FR2485050A1 - TAPESTRY-PIERRERIE: ON FABRICS OR METAL BY INCRUSTATION, STRASS "MIRROR-DIAMOND" OR OTHER. SUBJECT REPRODUCED BY "DATA POINT" THANKS TO BASIC OR PLATED PHOTOGRAPHY - Google Patents

Abstract

Method for manufacturing tapestry decorated with stones on a base element consisting particularly of a cloth or a metal plate on which decorative members are applied. From a photography or a drawing, a model (1) is set and arranged on the base element (5), said model having a preanalysed screen with guiding points indicating the presence or absence of a decorative member (9), the colour and signs of the decorative member, said model (1) being separated from the base element (5) after the setting in place of decorative members (9). Application to tapestries or paintings decorated with stones.

Description

 The object of the invention is to widen the field of investigation of the use of rhinestones 58 facet cut diamonds mirror point, diameter 0, 50 cm; which are commonplace in the show by wearing stage costumes (by gluing or sewing with a cord).

The invention presented is to use the rhinestones with the combinations, which are the satin effects of the fabric "satin" in order to make a tapestry-stone on fabric with tight weft and suffi
resistance to receive these rhinestones in diamond cut, which make
the characteristics of the prism (decomposition of light) on the
side facets and mirror effects on the crown, due to the tip
coated with mirror paint such as mirrored mirrors; the rhinestone is
inlaid with a cap / claw protecting the "mirror-mirror" tip, it is a "double-sided" inlay, following the "A" section. AT".

 The whole of the tapestry (satin, rhinestones, base) can represent a painting by drawing imitating the works of artists, a mosaic, or stylize an outline by a sequence of "point-rhinestones" that the line forms, in combining the nature of rhinestones and satin (or other, such as metal), dd to the crystalline structure of rhinestones, thus produces reflected light (prism of rhinestones, lateral facets, and crown producing mirror effect) giving table thus realized an entirely different dimension to that of the basic table which served as a model.

 The originality of the tapestry-stone is to use the support (satin or fine metal) and the rhinestone 0, 50 cm diameter mirror effect, cut diamond 58 facets, inlaid by base / claw two sides (internal: matte face base / claw and external rhinestone) in the support so we have: (the satin example red color and the mirror rhinestone on the outer face).

 Rhinestone editing will therefore be based on the computer language model - = 0 = satin and 1 = rhinestones or vice versa, or 0 absent state and 1 present rhinestone state).

 The graphic representation can therefore be very varied, ranging from a face, landscape, line, etc ..., stylized drawing for a NEGATIVE effect image if the graph is mounted SW s the "binary" form, thus c 'is the association of two identical arrays, one in state 0, the other in state 1 which reproduces the whole of the basic array; therefore, each table in state 1 or state 0 will have its own originality; the typical example is provided in the photograph "BLACK and BIJANC:".

 Reproduction of the basic model (example a black and white photograph) on the tapestry. Take a square and a drawing T to frame the model; choose the desired scale from the point of 0> 1 mm to 1 cm and, if necessary, to enlarge or reduce the basic model (Figure 2); sample the point selected, side by side, in height (abscissa) and in ordinate (width); Operate line by line descending on the model picture by point-by-point tracking.

 Reproduction of the model being a photograph on raster paper "called MILPERTUIS", allows to postpone the point with a fine needle, or, each point is reproduced by a rhinestone by simple report on the work (any point reproduced on the tapestry is canceled on the basic model is by needle piercing or nullity of a bright color line) which facilitates the identification and recovery of the work.

 The point thus spotted on the original (after the scale is chosen) is reported on the tapestry; it's the "data-point"; this same model base point can be squared example of 4 rhinestones, and thus, offer variants such as filliforme by two elements in width in height to combine magnifying effects in dysmorphography.

 The absent state can be reported by a white "space" on the tapestry under construction for a reproduction in fidelity to the original; the white state on metal sheet can be hollowed so as to give the chained appearance in the body of the drawing; finally, in the example of a face, the bottom can be in "point of two" to give him by chafliage an aspect of depth or checkerboard.

 Regardless, the zones of res can be materialized by rhinestones or satin depending on the binary state retained; counterstays will be easier to perform on metal (metal paper of the order of 0, 1 mm) by recess of white (lack of rhinestones).

 The whole forms irregularities hollow and bumps; due to the absence and presence of the rhinestones in "overhang" on the satin3 always by hollowing of the whites on fine metal, it is the realiaation of a tapestry-stonework "three-dimensional", receiving the light on the satin side and the rhinestones, and on the dull side, from underneath the tapestry (side base / claw).

Another method of transfer of the original (example a photograph) on the model to reproduce satin support or other
The photograph is traced (Figure 1 B) with a line of 5 mm by transfer on colorless layer and this, to the scale; the layer is then included in the tapestry by the base / claw on the matte side of the satin fabric and set by the rhinestones.

 On metal plate (semi-precious metal: silver, copper, etc.) the traditional inlay by conical drilling and gluing on one side can be performed with rhinestones diamond cut 58 facets mirror tip diameter 0.5 cm; or diamond-like semi-precious stone such as ZIRCON (crystalline rock) and thus makes it possible to make the bottom (in Figure 1-B3) for effect of depth of field3 to be used in ascending or descending order on the mathematical value of the carat and more and 1 / 180th carat (scale: Figure 2).

 Art tapestry can be made with synthetic colored stones in diamond cut and inlaid in (2 sides) according to A.A section on fabric or metal plate by conical drilling and gluing (the face); or still according to fig. 26 and 27 by inclusion and welding of the support material or adhesive glue or other.

 The basic model, figure A. 1, may be a negative photographic print, or it may be picked up by the black area to be expressed in rhinestones or the white area.

 In all cases, the mode of execution will be a factor of the function to be performed and the choice formulated.

A) tapestry satin support by inlay 2 faces of the rhinestones E) tapestry metal support (plate) for partial or almost total three-dimensional aspect due to rhinestones, white spaces and white spaces EVIDES.

C) upholstery metal support 1 face by gluing and drilling
D) metal support upholstery by inclusion and relief
Application as an example according to figures 6/6.

 - Figure 1. The model to be reproduced is brought back by scale (figure 2) to a gross line (part B) is: (1) subject, (2) hair, (3) bottom, (4) edge limit of "subject layer ".

Part A: photography serving as "base model".

 - Figure 2. Scale of value to reproduce a subject or scale of value on the mathematical basis "of 1/100 of carat, or carat and more" (1 = minimum value to 4 maximum value, for information).

 - Figure 3. For the reproduction of the example by layer.

Here, the layer is placed on the matte side of the fabric and will be embedded in the base / claw to reproduce the subject in its final form in the case of a stylized subject in its contours; for example here, online line work on the abscissa of the book.

 - Figure 4. The rhinestone used here is 0.5 cm diamond cut facet mirror facet (1) crown (2) side facets prism effect (3) diamond rhinestone tip covered with "ice-mirror".

 - Figure 5. Base / claw rhinestone brass, and conical to receive diamond rhinestone tip (1), envelope base (2) claw for crimping.

 - Figure 6. Installation of the cap / claw on the transparent layer and this, on the matt side of the satin fabric (1) base, <2) claw, (3) layer, (4) satin side of the satin.

 - Figure 7. The base / claw is plugged into the fabric by simply pressing the finger (matte face with layer) (1) base, (2) claw> (3) layer, (4) face mite.

 - Figure 8 The tapestry is turned face satin to accommodate between the claws the rhinestone and crimp (1) base, (2) claw> (3) layer, (4) matte face, (5) satin face, (6) fabric> (7) Rhinestones.

 - Figure 9. Strass fixed permanently by clamping the claws on side faces. Diagram following section A. A, figure 3 "inlay 2 faces" (1) base, (2) claw), (3) rhinestone, (4) satin side, (5) fabric, (6) matte face, (7) layer. Final state.

 - Figure 10. The photograph (Figure 1) is reproduced on it (Figure lB) on the contour only.

 - Figure 11. The hair (Figure 1B2) is executed in full state (rhinestone side by side) - drawing in abbreviated figure 11.

 - Figure 12. The point taken on the base model is raised to its square of four elements; the subject is enlarged and remains in its original state.

 - Figure 13. Configuration of the high point to its square of four elements.

 - Figure 14. Allows "magnifying" effects in "width".

 - Figure 15. Allows "filliform" effects in "height", which opposite to Figure 14 produces effects of depth of field.

Ex. To fill the background of a subject using the same category rhinestones.

 - Figure 16. Executed on metal, allows the three-dimensional state by chaining the point (1) on the hollowed-out blanks and can be interspersed with blanks "present state" (3).

 - Figure 17. Double hunting case of high point squared.

 - Figure 18. Damier (1) square recessed, (2) metal support, (3) rhinestone, for background, Figure 1B.

 - Figure 19. Artist hand tool for insertion of claws into the metal (view from below) (1) handle, (2) support, (3) tips).

- Figure 20. Same as Figure 19 (profile view)
- Figure 21. Same as figure 19 (perspective view)
- Figure 22. Artist's hand tool, for blanking the blanks "state absent" on metal (view below)
- Figure 23. Same as figure 22. (side view)
- Figure 24. Drilling on metal by conical forest
- Figure 25. Insertion of the rhinestones by gluing in the throat made by conical drilling (Figure 24), defined state according to section A.At (Figure 3) with relief overhanging facets and crown of rhinestones.

 - Figure 26. Drilling of metal or other by conical forest of 5 mm and, so as to retain the rhinestone by pressing on part of the facets (by rhinestone inclusion process).

 - Figure 27. The rhinestone is presented on the crown side in the hole, which by conical drilling retains it on the edge of the facets3 to prevent it dislodges, the tip receives resinead'inclusion or a drop of strong glue type "super glue 3 "(transparent glue), rhinestone used: diamond size diameter 0, 5 cm, on silver metal instead of gluing, it is better to make a silver solder, ditto for copper.

Claims (17)

 1) Process of manufacturing a tapestry-stone on fabric (satin example), or on silver metal (metal plate) which becomes a decorative ornamental plate) by reproduction of a work of art or others, by incrustation or inclusion of the rhinestone cut diamond 58 facets with mirror-point and mathematical diameter of the carat (of 1/100 of carat or carat and more), this metal plate or on fabric forms a tapestry by multiplicity of identical irregularities (diamonds rhinestones) with dimensions variables (the rhinestone by mathematical value of the carat), so that the irregularities evoke the subject to be reproduced, with unit in circular outline (rhinestones diamond cut).  2) Method according to claim 1, characterized in that the irregularities are obtained by the presence of rhinestones or their absence; where the support becomes associative, like satin in the absent state of the rhinestones; it is the "data / poirit" binary method in computer science3 is 1; present state; O absent state; these same irregularities (state 1) are thus reliefs, the rhinestone being in "overhang" (lateral facets and crown of rhinestone cut diamond) on the absent state that is the support (satin or metal plate (cut AA figures 3 and 9 on satin), relief 2 faces.  3) Method according to claim 1, characterized in that the support (such as satin) produces effects (satin) associative rhinestone which breaks down the prism light by the facets (diamond cut rhinestones) and reflects light on the crown of the rhinestone-diamond and that by the diamond point which is mirrored in the same way my associative effects of the satin make ripples by sinking on a solid subject. which enhances the subject in the background.  4) Method according to claimsl to 3, characterized in that the rhinestone is either included in the support section A. A Figure 3, and that according to mounting Figures 26 and 27, or by inlay two faces (Figure 9)  or finally by 1-sided inlay (according to figures 24 and 25).  5) Method according to claims 1 to 3, characterized in that the basic model is a photograph type Milpertuis and that each point is carried on the work to build (with automatic cancellation, either by needle break or a line ), it is the method called "data-point" following computer formula which is the binary 1 = state present, 0 state absent; in the black-and-white basic photo, depending on the choice, example in black dots, the painting reproduced will have the appearance of a positive image or if the integral montage is in white dots, the reproduced painting will have the aspect negative of the subject of base, therefore of the original, thus the integral of the original black and white will be represented in two tables which, superimposed, will form the "ORIGINAL of the subject to REPRODUIRE, because, here, the rhinestone is only rhinestone 58 facets like mirror-point diamond and this, of the same category "carat 0, 50 for example." It is with satin by the binary montag-e, the originality of the invention with its method of double-sided inlay on satin or 1 face on metal, or inclusion of the tip and a portion of the facets according to Figures 26 and 27, according to AA section 3.  6) Method according to claims 1 to 3, characterized in that the basic model can be scaled down (figure 2) either to magnify the subject or reduce it, and finally this same scale is used by mathematical value of the carat by the point to be carried over to the work to be created, due to the use of diamond rhinestones, mirror tips and also to the base / brass claw on rhinestones 0.5 cm in diameter (fabric mounting); it is thus a scale of double value which allows on the one hand to reduce or increase the subject to reproduce and moreover, in the construction, after the first scale retained, the latter will be caution of the mathematical value of the rhinestone in diameter used (Example 0, 50 carat, equivalent to 0, 50 cm).  7) Method according to claim 5, the basic photograph is in color5 following the same process "data-point", the point taken from the photograph will be reported to its color "base" with rhinestones or synthetic stones cut diamond inlaid by base / claw (or other, if metal) to the color called "base-point" on the original which is the photograph, on metal by incrustation or inclusion (following drawings in figures 9 or 24, or 25, or 27 or 26.) .  8) Method according to any of the claims described above, special effects either by magnifying the point of origin by four elements (Figure 13) or by (Figures 14 and 15) 2 on 4 elements in height to stylize the drawing a base in the form of a shape or width for enlarging it by sequential or total effects in said reproduction; on the bottom in Figure B. 1. 3 special effects can be made, either by chaining or double chaining (Figures 16 and 17), on metal as well as the form "checkerboard" (Figure 18) so on metal, to get a three-dimensional aspect of the tapestry-piercing painting by light effects on both sides of the plate (above and below) for animations.  9) Process according to claims 1 to 3, characterized in that one starts from a photograph and with the aid of a drawing T and a square (abscissa and ordinate of the photograph), the photograph is pierced along the whole width (ordinate) with a needle and the same in length (abscissa) and each point is transferred to the structure to be constructed (Fig. 3); example taken from the point always on the length and down on the line width to line after each point reported and canceled in length; the drawing T and the square thus serve as a control over the base photograph, and from the point shown on the work in progress; the progression is therefore line to line, point to point;  10) Method according to claims 1 to 3, the basic photograph 1, is following scale figure 2, reproduced on transparent layer by a line of the size of the rhinestones used ('example 0.5 cm); in this case, the layer is included under the matte face of the stonecraft with the base / claw figure 9.  11) Method according to any one of the preceding claims, characterized in that the whole forms a tapestrypierrerie fabric such as satin, with double-sided inlay in the roughness of the relief rhinestones or irregularities by lack of elements (rhinestones), on metal in particular plate constitutes a "tableautapisserie-pierrerie" with by the special effects (recessing of the whites), one obtains the aspect three-dimensional or variant in arrangement of the square for forms filliformes or magnifying finally the value is added mathematical carat for depth effects (eg Fig. 1 B 3), the construction of this tapestry-stone is based on the postponement of the point "data-point" is by layer (trait broken down at its base point), it is the so-called binary formula in computer science; either 1 state of the present rhinestones, and O empty or white state, or space.  12) Method according to any one of the preceding claims, characterized in that the model to be reproduced by data point or each point is represented by a rhinestone and, by decomposition of the line, thus makes it possible to stylize a table or other in the drawing directly on the un-satined side (for example on satin) using a charcoal or pencil (H 4) or engraved on metal,  so that the line is the final construction guide.  13) Method according to any one of the claims  preceding, characterized in that the irregularities are variable,  example an outline figure 1 B 1 or figure 1 B 2, stigmatizing the  hair point next to each other, so is filled the area listed  the hair.  14) Method according to any one of the preceding claims, characterized in that on thick metal thickness, it is used an artist hand tool (Figures 19 to 21) allowing the embedding of the base / claw and ( Fig. 22 and 23) to reveal white spaces.  15) Process according to claim 12, characterized in that the tapestry-stone on metal or fabric can be reproduced in its final state (screen printing, etc.).  16) A method according to any one of the preceding claims, characterized in that the base model picture figure A 1, may be the negative of a photograph or, the realization will be the black rhinestone point by point or the white point inversely), data-point method.  17) Method according to any one of claims 1 to 16, characterized in that the tapestry made is- a metal plate or fabric with rhinestones 58 facets diamond cut by  inlay according to A. A. on satin (fig 9) or inlay 1  face on metal, (Fig. 24, 25) or by inclusion of a part  facets and tip (Figs 26 and 27) using a conical drill and  collage or by inclusion of collage./soldering. with or without stones  color, with or without a mathematical value of the carat, with reproduction in  positive or negative aspect with or without dysmorphography, on fabric  or any other medium.