Relevant bibliographies by topics / Porcelain, European

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Porcelain, European'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 January 2023

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Journal articles on the topic "Porcelain, European"

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Marchand, Suzanne. "Porcelain: another window on the neoclassical visual world." Classical Receptions Journal 12, no. 2 (December 16, 2019): 200–230. http://dx.doi.org/10.1093/crj/clz026.

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Abstract This article surveys the European, and especially German, porcelain industry’s output of classicizing figurines between about 1740 and 1900 in order to comprehend what vision of the classics Europeans wished to bring into their homes. First made by Italians, classicizing figurines and cameos became a German (and English) specialty, and helped to knit together European luxury markets as well as to spread familiarity with classical iconography to northern and eastern climes. Made for aristocratic courtiers, the first pieces reflect a ‘libertine’ classicism; by about 1790, this style had largely been displaced by a more serious and exacting (but also cheaper!) ‘chaste’ classicism exemplified by Jasperware and white biscuit porcelains. After 1815, industry conditions and the disinterest of new consumers led to the freezing of classicizing porcelains in this latter, ‘chaste’ idiom. As a widely-owned household good by the mid-nineteenth century, porcelain provided an important, if narrow, form of classical education that has left its mark on the tourist industry, and on our perceptions of the classical world.
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Aker Ensari, Senem. "EUROPEAN TRADITION PORCELAIN DOLL." Idil Journal of Art and Language 5, no. 27 (November 30, 2016): 2015–26. http://dx.doi.org/10.7816/idil-05-27-11.

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Karyakina, Tatyana Dmitrievna. "Portrait in Western European porcelain of the XVIII century." Исторический журнал: научные исследования, no. 5 (May 2021): 9–20. http://dx.doi.org/10.7256/2454-0609.2021.5.36215.

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This article is dedicated to portrait images in Western European porcelain of the XVIII century. Research is conducted on the works created in various European countries, such as Germany (Meissen), France (Sevres), Austria (Vienna), and England (Wedgwood Pottery Manufactory). Prominent masters of porcelain –Kendler, Boizot, Grassi – are the authors of the portraits. Sculptural portrait images of August III – painter of the court of the French Queen Marie Antoinette and the Holy Roman Emperor Joseph II are notable for exquisite artistic merit. The article reviews porcelain sculpture, as well as oil painted portraits. Interpretation of the images manifests the features of three styles characteristic to art of the XVIII century: Baroque, Rococo and Classicism. Portrait images reflect the themes typical to the Age of Enlightenment. The article describes the peculiarities of the creations of artists who worked in various European porcelain manufactories. Research methodology is based on the detailed stylistic analysis of the works of Baroque, Rococo and Classicism; fundamental examination of the works in historical sequence for determining the evolutionary changes; comparative analysis for revealing national and authorial specificities. The novelty is defined by the fact that this article is first to comprehensively analyze the portrait images in porcelain of such countries as Germany, France, and Austria of the XVIII century, as well as in identification of the features characteristic to different artists.
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van der Pijl-Ketel, Christine. "BOEKBESPREKING: EUROPEAN DECORATION ON ORIENTAL PORCELAIN." Aziatische Kunst 36, no. 4 (July 5, 2006): 39–41. http://dx.doi.org/10.1163/25431749-90000092.

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Il Choi, Kee. "‘Partly Copies from European Prints’." Rijksmuseum Bulletin 66, no. 2 (June 15, 2018): 120–43. http://dx.doi.org/10.52476/trb.9751.

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This paper introduces the way Johannes Kip’s A Prospect of Westminster & A Prospect of the City of London (c. 1720) furnished the design for a handscroll of the River Thames enamelled on the rim of a renowned armorial porcelain service made around 1730-40. Having thus situated an important exemplar of northern European landscape art in China by 1750, it further suggests that Kip’s topographic print may well have played an influential, not to say seminal role in the conceptualization of monumental, panoramic handscrolls of the foreign factories from which ultimately the iconic landscape genre emerged. Descriptive of the site of both commerce and aesthetic exchange, these export paintings have exercised a lasting hold on the historical imagination. In as much as export porcelain signified the China trade for Westerners, export paintings came to represent Canton, if not the whole of China for a global audience.
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Karyakina, Tatyana Dmitrievna. "The Allegorical and Symbolic Meaning in West European Porcelain Craft of the 18th Century." Исторический журнал: научные исследования, no. 2 (February 2020): 30–37. http://dx.doi.org/10.7256/2454-0609.2020.2.32607.

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The article takes a look at the works of various porcelain manufactories: Italian Docchia, German Meissen and Nymphenburg, Viennese and French Sèvres. These works are subject to allegorical interpretation and symbolic meaning. This content feature is one of the characteristic features of Baroque and Rococo art. The author pays particular attention to the identification of allegorical attributes and specific elements of form and decor that carry symbolic meaning. Porcelain artifacts, the authors of which are prominent European masters (Soldani, Kändler, Eberlein, Bustelli, Niedermeier and Fournier), are examined in detail. These kinds of decorative and applied arts reflected the unique worldview of a person living in the 18th century - the period of Enlightenment. The following methods of art history laid the foundation for this study: the formal-stylistic and iconological analyses of porcelain artifacts, which enabled the author to identify the semantic content of examined images. The scientific novelty of this article lies in the fact that for the first time in Russian art studies, a comprehensive study of the works of 18th-century porcelain crafts from different countries was carried out in order to identify their symbolic meanings. A detailed study of these works gives the author reason to conclude that bestowing artifacts with symbolic content is characteristic of Baroque and Rococo art, and that these works reflected one of the features of the figurative art system of the 18th century.
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Zavyalova, Anna E. "Konstantin Somov’s Painting “Non-Existent Porcelain”: Its Conception and Sources." Observatory of Culture 17, no. 4 (September 8, 2020): 394–402. http://dx.doi.org/10.25281/2072-3156-2020-17-4-394-402.

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The article discusses the history and existence of Konstantin Somov’s painting “Non-Existent Porcelain”: The relevance of the topic is determined by the fact that the “Non-Existent Porcelain” for the first time becomes an object of study as a painting and a collectible. The scientific novelty of the article lies in the fact that it attempts to identify the artistic sources of this work (Titian, engravings from his painting “Venus with a Mirror”) and examines the attitude of K.A. Somov to this master artist. The author uses the method of complex analysis, combining a source analysis of K.A. Somov’s diaries and letters, and a traditional formal analysis of his painting “Non-Existent Porcelain” in comparison with the painting of Titian and engravings from it. The article traces the painting’s creation, identifies the sources from the creative heritage of the artist and European art. There are analyzed the artistic features of the painting, the period when it was in V.N. Gordin’s ownership and in the collection of E.A. Gunst. This study allows to expand the existing ideas about the artist’s visual sources of creativity.The article reveals that Titian’s painting “Venus with a Mirror” served as a source of the figure of a naked bather in the painting “Non-Existent Porcelain”. A hypothesis has also been put forward on the artist’s likely appeal to contre-épreuve reproductions of European masters of the 18th — 19th centuries from this painting, primarily the engravings of Johann Friedrich Leybold. The author concludes that K.A. Somov’s working over the painting “Non-Existent Porcelain” was in line with his working with a variety of sources from the heritage of European art, including his search for sources for depiction of nudity.
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Gal, Susan. "Qualia as Value and Knowledge: Histories of European Porcelain." Signs and Society 5, S1 (January 2017): S128—S153. http://dx.doi.org/10.1086/690108.

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Saláta, József. "A fogászati kerámiaanyagok fejlődésének történeti áttekintése." Kaleidoscope history 11, no. 22 (2021): 284–93. http://dx.doi.org/10.17107/kh.2021.22.284-293.

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Initially, ceramics - mostly burnt clay - were used to manufacture container pottery. The first porcelain objects reached Europe out of China in the Medieval Ages. The technique of their manufacturing was a mystery for many hundred years, yet Germans succeeded first to produce fine European porcelain at the beginning of the 18th century. Its elegance and hardness woke the dentists’ interest too thus Frenchmen created the first porcelain dentures in the second half of the 18th century. Since then, there has been an increasing demand for esthetic fixed implant dentures instead of removable ones. The development of ceramic materials resulted in better mechanical and optical properties, thus the first fixed porcelain inlays and jacket crowns were introduced already in 1889. The addition of leucite filler crystals to porcelain in the 20th century increased the thermal expansion of the ceramic. It could be fired on common dental casting alloys, so the first porcelain-fused-to-metal (PFM) crown was created in 1962. Several new techniques were developed from the middle of the 1980s to the end of the 1990s to deal with initial shrinkage and achieve better properties. Beyond casting, pressing, and CAD/CAM technology, additive manufacturing opened new perspectives in dentistry several years ago in processing dental ceramics.
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Maistruk, N., and L. Kravchenko. "TRAINING OF DECORATIVE AND APPLIED ARTS SPECIALISTS IN EDUCATIONAL INSTITUTIONS OF UKRAINE: HISTORICAL ASPECT." Ukrainian professional education, no. 8 (November 25, 2020): 121–27. http://dx.doi.org/10.33989/2519-8254.2020.8.239466.

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The paper examines the historical aspects of the development specialists in decorative and applied arts training in Ukraine on the example of porcelain production (late 18th century - today) and its current state abroad. In line with the issue of introduction of this direction of decorative and applied art in our country, examples of its flourishing in the cities of Koret (production of baroque Meissen porcelain), Baranivka, Hrodnytsia, Dovbysh (Iliinskyi Manufactory, Markhlov Factory, Dovbysh Porcelain Factory, Polonsky Porcelain Factory); Poltava, Boryslav, Sumy, Ternopil (opening of porcelain factories in 1965) are characterized. It has been found that along with the foundation and development of porcelain industries there were professional schools focused on training skilled craftsmen to work in the factory, in particular schools in Kyiv, Lviv, Kharkiv; Myrhorod Art and Industrial School in Poltava region, etc.). Training of specialists in pottery and porcelain, teachers of graphic arts and painting, masters of artistic decoration of products, etc., who were ready to perform significant amounts of physical work, namely making tiles, bulk utensils, decorating the facades of churches, houses, fireplaces, sculptures, ornaments, and exterior, is analyzed. Activities of famous artists such as S. Maslenikov, O. Slastion, V. Krychevsky are described; characteristics of outstanding works and participation in exhibitions are revealed. It is determined that the best traditions of training specialists are preserved in modern Ukraine. But porcelain production has declined and is virtually absent; products made in small businesses are souvenirs, they can not always be conveniently used as utensils. A conclusion has been made on the need to use European manufacturers who have maintained mass porcelain production and train a significant number of skilled workers.
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Dissertations / Theses on the topic "Porcelain, European"

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Kelleway, Philip Arthur. "Figures of the Enlightenment : European porcelain statuettes, 1745-1795." Thesis, University of East Anglia, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426767.

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This thesis demonstrates that European porcelain statuettes were shaped by the notions of the dominant philosophical 'movement' of the eighteenth-century, known as the Enlightenment, and played an important role in advancing some of its tenets. Through a thorough evaluation of the iconography used in the statuettes to convey their meaning, together with further related sources drawn from diverse areas of study, such as print culture and ethnology, the thesis offers an entirely new understanding of the cultural importance of the statuettes and examines how philosophical attitudes were formed, proliferated, and fixed for an eighteenth-century audience, within this particular branch of the visual arts. The range of statuettes examined, including politically-charged portraits, exotic peoples from around the world, and 'ordinary' people from Europe's countryside and cities, helps to explore many themes and ideas relating to the Enlightenment, and demonstrates in particular how the medium of porcelain was compellingly used for the study of human nature. Porcelain figures of the eighteenth century have tended to go unnoticed in the study of art history and to be examined primarily in isolation as collectable objects and classified, for instance, by factory and country of origin, as opposed to being cogently analysed as a significant part of the artistic and intellectual life of the period. As the thesis adopts a more comprehensive and interdisciplinary approach, the art objects discussed help audiences today to think about the concerns, thoughts, and values of people living in eighteenth-century Europe andMy greatest debt in writing and completing this doctoral thesis has been to Professor Ludmilla Jordanova. Over the past five years her constructive suggestions and perceptive criticisms on each of the numerous drafts have helped me in so many ways. In a very different manner Yvonne Adams, the respected dealer in eighteenthcentury Meissen, guided and encouraged me towards examining porcelain statuettes with increasing care to detail. I must also thank all the staff and students in the School of World Art Studies and Museology at the University of East Anglia, where this thesis was written, especially those who were an active part of the eighteenth-century visual culture reading group, for their companionship and inspiration. I feel particularly grateful to Professor Richard Wilson of the School of History at the University of East Anglia and to Julia Poole, the Keeper of Decorative Arts at the Fitzwilliam Museum in Cambridge, who both kindly examined this thesis on Friday 2nd December, 2005. The thesis is dedicated to my daughter Eve Florence Kelleway, who was born just two days after my viva how they visualised the world around them.
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CHOU, LI-CHIA, and 周豐家. "European Porcelain Marketing Strategy Analysis in Taiwan—Taking Copenhagen and Meissen Porcelain as Examples." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ypu25w.

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碩士
大葉大學
管理學院碩士在職專班
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Bone china is a perfect art paragon with porcelain as a treasure by people in Europe. Among them, Royal Copenhagen, Denmark, Germany Meissen most prominent, Artists join the manufacturing, design patterns, constantly improve every aspect of hand-drawn process. We focused on analysis between porcelain of Royal Copenhagen and of German Meissen series .These are manufacturing process, packaging and marketing in Taiwan. Besides, analyze article on the history and features of porcelain. Study their reflect on the production process, art, attractive packaging and product, price, channels, marketing model. Achieve market expansion and brand building. Overall, this study represent compatibility of the normative framework and interpretative descriptive study of interview research and comparative. We have some consultation from empirical interview results: Copenhagen Porcelain: First, its exquisite hand-painted technology, high international visibility and world-recognized. Second, deployed of limited edition and high commemorative property and development of new products, making it out of the loss of adversity, and diversified development. Third, through attractive packaging and Taiwan well-known restaurants, department stores, network alliance to develop the Taiwan market visibility. Germany Meissen porcelain: a European porcelain from Germany's Meissen, founded in 1710. It has continued its manual creation throughout the whole process of porcelain production purposes, hand-throwing, hand-painted, hand-painted, etc. in past three hundred glory years to highlight its unique brand value,. Second, they cooperation with Guoyu company Agent to making it a place in Taiwan by long-term cooperative relations, expertise and personnel and improve standards of service.
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Books on the topic "Porcelain, European"

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A, Godden Geoffrey. Godden's guide to European porcelain. New York: Cross River Press, 1994.

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Meister, Peter Wilhelm. European porcelain of the 18th century. Oxford: Phaidon, 1993.

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Millikin, Severance. European porcelain: The Millikin Collection. Cleveland: Cleveland Museum, 1993.

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A, Godden Geoffrey. Godden's Guide to European porcelain. London: Barrie & Jenkins, 1993.

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Piątkiewicz-Dereniowa, Maria. Artystyczna ceramika europejska w zbiorach polskich. Warszawa: Wydwanictwa Artystyczne i Filmowe, 1991.

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D, Bagdade Allen, ed. Warman's English & continental pottery & porcelain. 3rd ed. Iola, WI: Krause Publications, 1998.

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D, Bagdade Allen, ed. Warman's English & continental pottery & porcelain. 2nd ed. Radnor, Pa: Wallace-Homestead Book Co., 1991.

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Hyde, J. A. Lloyd. Chinese porcelain for the European market. Lisbon: Fundac̜ão Ricardo do Espírito Santo Silva, 1994.

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Danckert, Ludwig. Handbuch des europäischen Porzellans. München: Prestel, 1992.

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Brühl, Georg. Porzellanfiguren: Zierde des bürgerlichen Salons. München: Callwey, 1989.

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Book chapters on the topic "Porcelain, European"

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Stubbs, Jonathan. "“A Porcelain Feeling”." In Ageing Masculinities in Contemporary European and Anglophone Cinema, 29–42. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306146-4.

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Glaister, Helen. "Chinese Porcelain in European Style." In Chinese Art Objects, Collecting, and Interior Design in Twentieth-Century Britain, 1–32. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003230779-1.

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Edwards, Howell G. M. "Introduction: The Dawn of European Porcelain and the Rise of the Swansea and Nantgarw China Factories." In Nantgarw and Swansea Porcelains, 1–31. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77631-6_1.

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Perez-Garcia, Manuel. "Conclusions." In Palgrave Studies in Comparative Global History, 171–79. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7865-6_5.

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Abstract The Spanish and Qing empires were connected through the agency of merchants, the trade networks they created, and the circulation of goods which fostered local demand. Trade routes, mainly the maritime economic arteries such as the Manila galleons, connected and integrated Western markets and polities, in this case the Spanish empire with the Middle Kingdom. The constant inflow of American silver into China and the outflow of highly prized Chinese goods (i.e. silk, tea, porcelain) into European and American markets were the main features for such market integration between the Bourbon (French) Spanish empire and the Qing (Manchu, non-Han) dynasty. This surpassed the realm of official institutions of both empires along with their concomitant weak state capacity.
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Barclay, Katie, and François Soyer. "Series of Porcelains." In Emotions in Europe 1517–1914, 91–96. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003175513-14.

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Edwards, Howell G. M. "Chinese Porcelains and their Early European Competitors." In Cultural Heritage Science, 65–98. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80952-2_2.

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Ingle, Ray. "Squat Lobsters and Porcelain Crabs (Galatheoidea)." In Crayfishes, Lobsters and Crabs of Europe, 99–114. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-011-5872-5_9.

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Edwards, Howell G. M. "Establishing the Historical Baseline Chronology for European Porcelains." In Cultural Heritage Science, 99–163. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80952-2_3.

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Linaa, Jette. "Memorable, Modern, or Mundane? Investigating the Place of Porcelain and Majolica in the Homes and the Hearts in Early Modern Denmark." In Material Exchanges in Medieval and Early Modern Europe, 73–111. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.hdl-eb.5.123736.

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Marjot, Thomas. "Biliary disorders." In Best of Five MCQS for the European Specialty Examination in Gastroenterology and Hepatology, 72–100. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198834373.003.0004.

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This chapter covers core curriculum topics relating to disorders of the biliary tract including physiology and biochemistry of bile formation and the pathogenesis of gallstones; complications of gallstones disease including biliary colic, acute cholecystitis, biliary obstruction, and cholangitis, and options for operative and non-operative management. Material is also provided on conditions of the gallbladder including adenomyomatosis, gallbladder polyps, and porcelain gallbladder; primary sclerosing cholangitis and other causes of cholangitistumours of the bile duct, gall bladder, and ampulla; indications and complications of endoscopic and radiological treatment of biliary disease including endoscopic retrograde choalngiopancreatography, cholangioscopy, and Percutaneous transhepatic cholangiography. There is also discussion on the diagnosis and management of biliary complications after liver transplantation. Additional curriculum material regarding disorders of the biliary tract will also be covered in the mock examination chapter.
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Conference papers on the topic "Porcelain, European"

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Lyakhovich, Ekaterina V. "Chinese Porcelain Interpretation in Europe: History of Chinese and European Porcelain Cultures Relationships." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.10.

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Carneiro De Carvalho, Vânia. "Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001365.

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In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.
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Štubňa, Igor, Tomáš Húlan, Ján Ondruška, and Anton Trník. "An influence of the firing temperature on elastic constants of alumina porcelain." In CENTRAL EUROPEAN SYMPOSIUM ON THERMOPHYSICS 2021 (CEST 2021). AIP Publishing, 2021. http://dx.doi.org/10.1063/5.0069597.

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Lyakhovich, Ekaterina V. "Chinese Visual Language in European Chinoiserie Porcelain: Lost Meanings and New Ways of Artistic Expression." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.010.

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Rupp, Ulrich. "Transcellular calcium transport through the hepatopancreas of Porcellio scaber during moult." In European Microscopy Congress 2020. Royal Microscopical Society, 2021. http://dx.doi.org/10.22443/rms.emc2020.651.

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Klokočovnik, Jure, and Deja Muck. "3D printed lithophane." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p44.

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Abstract:
Lithophane is a transparent plate on which, with the help of the different thickness of this plate, an image is formed. Light that passes through the plate from the back side of the plate shows a clear gray image on the front side of this plate. The strength of the transparency is determined by the material of the plate and the light source coming from behind. Without backlighting, the subject on the lithophane cannot be seen. Lithophanes in the form of porcelain vases were discovered in China long before the technique made its way to Europe. In Europe the origins of lithophanes date back to the early 19th century in France. Europeans perfected the technique and also used it to reproduce famous portraits and paintings. Today, the production of lithophanes is experiencing a renaissance with the advent of 3D printing technologies. In the research paper, the process of making lithophane using 3D printing is presented. First, 3D printing technologies are presented, more specifically the technology of extrusion of materials or thermoplastics modelled by joining layers. Then, the materials used for 3D printing with the mentioned technology are presented. Next, the procedures for 3D acquisition and reproduction of reliefs are described, and at the end, the lithophane itself is presented. In the practical part, the whole process of making lithophane is presented. For the creation of the lithophane model, the 3D modelling program Blender was used, and the lithophanes in physical form were made with the Creality Ender 3 3D printer using PLA filament. Droplet and electrophotographic printers were also used to produce colour lithophanes. The influence of LED and halogen lamps on the final impression of lithophane reproduction was also compared. Lithophanes produced with different print settings and different colour reproductions were compared. The results showed that the best wall thickness is one millimetre, and the layer thickness is the smallest value allowed by the printer. The orientation of the lithophane during printing has a great influence on the final image of the design. The best orientation is upright. Color reproduction is best when using electrophotographic printing in combination with acrylic varnish. Lighting research showed that LED is better than halogen lamps. The finished lithophane was of satisfactory quality and could be used as a decoration for the home or to organize an art exhibition with a large number of coloured lithophanes reproducing various artworks and motifs.
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Ziegler, Andreas. "Mineral-phase specific differences in epithelial calcium transport pathways in the mandible incisor region of the terrestrial Crustacea Porcellio scaber." In European Microscopy Congress 2020. Royal Microscopical Society, 2021. http://dx.doi.org/10.22443/rms.emc2020.574.

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