Effect of thermal inhomogeneity of the glass melt on the quality of the glass surface

1980 ◽  
Vol 37 (2) ◽  
pp. 59-61
Author(s):  
V. P. Bespalov ◽  
A. I. Korolev
Keyword(s):  
Glass Surface ◽  
Thermal Inhomogeneity

scholarly journals Fiberglass Surface and Its Electrokinetic Properties

1999 ◽  
Vol os-8 (2) ◽  
pp. 1558925099OS-80
Author(s):  
Daojie Dong
Keyword(s):  
Zeta Potential ◽  
Glass Surface ◽  
Important Variable ◽  
Electrokinetic Properties ◽  
Potential Measurement ◽  
Fiber Dispersion ◽  
Basic Concepts ◽  
Electrokinetic Characterization

The surface charge of fiberglass is an important variable for fiber dispersion and web formation in a wet-laid process. This paper presents an overview of the glass surface electrokinetic properties as well as their applications for improving the quality of wet-laid nonwovens through good fiber dispersion and uniform web formation. The paper addresses the basic concepts used in electrokinetic characterization of glass surface and briefly discusses the available techniques for zeta potential measurement.

scholarly journals GAMBAR KACA, BERCERITA DALAM SATU SKENA

CORAK ◽  
2014 ◽  
Vol 3 (2) ◽  
Author(s):  
Akhmad Nizam ◽  
Agung Wicaksono
Keyword(s):  
Art History ◽  
Glass Surface ◽  
Visual Art ◽  
Rice Field ◽  
Human Being ◽  
Mirror Surface ◽  
Ordinary People ◽  
Glass Making ◽  
The Right

Painted glass has many various theme, forexamples Islamic calligraphy, mosque,biography of Nabi, buroq, legend, and wayangs. In fact, painted glass has important positioningin Indonesia visual art history. The technique of painted glass making is very unique because itis done on the back of mirror surface. The result of this technique is opposite, left parts willbecome right parts, first color will become frontiest color in glass surface. The quality of paintwill be covered in glass, so it is very good in durability. Painted glass can be protected bycoating on the back of glass surface.In the year of 70’s, many of Javanese traditional house are decorated by painted glass,but it decrease gradually. Recently, the painted glass is less because glass is fragile material,damaged with age, or sold to the art shop. Many people considered the old painted glass isoutdated, however today, painted glass becomes artwork media for modern artist. It is meansthat painted glass not a pheriperal artwork. At first glance that traditional painted glassappears made by ordinary people. It seem as a naïve form, wrong composition, andcontrasting color collide. View of mountain, wet rice field, house, and human being arecomposed as one scene pile, it is wrong in perspective law. And the right question, is that true?Painted glass similary wayang beber, relief of temple wall, drawing by childern, Balitraditional painting, is composed in one scene pile. Why the traditional artist do it? In westernperspective law it is really wrong. But this is the manner of traditional painting inIndonesia.Right or wrong in ordinary drawing low is not their purpose. Their approches is ideoplastis,meaning is more important than the visualization. Keyword: tradition, scene, painted glass  Gambar kaca memiliki beragam tema, seperti tema religi (kaligrafi, masjid, kisah Nabi,singa ajaib, (buroq), legenda (Joko Tarup, Syeh Dumbo, Untung Suropati, pengantin LoroBlonyo) dan bermacam-macam tema wayang. Sebenarnya gambar kaca memiliki kedudukanyang penting dalam sejarah perkembangan seni rupa Indonesia. Pembuatan gambar kacadilakukan secara terbalik, yaitu dari belakang, inilah uniknya. Bidang gambar sebelah kananakan menjadi sebelah kiri, begitu juga sebaliknya. Warna pertama yang ditorehkan akanmenjadi warna paling depan, karena berada dibelakang kaca kualitas warna cat terlindungi,sehingga tetap cemerlang dalam waktu yang lama. Gambar kaca juga memiliki kelemahan,setelah 50-60 tahun cat akan mengelupas, hal ini dapat diatasi dengan memberi lapisanpelindung dari belakang.Era 70-an gambar kaca ini masih banyak menghiasi rumah tradisional Jawa, tetapisekarang jarang sekali dijumpai. Hal ini dapat dimengerti karena bahan kaca mudah pecah dankondisinya sudah banyak yang rusak dimakan usia, atau dijual ke art shop karena alasanekonomi, dan gambar kaca tempo dulu dianggap sudah ketinggalan zaman. Anggapan ini tidaksepenuhnya benar, era sekarang ini karya seni dengan berbagai media dapat digunakansebagai sarana berekspresi. Media kaca dapat dimanfaatkan oleh perupa modern menjadikarya seni visual, artinya sudah saatnya seni gambar kaca tidak dianggap sebagai karyapinggiran. Sekilas tampak bahwa gambar kaca tradisional dibuat oleh mereka yang tidakmengetahui seni. Bentuknya naif, olahan warnanya kontras sering bertabrakan, dan terutamakomposisinya salah. Pemandangan gunung, sawah, bangunan dan manusia disusun secarabertumpuk dalam satu skena, hal ini jika dilihat dari ilmu perspektif akan disalahkan olehmereka yang belajar disiplin ilmu seni, benarkah demikian?Gambar kaca, seperti halnya wayang beber, relief dinding candi, gambar anak, lukisantradisional Bali dibuat dengan susunan bertumpuk seperti itu. Mengapa mereka melakukan halitu? Hal ini jika dinilai dari ilmu perspektif Barat, memang salah. Tetapi demikianlah tradisimenggambar di Indonesia. Benar dan salah dalam suatu gambar, bukan yang utama, bukan itutujuannya. Yang penting adalah isi dari gambar itu dapat dibaca sepanjang waktu, menjadisebuah gambar yang hidup, gambar yang memuat banyak cerita dalam satu skena. Kata kunci: tradisi, skena, gambar kaca

Protection and retention of the quality of float glass surface

1999 ◽  
Vol 56 (7-8) ◽  
pp. 204-206
Author(s):  
V. I. Kondrashov ◽  
T. V. Kaplina ◽  
T. Ya Reiter ◽  
V. I. Shelikhova
Keyword(s):  
Glass Surface ◽  
Float Glass

scholarly journals Application of dichroic glass in the architectural design of buildings

2020 ◽  
Vol 18 (2) ◽  
pp. 195-201
Author(s):  
Vladana Petrovic ◽  
Branislava Stoiljkovic ◽  
Milica Zivkovic ◽  
Natasa Petkovic-Grozdanovic ◽  
Milena Medenica
Keyword(s):  
Interior Design ◽  
Glass Surface ◽  
Architectural Design ◽  
Optical Glass ◽  
Spatial Dynamics ◽  
Interior Space ◽  
Aesthetic Quality ◽  
Light Passing ◽  
The Aesthetic

The application of coloured and optical glass in architecture is of great importance in terms of creating spatial dynamics and uniqueness of space. Dichroic glass is a type of glass coated with a thin layer of metal, which causes the glass surface to change in colour depending on the viewing angle. The colour of the glass depends on the incidence of different wavelengths of light passing through or bouncing off the glass surface, thus creating different effects of colour refraction. Created effects provide different possibilities in the design of buildings and improvements in the aesthetic quality of the interior space. This paper deals with the analysis and application of coloured dichroic glass in architecture and interior design.

Defects of Golden and Luster Decorations on Glass

2008 ◽  
Vol 39-40 ◽  
pp. 571-574
Author(s):  
Helena Hradecká ◽  
Dana Rohanová
Keyword(s):  
Thin Layer ◽  
Technological Process ◽  
Glass Surface ◽  
Defect Formation ◽  
Optical Microscope ◽  
High Quality ◽  
Sodium Potassium ◽  
High Durability ◽  
Commercial Glass

Decoration of glass by a thin layer of golden or luster solutions demands a high quality of the glass surface, decorating solutions, as well as technological procedure. In the presented work the authors monitored causes of defect formation for two types of luster decorations and two types of commercial glass gilding preparations with various Ag contents. The results have shown that in case of an unsuitable technological process the layers on the glass demonstrate insufficient adhesion, colors different from the required shade or matt spots. The resistance of golden decorations against damage was further tested by washing of decorated samples in a dishwasher. In case of alkaline washing the decorations were more resistant on sodium-potassium glass and on a previously dealkalised glass surface. A high durability against washing was found for the golden decoration with high Ag content. The quality of layers was investigated with a spectrophotometer, optical microscope and SEM and compositions of the original and decorated glasses were determined with RTG-F and SEM/EDS analyses.

Immunoferritin localization of intracellular antigens in positively stained frozen sections

1978 ◽  
Vol 36 (2) ◽  
pp. 168-169
Author(s):  
K. T. Tokuyasu
Keyword(s):  
Surface Tension ◽  
Water Surface ◽  
Thin Layers ◽  
The Other ◽  
Positive Staining ◽  
Frozen Sections ◽  
The Past ◽  
Ultrathin Frozen Sections ◽  
Definition Of

During the past investigations of immunoferritin localization of intracellular antigens in ultrathin frozen sections, we found that the degree of negative staining required to delineate u1trastructural details was often too dense for the recognition of ferritin particles. The quality of positive staining of ultrathin frozen sections, on the other hand, has generally been far inferior to that attainable in conventional plastic embedded sections, particularly in the definition of membranes. As we discussed before, a main cause of this difficulty seemed to be the vulnerability of frozen sections to the damaging effects of air-water surface tension at the time of drying of the sections.Indeed, we found that the quality of positive staining is greatly improved when positively stained frozen sections are protected against the effects of surface tension by embedding them in thin layers of mechanically stable materials at the time of drying (unpublished).

Lithography below 100 nm

1983 ◽  
Vol 41 ◽  
pp. 96-99
Author(s):  
L. D. Jackel
Keyword(s):  
Spatial Distribution ◽  
Electron Beam ◽  
Electron Scattering ◽  
Electron Beam Lithography ◽  
Substrate Material ◽  
Local Electron ◽  
Electron Dose ◽  
Positive Resist ◽  
Exposure Process

Most production electron beam lithography systems can pattern minimum features a few tenths of a micron across. Linewidth in these systems is usually limited by the quality of the exposing beam and by electron scattering in the resist and substrate. By using a smaller spot along with exposure techniques that minimize scattering and its effects, laboratory e-beam lithography systems can now make features hundredths of a micron wide on standard substrate material. This talk will outline sane of these high- resolution e-beam lithography techniques.We first consider parameters of the exposure process that limit resolution in organic resists. For concreteness suppose that we have a “positive” resist in which exposing electrons break bonds in the resist molecules thus increasing the exposed resist's solubility in a developer. Ihe attainable resolution is obviously limited by the overall width of the exposing beam, but the spatial distribution of the beam intensity, the beam “profile” , also contributes to the resolution. Depending on the local electron dose, more or less resist bonds are broken resulting in slower or faster dissolution in the developer.

Convergent Beam Electron Diffraction

1978 ◽  
Vol 36 (3) ◽  
pp. 304-315
Author(s):  
G. Lehmpfuhl
Keyword(s):  
Electron Diffraction ◽  
Diffraction Pattern ◽  
Crystal Surface ◽  
Diffraction Spot ◽  
Crystal Thickness ◽  
Large Area ◽  
Electron Microscopic ◽  
Additional Information ◽  
Microscopic Investigations

Introduction In electron microscopic investigations of crystalline specimens the direct observation of the electron diffraction pattern gives additional information about the specimen. The quality of this information depends on the quality of the crystals or the crystal area contributing to the diffraction pattern. By selected area diffraction in a conventional electron microscope, specimen areas as small as 1 µ in diameter can be investigated. It is well known that crystal areas of that size which must be thin enough (in the order of 1000 Å) for electron microscopic investigations are normally somewhat distorted by bending, or they are not homogeneous. Furthermore, the crystal surface is not well defined over such a large area. These are facts which cause reduction of information in the diffraction pattern. The intensity of a diffraction spot, for example, depends on the crystal thickness. If the thickness is not uniform over the investigated area, one observes an averaged intensity, so that the intensity distribution in the diffraction pattern cannot be used for an analysis unless additional information is available.

Observability of Very Thick Specimen by Using Transmission Scanning Electron Microscope

1971 ◽  
Vol 29 ◽  
pp. 26-27
Author(s):  
K. Shibatomi ◽  
T. Yamanoto ◽  
H. Koike
Keyword(s):  
Electron Microscope ◽  
Image Quality ◽  
Scanning Electron Microscope ◽  
Chromatic Aberration ◽  
Image Contrast ◽  
Objective Lens ◽  
Thick Specimen ◽  
Transmission Electron ◽  
Scanning Electron

In the observation of a thick specimen by means of a transmission electron microscope, the intensity of electrons passing through the objective lens aperture is greatly reduced. So that the image is almost invisible. In addition to this fact, it have been reported that a chromatic aberration causes the deterioration of the image contrast rather than that of the resolution. The scanning electron microscope is, however, capable of electrically amplifying the signal of the decreasing intensity, and also free from a chromatic aberration so that the deterioration of the image contrast due to the aberration can be prevented. The electrical improvement of the image quality can be carried out by using the fascionating features of the SEM, that is, the amplification of a weak in-put signal forming the image and the descriminating action of the heigh level signal of the background. This paper reports some of the experimental results about the thickness dependence of the observability and quality of the image in the case of the transmission SEM.

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