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Conway, Jan. "Nineteenth Century Wood Engraving: its commercial decline." Art Libraries Journal 41, no. 4 (September 20, 2016): 224–34. http://dx.doi.org/10.1017/alj.2016.23.
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The use of wood engraving as a method of graphic reproduction for books, periodicals and newspapers continued for a surprisingly long time after the development of photographic methods. End-grain boxwood engraving was a truly Victorian phenomenon and an understanding of the strengths, weaknesses, versatility and limitations of this technique may perhaps best be reached through an exploration of its commercial decline. The period 1860–1900 saw a combination of competing technical, economic and aesthetic demands influencing the development of illustrative processes and eventually led to the end of commercial wood engraving. A form of engraving closer to Bewick's original interpretation of the craft re-emerged through the arts and crafts movement and the establishment of private presses during the inter-war period.
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Zhang, Lei, Qing Jian Liu, Tai Yong Wang, Hong Bin Li, and Wei Tian. "Structural Design and Improvement of Spindle in Five-Axis Wood Engraving Machine." Key Engineering Materials 693 (May 2016): 200–204. http://dx.doi.org/10.4028/www.scientific.net/kem.693.200.
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In the wood engraving industry, the double swing motor spindle or the double rotation motor spindle is often used as the spindle of five-axis wood engraving machine to achieve three-dimensional sculpture. However, the rough and motor spindle may interfere with each other during machining. Hence, many small regions of rough cannot be machined. To solve this problem, an anthropomorphic double-swing-head mechanism is designed. Instead of motor spindle, the designed mechanism is used as spindle of five-axis wood engraving machine. The level of automation and machining scope of the machine are improved. The workload of subsequent artificial modification is reduced. Then, the machining efficiency and quality of wood products are enhanced, and their production costs are reduced.
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Brett, Simon. "Wood Engraving How To Do It." Art Book 2, no. 1 (January 1994): 13b. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00335.x.
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Brett, Simon. "Wood Engraving How To Do It." Art Book 2, no. 1 (January 1995): 13b. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00335.x.
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Liu, Ying, Bin Li Gou, and Zhao Jun Xu. "Design the Economical Engraving Machine for Wood." Applied Mechanics and Materials 157-158 (February 2012): 768–71. http://dx.doi.org/10.4028/www.scientific.net/amm.157-158.768.
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Nowadays with the improvement of people’s lives in China, furniture industry has a sustainable development. Different kinds of engraving machines are required to design and manufacture. This paper is to give the example of the process for designing the economical engraving machine. Firstly, take the DK5040 as an example, the need was supplied and the main design parameters were given. Secondly, to complete the quick design, the architecture of the CAD/CAM system was established, which had B/S structure. The five function modules were introduced. So designers and producers could do different work in different places to make the best of resources. Thirdly, using the system, the overall design and key parts design could be finished, and the initial model could be submitted quickly. Furthermore, rapid prototyping (RP) was used to verify complicated design. In a word, to design the economical engraving machine for wood, use similar template to draw the new 3D model, and use RP technology to check the assembly and detailed design, this would reduced the design cost, ensure the drawing quality, and shorten the design cycle.
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Gowda, Nithin. "Fabrication of Portable Pantograph for Wood Engraving." International Journal for Research in Applied Science and Engineering Technology 8, no. 11 (November 30, 2020): 253–58. http://dx.doi.org/10.22214/ijraset.2020.32119.
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Lungu, Antonela, Mihai Ispas, Luminiţa-Maria Brenci, Sergiu Răcăşan, and Camelia Coşereanu. "Comparative Study on Wood CNC Routing Methods for Transposing a Traditional Motif from Romanian Textile Heritage into Furniture Decoration." Applied Sciences 11, no. 15 (July 22, 2021): 6713. http://dx.doi.org/10.3390/app11156713.
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This paper presents experimental research on the Computer Numerical Control (CNC) routing of a traditional motif collected from Ţara Bârsei (Transylvania region) using two methods, namely, engraving (Engrave) and carving (V-Carve). The analysis of the CNC router processes includes the calculation of the path lengths, an assessment of the processing time and wood mass loss, and an evaluation of the tool wearing by investigating the tool cutting edge on a Stereo Microscope NIKON SMZ 18 before and after processing the ornament on wood. An aesthetic evaluation of the ornament routed on wood, using both the engraving and carving methods, is also conducted, whilst a microscopic analysis of the processed areas highlights the defects that occurred on the wood surface depending on the tool path.
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Bakumenko, Vitalii M. "Creative Destiny of the Artist A. Kravchenko." Bibliotekovedenie [Library and Information Science (Russia)], no. 2 (April 18, 2011): 77–80. http://dx.doi.org/10.25281/0869-608x-2011-0-2-77-80.
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The paper is about the outstanding Russian artist A. Kravchenko, who left an enormous artistic legacy. He went down in history of book graphics and bookplates of the 20th century as a creator of unique style of wood engraving, which characterized by a remarkably picturesque and poetic interpretation of the world literature images. The artist was also a great teacher, who trained a galaxy of his followers in the art of wood engraving, which made a significant contribution to the book art and bookplates of our time. Some of his students have risen to international fame.
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Moore, P. G. "Eric Fitch Daglish (1892–1966): naturalist, illustrator, author and editor." Archives of Natural History 38, no. 2 (October 2011): 229–41. http://dx.doi.org/10.3366/anh.2011.0031.
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Eric Fitch Daglish (1892–1966) was a naturalist by inclination, a free-lance author and editor in business and, by practice, a wood-engraver of high repute. Taught wood-engraving skills by Paul Nash, he was a close friend also of other famous engravers (John Nash, Eric Gill) within the Society of Wood Engravers. He applied these skills to illustrating his own books for popular audiences on topics ranging from flowers to birds, beasts and the English countryside. Fluent in German, he translated books from that language to supplement his income in the years succeeding the First World War. He is perhaps best known for his bird books: Woodcuts of British birds, The life story of birds and Birds of the British Isles, but was also a prolific writer about dogs. His oeuvre is examined, and his contribution compared with other contemporary bird artists who embraced wood-engraving techniques. A bibliography of his natural history works as author and as editor is included.
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Kúdela, Jozef, Ivan Kubovský, and Michal Andrejko. "Surface Properties of Beech Wood after CO2 Laser Engraving." Coatings 10, no. 1 (January 16, 2020): 77. http://dx.doi.org/10.3390/coatings10010077.
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The paper deals with the properties of a beech wood surface treated by CO2 laser engraving. The studied concerns were the discoloration, changes to morphology assessed through roughness and waviness parameters, and surface wetting with standard liquids (water and diiodomethane), with the aim of determining the wood surface free energy. The results have confirmed that the studied properties of the beech wood surface varied significantly, which were affected by the laser beam power P and raster density n. With increasing P and n, the lightness L* (expressed in CIE L*a*b* color space) decreased significantly. We also observed significant variation in the color coordinates a* and b*. At 8% laser power, the roughness and waviness parameters measured parallel as well as perpendicular to the grain increased proportionally with the increasing raster density. However, 4% laser power was not associated with distinct changes. Increasing the raster density reduced beech wood surface wetting equally with water and with diiodomethane. This was reflected in the higher contact angle values. The wood surface exhibited higher hydrophobicity at 4% laser power. At this power, the increasing raster density was reflected in the decreasing surface free energy, due to its polar component decrease. At 8% laser power, the changes in surface free energy were very minor from the practical viewpoint. The results suggest a potential good adhesion between film-forming materials and wood. However, the gluing performance may be negatively affected by the high roughness attained at 8% laser power and at higher raster densities.
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Bluemel, Kristin. "Rural Modernity and the Wood Engraving Revival in Interwar England." Modernist Cultures 9, no. 2 (October 2014): 233–59. http://dx.doi.org/10.3366/mod.2014.0085.
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‘Rural Modernity and the Wood Engraving Revival in Interwar England’ brings analysis of a specific kind of visual-verbal text, wood-engraved books about the English countryside, and the means of these texts' production, to bear upon debates over rural modernity -what is it, where is it, who owns it-in order to more thoroughly engage literary and arts scholars in debates over the meaning of modernity for rural England and rural England for modernity. Framed by analysis of the work of social historians and cultural critics of rural England and ‘Englishness’, it takes as its supporting case studies two mass-marketed books: A. G. Street's Farmer's Glory (1932), with wood engravings by Gwen Raverat, and Francis Brett Young's Portrait of a Village (1937), with wood engravings by Joan Hassall. I argue that these and other books with wood engravings have a special story to tell about the relation of this interwar ‘flood’ of printed matter to rural England, serving as uniquely productive meeting places for interwar writers, illustrators, publishers, and readers to participate in the paradoxical crisis of England's rural depression and modernisation.
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Bangse, K., A. Wibolo, and I. K. E. H. Wiryanta. "Design and fabrication of a CNC router machine for wood engraving." Journal of Physics: Conference Series 1450 (February 2020): 012094. http://dx.doi.org/10.1088/1742-6596/1450/1/012094.
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Leone, C., V. Lopresto, and I. De Iorio. "Wood engraving by Q-switched diode-pumped frequency-doubled Nd:YAG green laser." Optics and Lasers in Engineering 47, no. 1 (January 2009): 161–68. http://dx.doi.org/10.1016/j.optlaseng.2008.06.019.
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Alekseev, V. A., A. V. Usoltseva, and V. P. Usoltsev. "Investigation of Surface Quality of Industrial Products Made of Wood at Laser Engraving." Intellekt. Sist. Proizv. 14, no. 4 (January 30, 2017): 48. http://dx.doi.org/10.22213/2410-9304-2016-4-48-53.
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Bluemel, Kristin. "“A Happy Heritage”: Children’s Poetry Books and the Twentieth-Century Wood Engraving Revival." Lion and the Unicorn 37, no. 3 (2013): 207–37. http://dx.doi.org/10.1353/uni.2013.0029.
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Hoolihan, Christopher. "Wood Engraving and the Illustration of American Surgical Texts during the Nineteenth Century." Canadian Bulletin of Medical History 15, no. 2 (October 1998): 351–78. http://dx.doi.org/10.3138/cbmh.15.2.351.
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Reinprecht, Ladislav, and Zuzana Vidholdová. "The Impact of a CO2 Laser on the Adhesion and Mold Resistance of a Synthetic Polymer Layer on a Wood Surface." Forests 12, no. 2 (February 20, 2021): 242. http://dx.doi.org/10.3390/f12020242.
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In the wood industry, laser technologies are commonly applied for the sawing, engraving, or perforation of solid wood and wood composites, but less knowledge exists about their effect on the joining and painting of wood materials with synthetic polymer adhesives and coatings. In this work, a CO2 laser with irradiation doses from 2.1 to 18.8 J·cm−2 was used for the modification of European beech (Fagus sylvatica L.) and Norway spruce (Picea abies /L./ Karst) wood surfaces—either in the native state or after covering them with a layer of polyvinyl acetate (PVAc) or polyurethane (PUR) polymer. The adhesion strength of the phase interface “synthetic polymer—wood”, evaluated by the standard EN ISO 4624, decreased significantly and proportionately in all the laser modification modes, with higher irradiation doses leading to a more apparent degradation and carbonization of the wood adherent or the synthetic polymer layer. The mold resistance of the polymers, evaluated by the standard EN 15457, increased significantly for the less mold-resistant PVAc polymer after its irradiation on the wood adherent. However, the more mold-resistant PUR polymer was able to better resist the microscopic fungi Aspergillus niger Tiegh. and Penicillium purpurogenum Stoll. when irradiation doses of higher intensity acted firstly on the wood adherent.
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Kareem, Assit Lect Dr Nardeen Radha. "Engraving, Brocade And Decoration In The Poetry Of Lisan Aldeen Ben Al-Khatedeb." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 222, no. 1 (November 5, 2018): 201–25. http://dx.doi.org/10.36473/ujhss.v222i1.373.
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This research tackles the engraving, brocade and decoration in the poetry of LisanAldeen ben Al-Khatedeb. Engravingis in the marble or wood. While on the other handbrocade is on leather or clothes in general and others. Most of the poems of LisanAldeen ben Al-Khatedeb in that poetic topic. They were LisanAldeen ben Al-Khatedeb engraved in the walls of palaces and domes and the bowls of water. Some of which arebrocaded in the swords holders or the tables and clothes
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BEEGAN, G. "The Mechanization of the Image: Facsimile, Photography, and Fragmentation in Nineteenth-Century Wood Engraving." Journal of Design History 8, no. 4 (January 1, 1995): 257–74. http://dx.doi.org/10.1093/jdh/8.4.257.
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Rusdiyantoro, Rusdiyantoro. "DESIGN OF WOODWOOD MACHINERY USING ROUTER." Tibuana 1, no. 1 (August 1, 2018): 6–14. http://dx.doi.org/10.36456/tibuana.1.1.1584.6-14.
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The art of carving or engraving ornament is the image with certain parts, usually concave, convex or flat, patterned and has a motive. Sculpture can be formed pictures on wood, acrylic, or other materials. In making this product a design researcher perform analysis or potential problems that occur with experiments in doing a good carving designs are done by hand or automatically The definition is a prototype assessment products through on eor more dimensions of concern. In the process of making utensils or equipment requires some work benchesare wont to do in the workshop in general. After the finished product made testing will be conducted experiments in order to know the performance of the products. Testing is carried out using a sample design engraving. The concept of design and manufacture of the products is a bigpart of engineering Activities. This activity starts with he obtained perceptions about human needs, which are then followed by the concept, then designing, developing and refining the product, ending with the manufacture of the product
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Li, Yishuai. "Soviet engravings and the Chinese writer Lu Xun." Культура и искусство, no. 3 (March 2020): 38–50. http://dx.doi.org/10.7256/2454-0625.2020.3.32397.
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This article analyzes the relations between the Chinese writer Lu Xun and Soviet engravings. Lu Xun is attributed to one of the most prominent Chinese literary figures of the past century. His significant contribution to the development of culture also consists in the fact that in the 1930’s he collected, edited and published a substantial amount of Soviet engravings. This is why his is known in China as the “Founder of the collection of wood engravings”. The article represents an cross-disciplinary research in the field of art history, culturology and literature, particular in the area of history of Soviet art and Chinese literature. The research elucidates the key milestones of life path of Lu Xun, associated with the increase of cultural level of Chinese young students through familiarization of majority of the population with Soviet engraving. However, his relations with the Soviet art, and namely Soviet engraving, are insufficiently covered. The article talks about the forgotten achievements in the area of Soviet arts in China.
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Bakumenko, Vitalii M. "The Name from the Encyclopedia “Book” (Memory of A. Kravtsov)." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (May 24, 2010): 78–80. http://dx.doi.org/10.25281/0869-608x-2010-0-3-78-80.
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The article is devoted to outstanding artist Gershon A. Kravtsov, a pupil and associate of V. Favorsky, the creator of graphic art school of new time. G. Kravtsov entered the history of book graphics and exlibris of the last century as a celebrated pioneer, a creator of special style in the art of wood engraving. The author pinpoints the main stages of the creative way of the great master and his rich public activities, describes the significant contribution of the artist to gold fund of exlibris art of the 20th century.
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Pandey, Anjali. "WOOD CRAFT OF BIHAR AND UTTAR PRADESH –A SURVEY." International Journal of Research -GRANTHAALAYAH 4, no. 2 (February 29, 2016): 239–42. http://dx.doi.org/10.29121/granthaalayah.v4.i2.2016.2834.
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The tradition of wood carving is old. Wood craft is quite popular in Bihar and Uttar Pradesh. Craftsmen of these states are using their skill for making the designs in traditional and innovative way. A unique engraving creativity of ‘Nakkashi work’ appears with floral and figures etched out by the craftsmen. Lacquer work is obviously one of the major handicrafts of these regions. Various motifs of birds, peacock, fish, carved on the wood, appeals the viewers. The items made out of bamboo and wood are crafted in the shapes of birds, human figures and animals. Figures of Gods and Goddesses, animals and many mythological figures are crafted by the local craftsmen. The dolls, peacocks, parrots, elephants, horses, goats, bulls and cows are the repertoire of rural children. Uttar Pradesh is world known for its carved and brass inlayed or tarkashi wooden handicrafts. The craftsmen of Saharanpur are excelled in the art of inlayed wood work it is now widely used to decorate the centre-table, ash-trays, fruit-basket, service tray and other furniture articles etc. Varanasi and Amroha are particularly well known for lacquered woodcraft of UP. Numbers of lacquered toys, miniature kitchen utensils for children are made in this state.
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Salam, Abdul, Muhammad Iswar, Muhammad Rifaldi, Sumantri Malik, and Kurniawan Putra. "Rancang Bangun Mesin CNC Router Mini Untuk Pembelajaran Mahasiswa Jurusan Teknik Mesin." Jurnal Teknik Mesin Sinergi 17, no. 2 (May 4, 2020): 150. http://dx.doi.org/10.31963/sinergi.v17i2.2077.
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The aims of this research are accelerate finishing time and improve the accuracy of manufacture of the engraved contour products on work pieces such as soft metals, acrylics, and wood. Methods of these researches were designed, manufacture, and experimented based on work of the machine. Components of the mini CNC router machine are designed by autodesk inventor software, its dimensions 60 x 60 cm. Furthermore, the calculation and selection of materials, manufacture of machine components, calibrated by mach3mill software and testing the performance of the engine in the three-axis movement mode; manual mode, MDI, and automatic third axis X, Y, and Z using the NC program. The results obtained show the accuracy and precision of the three X, Y and Z axis trajectories according to the permissible tolerance values, 0.01 mm, 0.01 mm and 0.05 mm respectively. The suitability of the program made and the machining results on the contour of the workpiece engraving do not show significant deviations, 0.1 mm for the X and Y axis, and 0.3 mm for the Z axis. Making engraving products on workpieces by using a CNC Router machine is faster and more efficient than manual manufacturing. Research output of this CNC router machine will be used in the practicum jobs for the NC basic programming practice course
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Stevens, Bethan. "Wood engraving as ghostwriting: the Dalziel Brothers, losing one's name, and other hazards of the trade." Textual Practice 33, no. 4 (August 31, 2017): 645–77. http://dx.doi.org/10.1080/0950236x.2017.1365756.
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Jenkins, Paul, and Thomas Theye. "Further Consideration of Two Photographs Ascribed to Christian Hornberger." History in Africa 22 (January 1995): 271–79. http://dx.doi.org/10.2307/3171917.
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Two reactions to the essay on the earliest generation of missionary photographers in West Africa published earlier in HA set up trains of thought which deserve to be minuted here as a further contribution to our praxis with images of Africa in the nineteenth century. It was pointed out by two readers of the original article that a pair of the images which, it had been asserted (104), derive from the last phase of Hornberger's photographic work, were published very early on in a non-mission context: that of three women spinning and that of one man weaving (figures 1 and 2 below).Both images exist as photographs, as stereographic vintage prints. Both were also published as wood engravings in mission periodicals (figures 3 and 4). Two readers of the original essay have pointed out that these images were conflated into a single engraving on page 211 of Richard Oberländer's Westafrika vom Senegal bis Benguela (Leipzig, 1874). In this image (figure 5), however, only two members of the group of spinning women are depicted, placed separately in the foreground, one on each side of the weaver. It is an ironic reflection on the quality of the documentation we have to fear in this field that Oberländer's caption—“Spinnende und webende Aschanti. (Nach einer Photographie)”—asserts specifically that the engraving was taken “from a photograph,” using the singular form.
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Maidment, Brian. "The Gallery of Comicalities: Graphic Humour, Wood-Engraving, and the Development of the Comic Magazine, 1820–1841." Victorian Periodicals Review 50, no. 1 (2017): 214–27. http://dx.doi.org/10.1353/vpr.2017.0010.
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Dobraszczyk, Paul. "Sewers, Wood Engraving and the Sublime: Picturing London's Main Drainage System in the Illustrated London News, 1859-62." Victorian Periodicals Review 38, no. 4 (2005): 349–78. http://dx.doi.org/10.1353/vpr.2006.0005.
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Miralay, Fatma. "Türk Halk Kültüründe El Sanatlarının Önemi: Kıbrıs Örneği / The Importance of Handicrafts in Turkish Folk Culture: The Case of Cyprus." Journal of History Culture and Art Research 7, no. 5 (December 31, 2018): 495. http://dx.doi.org/10.7596/taksad.v7i5.1607.
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<p><strong>Abstract</strong></p><p>Handicrafts are one of the essential elements of Cypriot Turkish folk culture. The cultural diversity of Cyprus Island due to the fact that it was home to various cultures in different times reflected to the handicrafts as well. Handicrafts in Cyprus have mostly taken place for usage and commercial purposes in historical process; however, in modern times they are used as decorative objects. Handicrafts carry local features in the maintaining of traditions of Cypriot Turkish people and the sustainability of the values of Turkish culture. Rich in usage, make and material, Cypriot Turkish handicrafts can be generally examined under the titles of embroidery and wood engraving. Examples of embroidery or cotton weaving include Lefkara work, Lapta work, Koza work and needle lace. Dowry chest and geotextile are the most well-known examples of Cypriot Turkish wood engraving. All of the foregoing are important cultural elements of Cypriot Turkish identity. This paper examines the characteristic features of handicrafts belonging to Cypriot Turkish folk culture in technical and material terms; it also aims at revealing its place and importance in Cypriot Turkish social and cultural life.</p><p><strong>Öz</strong></p><p>El sanatları Kıbrıs Türk halk kültürünün önemli unsurların bir tanesidir. Kıbrıs Adasının farklı dönemlerde çeşitli kültürlere ev sahipliği yapmış olmasından kaynaklanan kültür çeşitliliği el sanatlarına da yansımıştır. Kıbrıs’ta el sanatları, tarihsel süreçte büyük ölçüde kullanım ve ticari amaçlı yer alırken, modern zamanlarda dekoratif obje olarak kullanılmıştır. Kıbrıs Türk halkının geleneklerinin sürdürülmesi ve Türk kültürü değerlerinin yaşatılmasında, el sanatları yöresel özellikler taşımaktadır. Kullanım, yapım ve malzeme açısından zengin olan Kıbrıs Türk el sanatları, genel olarak Nakış ve Ahşap Oymacılık başlıkları altında incelenebilir. Lefkara İşi, Lapta işi, Koza işi ve İğne Danteli nakış veya pamuklu dokuma türlerine örnek gösterilebilir. Çeyiz sandığı ve sesta işçilikleri (bitkisel örücülük) Kıbrıs Türk ahşap oymacılığının en iyi bilinen örnekleridirler. Tüm bunlar Kıbrıs Türk kimliğinin önemli kültürel unsurlarıdırlar. Bu araştırma, Kıbrıs Türk halk kültürüne ait el sanatlarının teknik ve malzeme açısından karateristik özelliklerinin incelenmesini ayrıca, Kıbrıs Türk sosyal ve kültürel yaşamındaki yeri ve önemini ortaya çıkarmayı hedeflemektedir.</p>
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Durna, Antonin, Jiri Fries, Leopold Hrabovsky, Ales Sliva, and Jozef Zarnovsky. "Research and Development of Laser Engraving and Material Cutting Machine from 3D Printer." Management Systems in Production Engineering 28, no. 1 (March 1, 2020): 47–52. http://dx.doi.org/10.2478/mspe-2020-0008.
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AbstractThis article deals with the adjustment of a 3D printer for laser engraving and material cutting. The print head can be fitted with a solid laser diode module, which achieves a compact size while retaining its useful power. Two paths lead to the use of such a concept. It is possible to equip the existing print head with a module, which also brings a number of disadvantages such as, for example, the reduction of the printing space or the need for a suitable mounting design. A more elegant solution is to consider this in the design of a 3D printer and design a system to exchange the print heads for 3D printing and laser engraving. Such a solution allows full utilization of the workspace and simple installation of the effector for the required type of work. According to the installed power of the laser diode, it is possible not only to engrave but also cut material such as thin wood, veneer or acrylic glass. The use of such a machine is not only for graphic elements but for the creation of various stencils, boxes or simple models, which can be made up of plastic-burning pieces. The laser module is controlled by a driver, which is designed for the device. This is connected to a 3D printer control board. It is, therefore, necessary for the control board to have at least two pins, which can be controlled after adjusting the control firmware. Most laser modules are normally equipped with an adjustable lens, which is used to concentrate the focus of a laser for the given distance against the worktop. Thus, the modified 3D printer can perform its function as a multi-purpose CNC machine, while a basic platform similar for both devices is used.
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Bohm, Andrew. "An inexpensive system for imaging the contents of multi-well plates." Acta Crystallographica Section F Structural Biology Communications 74, no. 12 (November 29, 2018): 797–802. http://dx.doi.org/10.1107/s2053230x18016515.
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An inexpensive system for automated imaging of the contents of 12-, 24- and 96-well plates has been built. The xyz stage is constructed from parts from a light-duty computer numerical control wood-carving/engraving machine, and the Arduino-based board was wired so that it can trigger still images or movies though a microscope-mounted digital camera. The translation stage provides reproducible three-dimensional movement of the sample over a volume of 160 mm in x, 100 mm in y and 40 mm in z. A Python script generates the G-code command file that scans the plate and collects a series of z-stacked images of each sample. A second Python script automates the calculation of images with a digitally enhanced depth of field. The imaging system is currently being used to facilitate screening for protein crystals, but it could be used to automate the imaging of many other types of samples in multi-well plates.
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Kennedy, Andrea. "The beauty of Victorian beasts: illustration in the Reverend J. G. Wood's Homes without hands (W. T. Stearn Prize 2012)." Archives of Natural History 40, no. 2 (October 2013): 193–212. http://dx.doi.org/10.3366/anh.2013.0168.
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The Reverend John George Wood (1827–1889) was a successful popularizer of natural history in the Victorian era. His Illustrated natural history (1853) and Common objects series (1857–1858) have been written about extensively. However, historians have largely ignored his most successful book, Homes without hands, in spite of its exquisite designs and profound connections with natural domesticity. In addition, little research has been conducted on the illustrations that appear across Wood's publications, despite their great popularity during his lifetime. This article examines the creation, popularization and methods of communication of this beautiful natural history book. A work explicitly about animal dwellings, Homes without hands was exceedingly popular during its time, as will be shown through an analysis of previously unpublished impression and sales records from the Longman's publishing archive at Reading University. Furthermore, this article will reveal Wood's use of advanced methods in printing and engraving technologies, which made Homes without hands more accessible to the public, particularly through the use of electrotype. In addition, Wood adapted his illustrations for the sake of uniting pleasing aesthetics with scientific representations. Wood's proactive involvement in the illustrative processes of the book ensured that his vision was fully enacted in the final designs. There were elements of danger and domesticity present throughout Wood's work, which functioned as a method for enticing readership and communicating social and religious messages. This will be revealed through a close analysis of a few specific illustrations. Wood dynamically united illustration and text to create a useful domestic piece of natural history, for and about the home. This article seeks to combine methods of examination of both natural history illustration and literature through the investigation of a single book, to better communicate how works of Victorian natural history functioned as a whole.
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Nofrial, Nofrial, Purwo Prihatin, Wahyono Wahyono, and Marten Agung Laksono. "BILIK PADI TRADISIONAL KERINCI (Arsitektur dan Seni Ukir)." CORAK 8, no. 2 (August 3, 2019): 161–78. http://dx.doi.org/10.24821/corak.v8i2.2989.
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Kerinci traditional bilik padi are no longer functioning, their existence is almost extinct. Through observation, literature studies and interviews, it is known that bilik padi use pedestal, a peg system in stringing poles. The entire building is made of wood, the building enlarges upwards. Octagonal pillars, sirap roofs, small doors made under the roof of the roof. The carving motif comes from the shape of plants, forms of vines. Engraving is applied to poles, walls, lower and upper beams, and end of rafter.Keywords: Bilik Padi, Architecture and Carving Art Bilik padi tradisional Kerinci sudah tidak difungsikan lagi, keberadaannya hampir punah. Melalui observasi, studi pustaka dan wawancara diketahui bilik padi menggunakan batu umpak, sistem pasak dalam merangkai tiang dengan balok. Seluruh bangunan terbuat dari kayu, bangunan membesar ke atas. Tiang segi delapan, atap sirap, pintu dibuat kecil dibawah bubungan atap. Motif ukiran berasal dari bentuk tumbuh-tumbuhan, bentuk sulur-suluran. Ukiran diterapkan pada tiang, dinding, balok bawah dan atas, serta ujung kasau. Kata Kunci: Bilik Padi, Arsitektur dan Seni Ukir
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Hewes, Lauren B. "Brandt, William H. Interpretive Wood-Engraving: The Story of the Society of American Wood-Engraven. New Castle, DE: Oak Knoll Press, 2009. 165 pp. Illus. Cloth, $85.00 (isbn 978-1-58456-272-2)." Papers of the Bibliographical Society of America 104, no. 4 (December 2010): 539–40. http://dx.doi.org/10.1086/680976.
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Kurniawan, Bambang Kartono. "YOUTH, CARVING AND DIGITAL MEDIA." Corak 8, no. 1 (May 29, 2019): 43–48. http://dx.doi.org/10.24821/corak.v8i1.2689.
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Wood carver from Jepara have been known as craftsmen who have ability to make creation art carve smooth wood and beautiful results from every his engraving. Generally his expertise owned on a non-formal inherited on a down hereditary from one senior generation to generation. All along it is change social, economic, and culture the community increasingly a little found young engraver in Jepara, who pursue and continue expertise art carve. Many factors that cause reduced interest young generation to continue expertise art tradition carve, But, in some year engraver village Sukodono districts Jepara, started to use of technology digital media marketing for introduce art tradition carve. Through technology digital media, art tradition carve could easy introduced for circles generation millennial. This study aim for knowing how some engraver in the village Sukodono Jepara make use of digital media for art tradition carve, so it could sustainable, and permanent in demand for circles young generation. Method research used were: studies literature, study case, and observation on the perpetrator directly from community art carve village Sukodono in the district Jepara. This research will do two stage. First stage: from research is do mapping the young engraver, with case studies on engraver wood in the village Sukodono. Second stage is observation, interview and documentation art tradition carve wood engraver village Sukodono, This research expected produce recommendation study art carve wood in effort preservation art tradition and bring impact positive for the community. Keywords: digital media, tradition, wood carving Pengukir kayu dari Jepara sudah sejak lama dikenal sebagai perajin yang memiliki kemampuan membuat karya seni ukir kayu yang halus dan indah dari setiap hasil pekerjaannya ukirannya. Pada umumnya keahliannya dimiliki secara non formal yang diwariskan secara turun temurun dari satu generasi senior ke hingga generasi lebih muda. Saat ini, seiiring adanya perubahan sosial, ekonomi, dan budaya masyarakat semakin sedikit dijumpai pengukir muda di Jepara yang menekuni dan meneruskan keahlian seni tradisi ukir. Banyak faktor yang menyebabkan berkurangnya minat generasi muda melanjutkan keahlian seni tradisi ukir, Namun demikian, dalam beberapa tahun dijumpai pengukir desa sukodono kabupaten Jepara yang memulai memanfaatkan teknologi pemasaran digital media untuk memperkenalkan seni tradisi ukir. Melalui pemanfaatan teknologi digital media seni tradisi ukir dapat mudah diperkenalkan bagi kalangan generasi milenial. Penelitian seni tradisi ukir ini bertujuan untuk mengetahui bagaimana beberapa pengukir di desa Sukodono Jepara memanfaatkan media digital agar seni tradisi ukir masih dapat lestari, berkelanjutan dan tetap diminati bagi kalangan generasi muda. Metode penelitian yang digunakan antara lain yaitu: studi literatur, studi kasus, dan observasi pada pelaku langsung dari komunitas seni ukir desa Sukodono di kabupaten Jepara. Penelitian ini akan dilakukan dua tahap. Tahap pertama dari penelitian adalah melakukan pemetaan para pengukir usia muda dengan melakukan studi kasus pada pengukir kayu di desa sukodono. Tahap kedua adalah melakukan observasi, wawancara dan pendokumentasian seni tradisi ukir kayu pengukir desa Sukodono. Diharapkan penelitian ini menghasilkan rekomendasi kajian seni ukir kayu dalam upaya pelestarian seni tradisi dan membawa dampak positif bagi masyarakat sekitar. Kata kunci : digital media, tradisi, ukiran kayu
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Ring, Richard J. "William H. Brandt. Interpretive Wood-Engraving: The Story of the Society of American Wood-Engravers. New Castle, Del.: Oak Knoll Press, 2009. 204p. alk. paper, $85 hardback (ISBN 9781584562672). LC2009-031744." College & Research Libraries 71, no. 3 (May 1, 2010): 290–91. http://dx.doi.org/10.5860/0710290.
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Langngan, Reski Rante, Thamrin Mappalahere, and Yabu M. Yabu M. "PROCESS OF CIGARETTE DESIGNING INDUSTRY IN TONGA SUBSCRIPTION OF KESU 'REGENCY OF NORTH TORAJA." TANRA: Jurnal Desain Komunikasi Visual Fakultas Seni dan Desain Universitas Negeri Makassar 6, no. 2 (December 1, 2019): 1. http://dx.doi.org/10.26858/tanra.v6i2.11305.
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The problems of this research are; 1) The process of making wall decorations in the village of Tonga Kesu District 'North Toraja District? 2) Inhibiting and supporting factors in making wall decoration in Tonga Village Kesu District '. The type of this research is survey research that aims descriptive qualitative to describe the process of making carving wall hangings and supporting factors and inhibitors experienced by crafters. In this research, there are 2 groups of artisans in Tonga Village in the North and the South. The result shows that the technique of making wall decoration is done manually from the material processing process until the final step of manufacture by using the tools that have been provided. The first stage in making these wall decorations are: Measurement and cutting of wood, second stage of surface and wooden cuttings, third stage of surface painting and periphery, stage four painting with black paint, the sixth stage of pattern making, the seventh stage of engraving and stage next coloring carving and the last is finishing. 3) Supporting factors in the process of making wall decoration of wooden decoration are easy to obtain, the availability of labor, the availability of tools and additional materials and the existence of self-taught craftsmen. Inhibiting factors are lack of capital, high cost of raw materials, equipment that tends to be a very simple, production marketing process that is only traditional.
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Titareva, Diana Stanislavovna. "The influence of Ukiyo-e on the artistic language of easel graphics of A. P. Ostroumova-Lebedeva in the 1900s-1920s (on the example of St. Petersburg collection of woodblock prints)." Культура и искусство, no. 3 (March 2021): 47–57. http://dx.doi.org/10.7256/2454-0625.2021.3.32778.
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The article reviews and analyzes the key easel graphic works by A. P. Ostroumova-Lebedeva from St. Petersburg collection of woodblock prints, created over the period from 1900s to 1920s. These works resemble the genre of Japanese art Ukiyo-e. The subject of this research is the uniqueness of the artistic language and the means of its expression in the works of A. P. Ostroumova-Lebedeva. Alongside other Russian artists of the turn of the XIX – XX centuries she was affected by Ukiyo-e, but perceived the Japanese wood engraving on a more profound level. The author examines the works of accomplished in this period, as well draws parallels with the woodblock prints of Japanese masters, using the formal-stylistic method. This approach is relevant as it reveals the role Japanese woodblock prints played in the establishment of artistic language of A. P. Ostroumova-Lebedeva. Within the Russian art history, this research is one of the few attempts of conducting comparative analysis between the woodblock prints of A. P. Ostroumova-Lebedeva and the works of Japanese masters, which defines the scientific novelty. The conclusion is made that the influence of Ukiyo-e can be traced in the compositional solution and in use of particular Japanese motifs in her works. The artist also contributed to the establishment of woodblock prints as an independent genre of graphic art, having enriched it with the images and color introduced by the Japanese masters.
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Gretton, Tom. "‘Un Moyen Puissant de Vulgarisation Artistique’. Reproducing Salon Pictures in Parisian Illustrated Weekly Magazinesc.1860–c.1895: From Wood Engraving to the Half Tone Screen (and Back)." Oxford Art Journal 39, no. 2 (August 2016): 285–310. http://dx.doi.org/10.1093/oxartj/kcw009.
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Viatra, Aji Windu, and Retika Wista Anggraini. "Kerajinan Ukiran Kayu Di Palembang." Mudra Jurnal Seni Budaya 33, no. 1 (March 6, 2018): 48. http://dx.doi.org/10.31091/mudra.v33i1.131.
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Seni ukiran Palembang telah dikenal luas, seni kerajinan ukir kayu yang lazim disebut Ukiran Palembang. Adapun sentra industri seni kerajinan ukiran kayu Palembang berada di Kampung 19 Ilir, Kecamatan Bukit Kecil, sebelah Barat Masjid Agung Palembang. Kampung 19 Ilir, memproduksi berbagai bentuk perabotan, alat-alat rumah tangga, dan hiasan rumah dengan ukiran kayu khas Palembang. Kegiatan mengukir di Palembang sebelumnya memiliki hubungan erat dengan rumah tradisional adat Palembang, yakni rumah Bari atau rumah Limas. Rumah tradisional yang saat ini masih digunakan oleh masyarakat Sumatera Selatan, khususnya di Palembang dengan segala perlengkapan rumah tangganya. Pertumbuhan ukiran kayu Palembang mengalami pasang surut dengan kondisi sosial dan ekonomi di wilayah tersebut. Seni kerajinan ukiran kayu ini hanya diproduksi oleh keluarga-keluarga tertentu saja, masih banyak masyarakat Palembang dan para perajin beralih mengandalkan penghasilan ekonomi dengan mencari profesi lain. Perubahan yang terjadi pada proses pengolahan bahan kayu yang semakin sulit digunakan, kreasi motif ukiran, dan teknik pengukiran telah bercampur dengan daerah lain seperti Jepara, dan negara luar India, Eropa dan China. Akulturasi ragam hias ini telah menghasilkan suatu bentuk, gaya dan cita rasa baru menambah khasanah ukiran kayu Palembang. Kajian utama penelitian ini dititik beratkan pada kontinuitas, perubahan dan analisis ragam hias pada motif ukiran kayu. Kajian ini menggunakan pendekatan multidisplin, yakni pendekatan sosiologi, dan estetika. Metode penelitian yang digunakan adalah metode kualitatif, dengan analisis deskriptif analitik. Penelitian ini bertujuan menganalisis dan mengidentifikasi perkembangan seni kerajinan ukiran kayu Palembang terhadap kehidupan masyarakat, terutama bagi pelaku budaya tersebut, mengkaji terjadinya perubahan dan perkembangan bentuk, motif ragam hias seni kerajinan ukiran kayu Palembang dan menggali pengetahuan secara mendalam mengenai kebudayaan Palembang.Woodcarving arts from Palembang are widely known and commonly referred ro Ukiran Palembang. The center of woodcarving art industry of Palembang is in Kampung 19 Ilir, District of Bukit Kecil, West of Palembang Grand Mosque. Kampung 19 Ilir, produces various forms of furniture, and home decoration with wooden carving typical of the Palembang style. Woodcarving arts from Palembang previously fostered a very close ralationship with the traditional homes of Palembang, known as the Bari or Limas houses. Bari or Limas houses are Traditional houses that are still used by the people of South Sumatra, especially in Palembang equipped with household accessories made in Palembang. The growth of Palembang woodcarving has experienced fluctuation relative to regional economic conditions Art craft woodcarving is continued only by certain families, as the economic situation of the region causes many craftsmen to search for employment in other industries and professions. Changes in wood processing procedures have caused materials to become increasingly difficult to use. Also, carving motive creations, and engraving techniques have been hybridized with other regions such as Jepara, and countries outside India, Europe and China. The acculturation of this decorative variety has resulted in new forms, styles and flavors adding to the treasures of Palembang woodcarvings.
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Muchlis, Andre, Wrastawa Ridwan, and Iskandar Zulkarnain Nasibu. "Rancang Bangun Mesin CNC (Computer Numerical Control) Laser dengan Metode Design for Assembly." Jambura Journal of Electrical and Electronics Engineering 3, no. 1 (January 9, 2021): 23–27. http://dx.doi.org/10.37905/jjeee.v3i1.9228.
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CNC Laser (Computer Numerical Control) adalah alat yang memiliki fungsi untuk mengukir/mencetak berbagai tulisan dan kaliqrafi secara otomatis berdasarkan media yang digunakan seperti Acrilic, Fiber, Almunium, dan kayu. Perancangan CNC laser menggunakan metode Design For Assembly Boothroyd (DFA), G-Code, dan Closed Loop System (Loop Tertutup). Kelebihan metode DFA yaitu mengestimasikan pengurangan waktu perakitan. Metode G-Code lebih ke menyatukan gerakan yang akan di lakukan mesin, seperti bergeser ke titik A, titik B. Kemudian pada metode Closed Loop System (Loop Tertutup) bekerja mengirim sinyal umpan balik ke pengendali untuk mengecilkan kesalahan sistem. Hasil pengujian dari komponen pada masing-masing alat secara keseluruhan berupa input dan output menjadi kesatuan alat mesin CNC laser cutting dan engraver. Software GRBL dihubungkan pada CNC shild. GRBL mengirim G-Code ke arduino dan menerjemahkan isi dari G-Code satu persatu untuk menghasilkan pergerakan motor stepper dan cahaya laser. Telah didapatkan sistem pengontrolan mesin laser engravir yang bisa menggerakkan mesin kearah dua sumbu X dan Y, yang tersusun dari beberapa komponen yaitu komputer, kontroler arduino nano, motor stepper, laser module, power supplay dan emergency stop. Pengujian laser engraver dilakukan dengan medium plywood dan berbagai pola gambar. Hasil pengujian menunjukkan alat dapat bekerja sesuai dengan pola gambar yang ada.CNC Laser (Computer Numerical Control) tools that have a function to automatically engrave / print various writings and kaliqrafi based on the media used such as Acrilic, Fiber, Aluminum, and wood. CNC laser design uses the Design For Assembly Boothroyd (DFA), G-Code, and Closed Loop System (Closed Loop) method. The advantage of the DFA method is that it estimates the reduced assembly time. The G-Code method is more about unifying the movements that the machine will do, such as moving from point A to point B. Then the Closed Loop System method works to send a feedback signal to the controller to minimize system errors. The test results of the components on each tool as a whole are in the form of input and output into a unity of the CNC laser cutting and engraver machine tool. GRBL software is linked to the CNC shild. The GRBL sends the G-Code to the Arduino and translates the contents of the G-Code one by one to produce stepper motor movement and laser light. A schematic of a laser engraving machine control system that is able to move the machine towards two axes X and Y, which is composed of several components, namely a computer, Arduino nano controller, stepper motor, laser module, power supply and emergency stop. Laser engraver testing was carried out using plywood and various image patterns. The test results show that the tool can work in accordance with existing image patterns.
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., Yogi Pramana, Dr Drs I. Ketut Sudita, M. Si ., and I. Nyoman Rediasa, S. Sn ,. M. Si . "PATUNG BERBAHAN DASAR SERBUK GERGAJI KARYA SISWA SMAN 1 ASEMBAGUS, KABUPATEN SITUBONDO." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 2 (July 28, 2017): 65. http://dx.doi.org/10.23887/jjpsp.v7i2.11450.
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PATUNG BERBAHAN DASAR SERBUK GERGAJI KARYA SISWA SMAN 1 ASEMBAGUS, KABUPATEN SITUBONDO
oleh
Yogi Pramana, NIM 1312031004
Jurusan Pendidikan Seni Rupa
ABSTRAK
Penelitian ini berjudul patung berbahan dasar serbuk gergaji karya siswa SMAN 1 Asembagus, Kabupaten Situbondo, bertujuan untuk mendeskripsikan (1) bahan dan alat yang digunakan dalam proses pembuatan patung berbahan dasar serbuk gergaji karya siswa SMAN 1 Asembagus, Kabupaten Situbondo, (2) proses pembuatan patung berbahan dasar serbuk gergaji karya siswa SMAN 1 Asembagus, Kabupaten Situbondo, (3) kendala yang dihadapi dalam proses pembuatan patung berbahan dasar serbuk gergaji karya siswa SMAN 1 Asembagus, Kabupaten Situbondo, (4) jenis patung apa saja yang dihasilkan oleh siswa SMAN 1 Asembagus, Kabupaten Situbondo. Penelitian ini adalah penelitian deskriptif kualitatif. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah observasi, wawancara, dokumentasi dan kepustakaan. Teknik analisis data dalam penelitian ini adalah analisis domain dan taksonomi.
Hasil penelitian ini menujukkan (1) bahan dan alat yang digunakan dalam proses pembuatan patung berbahan dasar serbuk gergaji karya siswa SMAN 1 Asembagus, Kabupaten Situbondo, yaitu serbuk gergaji, air, lem kayu, kawat, kertas semen dan cat poster, Cutter, mangkok, ampelas, kuas tang, (2) proses pembuatan patung berbahan dasar serbuk gergaji karya siswa SMAN 1 Asembagus, Kabupaten Situbondo mengalami beberapa tahapan dimulai dari pemilahan serbuk gergaji, penyaringan serbuk gergaji, pembuatan kerangka, pembuatan adonan, penempelan adonan, penjemuran pertama, pembentukan patung, penjemuran kedua dan finishing, (3) kendala yang dihadapi dalam proses pembuatan patung berbahan dasar serbuk gergaji karya siswa SMAN 1 Asembagus, Kabupaten Situbondo yaitu dari segi cuaca, jam pelajaran yang terlalu singkat dan serbuk gergaji yang kasar.(4) jenis patung apa saja yang dihasilkan oleh siswa SMAN 1 Asembagus, Kabupaten Situbondo terdiri dari dua jenis yaitu patung berjenis Zounde Bosse yang merupakan bentuk patung yang berdiri sendiri dan terlepas dari sisi kanan dan kirinya. Jenis patung yang kedua berupa relief, yaitu bentuk patung yang menempel pada permukaan dinding. Relief tersebut tergolong pada relief berjenis Bas-relief , yaitu jenis relief dengan ukiran yang sedikit menonjol dari dasar permukaan dinding.
Kata Kunci : Kata kunci: patung, serbuk gergaji, THE STATUE MADE OF SAWDURT BY STUDENTS OF SMAN 1 ASEMBAGUS, SITUBONDO REGENCY
by
Yogi Pramana, NIM 1312031004
Fine Art Education Departement
ABSTRACT
The title of the research is the statue made of sawdart by student of SMAN 1 Asembagus, Situbondo Regency, the aims to ( 1 ) describe about the materials and tools to use in process to make the statue made of sawdurt by students of SMAN 1 Asembagus, Situbondo Regency, ( 2 ) the process to make the statue made of sawdurt by students of SMAN 1 Asembagus, Situbondo Regency, ( 3 ) the obstacles encountered in the process to make the statue made of sawdurt by students of SMAN 1 Asembagus, Situbondo Regency, ( 4 ) what kind of statue is produced by students of SMAN 1 Asembagus, Situbondo Regency. This research is qualitative descriptive research. The tecniques of data collection used in the research are observation, interview, documentation, and literature. The techniques of data analysis in this research is domain analysis and taxonomy.
The results of the research show ( 1 ) the materials and tools use in the process of make the statue made of sawdurt by students of SMAN 1 Asembagus, Situbondo Regency are sawdurt, water, wood glue, wire, cemen paper, poster paint, cutter, bowl, sandpaper, brush and pilers, ( 2 ) process to make the statue made of sawdurt by students of SMAN 1 Asembagus, Situbondo Regency experience several stage starting from the selection of sawdurt, the filtering of sawdurt, creation of the frameworn, making dough, pasting of dough, the first drying, the establishment of statue, the second drying and finishing, ( 3 ) the obstacles encountered in the process to make the statue made of sawdurt by students of SMAN 1 Asembagus are terms of weather, time of the lerson is too short, and sawdurt is rough, ( 4 ) what kind of statue is produced by students of SMAN 1 Asembagus, Situbondo Regency it consists of two types, suchas Zounde Bosse statue which is a form the right and left. The second type of statue in the form of relief, the shape of the statue attached to the surface of the wall. Relief is pertained to the relief typeBas-Relief such as. Type of relief with a slightly rotruding engraving from the base of the wall surface.
keyword : The keywords : statue, sawdurt
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German, Anna. "3D art cartography in Belarus: The historical development and achievements in the modern period." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-94-2019.
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<p><strong>Abstract.</strong> Three-dimensional images of the area were begun to create in the middle ages. The discoveries of new territories had led to the necessity of their mapping. On the perspective-panoramic maps of that time cities and fortresses were often depicted as they could be seen by an approaching traveler, usually from the most impressive side, from "bird's eye view". Cartographic images were performed manually, by the method of engraving on wood or on copper.</p><p> One of the first panoramic maps of Belarusian cities was a cartographic image of the city of Grodno, presented in The Large Atlas of Cities called "Civitates Orbis Terrarum" ("Cities of the world"). The Atlas was published by the cartographer Georg Braun and engraver of maps Franz Hogenberg in Cologne in 1572–1617. The main method of presentation of the cities in it was a picture.</p><p> A significant contribution to the development of cartography in Belarus was made by cartographer, artist, engraver and printer, the creator of the map of The Grand Duchy of Lithuania (1613) Tomasz Makowski. For many years Makowski were traveling all over the country and thoroughly studying its features as a topographer, historian, artist and geographer. He examined and sketched the most outstanding objects, as evidenced by his panoramic images of some cities. In particular, he created panoramic engravings of Nesvizh, Grodno, Brest and other cities of modern Belarus.</p><p> Nowadays, the traditions of medieval art cartography in Belarus have received a new development in the works of artist-cartographer Ruben Atoyan. Initially, cartographic images were made manually with ink and watercolors. Panoramic maps of the main cities of Belarus, including Minsk, Grodno, Gomel, Mogilev, Mir, Nesvizh, Novogrudok, etc. were created in a such way.</p><p> With the usage of computer technologies at the present stage, the technique of creating of artistic cartographic images has significantly changed. The majority of types of work which was performed previously by creating on paper, now is possible to implement using a personal computer, graphics tablet and vector and raster graphics programs. During this process – and it's very important – the handwritten style of images is kept and the ability of operative update of the content is provided. However, there are some types of artistic and cartographic work which easier and faster to accomplish manually than on the computer, for example, drawing of different types of trees, grasses, waters of rivers and lakes. In this case it's possible to speak about the combined handwriting-automated technology of artistic map image creation which includes elements made manually and the separated stages and elements which advisable to perform on the computer.</p><p> The construction of the perspective image of an urban landscape according to the method developed by the author conditionally consists of several stages.</p><p> The first step includes the selection of the projection direction and determination of the territory coverage by remote sensing images of the Earth and the city plan. The previously developed template of perspective (central) projection is used to build a perspective grid on the sheet of the drawing paper. Then the road network and configuration of the structures are drawn.</p><p> The second stage is the construction of buildings’ frames of complex configuration (for example, architectural monuments) and drawing them in ink.</p><p> The third stage includes the color design (with watercolor) of significant parkland, forests, and water areas. It was determined empirically that this type of work is more appropriate to perform manually.</p><p> The handwritten component of this technique is completed by scanning of the image in high resolution. Further, the creation of a panoramic map is carried out with the usage of vector and raster graphics programs.</p><p> The fourth stage involves the detailing of the facades, i.e. filling the frames with structural elements from the pre-created library of signs (different types of windows, doors, arches, balconies, etc.) (using the vector graphics program Adobe Illustrator).</p><p> At the final, the fifth stage, the concluding color design of the panorama is realized according to the library of colors and textures (using the raster graphics program Adobe Photoshop).</p><p> The similar steps are performed in graphic editors during the creating of a panoramic map using the automated technique. This method involves the usage of computer technologies only. Thus, at the first level of visualization the plan of the territory based on an aerial photograph of the city is created in the program Adobe Illustrator. Then this scheme is transformed into a perspective projection using the tool “Perspective Distort” in the Free transform toolset. The construction of all buildings’ frames (including structures of complex configuration) is also implemented in vector format with the tools "Pen" and "Line Segment" (the second level of visualization). At the third and fourth levels, the frames are filled with structural elements, and then the whole cartographic image is made in color according to the libraries of textures and colors.</p><p> Operational updating of the content of panoramas created earlier is carried out mainly by the combined technique with the usage of Adobe Photoshop: new buildings which were drawn manually or on a computer are combined with the scanned original, the colors of facades and roofs are updated, park spaces and road junctions are added. For these purposes the following tools are used: "Polygonal Lasso", "Brush", "Clone Stamp", "Color Replacement ", – as well as the options "Curves", "Color Balance", "Hue/Saturation" of the section Image/Adjustment.</p><p> The combined handwritten and automated method of constructing of three-dimensional cartographic images was tested by the author during the creating and updating of the panoramic maps of cities not only of Belarus, but also other world-class cities: Berlin, Moscow, Yerevan, Astana.</p><p> Currently, the author is working on the practical usage of this method of creating of artistic cartographic images for the development of electronic multi-scale applications for the cities of the Republic of Belarus.</p>
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Jurek, M., and R. Wagnerová. "Laser beam calibration for wood surface colour treatment." European Journal of Wood and Wood Products, April 28, 2021. http://dx.doi.org/10.1007/s00107-021-01704-3.
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AbstractLaser engraving of photographs on wood surfaces is a challenging task. To optimize the outcome and production quality it is necessary to control every aspect of the laser engraving process. Most of the production machines and technologies overall are mainly focused on laser power control. However, with other systems and deeper knowledge of the wood characteristics it is possible to achieve even better quality. This paper deals with enlarging the number of achievable shades of burned wood and its optimization. A calibration system was developed to control colour shades of engraved wood with a combination of laser power and optic focus. With this approach it is possible to widen achievable palette of engraved shades by continuous control of chemical processes of laser and wood interaction. The production is divided into wood burning and wood carbonization by variation of laser beam focus.
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Prashant, K., Mohamed Iqbal Khatib, Abdul Shahrukh, Naqi Ali Mirza, Shaik MujahidAbdul Sattar, and Mohammed Abdul Muqeeth Kazim. "Design and Fabrication of Laser Engraving Machine." International Journal of Scientific Research in Science, Engineering and Technology, June 1, 2020, 250–62. http://dx.doi.org/10.32628/ijsrset207366.
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Laser engraving machine is used to mark various pictures and symbols on different materials. The laser engraving setup is advantageous due to its low operational cost, lightweight, portability and easy-to-learn features. The paper fabricates a low cost rapid prototype laser engraving machine. The proposed setup has been applied to Glass Fiber Reinforced Plastics (GFRP) composites, plastics, wood, cardboard, etc., to yield desired profile, contour, information and various drawings. Moreover, developed laser engraving setup has high precision and processing efficiency. Laser engraving technique involves color change of the surface due to thermal energy emerged by the laser beam. The simulation of this machine is done using Laser GRBL software. A 2.5 W diode laser is used to engrave the various materials. Various advanced software and hardware like Inkscape, MakerBase, GRBL controllers and microcontrollers are assembled together, further leading to the execution of the final engraving. Validity of the machine has been verified by performing dimensional, dependency and co-ordinate tests. Finally, pilot experimentation has been carried out on Cardboard composites.
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"Books on Woodcuts and Wood Engraving by Stephen Somerville." Art Book 2, no. 1 (January 1994): 13. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00333.x.
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"Books on Woodcuts and Wood Engraving by Stephen Somerville." Art Book 2, no. 1 (January 1995): 13. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00333.x.
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Stinton, Judith. "At War: Sylvia Townsend Warner and Maiden Newton." Journal of the Sylvia Townsend Warner Society, April 15, 2020. http://dx.doi.org/10.14324/111.444.stw.2020.12.
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Sylvia Townsend Warner’s 1958 poetry collection Boxwood is an unusual book with an unusual genesis. This article examines how Warner and her neighbour, the wood engraver Reynolds Stone, collaborated on the project. It explores Warner’s meditations on rural life, storytelling and human mortality in the wider contexts of her own poetry and the history of British wood engraving.
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Зотова, О. И. "Lotus flower. Towards the question about modern trends on the Vietnam fine art." Искусство Евразии, no. 1(2) (July 2, 2016). http://dx.doi.org/10.25712/astu.2518-7767.2016.01.011.
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Изобразительное искусство современного Вьетнама это удивительно многогранное явление, в котором переплелись черты традиционного национального и европейского искусства. Выросшее из вьетнамской художественной традиции, связанной с лаковой живописью, с росписью на шелке, народной гравюрой по дереву, искусство Вьетнама в последние годы все более интенсивно усваивает художественные достижения всего мира. Fine art of modern Vietnam is a wonderful multifaceted event, where traits of traditional national and European art are interwoven. In recent years Vietnam art, grown from the Vietnamese artistic tradition, connected with the lacquer painting, the painting on silk, folk engraving on wood, ever more takes artistic achievements of the whole world.
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Bastida de la Calle, María Dolores. "La figura del xilógrafo en las revistas ilustradas del siglo XIX." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 10 (January 1, 1997). http://dx.doi.org/10.5944/etfvii.10.1997.2305.
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Hubo un cierto intervalo de tiempo en el siglo XIX, de 1840 a 1880 aproximadamente, en el que las condiciones técnicas y sociales propiciaron la aparición y el mantenimiento de un «arte menor», que involucró a dibujantes y grabadores: la ilustración de noticias en revistas de actualidad. En el artículo se pretende estudiar como la impresión barata y rápida de imágenes, tal como exigía este tipo de revistas, sólo se hizo posible mediante la técnica de xilografía a la testa, sobre duros tacos de boj cortado a contrafibra. Se enfatiza, por otra parte, la importancia del papel del xilógrafo en la estampa, y se estudia su trayectoria profesional, desde la singularidad de Thomas Bewick hasta la aparición del taller artesanal de los grandes semanarios, con su particular distribución del trabajo y variedad de instrumentos de grabación.There was certain period of time in the XIX century, from about 1840 to 1880, when social and technical conditions led to the flourishing of a minor art that involved illustrators as well as engravers: pictuhng news in graphic magazines. This paper briefly examines how the cheap and fast printing of both pictures and type, as required by popular magazines, was only made possibte through the relief wood engraving process, which used hard woodbox blocks cut across the grain. The paper further emphasizes the role played by the xylographer in the graphic press. and studies his professional evolution, from the work of Thomas Bewick until the appearance of engraving workshops at the newsweekiies, with their particular way of assigning tasks, and their variety of tools to carve the wood.