abstract: After the opening of Japan in the mid-1800s many foreigners flocked to the nation. San Franciscan Helen Hyde (1868-1919) joined the throng in 1899. Unlike many of her predecessors, however, she went as a single woman and was so taken with Japan she made it her home over the span of fourteen years. While a number of cursory studies have been written on Helen Hyde and her work, a wide range of questions have been left unanswered. Issues regarding her specific training, her printmaking techniques and the marketing of her art have been touched on, but never delved into. This dissertation will explore those issues. Helen Hyde's success as a printmaker stemmed from her intense artistic training, experimental techniques, artistic and social connections and diligence in self-promotion and marketing as well as a Western audience hungry for "Old Japan," and its imagined quaintness. Hyde's choice to live and work in Japan gave her access to models and firsthand subject matter which helped her audience feel like they were getting a slice of Japan, translated for them by a Western artist. This dissertation provides an in depth bibliography including hundreds of primary newspaper articles about Hyde who was lauded for her unique style. It also expands and corrects the listing of her printed works and examines the working style of an American working in a Japanese system with Japanese subjects for a primarily American audience. It also provides a listing of known exhibitions of Hyde's works and a listing of stamps and markings she used on her prints. / Dissertation/Thesis / Doctoral Dissertation Art History 2016

Dissertation submitted in partial fulfilment of the requirements for the degree Master of Technology: Graphic Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology / This study investigates the application and use of the latest graphic design software technologies to help plan and ideate the intaglio printmaking process. This is significant as intaglio is a 600 year old process which has evolved little, if any, in the last few hundred years although it was born from technology. Furthermore, the intaglio process relies on mental visualisation of the final artwork, making the real outcome and the planned outcome dissimilar. Students of intaglio printmaking are often surprised or disappointed by the printed result due to the lack of efficient planning. There are several ways in which software influences the creative process, including enhancing visualisation and communication, premature fixation, circumscribed thinking and bounded ideation. In this research, computer software is used as a simulator to facilitate the planning process in order to minimise the disconnect between visualisation and outcome, and serve as learning instrument. The use of digital computer technologies has been a highly debated issue in printmaking as there exists a rift between printmakers; those who embrace and explore new technologies and those who reject new methods in favour of traditional means. New technologies in printmaking offer exciting opportunities, both innovative and creative, but these new technologies are often seen as alternative or auxiliary methods of printmaking compared to traditional ways. Since these debates have been buried but not necessarily resolved, this study reinvigorates some of these perspectives and seeks a common middle ground. This study does not argue for, or against computer technology, but rather for a third paradigm: technology can coexist with intaglio without compromising the beauty and authenticity of hand processes. Computer technologies, therefore, serve as a facilitator to amplify the traditional intaglio hand process. However, the issue of discussion in this thesis is not hybrid printmaking but rather a hybrid mode of thinking in the printmaking discipline. This iterative design experiment consists of a written dissertation and intaglio printed artworks which inform and complement each other. The theoretical foundation of the art practice is found in the Bauhaus slogan: “Art and technology: a new unity”. Art and technology form the basis of the theory and the theme of entropy – the process of degeneration – is illustrated in the design artefacts. This theme shows process and illustrates the idea of a positive agent: the interference of computer in intaglio to instil new energy and value not only to keep it alive, but position it as an important skill necessary for growth in the knowledge-based economy. Furthermore, this study contributes to the scholarly discussion of design’s conceptual skills (ways of thinking) in order to enhance production capabilities (ways of making).

1 Abstract Fingerprinting - Past, Present and Future The objective of the presented diploma thesis is to provide a comprehensive overview of findings in fingerprints area. Fingerprinting is a unique method enabling quick, inexpensive and reliable personal identification. To provide a comprehensive understanding of the presented issue, fingerprint reputation as ever-changing and continuously developing method is put into contrast with its contradictions and current problems. The first part of the thesis describes roots and genesis of the method from its beginnings in ancient realms up to date. The process of shaping of the knowledge in the field of fingerprints into a science is presented through the works of the most prominent fingerprints personalities. Despite the difficult beginnings, fingerprints finally reached the position of trustworthy and respectful area of forensic science. Due to that; the historical part follows the journey of fingerprints evidence into the police investigation and court rooms. Final point brings an attention to the establishment of fingerprinting in Czech criminal investigation. The main part of the thesis is dedicated to the practical aspect of fingerprints expertise. To provide a deep level of understanding, particular role of fingerprints in criminal investigations and its...

Der vorliegende Katalog ist ein maschinell erstellter Auszug aus der RISM-Datenbank. Für umfassendere Recherchen und weitere Informationen zu den einzelnen Werken, Komponisten, sonstigen Personen etc. sei ausdrücklich auf die im Internet frei zugängliche RISM-Datenbank verwiesen (http://opac.rism.info). Teilveröffentlichung aus: RISM, Serie A/II Musikhandschriften nach 1600

Teilveröffentlichung aus: RISM, Serie A/II Musikhandschriften nach 1600

This dissertation reveals significant aspects of the use and understanding of prints in seventeenth-century Sicily by exploring their function in the realm of sacred images. It centers on three of the most substantial printmaking ventures carried out in Palermo and Messina: Ottavio Gaetani's Icons of Mary (Palermo, 1663), Placido Samperi's Iconology of the Virgin (Messina, 1644), and Giordano Cascini's St. Rosalia (Palermo, 1651). All three books treat religious subjects and feature intaglio prints claiming to reproduce the sacred images – paintings, sculptures, and mosaics – that constitute a crucial element of each narrative. The project examines the production of these works and the subsequent textual and visual responses made on the island and at farther distances. The three chapters treat each book both as a collection of prints and as an exchange between text and image that renders those prints as evidence for the value and flexibility of images. The first chapter focuses on Gaetani’s collection of icons of the Virgin from through the island and the utilization of prints as effective surrogates for those miraculous images. In the second chapter, the lines between devotional and art historical value are questioned in Samperi’s illustrated collection of paintings and sculptures depicting the Virgin. The third chapter unfolds the strategies by which prints were presented as evidence of a cult’s material history and continued to inform St. Rosalia’s legitimacy. In doing so, the chapters reveal a range of possible understandings of the relationship between prints and their sources, as well as active manipulations of that relationship to a range of ends. The dissertation identifies a Sicilian approach to generating historical, political, and sacred narratives that was inventive in both depending on and incorporating the reproduction of images in print.

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Baigiamajame magistro darbe atliktas įprastų ir UV dažų palyginamasis kokybės tyrimas. Atliktas įprastų ir UV dažų atspaudų spalvinių charakterisikų palyginimas esant D50 ir D65 šviesos šaltiniams, ištirtas spalvų spausdinimo stabilumas. Nustatyta, kad įprastųjų ir UV dažų galimų spalvų diapazonas yra artimas esant D50 šviesos šaltiniui ir akivaizdžiai skiriasi esant D65 šviesos šaltiniui, kas rodo skirtingą fluorescencinio komponento indėlį. Eksperimentiškai ištirtos popieriaus ofsetinių atspaudų trinties savybės ir nustatyti statinis ir kinetinis trinties koeficientai. Nustatyta, kad įprastiniai ir UV dažai didina atspaudo į popierių statitinio trinties koeficiento dydį ir mažina kinetinio koeficiento dydį. Atliktas dviejų rūšių popieriaus su įprastais ir UV dažais šiurkštumo palyginamasis tyrimas ir nustatyta, kad įprasti dažai atspaudų paviršiaus šiukštumą stipriai didina, o UV dažų poveikis priklauso nuo popieriaus rūšies. Išnagrinėjus teorinius ir praktinius įprastų ir UV dažų skirtumus, pateikiamos baigiamojo darbo išvados ir siūlymai. Darbą sudaro 6 dalys: įvadas, apžvalga, eksperimentinė dalis, rezultatai ir jų aptarimas, išvados ir siūlymai, literatūros sąrašas. Darbo apimtis – 67 p. teksto be priedų, 59 iliustr., 1 lent., 15 bibliografinių šaltinių. Atskirai pridedami darbo priedai. / In master of science thesis is investigated the quality of conventional and UV curable prints. Performed comparison between two types of inks color characteristics at illuminants D50 and D65 and examined colors printing stability. It was fund, that diapason of conventional and UV inks are more similar at illuminant D50 and it is significantly different at illuminant D65. Results mean, that fluorescence’s component is different in different type of inks. Experimentally investigated offset print’s friction properties and determined the static and kinetic coefficients of friction. Determined, that conventional and UV inks increase static friction coefficient and reduce kinetic friction coefficient between paper and print. Also, investigated two different types of paper and prints made with conventional and UV inks roughness properties comparison and determined, that conventional inks strongly increase roughness of prints surface and influence of UV inks depend on paper’s type. Structure: introduction, review, experiment, conclusions and suggestions, references. Thesis consists of: 67 p. text without appendixes, 59 pictures, 1 table, 15 bibliographical entries. Appendixes included.

Tomáš Dufka: Antirevolutionary discourse of Czech written prints in the period of the French revolution Abstract The thesis Antirevolutionary discourse of Czech written prints in the period of the French revolution deals with texts, which at the end of the 18th century had an objective to form an opinion of the Czech speaking population about events in France and assesses the way it has been being done. In the first part the author summarizes results of existing research of the French Revolution and its reception and defines theoretical and methodological approach of the thesis; in the second part he first presents the corpus of prints and of their creators with an aim to later describe the discourse of antirevolutionary texts in general by means of the methodology of critical discourse analyst, Norman Fairclough; in the third concluding part he focuses on specific revolutionary events: he observes what kind of techniques Kramerius' journal used when reporting revolutionary events and on examples of executions of Lewis XVI and Marie Antoinette he compares the discourse of Czech prints with the discourse of similar French prints. This work aims to find out strategies of antirevolutionary texts and to point out which images of Revolution were diffused among the Czech population. The thesis thus tries to...