Bibliographies thématiques / History of Prints

Littérature scientifique sur le sujet « History of Prints »

Auteur : Grafiati
Publié le 7 juillet 2024
Mis à jour le 7 juillet 2024

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Articles de revues sur le sujet "History of Prints"

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Morris, David. « The Clough Collection of Prints at the Whitworth Institute ». Bulletin of the John Rylands Library 92, no 2 (septembre 2016) : 167–85. http://dx.doi.org/10.7227/bjrl.92.2.10.

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George Clough‘s donation of old master prints raised the Whitworth Institute‘s collection to international standing. Simultaneously, it presented Manchester with a viewing experience that was possibly unique in Britain, and placed on permanent display one of the nations finest collections of engravings, etchings and woodcuts so as to offer a visual history of the medium of print. Clough had a special interest in Marcantonio Raimondi, collecting over forty prints by him at a time when such works commanded high prices. This article examines the history and composition of Clough‘s collection and its place in the collecting culture of northern England, and of Manchester in particular, around 1900.
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Krishnan, Nirmal. « Personal Identification through Lip Prints ». International Journal of Forensic Sciences 7, no 4 (2022) : 1–5. http://dx.doi.org/10.23880/ijfsc-16000279.

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Personal identification is one of the main aspects of criminal investigation. The study of lip prints known as cheiloscopy has helped to find and help in the identification of the perpetrators and victims. There is a need to study lip prints since according to the review of literature only mere studies are done over this topic. The present study focuses on different aspects of lip prints which includes the history and development of lip print patterns, various lip print patterns and its classifications, recording of the lip prints and the methods used in development of lip print patterns found in the crime scene. This descriptive paper inculcates the readers with a complete and brief knowledge about the lip prints and its importance as a tool for personal identification.v
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Box, Louise Voll. « Enlightened “Museums of Images” or Decorative Displays ? Elizabeth Seymour Percy and the Eighteenth-Century Print Room ». Eighteenth-Century Life 45, no 3 (1 septembre 2021) : 135–57. http://dx.doi.org/10.1215/00982601-9273027.

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In the second half of the eighteenth century, “print rooms”—created by pasting prints and paper ornaments directly onto walls—were a short-lived mode of fashionable English interior decoration. Concurrently, collections of prints continued to be bound into albums or stored in portfolios in private libraries. Although they took different forms, print rooms and print albums shared characteristics that marked them as “enlightened” cultural practices: both featured prints arranged in preconceived aesthetic or intellectual schemes that presented elite, pan-European cultural subjects, imagery, and ideas. Prints in albums or prints on walls could therefore operate as “museums of images”—each format ostensibly encouraged viewers to respond emotionally or intellectually to prints. Yet there is strong evidence to suggest that prints in print rooms and in print collections were perceived differently. This essay draws on the predominantly unpublished journals and correspondence of English collector Elizabeth Seymour Percy, first Duchess of Northumberland (1716–76), to reveal the very different ways in which she described prints in each setting. For her, albums or portfolios of prints were edifying “spaces of enlightenment,” while prints in print rooms performed merely a decorative function.
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Yang, Xiangmin. « The Classification, Artistic Status, and Extended Significance of Chinese Landscape Woodblock Prints-An Elaboration on the Value of the Collection “Landscape Woodblock Prints of the Ming and Qing Dynasties” ». Journal of Ancient Chinese Arts and Crafts 1, no 1 (2023) : 1–13. http://dx.doi.org/10.59528/ms.jacac2023.0802a1.

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The collection “Landscape Woodblock Prints of the Ming and Qing Dynasties” treats landscape woodblock prints as a distinct category, systematically organizing and presenting them in chronological order to showcase their development and evolution, and geographically to reveal regional differences. This approach promotes the independence of traditional Chinese prints in art history, elevating their status and influence. In Chinese history, the division of labor and cooperation in printmaking allowed both literati and professional painters to participate in print creation, contributing to the improvement of the art form. Landscape woodblock prints not only have the indicative function of landscape maps but also possess the artistic characteristics of landscape paintings, representing a pictorial form that bridges and draws from both. Ancient landscape woodblock prints and landscape paintings complement each other and provide mutual support in both creation and research. Landscape woodblock prints are closely related to the local geography and serve as important supporting materials for advancing the study of artistic geography. Compared to landscape paintings, they hold greater significance and value in the field of artistic geography.
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Perry, T. S. « 'PostScript' prints anything : a case history ». IEEE Spectrum 25, no 5 (mai 1988) : 42–46. http://dx.doi.org/10.1109/6.4550.

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Laing, Ellen Johnston. « Picturing Men and Women in the Chinese 1911 Revolution ». Nan Nü 15, no 2 (2013) : 265–316. http://dx.doi.org/10.1163/15685268-0152p0003.

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In the late nineteenth and early twentieth century many Han Chinese, under the leadership of Sun Yatsen (1866-1925) and others sought to overthrow the Manchu Qing dynasty. This movement culminated in the Revolution which began in October 1911 and ultimately deposed the Qing imperial household, permitting the establishment of a republican government. As the Revolution progressed, the commercial popular print business, through inexpensive lithographs and woodblock prints, provided citizens with illustrations of important events in the Revolution, as well as portraits of male and female participants. Modern commentary on these prints identifies the subjects depicted, but neglects the artistic elements. To fill this gap, this study examines the artistic aspects of these prints and reveals that the source of the compositional formats lies in well-established formulae, some of which go back to the eighteenth century. For specific portraits of male participants in particular, print designers often relied on current photographs, thus melding old and new. For representations of female military participants, print designers, mostly eschewing photographs of them, provided imaginary portraits, some of which are based on depictions of anonymous women, again, already a part of the print legacy. The prints frequently feature two military women famous at the time, one real (Cao Daoxin) and one fictional (Xu Wuying); this essay explains how and why images of them were so widespread in the popular print media.
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Tůmová, Adéla. « Japanese Modernization Prints Collection (Yokohama-e and Kaika-e) in the Náprstek Museum ». Annals of the Náprstek Museum 43, no 2 (2022) : 107–31. http://dx.doi.org/10.37520/anpm.2022.012.

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This article deals with the collection of prints Yokohama-e and kaika-e, which are part of the collection of woodblock prints in the Náprstek Museum. The Yokohama-e and kaika-e woodblock prints were created in the second half of the 19th century in response to Japan’s changing politics, the arrival of foreigners, and the modernization of the country, thus capturing both the first introduction to Western innovations and the manner in which these subjects were presented to the public in Japan. The modernization prints in the Náprstek Museum have not yet been evaluated by scholars; the aim of this article is to provide information concerning this part of the woodblock print collection – the artists of the prints, the subjects depicted, and the question of the donors through whose agency the prints came into the museum’s possession.
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Das, Arit, Jocelyn A. Riet, Michael J. Bortner et Claire McIlroy. « Rheology, crystallization, and process conditions : The effect on interlayer properties in three-dimensional printing ». Physics of Fluids 34, no 12 (décembre 2022) : 123108. http://dx.doi.org/10.1063/5.0128660.

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Semicrystalline polymers are an attractive feedstock choice for material extrusion (MatEx)-based three-dimensional printing processes. However, the printed parts often exhibit poor mechanical properties due to weak interlayer strength thereby limiting the widespread adoption of MatEx. Improved interlayer strength in the printed parts can be achieved through a combination of process parameter selection and material modification but a physics-based understanding of the underlying mechanism is not well understood. Furthermore, the localized thermal history experienced by the prints can significantly influence the strength of the interlayer welds. In this work, a combined experimental and modeling approach has been employed to highlight the relative impact of rheology, non-isothermal crystallization kinetics, and print geometry on the interlayer strength of printed parts of two semicrystalline polymers, namely, polylactic acid (PLA) and polypropylene (PP). Specifically, the print properties have been characterized as a function of print temperature and print speed. In the case of single road width wall (SRWW) PLA prints, the total crystalline fraction increases due to the broadening of the crystallization window at higher print temperatures and lower print speeds. The results are substantiated by the constitutive modeling results that account for the effects of quiescent crystallization. However, SRWW PP prints display a reduction in the interlayer properties with temperature likely due to significant flow-induced crystallization effects, as suggested by the model. Interestingly, in the case of multilayer PP prints, the repeated heating/cooling cycles encountered during printing counteracts the flow-induced effects leading to an increase in mechanical properties with print temperature consistent with SRWW PLA prints.
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Dippie, Brian W., et Ron Tyler. « Prints of the West ». Western Historical Quarterly 27, no 1 (1996) : 81. http://dx.doi.org/10.2307/969929.

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Cochran, Robert, et Mike Disfarmer. « Disfarmer : The Vintage Prints ». Arkansas Historical Quarterly 65, no 4 (2006) : 449. http://dx.doi.org/10.2307/40028096.

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Thèses sur le sujet "History of Prints"

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McCreery, Cindy. « Satiric prints of women in late eighteenth-century England ». Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336246.

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Mardilovich, Galina. « Printmaking in late Imperial Russia ». Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610714.

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Barry, Laura Pass. « Optical Instruments Used with Prints in the Eighteenth Century ». W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539626436.

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Davidson, Paul Scott. « Capturing the whirlwind : Paris depicted through the medium of Revolutionary Prints ». Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8474.

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This thesis is the product of an Arts and Humanities Research Council Collaborative Doctoral Award, the result of which was the production of a catalogue of the Tableaux de la Révolution. Made up of some 500 prints, presented in four nineteenth century bound volumes, the Tableaux de la Révolution is part of the Rothschild Collection held at Waddesdon Manor, Buckinghamshire. One of the key goals of the project was to create an online resource that is now publicly accessible by internet. The initial cataloguing was split between Claire Trévien, also a recipient of and AHRC CDA, which she held in the French Department at the University of Warwick and myself. We ‘tombstone catalogued’ some 250 prints each, analysing the following: date, the identification of printing method and style, identification of subject and theme, a description of the image, translation and description of the text, as well as the construction of a theme-based search engine. My own contribution was the first and fourth of the large volumes in which the prints are kept (accession numbers: 4232.1 and 4222). Additional background research has also been conducted for each print, extended upon in the final in-depth analyses of circa 30 prints on my part. The items which received this treatment under my individual care were acc. nos: 4222.7.4, 4222.9.8, 4222.10.11, 4222.13.16, 4222.14.17, 4222.21.27, 4222.35.44, 4222.47.61, 4232.1.13.27, 4232.1.19.40, 4232.1.23.46, 4232.1.42.83, 4232.1.43.85, 4232.1.43.86, 4232.1.46.92, 4232.1.48.96, 4232.1.52.104, 4232.1.52.107, 4232.1.57.113, 4232.1.69.142, 4232.1.70.144, 4232.1.80.164, 4232.1.83.170, 4232.1.84.171, 4232.2.24.38, 4232.2.31.50, 4232.2.31.51, 4232.2.35.61 and 4232.2.47.80 (http://www.waddesdon.org.uk/collection/special-projects/tableaux-paul). The work done at Waddesdon Manor also proved invaluable vis-à-vis my thesis. The study of the prints laid the groundwork for me to broaden my knowledge of prints as a visual medium. In addition to this, an exhibition of the Tableaux de la Révolution was held at Waddesdon Manor in summer 2011. Part of the impact of the final catalogue also included a public lecture and ‘hands-on’ session, which I co-hosted with Claire Trévien. The catalogue of the Tableaux de la Révolution may be consulted on the Waddesdon website at: http://waddesdon.org.uk/collection/special-projects/tableau.
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Fisher, Kylie Michelle. « Imprinting Antiquity : Reinventing the Past through Sixteenth-Century Prints ». Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1585853474864203.

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Ross, Gail Macdonald. « New Zealand Prints 1900-1950 : An Unseen Heritage ». Thesis, University of Canterbury. School of Fine Arts, 2006. http://hdl.handle.net/10092/937.

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The vibrant school of printmaking which emerged and flourished in New Zealand between 1900 and 1950 forms the subject of this thesis. It examines the attitudes of the printmakers, many of whom regarded the print as the most democratic of art forms and one that should reflect the realities of everyday life. Their subject matter, contemporary city scenes, people at work and leisure, local landscapes, Maori and indigenous flora and fauna, is analysed and revealed as anticipating by over a decade that of regionalist painters. They are also identified as the first New Zealand artists to draw attention to social and environmental issues. Trained under the British South Kensington art education system, New Zealand printmakers placed great importance on craftsmanship. Although some worked in a realist style others experimented with abstraction and surrealism, placing them among the forefront of New Zealand artists receptive to modern art. Expatriate New Zealand printmakers played significant roles in three major printmaking movements abroad, the Artists' International Alliance, Atelier 17 and the Claude Flight Linocut Movement. The thesis redresses the failure of existing histories of New Zealand art to recognise the existence of a major twentieth-century art movement. It identifies the main factors contributing to the low status of printmaking in New Zealand. Commercial artists rather than those with a fine arts background led the Quoin Club, which initiated a New Zealand school of printmaking in 1916; Gordon Tovey's overthrow of the South Kensington system in 1945 devalued the craftsmanship so important to printmakers; and the rise of modernism, which gave priority to formal values and abstraction, further exacerbated institutional indifference to the print. The adoption of Maori imagery by printmakers resulted in recent art historians retrospectively accusing them of cultural appropriation. Even the few printmakers who attained some recognition were criticised for their involvement in textile and bookplate design and book-illustration. Key artists discussed in the thesis include James Boswell, Stephen Champ, Frederick Coventry, Rona Dyer, Arnold Goodwin, Thomas Gulliver, Trevor Lloyd, Stewart Maclennan, Gilbert Meadows, John L. Moore, E. Mervyn Taylor, Arthur Thompson, Herbert Tornquist, Frank Weitzel, Hilda Wiseman, George Woods, John Buckland Wright and Adele Younghusband. Details of the approximately 3,000 prints created during this period are recorded in a database, and summarised in the Printmakers' Survey included in Volume Two. In addition reproductions of 156 prints are illustrated and documented; while a further 43 prints are reproduced within the text of Volume One.
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Watkins, Catherine Bailey. « Rembrandt's 1654 Life of Christ Prints : Graphic Chiaroscuro, the Northern Print Tradition, and the Question of Series ». Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1302116377.

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Terjesen, Lori Ann Martin. « Collecting the Brücke : Their Prints in Three American Museums, A Case Study ». Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1291164225.

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Vanhaelen, Engeline Christine. « Guilty pleasures : the uses of farcical prints for children in early modern Amsterdam ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ46439.pdf.

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Schlothan, Betty L. « Intriguing Relationships| An Exploration of Early Modern German Prints of Relic Displays and Reliquaries ». Thesis, University of California, Riverside, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1543222.

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A group of early modern German prints related to relic displays, reliquaries, and collecting, though explored by Heinrich Otte in the mid-1800s, has been ignored in recent art historical literature. Though references to the various prints appear in texts on social, cultural, and religious history, a more in-depth consideration of the works is warranted. This thesis, as a preliminary step, categorizes the prints into two sub-groups, narrative and index. It further utilizes the intriguing relationships embodied in the prints to trace societal and cultural changes, including the rise of event reporting, collecting and organization of knowledge, and changes in religious practices.

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Livres sur le sujet "History of Prints"

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Grishin, Sasha. Contemporary Australian printmaking : An interpretative history. Roseville East, NSW : Craftsman House, 1994.

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Stock, Jan van der. Printing images in Antwerp : The introduction of printmaking in a city : fifteenth century to 1585. Rotterdam : Sound & Vision Interactive, 1998.

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Roger, Butler. The history of Australian prints. Canberra : National Gallery of Australia, 1997.

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Rice, Laura. Maryland history in prints, 1743-1900. Baltimore : Maryland Historical Society, 2002.

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Loudon. Classic natural history prints : Ornamental flowers. London : Studio Editions Limited, 1991.

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Killion, Tom. Tamalpais walking : Poetry, history, and prints. Berkeley, Calif : Heyday Books, 2009.

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Moore, Colin. Propaganda prints. London : A&C Black, 2010.

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Kidman, Fiona. Palm prints. Auckland, N.Z : Vintage, 1994.

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Harris, Constance. Portraiture in prints. Jefferson, N.C : McFarland, 1987.

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Hults, Linda C. The print in the western world : An introductory history. Madison, Wis : University of Wisconsin Press, 1996.

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Chapitres de livres sur le sujet "History of Prints"

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Chen, Li. « The Golden Age of Prints : Song Dynasty ». Dans A History of Books in Ancient China, 159–225. Singapore : Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-8940-9_5.

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Menegon, Eugenio. « «Robbe d’Europa» : Global Connections and the Mailing of Letters, Money, and Merchandise in the Eighteenth-Century China Mission ». Dans Connessioni. Studies in Transcultural History, 15–32. Florence : Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0242-8.03.

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Manuscript reports and letters written in China by the Propaganda Fide and Jesuit missionaries criss-crossed the oceans and the continents to reach Europe on ships, carts, horses, mules, and palanquins, using both European systems of transportation provided by the various East India Companies and governments, and other local public and private postal arrangements. Missionary agencies also mailed from the West robbe d’Europa («European things»), such as silver coins, foodstuff and drugs (chocolate, wine, cheese, olive oil, tobacco), medicines, galanterie (luxury items), books, devotional objects and prints. Chinese goods (tea, silk, medicines, luxury items, books) were sent in the opposite direction to please patrons in Europe. Without this multi-layered, imperfect, yet workable mailing system, the flow of information and articles fuelling early modern globalisation and, within it, the Chinese missions, would have been impossible.
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Johnson, Dorothy. « Food for Thought : Consuming and Digesting as Political Metaphor in French Satirical Prints ». Dans Gut Feeling and Digestive Health in Nineteenth-Century Literature, History and Culture, 85–108. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01857-3_5.

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Cesaratto, Anna, Marco Leona et Federica Pozzi. « CHAPTER 18. The Cultural Meanings of Color : Raman Spectroscopic Studies of Red, Pink, and Purple Dyes in Late Edo and Early Meiji Period Prints ». Dans Raman Spectroscopy in Archaeology and Art History, 271–88. Cambridge : Royal Society of Chemistry, 2018. http://dx.doi.org/10.1039/9781788013475-00271.

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Bachleitner, Norbert. « Chapter 2.1. Print history ». Dans A History of Modern Translation Knowledge, 103–12. Amsterdam : John Benjamins Publishing Company, 2018. http://dx.doi.org/10.1075/btl.142.13bac.

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Preußner, Paul-Rolf. « OKULIX Raytracing Software ». Dans Intraocular Lens Calculations, 717–30. Cham : Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-50666-6_49.

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AbstractThe raytracing software package OKULIX was initially developed for scientific purposes in the context of accommodating IOLs. Later it was extended to corneal laser surgery which is still available in the “corneal module” of OKULIX. The latest development was then the application to IOL calculation. One of the essential guidelines of the software development was to reduce universal applicability (unlike as in other commercially available raytracing software) in order to optimize it to the special situation of a human eye, i.e., concentration of the fovea as the only optical area of interest, and restriction to mostly four but in maximum six refracting surfaces. In addition, the collection of the manufacturer’s blue prints of the big majority of IOL models on the market was necessary, including continuous updates. In general, the result is an IOL calculation software that is based on physical rather than on statistical data to the highest possible extent, applicable to all kinds of eyes, even without knowing their history. Other than in most IOL formulas, missing information is not taken from Gullstrand’s but from Liou and Brennan’s eye model. The accuracy of OKULIX IOL calculations has been proven to be never systematically worse compared to other methods when the same measured input data are used.
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Borchard, Gregory A. « Pre-Revolution Print ». Dans A Narrative History of the American Press, 12–26. New York : Routledge, 2018. : Routledge, 2018. http://dx.doi.org/10.4324/9781315658667-2.

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« History ». Dans Chinese Popular Prints, 23–122. BRILL, 1996. http://dx.doi.org/10.1163/9789004490901_007.

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Zwicker, Jonathan. « Individuality in an Age of Reproduction ». Dans Kabuki's Nineteenth Century, 179–229. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192890917.003.0006.

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Abstract When European collectors began purchasing Japanese woodblock prints in the mid-nineteenth century, ukiyo-e prints came to be understood within the logic of European artistic conventions that prized originality. For collectors and connoisseurs, the prints of the nineteenth century, in particular, posed a problem: actor images from this period were premised on a method that foregrounded the recognition of the actor across various printed media and regardless of the print designer, leading to a style that was often criticized as manneristic. Using the writings on composition of the print designer Utagawa Toyokuni as a starting point, “Individuality in an Age of Reproduction” re-examines the history of nineteenth-century actor images in woodblock prints and printed books to explore how ideas of individuality and distinctiveness changed across the nineteenth century and how the emergence of photographic images of actors fit within a longer history of actor prints.
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Bromley, Michael, et Karen Hasin-Bromley. « Galleries without Walls : Art and the Mechanical Mass Culture of the Press ». Dans The Edinburgh History of the British and Irish Press, Volume 2, 616–21. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474424882.003.0042.

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This chapter explores how a huge increase in the production and consumption of printed paper products in the nineteenth century provided an environment for the growth of popular printed illustration in parallel with an expanding consumerism. Art defined narrowly offered a ready-made basis for massification through print. Art moved from galleries and exhibitions into newspapers and magazines, advertising, packaging, labels and prints and posters. This provided a confluence of aesthetics and connoisseurship with commercialism, and of ‘improvement’ with consumption which impacted on the art world, too, helping to make celebrities out of artists. These new print forms of art were works in their own right. Yet, the chapter argues, the potential for a form of democratisation of art through mass consumption was circumscribed by persistent inflections of class.
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Actes de conférences sur le sujet "History of Prints"

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Vallabh, Chaitanya Krishna Prasad, Shawn Hinnebusch, Albert C. To et Xiayun Zhao. « Layer-Wise Melt Pool Temperature Evolution in Laser Powder Bed Fusion : An Experimental Study Using a Single Camera Based Two-Wavelength Imaging Pyrometry ». Dans ASME 2022 17th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/msec2022-85387.

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Abstract In metal additive manufacturing (AM) the layer-wise thermal history is crucial for its effect on the print part properties, such as, microstructure, porosity, and mechanical strength. Literature studies for evaluating the part thermal history are typically based on in-situ infrared thermography and thermal modeling. However, the effect of melt pool temperature on the part thermal history has not been widely studied. In this preliminary work, for the first time we present a large and comprehensive in-situ monitored, layer-wise melt pool temperature evolution data for laser powder bed fusion (LPBF) AM. The melt pool temperature is evaluated using an in-house Single Camera Two-Wavelength Imaging Pyrometry (STWIP) system. The melt pool temperature evolution was evaluated for three different prints with different inter-layer-times and print heights. The melt pool temperature history trends presented in this work are in agreement with literature studies on part-thermal histories. The LPBF process signatures from our STWIP system can help develop more accurate thermal models with the melt pool temperature as the input and the unique capability of the STWIP system to acquire and analyze large amounts data facilitates the development of machine learning models for estimating part properties based on the process signatures.
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Stradomski, Jan. « ON THE RECEPTION OF THE CYRILO-METHODIAN WORK IN THE POLISH-LITHUANIAN COMMONWEALTH IN THE 16th-18th CENTURIES (Notes with review of newly discovered old printed sources) ». Dans THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.07.

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The history of the life and deeds of SS Cyrill and Methodius and their missionary work is a motive in the old print booksfrom the Polish-Lithuanian Commonwealth (Rzeczpospolita) in the 16-18th century. Various texts (of varying length, detail and credibility) confirm that the figures of the Brothers of Solun were known to Polish religious and historical writers and were highly respected. For Cyrillomethodian studies, it seems valuable to extract such materials and analyze them as they show the reception of the Cyrill and Methodius heritage over the centuries. The article presents a collection of new excerpts and comments on the Cyrillomethodean historical and religious story from old prints in Polish.
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Щербинин, Е. Р., et А. В. Щербакова. « THE ROLE OF THE WILD WEST PERIOD IN THE HISTORY OF TEXTILES ». Dans КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.31.

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Данная статья представляет исследование влияния эпохи Дикого Запада на эволюцию жанра вестерн и его отражения в мире моды и текстильного искусства. Проводится анализ того, как эпоха Дикого Запада стала вдохновением для жанра вестерн и как этот стиль проник в различные сферы дизайна, включая текстиль для одежды, интерьера и мебели. Статья освещает историю развития текстиля в период вестерна, отмечает ключевые характеристики этого стиля в одежде и декоре, а также рассматривает применение мотивов вестерна в принтах и узорах. В тексте выявляются конкретные цветовые палитры и орнаменты, которые стали характерными для вестерн-стиля в текстиле, и обсуждаются их влияние на модные тенденции и стилистические предпочтения в течение времени. This article represents a study of the influence of the Wild West era on the evolution of the western genre and its reflection in the world of fashion and textile art. An analysis is made of how the Wild West era became the inspiration for the western genre and how this style has permeated various areas of design, including textiles for clothing, interior design and furniture. The article covers the history of the development of textiles during the western period, notes the key characteristics of this style in clothing and decor, and also examines the use of western motifs in prints and patterns. The text identifies specific color palettes and patterns that came to characterize western textiles and discusses their influence on fashion trends and stylistic preferences over time.
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BENARBIA, A. « Experimental and numerical study of heat transfer on an industrial FFF printer : Application to PEEK ». Dans Material Forming. Materials Research Forum LLC, 2024. http://dx.doi.org/10.21741/9781644903131-36.

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Abstract. The FFF process is one of the most widely used additive manufacturing processes for shaping thermoplastic polymers. The recent development of industrial printers equipped with high-temperature ovens has made it possible to print high-performance thermoplastics from the PAEK family for applications in the aerospace, medical and other industries. Numerous studies have shown that thermal history is a key factor to improve the mechanical properties of printed parts. Nevertheless, the uniformity of mechanical properties of printed parts is generally poor and highly dependent on the homogeneity of the thermal oven used, which, to our knowledge, has never been properly characterized. For semi-crystalline polymers, the thermal driven crystallization process is also a key factor in adhesion. However, the coupling between phase transformation and heat transfer is often neglected in numerical modelling and its influence has not yet been clearly demonstrated. In this work, we will carry out a preliminary characterization of the printer by measuring air velocity and temperature gradients over the whole printing zone. Secondly, the comparison between simulation and experimental measurements will show the importance of correctly predicting crystallization kinetics to obtain more accurate predictions.
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Flores V., David, Roberto Gomez, Dante Tolentino et E. Sánchez Nájera. « Lateral Seismic Fragility of a Cable-Stayed Bridge using Point Estimate Method ». Dans IABSE Symposium, Istanbul 2023 : Long Span Bridges. Zurich, Switzerland : International Association for Bridge and Structural Engineering (IABSE), 2023. http://dx.doi.org/10.2749/istanbul.2023.0092.

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<p>Cable-stayed bridges are a constant topic of study, they are pleasing to the eye and have a good seismic performance. Some important cable-stayed bridges in Mexico are ageing and there is a need to review their structural response. As built drawings are necessary to carry out a thoroughly review, however, ageing bridges blue prints are incomplete or lack important information, such is the case of cable pre-stressing forces, concrete mechanical properties and damping ratio. These are common source of uncertainty. In the analytical fragility assessment of bridges, several uncertainties are inherent in the estimation of seismic damage. Several techniques have been widely used, such as Monte Carlo simulations, simplified fragility estimation, Bayesian methodologies, among others. However, there is not much research about point estimate methodologies that are just as precise as other techniques and demand much lower computation time.</p><p>In this regard, in this paper a probabilistic approach for the lateral seismic fragility of cable stayed bridges is presented. Point estimates simulations are used. We study a cable-stayed bridge whose configuration is widely used in Mexico. A numerical model is developed considering the nonlinear response of the components and its uncertainties. A collection of real ground motion records is used as applied load, from which the fragility curves are then obtained by analysing the structure using Non-linear Time History Analysis (NTHA). Then, the fragility curves of piers and pylon are presented.</p>
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Safonova, N. N. « The use of reduced vocabulary in media texts (for example, regional print edition - New City newspaper) ». Dans Scientific Trends : Philology, Culturology, Art history. LJournal, 2019. http://dx.doi.org/10.18411/spc-26-03-2019-04.

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Cleeman, Jeremy, Alex Bogut, Brijesh Mangrolia, Adeline Ripberger, Arad Maghouli, Kunal Kate et Rajiv Malhotra. « Multiplexed 3D Printing of Thermoplastics ». Dans ASME 2022 17th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/msec2022-80882.

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Abstract Extrusion-based additive manufacturing of large thermoplastic structures has significant emerging applications. The most popular approach to economically achieving such 3D printing is to increase the polymer flow rate along with the layer height and line width. However, this creates a fundamental compromise between the achievable geometric fidelity and the printing throughput. We explore a Multiplexed Fused Filament Fabrication (MF3) approach in which an array of FFF extruders concurrently prints different sections of the same part using small layer heights and line widths. Mounting all the extruders on one cartesian gantry without individual control of each extruder’s motion enables simple machine construction and control. 3D geometric complexity is realized by rastering the extruder array across the smallest rectangle bounding each 2D layer and by spatially specific deposition via “dynamic” filament retraction/ advancement in the extruders. The dynamic moniker is because, unlike conventional single extruder FFF, the extruder array does not stop during dynamic filament retraction/advancement. This achieves higher throughput at greater resolution without material-intensive overprinting and machining, geometrically-limited throughput of the dual-extruder strategy, cost and geometric limitations of robot-based multiplexing, and the complexity and geometric limitations of previous gantry-based multiplexing efforts. Our experiments reveal the parameters that affect dynamic retraction and advancement, and show a previously unknown coupling between the efficacy of dynamic filament retraction and dynamic filament advancement. We create part-scale thermal simulations to model temperature evolution in the part under the action of multiple concurrently acting extruders, revealing a unique temperature history that can affect bonding and mechanical properties. We show that MF3 can enable resilience to extruder failure by allowing other extruders to take over part fabrication while the damaged extruder is being replaced. We also demonstrate that MF3 enables flexibility in part scale and geometry, i.e., the ability to make multiple smaller parts of similar or distinct geometries in one production run and lesser number of larger parts of similar or distinct geometries in the next production run. Finally, we quantitatively analyze the future potential of MF3 to achieve similar or greater throughput than state-of-the-art Big Area Additive Manufacturing while significantly enhancing the geometric resolution.
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Arnold, D., M. Christie et V. Demyanov. « Geologically Realistic Priors for History Matching ». Dans 76th EAGE Conference and Exhibition 2014. Netherlands : EAGE Publications BV, 2014. http://dx.doi.org/10.3997/2214-4609.20141512.

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FARIAS, Priscila Lena, Daniela Kutschat HANNS et Catherine DIXON. « Spatializing design history : Considerations on the use of maps for studies on print culture ». Dans 10th International Conference on Design History and Design Studies. São Paulo : Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-04_009.

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Mahmud, M. Irfan, Pawennari Hijjang, Muhammad Basir Said et Yahya Yahya. « The Hand-Print Tradition of the Community from Maros Karst ». Dans 9th Asbam International Conference (Archeology, History, & Culture In The Nature of Malay) (ASBAM 2021). Paris, France : Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220408.013.

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Rapports d'organisations sur le sujet "History of Prints"

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Graham, Kathleen L. History of the Priest River Experiment Station. Ft. Collins, CO : U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station, 2004. http://dx.doi.org/10.2737/rmrs-gtr-129.

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Steeves, Brye. Classified library celebrates two-year anniversary print your own commemorative history posters. Office of Scientific and Technical Information (OSTI), mai 2021. http://dx.doi.org/10.2172/1784690.

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Aizenman, Joshua, et Ilan Noy. Prizes for Basic Research -- Human Capital, Economic Might and the Shadow of History. Cambridge, MA : National Bureau of Economic Research, mai 2006. http://dx.doi.org/10.3386/w12226.

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Harrison, J. C., A. F. Embry et T. P. Poulton. Field observations on the structural and depositional history of Prince Patrick Island and adjacent areas, Canadian Arctic Islands. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1988. http://dx.doi.org/10.4095/122657.

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Martin, Kathi, Nick Jushchyshyn et Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Moreno Mejía, Luis Alberto, et Iván Duque Márquez. Contemporary Uruguayan Artists : An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, février 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Lozynskyi, Maryan. Книгообмін Львівського державного університету імені Івана Франка : аналіз архіву з кінця 1940-х років. Ivan Franko National University of Lviv, mars 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11745.

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One of the components of the publishing activity (book exchange) of the Ivan Franko State University of Lviv in the post-war period, in particular, in 1946-1947, when the University, while reconstructing and repairing educational buildings, etc., began to build a publishing and printing base, has been revealed. It has been established that the administration of one of the leading educational institutions at that time encouraged the scientific and pedagogical staff to write and print teaching aids, textbooks, monographs, etc. in every possible way. The article analyzes archival documents testifying to the cooperation of the rectorate of the Ivan Franko State University of Lviv with some educational institutions of Ukraine and from outside its borders in the matter of exchange of scientific works written and published by researchers of the Franko University. This article will be of particular value primarily for those who are interested in the history of the Ivan Franko National University of Lviv concerning the development of the publishing business in the post-war period, as well as significant scientific works that were published within the framework of this educational institution. Keywords: book exchange, textbook, monograph, scientific notes, libraries, universities.
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Gundacker, Roman. The Descent of Kawab and Hetepheres II. Verlag der Österreichischen Akademie der Wissenschaften, décembre 2018. http://dx.doi.org/10.1553/erc_stg_757951_r._gundacker_the_descent_of_kawab_and_hetepheres_ii.

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According to the communis opinio, prince Kawab is a son of Cheops. This assumption is primarily based on G. A. Reisner’s conclusions about the location of mastabahs and queen’s pyramids in the East Field and on three relief fragments from mastabah G 7110/20, which W. S. Smith ingeniously assigned to a scene naming Kawab and his mother Meretites. Early after G. A. Reisner had published the first part of his view on the history of the royal family of the Fourth Dynasty, substantial critique was brought forward by W. Federn. Following the latter, Kawab should be considered a grandson of Sneferu because, apart from mastabah G 7110/20 in Gizah, another mastabah at Dahshur bears witness of him. Even though it is now safely determined that the two are neither one and the same person nor contemporaries, W. Federn’s review has been taken as a starting point for further critical investigation by some scholars who came to the conclusion that Kawab was rather a son of Sneferu.
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Tabinska, Iryna, et Yaroslav Tabinskyi. Феномен «смислу поміж фактами» у друкованому виданні Reporters : взаємодія тексту та фотоілюстрації. Ivan Franko National University of Lviv, mars 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11728.

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The article states that with the development of new journalism, the author’s ability to characterize a phenomenon and identify a trend acquires special value. Representatives of Ukrainian new journalism, which is a relatively new genre, are already gradually implementing these tasks. They compose entire books from their reports, offering the reader a condensed version of versatile observations about a certain country, situation, or phenomenon. In contrast to ordinary reportage, fiction is a synthetic genre, in which it is not reported, but told. The authors of the article research Reporters which is the first magazine of new journalism in Ukraine. Their main task is to explain the phenomenon of “meaning between facts”. According to the authors, this phenomenon is simple and unique at the same time, because through people’s stories you can find depths that relate to historical, cultural and geopolitical life. The article analyzes the interaction of text and images, shows how to find meaningful messages in actual data using specific examples. The study singled out accents that relate to the interaction of text and images. Quite often, photography reproduces reality and helps the reader to paint reality in his imagination. Textual forms delve into the plot through human history and detail. In four printed issues of the magazine, the authors of the study analyzed the stories that are particularly relevant today. First of all, this concerns Russian aggression and the insubordination of Ukrainians. Key words: new journalism, non-fiction, text, images, dialog, photojournalism.
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Amzallag, Robert. The return of inflation : a banker’s perspective. CIRANO, mai 2022. http://dx.doi.org/10.54932/egsn1582.

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The COVID 19 pandemic followed by the invasion of Ukraine is a two-punch economic strike never seen in recent history. The pandemic not only disrupted many aspects of a tightly knit integrated world but also exposed its fragility. The devastation of Ukraine and the vast program of sanctions quickly imposed by most major developed countries have accelerated the retreat of globalization. For many decades, Central Bankers and economists considered stable prices as an almost permanent feature. Today, the consumer price index in the US hit a 40-year high at more than 8 per cent and experts were unable to predict such course of inflation. In this paper, we offer a unique perspective on these events. First, we identify a few major influential factors that have altered significantly and reliably inflation since World War II. We then turn to looking at recent events in the light of these factors to try and extrapolate a likely trend for inflation in the coming years. Despite the dire economic challenges of World War II, the economy recovered quickly, the financial imbalances rectified in only a few years and inflation was tamed. Can the same thing be achieved after the pandemic? Our analysis suggests that this is highly improbable. Deep-rooted inflationary forces are at work because of the distortions that the economic order of the last 40 years has created. These distortions, exacerbated by the dual crisis, will take long to repair. We are then looking at an unsettled economic and inflationary future. The wise course of action to avoid a chaotic future requires that the US authorities withdraw from hands-on policies and instead, pave the way for the agile private sector to take the lead and adapt the economy to the changing conditions.
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