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Showing 1 to 4 of 4 (0.034 seconds)Spelling suggestions: "subject:"engraved"" "subject:"engraver""
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Crumbling / DistressedUllsåker, Tove January 2015 (has links)
The area of this work is distressed denim in women’s wear. Denim wear has been distressed by machines to imitate the individual patina that becomes from wearing e.g. a pair of unwashed jeans until the color strips from creases. This work uses challenges the faked used look, using a decorative motive in distressed denim. Lace has been used as a decoration of dress since medieval times. By using lace as the pattern for the distressing of denim one will decorate the denim in a destructive way that questions the perfection and delicate way that lace is usually used. Lace consists of threads and holes that builds an ornamental pattern, worn down denim often results in holes and threads at the most vulnerable areas of the garment. Denim is a warp faced cotton twill weave with blue indigo yarn in warp and natural white yarn in weft. By using a laser cutter to engrave a pattern on the warp faced side of the denim, one can set the settings on the laser cutter so that only the blue warp threads will be met by the laser beam. After wash the engraved warp threads will dissolve and depending on the scale and the design of the pattern the unengraved parts can dissolve as well. Therefor one needs to fix the unengraved parts of the pattern before wash if one wants the pattern to remain. There is several ways to fix the pattern before wash; this work includes fixing with laser cut fusing and with seams. Some of the garments aren’t engraved in this work but cut in the laser cutter. The two cutting techniques used is first a regular cut out technique and second a slicing technique. The shapes of the garments derives from typical denim and lace garments such as jeans, denim jackets, denim shirts, lace gown, wedding dresses and underwear such as negligees, corsets, bras and panties. Initially, experiments were done to understand the visual and technical effect of clashing materials and garments. The result is a collection, combining ideas from two different origins in fashion, denim from mineworkers and lace from nobles. The outfits manages how one can control distressed denim and shows a variation from lace, to garments where the traces of lace have completely or partially dissolved. The primary motive is to investigate surface possibilities in distressed denim through a specific pattern. The result is difficult to control and experiments in full scale are necessary to evaluate distressed experiments. The secondary motive is global. Can lasercutting and engravings be an alternative to sandblasting ? It is not dealt with in this investigation. However this investigation shows a selection of alternative expressions for distressed denim. This work challenges the idea of distressed denim as the only way to make a fake, torned effect. It points at new possibilities, using decorative motifs by lasercuts and engravings in combination with other treatments in search for alternative expressions in denimwear.
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Coleção de gravuras Arthur Azevedo: memória e patrimônio culturalSilva, Frederico Fernando Souza 26 May 2011 (has links)
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Frederico Fernando Souza Silva.pdf: 5812368 bytes, checksum: 4505560ae1c344a4c3cb31cf7d79d2f3 (MD5)
Previous issue date: 2011-05-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study presents Arthur Azevedo Engrave Collection, which belongs to the State Government of Maranhão since 1910 and it is located at São Luís. It highlights Arthur Azevedo‟s life and work, as journalist, playwright and art critic, who assembled a engraves and paintings collection in different themes and styles during his lifetime. This research concerns the thematic diversity from collection, emphasizing the group of Brazilian engraves that depict landscapes, customs, and everyday scenes at Brazilian cities. Those art pieces were produced by European artists that traveled around Brazil during 19th century, photographing, drawing, and later lithographing, composing an imagetical register that became reference to researches of identity and cultural memory of the country. There are considerations about lithography its historical context and importance for photography beginning. Followed by, the historical path of this Collection since its acquisition by the State Government of Maranhão, and the researches and preservation works developed regarding the Art Aggregation. It also highlights cultural goods movable and its relevance to apprenticeship process, highlighting therefor, cultural heritage education concept, methodology and its interdisciplinary nature in order to introduce cultural heritage as educational instrument / O estudo apresenta a Coleção de Gravuras Arthur Azevedo, acervo artístico-cultural pertencente ao Governo do Estado do Maranhão desde 1910 e localizado na cidade de São Luís. Destaca-se a vida e obra de Arthur Azevedo, jornalista, teatrólogo e crítico de arte, que constituiu ao logo da vida esse acervo de gravuras e pinturas dos mais diferentes temas e estilos. A pesquisa aborda a diversidade temática da Coleção, enfatizando o conjunto de gravuras brasilianas que retratam as paisagens, os costumes e cenas do cotidiano das cidades brasileiras. Essas obras foram produzidas por artistas europeus que percorreram o Brasil durante o século XIX, fotografando, desenhando e posteriormente litografando as mesmas, formando então registros imagéticos que se tornaram referência para o estudo da identidade e da memória cultural do país. São feitas considerações sobre a litografia contexto histórico e sua importância para o advento da fotografia. Em seguida, o percurso histórico da Coleção desde sua aquisição pelo Governo do Maranhão e os trabalhos de pesquisa e preservação realizados sobre o acervo. Destacam-se ainda os bens culturais móveis e sua relevância no processo de aprendizagem, destacando assim, a educação patrimonial conceito, metodologia e o seu caráter interdisciplinar para inserção do patrimônio cultural como instrumento educacional
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BBT Acoustic Alternative Top Bracing CADD Data Set-NoRev-2022Jun28Hemphill, Bill 22 July 2022 (has links)
This electronic document file set consists of an overview presentation (PDF-formatted) file and companion video (MP4) and CADD files (DWG & DXF) for laser cutting the ETSU-developed alternate top bracing designs and marking templates for the STEM Guitar Project’s BBT (OM-sized) standard acoustic guitar kit. The three (3) alternative BBT top bracing designs in this release are (a) a one-piece base for the standard kit's (Martin-style) bracing, (b) 277 Ladder-style bracing, and (c) an X-braced fan-style bracing similar to traditional European or so-called 'classical' acoustic guitars.
The CADD data set for each of the three (3) top bracing designs includes (a) a nominal 24" x 18" x 3mm (0.118") Baltic birch plywood laser layout of (1) the one-piece base with slots, (2) pre-radiused and pre-scalloped vertical braces with tabs to ensure proper orientation and alignment, and (3) various gages and jigs and (b) a nominal 15" x 20" marking template.
The 'provided as is" CADD data is formatted for use on a Universal Laser Systems (ULS) laser cutter digital (CNC) device. Each CADD drawing is also provided in two (2) formats: Autodesk AutoCAD 2007 .DWG and .DXF R12. Users should modify and adapt the CADD data as required to fit their equipment. This CADD data set is released and distributed under a Creative Commons license; users are also encouraged to make changes o the data and share (with attribution) their designs with the worldwide acoustic guitar building community.
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BBT Acoustic Alternative Top Bracing CADD Data Set-NoRev-2022Jun28Hemphill, Bill 22 July 2022 (has links)
This electronic document file set consists of an overview presentation (PDF-formatted) file and companion video (MP4) and CADD files (DWG & DXF) for laser cutting the ETSU-developed alternate top bracing designs and marking templates for the STEM Guitar Project’s BBT (OM-sized) standard acoustic guitar kit. The three (3) alternative BBT top bracing designs in this release are (a) a one-piece base for the standard kit's (Martin-style) bracing, (b) 277 Ladder-style bracing, and (c) an X-braced fan-style bracing similar to traditional European or so-called 'classical' acoustic guitars.
The CADD data set for each of the three (3) top bracing designs includes (a) a nominal 24" x 18" x 3mm (0.118") Baltic birch plywood laser layout of (1) the one-piece base with slots, (2) pre-radiused and pre-scalloped vertical braces with tabs to ensure proper orientation and alignment, and (3) various gages and jigs and (b) a nominal 15" x 20" marking template.
The 'provided as is" CADD data is formatted for use on a Universal Laser Systems (ULS) laser cutter digital (CNC) device. Each CADD drawing is also provided in two (2) formats: Autodesk AutoCAD 2007 .DWG and .DXF R12. Users should modify and adapt the CADD data as required to fit their equipment. This CADD data set is released and distributed under a Creative Commons license; users are also encouraged to make changes o the data and share (with attribution) their designs with the worldwide acoustic guitar building community.
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