Dissertations / Theses on the topic 'Intaglio printing'

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

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.

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

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.

This project involved a series of linoleum, woodcut, and intaglio prints whose subject matter was derived from my imagination. The inspiration for this work is the ocean and the myriad life forms found there. I perused books on the ocean and created characters from these images. These prints also have a psychological edge and emotional aspect reflecting the state of mind I was in when 1 created them. Putting these ideas together in the intaglio prints as well as using different techniques was the challenge in making this work. My goal was also to explore linoleum and woodcut prints where I used multiple blocks and/or rolled more than one color on a block to achieve a multitude of hues for one image. I found this complex way of making images exciting and feel that the works created have been successfully resolved.
Department of Art

Thesis (M. S.)--Mechanical Engineering, Georgia Institute of Technology, 2009.
Committee Chair: Melkote, Shreyes; Committee Co-Chair: Danyluk, Steven; Committee Member: Graham, Samuel. Part of the SMARTech Electronic Thesis and Dissertation Collection.

Abstract In gravure offset printing, ink is transferred with the help of an offset material from a patterned gravure plate to a substrate. This thesis is concerned with the study and further development of this printing process for electronics; on alumina, glass and polymers. The work has been divided into five parts. In the first section, the printing process is described. The second section describes the composition of the inks for gravure offset printing and the resulting ink properties. It also presents the ink transfer mechanism; the model that explains how the ink is transferred between an offset material and a substrate. The third chapter details the printing process explained by a solvent absorption mechanism. The forth chapter describes the firing/curing of printed samples and their properties. The last chapter describes applications of the method. The inks used to produce conductors on ceramics (ceramic inks) and conductors on polymers (polymer inks) contain silver particles, and were under development for gravure offset printing. The major achieved properties were the high ink pickup to the offset blanket and high transfer percentage to the substrate. 100% ink transfer from blanket to substrate for ceramic inks and almost 100% ink transfer for polymer inks was obtained. The printing of ceramic inks was able to produce 8 μm of relatively thick, 300 μm wide lines with < 10 mΩ/sq. resistance. The minimum line width for conducting lines was 35 μm, with one printing. Multi printing was applied producing as many as 10 times wet-on-wet multiprinted lines with 100 % ink transfer from blanket to substrate resulting in a square resistance of 1mΩ/sq. Polymer inks were able produce a square resistance of 20 mΩ/sq. for 300 μm wide lines after curing at 140 °C for about 15 min, and the minimum width was down to 70 μm. In the optimised manufacturing process, the delay time on the blanket was reduced to 3 s. In addition to ultra-fine-line manufacturing of conductors, the method enables the manufacture of special structures e.g. laser-solder contact pads with 28/28 μm lines/spaces resolution. With industrial printing equipment it is possible to produce 100 m2/h with the demonstrated printing properties.

Dissertation submitted in partial fulfilment of the requirements for the degree Master of Technology: Graphic Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology
This study investigates the application and use of the latest graphic design software technologies to help plan and ideate the intaglio printmaking process. This is significant as intaglio is a 600 year old process which has evolved little, if any, in the last few hundred years although it was born from technology. Furthermore, the intaglio process relies on mental visualisation of the final artwork, making the real outcome and the planned outcome dissimilar. Students of intaglio printmaking are often surprised or disappointed by the printed result due to the lack of efficient planning. There are several ways in which software influences the creative process, including enhancing visualisation and communication, premature fixation, circumscribed thinking and bounded ideation. In this research, computer software is used as a simulator to facilitate the planning process in order to minimise the disconnect between visualisation and outcome, and serve as learning instrument. The use of digital computer technologies has been a highly debated issue in printmaking as there exists a rift between printmakers; those who embrace and explore new technologies and those who reject new methods in favour of traditional means. New technologies in printmaking offer exciting opportunities, both innovative and creative, but these new technologies are often seen as alternative or auxiliary methods of printmaking compared to traditional ways. Since these debates have been buried but not necessarily resolved, this study reinvigorates some of these perspectives and seeks a common middle ground. This study does not argue for, or against computer technology, but rather for a third paradigm: technology can coexist with intaglio without compromising the beauty and authenticity of hand processes. Computer technologies, therefore, serve as a facilitator to amplify the traditional intaglio hand process. However, the issue of discussion in this thesis is not hybrid printmaking but rather a hybrid mode of thinking in the printmaking discipline. This iterative design experiment consists of a written dissertation and intaglio printed artworks which inform and complement each other. The theoretical foundation of the art practice is found in the Bauhaus slogan: “Art and technology: a new unity”. Art and technology form the basis of the theory and the theme of entropy – the process of degeneration – is illustrated in the design artefacts. This theme shows process and illustrates the idea of a positive agent: the interference of computer in intaglio to instil new energy and value not only to keep it alive, but position it as an important skill necessary for growth in the knowledge-based economy. Furthermore, this study contributes to the scholarly discussion of design’s conceptual skills (ways of thinking) in order to enhance production capabilities (ways of making).

Orientador: Milton Terumitsu Sogabe
Banca: Percival Tirapeli
Banca: Ana Kalassa El Banat
Resumo: O presente estudo buscou utlizar o policarbonato, polímero plástico, como matriz de gravura em côncavo. Assim, este trabalho teve como objetivo tomar a gravura em côncavo sob o ponto de vista de sua prática, experimentando técnicas de gravação diretas, indiretas e aditivas, pesquisando também outros procedimentos passíveis de aplicação no policarbonato, explorando desta forma suas possibilidades expressivas. Foram pesquisadas as relações decorrentes da prática da gravura, entre a mão, a ferramenta e a matriz, assim como os aspectos físicos e químicos do policarbonato relacionados a essa prática. Os processos de gravação e impressão descritos nesta pesquisa ressaltam os momentos de aproximação e afastamento dos resultados obtidos na gravura em côncavo tradicional. Ao final, são apresentadas vinte e três estampas produzidas a partir de matrizes em policarbonato.
Abstract: This research investigated the use of polycarbonate, a plastic polymer, as a plate to intaglio printing. The main objective of this research was the approach of intaglio printing from the point of view of its practice, trying on direct, indirect and additive engraving techniques, also searching for other procedures to use on polycarbonate, therefore exploring its expression possibilities. The relation concerning the hand, the tool and the plate on the results of intaglio practice was also researched, as well as the chemical and material aspects of polycarbonate linked to this practice, The engraving and printing process described here shows results obtained from moments of approximation and spacing on traditional intaglio printing. At the end, twenty three stamps made of polycarbonate plates are presented.

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O presente estudo buscou utlizar o policarbonato, polímero plástico, como matriz de gravura em côncavo. Assim, este trabalho teve como objetivo tomar a gravura em côncavo sob o ponto de vista de sua prática, experimentando técnicas de gravação diretas, indiretas e aditivas, pesquisando também outros procedimentos passíveis de aplicação no policarbonato, explorando desta forma suas possibilidades expressivas. Foram pesquisadas as relações decorrentes da prática da gravura, entre a mão, a ferramenta e a matriz, assim como os aspectos físicos e químicos do policarbonato relacionados a essa prática. Os processos de gravação e impressão descritos nesta pesquisa ressaltam os momentos de aproximação e afastamento dos resultados obtidos na gravura em côncavo tradicional. Ao final, são apresentadas vinte e três estampas produzidas a partir de matrizes em policarbonato.
This research investigated the use of polycarbonate, a plastic polymer, as a plate to intaglio printing. The main objective of this research was the approach of intaglio printing from the point of view of its practice, trying on direct, indirect and additive engraving techniques, also searching for other procedures to use on polycarbonate, therefore exploring its expression possibilities. The relation concerning the hand, the tool and the plate on the results of intaglio practice was also researched, as well as the chemical and material aspects of polycarbonate linked to this practice, The engraving and printing process described here shows results obtained from moments of approximation and spacing on traditional intaglio printing. At the end, twenty three stamps made of polycarbonate plates are presented.

This practice-led visual arts research project explores the implications of modern genetic technologies through printmaking and the use of genome sequencing as a catalyst to produce artistic responses. Studio methodologies include the printmaking techniques of laser-cut woodblock, photo screen-printing and photo-polymer intaglio, and the appropriation of imagery from a range of sources including, photographs by Eugène Atget and Eadweard Muybridge, vintage knitting and crochet instruction booklets, and photographs of ancient Roman artefacts. The written exegesis examines correspondences between contemporary forms of image appropriation and technologies used for genetic manipulation. The project is contextualised by surveying contemporary visual artists working with relevant printmaking techniques and addressing similar themes. The biological sciences have been impacted and, in some cases, transformed by advances in genomics, and the science of genomics has itself been transformed by the integration of the biological with new digital visualisation technologies. These recent advances have generated a range of responses from contemporary artists and enlivened debate within Post- and Transhumanist discourses. Artists engaging with these new digital representations are often motivated to reassemble the fractured body, highlighting both the reductionism inherent in the process and the potential misuses of these technologies. The ubiquitous presence of appropriation within contemporary art provides an analogous structure for envisioning the possible applications of new biological technologies. This research examines some important correspondence between the visual image and genetic technologies that are revolutionising many aspects of life in the twenty-first century. These relationships include: the digitisation of images and genetic data; the use of digital technologies to manipulate images and genetic data; utilising DNA synthesis for data/image storage; and the role image recognition technology plays in the development of artificial intelligence. Image theorists Barbara Maria Stafford, Nicolas Bourriaud, and W.J.T. Mitchell inform this research and a range of Post- and Transhumanist theory is surveyed and critiqued.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text

Дисертаційна робота присвячена встановленню закономірностей впливу технологічних факторів металографічного друку на якість відбитків. Для виконання роботи було використано профілометричні методи дослідження поверхні зразків (механічна, оптична профілометрія); мікроскопічні методи дослідження поверхні та мікротомних зрізів зразків; органолептично-експертний метод тактильної дискримінації зразків; експертний аналіз якості зразків. Розроблено узагальнену ієрархічну модель формування якості відбитків у процесі металографічного друку, розроблено комплекс моделей залежності якості відбитків від технологічних факторів, експериментально підтверджено характер залежності формування фарбового рельєфу від параметрів друкарської форми та факторів друкарського процесу. Також у роботі здійснено моделювання впливу теплообмінних процесів та інерційності процесу на процес формування фарбового шару та моделювання впливу профілю тиску у друкарському контакті та виду профілю гравійованих елементів форми на процес проникнення та розподіл фарби в об’ємі паперу.
Intaglio printing is one of the basic methods for protection of the strict accounting documents, in particular banknotes, all over the world. The peculiarity of this printing method is the possibility to form the strokes with different ink layer thickness (up to 320 microns) on the prints. It provides identification of the authenticity of the strict accounting documents by the public, including visually impaired people. But there is the paucity of theoretical and practical developments regarding the intaglio printing. Thus, the determination of the principles of the ink layer formation and its dependence on the influence of technological parameters of the process to provide high quality of intaglio printing is an topical scientific and technical task. The dissertation is devoted to establish the regularities of the influence of the intaglio printing technological factors on the prints quality. The generalized hierarchical model of prints quality forming, based on a detailed analysis of professional literature and scientific sources, was developed. A group of quality indicators and the main technological factors that influence prints quality were determined for the generalized hierarchical model of prints quality forming. The phenomenological model of intaglio ink transferring was developed and a mathematical description of physical processes, occurring during intaglio ink transferring, was made. Thus, the basic technological parameters that influence the prints quality were determined. It was found that the most effective factors that influence the quality of the ink relief forming are the geometric parameters of the plate as well as the technological print parameters, such as print pressure and print speed. The model of intaglio ink penetration and its distribution during intaglio printing was created. It allowed to investigate how the pressure that acts throughout the printing contact can influence the ink penetration depth. The modeling of the influence of heat exchange processes and the inertia of the process on the intaglio ink layer formation was carried out. These models explained the cause of asymmetry of the cross-sectional shape of strokes obtained by the intaglio printing. The results of modeling are confirmed by experimental research which was carried out with using of the developed method of determination of the generalized quality index of intaglio printing. The determination of the index is based on surface profilometric and microscopic analyses as well as on organoleptic and visual analyses of prints. The method allowed to increase the objectivity of quality evaluating and detect the regularities of the influence of the technological process parameters on the intaglio prints quality parameters. Based on the experimental study results, it was recommended to use a printing plate with the engraved elements of a rectangular profile or trapezoidal profile with an angle of 75 degrees and the element width to depth ratio of more than 1.3 times. It was also recommended to use reduced printing speed and high pressure in printing nip. The correlation analysis of the dependence of the generalized quality index on technological factors was made. As a result, the ranking of the factors on the weight of their influence was carried out. These conclusions became the basis for the recommendations given to the NBU Banknote Printing and Minting Works. The recommendations were aimed at ensuring the quality of the intaglio printing which is produced by the plates made by direct laser engraving. The system of technological assurance of banknotes quality in the process of intaglio printing was developed. As a basis for the system, the developed software for determining of the dependence of the quality printing parameters on technological factors as well as the software for determining of the ink layer thickness were used. By using this system in the manufacturing it is possible to improve the autonomy of the prints quality control process and to normalize the reproduction.
Диссертация посвящена установлению закономерностей влияния технологических факторов металлографской печати на качество оттисков. Для выполнения работы были использованы профилометрические методы исследования поверхности образцов (механическая, оптическая профилометрия) микроскопические методы исследования поверхности и микротомальных срезов образцов; органолептическо-экспертный метод тактильной дискриминации образцов; экспертный анализ качества образцов. В результате работы была разработана обобщенная иерархическая модель формирования качества оттисков в процессе металлографской печати, разработан комплекс моделей зависимости качества оттисков от технологических факторов, экспериментально подтвержден характер зависимости формирования красочного рельефа от параметров печатной формы и факторов печатного процесса. Также в работе осуществлено моделирование влияния теплообменных процессов и инерционности процесса на процесс формирования красочного слоя и моделирования влияния профиля давления в печатном контакте и вида профиля гравированных элементов формы на процесс проникновения и распределение краски в структуре бумаги.

Nombreux sont les artistes plus ou moins reconnus qui travaillent pour le compte de l’administration postale depuis 1928, année d'émission du premier timbre-poste français gravé en taille-douce. Cette technique, devenue le procédé par excellence de création des timbres-poste en France, se développa et connut des temps forts avec les années 1930 et jusque dans les années 1970. Tous les timbres-poste, à quelques rares exceptions, sont alors gravés par des artistes. Peu à peu, l’apparition de nouveaux procédés de fabrication, tels que l’héliogravure, l’offset et la gravure assistée par ordinateur, s’impose à la taille-douce traditionnelle. Aussi, le poinçon, plaque en acier qui sert de support au graveur, est progressivement remplacé par des procédés électromécaniques et photochimiques permettant d’obtenir des délais d’exécution et des coûts de fabrication bien moindres et sans doute mieux adaptés à des productions industrielles. Cette étude présente une analyse de l’évolution de l’art de la gravure, de sa place et de son rôle dans le domaine de la philatélie durant une période précise, de 1928 à nos jours. Le statut de l’artiste graveur et sa reconnaissance artistique évoluent au même titre que changent le statut de l’administration postale, sa politique et ses besoins liés aux exigences économiques du marché. L’examen approfondi des créations philatéliques, commandes régies par un cahier des charges strict ainsi que des conditions de travail et de l’investissement des graveurs de timbres face à leur métier, a permis de présenter les particularités esthétiques et plastiques de leurs travaux et de leur attribuer une place dans le domaine de l’art
Many artists, some more famous than others, have worked for the postal administration since 1928, the year of the first issue of an engraved French postage stamp . This technique, which became the most important method of creating postage stamps in France, developed and reached a peak in the 1930s and continued until the 1970s. During this time all postage stamps, with few exceptions, were engraved by artists. Gradually, however, the emergence of new manufacturing processes, such as heliogravure, offset printing and computer-aided engraving, replaced traditional engraving. Also, the stamping device, a steel plate that served as a support for the engraver, was gradually replaced by electromechanical and photochemical processes making it possible to obtain much lower turnaround times and manufacturing costs and was probably better suited to industrial production. This study presents an analysis of the development of the art of engraving, its place and its role in Philately during a specific period, from 1928 to the present day. The status of the engraver and his artistic recognition changed along with the status of the postal administration, its policy and its needs in response to the economic demands of the market. The in-depth review of philatelic creations, orders governed by strict specifications, working conditions and the investment of stamp engravers in their craft, has made it possible to show the aesthetic and plastic features of their work and secure them a place in the art world

碩士
國立臺灣師範大學
圖文傳播學系
96
Due to the development of science technology, the digital duplicating technology such as color copiers, color scanning had been progressed fast accordingly, and caused the counterfeit of securities more easy. Followed seriously impact the safety of security documents. The printed image of Intaglio printing showed sharpness line, thickly film, multi-layer tone and with unique three-dimension tactility. Not only the digital duplicating technology were unable to duplicate it, but also difficult to counterfeite even with other printing method. Thus, so far, Intaglio printing is the backbone of banknotes and securities.According to Hans (2002) reported, the steps of recognition on banknotes for pubic people is first to “feel” the intaglio tactile image with finger, and then “look” watermark and security thread with eyes. Therefore, the tactile images of intaglio printing is an important security feature. So, how to strengthen to tactility of intaglio printing, in order to improve the anti-counterfeit function of securities, is an important subject that is worth probing into. Thus, the purpose of this study is to explore embossing effect which affect the tactility of printed images. This study used two factors experimental design, one is for paper stiffness, the other for engraving breadth. The result of the study indicated as follow :1.The stiffness is in inverse proportion to embossing height, in other words that will receive lower embossing height while using higher stiffness to print. 2.The engraving breadth is in direct proportion to embossing height, , that is to say when is the larger the engraving breadth , the higher the embossing height received is.3.The stiffness and breadth to highly having interaction, in another word that will change the embossing height while changing the stiffness, meanwhile, while changing the breadth, the height will be influenced too.

碩士
中華大學
科技管理學系(所)
98
The major purpose of this research is to explore the relationships among service quality, customer satisfaction, customer royalty and trust. This research take the furniture production manufacturers of the middle area of Taiwan as the range of the study, and take the purchasers and users for decorative paper as the object of study. The 300 questionnaires of research were issued and received responses 198 effective responses. The methods that we used to analysis variable data include reliability and validity analysis, factor analysis, correlation analysis, regression analysis. The findings of this research are as follows: (1)The service quality has positive direct effect on customer satisfaction;(2)The customer satisfaction has positive direct effect on customer loyalty; (3)The trust has positive direct effect on customer satisfaction and customer loyalty; (4)The trust has positive interaction effect among service quality, customer satisfactyion and customer loyalty.

This dissertation reveals significant aspects of the use and understanding of prints in seventeenth-century Sicily by exploring their function in the realm of sacred images. It centers on three of the most substantial printmaking ventures carried out in Palermo and Messina: Ottavio Gaetani's Icons of Mary (Palermo, 1663), Placido Samperi's Iconology of the Virgin (Messina, 1644), and Giordano Cascini's St. Rosalia (Palermo, 1651). All three books treat religious subjects and feature intaglio prints claiming to reproduce the sacred images – paintings, sculptures, and mosaics – that constitute a crucial element of each narrative. The project examines the production of these works and the subsequent textual and visual responses made on the island and at farther distances. The three chapters treat each book both as a collection of prints and as an exchange between text and image that renders those prints as evidence for the value and flexibility of images. The first chapter focuses on Gaetani’s collection of icons of the Virgin from through the island and the utilization of prints as effective surrogates for those miraculous images. In the second chapter, the lines between devotional and art historical value are questioned in Samperi’s illustrated collection of paintings and sculptures depicting the Virgin. The third chapter unfolds the strategies by which prints were presented as evidence of a cult’s material history and continued to inform St. Rosalia’s legitimacy. In doing so, the chapters reveal a range of possible understandings of the relationship between prints and their sources, as well as active manipulations of that relationship to a range of ends. The dissertation identifies a Sicilian approach to generating historical, political, and sacred narratives that was inventive in both depending on and incorporating the reproduction of images in print.