Design and Drawing for Production Syllabus
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Re-Think Acrylic Ink Significant Proportion of Acrylic Resin
Liquitex Professional Acrylic ink! Pen Cleaner Liquitex Professional Acrylic ink! Pen Cleaner is ideal for cleaning PROFESSIONAL ACRYLIC Dp Br Te Acrylic ink! from paint brushes, technical and dip pens and Liquitex Professional Acrylic ink! is a range of 30 extremely Dip Pen Brush Technical Pen airbrush parts. Simply rinse them with a small amount of Acrylic ink! Pen Cleaner to remove ink! Should some ink! dry on your fluid acrylics that use super fine pigments suspended in a brushes or nibs, soak the items in Liquitex Professional Acrylic ink! Pen Cleaner for a few minutes and then rinse with water. state-of-the-art acrylic emulsion. They dry quickly, are permanent, water resistant and non-clogging, which makes them ideal for a variety of techniques from watercolor THINGS TO KNOW ABOUT MEDIUMS effects to stamping. St In Sc AND ADDITIVES FOR ACRYLIC COLORS Stamping Ink Brayer Screen Printing 1. Mediums and additives help you do an almost infinite variety of different things • Intense bold lightfast colors with acrylics. From traditional painting applications on canvas and panel to water • Extremely fluid, no need to dilute for color on paper, to high-peak impasto, to glazing, to unique textural effects, acrylics can do it all. There’s no better color for contemporary techniques such as airbrushing or calligraphy image-transfer, for structural applications, and collage. Using these products with • Superior water resistance Liquitex Professional Acrylic inks! provides even more creative variety. • Non-clogging Fa Bo Ca 2. Mediums are made with acrylic resin for adjusting paint in different ways. They can Fabric Painting Book Arts Calligraphy be used to add texture, adjust the flow, and alter the working properties of the color. -
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. -
TECHNICAL REPORT – PATENT ANALYSIS Enhancing Productivity in the Indian Paper and Pulp Sector
TECHNICAL REPORT – PATENT ANALYSIS Enhancing Productivity in the Indian Paper and Pulp Sector 2018 TABLE OF contEnts ACKNOWLEDGEMENTS 10 EXECUTIVE SUMMARY 11 1 INTRODUCTION 13 2 OVERVIEW OF THE PULP AND PAPER SECTOR 15 2.1. Status of the Indian Paper Industry 15 2.2. Overview of the Pulp and Papermaking Process 20 2.3. Patenting in the Paper and Pulp Industry: A Historical Perspective 22 2.4. Environmental Impact of the Pulp and Paper Industry 25 3 METHODOLOGY 27 3.1. Search Strategy 27 4 ANALYSIS OF PATENT DOCUMENTS USING GPI 31 4.1. Papermaking; Production of Cellulose (IPC or CPC class D21) 31 4.2. Analysis of Patenting Activity in Different Technology Areas using GPI 38 5 ANALYSIS OF THE INDIAN PATENT SCENARIO WITHIN THE CONTEXT OF THIS REPORT 81 5.1. Analysis of Patents Filed in India 81 6 CONCLUDING REMARKS 91 REFERENCES 93 ANNEXURE 94 Annexure 1. Technologies related to paper manufacturing 94 Annexure 2. Sustainable/green technologies related to pulp and paper sector 119 Annexure 3. Emerging Technology Areas 127 List OF FIGURES Figure 2.1: Geographical Spread of Figure 4.11: (d) Applicant vs. Date of Indian Paper Mills .................................16 Priority Graph: Paper-Making Machines Figure 2.2: Share of Different Segments and Methods ........................................42 in Total Paper Production .......................19 Figure 4.11: (e) Applicant vs. Date of Figure 2.3: Variety Wise Production of Priority Graph: Calendars and Accessories ..43 Paper from Different Raw Materials ........19 Figure 4.11: (f) Applicant vs. Date of Figure 2.4: Different Varieties of Paper Priority Graph: Pulp or Paper Comprising Made from Various Raw Materials ..........19 Synthetic Cellulose or Non-Cellulose Fibres ..43 Figure 2.5: Diagram of a Process Block Figure 4.11: (g) Applicant vs. -
Some Products in This Line Do Not Bear the AP Seal. Product Categories Manufacturer/Company Name Brand Name Seal
# Some products in this line do not bear the AP Seal. Product Categories Manufacturer/Company Name Brand Name Seal Adhesives, Glue Newell Brands Elmer's Extra Strength School AP Glue Stick Adhesives, Glue Leeho Co., Ltd. Leeho Window Paint Gold Liner AP Adhesives, Glue Leeho Co., Ltd. Leeho Window Paint Silver Liner AP Adhesives, Glue New Port Sales, Inc. All Gloo CL Adhesives, Glue Leeho Co., Ltd. Leeho Window Paint Sparkler AP Adhesives, Glue Newell Brands Elmer's Xtreme School Glue AP Adhesives, Glue Newell Brands Elmer's Craftbond All-Temp Hot AP Glue Sticks Adhesives, Glue Daler-Rowney Limited Rowney Rabbit Skin AP Adhesives, Glue Kuretake Co., Ltd. ZIG Decoupage Glue AP Adhesives, Glue Kuretake Co., Ltd. ZIG Memory System 2 Way Glue AP Squeeze & Roll Adhesives, Glue Kuretake Co., Ltd. Kuretake Oyatto-Nori AP Adhesives, Glue Kuretake Co., Ltd. ZIG Memory System 2Way Glue AP Chisel Tip Adhesives, Glue Kuretake Co., Ltd. ZIG Memory System 2Way Glue AP Jumbo Tip Adhesives, Glue EK Success Martha Stewart Crafts Fine-Tip AP Glue Pen Adhesives, Glue EK Success Martha Stewart Crafts Wide-Tip AP Glue Pen Adhesives, Glue EK Success Martha Stewart Crafts AP Ballpoint-Tip Glue Pen Adhesives, Glue STAMPIN' UP Stampin' Up 2 Way Glue AP Adhesives, Glue Creative Memories Creative Memories Precision AP Point Adhesive Adhesives, Glue Rich Art Color Co., Inc. Rich Art Washable Bits & Pieces AP Glitter Glue Adhesives, Glue Speedball Art Products Co. Best-Test One-Coat Cement CL Adhesives, Glue Speedball Art Products Co. Best-Test Rubber Cement CL Adhesives, Glue Speedball Art Products Co. -
Drawing Tools and Materials
1 Drawing Tools and Materials This chapter introduces the pencils and pens necessary for inscribing lines, the instruments available for guiding the eye and hand while drawing, and the surfaces suitable for receiving the drawn lines. While digital technology continues to further augment and enhance this traditional drawing toolkit, the kinesthetic act of drawing with a hand- held pencil or pen remains the most direct and versatile means of learning the language of architectural graphics. COPYRIGHTED MATERIAL AG6e_1.indd 1 26/02/15 5:46 PM DRAWING PENCILS Pencils are relatively inexpensive, quite versatile, and uniquely responsive to pressure while drawing. Lead Holders • Lead holders employ standard 2 mm leads. • The push-button action of a clutch mechanism allows the exposed length of the lead shaft to be adjusted or withdrawn when the pencil is not in use. • The lead point, which is capable of a variety of line weights, must be kept well sharpened with a lead pointer. Mechanical Pencils • Mechanical pencils use 0.3 mm, 0.5 mm, 0.7 mm, and 0.9 mm leads. • A push-button mechanism advances the lead automatically through a metal sleeve. This sleeve should be long enough to clear the edges of drafting triangles and straightedges. • The relatively thin leads of mechanical pencils do not require sharpening. • 0.3 mm pencils yield very fine lines, but the thin leads are susceptible to breaking if applied with too much pressure. • 0.5 mm pencils are the most practical for general drawing purposes. • 0.7 mm and 0.9 mm pencils are useful for sketching and writing; avoid using these pencils to produce heavy line weights. -
Ecco Pigment Climate Protection Starts with the Product – Global CO2 Neutrality Is Unique in the Writing Instrument Industry
Ecco Pigment Climate protection starts with the product – global CO2 neutrality is unique in the writing instrument industry TÜV Rheinland has certified that the company is CO2 neutral worldwide. The company’s eco-forests in Brazil and Columbia actively contribute to protecting the environment. Instead of touting individual “green products”, Faber-Castell mini- mises its environmental footprint throughout the entire life cycle of its product range. Faber-Castell products are green because they are long-lasting, often refillable as well as pollutant-free, and come from CO2-neutral production. The use of bio and recycled plastics also improves the “green footprint” of Faber-Castell. PVC-Frei PVC-free Faber-Castell stands for quality Faber-Castell is one of the world’s leading manufacturers and marketers of quality products for writing, drawing and creative design – the brand name is world-famous. In the core area of woodcased pencils, the group is the most important and oldest manufacturer in the world with a production capacity of more than 2 billion pencils and coloured pencils. Its Art & Graphic range allows Faber-Castell to enjoy a great reputation among artists and hobby painters. Prestigious creative minds have recognised this expertise since time immemorial – from Vincent van Gogh to Karl Lagerfeld. High-quality artists’ pigments ensure light resistance and thus brilliance and colour intensity for decades. All products are based on the same colour system, enabling reliable mixing techniques of artistsʼ materials. Ecco Pigment The Ecco Pigment is a fineliner with enormous potential. Equipped with a high- ly pigmented, lightfast ink, it is suitable for technical drawings, illustrating, calligra- phy and for inscriptions on certificates and documents. -
Inking Class Links
Inking Scripts, Flourishes and Monograms Workshop - Jeni Buechel Supplemental materials, books and links I will eventually add and expand this list on my website and keep it updated there, (but not yet...) Fabric Inking Supplies- Pens- Rapidograph pens - Koh I Noor My favorite technical pen that you can fill with airbrush paint for textiles available at Amazon (sets are usually a better $ value) Platinum Preppy Fountain Pen remember, this is my favorite $3.30 fountain pen(!) available at Jet Pens Pentel Gel Roller for Fabric Only comes in black and not a very fine point but is washable and in three colors- black, blue, red Sakura Micron Pigma Pens Archival, fine point and can withstand washing but test first for slight feathering of ink on some fabrics. I use these when I don’t want to take the time to do a nice custom job with a rapidograph or fountain pen with airbrush ink Sakura Gel Pens Wide variety of colors (with metallic shades) and washable but lacking a fine point Sharpie Stained Limited to primary colors but washes well. (still haven’t tried it in a fountain pen -but will soon) Fabrico Dual Marker Washable and range of colors but no fine tip Ink and Paint- Airbrush Ink both kinds work in the rapidograph pen or thinned in the fountain pen and both need heat set by iron or in dryer, wide range of colors and custom colors can be mixed Badger Air-Tex Createx Airbrush Colors Dharma Dyeset is a fabric paint (not dye) but very fine pigmented paint that can be used in the rapidograph or fountain pen Iron Gall Ink very old type of ink still available today but is known to deteriorate some natural fiber antique parchments, but it is washable and available in a limited color- black We did discuss Inktense Pencils, watercolor pencils and textile mediums etc.. -
DDP Syllabus with Addendum, 2000
SYLLABUS !.l,•11,11,,11 .. r r,ior·t ,,r I< HuUJI(• 11,,. f<,h·,,. ,,-/,,,/, l?"!'"!,;'l'"~!r 1,,- ,,.,,J . •' i ., . :-· .- . ~~,- ! ,:,, l ;i ..... ./-:y)c. It/.,., 'J: // ' -/ ,. , The Un;:rsity of the State of New York e State Education Department Albany, NY 12234 www.nysed.gov THE STATE EDUCATION DEPARTMENT/ THE UNIVERSITY OF THE STATE OF NEW YORK/ ALBANY, NY 12234 Assistant Commissioner for Curriculum, Instruction and Assessment Spring,2000 To: Persons with Responsibility for Implementing Design and Drawing/or Production From: Roseanne Defabio, Assistant Commi~ ~~ This syllabus, Design and Drawing/or Production (DDP) has been widely used by students throughout New York State as an introductory course to the design process. In earlier editions this document was used as a guide to help students achieve the Regents goals and Commissioners Regulations in both visual arts and occupational education. With the adoption of the Learning Standards by the Regents, this syllabus plays an important role towards meeting these standards as well. This course provides opportunities in the areas of design and drawing through creative thinking, decision-making and problem-solving experiences. These transferable skills play an important role in helping students achieve the higher standards expected of them. Strategies of design and drawing appropriate now and in the future are emphasized. Although there are tremendous changes tal<lng place in the design area pertaining to the use of computers, this course should provide students with an opportunity to express themselves and display their talents in a variety of ways. Content of the course should drive instruction, not the computer. A shift from the conventional learning methods to this design problem approach is the basis for this syllabus. -
Fragile | PLANTHOUSE July 3, 2020
Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Mildred Beltré Noah Breuer Skin in the Game (Up), 2019 Swing Girl Terrycloth, 2019 Walnut ink and digital print 2019 Kiln Formed Glass 22 x 30 inches 17 x 20 x 1 inch $1,500 $1,600 Mildred Beltré Skin in the Game (Reverse), 2019 Walnut ink and digital print Noah Breuer 22 x 30 inches $1,500 Red Tablecloth, 2019 Kiln Formed Glass 15 x 13 x 13 inches $2,000 Mildred Beltré Skin in the Game (Away), 2019 Walnut ink and digital print 22 x 30 inches Noah Breuer $1,500 Spring Green Placemat, 2019 Kiln Formed Glass 17 x 20 x 1 inch $1,600 Anders Bergstrom June 2020 Number 7, 2020 Victoria Burge Monotype and relief printing on Notation 8, 2018 Akatosashi hand-printed and folded Pencil and gesso on sheet music 3 1/8 x 2 x 1 1/2 inches 8.5 x 8 inches $1,500 $800 55 WEST 28TH STREET NEW YORK, NY 10001 PLANTHOUSE.NET Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Victoria Burge Greg Foley Notation 12, 2019 Ashoka (after Ettore Sottsass), 2019 Pencil and gesso on antique graph paper Dye sublimation on aluminum 12.5 x 10 inches 24 x 24 inches, circular $1,200 Edition of 3 $2,500 Louise Eastman Greg Foley Dice 1/6, 2020 Cerchio (after Nathalie Du Pasquier), 2019 Monoprint on manila folder Dye sublimation on aluminum 17 1/2 x 12 inches 24 x 24 inches, circular Published by artist, Printed at Russel Edition of 3 Janis Studio, Brooklyn NY $2,500 $200 Louise Eastman Greg Foley Dice 2/5, 2020 Hilton (after Javier Mariscal), 2019 Monoprints on manila folders Dye sublimation on aluminum 17 1/2 x -
School Supplies 2020-21
ST. JOHN THE EVANGELIST REGIONAL CATHOLIC SCHOOL SUPPLIES LIST 2020-2021 PRESCHOOL GRADE 2 PLEASE LABEL ALL ITEMS WITH CHILD’S NAME 2 STURDY POCKET FOLDERS (BOTTOM POCKETS ONLY) 24 #2 PENCILS WITH ERASERS (SHARPENED) 2 BOX OF 8 LARGE SIZE CRAYOLA CRAYONS – BASIC COLORS 1 12” RULER (MUST INCLUDE METRIC MEASUREMENTS) 1 ROLL OF PAPER TOWELS (NOT JUMBO) 1 BOTTLE OF ELMER’S GLUE – 8 0Z AND 2 GLUE STICKS 1 BOTTLE HAND SANITIZER 1 PAIR SCISSORS (CHILD SIZE WITH POINTED EDGE) 1 BOX OF DISINFECTING WIPES 2 POCKET FOLDERS (SPANISH AND HOMEWORK) 1 REAM OF 8 ½ x 11 WHITE COPY PAPER 3 POCKET FOLDERS – WILL BE LABLED FOR YOUR CHILD 1 PACK OF GLUE STICKS 1 BOX 24 COUNT CRAYOLA CRAYON 1 LG. BOX TISSUES 1 WATER COLOR PAINT SET (16 COUNT) 1 PKG. NAPKINS 6 COMPOSITION BOOKS (BLACK AND WHITE SEWN BINDING) 1 FULL SIZE SINGLE ZIPPER BACK PACK 1 HOMEWORK ASSIGNMENT BOOK PURCHASED FROM OFFICE 10 POSTAGE STAMPS 2 BOOK COVERS (NO CONTACT PAPER) 1 SOFT ZIPPERED PENCIL CASE (LARGE ENOUGH FOR SUPPLIES TO FIT) 1 KINDERMAT FOR REST PERIOD-STANDARD SIZE (5/8 X 19 X 45) 1 PACK OF ADDITION FLASHCARDS (KEEP AT HOME TO PRACTICE) (FOR PRE-4 ONLY) 1 PACK OF SUBTRACTION FLASHCARDS (KEEP AT HOME TO PRACTICE) 3 CONTAINERS OF DISINFECTING WIPES 1 BINDER 3 LARGE BOXES OF KLEENEX TISSUE 8 POSTAGE STAMPS 1 SMALL PENCIL SHARPENER WITH COVER BOOK BAG 3 REAMS OF 8 ½ X 11 WHITE COPY PAPER KINDERGARTEN GRADE 3 2 POCKET FOLDERS (BOTTOM POCKETS ONLY) 4 BOXES OF 24 COUNT CRAYONS 4 BOXES OF 8 CRAYOLA CRAYONS– 8 BASIC COLORS-Regular Size 1 WATER COLOR PAIN SET (16 COUNT) 1 WATERCOLOR PAINT -
Frank Stella’S Working Archive
FRANK STELLA’S WORKING ARCHIVE EXHIBITION COPY Please do not remove from gallery All works created by Frank Stella and are courtesy of Harriet McGurk Stella unless otherwise stated Wall Key Top view of gallery 2 1 6.2 Gallery entrance 3 7 6.1 5 4.2 4.1 Smoke Rings series WALL 1 8 16 22 30 38 46 54 62 67 Cylinder Working Drawings, 1977 Untitled, 1960 "Squash Racket Diagrams”, 1970 Swiss Catalog Drawings, 1967 Brazilian Series Working Drawings, Notes for Color Strategy, 1973 Indian Bird Working Drawing, 1978 Notebook of 15 Exotic Bird Working Notes for Color Strategy, 1973 1 Pencil on paper Pencil on graph paper Black ballpoint pen on pad paper Pencil on graph paper 1974 Pen on stationary Black pen on lined white paper Drawings and Notes, 1976 Pen on stationary Arnold Newman FS77.025 FS60.023a, FS60.023b, FS60.023c FS70.056, FS70.055 FS67.134a, FS67.134b Pencil on white paper FS73.006 FS78.024 Mixed media on paper FS73.014 Frank Stella, 1967 FS74.068 FS76.080 Silver gelatin print 9 17 23 31 47 55 68 Private Collection, NY, FSC67.006 Exotic Bird Working Drawing, 1976 "Drawing", 1970 Drawing for Hollis Frampton, 1963 Miscellaneous Working Drawings, 39 Arman, Merry Christmas and a Doodle with Text, 1980 63 Shards III, 1981 Pencil on yellow paper Pencil on white paper Pencil on graph paper 1965 Carl Andre, 1972 Happy New Year. XX, F and Harriet, Black pen on lined paper Polish Village Working Drawing, Lithograph and screenprint with 2 FS76.012 FS70.101 FS63.002 Pencil on newsprint paper Graphite on gridded paper 1979 FS80.014 1974 oil crayon -
CO2 Monitoring (Optional)
Operating Instructions Patient Monitors Mindray® is a registered trademark of Shenzhen Mindray Bio-Medical Electronics Co., Ltd. FilterLine® is a U.S. registered trademark of Oridion Medical Ltd. Microstream® is a U.S. registered trademark of Oridion Medical Ltd. Nellcor™ is a U.S. trademark of Nellcor Puritan Bennett Inc. Oxiband® is a U.S. registered trademark of Nellcor Puritan Bennett Inc. Durasensor® is a U.S. registered trademark of Nellcor Puritan Bennett Inc. OxiMax™ is a U.S. trademark of Nellcor Puritan Bennett Inc. Oxisensor® is a U.S. registered trademark of Nellcor Puritan Bennett Inc. Max-Fast™ is a trademark of Nellcor Puritan Bennett Inc. ® miniMediCO2 is a trademark or registered trademark of Oridion Medical Ltd. LNCS® is a U.S. registered trademark of Masimo Corp. LNOP® is a U.S. registered trademark of Masimo Corp. Masimo SET® is a U.S. registered trademark of Masimo Corp. Panorama™ is a U.S. trademark of Mindray, Inc. Edwards Vigilance® is a U.S. registered trademark of Edwards Lifesciences LLC Camino® is a registered trademark of Integra LifeSciences Corporation. Somanetics® and INVOS® are registered trademarks of Covidien. Copyright © Mindray DS USA, Inc., 2011-2016. All rights reserved. Contents of this publication may not be reproduced in any form without permission of Mindray DS USA, Inc. V Series Operating Instructions Table of Contents Foreword .................................................................................................................................................................................................................................xv