Printing; *Programed Instruction
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Image Carrier Poster
55899-11_MOP_nwsltr_poster_Winter11_v2_Layout 1 2/11/11 2:25 PM Page 1 The Museum of Printing, North Andover, MA and the Image Carrier www.museumofprinting.org Relief printing Wood cuts and wood engravings pre-dated moveable type. Called “xylographic printing,” it was used before Gutenberg for illustrations, playing cards, and small documents. Moveable type allowed corrections and editing. A wood engraving uses the end grain, where a wood cut uses the plank grain. Polymer plates are made from digital files which drive special engraving machines to produce relief plates. These plates are popular with many of today’s letterpress printers who produce invitations, and collectible prints. Metal relief cylinders were used to print repetitive designs, such as those on wrap - ping paper and wall paper. In the 1930s, the invention of cellophane led to the development of the anilox roller and flexographic printing. Today, flexography prints most of the flexible packaging film which accounts for about half of all packaged products. Hobbyists, artists, and printmakers cut away non-printing areas on sheets of linoleum to create relief surfaces. Wood cut Wood engraving and Metal plate Relief cylinder Flexographic plate Linoleum cut Foundry type began with Gutenberg and evolved through Jenson, Garamond, Moveable type Caslon and many others. Garamond was the first printer to cast type that was sold to other printers. By the 1880s there were almost 80 foundries in the U.S. One newspaper could keep one foundry in business. Machine typesetting changed the status quo and the Linotype had an almost immediate effect on type foundries. Twenty-three foundries formed American Type Founders in 1890. -
Embodied Community and Embodied Pedagogy
ZINES, n°2, 2021 MATERIAL MATTERS: EMBODIED COMMUNITY AND EMBODIED PEDAGOGY Kelly MCELROY & Korey JACKSON Oregon State University Libraries and Press [email protected] [email protected] Abstract: In this essay, we outline how materiality can be a tool of critical pedagogy, leading to pleasure, vulnerability, and embodied learning in the classroom. Over the past four years, we have taught an honors colloquium to undergraduate students focused on self-publishing as a means to create social change. As we explore various publishing media, genres, and activist movements with our students, we combine traditional academic activities like scholarly reading and written analysis with informal hands-on craft time. Our students make collages, learn to use the advanced features on a photocopier, and collaborate on hectograph printing among other crafts, all as they begin to put together their own final DIY publication. Students regularly report that the hands-on activities are crucial to their learning, giving them new appreciation for the underground publications they read, through embodied experiences that can’t be replicated with a reading or a quiz. It also builds our community of learners, as we share ideas, borrow glue sticks, and chit-chat as we put our zines together. We will outline how we built and teach this course, placing it within our critical pedagogy – informed by bell hooks, Kevin Kumashiro, and Paulo Freire, among others – and how teaching this course has helped us incorporate embodiment into our other teaching. Keywords: embodied pedagogy, teaching, publishing. 58 Material Matters: Embodied Community and Embodies Pedagogy ZINES, n°2, 2021 INTRODUCTION Alison Piepmeier has argued that, “Zines’ materiality creates College, this course is one of a suite of course offerings community because it creates pleasure, affection, allegiance, and that highlight exploratory discovery and deep dives vulnerability” (2008, 230). -
Glossary of Flexographic Printing Terms
GLOSSARY OF FLEXOGRAPHIC PRINTING TERMS AA: Authors Alterations, changes other than corrections, made by a client after the proofing process has begun. AA's are usually charged to a client as billable time. Abrasion: Process of wearing away the surface of a material by friction. Abrasion marks: Marks on a photographic print or film appearing as streaks or scratches, caused by the condition of the developer. Can be partially removed by swabbing with alcohol. Abrasion resistance: Ability to withstand the effects of repeated rubbing and scuffing. Also called scuff or rub resistance. Abrasion test: A test designed to determine the ability to withstand the effects of rubbing and scuffing. Abrasiveness: That property of a substance that causes it to wear or scratch other surfaces. Absorption: In paper, the property which causes it to take up liquids or vapors in contact with it. In optics, the partial suppression of light through a transparent or translucent material. Acceptance sampling or inspection: The evaluation of a definite lot of material or product that is already in existence to determine its acceptability within quality standards. Accelerate: In flexographic printing, as by the addition of a faster drying solvent or by increasing the temperature or volume of hot air applied to the printed surface. Electrical - To speed rewind shafts during flying splices, and in taking up web slackness. Accordion Fold: Bindery term, two or more parallel folds which open like an accordion. Acetone: A very active solvent used in packaging gravure inks; the fastest drying solvent in the ketone family. Activator: A chemistry used on exposed photographic paper or film emulsion to develop the image. -
Judging Permanence for Reformatting Projects: Paper and Inks
ConserveO Gram September 1995 Number 19/14 Judging Permanence For Reformatting Projects: Paper And Inks Many permanently valuable NPS documents fibered, high alpha-cellulose cotton and linen such as correspondence, drawings, maps, plans, rags. Early rag papers were strong, stable, and reports were not produced using permanent and durable with relatively few impurities. and durable recording media. When selecting In the mid-17th century, damaging alum paper items for preservation duplication, items sizing was added to control bacteria and marked on the list below with a " - " are at mold growth in paper. By 1680, shorter highest risk and should have special priority for fiber rag papers were being produced due to duplication. Document types marked with a the use of mechanical metal beaters to shred "+" are lower priorities for reformatting as they the rag fibers. By about 1775, damaging tend to be more stable and durable. See chlorine bleaches were added to rag papers Conserve O Gram 19/10, Reformatting for to control the paper color. Acidic alum Preservation and Access: Prioritizing Materials rosin sizing was introduced around 1840 to for Duplication, for a full discussion of how to speed the papermaking process thus leading select materials for duplication. NOTE: Avoid to even shorter-lived papers. Rag papers using materials and processes marked " - " when became less common after the introduction producing new documents. of wood pulp paper around 1850. Compared to rag paper, most wood pulp papers have Paper much poorer chemical chemical and mechanical strength, durability, and stability. All permanently valuable original paper - documents should be produced on lignin-free, Ground or mechanical wood pulp paper: high alpha-cellulose papers with a pH between After 1850, most paper produced was 7.5 and 8.0, specifically those papers meeting machine-made paper with a high proportion the American National Standards Institute of short-fibered and acidic wood pulp. -
Research and Development Washington, DC 20460 ABSTRACT
United Slates EPA- 600 R- 95-045 7 Enwronmental Protection ZL6ILI Agency March 1995 i= Research and Developmen t OFFICE EQUIPMENT: DESIGN, INDOOR AIR EMISSIONS, AND POLLUTION PREVENTION OPPORTUNITIES Prepared for Office of Radiation and Indoor Air Prepared by Air and Energy Engineering Research Laboratory Research Triangle Park NC 2771 1 EPA REVIEW NOTICE This report has been reviewed by the U.S. Environmental Protection Agency, and approved for publication. Approval does not signify that the contents necessarily reflect the views and policy of the Agency, nor does mention of trade names or commercial products constitute endorsement or recommendation for use. This document is available to the public through the National Technical Informa- tion Service. Springfield, Virginia 22161. EPA- 600 I R- 95-045 March 1995 Office Equipment: Design, Indoor Air Emissions, and Pollution Prevention Opportunities by: Robert Hetes Mary Moore (Now at Cadmus, Inc.) Coleen Northeim Research Triangle Institute Center for Environmental Analysis Research Triangle Park, NC 27709 EPA Cooperative Agreement CR822025-01 EPA Project Officer: Kelly W. Leovic Air and Energy Engineering Research Laboratory Research Triangle Park, NC 2771 1 Prepared for: U.S. Environmental Protection Agency Ofice of Research and Development Washington, DC 20460 ABSTRACT The objective of this initial report is to summarize available information on office ~ equipment design; indoor air emissions of organics, ozone, and particulates from office ~ equipment; and pollution prevention approaches for reducing these emissions. It should be noted that much of the existing emissions data from office equipment are proprietary and not available in the general literature and are therefore not included in this report. -
The Story of Xerography Page 1 of 13
The Story of Xerography Page 1 of 13 Our Heritage, Our Commitment "10-22-38 ASTORIA" This humble legend marks the time and place of an auspicious event. It is the text of the first xerographic image ever fashioned. It was created in a makeshift laboratory in Queens, NY. by a patent attorney named Chester Carlson, who believed that the world was ready for an easier and less costly way to make copies. Carlson was proved right only after a discouraging ten-year search for a company that would develop his invention into a useful product. It was the Haloid Company, a small photo-paper maker in Rochester, N.Y, which took on the challenge and the promise of xerography and thus became, in a breathtakingly short time, the giant multinational company now known to the world as Xerox Corporation. This report contains several stories about xerography: the man who invented it, the company that made it work, and the products it yielded for the benefit of mankind. These stories chronicle a classic American success story: How men of courage and vision grew a highly profitable business from little more than the seed of an idea. Certainly, Xerox has changed greatly in size and scope since the historic 914 copier was introduced in 1959. But we also believe that the basic personality of Xerox has never changed. We are convinced that the essential attributes that brought the young Xerox such spectacular rewards in office copying are the same attributes we need to assure continued success for the mature Xerox as it develops total office information capability. -
Examination of Photocopies and Computer Print Outs
Examination of photocopies and computer print outs Surbhi Mathur Assistant Professor Gujarat Forensic Sciences University What is a photocopy???? • It is a copy of usually written or printed material made with a process in which an image is formed by the action of light usually on an electrically charged surface. Contd…. • It is also called xerography, which was derived from two Greek words “xeros” , meaning dry and “graphos” , meaning writing. • Xerography was invented in the late 1930s by an American patent lawyer named Chester Carlson. It is a printing and photocopying technique that works on the basis of electrostatic charges. How does photocopier machine works??? • To produce photocopies of an original document, the photocopy machine first makes a temporary image, a sort of negative of the original. • Inside the machine is cylinder or drum made of a highly conductive metal, usually aluminum, coated with a photoconductive, often selenium. Contd…. • The surface of the drum is then charged using LED or laser light source. • The printed area of the original document will form positive charge on the drum, forming a latent image of the printed matter. Contd…. • The charge on the image area is used to attract the negative toner particles to make the image visible on the drum surface. • A stronger electrical charge of the same type is given to the paper. This causes toner to transfer from drum to paper. Contd…. • The toner is adhered or fixed to the paper by heat and pressure. • A lamp or hot roller melts the toner, which is absorbed into the paper. Handling of photocopied documents • Photocopied exhibits should be stored in paper folders not plastic. -
Laser Printer - Wikipedia, the Free Encyclopedia
Laser printer - Wikipedia, the free encyclopedia http://en. rvi kipedia.org/r,vi ki/Laser_pri nter Laser printer From Wikipedia, the free encyclopedia A laser printer is a common type of computer printer that rapidly produces high quality text and graphics on plain paper. As with digital photocopiers and multifunction printers (MFPs), Iaser printers employ a xerographic printing process but differ from analog photocopiers in that the image is produced by the direct scanning of a laser beam across the printer's photoreceptor. Overview A laser beam projects an image of the page to be printed onto an electrically charged rotating drum coated with selenium. Photoconductivity removes charge from the areas exposed to light. Dry ink (toner) particles are then electrostatically picked up by the drum's charged areas. The drum then prints the image onto paper by direct contact and heat, which fuses the ink to the paper. HP I-aserJet 4200 series printer Laser printers have many significant advantages over other types of printers. Unlike impact printers, laser printer speed can vary widely, and depends on many factors, including the graphic intensity of the job being processed. The fastest models can print over 200 monochrome pages per minute (12,000 pages per hour). The fastest color laser printers can print over 100 pages per minute (6000 pages per hour). Very high-speed laser printers are used for mass mailings of personalized documents, such as credit card or utility bills, and are competing with lithography in some commercial applications. The cost of this technology depends on a combination of factors, including the cost of paper, toner, and infrequent HP LaserJet printer drum replacement, as well as the replacement of other 1200 consumables such as the fuser assembly and transfer assembly. -
Copy This! a Historical Perspective on the Use of the Photocopier in Art1
Walker, J. A. (2006). Copy this! A Historical Perspective On the Use of the Photocopier In Art. Plagiary: Cross‐Disciplinary Studies in Plagiarism, Fabrication, and Falsification, 22‐24. Copy This! A Historical Perspective On the Use of the Photocopier in Art1 John A. Walker E‐mail: [email protected] Abstract art”, “electroworks” and “xerography”). Exhibi‐ Before digital technology had transformed the tions of Copy Art have been held around the capabilities for manipulating images and making world at art fairs, in private galleries and in com‐ them available for viewing and download via the munity art centres. The first major survey of Internet, artists were making use of innovative tech- niques in a genre which has come to be known as Copy Art – Electroworks – took place at George “copy art”, also called “electrographic art”, Eastman House, Rochester, New York in 1979. A “photocopy art”, “electroworks”, and “xerography”. year later in San Francisco, Ginny Lloyd opened Montage, distortion, and transformation were ef- an “electro arts” gallery in order to show local fected through reducing, enlarging, and adjusting xerox artists, while in New York an International the hue and tone, “xerographic” effects which are Society of Copier Artists was founded in 1982 by achieved today through digital enhancements, al- Louise Neaderland to promote the activity. terations, and transformations. The referencing of “image glut”, “visual pollution”, and “image over- load” in this reprinted article from the late 1980s by Members keep in touch via a quarterly maga‐ John A. Walker would seem to have much relevance zine which often consists of anthologies of Copy for today when copying technology has moved from Art. -
(Easily) Etch Images in Copper by Prank on May 20, 2006
Home Sign Up! Explore Community Submit All Art Craft Food Games Green Home Kids Life Music Offbeat Outdoors Pets Photo Ride Science Tech (easily) etch images in copper by prank on May 20, 2006 Table of Contents License: Attribution Non-commercial Share Alike (by-nc-sa) . 2 Intro: (easily) etch images in copper . 2 step 1: Overview . 2 step 2: Get yo' materials together . 3 step 3: get some tunes . 3 step 4: Prepare your image . 4 step 5: Print onto the transparency . 5 step 6: Transfer the ink onto the copper . 5 step 7: Etch-yer-sketch! . 6 step 8: Finish up . 7 step 9: Cheese-it! . 8 Related Instructables . 8 Advertisements . 8 Comments . 8 http://www.instructables.com/id/easily-etch-images-in-copper/ License: Attribution Non-commercial Share Alike (by-nc-sa) Intro: (easily) etch images in copper Make a copper etching of any image. This takes about 1 hour, including image prep, transfer, and etching, and it works really well. Check it out! http://www.artiswrong.com step 1: Overview I was making PCBs today (using vincent's excellent 5PCB instructable!), and they were coming out really well. I thought I might try images, and after a bit of trial and error, I got that working well, too. This instructable will leave you with a nice copper etching of a digital image of your choice. Along the way, you will: Do some digital image editing and manipulation Laser print your image onto a transparency Iron the transparency onto a copper clad board Chemically etch the board Ready? Onwards! http://www.instructables.com/id/easily-etch-images-in-copper/ step 2: Get yo' materials together You'll need: Some circuit board etchant (FeCl2) A copper clad board the size of your image A transparency (kinko's sells them for about $1) A laser printer An iron A plastic tray larger than your board (to hold the board and etchant) step 3: get some tunes Before you begin your labor, you'll need (for your own safety) some smooth jams to rock out to. -
Materials Usage Guide
Color Materials Usage Guide Contents Introduction . .1 Making the best decision . 1 Answers to these question and more . 1 Papers for today’s business . 1 About this guide . .2 Symbols . 2 Terminology . 2 About Paper . .3 Fundamentals of Paper . 3 Let’s take a look at the papermaking machines. 3 Why do we produce so many documents? . 3 What Happens When Dry Ink Meets Paper . 4 When dry ink meets paper . 4 Important Paper Properties for Color Xerography . 5 Paper influences on document quality . 5 Optical paper qualities that influence image quality . 10 Reliability . 11 Moisture content . 13 Electrical properties (conductivity and resistivity) . 13 Surface strength . 13 Friction coefficient . 14 Paper Storage . 15 Stacking . 16 Temperature and humidity . 16 Conditioning paper . 17 Why Paper Doesn’t Always Work the Way it Should . 18 Coated paper and offset . 18 Coated paper and xerography . 18 Moisture and xerography . 18 Textured stock and xerography . 18 Technology and Paper . 19 Digital production printing . 19 Office laser printing . 19 Office digital copying and printing . 19 Xerox Papers and Xerox Digital Copier/Printers . 20 COLOR MATERIALS USAGE GUIDE Visit our website at www.xerox.com I How to Order Paper like a Pro . .21 How paper is categorized – in the USA and Canada . 21 Business papers . 21 Book papers . 22 Cover . 23 Index . 23 Speciality materials . 23 How Paper is Measured in Terms of Weights and Sizes . 28 Terms used to describe paper weight . 28 Ways paper can be ordered . 28 Paper sizes in the USA and Canada . 29 International Standards Organization (ISO) paper sizes 30 How to Select the Right Texture/Finish . -
Modeling and Control of Color Xerographic Processes*
Proceedings of the 38* WeA13 08:30 Conference on Decision & Control Phoenix, Arizona USA December 1999 Modeling and Control of Color Xerographic Processes* Richard Groff Pramod Khargonekar Daniel Koditschek {regroff, pramod, kod}@umich.edu EECS, University of Michigan 1301 Beal Ave., Ann Arbor MI 48105 Tracy Thieret L.K. Mestha { TThieret, lkmestha}@crt.xerox.com J.C. Wilson Center for Research and Technology, Xerox Corporation 800 Phillips Road, Webster, NY 14580 USA Abstract will be of benefit to those interested in modeling and control issues in color management systems as well as The University of Michigan and Xerox’s Wilson Re- to those interested in industry-university-government search Center have been collaborating on problems in (IUG) collaborations. color management systems since 1996, supported in part by an NSF GOALI grant. This paper is divided into three sections. The first discusses the basics of 2 Control Problems in Xerography xerography and areas where systems methodology can have a potential impact. The second section describes In previous publications [l]we have given specific xero- the authors’ approach to the approximation of color graphic component process descriptions, and discussed space transformations using piecewise linear approx- at length the prospects for systems oriented solutions imants and the graph intersection algorithm, with a to the problems of this industry [2, 31. We will very brief review of some of the analytical and numerical briefly review some of these issues here, before report- results. The last section expounds on some of the ben- ing on the specific technical direction our recent work efits and difficulties of industry-university-government has taken.