Printing Meets Lithography
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Embodied Community and Embodied Pedagogy
ZINES, n°2, 2021 MATERIAL MATTERS: EMBODIED COMMUNITY AND EMBODIED PEDAGOGY Kelly MCELROY & Korey JACKSON Oregon State University Libraries and Press [email protected] [email protected] Abstract: In this essay, we outline how materiality can be a tool of critical pedagogy, leading to pleasure, vulnerability, and embodied learning in the classroom. Over the past four years, we have taught an honors colloquium to undergraduate students focused on self-publishing as a means to create social change. As we explore various publishing media, genres, and activist movements with our students, we combine traditional academic activities like scholarly reading and written analysis with informal hands-on craft time. Our students make collages, learn to use the advanced features on a photocopier, and collaborate on hectograph printing among other crafts, all as they begin to put together their own final DIY publication. Students regularly report that the hands-on activities are crucial to their learning, giving them new appreciation for the underground publications they read, through embodied experiences that can’t be replicated with a reading or a quiz. It also builds our community of learners, as we share ideas, borrow glue sticks, and chit-chat as we put our zines together. We will outline how we built and teach this course, placing it within our critical pedagogy – informed by bell hooks, Kevin Kumashiro, and Paulo Freire, among others – and how teaching this course has helped us incorporate embodiment into our other teaching. Keywords: embodied pedagogy, teaching, publishing. 58 Material Matters: Embodied Community and Embodies Pedagogy ZINES, n°2, 2021 INTRODUCTION Alison Piepmeier has argued that, “Zines’ materiality creates College, this course is one of a suite of course offerings community because it creates pleasure, affection, allegiance, and that highlight exploratory discovery and deep dives vulnerability” (2008, 230). -
Glossary of Flexographic Printing Terms
GLOSSARY OF FLEXOGRAPHIC PRINTING TERMS AA: Authors Alterations, changes other than corrections, made by a client after the proofing process has begun. AA's are usually charged to a client as billable time. Abrasion: Process of wearing away the surface of a material by friction. Abrasion marks: Marks on a photographic print or film appearing as streaks or scratches, caused by the condition of the developer. Can be partially removed by swabbing with alcohol. Abrasion resistance: Ability to withstand the effects of repeated rubbing and scuffing. Also called scuff or rub resistance. Abrasion test: A test designed to determine the ability to withstand the effects of rubbing and scuffing. Abrasiveness: That property of a substance that causes it to wear or scratch other surfaces. Absorption: In paper, the property which causes it to take up liquids or vapors in contact with it. In optics, the partial suppression of light through a transparent or translucent material. Acceptance sampling or inspection: The evaluation of a definite lot of material or product that is already in existence to determine its acceptability within quality standards. Accelerate: In flexographic printing, as by the addition of a faster drying solvent or by increasing the temperature or volume of hot air applied to the printed surface. Electrical - To speed rewind shafts during flying splices, and in taking up web slackness. Accordion Fold: Bindery term, two or more parallel folds which open like an accordion. Acetone: A very active solvent used in packaging gravure inks; the fastest drying solvent in the ketone family. Activator: A chemistry used on exposed photographic paper or film emulsion to develop the image. -
Materials and Anti-Adhesive Issues in UV-NIL Achille Francone
Materials and anti-adhesive issues in UV-NIL Achille Francone To cite this version: Achille Francone. Materials and anti-adhesive issues in UV-NIL. Materials. Institut National Poly- technique de Grenoble - INPG, 2010. English. tel-00666073 HAL Id: tel-00666073 https://tel.archives-ouvertes.fr/tel-00666073 Submitted on 3 Feb 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THESE DE L’UNIVERSITE DE GRENOBLE Délivrée par l’Institut Polytechnique de Grenoble N° attribué par la bibliothèque |__|__|__|__|__|__|__|__|__|__| T H E S E pour obtenir le grade de DOCTEUR DE L’UNIVERSITE DE GRENOBLE Spécialité : « 2MGE Matériaux, Mécanique, Génie civil, Electrochimie » préparée au Laboratoire des Technologies de la Microélectronique (LTM-CNRS) dans le cadre de l’Ecole Doctorale « I-MEP2 Ingénierie Matériaux Mécanique Energétique Environnement Procéés Production » présentée et soutenue publiquement par Achille FRANCONE Le 9 Décembre 2010 Materials and anti-adhesive issues in UV-NIL Directeur de thèse: BOUSSEY Jumana JURY Président M.me AUZELY-VELTY Rachel Prof. à Université Joseph Fourier, Grenoble (France) Rapporteur M. SCHLATTER Guy Prof. à Université de Strasbourg, Strasbourg (France) Rapporteur M. -
The Story of Xerography Page 1 of 13
The Story of Xerography Page 1 of 13 Our Heritage, Our Commitment "10-22-38 ASTORIA" This humble legend marks the time and place of an auspicious event. It is the text of the first xerographic image ever fashioned. It was created in a makeshift laboratory in Queens, NY. by a patent attorney named Chester Carlson, who believed that the world was ready for an easier and less costly way to make copies. Carlson was proved right only after a discouraging ten-year search for a company that would develop his invention into a useful product. It was the Haloid Company, a small photo-paper maker in Rochester, N.Y, which took on the challenge and the promise of xerography and thus became, in a breathtakingly short time, the giant multinational company now known to the world as Xerox Corporation. This report contains several stories about xerography: the man who invented it, the company that made it work, and the products it yielded for the benefit of mankind. These stories chronicle a classic American success story: How men of courage and vision grew a highly profitable business from little more than the seed of an idea. Certainly, Xerox has changed greatly in size and scope since the historic 914 copier was introduced in 1959. But we also believe that the basic personality of Xerox has never changed. We are convinced that the essential attributes that brought the young Xerox such spectacular rewards in office copying are the same attributes we need to assure continued success for the mature Xerox as it develops total office information capability. -
Pattern-Integrated Interference Lithography
PATTERN-INTEGRATED INTERFERENCE LITHOGRAPHY: SINGLE-EXPOSURE FORMATION OF PHOTONIC-CRYSTAL LATTICES WITH INTEGRATED FUNCTIONAL ELEMENTS A Thesis Presented to The Academic Faculty by Guy Matthew Burrow In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the School of Electrical and Computer Engineering Georgia Institute of Technology August 2012 PATTERN-INTEGRATED INTERFERENCE LITHOGRAPHY: SINGLE-EXPOSURE FORMATION OF PHOTONIC-CRYSTAL LATTICES WITH INTEGRATED FUNCTIONAL ELEMENTS Approved by: Professor Thomas K. Gaylord, Advisor Professor Muhannad S. Bakir School of Electrical and Computer School of Electrical and Computer Engineering Engineering Georgia Institute of Technology Georgia Institute of Technology Professor Miroslav M. Begovic Dr. Donald D. Davis School of Electrical and Computer School of Electrical and Computer Engineering Engineering Georgia Institute of Technology Georgia Institute of Technology Professor Zhuomin Zhang Date Approved: 29 May 2012 School of Mechanical Engineering Georgia Institute of Technology ACKNOWLEDGEMENTS Over the course of nearly three years at Georgia Tech, numerous people have impacted my life and proven instrumental to the research presented in this thesis. It is with great appreciation and humility that I acknowledge their support and contributions. First and foremost, I want to express my sincere thanks to my advisor, Professor Thomas K. Gaylord. I am grateful to have had the chance to learn and develop under his expert guidance. Having served for more than 20 years in the Army, I have found no better example of a true professional. Thank you, sir, for being such a great mentor and leader to us all. I would also like to recognize the other members of my thesis committee: Professor Muhannad S. -
Examination of Photocopies and Computer Print Outs
Examination of photocopies and computer print outs Surbhi Mathur Assistant Professor Gujarat Forensic Sciences University What is a photocopy???? • It is a copy of usually written or printed material made with a process in which an image is formed by the action of light usually on an electrically charged surface. Contd…. • It is also called xerography, which was derived from two Greek words “xeros” , meaning dry and “graphos” , meaning writing. • Xerography was invented in the late 1930s by an American patent lawyer named Chester Carlson. It is a printing and photocopying technique that works on the basis of electrostatic charges. How does photocopier machine works??? • To produce photocopies of an original document, the photocopy machine first makes a temporary image, a sort of negative of the original. • Inside the machine is cylinder or drum made of a highly conductive metal, usually aluminum, coated with a photoconductive, often selenium. Contd…. • The surface of the drum is then charged using LED or laser light source. • The printed area of the original document will form positive charge on the drum, forming a latent image of the printed matter. Contd…. • The charge on the image area is used to attract the negative toner particles to make the image visible on the drum surface. • A stronger electrical charge of the same type is given to the paper. This causes toner to transfer from drum to paper. Contd…. • The toner is adhered or fixed to the paper by heat and pressure. • A lamp or hot roller melts the toner, which is absorbed into the paper. Handling of photocopied documents • Photocopied exhibits should be stored in paper folders not plastic. -
Printing; *Programed Instruction
DOCUMENT RESUME ED 058 150 24 SP 005 354 AUTHOR Strandberg, Joel E. TITLE Feedback Systems for Use with Paper-Based Instructional Products. INSTITUTION Southwest Regional Educational Lab., Inglewood, Calif. SPONs AGENCY National Center for Educational Research and Development (DHEW/OF), Washington, D.C. REPORT NO .SWRL-TR-10 BUREAU NO BR-6-2865 PUB DATE 14 Feb 69 NOTE 21p. EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Autoinstructional Aids; *Feedback; *Paper (Material) ;*Printing; *Programed Instruction ABSTRACT This survey describes 15 systems that provide feedback to students. Feedback is defined as informationtransfer from the instructional material to the studentafter a response is made by the student. The feedback is directed primarily tothe student, but when a permanent record of the response occursthis information is also available to the instructor. Each systemis reviewed with respect to 1) state of development,2) production process, 3)reversibility or irreversibility, 4)cost of production, and 5)legal implications. The systems discussed are 1)mimeograph with water soluble dyes and water pens, 2) spirit duplicationand chemical pens, 3)xerography with an erasable overlay, 4)letterpress with water soluble dyes and pens, 5)letter press using latent images and chemical pens, 6) letterpress with a scrapeableoverlay, 7) letterpress with overprinting which is eliminated by aplastic reader, 8)letterpress or offset using electrically conductive inks and an electrically activated feedback, 9)letterpress or offset with a pressure-sensitive chemicalfeedback, 10) letterpress with latent images and overlay printing, 11) letterpress with erasable overlay, 12) letterpress or offset with magnetically activatedfeedback, 13) letterpress or offset with fluorescent activation offeedback, 14) letterpress or offset using absorbent white ink on white, and15) letterpress with prepunched response forms. -
Copy This! a Historical Perspective on the Use of the Photocopier in Art1
Walker, J. A. (2006). Copy this! A Historical Perspective On the Use of the Photocopier In Art. Plagiary: Cross‐Disciplinary Studies in Plagiarism, Fabrication, and Falsification, 22‐24. Copy This! A Historical Perspective On the Use of the Photocopier in Art1 John A. Walker E‐mail: [email protected] Abstract art”, “electroworks” and “xerography”). Exhibi‐ Before digital technology had transformed the tions of Copy Art have been held around the capabilities for manipulating images and making world at art fairs, in private galleries and in com‐ them available for viewing and download via the munity art centres. The first major survey of Internet, artists were making use of innovative tech- niques in a genre which has come to be known as Copy Art – Electroworks – took place at George “copy art”, also called “electrographic art”, Eastman House, Rochester, New York in 1979. A “photocopy art”, “electroworks”, and “xerography”. year later in San Francisco, Ginny Lloyd opened Montage, distortion, and transformation were ef- an “electro arts” gallery in order to show local fected through reducing, enlarging, and adjusting xerox artists, while in New York an International the hue and tone, “xerographic” effects which are Society of Copier Artists was founded in 1982 by achieved today through digital enhancements, al- Louise Neaderland to promote the activity. terations, and transformations. The referencing of “image glut”, “visual pollution”, and “image over- load” in this reprinted article from the late 1980s by Members keep in touch via a quarterly maga‐ John A. Walker would seem to have much relevance zine which often consists of anthologies of Copy for today when copying technology has moved from Art. -
Materials Usage Guide
Color Materials Usage Guide Contents Introduction . .1 Making the best decision . 1 Answers to these question and more . 1 Papers for today’s business . 1 About this guide . .2 Symbols . 2 Terminology . 2 About Paper . .3 Fundamentals of Paper . 3 Let’s take a look at the papermaking machines. 3 Why do we produce so many documents? . 3 What Happens When Dry Ink Meets Paper . 4 When dry ink meets paper . 4 Important Paper Properties for Color Xerography . 5 Paper influences on document quality . 5 Optical paper qualities that influence image quality . 10 Reliability . 11 Moisture content . 13 Electrical properties (conductivity and resistivity) . 13 Surface strength . 13 Friction coefficient . 14 Paper Storage . 15 Stacking . 16 Temperature and humidity . 16 Conditioning paper . 17 Why Paper Doesn’t Always Work the Way it Should . 18 Coated paper and offset . 18 Coated paper and xerography . 18 Moisture and xerography . 18 Textured stock and xerography . 18 Technology and Paper . 19 Digital production printing . 19 Office laser printing . 19 Office digital copying and printing . 19 Xerox Papers and Xerox Digital Copier/Printers . 20 COLOR MATERIALS USAGE GUIDE Visit our website at www.xerox.com I How to Order Paper like a Pro . .21 How paper is categorized – in the USA and Canada . 21 Business papers . 21 Book papers . 22 Cover . 23 Index . 23 Speciality materials . 23 How Paper is Measured in Terms of Weights and Sizes . 28 Terms used to describe paper weight . 28 Ways paper can be ordered . 28 Paper sizes in the USA and Canada . 29 International Standards Organization (ISO) paper sizes 30 How to Select the Right Texture/Finish . -
Photolithography (Source: Wikipedia)
Photolithography (source: Wikipedia) For earlier uses of photolithography in printing, see Lithography. For the same process applied to metal, see Photochemical machining. Photolithography (also called optical lithography ) is a process used in microfabrication to selectively remove parts of a thin film (or the bulk of a substrate). It uses light to transfer a geometric pattern from a photomask to a light-sensitive chemical (photoresist, or simply "resist") on the substrate. A series of chemical treatments then engraves the exposure pattern into the material underneath the photoresist. In a complex integrated circuit (for example, modern CMOS), a wafer will go through the photolithographic cycle up to 50 times. Photolithography shares some fundamental principles with photography, in that the pattern in the etching resist is created by exposing it to light, either using a projected image or an optical mask. This step is like an ultra high precision version of the method used to make printed circuit boards. Subsequent stages in the process have more in common with etching than to lithographic printing. It is used because it affords exact control over the shape and size of the objects it creates, and because it can create patterns over an entire surface simultaneously. Its main disadvantages are that it requires a flat substrate to start with, it is not very effective at creating shapes that are not flat, and it can require extremely clean operating conditions. Basic procedure The wafer track portion of an aligner that uses 365 nm ultraviolet light. A single iteration of photolithography combines several steps in sequence. Modern cleanrooms use automated, robotic wafer track systems to coordinate the process. -
Modeling and Control of Color Xerographic Processes*
Proceedings of the 38* WeA13 08:30 Conference on Decision & Control Phoenix, Arizona USA December 1999 Modeling and Control of Color Xerographic Processes* Richard Groff Pramod Khargonekar Daniel Koditschek {regroff, pramod, kod}@umich.edu EECS, University of Michigan 1301 Beal Ave., Ann Arbor MI 48105 Tracy Thieret L.K. Mestha { TThieret, lkmestha}@crt.xerox.com J.C. Wilson Center for Research and Technology, Xerox Corporation 800 Phillips Road, Webster, NY 14580 USA Abstract will be of benefit to those interested in modeling and control issues in color management systems as well as The University of Michigan and Xerox’s Wilson Re- to those interested in industry-university-government search Center have been collaborating on problems in (IUG) collaborations. color management systems since 1996, supported in part by an NSF GOALI grant. This paper is divided into three sections. The first discusses the basics of 2 Control Problems in Xerography xerography and areas where systems methodology can have a potential impact. The second section describes In previous publications [l]we have given specific xero- the authors’ approach to the approximation of color graphic component process descriptions, and discussed space transformations using piecewise linear approx- at length the prospects for systems oriented solutions imants and the graph intersection algorithm, with a to the problems of this industry [2, 31. We will very brief review of some of the analytical and numerical briefly review some of these issues here, before report- results. The last section expounds on some of the ben- ing on the specific technical direction our recent work efits and difficulties of industry-university-government has taken. -
Key Concepts, Methods, and Principles of Print Production
pre- press print prod- uction Key concepts, methods, and principles of print production II | prepress prepress prepress color 2 table of additive color 2 subtractive color 2 cmyk 3 rich black 3 rgb 3 spot color 4 process color 4 stochastic printing 4 halftone 5 duotone 5 color gamut 6 screen angle 6 prepress 7 trapping 7 dot gain 7 knockout 8 overprinting 8 imposition 8 readers spread vs. printers spread 9 trim size & bleed size 9 nesting 9 print 10 contents xerography 10 offset printing 10 ink jet printing 10 presses & methods 10 letterpress 11 screen printing 11 rotogravure printing 11 flexography 11 finishing & binding 12 varnishing 12 foiling 12 embossing 13 folding dummy 13 die cutting 13 signatures 13 page creep 14 saddle stitch 14 perfect bound 14 spiral bound 14 paper 15 A 15 B 15 color SUBTRACTIVE COLOR When we mix colors in the real world and not on screen, like when we mix paints, or through the process of printing we are using what is known as the subtractive color method. Meaning as we mix colors, that would usually start in white, we end up moving towards black as we add more and more colors. ADDITIVE COLOR Additive color is the method that is used on screens when we are playing in pro- grams like Adobe Illustrator. The colors on the screen are made of light. This process starts with black and then go whiter as we add color. For example, when we code a website the hexadecimal value of white is #ffffff, meaning full color value, more on that later.