Nombreux sont les artistes plus ou moins reconnus qui travaillent pour le compte de l’administration postale depuis 1928, année d'émission du premier timbre-poste français gravé en taille-douce. Cette technique, devenue le procédé par excellence de création des timbres-poste en France, se développa et connut des temps forts avec les années 1930 et jusque dans les années 1970. Tous les timbres-poste, à quelques rares exceptions, sont alors gravés par des artistes. Peu à peu, l’apparition de nouveaux procédés de fabrication, tels que l’héliogravure, l’offset et la gravure assistée par ordinateur, s’impose à la taille-douce traditionnelle. Aussi, le poinçon, plaque en acier qui sert de support au graveur, est progressivement remplacé par des procédés électromécaniques et photochimiques permettant d’obtenir des délais d’exécution et des coûts de fabrication bien moindres et sans doute mieux adaptés à des productions industrielles. Cette étude présente une analyse de l’évolution de l’art de la gravure, de sa place et de son rôle dans le domaine de la philatélie durant une période précise, de 1928 à nos jours. Le statut de l’artiste graveur et sa reconnaissance artistique évoluent au même titre que changent le statut de l’administration postale, sa politique et ses besoins liés aux exigences économiques du marché. L’examen approfondi des créations philatéliques, commandes régies par un cahier des charges strict ainsi que des conditions de travail et de l’investissement des graveurs de timbres face à leur métier, a permis de présenter les particularités esthétiques et plastiques de leurs travaux et de leur attribuer une place dans le domaine de l’art. / Many artists, some more famous than others, have worked for the postal administration since 1928, the year of the first issue of an engraved French postage stamp . This technique, which became the most important method of creating postage stamps in France, developed and reached a peak in the 1930s and continued until the 1970s. During this time all postage stamps, with few exceptions, were engraved by artists. Gradually, however, the emergence of new manufacturing processes, such as heliogravure, offset printing and computer-aided engraving, replaced traditional engraving. Also, the stamping device, a steel plate that served as a support for the engraver, was gradually replaced by electromechanical and photochemical processes making it possible to obtain much lower turnaround times and manufacturing costs and was probably better suited to industrial production. This study presents an analysis of the development of the art of engraving, its place and its role in Philately during a specific period, from 1928 to the present day. The status of the engraver and his artistic recognition changed along with the status of the postal administration, its policy and its needs in response to the economic demands of the market. The in-depth review of philatelic creations, orders governed by strict specifications, working conditions and the investment of stamp engravers in their craft, has made it possible to show the aesthetic and plastic features of their work and secure them a place in the art world.

Reconnue pour son rayonnement littéraire dans "L'Eloge" d'Erasme de 1515, la ville de Sélestat doit sa notoriété à son Ecole Latine. Elle a formé nombre de ses compatriotes qui sont devenus de fins lettrés dans le contexte de l'éclosion de l'humanisme rhénan.L'Ecole Latine de Sélestat s'est développée en même temps que l'humanisme rhénan auquel elle a participé aux XVe et XVe siècles.L'objet de notre étude nous a permis d'entrer au coeur de cette institution scolaire et des retombées qu'elle a eues sur les lettrés de son époque.Composée d'un ensemble de sources disparates, l'enquête n'a pas été facile dans un premier temps. Les difficultés de traitement des sources ont conduit à de nombreuses interrogations auxquelles nous avons essayé de répondre. La mise en perspective avec d'autres écoles latines a été indispensable permettant de replacer Sélestat dans un contexte scolaire étendu à l'Empire. La comparaison est devenue notre outil méthodologique dans un premier temps. Nous nous sommes ensuite intéressée aux méthodes pédagogiques et aux modes d'accès au savoir. L'Ecole Latine sélestadienne s'inscrit-elle dans la pérennité d'un enseignement médiévale ou est-elle novatrice? L'étude fine des cahiers d'écolier nous a permis d'en suivre l'application.Les modes d'accès au savoir ont été abordés à partir du rôle des acteurs du milieu scolaire dans la constitution du fonds de la bibliothèque paroissiale, mettant en lumière le passage du manuscrit à l'imprimé dans le contexte du développement de l'humanisme. / In 1515, the Latin School of Selestat was a famous school. His development begins with the German humanism at the XVe and XVIe centuries.We wanted to know why this institution was so attractiv. We compare it with others in Germany at this time. Then we wanted to know if the methods were teaching like during the Middle Age or if the methods were modern. The role of the teachers and pupils is interested two. We study the library into know what they did to have so much first print books.

Resultatet av en energikartläggning på tryckeriet VK - Media visade det sig att en stor del av energin gick till den gamla belysningen. Den gamla belysningen med högtrycksnatriumarmaturer och högtrycksnatriumljuskällor byttes då ut mot en ny energieffektiv belysning med två olika LED-armaturer i packsalen på tryckeriet. Det ska nu utföras en utvärdering av belysningsbytet. Utvärderingen av belysningsbytet kommer att baseras på sänkningen i energianvändning, skillnader i belysningsstyrkor och förändring av arbetsmiljön.   Det främsta syftet med belysningsbytet är att sänka energianvändningen och att förbättra arbetsmiljön. Simuleringar på belysningen med högtrycksnatriumljuskällor och LED-armaturer har gjorts i DIALux evo. I DIALux gjordes beräkningar på belysningsstyrkor och energianvändning. Momentana effektmätningar med en multimeter har genomförts på belysningen före och efter bytet. För att sedan beräkna den årliga energianvändningen utifrån de uppmätta effekterna. Belysningsstyrkorna mättes med en luxmeter på plats i packsalen för att sedan beräkna medelbelysningsstyrkan och jämnheten för belysningen för att se om de står sig mot riktvärdena och jämföra dem med värdena från DIALux. Livscykelkostnaden beräknades för belysningen med högtrycksnatriumljuskällor och för belysningen med LED-armaturer. För den nya belysningen beräknades även paybacktiden.   Resultatet av beräkningar på energianvändningen visar att den årliga energianvändningen kommer att sänkas med 70 procent i och med bytet till LED-armaturer. Vid ett belysningsbyte är målet att den årliga energianvändningen ska sänkas med 50 procent. Medelbelysningsstyrkan för den nya LED-belysningen på cirka 680 lx möter kravet för medelbelysningsstyrkan på 300 lx som gäller för packsalen enligt standarden SS-EN 12464-1:2011. Livscykelkostnaden för den gamla belysningen och den nya LED-belysningen beräknades till ungefär 990 000 kronor respektive 330 000 kronor. Den diskonterade paybacktiden för LED-belysningen beräknades till 1,7 år. Gällande arbetsmiljön så har LED-belysningen monterats på en för låg armaturhöjd och kommer att höjas upp för att uppnå en behagligare arbetsmiljö.   Att investera i en ny energieffektiv belysning innebär en stor sänkning av den årliga energianvändningen samtidigt som investeringen har en relativt kort återbetalningstid. Det finns många fördelar med att byta ut den gamla belysningen som en förbättrad arbetsmiljö och sänkta kostnader. Förhoppningsvis kommer fler industrier att byta ut sin gamla belysning till energieffektiv belysning då de står för en stor del av den totala elanvändningen som går till belysning i Sverige. / The result of an energy survey at the printing company VK – Media showed that the energy use of the old lighting was a large part of the total energy use. The old lighting with high-pressure sodium luminaires and high-pressure sodium light sources was then replaced with a new energy-efficient lighting with two different LED luminaires in the packaging room at the printing company. An evaluation of the replacement of the luminaires should now be carried out. The evaluation of the lighting change is based on the reduction of energy use, differences of illuminance and changes in the working environment.   The primary aim of the lighting replacement is to reduce the energy use and to improve the working environment. Simulations on the lighting with high-pressure sodium light sources and LED luminaires have been made in DIALux evo. In DIALux, calculations were made on illuminance and energy use. Momentary power measurements with a multimeter have been carried out on the lighting before and after the replacement. The measured power was then used to calculate the annual energy use for the luminaires. The illuminance were measured with a luxmeter in the packing room and the measured values was then used to calculate the average illuminance and the uniformity of the lighting, to see if they stand against the guideline values and compare them with the values from DIALux. The life cycle cost was calculated for the lighting with high pressure sodium light sources and for the lighting with LED luminaires. The payback time was also calculated for the new lighting with LED luminaires.   The result of the calculations on the energy use showed that the annual energy use will be reduced by 70 per cent with the LED luminaires and the aim with a lighting replacement is to reduce the annual energy use by 50 percent. The average illuminance of the new LED lighting is about 680 lx meets the requirement for the average illuminance of 300 lx that applies to the packing room according to the standard SS-EN 12464-1: 2011. The life cycle cost of the old lighting and the new LED lighting was estimated at approximately 990,000 SEK and 330,000 SEK, respectively. The discounted payback time for the LED lighting was estimated at 1.7 years. Regarding the working environment, the LED lighting has been mounted at a luminaire height that is too low and will be raised to achieve a more comfortable working environment.   Investing in a new energy-efficient lighting means a large reduction in annual energy use, while the investment has a relatively short repayment period. There are many advantages to replacing the old lighting such as an improved work environment and reduced costs for the company. Hopefully, more industries will replace their old lighting for energy-efficient lighting as they account for a large part of the total electricity use when it comes to lighting in Sweden.

This thesis explores the relationship between image and text in four devotional books printed in Münster Germany between 1589 and 1660, and shows how this relationship supported the Catholic confessionalization programs of the three prince-bishops of those years. These confessionalization strategies, though varied, all emphasized the reinforcement of religious conformity leading to the consolidation of the authority of the ecclesiastical and secular leadership of the prince-bishop. The success of the confessionalization strategies of the three prince-bishops through this medium were the result of three contributing factors. The first of these was the printer of the works, the Raesfeldt printing house, which held a printing monopoly from all three of the prince-bishops. The second factor was the Jesuits who were responsible for education and indoctrination in Münster and shaped a significant portion of this literature. The last contributing factor was the readers, a group with a relatively wide spectrum of abilities in literacy who bought, read, and exchanged the books. Among the readers were a significant number of women readers who took up the confessional message of these books, wound it into their devotional lives, and strove to perpetuate Catholic piety within their homes. Although conventional wisdom suggests that images played a minor role in such programs, images were crucial elements in the communication of Catholic orthodoxy. This thesis shows how images were an equal partner in the conveyance of a nuanced Catholic confessional message in which the text directed a specific Catholic viewing and reading experience. The majority of the images do not carry an intrinsic Catholic message but rather present a traditional visual vocabulary that established an unbroken lineage between the Catholic Church and the pre-Reformation Church. These images provided the standard recurring theme around which the confessionalization message of the text was fashioned. As a distinctly regional literature, these devotional works reveal a localized Catholic response to Protestant polemic. They give valuable insight into the influence of confessionalization programs on regional devotional practices. The lasting effects of these confessionalization programs are still visible in Münster’s Catholic character today.