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Journal articles on the topic 'Decorative technique'
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1
Yang, Xu Guang, and Qi Hui Lin. "An Application of Computer Image Processing Technique to Decoration Pattern Design." Advanced Materials Research 998-999 (July 2014): 1009–12. http://dx.doi.org/10.4028/www.scientific.net/amr.998-999.1009.
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The rapid development and image processing technique to the computer is updated day by day, which lead the decorating pattern design to extend into the computer aided design from the original manual drawing.Decorative pattern is more huge miscellaneous from the contents with changeful graphics form, In this kind of advanced tool, with the help of computer of decorative pattern from figure element content changes to the graphics can carry on a processing and save in the form of digital data, can also make use of the computer to carry on the conventional image to it what processing technique falls through processing,thus form decorate pattern special manifestation and characteristics of the new era.
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Serheieva, Maryna, and Vitalii Zhyhola. "Artistic Carved Bone From Zarichne Village." Archaeology, no. 4 (December 14, 2020): 82–89. http://dx.doi.org/10.15407/archaeologyua2020.04.082.
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In the article a decorative antler plaque with the image of griffin found in 2020 in the unfortified part of the hill-fort near Zarichne village (Trostianetskyi district, Sumy Region) is analyzed. The item comes from an object dated from the 12—13th centuries. General decorating composition of the product is carved in the through groove technique. The main elements of the griffin figure (head, wings, paws and tail) were modeled in low relief technique using elements of incised carving. A possible interpretation of the item is a pendant, bracket or other decorative piece. The style of the griffin image is quite traditional for Ancient Rus plastic art of the 11—13th c. However, the through groove decoration of bone products was not common in the bone carving tradition in the southern regions of Rus. The manufacturing technique of the item may indicate its imported origin (most likely from the Crimea or Bulgaria). It is also possible a local manufacturing as an imitation of the imported sample or by an itinerant craftsman. The symbolic meaning of the griffin images can be reduced to several aspects: 1) the connection with the authorities (governance), including in its sacred aspects (elements of the elite’s ornaments); 2) connection with military symbols (images on belt pads, saddle details); 3) security symbols on details of clothes, jewelry, both male and female; 4) the cosmic symbolism of the griffin (in particular, the image near the “world tree”) is closely related to the above. From the context of a decorative plaque from Zarichne (the unfortified part of the hill-fort, outside the social elite’s objects), one can assume its role as a product that, in addition to a purely aesthetic load, could perform protective functions in the ideas of its owner.
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Tsekhanovich, S. V. "The technique of integrated assessment of varieties of korean chrysanthemum (Chrysanthemum coreanum), introduced in Belarus." Proceedings of the National Academy of Sciences of Belarus, Biological Series 64, no. 1 (February 18, 2019): 33–39. http://dx.doi.org/10.29235/1029-8940-2019-64-1-33-39.
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Recently, with the development of decorative gardening and landscape design, the extension of the assortment of floral and ornamental plants including perennial plants becomes relevant. chrysanthemum Korean – one of the most promising crops for flower decoration of the cities of Belarus, characterized by long flowering periods, unpretentiousness at cultivation, accessible ways of reproduction ways of plants, a wide variety of varieties. In the article present a modified method of comprehensive assessment of chrysanthemum Korean (Chrysanthemum coreanum), recommended for use in industrial landscaping. The method is based on 11 decorative and biological qualities: stability of flower coloration, duration and stability of flowering plants, number of inflorescences, height and shape of the plant, number of leaves on the stem, winter hardiness of plants, resistance to diseases and pests, ability of plants to vegetative reproduction, preservation of decorative qualities without plant transplantation which are important for industrial cultivation of plants. Each qualities is evaluated on a 3-point scale. The sum of points determines the perspective of the variety for use in gardening. Varieties of chrysanthemum that received 27 points or more are very promising plants, 19–26 – a promising plants, below 18 points – to the unpromising plants.The method was used on a collection of chrysanthemum Korean of the Central Botanical Garden of the National Academy of Sciences of Belarus. Based on this technique, perspective plant varieties were selected for the green construction of Belarus.
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Kovalskyi, Andriy. "THE ORTHODOX SACRAL ARCHITECTURE OF THE PODILLIIA IN THE XVII – XVIIIth CENTURIES." Scientific bulletin of KRHPA, no. 10 (2018): 200–206. http://dx.doi.org/10.37835/2410-2075-2018-10-21.
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The article contains a historiographical analysis of the sacral architecture of Podillia in the XVII – XVIIIth centuries. The importance and necessity in further research of sacral and memorial monuments of the region is argued. The artistic peculiarities of the sacral architecture in Orthodox architecture are highlighted. The technique and motifs of sacral architecture decoration are described. The theme of semantics genesis in sacral monuments images is highlighted. The materials of work allow a more complete and holistic study of the artistic decorative art in the synthesis with the architecture of the Podillia region in the XVII – XVIIIth centuries. The need of the Orthodox architecture monuments study is emphasized, which will offer ways to preserve the monuments with unique decorative details with subsequent certification and restoration of buildings.
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Akeng, Grippin, Aini Ab Shukor Nor, Akhirrudin Mahmud Nor, Hazandy Abdul Hamid, Kumar Muniandy Sures, and Ismail Parlan. "The prospect of micropropagating Gonystylus bancanus (Miq.) Kurz, a tropical peat swamp forest timber species through tissue culture technique – Review." Journal of Forest Science 64, No. 1 (January 29, 2018): 1–8. http://dx.doi.org/10.17221/130/2017-jfs.
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Gonystylus bancanus (Miquel) Kurz is one of the most valuable timber species in tropical peat swamp forest. Its timber is widely used for furniture, decorative cabinets and interior decoration. Due to its higher demand, G. bancanus continues to be harvested which leads to its disappearance in the wild. This is worsened by the fact that germination rates in the wild are very poor due to rapid insect and fungal infestation. Even though vegetative propagation via stem cuttings has been successful, proper protocols on tissue culture need to be explored as a viable way of mass production of a large number of planting stock in a relatively shorter time for forest rehabilitation and enrichment planting purposes.
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Berger, Daniel, Katja Hunger, Sabine Bolliger-Schreyer, Daniel Grolimund, Stefan Hartmann, Jan Hovind, Felix Müller, Eberhard H. Lehmann, Peter Vontobel, and Marie Wörle. "New insights into early bronze age damascene technique north of the alps." Antiquaries Journal 93 (June 4, 2013): 25–53. http://dx.doi.org/10.1017/s0003581513000012.
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Damascening, defined in this context as the inlay of one metal into a different metal base, is a rare decorative technique in the Early Bronze Age, known only from seven bronze artefacts found north of the Alps. This paper reports on the first thorough scientific examination of one such find, the axe from Thun-Renzenbühl grave no. 1. This interdisciplinary project involving several institutions in Germany and Switzerland investigated the axe by means of neutron radiographic imaging and X-ray microprobe methods, supported by microscopic examination. The result is an attempt to reconstruct the fabrication and decoration process and to reconsider the enigmatic question of the origins of the damascene technique north of the Alps.
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Neves, César. "Decorated or Undecorated: Analysis of the Early-Middle Neolithic Transition in Western Iberia Through the Ceramic’s Stylist Techniques and Decorative Motifs." Open Archaeology 7, no. 1 (January 1, 2021): 848–67. http://dx.doi.org/10.1515/opar-2020-0171.
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Abstract In this article, we study the role played by pottery production in the transition from Early Neolithic to Middle Neolithic in Western Iberia (∼4500–3300 cal BC) based on a critical analysis of the available empirical data. We establish a chronological and cultural sequence for this period, regarding which the historical problematic is still poorly defined due to a lasting absence of scientific discussion about the long Neolithisation process. During the evolved Early Neolithic (∼5200–4500 cal BC), archeological record shows regional specificities and cultural identities in human groups occupying a vast territory. Pottery collections evidence the strong social importance of decorative grammars, marked by a wide variety of techniques and decorative patterns. In quantitative terms, decorated vessels largely prevail over undecorated vessels. However, in the following chrono-cultural phase, the Initial Middle Neolithic (∼4500–3700 cal BC), it starts an increasing prevalence of undecorated vessels over decorated. Decorative systems prefer the incision technique to impression (dominant in the Early Neolithic). Recurrent use of an incised motif called incised line below the rim. In this period, this type of decoration prevails in the set of decorated pottery and is found in different geographic contexts. This adds consistency to the interpretation according to which the same artifact collections are found in all settlements of the initial Middle Neolithic. Finally, by the time of the first-known Megalithic burials – Full Moment of the Middle Neolithic (3700–3300 cal BC) – the decorative grammars almost disappear from pottery sets, which became more “common” and missed some of their symbolic and social meaning. Undecorated vessels prevail even more strongly than in the previous period.
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Morkunaite, Bausys, and Zavadskas. "Contractor Selection for Sgraffito Decoration of Cultural Heritage Buildings Using the WASPAS-SVNS Method." Sustainability 11, no. 22 (November 15, 2019): 6444. http://dx.doi.org/10.3390/su11226444.
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Sgraffito is an ancient decorative technique applied in walls, produced by using layers of cement plaster tinted in contrasting colours to a moistened surface. This decoration originated in Italy and has been expanded in different European cities or villages. Nowadays, this decoration technique has almost disappeared because of decomposition, inexperience, or lack of knowledge. The preservation and restoration of the sgraffito technique is the most challenging and vital task of cultural heritage buildings’ preservation. Consequently, the conservation of sgraffito depends not only on the historical and architectural knowledge, studies, and conservation projects of the cultural heritage buildings, but also demands the experience, proper qualification, and knowledge of the contractor. This paper presents six principal criteria. Three possible variants for contractor selection for sgraffito decoration of cultural heritage buildings are proposed, and six principal criteria for their evaluation are suggested. The research employs the Analytic Hierarchy Process (AHP), SWARA (Step-Wise Weights Assessment Ratio Analysis), and WASPAS-SVNS (Weight Aggregated Sum Product Assessment-Single- Valued Neutrosophic Set) methods.
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Dismukes, D. E. "The chemolaser technique for the removal of decorative tattoos." Plastic and Reconstructive Surgery 80, no. 2 (August 1987): 329. http://dx.doi.org/10.1097/00006534-198708000-00072.
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Yamaguchi, Mitsugu, Shun Kambayashi, Satoshi Sakamoto, Yasuo Kondo, and Kenji Yamaguchi. "Decorative Film Formation by Inkjet Printing with Gold Nanoparticles for Synthetic Resin Crafts." Key Engineering Materials 825 (October 2019): 51–55. http://dx.doi.org/10.4028/www.scientific.net/kem.825.51.
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The crafts such as lacquerware have made unique strides through decorating techniques using gold such as “Makie”, the technique to draw picture by scattering powdered gold, and “Chinkin”, the technique to rub gold into the design engraved by carving knives. In conventional techniques, practical knowledge and ability are essential to produce craft products. Therefore, screen printing which consists of simple processes has been developed. However, screen printing requires a masking plate made of silk or nylon to create patterns for transcribing ink into objects. This paper presents the formation of a decorative film by inkjet printing with gold nanoparticles for crafts such as lacquerware. The proposed method consists of on-demand process, which makes design changeable without masking. The aims are threefold: 1) to establish a sintering process of gold nanoparticles for acrylonitrile butadiene styrene (ABS) and phenol resin substrates used for synthetic resin products; 2) to characterize the sintered gold film; 3) to examine applicability to industry. The major results obtained are as follows: the appearance and the reflectance spectra of the gold nanoparticle film vary with heat conditions; the proper heat conditions which prevent thermal damage to substrates are the temperature of 373 K or below for the ABS resin substrate, and 423 K or below for the phenol resin substrate, respectively; the gold nanoparticle film possessed a good surface integrity without any voids when the sintering temperature is higher than 323 K for 1 h. Moreover, the film had such a high adhesion to substrates that no separation occurred after cross-cut test; the proposed method applied a lacquerware product made of ABS resin, yielding the decorative film
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Michałowski, Andrzej, and Andrzej Sikorski. "Ornament sznurowy na ceramice ludności kultury amfor kulistych z Poznania-Nowego Miasta (stan. 314)." Folia Praehistorica Posnaniensia 13 (November 1, 2018): 175–85. http://dx.doi.org/10.14746/fpp.2005.13.13.
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The article discusses a corded decoration on pottery from the Amphorae Globular Culture seasonal camp. Analysis of impressions on the pot outer surfaces revealed that this characteristic motif was produced by a simple textile template. Fragments of a five-stranded cord (S/3S/2Z) - certainly not a two-stranded one - were sewn on a net 'band' (item of a sprang type). This technique guaranteed a precise layout and space between particular impressions (ca. 2 mm each) on a soft amphorae (?) surface irrespective of an angle of ornament placements and decorative element joints.
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Bakhoum, Diana Isaac. "The Foundation of a Tabrizi Workshop in Cairo: A Case Study of Its Influence on the Mosque of Emir Altunbugha Al-Maridani." Muqarnas Online 33, no. 1 (November 14, 2016): 17–32. http://dx.doi.org/10.1163/22118993_03301p003.
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This article discusses the introduction of new decorative techniques to Bahri Mamluk architecture in Cairo; the focus is primarily on the Mosque of Emir Altunbugha al-Maridani. The mosque was built during the third reign of al-Nasir Muhammad, which was marked by great growth and urban development. The exchange of artists from the Ilkhanid domain and the foundation of a court workshop in Cairo during the 1330s and 1340s were responsible for the increase in the use of tile decoration and stuccowork on Cairene architecture. Four tile panels above the entryways to the mosque and stucco decoration are analyzed technically and stylistically to learn more about the craftsmen’s inspiration and technique, as well as the extent of the workshop’s involvement in the mosque. The discussion further aims at contextualizing the mosque in light of contemporaneous historical events and at examining how these may have contributed or influenced the architecture of this period.
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Nosachenko, Tetiana. "Methodological Basis of the Ornamental Study in the Process of Professional Training of Art Teachers." Professional Education: Methodology, Theory and Technologies, no. 9 (February 28, 2019): 115–27. http://dx.doi.org/10.31470/2415-3729-2019-9-115-127.
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The article reveals the content and significance of decorative and applied arts in the system of art-pedagogical education, reveals the methodical aspects of studying the ornament, as a means of forming the professional skill of future fine arts teachers.The decorative-applied art is characterized in the article by the unity of the artistic structure, the presence of various activities and acts as an effective means of aesthetic education of the students’ personalities, the formation of their artistic taste. The author of the article defines that involving students in various types of artistic and applied arts, based on a folk art, is one of the main conditions for a full-fledged aesthetic education and the development of their artistic and creative abilities.It is also noted in the study that one of the main «tools» for creating an image of decorative arts is an ornament. The article shows the urgency and necessity of improving the technique of studying the ornament in the process of professional training of students of the artistic profile. The ornament is considered by the researcher as a means of the development of students’ professional skills, spatial thinking, formation of author’s style and creative personality.The author of the article believes that, studying the symbolic content of the ornaments, students become acquainted with their simplest archaic motifs, those are: a line, a circle, a cross, a rhombus, a square, a point, that is essential for forming an understanding of the integrity of an artistic work, aims to form a sense of the compositional laws of shaping and decorating and develop on this basis their artistic and creative abilities. Moreover, the researcher notes that the sense of rhythm, the harmony of color, the balance of form and color, which students receive during the study of ornament, allow them to creatively realize themselves in various types of paintings and decorative compositions, raise the level of artistic and creative abilities in general.The author of the article gives the conclusion that an assimilation of techniques of the image of the ornament in various techniques, studying the types of ornamental art, laws and rules of ornamentation contribute to raising the level of artistic and creative abilities of students provided the introduction of modern scientifically sound teaching methods.
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Chistyakova, Olga. "Artistic and Stylistic Features of Yusupov Glassworks in Arkhangelskoye." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 125–38. http://dx.doi.org/10.36340/2071-6818-2019-15-3-125-138.
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The article deals with the main periods, the history of the emergence of Yusupov glassworks in the Arkhangelskoye estate and its importance in the development of Russian glass art. Yusupov glass-making in Arkhangelskoye was developing under the influence of European trends in shaping and decoration in synthesis with the Russian tradition and the specifics of Russian materials, raw material bases and national perspective on the wide range of techniques and technologies. The author pays special attention to the artistic, stylistic and technological features of the manufactured products, as well as to the decor specifics of cut glass technique. Author divided the history of the Yusupov factory into two main stages. The first one lasted from 1811 to 1820. During this time the enterprise was operating as a full-scale production and the process of manufacturing crystalware or glassware was going through all stages: from the preparation of the mixture and the cooking of “crystal material” to the decorative processing of finished objects. Although in fact such a cycle was fully followed only three times in the period of 1814-1816. However, the institution was regarded as a factory from 1811 until 1820, and only after the fire, the idea of reviving the production was finally rejected. During the second stage, from 1820 to early 1827, the factory was turned into a lapidary workshop, where the craftsmen were engaged in decorative processing of the purchased unfinished glassware. The identification of stylistic features and characteristic techniques of processing the products made in the estate factory and their evolution at different periods of the production history makes it possible to attribute the tableware of N. Yusupov’s enterprise in the collections of other museums. Moreover, the results could provide the basis for the re-emergence of the lapidary workshop in the modern Arkhangelskoye Estate Museum where craftsmen could reproduce the decorative techniques typical of the Yusupov factory based on the finished unprocessed glassware.
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Ruammaitree, Kanokkanya. "Using the Polka Dot Technique of Color Slip for Ceramic Decorative." Key Engineering Materials 608 (April 2014): 341–45. http://dx.doi.org/10.4028/www.scientific.net/kem.608.341.
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The inspiration of the work was polka dot. It was a regulation of nature can be seen in shape and structure of living and non-living things. The ceramic products were decorated by used slip color before being left to dry at room temperature. The ceramic products were fired at 1230 °C in oxidation atmosphere. The ceramic products were appearance of slip dots that was slightly raised above surface gave ceramics are wonderful and interesting texture.
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Obushnyy, Mykola. "THE SACRAL NATURE OF STRAW MOSAIC BY OLEKSANDR SAJENKO (Review of the creative works of Ukrainian artist O.F. Sajenko)." Almanac of Ukrainian Studies, no. 28 (2021): 137–39. http://dx.doi.org/10.17721/2520-2626/2021.28.22.
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The publication aims to draw the attention of Ukrainian scholars and researchers of Ukrainian cultural heritage to study the work of a unique domestic artist of monumental and decorative art, whose name is included in the list of prominent figures of world heritage of the twentieth century - Alexander Saenko. O. Saenko's artistic heritage includes more than 500 works of painting, graphics and monumental and decorative art: decorative panels, carpets, tapestries, etc. But O. Saenko possessed the technique of straw inlay most perfectly. He subtly felt the diversity of sacred energies that give "joy to people." It was in the colors of straw that O. Saenko saw such energy. O. Saenko's paintings are not only artistically perfect, but also the vast majority of them are filled with nationalpatriotic content. Among them, one of the most famous is the decorative painting "Kozak Mamai" (1928, 1936). The analysis of O. Saenko's paintings shows that they are deeply folk, and therefore perceived as modern in their content and style.
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-, Sarwono, Tiwi Bina Affanti, Ratna Endah Santoso, and Adji Isworo Josef. "APLIKASI TEKNIK HAPA ZOME PADA PAKAIAN SEBAGAI BAGIAN KAMPANYE GO GREEN." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 12, no. 2 (February 15, 2021): 138–47. http://dx.doi.org/10.33153/brikolase.v12i2.3294.
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The purpose this training activities is to provide skills for neglected and drop-out children at PPSA Taruna Yodha Sukoharjo in making clothing decorations with hapa zome techniques and marketplace marketing. Currently, there is an eco fashion trend in society. Clothes with hapa zome decorative techniques are considered unique but not many have made them. Hapa zome material can easily be obtained from plants in the environment which is usually as weeds. The activities carried out by the method of lectures, tutorials, practice and product evaluation. The activity ran smoothly, the atmosphere was fun and the participant’s interest in participating in the training was very high. The participants seemed able to develop various models of natural decoration on clothes and mix them with embroidery techniques. This training has the impact of increasing the participant's ability to make clothing decorations with the hapa zome technique and to understand several marketplace marketing techniques. The product was produced as part of the go green campaign and it predicted have a good market. Key words: go green. hapa zome, Taruna Yodha,
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Vyrodova, U. S. "FORMATION OF GRAPHIC SKILL IN CHILDREN OF YOUNGER SCHOOL AGE BY THE TECHNIQUE OF DECORATIVE APPLIED CREATIVITY “STRAW INLAY”." EurasianUnionScientists 8, no. 4(73) (May 12, 2020): 17–20. http://dx.doi.org/10.31618/esu.2413-9335.2020.8.73.710.
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Loganina, Valentina Ivanovna, and Ludmila Viktorovna Makarova. "Technique of the assessment of crack resistance of the protective decorative coatings." Contemporary Engineering Sciences 7 (2014): 1967–73. http://dx.doi.org/10.12988/ces.2014.411239.
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Shimizu, Yasuji, Takashi Uno, Fuminori Sugaya, Takushi Toyooka, and Katsuro Shimizu. "Mirror Mold Reuse Techniques in Ancient East Asia." Materials Science Forum 983 (March 2020): 1–5. http://dx.doi.org/10.4028/www.scientific.net/msf.983.1.
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Re-using technique of casting molds for “bronze mirrors with triangular rims and designs of divinities and animals” have been considered. Presence of the same carving decorative patterns have recognized because crack marks of the surface of mirror are comparable. Although this technique was applied for casting of bronze mirrors in ancient Japan, it was presence in the Linzi site in Early Han Dynasty in China.
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Putri, Helce Marisa, Hasnawati Hasnawati, and Nani Yuliantini. "Pembuatan Karya Seni Menggambar Dekoratif pada Caping dalam Mata Pelajaran SBK Siswa SD Kota Bengkulu." JURIDIKDAS: Jurnal Riset Pendidikan Dasar 2, no. 3 (January 31, 2020): 218–28. http://dx.doi.org/10.33369/juridikdas.2.3.218-228.
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This study aims to describe the process of making and drawing decorative work of caping in the subjects of Art Culture and Skills (SBK) class III A SD Negeri 07 Kota Bengkulu. The type and method of this research is skin research and descriptive method with participant observation technique. The research subjects were all students of class III A SD Negeri 07 Kota Bengkulu which amounted to 31 people. The research instrument is a human instrument, using obsevation guidelines, interview guides, and guidelines of the work. Data collection techniques such as observation, interview, and documentation / work. The data analysis of the process of making works is done by studying the data and then reducing, display, and drawing conclusions. Analysis of the work data will be discussed by looking at the elements and principles of art that exist. The process of making six works of decorative drawing art on the caping begins with a discussion determines the motive to be chosen in making the work. Followed by preparing tools and materials. After that give the basic paint on the caping. Selanjunya make motif design and thicken motifs and then coloring motifs. Six pieces of artwork drawing decorative on the caps made students contain elements and principles of fine art that contains elements of lines, fields, and colors. Placement of these motives on the caping contains the principles of art that is the principle of unity, balance, rhythm, emphasis and harmony.This study aims to describe the process of making and drawing decorative work of caping in the subjects of Art Culture and Skills (SBK) class III A SD Negeri 07 Kota Bengkulu. The type and method of this research is skin research and descriptive method with participant observation technique. The research subjects were all students of class III A SD Negeri 07 Kota Bengkulu which amounted to 31 people. The research instrument is a human instrument, using obsevation guidelines, interview guides, and guidelines of the work. Data collection techniques such as observation, interview, and documentation / work. The data analysis of the process of making works is done by studying the data and then reducing, display, and drawing conclusions. Analysis of the work data will be discussed by looking at the elements and principles of art that exist. The process of making six works of decorative drawing art on the caping begins with a discussion determines the motive to be chosen in making the work. Followed by preparing tools and materials. After that give the basic paint on the caping. Selanjunya make motif design and thicken motifs and then coloring motifs. Six pieces of artwork drawing decorative on the caps made students contain elements and principles of fine art that contains elements of lines, fields, and colors. Placement of these motives on the caping contains the principles of art that is the principle of unity, balance, rhythm, emphasis and harmony.
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Ruki, Ulli Aulia, and Budi Setiawan. "Tahapan Teknik Menggambar Ragam Hias Nusantara dengan Program Komputer Autocad." Humaniora 4, no. 2 (October 31, 2013): 933. http://dx.doi.org/10.21512/humaniora.v4i2.3534.
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Nowadays, technology has developed in many different disciplines. One of the technologies that have been used in design interior is AutoCAD software used in technical drawing. This AutoCAD software has been well-known by drafters. Advantages of this software are small period time of working, drawing with precisely measurement; and it is environmental friendly because it uses digital data that can reduce paper use. Drawing decorative ornament is one of difficulties that have been avoided by students to draw. Therefore the purpose of this article is to give information about steps of drawing decorative element using AutoCAD for their technical drawing in interior design. The article used literature study and website of professional institutions about AutoCAD as an additional source to be explanations about pattern of each ornament. Results of using this technique in AutoCAD will minimize time consuming, and it will help students draw the Indonesian archipelago decorative ornament.
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Shklyaeva, Lyudmila M. "Gold Embroidery Style Features of the Mishar Tatars of the Ulyanovsk Region." Observatory of Culture 17, no. 2 (June 30, 2020): 140–50. http://dx.doi.org/10.25281/2072-3156-2020-17-2-140-150.
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The article reveals the origins and style features of the gold embroidery of the Mishar Tatars of the Ulyanovsk Region. Though surrounded by a population that is not uniform in ethnic composition, including the Chuvash, Mordovian, Mari, Udmurt and Russian peoples, the Mishars have preserved the aesthetic preferences of their ancestors. For centuries, the bib — an element of the national costume — has maintained the visually expressed originality of its decorative design conditioned by the traditions characteristic of this local group. The gold embroidery was a hereditary female occupation; its technique, as well as unique ornamental elements, were imparted from mother to daughter. Samples of needlework by masters of the past indicate the uniqueness of the patterned finish as well as the main trends of its development. The design techniques include large floral elements arranged in a certain compositional order. Its artistic structure uses the principle of symmetry as a reflection of the balance and stability of the universe. The repetition of images symbolizes the cyclical nature of being and reproduction processes. The style features of the Ulyanovsk Mishars’ gold embroidery include the homotypic impregnated technique and the relief of finishing elements. The interpretation of the key character-symbol in the center, which combines solar and floral forms, is diverse. The stylistic features of the Mishars’ gold embroidery reflect the system of the spiritual values common to the Tatars that were feeding the artistic forms of decorative art, originally sourced by the Bulgarian urban culture of the Golden Horde period, and then the Kazan Khanate. For many centuries, the best samples were selected and polished in the course of time. The style-forming elements of the national costume components’ gold decoration were steadily reproduced. The tradition of their application allows us to assume that the ancestors of the modern Mishar Tatars living in the rural part of the Ulyanovsk Region were of urban origin.
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Dautova, Olga G., and Eugenia L. Kuzmenko. "FEATURES OF COMPOSITIONAL ORGANIZATION OF ARCHITECTURAL MOTIFS FORMS IN THE DECORATIVE PAINTING TECHNIQUE." Bulletin of the Moscow State Regional University (Pedagogics), no. 3 (2019): 64–73. http://dx.doi.org/10.18384/2310-7219-2019-3-64-73.
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Towers, Roy, and Nick Card. "Technological adaptation in Grooved Ware pottery from the Ness of Brodgar, Orkney, or how to make your cordons stick." Scottish Archaeological Journal 36-37, no. 1 (March 2015): 51–63. http://dx.doi.org/10.3366/saj.2014.0050.
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This paper describes a hitherto unidentified adaptation in Grooved Ware pottery at the Ness of Brodgar, Orkney ( Fig. 1 ). The technological technique adopted appears designed to cope with a common problem of Grooved Ware potters at the Ness: that of detached cordons, where applied decorative cordons on the exterior surface of the vessels are knocked off or simply fall off. The evidence shows that, in the case of one large pottery deposit from the site, some vessel exteriors were specially prepared in order to ensure cordon adhesion. The Ness of Brodgar site is introduced, issues surrounding pottery production and applied decoration in the Late Neolithic, particularly in Orkney, are noted and the problem-solving sherds are described. The paper is illustrated in part by the use of Reflectance Transformation Imaging (RTI).
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Serck-Dewaide, Myriam, Christine Cession, and Jana Sanyova. "EXAMPLES OF THE USE OF THE DECORATIVE TECHNIQUE OF AVENTURINE IN POLYCHROMED SCULPTURE AND DECORATION OF THE EIGHTEENTH TO TWENTIETH CENTURIES." Studies in Conservation 43, sup2 (September 1998): 21. http://dx.doi.org/10.1179/sic.1998.supplement-2.021.
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Marushchak, Oksana, Tetiana Zuziak, Iryna Savchuk, and Oleksii Rohotchenko. "ARTISTIC AND AESTHETIC COMPETENCIES DEVELOPMENT: TRAINING TEACHERS USING DECORATIVE AND APPLIED ARTS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 719. http://dx.doi.org/10.17770/sie2020vol5.4917.
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As Ukrainian national system of education is coming into being, aiming to promote development of personal competences on the basis of culture, art, and folk traditions of the Ukrainian people, introducing the spiritual heritage to the young generation, the problem of developing artistic and aesthetic competencies of the future teachers by means of decorative and applied arts becomes topical. The didactic value of the arts, as well as their limitless potential for competencies development are well recognized. This urged us to develop an artistic and aesthetic competencies training technique for the future teachers with the use of decorative and applied arts. The aim of the study is to test experimentally the effectiveness of this technique. The theoretical methods used are: analysis of psychological, pedagogical, methodological and specialized publications, of educational documentation; analysis, synthesis, abstraction, and systematization of data, comparative analysis of dissertations. Empirical methods are: questionnaire survey, observation, testing, independent peer review, analysis of students’ practical results to determine criteria, indicators and levels of artistic and aesthetic competencies development; pedagogical experiment. Also used is the mathematical statistics method to analyze and determine effectiveness of the technique.
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Susetyo, Sukawati. "Tinjauan Arsitektur Rumah Adat Batak Toba di Pulau Samosir." Berkala Arkeologi Sangkhakala 12, no. 24 (January 7, 2018): 219–28. http://dx.doi.org/10.24832/bas.v12i24.221.
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AbstractMany of Batak Toba traditional houses are still found in Pulau Samosir, and other areas in North Sumatra. When studying the techniques of this traditional house structure design, we have great admiration for the creativity our ancestors. All materials come from the natural environment where they lives, as well as building technique have been taking into account the various effects caused by the earthquake and fire has been well anticipated. Beside that, all the elements of building and decorative art which have been drawn by high philosophical meaning. As technology development, the building materials
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Guo, He Miao, Hai Peng Yu, and Bin Zhang. "QFD-Based Analysis of Quality Functional Requirements of Wooden Acoustic Panels." Applied Mechanics and Materials 44-47 (December 2010): 2661–65. http://dx.doi.org/10.4028/www.scientific.net/amm.44-47.2661.
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As the WAP (Wooden Acoustic Panel) is a kind of newly-emerged functional and decorative building material, this dissertation conducted a scientific analysis on its qualitative and functional design requirements. The method of QFD (Quality Function Deployment) was introduced in this dissertation. Through market survey, voice of customer about qualitative requirements on the WAP was obtained, while a customer needs deployment table was gained based on requirement transformation and clustering. Then a technical requirement deployment table was prepared corresponding to the customers’ requirements. Finally, the quality house for product plan and location of components were acquired. The result indicates that the quality and function requirement of WAP obviously cover the following perspectives: firstly attaching great importance to improvement in acoustic absorption and price reduction, specifically paying attention to material selection of core materials, panel thickness, punching rate and aperture; secondly taking environmental protection and decorative function into consideration which means to concern surface material selection, decorative function and glue joint technique, and finally thinking about the sizes of panels and convenience in installation.
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Pandey, Anjali. "BIDRI WARE: A UNIQUE METAL CRAFT OF INDIA." International Journal of Research -GRANTHAALAYAH 4, no. 3 (March 31, 2016): 170–75. http://dx.doi.org/10.29121/granthaalayah.v4.i3.2016.2799.
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Handicrafts are valuable; they make our life enriched by their grace. Many times the question rises in our mind, about the origin and concept of the art and craftsmanship, its method and technique, material and attribute of the craftsmanship. The master craftsmanship of Bidri ware has all requisite qualities of excellence. Bidri is a type of encrusted metal ware. It is an intricate process involving several steps. Its preparation process and manufacturing is unique. The decorative designs describe the influences of Mughal impact. Often Bidri ware had inscription Arabic calligraphy of high quality. The metal commonly used is an alloy of copper and zinc. The zinc content gives the alloy deepan black colour. Bidri artist used simple and handmade tools for working. The textural ornamentation by hammering, engraving, inlaying creates the unique decorative effect Mainly six techniques -Aftabi, Koftgiri, Tehnishan, Zarbuland, Munabatkari and Tarkashi are used for ornamentation. Huqqa, Pandan, Surahi, Lota, Thali, Katora, Battle shield, sword etc are the main articles of Bidri ware. Today the Bidri artisans made some changes for new up comings.
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Lebedeva, Tat’yana V., and Sergey I. Galanin. "DECORATING ENAMEL INSERTS WITH ENAMEL GRANULATION." Technologies & Quality 52, no. 2 (July 2, 2021): 62–67. http://dx.doi.org/10.34216/2587-6147-2021-2-52-62-67.
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The results of an experimental study of the combined enamelling technique are presented – enamel with enamel granulation. Original enamel inserts, decorated with enamel granules of various colours and sizes, were obtained, the use of which expands the possibilities of decorative enamelling. It is shown that different degrees of fusion of the enamel grain on the prepared base gives different artistic effects. Spherical grains, qualitatively adhered to the enamel ground, give a more explicit, spectacular relief; focus on specific elements of the pictorial composition. Melted hemispherical grains give a light texture to the composition, support and complement the enamel painting. Recommendations are given on the formation of granulation, preparation of enamel soil, drawing of details, firing temperatures of enamels to obtain high-quality granulation and colourful artistic composition, as well as other technological and design aspects of the decorating process.
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Prasojo, Fazri Bagas, and Onggal Sihite. "ANALISIS GAMBAR HIASAN HIJAB." Gorga : Jurnal Seni Rupa 9, no. 1 (June 28, 2020): 182. http://dx.doi.org/10.24114/gr.v9i1.18786.
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AbstrakPenelitian ini di latar belakangi untuk mengenalkan salah satu media sederhana yang dapat digunakan sebagai media dalam pembuatan gambar hiasan pada hijab siswa kelas X SMK Karya Bunda. Pembatasan masalah dalam penelitian ini berfokus pada penerapan prinsip komposisi, keselarasan, irama, keseimbangan dan tingkat keberhasilan pada pembuatan gambar hiasan di hijab siswa kelas X SMK Karya Bunda. Tujuan penelitian ini adalah untuk mengetaui penerapan dan tingkat keberhasilan prinsip komposisi, keselarasan, irama, dan keseimbangan pada pembuatan gambar hiasan di hijab siswa kelas X SMK Karya Bunda. Penelitian ini menggunakan metode kualitatif dengan sampel 5 karya gambar hiasan pada hijab siswa kelas X SMK Karya Bunda yang diambil menggunakn teknik Sampling Purposive. Teknik analisis data dilakukan dengan teknik analisis deskriptif kualitatif. Berdasarkan data yang telah diperoleh, maka semua hasil penilaian dari ke tiga ahli secara keseluruhan pada karya gambar hiasan pada hijab siswa kelas X SMK Karya Bunda ditinjau berdasarkan prinsip komposisi memperoleh jumlah nilai = 429 dengan rata-rata (r) = 86 (baik), prinsip keselarasan memperoleh jumlah nilai = 431 dengan rata-rata (r) = 86 (baik), prinsip irama memperoleh jumlah nilai = 427 dengan rata-rata (r) = 85, terakhir prinsip keseimbangan memperoleh jumlah nilai = 421 dengan rata-rata (r) = 84, dan secara umum nilai keempat prinsip tersebut dikategorikan baik dengan jumlah nilai = 341 dan rata-rata (r) = 85 (baik).Kata Kunci: analisis, gambar hiasan, hijab.AbstractThis research is motivated to introduce one of the simple media that can be used as a medium in making decorative pictures on the hijab of class X students of SMK Karya Bunda. The limitation of the problem in this study focuses on the application of the principles of composition, harmony, rhythm, balance and the level of success in making decorative pictures in hijab X grade students of SMK Karya Bunda. The purpose of this study is to know the application and success rate of the principles of composition, harmony, rhythm, and balance in the making of decorative pictures in the veil of class X students of SMK Karya Bunda. This study uses a qualitative method with a sample of 20 decorative pictures on the veil of class X students of SMK Karya Bunda taken using the Purposive Sampling technique. The data analysis technique was performed by using a qualitative descriptive analysis technique. Based on the data that has been obtained, all the assessment results from the three experts as a whole in the work of decorative drawings on the veil of class X students of SMK Karya Bunda are reviewed based on the principle of composition obtaining a total score = 429 with an average (r) = 86 (good), the principle of harmony gets the sum of values = 431 with an average (r) = 86 (good), the rhythm principle gets the sum of values = 427 with an average (r) = 85, finally the principle of balance gets the sum of values = 421 with an average ( r) = 84, and in general the values of the four principles are categorized both with a total score = 341 and an average (r) = 85 (good).Keywords: analysis, decorative, hijab
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Ahmadi, Ahmadi, and Citra Ayu Dewi. "THE EFFECT OF ELECTRIC FLOW ON DECORATIVE KROM ELECTROPLATING WITH COPPER BASE METAL TOWARD CORROSION RATE." Prisma Sains : Jurnal Pengkajian Ilmu dan Pembelajaran Matematika dan IPA IKIP Mataram 1, no. 2 (December 21, 2013): 134. http://dx.doi.org/10.33394/j-ps.v1i2.1010.
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In this study a decorative chrome electroplating process has been carried out with a copper base metal, metal electroplating is often used as a means to provide a thin layer on the surface of other metals or substrates using metal which has advantages in terms of property and corrosion resistance. In decorative chrome electroplating nickel and chrome are used as coatings, nickel and chrome are used as coatings because of their protective and decorative properties, protective means they can prevent corrosion and decorative because they look shiny so they look attractive. Copper metal is chosen because of its huge application in the community. This study aims to measure the corrosion rate in copper metal after a decorative chrome electroplating process based on electric current used during the electroplating process. This research is important because during the electroplating process a decorative chrome electoplating technique will be obtained in the form of modules, and the module will be used to train students to increase their skills. This research was conducted in the IKIP Mataram chemical laboratory with a time of one year. The process carried out in this study sequentially is to prepare an electrolyte solution used for electroplating, preparing the copper base metal to be free of oxide or rust, nickel coating and finally coating with chrome. From the coating process carried out then the results will be analyzed the corrosion rate by immersion in NaCl solution at a concentration of 36.05 grams / L for 336 hours, based on variations in electric current used during the electroplating process of 0.5; 1; 1.5; 2; and 2.5 Ampere, the corrosion rate results were 0.029; 0.013; 0.017; 0.022; and 0.012 mm / yr; while the copper metal which is not coated with a corrosion rate is 0.308 mm / yr. Thus it can be concluded that copper metal coated with nickel chrome will effectively resist the lowest rate of corrosion in the current given 2.5 Ampere.
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Silva, Teresa P., Maria-Ondina Figueiredo, Maria-Alexandra Barreiros, and Maria-Isabel Prudêncio. "Decorative 18th Century Blue-and-White Portuguese Tile Panels: A Type-Case of Environmental Degradation." Journal of Materials 2013 (February 12, 2013): 1–6. http://dx.doi.org/10.1155/2013/972018.
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Decorated glazed ceramic tiles are used as an ornamental art, constituting an important cultural heritage whose preservation is mandatory. Environmental conditions are responsible for the degradation of exposed ancient tile panels originating various pathologies, related to the development of microorganisms. This is the case of a valuable 18th century blue-and-white Portuguese tile panel called “Cura do Cego,” belonging to the collection of the National Tile Museum (MNAz), where green stains are nowadays observable in the glaze. A prospective diagnosis of this green tarnishing was the aim of the present work. Small tile fragments were directly irradiated using nondestructive techniques: X-ray fluorescence spectrometry with a wavelength-dispersive system (WDXRF) for chemical characterization of the tile glaze and X-ray powder diffraction (XRD) to assess the phase constitution of both the glaze and the ceramic body. A destructive technique (scanning electron microscopy with energy-dispersive system (SEM/EDS)) was applied to tentatively infer the chemical changes induced in the glaze by the green staining and also to characterize the morphology of the microorganisms associated to this staining. The obtained results are reported and discussed, as a preliminary step for testing an innovative nondestructive decontamination technique applying gamma radiation, particularly suitable for overcoming such tile pathologies.
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Masdar, Huriatul, Muhammad Yulis Hamidy, Fifia Chandra, RM Riadi, Yulia Irvani Dewi, and Nurfi Pratiwi. "Pemberdayaan masyarakat melalui pengolahan sampah anorganik menjadi barang dekoratif bernilai ekonomis." Unri Conference Series: Community Engagement 2 (December 30, 2020): 222–27. http://dx.doi.org/10.31258/unricsce.2.222-227.
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Garbage is the leftover product from every human daily activity that is thrown away which, if not managed properly, can cause environmental and health problems. Waste bank is a form community participation in waste management. Air Putih Sub-dsitrict already has a waste bank that is actively operating. However its activities are still limited to collect inorganic waste from customers and sell it to collectors. In order to increase the value of inorganic waste collected in the waste bank, a training to decorate used items using decoupage technique was conducted. Waste bank managers and Empowerment Family Welfare (PKK) members were participated in this training. In addition, a training how to use social media as a marketing media were performed. The results showed that the target community's skills had been achieved in processing inorganic waste into decorative items with higher economic value. Meanwhile, the sustainability of production and the economic impact resulting from these trainings still require further evaluation.
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Mammaev, M. M. "MUSLIM GRAVESTONES OF THE 14th - 15th CENTURIES IN THE VILLAGE OF KUBACHI: THE PECULIARITIES OF THE DECORATIVE FINISH." History, Archeology and Ethnography of the Caucasus 13, no. 3 (September 15, 2017): 77–99. http://dx.doi.org/10.32653/ch13377-99.
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The article covers the problems of decorative finish of Muslim gravestones of the 14th - 15th centuries in the village of Kubachi. The author of the article describes the technique of headstone carving, shows that specialties of stone-cutters, calligraphers and ornamentalists were inherited, and notes that the decorative finish of the gravestones was made by the local stone-cutters with the direct participation of the craftsmen who arrived or were specially invited from the countries of the Middle East. In the article, the evolution of decorative finish of the gravestones is traced from comparatively simple Late Cufic Arabic ornamental inscriptions with some elements of floral ornament to complex patterned and epigraphic compositions, in which Late Cufic relief, ornamentally decorated and calligraphically executed inscriptions were made against the background of the relief floral ornament. Arabic ornamental inscriptions include shahadah - monotheism formula: “There is no deity except Allah, and Muhammad is the Messenger of Allah”; sayings: “Death is a cup, everyone drinks from it; grave is a gate, everyone enters it”, etc. On some headstones there are Quranic sayings: “There is no deity except Allah, ever-living, existing: neither slumber nor sleep overtakes Him; to Him belongs whatever is in the heavens, and whatever is on the earth” (Quran, II. 256). The author of the article notes that there is a great variety in the treatment of the Arabic ornamental inscriptions of the gravestones caused both by the forms of the letters and by their decoration. It is noted that the sayings on the gravestones of the 14th - 15th centuries in Kubachi are widespread epitaphs on Muslim headstones in a large area (they were found on headstones in the village of Kalakoreish in Dakhadaevsky District, the village of Kumukh in Lak District, the village of Tatil of Tabasaransky District, etc.), they existed for a long time and became aphorisms. The article also contains the names of the buried people, which were carved on the headstones of the village of Kubachi. Most of them are pre-Islamic and are not readable because in many cases they have no vocalization (diacritic marks) indicating vowel sounds.
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Lodder, Robert A., and Gary M. Hieftje. "Subsurface Image Reconstruction by Near-Infrared Reflectance Analysis." Applied Spectroscopy 42, no. 2 (February 1988): 309–12. http://dx.doi.org/10.1366/0003702884428194.
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A method is described for reconstructing decorative images concealed by layers of overcoatings. The method employs a nonparametric multivariate algorithm and a cellular-automaton construct to convert the near-infrared spectrum of a surface into digital images of the surface layers. The technique is potentially applicable to the restoration of historic buildings where aging, previous restoration attempts, and even political considerations have resulted in the alteration of the original historic surfaces.
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Silaiev, Oleksandr. "Decorative application with lion’s image from the excavations near village Mizhgirya (Volyn region)." Materials and studies on archaeology of Sub-Carpathian and Volhynian area 24 (December 23, 2020): 387–95. http://dx.doi.org/10.33402/mdapv.2020-24-387-395.
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The article is explaining a unique bronze application, which was discovered during the excavation season 2017 on Mizhgirya-3 site – two-layered settlement of Early Iron Age and Age of Principalities. This item was uncovered amid the upper earth sediments, largely destroyed by plowing, thus making it impossible to determine the exact chronological interpretation. Based on the analysis of creative stylistics and technological features of this piece of craftsmanship, an excessive pursuit was commenced for the parallels in the imageries and designs of decorative ornaments, particularly inherent to Ancient Rus culture. It includes various examples of zoomorphic motifs, lion’s pictures as well, in the church architectural décor and on similar samples of ornamented jewelry. The closest stylistic equivalence to the application’s image from Mizhgirya-3 site was found among decorative ceramic tiles collected during the excavations of ancient Halych hill-fort, some of them holding the image of a lion or a lioness. Particular attention was turned towards the searches of analogies among jewelry, applying specific techniques of openwork metal casting, like some items from the excavations of the Ancient Rus’ major cities of Halych and Novgorod, found inside cultural sediments from the 12th – to the 15th centuries. Comparative analysis of various objects, either depicting similar visual motifs or applying the distinctive metal casting technique, made it possible to verify the application’s origin at the later stages Age of Principalities cultural evolution, especially the one determined by the advance of Galicia and Volhynia state. Henceforth, the discovery of the items became more relevant with the upper chronological layer of Mizhgirya-3 site, which was dated by the 12th – 13th centuries after the evaluation of supplemented materials. Key words: bronze decorative application, openwork metal casting, Age of Principalities, zoomorphic motif, «lion passant».
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Shi, Jian Ping. "The Household Textile Bedding Embroidery Design and Expression of Decorative Techniques." Advanced Materials Research 332-334 (September 2011): 2018–22. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.2018.
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This article discusses the design method of bedding embroidery patterns, such as abstract simplification, Exaggerated beautification, alienation perspective, adding imagination and scattered layout; the decorative positions of embroidery pattern are centerpiece decoration, edge decoration and the change of decoration; Diversified technology of bedding embroidery patterns are decoration of the appearance accessories and analysis of the related factors and other decorations. Beautiful embroidery patterns and appropriate decorative techniques can not only play the role of sugar-coat textile bedding, but also enhance the aesthetic interest and artistic decoration design value.
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Dismukes, Don E. "The “chemo-laser” technique for the treatment of decorative tattoos: A more complete dye-removal procedure." Lasers in Surgery and Medicine 6, no. 1 (1986): 59–61. http://dx.doi.org/10.1002/lsm.1900060112.
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Li, Zhi Guo, and Jing Sun. "Study on the Green Ecological View of the Cave Dwellings and its Innovation and Development." Applied Mechanics and Materials 409-410 (September 2013): 377–80. http://dx.doi.org/10.4028/www.scientific.net/amm.409-410.377.
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Cave houses are one of the most unique Chinese traditional local-style dwelling houses. From the original ecological angle, the paper first analyzed the green ecological thoughts of cave dwellings, such as settlement layout, construction technique, architectural form, decorative furnishings etc.. Then in view of the shortcomings and the insufficiency of traditional cave dwellings, some improvement measures are put forward to continue its traditional advantages and characteristics, and to grasp more clearly and accurately its future development trend and direction meanwhile.
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MCPHEE, IAN. "CLASSICAL POTTERY FROM ANCIENT CORINTH THE A. D. TRENDALL MEMORIAL LECTURE 2003." Bulletin of the Institute of Classical Studies 47, no. 1 (December 1, 2004): 1–21. http://dx.doi.org/10.1111/j.2041-5370.2004.tb00238.x.
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Abstract This paper examines certain aspects of ceramic production in Corinth during the second half of the 5th and the 4th centuries BCE, mainly based upon the pottery found in a single deposit, Drain 1971–1. The introduction of the red-figure technique, and of shapes such as the stemless bell-krater and the krater of Falaieff type is considered; and the development of the Corinth oinochoe briefly outlined. The re-introduction of new decorative techniques and the development of new shapes show the continuing inventiveness of Corinthian potters in the Classical period, particularly with regard to utilitarian pottery. Changes in sympotic pottery and in drinking habits in the middle and third quarter of the 5th century, and again in the late 4th and early 3rd century, are suggested.
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Yan, Cui, Chang Zheng Ma, Guang Cheng Zhang, and Feng Jun Qi. "The Synthesize and Properties of Aquosity Polyester Acrylate Nanoemulsion." Applied Mechanics and Materials 187 (June 2012): 227–30. http://dx.doi.org/10.4028/www.scientific.net/amm.187.227.
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A new type of polymer nanoemulsion has been synthesized by molecular self-assembly technique. The emulsion particle size that can be clearly observed by CENT is less than 100nm. The results of these measurements support the idea that polyacrylate molecular segments assemble with polyester segments. Then based on the polymer nanoemulsion, waterborne block type exterior architectural nanopaints have been prepared. The waterborne coatings behave good water-resistance, physics-mechanical properties and decorative and protective performance. Scrub resistance improves greatly which can reach 10000 times.
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Choi, Kee. "Developing Inlaid Colouring Technique for Hot-Glass Making Process." Arts 7, no. 4 (November 26, 2018): 89. http://dx.doi.org/10.3390/arts7040089.
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This article discusses both the complexity and technical benefits of developing an inlaid colouring technique for the hot glass-making process. This technique was inspired by the ancient Korean ceramic decorative technique known as Sanggam, and has allowed me to delineate geometric patterns and counterfeit letters onto glass artworks, before encapsulating them between layers of transparent glass. By developing a typography design that deliberately chooses the wrong consonant and vowel letters, and combines Korean characters, the resulting designs do not fit into either South Korean or British visual culture. A number of optical properties (in particular refraction, reflection, and distortion) provoke a sense of ambiguity in the viewer’s visual experience of, as well as their response to, a series of glass artworks created for experimental purposes. The technique offers an innovative creative tool for artists working in the field of glass art, enabling them to depict expressive drawings and images through a line drawing style, using diverse colours, and in a more controlled manner than the hot glass-making process of the ‘Graal’ technique. The technical possibilities and limitations of the inlaid glass colouring technique are addressed at each step of the development process, while examples of the technical palette serve as a useful reference for artists working in the field of glass art.
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Pina, J. C. P., Maria José Marques, J. M. M. dos Santos, and A. Morão Dias. "Stress and Texture Analysis in Thin Films and Coatings by X-Ray Diffraction." Materials Science Forum 514-516 (May 2006): 1613–17. http://dx.doi.org/10.4028/www.scientific.net/msf.514-516.1613.
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The thin and textured coatings present a double difficulty for characterization by conventional X-ray diffraction. Their shallow depth reduces the diffracted intensity and allows the interference of the underlying material. Frequently they present a crystallographic texture which limits the number of orientations that provide good intensity and induces anisotropy effects on their mechanical behavior. Reliable results can be determined using diffraction geometry of lowincidence angle. This paper describes the application of the technique to several films, characterized by thicknesses of the order of 1 μm and crystallographic textures. Examples are proposed of chromium films applied by PVD on molybdenum substrates, decorative electroplated coatings, and aluminum coatings used for interconnections in microelectronic circuits. The Cr films are 1.5 μm thick and exhibit a strong <100> fiber texture. The decorative coatings were studied both on the nickel undercoat and in the Cr top layer. Results are presented for chromium where tensile stresses and a <110> fiber texture were observed. The Al films are 1.0 μm thick. Some samples were heattreated at different annealing temperatures. Tensile stresses were always observed, which increase in the annealed samples.
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Nyanchen, Zhen. "THE USE AND ARTISTIC FEATURES OF XUANZI POLYCHROME PAINTING IN THE MING AND QING DYNASTIES." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (September 10, 2020): 134–44. http://dx.doi.org/10.36340//2071-6818-2020-16-3-134-144.
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In the field of the pictorial decoration of Chinese architecture, the decor of the period of the Ming and Qing dynasties is considered the most outstanding since, at that time, the technique was perfect, and the methods of decoration were rich in their diversity, which was not possible in previous eras. The polychrome painting of official buildings during the Ming and Qing dynasties’ reign is quite different from the Song dynasty’s polychrome painting. The transition from the Song dynasty’s polychrome painting to the Ming and Qing dynasties’ polychrome painting was completed during the Yuan dynasty’s reign. Due to the decrease of dougong in size in the Ming dynasty, polychrome painting began to be placed on beams. Xuanzi polychrome painting, which originated from painting beams under the Yuan dynasty, became the primary type. By the Qing dynasty, Hexi polychrome painting and Suzhou polychrome painting, which evolved from the folk polychrome painting of the Jiangnan region of the Ming dynasty, appeared. The Xuanzi type was one of the three main polychrome painting types in the Qing dynasty. It was fully developed compared to the Hexi type as it was used more widely. The article explains the development of the artistic features of the various decorative parts of Xuanzi polychrome painting during the Ming and Qing dynasties, the characteristics of each gradation, and the method of distinguishing it, as well as its place of application.
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Mikheienko, K. "Arched gables (zakomara) temple of the ХІІ century. Regional traditions." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 33–43. http://dx.doi.org/10.33838/naoma.27.2018.33-43.
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Speaking about an originality of the early stages of development of Ancient Rus architecture in comparison with Byzantine architecture, the first thing mentioned is the usage of several domes. However, the decorative arched gables (zakomara), that became attribute of Ancient Rus arched gables temple, yet unknown in Byzantium, are almost not being mentioned. St. Sofia Cathedral in Novgorod represents the initial formation stage of such type of temple (A. Komech). The earliest decorative arched gable (zakomara) found has been preserved in this Novgorod cathedral. The process of formation of the arched gables temple happened in Kyiv in the second half of the ХІ century. St. Michael's Golden-Domed cathedral and Trinity gateway church of the Pechersk monastery in Kyiv are indicative of complete forms of arched gables temple. These two temples were constructed almost at the same time at the beginning of the ХІI century, but they represent the initial stages of different directions of the arched gables temple development. Both temples have one dome. But St. Michael's Cathedral has the form of a parallelepiped, statics of which is emphasized on the meander located at the level chorus (but for the east apses) and also horizontal ranks of windows and niches on all its facades. Trinity church has a vertical volume without any horizontal partitioning. Temples, similar in composition to Dormition cathedral of the Pechersk monastery and St. Michael's Golden-Domed cathedral in Kyiv, were built in Chernihiv at the first quarter of the ХІІ century. Chernihiv temples, unlike Kyiv temples, were built only from brick in the «оpus isodos» building technique, using Romanesque structural components and decorative elements (cross vaults, semi-columns on lesenes, lombard band, perspective portals). In Novgorod after completion of the St. Sophia cathedral the tradition of stone construction was renewed at the beginning of the ХІІ century. The remained Novgorod temples of this period have complete arched gables forms with vertical layout of the volumes and several domes. During the XІІ century, there are two kinds of the Novgorod variant of the zakomara temple in Pskov and Staraya Ladoga. Walls of the Novgorod, Pskov, and Staraya Ladoga temples were built in mixed building technique from brick and stone. In the Vladimiro-Suzdalsky principality from the middle of the XІІ century, the temples presented a connection of several composite variants of the arched gables type and other options of the Romanesque building technique (hewn quadrants of limestone) and the Romanesque decorative elements. The Chernihiv variant of arched gables temple became interregional, but kinds of Novgorod variant and Vladimiro-Suzdal variant were local. Temples, similar to the Chernihiv temples, were built in Kyiv, Kanev, Vladimir-Volynsk, Smolensk, Pereiaslav from the second quarter of the ХІІ century. This variant of arched gables temple prevailed until the end of the XІІ century when it was displaced by a new interregional tower-shaped temple type with the step raised arches. Arched gables temple represented the main way of development of Ancient Rus architecture of the XІІ century, but there were other traditions which are presented by single remained or partially remained monuments.
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Lackner, Juergen. "Growth Structures and Phase Formation in Industrially Room-Temperature Pulsed Laser Deposited FCC Ti-Based Nitride Coatings." Materials Science Forum 513 (May 2006): 85–104. http://dx.doi.org/10.4028/www.scientific.net/msf.513.85.
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The current work focuses on the materials science aspects of the growth phenomena of titanium-based coatings TiN, (Ti,Al)N and (Ti,Al)(C,N) with face-centered cubic lattice structure, deposited by the industrially-styled Pulsed Laser Deposition (PLD) technique at room temperature. hese coating materials are widely spread in mechanical, tribological and decorative applications due to their exceptional physical and chemical properties. Recently, the trend of using temperaturesensitive materials like polymers and tool steels of the highest hardness demands new lowtemperature coating techniques for protective surface finishing as well as for functionalization of the surfaces. These titanium-based compounds can fulfill a wide range of these demands, but up to now there is a lack of industrially designed vacuum coating techniques operating at temperatures lower than 50 °C necessary for these materials. The PLD process is known as one of the most promising candidates for such coating demands. But up to now PLD is only a well-established laboratory coating technology and has not become a standard industrial coating technique despite its outstanding process features. The missing of PLD coating systems, which fulfill the requirements for industrial applications like high-rate deposition and adequate sizes of deposition chambers, is considered as one of the main obstacles for a breakthrough of the PLD technique. To overcome this problem an industrially designed PLD coating system has been developed and built at the Laser Center Leoben of JOANNEUM Research Forschungsgesellschaft mbH.
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Osipov, D. O. "The Use of Natural Scientific Methods in the Study of Leather Items from Archaeological Excavations." Archaeology, Ethnology & Anthropology of Eurasia 49, no. 1 (April 16, 2021): 101–7. http://dx.doi.org/10.17746/1563-0110.2021.49.1.101-107.
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This article outlines the results of analyses of footwear and other late medieval and recent leather items. Orthopedic diagnostics are used to assess an early 18th-century woman’s shoe from the historic center of Kaluga. The insole, made of tightly fitted cords, suggests that the shoe had a corrective function. Infrared spectroscopy and liquid chromatography were used to analyze the leather of which the quiver found during the excavations in Moscow was made, and to evaluate the technique whereby its surface was processed. Natural scientific methods were used to study the various types of leather and threads, and to reconstruct the decorative techniques. Leather footwear from the medieval town of Galich, near Kostroma, is compared to that from other Central Russian towns, revealing local variations in footwear and the distribution areas of its types. It is concluded that natural scientific methods are helpful in the study of such finds.
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da Cruz Reis, Andre Wilson, Marlice Cruz Martelli, and Roberto de Freitas Neves. "Enamel Development and Application on the Pottery of Icoaraci." Materials Science Forum 727-728 (August 2012): 681–85. http://dx.doi.org/10.4028/www.scientific.net/msf.727-728.681.
Full textAbstract:
The development of technology for the application of enamels on pieces of red pottery, in the handicraft sector, is an alternative to improve the quality of the ceramic body forming a waterproof layer that serves as a protection when used for foods and also to add a decorative effect and increase commercial value. This work develops an enameling technique in the production conditions of the artisans in the village of Icoaraci-PA/Brazil. The characterization of raw materials was performed by X-ray fluorescence, X-ray diffraction, particle size analysis, Thermogravimetric and Differential Thermal Analysis. Steps for enamel preparation using commercial transparent frit and bottle glass, and the technique for applying the glaze and firing are presented. The results for the test pieces were very good with the application of transparent frit fired at 900 ° C for 3 hours.