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2666 38: Azu-/E (E.G4s Cz776erzazz
(No Model.) 2. Sheets-Sheet 1 T. C. EBER HARD, ENGRAVING MACHINE, No. 415,450, Patented Nov. 19, 1889. () a 841 uo 11 for -2666 38: Azu-/e (e.g4s CZ776erzazz/ r. Washington, D.C. (No Model.) 2. Sheets-Sheet 2. T. C. EBER HARDT, ENGRAWING MACHINE, No. 415,450, Patented Nov. 19, 1889. V 928) it vesses s 3v-uovot sy - ZAeop/lavas CZ76erzorae, PETERS. Photo-lthographer. Washington, D.C. UNITED STATES PATENT OFFICE. THEOPHILU'S CHARIES EBER HARDT, OF (UERO, TEXAS. ENGRAVING-MACH NE. SPECIFICATION forming part of Letters Patent No. 415,450, dated November 19, 1889. Application filed December 21, 1888, Serial No. 294,296, (No model.) To all u?ion it inctly concern: transversely on the under side of the platen Be it known that I, THEOPHILUS CHARLES at a suitable distance from the outer end EBERHARDT, a citizen of the United States, thereof, and has notches or rabbets N in its 5. residing at Cuero, in the county of De Witt ends. and State of Texas, have invented a new and O represents a clamp, which is also arranged liseful Improvement in Engraving-Machines, on the under side of the platen, and is pro of which the following is a specification. vided at its ends with right-angled arms P, My invention, relates to an improvement that fit in the rabbets N. From the upper in engraving-machines; and it consists in the side of the clamp O, at the center of the same, O peculiar construction and combination of de projects a stem R, which extends through a vices that will be more fully set forth here central opening in the platen F, and on the inafter, and particularly pointed out in the outer end of the said stem is pivoted a lever claims. -
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. -
When Is an Agrarian Not an Agrarian? a Reading of Robert Penn Warren’S “The Rb Iar Patch” Clare Byrne
Robert Penn Warren Studies Volume 10 Robert Penn Warren Studies Article 2 2016 When Is an Agrarian Not an Agrarian? A Reading of Robert Penn Warren’s “The rB iar Patch” Clare Byrne Follow this and additional works at: https://digitalcommons.wku.edu/rpwstudies Part of the American Literature Commons, and the English Language and Literature Commons Recommended Citation Byrne, Clare (2016) "When Is an Agrarian Not an Agrarian? A Reading of Robert Penn Warren’s “The rB iar Patch”," Robert Penn Warren Studies: Vol. 10 , Article 2. Available at: https://digitalcommons.wku.edu/rpwstudies/vol10/iss1/2 This Article is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Robert Penn Warren Studies by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. When Is an Agrarian Not an Agrarian? A Reading of Robert Penn Warren’s “The Briar Patch” Clare Byrne King’s College, London Critics have tended to fall into one of two camps on the matter of Robert Penn Warren’s participation in the Southern Agrarian movement. They have either agreed with Hugh Ruppersburg that “Agrarianism is…the essential premise on which [Warren’s] American explorations have rested” (30), or with Paul Conkin that “never” did Warren “ever write a single essay in which he committed himself, philosophically, to any version of Agrarian ideology” (105). As a result, his literary output has often either been read as a direct expression of Southern Agrarianism, or exonerated from any connection to it. I propose that Warren’s relationship to Agrarianism was much more complex and conflicted than either of these positions allows, and that this is evident even in the essays he explicitly contributed to the movement. -
HARLEM in SHAKESPEARE and SHAKESPEARE in HARLEM: the SONNETS of CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, and GWENDOLYN BROOKS David J
Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 5-1-2015 HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS David J. Leitner Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/dissertations Recommended Citation Leitner, David J., "HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS" (2015). Dissertations. Paper 1012. This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS by David Leitner B.A., University of Illinois Champaign-Urbana, 1999 M.A., Southern Illinois University Carbondale, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Department of English in the Graduate School Southern Illinois University Carbondale May 2015 DISSERTATION APPROVAL HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS By David Leitner A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of English Approved by: Edward Brunner, Chair Robert Fox Mary Ellen Lamb Novotny Lawrence Ryan Netzley Graduate School Southern Illinois University Carbondale April 10, 2015 AN ABSTRACT OF THE DISSERTATION OF DAVID LEITNER, for the Doctor of Philosophy degree in ENGLISH, presented on April 10, 2015, at Southern Illinois University Carbondale. -
Rethinking Genocide: Violence and Victimhood in Eastern Anatolia, 1913-1915
Rethinking Genocide: Violence and Victimhood in Eastern Anatolia, 1913-1915 by Yektan Turkyilmaz Department of Cultural Anthropology Duke University Date:_______________________ Approved: ___________________________ Orin Starn, Supervisor ___________________________ Baker, Lee ___________________________ Ewing, Katherine P. ___________________________ Horowitz, Donald L. ___________________________ Kurzman, Charles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Cultural Anthropology in the Graduate School of Duke University 2011 i v ABSTRACT Rethinking Genocide: Violence and Victimhood in Eastern Anatolia, 1913-1915 by Yektan Turkyilmaz Department of Cultural Anthropology Duke University Date:_______________________ Approved: ___________________________ Orin Starn, Supervisor ___________________________ Baker, Lee ___________________________ Ewing, Katherine P. ___________________________ Horowitz, Donald L. ___________________________ Kurzman, Charles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Cultural Anthropology in the Graduate School of Duke University 2011 Copyright by Yektan Turkyilmaz 2011 Abstract This dissertation examines the conflict in Eastern Anatolia in the early 20th century and the memory politics around it. It shows how discourses of victimhood have been engines of grievance that power the politics of fear, hatred and competing, exclusionary -
A Brief History of Wood-Engraving from Its Invention
?- : fi «M*^4S - - . : 1 (CO ENGRAVER Jon Amman (1(68) ^ THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/briefhistoryofwoOOcundiala A BRIEF HISTORY OF WOOD -ENGRAVING FROM ITS INVENTION PRINTED BY Sl'OTTISWOODE AND CO., NEW-STREET SQUARE LONDON HEXKY VIII. IN COUNCIL (From IMinshetTs ' Chronicles of England; 1577) rage 100 A BRIEF HISTORY or WOOD -ENGRAVING FROM ITS INVENTION BY JOSEPH CUNDALL ' AUTHOR OF ' HOLBEIN AND HIS WORKS ETC. LONDON SAMPSON LOW, MARSTON, & COMPANY LIMITED St. Shtnstan's "toouse FETTER LANE, FLEET STREET, E.G. 180; . — Art Library I030 CONTENTS CHAPTER I PAGE On Pictures of Saints —The print of The Virgin with the Holy Child in her Lap in the Bibliotheque Boyale de Belgique- On the print of St. Christoplier in the Spencer Library at Manchester—The Annunciation and the St. Bridget of Sweden . 1 CHAPTEB II On the Block Books of the Fifteenth Century—iStblta |9att- pmim ; ^poralnuSte ^aiutt StoljannuS, &c. 11 CHAPTEB III The Block Books of the Fifteenth Century—!3r$ #fartClrtlt— Temptacio Diaboli—Cantt'rum CailttCOrum, and others 20 CHAPTEB IV Block Book—js>jierulum fittmanae £albatt0iutf— Casus Luciferi —The Mentz Psalter of 1459 —Book of Fables The Cologne Bible —Niirnberg Chronicle —Breydenbach's Travels 28 CHAPTER V On Wood-Engraving in Italy in the Fifteenth Century— The Venice Kalendario of 1476—The Triumph of Petrarch — The Hypnerotomachia Poliphili—Aldo Manuzio—Por- trait of Aldus 40 — — HISTORY OF WOOD-ENGRAVING CHAPTER VI On Wood-Engraving in France in the Fifteenth Century — ' Engraving on Metal Blocks ' Books of Hours —Famous French Publishers : Pierre Le Bouge, Simon Vostre, Antoine Verard, Thielinan Kerver, Guyot Marchanfc, Philippe Pigouchet, Jean Dupre, and others . -
Progress in Printing and the Graphic Arts During the Victorian
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Ik Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924032192373 Sir G. Hayter, R./l. Bet* Majesty Queen Tictorta in Coronation Robes. : progress in printing and the 6raphic Hrts during the Victorian Gra. "i BY John Southward, Author of "Practical Printing"; "Modern Printing"; "The Principles and Progress of Printing Machinery"; the Treatise on "Modern Typography" in the " EncyclopEedia Britannica" Cgtii Edition); "Printing" and "Types" in "Chambers's Encyclopaedia" (New Edition); "Printing" in "Cassell's Storehouse of General Information"; "Lessons on Printing" in Cassell's New Technical Educator," &c. &c. LONDON SiMPKiN, Marshall, Hamilton, Kent & Co. Ltd. 1897. X^he whole of the Roman Cypc in tbta Booh has been set up by the Linotj^pe Composing Machine, and machined direct from the Linotj'pc Bars by 6eo. CH. loncs, Saint Bride Rouse, Dean Street, fetter Lane, London, e.C. ^ ^ ^ ^ ^ ^ ^ W Contents. ^^ Progress in Jobbing Printing Chapter I. Progress in Newspaper Printing Chapter II. Progress in Book Printing - Chapter III. Printing by Hand Press Chapter IV. Printing by Power Press Chapter V. The Art of the Compositor Chapter VI. Type-Founding Chapter VII. Stereotyping and Electrotyping Chapter VIII. Process Blocks Chapter IX. Ink Manufacture Chapter X. Paper-Making Chapter XI. Description of the Illustrations Chapter XII. ^pj progress in printing peculiarity about it It is not paid for by the person who is to become its possessor. -
Keep on Moving: Studying African Americans Movements by Malaika
Keep on Moving: Studying African Americans Movements Malaika Rudolph-Fletcher Summer 2009 Dr. Gordon Education Policy and Leadership 834 An Interpretive History of African American Education Part II: 1950 to the Present 1 Purpose: The purpose of this year long theme is to challenge and empower young African American students for the future. It is my belief that academic achievement is related to a positive understanding of one’s identity and culture despite the majority’s attempts to malign and denigrate it through media stereotypes, majority perspectives, and lack of culturally representative texts. After reading several books in this class and much discussion, it became imperative for me to develop not just a unit for this class, but a theme that could be used for the entire year to engage my students. The title of this year long theme is “Keep on Moving” because as a group of people, African Americans have moved past obstacles and barriers to assert their position in America. Further, Peter Murrell (2002) stated that as part of the specific cultural practices in an African-Centered Pedagogy, teachers must employ a living curriculum, like a “movement history”, to help students address the historical and contemporary struggles of African American people. As Peter Murrell (2002) asserted there is a definitive cultural and intellectual history that has emerged from the collective experiences of African Americans…and it has an important relationship to what education truly means in the collective memory of descendants of Africans in America. -
Vmagwtr03 P30-59.Final (Page 30
By PAUL KINGSBURY, BA’80 The thorny legacy of Vanderbilt’s Fugitives and Agrarians Pride and Prejudice t’s one of the most famous and cherished photographs in Vanderbilt’s history. Allen Tate, Merrill Moore, Robert Penn Warren, John Crowe Ransom, Donald Davidson. Five balding white men, dressed impeccably in suits and ties, are seated outdoors, Iobviously posed by photographer Joe Rudis to appear as if lost in con- versation. Despite the artifice, the subjects seem relaxed and even playful, what with Moore practically sitting on Tate’s lap, Warren lean- ing in as if to insert a word edgewise, and the entire group looking to Allen Tate as if expecting a clever remark. It was a happy moment for the old friends. It was 1956, and after three decades of being ignored by the University, the Fugitives had returned to campus in glory for a colloquium devoted to their literary work. V anderbilt Magazine 31 Heroes Fugitives and Agrarians he five writers photographed in 1956 “Nothing in Vanderbilt’s history has come devoted to the Fugitives and Agrarians. The undergraduate courses on southern litera- were Vanderbilt graduates. They were anywhere close to the Fugitives and Agrari- 1956 reunion was followed by an Agrarian ture to these writers. On the graduate level, Donald Davidson (1893–1968) known as “Fugitives” after The Fugi- ans in giving it a national reputation,”con- reunion and symposium in 1980. That event, Kreyling says master’s and doctoral students BA’17, MA’22; Vanderbilt Ttive, the widely praised but little purchased firms Paul Conkin, distinguished professor though, seemed to mark a high tide for the in his department read them only occasion- English department, poetry magazine they self-published, along of history, emeritus, and the author of defin- Agrarians and Fugitives on campus. -
Wood Engraving and Cutting with a Laser
Wood Engraving and Cutting with a laser Laser systems are now the must-have tool for the woodworking industry. An Epilog Laser can help take your idea from concept to reality. Whether you are looking at purchasing a laser for your woodworking business, or your at-home shop, we have an affordable solution for your engraving and cutting needs. Design . Import a photo, cut clipart, etch text - in a few easy steps you’ll have your own custom engraved and cut designs in all types of wood. Imagine . Being able to create custom projects of almost any kind! Inlays, marquetry, and high-resolution etching, all with laser accuracy. Discover . Defy your expectations of what you can do with woodworking. Customize projects and create one-of-a-kind designs with your own Epilog Laser system! Let’s get started! Pet Urns Cabinet Inlays Contact us to find out how to set up a demonstration of the laser in action! Call +1 303.277.1188 or email [email protected]. 16371 Table Mountain Parkway +1 303.277.1188 www.epiloglaser.com Golden, CO 80403 888.437.4564 [email protected] Custom Inlays · Photo Frames · Game Manufact uring · Personalized Penc ils · Baseball Bat Personaliz Easy to Design · Easy to Setup ation · Signage · Plaques Wooden Pens · Wooden With a laser from Epilog, there’s no difficult Gift Boxes programming involved. It’s truly as simple as printing Jewelry · Memo Holders to a piece of paper. Using your favorite graphic software (CorelDRAW, Adobe, AutoCAD, etc.), import Bird Houses · Overlays your image, create your text and print your file to the · Fraternity Paddles · laser. -
Interview with Wood Engraver, Pete Lawrence
#NWConnect: Interview with wood engraver, Pete Lawrence Kimberly Glassman (KG): Hello everyone! We have Pete Lawrence here from the Society of Wood Engravers to talk to us about his work and the work of the Society in general. Pete was introduced to the Society of Wood Engravers (SWE) when he started helping hang their annual exhibitions in the 1980s. In 1991 he began his own engravings and joined as a subscriber in the mid-1990s. He was then elected as a member in 1997 and joined the SWE as a designer in 1998, and then finally became a chairman from 2006 until 2011. We are very excited to have you, so thank you Pete for agreeing to do this podcast with us! Pete Lawrence (PL): Thank you for inviting me. KG: No worries! So, just to start, can you please tell us about your practice as a wood engraver and maybe explain a bit more about the process of wood engraving and what it is? PL: Yes, wood engraving is a unique form of producing a print - an image on paper. It goes back to the times in the 1780s-1790s when, who we like to call the ‘founding father of wood engraving’, Thomas Bewick, was working up in Newcastle. He realised that, although his boss Ralph Beilby was working on metal engraving with very sharp tools, he could engrave on boxwood and produce a very fine image, which would replicate the kind of detail that you get by working on metal. So if you could imagine, it gave the effect of metal tools used to do silversmithing and copper engraving, but working on the end grain of boxwood. -
Printmaking – Woodcut Design Name:______
PRINTMAKING – WOODCUT DESIGN NAME:___________ Woodcut and wood engraving, prints are made from designs cut in relief on wood (subtractive process), in contrast to copper or steel engraving and etching (which are intaglio). Woodcuts are relief prints. The design is drawn on the surface of a wooden block or plank. The areas that are to be blank are cut away, leaving raised the design that is to be printed. Ink is then rolled or daubed over the raised area. A sheet of paper is placed on top of the block and pressed against it, either in a press or by hand. This pressure transfers the ink to the paper. Since the print is the mirror image of the design on the block, the image must be conceived in reverse. A rubber stamp is a common example of a relief printing process. Woodcutting, the oldest method of printmaking, is accomplished using soft wood with a knife employed along the grain. Concert Poster Design STEP ONE: Decide on one of the following choices for your woodcut design: • Poster Advertisement (Upcoming Performance) • Portrait: Human or Animal • Landscape (Look at reverse for art history of woodcuts) STEP TWO: Begin by making a series of at least 3 conceptual sketches in your sketchbook on your chosen theme. CONSIDER: Positive/negative space, contrast, line and overall composition. STEP THREE: Drawing the reverse outline of your subject matter on the flat top of the piece of wood. REMEMBER: to draw the outline of any text backwards as the print will print front wards. Carefully consider how you design your positive/negative space.