Firing,
Heating of ceramics in a kiln or oven to a required temperature to bring about permanent changes in the clay or its surface (glaze). The firing of clay causes it to harden and gives it strength and endurance, if clay is not fired over a period it will begin to crumble. Ceramics are sometimes fired twice; the first firing causes changes in the clay and its composition this firing is done before the glaze is applied. The second firing is done to seal the glaze on to the surface of the ceramic.
Heating of ceramics in a kiln or oven to a required temperature to bring about permanent changes in the clay or its surface (glaze). The firing of clay causes it to harden and gives it strength and endurance, if clay is not fired over a period it will begin to crumble. Ceramics are sometimes fired twice; the first firing causes changes in the clay and its composition this firing is done before the glaze is applied. The second firing is done to seal the glaze on to the surface of the ceramic.
Fixation,
Fixation is the process or result of recording a work of authorship in tangible form (Black’s Law Dictionary). Fixation of a work or object of related rights in material form (including storage in an electronic (computer) memory), must be done in a sufficiently stable form, in a way that on this basis the work or object of related rights may be perceived, reproduced or communicated to the public. Fixation in material form is not always a necessary pre-requisite of protectability, but the Berne Convention for the Protection of Literary and Artistic Works (1971) allows national copyright laws to make fixation such a condition. The fixation of traditional cultural expressions in a material form may establish new intellectual property rights in the fixation and these rights may be used indirectly to protect the traditional cultural expressions themselves—such a strategy has been used to protect ancient rock art. It has been argued that the use of the term “expression” could give the impression of a fixation requirement for protection of traditional cultural expressions.
Fixation is the process or result of recording a work of authorship in tangible form (Black’s Law Dictionary). Fixation of a work or object of related rights in material form (including storage in an electronic (computer) memory), must be done in a sufficiently stable form, in a way that on this basis the work or object of related rights may be perceived, reproduced or communicated to the public. Fixation in material form is not always a necessary pre-requisite of protectability, but the Berne Convention for the Protection of Literary and Artistic Works (1971) allows national copyright laws to make fixation such a condition. The fixation of traditional cultural expressions in a material form may establish new intellectual property rights in the fixation and these rights may be used indirectly to protect the traditional cultural expressions themselves—such a strategy has been used to protect ancient rock art. It has been argued that the use of the term “expression” could give the impression of a fixation requirement for protection of traditional cultural expressions.
Fixing solution,
A solution composed of a weekly alkaline substance, such as calcium carbonate, that facilities more permanent chemical combination of an alum mordant to cellulosic fibers.
A solution composed of a weekly alkaline substance, such as calcium carbonate, that facilities more permanent chemical combination of an alum mordant to cellulosic fibers.
Flat screen printing,
The mechanical method by which the cloth is printed using a number of stationary flat screens of a rectangular shape, working in a line. These screens have colour pressed through the mesh, then they are lifted, the cloth moves on the space of one repeat and the process begins again.
The mechanical method by which the cloth is printed using a number of stationary flat screens of a rectangular shape, working in a line. These screens have colour pressed through the mesh, then they are lifted, the cloth moves on the space of one repeat and the process begins again.
Flat weave,
A general term applied to carpets and rugs woven by a tapestry weave or weft wrapping process rather than a knotting technique which produces a tufted pile surface.
A general term applied to carpets and rugs woven by a tapestry weave or weft wrapping process rather than a knotting technique which produces a tufted pile surface.
Flexography,
Printing from rubber rollers cut in relief. Introduced in its rotary form in 1963, it is used in the wallpaper industry and is one of the main means of printing transfer paper.
Printing from rubber rollers cut in relief. Introduced in its rotary form in 1963, it is used in the wallpaper industry and is one of the main means of printing transfer paper.
Floating threads,
Warp or weft threads travelling over or under two or more of the opposite elements.
Warp or weft threads travelling over or under two or more of the opposite elements.
Flood-stroke,
A single stroke (or passage of the squeegee) made while the screens are raised from the table, in flat screen-printing. This fills the mesh with print paste before the screen is lowered to clothe level and the usual squeegee stroke is made; thus in the time of a single stroke almost double the quantity of print paste is applied to the cloth.
A single stroke (or passage of the squeegee) made while the screens are raised from the table, in flat screen-printing. This fills the mesh with print paste before the screen is lowered to clothe level and the usual squeegee stroke is made; thus in the time of a single stroke almost double the quantity of print paste is applied to the cloth.
Fly shuttle,
A shuttle used for weaving on wide looms which is supported by a shuttle race and moves across the loom by pulling a cord.
A shuttle used for weaving on wide looms which is supported by a shuttle race and moves across the loom by pulling a cord.
Focal point,
Most important part or area in a work of art. All other parts should center around, provide background for, or draw attention to the focal point. It is also called the center of interest.
Most important part or area in a work of art. All other parts should center around, provide background for, or draw attention to the focal point. It is also called the center of interest.
Folk art,
Traditional art made by people who have had no formal art training but who practice art styles and techniques that have been handed down through generations.
Traditional art made by people who have had no formal art training but who practice art styles and techniques that have been handed down through generations.
Folklore,
As defined in UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore (1989), “folklore (or traditional and popular culture) is the totality of tradition-based creations, of a cultural community, expressed by a group or individuals and recognized as reflecting the expectations of a community in so far as they reflect its cultural and social identity; its standards and values are transmitted orally, by imitation or by other means. Its forms are, among others, language, literature, music, dance, games, mythology, rituals, customs, handicrafts, architecture and other arts.” The first attempts to explicitly regulate the use of creations of folklore were made in the framework of several copyright laws (Tunisia, 1967; Bolivia, 1968 (in respect of musical folklore only); Chile, 1970; Morocco, 1970; Algeria, 1973; Senegal, 1973; Kenya, 1975; Mali, 1977; Burundi, 1978; Ivory Coast, 1978; Guinea, 1980; Tunis Model Law on Copyright for Developing Countries, 1976) and in an international Treaty (the Bangui text of 1977 of the Convention concerning the African Intellectual Property Organization, hereinafter referred to as “the OAPI Convention”). All these texts consider works of folklore as part of the cultural heritage of the nation (“traditional heritage,” “cultural patrimony”; in Chile, “cultural public domain” the use of which is subject to payment). The meaning of folklore as covered by those texts is understood, however, in different ways. An important copyright-type common element in the definition according to the said laws (except the Tunis Model Law that contains no definition) is that folklore must have been created by authors of unknown identity but presumably being or having been nationals of the country. The OAPI Convention mentions creation by "communities" rather than authors, which delimitates creations of folklore from works protected by conventional copyright. The Tunis Model Law defines folklore using both of these alternatives, and considers it as meaning creations “by authors presumed to be nationals of the country concerned, or by ethnic communities.” According to the Law of Morocco, folklore comprises “all unpublished works of the kind”, whereas the Laws of Algeria and Tunisia do not restrict the scope of folklore to unpublished works. The Law of Senegal explicitly understands the notion of folklore as comprising both literary and artistic works. The OAPI Convention and the Tunis Model Law provide that folklore comprises scientific works too. Most of the statutes in question recognize “works inspired by folklore” as a distinct category of works whose use for commercial purposes requires the approval of a competent body.
As defined in UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore (1989), “folklore (or traditional and popular culture) is the totality of tradition-based creations, of a cultural community, expressed by a group or individuals and recognized as reflecting the expectations of a community in so far as they reflect its cultural and social identity; its standards and values are transmitted orally, by imitation or by other means. Its forms are, among others, language, literature, music, dance, games, mythology, rituals, customs, handicrafts, architecture and other arts.” The first attempts to explicitly regulate the use of creations of folklore were made in the framework of several copyright laws (Tunisia, 1967; Bolivia, 1968 (in respect of musical folklore only); Chile, 1970; Morocco, 1970; Algeria, 1973; Senegal, 1973; Kenya, 1975; Mali, 1977; Burundi, 1978; Ivory Coast, 1978; Guinea, 1980; Tunis Model Law on Copyright for Developing Countries, 1976) and in an international Treaty (the Bangui text of 1977 of the Convention concerning the African Intellectual Property Organization, hereinafter referred to as “the OAPI Convention”). All these texts consider works of folklore as part of the cultural heritage of the nation (“traditional heritage,” “cultural patrimony”; in Chile, “cultural public domain” the use of which is subject to payment). The meaning of folklore as covered by those texts is understood, however, in different ways. An important copyright-type common element in the definition according to the said laws (except the Tunis Model Law that contains no definition) is that folklore must have been created by authors of unknown identity but presumably being or having been nationals of the country. The OAPI Convention mentions creation by "communities" rather than authors, which delimitates creations of folklore from works protected by conventional copyright. The Tunis Model Law defines folklore using both of these alternatives, and considers it as meaning creations “by authors presumed to be nationals of the country concerned, or by ethnic communities.” According to the Law of Morocco, folklore comprises “all unpublished works of the kind”, whereas the Laws of Algeria and Tunisia do not restrict the scope of folklore to unpublished works. The Law of Senegal explicitly understands the notion of folklore as comprising both literary and artistic works. The OAPI Convention and the Tunis Model Law provide that folklore comprises scientific works too. Most of the statutes in question recognize “works inspired by folklore” as a distinct category of works whose use for commercial purposes requires the approval of a competent body.
Foot-braced Loom,
A two bar frameless loom, with one bar secured to a back strap for controlling tension and the other bar braced against the weaver’s feet. A type of back strap tension loom
A two bar frameless loom, with one bar secured to a back strap for controlling tension and the other bar braced against the weaver’s feet. A type of back strap tension loom