CONEJO QUIVER January 2020 Issue
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The Language of Narrative Drawing: a Close Reading of Contemporary Graphic Novels
The Language of Narrative Drawing: a close reading of contemporary graphic novels Abstract: The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing. It sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic „confection‟ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching. -
T. H. Palmer. Oarpentbb’S Chisel
(No Model.) T. H. PALMER. OARPENTBB’S CHISEL. _ No. 404,554. I PatentedJune 4, 1889. J , J WITNESSES : 4 ' l/VIg/VTOR ATTOHIVEYJ, UNITED STATES PATENT OFFICE. THE'RON H. PALMER, OF SAN BERNARDINO, CALIFORNIA. CARPENTER’S CHISEL._ SPECIFICATION forming part of Letters Patent No. 404,554, dated June 4, 1889. I Application ?led May 22, 1888.‘ Serial No. 274,724. (No model.) To all whom it may concern; 2, or it may be of a separate piece of mallea Be it known that I, THERON H. PALMER, of ble cast~ir0n or other suitable material and 40 the city and county of San Bernardino, and be joined to the blade B by screws 1) b or oth State of California, have invented a new and erwise. The shank may be secured in the. useful Improvement in Carpenters’ Chisels, handle by a simple tang or in any other de of which the following is a full, clear, and ex sired manner. The trowel-like shape of the act description. ~ > tool provides for cutting gains across a wide 45 This invention consists in a chisel or gouge surface without risk of obstruction by the ' _ for carpenters’ use which has its shank and handle, or the tool may be used as a paring handle portion bent out of line with its blade chisel or for cutting and ?tting in butts or or cutting portion and which is provided with hinges. The crooked shank O is provided at an anvil or hammer-block in rear of the blade its back, as nearly in the same plane as the to form a striking-surface when usingahani cu ttin g-blade as practicable, with aknob-like mer or mallet to force the cutting-tool up to projection S, forming a special anvil or ham its work, instead of striking on the end of mer-block to receive the blows of a hammer the handle direct, which is liable to split or bruise the handle. -
Passion and Glory! Spectacular $Nale to National Series
01 Cover_DC_SKC_V2_APP:Archery 2012 22/9/14 14:25 Page 1 AUTUMN 2014 £4.95 Passion and glory! Spectacular $nale to National Series Fields of victory At home and abroad Fun as future stars shine Medals galore! Longbow G Talent Festival G VI archery 03 Contents_KC_V2_APP:Archery 2012 24/9/14 11:44 Page 3 CONTENTS 3 Welcome to 0 PICTURE: COVER: AUTUMN 2014 £4.95 Larry Godfrey wins National Series gold Dean Alberga Passion and glory! Spectacular $nale to National Series Wow,what a summer! It’s been non-stop.And if the number of stories received over the past few Fields of victory weeks is anything to go by,it looks like it’s been the At home and abroad same for all of us! Because of that, some stories and regular features Fun as future have been held over until the next issue – but don’t stars shine Medals galore! worry,they will be back. Longbow G Talent Festival G VI archery So what do we have in this issue? There is full coverage of the Nottingham Building Society Cover Story National Series Grand Finals at Wollaton Hall, including exclusive interviews with Paralympians John 40 Nottingham Building Society National Series Finals Stubbs and Matt Stutzman.And, as many of our young archers head off to university,we take a look at their options. We have important – and possibly unexpected – news for tournament Features organisers, plus details about Archery GB’s new Nominations Committee. 34 Big Weekend There have been some fantastic results at every level, both at home and abroad.We have full coverage of domestic successes as well the hoard of 38 Field Archery international medals won by our 2eld, para and Performance archers. -
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
UC Berkeley Berkeley Undergraduate Journal of Classics
UC Berkeley Berkeley Undergraduate Journal of Classics Title Bow Designs on Ancient Greek Vases Permalink https://escholarship.org/uc/item/3rh4f9jd Journal Berkeley Undergraduate Journal of Classics, 5(2) ISSN 2373-7115 Author Bowyer, Emily S Publication Date 2017 Peer reviewed|Undergraduate eScholarship.org Powered by the California Digital Library University of California Bow Designs on Ancient Greek Vases Emily Bowyer University of California, Los Angeles Classical Civilizations Class of 2017 Abstract: This research looks to investigate the designs of ancient bows depicted on ancient Greek pottery. The goal is to show that the bows most commonly shown are not native to the Greek mainland but rather are from Scythia and Egypt. This has been done by examining a number of vases, pyramid friezes, and modern bow reconstructions. The common use of the Scythian design for archer characters in scenes of myth implies a familiarity with archery primarily through the Scythian mercenaries. The Egyptian acacia deflex bow design, while rare in vase depictions, directly corresponds to images on pyramids. The Egyptian angular composite bow appears in a rare case on a Greek vase, but its depiction is consistent with modern historical reconstructions. Through showing these non-native bow origins, this paper hopes to further demonstrate the worldly influences on archaic Greece. The practice of archery is ancient, as is its depiction in art. Analysis of the bow’s form provides a unique insight into the ancient world. This is because a culture’s bow design is a direct reflection of its environment. From the single-piece English Yew longbow to the massive Japanese Yumi to the compact Mongolian horse bow, the available materials dictate the form of the tool. -
1. Hand Tools 3. Related Tools 4. Chisels 5. Hammer 6. Saw Terminology 7. Pliers Introduction
1 1. Hand Tools 2. Types 2.1 Hand tools 2.2 Hammer Drill 2.3 Rotary hammer drill 2.4 Cordless drills 2.5 Drill press 2.6 Geared head drill 2.7 Radial arm drill 2.8 Mill drill 3. Related tools 4. Chisels 4.1. Types 4.1.1 Woodworking chisels 4.1.1.1 Lathe tools 4.2 Metalworking chisels 4.2.1 Cold chisel 4.2.2 Hardy chisel 4.3 Stone chisels 4.4 Masonry chisels 4.4.1 Joint chisel 5. Hammer 5.1 Basic design and variations 5.2 The physics of hammering 5.2.1 Hammer as a force amplifier 5.2.2 Effect of the head's mass 5.2.3 Effect of the handle 5.3 War hammers 5.4 Symbolic hammers 6. Saw terminology 6.1 Types of saws 6.1.1 Hand saws 6.1.2. Back saws 6.1.3 Mechanically powered saws 6.1.4. Circular blade saws 6.1.5. Reciprocating blade saws 6.1.6..Continuous band 6.2. Types of saw blades and the cuts they make 6.3. Materials used for saws 7. Pliers Introduction 7.1. Design 7.2.Common types 7.2.1 Gripping pliers (used to improve grip) 7.2 2.Cutting pliers (used to sever or pinch off) 2 7.2.3 Crimping pliers 7.2.4 Rotational pliers 8. Common wrenches / spanners 8.1 Other general wrenches / spanners 8.2. Spe cialized wrenches / spanners 8.3. Spanners in popular culture 9. Hacksaw, surface plate, surface gauge, , vee-block, files 10. -
Hosting a Hunting- Based Outdoor Skills Event in Your Community
Learning to Hunt Hosting a hunting- based outdoor skills event in your community Mary Kay Salwey, Ph.D. Wisconsin Department of Natural Resources 2004 Station Learning to HuntCredits 15Project Director With Stick and StringMary Kay Salwey, Ph.D. Wisconsin DNR Bureau of Wildlife Management Box 7921 Madison, WI 53707-7921 Editorial Assistance Nancy Williams Carrie L. Armus Artwork Eric DeBoer Mary Kay Salwey Dynamic Graphics Cindie Brunner Photos Robert Queen Mary Kay Salwey Mike Roach Design Concept Blue Raven Graphics Electronic Layout Mary Kay Salwey, Wisconsin DNR Published by Wisconsin Department of Natural Resources. Copyright 2004 by Wisconsin Department of Natural Resources Madison, Wisconsin. All original illustrations copyrighted. This book is educational in nature and not-for-profit. It is intended to inspire organizations to pass the tradition of hunting down to younger generations. However, all rights are reserved, including the right to reproduce this book or any part thereof in any form except brief quotations for reviews, without the written permission of the publisher. 184 Station Hosting an Outdoor Skills Clinic in Your Community 15 With Stick & With Stick and String String Participants learn the basic Bowhunting basics parts of bows and arrows. They try their hand at shooting a recurve or compound bow and learn some techniques for hunting deer. 185 Station Learning to Hunt 15 Objectives Equipment With Stick and String Participants shall: Bows– recurve, longbow, compound, in various describe the difference weights between a recurve bow, Arrows of various types longbow and compound bow. Arm guards, finger tabs or finger gloves, quivers demonstrate the safe and Hunting arrowheads – blunt, accurate use of a recurve or target, broadhead, fixed and compound bow. -
Space, Habitat and Isolation Are the Key Determinants of Tree Colonization by the Carpenter Ant in Plantation Forests
Article Space, Habitat and Isolation are the Key Determinants of Tree Colonization by the Carpenter Ant in Plantation Forests Adam Véle 1,2 and Jakub Horák 1,3,* 1 Department of Forest Protection and Entomology, Faculty of Forestry and Wood Sciences, Czech University of Life Sciences Prague, Kamýcká 1176, CZ-165 21 Prague, Czech Republic 2 Forestry & Game Management Research Institute, Strnady 136, CZ-252 02 Jílovištˇe,Czech Republic 3 Department of Biology, Faculty of Science, University of Hradec Králové, Rokitanského 62, CZ-500 03 Hradec Králové, Czech Republic * Correspondence: [email protected] Received: 27 June 2019; Accepted: 25 July 2019; Published: 27 July 2019 Abstract: Forest plantations are still often considered the antithesis of real nature. However, plantations can host many organisms. The problem is that some of the hosted species are regarded ad hoc as pests. The main aim of our paper was to study the carpenter ant (Camponotus ligniperdus) in windstorm habitats. We studied forests in East Bohemia, Czech Republic, and focused on the spatial distribution of snapped trees and the influence of selected forest characteristics on the incidence of ant nests. We found that the nests in the study area mainly occurred in Norway spruce, which is the most commercially important tree in the majority of Central Europe. More than one quarter of the snapped trees were inhabited by the ants. We found that nests exhibited a spatially autocorrelated pattern that differed on spatial scales. The most important characteristic of the host tree for determining carpenter ant nests was the presence of brown rot, and the majority of tree nests were isolated from forest openings. -
Circular Saw Cutting Guides Fea- Tured in the Article in Woodsmith No
Online Extra Circular Saw Guide Cutting Guides Fence 60 The two circular saw cutting guides fea- tured in the article in Woodsmith No. 185 offer a big return for a small investment in time and material. The design is pretty Baseplate basic and once the guides are completed, 2!/2 #6 x %/8" Fh your cuts will be smoother, more accu- woodscrews rate, and require less effort. BASEPLATE. The long guide and the shorter crosscut guide share similar construction. 1 The basis of each is a ⁄4" hardboard base- Guide 12!/2 . Fence plate and a plywood fence. First, you’ll rgh. need to cut the baseplate to length and 32 approximate width. It should be wide enough to accommodate the shoe of your saw, the guide fence, and ample clamp- Cleat ing space on the far side of the fence. Baseplate 1 GUIDE FENCE. A ⁄2" plywood fence attached NOTE: Baseplate is made to the baseplate guides the saw. The edge from !/4"hardboard. Guide fences and cleat 1!/2 of the saw’s shoe rides along the fence are !/2" plywood. 12!/2 . rgh. during the cut. To ensure straight cuts, you want to make sure the guide edge of Attach cleat square #6 x %/8" Fh to reference edge woodscrews the fence is cut true and smooth. ASSEMBLE. Once the fence is attached, you’ll use your saw to trim the baseplate, creating an accurate reference edge. So installed from the underside of the base- important addition — a perpendicular before locating the fence on the base- plate to attach the fence. -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
A Circular Saw in the Furniture Shop?
A Circular Saw in the Furniture Shop? YOU ARE HERE: Fine Woodworking Home Skills & Techniques A Circular Saw in the Furniture Shop? From the pages of Fine Woodworking Magazine A Circular Saw in the Furniture Shop? For cutting sheet goods in tight quarters, this carpenter's tool, used with a sacrificial table and dedicated cutting guides, produces joint-quality cuts with ease by Gary Williams Contractors couldn't live without the portable circular saw, but we of the warm, dry furniture shop tend to leave it on the same shelf as the chainsaw. Great for building a deck but far too crude for quartersawn oak. Necessity has a way of teaching us humility, however. I've been a sometimes-professional woodworker for nearly 30 years, but somehow I have never managed to attain the supremely well-equipped shop. I work alone in a no-frills, two-car garage that I share with a washer, a dryer, a water heater and a black Labrador. My machines are on the small side, and I lack the space for large permanent outfeed and side extension tables for my tablesaw. Perhaps you can relate. Under these conditions, cutting a full sheet of plywood can be a very challenging operation. Even if you have your shop set up to handle sheet goods with ease, perhaps you've run into similar difficulties cutting plywood and lumber accurately on job sites and installations. The solution? May I suggest the humble circular saw? Cutting lumber and plywood with a handheld circular saw is nothing new. You've probably done it before, with varying degrees of success. -
Furry by Sean Mcgann © 2019, RN
Furry By Sean McGann © 2019, RN: PAu 3-960-188 [email protected] or [email protected] OPEN TO: BLACK. TAILS (V.O.) It rained heavily that morning. EXT. WINDSHIELD OF TAILS’ TRUCK - MORNING Rain falls upon a truck's windshield. TAILS, a teenage boy with dark brown hair, drives the truck. He wears a purple jacket with a dark blue T-shirt underneath. He has an irritated look in his eyes, and breathes quite heavily. TAILS (V.O.) I woke up at 6:35, and had to use the small amount of driver's ed knowledge that somehow got me a driver’s license to rush to school. Dad drove Mom to work, which meant I would be home alone till about 5:30 after school. For reasons I’ll get into later, I was nothing short of ecstatic. CUT TO: BLACK. CAPTION: A BOATS AGAINST THE CURRENT PRODUCTION CAPTION: A SEAN MCGANN FILM CUT TO: EXT. SCHOOL PARKING LOT - MORNING Tails parks his truck. CAPTION: FURRY INT. HIGH SCHOOL - MORNING Tails walks into school, disheveled and carrying a backpack. He walks through the front entrance, around a corner, up some stairs and through two corridors. TAILS (V.O.) My name is Miles Steadman, but (MORE) (CONTINUED) 2. CONTINUED: (2) TAILS (CONT'D) everyone called me Tails, if anyone ever talked to me. To be perfectly honest, I think I gave myself that dumbass nickname because I was a hardcore Sonic the Hedgehog fanboy back in middle school, when it was acceptable. A Dr. Pepper Sonic lover, as Dave the Bastard once put it.