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Copyright of Complutum is the property of Universidad Complutense de Madrid 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.)

This paper achieves some landmarks regarding the appearance and evolution of engraving in Moldova within the medieval, modern and contemporary art periods and aims to highlight the evolution of engraving and achievements in the art of engraving in the historical territory of Moldova, but also to establish the basic stages of the evolution of engraving and regional interferences in relation to European engraving. If we follow the comparative evolution of the genus in various neighboring regions, we find that each area has its own specificity and particularities. The approach to this issue is related to the general aspects that conditioned the development of religious engraving, but also to the local tradition, which has evolved in close connection with the respective process in European countries.

The scientific research of cultural-artistic phenomena is a complex and current process. Each country has a system of values, similar experiences, common conceptions and reflections about the world, which it accepts. These common points form the national culture. The work in question was carried out in collaboration with young researchers from the Graphics specialty within the Faculty of Fine Arts, Decorative and Design interested in safeguarding, supporting and raising national values in plastic creation. For the first time, a sociological study was developed in which the national theme was investigated through the prism of graphic art. The level of perception among young people in the Republic of Moldova of the national theme present in the works of artists, created through multiple engraving techniques, has been examined. The engraving techniques explored by Moldovan graphic artists have been researched. The study highlighted a number of problems facing the graphic arts in the Republic of Moldova. The respondents proposed optimal solutions for the development and remedy of the existing situation in contemporary graphic art, as well as for the promotion of works that reflect the national theme represented by engraving techniques.

Copyright of L'Année Rabelaisienne is the property of Classiques Garnier 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.)

Borneo is the world's third-largest island, divided between the geopolitics of Malaysia, the Sultanate of Brunei and Indonesia. This review expands multiple strains of evidence indicating Borneo is important to understanding the Southeast Asian "Neolithic". This study uses rock art as a substitution to track human movement on Borneo during the poorly understood "Neolithic" peopling of Island Southeast Asia, c. 6000 - 2000 ka. Rock art is a neglected archaeological data source in Southeast Asian archaeology, and Borneo's rock art holds great potential for studying modern human movement and symbolic behaviour. It evaluates the Borneo presence of two diagnostically "Neolithic" rock art traditions found elsewhere in Island Southeast Asia and the Pacific: The Austronesian Painting Tradition (APT) and Austronesian Engraving Style (AES). Multiple synchronic and diachronic rock art practices are described, including a distinctly Borneo version of the APT and a single instance of the AES that expand our understanding of the Borneo and Southeast Asian archaeological narratives. [ABSTRACT FROM AUTHOR]

The objective of the paper is to determine convergences or divergences in the placement of cave art through the combined study of parietal art and the specific space in which it was executed. The proposed methodology is based on the definition of the concepts of graphic space, visibility, access and capacity. Through these, a series of variables have been created to analyse in the cave: the presence of an archaeological context, the specific location of the figures, divided into three levels of study –graphic unit, panel and topographic unit–, the cave transit, the selected spaces and the potential visibility and observer capacity at each level. This methodology has been applied to Chufín Cave (Cantabria, Spain). By studying the location of the different panels, two potential uses for the cave were determined: some panels are located on highly visible surfaces in large spaces of the cave using the techniques of deep engraving and drawing with red pigments. In contrast, other panels are situated in low visibility areas of more difficult access, with the technique of shallow engraving. This evidence might point towards a more widespread use of cave art in the first case, possibly including all the community, and a restricted use in the second case. [ABSTRACT FROM AUTHOR]

Dynamic engraving processes upon a projectile under five charge cases were studied using numerical simulations. A finite element model of the rotating band engraving into the forcing cone of the barrel was constructed, and the deformation process of the rotating band, the projectile motions, the dynamic engraving resistance, the average work pressure and the engraving pressure were obtained. The simulation results show that the interior ballistic parameters, including the engraving speed, the projectile motion, the maximum engraving resistance and the engraving pressure are different for different charge cases. This work provides an approach to investigating the interior ballistics processes considering the dynamic engraving of rotating bands. [ABSTRACT FROM AUTHOR]

This paper presents the way technique and art combine to create laminated glass items, particularly laminated glassware engraved with acids, with reference to artistic reproductions from the Art Nouveau period, Gallé, Daum-Nancy, items with metallic coating such as bronze, brass etc. The paper will highlight aspects concerning glass characteristics, glassblowing methods, techniques of acid engraving, the art of decoration and the technology of mounting auxiliary metallic components. [ABSTRACT FROM AUTHOR]

The article discusses the invention of engraving, focusing on the origins of engraving toldy by Italian painter, goldsmith, and historian Giorgio Vasari in his book "Vite de' più eccelenti pittori, scultori, e architettori." Other topics include the life and work of Italian engravers including Andrea Mantegna and Maso Finiguerra, the validity of the information in Vasari's book, and engraving techniques and tools used in Florence.

Copyright of Revista Katharsis is the property of Institucion Universitaria de Envigado 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 article discusses the inability of Samuel F.B. Morse's invention of the electromagnetic telegraph to transmit images, focusing on the work of painter and reproductive engraver Asher B. Durand. The author explores the processes of coding, replication, and transmission in telegraphs and engraving. Specific topics include Durand's production of engraved banknotes and his reproductive print of the painting "Ariadne Asleep on the Isle of Naxos" by John Vanderlyn.

One of the many practitioners of trades and techniques engaged by Tsar Peter the Great during his visit to the Dutch Republic in 1697-8, was the Amsterdam printmaker Adriaan Schoonebeek (1661-1705). Within the framework of this appointment Schoonebeek wrote a concise manual of the technique of etching. This article presents an edition of this oldest complete Dutch etching manual, together with a modern English translation. [ABSTRACT FROM AUTHOR]

A computing generalization of the non-conventional holographic technique, well-known as Scratch Holography or Hand Drawn Holography, is developed. It is presented an alternative technique that allows to code three-dimensional virtual objects (3D) as two-dimensional (2D) multiple circular-scratch drawings, using a software program for 2D encoded representation of 3D-models. Using this software like an assistant, several scratch holograms of variable complexity were hand drawn, generated by software templates. A CO2 laser engraver system, driven by computer, was used for drawing more complex holograms directly onto suitable surface. Different types of plastic material are employed. Reconstructed images from all these holograms are shown. [ABSTRACT FROM AUTHOR]

The article focuses on the etching and engraving styles of Venetian artist Battista Franco. Franco has been known for its naturalistic approach in creating human form. His works have been characterized of combining freely etched lines in creating hair textures while the hatched burin lines are applied in making flesh models. His experiences on ancient models can be depicted in the ornaments of his frames. Moreover, the decorative frames of Franco show resemblance to some of the designs used by Italian engraver Enea Vico.

Introduction of point defects during the dry etching process of InP-based photonic structures has been investigated using the spectroscopic cathodo-luminescence (CL) technique. The measurements were performed on cleaved cross-sections from standard passive waveguides with rectangular shape, different widths, etched in bulk InP using either reactive ion etching (RIE) with CH4/H2 as the etching gases, or high density—inductively coupled plasma (ICP) etching with SiCl4. Etched depths up to 4 μm were reached. In the case of the ICP process, a defect-related band appears in the CL spectra, which is tentatively attributed to some kind of complex defect involving indium vacancies, because of its energy measured at low temperature. This band does not appear for the RIE process. In addition, local stress also occurs in the etched ridges (identified from the spectral shift of the band to band transitions), which seems to arise from the occurrence of the defects. The features on the spectroscopic CL images (both in terms of the defect band and the changes in intensity related to non-radiative recombination centers) are discussed based on the nature of the hard mask material used for the etching process and the local temperature reached during processing, especially with the high density ICP process. [ABSTRACT FROM AUTHOR]

The article focuses on the life and works of artist Moshe Hoffman. It provides a brief account on the life of Hoffman while growing up and his training at the Bezalel Art School in Jerusalem in restoration techniques. It also cites the effect that Hoffman's outward physical appearance had on his works that suffered considerable neglect by the general public and art enthusiasts. Moreover, it discusses the notion that Hoffman's works were incomprehensible unless a reference is made on his experiences as young man living during the World War II. A discussion on the artistic influences of Hoffman is also presented.

Laser-induced backside wet etching (LIBWE) allows the high-quality etching of transparent materials for micro- and nanopatterning. Recent own results of LIBWE with hydrocarbon and metallic absorbers (H- and M-LIBWE) are summarized and compared with selected results of other groups regarding the etching process and the etched surface. Significant results on the impact of the liquid absorber, the material and the wavelength, and the pulse length of the laser to the etching are selected for this comparison. The etching of submicron-sized periodic structures in sapphire and fused silica with interference techniques and the selection of the preferred method in dependence on the material and the processing goal discussed. The experimental results are discussed on a thermal model considering both interface and volume absorption of the laser beam. These results have the conclusion that the etching at M-LIBWE is mainly due to material melting and evaporation whereas at H-LIBWE, a modified near-surface region with a very high absorption is ablated. [ABSTRACT FROM AUTHOR]

Jacques Champion de Chambonnières's two books ofpièces de clavessin (167o) represent the beginnings of the printed tradition of the French harpsichord school; they were produced using the technique of engraving, still quite new to French music. Like the sonic manifestations of Chambonnières's music, the engravings reflect a high degree of freedom and individuality; in contrast to the aesthetics of ensemble music, which required conformity to the group, the solo harpsichord repertory allowed for greater freedom of expression, especially through the use of improvised agréments and rhythmic flexibility. Walter Ong's theory of orality and literacy informs a critical assessment of the role of Chambonnières's books in the establishment of the composer's authority over his texts. Consideration of other images produced by the Jollain atelier calls attention to the physicality of the images, and their importance as realizations of the music they represent. [ABSTRACT FROM AUTHOR]

The article presents the author's insights on Meloncolia 1, a four-by-four magic square engraving by engraver Albrecht Dürer. He states that the artwork features a depressed female with wings seated in the foreground, which represents potentiality, and a winged infant representing intelligence. He says that Dürer was known to be knowledgeable and interested in mathematics. Moreover, the mathematical properties of the magic square used by Dürer in the artwork was explored.

The authors propose and demonstrate a technique to determine the ion incidence angle dependence of the ion-enhanced etching yield under realistic plasma conditions and in situ in an arbitrary plasma reactor. The technique is based on measuring the etch rate as a function of position along the walls of features that initially have nearly semicircular cross sections. These initial feature shapes can be easily obtained by wet or isotropic plasma etching of holes patterned through a mask. The etch rate as a function of distance along the feature profile provides the etching yield as a function of the ion incidence angle. The etch rates are measured by comparing digitized scanning electron micrograph cross sections of the features before and after plasma etching in gas mixtures of interest. The authors have applied this technique to measure the ion incidence angle dependence of the Si etching yield in HBr, Cl2, SF6, and NF3 plasmas and binary mixtures of SF6 and NF3 with O2. Advantages and limitations of this method are also discussed. [ABSTRACT FROM AUTHOR]

The article focuses on the number of impressions that could be made from one engraving or etching in Italy and Netherlands. However, there is a problem in identifying the correct number of engravings because of the lack of evidence. It is evident that the engraving entitled "Annales ecclesiastici," by Caesar Baronius has been reworked several times due to the numerous volumes it illustrates. These archival records and visual data provides a unique opportunity to track the stages of wear as well as the revitalization and reconception of the image through the reworking of the plate up to its final appearance. There are 18, 257 impressions taken from one plate in a period of 57 years which contradicts the stated 1, 000 impressions for a single plate.

The article focuses on the erotic Modi or sexual positions engraved by the artist Marcantonio Raimondi. It is stated that the known fragmentary copies of Marcantonio's erotic Modi have been recognized as a monumental project which is unprecedented in Italian engraving of secular subjects. It is emphasized that the cursory of the copies and fragments of the erotic Modi sets on the works of Marcantonio. It is emphasized that the copies and fragments of the sexual positions have survived in complete sets through the effort of several engravers.

The article explores the working practices of Christopher Plantin in engraving book illustrations during the sixteenth century. It is claimed that most of Plantin publications with engraved illustrations appear to be illogically inconsistent, as the selection of plates used to print the illustrations differs from copy to copy. The author asserts that Plantin's production and illustration of Benito Arias Montano's "Humanae Salutis Monumenta" has puzzled scholars from various field of study. Moreover, several essential aspects of Plantin's production of "Monumenta" are examined.

The article discusses the engravings attributed to the Italian Renaissance artist Andrea Mantegna. The discussion includes the seven prints that belong to Mantegna which involve "Entombment," "Risen Christ with St. Andrew and Longinus," "Bacchanal with Wine Vat," "Bacchanal with Silenus," the two plates of the "Battle of the Sea Gods," and "Virgin and Child." It is indicated that scholars believe that Mantegna would have hired one or more engravers to perform the work of incising plates from his drawings for he has not attempted the daunting task of learning to engrave.

The article deals with the engravings of German artist Martin Schongauer. It stresses the role of Schongauer in developing the basic techniques of engraving. It highlights the influence of Schongauer on his contemporaries and even on Albrecht Dürer. It provides an overview of the disagreement among researchers on the exact sequence in which Schongauer's engravings were made. It outlines possible reasons for the decision of Schongauer to begin engraving the "S" of his monogram by hand. It discusses the controversy regarding the attribution of "Saint James at the Battle of Clavijo" to Schongauer.

The article analyzes the iconographic history of the two carved columns from the Grand Bassam region in Abidjan, Côte d'lvoire. Its history is traced through the two pencil sketches by Hyacinthe Hecquard, a French military officer, geographer and explorer. The first sketch is the "Colonne soutenant le toit de la salle de palabre du Chef Acka à Grand Bassam" which represents a wooden column carved into vertical registers with Lagoon people standing on it. The second sketch is the "Colonne fétiche faite d'un seul morveau de bois élevé au milieu du village d'Abra." It is notable that the carved figures are arranged according to their power in the society. A figure erected at the center of the village proclaimed the wealth and power and high status.