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

Effect of additional applied thermal/electric field on the float-glass surface

2009 ◽  
Vol 24 (2) ◽  
pp. 308-311 ◽  
Author(s):  
Zuwu Shen ◽  
Qiming Liu ◽  
Li Meng ◽  
Hongcheng Wang
Keyword(s):  
Electric Field ◽  
Glass Surface ◽  
Float Glass

Effect of composition of the tin melt tank atmosphere on microhardness of float glass surface

1999 ◽  
Vol 56 (5-6) ◽  
pp. 170-171
Author(s):  
A. V. Gorokhovskii ◽  
K. N. Matazov ◽  
E. N. Plekhanova ◽  
E. V. German
Keyword(s):  
Glass Surface ◽  
Float Glass

532 nm Nanosecond laser cutting solar float glass: Surface quality evaluation with different laser spot positions in field lens

Optik ◽  
2020 ◽  
Vol 223 ◽  
pp. 165620
Author(s):  
Haoyu Dong ◽  
Yu Huang ◽  
Youmin Rong ◽  
Chunmeng Chen ◽  
Wenyuan Li ◽  
...  
Keyword(s):  
Surface Quality ◽  
Glass Surface ◽  
Laser Cutting ◽  
Quality Evaluation ◽  
Float Glass ◽  
Laser Spot ◽  
Nanosecond Laser ◽  
532 Nm

scholarly journals INTEGRATION OF MODERN TECHNOLOGY FOR ARCHITECTURAL-BUILDING GLASS PRODUCTION

2021 ◽  
pp. 90-95
Author(s):  
Liudmyla Bragina ◽  
Serhiy Yaitsky ◽  
Dmytro Petrov ◽  
Olena Starolat
Keyword(s):  
Glass Production ◽  
Float Glass ◽  
Modern Technology ◽  
Technological Parameters ◽  
Current State ◽  
Operational Characteristics ◽  
Low Emission ◽  
Wide Range ◽  
Technological Methods

The current state of technologies for the production of glass products used in the architectural and construction industry, types of the energy-saving float-glasses and their role in the lighting quality of the buildings was analyzed. The relevance of the use of Low-E glass, in particular in the glass units, is shown. Innovative trends in the production of sheet architectural and construction float glass with the use of modern technologies and equipment, in particular, at PJSC "Lysychansk glass factory "Proletary ", considered. It is established that a significant disadvantage of more energy-efficient I-glasses, which have a wide range of color characteristics, is the insufficient mechanical strength of soft coatings applied by magnetron vacuum spraying. It is shown that the technology of manufacturing low-emission I-glasses with such coatings does not allow them to be hardened while maintaining all the necessary operating parameters. Physicochemical properties and operational characteristics of large-sized glasses with silver, sunscreen soft coating, laminated, flat and radial tempered glasses, as well as their areas of application are presented. The principles of strengthening soft magnetron coatings for low-emission Double Low-E glasses and composition, layer combinations and technological parameters of multilayer nanocoatings with a total thickness of up to 140 nm, which allows to harden I-glass with these coatings, investigated. The technological parameters of obtaining low-emission I-glasses with variable coatings, which regulate the spectral and operational indicators of these glassware according to the interstate standards GOST EN 673-2016 and GOST EN 410-2014, are analyzed. Technological methods of the sheet glass with low-emission coatings hardening by creating of the special compositions and optimizing magnetron sputtering processes optimizing, as well as the basic regularities of the arrangement of the film layers of the Si3N4 / NiCr / Si3N4 film for the heat treatment withstanding of the glasses in the R2O – RO – SiO2 system are considered. The principles of adjusting their spectral and mechanical characteristics depending on the concentration and ratio of the components of the thin-film nanolayer, which will contribute to the creation of a variation series of float glasses with the required level of reflection in the infrared spectrum, are proposed.

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

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
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