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26 the Carton Packaging Fact File CARTONBOARD
26 The Carton Packaging Fact File CARTONBOARD 5 The Carton Packaging Fact File 27 KEY FACTS Cartonboard is a multilayered material. The main types of cartonboard are solid bleached board, solid unbleached board, folding boxboard and white lined chipboard. Cartonboard usually has a white, pigmented coating on one or both surfaces Cartonboard specifications Cartonboard can be vary with respect to the pulp combined with other composition of the various materials to vary the visual layers and by the grammage appearance and to extend (weight per sq. metre in the protective properties grammes) and thickness (microns or 0.001 millimetre) Laminations, coatings and impregnations can be added to extend the range of carton applications 28 The Carton Packaging Fact File CARTONBOARD COMMON ABBREVIATIONS SBB Solid Bleached Board SUB Solid Unbleached Board FBB Folding Box Board WLC White Lined Chipboard Different types and grades the range 200-600g/m 2 for grammage product aroma, flavour and hygiene are of cartonboard and their and 350-800µm for thickness. critical. Examples of cartons where abbreviations. The principles SBB is used are perfumes, cosmetics, of cartonboard manufacture, What are the main characteristics chocolates, pharmaceuticals, frozen developments and treatments of cartonboard? foods and cigarettes. Cartonboard is mechanically strong. What is cartonboard? Its stiffness, rigidity and toughness SBB is sometimes referred to as SBS Cartonboard is a multilayer material provide compression strength to protect or GZ. with, usually, three or more layers, or products in distribution and use. It can plies, of cellulose fibre (pulp) derived be cut, creased, folded and glued, giving What is Solid Unbleached Board? from wood. -
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. -
Technical Drawing: Selecting Your Paper
Published on L'atelier Canson (https://www.lateliercanson.com) Accueil > Technical drawing: Selecting your paper Retour à la liste d'articles [1] Technical drawing: Selecting your paper [2] Le matériel [5] Notez cet article Give Technical drawing: ? Selecting your paper 3/5 Taux Texture, format, thickness, grid: a wide range of paper, tracing paper and transparent film readily adapts to all your creations. 1. Grammage It conditions the paper's thickness and is measured as grams per square meter: fine papers (under 90 g/m²) are appropriate for sketching, intermediate (up to 200 g/m²), adapt to most kinds of work, thick (300 g and more) are designed for wet media such as watercolor. 2. Format It is standardized and comes in six formats: from A0 (1 (m)2), up to A5 (the smallest one). Each format represents half of the previous one. Most used are the two classics, A3 and A4. 3. Texture The quality of a technical drawing relies on perfect lines: opt for slightly textured paper, whether fine grained or satin finish, and even completely smooth, such as Bristol board. Memo: There?s a paper for every medium Graphite: white or slightly tinted (beige, ocher, gray?). Color pencils: fine grained to make the pigments hold. Markers: paper known as "layout" paper holds ink and limits smudges. 4. Graph paper Technical drawing implies high precision. Choose it taking your subject's constraints into account. White drawing paper and Bristol board are available as graph paper. The covers of "to scale" pads of tracing paper come as 5 mm grid charts. -
Nanofibrillated Cellulose Applied As Reinforcement for Short-Fiber Paper
NANOFIBRILLATED CELLULOSE APPLIED AS REINFORCEMENT FOR SHORT-FIBER PAPER Daniele Cristina Potulski1*, Lívia Cássia Viana2, Ana Namikata da Fonte3 Mayara Elita Carneiro4, Graciela Ines Bolzon de Muniz5, Umberto Klock6 Universidade Federal do Paraná. Curitiba, Paraná, Brasil – [email protected]* ; [email protected] ; [email protected] ; [email protected] ; [email protected] 2 Universidade Federal do Tocantins. Gurupi, Tocantins, Brasil – e-mail: [email protected] Received for publication: 02/05/2018 - Accepted for publication: 31/10/2019 __________________________________________________________________________________________________ Resumo Nanocelulose aplicada como reforço para papel de fibra curta. Este trabalho teve como objetivo avaliar a influência da adição de diferentes porcentagens de celulose nanofibrilada sobre as propriedades mecânicas e físicas do papel feito a partir da polpa de fibras curtas. A celulose nanofibrilada foi obtida a partir de polpa Kraft de Eucalyptus sp. branqueada, submetida a três diferentes passes no moinho: 2, 10 e 20 passes. Os papéis foram produzidos com a adição de celulose nanofibrilada nas porcentagens de 3, 6 e 9%. Os resultados mostraram que a adição de celulose nanofibrilada aumentou as propriedades mecânicas: índice de tração, índice de arrebentamento e índice de rasgo. A porosidade e a densidade aparente diminuíram. A adição de 9% de celulose nanofibrilada, obtida a partir de 2 passes, proporcionou os melhores resultados com aumento da resistência à tração, arrebentamento e rasgo de 111, 114 e 70%, respectivamente, em comparação aos papéis normais. A melhoria das propriedades mecânicas do papel está relacionada à rede muito densa de ligações de hidrogênio, resultando em maior área de superfície obtida após a desfibrilação. -
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. -
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. -
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. -
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. -
8 Paper and Paperboard Packaging M.J
8 Paper and Paperboard Packaging M.J. Kirwan 8.1 INTRODUCTION A wide range of paper and paperboard is used in packaging today – from lightweight infusible tissues for tea and coffee bags to heavy duty boards used in distribution. Paper and paperboard are found wherever products are produced, distributed, marketed and used, and account for about one-third of the total packaging market. Over 40% of all paper and paperboard consumption in Europe is used for packaging and over 50% of the paper and paperboard used for packaging is used by the food industry. One of the earliest references to the use of paper for packaging food products is a patent taken out by Charles Hildeyerd on 16 February 1665 for ‘The way and art of making blew paper used by sugar-bakers and others’ (Hills, 1988). The use of paper and paperboard for packaging purposes accelerated during the latter part of the nineteenth century to meet the needs of manufacturing industry. The manufacture of paper had progressed from a laborious manual operation, one sheet at a time, to continuous high speed production with wood pulp replacing rags as the main raw material. There were also developments in the techniques for printing and converting these materials into packaging containers. Today, examples of the use of paper and paperboard packaging for food can be found in many places, such as supermarkets, traditional markets and retail stores, mail order, fast food, dispensing machines, pharmacies, and in hospital, catering and leisure situations. Uses can be found in packaging all the main categories of food, such as: r dry food products – cereals, biscuits, bread and baked products, tea, coffee, sugar, flour, dry food mixes, etc r frozen foods, chilled foods and ice cream r liquid foods and beverages – juice drinks, milk and milk derived products r chocolate and sugar confectionery r fast foods r fresh produce – fruit, vegetables, meat and fish Packaging made from paper and paperboard is found at the point of sale (primary packs), in storage and for distribution (secondary packaging).