This case study of the production and use of books in Yorkshire in the late fifteenth and early sixteenth centuries has two main aims. The first aim is to investigate the relationship between book production and book ownership in Yorkshire during the late fifteenth and early sixteenth centuries. Unlike the methodology of this thesis, previous studies have usually studied the book trade and the market for books separately. By focusing on both book production and use, this study shows that it is not usually possible to argue from the evidence of one to the other. In order to comprehend both book trade networks and the reading public they served, it is necessary to investigate them together. The second aim of this thesis is to investigate how the book trade was affected by socio-economic and religious changes, in particular, the early years of the Reformation and the new technology of print. Using the evidence of the franchise register of York and guild ordinances and other sources, I show that speculative book production in York became more important after the advent of print. As a result of the self-protecting activities of the London booksellers and printers, however, by the mid-sixteenth century the York book trade was predominantly a service industry. Some previous studies have argued that major changes also took place in levels of literacy and methods of reading during this period. Yet the evidence of Yorkshire wills and inventories indicates that the early religious reforms and the advent of print did not affect the ownership of books to any significant extent. A straight-forward contrast between manuscript culture and print culture is therefore too simplistic and we must consider the variety of ways in which books were acquired and used.

published_or_final_version / Industrial Engineering / Master / Master of Philosophy

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Just as coarse static on a radio station interferes with a listener's ability to discern the music being played, so do coarse visual background patterns interfere with a map reader's ability to read words on a map. This problem is especially prevalent when small budgets limit the cartographer to the use of commercially available, pre-printed areal patterns for black and white reproduction. This study investigates the effects of dot arrangement and dot density of two purchased, areal dot patterns, type size, type orientation, and letter case on word reading accuracy when words and dot patterns are viewed simultaneously. The emphasis of the study was on dot arrangement, comparing the readability of words presented with a controlled "geometric" dot arrangement and then with an experimental "scallop" dot arrangement. The remaining variables, included to simulate an actual map situation, were also analyzed. The primary null hypothesis, that dot arrangement does not make a significant differance in word reading accuracy regardless of dot density, type size, type orientation, and letter case, was rejected on the basis of the analysis results.

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

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Thesis (Ph. D.)--University of Hawaii at Manoa, 1995. / Includes bibliographical references (leaves 134-138). / Microfiche. / xv, 138 leaves, bound ill. 29 cm

Thesis (M.S.)--Rochester Institute of Technology, 1989. / Includes bibliographical references (leaves 44-45).