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Journal articles on the topic 'Deep Engraving'
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Pallarés-Aldeiturriaga, David, Pierre Claudel, Julien Granier, Julien Travers, Lionel Guillermin, Marc-Olivier Flaissier, Patrick Beaure d’Augeres, and Xxx Sedao. "Femtosecond Laser Engraving of Deep Patterns in Steel and Sapphire." Micromachines 12, no. 7 (July 7, 2021): 804. http://dx.doi.org/10.3390/mi12070804.
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Femtosecond laser engraving offers appealing advantages compared to regular laser engraving such as higher precision and versatility. In particular, the inscription of deep patterns exhibits an increasing interest in industry. In this work, an optimization protocol based on constraining overlap ratio and scan number is demonstrated. The proposed method allows changing overlap ratio while maintaining depth in the same range, which reduces the sampling number. This study WAS applied to stainless steel 316 L and sapphire for engravings deeper than 100 μm. Results exhibit overall depths higher than threshold values and allowed to determine optimized engraving quality, for instance, roughness in steel can be reduced while maintaining depth and taper angle by reducing overlap ratio. The optimized laser parameters such as roughness and taper angle factors for sapphire were also found to be as follows: 200 kHz, 86% overlap and 12 J/cm2. As a demonstration, a logo engraving is illustrated at the end.
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Zhang, Jing, Zhenhao Li, Ruqian Hao, Xiangzhou Wang, Xiaohui Du, Boyun Yan, Guangming Ni, Juanxiu Liu, Lin Liu, and Yong Liu. "Classification of Microscopic Laser Engraving Surface Defect Images Based on Transfer Learning Method." Electronics 10, no. 16 (August 18, 2021): 1993. http://dx.doi.org/10.3390/electronics10161993.
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Microscopic laser engraving surface defect classification plays an important role in the industrial quality inspection field. The key challenges of accurate surface defect classification are the complete description of the defect and the correct distinction into categories in the feature space. Traditional classification methods focus on the terms of feature extraction and independent classification; therefore, feed handcrafted features may result in useful feature loss. In recent years, convolutional neural networks (CNNs) have achieved excellent results in image classification tasks with the development of deep learning. Deep convolutional networks integrate feature extraction and classification into self-learning, but require large datasets. The training datasets for microscopic laser engraving image classification are small; therefore, we used pre-trained CNN models and applied two fine-tuning strategies. Transfer learning proved to perform well even on small future datasets. The proposed method was evaluated on the datasets consisting of 1986 laser engraving images captured by a metallographic microscope and annotated by experienced staff. Because handcrafted features were not used, our method is more robust and achieves better results than traditional classification methods. Under five-fold-validation, the average accuracy of the best model based on DenseNet121 is 96.72%.
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Mondal, Soumen, and Ajoy Kumar Dutta. "Technical study of the effect of laser engraving using uArm swift pro robot." IAES International Journal of Robotics and Automation (IJRA) 10, no. 3 (September 1, 2021): 182. http://dx.doi.org/10.11591/ijra.v10i3.pp182-191.
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<p>Laser engraving is the most non - traditional and efficient working method in the machining of materials of different geometry as compared to conventional methods. The main objective of this study is to determine the impact of uArm swift pro robot operated laser engraving process on a wooden pitch board piece. However, the robot was connected with uArm Studio 1.1.22 software to perform laser engraving operation. For this purpose the effect of process parameters like spot diameter and depth of penetration were investigated with different working length of the robot end effector, measured from wooden pitch board base. Experimental observation method was used to investigate the formation of deep and light engraving pattern on the pitch board surface by measuring penetration depth and spot diameter in suitable condition. The result obtained from the experiment and statistical parameters showed a new dimension to find a suitable working length of the robot assisted laser nozzle where the laser penetration effect was clearly perceptible for the wooden material.</p>
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Zhang, Ye, Qiu Xie, and Canlin Zhang. "Key Algorithms for Segmentation of Copperplate Printing Image Based on Deep Learning." Mobile Information Systems 2021 (May 25, 2021): 1–10. http://dx.doi.org/10.1155/2021/9940801.
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As a branch of the field of machine learning, deep learning technology is abrupt in various computer vision tasks with its powerful functional learning functions. The deep learning method can extract the required features from the original data and dynamically adjust and update the parameters of the neural network through the backpropagation algorithm so as to achieve the purpose of automatically learning features. Compared with the method of extracting features manually, the recognition accuracy is improved, and it can be used for the segmentation of copperplate printing images. This article mainly introduces the research on the key algorithm of the copperplate printing image segmentation based on deep learning and intends to provide some ideas and directions for improving the copperplate printing image segmentation technology. This paper introduces the related principles, watershed algorithm, and guided filtering algorithm of copperplate printing image synthesis process and establishes an image segmentation model. As a result, a deep learning-based optimization algorithm mechanism for the segmentation of copper engraving printing images is proposed, and experimental steps such as main color extraction in the segmentation of copper engraving printing images, adaptive main color extraction based on fuzzy set 2, and main color extraction based on fuzzy set 2 are proposed. Experimental results show that the average processing time of each image segmentation model in this paper is 0.39 seconds, which is relatively short.
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Mohammed, Wlla M. "Improvement the efficiency of SnO2/n-Si detector by engraving method using a CNC machine." Iraqi Journal of Physics (IJP) 17, no. 41 (May 29, 2019): 51–57. http://dx.doi.org/10.30723/ijp.v17i41.458.
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Tin oxide was deposited by using vacuum thermal method on silicon wafer engraved by Computer Numerical Controlled (CNC) Machine. The inscription was engraved by diamond-made brine. Deep 0.05 mm in the form of concentric squares. Electrical results in the dark were shown high value of forward current and the high value of the detection factor from 6.42 before engraving to 10.41 after engraving. (I-V) characters in illumination with powers (50, 100, 150, 200, 250) mW/cm2 show Improved properties of the detector, Especially at power (150, 200, 250) mW/cm2. Response improved in rise time from 2.4 μs to 0.72 μs and time of inactivity improved 515.2 μs to 44.2 μs. Sensitivity angle increased at zone from 40o to 65o.
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Hubeatir, K. A., M. M. AL-Kafaji, and H. J. Omran. "Deep Engraving Process Of PMMA Using CO2 Laser Complemented By Taguchi Method." IOP Conference Series: Materials Science and Engineering 454 (December 12, 2018): 012068. http://dx.doi.org/10.1088/1757-899x/454/1/012068.
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Kasman, Ş., and İ. E. Saklakoğlu. "Experimental Investigation and Mathematical Modeling of Laser Deep Engraving Process for Microapplication." Arabian Journal for Science and Engineering 38, no. 6 (February 21, 2013): 1539–49. http://dx.doi.org/10.1007/s13369-013-0561-x.
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Zhang Xiaopeng, 张晓鹏, 张晓兵 Zhang Xiaobing, and 陈新松 Chen Xinsong. "The Research of High-Speed and Deep Laser Engraving on Pressure Container Surface." APPLIED LASER 32, no. 4 (2012): 294–98. http://dx.doi.org/10.3788/al20123204.294.
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Brown, Beverly Louise. "Troubled Waters: Marcantonio Raimondi and Dürers Nightmares on the Shore." Bulletin of the John Rylands Library 92, no. 2 (September 2016): 25–43. http://dx.doi.org/10.7227/bjrl.92.2.4.
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Marcantonio Raimondis Il Sogno and Albrecht Dürers Sea Monster share a number of compositional similarities as well as a fascination with the bizarre. The association of monstrous forms as an omen of grave misfortune, including pestilence and war, was particularly common at the beginning of the sixteenth century. In Marcantonios engraving the chimeric monsters, billowing inferno and shooting star can be perceived as a graphic warning that by 1509 Venices world was in deep peril.
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Rosenstock, Dirk, Eric Thore Segebade, and Gerhard Hirt. "First Experimental and Numerical Study on the Use of Sheet Metal Die Covers for Wear Protection in Closed-Die Forging." Key Engineering Materials 651-653 (July 2015): 266–71. http://dx.doi.org/10.4028/www.scientific.net/kem.651-653.266.
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To reduce the failure of dies by abrasive wear, mechanical fatigue and thermal fatigue in closed-die forging usually measures like nitriding, deposition of ceramic layers by Physical Vapour Deposition (PVD), Chemical Vapour Deposition (CVD) or deposition welding are used. However, after some time wear appears and the dies have to be replaced. A new concept implements sheet metal die covers, which are placed on the die engraving during forging and will absorb abrasive wear, thermal and mechanical load. The inexpensive cover will be replaced quickly by a new one after it is worn-out. This concept is regarded in a first numerical and experimental study by comparing a covered die (C) and an uncovered die (U) for the production of the same part. A one-time use of the die cover showed a reduction of the peak temperature by 140 K and of the temperature amplitude by 37 %. The temperature reduction and the increase of inner radii of the engraving to fit the 1mm thick die cover doubled the expected die life time. The experiment showed that the soft deep drawing steel DC04 is not suitable in the current case for a die cover and a higher strength sheet metal should be applied.
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Villalba-Diez, Javier, Daniel Schmidt, Roman Gevers, Joaquín Ordieres-Meré, Martin Buchwitz, and Wanja Wellbrock. "Deep Learning for Industrial Computer Vision Quality Control in the Printing Industry 4.0." Sensors 19, no. 18 (September 15, 2019): 3987. http://dx.doi.org/10.3390/s19183987.
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Rapid and accurate industrial inspection to ensure the highest quality standards at a competitive price is one of the biggest challenges in the manufacturing industry. This paper shows an application of how a Deep Learning soft sensor application can be combined with a high-resolution optical quality control camera to increase the accuracy and reduce the cost of an industrial visual inspection process in the Printing Industry 4.0. During the process of producing gravure cylinders, mistakes like holes in the printing cylinder are inevitable. In order to improve the defect detection performance and reduce quality inspection costs by process automation, this paper proposes a deep neural network (DNN) soft sensor that compares the scanned surface to the used engraving file and performs an automatic quality control process by learning features through exposure to training data. The DNN sensor developed achieved a fully automated classification accuracy rate of 98.4%. Further research aims to use these results to three ends. Firstly, to predict the amount of errors a cylinder has, to further support the human operation by showing the error probability to the operator, and finally to decide autonomously about product quality without human involvement.
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Deng, Pu Jun, Wei Fang, and Jian Dong Lu. "Study about Influencing of Printing Process on Gravure Printing Ink Transfer." Applied Mechanics and Materials 469 (November 2013): 301–4. http://dx.doi.org/10.4028/www.scientific.net/amm.469.301.
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Abstract. Gravure printing has the characteristics including thick ink layer, bright and homochromatic color, rich and sharp tone, and strong stereoscopic impression. In the packaging-printing field, gravure printing gets more and more attentions. But in the region of gravure printing process, the study on gravure printing ink transfer is not as deep as offset print. Most researches just stay in the level of qualitative analysis, but the quantitative analysis researches are still insufficient. The factors which impact gravure printing ink transfer are not only the volume of engraving ink cell, but also printing process. In this paper, gravure printing ink transfer is analyzed quantitatively from the point of views of gravure printing pressure, printing speed, scraping blade pressure and ink viscosity. The following research has been done in this paper. Firstly, electronic engraving machine is used to engrave eight different area ink cells by 45° ink cell angle and 70lpc screen line number on the same gravure roller. Secondly, gravure proofing machine is used to make proofs in different process conditions. Thirdly, density meter is used to determine density of cell ink, and balance is used to determine the weight of ink which moves from the plate onto the paper. Finally, to analyze the influence of different printing processes on gravure printing ink transfer. The research results show that gravure printing ink transfer is influenced certainly by different printing processes. Printing process has a certain influence on the gravure printing ink transfer, and the influence degree of different dot area rate of cell is different. The doctor blade pressure and ink viscosity influence greatly gravure printing ink transfer.
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Micali, Giuseppe, Anna Elisa Verzì, Giuseppe Broggi, Rosario Caltabiano, Maria Letizia Musumeci, and Francesco Lacarrubba. "Evaluation of capillary density in psoriasis: An intrapatient study and literature review." PLOS ONE 16, no. 3 (March 10, 2021): e0247835. http://dx.doi.org/10.1371/journal.pone.0247835.
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Background Dilated and tortuous vessels within elongated dermal papillae represent a histopathological clue of psoriasis. However, the number of dilated capillaries (capillary density) in psoriasis remains undefined as the results from the available studies differ significantly. Objectives To evaluate the capillary density in psoriasis using dermoscopy and horizontal histopathological sections (HHS), two techniques that share the horizontal view of the skin, and to compare the results with the existing data. Methods Twenty adult patients with stable plaque psoriasis were enrolled and, in each patient, a target area of the examined plaque, previously engraved by gently rotating a 5-mm biopsy punch device, underwent dermoscopy and biopsy for HHS. In all examined fields, capillary density was evaluated in a centered 4-mm diameter area, counting the number of red dots at dermoscopy and of dermal papillae at HHS. Results A total of 20 target lesions located on the trunk, arms and tights were evaluated. The mean capillary density resulting from dermoscopy was 43.02±6.60/mm 2 whereas that from HHS was 50.30±9.05/mm 2. These data showed a statistically significant difference (p = 0.006), with a strong correlation at Pearson’s test (r = 0.88). Conclusions Our results when compared with those from the existing literature showed some differences. The peculiarity of our work is represented by the precise measurement and correlation of the capillary density using two different methods, as the preliminary skin engraving allowed a perfect match between the area undergoing dermoscopy and that of skin sampling for HHS. Compared to dermoscopy in which deep-located vessels might have gone undetected, HHS seems to reflect more precisely and reliably the real capillary density showing an average of 50 capillaries/mm 2 that in a common 5x5 cm psoriatic patch corresponds to an average of 125.000 capillaries. These results highlight the extraordinary potential of psoriatic skin to develop such a complex and intricate vascular network.
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Valladas, H., A. Quiles, M. Delque-Kolic, E. Kaltnecker, C. Moreau, E. Pons-Branchu, L. Vanrell, M. Olive, and X. Delestre. "Radiocarbon Dating of the Decorated Cosquer Cave (France)." Radiocarbon 59, no. 2 (December 22, 2016): 621–33. http://dx.doi.org/10.1017/rdc.2016.87.
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AbstractThe Grotte Cosquer (southeastern France) is a Paleolithic painted cave only accessible by a deep-water dive. The cave has yielded numerous Paleolithic engravings and drawings, which were produced from wood charcoal. This article presents new radiocarbon dates obtained on samples collected in 2012 directly on 17 parietal representations and at the soil surface, and discusses the 14C results obtained since the discovery of the cave in 1992. A total of 41 samples were dated with ages ranging from 33,000 to 20,000 cal BP. They show that the cave was intermittently decorated over about 10,000 yr.
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Scothern, Paula M. T. "A Comparison of the Medieval White Castle Flute with the Chalcolithic Example of Veyreau." Proceedings of the Prehistoric Society 55, no. 1 (1989): 257–60. http://dx.doi.org/10.1017/s0079497x00005429.
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The clearance of White Castle, Gwent, in the late 1920s led to the discovery of an end-blown flute or flageolet in the moat (Megaw 1961). This was a metatarsal of red deer, pierced by five regularly spaced finger-holes, two rear thumb-holes, a sound and suspension-hole (pl. 35 a, b). Its association with medieval pottery suggested a 13th-century date which was supported by its scratch and dot engraving reminiscent of medieval examples from Bornholm and Wartburg (fig. 2). Megaw considered it to be one in a long tradition of block and duct flutes dating as far back as Avebury (1500 BC) and Malham Tarn (Iron Age).
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Salnikova, Irina V. "On Technology of Manufacturing Medieval Ritual Silverware (Based on Materials from the Museum of the History and Culture of the Peoples of Siberia and the Far East, IAE SB RAS)." Archaeology and Ethnography 18, no. 7 (2019): 87–97. http://dx.doi.org/10.25205/1818-7919-2019-18-7-87-97.
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Purpose. The collection of the Museum of history and culture of peoples of Siberia and Far East at the Institute of Archaeology and Ethnography SB RAS has a unique section of ritual objects produced by the Ob Ugrians during Middle Ages. The collection features unique objects made of silver, which allows us to make a conclusion that silver had a sacral meaning for the Khanty and Mansi, and the material itself was closely connected with a complex of cosmological and mythological conceptions. Results. We conducted XRF analysis for a series of silver objects of cult and identified three objects made with the use of a special laborious technology by means of cold hammering from three sheets of silver. Conclusion. The article gives a full description of the objects and describes the semantics of the images presented. We provide the results of element composition of the metal and identify a circle of analogues. The artifacts considered included a metal plate with a solar sign made with gilding, with an engraving around it on the surface of metalwork, a stylized profile of attenuated heads of elks facing each other (the drawing was created later); the second item being a metal plate with a central part in the form of a medallion depicting a horseman who strikes a man lying at the horse’s legs with a spear (it was made by means of engraving on a ready form); and the third item being a platter with the images of an eagle owl standing on the back of a deer and a duck flying up. The plots of the silver items evidently have a cult significance and correspond to some mythological constructs. The unique technology of their three-layer composition is accounted for by mythological conceptions and enhances a sacral significance of the items.
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Górzyński, Michał. "Na tropie szamanizmu w paleolicie – na przykładzie jaskiń Cougnac i Pech-Merle ." Folia Praehistorica Posnaniensia 23 (September 16, 2019): 81–103. http://dx.doi.org/10.14746/fpp.2018.23.05.
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The author of this thesis searches for traces of shamanism in paleolithic period through identification of signs and anthropomorphic resemblances that can have a connection with different stages of trance and shamanistic visions. For this article, Pech-Merle and Cougnac cave were chosen. Chronological range in this paper covers a period when Gravettian and Magdalenian cultures functioned. In order to carry out the above assumptions, the author used the results of structuralist research- search- ing for deep meaning and symbols, neuropsychological research – influence of altered states of con- sciousness on human and role of rites in simple societies, ethnographic research- different types of shamanic vocation and visions of shamanistic cosmology as well as interpretation of paintings and engravings based on the above mentioned scientific instruments. In the conclusion, the author shows that magical and religious practices similar to shamanism could function in paleolithic hunter-gatherer societies.
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Spasic, Milos, and Adam Crnobrnja. "Vinca bowls with protoma." Starinar, no. 64 (2014): 185–203. http://dx.doi.org/10.2298/sta1464185s.
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Bowls with protoma represent one of several tens of types of Vinca vessels made of baked clay which have been published as finds excavated at Vinca sites for more than a century. We are dealing here with bowls of a markedly conical profile, with angled and slightly rounded walls and with a flat or slightly annular bottom. In most cases these bowls are not decorated, with the exception of the rare finds decorated by fluting, engraving and polishing. Their most significant peculiarity is the presence of four or eight protoma on the rim, facing the inside of the vessel. Taking into consideration all stylistic-typological characteristics, it is possible to divide them into two coherent categories of finds. The first consists of bowls with four oppositely placed protoma. Within this group it is possible to single out two subtypes, bowls with all four as anthropomorphic (Pl. I/6, 7; Pl. III/34) or all four as zoomorphic representations (Pl. I/5, 8, 9; Pl. III/33, 36). Bowls with eight protoma have actually got four pairs of oppositely placed representations. It was possible to discern two subtypes based on the objects that were completely preserved. The first subtype includes a bowl from the so-called Vinca ritual set, with two pairs of zoomorphic and two pairs of anthropomorphic protoma, both oppositely placed (Pl. I/3). The second subtype includes a bowl from house 1/2010 from Stubline with four identical, paired, totally stylised and schematised representations, whose identification is impossible (Fig. 1; Pl. I/1). Taking into consideration the metric and technological data, the thesis that seems most possible is that the bowls with protoma served for the consumption of or the storing/displaying of the content during some quite specific activities. Bowls with protoma appear in almost all regions of the central Balkans populated by Vinca culture communities and we do not note them in the areas of the neighbouring Late Neolithic communities. These bowls appear in a very long and clearly defined time span and their usage lasts for exactly the same time as the Vinca culture itself, appearing at the same time and together disappearing. The first vessels with their protoma facing the inside, appear almost synchronously at the very beginning of the Vinca culture, that is the Late Neolithic of the Balkans, in the centre of its area (Vinca and Grivac), but also in its furthermost peripheral areas (R?szke-L?dv?r and Anza). Such a long period of almost 700 hundred years, in which one complex iconographic pattern survives without any significant changes (with the exception of the stylistic characteristics of the protoma themselves), primarily points to a long-standing and unchanged custom/belief/ritual that can evidently be associated solely with the communities within the Vinca culture. It is important to highlight the fact that bowls with protoma show ?canonic? consistency to the utmost degree, even more so than the concurrent sacrificial alters and prosopomorphic lids. Dare we assume, on the basis of all that has been said, that in front of us we have a clearly canonised material pattern through which a clearly defined way of thinking/beliefs of one distinct community can be sensed? Their abrupt disappearance, together with the disappearance of the Vinca culture, that is to say the Late Neolithic way of living, should not be surprising. The change that comes along with the abandonment of the last Vinca settlements is not only perceptible in the material culture, but also, and above all, in the social system and the organisation of the community. Fundamental changes in the social structure in the middle of the 5th millennium BC, evidently led to the downfall and disappearance of many deep-rooted values of the communities of that time, as well as the very system of beliefs and sagas. This resulted in the disappearance of the vessels with protoma?s utilisation, one of the most steadfast material manifestations of the Vinca culture.
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Jones, Adam. "Drink Deep, or Taste Not: Thoughts on the Use of Early European Records in the Study of African Material Culture." History in Africa 21 (1994): 349–70. http://dx.doi.org/10.2307/3171894.
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In African studies the potential for collaboration between students of history and those of material culture or art has long been recognized. On the one hand, items of material culture, both ancient and modern, can shed light on aspects of the past which remain obscure in written and oral sources; on the other, in order to see a material culture (or parts of it) in perspective, we need to study the historical background of the area concerned. The contribution of material culture to historical knowledge of sub-Saharan Africa has received considerable attention; but the same can hardly be said of the use of historical sources in understanding material culture.This does not mean that such sources have been neglected. Most of them certainly were in the colonial and immediate post-colonial periods, but things have improved. In many recent books, articles, and exhibitions devoted to Africa's material culture, considerable use has been made of the writings and engravings of early European visitors. Scholars are delighted if they can discover old records of anything resembling the objects that are today found either in museums or still in use in Africa. Indeed, it has become almost obligatory to search old books for textual and visual material. No historian can object to this interest in early sources. Yet looking at what has been published recently, one wonders whether we have nearly reached the end of the road. The same classic travelers' accounts are cited again and again (even the same passages!), and it is beginning to look as if this source of information will soon run dry. What, if anything, remains to be done?
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Stepanchuk, Vadim N. "Prolom II, a Middle Palaeolithic Cave Site in the Eastern Crimea with Non-Utilitarian Bone Artefacts." Proceedings of the Prehistoric Society 59 (1993): 17–37. http://dx.doi.org/10.1017/s0079497x0000373x.
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The cave site Prolom II situated in the eastern part of the Crimean peninsula has produced evidence of repeated inhabitation during the Middle Palaeolithic. The stone artefacts permit a sure cultural identification and comparison with analogous material belonging to the Ak-Kaya culture. In a broader sense the Ak-Kaya culture of the Crimea may be regarded as one of the variants of the East European Micoquian. Unfortunately we do not at present have the natural science data which would allow us to define exactly the chronological position of Prolom II. The comparative typological and technical data allow us to connect the Middle Palaeolithic layers of the cave with the pre-Brörup period of the Early Würm. This is partly supported by the faunal data. The discovery of a curved arc-like deposit consisting of bones of mammoth, horse, bison and other animals in the second layer of the site, as well as a considerable collection of bone artefacts, both add to the unique character of the site. Some of the bone artefacts cannot reasonably be explained as utilitarian and may constitute evidence of a spiritual culture of Neanderthal Man. In this connection it is possible to enumerate two fragments of diaphyses with parallel and fan-shaped engraved lines, one distal fragment of Saiga tatarica first phalange with fan-shaped engraved lines, and one horse canine with deep subparallel engravings.
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Apele, Diāna. "Contribution of spanish artist Pablo Picasso into development of graphics." Arts and Music in Cultural Discourse. Proceedings of the International Scientific and Practical Conference, September 28, 2013, 117. http://dx.doi.org/10.17770/amcd2013.1246.
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Pablo Picasso belongs to the creators of modern Western culture in the first half of the 20th century. He has the same recognition and popularity as the writer J. Joyce, architect Le Corbusier, composer I. Stravinsky, actor Ch. Chaplin without whom the culture of that period is not imaginable. Picasso has been successfully working in painting, applying various graphical techniques, making sculptures, performing in monumental painting, making theatre decorations, making and decorating ceramics, writing plays, poems, stories, and being an outstanding drawer (Conzen, 2005). Pablo Picasso has left significant traces in the history of art, to a large extent he has been one of the key figures in the processes determining what the modern of art of that specific period should be. Picasso has influenced many artists directly or indirectly – the followers of Western schools and local artists in Latvia. The key topic of this research is graphics, having deeper analysis of the creative works of Picasso the author has chosen to explore Picasso as a graphic artist who excelled in such graphic techniques as flat printing (lithography), deep printing (etching, engraving, aquatint, mezzotint, dry needle ), letterpress printing (wood carving, woodcut, linocut) and others. The artist has been noted by an extremely variable manner – it was typical for him start each new work as individual entirety experimenting with graphical forms, colors, textures, lines, volumes, playing with the contrasts of light and dark and emotional atmosphere. Picasso has applied the elements of his arsenal in diverse variations: compositional schemes and proportions. Creating pieces of art Picasso revealed the technical and visual lexis typical only for him. Picasso has left many works in the linocut technique. It cannot be asserted for sure that Pablo has invented this technique, but he has tried to master all possible ways provided by this technique devoting numerous hours to it. Colorful linoengravings created in the 1960s are considered to be small masterpieces in the history of the world art. Technical means applied in this graphical technique ensure a great generalization degree of a graphical image. Works done in linocut concentrate great, expressive power, express the intensity of searches for content and form. The live process of the linocut technique is vivacious, changing, with its own development and mutual symbiosis are felt. Picasso has left permanent footprints in the art history, has been one of the most significant artists in the processes determining what the modern art of that time should be. Picasso’s contribution into the development of art is irreplaceable and is not completely estimated. Picasso has influenced many people – his contemporaries, modern followers of Western schools, and also the artists here, in Latvia. Picasso’s contribution into the development of graphics is irreplaceable from the view of history of culture. The artist has left many works in the linocut technique, colourful lino-engravings created in the 1960s; in the history of world art there are considered to be masterpieces. The aim of the research: to describe the artistic contribution of Picasso into development of graphics and to analyze his contribution into the linocut technique. The methods of the research: exploration of theoretical literature and Internet resources. The theoretical background of the research: Ikšelis, A. B. (2010), Conzen, I. (2005), Kačalova, T., Pētersons, R. (2005), Židels, A. (2002), Žilo, F., Leiks, K. (1991), Эренбург, И. Г., Алпатов, М. В. (1967).
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Оськина, Ирина Николаевна. "The personality of the artist in the mirror of creativity." Искусство Евразии, no. 1(16) (March 30, 2020). http://dx.doi.org/10.25712/astu.2518-7767.2020.01.026.
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В статье сделан обзор выставки Михаил Верхоланцев. Ксилографии в Ирбитском государственном музее изобразительных искусств. В составе ретроспективной экспозиции 132 гравюры, созданные в период с 1970 по 2018 год. Это иллюстрации печатных изданий и станковая гравюра, включая миниатюры экслибрисного направления. В статье приведены сведения о биографии художника и ключевые моменты формирования его творческой манеры. Автор отмечает экспрессию движений, внутреннюю силу образов, глубокую культурную основу, музыкальность, декоративность и тщательную проработку фона как отличительные черты графики М.М. Верхоланцева. Сюжеты, мотивы и образы мастера несут богатую символику, основанную на обширных знаниях мифологии, литературы, истории, музыки. Авторскому стилю близка эстетика позднего Ренессанса и маньеризма. Особое место в экспозиции отведено книге художника Добродетели и пороки , где доминирует контраст, драматизм и внутренняя экспрессия. The article provides an overview of the exhibition Mikhail Verkholantsev. Woodcuts at the Irbit State Museum of Fine Arts. The retrospective exposition includes 132 engravings created between 1970 and 2018. These are illustrations of prints and easel engravings, including ex-libris. The article provides information about the artists biography and key points in the formation of his creative manner. The author notes the expression of movements, the inner strength of the images, the deep cultural foundation, musicality, decorativeness and careful elaboration of the background as the distinguishing features of graphics by M. Verkholantsev. The plots, motifs and images of the master have rich symbolism based on extensive knowledge of mythology, literature, history, music. The aesthetics of the late Renaissance and mannerism are close to the authors style. A special place in the exposition is reserved for the Artists book Virtues and Vices, where contrast, drama and inner expression dominate.