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Federal Wage System Glossary of Printing Terms for the 4400 Job Family
Glossary of Printing Terms for the 4400 Job Family TS-45 October 1981 Federal Wage System Glossary of Printing Terms for the 4400 Job Family The terms and definitions contained in this glossary are intended to facilitate the application of published job grading standards to occupations in the Printing Family. The glossary does not represent a comprehensive listing of technical terms and processes common to printing occupations. Additional information may be found in dictionaries, and technical publications such as agency guides, trade magazines, and technical manuals. Aluminum Plate. A thin sheet of aluminum used in lithography for some press plates; image applied photographically; used for both surface-type and deep-etch offset plates. Aperture. A small opening in a plate or sheet. In cameras, the aperture is usually variable in the form of an iris diaphragm and regulates the amount of light which passes through the lens. The working aperture is the diameter of that part of the lens actually used. Asphaltum. A bituminous mixture used as an acid resist or protectant in photomechanics. In lithography, used to make printing image on press plate permanently ink-receptive. Autoscreen (Film). A photographic film embodying the halftone screen; exposed to a continuous-tone image, produces a dot pattern automatically just as if a halftone screen had been used in the camera. Backing-Up. Printing the other side, of a printed sheet. Back Pressure. The squeeze pressure between the blanket (offset) cylinder and the impression cylinder; sometimes called "impression pressure." Base Color. A first color used as a background on which other colors are printed. -
Maria Martinez, San Ildefonso Pueblo, 1886-1980 Julian Martinez
Maria Martinez, San Ildefonso Pueblo, 1886-1980 Julian Martinez, San Ildefonso Pueblo, 1879-1943 Vessel, 20th century Ceramic H.6 ¼ x W.8 x D.8 inches Gift of Barbara L. Strom, 86.94. Theme Shaped by the celebrated potter Maria Martinez, this bowl exemplifies an art form that is integral to the lives and traditions of the Pueblo people. Background The landscape in this part of the Southwest is quiet: blue-purple hills, pink sand, gray-green sage, and mesquite as far as you can see… White cloud billows in the cerulean sky and mesas of lavender give background to the solitary river path and the stony arroyos where water only sometimes flows. The shimmery green-white of cottonwood leaves and the occasional deep green of piñon pine punctuate the landscape…. Some distance behind the [San Ildefonso] pueblo looms the landmark of this area, Black Mesa, called Tunyo by the Indians. It rises like an ominous green-black table, mysterious above the low hills, visible for miles.1 The traditions of the native peoples of the Southwest are deeply rooted in the land where their ancestors have lived for tens of thousands of years. The vast region stretching from southern Utah and Colorado, throughout New Mexico and Arizona, and south into Mexico is the oldest known area of human habitation on the North American continent. In the Southwest, pottery has been made for well over 2,000 years, providing vessels for carrying water and for the preparation and storage of food. For centuries the people have decorated these vessels with images from their surroundings, including the sun that caused their crops to grow and the clouds that were the source of life-giving rain. -
Duotone Setup and File Submission Instructions DUOTONE PRINTING > OVERVIEW CONVEYOR ARTS PAGE 02
CONVEYOR ARTS PAGE 01 Duotone Setup and File Submission Instructions DUOTONE PRINTING > OVERVIEW CONVEYOR ARTS PAGE 02 Duotone printing utilizes grey and black ink to achieve a rich print with a wide tonal range, while maintaining a completely neutral black and white print. This printing process requires us to create separations for the press manually, which makes for a different workflow between you and Conveyor Arts. Unlike with other types of printing, you will need to provide us with a packaged INDD folder, rather than a PDF. Here are a few things to keep in mind as you’re preparing to submit your project: 1. All files to be printed in duotone must be flattened 8-bit PSDs with an embedded grayscale ICC profile (We like Gray Gamma 2.2). 2. All files to be printed in duotone must be placed in a subfolder titled “duotone” within the “links” folder of your packaged Indesign file. IMAGE PREP CONVEYOR ARTS PAGE 03 All files to be printed in duotone must be flattened 8-bit PSDs with an embedded grayscale ICC profile. Image > Mode > Grayscale Image > Mode > 8 Bits/Channel IMAGE PREP CONVEYOR ARTS PAGE 04 Edit > C o nv e r t To Pr o file... IMAGE PREP CONVEYOR ARTS PAGE 05 Select Gray Gamma 2.2 and click OK PACKAGING YOUR INDESIGN FILE CONVEYOR ARTS PAGE 06 Once you’ve finished laying out your book in InDesign, go to File > Pa c k a g e... *Before making the final package, double check that all fonts are activated, and all links are connected. -
PSW-33-4.Pdf
Volume 33, No. 4 DECEMBER 2017 WINTER 2017 ISSN 0738-8020 MISSION STATEMENT Pottery Southwest, a scholarly journal devoted to the prehistoric and historic pottery of the Greater Southwest (https://potterysouthwest.unm.edu), provides a venue for students, professional, and avocational archaeologists in which to publish scholarly articles as well as providing an opportunity to share questions and answers. Published by the Albuquerque Archaeological Society since 1974, Pottery Southwest is available free of charge on its website which is hosted by the Maxwell Museum of the University of New Mexico. CONTENTS Page Pots of Ethnicity? David H. Snow ............................................................................................................. 2-27 Shamanism, Hallucinogenic Plants and Prehistoric Ceramics: Do hairy gods and echinate pots now tell their secret narrative to an unintended audience? William J. Litzinger ................................................................................................... 28-42 Salado as a Technology: A New Perspective on Salado Polychrome Andy Ward ................................................................................................................. 43-48 Reports and Announcements ................................................................................................... 49 CDs Available from the Albuquerque Archaeological Society ........................................ 50-51 How to Submit Papers and Inquiries ..................................................................................... -
Creating Duotones and Monochrome Images in Coreldraw Graphics Suite
Creating Duotones and Monochrome Images in CorelDRAW Graphics Suite by Ariel Garaza Diaz, CorelDRAW Master There are many ways you can adjust the color of images in CorelDRAW® Graphics Suite to create duotone and monochrome effects. This tutorial will show you some different techniques and I will be outlining some of the tools I use, but this is not an exhaustive list. There are many ways to adjust the color of images in CorelDRAW Graphics Suite and I encourage you to look around and experiment with the tools and effects available in the software. Index: 1 – Duotone Mode 2 – Image Effects Settings 3 – Color-adjustments in Corel PHOTO-PAINT 4 – Tone curve 5 – Monochrome images 6 – PowerTRACE 7 – Lenses 1 – Duotone Mode Generally, duotone images are made by one or more direct color tones, such as Pantone inks. The result is different from what you would get with mix of colors (RGB or CMYK). To start, open a photo or bitmap in CorelDRAW. The original color mode of the image does not matter. To bring up the control panel go to Bitmaps > Mode > Duotone. There are four options available in the dialog box, depending on the amount of inks you’re using: Monotone (one single ink), Duotone (two inks), Tritone (three inks) and Quadtone (four direct inks) In the Type dropdown, select Monotone, and click the Edit button to change the color (by default, Pantone Process Black) and choose another color if needed. It is important to clarify that if an RGB or CMYK color is selected, the program will replace it with the closest Pantone color. -
Ancestral Pueblo Pottery: Cataloguing, Curation, Mount-Making and More
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Undergraduate Honors Theses Student Research 12-13-2019 Ancestral Pueblo Pottery: Cataloguing, Curation, Mount-Making and More Elizabeth Jennings [email protected] Follow this and additional works at: https://digscholarship.unco.edu/honors Recommended Citation Jennings, Elizabeth, "Ancestral Pueblo Pottery: Cataloguing, Curation, Mount-Making and More" (2019). Undergraduate Honors Theses. 25. https://digscholarship.unco.edu/honors/25 This Article is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. University of Northern Colorado Greeley, Colorado ANCESTRAL PUEBLO POTTERY:CATALOGUING, CURATION, MOUNT- MAKING AND MORE A Thesis Submitted in Partial Fulfillment for Graduation with Honors Distinction and the Degree of Bachelor of Arts Elizabeth Jennings DECEMBER 2019 ANCESTRAL PUEBLO POTTERY: CATALOGUING, CURATION, MOUNT-MAKING AND MORE PROJECT PREPARED BY: ___________________________________________ Elizabeth Jennings APPROVED BY THESIS ADVISOR: ____________________________________ Dr. Andrew Creekmore HONORS DEPT LIAISON: _____________________________________________ Dr. Britney Kyle HONORS DIRECTOR: _________________________________________________ Loree Crow RECEIVED BY THE UNIVERSITY THESIS COMMITTEE -
Color Appreciation
Col or Appreciation presented by Dave Watterson Art Director, GATF Color Appreciation • Color theory • Additive color system • Subtractive color system • Color communication • Color viewing Color •A phenomenon of light •A visual sensation Phenomenon •Known through the senses, rather than through thought or intuition Theory •A scientifically acceptable general principle offered to explain phenomenon •An unproved assumption Color • All color is in light •Without light there is no color •Light is radiant or electromagnetic energy • The absence of light is black The Physical Origins of Color • Rods––A type of nerve ending in the eye that is sensitive to low levels of light. Responsible for night vision. • Cones––A type of nerve ending in the eye that can distinguish between the individual components of light. •This ability to distinguish between the individual components of the light creates the sensation we call color. If you had no cones in your eyes, color would not exist. Rods and Cones Color • If an ideal white light were perfectly dissected by the use of a prism, it would reveal three beams known as the primary colors of light • We have been taught to call these visual sensations by the names red, green and blue • Nearly every color you see can be created by a combination of red, green and blue light Color • Visible light has been classified as the narrow range of electromagnetic energy located near the center of the electromagnetic spectrum • The human eye is sensitive to only a portion of this electro- magnetic range, which we call -
Black & White Photography Techniques with Adobe Photoshop
DEDICATION This book is dedicated to my parents, Margaret and Deforrest, with appreciation for their support in many ways. ACKNOWLEDGMENTS The author acknowledges with gratitude the contributions of the following individuals to this book: My wife, Vivien, for her encouragement, perceptive comments, and assistance. Nevada Wier, for providing an image from her unique portfolio. Editors Michelle Perkins and Barbara A. Lynch-Johnt, and publisher Craig Alesse of Amherst Media, for the editing, layout, and production of this book. ABOUT THE AUTHOR Maurice Hamilton is an award-winning landscape, nature, and travel photographer based in Los Altos and Groveland, California. He has traveled to many countries to explore and photograph remote and exotic locations, but he specializes in documenting the grandeur of the American West. Maurice is also the author of The Digital Darkroom Guide with Adobe® Photoshop® (Amherst Media, 2004) and sponsors workshops that explain the techniques presented in his books. Information on his fine-art images and workshops is available at www.hamiltonphoto.com. Copyright © 2006 by Maurice Hamilton. All rights reserved. Published by: Amherst Media® P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt ISBN: 1-58428-173-1 Library of Congress Control Number: 2005926587 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher. -
The Progression from Ancestral Pueblo to Pueblo of Today
The Cultural Progression from Ancestral Pueblo to Pueblo of Today Cara Wallin Shawmont Elementary School Overview Rationale Objectives Background Standards Classroom Activities Bibliography Appendix Overview This curriculum unit will be created for the use of a sixth grade inclusive classroom, which focuses on the subjects of mathematics and social studies. With this curriculum unit, the activities will be able to be tweaked and enhanced, in order to be incorporated in both elementary and high school history classes. My students will be introduced to the Ancestral Pueblo and Pueblo tribes located in the southwestern part of the United States. This collection will have interactive and differentiated lesson plans that will focus on the culture of these two tribes from the past to the present. Activities are cross-curricular. The theme of culture plays a predominant role in this unit because it allows students to explore many different aspects of the Ancestral Puebloan and Pueblo tribes including art and architecture, beliefs and traditions, music and literature. Students will be able to read and research different documents to gain a better understanding of their history and migration patterns. Pictures of tribal artifacts will visually connect students with the arts that are incorporated in the tribes and the importance behind them. Websites will allow students to navigate through the living corridors, called cliff dwellings, and GoogleMaps will show the exact location and enormous size of these dwellings. These activities will help students take ownership of their learning and gain a respect and understanding of the culture of the Pueblo tribe of today. Rationale Native Americans are still very much present in our world today. -
The Fifth Color Follies
THE MAKEREADY ARCHIVE Column 22 of 77 The Fifth Color Follies Topics: Duotones and other multitones; Limitations of CMYK, the Pantone Matching System; Hexachrome; Spot color channels Column first appeared: February 1997, Computer Publishing magazine. Source of this file: Chapter 15 of Professional Photoshop Second Edition (aka Professional Photoshop 5), which is an expanded version of the column, containing a more complete discussion of duotoning. Author's comment: This chapter’s advice came in handy some years later, when the proposed design for the cover of Profes- sional Photoshop Fifth Edition (right) contained a large block of pure black. The text explains that this strategy fails in conven- tional printing, because it transfers too much black ink into the photos. Some readers asserted that the cover’s success disproved that. Not so: after the printer convinced the publisher that I was right, they sprung for a fifth color, or rather, a second black. The printing was CMYKK, just as the text recommends. This archive, to be released over several years, collects the columns that Dan Margulis wrote under the Makeready title between 1993 and 2006. In some cases the columns appear as written; in others the archive contains revised versions that appeared in later books. Makeready in principle could cover anything related to graphic arts production, but it is best known for its contributions to Photoshop technique, particularly in the field of color correction. In its final years, the column was appearing in six different magazines worldwide (two in the United States). Dan Margulis teaches small-group master classes in color correction. -
Visión Del Mundo E Identidad: El Arte Rupestre En El Suroeste De Los Estados Unidos (950-1450 Dc)
VISIÓN DEL MUNDO E IDENTIDAD: EL ARTE RUPESTRE EN EL SUROESTE DE LOS ESTADOS UNIDOS (950-1450 DC) Polly Schaafsma Museum of Indian Arts and Culture, Laboratory of Anthropology, Santa Fe, NM Resumen: El arte rupestre es el producto de valores y visiones del mundo compartidos por miembros de una cultura determinada en un tiempo y lugar definidos. Este ensayo busca identificar sus patrones de identidad social, interacción y cambio. A través de esa lente, revisa la distribución de los estilos y contenidos de la imaginería presente en el arte rupestre, tal como aparece en el paisaje, a lo largo del suroeste norteamericano y sus regiones adyacentes. Las continuidades y diferencias sincrónicas y diacrónicas son evaluadas en términos de patrones espaciales de modo que se puedan sugerir relaciones sociales y situaciones de estabilidad regionales, así como los puntos de ruptura ideológica y las cambiantes relaciones con las culturas de México. Palabras clave: arte rupestre; identidad; visión del mundo; suroeste de los EUA. Abstract: Rock art is the product of shared values and worldviews held by members of a given culture at any particular time and place. This paper seeks to identify patterns of social identity, interaction, and change through this lens by reviewing the distributions of the style and content of rock art imagery as it occurs in the landscape throughout the Southwest and in adjacent regions. Synchronic and diachronic continuities and differences are evaluated in terms of spatial patterning in order to suggest regional social relationships and stability as well as points of ideological change, and shifting relationships with Mexico are considered. -
Lesson Plan – Southwest Pueblo Pottery
LESSON PLAN – SOUTHWEST PUEBLO POTTERY TITLE: Southwest Pueblo Pottery TIME: 90 minutes LEARNER POPULATION: grade level 5 CURRICULAR CONTEXT: part of Social Studies, U.S. History, unit: Southwest Pueblo Indians OBJECTIVES: By the end of this activity: 1) Students will be able to compare different styles of pottery from the Southwest. 2) Students will be able to identify world-famous potter Maria Martinez and her style of pottery. CONCEPTS/INFORMATION: • The Pardee Home Museum’s collection of Southwest Pottery. • Different styles, colors, shapes, usages. • Maria Martinez, world-famous potter from San Ildefonso, New Mexico. INSTRUCTIONAL SEQUENCE: 1) Develop students’ interest by asking whether they have ever made something out of clay, whether they know what a potter does and how he/she works. 2) Introduce the Pardee Home Museum, and show photos of different Southwest pottery at the Pardee Home Museum. 3) Distribute handouts and let students work in groups to analyze the different styles of pottery. Let them guess about usage, age and how the pots might have been collected and brought into the museum. 4) After about 20-30 minutes, let students report back from their groups and share their answers. 5) Introduce Maria Martinez; show a map of New Mexico to students. 6) Ask students whether they have thought of pottery as an art, and explain why Maria Martinez is seen as an artist. INSTRUCTIONAL MATERIALS: Background information Southwest Pottery; background information on Maria Martinez; Handout; photos from Pardee Home Museum pottery; Information about photos; pencils; map New Mexico; photos of Maria Martinez and her husband Julian.