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Cardboard and Brown Paper Bags Office Paper, Newspaper, Junk Mail, Magazines, and Catalogs
Recycling Center 801 Diamond Valley Drive Open: Daily to the public during daylight hours This guide will help you properly prepare your recyclable materials for drop-off at the Town of Windsor Recycle Center. This is a drop-off facility. It does not have a buy-back option and is for use by residents and small businesses. Following this information will help maintain the facility and the recycling program for the benefit of the community. IMPORTANT… • Do not leave your recyclables in plastic bags. Plastic bags are NOT recyclable! • The plastic item must be a BOTTLE or JAR. with a #1 or #2 on the bottom. • 99 percent of these will have a screw-on plastic lid (which isn’t recyclable). • Plastic containers with a #3 - #7 on the bottom are NOT acceptable. • Tubs, buckets, deli plates, microwave/fast food trays, wrappers, Styrofoam, toys, patio furniture, etc. are NOT acceptable. • Plastic bottles larger than 2.5 gallons are NOT acceptable. • Syringes and other medical supplies are NOT acceptable. Cardboard and Brown Paper Bags Corrugated cardboard is easy to recognize. It is made of paper and has an arched layer called “fluting” between smooth sheets called “liners”. The drop-off site has two 40-yard hydraulic compactor units for collecting corrugated cardboard and brown paper bags. The compaction system is self-activated by depositing the prepared materials into a six-inch tall slot. Flatten boxes. Cut or tear large boxes into sections no larger than 4 feet by 4 feet to prevent jamming the machine. No wet, waxed-coated or food-contaminated boxes. -
What Notto Recycle Curbside
NEWSPAPERS • Newspaper Newspapers must be bundled and tied • Inserts that come w/newspapers, such with string or twine. Shredded paper as comics, glossy coupons, must be in clear or labeled plastic bags. TV/magazine sections & colored food/store ads GLASS BOTTLES, ALL PLASTIC BOTTLES • Glass bottles (all colors) #1 - #7 Examples: Water, soda, milk, & CONTAINERS (#1 - #7 ), STEEL, • Glass jars (all colors) juice, soap, detergent, bleach, BIMETAL & ALUMINUM CANS These • Steel cans shampoo and cleaning-agent bottles. items should be rinsed thoroughly and • Bimetal cans You may also include peanut butter, placed inside your recycling bucket. Only • Aluminum cans yogurt and diaper-wipe containers, margarine tubs, plastic trays and the items listed at right are acceptable. • All plastic bottles and clear plastic clamshell containers Crush all plastic bottles to save space. containers #1 - #7 from restaurant salad bars. Remove caps. NO STYROFOAM® OTHER PAPER/JUNK MAIL • Magazines • Catalogs Other paper should be placed in a brown • Writing/school paper • Phone books paper bag or cardboard box and placed • All envelopes • Store fliers w/mailing labels next to your blue bucket. • Copy paper • Office paper • Paperback books • Non-metallic gift wrap • Hardcover books • Greeting cards w/hard covers removed CORRUGATED CARDBOARD, • Corrugated cardboard • Tissue boxes CHIPBOARD & PIZZA BOXES • Pizza boxes (clean!) • Paper towel rolls Corrugated cardboard must be cut into • Brown bags 2 ft. x 2 ft. squares and tied with string or • Chipboard boxes including: twine. Please include pizza boxes & cereal, cookie, pasta, cake, cracker, chipboard with corrugated cardboard. detergent (remove plastic liners), Place tied bundle (pizza boxes, chipboard gift, shoe, shirt and any retail & cardboard) next to your recycling boxes. -
International Journal of Textile Science and Engineering Chowdhary U
International Journal of Textile Science and Engineering Chowdhary U. Int J Text Sci Eng 3: 125. Review Article DOI: 10.29011/IJTSE-125/100025 Impact of Interfacings and Lining on Breaking Strength, Elongation and Duration of the Test for Knitted Wool Usha Chowdhary* Department of Human Environmental Studies Fashion Merchandising and Design, Central Michigan University, Mount Pleasant, Mich- igan, USA *Corresponding author: Usha Chowdhary, Department of Human Environmental Studies Fashion Merchandising and Design, Central Michigan University, Mount Pleasant, Michigan, USA. Email: [email protected] Citation: Chowdhary U (2019) Impact of Interfacings and Lining on Breaking Strength, Elongation and Duration of the Test for Knitted Wool. Int J Text Sci Eng 3: 125. DOI: 10.29011/IJTSE-125/100025 Received Date: March 5, 2019; Accepted Date: March 20, 2019; Published Date: March 29, 2019 Abstract The study examined breaking strength, elongation and time at break for 100% medium weight knitted wool with in- terfacings and lining. Several ASTM standards were used to measure structural and performance attributes. Fabric strength, elongation, and time taken to rupture for fabric exclusively and with interfacings and lining attached were measured for eight relationships. Hypotheses were tested using T-test analysis. Confidence level was established at 95%. Results revealed that majority of the hypotheses were accepted. Results for fusible and non-fusible interfacings varied. Adding fusible interfacing did not enhance strength in the lengthwise direction. Fusible and non-fusible interfacings did not differ for elongation. It took longer for fabric to break in lengthwise than the crosswise direction. Future research is needed to confirm the findings of this study for various fabrics, seam types, stitch types, fabric construction and fiber contents. -
Central Missouri, University of Vendor List
Central Missouri, University of Vendor List 4imprint Inc. Contact: Karla Kohlmann 866-624-3694 101 Commerce Street Oshkosh, WI 54901 [email protected] www.4imprint.com Number Type Status Contracts: 1052556 Standard Effective Products: Accessories - Convention Bag Accessories - Tote Accessories - Backpacks Accessories - purse, change Accessories - Luggage tags Accessories - Travel Bag Automobile Items - Ice Scraper Automobile Items - Key Tag/Chain Crew Sweatshirt - Fleece Crew Domestics - Table Cover Domestics - Cloth Domestics - Beach Towel Electronics - Flash Drive Electronics - Earbuds Furniture/Furnishings - Picture Frame Furniture/Furnishings - Screwdriver Furniture/Furnishings - Multi Tool Games - Bean Bag Toss Game Games - Playing Cards Garden Accessories - Seed Packet Gifts & Novelties - Button Gifts & Novelties - Key chains Gifts & Novelties - Koozie Gifts & Novelties - Lanyards Gifts & Novelties - tire gauge Gifts & Novelties - Rally Towel Golf/polo Shirts - Polo Shirt Headbands, Wristbands, Armband - Armband Headbands, Wristbands, Armband - Wristband Holiday - Ornament Home & Office - Fleece Blanket Home & Office - Dry Erase Sheets Home & Office - Night Light Home & Office - Mug Housewares - Jar Opener Housewares - Coasters Housewares - Tumbler Housewares - Drinkware - Glass Housewares - Cup Housewares - Tumbler Jackets / Coats - Jacket 04/02/2019 Page 1 of 91 Jackets / Coats - Coats - Winter Jewelry - Lapel Pin Jewelry - Spirit Bracelet Jewelry - Watches Miscellaneous - Umbrella Miscellaneous - Stress Ball Miscellaneous -
Articles of Paper Pulp, of Paper Or of Paperboard
Chapter 48 Paper and paperboard; articles of paper pulp, of paper or of paperboard Notes. 1.- For the purposes of this Chapter, except where the context otherwise requires, a reference to “paper” includes references to paperboard (irrespective of thickness or weight per m²). 2.- This Chapter does not cover : (a) Articles of Chapter 30; (b) Stamping foils of heading 32.12; (c) Perfumed papers or papers impregnated or coated with cosmetics (Chapter 33); (d) Paper or cellulose wadding impregnated, coated or covered with soap or detergent (heading 34.01), or with polishes, creams or similar preparations (heading 34.05); (e) Sensitised paper or paperboard of headings 37.01 to 37.04; (f) Paper impregnated with diagnostic or laboratory reagents (heading 38.22); (g) Paper-reinforced stratified sheeting of plastics, or one layer of paper or paperboard coated or covered with a layer of plastics, the latter constituting more than half the total thickness, or articles of such materials, other than wall coverings of heading 48.14 (Chapter 39); (h) Articles of heading 42.02 (for example, travel goods); (ij) Articles of Chapter 46 (manufactures of plaiting material); (k) Paper yarn or textile articles of paper yarn (Section XI); (l) Articles of Chapter 64 or Chapter 65; (m) Abrasive paper or paperboard (heading 68.05) or paper- or paperboard-backed mica (heading 68.14) (paper and paperboard coated with mica powder are, however, to be classified in this Chapter); (n) Metal foil backed with paper or paperboard (generally Section XIV or XV); (o) Articles of heading 92.09; (p) Articles of Chapter 95 (for example, toys, games, sports requisites); or (q) Articles of Chapter 96 (for example, buttons, sanitary towels (pads) and tampons, napkins (diapers) and napkin liners for babies). -
Aic Paintings Specialty Group Postprints
1991 AIC PAINTINGS SPECIALTY GROUP POSTPRINTS Papers presented at the Nineteenth Annual Meeting of the American Institute for Conservation of Historic and Artistic Works Albuquerque, New Mexico Saturday, June 8,1991. Compiled by Chris Stavroudis The Post-Prints of the Paintings Specialty Group: 1991 is published by the Paintings Specialty Group (PSG) of the American Institute for Conservation of Historical and Artistic Works (AIC). These papers have not been edited and are published as received. Responsibility for the methods and/or materials described herein rests solely with the contributors and these should not be considered official statements of the Paintings Specialty Group or the American Institute for Conservation. The Paintings Specialty Group is an approved division of the American Institute for Conservation of Historical and Artistic Works (AIC) but does not necessarily represent AIC policies or opinions. The Post-Prints of the Paintings Specialty Group: 1991 is distributed to members of the Paintings Specialty Group. Additional copies may be purchased from the American Institute for Conservation of Historical and Artistic Works; 1400 16th Street N.W., Suite 340; Washington, DC 20036. Volume designed on Macintosh using QuarkXPress 3.0 by Lark London Stavroudis. Text printed on Cross Pointe 60 lb. book, an acid-free, recycled paper (50% recycled content, 10% post-consumer waste). Printing and adhesive binding by the Mennonite Publishing House, Scottdale, Pennsylvania. TABLE OF CONTENT S Erastus Salisbury Field, American Folk Painter: 4 His Changing Style And Changing Techniques Michael L. Heslip and James S. Martin The Use of Infra-red Vidicon and Image Digitizing Software in 4 Examining 20th-century Works of Art James Coddington Paintings On Paper: Collaboration Between Paper 11 and Paintings Conservators Daria Keynan and Carol Weingarten Standard Materials for Analysis of Binding Media and 23 GCI Binding Media Library Dusan C. -
Forthlane Fridays Guest Bios Alex Norman
Forthlane Fridays Guest Bios Session 12: The Canadian Tech Ecosystem Alex Norman PARTNER AT N49P, TECHTO CO-FOUNDER & ANGELLIST CANADIAN PARTNER Alex is focused on building the Canadian tech ecosystem and has several active roles within the ecosystem. Alex is the Canadian Partner of AngelList, the most successful startup investing platform in the world with over $2bn USD AuM. Alex launched the platform in Canada in late 2015 and is responsible for $100m+ AuM and 250+ investments. Alex is the co-founder of TechTO which is focused on developing the technology and innovation economy in Canada by increasing the level of awareness, talent, and connectivity of the ecosystem. Alex also runs N49P, a pre- seed venture capital fund where he advises and invests in early stage Canadian funds. Prior to his current activities, Alex co-founded HomeSav, one of Canada’s leading home furnishings ecommerce site, acquired by Rebellion Media in 2014. He has had senior roles in technology companies in San Francisco, New York and London. Alex also has significant experience in professional services, working for McKinsey & Company in London, UK and Toronto, Canada and in the technology mergers and acquisitions group at Lehman Brothers in New York. Eva Lau FOUNDING PARTNER, TWO SMALL FISH VENTURES Eva is a well respected entrepreneur-turned-investor and one of the few women leading a venture fund in Canada. She is the Founding Partner of Two Small Fish Ventures, a venture fund that invests globally in early-stage, transformative tech companies with strong network effects. The fund is backed by many high net worth individuals, family offices, institutional investors and the Creator Circle, which is composed of many top product and company creators who can leverage their experience to help Two Small Fish Ventures portfolio companies become successful. -
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”. -
Placket Construction Options
Placket Construction Options 1 Type1: Two Separate Bound Edges on a rectangular stitching box The key to this structure is that the bindings are initially stitched only to the seam allowances on each side, and NOT stitched across the end, of the clipped box, which means that they, and the clipped triangle at the bottom, remain loose and can be arranged before the nal nishing to go on either side of the fabric, as well as either over or under the other, after joining them at the sides. The widths and lengths of the bindings and the space between the sides of the clipped box determine all the other options available in this most exible of all the placket types I know of. Variation 1: Both bindings t inside the stitching box If you cut the bindings so the nished, folded widths of both are equal to or smaller than the space between the initial stitching lines, as shown above, you can arrange both ends at the clipped corners to all go on one side of the fabric (right or wrong side), along with the clipped triangle on the garment. You’ll get the best results if the underlapping binding is slightly smaller than the overlapping one. This can be man- aged by taking slightly deeper seam allowances when you join this piece, so they can initially be cut from the same strip. Or, you can place one end on each side with the Both ends on RS One end on RS, Both ends on WS triangle sandwiched in between. -
Acrylic Business Card Holder
Hello – thanks for stopping by! If you’re writing an article, or reviewing our products, you’ve come to the right place. To make life easier, we’ve collated all our most commonly requested facts, figures and high res images for you to browse, download and quote from. If you’re still after more info, or some different images or format, please do get in touch – we’ll do everything we can to help. MOO is a new kind of printing business. The internet, smartphones, tablets - everyone’s online all the time (including us!) But that doesn’t mean that we’ve stopped enjoying the feel of something beautiful and tangible in our hands. In an increasingly digital world, MOO makes life a little less virtual. Why? Because we love to print. MOO makes life a little less virtual. MOO was born from a passion for beautiful, high-quality printed products and a love of great design – for everyone. Founded in 2004, we aimed to disrupt the $640 billion global print industry by combining the values of professional design with the accessibility and reach of the web. Printing has been around for centuries, and we’re certainly not the first printer to go digital. But since the launch of moo.com on 19th September 2006, we’ve worked hard to set the standard for digital print. How? With consistently remarkable new products that combine great design and uncompromising high standards. MOO is a bit different to other printers. We invented a unique, patented technology called ‘Printfinity’ which allows customers to have a different image on every single Business Card, MiniCard, Postcard, Greeting Card or Sticker in a pack. -
Info/How to Examine an Antique Painting.Pdf
How to Examine an Antique Painting by Peter Kostoulakos Before we can talk about the examination process, an overview of how to handle an oil painting is necessary to prevent damage to the work and liability for the appraiser. The checklist below is essential for beginning appraisers to form a methodical approach to examining art in the field without heavy, expensive equipment. Although the information may seem elementary for seasoned appraisers, it can be considered a review with a few tips to organize your observational skills. When inspecting an antique painting, as with any antique, a detailed on the spot, examination should take place. A small checklist covering composition, support, paint layers, varnish, and frame is necessary. Also, a few tools such as a UV lamp, magnifiers, camera, soft brush, cotton swabs, and tape measure are needed. A "behind the scenes" investigation can tell you a great deal about the painting. The name of the artist, title of the painting, canvas maker, date of canvas and stretcher, exhibitions and former owners are some of the things that may be revealed upon close examination. Document your examination with notes and plenty of photographs. Handling Art Older paintings should be thought of as delicate babies. We need to think about the consequences before we pick one up. To prevent acidic oil from our skin to be transferred to paintings and frames, we must cover our hands with gloves. Museum workers have told me that they feel insecure using white, cotton gloves because their grip becomes slippery. I tried the ceremonial gloves used in the military to grip rifles while performing. -
Blank Business Card Design
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