Pak Printing menggunakan bahan limbah kemasan bekas minuman bermerek Tetra Pak sebagai material utama. Penggunaan media alternatif ini bertujuan untuk mengganti atau mencari media yang dapat dengan mudah diakses masyarakat dan lebih ramah lingkungan. Sebagai pembanding, dalam tulisan ini juga disertakan beberapa contoh praktik seni berbasis ekologi selain pemanfaatan limbah kemasan Tetra Pak. Temuan analisis memperlihatkan bahwa model Tetra Pak Printing dapat menjadi model alternatif teknik intaglio karena lebih mudah, praktis, dan ekonomis serta dapat dijangkau semua kalangan masyarakat. Di samping itu, Tetra Pak Printing dapat dikatakan telah mampu menjawab dan menjadi solusi salah satu tantangan ekologis melalui kesenian, khususnya dalam hal pengelolaan sampah di masyarakat.
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Smithson, Paula. "The Dark Side of Printmaking." IMPACT Printmaking Journal 4 (July 24, 2024): 8. http://dx.doi.org/10.54632/1507.impj19.

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This presentation examines print as a platform of multiple dimensions, providing an essential link between the traditions of handmade print and the use of new technologies. Exploring the potential of scale using photopolymer intaglio-type printing, using the material capabilities of the printed surface to connect what is viewed and experienced, I will reflect on my experience of this medium along with the research methods, practices, and technologies. More directly, this body of work considers ideas around the re-interpretation and repositioning of traditional printmaking skills and processes as part of a wider cross-disciplinary art practice. Large intaglio plates incorporate photopolymer technology to offer a view combining digital interpretation with the traditions of the hand-created mark and printed intaglio surface, resulting in a re-imagined vision linking digital aesthetics.
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Negru, Ioan Cristinel, Viorica Vasilache, Ion Sandu, Romeo Iulian Olariu, Petru Ovidiu Tanasa, Daniel Potolinca, and Irina Crina Anca Sandu. "Depth Profiling of Diffraction-based Security Features in Authentic and Counterfeit Banknotes." Materiale Plastice 54, no. 2 (June 30, 2017): 321–25. http://dx.doi.org/10.37358/mp.17.2.4843.

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High printing quality of banknotes and the variety of security features implemented in banknotes make a big difference between the genuine notes and high-quality forgeries. The counterfeiter cannot reproduce or imitate the printing quality and all security features embedded in every banknote, such as Optically Variable Ink, Optically Variable Diffractive Images, or intaglio printing. The present research focused on the examination of optically variable devices embedded on 50Îbanknotes. The altered banknotes were examined using different techniques.
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Vazquez, Abigail Trujillo, Susanne Klein, Xavi Aure Calvet, and Carinna Parraman. "Retrieving the ancient colours: artistic practice as a tool for heritage reconstruction." Color and Imaging Conference 2020, no. 28 (November 4, 2020): 282–87. http://dx.doi.org/10.2352/issn.2169-2629.2020.28.45.

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The frieze of the Palace of the stuccoes, dated between the 5 th and 6 th century BC, was a polychrome Maya relief discovered in the 1907 in Yucatán, Mexico. It was documented in watercolours and hand tinted photographs by Adela Breton. After years of exposure to the harsh environmental conditions of the Maya area, the colours and the stucco relief disappeared. The aim of the project is to develop a hybrid digital-analogue printing method for reconstructing the appearance of the original polychrome relief based on digitised hand-made records.<br/> A description of the process to produce full colour images combining digital and photomechanical printing is provided. Using photopolymer plates, an intaglio printing process has been used to produce colour images, whilst inverse relief plates have been created based on height maps to transfer a positive embossing on paper when applying pressure on a printing press. The influence of physical parameters related to the appearance is studied. Reflectance Transformation Imaging was carried out to record the colour and surface shape of the prints. Measurements of gloss were made on relief inkjet prints and intaglio prints on paper to compare the outcomes of commercial 2.5D print and the method proposed here.<br/> By modifying an analogue process with digital technology, it is possible to incorporate ancient materials to the printmaking process and therefore approach naturally the appearance of the original. On the other hand, incorporating imaging techniques and quality measurements enables to improve the quality in analogue printing techniques.
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Ceyhan, Umut, and S. J. S. Morris. "Meniscus growth during the wiping stage of intaglio (gravure) printing." Journal of Fluid Mechanics 807 (October 20, 2016): 419–40. http://dx.doi.org/10.1017/jfm.2016.618.

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During intaglio (gravure) printing, a blade wipes excess ink from the engraved plate with the object of leaving ink-filled cells defining the image to be printed. That objective is not completely attained. Capillarity draws some ink from the cell into a meniscus connecting the blade to the substrate, and the continuing motion of the engraved plate smears that ink over its surface. By examining the limit of vanishing capillary number ($Ca$, based on substrate speed), we reduce the problem of determining smear volume to one of hydrostatics. Using numerical solutions of the corresponding free-boundary problem for the Stokes equations of motion, we show that the hydrostatic theory provides an upper bound to smear volume for finite $Ca$. The theory explains why polishing to reduce the tip radius of the blade is an effective way to control smearing.
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Wale Oloidi, Igwe O Ewona, and David O Fakorede. "Design and development of a hybrid flat-bed relief printmaking machine – A review." World Journal of Advanced Research and Reviews 13, no. 1 (January 30, 2022): 552–55. http://dx.doi.org/10.30574/wjarr.2022.13.1.0068.

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Printmaking is an area of visual arts which deals with different processes in the multi-production of art works. The study discusses the various methodologies and processes involved in printmaking such as the linocut technique, etching, line engraving, aquatint and deep etching techniques otherwise known as intaglio. Of particular interest is the intaglio technique of printmaking, from design conceptualization to details of printing processes. Teaching and training in this field has metamorphosed into a fast digital lane. This has been difficult for the developing parts of the world to catch up. A hybrid flat-bed relief printmaking machine is proposed in this work. The machine employs both manual and electric motor technology for running the rolling parts. In this way a smooth transition is envisage from the conventional manual machine to the digital machines that are used in the industrialization of the textile industry.
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Charoenphol, Kanyakorn, and Chaimongkon Peampring. "An In Vitro Study of Intaglio Surface, Periphery/Palatal Seal Area, and Primary Bearing Area Adaptation of 3D-Printed Denture Base Manufactured in Various Build Angles." International Journal of Dentistry 2022 (November 17, 2022): 1–6. http://dx.doi.org/10.1155/2022/3824894.

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Statement of Problem. The influence of various building angles on the tissue surface adaptation of complete denture bases fabricated using digital light processing is lacking. Purpose. The objective of this research was to compare the adaptation in the overall intaglio surface, peripheral/posterior palatal seal area, and primary bearing area of the 3D-printed complete denture produced in 0, 45, and 90° build angles. Materials and Methods. A reference edentulous maxillary arch model was scanned to design virtual denture bases with computer-aided manufacturing (CAD) software with standard tessellation language (STL) files as output. Denture bases were fabricated by printing with a digital light processing (DLP) technique and divided into 3 groups according to build angles of 0°, 45°, and 90° (n = 10). To assess the adaptation, each STL file of the intaglio denture base was superimposed on the STL file of the reference model using surface-matching software. The adaptation was reported in root mean square error (RMSE) values and statically compared using one-way analyses of variance (ANOVA) and followed by the Turkey’s test for multiple comparisons with a significance level of α = 0.05. Results. Overall, intaglio surface adaptation of denture bases printed from three angles had no significant difference in adaption. In the peripheral/posterior palatal seal area, denture bases printed at a 90° build angle showed significantly better adaption than other groups. In the primary bearing area, denture bases printed at 45° and 90° had no significant difference in denture adaptation; however, they exhibited better denture base adaptation than the 0° group significantly. Conclusions. The build angle has no effect on adaptation in the overall intaglio surface area. The build angle of 90° provided the best adaptation in the peripheral/posterior palatal seal area. The 45° and 90° build angles provided better adaptation than 0° in the primary stress-bearing area.
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Brunvand, Erik, and Al Denyer. "Micro-Scale Printmaking on Silicon." Leonardo 44, no. 5 (October 2011): 392–400. http://dx.doi.org/10.1162/leon_a_00238.

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Printmaking is a fine art practice that encompasses a variety of media including intaglio, relief, lithography and screen-printing. In this collaborative research project the authors extend the traditional boundaries of printmaking to create editions of micro-scale prints on the surface of silicon integrated circuits using the layers of materials normally used for making transistors and electrical interconnections. The process by which the images are printed on the silicon surface is discussed, alongside some of the conceptual and technical issues related to creating printed images using this technology.
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Çakmak, Gülce, Alfonso Rodriguez Cuellar, Mustafa Borga Donmez, Martin Schimmel, Samir Abou-Ayash, Wei-En Lu, and Burak Yilmaz. "Effect of Printing Layer Thickness on the Trueness and Margin Quality of 3D-Printed Interim Dental Crowns." Applied Sciences 11, no. 19 (October 5, 2021): 9246. http://dx.doi.org/10.3390/app11199246.

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The information in the literature on the effect of printing layer thickness on interim 3D-printed crowns is limited. In the present study, the effect of layer thickness on the trueness and margin quality of 3D-printed composite resin crowns was investigated and compared with milled crowns. The crowns were printed in 3 different layer thicknesses (20, 50, and 100 μm) by using a hybrid resin based on acrylic esters with inorganic microfillers or milled from polymethylmethacrylate (PMMA) discs and digitized with an intraoral scanner (test scans). The compare tool of the 3D analysis software was used to superimpose the test scans and the computer-aided design file by using the manual alignment tool and to virtually separate the surfaces. Deviations at different surfaces on crowns were calculated by using root mean square (RMS). Margin quality of crowns was examined under a stereomicroscope and graded. The data were evaluated with one-way ANOVA and Tukey HSD tests. The layer thickness affected the trueness and margin quality of 3D-printed interim crowns. Milled crowns had higher trueness on intaglio and intaglio occlusal surfaces than 100 μm-layer thickness crowns. Milled crowns had the highest margin quality, while 20 μm and 100 μm layer thickness printed crowns had the lowest. The quality varied depending on the location of the margin.
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Dissertations / Theses on the topic "Intaglio printing"

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Sanders, Joan. "Combined techniques in intaglio printmaking." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/834125.

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The artist's imagery mainly consists of carrousel horses and reptiles. The only thing that relates the images of the reptiles and the carrousel horses in the artist's work is the fact that she finds both images fascinating and intriguing, but at the same time, finds both of these images some what repulsive and frightening. As a child, the artist developed a fascination for carrousel horses and reptiles. At this time these images mainly inspired feelings of fear in the artist. In the artist's opinion, carrousel horses seem to be frantic and frenzied. The artist feels that this aspect of carrousel horses makes them an image with expressive possibilities and she attempts to capture feelings of fear, curiosity and fascination in her prints. The artist is amazed at the variety of colors and textures found on reptiles. She finds them interesting images because although most reptiles are menacing creatures, they are also beautiful and exotic. The artist feels that this aspect of the reptile makes it an intriguing subject matter to work with.Intaglio is a form of printmaking in which a metal plate, traditionally copper or zinc, is manipulated by certain techniques such as: line etch (where a dry-point needle is used to scratch the surface of the plate onto which hard ground [an acid resistant, waxy substance] has been applied and the plate is etched in acid to incise the lines and form a line drawing); and aquatint (a technique to achieve a wide range of tones in an intaglio print). Aquatint has an appearance similar to that of a water color wash. To create the aquatint tonal areas, powdered rosin is sprinkled evenly over the plate and the plate is then heated until the rosin melts and adheres to the plate. The areas that are to remain white are covered with a hard ground "block out." The plate is etched in acid for a period of time to be determined by the artist and is then taken out and rinsed with water to stop the acid from etching the plate any further. This process is repeated until a desired range of tones are created. Another technique usually used is a hybrid combination of burnishing and scraping using a burnisher or scraper. A burnisher and a scraper are patented tools that are used to polish (burnish) and scrape (that is, cut/remove metal from the plate) the surface of the plate to create highlights, lighten an area, or to totally erase an incised area of the plate. Embossing is another form of intaglio printmaking in which three layers of illustration board are cut to form a positive image on a piece of dampened arches paper that is pressed into the carved image by means of a printing press. The deeper the embossment, the more elevated the image will be on the paper. Pressing the paper down into the layers of illustration board forms an embossed image. No ink is used to create the image. Thus, this form of intaglio printmaking is known as "blind" printing, that is printing without ink.In the artist's work, all of the intaglio techniques discussed are used in combination with each other on the same plate to create a rich image. Researching different techniques has allowed the artist to have a better understanding and appreciation for the intaglio prints of historically renowned artists, who were printmakers before the artist.
Department of Art
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Pearce, Arthur Blake. "Investigations regarding traditional and contemporary intaglio techniques." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/491452.

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The purpose of the Creative Project was to investigate a variety of traditional and contemporary intaglio processes, to relate the processes to other artist's intaglio prints, and to further develop the writer's technical skills by creating a series of intaglio prints using the processes discussed in the research portion of the Creative Project. The Creative Project consisted of a written section containing background information pertaining to technical aspects of the medium and brief discussions of selected works by various artists, and the execution and discussion of a series of prints by the writer using the intaglio techniques separately and in combination with one another.The background information section of the Creative Project consisted of working definitions of technical terms and brief discussions of four prints selected from the Ball State University Art Gallery collection. The prints selected were executed by George Rouault, Susan Rothenberg, Chuck Close, and Jim Dine. The writer also included a brief discussion of some of Stanley William Hayter's contributions to intaglio printing.The execution of the Creative Project resulted in the creation of five intaglio prints. The prints were entitled Highway Aviary, Fish Anatomy, Family, Untitled (Seated Figure), and Dance of the Flightless Bird. Each print utilized different techniques or combinations of techniques on copper and zinc plates. The processes involved in the execution of the prints were engraving, etching, aquatint, mezzotint, and spit biting. The prints were black and white except for the work entitled Fish Anatomy, which was printed with four colors. The print entitled Dance of the Flightless Bird was printed using multiple colors, however the actual edition was black and white. The writer was able to acquire the necessary materials for completion of the project through a grant provided by the Ball State University Office of Research.The completion of the Creative Project resulted in the writer’s improved understanding of intaglio processes and greater technical skills resulting from extensive work in the medium. The Creative Project stressed the importance of intaglio printing in contemporary art and revealed the need for further investigation into experimental techniques in intaglio printing.
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Birch, Hannah L. "A study of the figure in intaglio." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1318608.

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This project chronicles my explorations of the human figure in intaglio and relief printmaking and in the medium of artists' books. I had very little experience in the field of printmaking prior to my acceptance into the Masters program at Ball State University. I found intaglio, or etching into a metal plate, stimulating and exciting because there are very few limitations in terms of what I can do with this medium. I received a Bachelors of Fine Arts in drawing from SUNY Fredonia. Creating artwork in the printmaking medium has allowed my drawing skills to continue to grow and provided a variety of new technical possibilities. I choose to work with the figure because it is an important subject for an artist to study in order to learn to draw. Since all humans share the same basic structure, it is something that everyone should relate to. It is also something that translates into every possible medium, from cave drawings to fashion design. Many of the artists I have studied, such as Albrecht Durer, and Francisco Goya, worked with the figure in printmaking. Their work provided inspiration while I pursued my own work in this field.
Department of Art
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Addie, Jerrold O. "Development of a training manual for University of Wisconsin-Stout's Graphic Communications program's gravure printing press simulator." Online version, 2003. http://www.uwstout.edu/lib/thesis/2003/2003addiej.pdf.

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Go, Eubert C. "Effects of oligomer-to-monomer ratio on ink film properties of white UV-curable gravure ink for printing on biaxially oriented polypropylene (BOPP) /." Online version of thesis, 2009. http://hdl.handle.net/1850/10927.

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Swanson, Karrie. "Natural synthesis /." Online version of thesis, 2010. http://hdl.handle.net/1850/11987.

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Vergara, Jose, and n/a. "Conservation of intaglio prints : conservation principles applied during the printing process can improve the life span of prints." University of Canberra. Applied Science, 1989. http://erl.canberra.edu.au./public/adt-AUC20061109.172054.

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This research into intaglio printing, its materials and techniques, deals with the three main conservation problems specific to the process. They are: acidity of the paper, buckling and/or tearing along the printed edge of the plate caused by excess pressure during printing, and yellow/brown staining, or halo, around the printed image. Research done in the cause of this study reveals that these problems are not confined to contemporary printmaking practices, as believed by some conservators, but can be traced back to the historic beginnings of the Intaglio Printing. The results of the analyses and tests performed in this investigation indicate that these problems can be partially, if not completely, eliminated by simple and inexpensive improvements to the process of printing. 1 - An alkaline solution, used to dampen the paper prior to printing, will act as a buffer, making the paper resistant to future attack from acids. Importantly, it will also accelerate the drying of the ink, which is essential to the production of a thick solid ink-film. 2 - Excessive pressure during printing destroys the natural resilience of the paper within the printed area and should be kept to a minimum. Plates that have not been bevelled sufficiently can also be very harmful to the paper, cutting and/or tearing paper fibres. These problems are not visually evident after printing, but are ultimately very detrimental to the life of the print. 3 - The traditional method of drying prints, between blotters and under weight, is a major cause of the yellow/brown staining, or halo, formed around the printed image. The vehicle in the ink, a product of linseed oil, normally dries by polymerization and oxidation reaction with oxygen from the atmosphere. Press-drying retards this reaction causing the paper to absorb part of the vehicle. Air-drying accelerates the drying process, producing a much thicker and stronger ink-film and reducing absorption of the vehicle into the paper. Although air-drying will produce buckling, this can be easily remedied after seven days by dampening the print and press-drying.
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Holland, Cort. "Building and testing a gravure paper conformity tester /." Online version of thesis, 1988. http://hdl.handle.net/1850/11536.

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Mynchenberg, JoAnn P. "Under Pressure." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1216148313.

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Henty, Eric H. "Prepress selection of typeface styles and sizes for gravure printing /." Online version of thesis, 1993. http://hdl.handle.net/1850/11672.

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Books on the topic "Intaglio printing"

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Su, Peiquan. Fu zhi xing yu hui hua xing de ping heng: Zi wai xian gu hua you mo ao ban hua zhi zuo ji fa. [Aomen]: Aomen Tebie Xingzhengqu zheng fu wen hua ju, 2012.

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Banister, Manly Miles. Practical guide to etching and other intaglio printmaking techniques. New York: Dover, 1986.

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Siegfried, Gohr, ed. Per Kirkeby: Reisen in der Malerei und anderswo : Werke aus einer Privatsammlung = Journeys in painting and elsewhere : works from a private collection. Ostfildern: Hatje Cantz, 2008.

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Germany), Künstlerhaus (Göttingen, ed. Per Kirkeby: Malerei und Skulpturen : 11.4.-13.6.2010, Künstlerhaus Göttingen. Göttingen: Künstlerhaus mit Galerie, 2010.

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Walter, Grasskamp, and Michael Werner (Gallery), eds. Per Kirkeby: Recent paintings, 5 June - 27 July 2013. London: Michael Werner Gallery, 2013.

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1952-, Zacharopoulos Denys, and Arts Club of Chicago, eds. Per Kirkeby. Chicago: Arts Club of Chicago, 2007.

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Banister, Manly Miles. Practical guide to etching and other intaglio printmaking techniques. New York: Dover, 1986.

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translator, Biesalski Petra, Tøjner Poul Erik author, Wetzel Michael (Translator) translator, Paula Modersohn-Becker Museum, and Louisiana (Museum : Humlebæk, Denmark), eds. Per Kirkeby: Werke aus dem Louisiana Museum of Modern Art. Bremen: Museen Böttcherstrasse, Paula Modersohn-Becker Museum, 2016.

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Dohmen, Walter. Der Tiefdruck: Vom Kupferstich bis zur Fotoradierung : Geschichte, Kunst, Technik. Köln: DuMont, 1986.

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Gilles, Altieri, Abécassis Anne Catherine, Wat Pierre, and Hôtel des arts (Toulon, France), eds. Per Kirkeby. Toulon: Hôtel des arts, 2004.

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Book chapters on the topic "Intaglio printing"

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Stijnman, Ad. "The etching of iron before the invention of etched intaglio printing plates, 1200-1500." In Craft Treatises and Handbooks, 207–20. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.dda-eb.5.102156.

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Kondratiev, Andrii, Sergiy Melnikov, Tetyana Nabokina, and Anton Tsaritsynskyi. "Effect of Parameters of Adhesive Application by Intaglio Printing on Honeycomb Core Bonding Strength." In Lecture Notes in Networks and Systems, 221–33. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-66717-7_18.

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"Colour Printing in Intaglio before c.1700: A Technical History." In Printing Colour 1400-1700, 42–47. BRILL, 2015. http://dx.doi.org/10.1163/9789004290112_005.

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"Intaglio printing press intelligent drying system design based on WinCE." In Power and Energy, 297–300. CRC Press, 2015. http://dx.doi.org/10.1201/b18409-53.

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Raven, James, and Goran Proot. "Renaissance and Reformation." In The Oxford History of the Book, 128–59. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886897.003.0006.

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Abstract Opening with the famous, rediscovered description of the ‘marvellous man’ who introduced printing by moveable type to Europe in the mid-fifteenth century, this chapter surveys the development of that printing over two centuries, centuries in which the activities of the printing press contributed critically to fundamental religious, scientific, political, and cultural transformation. Detail is given of the block book and relief printing and of the variety of contributions to further new processes including type design, woodcuts and intaglio, composition and print runs, of the relationship between image and text, of the consequences of new replicability, and developing trade and market practises. Much printing was jobbing work, much of which is disproportionately lost to us because of its ephemerality, while the burdensome costs of paper, labour, and press required the management of risk and resulted in book editions of modest numbers of copies. Printed books, however, from vernacular Bibles and prayer books, to scientific treatises and popular chapbooks, varied hugely in size and quality. Total production figures are difficult to assess, but the geographical spread of printing and print distribution, including to European colonies, can be traced with some accuracy, allowing a social penetration of print which while limited by literacy and the high price of most printed books, promoted intellectual revolutions and transformative reading practises. A further measure of the effectiveness of printing was the responses of political and religious authorities, varying from state to state and denomination to denomination, but all determined to exercise censorship and new controls over publication.
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Platt, Verity. "The Seal of Polycrates." In Classics and Media Theory, 53–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846024.003.0003.

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This chapter explores Kittler’s claim that media provide models and metaphors for the senses, as well as ‘gadgets’ for conceptualizing the soul. Drawing on the role of the seal-ring (daktylios), in Greek philosophical models of sense perception, memory, and knowledge acquisition, together with examples of classical intaglios, it explores how practices of sealing were fundamental to the ‘cultural techniques’ (Kulturtechniken) through which Greek society reflected upon its own practices of transmission and communication. As ‘indexical’ devices, seals anticipate the later development of printing, sound recording, photography, and film, offering a prehistory of analogue technologies that operate by means of the stamp, imprint, or trace. These themes are explored in relation to Herodotus’ tale of the seal of Polycrates, which is read as a Kittlerian ‘discourse on discourse channel conditions’ in which the materiality, facture, and instrumentality of the tyrant’s ring invite reflection upon the text’s formation of its own systems of inscription and communication. The episode’s later reappearance in Posidippus’ ekphrastic Lithika demonstrates how, in operating as an interface for the transmission of data between different media, the seal and its impression also constituted antiquity’s archetypal intermedial device across the ‘discourse networks’ of the Archaic, Classical and Hellenistic periods.
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Conference papers on the topic "Intaglio printing"

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Deinhammer, Harald, Franz Loos, Daniel Schwarzbach, and Peter Fajmann. "Direct laser engraving of intaglio printing plates." In Electronic Imaging 2004, edited by Rudolf L. van Renesse. SPIE, 2004. http://dx.doi.org/10.1117/12.526899.

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Kyrychok, Tetiana, and Olena Korotenko. "3D light interferometry investigation of ink layer formation during intaglio printing." In Fourteenth International Conference on Correlation Optics, edited by Oleg V. Angelsky. SPIE, 2020. http://dx.doi.org/10.1117/12.2553475.

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Rudenko, Eduard, Tetiana Kyrychok, Valentin Panarin, Mykola Svavilnyi, Denis Polotsky, Mykola Skoryk, Volodymyr Baglai, Nadiia Talimonova, and Anna Novytska. "Influence of helicon discharge treatment on ensuring adhesive strength of protective PVD coating CrN on brass-based forms of intaglio printing." In Fifteenth International Conference on Correlation Optics, edited by Oleg V. Angelsky. SPIE, 2021. http://dx.doi.org/10.1117/12.2615570.

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Reports on the topic "Intaglio printing"

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Roth, Steven C. Development of piezoelectric polymer gauges for measuring pressure on intaglio printing press. Gaithersburg, MD: National Bureau of Standards, January 1986. http://dx.doi.org/10.6028/nbs.ir.86-3400.

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Bank's Property - Machinery & Equipment - Note Printing Branch - Hoe Intaglio press showing stretched calico sequence for preparing printing plate before impression - c.1953. Reserve Bank of Australia, March 2023. http://dx.doi.org/10.47688/rba_archives_pn-010317.

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Note Printing Branch - Staff at work - Intaglio machine showing delivery of notes (view ii) Jack Kearney and Shamus O'Prey - 1960. Reserve Bank of Australia, March 2023. http://dx.doi.org/10.47688/rba_archives_pn-002511.

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