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Dissertations / Theses on the topic 'Decorative technique'
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Saidin, Jeffry Azha. "An investigation of anodised aluminium decorative application as a technique for Malay contemporary craft practice." Thesis, Northumbria University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410391.
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Ozalp, Yesim. "The Interaction Of Consumer Constructed Meanings Of Brand Identity And &." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606057/index.pdf.
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This is an attempt to understand the interaction of meanings of brand identity and ‘
designed&
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product from the consumers&
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viewpoint. Brand Identity is taken as the &
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conceived&
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identity, which overlaps with concepts of brand image and brand associations. &
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Designed&
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product is analyzed via dimensions of function, form (aesthetic) and symbol. The aim of the thesis is to find patterns of interaction of functional, emotive and symbolic associations for brand identity and the functional, formal (aesthetic) and symbolic communication of the &
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designed&
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product. A qualitative research paradigm is followed in the thesis, given the emphasis on consumer-constructed meanings. Projective tasks based on dummy models and word associations are used as research tools. The product group included in the study is mobile phones because of high awareness levels and wide interest of the consumers. The context of the interaction is constrained by the nature of product group (fashion and high-tech item) as well as the properties of brands used in the study (Nokia, Motorola and Samsung).
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Šmardová, Kateřina. "Hliněné povrchy v současné architektuře." Doctoral thesis, Vysoké učení technické v Brně. Fakulta architektury, 2012. http://www.nusl.cz/ntk/nusl-233241.
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The theme of this thesis are surfaces made of unburned earth and used in architecture. The thesis focuses mainly on detailed mapping and analysis of the present state. However, it does not omit the historical roots of earthen surfaces in the area of today`s Czech Republic. In these roots it looks for connections with contemporary practice. The thesis deduces conclusions from thorough evaluation of the present situation – it shows perspectives and possible drift of the future development of earthen surfaces. Both in the field of architecture and in areas broadening this field.
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Ruggeri, Anna <1976>. "Study of the building and decorative materials and techniques used in Hungarian Roman sites." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/2269/.
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The aims of this research were:
- To identify the characteristics, properties and provenance of the building and
decorative material found in three Hungarian Roman sites: Nagyharsány,
Nemesvámos-Balácapuszta and Aquincum
- To provide a database of information on the different sites
- To have an overview of main conservation strategies applied in Hungary.
Geological studies, macroscopical and microscopical observations, XRD investigations,
physical and chemical analyses allowed us to define the characteristics and properties of the
different kinds of collected materials.
Building stones sampled from Nagyharsány site showed two different kinds of massive
limestone belonging to the areas surrounding the villa.
Also Building stones sampled from Nemesvámos-Balácapuszta Roman villa proved to be
compatible with limestone belonging to local sources.
Mural painting fragments show that all samples are units composed of multilayered
structures.
Mosaic tesserae can be classified as following:
-Pale yellow , blackish and pink tesserae are comparable with local limestone;
-White tessera, composed of marble, was probably imported from distant regions of the
Empire, as the usual practice of Romans.
Mortars present different characteristics according to the age, the site and the functions:
-Building mortars are generally lime based, white or pale yellow in colour, present a high
percentage of aggregates represented by fine sand;
-Supporting mortars from both mosaics and mural paintings are reddish or pinkish in colour,
due to the presence of high percentage of brick dust and tiles fragments, and present a higher
content of MgO.
Although the condition of the sites, there is an insignificant content of soluble salts.
Database
The whole study has allowed us to provide work sheets for each samples, including all
characteristics and properties.
Furthermore, all sites included in the frame of the research have been described and illustrated
on the base of their floor plans, material and construction methodologies.
It can be concluded that:
1. In Nagyharsány Archaeological site, it is possible to define a sequence of different
construction phases on the base of the study of building material and mortars. The
results are comparable with the chronology of the site provided by the archaeologists
2. The material used for construction was of local origin while the more precious ones,
used for decorative elements, were probably imported from long distance
3. Construction techniques in Hungary mainly refer to the usual Roman knowledge and
practice (Vitruvius); few differences have been found
4. The database will represent an archive for Archaeologists, Historians and
Conservators dealing with Roman period in Hungary.
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Ribeiro, Maria Alexandra Duque. "A tapeçaria tridimensional e os materiais têxteis-design de uma aplicação multimédia." Master's thesis, Instituições portuguesas -- -Universidade do Minho -- -Escola de Engenharia -- -Departamento de Engenharia Têxtil, 2000. http://dited.bn.pt:80/29329.
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Berner, Wik Tove. "Let’s talk about Perfection : An investigating of how decorative techniques and non-decorative text can create a dialogue in garments, with the body as a billboard." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-12393.
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This collection is an investigation of how decorative techniques and non-decorative text can create a dialogue in garments, with the body as a billboard. The work is based on two different aspects. The first one deals with the question of how people look at embellishments, and the second is the message aspect. The investigation wants to find out how we can communicate with the human body as a billboard and the topic of the communication is an idea about perfection. The writer’s dyslexia experiences are used as a recurs and gives the topic a new dimension. The work explores new ways to deal with embellishments, techniques and messages. It shows that the statement T-shirt is not the only perfect garment to decorate and that garments can communicate a message in more ways than with a flat print.
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Gilmour, Brian J. J. "Developments in iron smithing and decorative welding techniques found in Anglo-Saxon swords and related edged weapons." Thesis, University College London (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299762.
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Tiffany, John. "Customer behavioral responses to three lighting techniques in a retail audio/video store's simulated home environment." Thesis, This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-03042009-040801/.
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Nadolny, Jilleen M. "The techniques and use of gilded relief decoration by northern European painters, c. 1200-1500." Thesis, Courtauld Institute of Art (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392039.
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Diri, Filiz. "Construction Techniques Of Traditional Birgi Houses." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612632/index.pdf.
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Meijer, Elin. "XTREME MAKEOVER : exploring upcycling with a focus on unconventional materials and craft techniques/DIY." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-26596.
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This work explores upcycling with a focus on unconventional materials and craft techniques/DIY. Today, countless designers are working with upcycling, yet there are many directions of it that have not been explored. The motive behind this work lies in the importance of finding and presenting sustainable ways of working with fashion. However, the main focus is on the aesthetics, meetings between materials, shape, techniques and contexts. It was important to add something new to the field of upcycling. Hence, a focus has been on finding and working with materials and techniques that have not been used for upcycling in a fashion context before. All different kinds of materials are considered and they are all treated equally, whether it was plastic trash or crystals, textiles or non-textiles. Potential is seen in everything. Another thing that differs this work from others in the area, is that the whole collection is made without using any machines. The focus is on the handicraft. Similar to materials, techniques are not seen as something that is intended for a specific purpose. The motto is that anything can be made out of everything. Through careful craftsmanship and detailing and with a focus on decorative materials, context crossing and meetings between material and technique, the hope is that this collection will present a new and fresh take on upcycling.
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Berner, Wik Tove. "Shiny Things : Decoration as tool and function whilst revaluating notions of good and bad taste." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-22073.
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This work is an investigation of how to redefine the perception of decoration. Decorative elements are reinvented as fundamental tools for creating garments and form in a collection of nine outfits. To show the width of what embellishment is able to create, the decorative techniques of all garments are different. The work also deals with the question of taste when it comes to embellishment. By using decorations seen as tasteless the work revaluates notions of good and bad taste. Materials as sport fabric combined with embellishment trick the eye and all small decorations together form new materials. New ways to use embellishments are explored, and the time consuming techniques are reminiscent of haute couture techniques, but in the designer’s own way.
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Capellà, Galmés Miquel Àngel. "El vidre a Mallorca entre els segles XIV i XVIII." Doctoral thesis, Universitat de les Illes Balears, 2009. http://hdl.handle.net/10803/9408.
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La Història del vidre a Mallorca entre els segles XIV i XVIII està determinada per la forta influència exercida per la vidrieria catalana i la veneciana. El marc cronològic ampli té la finalitat de precisar les continuïtats i canvis que es produeixen en l'artesanat. En aquest sentit, s'ha de destacar com un factor fonamental la presència de vidriers procedents d'Itàlia, que situen l'illa de ple en les dinàmiques que caracteritzen l'art del vidre. Per a cada època s'han situat els principals obradors, les famílies de vidriers i els sistemes de treball desenvolupats. En relació als objectes catalogats, hem constatat l'arribada d'importacions islàmiques, catalanes i venecianes. Les tipologies s'han elaborat amb les peces arqueològiques, les citacions d'inventaris de cada període i la iconografia. La investigació es tanca amb un panorama general corresponent a inicis del segle XVIII, moment d'irrupció de noves modes procedents de Bohèmia i Alemanya, que canviaran l'art del vidre a Europa.La Historia del vidrio en Mallorca entre los siglos XIV y XVIII está determinada por la importante influencia ejercida por la vidriería catalana y la veneciana. El marco cronológico amplio tiene la finalidad de precisar las continuidades y los cambios producidos en el artesanado. En este sentido, tiene que destacarse como factor fundamental la presencia de vidrieros procedentes de Italia, que sitúan la isla en las dinámicas que caracterizan el arte del vidrio en otros territorios europeos. Para cada época se han situado los principales talleres, las familias de vidrieros y los sistemas de trabajo desarrollados. En relación a los objetos catalogados, hemos constatado la llegada de importaciones islámicas, catalanas y venecianas. Las tipologías se han elaborado con las piezas arqueológicas, las citaciones de inventarios de cada período y la iconografía. La investigación se cierra con un panorama general correspondiente a inicios del siglo XVIII, momento de irrupción de nuevas modas procedentes de Bohemia y Alemania, que cambiaran el arte del vidrio en Europa.
The history of glass in Majorca between the 14th and 18th centuries has been determined by the strong influences exerted by the catalan and venetian glassworks. The wide chronologic framework responds to the intention of specifying the continuities and changes undergone in the craftsmanship. In this sense, it must be highlighted as a fundamental fact the presence of glassmakers coming from Italy, which place the island in the midst of the dynamics characterizing the art of glassmaking. The main glassmakers, families and the working systems developed, have been placed in each period. As for the catalogued pieces, the coming of Islamic, catalan and venetian importations have been stated. Typologies have been stated with archeological pieces, inventory citations for each period and the iconography. The research concludes with a general overview corresponding to the early 18th century, the moment of the arrival of new modes coming from Bohemia and Germany, which would change the art of glass in Europe.
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Wiltberger, Christine N. "Conservation and fabrication techniques for restoring marezzo scagliola." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214385.
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Marezzo scagliola is a type of artificial marble made by pulling pigmented skeins of raw silk through a wet mixture of pigmented plaster. This material was a popular architectural material used in prominent public building throughout the United States at the turn of the nineteenth century. Most of the marezzo scagliola found in American buildings today is near or more than 100 years old. While it is by nature a very durable material, the negative effects of temperature, moisture and building evolution have all but destroyed some examples of marezzo scagliola. Unfortunately, the original craft techniques used to fabricate marezzo scagliola were never well documented. Recipes and techniques were usually passed down from father to son or were closely coveted by artisans seeking to hold a monopoly in the market. In the last 20 years, a very small number of conservators working to restore all types of scagliola have begun to document the history of scagliola as well as the techniques used in repair and replication. This thesis will expand upon the small amount of information available by documenting in detail the process used to both fabricate and repair marezzo scagliola.Department of Architecture
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Cho, Sung Moon. "La céramique et la verrerie de table en France à l’époque de Jean Luce, 1910-1960 : de la conception à la réception des œuvres." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL101.
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À partir du fonds inédit du musée des Arts décoratifs de Paris consacré à Jean Luce (1895-1964), cette thèse éclaire l’histoire du service de table français entre 1910 et 1960. Bien que rarement considéré par les historiens de l’art, cet objet du quotidien reflète pourtant remarquablement les évolutions des arts visuels de ce demi-siècle. La création de Luce témoigne ainsi de toute la diversité du style Art déco puis de l’avènement du design dans l’immédiat après-guerre. Par ailleurs, il a réinventé le métier de créateur-éditeur de services de table, en dessinant des formes et des motifs aussi bien pour la céramique que pour la verrerie, en les faisant fabriquer par une chaîne industrielle et en les diffusant lui-même dans son magasin parisien de la rue La Boétie. Si son travail constitue notre point de départ, nous avons également considéré le rôle des dessinateurs industriels, des manufacturiers de porcelaine, de faïence et de verre ainsi que des commerçants car tous ces acteurs participent aux choix esthétiques effectués dans le cadre d’une production de masse. Il s’agit donc d’interroger les mécanismes à l’œuvre dans le développement et la propagation d’un style lors de la création, de la production et de la diffusion des services de table. Plus largement, l’évolution formelle de ce bien de consommation destiné à l’usage courant est aussi influencée par les mutations de la vie quotidienne et de la sociabilité. Par conséquent, notre enquête sur le service de table mobilise, en plus des outils de l’histoire de l’art, ceux de l’histoire socio-culturelleThis thesis sheds light on the history of the French tableware between 1910 and 1960 by examining the unexplored collection devoted to Jean Luce (1895-1964) at the Musée des Arts Décoratifs of Paris. These everyday objects are rarely studied by art historians, even though they remarkably capture the evolution of visual arts over that half-century. Luce’s creations exemplify the diversity of the Art Deco style in the inter-war period and the advent of design in the immediate post-war period. Furthermore, Luce reinvented the figure of the creator-editor specialized in this field by designing forms and motifs for both crockery and glassware, having them produced by an industrial chain and distributing them personally in his Parisian store on rue La Boétie. His work is our starting point, but we are also interested in the work of industrial designers, manufacturers of porcelain, earthenware and glass as well as tableware retailers, all of whom, in a mass production context, influenced aesthetic choices. From this, we look at how a style develops and spreads as we study the stages of creation, production and distribution of the tableware. More broadly, the evolution of these consumer goods was shaped by new manners of socializing and other changes in daily life. Consequently, our survey uses, in addition to the tools of art history, those of socio-cultural history
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Avlonitou, Lydia. "Techniques et matériaux utilisés dans les peintures murales, de l’époque classique jusqu'à l’époque romaine en Méditerranée Orientale : le décor végétal et géométrique des monuments funéraires de Macédoine." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100125.
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Ce travail de thèse a pour objectif d’étudier l’emploi des motifs géométriques, végétaux ou empruntés à l’architecture, dans le décor peint des monuments funéraires de Macédoine antique. Il s’agit d’une approche intégrale qui est effectuée à travers la documentation et l’analyse stylistique, technique et physico-chimique des motifs tels qu’ils apparaissent dans un riche corpus de soixante-huit monuments datés de l’époque hellénistique et le début de l’époque romaine. La thèse est organisée en trois parties. La première partie présente la documentation des motifs rencontrés, leur occurrence dans les monuments avec des observations sur le rendu, les combinaisons chromatiques et les pigments employés. Cette partie comprend une étude comparative des motifs dans l’art de l’antiquité en Grèce et ailleurs, et des commentaires sur l’origine et le symbolisme des motifs et leur transposition de la réalité ou de l’architecture dans la peinture.La deuxième partie concerne l’étude archéométrique des matériaux picturaux employés. Des prélèvements ponctuels ont été effectués sur le décor de vingt tombes et analysés au moyen de méthodes photographiques et physico-chimiques, in situ et en laboratoire. La présentation de la méthodologie et les résultats obtenus au cours de cette étude se fait de façon analytique et systématique. La troisième partie présente un catalogue illustré des tombes peintes de Macédoine classé selon leur type architectural, comprenant les données de fouille, la description du décor peint des surfaces pariétales et de l’aménagement intérieur et des informations concernant l’architecture et les matériaux picturaux. Les différents types de motifs ornementaux rencontrés et les types de moulures sur lesquelles ils sont réalisés sont présentés dans un lexique illustréThe objective of this thesis is the study of the architectural, geometric and vegetal motifs that decorate the funerary monuments of Macedonia. An integral approach has been applied, combining detailed documentation with the stylistic, technical and physicochemical analysis of the motifs, as they appear in a rich corpus of sixty-eight monuments that date in the Hellenistic and early Roman period. The thesis is organised in three parts. The first part provides the documentation of the motifs, their occurrence in the monuments, along with observations on their design, the chromatic combinations and the pigments employed. This part includes a comparative study of the motifs in the art of ancient Greece and elsewhere, as well as commentaries on their origin and symbolism or the transformation from real objects or architectural elements into painted motifs. The second part concerns the archaeometrical study of the painting materials used. Samples from twenty tombs have been collected and analysed by means of photographical and physicochemical methods, both in situ and in the laboratory. The methodology and the results obtained during this study are presented systematically and in detail. The third part consists of an illustrated catalogue of the painted tombs of Macedonia, according to their architectural structure, which comprises the excavation data, the description of the painted decoration on the walls surface and on the funerary pieces of furniture as well as information on the architecture and the painting materials. The different ornamental motifs and types of moulding on which they are painted, are presented in an illustrated glossary of terms
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Prévalet, Romain. "La décoration des pièces d'orfèvrerie-bijouterie en Méditerranée orientale à l'âge du Bronze : techniques, productions, transmissions." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010575.
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Dès le IIIe millénaire av. J.-C., l'ornementation d'objets en or se développe parallèlement au contrôle de la production dite de prestige et à travers des échanges et des contacts au sein de la Méditerranée orientale.L'emploi de procédés complexes, tels que la soudure et la décoration à chaud, facilite la fabrication et le rendu plastique d'oeuvres composites. Ma thèse vise à la reconstitution des techniques de décoration fine de filigrane et de granulation, utilisées par les artisans à l'âge du Bronze, au Levant nord et en Crête particulièrement. Cette étude s'est essentiellement fondée sur l'observation macro- et microscopique des objets et sur l'expérimentation pour définir des critères d'identification des procédés techniques et caractériser le savoir-faire des artisans. Ainsi, les chaînes opératoires ont pu être reconstituées, les gestes spécifiés et des « mains » reconnues.La démarche a également conduit à appréhender le travail à l'atelier, l'aménagement de son espace et l'outillage nécessaire au spécialiste du filigrane et de la granulation pour produire des pièces uniques ou en série, former ses apprentis à des compétences techniques spécifiques et transmettre son savoir-faire sur de longues distances. Les orfèvres-bijoutiers ont eu un rôle majeur dans la diffusion des savoirs en Méditerranée orientale, ce qui a entraîné la création d'objets hybrides aux influences artistiques levantines, crétoises, égyptiennes, mycéennes... Mais l'étude technique a aussi montré que l'apparition des techniques de filigrane et de granulation au Levant nord et en Crête pouvait résulter d'une création locale, indépendante ou stimuléeGoldwork decoration has been developed since the 3rt millenium BC, sumultaneously with the control over the production of prestigious items, and through exchange networks and contacts within the Eastern Mediterranean.The use of complex processes such as the soldering and decoration using heat facilitate the production and enable the plasticity of composite items. My dissertation aims to reconstruct the techniques of fine decoration as filigree and granulation that were employed throughout the Bronze Age by craftsmen namely in Northern Levant and Crete. This study has been essentially based on macro- and microscopic examination of artifacts and experimental golden works I made in order to define the identification evidences of the technical processes, and the characterization of the craftsmen's know-how. In addition, the chaînes opératoires might be also reconstruct in order to specify the movement of the body and recognize « the hands ».On the other hand, the technical approach has lead me to explore the workshop's organization : how was it fitted out the work space and what were the tools of the filigree and granulation the experts has used to produce unique or similar items, to train apprenties to specific qualities, and expand their know-how through different places of the Eastern Mediterranean ? Gold worker-jeweller had a major rôle in the spreading of knowledge in that connected region, which has provoked the creation of hybrid objects with artistic influences such as Levantine, Minoan, Egyptian, and Mycenaean... The analyse has also insight into the importance of discussing the possibility of local creation, independently or by external stimulation, about the apparition of filigree and granulation techniques in Northern Levant and Crete
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Cassard, Laura. "Systèmes de production céramique des premiers paysans du domaine liguro-provençal (VIème millénaire BCE) : Traditions techniques des décors." Thesis, Université Côte d'Azur, 2020. http://www.theses.fr/2020COAZ2030.
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La diffusion et l’évolution du Néolithique au cours du VIème millénaire en Méditerranée nord-occidentale ont été particulièrement étudiées à partir de la décoration des céramiques, perçue comme un des principaux « fossiles directeurs » utilisés pour définir les cadres chrono-culturels. Ornées majoritairement par impression, les poteries illustrent un fort polymorphisme qui relève de l’interaction de groupes aux traditions techniques différentes. Les approches stylistiques et technologiques de la décoration mises en œuvre jusqu’à présent ont permis de définir les diverses entités à l’œuvre à l’échelle de l’aire culturelle, mais peinent à établir une phylogénie fine des modes décoratifs à l’échelle régionale et locale.Cette thèse s’est attachée à renouveler la méthode d’analyse des décors à l’échelle du site. Chaque maillon de la chaîne opératoire décorative a été décomposé et décrit afin de restituer la dynamique générale du décor. La démarche, fondée sur l’imagerie tridimensionnelle et l’expérimentation, offre des démonstrations pertinentes et quantifiées, de l’échelle de l’empreinte à la celle du vase. Les analyses ont été entreprises systématiquement sur chaque individu céramique. L’ensemble des données sur le sous-système des décors a ensuite été replacé dans le système de production céramique afin d’avoir une vision intégrée.Mise en œuvre sur le site de Castellar-Pendimoun, la méthode a livré des résultats multiples. Des outils jusqu’alors indéterminés ont été identifiés, des procédés d’ornementation ont été détaillés, mais surtout, les schémas opératoires de réalisation des décors ont été mis en évidence. Ce dernier aspect, totalement inédit dans l’étude des décors Impresso-Cardial de Méditerranée du nord-ouest, a permis de mieux comprendre les règles de construction de l’ornementation et les modes de manipulation des vases au cours de leur décoration. Les méthodes métriques mises en œuvre pour identifier les genres et gabarits des coquilles utilisées comme outil de décor ont été révisées. Des méthodes développées, entre autre en médecine légale, sur les empreintes digito-unguéales ont été adaptées aux empreintes décoratives afin de discuter l’identité des potiers : d’une part leur âge, grâce aux négatifs des ongles, et d’autre part leur genre, grâce aux empreintes digitales. Les analyses multivariées combinant les types d’outils et les gestes décoratifs ont permis d’identifier sur des bases qualitatives et quantitatives robustes les tendances distinctives et évolutives pour une des rares séquence d’assemblages décorés du premier Néolithique d’Europe occidentale, entre 5720 et 5020 BCE. Les résultats ont été mis en perspective à l’échelle de l’aire liguro-provençale notamment en les confrontant aux données des Arene Candide et, plus largement, dans le contexte de la céramique imprimée occidentale, depuis l’Italie du sud jusqu’aux rivages languedociens. Cette nouvelle méthode d’étude contribue ainsi à une meilleure perception des dynamiques à l’œuvre au cours du VIème millénaire BCE dans cette aire culturelleThe diffusion and evolution of the Neolithic during the 6th millennium BCE in the north-western Mediterranean has been particularly studied from the pottery decoration, which is one of the main fossiles directeurs used to define chrono-cultural frameworks. Decorated mostly by impression, ceramics illustrate a strong polymorphism due to the presence and interaction of groups bearing different technical traditions. The stylistic and technological approaches to decoration implemented so far have allowed defining the various entities acting at the scale of the cultural area; however these approaches are struggling to establish a fine phylogeny of decorative modes at the regional and local scale.This thesis focused on renewing the methods for analyzing decors at the site level. Each link of the decorative chaîne opératoire has been broken down and described in order to restore the general dynamic of the decor. The approach, based on three-dimensional imaging and experimentation, offers relevant and quantified demonstrations, from the scale of the imprint to that of the vase. Analyses were systematically undertaken on each individual ceramic. All the data on the decoration subsystem was then placed back into the ceramic production system to have an integrated view.Implemented on the Castellar-Pendimoun site, the method delivered multiple results. Previously undetermined tools were identified, ornamentation processes were specified, but above all, the operating pattern for the realization of the decorations were highlighted. The latter aspect, which is a brand new one within the study of Impresso-Cardial decors of north-western Mediterranean, has allowed a better understanding of the rules of construction of ornamentation, as well as the methods of handling the pots during their decoration. The metric methods used to identify the types and sizes of shells used as decoration tools were revised. Methods developed in Forensics and other fields have been adapted to digito-nail imprints in order to discuss the identity of the potters: on the one hand their age, through nail negatives, and on the other hand their gender, through fingerprints. Multivariate analyses combining types of tools and decorative gestures allowed to identify on robust qualitative and quantitative bases the distinctive and evolutionary trends for one of the rare decorated pottery series of the first Neolithic period in Western Europe, between 5720 and 5020 BCE. The results were put into perspective at the scale of Liguria and Provence, notably by comparing them with data from Arene Candide and, more broadly, in the context of the Impressed Ware complex, from southern Italy to the shores of Languedoc. This new study thus contributes to a better perception of the dynamics at work during the 6th millennium BCE in this cultural area
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Debroutelle, Teddy. "Détection et classification de décors gravés sur des céramiques anciennes par analyse d’images." Thesis, Orléans, 2018. http://www.theses.fr/2018ORLE2015/document.
Full textAbstract:
Le projet ARCADIA vise à développer une méthode automatique d’analyse des décors sur des tessons de céramique réalisés à la molette pour faciliter l’interprétation de ce patrimoine archéologique. Cette automatisation doit remplacer la procédure manuelle effectuée par l’archéologue, devenue trop fastidieuse avec l’augmentation du corpus (38000 tessons). L’objectif in fine est de réussir à associer automatiquement les décors à la molette du potier qui les a créés. Dans ce contexte, nous avons développé une chaine complète depuis la numérisation des tessons jusqu’à la classification automatique des décors selon leur style de motifs(carré, losange, chevrons, oves, etc). Les travaux présentés proposent plusieurs contributions mettant en oeuvre des méthodes d’analyse d’images et d’apprentissage automatique. A partir du nuage de points 3D, une carte des profondeurs est obtenue. Une méthode originale de détection automatique de la région saillante focalisée sur le décor est proposée. Ensuite les décors sont caractérisés pour effectuer leur classification. Un nouveau descripteur, appelé Blob-SIFT, est proposé pour collecter les signatures seulement dans les zones pertinentes du décor. Cette approche adaptée à chaque décor, permet à la fois de réduire considérablement la masse de données et d’améliorer les performances de classification. Nous proposons également une approche apprentissage profond, puis, une approche hybride combinant les vecteurs de caractéristiques locales extraites par Blob-SIFT et la caractérisation globale du décor fournie par l’apprentissage profond qui améliore encore les performances de classificationThe ARCADIA project aims to develop an automatic method for analyzing engraved decorations on ceramic sherds to facilitate the interpretation of this archaeological heritage. It is to replace the manual and tedious procedure carried out by the archaeologist since the corpus increased to more 38000 sherds. The ultimate goal is to grouping all the decorations created with the same wheel by a poter. We developped a complete chain from the 3Dscanning of the sherd to the automatic classification of the decorations according to their style (diamonds, square, chevrons, oves, etc). In this context, several contributions are proposed implementing methods of image analysis and machine learning. From the 3Dpoint cloud, a depth map is extracted and an original method is applied to automatically detect the salient region centered onto the decoration. Then, a new descriptor, called Blob-SIFT, is proposed to collect signatures only in the relevant areas and characterize the decoration to perform the classification. This approach adapted to each sherd, allows both to reduce significantly the mass of data and improve classification rates. We also use deep learning, and propose an hybrid approach combining local features extracted by Blob-SIFT with global features provided by deep learning to increase the classification performance
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Pavie, Nicolas. "Modélisation par bruit procédural et rendu de détails volumiques de surfaces dans les scènes virtuelles." Thesis, Limoges, 2016. http://www.theses.fr/2016LIMO0080/document.
Full textAbstract:
L’augmentation de la puissance graphique des ordinateurs grands publics entraîne avec elle une demande croissante de qualité et de complexité des scènes virtuelles. La gestion de cette complexité est particulièrement difficile pour les objets naturels tels les arbres et les champs d’herbe ou encore pour les animaux, pour lesquels de très nombreux petits objets très similaires viennent décorer les surfaces. La diversité de ces détails de surfaces, nécessaire à un rendu réaliste dans le cas des objets naturels, se traduit par une augmentation du temps de modélisation, du coût en stockage et de la complexité d’évaluation. Nous nous sommes intéressés aux différentes représentations et méthodes de génération à la volée pouvant être utilisées pour la création et le rendu temps réel de ces détails sur de vastes surfaces. Nous avons concentré notre étude sur le cas particulier des champs d’herbe et des fourrures : De nombreux brins quasi-similaires, distribués aléatoirement sur la surface, forment une apparence visuelle très proche d’un motif de bruit incluant des éléments de structure. Nous présentons dans un premier temps un bruit procédural axé sur la modélisation spatiale interactive d’éléments quasi-similaires et de leur distribution. L’utilisation de fonctions gaussiennes elliptiques comme primitive de modélisation, et la distribution non-uniforme contrôlée des éléments créés, permet de produire des motifs aléatoires ou quasi-réguliers incluant des caractéristiques structurelles. Une méthode d’analyse par décomposition en ellipses permet de préconfigurer ce bruit pour une reproduction rapide d’un motif donné. Nous présentons ensuite une extension de ce bruit pour la modélisation procédurale d’une surcouche volumique composée de détails de surfaces tels que des brins ou des objets volumiques plus complexes. Pour conserver une modélisation interactive du motif, une première méthode de rendu d’ordre image et une seconde méthode d’ordre objet sont proposées pour une évaluation optimisée du bruit par une carte graphique. Ces deux méthodes permettent une visualisation interactive et visuellement convaincante du résultatThe growing power of graphics processing units (GPU) in mainstream computers creates a need for a higher quality and complexity of virtual scenes. Managing this complexity for natural objects such as trees or grass fields or even animals is painstaking, due to the large amount of small objects decorating their surface. The diversity of such details, mandatory for realistic rendering of natural objects, translates in a longer authoring time, a higher memory requirement and a more complex evaluation. We review in this thesis the related works on data representations and on-the-fly generation methods used for the creation and real-time rendering of details over large surfaces. We focus our study on the particular case of grass fields and fur : the fuzzy visual appearance of those surfaces is obtained by the distribution of many self-similar blades or strands, creating a pattern closely related to a noise with structural features. We first present a procedural noise that aims at spatial modeling of self-similar elements and their distribution. The elliptical Gaussian function used as a modeling primitive and the controlled non-uniform distribution of elements allows for various type of patterns to be modeled, from stochastic to near-regular one, while including structural features. The by-example analysis process based on an ellipse fitting method allows a fast configuration of the noise for patterns reproduction. We further introduce an extension of this noise model for the authoring of procedural shell textures of strand-based or more complex volumetric details. For interactive authoring of such volumetric pattern, an image-order and an object-order rendering methods are proposed, both methods being optimized for an implementation on the GPU. Our rendering methods allow for interactive visualization of a visually-convincing result
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Dermech, Sarah. "L'utilisation des couleurs au Proche-Orient néolithique et chalcolitique (env. 12000 - 3000 av. J.-C.)." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAG027.
Full textAbstract:
Ce travail explore l’utilisation des couleurs à la fin de la préhistoire au Proche-Orient, incluant le Levant Nord et Sud, les Hautes vallées et la Mésopotamie, de la fin de l’Epipaléolithique à la fin du Chalcolithique (env. 12000-3000 av. J. C.). Cette longue période témoigne d’innovations techniques et d’évolutions sociales inédites : sédentarisation, développement de l’agriculture et de l’élevage, invention de la céramique et urbanisation. Notre objectif a été d’explorer la manière dont ces différentes cultures ont mis en œuvre les couleurs en contexte architectural et funéraire. Quels sont les rapports que ces sociétés entretiennent avec les matériaux colorés et les matières colorantes, locaux ou importés ? Quels sont les changements observés dans l’utilisation des couleurs ? Qu’expriment ces changements ? Peut-on les mettre en relation, et de quelle manière, avec les évolutions technologiques et sociales propres à chaque période et culture ? Est-il possible de reconnaitre des systèmes et des dynamiques à différentes échelles — site, région, culture – et sur le temps long ? L’approche diachronique et la mise en perspective des résultats sur plusieurs millénaires montrent une utilisation dynamique des couleurs, variant selon les périodes et les aires géographiques, et apportent un nouvel éclairage à la compréhension des sociétés de la fin de la préhistoire en OrientThis study focuses on the use of colors during the last stages of prehistory in the Near East, encompassing the Northern and Southern Levant, the Upper Tigris and Euphrates valleys and Mesopotamia, from the end of the Epipalaeolithic to the end of the Chalcolithic (ca. 12000-3000 cal. BC).This long period witnessed technical innovations and unprecedented social evolutions : sedentarization, development of agriculture and herding, invention of pottery and urbanization. Our aim was to explore how these different cultures have implemented colors in their architecture and their burials. What are these societies’ relationships to colored materials, local or imported ? How the use of colours changes ? What does it tell us about these societies ? Can we -and how- correlate them with technical and social developments specific to each culture ? Is it possible to recognize systems and dynamics at different scales – site, region, culture – and over the long term ? Data have been synthetized according a diachronic approach and put into perspective over several millennia. They show a dynamic use of colors, varying according to periods and geographical areas, and bring a new light to the understanding of these societies at the end of prehistory in the Near East
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Tang, Guo-Long, and 湯國隆. "Development and applications of the superconducting decoration technique." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/71446413569578802732.
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Tang, Gwo-Long, and 湯國隆. "Development and applications of the superconducting decoration technique." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/70119803966188654003.
Full textAbstract:
碩士國立臺灣大學
化學工程研究所
81
This research contains two parts of work.The first one is the melt-texture method which produces a poly -crystalline YBa2Cu3 O7-x ( Y123 ) superconductor by long time slow-cooling after the incongruent melting of 123. We selected the melt-texture polycrystalline Y123 as the sample for decoration, because this type of sample contains varieties of microstructure, such as large area of preferred-orientation , the minute 211 particles and the liquid phase.And we don't know the effect of these microstructures on the critical current density (Jc) and flux pinning. The second part of work includes the design, the production and the search for the best operating con -ditions for a magnetic decoration system. The deco- ration system consists of adapted vacuum evaporating coater and adapted cryogenics device. We find that the best operating conditions can be achieved by adjusting temperature, pressure and evaporating time so that contamination can be prevented.In this case, we can directly observe the decoration patterns on the surface of the superconductor after evaporation of ferromagnetic particles onto the 123 surface. To obtain the decoration patterns,the Y123 sample- s were cooled under a fixed magnetic field with or without a current passing through them.The decorated patterns were analyzed in order to reveal the nature of the pinning centers in the melt-tuxture Y123 sam- ples.
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Coelho, Daniela Filipa dos Santos. "O mobiliário pintado em Portugal do século XVIII : materiais, técnicas e estado de conservação." Doctoral thesis, 2012. http://hdl.handle.net/10400.14/13267.
Full textAbstract:
O mobiliário pintado constituiu uma das manifestações mais significativas na
produção e desenvolvimento das Artes Decorativas em Portugal, motivo pelo qual integrou
a grande maioria dos interiores históricos, e cujo conceito de abrangência ornamental o
aproxima, sob idênticos parâmetros, das tipologias acessórias arquitetónicas. A presente
dissertação pretende aprofundar o conhecimento acerca da produção de mobiliário pintado
do século XVIII, considerando o período do Barroco, do Rococó e do Neoclássico
portugueses, refletindo as especificidades da sua época de produção. Os relatos históricos e
a quantidade de exemplares que podemos encontrar na atualidade em Portugal demonstram
que o revestimento decorativo do móvel português se mostrou multifacetado e
diversificado, e o seu papel ultrapassou a mera função de objeto útil, para a qual havia sido
construído, embora se tenha assumido unidirecional quanto à abrangência civil e religiosa,
adotado como recurso decorativo frequente em ambos os espaços.
A inexistência de estudos especializados afigurou-se como uma motivação adicional
para as investigações e o trabalho que agora se apresenta resulta do estudo transdisciplinar
da produção do mobiliário policromado português, das dimensões histórica, artística e
social, das influências externas e dos principais fluxos geográficos. Após o ponto de
partida historiográfico, pouco abundante, a pesquisa debruçou-se sobre a observação dos
principais tipos de revestimento pictórico, permitiu a sistematização tipológica decorativa,
e a reflexão acerca da autoria e das particularidades dos centros de produção. A
metodologia processual assentou na estreita colaboração entre o estudo teórico e prático da
amostra de estudo, consolidando a etapa anterior numa análise tecnológica dos materiais,
das técnicas utilizadas na sua produção, tendo em conta os principais tratados e fontes de
inspiração coevas, e dos estados de conservação atuais. A avaliação dos processos de
degradação resultou do cruzamento da observação e análise dos objetos, da sua
composição material, das técnicas de execução e da sua interação com o meio envolvente.
Finalizou-se o trabalho com vários estudos de caso, constituídos por objetos pertencentes a
contextos diversos, cujas especificidades ditaram o estado de conservação e, após
equacionadas as necessidades individuais, resultaram em diferentes tipos de intervenção prática, consolidando-se o estudo técnico e material em dois deles através da realização de
exames laboratoriais.The painted furniture is one of the most significant manifestations in the production and development of the Decorative Arts in Portugal, and therefore it is present in most of the historical interiors, as its ornamental comprehensiveness brings it closer to accessory architectural typologies, due to identical characteristics. This dissertation intends to deepen the knowledge about the production of painted furniture in the 18th century, taking into account the baroque, rococo and neo-classicism periods in Portugal, reflecting the specific characteristics of its production period. The historical accounts and the amount of pieces of art we can find nowadays in Portugal, show that the decorative coating of the Portuguese furniture was diverse and multifaceted. It became more than just a useful object, exceeding its primary purpose, although it was unidirectional as far as its civil and religious comprehensiveness is concerned, being often used as decoration in both of these spaces. The lack of specialized studies became an additional motivation for the investigation and this work is the result of the trans-disciplinary study of the production of Portuguese polychromatic furniture, the historical, artistic and social dimensions, the external influence and the major geographical flows. The research had a scarce historiographical starting point and then focused on the observation of the major types of pictorial coating and it allowed a decorative and typological systematization and a reflection on the authorship and peculiarities of the production centres. The procedural methodology was based on the strict collaboration between the theoretical and practical study of the study sample, strengthening the previous step in a technological analysis of the materials, the technics used in its production, considering the main treatises and contemporary sources of inspiration, and the current conservation conditions. The evaluation of the deterioration processes resulted in the intersection of the observation and analysis of the objects, its material composition, production techniques and its interaction with the surrounding environment. The work was concluded with several case studies, whose specificities dictated the conservation status and, after considering the individual needs, resulted in different types of practical intervention, consolidating the technical and material study in two of them by performing laboratorial tests.
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Li, Tang Wei, and 唐偉立. "An exploration of decorative techniques used in restoring Taiwanese god statues: powder thread and lacquer thread." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/r9c26k.
Full textAbstract:
碩士國立臺南藝術大學
博物館學與古物維護研究所
105
The making of god statues requires multiple traditional craft techniques and various kinds of materials. For the decoration of appearances, the making of powder threads and that of lacquer threads are the most common techniques other than gilding painting. These two techniques look similar, both forming decorations and patterns with lines on god statues. However, the materials being used and the skills involved are distinctly different. Through literature and documentation as well as personal interviews, the study collects information about the techniques and the materials that are frequently used. Because the techniques of powder threads and lacquer threads are applied for the decoration of god statues, the study first presents an exploration of the techniques used in making wooden god sculptures. The necessary materials for traditional techniques are further mentioned in the interviews. The traditional craft techniques are also documented. In the interviews, however, it is noticed that craftsmen today often simply use ready-made materials that are available in retail stores. In addition, when they present the crafts, the tools and techniques they use are somehow different from the traditional ways. After the discussion of the techniques and materials, the potential deteriorations of the materials are conclusively documented and listed for detailed explanations. Finally, the suitable restoration materials for different environments have been conclusively presented in the study of the use of restoration materials. Practical experiments have been conducted based on the study. Therefore, the suitable materials have been selected and used in the practical restoration work. The whole process was comprehensively documented so that the study may serve as instructions on future restoration work that involves the same techniques.
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Liu, Hsin-Yi, and 劉欣怡. "A study of metalworking techniques incorporating Hakka decorative motifs （ornamentation） – A case study of accessories （ornaments）creation." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/veq9y3.
Full textAbstract:
碩士東方設計學院
文化創意設計研究所
103
Hakka ornamentation has exerted considerable influence on and has been an important symbol of the development of Hakka’s history and culture. It represents local folk customs. It passes local customs and historical progress to future generations. Hakka ornamentation is commonly seen in tableware, architecture, garments, hats, accessories, embroidery and ceramics covers. The symbols resemble flowers and grass （botanic patterns）, birds, dragons, phoenixes, Qilins, butterflies and bats. They may appear in ornaments or sculptures with embroidery and hardware with molding. They feature vivid, bright and cheerful colors. Miaoli is where Hakka clans gather. The author was born and grew up in Miaoli’s Hakka culture. She studies in the master’s program in Graduate Institute of Cultural and Creative Design, TungFang Design Institute. Her studies have given her an initial understanding of the status of the Hakka clans all over Taiwan. She has also delved into the investigation and further exploration of Miaoli’s Hakka ornamentation. To conserve Hakka ornamentation and to create a novel cultural industry and value, the embroidery and ornamentation on garments are introduced with innovative planning and design. Moreover, they employ varied materials which are aimed at ornamental variations and innovative home ware. Embroidery and ornamentation not only embody ornamentation via embroidery on garments but also symbolize the Hakka’s historical and cultural spirit as well as the local cultural and creative industry. Using the preceding elements to develop a series of items and combining modern ideology and innovation, the author designs new composition of ornamentation. Using metal material as the main theme and compound media as the foil, the author designs new accessories. The author attempts to present variations and diversity for the local craft industry to consider so it may break free from the confines of ceramics, wood carving and fabrics, and it may focus on new cultural significance and values instead of on the exaggerated fine-looking appearance of the packages. The new industry may help embody local culture and traditional ornamental characteristics, empower the cultural industry, advance local economic development, increase employment opportunities, and help younger generations to stay at their hometown to conduct R&D of new patterns, looks, sound management, and marketing planning. To sum up, this not merely makes Hakka ornamentation a cultural heritage over generations but also opens up new opportunities for the cultural industry.
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Pan, Yi-Hsuan, and 潘逸瑄. "The decorative features of the expression techniques and the painting expression styles of pop art and gaudy art." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/66048302404975165074.
Full textAbstract:
碩士中國文化大學
美術學系
103
“The Decorative Features of the Expression Techniques and the Painting Expression Styles of Pop Art and Gaudy Art”represent the topic of this research. Under the premise that the creative techniques and artistic styles of these two art forms are quite similar, the author aims to explore the connectivity between culture and interior decorating as well as their impact on the cultural dimension. Following the surge and rapid development of national economies, mass culture has transformed traditional environmental auras of the past and thereby created new cultural and fashion trends as well as a new artistic value system. The author aims to identify certain creative elements in the painting techniques of Pop and Gaudy Art and research, practice, and master them in an effort to determine the core creative techniques of Pop and Gaudy Art. This thesis is divided into five chapters, which cover the following main points： I. Basic discourse and analysis The first chapter represents the introduction and provides a brief description of the research motivation and purpose as well as the adopted research methods and the research scope and framework. II. Main research findings The second chapter introduces Pop Art and Gaudy Art paintings and their expression techniques. The chapter describes the method of arrangement of flat and bright colors in the creation of surreal worlds employed by these two art forms. III. Presentation of research results The third chapter is titled “Analysis and Description of Personal Creative Work” and deals with the author’s own creative experiments based on the research insights stated in the preceding chapters. The creative concepts, themes, and content types of the author’s own work are introduced and analyzed in turn. The fourth chapter is titled, “Appreciation of Personal Creative Works” and it presents the author’s own creative expression methods, color utilization, and artistic arrangement in his “Surreal Worlds” series of works after the exposure to Pop Art and Gaudy Art painting techniques through a combination of text and images. The fifth chapter represents the conclusion and provides a summary of the research insights and the introspection and aspirations in the author’s own creative work.
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LI, JUO-YUN, and 李若沄. "Application of the Innovation Technique for Paper Art Collage in the Decoration Art of Home Small Things." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/hm8wnz.
Full textAbstract:
碩士東方設計大學
文化創意設計研究所
107
With the rise of art decoration atmosphere and the increment of understanding and manners on beauty, consumers hope to achieve aesthetic visual experience in their living environment. Thus, the demand for paper collage with decorative art style gradual increases accordingly. The art of decoupage, the prevalence of decorative art, and the characteristic of popular culture founds the progression of decoupage. To explore the application of multiple collaging skill to home decorative art, and to accord diverse and ornamental expression to the lifestyle artwork, the discussion centralizes on decoupage expertise. In addition, the paper diffuses the frequent-used paper collaging expertise of contemporary, attempts to apply professional craftsmanship with paper collage in creating an art piece for the living environment. The paper anticipates inspiring more diverse decoupage art. The paper concentrates on a series of home decorative collage and arranges a series of decoration in living space. It features professional pearlescent shell cracking technique, root winding technique, smoked gold foil glass technique, paper cracking (post-breaking) techniques, imitating leather paper cracking dual-color texture paste mixing technique and more to underscore the uniqueness of the creative, and to grant the new look to the abandoned. Along with exploring the origin of the decoupage, it considers deferent dimensions and elements, such as selection, composition, embryo body and techniques, etc. to design and creates the execution of decoupage. The paper serves as a reference not only to the living adornment but also to the related teaching and practical merchandise design.
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Huang, Chia-Pin, and 黃嘉平. "The patent analysis of surface-decoration application for upgrading the appearance and texture of 3C Products ：Take IMD (in-mold decoration) technique as an example in TAIWAN and USA area." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/mefs5m.
Full textAbstract:
碩士國立臺北科技大學
機電整合研究所
96
Economy of aesthetics in Taiwan has shown its development in recent years. Many people have demanded more on texture after economic growth. Moreover, the appearance and texture of 3C products have become more delicate and fashionalized. The trend is becoming popularized and it also adds fresh element to the economy of aesthetics in Taiwan. Therefore, complex IMD technique is highly focused little by little. It can not only have the effect have coating by utilizing high-tech printing, but also solve the issue of environment, low-cost, and low yield brought by traditional decorating method. It can even enlarge the selection range of decoration. It can be praised as a plastic revolution. However, IMD can apply on film, ink, printing, forming, injection, and automatic processing, so it is know-how belonging to industry only. It’s hard to research on this technique from general publications. Therefore, this paper will interpret this popular technique by analyzing patent list to predict its application and trend.
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Marešová, Kateřina. "Techniky a symbolismus dekorování dvorských oděvů se zaměřením na ženské oděvy období Čoson." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369945.
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This diploma thesis deals with techniques and history of traditional women's court clothes' decorating during the Choseon dynasty, and at the same time it deals with symbolism of motifs portrayed on these clothes with the use of these techniques. Simultaneously, it's aim is to analyze selected preserved garments of that time and illustrate the mentioned techniques and motifs on them.
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SVOBODOVÁ, Simona. "Možnosti kultivace orchideje Macodes petola technikami in vitro." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-47086.
Full textAbstract:
The orchid family covers 90 percent of the rarest plants under protection all over the world. The ecological and economic value of orchids has aroused public awareness. Since vegatitve propagation methods are available, development of in vitro methods are essential for conservation and commercialization of plants. Purposes work was elaboration progress of vegetative multiplication for tropical orchid Macodes petola in conditions in vitro. At research were proof 4 methods, which distinguish in using desinfection, in operating time and in using different nutritive mediums.