The print production workflow consists of various disparate systems — from production equipment to management information systems. During the production of a printed product, information regarding the product must be communicated between the systems in the workflow. Job Definition Format (JDF) is an industry standard that specifies this information interchange. It specifies a digital job ticket format for exchanging administrative and technical information related to a print job, and a messaging protocol for communicating information between the systems in the workflow. This licentiate thesis explores different aspects of integrating systems in a JDF-enabled print production workflow. Paper III and Paper IV analyze the properties of JDF’s messaging protocol—Job Messaging Format (JMF)—and discuss design solutions for a JMF integration layer. Paper I presents a software tool for simulating systems in the print production workflow. The tool is based on an open source software library, called the Elk Framework, which has been developed within the framework of these licentiate studies. The Elk Framework provides the base services required by a piece of JDF-enabled production equipment, called a Device/Worker in JDF parlance. Paper II presents a software tool that was developed for testing the simulation tool presented in Paper I. The test tool, named Alces, can be used for testing if JDF-enabled systems conform to the JDF Specification. / Report code: LIU-TEK-LIC-2006:66.

This thesis examines topographical art depicting Scotland’s natural scenery and built environments, architecture, antiquities and signs of modern improvement, made during the period 1660 to 1820. It sets out to demonstrate that topography and topographical art was not exclusively antiquarian in nature, but ranged across various fields of learning and practice. It included the work of artists, geographers, cartographers, travel writers, poets, landscape gardeners, military surveyors, naturalists and historians who were concerned with representing the country’s varied, and often contentious, histories within an increasingly modernising present. The visual images that are considered here were forms of knowledge that found expression in drawings, paintings and engravings, elevations, views and plans. They were made on military surveys and picturesque tours, and were often intended to be included alongside written texts, both published and unpublished, frequently connecting with travels, tours, memoirs, essays and correspondence. It will also be argued that topography was a social practice, involving networks of artists, collectors, publishers and writers, who exchanged information in drawings and letters in a nationwide, and often increasingly commercial enterprise. This thesis will explore some of the strands of such a vast network of picture-making that existed in Scotland, and Britain, between 1660 and 1820, as visual images were circulated, copied, recycled and adapted, and topographical and antiquarian visual culture emerges as a complex, synoptic form of inquiry.

This thesis examines the early stages of the transformation of emblematic political prints into political caricature from the beginning of the Seven Years' War (1756) to the Treaty of Paris, which ended the American Revolutionary War (1783). Both contextual and iconographical issues are investigated in relation to the debates occasioned by Britain's imperial project, which marked a period of dramatic expansion during the Seven Years' War, and ended with the loss of the American colonies, consequently framing this thesis as a study of political prints during the rise and fall of the so-called 'First British Empire'. Previous studies of eighteenth-century political prints have largely ignored the complex and lengthy evolutionary process by which the emblematic mode amalgamated with caricatural representation, and have consequently concluded that political prints excluded emblems entirely by the end of the 1770s. However, this study emphasizes the significance of the Wilkite movement for the promotion and preservation of emblems, and investigates how pictorial political argument was perceived and received in eighteenth-century British society, arguing that wider tastes and opinions regarding the utilization of political prints gradually shifted to accept both modes of representation. Moreover, the marketplace, legal status, topicality, and manufacturing methods of political prints are analyzed in terms of understanding the precarious nature of their consumption and those that endeavoured to engage in political printmaking. The evolution, establishment, and subsequent appropriation of pictorial tropes is discussed from the early modern period to the beginning of the so-called Golden Age of caricature, while tracing the adaptation of representational models in American colonial prints that employed emblems already entrenched in British pictorial political debate. Political prints from the two largest print collections, the British Museum and the Lewis Walpole Library at Yale are consulted, along with a number of eighteenth-century newspapers and periodicals, to develop the earlier research by M. Dorothy George, Charles Press, Herbert Atherton, Diana Donald, Amelia Rauser, and Eirwen Nicholson.

Theoretical part of the thesis is devoted to the relationship of open source licensing to innovation, rapid prototyping and technologies used for 3D printing. There is also a comparison of selected RepRap printers. The main objective is to explore the possibilities and limitations of RepRap 3D printers while also analyzing their use in the Czech market. The aim of the application part is to test selected RepRap printer and explore the possibilities of 3D printing on these devices. In the last part of the thesis research has been conducted on the use of 3D printers. It's objective is to answer the main research question - who and for what purpose uses and aquires 3D printers

Mexico City experienced a dramatic increase in the publication of religious devotionals that promoted individual prayer in the late eighteenth and into the nineteenth century. These publications reveal a focus on the individual's internal spirituality, a characteristic of enlightened thinking, and the emphasis on a new form of piety being disseminated by the ecclesiastical hierarchy. Simultaneously, they were directed at a new readership among ordinary men and women, more of whom were literate, a product of recent reforms in primary education. This increase in the distribution and availability of these libritos and the growth of a new readership were indicative of a boom in print production and culture (coinciding with an ease in book censorship) and the influx of Enlightenment thinking (and subsequent reforms) on both an official and unofficial level. This dissertation examines the trends in religious devotion, print culture, education and literacy that were established during the second half of the eighteenth century through the struggle for Independence (1750-1821). It has been claimed that studying such practices, especially as they were experienced in the nineteenth century, is practically impossible due to their hidden nature, a claim rooted in the idea that characteristics of religiosity are inherently individual and familial, and so evaded documentation. I argue against this notion and demonstrate that sources on religious devotions and practices for this period, have not yet been closely examined. At the same time, I explore the shift in the prominence of religious practice from a baroque Tridentine form of Catholicism to a new form of piety (new piety) and how this new piety was extended to women and children as Bourbons confronted their place in society.

A travers l’évolution du costume de scène et de sa représentation dans les arts graphiques, la thèse explore les éclairages croisés que jettent l’un sur l’autre le développement du costume de scène historique et la construction d’une pensée et d’une culture historique en Grande-Bretagne, entre 1776 et 1834. L'histoire du costume de scène historique, avant les mises en scène érudites du milieu du XIXème siècle, est généralement évoquée en termes de costumes "Van Dyck" stéréotypés. C'est pourtant dans la deuxième moitié du XVIIIème siècle que se développent l'engouement pour l’étude des antiquités et pour les collections de portraits gravés, l'esthétique du pittoresque et celle du néo-gothique. La période se caractérise également par le succès des romans historiques et le désir général de la part du public d'en savoir plus sur les coutumes – et les costumes – du passé. Cette analyse interdisciplinaire replace le costume de scène dans le contexte plus large de la culture visuelle et historique de la fin du XVIIIème siècle et du début du XIXème. L’étude de documents liés aux théâtres londoniens ainsi que de tableaux, gravures, illustrations, spectacles et expositions a permis de montrer que la représentation du costume de scène historique dans les arts visuels reflète de nouvelles manières de concevoir et de représenter l'histoire, profondément marquées par l'intérêt pour la vie quotidienne des époques passées et l'attention portée à la matérialité du costume. Cette thèse suggère que le costume historique au théâtre et sa représentation dans le portrait d'acteur sous ses nombreuses formes (tableaux, estampes, illustrations…) participèrent au processus plus large de définition de l'art et de l'identité britannique dans la période 1776-1834. / This thesis explores the relationships between stage costume and British historical culture in the period 1776-1834. Until the painstakingly researched antiquarian stagings of the mid-nineteenth century, the history of historical stage costume has typically been described in terms of a stereotyped ‘Van Dyck dress’. Yet the period witnessed the expansion of antiquarianism and portrait print collecting, the development of the Picturesque and Neo-Gothic aesthetics, the success of historical novels and a general desire to know more about the habits and costumes of the past. This interdisciplinary analysis situates stage costume within the wider visual and historical culture of the late eighteenth and early nineteenth centuries. Drawing on theatrical material related to the London theatres as well as paintings, engravings, book illustrations, shows and exhibitions, this study argues that the representation of historical stage costume in the visual arts reflects new ways of conceiving and depicting history, in which interest in the everyday life of past periods and a focus on the material and the visual were fundamental. This thesis suggests that ht historical costume in the theatre and its representation in theatrical portraiture played a role in a broader process that sought to define British art and identity.

OBJECTIVES: Evaluate the mechanical properties of commercial digital denture base materials. Materials: The materials used were Lucitone 199 denture base disc (Dentsply Sirona), AvaDent denture base puck (AvaDent), KeyMill denture base disc (Keystone), Lucitone digital print denture base resin (Dentsply Sirona), Formlabs denture base resin (Formlabs), and Dentca denture base resin II (Dentca). METHODS: For each material, 60 bar-shaped specimens were prepared for flexural testing, which were divided into 5 groups including control, fatigue, thermocycling, and repairing using 2 types of materials. 24 square-shaped specimens were included in the bond testing, bonded to tooth and composite resin. Additionally, 48 square-shaped specimens were fabricated for the color stability testing, against UV light and staining and washing solutions. The flexural strength and modulus were calculated through 3-point bend test. Bond strength was determined using shear bond test. Color coordinates were recorded in the CIE L*a*b* system using an X-Rite Ci7600 spectrophotometer. Color differences relative to the baseline (∆E^*) were obtained. Data were analyzed using one-way ANOVA followed by Tukey’s HSD test (α=0.05). RESULTS: Milled materials showed higher flexural strength than printed materials. Fatigue and thermocycling led to a decrease in the flexural strength of both group materials. Repaired groups showed flexural strength of about 30.67% and 32.80% of its original strength, in milled and printed materials respectively. However, the flexural strength of the printed materials was affected by the type of the repair material, composite resin gave higher values compared with acrylic. Printed materials exhibited superior bond strength to tooth and composite resin than milled materials. The color change under UV light was clinically acceptable. The color change after immersion in staining and washing solutions in milled groups was less noticeable than in the printed group. Thermocycling treatment made the color change more noticeable in both milled and printed groups. CONCLUSION: Milled denture materials exhibited higher flexural properties than printed denture materials. Printed materials exhibited higher shear bond to tooth and composite resin. The color stability of milled materials with staining and washing solutions treatment was better than the printed groups, whereas the color stability of milled and printed materials exposed to UV light was clinically acceptable. / 2023-08-03T00:00:00Z

The essence of this work is to summarize the knowledge about 3D printing, especially with FDM technologies. Create an overview of used FDM printing materials, identify their advantages and disadvantages, technical parameters and usability. Another purpose of the thesis is to examine the print quality and its problems and specify types of surface finishes for selected materials. The content also includes remote control and monitoring of the 3D print process using the Raspberry Pi microcomputer and the print server named Octoprint.

This diploma thesis serves as experimental proof of real world capabilities of computer designed hobby CNC milling machine with its parts printed on a 3D printer. First half is a brief introduction of CNC technologies to non-professional audience. Second part together with 3D model works as manual to build your own machine. Priority was to keep costs to minimum with decent accuracy still in mind.

The content of this diploma thesis is a design of construction and selection of suitable material for upper-carrier part used for racing vehicle, produced by FDM 3D printing with the alternative option to replace an existing part, which was produced by conventional technique of CNC machining. Various versions of the experimental part are analyzed by FEM and compared in terms of safety coefficient with target to select the most appropriate construction design. The chosen version of the model is at the end compared with already existing part, which was also analyzed by FEM.