frederique moreau Un Official Fan Site Tribute

frederique moreau : This Is An Un Official Fan Site Tribute
frederique moreau
Porn Queen Actress Superstar

À la queue Lulu 1981, Dir. Alain Thierry Notes available (plays a kidnapper) Baby Love 1979, Dir. Michel Baudricourt Notes available Bad Dreams alternative title for Goûts pervers Notes available Ça frémit chez les minettes, ça frémit dans l'entre-cuisse 1980 Notes available De la croupe aux lèvres 1980, Dir. Michel Beaudricourt Notes available Exhibition '80 alternative title for Goûts pervers DVD available Notes available Flirt dangereux alternative title for À la queue Lulu Notes available (plays a kidnapper) Flirts dangereux alternative title for À la queue Lulu Notes available (plays a kidnapper) Force-moi j'adore çà alternative title for Goûts pervers Notes available
Force-moi, j'adore ça alternative title for Baby Love Notes available Goûts pervers 1980, Dir. Paul Kerman aka Michel Baudricourt aka Michel Caputo aka Michel Anthony DVD available Notes available Goûts pervers d'une femme soumise alternative title for Goûts pervers Notes available J'irai cracher sur ta queue ! 1986, Dir. Michel Baudricourt as "Jack Amelot" Notes available Jouisseuse et perverse alternative title for Baby Love Notes available Occupe-toi de mon petit trou 1980s Parties carrées campagnardes 1979 (released 1980), Dir. Claude-Bernard Aubert as Burd Tranbaree DVD available Plein les miches pour pas un rond 1980s, Dir. Michel Baudricourt Sodomies multiples early 1980s, Dir. Hubert Géral Notes available

Vicieuses et gourmandes alternative title for Baby Love Notes available Voyeurs alternative title for À la queue Lulu Notes available (plays a kidnapper) Weekend Tail alternative title for Parties carrées campagnardes Modern production of traditional glass There are a number of glass factories, notably in Germany, the United States, England, France, Poland and Russia, which produce high-quality glass, both hand-blown (cylinder, muff, crown) and rolled (cathedral and opalescent). Modern stained-glass artists have a number of resources to use and the work of centuries of other artists from which to learn as they continue the tradition in new ways. In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular Tiffany glass and Dalle de verre. Colours Transparent glass Ordinary soda-lime glass appears colourless to the naked eye when it is thin, although iron oxide impurities produce a green tint which becomes evident in thick pieces or can be seen with the aid of scientific instruments. A number of additives are used to reduce the green tint, particularly if the glass is to be used for plain window glass, rather than stained glass windows. Additives that reduce the green tint include manganese dioxide which produces sodium permanganate, and may result in a slightly mauve tint, characteristic of the glass in older houses in New England. Selenium has been used for the same purpose.[2] Green glass While very pale green is the typical colour of transparent glass, deeper greens can be achieved by the addition of Iron(II) oxide which results in a bluish-green glass. Together with chromium it gives glass of a richer green colour, typical of the glass used to make wine bottles. The addition of chromium yields dark green glass, suitable for flashed glass.[3] Together with tin oxide[clarification needed] and arsenic it yields emerald green glass. Blue glass In medieval times, blue glass was made by adding cobalt, which at a concentration of 0.025% to 0.1% in soda-lime glass achieves the brilliant blue characteristic of Chartres Cathedral. The addition of sulphur to boron-rich borosilicate glasses imparts a blue colour. The addition of copper oxide at 2–3% produces a turquoise colour. The addition of nickel, at different concentrations, produces blue, violet, or black glass.[4] Red glass Metallic gold, in very low concentrations (around 0.001%), produces a rich ruby-coloured glass ("ruby gold"); in even lower concentrations it produces a less intense red, often marketed as "cranberry glass". The colour is caused by the size and dispersion of gold particles. Ruby gold glass is usually made of lead glass with tin added. Pure metallic copper produces a very dark red, opaque glass. Glass created in this manner is generally "flashed" (laminated glass). It was used extensively in the late 19th and early 20th centuries and exploited for the decorative effects that could be achieved by sanding and engraving. Selenium is an important agent to make pink and red glass. When used together with cadmium sulphide, it yields a brilliant red colour known as "Selenium Ruby".[2] Yellow glass Silver compounds (notably silver nitrate)[5] are used as stain applied to the surface of glass and fired on.[6] They can produce a range of colours from orange-red to yellow. The way the glass is heated and cooled can significantly affect the colours produced by these compounds. The chemistry involved is complex and not well understood. The addition of sulphur, together with carbon and iron salts, is used to form iron polysulphides and produce amber glass ranging from yellowish to almost black. With calcium it yields a deep yellow colour.[7] Adding titanium produces yellowish-brown glass. Titanium is rarely used on its own and is more often employed to intensify and brighten other additives. Cadmium together with sulphur results in deep yellow colour, often used in glazes. However, cadmium is toxic. Uranium (0.1% to 2%) can be added to give glass a fluorescent yellow or green colour.[8] Uranium glass is typically not radioactive enough to be dangerous, but if ground into a powder, such as by polishing with sandpaper, and inhaled, it can be carcinogenic. When used with lead glass with a very high proportion of lead, it produces a deep red colour. Purple glass The addition of manganese gives an amethyst colour. Manganese is one of the oldest glass additives, and purple manganese glass has been used since early Egyptian history. Nickel, depending on the concentration, produces blue, or violet, or even black glass.[4] Lead crystal with added nickel acquires a purplish colour. White glass Tin dioxide with antimony and arsenic oxides produce an opaque white glass, first used in Venice to produce an imitation porcelain. White glass was used extensively by Louis Comfort Tiffany to create a range of opalescent, mottled and streaky glasses. 13th-century window from Chartres showing extensive use of the ubiquitous cobalt blue with green and purple-brown glass, details of amber and borders of flashed red glass. A 19th-century window illustrates the range of colours common in both Medieval and Gothic Revival glass, Lucien Begule, Lyon (1896) A 16th-century window by Arnold of Nijmegen showing the combination of painted glass and intense colour common in Renaissance windows A late 20th-century window showing a graded range of colours. Ronald Whiting, Chapel Studios. Tattershall Castle, UK A window by Tiffany illustrating the development and use of multi-coloured flashed, opalised and streaky glasses at the end of the 19th century Creating stained glass windows Design The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit. The subject matter of the window is determined to suit the location, a particular theme, or the wishes of the patron. A small design called a Vidimus (from Latin "we have seen") is prepared which can be shown to the patron. A scaled model maquette may also be provided. The designer must take into account the design, the structure of the window, the nature and size of the glass available and his or her own preferred technique. A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person to whose memory the window is dedicated. In a window of a traditional type, it is usually left to the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies. A full-sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically have two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers, with elaborate tracery. In medieval times the cartoon was drawn directly on the surface of a whitewashed table, which was then used as a pattern for cutting, painting and assembling the window. The cartoon is then divided into a patchwork, providing a template for each small glass piece. The exact position of the lead which holds the glass in place is also noted, as it is part of the calculated visual effect. Selecting and painting the glass Each piece of glass is selected for the desired colour and cut to match a section of the template. An exact fit is ensured by "grozing" the edges with a tool which can nibble off small pieces.Details of faces, hair and hands can be painted onto the inner surface of the glass using a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century. From 1300 onwards, artists started using "silver stain" which was made with silver nitrate. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass. By about 1450, a stain known as "Cousin's rose" was used to enhance flesh tones. In the 16th century, a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were then annealed to the glass before the pieces were assembled. A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass, which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage. Assembly and mounting Once the glass is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. All the joints are then soldered together and the glass pieces are prevented from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames. In modern windows, copper foil is now sometimes used instead of lead. For further technical details, see Came glasswork. Traditionally, when a window was inserted into the window space, iron rods were put across it at various points to support its weight. The window was tied to these rods with copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta. This method of support was also favoured for large, usually painted, windows of the Baroque period. Technical details Maquette by Heaton, Butler and Bayne, 19th-century English manufacturers Exterior of a window at Sé Velha de Coimbra, Portugal, showing a modern steel armature Thomas Becket window from Canterbury showing the pot metal and painted glass, lead H-sectioned cames, modern steel rods and copper wire attachments Skilled glass cutting and leading in a 19th-century window at Meaux Cathedral, France A small panel by G. Owen Bonawit at Yale University, c. 1930, demonstrates grisaille glass painting enlivened with silver stain. Swiss armourial glass of the Arms of Unterwalden, 1564, with typical painted details, extensive silver stain, Cousin's rose on the face, and flashed ruby glass with abraded white motif Detail from a 19th or 20th-century window in Eyneburg, Belgium, showing detailed polychrome painting of face

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