opposite of embossed.
meirman
on the plastic case, with raised letters, but I can't say it is raised
on the plastic, I don't think. It exists in a raised state, but no
one raised it.
s/ meirman If you are emailing me please
say if you are posting the same response.
Born west of Pittsburgh Pa. 10 years
Indianapolis, 7 years
Chicago, 6 years
Brooklyn NY 12 years
Baltimore 20 years
Tron Furu
"meirman" <mei...@invalid.com> skrev i melding
news:sbce70tcp9ajt0blp...@4ax.com...
> What is the opposite of embossed. I have this modem that says 6v =
> on the plastic case, with raised letters, but I can't say it is raised
> on the plastic, I don't think. It exists in a raised state, but no
> one raised it.
A sculpture executed upon and attached to a flat surface. The usual
impression produced by an artistic relief is that about one-half of the
actual proportions of the object are being seen in their third dimension of
depth. Strictly speaking, however, relief sculpture is subdivided into
various kinds. In alto-rilievo (Italian for "high relief") the figures are
sculptured partly or wholly in the round, that is, they project entirely, or
almost entirely, from the surface of the block in which they are cut. The
metopes from the Parthenon (Elgin Marbles) now in the British Museum are
among the best examples of alto-rilievo. Mezzo-rilievo (Italian for
semi-relief; French, demi-relief) presents figures that are rounded to half
their natural proportions, but without detached parts. Basso-rilievo
(Italian for low-relief; French, bas-relief) is a form of
surface-ornamentation in which the projection is very slight. The finest
known specimen of low relief is the frieze around the cella of the
Parthenon; large portions of it are to be seen in the British Museum. The
lowest kind of relief is that described by the Tuscan term
rilievo-stíacciato (depressed or flattened relief). This scarcely rises from
the surface upon which it is carved, and is mostly an art of fine lines and
delicate indications. Donatello's Florentine Madonnas and saints are among
the best examples. Finally cavo-rilievo (Italian for hollow relief; French,
relief-en-creux) is a method of concave sculpture in which the highest part
or outline is on a level with the surface, while the roundness is
considerably below it. Cavo-rilievo was practiced chiefly by the Egyptians
whose hollow reliefs are known by the Greek term Koilanaglyphs.
Relief is the form of sculpture that comes nearest to painting, both having
composition, perspective, and the play of light and shadow. Relief would
seem to have much in common with drawing, though in reality less importance
attaches to line than to the modeling of contour and to the true and
effective rendering of chiaroscuro. The human form is undoubtedly the proper
object of relief, which appears to be particularly suited to the
representation of numerous figures in action.. In the Greek and Roman
classic reliefs these figures are usually in processional order, engaged in
historic or military events, or in the ceremonial of worship. Relief is well
suited, also, to the portrayal of series of scenes, as in the bronze doors
of various Italian baptisteries illustrating the Old and the New Testament.
Figures and objects in relief are generally worked out in the same material
as the background, though there are exceptions to this rule in Greek art,
and in the decorative work of the Chinese and Japanese. In the larger
reliefs marble, bronze, and terra-cotta are used exclusively; while in
smaller works the precious metals and stones, ivory, stucco, enamel, wood,
etc., predominate. The reliefs of the Egyptians and Assyrians, not highly
plastic, were made more effective by the introduction of strong colors. The
early Greeks also made use of polychromy, as instanced in the metope relief
in the Museum of Palermo. In Gothic art and in the Renaissance it was the
custom to tint wood, terra-cotta, and stucco, but not marble or stone.
Relief is one of the earliest forms of sculpture practiced, and probably
originated with the stone-cutters of prehistoric days, though clay and wood
are supposed to have been the earliest materials employed, owing to greater
facility in molding and carving them.
There is reason to believe that relief sculpture existed before the
introduction of sculpture in the round, or when only rude figures of the
deities had been attempted. The Babylonians, Assyrians, and Hittites
practiced it contemporaneously with sculpture in the round. The Egyptians,
though they employed a kind of low relief, especially on the interiors of
buildings, made a still greater use of Koilanaglyphs. The Greeks, conceiving
relief sculpture in its purely plastic sense, achieved the greatest mastery
of the art. With them it was used both as an ornament and as an integral
part of the plan when allied with architecture. Distinguishing strictly
between high and low relief, they used the former between the triglyphs, and
the tympana of the temples, and the latter in friezes, tombstones, etc.
Certain fixed principles governed the Greek relief: the spaces were
adequately filled the backgrounds never carved, and it was a rule that all
heads should be at the same height from the base, whether the figures sat,
rode, or stood (Isokepholeia). In the Hellenistic period a more picturesque
and dramatic form of composition prevailed, and the backgrounds were carved
in pictorial style. With the Etruscans relief was applied mainly in the
artistic handicrafts. In Rome it frequently degenerated into a pictorial
mode in which several planes were employed, but examples are still extant
that are highly classic, e. g. the groups of the Arch of Titus, the
continuous winding reliefs of the Column of Trajan, imperial sarcophagi (in
the Vatican), and reliefs of the Capitol Museum, Rome. The Romans no doubt
owed their finest reliefs to the Greek artists they harbored and employed
upon themes taken from the history of Rome.
The Christian era inaugurated what might be mistaken for a new art, but the
change was in subject more than in mode, for all the early examples show a
great similarity to antique models in form, pose, and drapery. Christian
relief appears mainly in the sarcophagi with their Biblical, Apostolic, or
symbolic subjects: Daniel in the lions' den, Moses striking water from the
rock, the adoration of the Magi, the raising of Lazarus, the Good Shepherd.
Heathen myths are also used, invested with a new significance: Orpheus is
Christ, drawing the creatures of the wild by the sweet strains of his music,
Ulysses attached to the mast is believed to typify the Crucifixion (O.
Marucchi). Occasionally a carving on a Catacomb tombstone shows real merit,
and the lamps adorned with Christian symbols are frequently artistic. As
they depart from the classic tradition, however, Christian reliefs grow
ruder and more imperfect. Those of the latter part of the second and the
third century have little merit. The fourth century, in spite of the
decline, bequeathes some specimens, now in the Lateran Museum; the
sarcophagus of Junius Bassus in the vaults of St. Peter's is highly esteemed
as a work of art. When the Christian basilica replaced the cubiculum the
influence of imperial Constantinople had substituted mosaics for both
sculpture and painting. The few reliefs of that period that have survived
bear a strongly Byzantine character, which is also apparent in all early
Frankish workmanship, reliefs, ivory diptychs, etc. The reliefs of Ravenna,
from the time of Theodoric, show the same influence in combination with the
Teutonic spirit, as in the sixth-century sculptures of San Vitale. In
figure-carving, however, there is a distinct tending from symbolism to
realism. The rude Lombardic bas-reliefs of Milan and Brescia frequently
border on the grotesque, but the authors went to nature for their hunting
scenes and forms of animals. The bronze reliefs of the church of St.
Michael, Hildesheim, Germany, are one of the legacies of the eleventh
century; those of the Golden Gate, Freiburg, are considered the finest work
of the late Romanesque period.
With the merging of the Romanesque into the Gothic, relief sculpture assumes
a new character and a peculiar importance in its close association with
architecture, and in the many uses it is put to in tympana, spandrels, etc.
As a purely Christian and beautiful form of art it ranks high; numerous
examples are extant, especially in the northern countries of Europe. In
Italy it had small hold, for as early as 1300 Andrea Pisano, who is called a
Gothic, was inaugurating a renaissance. Picturesque relief reached its
fullest development in Florence, as in the baptistery doors of Ghiberti and
the marble pulpit of Santa Croce by Benedetto da Majano. Donatello in his
admirable high and low reliefs and the Della Robbias in their enamels return
to a more plastic conception. During the entire baroque period (Michelangelo
being the last Italian sculptor of the late Renaissance) works of a low
order of inspiration prevailed. The Danish sculptor Thorwaldsen, influenced
by the study of Attic models, produced reliefs of great beauty and
plasticism. The works of Canova were likewise classics, though frequently
cold and feeble. Rauch in Germany and Rude in France modeled spirited
reliefs. In our day at the head of the admirable French school of sculpture
stands Rodin, an impressionist and psychologist, producing unfinished
reliefs which nevertheless are almost Greek in their imprint of life. In
Germany, Austria, and England, fine reliefs, especially decorative works,
are being modeled. In Spain and Italy the younger men are forming new
schools of plastic work. In America, though good work in relief is done,
sculpture in the round prevails. Everywhere the tendency is to neglect the
distinction between the different kinds of relief, to be independent in
method and treatment, and principles sway as of old between the pictorial
the pictorial and the plastic.
HTH
T
Odysseus
>
> What is the opposite of embossed. I have this modem that says 6v =
> on the plastic case, with raised letters, but I can't say it is raised
> on the plastic, I don't think. It exists in a raised state, but no
> one raised it.
>
heard "deboss" used to describe a die striking a sheet on the face
rather than from the back.
I think "raised" is indeed the usual term for lettering &c. of the
kind you describe, but I'd only use it attributively; "relief" might
also apply. Describing the process of manufacture rather than the
appearance I'd say "moulded" (you'd no doubt prefer to omit the U).
--
Odysseus