Esta dissertação é parte inseparável da caixa-portfólio na qual encontra-se anexada, cujo conteúdo, constituído de quinze estampas originais em pequenas dimensões, apresenta-se como uma síntese da produção visual (em torno de oitenta estampas) realizada no período de 2006 a 2010. Tendo como suporte a gravura em metal, a produção desdobrou-se a partir do embate entre a cor e a imagem impressa. Ao utilizar a cor impressa  a partir dos azuis com foco em sua luminosidade e opacidade, produziu-se um local singular para imagem, que se encontra imersa na vibração da cor. Ao transitar pelas luminosidades limítrofes dos azuis e de suas intensificações, passando pelas penumbras violáceas até os negros; ao imprimir imagens e planos sobre a semiescuridão, encontramos vestígios de luz, vestígios de imagens. Há uma proposição perceptiva em andamento que conduz o olhar a uma experiência temporal. Nesses locais luminosos onde a imagem se oculta, quase desaparece e às vezes se ausenta podemos refletir sobre o papel da imagem nos campos de cor. / This dissertation is an inseparable part of the portfolio box in which it is attached, whose contents consist of fifteen original prints in small sizes which presents itself as a synthesis of visual production (around eighty prints) conducted from 2006 to 2010. Having the engraving as a support, the production unfolded as a result from the clash between the color and the print image. By using the color  printed from the blue  with a focus on its luminosity and opacity, there has been a natural place for the image, which can be found immersed in the vibration of color. While transiting the luminosities of the blue border and its enhancements, passing through the violet shadows to blacks, and plans to print pictures on the demi-darkness, we find traces of light and traces of images. There is a perceptual proposition in progress that leads the eye to a temporal experience. In such places where the bright image is hidden, almost disappears and sometimes is absent, we can reflect about the role of image in the fields of color.

The representation of a Stuttgart court festival in a fascinating book of prints has received no art historical attention. The cultural production of German lands in a complex and obscure time described by one historian as being particularly bereft of "textbook facts", has not elicited much scholarly interest. In the seventeenth century before confessional disputes within the Holy Roman Empire of the German Nation turned into armed conflict, small German territorial courts modelled themselves on and assumed the courtly style of the larger European courts. The Stuttgart baptism of 1616 presents an interesting case study of the use of a courtly spectacle by a secondary court at a time of great instability. The baptism festival served as a stage to display an alliance of some German Protestant princes that held a promise of international support for the Protestant cause. The Wurttemberg court commissioned lengthy texts and a large number of engravings to represent the event. This study will address the contributions made by printed images to the festival program. The key documents for this study are the texts which complement and at times diverge from the visual representation. The differences between the visual and textual material will serve to locate the function of the visual representation of a festival held at a time of impending conflict. The triumphal procession format of the engravings discloses a strategy of disenfranchisement of a powerful parliament while it serves to assert the rank of the court within and outside the German empire. The complex amalgams of imagery that are interspersed in the paper procession allude, I suggest, to the problems presented to the Wurttemberg court by an uneasy alliance of Protestant courts within the empire. The engravings served to encode references to problematic issues such as the survival of the Holy Roman Empire, the rights of Protestant territorial princes to form an alliance and the hopes for outside help for the Protestant cause. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This thesis deals with lasers, their general theory and application. Then a theoretical part describes laser micromachining and engraving. Experimental part of thesis deals with several experiments performed by powered fibre laser which is not primarily intended for the field of micromachining. Experiments were mainly evaluated by several types of microscopes where the amount of removed material was appraised. By particular experiments removed material was in accordance with used working parameters of laser and a significant role plays machining material. It emerges from the experiments that for the field of laser micromachining and engraving shorter pulses are more suitable (minimal pulse duration was 1 ms in experiment) and it is connected even with a way of removing material. Applied powered laser can be used for micromachining in specific fields of production.

The antebellum era was a time of paper—there were newspapers and magazines to read, advertising bills to recognize, and money in the pocket to evaluate. Both the bank note companies and art unions emphasized the quality of the artists they hired, and publicized these works for their taste and nationalizing sentiments. These groups set out to produce a product that encouraged consumer confidence in paper in exchange for something more lasting, such as a painting in oil or a gold coin. The link between these two ideas and the creators of that ineffable quality that lent confidence to both the bank note and the fine art engraving was the engraver himself. Navigating this modern, paper economy in both realms were engravers such as Alfred Jones (1819-1900), a man who made his way in the financial and art worlds, and whose ambitions and career serve as a case study to explore the rapid changes in the demand for images during the Nineteenth Century. Chapter one situates Jones and his colleagues in their historical era and illuminate how cultural, political, and technological advances created a market where engraving could flourish. Chapter two examines Jones’s role within the art unions of the day, and how those groups advertised the skill of engravers, such as Jones, to bolster notions of value in the prints they issued. Chapter three looks more closely at the images created by engravers, and investigates their role in establishing and reinforcing a national visual lexicon that could unify the idea of the nation even as it was unraveling. Chapter four discusses the confusion surrounding counterfeit engravings during the antebellum period and the efforts bank notes companies undertook to highlight the skill of their engravers to reassure the general public of their worth. The burins of Jones and his cohort, through their work in fine arts organizations and bank note companies created images accessible to the average citizen, images these consumers could recognize and assign a value. They applied their talents to works on paper that illustrated the making of the American self in the years before the Civil War.

No description available.

This work is a survey about the cabinetmakers possibilities to use laser engraving for personalised décor in furniture making. I have used analog and digital techniques in a way to take control over the end results of the laser engravings that I make from my patterns and motifs. My motifs and patterns are mainly constructed with a digital pen in a sketch program om my computer. Initially, I did a number of technical tests to learn about the different settings so that I later on could use them to my advantage when I created different motifs. After understanding most of the consequences of different settings I began to adapt my motifs with a conscious planning for how I could use the laser engraving settings to control the final result. In some cases, I have also done some after work in the form of pyrographing or Dremel engraving by hand. Much more are to be desired of those results. My conclusion is that the best results I got were when I used the laser engraving to complete my motifs the way visual artists use their brush, which is what I learned during my work. In addition to the practical work, I have also tried to make a theoretical reasoning about decór and ornament historically and where I fit in today.

This degree work in textile design positions itself in the textile- and surface pattern design field by investigating the interpretation of the translation from traditional to contemporary. The motive is to apply a sustainable aspect to surface pattern design by “recycling” traditional and cultural patterns into renewed contemporary expressions. The aim is to design a collection of contemporary surface patterns by exploring and interpreting traditionally common patterns, such as curbits and folklore painting. Modern printing techniques, new technology and materials have been used in the investigation. Three suggestions for a contemporary surface pattern collection have been developed. A repeated pattern that has been laser engraved and colored on acrylic plexiglass, a mirrored pattern that has been digital printed, coated, and cut to reveal the tabletop, and a large-scale placed pattern that has been transfer printed in three layers to enable for a color-mixing-effect. This project contributes to reinforce the knowledge of traditional craftsmanship and establish a new legacy that can serve as both a link to pattern history and as an archive of today. The project desires to influence how a sustainable approach to “recycling” traditional or cultural images and motifs can be used to design new surface patterns.

No description available.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-25T11:56:57Z No. of bitstreams: 1 Eduardo Rosa da Silva.pdf: 2428303 bytes, checksum: 68e4ef8be1e9d885b29ec5063afccdba (MD5) / Made available in DSpace on 2018-07-25T11:56:57Z (GMT). No. of bitstreams: 1 Eduardo Rosa da Silva.pdf: 2428303 bytes, checksum: 68e4ef8be1e9d885b29ec5063afccdba (MD5) Previous issue date: 2018-04-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / The objective of this research is to verify, among the traditions related to the treaties and manuals, the pathway of a French treatrise on tecniques of engraving, until Portuguese translation. It will be investigated the relevance of this work translated into Portuguese with the title Tratado da Gravura à Água-Forte e a Buril e em Maneira Negra com o modo de construir as Prensas Modernas e de Imprimir em Talho-Doce (Treatise of Engraving, Etching, and Mezzotint with the way of building the Modern Presses and Printing Copper Plates), by Priest José Joaquim Viegas Menezes and published in 1801 in the Arco do Cego’s Typography, Lisbon. The hypothesis that the Portuguese version is based on De la Manière de Graver à L'eau Forte et au Burin, a treatise on French engraving amplified by Charles Nicolas Cochin and edited in the year 1758, guided this study. This research involved a comparison of Abraham Bosse's original treatise of 1645 with the three subsequent French editions, 1701, 1745, 1758, and the edition produced in Portugal in 1801. The changes and updates in relation to the content and the images were analyzed, verifying that the Portuguese edition of 1801 presents few changes in relation to the French text of 1758 / O objetivo desta pesquisa é verificar dentre as tradições relacionadas aos tratados e manuais, o percurso de uma publicação francesa sobre as práticas artesanais da gravura em metal, até sua tradução realizada. Será investigada a relevância dessa obra traduzida para o português com o título, Tratado da Gravura à Água-Forte e a Buril e em Maneira Negra com o modo de construir as Prensas Modernas e de Imprimir em Talho-Doce, pelo Padre José Joaquim Viegas Menezes e publicada em 1801 na Tipografia do Arco do Cego. A hipótese de que a versão portuguesa, se baseia no De la Manière de Graver à L'eau Forte et au Burin, tratado da gravura francês ampliado por Charles Nicolas Cochin e editado no ano de 1758, guiou este estudo. O caminho desta pesquisa envolveu a comparação do tratado original de Abraham Bosse de 1645, com as três edições francesas subsequentes, 1701, 1745, 1758 e a edição produzida em Portugal em 1801. Foram analisadas as mudanças e atualizações em relação ao conteúdo e às imagens, verificando-se que a edição portuguesa de 1801 apresenta poucas alterações em relação ao texto francês de 1758

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.