Decoration Technique Research Articles

Effect of micronisation on colour and optical properties of ceramic colourants for inkjet printing

The advent of inkjet printing (IJP) as the main used decoration technique for ceramic products has changed the technological requirements for pigments and the way they are obtained. To meet IJP and durability requirements, it is necessary to micronise the colourants to achieve particles smaller than 1 μm (median particle diameter d50 ∼300 nm). The high-energy milling process induces microstructural changes that affect the colour properties. In order to understand the effect of particle size reduction on chromatic properties, an in-depth study was carried out by simulating the industrial milling process on a pilot scale. The effect of micronisation was investigated for four ceramic pigments (yellow zircon, brown spinel, pink malayaite, and green eskolaite) and one dye (blue olivine) by UV–vis–NIR optical spectroscopy (DRS), chromatic coordinates and XRPD analyses (Rietveld method). This study was carried out on the colourants both as they were and mixed with glass, reproducing the industrial firing process. The results obtained led to the definition of the main aspects responsible for the colour evolution derived from the milling process.

Fold Surfaces of Polymer Crystals Are Nucleation Sites: The Link between Polymer Decoration, Secondary Crystallization, and the Rigid Amorphous Fraction (RAF)

The fold surfaces of polymer crystals may become suitable nucleating sites for uncrystallized material left over during the primary crystallization process. This “nucleation by the folds surface” (NFS) ability is highlighted in the so-called polymer decoration technique in which vapors of polyethylene condense and crystallize on a cold fold surface substrate to form edge-on lamellae that reveal the folds and loops orientations in different growth sectors. In bulk materials, the primary crystallization leaves confined and uncrystallized material between lamellae. NFS, based on epitaxy-type interactions, is expected to take place in these confined and supercooled melt fractions before “true” homogeneous nucleation sets in. The insights provided help elucidate the structural features of the interlamellar layers of crystalline polymers, which overcomes the limits of global, indirect investigation techniques (e.g., differential scanning calorimetry (DSC)) used in attempts to analyze their structure in situ. The interlamellar layer is known to be divided into a rigid amorphous fraction (RAF) located in contact with the fold surfaces and a mobile amorphous fraction (MAF) at its center. The nature of the RAF─amorphous but rigid above its Tg, or crystalline─is still debated. The NFS provides a structural identity for the RAF that associates conformation disorder with stem orientation: the RAF is actually a “condis oriented” fraction. On heating, the small endotherm observed in DSC curves corresponds to its isotropization. The RAF is also a protonucleus for secondary crystallization and induces the growth of edge-on lamellae on top and in the interlamellar spaces of the primary crystals. As such, the RAF has also a layered lamellar structure. Polymer decoration, the “condis oriented” RAF, and the specific edge-on lamellar secondary crystallization are manifestations of the nucleation by the fold surfaces.

Transformasi Estetik Keramik Kasongan, Bantul, Yogyakarta

Kasongan ceramics experience aesthetic transformation over time. Changes in the art of Kasongan ceramics were initially limited to household items with designs limited to circles, rounds, and cylinders, changing into animal shapes with pasting decoration techniques, jars with paint finishing techniques or glass mosaics, and Loroblonyo sculptures with glaze finishing techniques. The manufacturing technique, which was initially limited to traditional techniques, has evolved over time in terms of tool preparation, embodiment, and finishing. This is evident in the work produced, which range from traditional techniques to temple techniques and finishing techniques using paint, glass, and glaze. The ceramic design that was originally intended to fulfill daily needs has undergone a design shift, namely toward a ceramic design that is not only functional (traditional), but also more oriented toward art product design (decoration) or practical art (functional decoration). External and internal factors that exist in the wider community influence the variety of products produced by ceramic artisans in Kasongan.

Зерно-филигранные крестовидные подвески Пермского Предуралья

The jewelry heritage of the Rodanovo culture, the Western Urals, includes cross-shaped pendants with a silver plate as a base with a grain-filigree decoration. The article highlights the study results of these jewels. Collection, visual analysis, and study of sources with different methods allow for a detailed view about the design of items, their production specificity and decoration techniques, as well as about their origin and distribution period. The jewels were made of silver and decorated in various jewelry techniques as granulation and filigree, with inserts of ornamental stones and glass, embossed elements in form of semi-spheres, gilding. The identified stylistic and technological characteristics of the artefacts indicate that the jewelry pieces were made by local craftsmen. Almost all pendants are rather standard, few in number, produced not later than in the end XI-XII centuries.

The Application of The Indigenization Technique in Modern Chinese Church Architecture

"Indigenization" is a process that presents a blend and adaptable feature by combining foreign elements with the local natural environment and cultural factors. Church buildings are the most tangible manifestation of the "indigenization" of Christianity. This paper discusses the application of indigenization techniques in modern Chinese Catholic church architecture from four aspects: layout, structure, materials, and decoration. In terms of layout, indigenization is reflected in space, plan, and orientation. The space mainly imitates traditional Western-style churches and simplifies with the simplification of function. In terms of plan form, the basic rectangular space is retained and combined with local architectural features to evolve into some new variants. Orientation, some churches have absorbed local building orientation patterns. In terms of structural indigenization, the main materials are stone, brick, and soil, and the building structure is mainly supported by load-bearing walls and wooden beams. In terms of material selection, indigenization techniques are mainly based on regional resource conditions and are combined with the characteristics of local residences and climate conditions. The choice of building materials is made by considering the availability, processing difficulty, and physical properties of materials. The application of decorative indigenization often borrows common decoration techniques from local residential buildings and combines them with traditional Chinese culture to create a unique Chinese and Western fusion style building, making the church better integrated into the local architectural community and accelerating local residents' acceptance of Catholicism.

Course keeping control for very large ship using hyperbolic tangent function based on nonlinear decoration technique

To solve the problems of difficult course keeping, high energy output, and large wear of very large ships under different sea conditions, a robust controller combining the closed-loop gain shaping algorithm and nonlinear decoration is proposed in this paper. Firstly, a linear controller is designed by using the third-order closed-loop gain shaping algorithm and takes the hyperbolic tangent function as the nonlinear decoration of the controller output, and the robustness of the system is proved by H∞ robust control theory. Secondly, taking ‘Vale Brasil’, an ore carrier with a displacement of 400,000 tons, as the test plant. The nonlinear Nomoto model and nonlinear Norrbin model were established, which were compared with the control effect from the existing controller. Thirdly, simulation experiments were carried out under normal sea state and heavy sea state to prove the effectiveness. The results indicate that the proposed control strategy can achieve the required course faster, and enhances the smoothness of rudder angle actuation compared with the existing controller. It can maintain good control ability under different sea conditions. The proposed controller has the advantages of simple parameter adjustment, better robustness, less energy consumption, and reduced rudder angle. It is more in line with engineering practice and increases ship operation benefits.

Lacquer and Imitation Lacquer Folding Screens in New Spain

Folding screens were very popular in New Spain beginning in the late 16th century. From the second half of the 17th century on, many Chinese and some European lacquer folding screens circulated in New Spain, inspiring the development of Novohispanic lacquer, imitation lacquer, and Chinese-style folding screens. The decorative technique of these Novohispanic folding screens has not been studied, but evidence suggests that some of them were made with techniques that have pre-Columbian roots, others with European lacquer techniques, and others still with paint and varnish adapted to produce a shiny surface resembling that of Asian lacquer. Thus, 18th-century New Spain was the place where there was the widest variety of lacquer folding screens in the world. Hitherto this variety has remained unnoticed, but studying it is essential to understand to what extent the globalization of the taste for lacquer gave rise to innovative solutions in the Americas.

THE SMALLS SWORD GUARD: DISCOVERY, SIGNIFICANCE AND EXPERIMENTAL REPLICATION OF A HIBERNO-URNES MASTERPIECE

One of the finest examples of secular Hiberno-Urnes art from England and Wales was discovered by a diver on the offshore reef known as The Smalls (Welsh Gwales), Pembrokeshire, in the Irish Sea. The guard was probably made in Ireland about ad 1100–25 in a distinctive Hiberno-Scandinavian decorative style and technique with niello and silver inlays, and it illustrates the skills of a master craftsman or saer working for secular and ecclesiastical patrons. The findspot is now designated as historic wreck site under the Protection of Wrecks Act 1976 (no. 38).

Scientific Analysis on the Manufacturing Technique of Early Historic Pottery of Bangladesh: Application of Experimental Archaeology

The present study wants to identify the making technique of an early historic pottery type of Bangladesh and for this research potshard samples were collected from archaeological excavated site with documented stratigraphic data. The used method for analysis is known as ‘Polished thin-section’ which is now commonly using for petrographic analysis in modern world. Another important aspect for this archaeological analysis is experiment to reproduction of the same quality object, and present research did successful replication of an early historic pottery of Bangladesh known as ‘Northern Black Polished ware’ or NBPW. Archaeological pottery analysis with modern scientific method is still faces challenges in Bangladesh because lack of proper knowledge and absence of modern equipped laboratory. Prepared Thin-section petrography from collected samples shows that NBPW of Bangladesh has possess thin polished surface of multi-layered coating. The practical experiments were successful by achieving the reproduction of a black colored surface which is almost resembled with original potsherd of Northern Black Polished Ware. This research tells us a story of vigorous cultural aesthetic behavior as well as provides information on scientific sustainable technique of pottery decoration.

MATERIAL CHARACTERISTICS OF TRADITIONAL CHINESE FURNITURE

This article focuses on the origin, development and evolution of the materials of traditional Chinese furniture, as well as the evolution of traditional sitting postures and etiquette norms in China which significantly influenced the furniture design. Scientific developments, changes in construction and decorative techniques and the usage of various materials are analyzed in this context. The article focuses on the analysis of the unique characteristics of the wooden materials of traditional Chinese furniture, as well as the wood products of different furniture used in various eras. In the article, while studying the wooden furniture materials, authors also examine the impact of China’s political, economic and trade background on the timber trade in a given historical period, which directly affects the choice of wooden materials in the later stage of Chinese traditional furniture development. The article introduces the types and uses of different wooden materials by taking the materials of Chinese Ming-style furniture as an example, and scrutinizes the reasons why Chinese traditional furniture manufacturers have been relying on wooden materials for thousands of years. The article expounds in detail the characteristics and reasons of Chinese traditional furniture in choosing wooden materials from three aspects: physical characteristics of the materials from the standpoint of materials science and engineering, the psychological characteristics of color and the decorative characteristics of patterns. The article summarizes the traditional Chinese design concepts and philosophy of creation, and the influence of these traditional design concepts on the selection of materials for Chinese traditional furniture. Finally, the article summarizes the modernization of traditional wooden furniture materials and their activity in China's current market, indicating that the wooden materials of traditional Chinese furniture still have a profound impact on the design of modern Chinese furniture.

Motif Seni Hias Koleksi Cutam Di Jabatan Muzium Malaysia

This writing is a report on the study of niello’s collection motif that has been carried out in five locations, namely the National Museum, the Perak Museum, the Malay World Ethnology Museum, the National Textile Museum and the repository of the Collection Management Division, Department of Museums Malaysia. Niello is a decorative art technique applied to gold, silver and copper carpentry. Niello is a black alloy that is used to fill in carved decorations with the aim of giving attractiveness and a contrasting color to silver items. The community recognizes the niello technique or translated into English as niello or nielloware based on the blue and dark blue colors that result on the surface of gold, silver and copper carpentry carvings. This study of motifs of decorative art was carried out in order to identify the motifs found in niello’s collection. As a result, a total of 127 of niello’s collections in the five locations have been identified and categorized into 18 types of material culture. From the 18 types of cultural equipment, the researcher has made observations and classified the samples into four motif themes, namely plant motifs, animal motifs, Hindu-Buddhist figure motifs and Arabic inscription motifs. The researcher's observations of each sample are made with references from book sources, field studies, journals and also interviews with the respondents. The results of the study show that motifs with Hindu-Buddhist influence such as mythical animal motifs (garuda, kinnari and kinnara, kochasri and others), 12 zodiac animal motifs, lotus-based plant motifs (kranok, dao klip bua and lai dok bua , lai bai bua, dok lai and kan bai bua), jasmine flowers and cotton flowers as well as 3 Hindu Buddhist religious figures (Rama, Hanuman and the deity Theppanom) were found in the collection of cutam at the five locations of the study. Also found is three niello pending with Arabic number inscription motif.

Усть-Ёдарма II – опорное многослойное геоархеологическое местонахождение в Северном Приангарье (по результатам работ 2009–2012 гг.)

The article presents the results of studying the material culture of the ancient population of the Northern Angara region from the multilayered geoarchaeological site of Ust-Yodarma 2. The site was located on the right cape of the Yodarma River at its confluence with the Angara River. Excavations were carried out in 2009–2012. As a result, 12 cultural levels were identified on the site in the chronological range from the beginning of the Upper Paleolithic to the ethnographic modernity (17th–20th centuries). The work was carried out on 4 excavations (more than 5 thousand square meters). A correlation was made between cultural levels from different excavations. Holocene deposits are most fully and clearly represented in excavation 1 in area A. Level 0 contains artifacts from the time of the development of the region by Russian pioneers in the 17th and 18th centuries to the modern stage of the existence of the Village Yodarma. Cultural levels 1–4 date from the Middle Ages, the Early Bronze Age, and the Final Neolithic. Levels 5– 8 contain only Neolithic artifacts, while materials from levels 9 and 10 are associated with the Mesolithic. In excavation 1 in area B, an Upper Paleolithic horizon was recorded. Neolithic and Mesolithic levels, as well as Bronze Age burials, have been radiocarbon dated. The total collection of artifacts includes more than 70 thousand finds. A technical and morphological analysis of ceramics, stone and bone tools was carried out. The collection of stone products is represented by products of primary knapping, facial processing, and finished tools (more than 40 thousand finds). Pottery was found in the form of separate fragments and vessels with different decoration techniques. The remains of at least 350 ceramic vessels (more than 14 thousand fragments) have been found. Artifacts made of bone and horn are represented by blanks, finished tools and their fragments, and a sculpture in the form of a moose head. Fire pits of different shapes and designs were recorded. A large number of fauna bones (hunting remains and kitchen refuse) were found. The analysis of artifacts in combination with stratigraphy and radiocarbon data makes it possible to identify the UstYodarma 2 site as a reference object for studying ancient cultures of the Late Pleistocene and Holocene of BaikalYenisei Siberia.

Inspiration and Innovative Approach in Creating Textile Designs and Prints from Sekondi-Takoradi’s Masquerade Costume Designs

Masquerade culture is an essential part of Sekondi-Takoradi cultural embodiment. The masquerade festival titled Ankos displays interesting costumes that have artistic elements of potent colour display and performances. The masquerade costumes manifest intricate fabric decoration techniques for example pleating, folding, gathering, smocking, hand and machine stitching and the use of varied colour schemes. These decorative techniques make costume production laborious, tedious and downtime constraints. In contributing to the innovative approaches to creating textile designs and prints, the study explored the inspirational possibilities of surface designs of the masquerade costume for textile designs and prints. The art-based research design and direct observation as research instrumentation were employed in the artistic creation for the study. Adobe Photoshop was used in the simulation design processes. The study revealed that the simulation design processes produced an innovative imitated visual appearance of the masquerade costume and production processes from a machine-stitched work to a hand-printed fabric. It is recommended that costume makers adopt the contemporary possibility of using hand screen to print hitherto the traditional laborious and tedious process of producing masquerade costumes.

Z Březnických. Typologický rozbor knižních vazeb středověkých kodexů z augustiniánských klášterů v Roudnici a Sadské

The survey of medieval book bindings in the National Museum Library has focused on a group of codices from Augustinian monasteries in Roudnice nad Labem, Sadská and Jaroměř. The research methodology is based on accurate terminology, form processing and photographic documentation of medieval bindings. When determining the origin of codices, attention is paid to the characteristic features of the bindings, which can be an indicator of provenance. The Roudnice codices can be identified based on the craftsmanship of the metal elements and their compositional concept. Roudnice bindings have been divided into several groups according to the shape and finish of the corner and central pieces. Similarity in bookbinding processing, decoration technique, the use of identical structural and typological elements and materials of the same quality distinguish the Roudnice codices from contemporary domestic bindings.

Cuir et porcelaine, une heureuse rencontre

During a remarkable career at the Manufacture de Sèvres, Mireille Cousin has become one of the best painters of her generation. She has mastered the techniques that contribute to the excellence of the institution, has met prestigious artists whose works she has magnified and now directs within the manufacture, a school of painting on porcelain to transmit her knowhow to younger generations. Michel Roué has been able during his career to acquire knowledge of all the decoration and manufacturing techniques as well as managerial and transmission skills. He supervises about forty art technicians in a dozen workshops.

Polychrome majolica of Apulian domes: history, technique, pathology and conservation

The paper is focused on the historical-architectural evolution and material-technical qualification of polychrome majolica domes that were built between the 17th and 19th centuries in Apulian religious buildings. In particular, the cultural context in which this solution spread throughout the Mediterranean area is identified. Moreover, the case history of construction and decorative techniques that are distinctive of the regional territory is discussed in terms of underlying structure, installation of elements and surface colours. The study is then detailed on the Church of Santa Maria della Vetrana in Castellana Grotte (BA), for which the morpho-typological survey and mapping of the decay state are presented, based on the use of terrestrial and aerial digital photogrammetry. Finally, based on the identification of the main pathologies from both direct and indirect alteration factors, the most appropriate conservation and maintenance interventions are outlined, with specific focus on repair and integration of the majolica tiles, according to principles of high compatibility and low intrusiveness for a solution meeting artisan tradition and technical practice.

Polychrome majolica of Apulian domes: history, technique, pathology and conservation

The paper is focused on the historical-architectural evolution and material-technical qualification of polychrome majolica domes that were built between the 17th and 19th centuries in Apulian religious buildings. In particular, the cultural context in which this solution spread throughout the Mediterranean area is identified. Moreover, the case history of construction and decorative techniques that are distinctive of the regional territory is discussed in terms of underlying structure, installation of elements and surface colours. The study is then detailed on the Church of Santa Maria della Vetrana in Castellana Grotte (BA), for which the morpho-typological survey and mapping of the decay state are presented, based on the use of terrestrial and aerial digital photogrammetry. Finally, based on the identification of the main pathologies from both direct and indirect alteration factors, the most appropriate conservation and maintenance interventions are outlined, with specific focus on repair and integration of the majolica tiles, according to principles of high compatibility and low intrusiveness for a solution meeting artisan tradition and technical practice.

A Decoration Technique Featured in 18th Century Turkish Bindings: Yekşah

Decoration techniques have changed over time in bookbinding art, as in every branch of art. The 18th century is a period in which the classic style bindings were continued to be made, but at the same time new decoration techniques were tried. Yekşah, one of these techniques, is a decoration technique applied in the form of inlaying/pressing a flat or oval metal iron tool on the motifs embroidered with gold on the binding. This decoration technique takes its name from the metal tool used in the application. This tool, called yekşah iron, is an average of 15-16 cm long and is a flat or oval hand tool. Yekşah decoration technique is applied on bindings applied with brush. ‘Applied with brush binding’ means to embroider the pattern on the leather using gold-ink with a brush. After the pattern is embroidered on the leather with the applied with brush technique, it is started to be processed with yekşah iron tool. Lines are drawn on the motifs with a yekşah iron tool based on the direction of the pattern. The leather is partially pitted during this striping. Yekşah decoration technique joined Turkish bookbinding art at the end of the 17th century and the beginning of the 18th century. Examples continued to be seen in the 19th century. However, the period in which the technique was most frequently used is the 18th century. It is known that yekşah decoration technique is mostly applied by the palace bookbinders and especially on the bindings of the manuscript of high value. As a result of the examinations of the yekşah bindings samples published in the literature of Turkish binding art and found in museums and libraries, it was determined that the yekşah decoration technique was applied on 3 different patterns in Turkish bindings. These; rūmī, lattice (zerbahar/zilbahar) and baroque-rococo patterns. It is seen that the yekşah technique was applied in all parts of the rūmī patterned yekşah binding cover. However, it is most common and most diverse in medallions. The reason for this may be that, as of the 18th century, when yekşah decorations began to be seen, corner pieces were not frequently used on the covers of the binding and the intensity of the decoration was seen on the center-medallions. Three types of medallions were identified in the rūmī patterned yekşah bindings. These are the classical sliced oval form medallion, the rectangular medallion, and the sliced circular form medallion. On the rūmī patterned yekşah bindings, the center-medallion and pendant backgrounds are often painted in burgundy color in order to see the gold of the pattern more clearly. Another type of pattern in which the yekşah decoration technique is applied is the lattice (zerbahar) pattern. Zerbahar pattern is a type of binding decoration seen at the end of the 18th century and especially in the 19th century and was applied to cover the entire surface of the binding. It has been determined that as of the 18th century, yekşah application has been made on realist-style flower or Western-influenced baroque-rococo motifs seen in Turkish bindings. Turkish Rococo is an attractive decoration style in which the surface is completely filled and decorated with C and S curved motifs. Along with curved and round shapes, leaf, flower motifs and flower bouquets are also included in this decoration style. Although yekşah technique is weak in terms of durability, there is an effort to increase the artistic value of the binding, which is often preferred in 18th century bindings. Thanks to this technique, the pattern applied with brush has been made more attractive. This has increased the artistic value of the binding.

Effect of Microstructure on Strain Aging and Hydrogen Embrittlement Behavior of Bake Hardening Steels

The strain aging and hydrogen embrittlement behavior of two bake hardening (BH) steels with different microstructures were investigated in this study. The single-phase BH steel was composed of fully ferrite, while the dual-phase BH steel consisted of ferrite and 3 % martensite. The BH index and aging index (AI) of the two BH steels were measured to compare the effect of microstructure on strain aging behavior. As a small amount of martensite is present in the dual-phase BH steel, the BH index value of the dual-phase BH steel was higher than that of single-phase BH steel, and the AI showed a relatively low value. After the BH steels were pre-strained up to 20% and electrochemically pre-charged with hydrogen, on the other hand, a slow strain rate test (SSRT) was carried out to examine the effect of pre-strain on hydrogen embrittlement behavior. The silver decoration technique and thermal desorption analysis (TDA) were performed to understand the hydrogen embrittlement mechanism from the standpoint of hydrogen trapping. Regardless of pre-strain the dual-phase BH steel had lower hydrogen embrittlement resistance than the single-phase BH steel because martensite formed in the dual-phase BH steel acts as a reversible hydrogen trap site. The hydrogen embrittlement resistance of the two BH steels decreased with increasing amount of pre-strain which increases dislocation density. Based on these results, it can be said that the introduction of martensite and dislocation in BH steels have a negative impact on hydrogen embrittlement resistance.

DERİ ÜZERİNE EBRU BOYAMA TEKNİĞİNİN ÖRNEK ÇALIŞMA BAĞLAMINDA DEĞERLENDİRİLMESİ

Geleneksel Türk Sanatları alanında yüzyıllardır var olan ebru sanatı ve dericilik başlangıçta ihtiyaçları karşılamak amacıyla ortaya çıkmıştır. İlerleyen zamanlarda birer sanat olarak icra edilmeye başlanmıştır. Ebru sanatı farklı birçok materyal üzerine uygulanmaktadır. Sürekli olarak gelişmekte ve kullanım alanını genişletmektedir, moda, aksesuar, ayakkabı, çanta, tekstil gibi pek çok alanda kullanılmaktadır. Dericilik yaşam koşullarından korunmak amacı ile ortaya çıkmış ve işleme yöntemlerinin keşfedilmesi sonucunda bir sanat haline gelmiştir. Pek çok deri çeşiti ve süsleme teknikleri bulunmaktadır. Deri günümüzde çanta, cüzdan, ayakkabı, ceket, aksesuar, moda ve mobilya sektöründe tercih edilmektedir. Dayanıklı, sağlam ve esnek olması ile uzun yıllar boyunca kullanılmaktadır. Deri süsleme tekniklerinden biri olan boyama tekniği ebru sanatı bağlamında ele alınmıştır. Çalışma kapsamında ebru sanatı keçi derisi üzerine uygulanmıştır. Türk Sanat tarihinde önemli yerlere sahip olan ebru sanatı ve dericilik özellikleri, tarihçeleri ve çeşitleri ile aktarılmış ve bir arada kullanılarak ürünler elde edilmiştir. Örnek çalışmaların aşamaları fotoğraflanarak açıklanmış ve elde edilen sonuçlar yorumlanmıştır.