{"id":515,"date":"2018-12-28T16:05:04","date_gmt":"2018-12-28T15:05:04","guid":{"rendered":"http:\/\/sfecag.org\/?page_id=515"},"modified":"2018-12-28T16:05:04","modified_gmt":"2018-12-28T15:05:04","slug":"515-2","status":"publish","type":"page","link":"https:\/\/sfecag.org\/index.php\/515-2\/","title":{"rendered":"Suppl\u00e9ment 1"},"content":{"rendered":"

<\/p>\n\n\n\n
\"\" <\/td>\n\n

Yves RIGOIR et Lucien RIVET<\/span>
\n DE LA REPR\u00c9SENTATION GRAPHIQUE DES SIGILL\u00c9ES<\/b><\/span>
\n 1994 <\/strong>
\n <\/span>Un ouvrage au format 21 x 29,7, cahiers cousus, dos carr\u00e9, couverture quadri de 92 pages<\/span><\/i><\/span><\/p>\n

10,50 \u20ac <\/span><\/p>\n

<\/p>\n

SOMMAIRE<\/span><\/p>\n

<\/center><\/p>\n

    \n
  • \n

    AVANT-PROPOS<\/span><\/b><\/p>\n<\/li>\n

  • \n

    G\u00c9N\u00c9RALIT\u00c9S
    \n <\/span><\/b>Champ d’application de la normalisation
    \n Buts de la normalisation<\/span><\/p>\n<\/li>\n

  • \n

    TECHNIQUES DE BASE
    \n <\/span><\/b>La repr\u00e9sentation g\u00e9om\u00e9trique des formes : <\/span>Sections et profils ; Les formes enti\u00e8res ; Les fragments ;
    \n Les formes restitu\u00e9es : sym\u00e9trie incertaine<\/i><\/span>
    \n Le dessin du d\u00e9cor : \u00eatre juste : <\/span>N\u00e9cessit\u00e9 d’un dessin conforme \u00e0 la r\u00e9alit\u00e9 ; D\u00e9calquage des motifs
    \n <\/i><\/span>Le dessin du d\u00e9cor : \u00eatre lisible : <\/span>Les traits ; Les \u00e9quivoques<\/span><\/i>
    \n Le dessin du d\u00e9cor : \u00eatre comparable : <\/span>Les taux de r\u00e9duction<\/span><\/i><\/p>\n<\/li>\n

  • \n

    LES D\u00c9CORS MANUELS
    \n <\/span><\/b>Les d\u00e9cors lin\u00e9aires creux ou saillants : <\/span>Les moulurations, bourrelets, rainures et incisions p\u00e9riph\u00e9riques
    \n <\/span><\/i>Les d\u00e9cors en creux :<\/span> Les incisions ; Les excisions ; Les guillochis
    \n <\/i><\/span>Les d\u00e9cors en saillie : <\/span>La barbotine
    \n <\/span><\/i>Les d\u00e9cors peints
    \n Les d\u00e9cors lustr\u00e9s<\/span><\/p>\n<\/li>\n

  • \n

    LES D\u00c9CORS MATRIC\u00c9S
    \n <\/span><\/b>Les d\u00e9cors en creux imprim\u00e9s : <\/span>Les poin\u00e7ons plats grav\u00e9s et roulettes<\/i><\/span>
    \n <\/i>Les autres d\u00e9cors en creux imprim\u00e9s<\/span> : Les estampilles ; <\/span><\/i>Les marques infra ou intra-d\u00e9coratives
    \n <\/span><\/i>Le moulage
    \n Les d\u00e9cors moul\u00e9s<\/span><\/p>\n<\/li>\n

  • \n

    LA COMPOSITION D\u00c9CORATIVE
    \n <\/span><\/b>Repr\u00e9sentation : principes g\u00e9n\u00e9raux
    \n Repr\u00e9sentation des fragments
    \n D\u00e9veloppements des formes cylindriques et coniques : <\/span>Les formes cylindriques ; Les formes coniques<\/span>
    \n <\/span><\/i>D\u00e9veloppements des formes h\u00e9misph\u00e9riques et assimil\u00e9es
    \n Mise en place des poin\u00e7ons et motifs sur les d\u00e9veloppements
    \n Cas particulier : les moules
    \n Mise en place et repr\u00e9sentation des d\u00e9cors sur le dessin<\/span><\/p>\n<\/li>\n

  • \n

    LA PUBLICATION
    \n <\/span><\/b>Mise en page des formes compl\u00e8tes<\/span><\/p>\n<\/li>\n

  • \n

    LA PHOTOGRAPHIE<\/span><\/b><\/p>\n<\/li>\n

  • \n

    CONCLUSION<\/span><\/b><\/p>\n<\/li>\n

  • \n

    INDEX<\/span><\/b><\/p>\n<\/li>\n

  • \n

    CR\u00c9DIT BIBLIOGRAPHIQUE<\/span><\/b><\/p>\n<\/li>\n<\/ul>\n

     <\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    <\/center>

    <\/center><\/p>\n","protected":false},"excerpt":{"rendered":"

    Yves RIGOIR et Lucien RIVET DE LA REPR\u00c9SENTATION GRAPHIQUE DES SIGILL\u00c9ES 1994 Un ouvrage au format 21 x 29,7, cahiers cousus, dos carr\u00e9, couverture quadri de 92 pages 10,50 \u20ac SOMMAIRE AVANT-PROPOS G\u00c9N\u00c9RALIT\u00c9S Champ d’application de la normalisation Buts de la normalisation TECHNIQUES DE BASE La repr\u00e9sentation g\u00e9om\u00e9trique des formes : Sections et profils ; […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-515","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sfecag.org\/index.php\/wp-json\/wp\/v2\/pages\/515","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sfecag.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sfecag.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sfecag.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sfecag.org\/index.php\/wp-json\/wp\/v2\/comments?post=515"}],"version-history":[{"count":0,"href":"https:\/\/sfecag.org\/index.php\/wp-json\/wp\/v2\/pages\/515\/revisions"}],"wp:attachment":[{"href":"https:\/\/sfecag.org\/index.php\/wp-json\/wp\/v2\/media?parent=515"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}