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| United States Patent |
7,629,400 |
|
Hyman
|
December 8, 2009
|
Image making medium
Abstract
The invention relates to an image support medium for creation of an
aesthetic image that is an work or object for display. This support
medium includes a polymer in an amount sufficient to enable the image to
have at least one aesthetic element. In different embodiments, the image
support medium is an image support stabilizer, the polymer is a synthetic
absorbent or conductive polymer, or the polymer is a transparent or
synthetic translucent polymer and a property of this transparent or
translucent polymer is enhanced to facilitate the creation or
preservation of the image by at least one stabilizer. The invention also
relates to a method for preparing this image support medium. The method
includes forming a reaction mixture comprising a monomer in an amount
sufficient to provide or enable the image to have an aesthetic element,
and processing the reaction mixture into a 2- or 3-dimensional shape.
| Inventors: |
Hyman; Sydney (New York, NY) |
| Appl. No.:
|
10/170,503 |
| Filed:
|
June 14, 2002 |
Related U.S. Patent Documents
| | | | | |
|
| Application Number | Filing Date | Patent Number | Issue Date |
| | 10012259 | Dec., 2001 | | |
| | PCT/US00/16111 | Jun., 2000 | | |
| | 60138694 | Jun., 1999 | | |
|
|
| Current U.S. Class: |
524/106 ; 528/502R |
| Current International Class: |
C08K 5/3445 (20060101) |
| Field of Search: |
524/106 528/502R
|
References Cited [Referenced By]
U.S. Patent Documents
Foreign Patent Documents
| | | | | |
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| 195 22 118 | |
Mar., 1997 | |
DE |
|
| 0 120 296 | |
Jun., 1986 | |
EP |
|
| 0827 981 | |
Mar., 1998 | |
EP |
|
| 0 921 160 | |
Jun., 1999 | |
EP |
|
| 974 111 | |
Nov., 1964 | |
GB |
|
| WO 91/16143 | |
Oct., 1991 | |
WO |
|
|
Primary Examiner: Cain; Edward J
Parent Case Text
CROSS-REFERENCE TO RELATED APPLICATIONS
This application is a continuation of application Ser. No. 10/012,259,
filed Dec. 11, 2001, now abandoned, which is a continuation-in-part of
PCT Application No. PCT/US/00/16111, filed Jun. 12, 2000, now pending,
which claims the benefit of Provisional Application No. 60/138,694, filed
Jun. 11, 1999, the contents of each of which are expressly incorporated
herein by reference thereto.
Claims
What is claimed is:
1. A method for making a synthetic fine-artist's image-making canvas support medium as a new reinvented version of the conventional utilitarian fine artist's canvas, wherein
the new reinvented canvas support medium facilitates the creation of art, design or architecture therewith, thereupon or therefrom, referred to herein as an image, which method comprises: preparing the canvas support medium with at least one
non-conductive or poorly conductive polymer and forming the canvas support medium so that it can support its own weight or be free standing and the method requires one or more of A)-(F): (A) the at least one polymer is non-absorbent, the canvas support
medium is formed with a visible surface that is transparent, translucent or both to allow light to pass into it or through it, the canvas support medium is made with at least one fine-art stabilizer present to provide or enhance a property of the
polymer, and the canvas support medium is made with polymer or with polymer and a fine-art stabilizer providing sufficient mechanical or structural properties so that the canvas support medium can support its own weight or be freestanding, and
additionally, the canvas support medium is prepared according to A-1 or A-2: A-1 the at least one polymer is partially or entirely poly(methyl methacrylate) or acrylic, or it is partially or entirely a polymer made with a methacrylate ester or
methacrylamide derivative, and (i) an impact modifier stabilizer is present; a stabilizer is present that affects surface flow or leveling, or a stabilizer is present that facilitates superimposing applications; a stabilizer is present to further
enhance the ability of the formed canvas support medium or the image to remain color stable or to remain unchanged with exposure to ultraviolet light; or a stabilizer is present that enhances bonding or that is a surface preparation stabilizer layer,
(ii) the at least one polymer is: (a) partially or entirely 2D planar; or (b) partially but not completely poly(methyl methacrylate) or acrylic, or it is partially but not completely polymer made with a methacrylate ester or methacrylamide derivative;
or (iii) the canvas support medium has: deckled edges, irregularities throughout resembling the texture of handmade paper, texture resembling conventional canvas, or a polymer form that is partially rigid and partially flexible, or, A-2 when the at least
one polymer is a different non-absorbent polymer than that described in A-1 above, it has a stabilizer present to enhance the ability of the formed polymer, the canvas support medium or the image to remain color stable or to remain unchanged with
exposure to ultraviolet light, and the canvas support medium also has one or more of (i)-(iii): (i) the at least one polymer is made with only one monomer or one polymer and this at least one polymer is: (i-a) consistently rigid, 2D planar polyvinyl
chloride with a stabilizer to enhance bonding, or (i-b) one that differs from polyvinyl chloride, (ii) the at least one polymer is a copolymer, the at least one polymer is a mixture with more than one polymer, or the at least one polymer is superimposed
by a second polymer that differs from it, (iii) the canvas support medium has a stabilizer present that enhances bonding or that is a surface preparation stabilizer layer; it has a stabilizer present that affects surface flow or leveling, or it has a
stabilizer present that facilitates superimposing applications; it has deckled edges, irregularities throughout resembling the texture of handmade paper, or texture resembling conventional canvas, (B) making at least part of the canvas support medium
with: its at least one polymer being a synthetic absorbent polymer; one or more conductive polymers in addition to its at least one polymer; or an organic light emitting diode (OLED) made with one or more conductive polymers; (C) enhancing the ability
to develop the aesthetic image by additive processes, or providing this development by: (i) making the canvas support medium as a transparent or translucent form with a surface preparation stabilizer layer or other stabilizer in or on it's surface that
enhances or enables bonding to at least one conventional artist's medium; (ii) forming the canvas support medium with a polymer surface made with a stabilizer ingredient in it that bonds or fortifies the bond between it and one or more superimposed
conventional artist's mediums, wherein this stabilizer ingredient is at least one conventional artist's painting medium, primer or binder; or (iii) developing the aesthetic image by using the at least one polymer to prepare one or more transparent or
translucent separating layers separating applications, layers or attachments of one or more other kinds of aesthetic, design or pictorial elements on it's or on their opposing sides, and, the method requires at least one of (iii-1)-(iii-5) plus at least
one of (iii-a)-(iii-f): (iii-1) two or more of these transparent or translucent polymeric layers separate applications or layers of one or more kinds of conventional artist's mediums from this group: oil paint, encaustic, other oil based artist's
mediums, paint stick, casein paint, vinyl paint, alkyd paint, watercolor, gouache, tempera, egg tempera, ink, pastel, charcoal, conte crayon, pencil, graphite, collage, photographic transparencies, and photographic emulsions; (iii-2) one or more of
these polymeric layers separate applications, layers or attachments of one or more kinds of aesthetic elements in (D) (i)-(iv) below, either with one or more applications described above in (iii-1) or free of them; (iii-3) two or more of these polymeric
layers separate applications, layers or attachments of one or more elements in (iii-1) or (iii-2) above, from an application or layer of acrylic paint; (iii-4) two or more of these polymeric layers separate one or more kinds of applications, layers or
attachments in (iii-1)-(iii-3) above from carving or incising that is free or nearly free of legible text; or (iii-5) two or more of these polymeric layers separate one or more kinds of applications, layers or attachments in (iii-1)-(iii-4) above from
at least one LED, OLED or light source; moreover, in addition, the method requires that all of these layers bond to one another or that they be bonded to one another to make one whole form, and one or more of (iii-a)-(iii-f): (iii-a) the form is made
according to (iii-2) above; (iii-b) the polymeric separating layers are: poly(methyl methacrylate) or acrylic and also non uniform, irregular, perforated or with a negative space; they are made with a methacrylate ester or methacrylamide derivative and
also non uniform, irregular, perforated or with a negative space; they are made with polymer according to section (A) above; they are a polymer that is different from these; or they are a combination of these; (iii-c) a stabilizer or surface
preparation stabilizer is added to enhance or enable bonding; (iii-d) both opposing sides of each polymeric separating layer are cleaned sufficiently to render them receptive to a conventional artist's medium named in (iii-1) above and to provide
enhanced bond strength and permanence to facilitate development of the aesthetic image; (iii-e) the canvas support medium or image is accompanied by instructions for the development or further development of the aesthetic image; or (iii-f) the work is
prepared with a means or a key part of a means of installation or display; (D) preparing the canvas support medium or image with a polymeric, visible, aesthetic element: (i) at least part of the positive or negative form of which functions as a lens, a
Fresnel lens, a grating, a diffraction grating or a prism; a transparent or translucent lenticular lens or form; or two or more of these; (ii) with a photochromic effect and a form made for viewing apart from the human face, unsuitable or
uncomfortable to wear on the human face or incapable of fitting on the human face, or with a dichroic effect; or (iii) with an electrochromic effect whereby it responds to changes in electrical current by changing or by changing it's state of or it's
level of: transparency, translucency, reflectivity, light emission employing conductive polymer, it changes the path or color of the light passing through it, or a combination of these; (iv) one or more of (i)-(iii) that serves as part or all of an
image support, an image support stabilizer or an underlayer; and this canvas support medium prepared according to (i), (ii), (iii), or (iv) is also prepared with one or more of (1)-(4): (1) a conductive polymer or an absorbent polymer, (2) a stabilizer
that provides or enhances it's color stability or it's ability to remain unchanged with exposure to ultraviolet light; (3) it is cleaned sufficiently to render it receptive to artist's paint and to provide enhanced bond strength and permanence to
facilitate development of the aesthetic image; or (4) it is developed into an aesthetic image by being used as an underlayer, as an image support, or as an image support stabilizer for a work with painting, drawing, a photographic transparency or
collage; it is developed into an aesthetic image by the addition of a pictorial or a design element free of visible legible text or it is developed into an image of fine art; or the photochromic, dichroic or eletrochromic effect of (ii) or (iii) above
provides a pictorial or design element, a picture or a drawing thereby developing the aesthetic image; (E) preparing the canvas support medium according to (a) or (b): (a) with a form that is transparent, translucent or both and with a strengthening
stabilizer that is internal or on it's underside that is invisible or largely invisible to viewers, wherein it is also prepared with (1) or (3) below; or (b) preparing the at least one polymer so that it is at least partially poly(methyl methacrylate)
or acrylic, or it is at least partially polymer made with a methacrylate ester or methacrylamide derivative, and also this polymer is stiffened with one or more of: a different second polymer, an impact modifier stabilizer, a strengthening stabilizer of
a different, stronger or more rigid polymer; or the fiber strengthening stabilizer in (3) below; moreover this canvas support medium prepared according to (a) or (b) is also prepared with at least one of (1)-(4): (1) a stabilizer that provides or
enhances it's color stability or it's ability to remains unchanged with exposure to ultraviolet light or alternately, a stabilizer that enables or enhances bonding to conventional artist's mediums; (2) it is cleaned sufficiently to render it receptive
to artist's paint and to provide enhanced bond strength and permanence facilitating development of the aesthetic image; (3) a strengthening stabilizer that is a surfacing veil fiberglass or a fiber that becomes largely invisible or invisible to the
unaided human eye when used within or under transparent colorless polymer or when used within or under transparent colorless polymer that penetrates it, that is at least about a quarter of an inch thick, or both, or (4) it is developed into an image by
the application a conventional artist's drawing or painting medium to which it bonds, or it is developed into an image of fine art; or (F) preparing the canvas support medium or aesthetic image as or with a visible display device that includes multiple
non-light-emissive colorants capable of changing their visibility, their color or both, with energy from a source that is part of the canvas support medium or image, or with energy conducted by the canvas support medium or image, so that the overall
visual effect is sufficient to enable at least a portion of the canvas support medium or the aesthetic image to have a display that is a visible aesthetic, design or pictorial element, and the canvas support medium prepared with one or more of (A)-(F)
above, is made with it's at least one polymer, or with one or more conductive polymers in an amount sufficient to provide or enable the image to have at least one aesthetic element, so that the reinvented canvas support medium facilitates artistic
expression, and the creation and display of an aesthetic image that is art, design or architecture made therewith, thereupon or therefrom that is a work or object for visual observation or display and a whole in and of itself with distinct boundaries or
edges; and the method also requires one or more of a)-h) below: a) developing the canvas support medium into an aesthetic image that is art, design or architecture, wherein the canvas support medium has polymer providing or enabling at least one
aesthetic element, and at least one of (a-i)-(a-iv): (a-i) the at least one aesthetic element is provided or enabled by an absorbent polymer; (a-ii) the at least one aesthetic element is provided or enabled by at least one non-conductive or poorly
conductive polymer and: (a-ii-a) the image is made according to (A), (C), (D), or (E) above, or alternately, it is made according to (B) above with a conductive polymer OLED or free of the specifications of (F) above, or (a-ii-b) the image is made
according to (F) above wherein the display device has conductive polymer or is free of conductive polymer and wherein the image is otherwise free of the specifications in (B) above and it is free of the specifications in (A), and (C)-(E) above, moreover,
this image is fine art, it is architecture, or it is a work of design for viewing or display apart from direct contact with the human body rather than worn on it as fashion design; (a-iii) making the canvas support medium into an image of fine art with
a flexible, 2D planar, light-sensitive photographic recording material that has conductive polymer, wherein the canvas support medium also has conductive polymer that is separate from this photographic recording material which provides or enables at
least one aesthetic element; or making the canvas support medium into an image of fine art free of this photographic recording material wherein the canvas support medium has conductive polymer that provides or enables at least one aesthetic element;
(a-iv) developing the canvas support medium into another kind of aesthetic image, or an image of design or architecture using a conductive polymer that provides or enables at least one aesthetic element and (1) or (2): (1) conductive polymer that is
separate from that in the canvas support medium's photographic recording material (above) or conductive polymer in a canvas support medium free of this photographic recording material provides or enables at least one aesthetic element and this conductive
polymer: (1-i) leaves the thermal and static electrical properties of canvas support medium and the image substantially unchanged or constant; (1-ii) provides or enables an aesthetic element by conducting electricity, or by its use with electrical
current, with electricity that flows or that can flow, or with non-static electricity, or (1-iii) provides or enables at least one visible aesthetic element; or alternately, (2) the conductive polymer provides or enables the canvas support medium and
the image to have at least one aesthetic element that is audible, interactive or a light emitting; b) accompanying the canvas support medium with instructions on developing it into an aesthetic image that is art, design or architecture and (i), (ii) or
(iii): (i) making the canvas support medium with a flexible, 2D planar, light-sensitive photographic recording material having conductive polymer and at least one other ingredient and accompanying it with instructions on how it's other ingredient or
ingredients might be further developed to form an aesthetic image for viewing; (ii) making the canvas support medium according to (F) above wherein the display device has conductive polymer or is free of conductive polymer and wherein the canvas support
medium is otherwise free of the specifications in (B) above and it is free of the specifications in (A), (C)-(E) above, and wherein the canvas support medium is made for forming an image of fine art, an image of architecture, or an image of design for
viewing or display apart from direct contact with the human body rather than worn on it as fashion design; or alternately, (iii) making the canvas support medium entirely free of the photographic recording medium, and: (iii-1) free of the specifications
of (F) above; (iii-2) according to (A), (C), (D), or (E) above; or (iii-3) according to (B) above with absorbent polymer, or with conductive polymer that is separate from it's display made according to (F) above; c) forming the canvas support medium
with a polymer surface made with a stabilizer ingredient in it that bonds or fortifies the bond between it and one or more superimposed conventional artist's mediums, wherein this stabilizer ingredient is at least one conventional artist's painting
medium, primer or binder; d) forming the canvas support medium with an aesthetic texture made by taking one or more negative or positive impressions from one or more organic or natural materials, to make texture on the canvas support medium that
resembles the organic or natural material's texture or each organic or natural materials' texture, a negative impression of it or them, or a combination of these, or such a texture made on the canvas support medium from at least part of a Nymphaeaceae
Victoria also known as an Amazon Water-lily, however when the canvas medium is formed only according to (A) above and is free from the specifications in (B)-(F), the method requires making the canvas support medium in an overall form that is abstract or
geometric, that
appears unnatural, inorganic and nonhuman, or that is otherwise free from looking like the real natural or organic form or forms from which the texture was made, and therefore free from being: a realistic portrayal; a human, animal or plant
form; or a specimen or model that looks like the real, natural or organic form or forms, e) forming the canvas support medium with: deckled edges, irregularities throughout resembling the texture of handmade paper, or texture resembling conventional
canvas, or forming the canvas support medium with an aesthetic texture and a display having conductive polymer, an OLED having conductive polymer or with the display in (F) above, such that the aesthetic texture is deeper than small surface
irregularities, or an ordinary sandblasted or sanded surface; (f) preparing the canvas support medium with a means or a key part of the means of installation or display as an aesthetic image wherein the canvas support medium is formed: (i) according to
(A), (C), (D) or (E) above, or with an absorbent polymer; (ii) with either a conductive polymer OLED or with the display in (F) above whereupon it is free or nearly free of visible legible text; or (iii) with conductive polymer that is not part of any
OLED or display in (F) above; g) preparing the canvas support medium with conductive polymer, with an OLED made with conductive polymer, or according to (C) or (F) above, and also cleaning it sufficiently to render it receptive to a superimposed
artist's medium and to enhance the strength and permanence of the bond formed between that surface and an artist's medium; or h) the canvas support medium is prepared according to D (ii) or D (iii) above and the photochromic, dichroic or eletrochromic
effect provides a pictorial or design element, a picture or a drawing thereby developing it into an aesthetic image.
2. A method for making a synthetic fine-artist's image-making canvas support medium as a new reinvented version of the conventional utilitarian fine artist's canvas, wherein the new reinvented canvas support medium facilitates the creation of
art, design or architecture therewith, thereupon or therefrom, referred to herein as an image, which method comprises: preparing the canvas support medium with at least one non-conductive or poorly conductive polymer and making the canvas support medium
into a plurality of associated sheets arranged in a pad or book for image-making, or in a pad or a book with a form of or similar to a conventional blank paper pad or blank book for image-making, and one or more of (A)-(F): (A) the at least one polymer
is non-absorbent, the canvas support medium is made with at least one fine-art stabilizer present to provide or enhance a property of the polymer, the canvas support medium is made with a visible surface that is transparent, translucent or both to allow
light to pass into it or through it, and the canvas support medium has at least one of these specifications marked (i)-(vi): (i) the at least one polymer is flexible cellulose acetate, flexible polyester or polyvinyl chloride that is thicker than 2D
planar, or it is flexible cellulose acetate, flexible polyester or polyvinyl chloride made with a stabilizer to enable or enhance bonding that is a conventional image making paint, size, or primer or a binder used in a conventional image making medium or
material; alternately, the at least one polymer is made with a different polymer and: (a) a stabilizer to enhance or provide the ability of the formed canvas medium or the image to remain color stable or to remain unchanged with exposure to ultraviolet
light, (b) a stabilizer to enhance or provide the ability to bond, or (c) both (a) and (b), (ii) the at least one polymer is a co-polymer, or a mixture of more than one polymer; or the at least one polymer is partially or entirely poly(methyl
methacrylate) or acrylic, or it is partially or entirely made with a methacrylate ester or methacrylamide derivative; or preparing the at least one polymer so that it is at least partially poly(methyl methacrylate) or acrylic, or it is at least
partially made with a methacrylate ester or methacrylamide derivative, and also stiffening this polymer with one or more of: a different second polymer, an impact modifier stabilizer, a strengthening stabilizer of a different, stronger or more rigid
polymer; or the fiber strengthening stabilizer in (iv-c) below; (iii) the canvas support medium is partially or entirely thicker than 2D planar; or it is 2D planar with a strengthening stabilizer on or in it's polymer that is one or more of: a rigid
layer, part or area; a layer or a part that is or that functions as a crossbar, as a reinforcing rib or strut, as a frame, as a stretcher, as a mat, or as a framework to enhance strength or as reinforcement; a partial or discontinuous layer to enhance
strength or reinforce; a strengthening stabilizer that is not visible to viewers in its use within the polymer form; or a strengthening stabilizer that is fiber, (iv) the canvas support medium's form is made transparent, translucent or both with a
strengthening stabilizer that is internal or on its underside, which is invisible or largely invisible to viewers; additionally, the canvas support medium is prepared with one or more of: (iv-a) a stabilizer that enables or enhances bonding to
conventional artist's mediums, (iv-b) it is made color stable or so that it remains unchanged with exposure to ultraviolet light or it is made with a stabilizer providing or enhancing this feature, or (iv-c) a strengthening stabilizer that is a surfacing
veil fiberglass or a fiber that becomes largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or when used within or under transparent colorless polymer that penetrates it, that is at least about
a quaffer of an inch thick, or both, (v) the canvas support medium has: at least one substantially inflexible curve, angle or other feature; it is non-planar; it has or it is accompanied by a means of display or a key part thereof; it has texture
resembling conventional canvas; it has a surface, form or underlayer that is irregular or non-uniform; it has deckled edges; it has irregularities throughout resembling the texture of handmade paper; its transparent or translucent surface is textured
with a texture deeper than small surface irregularities, or an ordinary sandblasted or sanded surface; or the canvas support medium is either consistently rigid 2D planar polyvinyl chloride with a stabilizer to enhance bonding, or it is made with
another specification and it is (a) rigid or partially rigid, (b) capable of self support or freestanding, or (c) both (a) and (b), or (vi) preparing the canvas support medium as a form with one or more of: a dichroic or photochromic effect; a lens, a
prism or a grating; embedded air bubbles; embedding, or at least two different light properties in separate locations, (B) making at least part of the canvas support medium with: its at least one polymer being a synthetic absorbent polymer; one or
more conductive polymers in addition to its at least one polymer; or an OLED made with one or more conductive polymers; (C) forming the canvas support medium with a polymer surface made with a stabilizer ingredient in it that bonds or fortifies the
bond between it and one or more superimposed conventional artist's mediums, wherein this stabilizer ingredient is at least one conventional artist's painting medium, primer or binder; or preparing the canvas support medium with a stabilizer that affects
surface flow or leveling, or with a stabilizer that facilitates superimposing applications; (D) preparing the canvas support medium or aesthetic image as or with a visible display device that includes multiple non-light-emissive colorants capable of
changing their visibility, their color or both, with energy from a source that is part of the canvas support medium or image or with energy conducted by the canvas support medium or image, so that the overall visual effect is sufficient to enable at
least a portion of the canvas support medium or the aesthetic image to have a display that is a visible aesthetic, design or pictorial element, (E) preparing the canvas support medium or image with a polymeric, visible, aesthetic element: (i) at least
part of the positive or negative form of which functions as a lens, a Fresnel lens, a lenticular lens or form; a grating, a diffraction grating or a prism; or two or more of these; (ii) with a dichroic effect, or with a photochromic effect; (iii)
with an electrochromic effect whereby it responds to changes in electrical current by changing or changing it's state of or it's level of: transparency, translucency, reflectivity, light emission employing conductive polymer, it changes the path or color
of the light passing through it, or a combination of these; or (iv) one or more of (i)-(iii) that serves as part or all of an image support, an image support stabilizer or an underlayer; (F) forming the canvas support medium with an aesthetic texture
made by taking one or more negative or positive impressions from one or more organic or natural materials, to make texture on the canvas support medium that resembles the organic or natural material's texture or each organic or natural materials'
texture, a negative impression of it or them, or a combination of these, or such a texture made on the canvas support medium from at least part of a Nymphaeaceae Victoria also known as an Amazon Water-lily, and the canvas support medium prepared
according to one or more of (A)-(F) above, is made with it's at least one polymer, or with one or more conductive polymers in an amount sufficient to provide or enable the image to have at least one aesthetic element, so that the reinvented canvas
support medium facilitates artistic expression, and the creation and support of an aesthetic image that is art, design or architecture made therewith, thereupon or therefrom that is a work or object for visual observation or display and a whole in and of
itself with distinct boundaries or edges.
3. A method for making a synthetic fine-artist's image-making canvas support medium as a new reinvented version of the conventional utilitarian fine artist's canvas, wherein the new reinvented canvas support medium facilitates the creation of
art, design or architecture therewith, thereupon or therefrom, referred to herein as an image, which method comprises: preparing the canvas support medium with at least one non-conductive or poorly conductive polymer and making the canvas support medium
in a form that is sufficiently flexible so that it is incapable of supporting its own weight or so that it is drapable, and is: (I) non-uniform, irregular, or both, (II) a nonplanar, uniform, regular form, or (III) a planar, uniform, regular form that is
partially or entirely thicker than 2D planar, and the method also requires one or more of (A)-(F): (A) the at least one polymer is non-absorbent, the canvas support medium is made with at least one fine-art stabilizer present to provide or enhance a
property of the polymer, the canvas support medium is formed with a visible surface that is transparent, translucent or both to allow light to pass into it or through it, and the canvas support medium has at least one of these 7 specifications marked
(i)-(vii): (i) it has a stabilizer present to enhance the ability of the formed canvas medium or the image made therewith, thereupon or therefrom to remain color stable or to remain unchanged with exposure to ultraviolet light, and: it is polyvinyl
chloride and made with the specifications of (I) above; it is polyvinyl chloride made according to (II) or (III) above with a stabilizer present to enhance bonding; or it is made with another polymer; (ii) it has a stabilizer present to enhance or
enable bonding, or that is a surface preparation stabilizer layer; (iii) it has: deckled edges; irregularities throughout resembling the texture of handmade paper; texture on its main surface resembling conventional canvas; it's transparent or
translucent surface is textured more deeply than small surface irregularities, or an ordinary sandblasted or sanded surface; it has embedded air bubbles or pockets; it has at least one substantially inflexible curve or angle; it has a rigid part or
area; or it is made according to (I) above and it has: (a) a surface or an underlayer that is irregular and non-uniform or (b) a form that is uneven and non-uniform in thickness; (iv) the at least one polymer is partially or entirely poly(methyl
methacrylate) or acrylic, or partially or entirely made with a methacrylate ester or methacrylamide derivative; (v) the canvas support medium has a strengthening stabilizer on or in it's polymer; the canvas support medium is made according to (I) above
with a mount, a means of display or installation or a key part thereof; the nonplanar canvas support medium is made according to (II) above with a mount, another means of display or installation, or a key part thereof that may maintain it's uniformity
and its regularity or that may interrupt it; or the canvas support medium is made according to (III) above with a means of display or part thereof that may maintain its uniformity and regularity, or that may interrupt it which is: embedded; one or more
rigid or inflexible areas that enhances or enables its display; part of the canvas support medium's form; or a supportive rigid or inflexible part for another part of the canvas support medium that folds, unfolds, rolls out or scrolls, (vi) the canvas
support medium has a dichroic or photochromic effect; a lens, a prism a grating or two or more of these; at least two different light properties in separate locations; or it has a reflective side or backside visible through its transparent or
translucent surface, or (vii) the canvas support medium has a rigid or inflexible part, area or feature in its polymer or in its form, or it has a strengthening stabilizer that is one or more of: one or more rigid or inflexible parts or areas in it's
polymer; a layer or a part in it's polymer that is or that functions as a crossbar, as a reinforcing rib or strut, as a mat, or as a framework to enhance strength or reinforce; a partial or discontinuous layer to enhance strength or reinforce; or
fiber in it's polymer; or (B) making at least part of the canvas support medium with: its at least one polymer being a synthetic absorbent polymer; one or more conductive polymers in addition to its at least one polymer; or an OLED made with one or
more conductive polymers; (C) enhancing the ability to develop the aesthetic image by additive processes, or providing this development by: (i) making the canvas support medium as a transparent or translucent form with a surface preparation stabilizer
layer or other stabilizer in or on it's surface that enhances or enables bonding to at least one conventional artist's medium; (ii) forming the canvas support medium with a polymer surface made with a stabilizer ingredient in it that bonds or fortifies
the bond between it and one or more superimposed conventional artist's mediums, wherein this stabilizer ingredient is at least one conventional artist's painting medium, primer or binder; or preparing the canvas support medium with a stabilizer that
affects surface flow or leveling, or with a stabilizer that facilitates superimposing applications; (iii) developing the aesthetic image by using the at least one polymer to prepare one or more transparent or translucent separating layers which meet the
specifications in (I), (II) or (III) above, and using the layer or layers to separate applications, layers or attachments of one or more other kinds of aesthetic, design or pictorial elements on it's or on their opposing sides, and: (iii-1) two or more
of these transparent or translucent polymeric layers separate applications or layers of one or more kinds of conventional artist's mediums from this group: oil paint, encaustic, other oil based artist's mediums, paint stick, casein paint, vinyl paint,
alkyd paint, watercolor, gouache, tempera, egg tempera, ink, pastel, charcoal, conte crayon, pencil, graphite, collage, photographic transparencies, and photographic (iii-2) one or more of these polymeric layers separate applications, layers or
attachments of one or more kinds of aesthetic elements in (D) (i)-(iv) below, either with one or more applications described above in (iii-1) or free of them; (iii-3) two or more of these polymeric layers separate applications, layers or attachments of
one or more elements in (iii-1) or (iii-2) above, from an application or layer of acrylic paint; (iii-4) two or more of these polymeric layers separate one or more kinds of applications, layers or attachments in (iii-1)-(iii-3) above from carving or
incising that is free or nearly free of legible text; or (iii-5) two or more of these polymeric layers separate one or more kinds of applications, layers or attachments in (iii-1)-(iii-4) above from at least one LED, OLED or light source; moreover, in
addition, the method requires that all of these layers bond to one another or that they be bonded to one another to make one whole form; (D) preparing the canvas support medium or image with a polymeric, visible, aesthetic element: (i) at least part of
the positive or negative form of which functions as a lens, a Fresnel lens, a grating, a diffraction grating or a prism; a transparent or translucent lenticular lens or form; or two or more of these; (ii) with a photochromic effect and a form made for
viewing apart from the human face, unsuitable or uncomfortable to wear on the human face or incapable of fitting on the human face, or with a dichroic effect; (iii) with an electrochromic effect whereby it responds to changes in electrical current by
changing or by changing it's state of or it's level of: transparency, translucency, reflectivity, light emission employing conductive polymer, it changes the path or color of the light passing through it, or a combination of these; or (iv) one or more
of (i)-(iii) that serves as part or all of an image support, an image support stabilizer or an underlayer; and this canvas support medium prepared according to (i), (ii), (iii) or (iv) is also prepared with one or more of (1)-(6): (1) a stabilizer that
provides or enhances it's color stability or it's ability to remain unchanged with exposure to ultraviolet light; (2) it is cleaned sufficiently to render it receptive to artist's paint and to provide enhanced bond strength and permanence to facilitate
development of the aesthetic image; (3) it is prepared with a lenticular lens and developed into an aesthetic image by being used as an underlayer, an image support, or an image support stabilizer for a work with painting, drawing, a photographic
transparency, collage, design or a pictorial element free of text that is incised or carved; or it is free of lenticular lenses and it is developed into an aesthetic image; (4) it is prepared according to (I) above; (5) it is made with absorbent
polymer or conductive polymer; or (6) it is prepared with the photochromic, dichroic or eletrochromic effect in (ii) or (iii) above that provides a pictorial or design element, a picture or a drawing thereby developing it into an aesthetic image; (E)
preparing the canvas support medium according to (a) or (b): (a) with a form that is transparent, translucent or both and with a strengthening stabilizer that is internal or on it's underside that is invisible or largely invisible to viewers, wherein it
is also prepared with (1) or (3) below; or (b) preparing the at least one polymer so that it is at least partially but not completely poly(methyl methacrylate) or acrylic, or that it is at least partially made with a methacrylate ester or methacrylamide
derivative, and also this polymer is stiffened with one or more of: a different second polymer, an impact modifier stabilizer, a strengthening stabilizer of a different, stronger or more rigid polymer; or the fiber strengthening stabilizer in (3) below; moreover this canvas support medium prepared according to (a) or (b) is also prepared with at least one of (1)-(4): (1) a stabilizer that provides or enhances it's color stability or it's ability to remains unchanged with exposure to ultraviolet light or
alternately, stabilizer that enables or enhances bonding to conventional artist's mediums; (2) it is cleaned sufficiently to render it receptive to artist's paint and to provide enhanced bond strength and permanence facilitating development of the
aesthetic image; (3) a strengthening stabilizer that is a surfacing veil fiberglass or a fiber that becomes largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or when used within or under
transparent colorless polymer that penetrates it, that is at least about a quarter of an inch thick, or both, or (4) it is developed into an image by the application a conventional artist's drawing or painting medium to which it bonds, or it is developed
into an image of fine art; or (F) preparing the canvas support medium or aesthetic image as or with a visible display device that includes multiple non-light-emissive colorants capable of changing their visibility, their color or both, with energy from
a source that is part of the canvas support medium or image, or with energy conducted by the canvas support medium or image, so that the overall visual effect is sufficient to enable at least a portion of the canvas support medium or the aesthetic image
to have a display that is a visible aesthetic, design or pictorial element, and the canvas support medium prepared with one or more of (A)-(F) above, is made with it's at least one polymer, or with one or more conductive polymers in an amount sufficient
to provide or enable the image to have at least one aesthetic element, so that the reinvented canvas support medium facilitates artistic expression, and the creation and support of an aesthetic image that is art, design or architecture made therewith,
thereupon or therefrom that is a work or object for visual observation or display and a whole in and of itself with distinct boundaries or edges; and the method also requires one or more of a)-h) below: a) developing the canvas support medium into an
aesthetic image that is art, design or architecture, wherein the canvas support medium has polymer providing or enabling at least one aesthetic element, and at least one of (a-i)-(a-iv) below: (a-i) the at least one aesthetic element is provided or
enabled by an absorbent polymer; (a-ii) the at least one aesthetic element is provided or enabled by at least one non-conductive or poorly conductive polymer and: (a-ii-a) the image is made according to (A), (C), (D) or (E) above, or it is made
according to (B) above with a conductive polymer OLED or free of the specifications of (F) above, or alternately, (a-ii-b) the image is made according to (F) above wherein the display device has conductive polymer or is free of conductive polymer and
wherein the image is otherwise free of the specifications in (B) above and it is free of the specifications in (A), (C), (D) and (E) above, and this image is fine art, it is architecture or it is a work of design for viewing or display apart from direct
contact with the human body rather than worn on it as fashion design; (a-iii) making the canvas support medium into an image of fine art with a flexible, 2D planar, light-sensitive photographic recording material that has conductive polymer wherein the
canvas support medium has conductive polymer that is separate from this photographic recording material which provides or enables at least one aesthetic element; or making the canvas support medium into an image of fine art free of this photographic
recording material wherein the canvas support medium has conductive polymer that provides or enables at least one aesthetic element; (a-iv) developing the canvas support medium into another kind of aesthetic image, or an image of design or architecture
using a conductive polymer that provides or enables at least one aesthetic element and (1) or (2): (1) conductive polymer that is separate from that in the canvas support medium's photographic recording material (above) or conductive polymer in a canvas
support medium free of this photographic recording material provides or enables at least one aesthetic element and this conductive polymer: (1-i) leaves the thermal and static electrical properties of the canvas support medium and the image substantially
unchanged or constant; (1-ii) provides or enables an aesthetic element by conducting electricity, or by its use with electrical current, with electricity that flows or that can flow, or with non-static electricity, or (1-iii) provides or enables at
least one visible aesthetic element; or alternately, (2) the conductive polymer provides or enables the canvas supportive medium and the image to have at least one aesthetic element that is audible, interactive or light emitting; b) accompanying the
canvas support medium with instructions on developing it into an aesthetic image that is art, design or architecture and (i), (ii) or (iii): (i) making the canvas support medium with a flexible, 2D planar, light-sensitive photographic recording material
having conductive polymer and at least one other ingredient and accompanying it with instructions on how it's other ingredient or ingredients might be further developed to make the form into an aesthetic image for viewing; (ii) making the canvas support
medium according to (F) above wherein the display device has conductive polymer or is free of conductive polymer and wherein the canvas support medium is otherwise free of the specifications in (B) above and it is free of the specifications in (A), (C),
(D) and (E) above, and wherein the canvas support medium is made for forming an image of fine art, an image of architecture, or an image of design for viewing or display apart from direct contact with the human body rather than worn on it as fashion
design; or alternately, (iii) making the canvas support medium entirely free of the photographic recording medium, and: (iii-1) free of the specifications of (F); (iii-2) according to (A), (C), (D), or (E) above; or (iii-3) according to (B) above with
absorbent polymer, or with conductive polymer that is separate from it's display made according to (F) above; c) forming the canvas support medium with a polymer surface made with a stabilizer ingredient in it that bonds or fortifies the bond between it
and one or more superimposed conventional artist's mediums, wherein this stabilizer ingredient is at least one conventional artist's painting medium, primer or binder; d) forming the canvas support medium with an aesthetic texture made by taking one or
more negative or positive impressions from one or more organic or natural materials, to make texture on the canvas support medium that resembles the organic or natural material's texture or each organic or natural materials' texture, a negative
impression of it or them, or a combination of these, or such a texture made on the canvas support medium from at least part of a Nymphaeaceae Victoria also known as an Amazon Water-lily, however when the canvas medium is formed only according to (A)
above and is free from the specifications in (B)-(F), the method requires making the canvas support medium in an overall form that is abstract or geometric, that appears unnatural, inorganic and nonhuman, or that is otherwise free from looking like the
real natural or organic form or forms from which the texture was made, and therefore free from being: a realistic portrayal; a human, animal or plant form; or a specimen or model that looks like the real, natural or organic form or forms, e) forming
the canvas support
medium with: deckled edges, irregularities throughout resembling the texture of handmade paper, or texture resembling conventional canvas, or forming the canvas support medium with an aesthetic texture and a display having conductive polymer, an
OLED having conductive polymer, or with the display in (F) above, such that the aesthetic texture is deeper than small surface irregularities, or an ordinary sandblasted or sanded surface (f) preparing the canvas support medium with a means or a key part
of the means of installation or display as an aesthetic image wherein the canvas support medium is formed: (i) according to (A), (C), (D) or (E) above, or with an absorbent polymer; (ii) with either a conductive polymer OLED or with the display in (F)
above whereupon it is free or nearly free of visible legible text; or (iii) with conductive polymer that is not part of any OLED or display in (F) above; g) preparing the canvas support medium with conductive polymer, with an OLED made with conductive
polymer, or according to (C) or (F) above, and also cleaning it sufficiently to render it receptive to a superimposed artist's medium and to enhance the strength and permanence of the bond formed between that surface and an artist's medium; or h) the
canvas support medium is prepared according to D (ii) or D (iii) above and the photochromic, dichroic or eletrochromic effect provides a pictorial or design element, a picture or a drawing thereby developing it into an aesthetic image.
4. A method for making a synthetic fine-artist's image-making canvas support medium as a new reinvented version of the conventional utilitarian fine artist's canvas, wherein the new reinvented canvas support medium facilitates the creation of
art, design or architecture therewith, thereupon or therefrom, referred to herein as an image, which method comprises: preparing the canvas support medium with at least one non-conductive or poorly conductive polymer and making the canvas support medium
to be (a) sufficiently flexible so that it is incapable of supporting its own weight or so that it is drapable, (b) entirely 2D planar, and (c) in a form that is planar, uniform and regular, with the form of the canvas support medium made sufficiently
supportive and stable to be capable of hanging free from added reinforcement in an aesthetic image, and the method requires one or more of (A)-(G), (A) the at least one polymer is non-absorbent, the canvas support medium is made with at least one
fine-art stabilizer present to provide or enhance a property of the polymer, the canvas support medium is formed with a visible surface that is transparent, translucent or both to allow light to pass into it or through it, and the canvas support medium
has at least one of these three specifications (A-1)-(A-3): (A-1) the at least one polymer is principally or entirely poly(methyl methacrylate) or acrylic or it is principally or entirely a polymer of a methacrylate ester or methacrylamide derivative;
(A-2) the canvas support medium is made with inconsistent flexibility; with one or more rigid or inflexible areas or parts in its polymer or in its form; with at least two different light properties in separate locations; with embedded air bubbles;
with deckled edges; with irregularities throughout resembling the texture of handmade paper; its transparent or translucent surface is textured with a texture deeper than small surface irregularities, or an ordinary sandblasted or sanded surface; or
it has a strengthening stabilizer that is one or more of: one or more rigid or inflexible parts or areas in it's polymer; a layer or a part in it's polymer that is or that functions as a crossbar, as a reinforcing rib or strut, as a mat or as a
framework to enhance strength or reinforce; a partial or discontinuous layer to enhance strength or reinforce; or fiber in it's polymer; or (A-3) the at least one polymer is cellulose acetate, polyvinyl chloride or polyester made with a stabilizer to
enable or enhance bonding that is a conventional image making paint, size, or primer or a binder used in a conventional image making medium or material; or another polymer is used and at least one stabilizer is present (a) to enhance the ability of the
formed canvas medium or the image to remain color stable or to remain unchanged with exposure to ultraviolet light, (b) to enable or enhances bonding or that is a surface preparation stabilizer layer, or an absorbent polymer is present that enables or
enhances bonding so that the canvas support medium bonds well to at least one kind of conventional artist's paint that is oil paint, water soluble oil paint, acrylic paint, alkyd paint, encaustic, watercolor, tempera, egg tempera, casein paint, vinyl
paint, ink, or gouache, or (c) to affect surface flow or leveling, or to facilitate superimposing applications; (B) the at least one polymer is absorbent or the canvas support medium is at least partially made with a synthetic absorbent polymer; and
forming the canvas support medium so that it has one or more of (B-1)-(B-5): (B-1) a form that is partially but not completely poly(methyl methacrylate) or acrylic, or a form that is partially made with polymer of a methacrylate ester or methacrylamide
derivative wherein this form has one or more of (a)-(c): (a) an impact modifier stabilizer, a stabilizer present to enhance the ability of the formed canvas support medium or the image to remain color stable or to remain unchanged with exposure to
ultraviolet light, a stabilizer is present to enhance or enable flexibility or or a stabilizer is present that affects surface flow or leveling, or that facilitates superimposing applications; (b) a stabilizer or a stabilizer that is an absorbent
polymer is present specifically to enhance or enable bonding to at least one kind of conventional artist's paint or conventional artist's drawing medium that is: oil paint, water soluble oil paint, acrylic paint, alkyd paint, encaustic, paint sticks,
watercolor, tempera, egg tempera, casein paint, vinyl paint, ink, gouache, pastel, pencil, conte crayon or charcoal, (c) the canvas support medium has a drapable form; or a light effect that is reflective or iridescent, (B-2) the canvas support medium
is made with inconsistent flexibility; with one or more rigid or inflexible areas or parts in its polymer or in its form; with deckled edges; with irregularities throughout resembling the texture of handmade paper; its transparent or translucent
surface is textured with a texture deeper than small surface irregularities, or an ordinary sandblasted or sanded surface; or it has a strengthening stabilizer that is one or more of: one or more rigid or inflexible parts or areas in it's polymer; a
layer or a part in it's polymer that is or that functions as a crossbar, as a reinforcing rib or strut, as a mat or as a framework to enhance strength or reinforce; a partial or discontinuous layer to enhance strength or reinforce; or fiber in it's
polymer; (B-3) the canvas support medium bonds well to at least one kind of conventional artist's paint that is oil paint, water soluble oil paint, acrylic paint, alkyd paint, encaustic, watercolor, tempera, egg tempera, casein paint, vinyl paint, ink,
or gouache, and this bond is enabled or enhanced by: (a) a stabilizer or a surface preparation stabilizer layer when the at least one polymer is non absorbent, (b) by a synthetic absorbent polymer which is a polymer of a chelating absorbent monomer or a
crosslinked polymer of a chelating absorbent monomer, with a stabilizer present to enhance the ability of the formed canvas medium or the image to remain color stable or to remain unchanged with exposure to ultraviolet light, (c) by a different absorbent
polymer or by a stabilizer that enhances or enables bonding present in a canvas support medium with a different absorbent polymer, or (d) by a combination of these, (B-4) the canvas support medium has a means of display or part thereof that may maintain
its uniformity and regularity, or that may interrupt it which is: one or more rigid or inflexible areas or parts that enhance or enable display; embedded; part of its form; or a supportive rigid or inflexible part for another part of the canvas
support medium that unfolds, rolls out or scrolls out for viewing, or (B-5) the canvas support medium has at least two different light properties in separate locations; embedded air bubbles; texture that resembles conventional canvas; or it is
prepared according to (b), (c), (e) or (h) below; (C) forming the canvas support medium with one or more conductive polymers, or with an OLED made with one or more conductive polymers; (D) forming the canvas support medium with a polymer surface made
with a stabilizer ingredient in it that bonds or fortifies the bond between it and one or more superimposed conventional artist's mediums, wherein this stabilizer ingredient is at least one conventional artist's painting medium, primer or binder; (E)
preparing the canvas support medium or image with a polymeric, visible, aesthetic element: (i) at least part of the positive or negative form of which functions as a lens, a Fresnel lens, a grating, a diffraction grating or a prism; a transparent or
translucent lenticular lens or form; or two or more of these; (ii) with a photochromic effect or with a dichroic effect; (iii) with an electrochromic effect whereby it responds to changes in electrical current by changing or by changing it's state of
or it's level of: transparency, translucency, reflectivity, light emission employing conductive polymer, it changes the path or color of the light passing through it, or a combination of these; or (iv) one or more of (i)-(iii) that serves as part or all
of an image support, an image support stabilizer or an underlayer; and this canvas support medium prepared according to (i), (ii), (iii) or (iv) is also prepared with one or more of (1)-(5): (1) an absorbent polymer or a conductive polymer, (2) a
stabilizer that provides or enhances it's color stability or it's ability to remain unchanged with exposure to ultraviolet light; (3) it is cleaned sufficiently to render it receptive to artist's paint and to provide enhanced bond strength and
permanence to facilitate development of the aesthetic image; (4) it is prepared with a lenticular lens and developed into an aesthetic image by being used as an underlayer, an image support, or an image support stabilizer for a work with painting,
drawing, a photographic transparency, collage, or a design or pictorial element free of text that is incised or carved; or it is free of lenticular lenses and it is developed into an aesthetic image; or (5) it is prepared according to (ii) or (iii)
above and the photochromic, dichroic or eletrochromic effect provides a pictorial or design element, a picture or a drawing thereby developing it into an aesthetic image; (F) preparing the canvas support medium according to (a) or (b): (a) with a form
that is transparent, translucent or both and with a strengthening stabilizer that is internal or on it's underside that is invisible or largely invisible to viewers, wherein it is also prepared with (1), (2), (4) or (5) below; or (b) preparing the at
least one polymer so that it is at least partially but not completely poly(methyl methacrylate) or acrylic, or that it is at least partially made with a methacrylate ester or methacrylamide derivative, and also this polymer is stiffened with one or more
of: a different second polymer, an impact modifier stabilizer, a strengthening stabilizer of a different, stronger or more rigid polymer; or the fiber strengthening stabilizer in (4) below; moreover this canvas support medium prepared according to (a)
or (b) is also prepared with at least one of (1)-(5): (1) an absorbent polymer; (2) stabilizer that provides or enhances it's color stability or it's ability to remains unchanged with exposure to ultraviolet light, or alternately, stabilizer that
enables or enhances bonding to conventional artist's mediums; (3) it is cleaned sufficiently to render it receptive to artist's paint and to provide enhanced bond strength and permanence facilitating development of the aesthetic image; (4) a
strengthening stabilizer that is a surfacing veil fiberglass or a fiber that becomes largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or when used within or under transparent colorless
polymer that penetrates it, that is at least about a quarter of an inch thick, or both, or (5) it is developed into an image by the application a conventional artist's drawing or painting medium to which it bonds, or it is developed into an image of fine
art; or (G) preparing the canvas support medium or aesthetic image as or with a visible display device that includes multiple non-light-emissive colorants capable of changing their visibility, their color or both, with energy from a source that is part
of the canvas support medium or image, or with energy conducted by the canvas support medium or image, so that the overall visual effect is sufficient to enable at least a portion of the canvas support medium or the aesthetic image to have a display that
is a visible aesthetic, design or pictorial element, and the canvas support medium prepared with one or more of (A)-(G) above, is made with it's at least one polymer, or with one or more conductive polymers in an amount sufficient to provide or enable
the image to have at least one aesthetic element, so that the reinvented canvas support medium facilitates artistic expression, and the creation and support of an aesthetic image that is art, design or architecture made therewith, thereupon or therefrom
that is a work or object for visual observation or display and a whole in and of itself with distinct boundaries or edges; whereupon the method also requires one or more of a)-i): a) developing the canvas support medium into an aesthetic image that is
art, design or architecture, wherein the canvas support medium has polymer providing or enabling at least one aesthetic element, and at least one of (a-i)-(a-iv) below: (a-i) the at least one aesthetic element is provided or enabled by an absorbent
polymer; (a-ii) the at least one aesthetic element is provided or enabled by at least one non-conductive or poorly conductive polymer and: (a-ii-a) the image is made according to (A), (B), (C), (D), (E) or (F) above, or it is made according to (C) above
and either with a conductive polymer OLED or free of the specifications of (G) above, or alternately, (a-ii-b) the image is made according to (G) above, wherein the display device has conductive polymer or is free of conductive polymer and wherein the
image is otherwise free of the specifications in (C) above and it is free of the specifications in (A), (B), (D), (E) and (F) above, and this image is fine art, it is architecture or it is a work of design for viewing or display apart from direct contact
with the human body rather than worn on it as fashion design; (a-iii) making the canvas support medium into an image of fine art with a flexible, 2D planar, light-sensitive photographic recording material that has conductive polymer, wherein the canvas
support medium has conductive polymer that is separate from this photographic recording material which provides or enables at least one aesthetic element; or making the canvas support medium into an image of fine art free of this photographic recording
material wherein the canvas support medium has conductive polymer that provides or enables at least one aesthetic element; or (a-iv) developing the canvas support medium into another kind of aesthetic image, or an image of design or architecture using a
conductive polymer that provides or enables at least one aesthetic element and (1) or (2): (1) conductive polymer that is separate from that in the canvas support medium's photographic recording material (above) or conductive polymer in a canvas support
medium free of this photographic recording material provides or enables at least one aesthetic element and this conductive polymer: (1-i) leaves the thermal and static electrical properties of the canvas support medium and the image substantially
unchanged or constant; (1-ii) provides or enables an aesthetic element by conducting electricity, or by its use with electrical current, with electricity that flows or that can flow, or with non-static electricity, or (1-iii) provides or enables at
least one visible aesthetic element; or alternately, (2) the conductive polymer provides or enables the canvas support medium and the image to have at least one aesthetic element that is audible, interactive or light emitting; b) accompanying the
canvas support medium with instructions on developing it into an aesthetic image that is art, design or architecture and (i), (ii) or (iii): (i) jmaking the canvas support medium with a flexible, 2D planar, light-sensitive photographic recording material
having conductive polymer and at least one other ingredient and accompanying it with instructions on how it's other ingredient or ingredients might be further developed to make the form into an aesthetic image for viewing; (ii) making the canvas support
medium according to (G) above, wherein the display device has conductive polymer or is free of conductive polymer and wherein the canvas support medium is otherwise free of the specifications in (C) above and it is free of the specifications in (A), (B),
(D), (E) and (F) above and wherein the canvas support medium is made for forming an image of fine art, an image of architecture, or an image of design for viewing or display apart from direct contact with the human body rather than worn on it as fashion
design; or alternately, (iii) making the canvas support medium entirely free of the photographic recording medium, and; (iii-1) free of the specifications of (G) above; (iii-2) according to (A), (B), (D), (E) or (F) above; or (iii-3) according to (C)
above with conductive polymer that is separate from it's display made according to (G) above; c) forming the canvas support medium with a polymer surface made with a stabilizer ingredient in it that bonds or fortifies the bond between it and one or more
superimposed conventional artist's mediums, wherein this stabilizer ingredient is at least one conventional artist's painting medium, primer or binder; d) forming the canvas support medium with an aesthetic texture made by taking one or more negative or
positive impressions from one or more organic or natural materials, to make texture on the canvas support medium that resembles the organic or natural material's texture or each organic or natural materials' texture, a negative impression of it or them,
or a combination of these, or such a texture made on the canvas support medium from at least part of a Nymphaeaceae Victoria also known as an Amazon Water-lily, however when the canvas medium is formed only according to (A) above and is free from the
specifications in (B)-(G), the method requires making the canvas support medium in an overall form that is abstract or geometric, that appears unnatural, inorganic and nonhuman, or that is otherwise free from looking like the real natural or
organic form or forms from which the texture was made, and therefore free from being: a realistic portrayal; a human, animal or plant form; or a specimen or model that looks like the real, natural or organic form or forms, e) forming the
canvas support medium with: deckled edges, irregularities throughout resembling the texture of handmade paper, or texture resembling conventional canvas, or forming the canvas support medium with an aesthetic texture and a display having conductive
polymer, an OLED having conductive polymer, or with the display in (G) above, such that the aesthetic texture is deeper than small surface irregularities, or an ordinary sandblasted or sanded surface; f) preparing the canvas support medium with a means
or a key part of the means of installation or display as an aesthetic image wherein the canvas support medium is formed: (i) according to (A), (B), (D), (E) or (F) above; (ii) with either a conductive polymer OLED or with the display in (G) above
whereupon it is free or nearly free of visible legible text; or (iii) with conductive polymer that is not part of any OLED or display in (G) above; g) preparing the canvas support medium according to (C), (D), (F) or (G) above, and also cleaning it
sufficiently to render it receptive to a superimposed artist's medium and to enhance the strength and permanence of the bond formed between that surface and an artist's medium; (h) developing the aesthetic image by using the at least one polymer to
prepare one or more transparent or translucent separating layers and separating applications, layers or attachments of one or more other kinds of aesthetic, design or pictorial elements on it's or on their opposing sides, and: (1) two or more of these
transparent or translucent polymeric layers separate applications or layers of one or more kinds of conventional artist's mediums from this group: oil paint, encaustic, other oil based artist's mediums, paint stick, casein paint, vinyl paint, alkyd
paint, watercolor, gouache, tempera, egg tempera, ink, pastel, charcoal, conte crayon, pencil, graphite, collage, photographic transparencies, and photographic emulsions; (2) one or more of these polymeric layers separate applications, layers or
attachments of one or more kinds of aesthetic elements in (E) (i)-(iv) above, either with one or more of the applications described above in (1) or free of them; (3) two or more of these polymeric layers separate applications, layers or attachments of
one or more elements in (1) or (2) above, from an application or layer of acrylic paint; (4) two or more of these polymeric layers separate one or more kinds of applications, layers or attachments in (1)-(3) above from carving or incising that is free
or nearly free of legible text; or (5) two or more of these polymeric layers separate one or more kinds of applications, layers or attachments in (1)-(4) above from at least one LED, OLED or light source; moreover, in addition, the method requires that
all of these layers bond to one another or that they be bonded to one another to make one whole form; or i) the canvas support medium is prepared according to E (ii) or E (iii) above and the photochromic, dichroic or eletrochromic effect provides a
pictorial or design element, a picture or a drawing thereby developing it into an aesthetic image.
5. A method for making a synthetic fine-artist's image-making canvas support medium as a new reinvented version of the conventional utilitarian fine artist's canvas, wherein the new reinvented canvas support medium facilitates the creation of
art, design or architecture therewith, thereupon or therefrom, referred to herein as an image, which method comprises: preparing the canvas support medium with at least one polymer and (I), (II) or both: (I) this at least one polymer is one or more
conductive polymers, or it is at least one conductive polymer that is part of an OLED; (II) a visible display device that includes multiple non-light-emissive colorants capable of changing their visibility, their color or both, with energy from a source
that is part of the canvas support medium or image or with energy conducted by the canvas support medium or image, so that the overall visual effect is sufficient to enable at least a portion of the canvas support medium or the aesthetic image to have a
display that is a visible aesthetic, design or pictorial element, and the canvas support medium prepared with one or more of (I) or (II) above, is made so that one or more of it's polymers are in an amount sufficient to provide or enable the image to
have at least one aesthetic element, so that the reinvented canvas support medium facilitates artistic expression, and the creation and display of an aesthetic image that is art, design or architecture made therewith, thereupon or therefrom that is a
work or object for visual observation or display and a whole in and of itself with distinct boundaries or edges; and the method also requires one or more of A)-K) below: A) developing the canvas support medium into an aesthetic image that is art, design
or architecture, wherein the canvas support medium has at least one of A-i)-A-iv) below: A-i) the at least one aesthetic element provided or enabled by an absorbent polymer; A-ii) the at least one aesthetic element provided or enabled by at least one
non-conductive or poorly conductive polymer and (1) or (2): (1) the canvas support medium or image is made according to (I) above with: (a) conductive polymer enabling, enhancing or a part of an audible or light emitting element, an aesthetic element, an
OLED, a solar cell, a battery, a power source, or an interactive feature; (b) conductive polymer that is separate from it's flexible, 2D planar, light-sensitive photographic recording material made with conductive polymer; or (c) conductive polymer in
a form made of composition that is free from such a photographic recording material, wherein in the preceding (b) or (c) the conductive polymer conducts electricity that flows, it provides or contributes to an aesthetic element, it emits light, it is
part of an image of fine art, or the conductive polymer enables or is part of an audible or light emitting element, an OLED, a solar cell, a battery, a power source, or an interactive feature; or (2) the canvas support medium or the image is made
according to (II) above, wherein the display device of (II) above has conductive polymer or is free of conductive polymer and wherein the image is otherwise free of the specifications in (I) above, and this image is fine art, it is architecture or it is
a work of design for viewing or display apart from direct contact with the human body rather than worn on it as fashion design; A-iii) making the canvas support medium into fine art with a flexible, 2D planar, light-sensitive photographic recording
material that has conductive polymer, wherein the canvas support medium also has conductive polymer that is separate from this photographic recording material which provides, enables, or is a part of: at least one aesthetic, audible or light emitting
element, an OLED, a solar cell, a battery, a power source, or an interactive feature; or making the canvas support medium and the image of fine art with other ingredients, free of this photographic recording material wherein the canvas support medium
and the image of fine art have conductive polymer that provides, enables, or is a part of: at least one aesthetic, audible or light emitting element, an OLED, a solar cell, a battery, a power source, or an interactive feature; or A-iv) developing the
canvas support medium into another kind of aesthetic image, or an image of design or architecture using a conductive polymer and (1) or (2): (1) the canvas support medium either has conductive polymer that is separate from that in the it's photographic
recording material (above) or it has conductive polymer and it is free of this photographic recording material, and prepared one of these 3 ways: (1-i) it's conductive polymer leaves the thermal and static electrical properties substantially unchanged or
constant; (1-ii) it's conductive polymer provides, enables or is a part of an aesthetic element by conducting electricity, or is used with electrical current, with electricity that flows or that can flow, or with non-static electricity, or (1-iii) it's
conductive polymer provides, enables, or is a part of at least one aesthetic element that is visible, audible, interactive or light emitting, an OLED, a solar cell, a battery, or a power source, or alternately, (2) the conductive polymer provides or
enables at least one aesthetic element that is audible, interactive, or light emitting; B) developing the canvas support medium or aesthetic image so that viewers see an overall visual aesthetic element or effect, that is free or nearly free of visible
legible text, and that is: a pictorial element, a design, a design that is abstract, an image, drawing, painting, at least partially made with a conventional image making medium; at least partially drawn, incised, carved or painted; a portrayal with or
of a figure, figures, a still life, landscape, the sky, skylight or a combination of these, wherein the method requires (i) or (ii): (i) the canvas support medium or image is made according to (I) above and: it has substantially unchanging or constant
thermal and static electrical properties, it has conductive polymer that leaves it's thermal and static electrical properties substantially unaffected or constant, it has conductive polymer providing or enabling light emission or conducting electrical
current that flows; it has an OLED, a solar cell, a battery or a power source made with conductive polymer; it has conductive polymer providing, enabling or part of an aesthetic, design or pictorial element, or it is fine art; moreover, in addition,
this canvas support medium or image made according to (I) above either; (a) has conductive polymer separate from it's flexible, 2D planar, light-sensitive photographic recording material, or (b) it is free of such a photographic recording material, or,
(ii) the canvas support medium or the image is made according to (II) above, wherein the display device of (II) above has conductive polymer or is free of conductive polymer and wherein the canvas support medium or the image is otherwise free of the
specifications in (I) above, and is; fine art, architecture or a work of design for viewing or display apart from direct contact with the human body rather than worn on it as fashion design; C) accompanying the canvas support medium with instructions
on developing it into an aesthetic image that is art, design or architecture and (i), (ii) or (iii): (i) making the canvas support medium with a flexible, 2D planar, light-sensitive photographic recording material having conductive polymer, and also with
the specification of (I) or of (II) above separate from the photographic recording material, and accompanying the canvas support medium with instructions on how part of it other than it's photographic recording material might be further developed to make
the form into an aesthetic image for viewing; (ii) making the canvas support medium according to (II) above, wherein the display device has conductive polymer or is free of conductive polymer and making the canvas support medium otherwise free of the
specifications in (I) above, wherein the canvas support medium is made for forming an image of fine art, an image of architecture, or an image of design for viewing or display apart from direct contact with the human body rather than worn on it as
fashion design; or alternately, (iii) making the canvas support medium entirely free of this photographic recording medium that has conductive polymer, and free of the specifications of (II), according to (I) above; D) forming the canvas support medium
or image with deckled edges, irregularities throughout resembling the texture of handmade paper, or texture resembling conventional canvas; forming the canvas support medium or image with an aesthetic texture deeper than small surface irregularities, or
an ordinary sandblasted or sanded surface; or forming the canvas support medium or image with an aesthetic texture made by taking one or more negative or positive impressions from one or more organic or natural materials to make aesthetic texture on the
canvas support medium or image; E) developing the canvas support medium by creating a visible aesthetic element free or nearly free of visible legible text, that is pictorial, that is a design, or developing it into a work of fine art, and (a) or (b):
(a) the aesthetic element is created by painting, drawing, incising, carving, or by the application of a conventional artist's medium; or (b) the aesthetic element employs electric current; it employs light emitted by the canvas support medium, the
image or conductive polymer; it is seen according to the visibility or lack of visibility of non-light-emissive colorants in (II) above; or conductive polymer provides, enhances or contributes to the aesthetic element, moreover, the canvas support
medium either: (i) has conductive polymer that is separate from it's flexible, 2D planar, light-sensitive photographic recording material made with conductive polymer; or (ii) it is made with another composition so that it is free of such a flexible, 2D
planar, light-sensitive photographic recording material and either; (1) made according to (II) above and it is for forming an image of fine art, an image of architecture, or an image of design for viewing or display apart from direct contact with the
human body rather than worn on it as fashion design; or (2) made according to (I) above and either free of the specification in (II) above or with conductive polymer that is separate from it's display made according to (II) above; F) preparing the
canvas support medium as or with a display, and also with one or more interactive features that enable an image maker, an artist or a viewer to change at least one visible aesthetic element which is free of alphabetic, numeric or other typographical
characters, thereby either developing the canvas support medium into an aesthetic image free or nearly free of visible legible text or changing the aesthetic image; G) applying at least one conventional artist's painting or drawing medium to the canvas
support medium to develop it into an aesthetic image; forming the canvas support medium with a polymer surface made with a stabilizer ingredient in it that bonds or fortifies the bond between it and one or more superimposed conventional artist's
mediums, wherein this stabilizer ingredient is at least one conventional artist's painting medium, primer or binder; preparing the canvas support medium with a surface preparation stabilizer which enhances or enables bonding to at least one conventional
artist's medium; or making the canvas support medium or aesthetic image with an overall form that is representational or figurative; H) preparing the canvas support medium free or nearly free of visible legible text capable of making an aesthetic image
that is also free or nearly free of visible legible text, with a means or a key part of a means for installation or display which either: (i) is a rigid mount system, a wire mount system, or a combination rigid and wire mount system; or (ii) enables it
to be installed or displayed like a conventional aesthetic image wherein the canvas support medium either: (a) has conductive polymer that is separate from it's flexible, 2D planar, light-sensitive photographic recording material made with conductive
polymer; or (b) it is made with another composition so that it is free of such a flexible, 2D planar, light-sensitive photographic recording material; I) making the canvas support medium into a plurality of associated sheets arranged in a pad or book
for image-making, or in a pad or a book with a form of or similar to a conventional blank paper pad or blank book for image-making; or developing one or more of such a pad or book's pages or sheets into an image; J) the canvas support medium or image
is prepared with an electrochromic effect whereby it responds to changes in electrical current by changing or by changing it's state of or it's level of: transparency, translucency, reflectivity or light emission, or by changing the path or color of the
light passing through it, moreover, this electrochromic effect: (i) is uneven, inconsistent, irregular or non uniform, it makes the canvas support medium or image incapable of functioning as a window, or it is part of a form that is: non-planar,
irregular, non-uniform, with one or more negative spaces, discontinuous or incapable of functioning as a window; with a pictorial or design element; or textured more deeply than small surface irregularities or an ordinary sandblasted or sanded surface; or (ii) the electrochromic effect provides or contributes to a design, drawing, a pictorial element or a picture to the canvas support medium or image; or (K) preparing the canvas support medium or aesthetic image so that it serves at least one of these
additional specialized functions listed as (i)-(viii): (i) preparing the canvas support medium or aesthetic image so that it is recognizable an functioning altar, or a menorah, or as a canvas support medium or an aesthetic image for spiritual or
religious use; (ii) preparing the canvas support medium or aesthetic image as a vase, a bowl, a placemat, stairs, a candelabrum, an awning, a costume, a fountain, a pitcher, a tureen, a goblet, a dish for food or display, a stage set or a basket; (iii)
preparing the canvas support medium or aesthetic image according to (II) above, as a ceiling, floor, fountain, case, container, tent, basket, fence, stairs, tray, cup or door; as a partition, a screen or as a partition or screen with one or more
negative spaces within it; (iv) preparing the canvas support medium or aesthetic image as furniture, a table, a chair, a bench, a stool or a chest, wherein it is made according to (II) above or it is made according to (I) above and it has: substantially
unchanging or constant thermal and static electrical properties, conductive polymer that leaves it's thermal and static electrical properties substantially unaffected or constant conductive polymer providing or enabling light emission or conducting
electrical current that flows, an OLED made with conductive polymer, or conductive polymer providing or enabling a visible aesthetic, design or pictorial element; (v) preparing the canvas support medium or image with an OLED made with conductive polymer
or with conductive polymer providing or enabling light emission, and making the canvas support medium or image function as a door in an architectural structure, as a window, as a skylight, as a lunette, as a fence, as a tent, as a floor or part thereof;
as a case or a container; as a partition, a screen or as a partition or screen with one or more negative spaces within it, wherein the canvas support medium or image is capable of emitting visible light; (vi) preparing the canvas support medium or
image with an OLED made with conductive polymer or with conductive polymer providing or enabling light emission and making the canvas support medium or image function as clothing or as a clothing or fashion accessory, as a belt, a purse, a tote bag or as
a hat wherein the canvas support medium or image is capable of emitting visible light and the main or the exclusive function of this light is non-utilitarian, visual and aesthetic; (vii) preparing the canvas support medium or image to function as
jewelry, wherein it is made either according to (I) above and is free of the specifications of (II) above, or it is made according to (I) above and it has conductive polymer that is separate from it's display made according to (II) above, and also: (a)
it has an OLED made with conductive polymer, or it has conductive polymer providing or enabling light emission or a visible aesthetic element, (b) it is incapable of storing or retrieving medical or related information and it is incapable of detecting
radiation, or (c) it is an image making medium or an image that functions as jewelry free from any additional utilitarian function; or (viii) preparing the canvas support medium or aesthetic image so that it functions as a shade or a shutter that is
made according to (I) above free of the specifications of (II) above, or that is made with conductive polymer that is separate from it's display made according to (II) above, wherein this shade or shutter: presents a representational or abstract picture,
design or image; depicts a figure or figures, a still life, a landscape, the sky or skylight; has an OLED made with conductive polymer; is incapable of functioning as a window; has conductive polymer providing or enabling a visible aesthetic element
that is irregular, uneven, non-uniform, discontinuous, pictorial, drawing, a design, predominately or entirely non-utilitarian; or emitted
light; has it's main form, in addition to or instead of it's perimeter, that is at least partially opaque, or has a main surface or a form that is irregular, uneven, non-uniform, discontinuous, representational, with a negative space, with
embedding, or textured more deeply than small surface irregularities or an ordinary sandblasted or sanded surface; or alternately, preparing the canvas support medium or aesthetic image according to (II) above so that it functions as a shade or a
shutter.
6. The method of claim 5 wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared by one or more of (a)-(h): (a) providing it with an electrode, a
power source, a battery, a solar cell, electrical current or energy, a computer, or part of a computer; an interactive feature, an interactive part or a means of being interactive; sound, music, a microphone or a speaker; a moving part or a means that
makes it capable of movement; a control mechanism, or device; a viewer input device, a switch, a button, a touch control, a mechanism or device which enables control or change when pressure is applied, a drawing device, a trackball, a mouse, a means of
responding to sound or voice command; voice recognition technology; a means of controlling or changing the canvas support medium or image from a distance, via wireless communication or via a broadcast method; a sensor, a means of detecting a viewer,
movement or change in light or in the environment, a means so that an image maker or a viewer can control, change or vary the electrical current, color, light, form, movement or an aesthetic element; or providing it with a conventional artist's medium,
a photograph, a photographic emulsion or a tangible photographic transparency; (b) preparing it's display device with non-light-emissive colorants in one or multiple microcapsules, or preparing it's display device by charging it's non-light-emissive
colorants so that they are able to change from visible to hidden, or from hidden to visible with electrical current which causes their position to change within a fluid with respect to an electrode; (c) developing the canvas support medium, or the
image, the part of it made with conductive polymer, it's OLED, it's display, it's other device, it's surface or it's form so that: (i) it shows at least part of a drawing, picture, design, or so that it shows one of these that is figurative, realistic,
abstract, a landscape, a depiction of the sky or of sky light, or a still life, (ii) it shows one of these when given electrical current, (iii) it shows one of these with emitted light, (iii) it shows one of these with the visibility, or the visibility
and the lack of visibility of non-light-emissive colorants; (iv) it is developed with a visible aesthetic element that is one or more of: pictorial, illusionary, abstract, representational, realistic, surrealistic, a landscape, a still life, figurative
or with figures, accompanied by sound or music; or free or nearly free of visible legible text; (v) it or a part of it depicts the sky or the light of the sky (vi) it or a part of it depicts the sky or the light of the sky and this portrayal is at
least partially formed by color or light changing as the sky changes or changing in a manner that portrays or represents the sky; or (vii) it shows one of these in manner that is static, that changes or can be changed, in an interactive way, in a way
that responds to change in the environment, or in a way that enables a person to change it; (d) forming the canvas support medium or image with at least one non conductive or poorly conductive polymer, with absorbent polymer, with paper, or forming it
with: an image support, a paper image support, a thin planar image support, a metal or metallic layer, indium tin oxide; a layer that is: transparent, translucent, partial, external or structurally supportive; with one of these made with non conductive
or poorly conductive polymer, with glass or both; with one of these used in association with a conductive polymer, an OLED, a display or a device; or with one of these upon which conductive polymer is applied or superimposed; (e) preparing the canvas
support medium or image, it's OLED, it's display or it's device with a form that is: rigid, flexible, rigid and flexible, capable of rolling or folding, a mural, a continuous form with at least one negative space open to light and air within it; a form
that is a non geometric and visibly irregular; a form that is partially opaque, and partially transparent or translucent with light passing through it; a form made with: electronics, wires, cords, a battery, a power source or utilitarian parts that are
visible or that are hidden from view; a form, a planar form or a planar two dimensional form that is transparent or translucent and made with polymer, which also has two or more light sources in it or attached to it; a transparent, planar, two
dimensional form made with polymer that has multiple light sources, OLEDs or other LEDs in it or attached to it; forming or developing the canvas support medium or image so that it has two or more layers, with at least one layer that is: partially or
entirely transparent or translucent or such a layer that is external; a polymeric or non polymeric image support, image support stabilizer or strengthening stabilizer; made with or of glass, fabric, embedding, polymer, conductive polymer, a device, a
light effect, an aesthetic element that uses electricity, or a non polymeric aesthetic ingredient; providing color, or an internal layer or back layer providing color; or a combination of these; or a layered form that has conductive polymer in between
two or more layers that are: transparent, translucent, polymeric, glass, non conductive or poorly conductive, or a combination of these, or such a layered form with conductive polymer capable of conducting electricity to one or more devices or light
emitters that are also sandwiched in between these other layers; (f) preparing the canvas support medium or image with conductive polymer that conducts electricity, conducts ions, or emits light in one or more colors; preparing the canvas support
medium, the image or a display that is the canvas support medium, the image or part thereof, with a property provided or enhanced by a fine-art stabilizer; preparing the canvas support medium so that it serves a second utilitarian function in addition
to it's use for image making; developing the aesthetic image so that it serves a utilitarian function; (g) preparing the canvas support medium or image with conductive polymer applied by: a printing process, ink jet printing, screen or silk screen
printing, a lithographic process, a coating process, blow molding, calendering, fiber spinning, a solution spinning process, compression molding, extrusion, brush, drawing or painting, writing, a rolling process, gel process, a spraying process, solution
processing, a casting process, spin casting, blade coating, an evaporation process, conventional practices or conventional image making practices; the conductive polymer is applied thinly, unevenly or discontinuously; the conductive polymer is used to
make pixels or it is used in a composition that is layered or (h) developing the canvas support medium into an aesthetic image that is art, design or architecture and displaying it; preparing the canvas support medium or aesthetic image with a means or
part of a means for mounting, installation or display; or preparing the canvas support medium or aesthetic image with a means or a part of a means of installation or display which is: (i) a means or a part of a means for display on a wall or vertical
surface or by hanging; a hook or wire attached to enable hanging; or holes to enable hanging, (ii) a base, a stand, a frame, a backing, reinforcement, a part or a form that enables it's installation or display, or a means that enables installation or
display in a manner that resembles the manner in which conventional aesthetic images are displayed for viewing; (iii) a part, parts or the means by which it can scroll, roll, unroll, fold out or fold up or preparing it with a form that scrolls, rolls,
unrolls, folds, or unfolds; (iv) a rigid mount system or a combination rigid and wire mount system capable of displaying the canvas support medium or the image from a wall; (v) a means of displaying the canvas support medium or image that leaves
negative space between it and the wall, ceiling, floor or other structure from which it is displayed; or (vi) a means of being self supportive or freestanding.
7. The method of claim 5 wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared with a property provided or enhanced by a fine-art stabilizer that
is: a supportive layer, an image support stabilizer, a separating layer stabilizer, a strengthening stabilizer, a surface preparation stabilizer that enhances or enables bonding to superimposed mediums, a stabilizer that provides or enhances color
stability, a stabilizer that provides or enhances stability when exposed to ultraviolet light, a stabilizer that enhances permanence, or a stabilizer that is a processing aid; a fine-art stabilizer that partially or completely shields or blocks one or
more vulnerable or potentially vulnerable parts of the canvas support medium or the image from moisture, oxygen, ultraviolet light, agents used to clean or care for it or them, or other agents that otherwise would or that otherwise have the risk of
undesirably modifying, changing or damaging the shielded part or parts of, or the rest of the form of the canvas support medium and/or the image; a fine-art stabilizer that is a barrier, a means of encapsulation or a shield protecting the canvas support
medium, the image, conductive polymer, the display, the OLED, or part of any of these against the ingress of moisture, water, oxygen or any agent that will or might modify, damage or destroy a property of the conductive polymer, the display, the canvas
support medium, or the image, or a fine-art stabilizer that is: energy, electrical current or electricity conducted by the conductive polymer; a form, device, battery, solar cell, electrode, anode, cathode, or wire that supplies, conducts or carries
energy to the conductive polymer; spin casting, ink jet printing or other printing process used to apply conductive polymer; an aid used to process the conductive polymer; a solvent or liquid that enables or enhances solution processing of the
conductive polymer; a dopant or agent used to treat polymer so that it becomes conductive or more conductive or this doping process or treatment.
8. A method for making a synthetic fine-artist's image-making canvas support medium as a new reinvented version of the conventional utilitarian fine artist's canvas, wherein the new reinvented canvas support medium facilitates the creation of
art, design or architecture therewith, thereupon or therefrom, referred to herein as an image, which method comprises: preparing the canvas support medium with at least one non-conductive or poorly conductive polymer and forming it with an aesthetic
texture made by taking one or more negative or positive impressions from one or more organic or natural materials, to make texture on the canvas support medium that resembles the organic or natural material's texture or each organic or natural materials'
texture, a negative impression of it or them, or a combination of these, or such a texture made on the canvas support medium from at least part of a Nymphaeaceae Victoria also known as an Amazon Water-lily, and the canvas support medium is made so that
one or more of its polymers are in an amount sufficient to provide or enable the image to have at least one aesthetic element, so that the reinvented canvas support medium facilitates artistic expression, and the creation and display of an aesthetic
image that is art, design or architecture made therewith, thereupon or therefrom that is a work or object for visual observation or display and a whole in and of itself with distinct boundaries or edges; and the method also requires one or more of
(A)-(G) below: (A) making the canvas support medium: opaque, planar and two dimensional, or making the canvas support medium transparent, translucent or both to allow light to pass into it or through it, and the at least one polymer is poly(methyl
methacrylate) or acrylic, or it is a polymer made with a methacrylate ester or methacrylamide derivative and one or more of (i)-(iv): (i) an impact modifier stabilizer is present, a stabilizer is present that enhances or enables bonding or that is a
surface preparation stabilizer layer; a stabilizer is present that provides or enhances the ability of the canvas support medium, the image or both to remain color stable or to remain unchanged with exposure to ultraviolet light; or a stabilizer is
present that affects surface flow or leveling, or that facilitates superimposing applications; (ii) the at least one polymer is partially or entirely 2D planar; (iii) the at least one polymer is partially but not completely made with poly(methyl
methacrylate) or acrylic, or is made with a methacrylate ester or methacrylamide derivative with at least one different polymer or monomer, or with a strengthening stabilizer that is a surfacing veil fiberglass or that is fiber located in a transparent
or translucent polymer part of the canvas support medium, wherein this fiber is capable of being largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or when used within or under transparent
colorless polymer that penetrates it, that is at least about a quarter of an inch thick, or both; or (iv) the at least one polymer is partially but not completely made with poly(methyl methacrylate) or acrylic, or a methacrylate ester or methacrylamide
derivative and the canvas support medium is cleaned sufficiently to render it receptive to artist's paint and to provide enhanced bond strength and permanence to facilitate development of the aesthetic image; (B) preparing the canvas support medium as a
form that is partially or entirely transparent, translucent or both, capable of bonding to conventional artist's mediums, with a stabilizer that provides or enhances the ability of the formed polymer, the formed canvas support medium and the image to
remain color stable or to remain unchanged with exposure to ultraviolet light, and: (i) accompanying it with instructions on developing it into an aesthetic image; (ii) cleaning it sufficiently to render it receptive to artist's paint and to provide
enhanced bond strength and permanence to facilitate development of the aesthetic image; (iii) making it with a strengthening stabilizer that is not visible to viewers within it's transparent or translucent polymer form and developing it into an
aesthetic image; (iv) preparing it with a means or a key part of a means of display; or (v) making the canvas support medium with two or more layers, one of which is transparent or translucent polymer and another of which makes a visible aesthetic
contribution to the canvas support medium as an underlayer, or it provides or assists in the support or structure of the canvas support medium; (C) preparing the canvas support medium with a surface preparation stabilizer layer or other stabilizer in or
on it's surface that enhances or enables bonding and one or more of: (i) forming the canvas support medium with a polymer surface made with a stabilizer ingredient in it that bonds or fortifies the bond between it and one or more superimposed
conventional artist's mediums, wherein this stabilizer ingredient is at least one conventional artist's painting medium, primer or binder; (ii) accompanying it with instructions on developing it into an aesthetic image; (iiii) cleaning it sufficiently
to render it receptive to artist's paint and to provide enhanced bond strength and permanence to facilitate development of the aesthetic image; or (iv) making the canvas support medium: opaque, planar and two dimensional, or making the canvas support
medium transparent, translucent or both to allow light to pass into it or through it, and the method requires one or more of: (iv-a) adding a stabilizer to provide or enhance the ability of the formed polymer, the formed canvas medium and the image to
remain color stable or to remain unchanged with exposure to ultraviolet light, (iv-b) adding a means or a key part of a means of installation or display as an aesthetic image; or (iv-c) developing the canvas support medium with a conventional artist's
painting or drawing medium, or developing the canvas support medium into an aesthetic image; (D) preparing the canvas support medium with at least one absorbent polymer, with at least one conductive polymer, or with an OLED made with conductive polymer; forming the canvas support medium with deckled edges, with irregularities throughout resembling the texture of handmade paper, or with texture resembling conventional canvas; preparing the canvas support medium with a stabilizer that affects surface
flow or leveling, or with a stabilizer that facilitates superimposing applications; or providing the canvas support medium with a rigid mount system or a combination rigid and wire mount system capable of displaying the canvas support medium or the
image from a wall or vertical surface; (E) forming the canvas support medium with texture from an Amazon Water-lily and developing it into an aesthetic image by one or more additions which contribute to it's aesthetic that are: collage or a drawing
medium; a photographic picture, emulsion, or transparency; a film or video; an electrically active layer, part or device; embedding, inlay, crystal, a hologram, a monitor, a battery or a solar cell, an air pocket, air bubbles, a light reflective or
iridescent material or medium; a means of detecting or sensing a person, the environment or change, and then responding or responding by changing a color, a light property or an aesthetic element; a light source or a means of emitting sound; the
ability to be interactive or at least one interactive feature or part; or a means or a key part of a means of display as an aesthetic image; (F) preparing the canvas support medium or image with a polymeric, visible, aesthetic element: (i) at least
part of the positive or negative form of which functions as a lens, a Fresnel lens, a grating, a diffraction grating or a prism; a transparent or translucent lenticular lens or form; or two or more of these; (ii) with a dichroic effect, or with a
photochromic effect; (iii) with an electrochromic effect whereby it responds to changes in electrical current by changing or by changing it's state of or it's level of: transparency, translucency, reflectivity, light emission employing conductive
polymer, it changes the path or color of the light passing through it, or a combination of these; (iv) one or more of (i)-(iii) that serves as part or all of an image support, an image support stabilizer or an underlayer; wherein this canvas support
medium or image prepared according to (i), (ii), (iii) or (iv) above is also prepared with one or more of (1)-(5) as follows: (1) it is cleaned sufficiently to render it receptive to artist's paint and to provide enhanced bond strength and permanence to
facilitate development of the aesthetic image; (2) it is prepared with a surface preparation stabilizer or another stabilizer that enables or enhances bonding to conventional artist's mediums; (3) it is developed into an aesthetic image; or it is
prepared according to (ii) or (iii) above and the photochromic, dichroic or eletrochromic effect provides a pictorial or design element, a picture or a drawing thereby developing it into an aesthetic image; (4) it is accompanied by instructions on how
it can be developed into an aesthetic image; or (5) it is made with absorbent polymer or conductive polymer; (G) making the canvas support medium in an overall form that is geometric, nonrepresentational, or free from looking like the real natural or
organic form or forms from which it's texture was made, and therefore free from being: a realistic portrayal, specimen or model that looks like the real, natural or organic form or forms from which it's texture was made, wherein preparation of the canvas
support medium requires one or more of (G-A)-(G-C): (G-A) making the canvas support medium opaque, planar and two dimensional or making it transparent, translucent or both to allow light to pass into it or through it, and one or more of (i) - (viii): (i)
in a planar, two dimensional form or a sheet-like form; (ii) adding stabilizer to provide or enhance the ability of the polymer or the canvas support medium to remain color stable or to remain unchanged with exposure to ultraviolet light, (iii)
preparing the canvas support medium's surface with a surface preparation stabilizer layer or other stabilizer in or on it to enhance or enable bonding; (iv) accompanying this canvas support medium with instructions on how it might be further developed
into an aesthetic image; (v) cleaning the canvas support medium sufficiently to render it receptive to artist's paint and to provide enhanced bond strength and permanence to facilitate development of the aesthetic image; (vi) making it with a
strengthening stabilizer that is not visible to viewers within it's transparent or translucent polymer form and developing it into an aesthetic image; (vii) preparing it with a means or a key part of a means of display and developing it into an
aesthetic image; or (viii) preparing the canvas support medium according to the specifications in (F), subsection (i), (ii), (iii) or (iv) above; (G-B) developing the canvas support medium with (1) and (2) as follows: (1) it is prepared with all of
(a)-(d): (a) it is opaque, planar and two dimensional, or it is transparent, translucent or both, to allow light to pass into it or through it, (b) it is prepared with an at least one polymer that is one or more of (i)-(v): (i) partially but not
completely poly(methyl methacrylate) or acrylic, or that is partially made with a methacrylate ester or methacrylamide derivative, (ii) poly(methyl methacrylate) or acrylic, or a methacrylate ester or methacrylamide derivative and an impact modifier
stabilizer is present; a stabilizer is present to further enhance the ability of the formed canvas support medium or the image to remain color stable or to remain unchanged with exposure to ultraviolet light; or a stabilizer is present that enhances
bonding or that is a surface preparation stabilizer layer; (iii) poly(methyl methacrylate) or acrylic, or a methacrylate ester or methacrylamide derivative and the canvas support medium has: deckled edges, irregularities throughout resembling the
texture of handmade paper, texture resembling conventional canvas; (iv) polv(methvl methacrylate) or acrylic, or a methacrylate ester or methacrylamide derivative with a form that is 2D planar; or (v) a different polymer; (c) it is made to be color
stable, or to remain unchanged with exposure to ultraviolet light, or a stabilizer is present that provides or enhances one or both of these features; and (d) it is capable of bonding to at least one conventional artist's painting medium, artist's
drawing medium or photographic emulsion, or a stabilizer is present to provide or enhance this bonding, and (2) developing the canvas support medium also requires one or more of (e)-(h): (e) a means or a key part of a means for installation or display as
an aesthetic image; (f) it is cleaned sufficiently to render it receptive to conventional artist's paint and to provide enhanced bond strength and permanence to facilitate further development of the aesthetic image; (g) it is accompanied by
instructions on developing it into an aesthetic image; or (h) it is developed into an aesthetic image; or (G-C) preparing the canvas support medium with texture made from at least part of a Nymphaeaceae Victoria or Amazon Water-lily.
9. The method of claim 1, wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared according to one or more of (a)-(f): (a) developing the canvas
support medium into an aesthetic image that is art, design or architecture and displaying it; or preparing the canvas support medium or image with a means or a part of a means of installation or display which is: (i) a means or a part of a means for
display on a wall or vertical surface or by hanging; a hook or wire attached to enable hanging; or holes to enable hanging, (ii) a base, a stand, a frame, a backing, reinforcement, a part or a form that enables it's installation or display, or a means
that enables installation or display in a manner that resembles the manner in which conventional aesthetic images are displayed for viewing; (iii) a part, parts or the means by which it can scroll, roll, unroll, fold out or fold up or preparing it with
a form that scrolls, rolls, unrolls, folds, or unfolds; (iv) a rigid mount system or a combination rigid and wire mount system capable of displaying the canvas support medium or the image from a wall; (v) a means of displaying the canvas support medium
or image that leaves negative space between it and the wall, ceiling, floor or other structure from which it is displayed; or (vi) a means of being self supportive or freestanding; (b) preparing a surface on the canvas support medium or image that is
clean or that is cleaned sufficiently to be receptive to a conventional artist's medium or to enhance the strength and permanence of the bond formed between that surface and an artist's medium; preparing the canvas support medium or image to bond to a
conventional artist's medium so that the bond endures well through the image making process and through the use or display of the resultant image, or preparing it to bond as such wherein the conventional artist's painting medium is one or more of: oil
paint, water soluble oil paint, acrylic paint, alkyd paint, encaustic, paint sticks, watercolor, tempera, egg tempera, casein paint, vinyl paint, ink or gouache; or forming the canvas support medium or image so that it is as stable over time or as
permanent as possible; (c) forming or developing the canvas support medium or image using conventional image making practices or using conventional practices for making art; forming or developing the canvas support medium or image by adding: a
conventional image making medium, a conventional artist's medium, a primer conventionally used to make images, an underlayer, an imprimatura, a Clarifying Imprimatura, a ground, underdrawing, underpainting, painting, drawing, or collage which bonds to
the canvas support medium, the image or to its polymer; adding at least one paint, ink or other colorant at two or more different spatial depths which are visible to viewers within the transparent or translucent form of the canvas support medium or
image; using one or more transparent or translucent separating layers of polymer to separate one or more applications, layers or attachments of aesthetic, design or pictorial elements on the separating layer or layers' opposite sides; adding a part or
layer with a refractive index different from that of the rest of the canvas support medium, the image, the nearest part thereof or any of these made of polymer; preparing the canvas support medium or image with at least one conductive polymer that
provides or enables an aesthetic effect or emitted light, and also with at least one: lens, prism, grating, variation described in claim 1 (D), light effect, at least one of these that effects the light visible in or emitted from the canvas support
medium or image, or one or more of these that serve as part of all of an image support; adding: an image support, a clear external layer of polymer, a colorant; a light source or a means of emitting light, a light effect or a material, a device or
another means that effects light properties; a solar cell, a battery, a power source, a lens, a grating, a prism, a filter; crystal, gem, stone, fabric, paper, clay, ceramic, wood, embedding, an air bubble, a hologram, a photographic image, a
photographic emulsion, or a photographic transparency; a dichroic or dichromatic ingredient; writing, text, incising, inlay, carving or embossing; texture or an ingredient that adds texture; a moving part or a means to be capable of movement, a
photochromic effect; an electrically active feature, or adding an anti-glare, anti-scratch or anti-reflective coating, layer ingredient or surface; (d) making the canvas support medium or image in a shape or form that contributes to the image's
aesthetic by being one or more of: representational, figurative, openwork, linear, discontinuous, non geometric, non-uniform, irregular, uneven, nonplanar, hollow, with a negative space, with an air pocket; with irregularities that make it look
handmade; with at least one curve, angle or undulation; capable of folding, unfolding, rolling out or scrolling; with two or more parts that are joined or separate; with all edges deckled; with a form that is partially or entirely: layered, opaque,
transparent, or translucent; with a form, a planar form or a planar two dimensional form that is transparent or translucent and polymeric, and that has two or more light sources in it or attached to it; or with a transparent, planar, two dimensional
polymeric form that has multiple light sources, OLEDs or other LEDs in it or attached to it; or forming or developing the canvas support medium or image so that it has two or more layers, with at least one layer that is: partially or entirely
transparent or translucent or such a layer that is external; a polymeric or non polymeric image support, image support stabilizer or strengthening stabilizer; made with or of glass, fabric, embedding, polymer, conductive polymer, a device, a light
effect, an aesthetic element that uses electricity, or a non polymeric aesthetic ingredient; providing color, or an internal layer or back layer providing color; or a combination of these; (e) preparing the canvas support medium or image with: a
computer or part of a computer, an interactive feature, an interactive part or a means of being capable of interactivity; sound, music, a microphone or a speaker; a control mechanism or device, a viewer input device, a switch, a button, a touch
control, a mechanism or device which enables control or change when pressure is applied, a drawing device, a trackball, a mouse, a means of responding to sound or voice command; voice recognition technology; a means of controlling or changing the
canvas support medium or image from a distance, via wireless communication or via a broadcast method; a sensor, a means of sensing or detecting a viewer, movement, sound, or change in light or in the environment, or such a means of sensing or detecting
with a means of responding or of responding by changing an aesthetic element of the canvas support medium or image; or a means so that an image maker or viewer can control, change or vary the electrical current, color, light, form, movement or an
aesthetic element in the canvas support medium or image; or making the canvas support medium, image or part thereof change in relation to change in natural light or skylight; or making it portray the sky or the light of the sky, wherein this portrayal
is static, it changes, it can be changed, or an image maker or a viewer can change it this portrayal is abstract, representational, realistic, surrealistic, with figures, with landscape, with a still life or it is illusionary; this portrayal is at least
partially formed with light in one or more colors, or this portrayal is at least partially formed by color or light changing as the sky changes or in a manner that portrays or represents the sky; or (f) the canvas support medium or image made with an
aesthetic effect created by electricity that causes the positions of particles, of liquid crystals, or of liquid crystals in a polymer layer or matrix to change.
10. The method of claim 3, wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared by one or more of (a)-(f): (a) developing the canvas support
medium into an aesthetic image that is art, design or architecture and displaying it or preparing the canvas support medium or image with a means or a part of a means of installation or display which is: (i) a means or a part of a means for display on a
wall or vertical surface or by hanging; a hook or wire attached to enable hanging; or holes to enable hanging, (ii) a base, a stand, a frame, a backing, reinforcement, a part or a form that enables it's installation or display, or a means that enables
installation or display in a manner that resembles the manner in which conventional aesthetic images are displayed for viewing; (iii) a part, parts or the means by which it can scroll, roll, unroll, fold out or fold up or preparing it with a form that
scrolls, rolls, unrolls, folds, or unfolds; (iv) a rigid mount system or a combination rigid and wire mount system capable of displaying the canvas support medium or the image from a wall; (v) a means of displaying the canvas support medium or image
that leaves negative space between it and the wall, ceiling, floor or other structure from which it is displayed; or (vi) a means of being self supportive or freestanding; (b) preparing a surface on the canvas support medium or image that is clean or
that is cleaned sufficiently to be receptive to a conventional artist's medium or to enhance the strength and permanence of the bond formed between that surface and an artist's medium; preparing the canvas support medium or image to bond to a
conventional artist's mediums so that the bond endures well through the image making process and through the use or display of the resultant image, or preparing it to bond as such wherein the conventional artist's painting medium is one or more of: oil
paint, water soluble oil paint, acrylic paint, alkyd paint, encaustic, paint sticks, watercolor, tempera, egg tempera, casein paint, vinyl paint, ink or gouache; or forming the canvas support medium or image so that it is as stable over time or as
permanent as possible; (c) forming or developing the canvas support medium or image using conventional image making practices or using conventional practices for making art; forming or developing the canvas support medium or image by adding: a
conventional image making medium, a conventional artist's medium, a primer conventionally used to make images, an underlayer, an imprimatura, a Clarifying Imprimatura, a ground, underdrawing, underpainting, painting, drawing, or collage which bonds to
the canvas support medium, the image or to its polymer; adding at least one paint, ink or other colorant at two or more different spatial depths which are visible to viewers within the transparent or translucent form of the canvas support medium or
image; using one or more transparent or translucent separating layers of polymer to separate one or more applications, layers or attachments of aesthetic, design or pictorial elements on the separating layer or layers' opposite sides; adding a part or
layer with a refractive index different from that of the rest of the canvas support medium, the image, the nearest part thereof or any of these made of polymer; preparing the canvas support medium or image with at least one conductive polymer that
provides or enables an aesthetic effect or emitted light, and also with at least one: lens, prism, grating, variation described in claim 3 (D), light effect, at least one of these that effects the light visible in or emitted from the canvas support
medium or image, or one or more of these that serve as part of all of an image support; adding: an image support, a clear external layer of polymer, a colorant; a light source or a means of emitting light, a light effect or a material, a device or
another means that effects light properties; a solar cell, a battery, a power source, a lens, a grating, a prism, a filter; crystal, gem, stone, fabric, paper, clay, ceramic, wood, embedding, an air bubble, a hologram, a photographic image, a
photographic emulsion, or a photographic transparency; a dichroic or dichromatic ingredient; writing, text, incising, inlay, carving or embossing; texture or an ingredient that adds texture; a moving part or a means to be capable of movement, a
photochromic effect; an electrically active feature, or adding an anti-glare, anti-scratch or anti-reflective coating, layer, ingredient or surface; (d) making the canvas support medium or image in a shape or form that contributes to the image's
aesthetic by being one or more of: representational, figurative, openwork, linear, discontinuous, non geometric, hollow, with a negative space, with an air pocket; with irregularities that make it look handmade; with at least one curve, angle or
undulation; capable of folding, unfolding, rolling out or scrolling; with two or more parts that are joined or separate; with all edges deckled; with a form that is partially or entirely: layered, opaque, transparent, or translucent; with a form, a
planar form or a planar two dimensional form that is transparent or translucent and polymeric, and that has two or more light sources in it or attached to it; or with a transparent, planar, two dimensional polymeric form that has multiple light sources,
OLEDs or other LEDs in it or attached to it; or forming or developing the canvas support medium or image so that it has two or more layers, with at least one layer that is: partially or entirely transparent or translucent or such a layer that is
external; a polymeric or non polymeric image support, image support stabilizer or strengthening stabilizer; made with or of glass, fabric, embedding, polymer, conductive polymer, a device, a light effect, an aesthetic element that uses electricity, or
a non polymeric aesthetic ingredient; providing color, or an internal layer or back layer providing color; or a combination of these; (e) preparing the canvas support medium or image with: a computer or part of a computer, an interactive feature, an
interactive part or a means of being capable of interactivity; sound, music, a microphone or a speaker; a control mechanism or device, a viewer input device, a switch, a button, a touch control, a mechanism or device which enables control or change
when pressure is applied, a drawing device, a trackball, a mouse, a means of responding to sound or voice command; voice recognition technology; a means of controlling or changing the canvas support medium or image from a distance, via wireless
communication or via a broadcast method; a sensor, a means of sensing or detecting a viewer, movement, sound, or change in light or in the environment, or such a means of sensing or detecting with a means of responding or of responding by changing an
aesthetic element of the canvas support medium or image; or a means so that an image maker or viewer can control, change or vary the electrical current, color, light, form, movement or an aesthetic element in the canvas support medium or image; or
making the canvas support medium, image or part thereof change in relation to change in natural light or skylight; or making it portray the sky or the light of the sky, wherein this portrayal is static, it changes, it can be changed, or an image maker
or a viewer can change it; this portrayal is abstract, representational, realistic, surrealistic, with figures, with landscape, with a still life or it is illusionary; this portrayal is at least partially formed with light in one or more colors, or
this portrayal is at least partially formed by color or light changing as the sky changes or in a manner that portrays or represents the sky; or (f) the canvas support medium or image made with an aesthetic effect created by electricity that causes the
positions of particles, of liquid crystals, or of liquid crystals in a polymer layer or matrix to change; wherein the methods of developing the canvas support medium or aesthetic image listed in (a)-(f) above or other methods of development maintain,
interrupt or change the uniformity, regularity or flexibility of their forms.
11. The method of claim 4, wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared by one or more of (a)-(f): (a) developing the canvas support
medium into an aesthetic image that is art, design or architecture and displaying it or preparing the canvas support medium or image with a means or a part of a means of installation or display which is: (i) a means or a part of a means for display on a
wall or vertical surface or by hanging; a hook or wire attached to enable hanging; or holes to enable hanging, (ii) a base, a stand, a frame, a backing, reinforcement, a part or a form that enables it's installation or display, or a means that enables
installation or display in a manner that resembles the manner in which conventional aesthetic images are displayed for viewing; (iii) a part, parts or the means by which it can scroll, roll, unroll, fold out, or fold up, or preparing it with a form that
scrolls, rolls, unrolls, folds, or unfolds; (iv) a rigid mount system or a combination rigid and wire mount system capable of displaying the canvas support medium or the image from a wall; or (v) a means of displaying the canvas support medium or image
that leaves negative space between it and the wall, ceiling, floor or other structure from which it is displayed; or (vi) a means of being self supportive or freestanding; (b) preparing a surface on the canvas support medium or image that is clean or
that is cleaned sufficiently to be receptive to a conventional artist's medium or to enhance the strength and permanence of the bond formed between that surface and an artist's medium; preparing the canvas support medium or image to bond to a
conventional artist's mediums so that the bond endures well through the image making process and through the use or display of the resultant image, or preparing it to bond as such wherein the conventional artist's painting medium is one or more of: oil
paint, water soluble oil paint, acrylic paint, alkyd paint, encaustic, paint sticks, watercolor, tempera, egg tempera, casein paint, vinyl paint, ink or gouache; or forming the canvas support medium or image so that it is as stable over time or as
permanent as possible; (c) forming or developing the canvas support medium or image using conventional image making practices or using conventional practices for making art; forming or developing the canvas support medium or image by adding: a
conventional image making medium, a conventional artist's medium, a primer conventionally used to make images, an underlayer, an imprimatura, a Clarifying Imprimatura, a ground, underdrawing, underpainting, painting, drawing, or collage which bonds to
the canvas support medium, the image or to its polymer; using one or more transparent or translucent separating layers of polymer to separate one or more applications, layers or attachments of aesthetic, design or pictorial elements on the separating
layer or layers' opposite sides; adding a part or layer with a refractive index different from that of the rest of the canvas support medium, the image, the nearest part thereof or any of these made of polymer; preparing the canvas support medium or
image with at least one conductive polymer that provides or enables an aesthetic effect or emitted light, and also with at least one: lens, prism, grating, variation described in claim 4 (E), light effect, at least one of these that effects the light
visible in or emitted from the canvas support medium or image, or one or more of these that serve as part of all of an image support; or adding: an image support, a clear external layer of polymer, a colorant; a light source or a means of emitting
light, a light effect or a material, a device or another means that effects light properties; a solar cell, a battery, a power source, a lens, a grating, a prism, a filter; crystal, gem, stone, fabric, paper, clay, ceramic, wood, embedding, an air
bubble, a hologram, a photographic image, a photographic emulsion, or a photographic transparency; a dichroic or dichromatic ingredient; writing, text, incising, inlay, carving or embossing; texture or an ingredient that adds texture; a moving part
or a means to be capable of movement, a photochromic effect; an electrically active feature, or adding an anti-glare, anti-scratch or anti-reflective coating, layer, ingredient or surface; (d) making the canvas support medium or image in a shape or
form that contributes to the image's aesthetic by being one or more of: representational, figurative, openwork, linear, non geometric, hollow, with a negative space, with an air pocket; with irregularities that make it look handmade; with at least one
curve, or undulation; capable of folding, unfolding, rolling out or scrolling; with two or more parts that are joined or separate; with all edges deckled; with a form that is partially or entirely: layered, opaque, transparent, or translucent; with
a form, or a two dimensional form that is transparent or translucent and polymeric, and that has two or more light sources in it or attached to it; or with a transparent, planar, two dimensional polymeric form that has multiple light sources, OLEDs or
other LEDs in it or attached to it; or forming or developing the canvas support medium or image so that it has two or more layers, with at least one layer that is: partially or entirely transparent or translucent or such a layer that is external; a
polymeric or non polymeric image support, image support stabilizer or strengthening stabilizer; made with or of glass, fabric, embedding, polymer, conductive polymer, a device, a light effect, an aesthetic element that uses electricity, or a non
polymeric aesthetic ingredient; providing color, or an internal layer or back layer providing color; or a combination of these; (e) preparing the canvas support medium or image with: a computer or part of a computer, an interactive feature, an
interactive part or a means of being capable of interactivity; sound, music, a microphone or a speaker; a control mechanism or device, a viewer input device, a switch, a button, a touch control, a mechanism or device which enables control or change
when pressure is applied, a drawing device, a trackball, a mouse, a means of responding to sound or voice command; voice recognition technology; a means of controlling or changing the canvas support medium or image from a distance, via wireless
communication or via a broadcast method; a sensor, a means of sensing or detecting a viewer, movement, sound, or change in light or in the environment, or such a means of sensing or detecting with a means of responding or of responding by changing an
aesthetic element of the canvas support medium or image; or a means so that an image maker or viewer can control, change or vary the electrical current, color, light, form, movement or an aesthetic element in the canvas support medium or image; or
making the canvas support medium, image or part thereof change in relation to change in natural light or skylight; or making it portray the sky or the light of the sky, wherein this portrayal is static, it changes, it can be changed, or an image maker
or a viewer can change it; this portrayal is abstract, representational, realistic, surrealistic, with figures, with landscape, with a still life or it is illusionary; this portrayal is at least partially formed with light in one or more colors, or
this portrayal is at least partially formed by color or light changing as the sky changes or in a manner that portrays or represents the sky; or (f) the canvas support medium or image made with an aesthetic effect created by electricity that causes the
positions of particles, of liquid crystals, or of liquid crystals in a polymer layer or matrix to change; wherein the methods of developing the canvas support medium or aesthetic image listed in (a)-(f) above or other methods of development maintain,
interrupt or change the uniformity, regularity, flexibility or thinness of their forms.
12. The method of claim 1, wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared by one or more of (a)-(h): (a) making the canvas support medium
or image with: (i) a co-polymer wherein one monomer is methacrylate ester, methacrylamide derivative or methyl methacrylate; (ii) a co-polymer wherein one monomer is methacrylate ester, methacrylamide derivative or methyl methacrylate and another is a
monomer that enhances the strength or rigidity of the resultant polymer, canvas support medium or image; (iii) a mixture wherein one polymer is poly(methyl methacrylate) or it is made from methacrylate ester or methacrylamide derivative; or (iv) a
mixture wherein the polymer is made with poly(methyl methacrylate) or a polymer made from methacrylate ester or methacrylamide derivative, and a second polymer that enhances the strength or rigidity of the resultant polymer, canvas support medium or
image; (b) making the canvas support medium or image with two or more different layers, one of which is an external surface preparation stabilizer layer on the canvas support medium's or image's main surface that is made with: (b-i) a non absorbent
polymer that is transparent, translucent or both, (b-ii) a synthetic absorbent polymer, or (b-iii) a combination of both, wherein this surface preparation stabilizer layer bonds well to at least one kind of conventional artist's painting medium or
photographic emulsion, and it bonds well to the part of the image, the canvas support medium or the image support beneath it; (c) forming the canvas support medium or image with an at least one polymer that is absorbent and another ingredient, with the
absorbent polymer used in a formulation, an amount and a design sufficient to enable or enhance the canvas support medium's or image's bond with at least one kind of superimposed conventional artist's medium which it absorbs, wherein the other ingredient
is of a composition, and is used in an amount and in a design which enhances the canvas support medium's or image's mechanical or structural properties; (d) the canvas support medium or image is made with: a copolymer or a polymer mixture with at least
one synthetic absorbent polymer; a synthetic absorbent polymer and a non absorbent polymer; a synthetic absorbent polymer on an image support made with non absorbent polymer; or any of these wherein the canvas support medium or image is transparent or
translucent; (e) the canvas support medium or image has two or more layers or parts made of different polymers which are superimposed or connected, wherein at least one of these polymer layers or parts provides support to the medium or image, and at
least one different layer or part provides or enables the image to have at least one element selected from the group consisting of an aesthetic element, transparency, translucency, an ability to emit visible light, an ability to bond to at least one
superimposed application, or an ability to be further developed by cutting, carving, sculpting or incising; (f) forming the canvas support medium or image with a stabilizer that: enables or enhances it's color stability or it's ability to remain stabile
with exposure to ultraviolet light; is an ultraviolet light stabilizer, an ultraviolet light absorber, or a hindered amine light stabilizer; is a fiberglass surfacing veil, or a fiber that like surfacing veil fiberglass, becomes largely invisible or
invisible to the unaided human eye when used within or under transparent colorless polymer or when used within or under transparent colorless polymer that penetrates it, that is at least about a quarter of an inch thick, or both; a stabilizer that
enhances permanence, a stabilizer that is a processing aid, a surface preparation stabilizer, a stabilizer that enables or enhances bonding, a strengthening stabilizer, a stabilizer that modifies the absorbency of at least some of the polymer; a
stabilizer that maintains or enhances impact resistance, scratch resistance or hardness; a stabilizer that is radiation which cures or crosslinks the at least one polymer; a stabilizer that crosslinks an absorbent polymer, a stabilizer that is a
crossliniking monomer used with an absorbent polymer; or the canvas support medium, the image or some or all of its polymer is reinforced by, made stiffer by, or has its means of display provided or enhanced by a strengthening stabilizer within or on it
or a portion of it, or bonded to it or a portion thereof, or it has such a strengthening stabilizer that is: (1) not visible to viewers; (2) made with a different, stronger or more rigid polymer; (3) a means of display or part of a means of display, a
rigid mount system or a combination rigid and wire mount system capable of displaying the canvas support medium or the image from a wall; or (4) fiber, a surfacing veil fiberglass or a fiber that like surfacing veil fiberglass, becomes largely invisible
or invisible to the unaided human eye when used within or under transparent colorless polymer or when used within or under transparent colorless polymer that penetrates it, that is at least about a quarter of an inch thick, or both; (g) developing the
canvas support medium or image by the application a conventional artist's drawing or painting medium to which it bonds; developing the canvas support medium or image so that it shows at least part of a drawing, picture or design, or one of these that is
figurative, realistic, representational, abstract, illusionistic, a landscape, or a still life; developing the canvas support medium or the aesthetic image as a mural on a wall, ceiling or other architectural structure; or (h) making the canvas support
medium or image so that serves a second utilitarian function in addition to it's function for image making; preparing the image to serve a utilitarian function, or making the canvas support medium or image function as: a door, a gate, a fence, a stage
set, a partition, a screen, furniture, a table, a chair, a stool, a chest, a cabinet, a cart, a bench, a tent, an awning, a fountain, a basket, a case or container, a light fixture, candelabrum, a window, a skylight, a lunette, shades, shutters, a tile,
a column, or a set, grouping or compositional arrangement of these that is a single work; a building facade, a wall, a ceiling, a floor, stairs or another architectural form or structure; craft design, a vase, a bowl, a tray, a cup or goblet, a plate,
a dish, a pitcher, a soup tureen, a placemat, or a work of design for household use; an altar, a menorah or an image for spiritual or religious use; a book or pad that is a new version of the conventional image making blank book or blank paper pad
capable of being developed into visual pictorial image, or a plurality of associated sheets arranged in a book or pad form capable of such image making; an image of graphic design or book design free or nearly free of visible legible text; an image of
design, fashion design, clothing, a fashion or clothing accessory, jewelry, a hat, a belt, a purse, a tote bag, or a costume.
13. The method of claim 3, wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared by one or more of (a)-(h): (a) making the canvas support medium
or image with: (i) a co-polymer wherein one monomer is methacrylate ester, methacrylamide derivative or methyl methacrylate; (ii) a co-polymer wherein one monomer is methacrylate ester, methacrylamide derivative or methyl methacrylate and another is a
monomer that enhances the strength, rigidity, flexibility or permanence of the resultant polymer, canvas support medium or image; (iii) a mixture wherein one polymer is poly(methyl methacrylate) or it is made from methacrylate ester or methacrylamide
derivative; or (iv) a mixture wherein the polymer is made with poly(methyl methacrylate) or a polymer made from methacrylate ester or methacrylamide derivative, and a second polymer that enhances the strength, rigidity, flexibility or permanence of the
resultant polymer, canvas support medium or image; (b) making the canvas support medium or image with two or more different layers, one of which is an external surface preparation stabilizer layer on the canvas support medium's or image's main surface
that is made with: (b-i) a non absorbent polymer that is transparent, translucent or both, (b-ii) a synthetic absorbent polymer, or (b-iii) a combination of both, wherein this surface preparation stabilizer layer bonds well to at least one kind of
conventional artist's painting medium or photographic emulsion, and it bonds well to the part of the image, the canvas support medium or image support beneath it; (c) forming the canvas support medium or image with an at least one polymer that is
absorbent and another ingredient, with the absorbent polymer used in a formulation, an amount and a design sufficient to enable or enhance the canvas support medium's or image's bond with at least one kind of superimposed conventional artist's medium
which it absorbs, wherein the other ingredient is of a composition, and is used in an amount and in a design which enhances the canvas support medium's or image's mechanical or structural properties; (d) the canvas support medium or image is made with:
a copolymer or a polymer mixture with at least one synthetic absorbent polymer; a synthetic absorbent polymer and a non absorbent polymer; a synthetic absorbent polymer on an image support made with non absorbent polymer; or any of these wherein the
canvas support medium or image is transparent or translucent; (e) the canvas support medium or image has two or more layers or parts made of different polymers which are superimposed or connected, wherein at least one of these polymer layers or parts
provides support to the medium or image, and at least one different layer or part provides or enables the image to have at least one element selected from the group consisting of an aesthetic element, transparency, translucency, an ability to emit
visible light, an ability to bond to at least one superimposed application, or an ability to be further developed by cutting, carving, sculpting or incising; (f) forming the canvas support medium or image with a stabilizer that: enables or enhances it's
color stability or it's ability to remain stabile with exposure to ultraviolet light; is an ultraviolet light stabilizer, an ultraviolet light absorber, or a hindered amine light stabilizer; is a fiberglass surfacing veil, or a fiber that like
surfacing veil fiberglass, becomes largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or when used within or under transparent colorless polymer that penetrates it, that is at least about a
quarter of an inch thick, or both; a stabilizer that enhances permanence, a stabilizer that is a processing aid, a surface preparation stabilizer, a stabilizer that enables or enhances bonding or flexibility, a strengthening stabilizer, a stabilizer
that modifies the absorbency of at least some of the polymer; a stabilizer that maintains or enhances impact resistance, scratch resistance or hardness; a stabilizer that is radiation which cures or crosslinks the at least one polymer; a stabilizer
that crosslinks an absorbent polymer, a stabilizer that is a crossliniking monomer used with an absorbent polymer; or the canvas support medium, the image or some or all of its polymer is reinforced by or has its means of display provided or enhanced by
a strengthening stabilizer within or on it or a portion of it, or bonded to it or a portion thereof, or it has such a strengthening stabilizer that is: (1) not visible to viewers; (2) made with a different, stronger or more rigid polymer; (3) a means
of display or part of a means of display, or (4) fiber, a surfacing veil fiberglass or a fiber that like surfacing veil fiberglass, becomes largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or
when used within or under transparent colorless polymer that penetrates it, that is at least about a quaffer of an inch thick, or both; (g) developing the canvas support medium or image by the application a conventional artist's drawing or painting
medium to which it bonds; developing the canvas support medium or image so that it shows at least part of a drawing, picture or design, or one of these that is figurative, realistic, representational, abstract, illusionistic, a landscape, or a still
life; developing the canvas support medium or the aesthetic image as a mural; or (h) making the canvas support medium or image so that serves a second utilitarian function in addition to it's function for image making; preparing the image to serve a
utilitarian function, or making the canvas support medium or image function as: a door, a gate, a fence, a stage set, a partition, a screen, furniture, a table, a chair, a stool, a chest, a cabinet, a cart, a bench, a tent, an awning, a fountain, a
basket, a case or container, a light fixture, candelabrum, a window, a skylight, a lunette, shades, shutters, a tile, a column, or a set, grouping or compositional arrangement of these that is a single work; a building facade, a wall, a ceiling, a
floor, stairs or another architectural form or structure; craft design, a vase, a bowl, a tray, a cup or goblet, a plate, a dish, a pitcher, a soup tureen, a placemat, or a work of design for household use; an altar, a menorah or an image for spiritual
or religious use; a book or pad that is a new version of the conventional image making blank book or blank paper pad capable of being developed into visual, pictorial or design image, or a plurality of associated sheets arranged in a book or pad form
capable of such image making; an image of graphic design or book design free or nearly free of visible legible text; an image of design, fashion design, clothing, a fashion or clothing accessory, jewelry, a hat, a belt, a purse, a tote bag, or a
costume; wherein the methods of developing the canvas support medium or aesthetic image listed in (a)-(h) above or other methods of development maintain, interrupt or change the uniformity, regularity or flexibility of their forms.
14. The method of claim 4, wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared by one or more of (a)-(h): (a) making the canvas support medium
or image with: (i) a co-polymer wherein one monomer is methacrylate ester, methacrylamide derivative or methyl methacrylate; (ii) a co-polymer wherein one monomer is methacrylate ester, methacrylamide derivative or methyl methacrylate and another is a
monomer that enhances the strength, rigidity, flexibility or permanence of the resultant polymer, canvas support medium or image; (iii) a mixture wherein one polymer is poly(methyl methacrylate) or it is made from methacrylate ester or methacrylamide
derivative; or (iv) a mixture wherein the polymer is made with poly(methyl methacrylate) or a polymer made from methacrylate ester or methacrylamide derivative, and a second polymer that enhances the strength, rigidity, flexibility or permanence of the
resultant polymer, canvas support medium or image; (b) making the canvas support medium or image with two or more different layers, one of which is an external surface preparation stabilizer layer on the canvas support medium's or image's main surface
that is made with: (b-i) a non absorbent polymer that is transparent, translucent or both, (b-ii) a synthetic absorbent polymer, or (b-iii) a combination of both, wherein this surface preparation stabilizer layer bonds well to at least one kind of
conventional artist's painting medium or photographic emulsion, and it bonds well to the part of the image, the canvas support medium or image support beneath it; (c) forming the canvas support medium or image with an at least one polymer that is
absorbent and another ingredient, with the absorbent polymer used in a formulation, an amount and a design sufficient to enable or enhance the canvas support medium's or image's bond with at least one kind of superimposed conventional artist's medium
which it absorbs, wherein the other ingredient is of a composition, and is used in an amount and in a design which enhances the canvas support medium's or image's mechanical or structural properties; (d) the canvas support medium or image is made with:
a copolymer or a polymer mixture with at least one synthetic absorbent polymer; a synthetic absorbent polymer and a non absorbent polymer; a synthetic absorbent polymer on an image support made with non absorbent polymer; or any of these wherein the
canvas support medium or image is transparent or translucent; (e) the canvas support medium or image has two or more layers or parts made of different polymers which are superimposed or connected, wherein at least one of these polymer layers or parts
provides support to the medium or image, and at least one different layer or part provides or enables the image to have at least one element selected from the group consisting of an aesthetic element, transparency, translucency, an ability to emit
visible light, an ability to bond to at least one superimposed application, or an ability to be further developed by cutting, incising or a subtractive process; (f) forming the canvas support medium or image with a stabilizer that: enables or enhances
it's color stability or it's ability to remain stabile with exposure to ultraviolet light; is an ultraviolet light stabilizer, an ultraviolet light absorber, or a hindered amine light stabilizer; is a fiberglass surfacing veil, or a fiber that like
surfacing veil fiberglass, becomes largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or when used within or under transparent colorless polymer that penetrates it, that is at least about a
quarter of an inch thick, or both; a stabilizer that enhances permanence, a stabilizer that is a processing aid, a surface preparation stabilizer, a stabilizer that enables or enhances bonding or flexibility, a strengthening stabilizer, a stabilizer
that modifies the absorbency of at least some of the polymer; a stabilizer that maintains or enhances impact resistance, scratch resistance or hardness; a stabilizer that is radiation which cures or crosslinks the at least one polymer; a stabilizer
that crosslinks an absorbent polymer, a stabilizer that is a crossliniking monomer used with an absorbent polymer; or the canvas support medium, the image or some or all of its polymer is reinforced by or has its means of display provided or enhanced by
a strengthening stabilizer within or on it or a portion of it, or bonded to it or a portion thereof, or it has such strengthening stabilizer that is: (1) not visible to viewers; (2) made with a different, stronger or more rigid polymer; (3) a means of
display or part of a means of display, or (4) fiber, a surfacing veil fiberglass or a fiber that like surfacing veil fiberglass, becomes largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or
when used within or under transparent colorless polymer that penetrates it, that is at least about a quarter of an inch thick, or both; (g) developing the canvas support medium or image by the application a conventional artist's drawing or painting
medium to which it bonds; developing the canvas support medium or image so that it shows at least part of a drawing, picture or design, or one of these that is figurative, realistic, representational, abstract, illusionistic, a landscape, or a still
life; developing the canvas support medium or the aesthetic image as a mural; or (h) making the canvas support medium or image so that serves a second utilitarian function in addition to it's function for image making; preparing the image to serve a
utilitarian function, or developing the canvas support medium or image with properties or features useful for creating an aesthetic image, that also has a second utilitarian function either (i) in it's 2D planar form, or (ii) with it's 2D planar form
augmented by the addition of matter or augmented by it's superimposition on another form; or developing the canvas support medium or image so that it functions as: a door, a gate, a fence, a stage set, a partition, a screen, furniture, a table, a chair,
a stool, a chest, a cabinet, a cart, a bench, a tent, an awning, a fountain, a basket, a case or container, a light fixture, candelabrum, a window, a skylight, a lunette, shades, shutters, a tile, a column, or a set, grouping or compositional arrangement
of these that is a single work; a building facade, a wall, a ceiling, a floor, stairs or another architectural form or structure; craft design, a vase, a bowl, a tray, a cup or goblet, a plate, a dish, a pitcher, a soup tureen, a placemat, or a work of
design for household use; an altar, a menorah or an image for spiritual or religious use; a book or pad that is a new version of the conventional image making blank book or blank paper pad capable of being developed into visual pictorial or design
image, or a plurality of associated sheets arranged in a book or pad form capable of such image making; an image of graphic design or book design free or nearly free of visible legible text; an image of design, fashion design, clothing, a fashion or
clothing accessory, jewelry, a hat, a belt, a purse, a tote bag, or a costume; wherein the methods of developing the canvas support medium or aesthetic image listed in (a)-(h) above or other methods of development maintain, interrupt or change the
uniformity, regularity, flexibility or thinness of their forms.
15. The method of claim 8 which requires preparing the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image with one or more of (a)-(g): (a) developing the canvas
support medium into an aesthetic image that is art, design or architecture and displaying it; or preparing the canvas support medium or image with a means or a part of a means of installation or display which is: (i) a means or a part of a means for
display on a wall or vertical surface or by hanging; a hook or wire attached to enable hanging; or holes to enable hanging, (ii) a base, a stand, a frame, a backing, reinforcement, a part or a form that enables it's installation or display, or a means
that enables installation or display in a manner that resembles the manner in which conventional aesthetic images are displayed for viewing; (iii) a part, parts or the means by which it can scroll, roll, unroll, fold out or fold up or preparing it with
a form that scrolls, rolls, unrolls, folds, or unfolds; (iv) a rigid mount system or a combination rigid and wire mount system capable of displaying the canvas support medium or the image from a wall; (v) a means of displaying the canvas support medium
or image that leaves negative space between it and the wall, ceiling, floor or other structure from which it is displayed; or (vi) a means of being self supportive or freestanding; (b) preparing a surface on the canvas support medium or image that is
clean or that is cleaned sufficiently to be receptive to a conventional artist's medium or to enhance the strength and permanence of the bond formed between that surface and an artist's medium; preparing the canvas support medium or image to bond to a
conventional artist's mediums so that the bond endures well through the image making process and through the use or display of the resultant image; (c) forming or developing the canvas support medium or image using conventional image making practices or
using conventional practices for making art; forming or developing the canvas support medium or image by adding: a conventional image making medium, a conventional artist's medium, a primer conventionally used to make images, an underlayer, an
imprimatura, a Clarifying Imprimatura, a ground, underdrawing, underpainting, drawing, painting or collage which bonds to the image, the canvas support medium or to its polymer; adding at least one paint, ink or other colorant at two or more different
spatial depths which are visible to viewers within the transparent or translucent form of the canvas support medium or image; adding a part or layer with a refractive index different from that of the rest of the canvas support medium, the image, the
nearest part thereof or any of these made of polymer; preparing the canvas support medium or image with at least one conductive polymer that provides or enables an aesthetic effect or emitted light, and also with at least one: lens, prism, grating,
variation described in claim 8, light effect, at least one of these that effects the light visible in or emitted from the canvas support medium or image, or one or more of these that serve as part of all of an image support; or adding: a colorant; an
image support, a clear external polymer layer, a light source or a means of emitting light, a light effect or a material, a device or another means that effects light properties; a solar cell, a battery, a power source, a lens, a grating, a prism, a
filter; crystal, gem, stone, fabric, paper, clay, ceramic, wood, embedding, an air bubble, a hologram, a photographic image, a photographic emulsion, or a photographic transparency; a dichroic or dichromatic effect; writing, text, incising, inlay,
carving or embossing; texture or an ingredient that adds texture; a moving part or a means to be capable of movement; a photochromic effect; an electrically active feature, or adding an anti-glare, anti-scratch or anti-reflective coating, layer,
ingredient or surface; (d) preparing the canvas support medium or image with: a computer or part of a computer, an interactive feature, an interactive part or a means of being capable of interactivity; sound, music, a microphone or a speaker; a
control mechanism or device, a viewer input device, a switch, a button, a touch control, a mechanism or device which enables control or change when pressure is applied, a drawing device, a trackball, a mouse, a means of responding to sound or voice
command; voice recognition technology; a means of controlling or changing the canvas support medium or image from a distance, via wireless communication or via a broadcast method; a sensor, a means of sensing or detecting a viewer, movement, sound, or
change in light or in the environment, or such a means of sensing or detecting with a means of responding or of responding by changing an aesthetic element of the canvas support medium or image; or a means so that an image maker or viewer can control,
change or vary the electrical current, color, light, form, movement or an aesthetic element in the canvas support medium or image; or making the canvas support medium, image or part thereof change in relation to change in natural light or skylight; or
making it portray the sky or the light of the sky, wherein this portrayal is static, it changes, it can be changed, or an image maker or a viewer can change it; this portrayal is abstract, representational, realistic, surrealistic, with figures, with
landscape, with a still life or it is illusionary; this portrayal is at least partially formed with light in one or more colors, or this portrayal is at least partially formed by color or light changing as the sky changes or in a manner that portrays or
represents the sky; (e) making the canvas support medium or image in a shape or form that contributes to the image's aesthetic by being one or more of: representational, figurative, openwork, linear, discontinuous, non geometric, non-uniform, irregular,
uneven, nonplanar, hollow, with a negative space, with an air pocket; with irregularities that make it look handmade; with at least one curve, angle or undulation; capable of folding, unfolding, rolling out, rolling up or scrolling; with two or more
parts that are joined or separate; with all edges deckled; with a form that is partially or entirely: layered, opaque, transparent, or translucent; with a form, a planar form or a planar two dimensional form that is transparent or translucent and
polymeric, and that has two or more light sources in it or attached to it; or with a transparent, planar, two dimensional polymeric form that has multiple light sources, OLEDs or other LEDs in it or attached to it; or forming or developing the canvas
support medium or image so that it has two or more layers, with at least one layer that is: partially or entirely transparent or translucent or such a layer that is external; a polymeric or non polymeric image support, image support stabilizer or
strengthening stabilizer; made with or of glass, fabric, embedding, polymer, conductive polymer, a device, a light effect, an aesthetic element that uses electricity, or a non polymeric aesthetic ingredient; providing color, or an internal layer or
back layer providing color; or a combination of these; (f) developing the canvas support medium or image so that it shows at least part of a drawing, picture or design, or one of these that is figurative, realistic, representational, abstract,
illusionistic, a landscape, or a still life; or the canvas support medium or image has an aesthetic effect created by electricity that causes the positions of particles, of liquid crystals, or of liquid crystals in a polymer layer or matrix to change;
or (g) making the canvas support medium or image so that serves a second utilitarian function in addition to it's function for image making; preparing the image so that it serves a utilitarian function, or making the canvas support medium or image
function as: a mural, a door, a gate, a fence, a stage set, a partition, a screen, furniture, a table, a chair, a stool, a chest, a cabinet, a cart, a bench, a tent, an awning, a fountain, a basket, a case or container, a light fixture, candelabrum, a
window, a skylight, a lunette, shades, shutters, a tile, a column, or a set, grouping or compositional arrangement of these that is a single work; a building facade, a wall, a ceiling, a floor, stairs or another architectural form or structure; craft
design, a vase, a bowl, a tray, a cup or goblet, a plate, a dish, a pitcher, a soup tureen, a placemat, or a work of design for household use; an altar, a menorah or an image for spiritual or religious use; a book or pad that is a new version of the
conventional image making blank book or blank paper pad capable of being developed into visual pictorial or design image, or a plurality of associated sheets arranged in a book or pad form capable of such image making; an image of graphic design or book
design free or nearly free of visible legible text; an image of design, fashion design, a fashion accessory, jewelry, a hat, a belt, a tote bag, or a costume.
16. The method of claim 8 in which requires preparing the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image with one or more of (a)-(h): (a) making the canvas support
medium or the image with a sensor or other means of detection so it can change in response to a person, in response to the environment or in response to light; making the canvas support medium, image or part thereof change in relation to change in
natural light or skylight; or making it portray the sky or the light of the sky, wherein this portrayal is static, it changes, it can be changed, or an image maker or a viewer can change it; this portrayal is abstract, representational, realistic,
surrealistic, with figures, with landscape, with a still life or it is illusionary; this portrayal is at least partially formed with light in one or more colors, or this portrayal is at least partially formed by color or light changing as the sky
changes or in a manner that portrays or represents the sky; (b) making the canvas support medium or image with: (i) a co-polymer wherein one monomer is methacrylate ester, methacrylamide derivative or methyl methacrylate; (ii) a co-polymer wherein one
monomer is methacrylate ester, methacrylamide derivative or methyl methacrylate and another is a monomer that enhances the strength, rigidity, flexibility or permanence of the resultant polymer, canvas support medium or image; (iii) a mixture wherein
one polymer is poly(methyl methacrylate) or it is made from methacrylate ester or methacrylamide derivative; or (iv) a mixture wherein the polymer is made with poly(methyl methacrylate) or a polymer made from methacrylate ester or methacrylamide
derivative, and a second polymer that enhances the strength, rigidity, flexibility or permanence of the resultant polymer, canvas support medium or image; (c) making the canvas support medium or image with two or more different layers, one of which is
an external surface preparation stabilizer layer on the canvas support medium's main surface that is made with: (c-i) a non absorbent polymer that is transparent, translucent or both, (c-ii) a synthetic absorbent polymer, or (c-iii) a combination of
both, wherein this surface preparation stabilizer layer bonds well to at least one kind of conventional artist's painting medium or photographic emulsion, and it bonds well to the part of the image, the canvas support medium or image support beneath it;
(d) forming the canvas support medium or image with an at least one polymer that is absorbent and another ingredient, with the absorbent polymer used in a formulation, an amount and a design sufficient to enable or enhance the canvas support medium's or
image's bond with at least one kind of superimposed conventional artist's medium which it absorbs, wherein the other ingredient is of a composition, and is used in an amount and in a design which enhances the canvas support medium's or image's mechanical
or structural properties; (e) the canvas support medium or image is made with: a copolymer or a polymer mixture with at least one synthetic absorbent polymer; a synthetic absorbent polymer and a non absorbent polymer; a synthetic absorbent polymer on
an image support made with non absorbent polymer; any of these wherein the canvas support medium or image is transparent or translucent; (f) the canvas support medium or image has two or more layers or parts made of different polymers which are
superimposed or connected, wherein at least one of these polymer layers or parts provides support to the medium, and at least one different layer or part provides or enables the image to have at least one element selected from the group consisting of an
aesthetic element, transparency, translucency, an ability to emit visible light, an ability to bond to at least one superimposed application, or an ability to be further developed by cutting, carving, sculpting or incising; (g) developing the aesthetic
image by using one or more transparent or translucent polymeric separating layers to separate applications, layers or attachments of one or more other kinds of aesthetic, design or pictorial elements on it's or on their opposing sides, or such
development that: (1) separates applications or layers of one or more kinds of conventional artist's mediums; or (2) separates carving, incising, aesthetic elements in section E of claim 2; separates a combination of these; separates at least one of
these with one or more applications of conventional artist's mediums; or separates any of these with at least one LED, OLED or light source; or (h) forming the canvas support medium or image with a stabilizer that: enables or enhances it's color
stability or it's ability to remain stabile with exposure to ultraviolet light; is an ultraviolet light stabilizer, an ultraviolet light absorber, or a hindered amine light stabilizer; is a fiberglass surfacing veil, or a fiber that like surfacing veil
fiberglass, becomes largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or when used within or under transparent colorless polymer that penetrates it, that is at least about a quarter of an inch
thick, or both; a stabilizer that enhances permanence, a stabilizer that is a processing aid, a surface preparation stabilizer, a stabilizer that enables or enhances bonding, a strengthening stabilizer, a stabilizer that modifies the absorbency of at
least some of the polymer; a stabilizer that maintains or enhances impact resistance, scratch resistance or hardness; a stabilizer that is radiation which cures or crosslinks the at least one polymer; a stabilizer that crosslinks an absorbent polymer,
a stabilizer that is a crossliniking monomer used with an absorbent polymer; or the image, the canvas support medium or some or all of its polymer is reinforced by, made stiffer by, or has its means of display provided or enhanced by a strengthening
stabilizer within or on it or a portion of it, or bonded to it or to it's underside or a portion thereof.
17. The method of claim 2, wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared by one or more of (a)-(h): (a) binding the canvas support medium
or image as a book or pad using polymer, using conventional practices for binding, or using a combination of both; developing one or more pages of the canvas support medium pad or book into an aesthetic image; forming such an aesthetic image free or
nearly free of visible legible text; displaying the resultant aesthetic image; or preparing the canvas support medium or the image with a means or part of a means of installation or display which is: (i) a means or part of a means for display on a wall
or vertical surface or by hanging; a hook or wire attached to enable hanging; or holes to enable hanging, (ii) a base, a stand, a part or a form that enables installation or display, or a means that enables installation or display in a manner that
resembles the manner in which conventional aesthetic images are displayed for viewing; (iii) a part, parts or the means by which it can scroll, roll, unroll, fold out, or fold up; or preparing it with a form that scrolls, rolls, unrolls, folds, or
unfolds; or (iv) a means of being self supportive or freestanding; (b) cleaning a surface of the canvas support medium or image sufficiently to be receptive to a conventional artist's medium or to enhance the strength and permanence of the bond formed
between that surface and an artist's medium; preparing the canvas support medium or image to bond to a conventional artist's mediums so that the bond endures well through the image making process and through the use or display of the resultant image;
or forming the canvas support medium or image so that it is as stable over time or as permanent as possible; (c) forming or developing the canvas support medium or image using conventional image making practices or using conventional practices for
making art; forming or developing the canvas support medium or image by adding: a conventional image making medium, a conventional artist's medium, a primer conventionally used to make images, an underlayer, an imprimatura, a Clarifying Imprimatura, a
ground, underdrawing, underpainting, painting, drawing, collage or an attachment which bonds to the image, the canvas support medium or to its polymer; adding at least one paint, ink or other colorant at two or more different spatial depths which are
visible to viewers within the transparent or translucent form of the canvas support medium or image; adding a part or layer with a refractive index different from that of the rest of the canvas support medium, the image, the nearest part thereof or any
of these made of polymer; preparing the canvas support medium or image with at least one conductive polymer that provides or enables an aesthetic effect or emitted light, and also with at least one: lens, prism, grating, light effect, at least one of
these that effects the light visible in or emitted from the canvas support medium or image, or one or more of these that serve as part of all of an image support; or adding: an image support, a clear external layer of polymer, a colorant; a light
source or a means of emitting light, a light effect or a material, a device or another means that effects light properties; a solar cell, a battery, a power source, a lens, a grating, a prism, a filter; crystal, gem, stone, fabric, paper, clay,
ceramic, wood, embedding, an air bubble, a hologram, a photographic image, a photographic emulsion, or a photographic transparency; a dichroic or dichromatic ingredient; writing, text, incising, inlay, carving or embossing; texture or an ingredient
that adds texture; a moving part or a means to be capable of movement; a photochromic effect; an electrically active feature, or adding an anti-glare, anti-scratch or anti-reflective coating, layer or surface; (d) preparing the canvas support medium
or image with: a computer or part of a computer, an interactive feature, an interactive part or a means of being capable of interactivity; sound, music, a microphone or a speaker; a control mechanism or device, a viewer input device, a switch, a
button, a touch control, a mechanism or device which enables control or change when pressure is applied, a drawing device, a trackball, a mouse, a means of responding to sound or voice command; voice recognition technology; a means of controlling or
changing the canvas support medium or image from a distance, via wireless communication or via a broadcast method; a sensor, a means of sensing or detecting a viewer, movement, sound, or change in light or in the environment, or such a means of sensing
or detecting with a means of responding or of responding by changing an aesthetic element of the canvas support medium or image; or a means so that an image maker or viewer can control, change or vary the electrical current, color, light, form, movement
or an aesthetic element in the canvas support medium or image; or making the canvas support medium, the image or part thereof change in relation to change in natural light or skylight; or making it portray the sky or the light of the sky, wherein this
portrayal is static, it changes, it can be changed, or an image maker or a viewer can change it; this portrayal is abstract, representational, realistic, surrealistic, with figures, with landscape, with a still life or it is illusionary; this portrayal
is at least partially formed with light in one or more colors, or this portrayal is at least partially formed by color or light changing as the sky changes or in a manner that portrays or represents the sky; (e) making the canvas support medium or image
in a shape or form that contributes to the image's aesthetic by being one or more of: representational, figurative, openwork, linear, discontinuous, non geometric, hollow, with a negative space, with an air pocket; with irregularities that make it look
handmade; with at least one curve, angle or undulation; capable of folding, unfolding, rolling out or scrolling for viewing; with two or more parts that are joined or separate; with all edges deckled; with a form that is partially or entirely:
layered, opaque, transparent, or translucent; with a form that is rigid, flexible or both; or forming or developing the canvas support medium or image so that it has two or more layers, with at least one layer that is: partially or entirely transparent
or translucent or such a layer that is external; a polymeric or non polymeric image support, image support stabilizer or strengthening stabilizer; made with or of glass, fabric, embedding, polymer, conductive polymer, a device, a light effect, an
aesthetic element that uses electricity, or a non polymeric aesthetic ingredient; providing color, or an internal layer or back layer providing color; or a combination of these; (f) the canvas support medium or image has an aesthetic effect created by
electricity that causes the positions of particles, of liquid crystals, or of liquid crystals in a polymer layer or matrix to change; (g) developing the aesthetic image by using one or more transparent or translucent polymeric separating layers to
separate applications, layers or attachments of one or more other kinds of aesthetic, design or pictorial elements on it's or on their opposing sides, or such development that: (1) separates applications or layers of one or more kinds of conventional
artist's mediums; or (2) separates carving, incising, or aesthetic elements in section E of claim 2; separates a combination of these; separates at least one of these with one or more applications of conventional artist's mediums; or separates any of
these with at least one LED, OLED or light source; or (h) forming the canvas support medium or the aesthetic image by using one or more of the methods listed above in (a)-(g) to prepare or to develop part of the book or pad, wherein this part is one or
more pages or sheets or it is a portion of one or more pages or sheets.
18. The method of claim 2, wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared by one or more of (a)-(h): (a) making the canvas support medium
or image with: (i) a co-polymer wherein one monomer is methacrylate ester, methacrylamide derivative or methyl methacrylate; (ii) a co-polymer wherein one monomer is methacrylate ester, methacrylamide derivative or methyl methacrylate and another is a
monomer that enhances the strength, rigidity, flexibility or permanence of the resultant polymer, canvas support medium or image; (iii) a mixture wherein one polymer is poly(methyl methacrylate) or it is made from methacrylate ester or methacrylamide
derivative; or (iv) a mixture wherein the polymer is made with poly(methyl methacrylate) or a polymer made from methacrylate ester or methacrylamide derivative, and a second polymer that enhances the strength, rigidity, flexibility or permanence of the
resultant polymer, canvas support medium or image; (b) making the canvas support medium or image with two or more different layers, one of which is an external surface preparation stabilizer layer on the canvas support medium's or image's main surface
that is made with: (b-i) a non absorbent polymer that is transparent, translucent or both, (b-ii) a synthetic absorbent polymer, or (b-iii) a combination of both, wherein this surface preparation stabilizer layer bonds well to at least one kind of
conventional artist's painting medium or photographic emulsion, and it bonds well to the part of the image, the canvas support medium or image support beneath it; (c) forming the canvas support medium or image with an at least one polymer that is
absorbent and another ingredient, with the absorbent polymer used in a formulation, an amount and a design sufficient to enable or enhance the canvas support medium's or image's bond with at least one kind of superimposed conventional artist's medium
which it absorbs, wherein the other ingredient is of a composition, and is used in an amount and in a design which enhances the canvas support medium's or image's mechanical or structural properties; (d) the canvas support medium or image is made with:
a copolymer or a polymer mixture with at least one synthetic absorbent polymer; a synthetic absorbent polymer and a non absorbent polymer; a synthetic absorbent polymer on an image support made with non absorbent polymer; any of these wherein the
canvas support medium or image is transparent or translucent; (e) the canvas support medium or image has two or more layers or parts made of different polymers which are superimposed or connected, wherein at least one of these polymer layers or parts
provides support to the medium or image, and at least one different layer or part provides or enables the image to have at least one element selected from the group consisting of an aesthetic element, transparency, translucency, an ability to emit
visible light, an ability to bond to at least one superimposed application, or an ability to be further developed by cutting, carving, sculpting or incising; (f) forming the canvas support medium or image with a stabilizer that: enables or enhances it's
color stability or it's ability to remain stabile with exposure to ultraviolet light; is an ultraviolet light stabilizer, an ultraviolet light absorber, or a hindered amine light stabilizer; is a fiberglass surfacing veil, or a fiber that like
surfacing veil fiberglass, becomes largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or when used within or under transparent colorless polymer that penetrates it, that is at least about a
quarter of an inch thick, or both; a stabilizer that enhances permanence, a stabilizer that is a processing aid, a surface preparation stabilizer, a stabilizer that enables or enhances bonding or flexibility, a strengthening stabilizer, a stabilizer
that modifies the absorbency of at least some of the polymer; a stabilizer that maintains or enhances impact resistance, scratch resistance or hardness; a stabilizer that is radiation which cures or crosslinks the at least one polymer; a stabilizer
that crosslinks an absorbent polymer, a stabilizer that is a crossliniking monomer used with an absorbent polymer; or the image, the canvas support medium or some or all of its polymer is reinforced by or has its means of display provided or enhanced by
a strengthening stabilizer within or on it or a portion of it, or bonded to it or a portion thereof, or it has such a strengthening stabilizer that is: (1) not visible to viewers; (2) made with a different, stronger or more rigid polymer; (3) a means
of display or part of a means of display, or (4) fiber, a surfacing veil fiberglass or a fiber that like surfacing veil fiberglass, becomes largely invisible or invisible to the unaided human eye when used within or under transparent colorless polymer or
when used within or under transparent colorless polymer that penetrates it, that is at least about a quaffer of an inch thick, or both; (g) developing the canvas support medium or image by the application a conventional artist's drawing or painting
medium to which it bonds; developing the canvas support medium or image so that it shows at least part of a drawing, picture or design, or one of these that is figurative, realistic, representational, abstract, illusionistic, a landscape, or a still
life; or making the canvas support medium or image so that serves a second utilitarian function in addition to it's function for image making; or (h) forming the canvas support medium or the aesthetic image by using one or more of the methods listed
above in (a)-(g) to prepare or to develop part of the book or pad, wherein this part is one or more pages or sheets or it is a portion of one or more pages or sheets.
19. The method of claim 5 wherein the canvas support medium or the art, design or architecture made therewith, thereupon or therefrom referred to herein as the image is prepared by one or more of (a)-(g): (a) preparing the canvas support medium
so that it is capable of serving the utilitarian purpose of functioning as a medium for forming an aesthetic image and a second utilitarian purpose; preparing the aesthetic image with a utilitarian function; or preparing the canvas support medium or
image so that it functions as: a door, a gate, a fence, a partition, a screen, furniture, a chest, a cabinet, a table, a chair, a stool, a bench, a cart, a tent, an awning, a fountain, a basket, a case or container, a light fixture, a candelabrum, a
window, a skylight, a lunette, shades, shutters, a tile, a column, or a set, grouping or compositional arrangement of these that is a single work; a building facade, a wall, a ceiling, a floor, stairs or another architectural form or structure; craft
design, a vase, a bowl, a tray, a cup, a goblet, a plate, a dish, a pitcher, a soup tureen, a placemat, or a work of design for household use; a stage set; book design free or nearly free of visible legible text; an image of design made to be used and
viewed apart from direct contact with the human body rather than worn on it as fashion design; or the canvas support medium is: book design, clothing, fashion design, a fashion or clothing accessory, jewelry, a hat, a belt, a purse, a tote bag, a
costume, or work of design to be worn directly on the human body; (b) developing the canvas support medium or aesthetic image by adding an aesthetic, design or pictorial effect enhanced, enabled or provided by one or more of: a positive or negative form
that functions as a lens, a Fresnel lens, a lenticular lens, a prism, a grating or a diffraction grating; a source that emits visible light; crystal, gem, stone, fabric, paper, clay, ceramic, wood, a hologram, an air pocket, embedding or an air bubble; carving, incising, inlay or embossing; a photochromic, dichroic, dichromatic or iridescent effect; a solar cell; a means of detecting or sensing a viewer or the environment and then responding by changing visibly, by changing color, by changing a
light property or by moving; irregular texture deeper than a sandblasted surface or a sanded surface; a microphone or a speaker; an electrochromic aesthetic, design or pictorial effect whereby the canvas support medium or image, responds to changes in
electrical current by changing it's level of or it's state of: transparency, translucency, reflectivity, light emission employing conductive polymer, changing the path or color of the light passing through it, or a combination of these; or forming the
canvas support medium with an electrochromic aesthetic, design or pictorial effect whereby the canvas support medium or image changes in response to changes in electrical current; (c) preparing an aesthetic effect in the canvas support medium with (i)
and (ii): (i) at least one conductive polymer that emits light, that enables light emission or that is part of an OLED and also with (ii) one or more positive or negative forms that serve as: lenses, prisms, gratings, or as one or more of these that are
part or all of an image support, such that this addition to the canvas support medium described in (ii) effects the canvas support medium's visible light or the visible light it emits; (d) preparing the canvas support medium or image with aesthetic
effect is created by electricity that causes the positions of particles, of liquid crystals, or of liquid crystals in a polymer layer or matrix to change; (e) cleaning the canvas support medium or image sufficiently to render it receptive to
conventional artist's paint and to provide enhanced bond strength and permanence to facilitate development of the aesthetic image; (f) preparing the canvas support medium with conductive polymer that enables or is part of one or more of: a device; a
system; an electrical device, an electrical wire or conduit, a computer, computer memory, computer chip, computer hard disk or part of a computer, a computer controlled device, a light emitting device; a LED; an OLED or other light source; a device
or another form that is opaque, transparent, translucent or a combination of these; a solar cell, a battery, an energy source, a transistor, a capacitor, a coating or a transparent coating, photovoltaics, a photodiode, a photoconductor, a
photorefractive device, a sensor, or a means of detecting a person, sound, light or change in the environment; a means by which the canvas support medium can move visibly, emit music or emit sound; a conductive adhesive, a circuit, an ink, a paint, a
colorant; a coating or a coating that is transparent or translucent; conductive fiber, fabric or fabric for use as a conventional canvas surface, a conventional painting surface or a conventional collage surface; a means of being interactive or part
thereot a moving or changing picture or image, a video, a film or part thereof; an electroactive layer or part; or an aesthetic effect that uses electricity; or (g) forming or developing the canvas support medium or image using conventional image
making practices or using conventional practices for making art.
Description
FIELD OF INVENTION
The present invention relates to a medium for making images, a process for making the medium, and methods for using the medium to make images. More specifically, the present invention relates to a medium-containing polymer that is useful for
making images.
BACKGROUND OF THE INVENTION
The interaction of one or multiple media, materials, objects, devices, processes or combinations of these, with one another, with light, or both ("light-art interactions"), has been a focus of an enormous amount of work among those making images
of art, design, and architecture thousands of years. Medium and process have been important in images throughout history. The present invention is part of the mainstream current of experimental art.
Throughout the 20th century, since the invention of Cubism c. 1910, the solid form of images has opened up to light and space. The images produced show a general opening up of solid form, new uses of light and space, including greater reliance
on real light and real spatial depth (rather than illusions of these), and the use of spatial depth that is transparent or translucent. Examples of new art forms invented in this 20th century movement are: the collage, the construction, the Drawing in
Space, welded sculpture, open sculpture, the assemblage, photography, holography, illuminated transparencies (like works of Light Box Art), Light Art, Light and Perceptual Art, Shaped Paintings, Installations, Computer Art, Video Art, and film. These
images expanded what is today a deeply rooted, mainstream aesthetic continued by the present invention, hereinafter referred to as the aesthetic of light and space.
Yet, despite the 20th century explosion of exploration, experimentation and invention in images, despite the opening up of solid form in images, and despite the emergence and prevalence of the aesthetic of light and space and the "irresistible
impulse to make things clear," prior to the present invention, image making and conventional images remained limited, problematic, and burdened by undesirable issues, e.g., often forcing choices between undesirable options. The roots of these
limitations, problems, and undesirable issues have been at the very heart of the foundation of images, restrictions in the free use of their most basic constituent elements, their formal elements. Despite considerable work, few and often no desirable,
direct solutions existed until the present invention. Prior to the present invention, the formal elements in conventional images, were not workable, reworkable, and controllable as desired.
Despite the prevalence of the aesthetic of light and space, conventional image making media and processes, and the variety of these images that existed remained significantly and undesirably limited and problematic. Image makers did not have
satisfactory aesthetic control or creative freedom in the use of light and space with other formal elements in their images, such as transparency, translucency, and other forms of real light and real spatial depth, e.g., with and without color, with
significant workability or reworkability, or in ordinary workspaces. Developing these images often forced choices between the aesthetic desired and permanence, and the resultant images were often compromises. Though images have been made in see-through
layers throughout history, there is no conventional medium that can form images with controllable, variable, transparent or translucent layers of spatial depth without compromising the permanence of the image formed. Prior to the present invention, a
strong, transparent or translucent, 2D or 3D image could not be made with a full range of workability and control, e.g., no conventional medium can form stabile images with workable and controllable, transparent or translucent texture, embedding, or
negative space. Moreover, the ability to alter images spontaneously, and the ability to see or know how changes to a developing image will take effect later were limited.
There are no conventional transparent or translucent forms made as canvasses or as image supports for 3D images. All conventional canvases are opaque. Very thin polymer films such as MYLAR.RTM., acrylic in geometric forms (such as sheets, cubes
and spheres), and glass forms have been used as image supports for painted and unpainted images. There are, however, no conventional, transparent or translucent image support canvasses or 3D forms made for bonding to a wide range of colorants and other
image making materials (e.g., paints, pastels, inks, collage, and photographic emulsions). Conventional image supports have limited the use of optical effects, light effects, and subtractive processes in images. The ability to form an image using both
additive and subtractive processes is limited by conventional image supports, e.g., Shaped Paintings are limited, as is reworking and removal of conventional applications like paints. There are also limitations in freeing many kinds of conventional
images (such as paintings, drawings, and prints) from staged presentations and illusionism. The present invention overcomes these limitations and problems.
Prior to the present invention, the use of polymers in images was very limited and problematic. Image makers never used and controlled polymer for interactions with light. They had limited or little control or versatility in the use of real
transparency, real translucency, light, color, space, layering, texture, form, permanence, or processes in using polymers to make images. They never explored the variety of effects different polymers can create in images, the workability, reworkability,
and controllability of polymers, or the solutions polymers can provide to the longstanding limitations in image making and in images.
SUMMARY OF THE INVENTION
The invention relates to a fine-art, image-making support medium for creation of an aesthetic image that is a work or object for display. This support medium includes at least one polymer in an amount sufficient to provide or enable the image to
have at least one aesthetic element. In different advantageous embodiments, (A) the fine-art, image-making support medium is an image support stabilizer, (B) the at least one polymer is a synthetic absorbent polymer or a conductive polymer, or (C) the
at least one polymer is a transparent polymer or a synthetic translucent polymer and a property of this transparent or translucent polymer is enhanced to facilitate the creation or preservation of the image by at least one fine-art stabilizer.
The polymer typically has a property which is enhanced to facilitate the creation or preservation of the image by any one of a number of different stabilizers or combinations thereof. Such stabilizers might include at least one stabilizer
selected from the group of: an ultraviolet light stabilizer, an ultraviolet light absorber, a fiber, a fiberglass surfacing veil, an antioxidant or a hindered amine light stabilizer. Also, the stabilizer may be a surface preparation stabilizer, an
image-support stabilizer, a separating layer stabilizer, an image support, an ingredient which modifies the absorbency of the polymer; a dopant which treats the polymer to make it conductive or more conductive; a battery or an electrode to supply or
carry energy to the polymer; or an ingredient which enables the formation or fortification of a bond between the polymer and at least one superimposed medium or material. Furthermore, the polymer may have a property which is enhanced to facilitate the
creation or preservation of the image by at least one fine-art stabilizer which: (a) has a refractive index substantially the same as that of the polymer, (b) is invisible to the unaided human eye in its use in the image, or (c) contributes to the image
aesthetically. The stabilizer can be used to in an amount or design sufficient to protect the at least one polymer against (a) discoloration over time that is visible in the image, (b) changes to its form or surface over time that are visible in the
image or (c) changes that reduce its strength, its stability or its permanence.
If desired, the support medium may include two or more layers or parts made of different polymers which are superimposed or connected, wherein at least one of these polymer layers or parts provides support to the medium, and at least one
different layer or part provides or enables the image to have at least one element selected from the group consisting of an aesthetic element, transparency, translucency, an ability to emit visible light, an ability to bond to at least one superimposed
application, or an ability to be further developed by cutting, carving or incising.
The invention also relates to a method for preparing this fine-art, image-making support medium. The method includes forming a polymerization reaction mixture comprising at least one polymerizable monomer in an amount sufficient to provide or
enable the image to have at least one aesthetic element, and processing the polymerization reaction mixture into a 2- or 3-dimensional shape.
BRIEF DESCRIPTION OF THE DRAWINGS
The invention will be better understood in relation to the attached drawings illustrating preferred embodiments, wherein:
FIG. 1 shows alternative of methods for making inventive images;
FIG. 2 shows two separate inventive images, each viewed from two sides in three stages;
FIG. 3 shows a 2D or 3D inventive image made of one continuous linear, open form;
FIG. 4 shows cut-outs which form one or more inventive images;
FIG. 5 shows examples of ways a realistic illusion of a sky can be depicted in inventive images;
FIG. 6 shows a 2D or 3D inventive image which could be formed in different ways;
FIG. 7 shows examples of strengthening layers or parts in inventive images;
FIG. 8 shows two cross sectional diagrammatic examples of the layering of inventive images;
FIG. 9 shows side and cross section views of polymer rods or bars used to make inventive images;
FIG. 10 shows a cross section or side view of an inventive image with multiple different layers;
FIG. 11 shows a cross section or side view of an inventive image with layers of different thicknesses;
FIG. 12 shows a cross section or side view of an inventive image made of multiple layers;
FIG. 13 shows a two part image support connected by a superimposition;
FIG. 14 shows inventive images which may function as design or architecture;
FIG. 15 shows texture on inventive images which may be made of connected parts;
FIG. 16 shows three stages in layering an inventive image;
FIG. 17 shows an inventive image with multiple layers and an embedded image support;
FIG. 18 shows two inventive images made with internal air pockets and parts shaped as prisms;
FIG. 19 shows a cross section or side view of an inventive image with two different layers;
FIG. 20 shows an inventive image with its image support completely encased by another layer;
FIG. 21 shows texture and/or a ground on an inventive image in cross section or side view;
FIG. 22 shows cross section or side views of inventive images with multiple different layers;
FIG. 23 shows a cross section or side view of an inventive image with both thick and thin layers;
FIG. 24 shows a layered inventive image with bonding spots in a cross section or side view;
FIG. 25 shows five stages in the layered formation of an inventive image in cross section or side views;
FIG. 26 shows a cross section or side view of a layered inventive image with bonding spots;
FIG. 27 shows two stages in the layered formation of an inventive image in cross section or side views;
FIG. 28 shows an inventive image made in layers with embedded objects and materials;
FIG. 29 shows an inventive image made in layers with embedded coloration;
FIG. 30 shows an inventive image made in layers with embedded coloration;
FIG. 31 shows a cross section or side view of a layered inventive image with bonding spots;
FIG. 32 shows a cross section or side view of a layered inventive image with bonding spots;
FIG. 33 shows texture on a layered inventive image in a cross section or side view;
FIG. 34 shows texture on an inventive image in a cross section or side view;
FIG. 35 shows texture on an inventive image in a cross section or side view;
FIG. 36 shows inventive images with negative space between their layers;
FIG. 37 shows a multi-layered inventive image with inlays, embedding, and other effects;
FIG. 38 shows inventive images made with control, precision, craftsmanship and delicacy;
FIG. 39 shows a multi-layered inventive image with inlays, embedding, and other effects;
FIG. 40 shows inventive images that all have light sources in their Compositional Arrangements.
FIG. 41 shows three inventive images with joined parallel planar layers and internal air pockets;
FIG. 42 shows some uses of light sources as parts of inventive images;
FIG. 43 shows graduated coloration in and/or on layered inventive images;
FIG. 44 shows an inventive image which may emit light;
FIG. 45 shows an inventive image which may emit light;
FIG. 46 shows the use of an American Indian style pattern on and/or in an inventive image;
FIG. 47 shows an inventive image with layers of different compositions and sizes;
FIG. 48 shows two inventive images with layers of different compositions and sizes;
FIG. 49 shows layering variations in inventive images using an irregular form;
FIG. 50 shows layering variations in inventive images using an irregular form;
FIG. 51 shows cross section or side views of layering variations in inventive images;
FIG. 52 shows cross sections or side views of an inventive image as layers are added and embedded;
FIG. 53 shows inventive images with many layers embedded;
FIG. 54 shows a cross section or side view of two stages in making a multi-layered inventive image;
FIG. 55 shows a cross section or side view of two stages in making a multi-layered inventive image;
FIG. 56 shows variations in layering inventive images in cross section or side views;
FIG. 57 shows an inventive image with alternating continuous and discontinuous layers;
FIG. 58 shows an inventive image with alternating continuous and discontinuous layers;
FIG. 59 shows an undulating inventive image with continuous and discontinuous layers;
FIG. 60 shows an inventive image with discontinuous layers;
FIG. 61 shows layering variations in inventive images which may have broken color applications;
FIG. 62 shows cross sectional or side views of layering variations in inventive images;
FIG. 63 shows a varied process of making an inventive image in superimposed layers;
FIG. 64 shows an inventive image formed of multiple layers with coloration;
FIG. 65 shows workability in making inventive images without an initial image support;
FIG. 66 shows workability in making inventive images without an initial image support;
FIG. 67 shows workability in making inventive images without an initial image support;
FIG. 68 shows the workability of the inventive medium in making images;
FIG. 69 shows the joining of two separate parts in making an inventive image;
FIG. 70 shows ways to form polymer on an inventive image using a temporary mold;
FIG. 71 shows the process of forming polymer in a mold, and on an inventive image;
FIG. 72 shows examples of the process of adding fiber to an inventive image;
FIG. 73 shows varied examples of how inventive images can be displayed;
FIG. 74 shows the use of a roof over cPRM forming polymer exposed to air;
FIG. 75 shows the joining of two separate parts in making an inventive image;
FIG. 76 shows an inventive image's development, e.g., two parts are added to it;
FIG. 77 shows examples of joining separate parts together to form inventive images, e.g., books;
FIG. 78 shows examples of inventive images with their form and their structure united;
FIG. 79 shows examples of ways a variety of inventive images are displayed;
FIG. 80 shows examples of the formation of a polymer image using open and enclosed molds;
FIG. 81 shows the formation of an inventive image in tiered layers by tilting the mold;
FIG. 82 shows an inventive image with varied coloration, in which light is a crucial element;
FIG. 83 shows the carving of a newly formed layer of cPRM on an inventive image;
FIG. 84 shows either one inventive image in three stages or three separate inventive images, all with varied coloration, in which light is a crucial element;
FIG. 85 shows a new polymer part formed on an inventive image using a temporary mold; and
FIG. 86 shows the reinforcement of the joint of the inventive image in FIG. 85.
DETAILED DESCRIPTION OF THE INVENTION
The present invention provides a medium for a work in progress or an image of art or design that can be formed, reworked, and controlled as desired. The inventive medium, a polymeric composition, is prepared by polymerizing one or more monomers
to form at least one polymer in an amount sufficient to provide or enable the image to have at least one aesthetic element. Preferably, the inventive medium comprises a polymeric material with one or more of these properties: (a) transparency and/or
translucency, (b) other desired optical properties, (c) strength, stability, and/or permanence, (d) it is conductive, (e) it enables the further processing desired, (f) it provides or enables the image to have another aesthetic or structural element, or
(g) a combination of these.
As used herein, the term "or" refers to items in the alternative, as well as both items. Thus "or" should be interpreted as "and/or" if "and/or" is not explicitly used. The term "about," as used herein, should generally be understood to refer
to both numbers in a range of numerals. Moreover, all numerical ranges herein should be understood to include each whole integer within the range.
Optical properties include light properties, a particular refractive index, and/or light transmittance. Strength, stability, and/or permanence in an inventive image may, for example, involve making it with a cross-linked polymer (like
polyester), with a stabilizer that prevents or decreases the chances of undesirable change in the image over time, and/or in other ways described herein. Conductivity indicates electrical activity or the capacity thereof, conducting ions or the capacity
thereof, or emitting light or the capacity to do so. Further processing may include additive processes, subtractive processes, or other ways of developing images, such as for example, bonding to superimposed applications, enabling effective carving, or
rearranging image parts.
As the term is used herein, an "image" is a work of art or design intended for visual observation. An image can be a work in progress or it can be complete. An image may be realistic, symbolic, abstract, narrative and/or utilitarian. Examples
of images are paintings, sculptures, collages, constructions, installations, Computer Art, Video Art, Light Art, Light and Perceptual Art, stage sets, architectural design, furniture design, fashion design, graphic design, crafts, jewelry design, product
design, interior design, costume design, an edition of ten partitions dividing a room with a jungle printed in and on them, an edition of five tables bearing geometric drawing in graphite and pastel, and an edition of a hundred windows with real organic
forms (such as flowers) embedded in them and colorful depictions of similar organic forms painted on them. In general, the term "images" refers to the group of all images, however, the context may further define the group as appropriate.
As used herein, "design" refers to images of utilitarian art which are for visual observation, but which are not decoration. Unlike decoration, design inventive images are an end in and of themselves. That is, they do not function as part of
something else. They do not merely embellish, ornament, enhance, or beautify something else. As used herein, the term "design" is synonymous with applied art, but it does not include decoration.
As used herein, the term "PRM" refers to the universe of polymerization reaction mixtures useful for making the inventive medium, or to one or more specific polymerization reaction mixtures. The term "cPRM" refers to all PRM that are catalyzed
and to one or multiple catalyzed PRM.
As used herein, the term "conventional images" refers to images that involve light-art interactions of a kind made prior to the present invention. The term "conventional =images" may be further defined by the context.
As used herein, the term "conventional practices" refers to processes used at any time to make conventional images. Examples of conventional practices include materials, media, objects, devices, interactions, processes, equipment, tools,
facilities, products, concepts, and techniques that were heretofore known or used for making conventional images. For instance, chiaroscuro is a conventional practice, as are the brush and the paint used to create it and the canvas onto which it is
applied.
As used herein, the term "two dimensional" ("2D") articles are substantially planar. The maximum thickness of a 2D article is preferably less than about one inch.
As used herein, an article that is "two dimensional planar" has substantially no perceivable depth. For example, a 2D planar image might be thin and flat, like an ordinary sheet of paper.
As used herein, the term "three dimensional" ("3D") articles are at least about one inch in thickness.
As used herein, the term "bond" refers to mechanical bonds, chemical bonds, loose bonds, or combinations of these. The term, "loose bond" refers to bonds that are easily separated, i.e., things that are positioned so closely together that they
do not fall apart.
The term "image support" refers to an element in an inventive image that is a main element or the principal element in its shape or form, and that sometimes includes all or almost all of its shape or form. In some instances, an image support is
an image's principal structural element, and in some instances it is an image's entire structure. Image supports are not finished images, image makers make them into finished images. An image support may underlie an image, be within an image, or reside
behind an image. An image may be made on an image support. Image supports exist in various forms. They are comparable to a canvas or a sheet of paper in conventional painting, drawing, printmaking, collage and photography. An image support is
comparable to an armature, a skeletal form, or a framework (which may be an internal and/or external element of the final image) in conventional sculpture. An image support may be made of one or more parts that may or may not be physically connected.
Often making an image begins by making or getting the initial image support. Further processing is done on and/or to the initial image support. Alternatively, image supports may be added to images that are already begun. Separate parts of a single
image may be joined to a common image support, or reworking an image might involve adding an image support to it.
The formal elements of art used by art and design professionals are a group of basic aesthetic components, a subset of which constitutes all images. The formal elements generally are:
Medium, Material, and Combinations Thereof: Each medium or material has inherent limitations that affect its workability, reworkability, and controllability, as well as the creative freedom it offers image makers. Some materials and media
require or can be used with special facilities, tools, equipment, supplies, products, etc. There are also issues regarding how each material or medium holds up over time in its specific use in an image. Process of Creation: The process of creation used
to make images refers to both the ways the medium and materials must, or can, be used and how the image maker handles the process of image making. Light: real and illusionary light; visible and non-visible light; light sources; light effects (e.g.,
matte, glossy); transparency, or translucency; shadows; the absence of light; also any media, materials, or devices used to give an image its light properties. Space: real and illusionary space such as spatial depth, transparency, translucency,
perspective, receding space, negative space, airiness, and lack of spatial depth (flatness). Form: height, width, depth, weight, shape, and form in 2D and 3D. Compositional Arrangement: arrangement of parts into a whole. The parts in a compositional
arrangement do not all have to be tangible (e.g., light, a drawn line, or a painted form). Each part in a Compositional Arrangement does not have to be physically connected to the rest of the image. Structure: the form, material source, and nature of
an image's stability or lack thereof, physically (e.g., strength and permanence) and visually (e.g., the stability of its formal elements' balance). Color: hue, value, and intensity; lack of color; and use or application of color. Time: the sense of
time and the actual time that may be apparent in an image, such as an image with elements (such as color, form, subject matter, etc.) that vary or change over time. Function: visual observation and often for additional functions, e.g., utilitarian
functions such as functioning as a table. Function may also involve the method and the manner in which an image is able to serve its function. Movement: real physical movement and visual movement. Subject Matter: that which is literally, objectively
portrayed in an image and the general way it is shown. Content: the broader, more conceptual idea or ideas presented or alluded to by an image, beyond its literal and objective aspects and subject matter. Meaning: the relevance of an image in the
larger context of the world.
In images, such as inventive images, the formal elements are very interrelated, e.g., they overlap significantly. For example, altering one formal element, usually affects one or more other formal elements in the same image. All aspects of
formal elements are formal elements. They might be uses, manifestations, or effects of one or more formal elements, or they might be consequences of not using one or more formal elements. For example, the use of texture on an image affects its spatial
depth, its light and shadow, its color, its transparency or translucency, its subject matter, its content, its meaning, or its function.
The meaning of the term "medium" as used herein depends upon the context and includes the conventional uses of this term in the relevant art. In the context of the inventive medium, the term medium refers to the material, the technical means, or
both used to make images. For example, in this context, the means used for artistic expression, such as acrylic paint and oil paint on canvas or paper, pencil on paper, glass, photography, cast or fabricated metal, wood carving, and silkscreen, are
conventional media.
Light emitting polymer ("LEP") devices, are a kind of light emitting diode ("LED"). They are also called polymer light emitting diodes (PLED, pLED, or polyLED), organic light emitting diodes (OLED, oLED, poly-OLED, Poly-OLED), and organic
electroluminescent (EL).
Variables in Image Makers Control ("VIMC"), are factors in the formation of polymers that image makers can select, control, and use as desired in embodiments. Examples of VIMC are choices pertaining to the formation of polymer with different
cPRM, molds, environments, and specifications. The VIMC can be effectively and advantageously used as desired and to the extent desired, during and after the process of forming a polymer inventive image in order to control, or to try to control
innumerable aspects of it. Use of the VIMC in forming polymers affords image makers greater creative freedom and aesthetic control over the polymer formed. Specific examples of VIMC are the specific active ingredients in a cPRM used to form a medium
such as the choice of monomers; the timing of superimposed layers of cPRM or their thickness; the use of one or more stabilizers (for instance, their concentration or proportion and other specifications like the use, quantity, and type of fiber or the
lack thereof, the use of viscosity modifiers, etc.); the process used to create polymers (e.g., tiered layers, altering gelled cPRM, use of conventional injection or extrusion processes, etc.); the viscosity of an application of cPRM; the use of a
temporary barrier such as temporary clay mold walls; the mold's specifications; use of release agents; the air temperature, humidity, and air currents around the cPRM. Not all VIMC are specifically described herein; there are further variables in mold
making and in the display and mounting of inventive images, variables in conventional practices of forming polymer, as well as variables in specific cPRM ingredients known or available to those of ordinary skill in the art.
As used herein, a "bonding agent" refers to any material, medium, device, or combination of these, that forms, assists, or fortifies a mechanical bond, a chemical bond, or a loose bond in inventive images. For example, a bonding agent bonds
inventive image parts, applications, layers, attachments, surfaces, or components. Examples are bonding substances, media and materials (such as glues, acrylic emulsions, paste, and cPRM); C-clamps, screws, nails, bolts, chains, hinges, hooks, tape,
string, wire, sodder, light, heat, and the like. Bonding substances are a subset of bonding agents.
"Bonding spots" are areas on the surface of an inventive image, left or made, to form, assist, or fortify a chemical bond, a mechanical bond, or a loose bond in that inventive image, such as a bond connecting two or more parts. Bonding spots may
be underlayers or a surface preparation stabilizer.
"Colorant" or "coloration" as used herein refers to anything that is a source of color, or color from any source. Color refers to hue, intensity, value, or a combination of these. Examples of colorants and coloration for inventive images are
pigments, dyes, color from light, pixels, particles (such as blades of grass, rocks, gems, stones, particles of glass, metal, paper, sand, coffee, reflective particles); elements that are collaged, attached, embedded, or inlaid (such as string, shells,
paper clips or a conventional image like a photo, a cut-out, or a drawing on paper), marks (such as pastel, charcoal or pencil marks, marks that are text), printing, painting, conventional and unconventional image making materials and media.
"Fat over lean" refers to the conventional technique of layering materials or media in order of increasing elasticity used for centuries in conventional paintings so that they are as permanent as possible. Images such as conventional paintings
expand and contract in normal environments. For example, conventional image supports such as canvases, paper, and wood expand and contract with changes in temperature and humidity. Fat ingredients in oil paints (e.g., linseed oil or stand oil) make
them more elastic. Turpentine is an example of a lean ingredient, it evaporates leaving a thinned layer of oil paint behind. In order to be as permanent as possible, layers of oil paints should always be applied fat over lean so that they are most
likely to withstand expansion and contraction without changing, without cracking, crazing, or flaking. As superimposed layers of oil paint expand and contract, a fat layer will expand and contract to a greater extent than a lean layer.
The principal of fat over lean, the application of layers in increasing order of elasticity, also governs the layering of other materials or media, though in these circumstances this principal is not always conventionally called fat over lean, it
is referred to as fat over lean herein. For example, this principal governs the layering of oil paints with other materials or media, such as water based media. But this principal does not govern the layering of acrylics over acrylics, nor is it
applicable to the layering of paints comprised of the inventive medium.
While the principal of superimposing layers with increasing elasticity is known, it is often difficult to follow. Therefore, despite widespread concern for permanence, and despite widespread use of layering applications that should follow the
principal of fat over lean for permanence, image makers generally either do not exert the effort required to follow this principal for permanence, or they do not know if they have followed this principal.
As an example, fat over lean is hard to follow because image makers frequently do not know their paints' fat and lean ingredients (added by the manufacturers), their percentages, or their quality (such as their permanence, purity, and
refinement). Pigments and dyes differ in the amount of oil they absorb, and they originate from different sources. In addition, paint manufacturers often mix other additives into their paints such as additional oils, driers, waxes, and fillers, that
can significantly affect the paint's fat content and its permanence.
In addition, those image makers who do conscientiously try to follow the principal of layering applications with increased elasticity may encounter further problems. To follow this principal and account for its lack of accuracy, image makers
often add an increased amount of one or more fat ingredients (like linseed oil or stand oil) into each superimposed paint layer. Though this seems like a logical solution, using too much fat in a layer is another cause of impermanence. For example,
excess oil can cause oil paintings to wrinkle, to discolor, to remain soft and fragile, and to become increasingly transparent over time. Conservators have found that thinner paintings, leaner paintings, and paintings with fewer layers tend to be the
most permanent. Thus, even though oil paints can be permanently layered according to fat over lean, the quantity of layers of oil paint which can be permanently superimposed is limited because when the outer layers become too fat, the risk of
impermanence returns presenting a new problem.
As used herein, the term "limited edition" refers to an inventive image that is unique as well as to an inventive image that is reproduced, but not for the mass market. For example, a thousand, five hundred, three hundred or fewer copies in a
limited edition of an image might be prepared during the first 75 years of its life. Limitations on the size of limited editions for fine art inventive images are entirely at the discretion of their image maker. However it is preferred that during
their first 75 years of existence, limited editions of fine art inventive images are made with about 3000 or fewer copies, it is further preferred that they are made with about 2000 or fewer copies, it is even more preferred that such limited editions
are made with about 1000 or fewer copies, it is more desirable that such limited editions are made with about 700 or fewer copies, it is most desirable that such limited editions are made with about 500 or fewer copies, and it is most preferred that such
limited editions are made with about 400 or fewer copies. However when the use of a particular mold is required to make such inventive images of fine art in limited editions, and said mold is destroyed after it is used to make such a limited edition, it
is preferred that these limited editions have about 5000 or fewer copies, it is more preferred that they have about 4000 or fewer copies, it is more desirable that they have about 3000 or fewer copies, and it is most preferred that they have about 1500
or fewer copies.
For fine arts images of the present invention which function for visual observation but which also serve one or more utilitarian functions (e.g., as a table, a window, a wall), it is preferred that during their first 75 years of existence,
limited editions are made with about 2500 or fewer copies, it is further preferred that such limited editions are made with about 1800 or fewer copies, it is even more preferred that such limited editions are made with about 1000 or fewer copies, it is
more desirable that such limited editions are made with about 500 or fewer copies, and it is most preferred that such limited editions are made with about 380 or fewer copies. However when the use of a particular mold is required for making inventive
images of fine art with both visual and utilitarian functions in such limited editions, and said mold is destroyed after it is used to make such a limited edition, it is preferred that these limited editions have about 4000 or fewer copies, it is further
preferred that they have about 3500 or fewer copies, it is more desirable that they have about 2500 or fewer copies, and it is most preferred that they have about 1500 or fewer copies.
It is preferred that during its first 75 years of existence, a limited edition design image of the present invention has about 1500 or fewer copies, it is further preferred that such a limited edition design image has about 1000 or fewer copies,
it is more desirable that such a limited edition design image has about 700 or fewer copies, it is most desirable that such a limited edition design image has about 500 or fewer copies, and it is most preferred that such a limited edition image of design
has about 380 or fewer copies. However when the use of a particular mold is required for making design images of the present invention in such limited editions, and said mold is destroyed after it is used to make such a limited edition, it is preferred
that these limited editions have about 3000 or fewer copies, it is more preferred that they have about 2500 or fewer copies, it is more desirable that they have about 2000 or fewer copies, and it is most preferred that they have about 1500 or fewer
copies. It is preferred that during its first 75 years of existence, a limited edition architectural image of the present invention be made with about 4 or fewer copies, it is more preferable such a limited edition have no more than about two inventive
images, and it is most preferable that such a limited edition only have one image. However when the use of a particular mold is required for making architectural images of the present invention in such limited editions, and said mold is destroyed after
it is used to make such a limited edition, it is preferred that these limited editions have about 8 or fewer copies, it is more preferred that they have about 6 or fewer copies, it is more desirable that they have about 4 or fewer copies, and it is most
preferred that they have about 2 or fewer copies.
"Mark", "marks", or "marking" refers to the application of coloration to an image.
As used herein, the term "objecthood" is the quality or state being perceived as an object like other objects in the real world that are not images. Those images that are perceived as other objects are perceived are said to have objecthood.
Many images do not have objecthood because they are perceived differently than other objects in the real world. For example traditional rectilinear paintings on canvas are not perceived as other objects are perceived; viewers are conditioned to perceive
them as artistic statements, ignoring the real 3D depth of the stretchers, thus they are not evaluated on the same terms as other objects are.
"Permanence in art and design" as used herein refers to the stability of an image over time in an environment which has normal changes, not extreme ones. It is the acceptable, repairable, restorable, and natural aging of an image of art or
design that does not affect its meaning or its integrity, and often is considered part of its beauty and its meaning. Permanent image making ingredients and processes, and permanent images are both those that change so slowly that their changes are not
detectable to the human eye, and those which change in ways that do not affect their integrity or their meaning.
"Principle of Whole Development and Unity" as herein refers to a conventional image making concept whereby images are considered strongest when they are formed in a process in which all of their formal elements are developed in concert or united. This principle refers to image making with the ability to make an image in such a process, whether this ability is fully exercised or not. Developing an image in concert means that the interrelationships between all of its formal elements, and the
relationship between each of its formal elements and the image as a whole, can be fully considered, worked, reworked, controlled, and interwoven, to the extent desired and in the manner desired, throughout that image's entire development. Thus, the
image can be strengthened as desired by unifying it as desired. In comparison to image making according to the Principle of Whole Development and Unity, completing part of an image significantly before another part may risk forming an image which is not
as strong and not as unified as it might have been. As an illustration, when painting a conventional portrait, finishing the face first, before the background or the figure's body are considered or developed at all can result in an image which is not as
strong or as unified as a portrait in which the face, the background, and the figure's body are all considered more or less in terms of one another.
Developing all aspects of an image in concert as desired, and integrating it into as unified of a whole form as desired only means that image makers have the ability to develop and integrate images as desired. It means that the development and
integration of the image is the result of the image maker's free consideration and choices, rather than the result of an image maker trying to do his or her best within, despite, or trying to dodge limitations, problems and undesirable issues which might
have altered his or her vision for the image. Not developing aspects of an image can be as much of an expression the image maker's vision in the specific image formed, as the aspects of that image that are developed and integrated.
As used herein, "reworking" refers to changing an image after it has been formed or completed.
"Seepage" refers to cPRM that leaks or runs past the area or the barriers provided for it to polymerize within, as well as the hardened polymer this cPRM forms.
As used herein, the term "SSI" refers to those small surface irregularities which are expressly made for or used for forming, assisting, or fortifying mechanical bonds in inventive images. SSI may partially or entirely, continuously or
discontinuously cover one or more of the surfaces in contact in forming or fortifying a mechanical bond in an image. Examples of SSI are those small surface abrasions, fine textures, surfaces with small irregularities, undercut surfaces, porous
surfaces, small surface perforations, other such surfaces, and combinations of these, that form, assist, or fortify a mechanical bond. Surface irregularities on inventive images that are medium sized and large (such as abrasions, textures, perforations,
undercuts, etc.), are referred to herein as large surface irregularities. Small surface irregularities on inventive images that are not for the purpose of a mechanical bond, are not SSI, even though they may be identical or similar to SSI, they might
even be different areas of a continuously abraded image that also has SSI on it. Small surface irregularities that are not SSI are referred to herein as small surface irregularities. SSI are only those small surface irregularities that can easily be
filled in by one or a few superimposed applications, or those small surface irregularities that can easily be removed by processes of removing matter from inventive images. Small surface irregularities might, for example, be on an inventive image for
aesthetic or utilitarian purposes, such as texture, perforations, indentations, scratches, undercuts, incised marks, carving, sandblasting, beadblasting, embossing.
The term "stabilizer" as used herein, refers to any object, compound, component, or action that imparts chemical, mechanical, or dimensional stability to an item, either directly or indirectly, through initiation of one or a series of events or
intermediate steps, in the formation of an image. Stabilizers include processing aids, as well as materials that reduce or eliminate changes to a polymer image after it has been formed. Moreover, an inventive image may have more than one stabilizer,
which may be similar or different. Often a single stabilizer affects more than one property in cPRM or in the polymer. Typically, the stabilizer includes less than about 40% by volume of the total volume an image.
One class of stabilizers that are particularly useful in the present invention are color stabilizers, such as those that reduce or eliminate discoloration of polymers. Examples are ultra violet light stabilizers, ultra violet light absorbers,
and hindered amine light stabilizers (HALS).
Other useful stabilizers are ingredients added to cPRM i) to cause surfaces of the cPRM exposed to air during the polymerization reaction to form smooth surfaces; or ii) to promote the complete curing of the cPRM. When added to cPRM, wax or
mixtures containing wax (such as SILMAR.RTM.'s A-111, mixtures of monomers and wax, encaustic paints, other conventional painting media with wax ingredients, and mixtures of wax and a solvent) are examples of stabilizers that can fulfill both of these
functions. Compositions superimposed upon incompletely cured polymer surfaces that further cure or fully cure them are stabilizers. Methyl ethyl ketone peroxide (MEKP) can function as such a stabilizer.
Still further useful stabilizers include layers and parts that strengthen, reinforce, support, or enhance the support of an inventive image, such as layers and parts that enhance an image's strength, its stability, its form, or its structure,
e.g., so that the image can be set up, installed or displayed for viewing. These layers or parts are on or in the polymer in an inventive image. Though some of these stabilizers are non polymeric, it is preferable that many stabilizers in this class be
polymeric. Also, it is often desirable that inventive images with these strengthening stabilizers have one or more additional, different stabilizers, such as a stabilizer that preserves the color stability of the polymer or a processing aid stabilizer,
depending on the specifications of individual inventive images. Examples of these strengthening stabilizers follow.
(a) Fiber, such as fiberglass like surfacing veil fiberglass, and fabric fibers. It is preferred that transparent or translucent conventional fabric (such as shims) that, to the unaided human eye does not have an open weave, that is superimposed
by transparent or translucent cPRM that becomes discolored (e.g., yellow or amber discoloration of a polymer caused by exposure to ultra violet light that appears within 3 years of the polymer's formation) is not used. (b) The new unique means of
installation and display described herein are in this class of stabilizers, such as the new rigid mount system, the new wire mount system, and the new combination rigid and wire mount system described herein; (c) Other members of this class of
stabilizers are types of 2D and 3D image supports used on or in a polymer in inventive images. It is often preferable that these stabilizers be polymeric. Among the many variations of these stabilizers are some of the examples which follow on this
list; (d) rigid layers or parts on or in the polymer that strengthen the polymer; (e) layers including a strong polymer such as a cross linked polymer on or in a polymer in an inventive image that is less strong, the use of which makes the image
stronger, more stabile, function more effectively, or more permanent; (f) layers or parts on or in the polymer, that are or that function as backings, frames, stretchers, crossbars, reinforcing ribs or struts, lead lines (e.g., as in glass works), mats,
and frameworks used to reinforce and strengthen conventional images; (g) a layer or part (such as a substrate, an internal layer, or an external layer) that provides or enhances the support of a polymer part or layer which in its use in an inventive
image, is weak or not strong, fragile, flexible, delicate, brittle, gelatinous or somewhat gelatinous, or at risk to change over time in form, structure or surface, such as a substrate supporting a conductive polymer or an absorbent polymer in an
inventive image, or a rigid part that enhances the structure of flexible polymer in an inventive image; (h) more than one of these examples (a)-(g) used on or in a single inventive image; (i) a strengthening stabilizer with a form that is a combination
of two or more of the forms described in examples (a)-(g) used in and/or on an inventive image.
Other types of stabilizers that are useful in the present invention include moisture scavengers; antioxidants (such as 2,6-di-tert-butyl-4-methylphenol as well as CYANOX.RTM. antioxidants by Cytec Industries Inc.; WESTON.RTM. and ULTRANOX.RTM.
antioxidants by General Electric Company; and IRGANOX.RTM. LC Blends by Ciba Geigy); materials that remove bubbles from and/or defoam cPRM (such as BYK.RTM.-A 555 by Byk Chemie); antiozonants (such as Santoflex 1350PD by Flexsys America LP); leveling
agents (such as wax or mixtures containing wax, as well as leveling agents marketed by Byk Chemie); optical brighteners and other compositions that absorb ultraviolet light and fluoresce in the visible blue spectrum (such as UVITEX.RTM. OB by Ciba
Geigy); cPRM viscosity modifiers and associative thickeners (such as AEROSIL.RTM. by Degussa Corp.); and polymerization regulators for example, inhibitors (such as free radical inhibitors).
Other stabilizers protect polymer inventive images or parts thereof against changes in physical properties, or enhance physical or mechanical properties, dimensional stability, or heat resistance of polymer inventive images. Examples are
stabilizers that enhance the physical or mechanical properties or the dimensional stability of absorbent polymers, such as ingredients used in absorbent polymers and in cPRM forming absorbent polymers that make them less gelatinous, stronger, or more
solid. Other examples are stabilizers for use in inventive images that protect polymers or parts thereof (such as their surfaces) against delamination, peeling, chalking (e.g., pigment washes or rubs off), other reduced adhesion of the primer or top
coat, cracking, checking, the loss of coating integrity, loss of surface gloss, loss of surface distinctness, loss of visual depth, or other surface degradation (such as HALS by Ciba-Geigy). There are stabilizers that affect mar resistance, surface
slip, or surface flow (such as products by Byk Chemie and by Tego Chemie). There are impact modifier stabilizers (such as METABLEN.RTM. products by Elf Atochem); stabilizers that are plasticizers or that maintain or enhance polymer flexibility (such as
dibutyl phthalate); and stabilizers that maintain or enhance the hardness of polymers or parts thereof. There are stabilizers that inhibit or protect against organic corrosion in polymers or deactivate metal (such as IRGACOR.RTM. by Ciba Geigy). There
are thermal and heat stabilizers both for processing polymers and for protecting formed polymers (such as THERMOLITE.RTM. by Elf Atochem North America Inc., in Philadelphia, Pa.). There are stabilizers used in cPRM to control shrinkage as it cures
(such as milled fibers). An ingredient added to polymerization reaction mixture or to a polymer to modify the polymer's absorbency is also a stabilizer.
The formation of some polymers typically requires certain stabilizers. For example, specific stabilizers are typically required for the formation of conductive polymers such as those conductive polymers that emit light. Both the process of
doping or treating a polymer so that it becomes conductive or more conductive, and the dopant or agent used in such processes are stabilizers. For example, a polymer might be doped so that electrons are removed such as through oxidation (e.g., with
chlorine, bromine, or iodine vapor) or so that electrons are introduced such as through reductive doping (e.g., with an alkali metal). Energy conducted by a conductive polymer is a stabilizer in any form, as is the form or device that can supply or
carry that energy. Used with a conductive polymer in an inventive image, electrical current, solar power or another form of energy, a battery, and wires that carry energy to a conductive polymer are stabilizers. Moreover, spin casting processes and
printing processes (such as ink jet printing) used to apply conductive polymers to image supports, other inventive image surfaces, or parts thereof, are also stabilizers. Stabilizers aid in processing polymers using conventional practices, e.g.,
affecting melt flow, lubricating, overcoming notch sensitivity (such as BLENDEX.RTM. Modifier Resins by General Electric Company and IRGANOX.RTM. HP products by Ciba Geigy).
In some embodiments, PRM is radiation cured, for instance, by the use of ultraviolet light or nearby blue light, or by electron beam (EB). Radiation that initiates or aids polymerization is a stabilizer. Thus, for example, visible light is a
stabilizer with the photoinitiator camphoriquinone.
One or more ingredients that enable the formation or fortification of the bond between the polymer inventive image and at least one superimposed application or colorant are stabilizers. When mixed into cPRM typically in amounts of about 0.4% to
40% by volume of the total volume of the cPRM, conventional paints, sizes, primers, binders used in conventional image making media and materials, conventional media for painting, absorbent polymers, cPRM or PRM that forms absorbent polymers, and wax and
compositions containing wax, can be stabilizers if they enable the formation or fortification of the bond between the polymer and one or more superimpositions made upon it. Examples of such stabilizers are conventional oil and acrylic paints and
painting media.
The use of opposing charges can also enable the formation or fortification of a bond. Thus, the use of a negatively or a positively charged monomer stabilizer in a neutral cPRM can enable the formation or fortification of a bond between the
polymer formed and an oppositely charged superimposed application, such as a paint, an ink, or another colorant. Such negatively or positively charged monomer stabilizers are preferably used in a neutral cPRM at about 0.4% to 40% (by volume), preferably
at about 0.5% to 10%, and more preferably at about 0.5% to 6%. Adhesion promoters such as products made to promote the adhesion of a polymer to a substrate, may also be used as stabilizers in inventive images, such as adhesion resins by Creanova Inc.
Other stabilizers are ingredients added to applications made on polymer inventive images, typically in amounts from about 0.4% to 40%, by volume, but more preferably in amounts from about 0.4% to 25%, by volume of the application's total volume,
(i) to cause or enhance the bond between that application and the polymer inventive image; or (ii) to further cure or fully cure the polymer inventive image onto which it is applied. Examples of such stabilizers are cPRM, solvents appropriate for the
linear polymer surfaces they are superimposed upon, MEKP, photoinitiators, and other catalysts. Such stabilizers might be mixed into applications, for instance into a conventional image making material or medium (such as a conventional paint, a painting
medium or paper pulp); into an unconventional image making material or medium; or into a glue or adhesive.
Surface preparation stabilizers are preferred stabilizers. A single inventive image may have one or more surface preparation stabilizers. The formula, y-about 40=about 0.786x, is a preferred linear relationship between "x", the approximate
percentage of polymer in the inventive image's surface preparation stabilizers (by volume), and "y", the approximate maximum percentage of surface preparation stabilizer in the inventive image's total volume. Thus, for example, if there is no polymer in
the surface preparation stabilizer in an inventive image, this stabilizer includes less than about 40% of the inventive image's total volume. If an inventive image's surface preparation stabilizer is made of about 35% or more polymer, it includes less
than about 67.5% of the inventive image's total volume. If an inventive image's surface preparation stabilizer is made of about 70% or more polymer, it includes less than about 95% of the inventive image's total volume.
One kind of surface preparation stabilizer is a composition on the surface of an inventive image or part thereof that (i) causes or enhances bonding to one or more superimpositions; or (ii) functions as an underlayer for further processing by
additive or subtractive processes (e.g., as a primer, as underpainting, as underdrawing, as a ground, or as an imprimatura). In completed inventive images, surface preparation stabilizers are at least in part superimposed by one or more compositions
that are different from the surfaces they superimpose or different from the polymer beneath the surfaces they superimpose. In addition, or alternately, in completed inventive images, surface preparation stabilizers are at least partially carved,
incised, or both. Such surface preparation stabilizers are typically made using polymers that may be carved or incised effectively, e.g., they used on image surfaces that cannot be carved or incised as effectively. Surface preparation stabilizers might
contribute to inventive images aesthetically or structurally prior to further processing them.
Surface preparation stabilizers and the surfaces or image supports they are used upon may or may not be made or entirely made of polymers of the present invention. Surface preparation stabilizers may be continuous or discontinuous on part or all
of one or more inventive image surfaces. For example, a surface preparation stabilizer on a polymer inventive image might be an imprimatura made of a composition that is not a conventional paint, serving as an intermediary enabling a superimposed
conventional paint to bond to that polymer that might not have bonded or bonded as strongly to that polymer had it been applied directly onto its surface. The same surface preparation stabilizer or a different one might enable an inventive image to have
a carved or incised drawing, pattern, or texture. Depending on their use in an inventive image, one or more conventional image making materials, media, or both may serve as a surface preparation stabilizer, such as conventional paints, binders, primers,
etc. A mixed polymer may be a surface preparation stabilizer. Bonding spots and Separating Layers can be surface preparation stabilizers. Separating Layers may have surface preparation stabilizers on them.
Another kind of surface preparation stabilizer is SSI on a polymer inventive image surface. Whether they are continuous or discontinuous on a polymer surface, SSI are a surface preparation stabilizer, provided they are partially or entirely, yet
directly superimposed by: (i) a conventional image making medium (such as paint, ink, pencil, pastel, chalk, pen, crayon, a photographic emulsion, printing, another marker); (ii) a colorant with an unconventional vehicle (such as a paint made with cPRM
as its binder); (iii) a conventional or an unconventional underlayer (such as underdrawing, underpainting, a primer, an imprimatura or a ground); or (iv) a combination of these. Thus, for example, SSI superimposed by media or materials for the sole
purpose of bonding are not stabilizers, and SSI superimposed by protective coatings, fixatives, or sealers are not stabilizers.
Image support stabilizers are both a class of stabilizers and a type of image support. Inage support stabilizers are either made to bond to at least one superimposition (such as a paint or ink). Or image support stabilizers are comprised of a
polymer composition which by its formulation or design, works well with one or more subtractive processes (such as cutting, carving, or incising). For example, polymers made for subtractive processes involving the use of tools that would be ineffective
on linear polymer surfaces would typically be made of crosslinked polymer formulations (e.g., tools that heat up as they are used so that their bits or blades get clogged by the linear polymer). Image supports made of greater than about 85% (by volume)
polymethyl methacrylate or methyl methacrylate, which are exact, even geometric shapes or forms (like conventional preformed acrylic sheets, rods, cubes, or spheres) and which are preferably transparent or translucent, are typically not image support
stabilizers, unless for example, they have surface preparation stabilizers on them made of a different composition (preferably polymeric) in which case they might be image support stabilizers. Also, conventional polymer image supports in the form of
sheets and films that are preferably transparent or translucent, are typically not image support stabilizers, (e.g., acetate, MYLAR.RTM. and vinyl have all been made into images by cutting), unless for example, they have surface preparation stabilizers
on them made of a different composition (preferably polymeric) in which case they might be image support stabilizers.
One kind of image support stabilizer includes at least one polymer that is a transparent polymer or a synthetic translucent polymer. Typically, the volume of these image support stabilizers has a percentage of transparent or synthetic
translucent polymer that is at least about 51%, preferably at least about 55%, more preferably, at least about 65%, still more preferably at least about 75%, and most preferably at least about 85%, in different embodiments. Another kind of image support
stabilizer includes at least one polymer that is a synthetic absorbent polymer or a conductive polymer. Yet another kind of image support stabilizer includes a surface preparation stabilizer superimposed on at least a substantial portion of at least one
surface of an image support.
Separating layer stabilizers are another kind of image support stabilizer. These are substantially planar polymer layers that are at least partially transparent or translucent. The two, planar, opposite sides of a separating layer stabilizer
are made to separate superimposed applications, other colorants, carving, incising, or other marking. Thus, for example, separating layer stabilizers enable applications, other colorants, carving, incising, or other marking to be added to inventive
images in unlimited layers, without having to be created directly on one another. Separating layer stabilizers may contain non polymeric ingredients, or other stabilizers. The compositions of applications or other colorants separated by a separating
layer stabilizer must be different from that of the stabilizer, though they may be the same as one another. It is preferable that applications separated by a separating layer stabilizer be bonded to it. Conventional polymer image supports are typically
not separating layer stabilizers without an additional stabilizer or additional polymer of the present invention (e.g., sheets and films of polyester, MYLAR.RTM., acetate, and acrylic). As an example, in forming an inventive image, one or more
separating layer stabilizers are used to separate layers of paint and incising. This separating layer stabilizer might, for example, be electrically active or comprised of a conductive polymer such as a polymer LED.
Image support stabilizers that are not separating layer stabilizers are typically the principal element in their inventive image's shape or form, and they typically remain so in the completed image. Of the completed inventive image's total
volume, image support stabilizers typically comprise about 51% to 100%, preferably about 55% to 100%, more preferably about 65% to 100%, still more preferably about 70% to 100%, and most preferably about 75% to 100%, in different embodiments. Image
support stabilizers which are not separating layer stabilizers are often part of their image's structure also. Among examples are image support stabilizers made using rigid polymers, and image support stabilizers made using flexible polymer, that may
for example, be bonded to one or more other polymeric or non polymeric elements that provide structural support. An image support stabilizer may therefore be an inventive image's principal structural element, its entire structure, or almost its entire
structure. In another example, flexible image support stabilizers can rely on another image part or on their method of installation or display for structural support to any degree, (e.g., a flexible image support might be draped over another image part
or over a pedestal).
Image support stabilizers made to bond to at least one superimposition are typically, at least partially superimposed by at least one bonding composition that is different from their composition. Image support stabilizers made for further
processing using a subtractive process are typically further processed as such. Image support stabilizers may be made of one or more polymers. If desired, image support stabilizers may have one or more other stabilizers as ingredients (e.g., they may
have one or more fiber stabilizers, UV light stabilizers, doped conductive polymers, electrodes for conductive polymers, or surface preparation stabilizers). As an example, an inventive image support stabilizer might be a 2D or 3D transparent or
translucent polymer form that bonds to a superimposed conventional paint, or that can be effectively incised or carved using a hand held tool. Typically, image support stabilizers that are not separating layer stabilizers do not have their function as
the image's principal shape or form changed as they are processed.
It is preferable for image support stabilizers to be made with a percentage of one or more conventional polymer image supports or other conventional polymer image making media (e.g., conventional acrylic paints, gels, or sheets, or a conventional
polymer film like acetate, MYLAR.RTM. or Denril made by Borden and Riley Paper Co. Inc. in Hollis N.Y.), which is up to about 60%, preferably up to about 55%, more preferably up to about 50%, still more preferably up to about 45%, still more
preferably up to about 40%, still more preferably up to about 35%, still more preferably up to about 30%, and most preferably up to about 25%. Moreover, it is often desirable for image support stabilizers to be made without conventional polymer image
supports or without other conventional polymer image making media with the exception of conventional polymer paints like acrylic paints. If the polymer in an image support stabilizer is comprised of a percentage (by volume) of one or more conventional
polymer image making media that is preferably greater than the amounts listed above, then (a), (b) and/or (c) are typically preferable: (a) at least one stabilizer that is not an image support stabilizer (such as a fiber stabilizer, a color stabilizer
like a UV light stabilizer, a doped conductive polymer, electrodes for a conductive polymer, or a defoamer stabilizer), is preferably added to the conventional polymer as part of the image support stabilizer; (b) the inventive image preferably has at
least one other stabilizer that does not include conventional polymer image making media (in addition to this image support stabilizer), and/or (c) the image support stabilizer preferably also contains polymer of the present invention or the conventional
polymer medium is not included in the calculation of the total polymer in the image support stabilizer.
In addition, it is generally preferable for an image support stabilizer to contain at least one stabilizer that is not an image support if the percentage (by volume) of one or more preformed conventional polymeric materials with exact, even
geometric shapes or forms (like conventional polymer sheets, films, rods, bars, cubes, bowls, or spheres) used in the image support stabilizer is greater than about 65%, preferably greater than about 50%, more preferably greater than about 30%, still
more preferably greater than about 18%, and most preferably greater than about 8%.
Underlayers, such as underpainting, underdrawing, grounds, imprimatura, primers and sizes, are one or more beginning or preparatory layers applied on an image surface with the intention that they will be partially or entirely superimposed (e.g.,
by painting), though they may remain visible or partially visible and contribute to its aesthetic. Both conventional underlayers and new and unique underlayers are used on inventive images. For example, surface preparation stabilizers, and separating
layers (stabilizers) can be underlayers.
"Value" refers to the degree of lightness or darkness (or shadow) of a color. A color can have a high intensity and a dark value, or a low intensity and a light value.
"Vehicle" as used herein, refers to all liquid and all semi liquid (e.g., gel) contents of a paint, such as its binders, and its additives, but excluding all pigments and all dyes. Pigments and dyes are commonly dispersed or dissolved in a
vehicle.
"What you see is what you get" ("WYSIWYG") refers to image making processes wherein work that is being done on an image is visible as it is being done, as it will be visible once it is complete. Processes, formats, materials, or media that are
not WYSIWYG are those that will change visually, between the time of their use and the time when they are completed, e.g., when they set, dry, harden, cool, cure, are superimposed.
Inventive images are works in progress and images of art and design and include:
a) Images that are recognizable as one or more known forms of art or design, such as realistic, photorealist, abstract, geometric abstraction, surrealist, expressionist, minimalist, graffiti art, still life, figurative, portrait, landscape,
modernist, folk art, primitive art, kitsch, shaped painting, installation, construction, painting, sculpture, mobile, print, photography, drawing, collage, assemblage, graphic art, architecture, furniture design, jewelry design, interior design, fashion
design, product design, craft, set design, costume design, or a combination thereof. b) Images that are recognized as art or design by a curator with proven expertise in contemporary art at an American museum of art which is accredited by the American
Association of Museums or by an art scholar or an art critic with proven expertise in contemporary art. c) Images that are original art or design. d) Images that are interpretations, statements, expressions, or combinations of these. e) Images that
have an aesthetic that is at least minimally apparent. f) Images that function as one or more known forms of art or design. g) Images that are recognizable as creations by a specific individual, such as images recognizable as creations made in a
specific circumstance or condition which are not ordinary circumstances or conditions. h) Images made in limited editions, e.g., in an edition of one, preferably during their first 75 years of existence, in an edition of less than about 1500, more
preferably less than about 500.
A typical process of the present invention involves the preparation of a 2D or 3D image by (i) preparing a mold or image support; (ii) preparing a PRM of one or more materials capable of forming a polymer, with other ingredients if desired; (iii)
adding at least one catalyst to the PRM before or after it is put on the mold or image support; (iv) before or after the previous step or the step which follows, optionally adding at least one stabilizer to the PRM, to the cPRM (liquid or gelled), or to
the polymer; (v) putting the PRM or the cPRM on at least one part of a mold or image support, made of polymer, wood, paper, stone, ceramic, metal, fabric, or glass. The inventive image making medium typically provides a shape or a form to the image.
Desirably, at least a part of an inventive image is transparent or translucent. It is typically desired that inventive images are permanent. For example, it is preferred that coloration of inventive images does not substantially change
undesirably over time. For instance, over time changes such as a yellow or amber color develop on some polymers. To the extent that such changes or their effects are visible and undesirable, these polymers are not desirable for use in inventive images. It is generally desirable to use one or more stabilizers to enhance the permanence of inventive images.
After its initial polymerization, the polymer formed might for example, be the complete inventive image. Alternately, the polymer might be a work in progress that can be further developed or controlled to the extent as desired. Whether the
inventive image is further processed and how it is further processed is at the sole discretion of its image maker. The inventive image can be processed in innumerable ways as desired. For instance, the polymer work in progress can be further processed
repeatedly, in a myriad of ways, in any sequence, and over any period of time (continuously or otherwise). For example, its formal elements (such as its form, structure, coloration, light and spatial depth), can be reworked as desired and to the extent
desired. It is likely that reworking any one of its formal elements will have at least a minimal effect on at least one of its other formal elements, such as just changing its form, might affect its structure, its color, its use of light, its function,
its subject matter, its meaning, etc.
Typically, the amount of polymer in the total volume of an inventive image is at least about 5%, preferably at least about 10%, more preferably at least about 25%, still more preferably at least about 35%, and most preferably at least about 45%,
in different embodiments.
Polymer of the present invention typically provides or enables an inventive image to have at least one aesthetic element. As such, polymer of the present invention is either a part of the inventive image or comprises the entire inventive image.
Polymer of the present invention is not typically just a very thin, continuous, uniform, clear, colorless coating, covering, sealer, fixative, or varnish on an image that would be aesthetically complete without it. When the only polymer in an inventive
image is a transparent or translucent external layer having a stabilizer that is not an image support stabilizer, and the external polymer layer has (a) and (b), described below, its typical thickness is at least about 0.2 cm, preferably at least about
0.3 cm, more preferably at least about 0.45 cm, still more preferably at least about 0.6 cm, still more preferably at least about 0.8 cm, and most preferably at least about 1.0 cm. (a) At least about 35% of the volume of the shape or form of the
external polymer layer covers the image continuously, preferably at least about 50%, more preferably at least about 65%, still more preferably at least about 85%, and most preferably at least about 95%, in different embodiments. (b) At least about 60%
of the volume of the external polymer layer has coloration or a lack of coloration that is uniform, but preferably at least about 75%, and more preferably it is at least about 80%.
In another embodiment of the present invention, the only polymer in an inventive image is a discontinuous transparent or translucent external polymer layer with a stabilizer, that is not an image support stabilizer. For example, such a
discontinuous external layer of polymer might be carved, incised, embossed, embedded, inlaid, made of discontinuous applications (such as broken color or linear applications), colored discontinuously, or comprised of attachments, such as LEDs. Such an
external polymer layer may be of any thickness or may vary in its thickness, e.g., its design may require that it be at least a certain thickness. If such a discontinuous external polymer layer is made with at least one conventional polymer image making
medium and a stabilizer, and the percentage (by volume) of conventional polymer image making media in the external polymer layer is typically greater than about 25%, preferably greater than about 35%, more preferably greater than about 50%, and most
preferably greater than about 65%, (c), and/or (d) are often preferable: (c) at least about 30% of the discontinuous external polymer layer is at least about 0.5 cm thick and preferably at least about 0.8 cm thick; and/or (d) it is often preferable for
the inventive image to contain polymer of the present invention in another location or for the conventional polymer image making medium in this external layer not to be included in the total calculation of polymer in the inventive image.
In some embodiments, in which inventive images are made with an internal layer of polymer that is not an image support stabilizer, comprised of at least one conventional polymer image making medium and a stabilizer, and the percentage (by volume)
of conventional polymer image making media in the internal polymer layer is typically greater than about 35%, preferably greater than about 50% and more preferably greater than about 60%, it is desirable that such inventive images have polymer of the
present invention in another location (e.g., in another layer or in another part that may or may not be physically connected), or that the conventional polymer image making media are not included in the calculation of the image's total polymer. This
preference is less desirable if: (e) the internal polymer layer's thickness is greater than about 0.15 cm, or preferably greater than about 0.2 cm, or more preferably greater than about 0.26 cm; and/or (i) the volume of the internal polymer layer's shape
or form is typically at least about 40% discontinuous, preferably at least about 50% discontinuous, more preferably at least about 60% discontinuous, and most preferably at least about 70% discontinuous; and/or (g) there is inconsistent, non-uniform
coloration or lack of coloration in at least about 70%, preferably at least about 80%, and more preferably at least about 90% of the total volume of the internal polymer layer.
In general, formal elements of an inventive image, can be used, or the choice made not to use them, more freely, more completely; with more workability, reworkability and control; and more in the manner desired, than in making most kinds of
conventional images.
The following description of preferred embodiments of the present invention is generally arranged into sections, however, just as the formal elements are interrelated, these sections overlap. For instance, an embodiment in the "Process of
Creation" section might also be an example of a process for developing and controlling an image's spatial depth, light and color. The use of one formal element in an inventive image can affect or even determine one or more of its other formal elements.
Often, the workability, reworkability and controllability, offered by the artistic medium of the present invention enables image makers to use and to control the effects that work done to one formal element of an inventive image has on one or more of its
other formal elements, to a far greater extent than is possible in conventional images.
Previously unknown to image makers and others, the inventive medium and inventive images offer new unique direct solutions to known limitations, problems and undesirable issues in conventional image making and images which are rooted at the heart
of the formal elements, the most fundamental building blocks of images. Thus, in many examples, goals which have been sought but which could not be achieved in conventional images, can now be realized in inventive images. The new unique solutions
offered by the present invention can expand image making and images profoundly. These are 24 examples. 1. While many kinds of conventional images are typically not fully workable, reworkable and controllable, inventive images typically can be. 2.
While conventional practices do not always permit the free use of the Principle of Whole Development and Unity, the inventive medium typically does. Thus for example, the structure, the form, the use of light and the surface(s) of an inventive image can
typically be considered, formed and unified as desired. 3. Whereas image makers often have to conform their thinking processes, their creative processes, their ideas, and their visions to a variety of limitations, problems and undesirable issues in
order to make conventional images as desired, the image making processes of the present invention offer significant freedom from such restrictions. Typically, with the present invention: a) the thinking processes and the creative processes of image
makers do not have to conform to such limitations at all or to such a great extent; b) image makers can develop their processes, their ideas and their visions spontaneously or as spontaneously as desired, e.g., as inventive images are formed, c) image
makers can realize their ideas and their visions in inventive images, and d) image makers can often have greater control over the meaning of their images. 4. Whereas making and reworking the forms, shapes and structures of conventional images are often
limited, problematic and burdened by undesirable issues, the present invention offers freedom from such. For example, using the present invention, the forms, shapes and structures of images can typically be formed as desired, within an enormous array of
possibilities, using a wide variety of processes, (such as making images in layers, in parts, in one stage, in multiple stages over any period of time, combinations of these, etc). As another example, the present invention overcomes prior limitations in
creating and affecting an image's form, shape and structure such as limitations in size, scale and dimensions; weight; balance; use of negative space; Compositional Arrangement; proportion; ingredients; physical attachments; and the like. 5. While
desirable, conventional see-through images have been limited. The present invention enables a vast range of see-through images to be made with unprecedented creative freedom. 6. The present invention expands the use of coloration in images, e.g., the
workability, reworkability and controllability of coloration in images; and the use of coloration with real spatial depth and real light in images. 7. The present invention expands the use of light in images. Inventive images can even use light in new
unique ways, a number of which can not be done in conventional images and a number of which are desirable, important and valuable new effects in images, e.g., the present invention offers new uses of real light, of light and color, and of light and
spatial depth in images. 8. Layering can typically be done in inventive images as desired, with the workability, reworkability, controllability, strength and permanence desired. Layering can even be done in inventive images as never before, e.g., the
number of layers used to form an inventive image can be substantially unlimited. Layering in the inventive images can also form new and unique effects. 9. In contrast to the limitations, problems and undesirable issues inherent in using attachments
(such as attached parts and inlays) in many kinds of conventional images, typically attachments are readily added to inventive images as desired, with workability, reworkability and controllability, for a myriad of different effects. 10. Whereas the
use of real variable spatial depth in many kinds of conventional images is limited, problematic and burdened by undesirable issues, the inventive medium typically provides real variable spatial depth which is workable, reworkable and controllable as
desired, and which offers a myriad of aesthetic options, many of which are not available in conventional images. 11. Inventive images can typically be made with strength and/or permanence not possible in comparable conventional images, which can be
formed, controlled, maintained and changed as desired, using a variety of means, methods and manners, during or after an inventive image's initial formation.
12. The present invention expands the use of air pockets and embedding in images as well as the ability to form objects and devices within images. 13. The inventive medium can successfully produce images that have a vast range of special
qualities and effects, many of which are new and unique, and some of which have never been possible in images before. Furthermore, special qualities and effects can typically be formed, reworked and controlled as desired in inventive images. Examples
are special qualities and effects in inventive images involving the use of space, color, the perception of light, weight, balance, reality and illusion, movement, time, etc. 14. The inventive medium being typically workable, reworkable and controllable
as desired, permits a wide range of experimentation, a substantial portion of which has never been done before. 15. While inventive images often need not be sealed, fixed, coated, covered or protected, they can be, as desired. 16. Whereas some uses
of some of the formal elements available, desired or needed to form conventional images (e.g., some uses of real light, real transparency, real translucency, and real spatial depth), impose limiting, problematic, and undesirable specifications on the
method, the manner and the means of their presentation, set-up, installation, display, and/or exhibition, the inventive medium offers ways to overcome such limitations which can result in new and unique images. For example, because inventive images can
use real light in new ways, they no longer have to be lit according to conventional practices (though they can be), and because inventive images (such as 2D images like paintings, prints, and drawings) can be made with new shapes, forms, structures
and/or a new sense of objecthood, they no longer have to be presented, set-up, or displayed according to conventional practices. 17. Inventive images can be made which function in ways which comparable conventional images cannot be made to successfully
function. 18. Though inventive images can use reality and illusion as these have been used in the past, in addition or instead, inventive images can use these formal elements in ways that are new and unique. For example, inventive images can use real
formal elements (such as real light and real space), to produce new and unique illusions. Inventive images can be produced without relying on illusions, or without illusions. 19. Inventive images can often have the quality of otherness (even inventive
images which look conservative). This is a desired, useful quality that is limited using conventional practices. 20. The inventive medium expands the use of objecthood in images substantially. The use of objecthood in inventive images can even give
them new and unique qualities. 21. The inventive medium opens up possibilities for new unique images within known art forms, expanding art forms in ways which could not be comparably done heretofore. 22. While the use of formal elements to form
conventional images is often problematic, the inventive medium offers new and unique, direct solutions. The inventive medium expands the use of the formal elements, e.g., 3D inventive image paintings can be made using color with real light and real
spatial depth that have no illusions. 23. The inventive medium permits the image maker to dematerialize volume in images in new and unique ways and in ways that go beyond that which is possible in conventional images. 24. Inventive images can
typically be made as easy to care for as desired. Conservation work can typically be done on inventive images (on both their polymer parts and non polymeric parts they may have).
The following are examples of general ways formal elements can be used in inventive images. (a) They can be used the same way as have been used in conventional images. The resulting inventive images may be like conventional images or they may
differ to any extent. For example, light can be depicted illusionistically in inventive images. (b) Inventive images can use formal elements in a way that are similar to, but not the same as, in conventional images. For example, light can be depicted
illusionistically in inventive images using layers of polymer. (c) Inventive images can use formal elements in new ways that resemble conventional images. For example, a polymer image support can be painted on its reverse side for viewing through its
unpainted front, clear and colorless side and thus function as a reverse painting on glass. But this inventive image can be stronger, and more permanent than comparable conventional images, and it can have a wider range of optical properties such as
light properties if desired. (d) The formal elements can be used in inventive images, in ways that are similar to, or that relate to, conventional uses, but which are also new and unique. For example, conventional techniques and processes, can be used
in combination with unique effects of the present invention. (e) The formal elements can be used anew in inventive images to create unique, novel effects. For example, an inventive image painting can be made using paint with light from its see-through
polymer form, that may have light effects within its colored or colorless layers from one or more prisms, electroluminescent lamps (EL Lamps), LEDs, conductive polymers, photochromic layers, photographic transparencies, or reflective ingredients none of
which are comparably possible using conventional practices. (f) The formal elements can be used in a single inventive image in a combination of these ways.
Inventive images can, if desired, have one or more other ingredients and processes in addition to a polymer of the present invention and its process or processes, such as conventional practices. Examples are, materials, media, objects, devices,
processes, and their combinations other than polymers of the present invention, such as: (1) ingredients used to make conventional images, (2) other art forms in inventive images like a traditional painting, print, drawing, photograph, or found object,
(3) particles, items and other colorants, textural ingredients, other such materials, (4) devices which enable inventive images to physically move, (5) materials or devices for light and light effects and the use of conventional science to make light
effects or to enable the image to give off light; (6) ordinary and custom hardware (e.g., to set up, install or mount images), and/or (7) practices used in construction, architecture, chemistry, electronics, physics, printing, or engineering. These and
other non polymeric ingredients and conventional practices may or may not have the same characteristics as they have in their conventional uses. For example, their aesthetic properties and possibilities, their workability, reworkability, and
controllability and their permanence, may or may not be the same or similar to those in their conventional uses. Often their aesthetic possibilities expand when they are used with the present invention, along with their workability, reworkability,
controllability, and permanence. For instance, traditional oil painting can be layered as never before in inventive images. In inventive images, however, other known, and conventional ingredients and processes may or may not have the same or even a
similar aesthetic; or the same or even a similar level of workability, reworkability, and controllability; the same or similar limitations, problems and undesirable issues; the same or a similar level of strength and permanence; and other qualities which
are the same or similar to those in their regular and conventional uses. For example, frequently it is the use of other ingredients with polymers of the present invention that enables inventive images to be unique and important, such as electrical
ingredients, colorants, stabilizers, etc. As a specific example, the ability to form inventive images or parts thereof in layers which can be unlimited, enables many conventional practices (such as conventional paint applications) to be used in ways that
are more workable, more reworkable, more controllable, freer, more versatile, easier, stronger, and more permanent than their conventional uses. Nevertheless, the characteristics of ingredients and processes other than those of the inventive medium, and
the use of conventional practices with the present invention are often dependent on the specifications of each use in specific inventive images.
One or more polymers can be used as, or to form an inventive image. One or more polymers and one or more other subjects (such as other materials, media, objects, or devices) can be used in any proportion to form an inventive image. For example,
an inventive image can be almost entirely made of polymer, with a very small percentage of other ingredients. It can be made of roughly half polymer, and roughly half other ingredients. It can be made with a very small percentage of polymer and a very
large percentage of other ingredients. For example, one or more of layers shown in FIG. 11 might be completely made or principally made of polymer, while the rest of the layers may be made of polymer or non polymeric ingredients. Any of the layers in
FIG. 11 might be a layer of a conventional paint or other conventional image making medium, and any of the other layers might be electrically active, e.g., polymer LED(s). In FIG. 20, the internal layer shown might be an image support made of polymer
and the external layer might be non polymeric, or vice versa.
The inventive medium enables 2D and 3D inventive images to be made in any shape, form, or structure desired, using any methods, means, and manners desired, and in any size or scale desired, (ranging from very tiny to monumental in size). The
inventive medium can create forms that are as precise, as delicate, and as intricate as desired, even on a very small scale. As the drawings show, inventive images can be made of one or multiple, 2D or 3D, parts or layers as desired, even in
conventional forms of art and design (such as paintings and drawings where this can be problematic). Inventive images (or parts of them), may or may not be flat, continuous, or regular in shape or form (such variations are often difficult to achieve in
conventional images). For example, inventive images may have protrusions; texture; undulations, curves, indentations, a concave or convex form, embossing, embedding, inlays, or attachments; layers superimposing them partially or entirely; negative
space, or irregularities in form, shape, structure, or surface, etc.
A number of the illustrations (the Figures) focus on specific formal elements in inventive images. As the Figures, by necessity, were made using conventional drawing practices, such practices often hide aspects of the present invention not being
illustrated. For example, it is essential to the practice of the present invention that image makers may use coloration without limitations. Yet, the use of coloration in the Figures is limited for the purposes of clarity and the Figures are rendered
in black, white and shades of gray, thus they do not show the use of coloration in inventive images. For instance, for the purposes of clarity in the illustrations, variation in the coloration of a number of the inventive images shown in the Figures is
minimal in order to allow their shapes and parts to be seen easily (otherwise, a single inventive image part might appear to be made of multiple parts, etc.). As another example, areas in these illustrations of inventive images which are colored darkly,
might be colored lightly and they might be transparent, translucent, and/or opaque in actual inventive images. In order to create the illusion of seeing through inventive images with real spatial depth which are transparent, translucent or not
consistently opaque, on the 2D planar paper of this patent which is consistently white paper, some of the Figs. illustrate inventive images using lines (e.g., black or grey, dotted and/or solid lines) in places where the inventive image depicted has no
lines. As another example, for the purpose of effective illustrations, many inventive images and parts thereof are drawn with black outlines (e.g., black outlines around layers in the inventive images) even though few if any of these lines would
typically exist on these or other such inventive images. And often in the Figs., dotted or gray lines are used to show changes (typically previous changes) to an inventive image. In addition, in actual inventive images, a number of the bonding spots
illustrated clearly herein would not be visible to the human eye as bonding spots within actual inventive images, (e.g., because they are camouflaged to appear continuous with the aesthetic of the inventive image, for example, by their color and/or
dimensions).
As another example of how the limitations inherent in the use of conventional drawing practices are insufficient to fully represent inventive images, many Figs. are rendered using a range of shapes and forms chosen for clarity and to effectively
create the illusion of spatial depth and see through form on 2D planar opaque paper. For instance, for clarity and to effectively create illusionary spatial depth and illusionary transparency, the shapes and forms used in many of the Figs. are generally
simple ones, e.g., geometrics like cubes and rectangles. In contrast, real inventive images do not have any such limitations of shapes and forms. Furthermore, many Figs. present parts of inventive images (e.g., areas, layers, separate parts, etc.) as
more or less consistent, e.g., so they are not mistaken as being made of multiple smaller parts and so each part is clearly distinguishable from adjacent parts. For example, typically, in the Figs., the layers of an inventive image are rendered in
colors that are even, or that generally appear evenly dispersed. But, the consistency of the inventive images shown in Figs. is a simplification for the purposes of effective illustration, it is not a requirement or limitation in the use of the present
invention. Indeed, the use of coloration in inventive images can, for example, be as uneven and inconsistent as it is in conventional images.
As a more specific example, where a Fig. might show three superimposed layers of an inventive image from any vantage or angle, the lowest layer may be rendered in a consistent medium grey, the middle layer might be the white color of the paper,
and the uppermost layer might be rendered in a consistent dark grey. Though in the Fig. each of these three superimposed layers look continuous, their consistency and the use of colors on adjacent layers which are easy to distinguish from one another is
a simplified generalization for the purposes of effective illustration, and not a limitation of the present invention. Because each of these three layers can be interpreted in multiple ways, this Fig. effectively illustrates the many variations in
layering inventive images. For example, one, two and/or three of the layers in this Fig. might be partially or entirely, continuously or inconsistently comprised of: a). one or more constituent sub-layers each comprised of one or more mediums,
materials or both; b). one or more different colorants that are transparent, translucent, opaque or a combination of these; c). one or more layers of one or more cPRMs or polymers; d). conventional drawing, painting (e.g., watercolors, acrylics, oils,
tempera, alkyd, encaustic, goauche, a combination of these, etc.), printing, writing or a combination of these; e). paint made using cPRM as the binder; i). marks which do not consistently or continuously cover the surface (such as paint strokes,
broken color marks, line drawing, writing, text, printing, etc.); g). multiple pieces, multiple parts or multiple applications (with or without open spaces between them), e.g., collaged pieces, superimposed applications of one or more substances like
paints, found objects (if these multiple pieces, parts or applications overlap, the thickness of the layer they form cumulatively may be irregular, and if they are transparent and/or translucent and they overlap, the layer they form cumulatively would be
inconsistently transparent and/or translucent, and inconsistently colored; also, if any of the superimposed layers in a Fig. are transparent, its consistency and its coloration might depend on what is beneath it, for example, an inconsistent layer can
become more consistent when a transparent consistent layer is superimposed over it, and a transparent layer may be consistent until an inconsistent layer is placed beneath it); h). one or more superimposed photographic transparencies; i). one or more
electrically active layers, e.g., polymer LED(s); j). one or more other art forms superimposed on the inventive image (e.g., a photograph, a collage, a cut out, a print, a work of design, a drawing, a drawing in space, etc.); k). one or more other
attachments; l). a combination of these (e.g., a layer made of a photograph with two layers of paint on it).
Most of the Figs. herein illustrate multiple aspects of the present invention. Inventive images shown in Figs. have multiple interpretations.
As another example, all of the Figs. herein illustrate inventive images which can be made in any size desired, e.g., they can be very small (such as, the size of jewelry or miniature paintings), or they can be monumental in size (such as large
public works of art or design). In addition, illustrations of cross sectional views of inventive images may show either a cross section view of a portion of an inventive image, or they may show a cross section through an entire inventive image, e.g., a
cross sectional illustration showing layering herein might show either layering on an inventive image surface or layering throughout an entire inventive image. A number of the Figures herein can be interpreted as both cross section and side views of
inventive images. Though the inventive images shown in the Figures in views that are typically cross sectional, might be interpreted as having a designated front side and back side (e.g., with their upper side being their front side), unless
specifically indicated herein, they do not.
Though the sizes and shapes of inventive images are unlimited, it is notable that the length to width proportions of many of the inventive images illustrated herein are not typical examples of the length (or height) to width (or depth)
proportions of many kinds of art forms, whether they are made using the present invention or conventional practices. For example, if many of the illustrations herein (particularly the cross sections and side views of layered inventive images) are
interpreted as representing whole paintings, drawings, prints, photographs or other generally planar art forms (rather than interpreted as part of these art forms), these inventive images would not be in proportions which are typical of any of these art
forms. But the proportions of the inventive images illustrated herein were often created for the purpose of effective illustration. For example, thicker layers are easier to see, though they make the inventive image illustrated thicker in proportion to
its length (or height) such atypical proportions are preferred since the purpose is to show features (like layering) and such atypical proportions are unavoidable due to the limitation of the standard size paper this patent is on. The proportions of an
inventive image (e.g., in one of these planar art forms, for instance a painting) might be made the same as or like the proportions of typical conventional images in the same art form. For example, while some or all of the layers of a cross section of
an inventive image are visible in the illustrations herein, the thickness of each of these layers in an actual inventive image might be difficult or impossible to see with the unaided human eye, though its other two dimensions might be clearly visible,
they might be measured in feet.
The illustrations in the Figures can be interpreted as showing different variations of the present invention, and they are not to scale. As further examples, the inventive images shown in these Figures might be 2D: 1-8, 10-46, 47, 48-86. Note
that many of these are illustrations of inventive images in cross section views in which their layers would each have to be very thin for the image to be less than 1'' thick. However, many conventional images are made with thin layers as such (e.g.,
many old master paintings such as those by Rembrandt). Also, forthcoming text describes many kinds of layers for use in inventive images which are desirable in inventive images as thin layers, e.g., electrically active layers such as polymer LED(s), as
well as coatings and other colorants. Some of these 2D images might for example, be or resemble conventional art forms, e.g., paintings or cut-outs. If many of the images in the Figures were 2D and thus less than about an inch thick, and they were in
conventional art forms such as painting or drawings or prints, it is likely that their other two dimensions would be substantially larger than illustrated in proportion to their thickness as illustrated, so that they would have proportions typical of
conventional art forms. The inventive images shown in all of the Figures might be 3D. The images shown in FIG. 38 could be any size. Thus an aspect of the versatility of the inventive medium is illustrated.
The inventive images shown in the Figs. show examples of images made according to the present invention at various stages of their development. Each inventive image illustrated in these Figs. may be complete at any stage in its development as a
discretionary decision by its image maker or image makers. Alternately, inventive images such as all of those shown in all of the Figures, can typically be further processed at the discretion of their image maker or image makers, e.g., from any side or
from more than one side, even from all of their sides.
Inventive images and their parts may be partially or completely solid, hollow or open in form, e.g., using a polymer in hollow or solid volumetric forms, rods, bars, and strips. Inventive images can have negative space within their positive
forms, between their parts, or both, e.g., negative cut-outs, perforations, or holes formed when medium is cast, carved, or cut in gelled cPRM or in polymer. This opens novel possibilities for image making and for images, such as inventive images made
in conventional art forms that are completely or partially hollow, e.g., drawings, paintings, prints, collage, decollage, images with writing, graphic art, photography, tiles, partitions, windows, doors, table tops, walls, or images which are a
combination of these. For example, the use of one or more air pockets, negative spaces, or both, in inventive images made in art forms which conventionally, are generally continuous and solid, can yield effects which are new and unique. For example,
their hollow forms can contain something such as air, water, rose petals, a piece of silver, a lens, a prism, a mirror, a piece of crystal, or anything else inside. In addition or instead, these hollow spaces might produce one or more light effects,
such as an air pocket that might form a prism or a lens, or light sources, such as LED(s), that may be inside. Hollow and solid forms can be used in inventive images to make them stabile (i.e., bottom heavy), to balance their weight, to enable images to
move or to be moved as desired (e.g., for kinetic images, to enable images to float, or to make images easy to transport), so that an image can hold, carry, or contain something inside of it (such as water that must flow through an image that is a
fountain), or to make inventive images function more effectively in other ways. Moreover, the formation, workability, and uses of solid and hollow forms in inventive images offer many more options than can be obtained from comparable transparent or
translucent conventional images, e.g., the medium of the present invention can be significantly more workable, reworkable, and controllable than glass or crystal and it can be stronger than conventional acrylics, glass, or crystal. As another example,
in the inventive images in FIGS. 41.I, II. and III., negative spaces and polymer planes enable layers of coloration to be superimposed without contacting one another.
Hollow and negative space within inventive images might, for example, give an image spatial depth, light, air or volume, and layers can be superimposed without being in direct contact with one another which may be useful, for example, (1) to
superimpose layers of incompatible applications (such as when it is desirable to superimpose incompatible paints such as oil paints layered lean over fat, or acrylic paints over oil paints), (2) to superimpose applications which will or may not be as
strong or permanent as desired, if they are in direct contact with one another, (3) to make applications that either can not be applied or which do not apply as well as desired on particular surfaces (e.g., pencil will not apply as desired over paint,
pastel will not apply as desired over an application that is extremely smooth), (4) to enhance the inventive image's spatial depth, volume, or light, (5) for other light and aesthetic effects. As further examples, 2D and 3D inventive images or parts
thereof comprised of one or more rods, bars, or strips that may be polymeric or non polymeric, are shown in FIGS. 3-4, 6, 9 (side or cross section views), 27, 34, 49.I.-VI., 50.I.-III., 57, 61, 62.I.-IV., 65.a. and b., 79.XI and 79.XIII. Even polymer
rods, bars, and strips might be partially or entirely electrically active forms in inventive images.
By its variations and by its ability to be worked, reworked, and controlled as desired, the use of the inventive medium to make images' shapes, forms, and structures in some embodiments offers solutions to limitations and problems in conventional
image making and conventional images, as well as the opportunity to use shape, form, and structure in images of the size and scale desired, in ways which are not possible in conventional images.
If desired, one or more parts or layers in an inventive image may be partially, principally, or completely comprised of one or more ingredients other than the inventive medium, e.g., light sources and other elements to give it light effects (such
as light bulbs, LEDs, EL Lamps, reflective materials, iridescent materials, prisms, etc.); found objects; conventional image supports; conventional paints; conventional materials for making photographs; or conventional images in an inventive image.
Further examples are commercially available. For example, tin cans, cardboard, metal or metallic foil, newspaper, rubber, devices (like flashlights, projectors, monitors, calculators, sensors, electrical wiring, solar panels, microphones, speakers,
computers or computer parts, and controls), etc. As another example, mounts and frames for inventive images can be made using conventional practices. Attachments, parts or both which are not principally made of polymer of the present invention or are
completely non polymeric can be added to inventive images, affecting or even creating their forms or structures to varying extents.
Polymers of the present invention can be formed with very accurate impressions of their molds, even if those molds are very detailed. Polymers can also be formed with less accurate impressions of their molds, to any degree desired. For example,
using conventional practices, molds can be taken off of real things (e.g., a mold of a bottle, a shoe, a leaf, a person, a pineapple). In one embodiment, a 2D polymer is made in a mold.
It may be left as is, if it is the desired finished inventive image or if it will be further developed at a later time, even years or decades later. Alternately, the inventive image can be further processed as desired. One method is to apply
one or more colorants to one or more of its exposed surfaces. In addition, or alternately, one or more layers of one or more different PRMs or polymers can be added, e.g., a conductive polymer or a polymer with desired aesthetic or structural
properties. This image can be finished, or it can be further processed. One way to further process it is to superimpose a layer of cPRM, which is the same or different from the image's initial layer, over part or all of one or more of the image's
surfaces after which this inventive image may be finished. Alternately, this image can be further processed, as desired. For example, any number of additional layers can be added, or the image can be further processed using subtractive processes. The
finished image may be 2D or 3D. Such an image might, for example, be a painting, a sculpture, or an image of design. For instance, it might be a rigid or partially flexible, permanent, self-supporting colored 2D or 3D image that does not require any
added means of support or installation that is not considered an aesthetic part of the image. Such an image may have color visible which is at different depths within its form.
In another embodiment, an inventive image is made wherein one or more forms of light (such as light from conductive polymer or other lights), and one or more pigments or dyes are combined by (i) preparing a polymeric composition (which will be an
image support), desirably made using one or more monomers, at least one of which can form a transparent or translucent polymer (in one or more layers); (ii) applying one or more colorants to one or more portions or to all of the image support; and (iii)
exposing the colored work in progress to one or more forms of light or energy, to complete the image. The light can be visible light; light capable of inducing fluorescence, phosphorescence, or iridescence in the image. The energy can be energy that
causes light to be emitted. Examples are ordinary tungsten, halogen, fluorescent, or neon lighting; sun light; light from fire (such as candle light); reflected light (such as light reflected onto the image off of a white wall); x-radiation, solar
power, or electricity. One or more of the colorants applied on this image might by cured by radiation such as a colorant cured by UV light from the sun or from an electric light.
Whether they are stabilizers or not, image supports used to make inventive images may include one or more ingredients which are polymeric or non polymeric. Image supports may be 2D or 3D, their shapes and forms may be of any description, and
they may be made in any process desired. Image supports may or may not have one or multiple dimensions or any dimensions which remain the same after they are further processed or finished, e.g., maintaining the same length or width after further
processing. For example, an image support might be an inventive image's underlying support (e.g., supporting the development of the rest of the image in a manner which resembles the way that conventional images are supported on canvases, paper, wood,
bases, underlying frameworks), for instance, to make inventive images that function as paintings, drawings, collages, icons, prints, books, sculptures, photography, windows, or walls. Alternatively, an image support might be an inventive image's
internal support (e.g., similar to an armature, internal skeleton, or internal framework on a conventional image), for instance, to make inventive images that are sculpture, installations, paintings, or architecture. As another example, an image support
might support an inventive image externally, either without underlying it or only partially underlying it, and it may be visible or partially visible. Such an image support might be the wire or other structure for an inventive image that is a mobile, a
sculpture, an installation, a construction, or a painting.
Inventive images can be made with or without image supports that may or may not be image support stabilizers, initial image supports (meaning the image begins by further processing them), or both. In an example, 2D or 3D inventive images are
made by using cPRM on one or more 2D or 3D initial image supports made of compositions that have no polymer in them, or made of polymeric compositions. In some embodiments, inventive images are made on multiple initial image supports, at least one of
which is made of polymer, and at least one of which is made or principally made without any polymer. In other embodiments, inventive images are made without initial image supports, as shown in FIGS. 66 and 67.
An image support may be further processed as desired, using any of a myriad of variations such as those described herein. Examples of variations possible in forming or further processing image supports to make inventive images are embedding, air
pockets, embossing, negative cut-outs, changing perimeter shapes or edges, changing surfaces (e.g., texture, inlay), thickening them, thinning them; carving, incising, painting, drawing, printing, or writing on them; adding attachments, photography,
collage, light sources or other light or optical effects. Inventive images shown in the following Figures may be 2D or 3D image supports or they may be images made by further processing 2D or 3D image supports: 1.c., 1.d.1., 1.d.2, 2, 4-13, 15-61,
62.I.-VIII., 62.X., 63-64, 68, 70-73, 76-79, 83-86. The formation of 2D or 3D image supports is shown in FIGS. 69, 70-72, 74-75, 80, 81, 83.I.-II. In some embodiments, inventive images are made on single 2D or 3D substantially planar initial image
supports, some of which function in forming inventive images like canvas or paper function in making conventional images. Some of these image supports are made of polymer (with or without other ingredients), some are image support stabilizers, or they
have at least one other stabilizer. Such initial image supports can resemble conventional image supports to the extent desired, e.g., even by using wooden stretchers on their backsides, or by embedding or attaching paper or canvas to them. Such polymer
initial image supports can differ from conventional image supports in a myriad of ways, such as aesthetic variations or further processing comparably impossible with conventional image supports. These initial image supports might be further processed
into inventive images that are any art form desired.
In some embodiments, inventive images are made on multiple 2D or 3D, substantially planar polymer initial image supports, one or more of which may be stabilizers or contain at least one stabilizer. In one example, an inventive image is made of
multiple separate components each of which is formed on its own initial image support. As the initial image supports of the inventive images in this embodiment are further processed, two or more might be connected; they might remain physically separate;
or two or more might be connected while one or more remain physically separate from the rest of the image. These inventive images might, for example, be drawings, murals, diptychs, triptychs, books, graphic art, windows, partitions, furniture, a
sculpture, installation, or an environment.
In a preferred embodiment, inventive image supports are made using polymer, with or without other ingredients. They may or may not be stabilizers. These image supports have noticeable irregularities or imperfections in their shapes or forms.
For example, they look handmade, whether or not they are, e.g., they have irregularities like those commonly seen in handmade papers and in papers with deckled edges (papers with deckled edges can look handmade when they are not). In comparison to the
shapes and forms in which conventional polymer is commonly available commercially, (e.g., in smooth even sheets, and rods, cubes, pyramids and spheres with exact forms, etc.), the image supports in this embodiment are not even, perfect, exact, smooth, or
they do not have other such regular or machine made appearances. Though they might be symmetrical, geometric, or machine made, image supports of this embodiment have clearly visible irregularities or imperfections in shape or form. Another example is a
3D rectangular image support with undulations or irregular bumps (not a perfect even texture). Image supports of this embodiment might be used as initial image supports. Image supports of this embodiment might be further processed as desired, e.g., as
paintings. It is often desirable to further process image supports of this embodiment such that they remain the major part of the shapes or forms of their inventive images once they are completed, e.g., initial image supports of this embodiment might
make up most or all of the forms of the images once they are completed.
In other embodiments, inventive images are made without initial image supports. For instance, the shape or form develops as the inventive image is made. For example, these inventive images are made without the use of underlying, internal,
external, or other initial image supports. They are, for example, inventive image paintings, drawings, and collages made without a canvas like or paper like support, and inventive image sculptures made without armatures. These inventive images can be
made in many ways, such as using conventional methods. For example, such an inventive image can be made of one or more polymer components that are complete once they come out of their mold, they are not further processed. Such inventive images can be
made by arranging parts, which remain separate or are connected, without any single part or any set of parts serving as an initial image support. Inventive images made without initial image supports might be made in superimposed layers, none of which
serves as an initial image support, e.g., these images might be made in multiple layers, some or all of which superimpose one another to some extent, partially or entirely, and these superimposed layers may or may not be physically connected to one
another. Because polymers of the present invention can be made as strong and as permanent as desired, layered inventive images made without an initial image support, can be made strong and permanent enough to give inventive images the desired structure
and the desired aesthetic. Inventive images made without initial image supports can typically be worked according to the Principle of Whole Development and Unity to the extent desired, for instance, in a WYSIWYG manner, whether it is preplanned,
spontaneously developed, or both, e.g., they may be paintings, shaped paintings, sculptures, walls, etc., with or without negative space within their forms, etc.
In an example, all of the parts of an inventive image are connected to a single common part, e.g., an image support (which may or may not be a stabilizer), for instance, all of the parts are connected to a 2D or 3D polymer, to a piece of fiber,
to a block of wood, to a sheet of metal, to a 2D or 3D mesh form, to a framework or lattice, to a common mount, frame or base, etc. For instance, an inventive image made of multiple parts one or more of which serves as an image support made of one or
more parts, connecting all of the rest of that image's parts. In a second example, a fiber stabilizer is used as one part of a two part image support. On this fiber image support, a polymer part, a paper part, and a plaster part are formed. A wire
mesh is used as the other part of this same image support. In a third example, ten translucent and opaque paper parts are formed on cheese cloth image support, and painted with colored cPRM. In a fourth example, multiple planar polymer parts of any
shape or form, are made separately and used as an image support, to form a painting of the present invention.
Inventive images or image supports can be rigid, flexible, or they may have both rigid and flexible areas, parts, or layers. In some embodiments, inventive images are made sufficiently strong, rigid, or flexible, or they are made with other such
specifications so that they can endure their function and their set up, installation, or other display practices as desired. The rigidity, flexibility, and strength of inventive images enables them to be new and unique. Examples are transparent and
translucent inventive images, such as those in forms conventionally made in glass, architectural images, kinetic images, images that have to take impact, shock, that have to be transported, stored, or endure other wear.
In some embodiments, inventive images are made with rigid polymer, as strong and as permanent as desired. Inventive images, their effects, useful properties and the processes for making them, can frequently be attributed to or enhanced by the
rigidity of polymers. For example, rigid polymer can facilitate superimposed applications or layers (e.g., of cPRM; weak or fragile polymers, bonding substances; conventional image making materials, non polymeric applications, etc.). It can provide
support or additional support, enhance the strength, the permanence, the aesthetic properties, and sometimes the function(s) of inventive images. Rigid polymers may enhance properties of superimposed applications and layers such as (1) materials and
media that tend to flake, chip, tear, or dust off of their conventional surfaces (such as layered gouache, pastel, charcoal; brittle applications and layers like some polymers and paints, and paints with high pigment content and little or weak binder);
(2) applications and layers adversely effected or risking adverse effects from expansion and contraction (e.g., materials and media that must be layered in order of their rates of expansion and contraction for permanence, brittle materials and media,
conventional applications on canvas or paper, and wet applications that cause or risk causing paper to buckle); (3) materials and media that are soft, fragile, weak, brittle, gelatinous, and the like, such as encaustic paint, conductive polymers, and
absorbent polymers; (4) applications and tools that damage or risk damaging surfaces, such as wet applications on paper, applications that fray or tear the fibers of paper, and tools that make undesirable and often irreversible indents on conventional
surfaces (like hard pencils which indent paper); (5) applications that weigh too heavily upon conventional supports such as collaged materials and found objects; (6) materials and media that conventionally require, use, or benefit from the sturdy support
of a rigid surface, such as fresco, images made in relief, conductive polymers; (7) reworked applications that damage or risk damaging conventional surfaces; and (8) combinations of these. As an illustration, the uses of conventional image-making
materials and media on polymer surfaces of inventive images that are limited, due to the flexibility of their conventional surfaces (like paper and fabric both of which are generally given added structural support, though they still remain flexible), can
yield new and unique qualities and effects in polymers in inventive images because its flexibility can be controlled as desired, e.g., in aesthetically desirable ways. Rigid polymers can also enhance or enable the use of subtractive processes.
The strength and rigidity of inventive images enables their aesthetic and their structure to be as integrated and unified as desired, developed, and reworked in concert to the extent desired. Thus, often decisions regarding structure that have
to be made in conventional images (such as use of visible reinforcement) can be ignored, delayed, or made for other reasons (such as aesthetic reasons), completely or to a greater extent in forming inventive images. Elements conventional images need for
structural support may not and often do not have to be present for structural support in inventive images, though they can be used if desired. Inventive images in conventional art forms which conventionally require these added elements, do not require
them at all or to as great extent as conventional images, e.g., they are aesthetic options. For example, inventive images in conventional art forms can be made without conventional stretchers, initial image supports, backings, mats, frames, stands,
bases, internal structural supports (like armatures or skeletal supports), various external structural braces or other external supports; supports beneath them; cross bars, ribs or struts of various kinds. Thus the strength and rigidity of inventive
images can effect their other formal elements. Among other special qualities and effects the strength and rigidity of polymer can create or contribute to inventive images are a sense of being light, precarious, airy, threatening, floating, ethereal, a
sense of defying the laws of gravity and nature, or a sense of objecthood. The strength and rigidity of inventive images overcomes prior limitations in conventional images, such as paintings, shaped paintings, stained glass and other glass images,
drawings, prints, photographs, and other conventional images on paper.
The forms and the structures of inventive images can be as integrated and as unified as desired, they can even be completely unified. For instance, the polymer of an inventive image can give it both its form and its structure and even its method
of display. The strength and rigidity of a polymer enables inventive images to be as self supporting as desired, (e.g., freestanding) with or without the use of additional structural supports. In some embodiments, inventive images are made that are
self supporting, or even completely self supporting. Thus, for example, inventive images can be new unique paintings, shaped paintings, drawings, prints, photographs, books, and other forms of graphic art; they can be new unique forms of images
conventionally made in glass such as windows, new unique light emitting forms, and new unique kinds of architecture. Among the notable examples of these are self supporting inventive images made without any initial image support, inventive images made
of multiple layers or inventive images made in conventionally planar or 2D art forms. The strength and rigidity of inventive images enables the integration and unification of their aesthetic, their structure, their method of installation or display,
their function for visual observation, and often other functions to the extent desired. For example, such novel inventive images can be large, rigid, permanent paintings, the visible forms of which are their structures, thus, these images do not require
any additional or hidden structural support. For example, such an image might have painting, printing, or drawing at real varying depths within it as well as on its external surfaces.
As another illustration, the inventive image shown in FIG. 44 has a hollow, transparent or translucent outer form (marked ii), which might be partially or entirely made of a polymer that is rigid enough so that it supports itself securely. This
inventive image may be like an "Akari" lamp by Noguchi, but without the need for any added structural supports (in "Akari" lamps such supports are both structural and aesthetic elements). Also unlike the Akari lamps, the light bulb in the center of this
inventive image's form is optional (the vertical, tube shaped light bulb marked i. in the center of the image's hollow form). For if this inventive image is made with one or more conductive polymers, it can emit light without the bulb. For example, the
hollow form of this inventive image might be made in multiple layers, at least one of which is rigid providing structural support, and at least one of which is conductive. This hollow form might, for instance, be made of one or more conductive polymers
layered on a rigid polymer substrate (with or without additional layers). The hollow, transparent or translucent form of the inventive image shown in FIG. 44, can comprise its form, its structure, it aesthetic, its function, its method of display or
installation, as well as other formal elements.
An inventive image can be made with a structure that is strong enough or rigid enough to be able to be mounted from a single point (e.g., from the wall or ceiling), to be able to be held securely at a distance out from the wall it is mounted on,
to be able to balance supported by one or more parts which appear insufficient or unstable, or to be able to be held from a moving mount or structure. One inventive image, 45 inches in diameter, made with a crosslinked polymer that has one fine layer of
invisible fiber stabilizer positioned medial within its 1.5 inch width, is hung from the ceiling using a single wire secured through the 1.5 inch width of its center. The resulting inventive image has the special effects of appearing to float, appearing
light, as well as spontaneous movement, a twirling, set off by normal indoor air currents or by viewers with no special accommodations made to the space in which it is displayed to cause or affect this movement.
Strength and rigidity in inventive images can be used in many other ways too. In an embodiment, one or more parts or areas of an inventive image are sufficiently rigid, sufficiently strong or both, to support, one or more other parts or areas of
it as desired.
In some inventive images and parts thereof, it is preferable to fix flexible polymer onto a backing, mount, brace, stretcher, or another such structural support, for example, a flexible polymer secured over a curved metal form, a board, or over a
conventional stretcher. (Refer to strengthening stabilizers described herein.) As an example, a transparent polyvinyl chloride inventive image is made, painted as desired with transparent, translucent, and opaque coloration (such as inks and paints made
using oil soluble dyes), and finally draped on the wall. In another example, three small painting surfaces are made with a clear transparent silicone elastomer, irregularly colored, with embedding. They are mounted on support structures and hung on the
wall or from the ceiling. In a further example, one or more flexible polymer parts in a kinetic inventive image might move.
Unlike many conventional images, inventive images can be as strong and as permanent as desired, and these properties can be formed, reworked, and controlled using any methods, means, and manners desired, such as when forming a polymer or anytime
afterwards, often without affecting its aesthetic undesirably. The strength or permanence of inventive images may or may not be consistent. It is generally preferred that inventive images be strong and permanent, to the extent that there is no conflict
with a more desirable preference for a specific inventive image. It is generally preferable for everything physically connected to inventive images to be bonded to them. Methods for controlling and enhancing the strength or permanence of inventive
images are described herein. If, for example, two superimposed polymers do not bond together, or if they do not bond together as well as desired, bonding methods described herein or conventional bonding methods might be used. All desirable methods,
means, and manners for achieving the level of strength and permanence desired in inventive images can be used. It is generally preferable that reworking and cleaning inventive images not decrease their strength or permanence, and that such practices
depend on specifications of and undesirable changes to individual images.
Polymer in an inventive image may be strengthened further, made rigid or more rigid, or its permanence enhanced by thickening it or reinforcing it. This might, for example, be done with a fiber stabilizer, with a stronger polymer (such as one
that is rigid or crosslinked); with a non polymeric material (such as metal, or wood). (Refer to other descriptions herein such as strengthening stabilizers.) In some embodiments, strengthening elements are physically bonded to inventive images, such as
a strengthening element that is an image support, a mount, a frame, embedding, an attachment, or an inlay. Some strengthening elements which are physically bonded to polymers are stabilizers. Further examples are image support stabilizers, fiber, wire
mesh, and other metal mesh, netting, macrame and other knotted forms (e.g., made of wire or string), forms made of linked chains (e.g., metal or plastic), other open weave forms that are not fibers or that are combinations of fiber and other materials
(such as woven straw, string, wire, grasses, strands of rubber or leather, ribbons, stems, or strips of bark).
Any and all ingredients used in or on inventive images can affect their strength and permanence, as can processes used to make inventive images. Some polymers are stronger than others (e.g., crosslinked polymers and certain polymers are stronger
for particular uses, etc.), some are more resistant to particular elements, and some polymers are more permanent than others. Manufacturers of polymer forming materials generally provide useful information about the properties and conventional uses of
their products.
In various embodiments, inventive images are designed with two or more different polymers that are at least partially superimposed or connected. One or more of these polymers might be in layers, parts, or applications in or on the image (e.g.,
on the other, different polymer or polymers). The compositions of these polymers may or may not also contain non polymeric ingredients. At least one of these superimposed or connected polymers in the images of these embodiments provides or enables the
image to have at least one aesthetic element, such as emitted light, other light effects, video effects, coloration, optical effects, transparency, translucency, the ability to bond to at least one superimposed medium (such as a colorant like paint or
ink), or the ability to be developed by subtractive processes. In addition, at least one different polymer in the polymeric compositions of these embodiments, provides support to the polymeric composition. Thus, for example, a polymer which is
desirable for use in an inventive image for aesthetic purposes, but which is weak or less strong or permanent than desired, is strengthened or made more permanent, and often is made more functional in the image desired too. Such designs using different
polymers are often desirable in the use of absorbent polymers, conductive polymers, flexible polymers, and other polymers that are aesthetically desirable but might be weak.
In some embodiments, inventive images are made that are less strong or less permanent than they might be, as an aesthetic choice, to facilitate the process of creation desired, or to enable the image to function best for its purpose or for one of
its purposes.
When using more than one kind of material or medium in an inventive image, and these different ingredients are not on physically separate parts of the image, it is desirable to be mindful of differences in the parameters of their expansion, such
as differences in their coefficients of thermal expansion and differences in comparable parameters of any other kind of expansion (like expansion due to absorption of moisture such as humidity absorbed by a hydrophilic plastic or by paper in an image).
When differences in the parameters (coefficients) of expansion of different inventive image ingredients are significant or great, it is desirable to ensure that these differences do not risk or cause undesirable effects to the resultant inventive image
(such as a decrease in its strength, actual cracking, or bending or the risk of loss of strength). It is preferable that all measures taken for this purpose be tailored to the precise specifications of each inventive image, e.g., ingredients can be
substituted, or the image can be designed to avoid or decrease the likelihood of such undesirable effects.
As a further illustration, if the difference between the parameters (coefficients) of expansion of different ingredients within an inventive image are significant or great, and if the area of contact between them is significant or great, it is
generally desirable to make changes which reduce or eliminate these differences and their potential undesirable effects, such as by the following example methods. (1) Alter the size of the area of contact between the ingredients so that it is
insignificant or minor. For instance, subdivide one or more of the ingredients so that areas of contact are discontinuous, and spaced as far apart as possible. (2) In the area of contact between the ingredients, interpose one or more materials, media,
objects, devices or combinations of these, that are elastic enough or that flow freely enough to absorb the differences in their expansion and contraction. (3) In the area of contact between the ingredients, interpose one or more other materials, media,
objects, devices or combinations of these which have intermediary parameters/coefficients of expansion to form a transition from the ingredients with the different parameters/coefficients of expansion. (4) Use a combination of these solutions. These
solutions will not work in all circumstances in all inventive images, or they will not be equally desirable. For example, (2) and (3) are not generally desirable with 3D embeddments. With large 3D embeddments, it is generally preferable to match or
approximately match the coefficients of thermal expansion and other expansion of different individual inventive image ingredients.
Thus, it is often desirable to be aware of such significant differences in coefficients of thermal expansion when embedding; inlaying; when adding layers, when connecting or adding parts and other attachments; when adding other coloration; and
when installing mounts and frames.
For example, it is desirable to be mindful of significant differences in the coefficients of thermal expansion between inlays on inventive images and their host surfaces when the inlays are large and completely or continuously bonded to their
host surfaces. It is also generally preferable to be mindful of significant differences in the coefficients of thermal expansion between the fiber and the image part to which it is bonded such as when using layers of fiber, dense fiber, tightly woven
fiber (e.g., glass cloth), areas of chopped fiber. Also, some polymers expand and contract significantly, while others do not. For example, hydrophilic and absorbent polymers expand and contract at different rates as they absorb substances (like water
or paint) and as these substances go out of them. Thus, when using an absorbent polymer (e.g., part or layer, such as a surface preparation stabilizer), it is most desirable that its expansion and contraction not alter its bond to any different
compositions on the image undesirably. As another example, mixed polymers (such as stabilizers) are often desirable for use in between different polymers in an inventive image when they have coefficients/parameters of expansion that are significantly or
greatly different.
In another example, a polymer is painted with a paint whose vehicle is a bonding cPRM with a compatible coefficient of thermal expansion. Then, before applying a continuous material with a significantly different coefficient of thermal expansion
over 90% of this painted polymer, one or a combination of the following three methods may be used to effectively reduce or eliminate the risk to this image's strength and permanence. (1) The initial continuous material is replaced by one with a
coefficient of thermal expansion which is as close as possible to that of the polymer. (2) The initial continuous material is cut into smaller pieces and then applied to the painted polymer, e.g., as a discontinuous non polymeric Separating Layer, for
instance made of metal. (3) One or more intermediary layers are applied to the painted polymer arranged so that their coefficients of thermal expansion provide a progressive transition between that of the painted polymer and that of the continuous
material. Then, the continuous material is applied onto the intermediary layer or layers on the painted polymer.
Regardless of the method of their incorporation, it is preferable for each non polymeric ingredient in contact with cPRM, to be able to withstand the cPRM, the polymerization process (such as its heat), and its inclusion in or on the polymer and
in or on the inventive image over time without undesirable consequences to it, to the inventive image, or both. This condition is often preferred for many inlaid, embedded, and attached non polymeric ingredients. If this preferred condition is not met,
it may be desirable to create it by making and test samples.
One preferred method useful in many embodiments is to change non polymeric ingredients in a way that protects them from the risk of undesirable consequences resulting from their innate inability (or the risk of this inability), to withstand the
cPRM, the polymerization process, to have and maintain the aesthetic desired in the formed inventive image, or to remain permanently as desired in the inventive image over time. For example, many non polymeric ingredients can be sealed or coated with a
protecting agent (by spraying), prior to their inclusion in or on inventive images. It may be preferable to seal such ingredients with one or more stabilizers or with substances which contain one or more stabilizers, such as sealants or coatings. For
example, a UV light stabilizer can be added into an acrylic medium, a varnish, or in both, to seal small pieces of paper before they are mixed into cPRM, and coating might be applied on organic materials before they contact cPRM. Non polymeric inventive
image ingredients might reinforce it in an aesthetically acceptable or desirable way, to withstand inclusion in or on the polymer without undesirable consequences. For instance, small paper forms which will be stirred into a cPRM may be reinforced
beforehand by thickening each of them with additional paper pulp, cardboard, wood, thin metal, fiber stabilizer, or a coat of paint. Fiber can be used to reinforce inlaid, embedded, connected, or attached non polymeric ingredients. For example,
delicate red rose petals could be sprayed with a transparent, colorless polyurethane varnish to protect their color and form before they are added into cPRM. In addition or instead, one or more stabilizers might be used as sealants. It may be
preferable to use one or more stabilizers in one or multiple of the aforementioned sealants or coatings used on non polymeric ingredients prior to their inclusion in inventive image. A paper form may be sealed with an acrylic medium that contains an UV
light stabilizer, prior to being inlaid in a polymer inventive image, whereas without this protection, this paper may turn yellow or brown with exposure to UV light, and, it may also be undesirably deformed or damaged by moisture.
Absorbency
In some embodiments, polymer in inventive images can be: absorbent, not absorbent, hydrophobic, hydrophilic, or a combination thereof. These are collectively referred to as "absorbency level" or "absorbent level." One preferred method of forming
such polymers is by using particular active ingredients in cPRM and/or one or more particular stabilizers in cPRM, on polymer, or a combination of these (e.g., a fiber stabilizer). In addition or instead, such polymers can be formed using other
ingredients in and/or on polymer, such as absorbent papers, paper pulp, colorants and strands of various kinds. Examples of desirable uses of polymer that is hydrophobic, hydrophilic, absorbent, and/or not absorbent are: (1) as a final coat on inventive
images, e.g., non absorbent surfaces desired for permanence; (2) as surface preparation stabilizers (so that paint might soak into an absorbent polymer); (3) for forming image supports (such as absorbent image support stabilizers); and (4) for visual
effects on inventive images (e.g., with superimposed coloration); or combinations thereof. Among examples of mediums or colorants which might be desirable to superimpose onto absorbent polymer in forming an inventive image are: paints, dyes, inks,
primers, binders, or photographic emulsions.
Because the absorbent level quality of the polymer in inventive images can differ from conventional practices, conventional practices which use these qualities (e.g., materials, media and techniques) and effects used in conventional images
dependent on these qualities (e.g., effects of painting, drawing and printing on absorbent paper, canvas, or other fabric) can be used with the inventive medium for effects and images that are new and unique. For example, unlike conventional images, all
effects using the absorbency level of the invention may typically be transparent, translucent, and/or opaque; colored and/or colorless; combined with one or more other additive and/or subtractive processes (such as incising, carving and/or inlaying);
used with a myriad of other aesthetic variations (such as light effects); worked, reworked and controlled; and be as strong and permanent as desired. In contrast, many such options are not possible in conventional image making, particularly using paper
or fabric image supports. The following are more specific examples of the absorbency feature of the invention.
Using hydrophilic and/or absorbent polymers, inventive images can be made with new effects of real light, color, real transparency and real spatial depth, e.g., effects of stained, bleeding and poured color. In preferred embodiments, a synthetic
absorbent polymer inventive image surface is superimposed by one or more mediums that might for example be paint(s), dye(s), ink(s), primer(s), binder(s) and/or photographic emulsion(s), e.g., which may bond to the absorbent polymer. In preferred
embodiments, an inventive image is made using at least one synthetic absorbent polymer capable of absorbing more than, for example, about 20% of its weight in water. In preferred embodiments, an inventive image is made using a synthetic absorbent
polymer that is capable of being penetrated by an oil soluble dye. The absorbent polymer(s) in such inventive images might, for example, be polyvinyl chloride or polystyrene. Inventive images made in these embodiments might be further developed, for
example, with one or more applications of which might be mixture(s) containing oil soluble dye(s) and solvent(s), or which might be oil soluble superimposed medium(s), e.g., paint(s), dye(s), ink(s), primer(s), binder(s), or photographic emulsions.
Absorbent polymer formed in inventive images in these embodiments might be plasticized with a stabilizer to accelerate penetration of the oil soluble dye thereinto.
In an illustration, an inventive image is made using an absorbent polymer such as 2-hydroxyethyl methacrylate (HEMA), mono-glycerol methacrylate, and/or another polymer which either has the same or a greater number of oxygens than glycerol. For
instance, using such an absorbent polymer, an initial image support stabilizer is made which is then superimposed by conventional paints and/or inks which absorb into it to varying extents forming a 2D or 3D inventive image painting which may be viewed
from one or multiple sides, as desired. In an example, such an absorbent polymer is used (e.g., with a colorant mixed into it) as a surface preparation stabilizer on an inventive image and then superimposed by colorant(s) which absorb into it to form an
inventive image. This might be the completed image desired, but if not it might be further processed, such as by incising drawing into it, and then optionally filling in some of this incised drawing with cPRM, such as cPRM that is a colorant (e.g.,
paint with a cPRM binder which may perhaps be cured by a radiation stabilizer), and/or this image may by superimposed by other coloration on one or more of its sides, e.g., coloration which absorbs into the newly formed polymer.
In preferred embodiments, an ingredient that modifies the absorbency of polymer is added to polymerization reaction mixture or to a polymer. This ingrediant is a stabilizer.
In a preferred example, in embodiments, an inventive image is made of a mixed polymer or a copolymer comprised of at least one absorbent polymer and at least one polymer that is not absorbent. Thus for example, the absorbent polymer
ingredient(s) might provide the image with aesthetic qualities (e.g., enabling desired further processing such as superimposed applications), while the non absorbent polymer ingredient(s) might provide the image with desired physical, structural and/or
dimensional properties such as stability, strength and/or permanence.
In preferred embodiments an inventive image is formed by placing a PRM or cPRM capable of forming an absorbent polymer on a support surface where it polymerizes. The support surface may be a mold, or it may be wood, paper, stone, ceramic, metal,
fabric, polymer and/or glass. In embodiments, an absorbent polymer or a cPRM containing at least one polymer that is absorbent, is superimposed on an image support comprised of a different polymeric formulation which provides support to the image,
enhancing the structure, stability, strength and/or permanence of the superimposed absorbent polymer layer. In preferred embodiments, an image support (e.g., stabilizer) is made with a first, non-absorbent polymer layer bonded to a layer of a second,
absorbent polymer, e.g. made with a synthetic absorbent polymer. In these embodiments, the second polymer may for example, be made with polymer(s) having hydroxyl, amide, amine, ester, or ether functional groups, or, the second polymer might, for
example, be made with alkyl acrylate(s), alkyl alkacrylate(s), and/or functionalized derivative(s) thereof. The second polymer might, for example, be made with 2-hydroxyethyl methacrylate (HEMA), it might be made with 2-(Acetoacetoxy)ethyl methacrylate,
and/or it might contain no more than, for example, about 4% (by volume) HEMA. The first, non-absorbent polymer layer might, for example, have about 10% (by volume) of absorbent polymer.
When added into or on cPRM or into or on polymer in an inventive image to form or fortify the bond between the polymer and one or more superimposed applications and/or colorants upon it, one or more absorbent polymers, and cPRM or PRM which forms
absorbent polymer, are preferred stabilizers.
Inventive images can have effects which rely on the absorbency of polymer being less than or different than that of comparable conventional images, as well as effects which rely on the lack of absorbency of polymer. Examples are effects made by
using conventional applications on polymer inventive image surfaces, which are conventionally used on absorbent surfaces, like canvas or paper. For example, among these are inventive images and effects made by working, reworking and controlling
applications from bleeding, staining, running and absorbing into inventive images undesirably. Such an effect can be seen in the use of color on the inventive image support illustrated in FIG. 5 VI. which may have an absorbent surface. Also, inventive
images and effects can be made in processes in which applications are reworked, e.g., intentionally removed, erased, smudged, rubbed, blotted, etc. (Often working and reworking the surfaces of conventional images is limited and problematic, for instance
it tends to fray, tear, or break these surfaces undesirably, e.g., paper or fabric surfaces). Unlike many conventional image supports, many kinds of polymer surfaces of the invention can undergo working and reworking without being undesirably changed in
an irreversible manner. The polymers of the invention are not typically fibrous, interwoven, or made of macroscopic strands like many conventional images, though such elements can be used in inventive images e.g., fibers, paper and strands of all kinds
can be used as part of inventive images, for example, on and/or in their surfaces.
Each of the following examples may be used in inventive images as monomers, polymers, and/or stabilizers. Among the sources where examples of these products can be purchased is Polysciences Inc. in Warrington, Pa. Each of these examples is
preceded by a numerical rating on a scale from 1 to 10, in which 1 is highly hydrophobic e.g., fluorocarbons; 5 is intermediate hydrophobicity/hydrophilicity e.g., poly(ethyl acrylate); 8 is hydrophilic e.g., HEMA; and 10 is highly hydrophilic e.g.,
starch, poly(acrylamide/acrylic acid) graft, acid sodium salt, (a polymer which will absorb as much as 500 times its weight).
TABLE-US-00001 RATING POLYMERS AND MONOMERS 2 Polyethylene, chlorinated, 25% Cl; decyl acrylates and alkacrylates 3 Poly(vinylidene chloride/acrylonitrile); Poly(4-vinylpyridine/divinylbenzene); N-(Phthalimidomethyl)acrylamide 4 Glycidyl butyl
ether 6 2-(Acetoacetoxy)ethyl methacrylate; Poly(N-vinylpyrrolidone/vinyl acetate); Glycidyl acrylates and alkacrylates; Poly(ethylene/vinyl alcohol) 7 4-Hydroxybutyl methacrylate; 2-(2-Ethoxyethoxy)ethyl acrylate; Diethylene glycol diacrylate;
Diethylene glycol dimethacrylate; Diethylene glycol divinyl ether; Poly(4-vinylpyridine/divinylbenzene) acid salt; Poly(ethylene glycol) monomethyl ether monomethacrylate; Poly(vinyl methyl ether/mono-iso-propyl maleate; Poly(ethylene glycol) diacrylate;
Poly(ethylene glycol) dimethacrylate; Vinyl 4-hydroxybutyl ether; 1,1,1-Trimethylolpropane monoallyl ether; Poly(vinyl methyl ether/monobutyl maleate); Triethylene glycol dimethacrylate; Triethylene glycol monomethyl ether monomethacrylate;
Polyacrylamides; Polyalkylacrylamides; Poly(vinyl methyl ether/monoethyl maleate) 8 Poly(2-hydroxypropyl methacrylate); Poly(2-hydroxyethyl methacrylate/methacrylic acid); 2-Hydroxyethyl acrylate; N-(2-Hydroxypropyl)methacrylamide; Acrylamide;
Poly(ethylene glycol) monomethacrylate; Poly(ethylene glycol)monomethacrylate monomethyl ether; Poly(2-Hydroxy- ethyl methacrylate) (HEMA) and other methacrylate ester polymers; Bisacrylamidoacetic acid; Hydroxypropyl methacrylate; N-Vinyl-2-pyrrolidone;
Poly(2-hydroxypropyl acrylate) 9 Glycerol acrylates and alkacrylates; 2-Sulfoethyl methacrylate; Poly(styrenesulfonic acid/maleic acid), sodium salt; N-Acryloyltris(hydroxymethyl)methylamine 10 2-Methacryloxyethyl glucoside
It is generally desirable to crosslink hydrophilic monomers when their absorbent qualities will be used in inventive images, particularly if they are highly absorbent. Any of the highly hydrophilic monomers, (e.g., ranked about 8 or greater),
might be made into a useful water-absorbing material with the proper crosslinking monomer or monomers. For example, ethylene glycol dimethacrylate is conventionally used as a crosslinker for HEMA. Additional examples of crosslinking monomers (e.g.,
recommended for ophthalmic uses) are: Hexamethylene diacrylamide; Hexamethylene dimethacrylate; and Poly(ethylene glycol)(200) diacrylate.
In one embodiment, the absorbency of a polymer is modified by the addition of a stabilizer and/or an ingredient into the cPRM used to form it. For example, one or more oil absorbing monomers and/or one or more crosslinking monomers can be added
into a cPRM, which will form a hydrophilic polymer to reduce its hydrophilicity. For instance, ethylene glycol dimethacrylate may be added into a cPRM forming HEMA, (e.g., preferably from about 0.5% to 20% and more preferably from about 2% to 15%), to
reduce the absorbency and the swelling of the resultant polymer. In a different illustration, dibutyl phthalate is added into a cPRM forming polystyrene preferably from about 5% to 10% to enable the polystyrene formed to absorb oil faster.
Conductive Polymers and Related Subjects
In various embodiments, conductive polymers and monomer precursors may be used in inventive images. They may, for example, enable or create desired aesthetic and/or utilitarian effects in inventive images. In making inventive images, both the
process of doping or treating polymer so that it becomes conductive or more conductive, and the dopant or agent used in such processes, are stabilizers. For example, a polymer might be doped so that electrons are removed such as through oxidation (e.g.,
with chlorine, bromine or iodine vapor, or halogen doping) or so that electrons are introduced such as through reductive doping (e.g., an alkali metal). It is often preferable to use conductive polymer in inventive images in layers with one or more
non-conductive layers which may or may not be comprised or entirely comprised of polymer. Often layers of conductive polymers in an inventive image are thin or extremely thin, e.g., enabling them to be very light weight. Thin, for example, can refer to
less than about 1 mm, preferably less than about 0.2 mm. In one preferred embodiment, the thinness can be only about 0.01 to 0.1 mm. An inventive image may be partially or entirely made of conductive polymer, but often inventive images made with
conductive polymer are partially non-conductive, e.g., non conductive layers and/or portions. Conductive polymer and/or cPRM capable of forming conductive polymer may be used in inventive images. Conductive polymers are, for example, desirable in
making inventive images for their ability to conduct electricity, such as for their ability to emit visible light, e.g. using conventional practices to set up and install the image for such purposes. Electroactive conductive polymer can be desirable in
inventive images. In selecting and in forming a conductive polymer for use in an inventive image, the level of electrical conductivity can be precisely controlled over a wide range. If desired, a particular conductive polymer can also be blended with
one or more other polymers to produce the desired medium for use in an inventive image. Conjugated polymer systems can show electroluminescence. As illustrations, an inventive image made with conductive polymer capable of emitting light is installed so
that it gives off light. An inventive image may be made with a polymer light emitting diode (LED) using conductive polymer, or a polymer LED might be an inventive image. A polymer LED inventive image or part thereof might, for example, be made with
precursors to homopolymer and copolymer polyphenylene vinylenes (PPVs), such as polymer LEDs made by Cambridge Display Technology of Cambridge, UK.
Light emitting polymer (also called LEP) devices, are a kind of light emitting diode. They are also called polymer light-emitting diode (PLED, pLED or polyLED), organic light emitting diode (OLED, oLED, poly OLED, Poly OLED), and organic
electroluminescent (EL).
On an image support or other inventive image surface, conductive polymer might be used for marking, as a colorant, and/or as a coating, which may be electroactive, e.g., which may illuminate if desired. Conductive polymer might be used in and/or
on inventive images, for example in the forms of PRM or cPRM inks, paints, colorants, coatings, dots and/or pixels which may be electrically active, e.g., which may illuminate in one or more colors or create other effects in images. These might, for
example, be painted or drawn on, and/or they might be applied by an ink jet printing process. A simple coating process can be used to apply conductive polymer (such as a light emitting polymer) to a surface. Conductive polymer might for example, be
applied onto an image support (e.g. stabilizer) in a manner which provides the image with a desired aesthetic which may be as simple or as complex as desired, for example, adding a pattern, a design, drawn or painted shapes, alphanumeric shapes (which
may or may not be legible), and/or pixels to the image, e.g., using one or more painting and/or printing processes. In various embodiments, conductive polymer layers can be applied by painting and printing application processes, spin coating processes,
as well as other processes on an image support or other inventive image surface. Conductive polymer, such as that applied on an image surface by painting and/or printing, might, for example, be connected to at least one electrical power source.
Conductive polymer might also be used in inventive images for batteries and/or solar cells, e.g., solar calls made of polyvinyl alcohol (PVA) and polyacetylene such as in films of the copolymer as those patented as Lumeloid, Alvin M. Marks
inventor. Conductive polymer might be used give an inventive image the element of sound or to contribute to its element of sound, e.g., recording sound, responding to sound (such as voice command, footsteps, or music), and/or emitting sound of any kind. Conductive polymer might also be used in inventive images for transistors, capacitors, coatings, photovoltaics, photodiodes, photoconductors, photorefractive devices and sensors, conductive adhesives, conductive coatings, circuits, as inks, paints and/or
other colorants, computer memory and hard disks, sensors, for similar uses and for other uses. For example, a polymer solid state laser could be used in an inventive image, feeding energy to it with a conductive polymer "wire" or conduit. In a further
example, electricity could be generated in an inventive image from a conductive polymer photovoltaic device that is hidden or that receives an invisible light, or both. Although conductive polymer can be used to reduce static on photographic film and
computer screens which are part of inventive images, it is preferable that conductive polymer used for such purpose in an inventive image is not considered part of that image's polymer of the present invention and thus it is preferable that conductive
polymer used for such purpose is not included in any calculation of that image's total amount of inventive polymer.
Inventive images made with conductive polymer can be in any shape, form or size desired. Conductive polymer in inventive images (e.g., as a LED) can be formed as desired. It can for example, be in any or all 2D or 3D, non planar or planar
forms, as desired, such as in the form of sheets, as films, as fiber of various types such as fabrics (e.g. for use as a canvas); as rods, strips or bar shapes; in volumetric forms (which might be hollow and/or solid), in other forms, and/or in a
combination of forms. Conductive polymer in inventive images and inventive images made with conductive polymer, (e.g., images that emit light from conductive polymer) may be transparent, translucent and/or opaque, as desired. Moreover, they might be
flexible and/or rigid (e.g., a self supporting image that is partially or completely rigid, or an image that can be rolled up, draped, folded, or flexed). For example, a polymer LED inventive image or part thereof might be on an image support made of
polymer, film, metal, foil, glass and/or any other non polymeric material. A polymer LED inventive image, or portion thereof, is preferably transparent, translucent, or partially opaque. An image support (e.g., stabilizer) for such a polymer LED might
be transparent, translucent, and/or opaque, it might also have other marking or coloration, other light effects, negative spaces, incising, and/or other aesthetic effects. The polymer LED might for example contribute to the aesthetic of the image, e.g.,
providing a design, a drawing, light effects such as reflectivity, other light effects described herein, etc. For instance, polymer LED devices might be on commercially available ITO (indium tin oxide) coated PET (polyethylene-terephthalate), and if
desired, subsequently encapsulated with a transparent or translucent, rigid and/or flexible barrier on one, two or more sides, e.g., to protect against the ingress of moisture, water and oxygen.
Conductive polymer (e.g., a polymer LED) might be: (a) an underlayer in or on an inventive image, (b) within an inventive image, (c) on one or more of its external undersides and/or front external sides; (d) attached to, connected to, inlaid in
and/or embedded in an inventive image, and/or (e) a part of an inventive image which is physically separate from the rest of the image. Conductive polymer enables one or more sides, surfaces and/or internal areas of an image, or all of an image, to be
electrically active and/or light emitting in one or multiple emission colors, as desired. Inventive images made with conductive polymer (such as inventive images with polymer LEDs, or other electrically active polymer), might for example, be paintings,
drawings, sculptures, constructions, shaped paintings, collages, prints, drawings in space, cut-outs, Light Art, Computer Art, Light and Perceptual Art, Video Art, art with film, an Installation, an image that serves as a wall or as an image on a wall, a
table, a bench, a window, a tray, a bowl, a floor, graphic design, clothing or fashion design, book design, another kind of design or architecture, a combination of these, etc.
Conductive polymers are one of many ways of creating light emitting image supports (e.g., stabilizers), and inventive images according to the invention, which can, if desired, be further processed (e.g., using additive and/or subtractive
processes such as those described herein). Light emitted from an inventive image and light hitting an inventive image can be modified in a many ways, e.g., using coloration, marking, attachments, filters, lenses, subtractive processes, etc.
In various embodiments, conductive polymer can be used to make inventive images using spin casting, and/or printing processes (e.g., ink jet printing processes, lithography, photolithography, soft lithography, high resolution optical lithography,
silk screen, block printing, etchings, monotypes, etc). Such processes are stabilizers. In other embodiments, conductive polymer is used in inventive images in melt and/or in solution processing techniques, by blade coating, and/or by evaporation of
low molecular weight dyes. For example, polymer (100 nm) might be added onto an image support by spin coating of a solution. As other examples, conductive polymer might be used in inventive images with processes such as: blow molding, calendering,
fiber spinning, compression molding, extrusion, coating processes, spraying processes, solution spinning processes (e.g., fibers), casting processes, coating processes, painting, drawing, writing, rolling processes, and/or gel processes.
In embodiments, conductive polymer is used in inventive images in blends. For example, a conductive polymer such as one based on polyaniline (like those made by Panipol Ltd of Porvoo, Finland), might be blended with one or more other polymers,
such as polyethylene, polypropylene, polystyrene, PVC, poly (methylmethacrylate), phenolformaldehyde, epoxies, melamineformaldehyde resins, thermoplastic elastomers, etc.
It is important to note that the use of conductive polymers in making inventive images is not restricted in any way by the limitations which typically exist in the conventional use of conductive polymers for other purposes. Therefore, inventive
images can be made using conventional or non-conventional practices for using conductive polymer such as those described herein. As an example, conductive polymers are conventionally used in extremely thin layers, even layers, homogeneous layers,
typically on image supports that are rectilinear, geometric, smooth, and/or even. Conductive polymers can be used in these ways in inventive images, as desired. Since conductive polymers have no limitations when used in making inventive images, they
can be used in a variety of other ways, including unevenly, irregularly, discontinuously, in any thickness desired, in layers that are heterogeneous, in any number of layers with or without other ingredients, or in a combination of these ways, on image
supports and/or on other image surfaces of any description, that comprise one or more internal and/or external parts of an inventive image or that comprise all of it, with or without other aesthetic effects or further processing, such as any described
herein or known to those of ordinary skill in the art.
In various embodiments, one or more electrodes, parts, layers, batteries and/or other devices (stabilizers) can be added to an inventive image for its use and/or supply of energy to a conductive polymer, e.g., enabling its conductive polymer to
emit visible light. As an example, an inventive image is made with one or more layers of conductive polymer (e.g., thin layers) between two electrodes which are stabilizers (e.g., additional layers, preferably thin). It is preferable for each of these
layers to be transparent or translucent, however it is often preferable for one of the electrodes to be opaque, e.g., a reflective cathode. For example, one electrode may be indium tin oxide (ITO) and the other might be calcium (Ca), which might be
evaporated on in a thin layer. Between these electrodes there might be one or more conductive polymers, (e.g., in layers), such as poly-fluorene and/or poly(ethylenedioxythiophene) (PEDOT). Such inventive image compositions may or may not be formed
and/or superimposed on an image support (e.g., stabilizer) made of polymer and/or non polymeric ingredients, e.g., a polymer (such as polyester or heat stabilized polyester), glass or paper image support. This inventive image composition might for
instance, be a layer of conductive polymer in between an anode and a cathode (e.g. metal or metallic), for example, in a composition made of at least three superimposed layers, or perhaps even on a fourth substrate layer. When voltage is applied, such
as by the use of wires and a battery (stabilizers), positive charge carriers move into the anode (a stabilizer) and negative charge carriers move into the cathode (a stabilizer). Both positive and negative charge carriers migrate into the conductive
polymer. They approach each other, combine, and generate an excited state (e.g., neutral), which decays and generates visible light. This might for example, occur many times a second. For example, on each cm of such a layered light emitting polymer
composition running at standard brightness, this may happen about 1,000,000,000,000,000 (10.sup.15) times a second. The specific rate is not critical, and will depend on various factors including the type of material, such that the rate can be altered
by one of ordinary skill in the art through routine experimentation. It is preferable to encapsulate polymer LEDs or parts thereof against the ingress of water and oxygen, e.g., using glass and/or polymer, such as epoxy.
In other embodiments, a polymer light emitting device can be made using two superimposed layers of conductive polymer between its anode and cathode. Such a device might, for example, have an anode (e.g., ITO) on a glass or polymer image support,
or other inventive image surface. Then it might have two conductive polymer layers (preferably thin or extremely thin). One could be a polymer hole conducting layer, e.g., polyethylene dioxythiophene polystyrene sulphonate (PEDT/PSS) made by Bayer AG
of Pittsburgh, Pa. and Krefeld, Germany, for instance, deposited from aqueous solution to form a thin film. The second conductive polymer layer is a conjugated polymer emissive layer (EL), (e.g., such as polyarylene systems, or a polyfluorene), for
example, deposited from an organic solution. Then the LED might have a cathode system, e.g., deposited by physical vapor deposition, which might include a low work function metal, for instance, capped with aluminum. It is preferable to then encapsulate
the device to inhibit or prevent the inward migration of oxygen, water, or both.
Conductive polymer, such as in the form of polymer LEDs, can be made to emit light in any color or in multiple colors, the brightness of which can be very low, very high or anywhere in between (e.g., as bright as a television screen or brighter),
with only a small power source (such as a battery or current from an outlet), and if desired, at a low operating voltage (e.g., about 2 to 6 volts). Such a polymer LED may be an unfinished or a finished inventive image. It may, for example, be
superimposed by additional layers of cPRM, polymer or colorants, it may have other light effects, etc., as desired.
Among the valuable properties in the use of conductive polymer to produce light in inventive images (such as in the form of polymer LEDs), are the relatively low power required compared to conventional electrical components such as neon, and the
lack of significant heat produced by the emission of light, even over long periods of time. Less power is required than other light sources which might be and have been used in images, which can lead to longer life of the light source. The power source
can be any suitable source, but is preferably DC power. In addition or instead, this may facilitate hiding a power source (such as a battery or solar cell) and/or associated materials (such as wires or conduits) from view, and/or facilitate working the
visibility of the power source and/or associated materials into the design or aesthetic composition, if desired. The reduced heat output of the light source is typically highly desirable for the stability and permanence of many inventive images, such as
images which have conventional image making mediums and materials (e.g., oil paints, colorants containing wax, egg tempera, cellulose paper, photographic mediums, etc.), which can change undesirably with exposure to heat such as that produced by
conventional light sources such as bulbs.
In one example, a polymer light emitting device is formed in an inventive image by surrounding a semi-conductive polymer asymmetrically with a hole-injecting electrode (e.g., ITO) on one side, and on the other side, a low work function, electron
injecting metal contact (such as aluminum, magnesium or calcium). Radiative charge carrier recombination in the polymer results in the emission of light as electrons from one side and holes from the other recombine. As another illustration, a
transparent or translucent polymer or glass image support (e.g., stabilizer, perhaps made of polyethylene-terephthalate also known as PET), might be superimposed by a transparent indium tin oxide (ITO) electrode. Using a spin coating process, a thin
film of a semiconducting polymer is superimposed onto the ITO from a solution. Then, the second electrode is deposited onto the polymer using a vacuum evaporation of a metal (e.g., calcium), sputtering, or the like, or a combination thereof.
In another example, a layer of poly(dioxyethylene thienylene) doped with polystyrene sulphonic acid or polyaniline-chloride is used between a layer of indium-tin oxide and an emissive polymer layer. Another example shows the use of two different
conductive polymers, (e.g., in superimposed layers), between the two electrodes in forming a polymer LED inventive image. One of these conductive polymers might, for example, be a conductive polymer precursor (e.g., heat-converted into its final form
before deposition of the next layer), and the other might be the light emissive conductive polymer. For instance, a conducting polymer layer might be used between the emissive PPV and the ITO in a polymer LED image.
In a further example, a light emitting polymer (LEP) device used in an inventive image is made using an anode, such as ITO, preferably on a polymer image support (though it could be on a glass image support). This is superimposed by two layers
of polymer, which are preferably thin or very thin. One is a polymer hole conducting layer, such as a film of polyethylene dioxythiophene polystyrene sulphonate (PEDT/PSS) (made by Bayer AG of Pittsburgh, Pa. and Germany), and deposited from an aqueous
solution. The other is a conjugated polymer emissive layer. Then a cathode (or cathode system) is deposited, comprised of a low work function metal, typically capped with aluminum. Then, the device is preferably encapsulated. Another, more specific
example of a polymer LED, which can be used in inventive images has ITO as the contact anode on a polymer or glass image support. Then, the hole injecting material is poly(3,4-ethylene dioxythiophene)/poly(styrenesulphonate) (PEDOT:PSS) (from Bayer AG). The light emitting polymer layer can be polyfluorene, polyarylene or polyphenylenevinylene. The device has a low work function cathode material, such as Ca, and it is encapsulated with a lid.
Another example is a polymer LED made with a low work function stable alloy of aluminum as the cathode material, a high PL efficiency PPV precursor and an ITO protector layer. A further illustration provides a thin layer of a conducting polymer
deposited (e.g., spin or blade coated) between ITO and PPV copolymer. This central layer of conducting polymer might be polyethylene dioxythiophene/polystyrene sulphonate (PEDT/PSS). The cathode might be a sputtered low work function Al alloy.
In a further illustration, an inventive image has a polymer light emitting device made of one or more spin-cast, extruded and/or printed layers of polymer, on an image surface made of polymer or glass pre-treated with a transparent electrode
material patterned (before the polymer is superimposed) to help define the device configuration. The other electrode can be deposited by vacuum metallization and patterned, and the device is sealed in a hermetic package. One or both of these electrodes
might, for example, be in linear patterns.
The chemical structure of a polymer and its conductivity can be controlled, engineered, or designed to be appropriate for different aesthetic, utilitarian and other purposes in inventive images, e.g., by altering the polymer's molecular chains.
For instance, the chemical structure of a light emitting polymer can be engineered to produce any or all emission colors. This light might be emitted from one or multiple parts, sides and/or surfaces of a single inventive image. As another example,
using a solvent to alter the molecular chains of a polymer can change its conductivity, e.g., chloroform decreases conductivity, and m-Cresol increases conductivity, in varying polymers.
In inventive images, light emitted by any portion of the conductive polymer or by all of it, can be any color desired, i.e., one or more colors and/or colorless. Inventive images made with conductive polymers can have full color light emission,
if desired, which can be extremely useful in making images, e.g., full color passive and active matrix display, such as created using direct patterning techniques. Moreover, the light emitted can change over time in any way desired. For example, over
time, some or all of the light emitted by any portion of the conductive polymer (e.g., even a portion as small as a pixel), or by all of it can change (e.g., in brightness, in color, in direction, it can go on and off, or a combination of these, as
desired). Conductive polymer offers fast response, or switching time, on and off. All of these elements can, if desired, be used to contribute to the inventive image's aesthetic, and/or if desired for other purposes, e.g., to give the image an
interactive or utilitarian element. Such an inventive image might for example, have a computer as part of it or it might function like a computer screen. Thus, it might have a screen, a computer chip, a viewer input device to control the image (such as
a drawing device, trackball, a button, a mouse, voice command, or switch), an optional audio component (e.g., producing sound and/or responding to sound such as to the viewer), or a combination thereof. The inventive image might also present a moving
image (e.g., realistic and/or abstract), such as a film or video image or image part, which might be controlled and/or altered by a viewer controlled input device. Viewed from any angle or from multiple angles, the same light, color or image projected
by a polymer LED can be seen. In comparison to liquid crystal displays, polymer LEDs do not have to be viewed straight on for the light, color and/or image they display to be seen, and they do not have to be backlit. Polymer LEDs offer high brightness
at a wide viewing angle. Organic LEDs are compatible with standard silicon driving circuitry, which may be used as desired in inventive images.
Conductive polymer can be applied onto an image support very thinly (or in any other thickness desired), in layers, in designs, drawings, patterns and/or compositions which can be as controlled and as precise as desired, even if they are complex,
intricate, and/or light emitting (e.g., light intensity is proportional to current). For instance, conductive polymer can be applied onto an image support or other image surface in pixels, e.g., using an ink jet printing process. For example, each
pixel may be comprised of multiple sub-pixels (e.g., in layers), each of which might for example, be capable of emitting one color, e.g., three sub-pixels, one can emit red, one can emit green, and one can emit blue light. Using conductive polymers, any
pixel shape or size is possible and very high resolution can be achieved. Moreover, light emitted by a conductive polymer can have any level of brightness or contrast, even very high brightness and contrast, and switch at any desired speed. Note that
although typically pixels are extremely small, in inventive images they may be any size, e.g., from extremely small to large. Pixels may or may not be visibly apparent in actual inventive images.
Like other polymers of the present invention, conductive polymers can be applied to an image support or other inventive image surface using one or more painting and/or printing processes. Ink jet processes are among those preferred for making
inventive images of conductive polymers, both charge conducting and emissive polymer layers, and for other polymers. Examples are ink jet practices specially developed for handling conductive polymers, e.g., by Seiko Epson and Cambridge Display
Technologies, or by Philips Research of Eindhoven, The Netherlands. Such processes can be used according to the invention to apply conductive polymer in one or multiple layers, on part or all of any size image support, or one or more other inventive
image surfaces. Ink jet printing conductive polymer can be done with the level of precision and resolution desired, it can even be done with great precision and a high resolution, e.g., using LEP inks based on poly(dialkylfluorene) derivatives chosen
for high luminescent efficiency in blue, green and red.
Specific examples of the use conductive polymers in inventive images will become more sophisticated as the technology is further developed for utilitarian applications in products which are not images, e.g., such as for phone displays, internet
appliance displays, utilitarian computer monitors having higher resolution and more sophisticated pixels, instrument panels, clocks, television screens, privacy glass, "smart" windows, batteries, solar panels, cameras, sensors, transparent coatings,
fibers such as fabrics, transistors, capacitors, photovoltaics, conductive adhesives, computer memory and hard disks, circuits, photodiodes, lasers, and the like.
In an illustration, a 2.5 inch full color, 16 gray level active matrix display can be made (e.g., with materials from Cambridge Display Technology) that has 200.times.150 pixels each comprising 9 sub-pixels, 3 per color. Such a display might
offer 16 gray levels per color, based on low temperature, polysilicon active matrix technology, using a digital drive scheme, and temporal and spatial dither. Its structure may, for example, have a common cathode efficiently injecting electrons into the
lowest unoccupied molecular orbital of the three polymer emitters (i.e., like a conduction band in inorganic semiconductors).
In another example, the source-drain and gate electrodes might be comprised of a water-based ink made of one or more conducting polymers, such as poly(3,4-ethylenedioxythiophene) doped with polystyrene sulfonic acid (PEDOT/PSS, Baytron P from
Bayer, Krefeld, Germany). In yet a further example, the active semiconducting polymer might be poly(9,9-dioctylfluorene-co-bithiophene) (F8T2), for example, used in a xylene solution which might be applied by spin coating. Photolithographic processes
may also be used to pattern layers of polymer LEDs, such as those processes used by Philips. A further illustration provides the formation of a dot matrix screen made from a thin film of light emitting polymer on a glass or polymer image support, coated
with a transparent ITO electrode, with an aluminum electrode evaporated on top of the polymer. Such a design might have the electrodes patterned in orthogonal rows and columns. When current is applied, the area at the intersection of these lines emits
light.
In the use of ink jet processes with PRM, cPRM, and/or polymers, a number of variables can be used and/or controlled as desired, e.g., for aesthetic effects as well as practical ones. Different ink jet processes, different PRM, cPRM, polymer,
and/or image surfaces might be desired for different purposes. For example, among these variables are the ingredients used in a polymer ink (e.g., the viscosity of the PRM, cPRM or polymer, how it dries, if it bleeds or beads up, etc.), the effect of
any ingredients in the ink on the ink jet printer itself (e.g., a solvent dissolving the print head), the ability of the print head to deposit the ink in the manner desired (e.g., for both aesthetic and practical purposes, such as to inhibit ink clogging
of the print head nozzle, and in a way so that the print head deposits the ink as desired), the interaction between the ink deposited and the image surface it is deposited upon, and the like. Ink jet processes for conventional polymer LED displays,
which typically strive for qualities like precision, control, high resolution, and perfect registration, can be used as desired in making inventive image. The use of ink jet processes for making inventive images, however, does not have the same kinds of
limitations, and one of ordinary skill in the art can envision a wide array of applications in accord with the invention herein.
Conductive polymers or polymer LEDs may be formed into inventive images and/or onto inventive images or image supports that are even, regular, flat, planar, rectilinear, geometric, and/or exact, but they are not restricted to such kinds of forms. Conductive polymers and polymer LEDs are formable using a variety of processes in any way, shape or form desired, on inventive images or image supports and/or into inventive images of all descriptions, such as those that are irregularly shaped, uneven,
non planar, not flat, discontinuous, in shapes or forms which are not rectilinear and/or non-geometric. Conductive polymer and/or a polymer LED might be used (e.g., disposed) on an image support that is carved, incised, embossed, textured, undulating,
angled, rigid, flexible, foldable, discontinuous, or a combination of these, as desired.
It is generally preferred that conductive polymer used in inventive images be stable and permanent, or as stable and as permanent as possible. Thus, it is often preferable that conductive polymer parts, layers, LEDs, other such devices, power
sources for any of these, and associated materials are capable of being reworked, replaced, repaired and/or restored if they change over time in an undesirable manner (e.g., if their ability to function decreases or if they stop functioning), and/or if
the technology advances in a way which is more desirable for the specific inventive image.
Inventive images made with conductive polymers (e.g., made with any of these devices, made electrically active, and/or made with any of these qualities) can of course be further processed, e.g., painted, incised, developed with additional parts,
and/or layers, etc. Such devices and effects might also be added to inventive images which already are developed to any extent, e.g., a polymer LED added to an image support stabilizer that already has light effects such as those described herein,
painting, carving, multiple layers, and/or non polymeric parts. Light emitted from an inventive image can be modified in many ways, e.g., using coloration, attachments, filters, lenses, subtractive processes, etc.
Typically, conductive polymers exhibit at least partially conjugated polymer backbones. However, any polymer that is capable of conducting electricity or ions along at least a portion of its backbone can be considered a conductive polymer.
Examples of conductive polymers that may be useful in the invention, or in polymer-based (or composite) LEDs or other light emitting devices, include, but are not limited to, poly(p-phenylene)s, poly(fluorene)s, poly(fluorenylene-ethylene)s,
poly(phenylene-amine)s, poly(phenylene-imine)s, polyanilines, polypyrroles, polythiophenes, poly(phenylene sulfide)s, poly(phenylene vinylidene)s, polyacetylenes, and derivatives, mixtures, copolymers, or isomers thereof. In one embodiment, derivatives
of polythiophene can include, but are not limited to, poly(hexylthiophene), poly(octylthiophene), poly(methylthiophene), poly(dodecylthiophene), etc. In another embodiment, derivatives of polyacetylene can include, but are not limited to,
poly[bis(benzylthio)acetylene], poly[bis(ethylthio)acetylene], poly[bis(methylthio)acetylene], etc. In yet another embodiment, derivatives of poly(phenylene vinylidene)s include, but are not limited to, poly(dialkoxy-1,4-phenylenevinylene)s. In still
another embodiment, derivatives of poly(fluorene)s include, but are not limited to, poly(dialkylfluorene)s, e.g., poly(9,9-dimethylfluorene).
Such exemplary conductive polymers can be made by a number of different polymerization techniques, e.g., ring-opening metasthesis polymerization (ROMP), bulk polymerization, addition polymerization, free-radical polymerization, condensation
polymerization, solution polymerization, emulsion polymerization, latex polymerization, or any other suitable method for polymerizing monomers to form a conductive polymer, and may be catalyzed, if desired. Some conductive polymers are commercially
available, e.g., through Aldrich Chemical Company, of Milwaukee, Wis.; Polysciences, Inc., of Pennsylvania, or other suitable polymer supplier(s). In addition, conductive polymers according to the invention may include polymers containing, or
polymerized entirely from, non-conductive monomers; indeed, the conductive polymer may be formed by mixing and/or copolymerizing monomers that form conductive polymers with monomers that do not form conductive polymers to form a conductive copolymer or
conductive polymer blend.
In addition to, or combination with, these polymers and/or blends, dopants, dyes, and/or complementary materials may be desirable. Examples of dopants include, but are not limited to, metal ions, e.g., Pt(II), Ir(III), etc.; non-metal ions;
organic protic acids, e.g., phosphoric or sulfonic acids, such as p-toluenesulfonic acid, and mixtures thereof; and combinations thereof. Examples of dyes include, but are not limited to, low molecular weight and/or branched molecules, e.g., oligomeric
polyphenylenevinylenes and/or polythiophenes, such as polythiophene octopus and spiro-6-PP, which are commercially available, e.g., from Covion Organic Semiconductors GmbH of Frankfurt, Germany. Charge transport materials and/or photo-sensitizers may
also be added in an amount sufficient to improve the conductivity or light emissivity of the conductive polymers or light emitting materials. Examples of such charge transport materials and photo-sensitizers include, but are not limited to, oxadiazoles,
e.g., 2-(4-biphenyl)-5-functionalized-1,3,4-oxadiazoles, such as 2-(4-biphenyl)-5-phenyl-1,3,4-oxadiazole and 2-(4-biphenyl)-5-(4-tert-butylphenyl)-1,3,4-oxadiazole; tetrathiafulvalene; protic and aprotic arylamines, e.g., di- and tri-arylamines, such as
3-methyl-diphenylamine, di-p-tolylamine, tri-p-tolylamine, tris[4-(diethylamino)-phenyl]amine, N,N'-bis(3-methylphenyl)-N,N'diphenylbenzidine, and N,N'-di-[(1-naphthalenyl)-N,N'-diphenyl]-(1,1'-biphenyl)-4,4'-diamine, and hydrazones, such as
4-(dimethylamino)benzaldehyde diphenylhydrazone, 9-ethyl-3-carbazolecarboxaldehyde-N-methyl-N-phenylhydrazone, 4-(diethylamino)benzaldehyde diphenylhydrazone, 4-(diphenylamino)benzaldehyde diphenylhydrazone, 9-ethyl-3-carbazolecarboxaldehyde
diphenylhydrazone, 4-[2-[5-[4-(diethylamino)phenyl]-4,5-dihydro-1-phenyl-1H-pyrazol-3-yl]-et- henyl]-N,N-diethylaniline, and 4-(dibenzylamino)benzaldehyde diphenylhydrazone; polymers containing phenyl moieties in their side groups, e.g.,
poly(vinylcarbazole)s, such as poly(9-vinylcarbazole), poly(vinylnaphthalene)s, such as poly(1-vinylnaphthalene), poly(styrene sulfonate)s, such as poly(p-styrene sulfonate) and poly(styrene-co-styrene sulfonate) copolymers, and mixtures thereof; and
combinations thereof. In addition, carbon nanotubes and/or fullerenes may be added in an amount sufficient to improve the conductive or emissive properties of the materials.
Examples of conductive polymers for use in inventive images from Aldrich Chemical Company of Milwaukee, Wis. are: 1) Polythiophenes, such as Poly(3-hexylthiophene), regioregular; Poly(3-octylthiophene), regioregular; 3-Methylthiophene; and
3-hexylthiophene 2) Poly(1,4-phenylene sulfide) 3) Polyacetylene precursors--these might, for example, be used because Polyacetylene is an electroactive polymer with large, third-order, non linear optical activity and high conductivity. It may be formed
by polymerization of phenyl vinyl sulfoxide and the subsequent elimination of benzenesulfenic acid. Polyacetylene may be prepared by a ring opening metathesis polymerization (ROMP) of cyclooctatetraene. Examples of polyacetylene precursors which might
be used are Phenyl vinyl sulfoxide, and 1,3,5,7-cyclooctatetraene. 4) Poly(phenylene vinylene) Precursor-p-Xylylenebis(tetrahydrothiophenium chloride).
Further examples of conductive polymers and related inventive image ingredients (e.g., for use with light sources and/or as part of light sources in inventive images) offered by Aldrich follow and are described herein.
Polybutenes, monoepoxide, Epoxy-functional macromonomer. Terminal epoxy group, e.g., for incorporating hydrophobic character. It may, for example, contribute impact and water resistance and low temperature flexibility. For example, it is
conventionally used as a modifier for coatings and adhesives, unsaturated polyesters, electrical compounds and foams.
3-Dodecylthiophene, conducting polymer precursor; 3-Hexylthiophene, conducting polymer precursor; 2,5-Dibromo-3-decylthiophene; and Poly(phenylene sulfide); might be used to make inventive images.
Poly(3,3,4,4-biphenyltetracarboxylic dianhydride-co-1,4-phenylenediamine), amic acid (solution), (e.g., solution in 1-methyl-2-pyrrolidinone). This may for example be used because it is a high purity material with controlled metallic content.
It can form insoluble polyimide upon heating. Polyimide might, for example, be used for its good thermal, mechanical and electrical properties.
DAB-Am-4, Polypropylenimine tetraamine Dendrimer, Generation 1.0 Synonyms: [N,N,N,N-tetrakis(3-aminopropyl)-1,4-butanediamine], Soluble in water and methanol. For example, it is conventionally used for coatings, adhesives, plastic stabilizers,
catalysts, conductive films, and surfactants.
Polysulfone, e.g., offers electrical properties that are maintained over a wide temperature and frequency range, high impact resistance, and high resistance to radiation degradation. For example, these are among it is conventional uses:
microwave cookware, appliance covers, surgical tools, automotive electrical components, and printed circuit boards.
Polyphenylsulfone, a transparent thermoplastic engineering resin, e.g., can offer outstanding color, transparency and impact strength to 200.degree. C., as well as the best overall chemical resistance of the commercial polysulfones. For
example, these are among its conventional uses: medical devices requiring sterilization and electrical connectors and switches.
Poly[bis(benzylthio)acetylene], Poly[bis(methylthio)acetylene], and Poly[bis(ethylthio)acetylene] might be used to make inventive images, e.g., each form a highly stable, highly conducting material when irradiated with laser light in thin layers.
Examples of conductive polymers offered by Polysciences Inc. are: Poly(3-methylthiophene), Poly(3-octylthiophene), and Polypyrrole. Elf Atochem North America Inc. in Philadelphia, Pa. offers a series of translucent polymers they call
"technical polymers" which can be used to make images. Examples are Kynar.RTM., Kynar 500.RTM. and Kynar Flex.RTM. PVDF polyvinylidene fluoride, e.g., the homopolymer of 1,1-difluoroethene; Rilsan.RTM. PA Polyamide resins (e.g., may be rigid,
flexible, conductive, semi-flexible).
General Electric (GE) of Pittsfield, Mass. offers Valox.RTM. Polybutylene Terephthalate Insulating Film, e.g., it offers excellent electrical properties, and ease of fabrication. GE's Valox.RTM. PTX.TM. Polyester Film, e.g., it offers
excellent electrical properties and it offers excellent chemical resistance and high tensile strength, available with one or two sides pretreated for better adhesion to ink. Valox.RTM. PTX.TM., e.g., is heat stabilized for lower thermal shrinkage.
GE's Ultem.RTM. Polyetherimide Film, e.g., it offers high temperature resistance, low moisture absorption and excellent electrical properties. Ultem.RTM. 1000 is thermoformable and might, for example, be heat sealed to a wide variety of metals and
thermoplastics. Also, GE's Lexan.RTM. XL10 polycarbonate sheet might be used to make inventive images, e.g., it might be further processed into curved forms, it is thermoformable, cold-formable (for example, to tight radii), it is virtually
unbreakable, with UV resistant coating on one of its sides; it is backed by a 10 year warranty against yellowing, loss of light transmission and breakage; and it also provides high insulation values.
Poly(chlorotrifluoroethylene) offered by Aldrich Chemical Co. might, for example, be used because it is a high performance crystalline engineering thermoplastic; with chemical resistance, near-zero moisture absorption, low creep, high optical
transparency, high electrical insulating capacity, non-flammable and low coefficient of thermal expansion. For example, among its conventional uses are for packaging films, and electroluminescent display panels.
Poly(trimellitic anhydride chloride-co-4,4-methylenedianiline) Contains N-methylpyrrolidone, offered by Aldrich Chemical Co. For example, among its conventional uses are for: conformal coatings, passivation agent, insulating varnish, LCD
alignments, and corrosion resistant coatings.
Such exemplary conductive polymers, polymer light emitting devices, and dopants, dyes or complementary materials therefor, for inventive images can be obtained commercially, e.g., from: Covion Organic Semiconductors GmbH of Frankfurt, Germany;
Philips Components (Philips Electronics, Philips Research) of Eindhoven, The Netherlands; Cambridge Display Technology in Cambridge, United Kingdom; UNIAX Corporation (owned by DuPont) in Santa Barbara, Calif.; Eastman Kodak of Rochester, N.Y.; eMagin
Corporation of Hopewell Junction, New York; Three-Five Systems of Tempe, Arizona; RiTEK Display Technology Company and RiTdisplay Corporation both of Taiwan; Alien TechnologyTM of Morgan Hill, California; Semiconductor Energy Laboratory (SEL) of Japan;
Zipperling Kessler and Company of Ammersbek, Germany and Buffalo N.Y.; Delta Electronics Inc. of Taiwan, R.O.C.; Hewlett-Packard Company of Palo Alto, Calif.; Seiko-Epson of Japan, Cambridge UK, and California; Sumitomo Chemical Company of Japan;
Pioneer Electronic Corporation of Tokyo, Japan; Dow Chemical Company of Midland Michigan; Osram Opto Semiconductors GmbH and Co. (Osram OS) of San Jose, Calif.; Toshiba of Japan; Tokki Corporation of Japan; Microemissive Display Ltd. of Edinburgh, UK;
Panipol of Porvoo, Finland; Bayer AG of Pittsburgh, Pa. and Germany; Hoechst AG in Frankfurt, Germany; Aldrich Chemical Company of Milwaukee, Wis.; Polysciences Inc. of Warrington, Pa.; General Electric of Pittsfield, Mass., and Elf Atochem North
America Inc. of Philadelphia, Pa.
The following are further examples of conductive polymers, polymer light emitting devices and related ingredients and processes which might be used in inventive images.
Baytron products by Bayer are useful in inventive images. Baytron P might for example, be poly(3,4-ethylenedioxythiophene)/poly(styrenesulfonate) or PEDT/PSS also known as PEDOT/PSS, e.g., supplied as an aqueous dispersion. Bayer has it
available in a variety of coating formulations designed for use on specific substrates, e.g., PVC, polycarbonate, glass, polypropylene and polyethylene. If desired, these coating formulations may be applied by conventional methods, such as by brushing,
spin coating, printing processes, spraying, and roller coating techniques. Bayer offers Baytron TP AI 4061, e.g., Aqueous poly(styrenesulfonic acid) or PSS; as well as Baytron TP AI 4062, e.g., Aryl Polyglycol Ether. Bayer also offers the monomer and
the catalyst, they are Baytron M (the monomer) and Baytron C (the catalyst or oxidant). For example, Baytron M is (100% 3,4-ethylenedioxythiophene) or EDT, and Baytron C is 50% by weight iron (III) toluenesulfonate in butanol. For example, Baytron M
and C are typically mixed at a ratio of 6:1, the mixture might be diluted with solvents, and adhesive(s) and/or binder(s) might be added to it (e.g., polyvinyl acetate or epoxy silanes). Bayer provides literature on the use of these products.
Covion and UNIAX make polymer LEDs which, for example, might be 6000 pixel passive matrix addressed devices. UNIAX has an OLED display, e.g., of 25,000 pixels. Covion and SEL have made a high resolution active matrix driven OLED which can be
used and/or adapted for use in inventive images. The peripheral circuits may for example, be driven by integrated polysilicon thin film transistors and the contrast ratio of the panel may for example, be greater than 100. The device might, for
instance, have a peripheral circuit integrated BGA panel comprising 640.times.480 pixels with a white color OLED driven by high speed polysilicon thin film transistors with a digital gray scale. SEL's voltage applied time control may enable smooth gray
scales to be created by controlling the OLED light emitting time. All this is useful in certain inventive images.
Ormecon Chemie's electronic grade polyaniline (PAni or PANI) conductive polymer which is the core of a family of ORMECON.TM. products (Zipperling Kessler and Company) can be used to make inventive images, for example in electronic thin film
devices, and organic and polymeric LEDs, such as products by Covion made with PANI used in inventive images. For example, the electronic grade of polyaniline, (e.g. a water-based dispersion that has controllable conductivity and fine colloidal particle
size) is useful for making OLEDs for inventive images.
DuPont Displays is offers a wide variety of compact, lightweight Poly-OLED devices. These examples and/or devices like them might be used in inventive images. For example, DuPont's products offer Active and Passive Matrix, such as the
96.times.64 Tetrus.TM. and 160.times.160 Millennia.TM. monochrome displays, and full QVGA, Active Matrix and Color Poly-OLED displays.
Though these specific products are small in size, such devices could be used in multiples in inventive images and/or one or more similar LEDs could be made of a different size for inventive images. DuPont's LEDs all have low power consumption
and do not require a backlight.
Tetrus.TM. Poly-OLED is another example which DuPont offers for use in cell phones, pagers, consumer electronics and automotive applications. For example, it is a thin (2 mm thickness), light-weight (7.2 gram weight), efficient Passive Matrix
(PM) drive Poly-OLED device; approximately 11/2'' square; with a 96.times.64 pixel matrix that can provide up to 5 lines of bright, high contrast text, simple graphics, symbols and animated icons, on thin-format glass substrate; and row and column driver
solutions can drive the matrix.
In embodiments, the "smart" backplanes might be used for polymer LED devices comprised of silicon integrated circuits for the direct driving of pixels rather than using amorphous silicon thin film transistors on glass which are conventionally
used in liquid crystal display technology.
In a further example, DuPont's The Millennia.TM. Poly-OLED Display Module is designed for higher density and information content applications including PDA's, PPCs, GPS, automotive and other mobile devices. For example, Millennia.TM. is a
higher pixel count monochrome Poly-OLED display, light weight, and thin (3 mm thick); with a 160.times.160 pixel efficient passive Matrix (PM) drive on thin-format glass substrate that allows multiple icons and text, detailed maps, and basic graphic
images; a new row and column driver solutions will drive the entire 160.times.160 matrix; and the substrate size is about 62.52 mm.times.61.15 mm (approximately 21/2'' square).
DuPont's QVGA Poly-OLED passive matrix (PM) display for example, offers a full 320.times.240 (QVGA) pixel matrix with monochrome display, on thin-format glass substrate is made for use in high end PDA's, PPCs, other large format handhelds,
advanced GPS systems and other devices that require detailed image and text display in a compact and power conservative format. The higher resolution of this device may be compatible with a wide range of images, including maps, multiple lines of text
and/or icons, yet it is for example, only 3 mm thick. The ultra fast switching speed of OLED might allow full motion video and other fast moving images to be displayed without distortions or artifacts. Its substrate size is, for example, 62.52
mm.times.61.15 mm (approximately 21/2'' square).
DuPont's Active Matrix Poly OLED Display Module is an example offered for PDAs, PPCs, smart phones, GPS systems, web enabled portable devices, for mobile and portable Video entertainment and computing applications, and other high resolution
displays. It may for example, have these specficiations. It may may have an Active Matrix of 320.times.240 pixels, a QVGA (320.times.240) pixel matrix in a thin, lightweight format, a thin-format glass substrate. It may allow the display of full
motion video images, high-resolution graphics and dozens of lines of text. The active matrix design may simplifie system design, and offers custom driver IC. DuPont's core OLED technology may offer inventive images full 640.times.480 (VGA), 4-Bit Grey
scale display format, LTPS TFT back plane and fast, Video capable switching.
DuPont's full color Poly-OLED display module is offered for consumer electronics, cell phones and other 3G devices. For example, it may be an efficient, compact passive matrix display with a 96.times.64 pixel 11/2'' display on thin-format glass
substrate that may provide a basic information display in a distinctive multi color format. Custom driver may be available to achieve bright, distinctive color displays for enhanced functionality. DuPont will soon be offering larger versions of
display, for color in PDAs, PPCs and other handheld and automotive applications.
Polymer LEDs offered by The Dow Chemical Company of Midland, Mich. and by Delta Optoelectronics Taiwan R.O.C. may be used in inventive images. Examples are their pLED displays based on Dow's polyfluorene chemistry, e.g., a two layer film,
thinner than a human hair which emits light when exposed to electricity. Illumination Polymer Technologies Inc. of Illinois and Nevada (a Goeken Group Company) offers polymer LEDs which can be used in inventive images, such as PolyBrite.TM. which can
be extruded into various shapes and forms and can be molded for specific inventive images.
The full color 96.times. (64.times.3) passive matrix display (e.g., with 16 gray levels) described in the article cited below "Color Patterning with Ink Jet Printing for Passive Matrix Light Emitting Polymer Displays" by E. I Haskal, M. Buechel,
et. al. or a similar display may be used in inventive images. Dot matrix displays by Cambridge Display Technology can be used in inventive images, such as their 60.times.16 dot matrix display. Polymer LEDs with more sophisticated, and/or variable color
displays may also be used in inventive images.
Organic EL full color display by Pioneer may be used in inventive images, such as their display with 320.times.RGB.times.240 dot pixels, 0.33 pixel pitch, emitting 260,000 colors (64 tones/each color).
PolyLED matrix displays such as that by Philips, e.g., with 87 rows, 80 columns and 256 gray levels may be used in inventive images. Lucent Technologies Inc.'s Bells Labs in Murray Hill, N.J. is offering printable conductive polymer
semiconductor circuits that can be used in inventive images. In embodiments, Back Layer.TM. technology by Luxell Technologies Inc. of Mississauga, ON is used with conductive polymer in inventive images.
Conventional practices, such as those in the fields of polymer science, engineering, electronics, materials science, and physics might be used to make inventive images with reference to the detailed description herein. Conventional practices
described in various publications may be used to make inventive images, such as chemical formulations and methods, according to the invention described herein. For example, suitable conductive polymer materials include one or more of those described in
the following references known to those of ordinary skill in the art, including: Secret Behind High Efficiency of Light Emitting Polymers, at <http://www.cdtltd.co.uk>; H. Sirringhaus et al., "High Resolution Inkjet Printing of All-Polymer
Transistor Circuits," Science 290: pp 2123-26 (2000); G. Schopf et al., "Polythiophenes--Electrically Conductive Polymers," Advances in Polymer Science, Vol. 129 (December 1996) Springer Verlag; Handbook of Organic Conductive Molecules and Polymers:
Charge-Transfer Salts Fullerenes and Photoconductors, H. S. Nalwa (Ed.), John Wiley & Son Ltd. (March 1997); Electronic Processes in Organic Crystals and Polymers, 2nd Ed., M. Pope and C. E. Swenberg, Oxford University Press, New York, N.Y., 1999; K.
Heeks et al., "High Performance Light Emitting Polymers For Colour Displays," Published on the web at <http://www.cdtltd.co.uk>; E. I. Haskal et al., "Color Patterning with Ink Jet Printing for Passive-Matrix Light Emitting Polymer Displays,"
Published on the web at <http://www.cdtltd.co.uk>; S. Cina, "Recent Developments at Cambridge Display Technology, "Published on the web at <http://www.cdtltd.co.uk>; S K Heeks., "Light Emitting Polymers For Full Colour Display Applications",
published on the web at <http://www.cdtltd.co.uk>; P. May, "High Performance Precursor Light Emitting Polymers," published on the web at <http://www.cdtltd.co.uk>; N. Yu et al., "Technology-Polymer-LEDs," Covion Organic Semiconductors GmbH,
published on the web at <http://www.covion.com> Nov. 20, 2001; D. Braun et al., "Electroluminescence from Light-Emitting Diodes Fabricated from Conducting Polymers," Thin Solid Films 216(96) (1992); C. H. Lee et al., "Sensitization of the
Photoconductivity of Conducting Polymers by C60: Photoinduced Electron Transfer," Phys. Rev. B 48 (20);15425 (1993); C. Zhang et al., "Improved Efficiency in Green Polymer Light-Emitting Diodes with Air-Stable Electrodes," J. of Electronic Mat'ls,
23(5);453 (1994); C. Halvorson et al., "Optical Computing by Use of Photorefractive Polymers," Opt. Let. 20;76 (1995); Q. Pei, et al., "Polymer Light-Emitting Electrochemical Cells," Science 269;1086 (1995); F. Hide et al., "Luminescent Polymers Promise
Novel Lasers," Laser Focus World 33;151 (1997); F. Hide et al., "Conjugated Polymers as Solid-State Laser Materials: Conjugated Polymers as Solid-State Laser Materials," Synth. Met. 91;35 (1997); A. J. Heeger, "Light Emission from Semiconducting
Polymers: Light-Emitting Diodes, Light-emitting Electrochemical Cells, Lasers, and White Light for the Future," Sol. State Comm. 107(11);673 (1998).
In various embodiments, conductive polymer is used to create or enable one or more aesthetic elements in inventive images. For example, this conductive polymer may emit visible light, it may affect light transmission or the direction thereof,
image color, movement, mobility, sound, form, structure, one or more other formal elements, or a combination of these. Such conductive polymer may, for example, be a transparent coating or layer on or in an inventive image.
In some embodiments, inventive images can be interactive. Conductive polymer may be used to create this interactivity, and/or it may be created by another means. Such inventive images might have computers, camera, control devices, microphones,
recording devices, movable parts, changing light effects, changing colors, changing forms, projections, video, film, devices that play sound, printers, sensors, and the like, as desired.
In various embodiments, one or more formal elements of an inventive image or part(s) thereof is varied or changed, using energy such as electricity, heat, light, and/or magnetism. After the image is finished, this variance or change of one or
more of an image's formal elements may or may not continue and/or be visible, e.g., the finished image may have changing or variable formal elements. Such effects might be created using conductive polymer, and/or one or more other mediums, materials
and/or devices in inventive images. For example, exposure to electricity or voltage might cause or enable aesthetic and/or functional elements of an inventive image or part thereof to change or vary, such as its transparency, its translucency; other
aspects of the manner in which it relates to light (e.g., the direction of its light or its reflectivity); the hue, the value, and/or the intensity of its color; its use of film, video and/or sound; any other interactive devices or features it may have,
other formal elements and/or combinations of these. In another example, an image or a part thereof varies according to changes in the temperature around it, e.g., due to the use of crystal violet lactone, for example in a PRM and/or in a colorant that
is in and/or on an image. Inventive images of these embodiments might be exposed to energy in any way desired, e.g., continuously or for controlled and/or uncontrolled time periods. The variance or change in the image might be controlled directly
and/or indirectly or in any other manner. For example, it may be controlled by a switch or other device, with or without human initiation, such as a timer, a computer, a camera, or a sensor (e.g., responding to: a viewer's presence, sound, light, change
in the environment, or a combination thereof). Such variance or change might be controlled by a viewer speaking, or pressing or touching part of the image, such as a button or a sensor. As an illustration, such variance or change might even be
controlled from a distance, and/or regularly, e.g., an image's formal elements changed via wireless communication (or broadcast) and/or changed daily, weekly or monthly. Such effects can be desirable to use or control visible spatial depth and other
formal elements in images of the invention. Such effects can also constitute or enhance interactivity in an inventive image. In other examples, an inventive image's form is changed using electricity, which may enable an inventive image or part thereof
to be mobile. Electricity might run one or more devices in an inventive image, such as a camera, a printer, a screen, a display, a projector, a monitor, a computer, a fan, a light source, a recorder; a radio, a machine or player that emits sound (e.g.
music), or the like.
In embodiments, a colorant, paint or ink is used in and/or on inventive images that can be varied and/or changed, as desired, using energy such as electricity. The change or variance in these images can be done in any manner and at any rate
desired, e.g., changing part or all of an image very slowly, very fast or at any rate in between. Thus, for example, moving images, full motion images, video and film images can be made in various embodiments. (Refer to the prior descriptions of the
fast response or switching time conductive polymers offer for use in inventive images, as well as their full range of emission colors, etc.).
In some embodiments, the colorant, paint or ink used in and/or on inventive images that can be varied and/or changed, as desired, using energy (such as electricity) is made using tiny microcapsules of transparent or translucent fluid (e.g.,
microcapsules of a polymer, each of which may be about the diameter of a human hair). In the inventive image, each microcapsule might be capable of functioning like a pixel. These microcapsules are placed between electrodes, at least one of which is at
least partially transparent or translucent. Within each of these microcapsules there are suspended particles (e.g., pigment) of one or more colors, e.g., white and black; or white and red, blue, green and/or yellow. Each suspended particle either has a
negative charge or a positive charge. A microcapsule might contain particles with a positive charge and/or particles with a negative charge, e.g., it is often preferable for a microcapsule to contain both. Suspended particles can move within their
microcapsules, e.g., moving to the side of the microcapsule that is against one of the electrodes. So, when one electrode is negatively charged, it draws the positively charged particles to the part of the microcapsule that is against that electrode.
If that negatively charged electrode is transparent or translucent, the color of the positively charged particles drawn to it, is visible at that spot on the inventive image. Likewise, when one electrode is positively charged, it draws negatively
charged particles to the part of the microcapsule that is against that electrode. If that positively charged electrode is transparent or translucent, the color of the negatively charged particles drawn to it is visible at that spot on the inventive
image. Thus, if a microcapsule that contains both positively and negatively charged particles is in between a negatively charged electrode and a positively charged electrode, the particles will position themselves in opposite areas of the microcapsule,
against the oppositely charged electrodes. Thus, to the extent that one or both electrodes are transparent or translucent and to the extent that any other part of the inventive image which is against each electrode is transparent or translucent, the
microcapsule with show a color on one or both sides of the image.
As an illustration, microcapsule A is right next to microcapsule B, both between electrodes on a polymeric or non polymeric inventive image support. Both microcapsules contain the same particles in two colors. They have black particles, which
are negatively charged, and either blue or white particles, which are positively charged. The electrodes over and under microcapsules A and B do not have the same charge. The transparent electrode is negatively charged over microcapsule A and
positively charged over microcapsule B. The electrode beneath microcapsule A is positively charged while the electrode beneath microcapsule B is negatively charged. Though the electrodes above the microcapsules are transparent or translucent, the
electrodes beneath the microcapsules which are on an opaque image support cannot be seen through. Thus, the color of the particles inside the two microcapsules is visible only through the side of the image with the transparent or translucent electrode.
The color of the particles drawn to the electrode on the image support side of these two microcapsules is at least substantially hidden from view. Thus, because of the different charges above and below the two microcapsules, the color of the two
microcapsules on the image is different. One microcapsule appears black and the other appears either white or blue. If the electrical charges in the electrodes are all reversed, the colors seen will reverse positions--the black microcapsule will appear
either white or blue, and the microcapsule that is either white or blue will appear black.
An inventive image might have any number of microcapsules, in and/or on it, e.g., hundreds, thousands, millions, or many millions of microcapsules, as desired. By the arrangement of microcapsules, the choice of suspended particles within them,
and controlling and varying the charge on the electrodes, the colors that are visible at different spots or pixels on the inventive image can be created, varied and changed, thereby creating, varying and changing aesthetic elements like lines, forms, and
colors, in the image or part thereof.
Such an electronic image typically requires only a low level of electricity, (e.g., perhaps about 2 to 6 Volts), which has advantages such as those described above for polymer LEDs. To form such an electronic image, circuitry might be applied
onto an image support using conventional practices, e.g., circuitry applied onto a polymer image support. If desired, this circuitry can be controlled by an external and/or internal driver. Microcapsules containing colored particles as described above
might be suspended in a liquid carrier medium, e.g., in PRM, cPRM or polymer. The medium can be applied using any method desired, e.g., by printing processes such as screen printing or ink jet printing, and/or by painting. The medium may therefore be
applied in any pattern, design or drawing desired, e.g., for aesthetic or functional purposes. Such practices are used by E Ink Corporation of Cambridge, Mass. for written documents, such as electronic books and newspapers. Such electronic inventive
images or parts thereof may be further processed, as desired, e.g., with added coloration, layers of polymer, light effects, etc.
In various embodiments, electrochromic mirrors, coatings, and/or effects are used on or in inventive images. For example, such a mirror, coating or effect changes its surface and/or its use of light (for example darkening it) in response to an
electrical charge, e.g., when a sensor detects the presence of bright light, the image darkens. Examples are electrochromic mirrors made by Gentex Corporation of Zeeland, Mich. Conductive polymers might be used in such inventive images. In some
embodiments, inventive images or parts thereof function as electrochromic windows, "intelligent" windows, "smart" windows, and/or it enables them have these kinds of effects, whether or not these images function as transparent windows or not. Such
images can vary, control, block, and/or reduce the amount of light, the color of the light and/or other properties of the light that can pass through them. Such effects may be created in inventive images using conductive polymers. Also, in certain
embodiments, "switchable" mirrors, the effects of switchable mirrors and/or similar effects are used to make inventive images or parts thereof. For example, switchable mirrors, or the effects of them, can be used in inventive images, such as the
switchable mirrors made by Philips Research in Eindhoven, The Netherlands. Inventive images of these embodiments might be made with conductive polymers. Examples of switchable mirrors can change from a reflective to a transparent state and back when
voltage is applied and turned off. It is possible to modify this effect and create variations of it as desired in inventive images, e.g., for aesthetic purposes. In switchable mirror inventive images or parts thereof, made using the same technology as
Philips or made with technology that is similar or related, a rare-earth metal is induced by exposure to hydrogen, to convert to its ionic hydride. The hydrogen can be transported into a transparent hydrogen storage electrode when energy (e.g., voltage)
is applied and back when it is switched off. If desired, such features can be part of a system or a "smart" system of inventive images e.g., a system in which one or more aesthetic elements and/or functions of an image are controlled, varied, and/or
changed over time. For example, such features can be part of a smart system that varies or effects the properties of light that pass through the image or part thereof, e.g., varying or effecting the amount of light, the path of light beams, the color of
light, and/or its other properties in the inventive image.
The inventive images herein are not limited by the restraints which conventionally determine the designs of items made using the conventional practices described in the paragraphs above and in other conventional practices, because inventive
images need not serve the same utilitarian functions. This leads to a wide array of aesthetic possibilities. For example, a mirror, a window or an effect like that in a conventional mirror or window, which is part of an inventive image, need not be
smooth, even, consistent, or planar, and need not have the same light properties as a conventional mirror or window, e.g., it may have distortions, any other irregularities desired, as well as further processing such a superimposed layers. In making
inventive images, conventional practices such as those described in the paragraph above, can be used in any manner desired. Various conventional chemicals, processes, and the like can be used to make the inventive images of the invention, as will be
readily determined by those of ordinary skill in the art.
In certain embodiments, suspended particle devices are used in inventive images, e.g., in between layers. In these devices, the random positioning of particles suspended in a material, liquid or film inventive image layer and/or part inhibits or
prevents light from passing through until an electrical charge causes these suspended particles to align or position differently, thereby modifying the amount of light passing through the inventive image layer and/or part, which has increased or
decreased transparency or translucency than before the electrical charge. The use of such suspended particles might create a filter in an inventive image that changes over time, (e.g., quickly), as desired, e.g., controlled by a switch, a timer device,
a viewer-controlled device, or the like. Mirrors or mirrored surfaces in inventive images might also have layers or parts with these kinds of suspended particles. The suspended particles in such layers and parts of inventive images might for example be
liquid crystal, including liquid crystal dispersed (e.g., droplets) in a layer or matrix of polymer (which is preferably transparent or translucent, and typically thin, e.g., a conductive polymer), in an inventive image, sandwiched between two conductive
layers and/or electrodes (which are preferably transparent or translucent and typically thin also, e.g., layers of ITO). Moreover, the entire layered form might then be superimposed on one or both sides by a polymer (like polyester) and/or by glass.
Such technology is currently used in cars, windows and privacy glass.
As an alternate example, the polymer layer or film with the dispersed liquid crystals might be sandwiched between layers of polyvinyl butyral (PVB), then, if desired, glass might be superimposed on one or both sides. Alternately or additively,
glass coated with PVB might be superimposed on one or both sides of the polymer layer or film with the dispersed liquid crystals. For instance, a conductive layer comprised of polymer with suspended particles such as dispersed liquid crystals, is
sandwiched in between electrodes (e.g., ITO). Then, this is preferably sealed or encapsulated to inhibit or prevent the ingress of water, oxygen, or both. For example, it might be superimposed by polyester on one or both sides. In addition, or
instead, PVB and/or glass are superimposed, e.g., as separate layers.
In other embodiments, a liquid crystal display, optionally illuminated, is used in an inventive image. Typically, electronic practices (e.g., electricity and electronic processes) are used in inventive images with liquid crystals.
In certain embodiments, polymer in an inventive image serves as insulation for one or more other parts thereof, e.g., it is insulation for a conductive polymer in the same inventive image.
As examples, the inventive images shown in FIGS. 2, 5.X., 14.IV., 44 (preferably made without the vertical, tube shaped, light bulb shown in the center of the drawn form labeled i.), 82, and 84 may be electrically active, and/or they might be
changed or varied by the use of energy such as electricity, solar power or heat. Any of the images in these illustrations might have coloration of one or more kinds on and/or in them, e.g., paint, light, collaged materials, and/or embedding. For
example, these images might be made with; (a) a colorant (e.g., a paint, cPRM, ink and/or light) that can be varied or changed using energy (such as electricity or heat), e.g., as described above, (b) pixels of light and/or of color, in any size, e.g.,
as described above, (though typically pixels are extremely small, in inventive images they may be any size, e.g., from extremely small to large), examples of such pixels which may be any size are illustrated in the images shown FIGS. 5.X. and 82 (even
though in actual inventive images such pixels may or may not be as visibly apparent as they are in these illustrations), (c) one or more conductive polymers, (e.g., as described above), (d) one or more polymer LEDs, (e) an electrically active layer or
application of microcapsules (such as those described above), (i) a layer with liquid crystals which changes with electricity (e.g., as described above), (g) a sensor and/or other device that is responsive to a form of energy, (h) one or more
electrochromic mirrors, effects, or layers; smart window effects or layers; and/or switchable mirror effects or layers, (e.g., as described above), (i) another kind of electrically active layer, application, part, or image support, (e.g., as described
above), (j) a combination thereof. Any or all such images might be further processed, as desired, e.g., using additive and/or subtractive processes, and might, for example, have one or more formal elements changing over time with the use of energy such
as with electricity. For instance, their color, light, transparency, and/or translucency might change over time in a manner that is as controlled as desired, and this change may or may not require human interaction, initiation, or any aesthetically
undesirable, visible parts (like electrical wires or cords, or an undesirably visible device providing energy and/or light).
The images shown in progressive stages FIGS. 2, 82, and 84 might, for example, show light, color, transparency and/or translucency changing over time shown in different stages. The progressive stages of the images illustrated in FIGS. 2.I and
2.II, (labeled as stages a, b, and c, in both), show that such a change in light and/or color can also change other formal elements, because the subject matter, compositional arrangements, lines and forms of these two images changes as the stages a, b,
and c progress. FIGS. 2.I. and II. each show three progressive stages of these images from both sides, (the sides are labeled side 1 and 2, thus, e.g., FIG. 2.I. is shown in stage a from both sides as image a.1. and a.2. and so on). FIG. 82 shows
an inventive image in two progressive stages marked I. and II., and FIG. 84 shows an inventive image in three progressive stages marked I., II. and III. The images shown in FIGS. 2.I., 2.II., 82, and 84 may progress through the changes shown in the
stages illustrated at any rate of speed desired, and they do not have to progress from stage to stage in a patterned order or in a consistent pace, e.g., they may change randomly. The gradations shown in the image in FIG. 14.IV. might be light, color,
transparency and/or translucency changing in gradations over time.
Each inventive image shown in FIGS. 2., 84 and 84, like other inventive images shown and/or described herein, can be declared complete at any stage in its development as a discretionary decision by its image maker or image makers. The inventive
images shown in FIGS. 2, 5.X., 14.IV., 44., 82 and 84 can be further processed at the discretion of their image maker or image makers (e.g., using additive and/or subtractive processes), like other inventive images shown and/or described herein. These
inventive images, as with others illustrated in herein, may have multiple and/or different interpretations.
Further Processes of Creation--Workability--Adding and Subtracting Matter
The medium of the present invention typically offers full and free workability, reworkability and controllability which does not diminish during or after formation of the image. Processes for working with the medium typically can be reworked and
controlled, e.g., reversed or changed. This creative freedom and aesthetic control can be a substantial advantage which many conventional practices do not offer.
Additive and/or subtractive processes can typically be used to make and/or rework inventive images, one or more times, at one or more stages in the image's formation or anytime thereafter, as desired. In various embodiments, more cPRM, polymer
and/or one or more other ingredients are added to an inventive image, (e.g., to its polymer). In various embodiments, cPRM, polymer and/or one or more other ingredients are subtracted from an inventive image, e.g., by cutting, sanding, sandblasting,
other abrading processes, carving, engraving, cutting, chiseling, incising, and/or by breaking it, using any of a wide variety of tools, and/or by hand. The addition and/or subtraction of polymer and/or other ingredients typically offers unprecedented
workability, reworkability and controllability in making inventive images and it can create and/or affect one or more formal elements of an image. Those of ordinary skill in the art will be able to envision many other suitable additive and/or
subtractive processes for use in working the medium of the invention.
Additive and subtractive processes might be used on one or more selected areas and/or on one or more entire surfaces or sides of an inventive image, as desired. It is often desirable to develop polymer inventive images or parts thereof (e.g.,
image supports) in layers or layered applications. One or more layers of polymer can be added to and/or removed from entire image surfaces or sides, or one or more selected areas of them. A myriad of ingredients which are not made or not principally
made of polymer inventive medium can be added to an image e.g., applied, attached, embedded, inlaid, painted, printed, drawn or written on image, using new or conventional practices. These are merely a few examples of ways that polymer can be added to
an image: (i) cPRM can be placed in contact with an image, or with part thereof, e.g., by putting the image in a mold, and/or by building a mold on the image (e.g., with oil formulated clay walls), and/or without using a mold; (ii) polymer can be bonded
to a polymer image, e.g., using a bonding agent such as a bonding substance, for instance, by using the same or a different cPRM to bond it to the polymer image, and/or by forming a mechanical bond with the image (e.g., by using SSI and a bonding
substance like cPRM, by using hardware); (iii) more cPRM and/or polymer can be added to a polymer image in other ways, or using multiple methods.
In forming an inventive image, any amount of polymer desired can typically be added to and/or subtracted from the image or part thereof, as desired, at any time or at multiple times during and after its initial formation, e.g., in layers,
applications, and/or in parts. Removal can be accomplished even if a long time (e.g., ten years or more), has passed. When two contiguous polymers are different, however, it is typically preferable that they bond. For example, at least one of them
might be a mixed polymer, and they might share a common monomer and the catalyst appropriate for polymerizing it, which would enable them to bond to one another, or for example, two contiguous polymers may bond chemically and/or mechanically. Generally,
when forming or reworking an image or part thereof (e.g., when connecting image parts, layering, making other applications and other bonds, etc.), it is preferred that its surface area or areas of contact be clean, e.g., free of any undesirable matter
such as dirt and oil, particularly if that matter will weaken a bond being formed or be undesirably visible. It is also preferred that any polymer, and any other materials, media, objects, and/or devices other than polymer added, attached, or connected
to an image be clean on the area, or areas of contact. This preference is for both structural and aesthetic purposes. Some examples of exceptions to this general preference are those images or part thereof in which the structural and/or the aesthetic
effects of not cleaning the polymer and/or other surfaces which will be in contact with the polymer are desired, despite the possible undesirable risks and effects.
The basic addition and subtraction of polymer to and from polymer in inventive images offers profound changes, for example, enabling new images and new effects in images as well as important solutions to prior limitations. For example, part of
all of one or more applications on an inventive image may be reformed or removed, e.g. even if these applications have already dried, cured, set or hardened, and even if these are conventional applications such as layers of paints, ink, collage,
photography, etc. A 2D inventive image can be made into a 3D inventive image, and this same 3D inventive image or a different 3D inventive image can be made into a 2D inventive image. A layer, application or part applied on an inventive image which is
not exactly as desired, can be reformed as desired or removed. Then, as an example, the area of the inventive image where the layer, application or part once was can be reworked, e.g., so that there is no evidence of reworking, or so that a new layer,
application or part can then be added, as desired. Thus, conventional paint applications on an inventive image, such as those that are not applied as desired or those that have changed undesirably (e.g., discoloring or damaged), can be removed and
reapplied. Cracks in an image can be repaired, broken parts can be fixed, etc. Adding and subtracting matter to and from inventive images can also expand the use of transparent and translucent spatial depth in images, with or without coloration, e.g.,
in painting and drawing. Uses and effects of spatial depth in transparent and translucent painting, printing and drawing which were impermanent, impossible, and inconceivable in conventional images, are now open to exploration using the present
invention. The use of additive and/or subtractive processes of the present invention enables the formation of images that are not possible or problematic using conventional practices, such as oil painting.
In painting and/or sculpting on a polymer image support (e.g., a stabilizer), an image maker deciding that this polymer image support is too small, too large or not the right shape, form or structure for his idea, can typically modify these
elements as desired using additive and/or subtractive processes, spontaneously if desired, so that the image realizes the idea, e.g., without compromising the image's surface or permanence. In comparison, conventional practices often limit or prevent
the ability to make such changes. The inventive medium typically enables a sculptor to modify the size or shape of the image spontaneously as it is developed. Again, this is not possible using many conventional practices, particularly when working with
transparent or translucent images such as glass. FIG. 65. shows an example of the extent to which formal elements like structure, form and surface, can be freely changed, even many times through an inventive image's development, as this Fig.
illustrates twelve stages in the development of one image, which might be done spontaneously and may be reversed as desired. As another example, inventive images might be partially or entirely formed in a subtractive process of removing matter from its
mass. Moreover, the workability, reworkability and control available in the use of the inventive medium typically enables an inventive image of one art form to be made into another different art form as desired, e.g., an inventive image sculpture can be
made into a painting, a table, a wall or a window, etc.
In another embodiment, a crack or hole in an inventive image can be filled, using any method, means, and manner desired. Such processes are typically workable, reworkable and controllable. A preferred means of filling some kinds of polymer
cracks or holes is to first construct a mold around them as desired (e.g., with oil formulated clay walls), and fill it as desired with cPRM. When the cPRM hardens, the mold can be removed. Fiber, various polymers, or other materials can be used to
reinforce filled cracks or holes as desired. It is preferred that cracks too small to be filled with cPRM, such as hairline cracks, be expanded enough so that they can be reworked or repaired as desired (e.g., sand, carve, drill, them wider, or
combinations of these). As discussed herein, fiber can be used to reinforce filled cracks, holes, and other areas of inventive images where greater strength and permanence are desired.
Processes for adding and/or removing polymer from inventive images can be done in a carefully controlled, precise, deliberate manner, with a high level of craftsmanship and skill, such as to form a detailed texture, a precise incised or highly
realistic drawing or design, or to incise easily legible text on a polymer. Processes for adding and/or removing polymer can be carried out in a rough manner or in a manner in which little control is exercised, unskilled control is exercised, no
intentional or conscious control is exercised, e.g., with a low level of craftsmanship and skill. In addition or alternately, polymer addition and/or removal can be done in any manner between these two extremes. For instance, undesirable cPRM or
polymer can be removed as desired, e.g., with cutting and sanding tools. Among the preferred methods of reversing polymer removal in an inventive image are adding cPRM and/or connecting one or more pre-formed polymers, as desired. In addition, polymer
can be added or removed during the gelation stage, typically as soon as it has gelled firmly enough to carry out the process(es) desired. It is frequently preferable to cut and carve the polymer medium during its gelation, e.g., as in FIG. 83, described
below. It is generally preferable to wait, however, until after gelation is over and the polymer is hardened or formed to sand, chisel, and/or abrade it by other processes.
In a further embodiment, applications of one or more materials, media, objects, devices, processes, and/or interactions, other than polymer are at least partially removed or reversed from a polymer inventive image. Throughout processes of
removing matter from a polymer, one or more new aesthetic elements might be added to it, intentionally or unintentionally. Such added aesthetic elements are generally as workable, reworkable and controllable (e.g., as reversible) as their own
composition permits. For example, sgraffito or a similar technique can be used to scratch, cut, incise, carve engrave, or sand a drawing into coloration (e.g., paint) on a polymer. Because the process of removing matter from the medium can be
controlled as desired, each new aesthetic element formed by removing matter can be formed in a controlled manner, in an uncontrolled manner (e.g., randomly), and/or it can be formed in a manner between these two (e.g., with moderate control).
To rework and control inventive images, a variety of processes (such as additive and subtractive processes) can be used, with a variety of tools, and/or without tools e.g. by hand, using fingers, sandblasting, beadblasting, saws, drills, "Dremel"
tools (made by Emerson Electric in Racine, Wis.), Paascche "AEC Eraser Set" (a hand held tool that projects abrasive material such as aluminum oxide; Paasche is in Harwood Heights, Ill.), agents such as water; solvents (such as turpentine, acetone and
mineral spirits); paint removers; cleaners (such as those made for cleaning hands, dishes, those made for industrial cleaning); and combinations of these.
Processes of removing matter from a polymer can, for example, be used in some embodiments to rework and control applications and effects as desired, e.g., removing paint, collage, ink and/or other coloration. In one example, when applied on
polymer medium of the invention, coloration such as conventional image making mediums (like paints e.g., watercolors) typically become as workable, reworkable and controllable as desired (e.g., reversible and repairable). In addition, on polymer medium
of the invention, coloration can have real light hitting it, and reflecting into and back out of it from one or multiple sides of the image (e.g., the front, the back and the sides). This light can be from a variety of sources, the polymer medium may
also have other light effects and/or it can emit light (e.g., refer to examples provided herein). Moreover, the polymer medium can have coloration in any thickness or shape, with or without real variable layers of spatial depth. These features are
typically not available with many comparable conventional images. Many inventive images offer greater workability, reworkability, controllability and variety of effects than conventional practices. Among examples are inventive image paintings made
using conventional paints and conventional painting processes (with or without the additional use of other paints and painting techniques, e.g., using cPRM as a colorant or paint).
Paper and other conventional materials can still be used in inventive images if desired, (attached to, inlaid or embedded). For instance, a painting on polymer that is transparent and/or, translucent can be displayed in front of a white surface
(such as a wall, or a white material like metal, paper, wood or polymer) which would serve some of the same functions as conventional image supports (like paper or canvas) and/or which could be used as an underlayer in the inventive image (e.g., the
white reflects light back through the transparent paint to the viewer).
On polymer of the present invention, conventional image making mediums (like watercolors) can typically be as workable, reworkable and controllable as desired, even in unlimited superimposed layers. In an example, applications such as coloration
and marks (including transparent and translucent painting applications of conventional paints and other conventional practices) can be applied onto polymer inventive image surfaces (such as those which are absorbent), as desired, with much fewer
irreversible undesirable issues or consequences than are typically encountered using conventional practices. Moreover, such applications, coloration and marks are typically as workable, reworkable and controllable as desired. In an illustration, a wash
using any conventional paint (e.g., acrylics, gouache, tempera, oils) applied onto paper will absorb into that paper, usually quickly and sometimes before the entire area of the paper which is getting the wash application has been painted. Here are some
typical consequences, which may or may not be desirable, all of which can be avoided using the inventive medium. (1) The wash may bleed uncontrollably, e.g., bleeding into other colors. (2) The wash may color the paper unevenly, which may or may not be
desired, e.g., its perimeter may be darker than its internal area, or different ingredients in the paint wash may absorb into the paper differently leaving visible signs. (3) The paper may buckle (expand) where the wash is applied, and stay this way
once it dries. (4) The wet areas of the paper may be too fragile to further process as desired, before they dry, and/or after they dry. For example, drawing in pencil on wet paper or on paper that has been worked with previous applications may fray or
tear its fibers or indent it. (5) The wash may not be reworkable (particularly its shape), and if it is reworkable, its reworkability is likely to be limited, problematic or both, e.g., the only way to rework it may be to cover it up, for example, with
an opaque application, and it is likely that the wash will not be removable at all, not even to lighten it by removing some of its coloration. The inventive medium and polymer inventive image supports (such as stabilizers), typically enable these
limitations and problems to be controlled as desired, or avoided completely, opening up new possibilities for image making and images.
Attempts to rework images using the invention, particularly when erasing, may have fewer or no visible damage on the surfaces of these images. For example, ordinary applications of conventional drawing materials (e.g., pencil, pastel or
charcoal) often get into the fibers of the paper so that these applications cannot be reworked as desired (e.g., erased), and often attempts to do so leave irreversible visible undesirable marks on the image. Also, during conventional processes of
drawing on paper, the natural oil in a normal image maker's hands (and sometimes arms too) might make irreversible, undesirable visible marks on the paper which cannot be removed, or this normal oil gets into the drawing application (e.g., into the
graphite, the pastel or the charcoal) limiting or preventing the ability to rework that area as desired (e.g., erase). In comparison, marks made using conventional practices on polymer inventive image surfaces, such as marks made using conventional
image making materials and media as well as oil marks, can typically be reworked as desired (e.g., erased).
Processes for the removal of matter from polymer inventive images can create or affect other formal elements. In the following two examples, a very dark, translucent, phthalo green paint which evenly covers the entire polymer surface is
partially removed. Example 1, the green color is partially removed, evenly over the entire painted surface by sanding, sandblasting, and/or beadblasting. Once it is partially removed, the green paint is no longer just translucent, it is transparent,
with an altered hue, value and intensity. Thereafter, this medium can be further processed as desired, e.g., more paint can be added onto it, for instance a yellow wash might be applied over part of it using conventional practices. Example 2, the
polymer inventive image's green paint is partially removed in a deliberately controlled uneven manner to simultaneously add both a geometric design and a drawing of three apples onto this image. The paint removal which creates the geometric design is
done by first sandblasting the polymer with selected parts of its green surface masked so that they are not changed by the sandblasting at all. The only parts of the polymer image's surface not covered with this protective mask are those areas exposed
through its negative cut-outs. Thus, these are the only areas which the subsequent sandblasting hits and abrades. Then, the mask and its adhesive are removed from the polymer and the green medium surface has its paint selectively removed on 25% of its
surface in the desired geometric shapes which are higher in intensity and lighter in value than the color on the rest of this polymer surface, and they have become transparent while the rest of this image's surface has remained translucent. Then, for
example, a hand held Dremel tool and a variety its small sanding and cutting bits might be used to incise a large drawing depicting three apples over said image's surface. Some of the incised lines of this drawing might then be sanded and carved further
so that they have different widths and depths. As a result, of its variations, the incised lines of this apple drawing have multiple colors.
As further examples, all of the inventive images described herein and shown in the Figures can be reworked as desired, e.g., changing one or more of their formal elements.
Compositional Arrangement
The compositional arrangement of inventive images are unlimited and typically workable, reworkable and controllable as desired. Using the present invention, a compositional arrangement can be made, and then if desired, it tyically can be further
worked, reworked and controlled as desired, repeatedly if desired, over any period of time, e.g., typically in a WYSIWYG process, in a sight unseen process, in a preplanned process, in a spontaneous process, or in a process that combines these. The
compositional arrangement which can be formed using just cPRM and one color are infinite. The use of compositional arrangement can bring real light and real spatial depth into images as never before, and affect other formal elements typically without
lessening the inventive image's strength, its permanence, or its other desired elements undesirably.
When considering compositional arrangements, one or more parts of images can be rearranged, adjusted, or modified; painted, carved, cut or enlarged; removed or minimized; developed, integrated, and unified with other parts, with other formal
elements, and in their relationships to the image as a whole. By making images in parts, their compositional arrangements, forms, and structures can be made as desired in a myriad of variations, using real space, in addition to or instead of other forms
of space. The ability to create in parts using the inventive medium image offers freedom, aesthetic possibilities and control, which was heretofore limited or non existent. The Figs. show a variety of examples of inventive images made in different
compositional arrangements, many of which are images made in multiple parts such as the images shown in FIGS. 65-67 and 79.
In some embodiments, images can be made using multiple solid and/or hollow volumetric forms. In some embodiments, images can be made of multiple planes, multiple rods, and/or multiple volumetric forms. In embodiments, an image, or part thereof,
made of multiple parts, has two or more layered parts, with any specifications desired. For instance, two or more layered parts may form a compositional arrangement by being physically connected to one another, contiguous, with one or more parts
physically separate from the rest, and/or with some or all of the parts connected to a common element such as a common mount, base, stand, or support or structure (e.g., the wall, the ground, a mantle, a beam, the ceiling, the floor). In some
embodiments in which parts of inventive images are layered, inventive images are made with one or more parts visible through one or more of its other parts. For example, the part which is visible through the polymer of an image might be its mount,
another polymer component, and/or a non polymeric part such as one or more neon lights, LEDs, wooden shapes, metal parts, a painting on a stretched canvas, a drawing on paper, a drawing on another polymer part, other light sources, a photograph, a mirror
or a combination of these. Two or more of the layered parts may be physically connected to one another or contiguous, with one or more other physically separate, layered parts. Layered parts in inventive images might be alike or different (e.g., made
with various aesthetic variations, for example, they might be colored in any way; they might be transparent, translucent, partially opaque, or opaque; their forms might be flat, textured, hollow, solid, flexible, rigid, or curved; they might have
embedded objects, inlaid objects, air bubbles, or negative cut-out spaces within them; or they might have combinations of these and any other variations desired). An inventive image might also be comprised of two or more layered polymer components, none
physically connected together.
In one example, the inventive image in FIG. 79.VIII. might be comprised of three polymer components or image supports (e.g., stabilizers), each measuring roughly 24''.times.35''.times.0.75''. The supports might be hung from the ceiling,
parallel, about a half an inch to an inch apart from one another, using two barely visible, strong, wires or cords on each polymer component. The six external surfaces of these three hanging polymer components might all have coloration, e.g., painting
using mostly transparent colors and a few opaque colors, and/or coloration from light. Line drawing might also be done on them. As a result, viewers would perceive these three separate polymer components simultaneously as a single unified whole
composition. If such an image is mounted near a white wall, the light reflected off of the wall will enhance the transparency and the light effects of the image's three layers, as well as its color and other formal elements.
Further Creation Processes
Inventive images can be formed in any process or processes desired, as will be readily understood by those of ordinary skill in the art. In an example, inventive images or part thereof are made which are positive cut-outs, but these can be
rigid, flexible or both; transparent, and/or translucent; they can have internal designs and coloration; they can emit light or have light effects; texture, etc. See FIG. 4. For instance, (a) polymer can be cut into the desired shape to make a cut-out,
(b) a cut-out can be cast in polymer, (c) a cut-out can be made by connecting multiple parts, (d) a cut-out can be made by partially or completely covering, backing or encasing one or more forms with cPRM and/or with polymer (such as covering, backing or
encasing materials, devices, found objects, or image supports, e.g., paper forms or forms made of the inventive medium), and/or (e) a cut-out is formed by hand (with or without tools) using a malleable polymer, or (f) a combination thereof.
In various embodiments, inventive images are made in a process which is completely or partially spontaneous. In certain embodiments, 2D and 3D inventive images can be made in a process which is controlled as desired, ranging from complete
control (e.g., even preplanned) to no control, or no conscious or intentional control (e.g., chance and accidents are used). Thus, 2D and 3D inventive images can typically be made with any degree of precision and craftsmanship, detail, intricacy and
delicacy desired, ranging all the way from one extreme to the other.
Inventive images can be made by one or by multiple image makers who may or may not be working collaboratively. In an example, the first image maker(s) or the first group of image makers might make various 2D and 3D polymer forms that are
transparent, translucent and/or opaque; flexible and rigid; and regularly and irregularly shaped, such as boxes, planes, rods cubes, blocks, forms with multiples of these, and forms with combinations of these elements. Each of these images can have one
or more of the following five variations. Variation (1) One or more of its polymer surfaces are prepared to bond to superimposed applications made by one or more other image makers after being transferred (e.g., these polymers have surface preparation
stabilizers). Thus, these polymers may be used as image supports e.g., stabilizers. The first image maker or makers might make the image colorless or colored, with light effects or other further processing. Applications superimposed by the second
image maker(s) might be made using conventional practices and/or new practices such as those herein. For instance, some or all of an image's surfaces might be prepared to bond to: collaged elements, wax based applications, oil based applications, water
based applications, other conventional applications (e.g., graphite, pastel, charcoal, silverpoint, fresco, sgraffito, gold leaf), multiple different kinds of applications, different areas of its surfaces might be specially prepared in different ways for
bonding to different kinds of applications, surfaces might be prepared for making particular effects (e.g., painting, drawing or light effects, or for carving, or incising), or surfaces might be prepared for a combination of these.
Variation (2) The polymer has a visible light effect added or formed by the first image maker or makers. For instance, it has a light effect which cannot comparably be made in a strong, permanent conventional image, e.g., an iridescence,
fluorescence, reflectivity, a dichroic effect, a photochromic effect, a lens, and/or a light source such as EL Lamp(s) or LED(s). Variation (3) The polymer has been marked as an image might be marked when it is being formed, e.g., internally, externally
or both. For example, the image has some painting, drawing, printing, carving, photography, and/or collage, on it, in it or both. It might have an underlayer (e.g., a surface preparation stabilizer), a sketch, contour drawing, some broken color
applications, and/or printed graphics, on it and/or within it. When an image is only marked with words (e.g., written or printed), it is preferred that it also have one or more of the other four variations on this list. Variation (4) It has been shaped
as an image might be shaped at the beginning of its formation. For example, it is recognizable as a known 2D or 3D art form such as a cut-out, a drawing in space, a canvas; a construction made of multiple parts which physically connect to one another
and to a wall (but which might be disassembled for transport; a planar polymer, e.g., with colored items, carving, negative cut-outs and/or painting, within it, externally, or both); it is a light emitting image like a screen which might be interactive;
or it is recognizable as image in another way, e.g., as the 3D form of a horse, as the 2D form of a leaf, or as an image support for sculpture by a known artist. In a further example, the image is a polymer form which has clearly been developed to such
an extent that it could and might be considered a finished image. Variation (5) A frame, a backing, a support, a base and/or a mount has been added to the polymer image which will enable it to function as a particular recognizable form of fine art, such
as wires, rods, a base, or a rod. Or, mount parts for a rigid planar image painting are made which will install it securely onto a wall holding its transparent polymer plane securely the distance desired out from the wall. Among these mount parts there
might be a metal plate which goes on the wall behind the image, making its installation more stable, while also offering the second image maker the option of further processing this plate as a second layer of this painting, e.g., visible through its
outer polymer layer as perhaps an underlayer of color.
These images can then be further processed, reworked or both, by their second or further image maker(s). This might transform them into different art forms and/or change their function. For instance, an image made as fine art might have an
additional function, e.g., an interactive function, functioning as a wall or as a window, or an image window might be made into an image sculpture by its second image maker.
In some embodiments in which inventive images are made by more than one image maker, PRM may be prepared and transferred to others for further processing. For instance, PRM is transferred to a second image maker with image making instructions,
with a mold, with added light effects, LED(s) or other sources of light, with other added coloration, with one or more stabilizers, and/or with an image support which may be a stabilizer.
One of the most desirable features of the present invention is the ability to make images as desired and then rework them as desired. Such working processes are desirable because they typically enable image makers to explore possibilities with
their ideas while minimizing or avoiding such risks as possibly having to start again, recreate the creative effort, or lose time or money, without diminishing or eliminating aesthetic options (e.g., its light), without the loss of the image's strength
or permanence, and without other undesirable effects. If desired, image makers can explore to find their vision, find and form the image that expresses their vision, and try variations of their images without knowing if they will work (e.g.,
structurally, aesthetically, functionally).
In some embodiments, polymers are made according to the Principle of Whole Development and Unity to the extent desired and/or in the manner desired, largely possible because the inventive medium typically offers image makers workability,
reworkability, controllability and creative freedom as desired, without lessening the achievement of other goals desired in them. For example, the ability to use various forms of light and light effects in a polymer or an image does not typically alter
the ability to form that polymer medium or images with the level of strength and permanence desired. The invention typically permits the real spatial depth of inventive images to be workable, reworkable and controllable as desired, e.g., permitting and
even expanding the use of texture, attachments, inlays, embedding, multiple transparent and/or translucent layers, nonrectilinear perimeter shapes, and/or negative cut-out spaces within paintings.
In various embodiments, polymer of the present invention and/or cPRM can be malleable and/or formable by hand. Preferably, these inventive mediums are transparent or translucent. For example, a malleable or formable polymer or cPRM might be
pressed, pulled, stretched, squeezed, rolled or otherwise manipulated, so its form is augmented, redesigned, cut, ripped, etc.
The processes of creation which typically can all be used as desired to form inventive images, are among the most highly preferred by image makers today, largely because the present invention typically offers: (a) workability, reworkability and
controllability as desired (ranging anywhere from little or none, to free and full); (b) WYSIWYG processes; (c) the present invention is very versatile and can incorporate all kinds of non polymeric ingredients, processes, and/or interactions; (d) the
inventive medium typically offers image making according to the Principle of Whole Development and Unity to the extent desired and in the manner desired; and (e) the inventive medium can make images with an enormous range of visual results.
The inventive medium typically enables negative space, spatial depth, transparency, translucency, layers, parts, color, light, form, structure, the method of display or installation, size, proportions, and other formal elements to be used in the
formation and reworking of images according to the Principle of Whole Development and Unity to the extent desired and in the manner desired. Neither the general nor the specific structures or forms of inventive images have to be fixed when their
formation is begun, they may be developed as these images are developed and they may be changed at any time. The method of display or installation can typically be unified with the rest of the image as desired. Images can typically be worked, reworked,
controlled and viewed from all sides, as desired, e.g., layers, parts or both can be moved, flipped over, rearranged, connected and unconnected, reshaped, textured, cut, parts discarded, and/or parts or layers removed, as an inventive image is formed or
thereafter. The use of transparent color can typically be developed along with the other formal elements of an inventive image, such as its shapes, size, texture, form and structure. The surfaces and negative space of inventive images can typically be
as fully integrated with their structures as desired. These formal elements can typically be developed in concert if desired. The use of real light in inventive images can be as important as their use of form. Negative space, positive form, color, and
light can typically be developed simultaneously in inventive images. As another example, images in conventional art forms (such as paintings and sculpture) are made using the present invention which are integrated with their means of support, set up,
and/or installation, e.g., they are integrated with their base, backing, mounts; electrical cords and other electric parts; mechanical parts, light source(s) (such as conductive polymer ones), real spatial depth, etc. An abstract inventive image
sculpture, might be made of multiple polymer parts using color in real space with real light.
FIG. 2 shows how the formation of inventive images using both additive and subtractive processes can afford image makers expanded use of formal elements to create a wide range of new possibilities. Two images are illustrated in FIG. 2, marked
2.I and 2.II. Both images were begun on a planar, transparent or translucent, initial image support (e.g., a stabilizer). Both images will be further developed, with conventional applications of conventional painting and drawing media and materials
(e.g., watercolors, oil paints, acrylics, tempera, encaustic, gouache, pencil, pastel, conte crayon, charcoal, etc.), and if desired, with light effects also, such as reflective applications, electrically active layers, LEDs, etc. These image supports
will be used in a manner similar to conventional paper or canvas image supports using conventional practices, but there are significant differences between the development of these images and conventional practices.
Each of the two images in FIG. 2 is shown in three progressive stages of development, marked a, b, and c, and both images, 2.I. and 2.II. are simultaneously developed from opposite sides, marked side 1 and side 2 in each of the three stages.
Stage a shows that some applications of coloration and shapes are made on opposite sides of both images, as shown in a.1 and a.2 in FIGS. 2.I. and 2.II. The second stage of development, stage b in FIGS. 2.I and 2.II, shows applications and removals of
coloration and shapes from two sides of each image, as shown in b.1 and b.2 of FIGS. 2.I and 2.II. Added coloration has been removed, lightened and darkened. New cPRM might be used to fill in and level surfaces as needed, e.g., due to removal of paint. Thus, there may not be any undesirably visible evidence of the removal of matter from these images. The compositional arrangement, the color and the use of light in both images has changed significantly. Developing these images from multiple sides,
using both additive and subtractive processes is a WYSIWYG process, which enables changes to parts of these images to be viewed in relation to other parts and to the image as a whole. Even though it can be difficult to remove coloration or to completely
remove it in a controlled manner from many conventional images (e.g., to lighten them), and even though it is frequently difficult or problematic to rework coloration on conventional images as desired, all of these kinds of processes are easily done
using conventional image making media and materials on polymer(s) according to the invention. The WYSIWYG mode can allow spontaneity and it can enable work to be done according to the Principle of Whole Development and Unity, as desired. It also
facilitates experimentation and risk-taking that might not be feasible using conventional practices (such as conventional support media), because using conventional practices such changes are often neither workable nor reversible as they are using the
present invention. The image maker can continue to use both subtractive and additive processes, as desired in further processing these images in FIG. 2 as desired. FIGS. 2I and II each show a third stage of image development, stage c, with both sides
of these images presented in c.1 and c.2. This third version of these images may or may not be final. If desired, either image could be further worked so that part or all of it returns to the way it was in the previous stage b. and/or further processed
in another way.
The process of creating these images according to the invention advantageously permits working with transparency and translucency, light and color, and even provides a new way of using conventional image making practices. For instance, such
inventive images might be made using applications of coloration which are all transparent, and as they develop, these images can be darkened and lightened, repeatedly, as desired, typically without limitations, problems or undesirable issues, even using
conventional applications of conventional image making media like oil paints and watercolors.
In another illustration of the use of the inventive medium, once a number of polymer shapes are formed, an image maker can bond them to one another connecting two parts at a time using a bonding cPRM or any other suitable bonding substance, e.g.,
an adhesive, optionally reinforcing these joints with fiber, such as by using oil formulated clay. When the image maker prefers to connect the parts at a variety of angles, the sides of the polymer parts may have to be sanded down or cut down to
different angles so that the area of contact between the parts being joined is sufficient to make their connection as strong and as permanent as desired. These polymer parts may be made sufficiently rigid and sufficiently strong to be stable as a 3D
volumetric form. This can be a large inventive image with perhaps more than a hundred polymer parts, and optionally other parts. Working according to the Principle of Whole Development and Unity, the image maker can typically determine the inventive
image's formal elements, such as its structure, its form, its coloration, its use of light and space, and the specifications of its parts as he connects the desired parts. Thus, the next part he may need might be made, or he might make it, e.g., make it
from scratch or by reworking a part he already has, such as by adding texture or another layer to it, by carving into it, altering its perimeter, its shape or its form, or the next part he might use may be made of a composition other than polymer of the
present invention. The polymer parts used in this example are generally inexpensive and easily made.
For example, the image maker may: (a) begin forming the inventive image sculpture without any formulated concept (e.g., begin knowing only that multiple parts with colored transparent and translucent shapes that suggest a curving movement are
desired); or begin with a basic concept of what this inventive image sculpture will be like; or begin this with a partially or fully developed concept of the inventive image sculpture. (b) make these polymer parts in all of the variations of shapes,
sizes, light, color and other formal elements that might be used for the inventive image sculpture, even if they are ultimately unnecessary. (c) try variations of color, space, shapes, light, form, drawing, layers, painting, photography, other formal
elements, and variations in the polymerization process (e.g., using VIMC) in making these polymer parts, even if these are not visualized in advance and even if there is no conception of how they will work together or if they will work as part of this
inventive image sculpture, since the inventive image can be reworked or undesirable results removed. (d) assemble the polymer parts knowing they can be reworked and their compositional arrangement rearranged as desired (e.g., repositioning them, taking
them apart or even discarding them and starting over); thus an image maker can try compositional arrangements, shapes, forms, arrangements of color, even if they may not work as part of this sculpture. (e) make new molds or use other processes for
forming polymer parts of the present invention, e.g., injection molding, extrusion molding, blow molding, etc. (f) add one or more non polymeric ingredients to this inventive image if desired, e.g., as additional parts, as bonding agents, or both. (g)
develop the method, means and manner of displaying or installing this inventive image sculpture as its other formal elements are determined. (h) change the original concept for this inventive image sculpture as desired, at any time or at multiple times
during its formation and after its formation.
Work on this inventive image may continue until the desired sculpture is formed. The formation of inventive images in this manner may be considered (e.g. painting), in real space with real light. Thus, the invention typically provides a
spontaneous, workable, reworkable, controllable, WYSIWYG image making process, using color in real space with real light, real transparency and real translucency, which can be done according to the Principle of Whole Development and Unity to the extent
desired and in the manner desired.
The workability of the inventive medium is also shown in FIG. 68. The inventive image in FIG. 68.a is a single, rigid, planar rectangular polymer image support that may or may not be a stabilizer, which is at least partially transparent or
translucent. Each of its two negative spaces might have been formed by a mold as the polymer was cast, or might have been cut or carved in it during gelation or after polymer formation (e.g., preplanned or spontaneously made). The image in FIG. 68.a.
may be the finished image, but if it is not, it can be further processed. The first example of a way that the image in FIG. 68.a. could be further processed is by the use of one or more additive processes, filling in one or both of its negative spaces,
partially or entirely with new polymer or with some other medium or material, e.g., paper, canvas, glass, etc. If these two holes are completely filled in with new polymer that matches the polymer with which it is made, this image could become a single
continuous polymer plane (which it might have been in a previous stage if for example, it was not cast with its two negative spaces in it). Alternately, partially filling in either or both of these two holes could bring a new desired variation to this
image, e.g., texture, color, a second level such as an inset piece, a curve, perforations, a new material or medium, a different light effect, etc.
As a second example, the image in FIG. 68.a can be further processed by using subtractive processes, for example, by cutting a third hole through it, and cutting its rectangular perimeter into the irregular shape as in FIG. 68.b. Though the
image maker could just cast this image in the form in FIG. 68.b, his ideas might develop during the image making process. The image in FIG. 68.b could then be the finished image desired, e.g., a sculpture or a shaped painting. If it is not the finished
image desired, it can be further processed as desired. For example, one way that it might be further processed is by adding polymer to it so that it reverts back into the image in FIG. 68.a. Another example of a way this image might be further
developed is with added coloration as in FIG. 68.c. (alternately this image could have been cast with the coloration shown in FIG. 68.c.). As another example, the negative spaces in either FIG. 68.a or b could be filled in to give the polymer form a
continuous rectangular image. Then, this image could be colored as in FIG. 68.d. Alternately, the image in FIG. 68.d might have originally begun as a continuous rectangular polymer plane formed with internal and/or external coloration. The inventive
image in FIG. 68.d may be the finished image desired, but if it is not it may be further processed.
After forming the polymeric inventive image with coloration in FIG. 68.d, the image maker can spontaneously add more polymer onto this image to extend it. As one example, a border or frame may be added of polymer and/or another medium, e.g.,
added, modified or removed as desired. In another example, the resultant image may be the one in FIG. 68.e in which the width, the length and the height of the image in FIG. 68.d are all extended. Or, the resultant image may be the one shown in FIG.
68.f in which the image in FIG. 68.d is extended both horizontally and vertically. Notice that on both of these reworked inventive images, the polymer added to its lower side which extends each of them vertically provides a method of displaying the
image. Before or as this image is colored, texture might be added to it which could be modified or removed as desired. The ability to added polymer to this image spontaneously enables this inventive image to be formed as desired--working out the shapes
of its coloration, its form, and the method of its display simultaneously, so as to judge these formal elements of the inventive image in concert, in a WYSIWYG format. Thus, because the formal elements of this image were workable, reworkable and
controllable throughout the process of creating an image, the surface of this image, and its use of compositional arrangement and color, could be made and worked as desired, in concert with its structure, its perimeter shape, its use of space, etc. The
formal elements of this image might be created and developed according to the image maker's vision, while minimizing or avoiding many conventional media limitations, particularly if the image is transparent.
FIGS. 68.e. and f. show two ways that the inventive image in FIG. 68.d might be further processed, with attachments and/or other changes. FIG. 68.e. shows the addition of five attachments onto the inventive image in FIG. 68.d., two on its
front surface, one on its right side, one on its upper edge, and one on its underside which serves as a base for the entire image--its method of display. The inventive image in FIG. 68.f. is a way the image in FIG. 68.d might be further processed, by
adding two attachments to its underside which serve as legs, as a method of display. One or more of the attachments made in FIG. 68 might, e.g., be bonded to this inventive image using screws and/or a bonding substance, like cPRM or a glue. Either the
inventive image in FIG. 68.e or the inventive image in FIG. 68.f might be the finished image desired, but if not, it may be further processed as desired. For instance, one or more attachments might be removed.
FIGS. 65 and 66 each show an inventive image begun without any initial image support, which is further processed in ways that involved rearranging their compositional arrangement and changing their art form. At any of the 12 stages in FIG. 65,
and at any of the 9 stages in FIG. 66, each of the inventive images illustrated could be completed and all further processing ceased. These illustrations show how the workability and reworkability of the inventive medium can give image makers
unprecedented freedom and control in forming images, to the extent that they can freely work with formal elements such as transparency, spatial depth, light, compositional arrangement, shape, form, color, structure, method of display, and even change the
image from one art form to another, as well as combinations thereof.
The inventive image in FIG. 65.a begins as three separate parts in a compositional arrangement, e.g., three polymer rods, flat pieces of polymer, or non polymeric ingredients. For example, these three parts might be hung as a mobile; two of its
upper parts might hang and its third part might stand on the floor or ground forming a sculpture; these three parts might be mounted on the wall as a wall piece; or they might be displayed on a pedestal as sculpture. FIGS. 65.b.1 and 65.b.2 are two ways
that 65.1.a might be further developed by rearranging its parts and connecting them into two different compositional arrangements having the same two add elements, one a circular part (e.g., which may be a rod or a plane), and the other linear part
(e.g., which may be flat or cylindrical). In FIG. 65.b.1, these two added parts connect all three separate parts of this image together into one form, while in FIG. 65.b.2, they connect with only two of the three initial parts of this inventive image.
Thus, this inventive image is comprised of a compositional arrangement of two separate parts. As another example, the inventive image in FIG. 65.b.2, which is made of two separate parts, can be superimposed by or on a new planar part that connects them
as in FIG. 65.c. This new planar form closes the once open form of this inventive image, thereby enabling it to function as a different art form if desired, e.g., it can now function as a painting, as a window, as a table top, as a door, etc.
Alternately, this new part might be a frame or a rod giving the form of 65.b.2 a rectangular perimeter, e.g., mimicking a traditional painting. If desired, the inventive image shown in 65.c can be made into the inventive image shown in 65.b.2 by
removing its new part. FIG. 65.d shows the inventive image in 65.c cut irregularly on a diagonal into two uneven parts. Thus, this inventive image can no longer be used in same functions as used in the previous stage of 65.c. If desired, the inventive
image shown in 65.d can be reconnected so that it becomes the image shown in 65.c. Alternately, for example, the inventive image shown in 65.d. may be used as a shaped painting, put on a stand as a sculpture, or installed as a uniquely shaped skylight. In 65.e, the inventive image of 65.d is formed into a new compositional arrangement to take advantage of its transparent forms. However, if desired, the inventive image shown in 65.e can be reformed back into the form it had in 65.d. Instead, FIG. 65.f
shows a new part added to this inventive image as a layer behind its two existing layers to develop this inventive image's transparency.
FIG. 65.g. shows that another new part might be added to this inventive image and its transparency developed in a different compositional arrangement. The inventive image of 65.g can be made into that of 65.f if desired. FIG. 65.h shows this
inventive image reorganized into yet another compositional arrangement, with a new part added, a circular plane layered underneath two of its forms. The forms of the layers of this inventive image have also been changed by both additive and subtractive
processes, enlarging two of the layers and reducing the size of its upper rectangular part. FIG. 65.i shows that the layers of the inventive image seen in 65.h are altered so they are no longer perceived to be separate layers, though they may still be.
This illustration does not show that this inventive image's coloration remains at different levels of real spatial depth in the image.
In 65.j, coloration and texture can be added to the inventive image and coloration removed from it. This inventive image is further processed one last time with dramatic changes in its form. Its central circular form, which was only coloration
in 65.j, is enlarged and cut out in 65.k. Cuts into this image also alter its perimeter. The form of this inventive image is further changed by the addition of two new parts as layers--the rectangle shown in gray on the left side of the image is a
layer added to this image's underside, and the striped form on the image's upper right is a layer added over it (e.g., which might be an open form made of parallel rods and a frame). It should be understood that for each of FIGS. 65.a to 65.k, if the
image is not as desired it can be further processed or reformed to the previous state, e.g., 65.k can be reformed to 65.j.
Because the compositional arrangement of the inventive images in both FIGS. 65. and 66. can be changed continually, tacking might be used to secure their parts. Like the inventive image show in FIG. 65, the inventive image shown in 66 is not
made with an image support. Like other inventive images, it can be reworked at any time to any previous stage without limitations. The image of the invention in FIG. 66.a begins as six separate parts. This inventive image is reorganized into different
compositional arrangements in FIGS. 66.b-d. In FIG. 66.e, six new parts are added to the inventive image in FIG. 66.d. which are removed in 66.f and replaced by a different new part, a rectangle, which might be either an open or a closed form, e.g., a
frame, a rod, or a plane. This new rectangle is the common part connecting all of the other parts of this inventive image. The compositional arrangement of this inventive image is reorganized in 66.g, its rectangular part is replaced by an oval part
which also may be either an open or a closed form, and this image is given the means by which it can be hung for display. This means for hanging this inventive image is later removed as shown in 66.h. FIG. 66.h also shows other dramatic changes that
might be made to this inventive image. Its coloration, compositional arrangement, and oval part might each be changed, and two new lozenge shaped parts might be added which are light sources or which have light sources on or behind them. Therefore,
these lozenge shaped parts illuminate this inventive image with real light. FIG. 66.i shows this image further processed with one of its lozenge forms illuminated with different coloration, a new transparent rectangular part added as a layer over part
of this image, and the forms and coloration of the initial six part of this image altered using further processes.
The Work Area, Tools, Molds, etc.
Any suitable tools may be employed in preparing inventive images or performing processes to make the same. For example, one or more hypodermic syringes can be used as a volumetric measuring devices to make inventive images, e.g., for exactly
measuring small quantities of catalyst. For example, glass hypodermic syringes and long spinal needles are often most preferred. If desired, this can be used to control the polymerization process as desired, e.g., to control polymerization heat. Also,
images can be made in any suitable indoor and/or outdoor location, preferably using material-appropriate safety precautions. For example inventive images or part thereof can be partially or completely made in an unequipped place, in a "clean room", in a
ventilation box or in a vacuum. Any suitable mold, or plurality thereof, can be used to make polymers and inventive images, or any part of thereof. A single polymer, or a single inventive image can be made using one mold or multiple molds, as desired.
For example, both open and enclosed molds may be used to make inventive images, as well as partially open molds. Molds are often formed directly on inventive images, e.g., to add polymer to them, such as an additional polymer layer or part on a
polymeric or a non polymeric inventive image surface. When using a mold to make polymer, it is often preferred that the mold be coated with a suitable mold release agent, such as a petroleum jelly, or a release specifically made for the kind of mold or
surface being used. In many embodiments, it is preferable to subdivide the mold or other surface on which polymer is formed. In some embodiments, inventive images are begun on one or multiple molds. In general, it is preferable to select the
ingredients in the cPRM so that its polymerization heat does not affect its mold or other surface undesirably, e.g., other surfaces such as a polymer, or a part of an inventive image made of one or more other materials, media, objects, devices,
processes, interactions, or their combinations. If the mold or other surface is altered during polymerization, the polymer formed can also be affected.
Examples of preferred molds and mold materials include articles originally made for a different use, such as a wax lined paper cup, an elastomer doormat, or a piece of plastic sheeting, or melamine (e.g., Formica.RTM., made by Formica Corp. of
Cincinnati, Ohio); oil-formulated clay perimeter walls made on a melamine surface; elastomer (such as silicone rubber); plastic (such as polypropylene or melamine); clay (such as water and oil based formulations); wax; wood; plaster; or combinations of
these. If a mold needs further support it can be reinforced.
It is preferred that the design and use of partially closed molds adequately permits the escape of air, vapors, gases and significant heat from the cPRM or other ingredients therein. It is also preferred that molds are sufficiently strong,
well-sealed and durable for their use in making images, and the interior mold space is clean.
Often cPRM materials do not polymerize well or fully due to their exposure to air, or more specifically to oxygen. Thus, it is often preferable to form them in a mold in which their exposure to air and oxygen is reduced or eliminated. cPRMs
might be formed in a closed mold. Or they might be formed in an open mold, which has its upper side which is exposed to air, closed with a cover or "roof" that preferably leaves little or no air pocket between it and the polymerizing cPRM. Acrylates
and methacrylates do not typically polymerize well exposed to air, so they are also preferably formed in a closed mold, in a partially closed mold, or in an open mold that is completely closed with a cover or "roof." Such a roof might be made of a film
like Saran Wrap.RTM.. The "roof" might be sealed with the perimeter of the previously open mold (e.g., using oil-formulated clay). Such a roof might rest directly on the upper surface of the polymerizing cPRM, or there might be an air pocket between it
and the upper surface of the polymerizing cPRM, e.g., refer to FIG. 74. For instance, such molds might be necessary when polymerizing a HEMA, such as 2-Hydroxyethyl methacrylate.
In an embodiment, one or more parts of an inventive image and/or of a mold for it might be partially or entirely made of clay. The workability, reworkability and controllability, available to image makers during the process of forming polymer
can often be significantly enhanced by using oil- or water-based clay formulation(s), e.g., oil-formulated clay is most preferred. For example, clay can affect and help control both the polymer formation process and the resulting polymer. Clay is
preferable for reworking most if not all kinds of molds and other surfaces, and it can create results and effects which are often very difficult or impossible to create without clay. Oil-formulated clay can be used and reused with the present invention
multiple times, and it generally releases from polymer quite cleanly if removed during its gelation stage, preferably after the gelled cPRM can maintain its own form without the clay. In many embodiments, temporary clay walls are desirable for forming,
reworking and controlling molds as desired, e.g., for altering the geometry of a mold such as its perimeter shape, or its undulation; and for repairing molds such as quickly plugging a hole or bracing a mold leaking cPRM without interrupting of the image
making process. Temporary clay walls also enable PRM or polymer and/or one or more other ingredients to be added onto inventive images and parts thereof. For instance, temporary clay walls are preferred for additions made on polymer and parts thereof,
during or after they have gelled sufficiently (e.g., for adding PRM, polymer or mounts onto a polymer); temporary clay walls are preferred for use in connecting two or more polymer parts together; for connecting polymer to one or more other materials,
media, objects, devices, processes, and/or interactions; for filling in spaces, cracks, scratches, indents, textures, engraved or incised lines or areas such as drawings and holes in polymer; they can be preferred for formation of raised or embossed
designs, drawings and text on inventive images, and for other uses. In some embodiments, oil-formulated clay can be softened or stiffened as desired to facilitate and to expand its use and reuse, e.g., to form different stickiness clays. This might be
done by mixing or kneading ingredients into the clay such as a dry clay or powder (e.g., talcum or pumice), petroleum jelly, or any oil lighter than the oil already in the clay. In this process, the clay might also be heated or mixed or kneaded in a
machine like a blender or food processor. Polymerization and Image Making Polymers of the present invention may have linear chains, and/or may be crosslinked. Materials used in forming polymer of the present invention typically include one or more
polymerizable monomers, and one or more initiators or catalysts which are appropriate for polymerizing the specific monomer or monomers, preferably mixed together. For example, a cPRM for the present invention might be comprised of only one monomer and
its initiator or catalyst. However, multiple monomers (preferably mixed), pre-polymers, polymers, multiple initiators and/or catalysts (preferably mixed), or combinations of these can be used to form polymer, as desired. Should any of the monomers
require a specific catalyst, it is preferable to add that catalyst into the mixture. In forming many inventive images, the monomer, or at least one of the monomers, used is capable of forming polymer that is preferably transparent or translucent, has
desired optical properties (such as a particular refractive index and/or light transmittance), has other desirable aesthetic properties, is strong in a manner which enables the image to be permanent, can be further processed as desired, or a combination
of these. In particular, preferred monomers include esters, urethane-forming components, acrylics, ethylene-forming monomers, monomers that form conductive or absorbent polymers, or any other suitable monomer. Preferably, the PRM forms polymer with
desired aesthetic properties or so that it enables desired aesthetic properties in the image.
As an example, monomers which are capable of forming crosslinked polymers are frequently preferred because they are more solvent resistant, and more thermally and mechanically stable. For example, a polyester which contains at least about 25 mol
% of a monomeric residue able to crosslink, co-polymerize, or both is a preferred material. More preferred are polyesters where the monomeric residue includes styrene or other monomers. Among other examples of preferred polymers for making inventive
images are other polyesters, polycarbonates, polystyrenes, polyacrylics, absorbent polymers and conductive polymers. Preferably, the monomer used will enhance the image's linkage to or bond with a superimposed element, layer, application and/or part.
Often, it is not the monomer alone which accomplishes the desired linkage or bond, e.g., a surface preparation stabilizer is formed. One of the preferred monomers for use in forming polymer is Silmar.RTM. Polyester Resin S-40 which is also known as
SIL95BA-40, made by Silmar.RTM., a division of Interplastics Corporation in Covington, Ky. and Vadnais Heights, Mn. (formerly a division of SOHIO Chemical Company in Covington, Ky.). As a further example, in a preferred embodiment, at least about 50%
(by volume) of the polymer used to form inventive images is an acrylic polymer or a polycarbonate.
Polyaliphatics can be used to contain most monomers temporarily, e.g., polybutylene, polyethylene, and polypropylene can be used to contain monomer while an image maker is making an inventive image. Glass can often be used to contain monomer
long-term.
Typically, in embodiments, the catalyst or catalysts are chosen to be properly active with the monomer or monomers used, as will be readily known to those of ordinary skill in the polymer art. For example, with polyester forming monomers, methyl
ethyl ketone peroxide (MEKP) is a preferred catalyst. For example, Cadox.RTM. M-50 MEKP made by AKZO Chemicals in Arnhem, The Netherlands is a preferred catalyst for use with Silmar.RTM. S-40 polyester resin. Cadox.RTM. M-50 may for example, be
30-35% methyl ethyl ketone peroxides (MEKP); 0-5% hydrogen peroxide; 55-60% Dimethyl phthalate (DMP); which might for example be methyl ethyl ketone peroxide in a solution with 9% by weight active oxygen. The catalyst or the combination of catalysts can
contribute a necessary structure in the linkage of monomer molecules to form the polymer. The catalyst or catalysts can be used in any proportion desired with respect to the monomer(s) used in a cPRM. They do not have to be used in a lesser quantity
than the monomer(s), though they often are, e.g., it may be necessary to use the catalyst(s) in a quantity equal to the amount of the monomer(s) used.
In some embodiments, PRM is at least partially cured by radiation, including UV light or electron beam (EB). This radiation is a stabilizer, in that it which may ultimately induce crosslinking. As an illustration, conventional practices for
radiation curing PRM might be used to make polymer of the present invention. For example, the catalyst used in PRM might be a photoinitiator (e.g., free radical or cationic), activating the polymerization with an UV light (e.g., emitted by an arc light
such as a medium pressure mercury lamp or a high pressure xenon lamp, or emitted by a laser light). Refer to the description in a 1997 brochure ISO 9001 by Ciba Geigy Special Chemicals, 540 White Plains Road, P.O. Box 2005, Tarrytown, N.Y. As another
example, the catalyst used in PRM might be a dye photosensitizer which activates the polymerization with visible light. Careful selection of specific catalysts for radiation curing (e.g., photoinitiators and/or dye photosensitizers) and the proportions
of their use with specific monomers and with any other ingredients added into the cPRM, and careful selection of the particular radiation curing stabilizers used and the specifications of their use are desirable in order to insure that the polymer forms
as desired, while minimizing or avoiding undesirable effects, e.g., to ensure that the polymer has desired properties (such as adhesion) and lacks undesirable optical or structural effects (such as discoloration for instance yellowing, or undesirable
surface wrinkling). Thus, in selecting ingredients for radiation curing polymer, it is desirable to consult product manufacturers and/or their literature. Radiation curing is often preferable because of the rapid speed of polymerization. As an
illustration, after applying PRM or cPRM to a mold or image surface, radiation curing can harden it so rapidly that the PRM or cPRM does not have time to move or run out of the position in which it is applied. Thus, radiation curing is often preferred
for applications of PRM or cPRM on molds, image surfaces and parts of these which are vertical, or which have undulations, curves, or angles, and/or for maintaining the precision, control, care, delicacy, detail, and/or exactitude of an application of
PRM or cPRM on a mold or image surface, e.g., to make sure that a linear application of cPRM (such as a painted or printed lines) hardens exactly as applied. Colorants used on inventive images, such as on image supports, may be radiation cured, e.g., a
colorant made with PRM or cPRM, for example with a photoinitiator in it. Brief exposure of certain cPRM to UV light for the purposes of polymerization is not believed to be sufficient to cause such undesirable effects in polymer, e.g., amber
discoloration.
Ingredients in various cPRM formulations can differ, which can affect the polymer in many ways. Ingredients in cPRM include VIMC. Of particular concern is the choice of active ingredients in cPRM, its monomer or monomers, and its catalyst or
catalysts. The characteristics of different monomers and different catalysts can differ, their polymerization processes can differ, and the polymers they form can differ. As a result, in using different active ingredients, it is often preferable that
the process or processes used differ. The choice of specific products as active ingredients in a cPRM; the variability of their use; their polymerization process and factors which affect it (such as the environment); and other such variables are VIMC
which can be used to control and affect, or to try to control and affect, the formal elements in the resultant polymer, e.g., its form, its structure, its color, etc. It is preferable that the specific active ingredients, the specific process or
processes of creation used to make specific polymer, as well as the use of specific stabilizers be selected according to one another and according to a variety of other considerations, such as: (a) the polymer's use, function, size, form, structure,
thickness and weight; (b) whether or not the polymer will have attachments, embedding, or multiple parts, and the ingredients desirable for these, e.g., the use of one or more materials, media, objects, devices, processes, and/or interactions, other than
polymer in the inventive image; (c) the preferred methods, means and manner of installing, displaying, and/or exhibiting the inventive image formed (such as mounts, and the use of conventional practices for adding light sources to images such as in
making conductive polymers emit light); (d) the environment(s) to which that inventive image may be exposed; (e) the strength and permanence the polymer and its inventive image needs; (f) the handling and transporting of that inventive image (e.g.,
frequency); (g) aesthetic qualities and other properties desired for the polymer and its inventive image (such as transparency, translucency, light, refractive index, luminous transmittance, haze value, inherent coloration e.g., yellowness index (or YI),
light reflectivity, opacity, coloration, if embedding or inlay will be done, if anything will be formed in the polymer, whether the polymer will shrink as it forms and the extent of that shrinkage; if the polymer is hydrophilic, absorbent or hydrophobic;
the flexibility or rigidity of the polymer, etc.); (h) anything the polymer or its inventive image needs to support; (i) the most preferred process(es) for making the polymer, (j) the mold(s), etc.
As an example, two different transparent monomers using the same kind of catalyst and having similar polymerization processes might be capable of forming polymers that are quite different. For example, one of these monomers which is less viscous
than another can form polymer that is more mechanically stable that the other monomer, e.g., this may occur without cracking or the resultant polymer being weak or fragile. As another example, the selection and use of active ingredients in cPRM can
directly affect the accuracy of the impression a polymer takes of its mold, e.g., some polymers shrink significantly as they form.
One or more stabilizers can be used as desired in inventive images, e.g., in and/or on polymer. The choice of one or more stabilizers used in inventive images, and the specifications of their use, can affect and control the specific inventive
image formed as desired. Thus, stabilizers can be VIMC. The use of specific stabilizers in inventive images varies, depending on the needs and desires for each inventive image. For example, use of one or more monomers, polymers or a combination of
these, as stabilizers in or on cPRM is contemplated.
In preferred embodiments, polymer in an inventive image is made with desired properties (e.g., aesthetic, structural, light and/or optical qualities, and form, strength, rigidity and/or flexibility). A surface preparation stabilizer may be
formed on the polymer surface, or a portion thereof, as a bonding agent, particularly when it will otherwise not bond well with a colorant, such as paint. The surface preparation stabilizer serves as both a bonding substance and an underlayer to the
applications superimposed upon it (e.g., it is functioning as a primer, a ground, an imprimatura, or underpainting). Use of such a surface preparation stabilizer upon a polymer might for instance, enable that polymer to be an initial image support for
further processing. As Example A, one preferred surface preparation stabilizer is a mixture of: (i) the composition which will be superimposed upon the completed surface preparation stabilizer, a bonding composition, or both (e.g., one or more
conventional image making media, such as a transparent colorless paint like acrylic paint, a primer, a size, and/or another conventional painting medium); and (ii) one or more ingredients which bonds to the specific polymer surface that the surface
preparation stabilizer will be superimposed upon (e.g., the cPRM used to make the polymer, a bonding cPRM, one or more ingredients of one or both of these cPRMs, and/or another bonding substance). In Example B, another preferred surface preparation
stabilizer is formed on a polymer surface either by: (i) altering the polymer surface in a manner which will create or fortify a bond with the composition which will subsequently be superimposed (e.g., chemi![[Home]](/netaicon/PTO/home.gif)
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