Efficient Sample Preparation and Analysis of Ferrous Materials By: Matthias Pascher
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Troubleshooting Decorative Electroplating Installations, Part 5
Troubleshooting Decorative Electroplating Installations, Part 5: Plating Problems Caused Article By Heat & Bath Temperature Fluctuations by N.V. Mandich, CEF, AESF Fellow Technical Technical In previous parts of this series, emphasis was given The fast-machining steels must then be carburized to troubleshooting of the sequences for pre-plating or case-hardened to obtain a surface with the hardness and electroplating over metals, Parts 1 and 2;1 required to support the top chromium electroplate. the causes, symptoms and troubleshooting for Case hardening is the generic term covering several pores, pits, stains, blistering and “spotting-out” processes applicable to steel or ferrous alloys. It changes phenomena, Part 3;2 and troubleshooting plating on the surface composition of the top layer, or case, by plastic systems, Part 4.3 Here in Part 5, causes and adsorption of carbon, nitrogen or a mixture of the two. some typical examples of problems that occur in By diffusion, a concentration gradient is created. The electroplating as a result of a) thermal, mechanical heat-treatments and the composition of the steel are surface treatments, b) the metallurgy of the part to additional variables that should be addressed and taken be plated or c) effects of plating bath temperature into account in the electroplating procedure. on plating variables and quality of the deposits When discussing the effect of heat-treatment on are discussed. subsequent electroplating processes it is necessary to zero in on the type of heat-treatment involved. We Nearly every plater has at one time or another had the can defi ne the heat-treatment process as changing the experience of trying to plate parts that simply would characteristics of the parts by heating above a certain not plate. -
MIRROR MIRROR the Mind’S Mirror FILMS Seaglass 4 Restaurant 5 Outdoor Exhibits with Zarinah Agnew 7:30 P.M
AFTER DARK AFTER DARK SCHEDULE MAP PRESENTATIONS ACTIVITIES Upper Level Bay Observatory Gallery and Terrace 6 Observing Landscapes Mirrors in Technology and Art Through the Looking Glass Mirrors in Technology and Art With Sebastian Martin With the Explainers 6 With Sebastian Martin 6:30–8:30 p.m. | Bay Observatory Gallery 6:30–9:30 p.m. | Central Gallery 6:30–8:30 p.m. THURSDAY, OCTOBER 1, 2015 A Reflection on Mirrors Light Boxes and Anamorphic Mirrors The History of Mirrors 6:00—10:00 P.M. With Ron Hipschman With Explorables With Massimo Mazzotti 7:00 and 9:00 p.m. 7:00–10:00 p.m. | Central Gallery Main Level 8:30 p.m. Phyllis C. Wattis Webcast Studio BAR North Gallery MIRROR MIRROR The Mind’s Mirror FILMS SeaGlass 4 Restaurant 5 Outdoor Exhibits With Zarinah Agnew 7:30 p.m. | Kanbar Forum On Reflection East Gallery 9:00 p.m. | Kanbar Forum 4 Living Systems The History of Mirrors East With Massimo Mazzotti Corridor Contemplando la Ciudad (2005, 4 min.) Central Gallery 8:30 p.m. | Bay Observatory Gallery by Angela Reginato 5 3 Seeing & Listening Visions of a City (1978, 8 min.) by Lawrence Jordan A Reflection on Mirrors INSTALLATIONS BAR 3 With Ron Hipschman Suspended 2 (2005, 5 min.) by Amy Hicks Wattis 7:00 and 9:00 p.m. The Infinity Boxes Webcast Phyllis C. Wattis Webcast Studio Studio By Matt Elson Pier 15 (2013, 4 min.) by Michael Rudnick 6:00–10:00 p.m. | Central Gallery The Infinity Boxes By Matt Elson Visible Spectres 6:00–10:00 p.m. -
UDDEHOLM STAVAX® ESR © UDDEHOLMS AB No Part of This Publication May Be Reproduced Or Transmitted for Commercial Purposes Without Permission of the Copyright Holder
UDDEHOLM STAVAX® ESR © UDDEHOLMS AB No part of this publication may be reproduced or transmitted for commercial purposes without permission of the copyright holder. This information is based on our present state of knowledge and is intended to provide general notes on our products and their uses. It should not therefore be construed as a warranty of specific properties of the products described or a warranty for fitness for a particular purpose. Classified according to EU Directive 1999/45/EC For further information see our “Material Safety Data Sheets”. Edition 11, 05.2013 The latest revised edition of this brochure is the English version, SS-EN ISO 9001 which is always published on our web site www.uddeholm.com SS-EN ISO 14001 UDDEHOLM STAVAX ESR UDDEHOLM STAVAX ESR Uddeholm Stavax ESR is a premium stainless mould steel for small and medium inserts and cores. Uddeholm Stavax ESR combines corrosion and wear resistance with excellent polishability, good machinability and stability in hardening. Mould maintenance requirement is reduced by assuring that core and cavity surfaces retain their original finish over extended operating periods. When compared with non stainless mould steel, Uddeholm Stavax ESR offers lower production costs by maintaining rust free cooling channels, assuring consistent cooling and cycle time. This classic stainless tool steel is the right choice when rust in production is unacceptable and where requirements for good hygiene are high, as within the medical industry, optical industry and for other high quality transparent parts. Uddeholm Stavax ESR is a part of the Uddeholm Stainless Concept 3 UDDEHOLM STAVAX ESR General Applications Uddeholm Stavax ESR is a premium grade Uddeholm Stavax ESR is recommended for all stainless tool steel with the following proper- types of moulding tools and its special proper- ties: ties make it particularly suitable for moulds •good corrosion resistance with the following demands: •excellent polishability • Corrosion/staining resistance, i.e. -
2000 Stainless Steels: an Introduction to Their Metallurgy and Corrosion
Dairy, Food and Environmental Sanitation, Vol. 20, No. 7, Pages 506-517 Copyright© International Association for Food Protection, 6200 Aurora Ave., Suite 200W, Des Moines, IA 50322 Stainless Steels: An Introduction to Their Metallurgy and Corrosion Resistance Roger A. Covert and Arthur H. Tuthill* and why they sometimes do not. In most cases, selection of the proper stainless steel leads to satisfactory performance. COMPOSITION, NOMEN- CLATURE AND GENERAL PROPERTIES Most metals are mixtures of a primary metallic element and one or more intentionally added other ele- This article has been peer-reviewed by two professionals. ments. These mixtures of elements are called alloys. Stainless steels are alloys, as are brasses (copper + zinc), bronzes (copper + tin), the many alu- INTRODUCTION better understanding of stainless minum alloys, and many other me- Worldwide, in industry, in busi- steels, especially to the non-metal- tallic materials. In general, solid ness and in the home, metals called lurgist. metals and alloys consist of randomly stainless steels are used daily. It is Industries are concerned with oriented grains that have a well-de- important to understand what these integrity of equipment and product fined crystalline structure, or lattice, materials are and why they behave purity. To achieve these, stainless within the grains. In stainless steels, the way they do. This is especially steels are often the economical and the crystalline structures within the true because the word “stainless” is practical materials of choice for pro- grains have been given names such as itself somewhat of a misnomer; these cess equipment. However, before ferrite, austenite, martensite, or a materials can stain and can corrode intelligent decisions can be made mixture of two or more of these. -
The Smart Mirror Technology
THE SMART MIRROR TECHNOLOGY A STYLISH MIRROR - WITH UNIQUE EXTRA FEATURES • A COMPLETE DIGITAL SIGNAGE SOLUTION • HIGH BRIGHTNESS SCREEN COMBINED WITH MEDIA PLAYER & FULL FUNCTIONAL CONTENT MANAGEMENT SYSTEM • DECORATIVE AND INFORMATIVE • PROVIDING INFORMATION THROUGH A NON-DISTURBING WAY ADMIRING OURSELVES IN MIRRORS COMES AS NATURALLY TO US AS BREATHING. WHETHER WE BASK IN OUR MAGNIFICENCE, LOOK FOR FLAWS OR SIMPLY TRY TO MAKE OURSELVES AS PERFECT AS POSSIBLE WE SPEND A MUCH TIME LOOKING AT OUR REFLECTIONS. SO WHY NOT COMBINE THIS MOST MUNDANE HUMAN INSTINCT WITH THE REALM OF INFINITE POSSIBILITIES? IN THE WORLD OF COMMERCIALS, ALMOST EVERYONE HAS A SELECTIVE BLINDNESS FOR ORDINARY MARKETING TOOLS. PROVIDE YOUR CUSTOMERS WITH DESIRED INFORMATION AND TARGETABLE MESSAGES ON A SURFACE THEY WOULD NEVER EXPECT TO GET IT. LEAVE A LASTING IMPRESSION WITH THE DENSION SMART MIRROR TECHNOLOGY. CONTENT & DEVICE MANAGEMENT THE MIRROR IS AVAILABLE IN FIVE DIFFERENT SIZES: MINI, SMALL, MEDIUM, LARGE, X-LARGE. CUSTOMERS MAY CHOOSE THE EXACT SIZE OF THE GLASS WITH A GIVEN SURFACE MAXIMUM. CUSTOMIZED MIRROR AND SCREEN COMBINATIONS ARE ALSO AVAILABLE IN HIGHER VOLUMES, PLEASE GET IN TOUCH TO DISCUSS. [email protected] FRONT VIEW MINI SMALL MEDIUM LARGE X-LARGE Display size (inch) 10 32 42 46 55 Display resolution HD Full HD Full HD Full HD Full HD Max Mirror Surface 0,9 0,9 2 2 (sqm) UPPER SIDE VIEW Minimum Width 250 870 1 100 1 180 1 380 (mm) Minimum Height 150 570 690 740 850 (mm) Depth (mm) 30 45 45 45 45 45 ° ANGLE REAR VIEW Weight (kg) 2 18 25-30 35-38 -
Crystalite®Lapidary & Glass Products
CRYSTALITE CORPORATION CRYSTALITE® LAPIDARY & GLASS PRODUCTS An Abrasive Technology Company WARNING: Cancer DIAMOND WHEELS www.PWarnings.ca.gov Crystalring® This efficient, lightweight wheel features a uniform, continuous diamond coating. No voids exist in the seamless steel rim of this electroplated wheel. Crystalring® wheels are designed to run on conventional cabochon units operating at 1725 rpm. The 1” arbor hole is bushed to 3/4”, 5/8”, and 1/2”. WARNING Mesh : Cancer4” x 1-1/2” 6” x 1” 6” x 1-1/2” 8” x 1-1/2” www.PWarnings.ca.gov 60 C5321290 C5322010 C5323210 80 C5322030 C5323230 100 C5320150 C5321310 C5322050 C5323250 180 C5321330 C5322070 C5323270 220 C5320170 C5321350 C5322090 C5323290 360 C5320190 C5321370 C5322110 C5323310 600 C5320210 C5321390 C5322130 C5323330 1200 C5320230 Turbine Wheel® This diamond wheel has a unique, sawtoothed profile. As the crests wear, sharp fresh diamond is exposed, making it one of the fastest roughing wheels ever built Diamondback™ for preforming agate, jasper, and other hard stones. This aggressive diamond wheel is uniquely designed with an The 1” arbor hole is bushed to 3/4”, 5/8”, and 1/2”. interrupted cutting surface which delivers a definite metallic uplift. Recommended operating speed is 1500 to 2000 rpm. It contains one-third more diamond than our regular Crystalring® wheel, producing a longer lasting wheel with a higher cutting rate. WARNINGMesh : 6”Cancer x 1-1/2” 8” x 1-1/2” The 360 mesh wheel is capable of roughing stones while yielding a www.PWarnings.ca.gov gentle finish. The 1” arbor hole is bushed to 3/4”, 5/8”, and 1/2”. -
Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject. -
Investigating the Effect of Post Processing Procedures On
Investigating the Effect of Post Processing Procedures on Corrosion Resistance of Additively Manufactured 316L Stainless Steel Science and Technology Program Research and Development Office Final Report No. ST-2020-20035 Technical Memorandum No. 8540-2020-20035 50 microns U.S. Department of the Interior September 2020 Form Approved REPORT DOCUMENTATION PAGE OMB No. 0704-0188 The public reporting burden for this collection of information is estimated to average 1 hour per response, including the time for reviewing instructions, searching existing data sources, gathering and maintaining the data needed, and completing and reviewing the collection of information. Send comments regarding this burden estimate or any other aspect of this collection of information, including suggestions for reducing the burden, to Department of Defense, Washington Headquarters Services, Directorate for Information Operations and Reports (0704-0188), 1215 Jefferson Davis Highway, Suite 1204, Arlington, VA 22202-4302. Respondents should be aware that notwithstanding any other provision of law, no person shall be subject to any penalty for failing to comply with a collection of information if it does not display a currently valid OMB control number. PLEASE DO NOT RETURN YOUR FORM TO THE ABOVE ADDRESS. 1. REPORT DATE (DD-MM-YYYY) 2. REPORT TYPE 3. DATES COVERED (From - To) 09-30-2020 Research FY20 – FY20 4. TITLE AND SUBTITLE 5a. CONTRACT NUMBER Investigating the Effect of Post Processing Procedures on Corrosion 20XR0680A1-RY15412020PE20035/X0035 Resistance of Additively Manufactured 316L Stainless Steel 5b. GRANT NUMBER 5c. PROGRAM ELEMENT NUMBER 1541 (S&T) 6. AUTHOR(S) 5d. PROJECT NUMBER Stephanie Prochaska, M.S., Materials Engineer ST-2020-20035 8540-2020-45 5e. -
An Introduction to Buffing and Polishing
AN INTRODUCTION TO BUFFING AND POLISHING 7696 Route 31, Lyons NY 14489 http://www.caswellplating.com (315) 946-1213 Page 1 To Order Call: 315-946-1213 AN INTRODUCTION TO BUFFING & POLISHING Buffing and polishing using wheels and ‘compounds’ is somewhat like using wet and dry sanding paper, only much faster. Instead of using ‘elbow grease’ you will be using the power and speed of an electric motor. The edge, or face, of the wheel is the ‘sanding block’, which carries a thin layer of compound’ which is the sandpaper. Varying types of wheel are available, and the different grades of com- pound are scaled similar to sandpaper. The compounds are made from a wax substance which has the different abrasive powders added to it. When this hard block is applied to the edge of a spinning buffing wheel, the heat from the friction melts the wax, and both wax and abrasive are applied in a thin slick to the face of the wheel. The objective of buffing and polishing is to make a rough surface into a smooth one and, of course, each work piece will be in a different condition, so will need different procedures. Imagine the surface magnified thousands of times, it will look like jag- ged mountains and valleys. By repeated abrasion, you are going to wear down those mountains until they are old, soft, rolling hills! Then they will not dissipate the light, but reflect it. It is the reflection that makes the buffed part appear shiny. TRICKS OF THE TRADE Repairing small dents. Sand the inside of the part with emery paper. -
The Dynisco Extrusion Processors Handbook 2Nd Edition
The Dynisco Extrusion Processors Handbook 2nd edition Written by: John Goff and Tony Whelan Edited by: Don DeLaney Acknowledgements We would like to thank the following people for their contributions to this latest edition of the DYNISCO Extrusion Processors Handbook. First of all, we would like to thank John Goff and Tony Whelan who have contributed new material that has been included in this new addition of their original book. In addition, we would like to thank John Herrmann, Jim Reilly, and Joan DeCoste of the DYNISCO Companies and Christine Ronaghan and Gabor Nagy of Davis-Standard for their assistance in editing and publication. For the fig- ures included in this edition, we would like to acknowledge the contributions of Davis- Standard, Inc., Krupp Werner and Pfleiderer, Inc., The DYNISCO Companies, Dr. Harold Giles and Eileen Reilly. CONTENTS SECTION 1: INTRODUCTION TO EXTRUSION Single-Screw Extrusion . .1 Twin-Screw Extrusion . .3 Extrusion Processes . .6 Safety . .11 SECTION 2: MATERIALS AND THEIR FLOW PROPERTIES Polymers and Plastics . .15 Thermoplastic Materials . .19 Viscosity and Viscosity Terms . .25 Flow Properties Measurement . .28 Elastic Effects in Polymer Melts . .30 Die Swell . .30 Melt Fracture . .32 Sharkskin . .34 Frozen-In Orientation . .35 Draw Down . .36 SECTION 3: TESTING Testing and Standards . .37 Material Inspection . .40 Density and Dimensions . .42 Tensile Strength . .44 Flexural Properties . .46 Impact Strength . .47 Hardness and Softness . .48 Thermal Properties . .49 Flammability Testing . .57 Melt Flow Rate . .59 Melt Viscosity . .62 Measurement of Elastic Effects . .64 Chemical Resistance . .66 Electrical Properties . .66 Optical Properties . .68 Material Identification . .70 SECTION 4: THE SCREW AND BARREL SYSTEM Materials Handling . -
Electrode Polishing and Care
LCEC and EC Accessories January 2001 A-1302 ELECTRODE POLISHING AND CARE Cross-Flow Cell Package UniJet Cell Package C3 Voltammetry Cell Stand Rotating Disk Electrode Low Current Module Calomel Reference Electrode Bioanalytical www.bioanalytical.com Systems, Inc 2701 Kent Avenue West Lafayette Indiana 47906 Thank you for your recent purchase from BAS. This manual includes instructions for several different products, and should be used as a supplement to various BAS instrument manuals. Due to continuing development of our line, some products may be slightly different in appearance from the drawings depicted here. These changes should not affect performance or the relevant use and maintenance instructions. Check the inserts that may be provided with individual electrodes for additional notes or revisions. Working electrodes are warranted for 60 days from date of shipment. Reference electrodes are considered consumable items and are not covered by a timed warranty period. We warrant only that they are viable as shipped. Their lifetime after purchase will depend solely on usage and storage conditions. Copyright May 1998, January 2001 Bioanalytical Systems, Inc. 2701 Kent Avenue West Lafayette, IN 47906 USA www.bioanalytical.com ALL RIGHTS RESERVED UniJet, UniStand, and SepStik are trademarks of Bioanalytical Systems, Inc. Vycor is a registered trademark of Corning Glass. Kel-F is a registered trademark of 3M Corporation. Table of Contents Table of Contents Section 1. Thin-Layer Cells........................................................................................ -
Public Art Program OVERVIEW
Public Art Program OVERVIEW Artwork has been a critical component of the Phoenix Convention Center since it originally opened in 1972. Building upon this civic commitment to the arts, the City, through the Phoenix Office of Arts and Culture Public Art Program, commissioned new artworks by local, regional and national artists to be incorporated into the expanded Phoenix Convention Center. These works offer a variety of perspectives on life in Phoenix, the United States, and the world in the 21 st century, and join several other pieces in the Convention Center’s extensive collection. Public Art Program Budget and Funding: The art projects are funded through the City's Public Art Program. The program, established in 1986, has involved artists in the design of every kind of city building and space, ranging from streetscapes, freeway overpasses and pedestrian bridges, to canal trails, parks and libraries. The Phoenix Public Art Program is managed by the Phoenix Office of Arts and Culture and has commissioned more than 120 public art projects in the past 20 years. The Phoenix Convention Center’s $3.2 million public art budget comes from three capital improvement program bonds: • Phoenix Convention Center (Civic Plaza) Capital Improvement Percent for Art Funds • Street Transportation Capital Improvement Percent for Art Funds • Water Department Capital Improvement Percent for Art Funds Artist Selection Process: A “call to artists ” process was issued by the Phoenix Office of Arts and Culture. A 10-member public art panel for the Phoenix Convention Center expansion project was assembled, including local artists and representatives from the Phoenix Arts and Culture Commission, the Phoenix Convention Center, and local cultural organizations.