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Thin‐films patterned with complex motifs are of fundamental interest because of their advanced optical, mechanical and electronic properties, but fabrication of these materials remains challenging. Self‐organization strategies, such as immersion controlled reaction‐diffusion patterning, have shown great potential for production of patterned thin‐films. However, the autonomous nature of such processes limits controllable pattern customizability and complexity. Here, it is demonstrated that photography inspired manipulation processes can overcome this limitation to create highly‐complex tapestries of micropatterned films (MPF's). Inspired by classical photographic processes, MPF's are developed, bleached, exposed, fixed, and contoured into user‐defined shapes and photographic toning reactions are used to convert the chemical composition MPF's, while preserving the original stripe patterns. By applying principles of composite photography, highly complex tapestries composed of multiple MPF layers are designed, where each layer can be individually manipulated into a specific shape and composition. By overcoming fundamental limitations, this synergistic approach broadens the design possibilities of reaction‐diffusion processes, furthering the potential of self‐organization strategies for the development of complex materials. [ABSTRACT FROM AUTHOR]

The article highlights the development of new universal and technology-based structures of tapestry fabrics. The aim of this work is to develop new tapestry structures allowing to exclude the labor-intensive operations of beaming, punching, and warp binding which are typical for tapestry weaving in order to reduce production costs and ensure prompt changes to the assortment of linen-containing clothing fabrics without losing the quality of their artistic design. The object of the study is the tapestry structures of linen-containing jacquard fabrics with the area density of 230–375 g/m2. For the first time, new structures of tapestry fabrics have been developed which have no analogues in the world practice. The warps of two colours – light and dark – located on two monophonic beams – upper and lower – are used. Thanks to this, it is possible to eliminate the time-consuming process of binding and punching multicoloured bases, to provide greater interchangeability of the assortment in weaving, to reduce the time required for producing fabrics with new tapestry structures, to reduce the production costs and increase enterprise profit. Работа посвящена разработке новых универсальных и технологичных структур гобеленовых тканей. Целью работы является разработка гобеленовых структур нового вида, позволяющих исключить характерные для гобеленового ткачества трудозатратные операции снования, пробирания, привязывания основ для снижения себестоимости и обеспечения быстрой смены ассортимента льносодержащих одёжных тканей без потери качества их художественного оформления. Объектом исследования являются гобеленовые структуры льносодержащих жаккардовых тканей поверхностной плотности 230 – 375 г/м2. Впервые разработаны новые структуры гобеленовых тканей, не имеющие аналогов в мировой практике, в строении которых принимают участие основы двух цветов – светлая и тёмная, расположенные на двух однотонных навоях – верхнем и нижнем. Благодаря этому стало возможно исключить трудоёмкий процесс привязывания и пробирания многоцветных основ, обеспечить большую взаимозаменяемость ассортимента в ткачестве, сократить временные затраты на изготовление тканей новых гобеленовых структур, снизить себестоимость и увеличить прибыль предприятия.

Gordon Crook (1921–2011), a British textile artist who arrived in New Zealand in 1972 and settled in Wellington, became well known as a tapestry weaver and designer of decorative banners, as well as a silkscreen printer, before turning to pastel drawing in 1984–85. He created two suites of pastels, each ‘drawing’ consisting of three sheets of fine art paper pasted on watermarked paper on board. These were shown at two exhibitions in Wellington, one at the Janne Land Gallery (1985) and the second at the City Art Gallery (1986). They marked a sharp change of direction in his work, from cheerful and decorative to introspective and complex composite images of memory and feeling states. They are represented in the Museum of New Zealand Te Papa Tongarewa collection by arguably the best of these drawings, Gymnasium. Crook did not turn to pastels again, but his work on these two suites served as the foundation for his collaged photographic prints of 1989, as well as the tapestries and prints of his Wolf-Man project of 1991. This paper is based on Crook’s voluminous correspondence archived in the Alexander Turnbull Library, Wellington. [ABSTRACT FROM AUTHOR]

The plastic artwork, as a species of the "work of art" genre, is subjected to copyright. However, the law does not define plastic artworks, which are generally included in non-exhaustive listings, in phrases of the types: "plastic or graphical artworks, such as...”. This study analytically presents the categories of artworks that may be included in the plastic artwork group, in the light of the European and Romanian law. At the same time, the study analyses the legal relevance of an artwork value, under all its aspects.

Gordon Crook (1921–2011) is a major New Zealand artist, well represented in the Museum of New Zealand Te Papa Tongarewa collection. He came to New Zealand in 1972, aged 51, where he made for himself a new career, based upon new styles of artmaking, particularly tapestries, both large-scale wall hangings and more intimate pieces. He wove many of the small works himself, but also worked with New Zealand weavers, in particular Lesley Nicholls and Trish Armour. This is the first study to examine the range of Crook’s textile art made in New Zealand and his response to Pacific and Oceanic themes. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim is to develop a methodology for determining of warp runner length to design of the new modern fabrics with using classic tapestry weaves and tapestry weaves of a new kind. The technology of tapestry of new structures has been developed, which differs from the existing, first, by using a single warp beam on a loom, secondly, by maneuverability of replacement options of color design, that improving the performance of weaving machinery; has been developed a new kind of tapestry weaves - mixed tapestry, differs from existing warp and weft tapestries by a combination in its structure the main features warp and weft tapestries; created mathematical models which takes into account the influence of arrangements of warp and weft threads in fabrics of a complex structure on runner length of warp threads, the use of which helps to reduce breakage of warp threads in weaving; scientific researches formed the basis of the created software product, which allows: to visualize and correct the appearance of tapestry fabrics, to forecast warp runner length of different systems, reduce time and material costs for design. The scientific novelty of this work is to develop an effective technology for the production of competitive high-tech tapestries of new structures given artistic and coloristic design of different raw material content.

Copyright of Romanian Journal of Intellectual Property Law / Revista Română de Dreptul Proprietăţii Intelectuale is the property of Universul Juridic Publishing House and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Urban Tapestries is an action research project combining social research interaction design and cultural production. The project is developing a prototype system for accessing and publishing location specific content wirelessly, and creating sound maps of environments and journeys that can be shared remotely. [ABSTRACT FROM AUTHOR]