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Dry Film Photoresist Tips and Tricks
Updated October 2017 Hints and Tips For Use First a couple of notes What is Dry Film. Dry Film is a photo-resist, when strong UV light hits it, where the light hits, it hardens and this hardened form resists etching solutions. The film is comprised of three parts, the blue layer is in the middle, this is the polymer which hardens with UV, on each side of this polymer is a protective transparent film. How do you use it? In very brief summary, one protective layer (the inside of curl generally) is removed, the now uncovered polymer side is attached to the PCB, the PCB is exposed to UV through a 'mask' which has transparent traces to allow UV to harden the “”traces image , the remaining protective layer is removed and the PCB is developed in a solution of washing soda (Sodium Carbonate), then the PCB is etched. The rest of this document gives you all the steps, tips and tricks which I have learned in using Dry Film! Be sure to read it, save yourself lots of experimenting! Practice, Practice, Practice. I advise cutting some small squares of film a couple of cm squared and using these to get the hang of affixing it to a board and developing, use some moderately dense small (section of) artwork with the finest traces you want to do, with the narrowest spaces you want to do etc. You might want to practice 5 or 10 times before doing it for real. If you mess one up, just clean it off, and start again. -
Tensile Properties of Paper and Paperboard (Using Constant Rate of Elongation Apparatus) (Revision of T 494 Om-01)
WI 050808.09 T 494 DRAFT NO. 2 DATE June 13, 2006 TAPPI WORKING GROUP CHAIRMAN D Muchorski SUBJECT CATEGORY Physical Properties RELATED METHODS See “Additional Information” CAUTION: This Test Method may include safety precautions which are believed to be appropriate at the time of publication of the method. The intent of these is to alert the user of the method to safety issues related to such use. The user is responsible for determining that the safety precautions are complete and are appropriate to their use of the method, and for ensuring that suitable safety practices have not changed since publication of the method. This method may require the use, disposal, or both, of chemicals which may present serious health hazards to humans. Procedures for the handling of such substances are set forth on Material Safety Data Sheets which must be developed by all manufacturers and importers of potentially hazardous chemicals and maintained by all distributors of potentially hazardous chemicals. Prior to the use of this method, the user must determine whether any of the chemicals to be used or disposed of are potentially hazardous and, if so, must follow strictly the procedures specified by both the manufacturer, as well as local, state, and federal authorities for safe use and disposal of these chemicals. Tensile properties of paper and paperboard (using constant rate of elongation apparatus) (Revision of T 494 om-01) (Underlines indicated changes/corrections since last draft) 1. Scope 1.1 This test method describes the procedure, using constant-rate-of-elongation equipment, for determining four tensile breaking properties of paper and paperboard: tensile strength, stretch, tensile energy absorption, and tensile stiffness. -
1 (Square RED Grid) Instructions
Inkjet Transfer Paper for White and Light Colored Fabrics (Square RED grid) Instructions Hot Peel Heat Transfer Papers are designed for ink jet printers to transfer photos and images to T-shirts, Sweatshirts, mouse pads, puzzles and leather goods. Choose garments that have a tight weave. This is particularly important when transferring to sweatshirts. Product is suitable for home use and can be transferred with a hand iron. PREPARE TO PRINT When printing multiple transfers, use plain paper setting. 360dpi, Photo Glossy setting will give a brighter image, but requires a longer drying time. (Multiple feeding is only recommended when using plain paper setting) TEMPERATURE 193° C/ 380° F PRESSURE Medium to High TIME 20-25 Sec. PRINTING 1) Mirror the image. 2) Print image on the White Coated side of the transfer paper with an Inkjet Printer. 3) Trim away the unprinted areas of the transfer if desired. For House-hold Hand Iron instructions please see next page. Send To Computer Print Paper White/Lights T-shirt Transfer Peel Cool or Hot HEAT PRESS For use with: Inkjet, Heat Press, Hand Iron-OK, White or Light Color TRANSFERRING- USING A COMMERICAL HEAT PRESS 1) Place garment onto the press pad. 2) Place the transfer on top of the garment with: Image Side down. 3) For all size transfers, set heat temperature at: 193 C/ 380 F. 4) Press and hold for 20-25 seconds using medium to high pressure. 5) Remove the paper while HOT for a matte finish, or Peel cool for a glossy finish. 1 Florida Flexible Printing Products, Inc. -
How to Make a Collage 4 Free Mixed Media Collage Techniques Presented by Cloth Paper Scissors®
how to make a collage 4 free mixed media collage techniques presented by cloth paper scissors® 1 3 4 2 collage to order: objects of my desire: 1 create with words 3 making sewn paper SUSAN BLACK collage collections JENNY COCHRAN LEE the elements of collage: 2 putting it all together reverse collage painting: NICOLE PAISLEY MARTENSEN 4 a bright spot on a winter day HOLLY CHRISTINE MOODY In “Objects of My Desire: Making Sewn Paper Collage Collections,” Jenny Cochran Lee explores how to How to Make a Collage: turn paper scraps into collage art 4 Free Mixed Media treasures. Collage Techniques presented by Finally, Holly Christine Moody Cloth Paper Scissors® offers an easy collage project that ONLINE EDITOR Cate Prato will help you whittle down your decorative paper stash in a fun CREATIVE SERVICES way. In “Reverse Collage Painting,” DIVISION ART DIRECTOR Larissa Davis PHOTOGRAPHER Larry Stein you make a paper collage on a substrate, apply gel medium, Projects and information are for inspiration and personal use only. Interweave Press is not responsible hat is collage art? A and then paint over it. The magic for any liability arising from errors, omissions, or whole lot of fun! At happens when you swipe away mistakes contained in this eBook, and readers should proceed cautiously, especially with respect to technical the most basic level, some of the paint to reveal the information. wyou can make a collage with paper, collage designs below. © F+W Media, Inc. All rights reserved. F+W Media glue, and a substrate like a canvas grants permission for any or all pages in this eBook to With How to Make a Collage: 4 Free or watercolor paper. -
A Practical Guide for Measuring Retail Payment Costs Draft for Consultation
FINANCIAL INFRASTRUCTURE SERIES PAYMENT SYSTEMS POLICY AND RESEARCH RETAIL PAYMENTS A PRACTICAL GUIDE FOR MEASURING RETAIL PAYMENT COSTS DRAFT FOR CONSULTATION November 2015 ©2015 The International Bank for Reconstruction and Development / The World Bank 1818 H Street NW Washington DC 20433 Telephone: 202-473-1000 Internet: www.worldbank.org E-mail: [email protected] All rights reserved. This volume is a product of the staff of the International Bank for Reconstruction and Development/ The World Bank. The findings, interpretations, and conclusions expressed in this volume do not necessarily reflect the views of the Executive Directors of The World Bank or the governments they represent. The World Bank does not guarantee the accuracy of the data included in this work. The boundaries, colors, denominations, and other information shown on any map in this work do not imply any judgment on the part of The World Bank concerning the legal status of any territory or the endorsement or acceptance of such boundaries. Rights and Permissions The material in this publication is copyrighted. Copying and/or transmitting portions or all of this work without permission may be a violation of applicable law. The International Bank for Reconstruction and Development / The World Bank encourages dissemination of its work and will normally grant permission to reproduce portions of the work promptly. For permission to photocopy or reprint any part of this work, please send a request with complete information to the Copyright Clearance Center Inc., 222 Rosewood Drive, Danvers, MA 01923, USA; telephone: 978-750-8400; fax: 978-750-4470; Internet: www.copyright.com. All other queries on rights and licenses, including subsidiary rights, should be addressed to the Office of the Publisher, The World Bank, 1818 H Street NW, Washington, DC 20433, USA; fax: 202-522-2422; e- mail: [email protected]. -
Japanese Woodblock Print Workshop Bend
Japanese Woodblock Print Workshop – Bend 2016 with Mary Brodbeck Sample Image of Final Print If you would like to prepare your design before coming to the first class, here are the first few steps in the design process. Your image should fit within a 5” x 7” boundary. See you soon! Mary Step One – Create Pattern Create (two color) design onto 6” x 8” tracing paper within a 5” x 7” boundary outline. This pattern will be the full scale of your finished print and will be the drawing used to transfer your two-color design onto the blocks. Try to keep your design simple. Think in terms of shapes (verses lines). Paper Size 6” x 8” Image Size 5” x 7” Pattern Step Two – Make three photocopies of pattern Photocopy 1 Photocopy 2 Photocopy 3 Step Three – On one photocopy, create a two color render using colored pencils. One color should be dark (black is easiest) and the second color should be a medium value (could be gray). Render the complete colors of your print on photocopy 1 Step Four – Deconstruct the rendering into its separate color components. These will be your notes for how to layout the colors onto the separate blocks. You will use your pattern and carbon paper for laying out the design on the block. These photocopies are your notes only. Sketch the light color on photocopy 2 Sketch the dark color on photocopy 3 All tools and materials are supplied for this workshop. This list is for your future reference. Baren (burnishing tool) – recommend "murasake baren" from www.imcclains.com, item #A6025 Carving Tools – recommend "Japanese detail carving tools", www.leevalley.com (beginners set) Paper – proof paper (or beginner student quality) recommendation, item #P6905, Shin Torinoko, (McClain’s), professional quality “washi” recommendation, “mawata” from www.woodlike.co.jp/zen3 Wood & Brushes – all wood brushes for this technique may be found at www.imcclains.com Other supplies . -
Conservation of Coated and Specialty Papers
RELACT HISTORY, TECHNOLOGY, AND TREATMENT OF SPECIALTY PAPERS FOUND IN ARCHIVES, LIBRARIES AND MUSEUMS: TRACING AND PIGMENT-COATED PAPERS By Dianne van der Reyden (Revised from the following publications: Pigment-coated papers I & II: history and technology / van der Reyden, Dianne; Mosier, Erika; Baker, Mary , In: Triennial meeting (10th), Washington, DC, 22-27 August 1993: preprints / Paris: ICOM , 1993, and Effects of aging and solvent treatments on some properties of contemporary tracing papers / van der Reyden, Dianne; Hofmann, Christa; Baker, Mary, In: Journal of the American Institute for Conservation, 1993) ABSTRACT Museums, libraries, and archives contain large collections of pigment-coated and tracing papers. These papers are produced by specially formulated compositions and manufacturing procedures that make them particularly vulnerable to damage as well as reactive to solvents used in conservation treatments. In order to evaluate the effects of solvents on such papers, several research projects were designed to consider the variables of paper composition, properties, and aging, as well as type of solvent and technique of solvent application. This paper summarizes findings for materials characterization, degradative effects of aging, and some effects of solvents used for stain reduction, and humidification and flattening, of pigment-coated and modern tracing papers. Pigment-coated papers have been used, virtually since the beginning of papermaking history, for their special properties of gloss and brightness. These properties, however, may render coated papers more susceptible to certain types of damage (surface marring, embedded grime, and stains) and more reactive to certain conservation treatments. Several research projects have been undertaken to characterize paper coating compositions (by SEM/EDS and FTIR) and appearance properties (by SEM imaging of surface structure and quantitative measurements of color and gloss) in order to evaluate changes that might occur following application of solvents used in conservation treatments. -
Hot-Clay Fired-On Images™ Laser Printer Image Transfer Kit for Ceramics and Glass Updated September 2020
Remove tissue covering before printing Hot-Clay Fired-On Images™ Laser Printer Image Transfer Kit For Ceramics and Glass Updated September 2020 Printer Info: ANY HP or Canon Black *ONLY Laser Printer, Copier or Fax machine will work. HP and Canon are only 2 brands whose *regular toner will work. Printer must Not have any ability to print in color. *Do not use off-brand toner. Printing Images: to print your image onto the Fired-On Images Transfer Paper: 1. Set printer for *plain paper standard US size 8 ½”x 11” (*If toner smudges or prints too lightly on the decal paper… change the “paper type” preference to “Heavy Paper”) 2. Run a few sheets of plain paper through the printer to warm up the printer fuser roller. 3. Remove tissue protective covering, if present, before printing. 4. Place transfer paper into the manual feed slot of the printer one sheet at a time. 5. Print your image onto the glossy side of the transfer paper Applying Images Hints: a. Cut image close to edges b. Use warm water to soak images c. Lift image out of water with backing paper still attached d. A soft brayer (roller) is best to push out water, start at center out to edges. Do not use a squeegee! e. Firing temperature for ceramics is dependent on surface or glaze type: see p. 6 f. Images can be fired at any firing rate that is compatible with the glaze/ clay or fusible glass type g. Images fire to a lovely sepia brown and can be colorized with traditional painting /glazing techniques h. -
Transferring Computer Designs to Materials
FOCUS ON TEXTILES Many students now have easy access to design is drawn with a resistant material such computer drawing packages and having drawn as wax and then sprayed or painted with paint a design on computer, they need to find a or dye (see Figures 2a and 2b). suitable method for transferring their design to For more complex patterns, the designs can be the material. (I use the term 'material' because copied in encaustic art. The design is drawn although students will often be transferring with wax crayons on a heat-retaining card. The designs to textiles, materials such as wood or use of heat can allow the pattern to be altered paper may be the destination for the design.) and the finished design can be left to coolon The problem is the same as it has always been the card or be transferred to fabric using a hot with designs that are drawn on paper, but iron (see Figure 3). because of the modern attitudes to designing and making, teachers need to be much more aware of the wide range of methods. • Carbon paper Transferring With this method, carbon paper is laid between computer One of the first points students need to be a print-out of your design and the fabric and aware of is that when transfer methods result in the outline is traced using a stylus. This method designs to a mirror image of the design, it is important to is suitable for light coloured textiles, wood and materials have a print-out which is a mirror image of the plastic and is suitable for activities such as design. -
Hints and Tips for Use There Are Many Methods for Attaching the Film
Hints and Tips For Use There are many methods for attaching the film to the blank board, Google is your friend. A good attachment without bubbles and wrinkles is the key to success. The film needs moderate heat and pressure to properly adhere enough to resist. Presented in this document are methods for application using a Laminator, and using a Clothes Iron. The Laminator method is very reliable, but requires a little preparation in making a “”carrier from some cardboard. The Clothes Iron method is also very reliable once you've done it a couple times to “”tune in your iron's temperature and your technique - it's far FAR easier than toner transfer! This method however is limited by the size of your iron of course. Laminator Method This is the recommended method, if you have a laminator. Step 1, Clean the PCB surface thoroughly, this is my way... - Sand with fine sand paper. - Wipe with solvent (acetone). - Dunk/wipe in tarnish remover (“ Ceraclen Silver Dip” from supermarkets works well http://www.ceraclen.co.nz/products.aspx ) - Dry and ensure surface is dust free. Step 2, Laminate the film: Place PCB on a carrier and attach a piece film cut to about 5mm larger on each side than you need to the top end-stop, with “”tail attached to film (see next page for diagrams of my carrier setup). It is better to cut 5mm larger on each side than you need, but if you do use right up to the cut edge of a piece of film have a careful look at the edge, sometimes there is a visible “”border of lighter colouring (more transparent) running down an edge (as it comes off the roll), if visibly different this border should be avoided as it's performance may be degraded a bit. -
1965 – Postage
1965 POSTAGE DUE LABELS Issued 17th June, 1965 The bulletin issued by the Ministry of Post in early 1965 advised of the issue of three sets stamps (ITU Centenary, Water Conservation and Postage Due Labels). The bulletin advised that the labels would be issued on 17th June 1965 and would continue in use for an indefinite period. “These are not true postage stamps, as they are used only in bringing to account surcharges arising from deficient postage, etc.”1 The design of the labels was the same as that used for the Federal Postage Due Labels issued in 1961, save that the country name was changed from “Rhodesia & Nyasaland” to “Rhodesia”. The Federal Postage Due labels could be said to be the first stamps printed in the country. In 2001 Cecil Russell exchanged correspondence with Eugene William “Bill” Jones in New Zealand. Bill’s letter of 19th December 2001, confirmed that he was employed by the Government of Southern Rhodesia in the Department of Printing & Stationery. “I was a draughtsman with little or no artistic talent, and when told to design a stamp chose something simple to draw like a post- horn or the garter. The two designs were roughed out in pencil in tracing paper and were handed to my boss and I have no idea how they were selected. Had the selection been left to myself I would have chosen the garter style. There was no competition, and as far as I was concerned it was just another job.”2 Bill took with him two rough sketches of the designs he had produced in tracing paper when he returned to New Zealand. -
Ink Transfers on Clay by Doug Gray
Ceramic Arts Daily Lesson Plan Ink Transfers on Clay by Doug Gray Goals pensive inkjet printer. If you prefer to work without • Learn to roll out slabs of clay to create tiles. a computer, see sidebar (page 4). • Draw or create simple line drawings using water The two main advantages to using this process soluble ink or using Adobe Photoshop to alter are that the image is water based and can be eas- existing images to make self portraits. ily removed with a damp sponge and repositioned, • Learn to transfer designs to soft clay tiles using or you can just burn it off in the bisque fire if you inkjet printouts of line drawings or simple im- don’t like it. Second, any surface design technique ages. Trace these lines to create a relief outline. works in combination with this transfer process— Put multiple tiles together for larger images. carving, slip trailing, water etching, underglazes, • Add color to the bisqued tile using underglazes. terra sig, glazes, etc. Background One significant pitfall is that the ink can’t with- Years ago, in an attempt to incorporate digital pho- stand the heat of firing, so this technique is basi- tography into my clay work, I began experimenting cally just a design transfer. This is where the other with image transfer processes. I began working with surface design processes come into play. In this Xerox transfers and decals with some degree of example, I used a carving process. Try the surface success. But one day I accidentally stumbled across design process you currently use and enjoy.