Printing AMAZING COATING EFFECTS LOOK MA! ONLY 2 COLOURS! STOP the MADNESS the DEVIL in the DETAILS
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Quercus Phellos.Indd
Quercus phellos (Willow Oak) Beech Family (Fagaceae) Introduction: Willow oak is a member of the red oak group with willow-shaped leaves. The fi ne foliage of the willow oak is one of its best ornamental features. The willow oak has excellent texture, rounded form, attrac- tive bark, and beautiful winter features (fi ne-texture, persistent leaves and twiggy form). Culture: The willow oak is an excellent choice as a shade tree. It thrives in moist, well-drained, acidic soil and full sun. The willow oak will tolerate pollution and drought and is considered a trouble-free tree as long as soil pH is acidic. Willow oak has a fi brous root system and is therefore easy to transplant. It has no serious disease or Botanical Characteristics: insect problems. As little as 1 inch of fi ll soil can kill an oak. Native habitat: Southeastern USA in alluvial soils, swamps. Additional comments: Willow oak is an excellent large shade tree. Its Growth habit: Unique among the oaks, the wil- low oak has a rounded habit. fi ne texture contrasts with the coarseness of most other red oaks. It is one of the best oaks for avenue plantings Tree size: Growing fast for an oak, it can reach or large residences. Willow oak is a fast-growing oak 70’ in height and equal width. that transplants easily and is tolerant of a wide range of growing conditions. Flower and fruit: Female fl owers are incon- Willow oak is a member of the red oak group spicuous; however the pendulous male catkins without lobed leaves. -
Relief Printing Letterpress Machines
DRAFT SYLLABUS FOR PRESS WORK - I Name of the Course: Diploma in Printing Technology Course Code: Semester: Third Duration: 16 Weeks Maximum Marks: 100 Teaching Scheme Examination Scheme Theory: 3 hrs/week Internal Examination: 20 Tutorial: 1 hr/week Assignment & Attendance: 10 Practical: 6 hrs/week End Semester Exam:70 Credit: 3 Aim: Getting the output through a printing machine is the most important operation for completing the print production. This subject known as Presswork - I is one of the key subject to make a clear and sound knowledge in some of the major print production systems and supplies. This will enable the students to make judgement about the aspect of printing, particularly the selection of a particular process to choose for a specific print production. Objective: The students will be able to (i) understand the basic and clear classification of all kinds of printing processes; (ii) understand the details divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines; (iii) understand the principal mechanism of various letterpress and sheet-fed machines, their constructional differences in the printing unit and operational features; (iv) understanding the various feeding and delivery mechanism in printing machines; (v) appreciate the relational aspects of various materials used in presswork. Pre -Requisite: Elementary knowledge of Basic Printing & Production Contents: Group-A Hrs/unit Marks Unit 1 Relief Printing 10 10 1.1 Classifications of various relief printing machines, their applications and uses, characteristics of the products. 1.2 Details of divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines General unit wise division of a printing machine. -
</Break>The Role of Format and Design in Readability
Pleasing the reader by pleasing the eye—Part 1 The role of format and design in readability Gabriele Berghammer1, Anders Holmqvist2 Correspondence to: 1the text clinic, Vienna, Austria 2Holmqvist AD & Bild, Lund, Sweden Gabriele Berghammer [email protected]; www.the-text-clinic.com Abstract Whoever writes wants to be read. Yet, even if we punctuation marks, and visuals are arranged on a succeed in creating an informative, logically struc- piece of paper can be as much a part of the story tured, and adequately worded text tailored to our as the content itself. They can make or break a target audience, i.e., text we consider to have an message. adequate level of readability, our documents may At least that ’s what we thought. Seeing, however, still go unread—or read with antipathy. Next to lin- that many of today’s publications, particularly in the guistic factors, therefore, there is a wide range of areas of technical, informational, and instructional other aspects determining how well we understand prose, fall short of what we have come to perceive a text, including layout, typography, or cultural ade- as essential aspects of our crafts, we started to ask quacy. Documents people can use effectively and ourselves whether, in these fast-paced times of with ease have language, graphics, and design budget constraints, format and design had become combine into a harmonious whole. Good design an obsolete luxury reserved for belletristic literature helps arouse interest and singles a text out from or art. Not long ago, one of the authors (GB) read a many others that vie for our attention. -
Evergreen Trees Agonis Flexuosa
Evergreen Trees Agonis flexuosa – Peppermint Willow Graceful willow-like evergreen tree (but without the willows voracious root system) with reddish-brown, deeply furrowed bark to 25’-30’. New leaves and twigs have an attractive reddish cast; clustered small white flowers and brownish fruits are not particularly ornamental. Casaurina stricta – Beefwood Pendulous gray branches; resembles a pine somewhat; tolerates drought, heat, wind, fog. Growth to 20’- 30’. Cinnamomum camphora - Camphor Evergreen trees to 40 feet, with 20-foot spread.. In winter foliage is a shiny yellow green. In early spring new foliage may be pink, red or bronze, depending on tree. Unusually strong structure. Clusters of tiny, fragrant yellow flowers in profusion in May. Geijera parviflora- Australian Willow Evergreen trees with graceful, fine-textured leaves, to 30 feet, 20 feet wide. Main branches weep up and out; little branches hang down. Much of the grace of a willow, much of the toughness of eucalyptus, moderate growth and deep non-invasive roots. Laurus nobilis – Grecian Laurel Slow growth 12-40’. Natural habit is compact, broad-based, often multi-stemmed, gradually tapering cone. Leaves lethery, aromatic. Clusters of small yellow flowers followed by black or purple berries. Magnolia Grandiflora – ‘Little Gem’- Dwarf Southern Magnolia Small tree to 20’ in height. Showy white flowers in the summer. Green glossy leaves. Maytenous boaria - Mayten Evergreen tree with slow to moderate growth to an eventual 30-50 feet, with a 15-foot spread, with long and pendulous branchlets hanging down from branches, giving tree a graceful look. Habit and leaves somewhat like a small scale weeping willow. -
Invasive Trees of Georgia Pub10-14
Pub. No. 39 October 2016 Invasive Trees of Georgia by Dr. Kim D. Coder, Professor of Tree Biology & Health Care Warnell School of Forestry & Natural Resources, University of Georgia Georgia has many species of trees. Some are native trees and some have been introduced from outside the state, nation, or continent. Most of Georgia’s trees are well- behaved and easily develop into sustainable shade and street trees. A few tree species have an extrodinary ability to upsurp resources and take over sites from other plants. These trees are called invasive because they effectively invade sites, many times eliminat- ing other species of plants. There are a few tree species native to Georgia which are considered invasive in other parts of the country. These native invasives, may be well-behaved in Georgia, but reproduce and take over sites elsewhere, and so have gained an invasive status from at least one other invasive species list. Table 1. There are hundreds of trees which have been introduced to Georgia landscapes. Some of these exotic / naturalized trees are considered invasive. The selected list of Georgia invasive trees listed here are notorious for growing rampantly and being difficult to eradicate. Table 2. Table 1: Native trees considered invasive in other parts of the country. scientific name common name scientific name common name Acacia farnesiana sweet acacia Myrica cerifera Southern bayberry Acer negundo boxelder Pinus taeda loblolly pine Acer rubrum red maple Populus deltoides Eastern cottonwood Fraxinus americana white ash Prunus serotina black cherry Fraxinus pennsylvanica green ash Robinia pseudoacacia black locust Gleditsia triacanthos honeylocust Toxicodendron vernix poison sumac Juniperus virginiana eastern redcedar The University of Georgia is committed to principles of equal opportunity and affirmative action. -
Introduction to Printing Technologies
Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Introduction to Printing Technologies Study Material for Students : Introduction to Printing Technologies CAREER OPPORTUNITIES IN MEDIA WORLD Mass communication and Journalism is institutionalized and source specific. Itfunctions through well-organized professionals and has an ever increasing interlace. Mass media has a global availability and it has converted the whole world in to a global village. A qualified journalism professional can take up a job of educating, entertaining, informing, persuading, interpreting, and guiding. Working in print media offers the opportunities to be a news reporter, news presenter, an editor, a feature writer, a photojournalist, etc. Electronic media offers great opportunities of being a news reporter, news editor, newsreader, programme host, interviewer, cameraman,Edited with theproducer, trial version of Foxit Advanced PDF Editor director, etc. To remove this notice, visit: www.foxitsoftware.com/shopping Other titles of Mass Communication and Journalism professionals are script writer, production assistant, technical director, floor manager, lighting director, scenic director, coordinator, creative director, advertiser, media planner, media consultant, public relation officer, counselor, front office executive, event manager and others. 2 : Introduction to Printing Technologies INTRODUCTION The book introduces the students to fundamentals of printing. Today printing technology is a part of our everyday life. It is all around us. T h e history and origin of printing technology are also discussed in the book. Students of mass communication will also learn about t h e different types of printing and typography in this book. The book will also make a comparison between Traditional Printing Vs Modern Typography. -
Utrecht Art Supplies What Not to Use As Varnish
Utrecht Art Supplies What Not to Use as Varnish • Removable with light solvents and gentle manipulation (should not require strong solvents or hard scrubbing) • Should not fuse with, soften or dissolve completely dry paint • Resin content should be documented to aid in later cleaning and care Alkyd Alkyd-based painting mediums are great for improving paint flow, imparting gloss, increasing transparency, and promoting a tough, flexible Ask the Expert: "Lately I've been finishing my paint film, but as a top-coat, they aren't oil paintings with a coat of alkyd medium to give reversible with even very harsh solvents. A coat a shiny finish. My friend says this might not be a of alkyd is permanent, for better or worse. Also, good idea. If I can coat an acrylic painting with some alkyd mediums impart harsh glare, making gloss medium, what's the problem with using it difficult to install and light the finished work. alkyd medium on oils?" Wax A: Artists sometimes make the mistake of top- coating a painting with a medium or other Wax is sometimes used as a top-coat over material which gives a good appearance in the paintings, but it has some significant short term, but which causes problems later. shortcomings for this application. Wax remains Alkyd-based painting mediums are great for their soft indefinitely, so it doesn't impart protection intended purpose, but alkyds don't meet the against mechanical damage from handling and requirements of a picture varnish. casual contact. Wax also tends to attract and hold dust. Cold wax medium has an attractive A picture varnish should satisfy these appearance when first applied, especially when functions: buffed to a shine, but can later become • Permanently neutral in color and lackluster. -
Varnishing Than with Any Other Stage of the Painting Process
INFO SHEET 301 UPDATED JULY 2016 VA R NISHING We get more questions about varnishing than with any other stage of the painting process. Varnishing should be an almost mechanical process undertaken to give your painting a protective coating with the surface quality you prefer (gloss, satin, etc.) and possibly an enhancement of colour contrast. But, if you leave it till the last moment and use a varnish you are not used to, you can ruin the work you are trying to protect. Anxiety and disappointment can be avoided easily if you do sample pieces using the same materials as the painting and varnish them, not the painting, until you get the effect you wanted. Water-based varnishes are tricky to apply and not removable if you dislike the effect, so we suggest they should only be used by artists who have already tried the above experiment. CHROMA SOLVENT FINISHING VARNISHES We recommend and prefer our Chroma Solvent Finishing Varnishes, because they can be used on all our Chroma paint brands, Atelier Interactive, Jo Sonja’s or Archival Oils. Application of all these varnishes is by brush (a broad house paint brush), and clean up is with mineral spirits. If applying multiple coats, allow 24 hours drying time between applications. Choose from these finishes: Gloss Solvent Finishing Varnish • Apply as is for a full gloss, usually one coat. To reduce gloss add Invisible Varnish to your taste. Try 2 parts varnish to 1 part Invisible Varnish, up to 1:1 for less sheen. NOTE: The new varnishes have an anti-mould additive which is diluted if you add turpentine, so to maintain the mould protection for tropical conditions dilute with Invisible Varnish instead. -
GOING in STYLE (#3): on TYPOGRAPHY, PART 2 Typography Is “The Visual Component of the Written Word.” (Matthew Butterick, Ty
GOING IN STYLE (#3): ON TYPOGRAPHY, PART 2 Typography is “the visual component of the written word.” (Matthew Butterick, Typography for Lawyers: Essential Tools for Polished & Persuasive Documents (2nd ed. 2015) p. 20.) As discussed in the previous issue of this series, typography is a subtle but significant aspect of every brief we file, with the capacity to improve persuasiveness by making reading easier and demonstrating professionalism through attention to detail. While there are few hard rules in brief typography, there are many areas that call for practitioners’ consideration and consistency. The previous issue addressed two aspects of typography — type composition and text formatting. Here we will take up a third — page layout. PAGE LAYOUT Page layout is the way text looks on the page, including the amount of white space. The California Rules of Court impose a single page layout requirement: rule 8.204(b)(6)1 requires margins of 1.5" on left and right sides, 1" top and bottom. Other than that, brief writers have decisions to make. ● Line spacing Line spacing, the vertical distance between lines of text, must be a minimum 1.5 lines. (Rule 8.204(b)(5).) Although experts generally say something slightly less than 1.5-spaced lines is best for reading, it depends on how long the lines are. (See Ruth Anne Robbins, Painting with print: Incorporating concepts of typographic and layout design into the text of legal writing documents (2004) 2 J. Assoc. of Legal Writing Directors 108, 123–124.) In an appellate brief with 1.5" margins on an 8.5 x 11" page,1.5-spaced lines, which is what the 1 Citations to rules refer to the California Rules of Court. -
How to Page a Document in Microsoft Word
1 HOW TO PAGE A DOCUMENT IN MICROSOFT WORD 1– PAGING A WHOLE DOCUMENT FROM 1 TO …Z (Including the first page) 1.1 – Arabic Numbers (a) Click the “Insert” tab. (b) Go to the “Header & Footer” Section and click on “Page Number” drop down menu (c) Choose the location on the page where you want the page to appear (i.e. top page, bottom page, etc.) (d) Once you have clicked on the “box” of your preference, the pages will be inserted automatically on each page, starting from page 1 on. 1.2 – Other Formats (Romans, letters, etc) (a) Repeat steps (a) to (c) from 1.1 above (b) At the “Header & Footer” Section, click on “Page Number” drop down menu. (C) Choose… “Format Page Numbers” (d) At the top of the box, “Number format”, click the drop down menu and choose your preference (i, ii, iii; OR a, b, c, OR A, B, C,…and etc.) an click OK. (e) You can also set it to start with any of the intermediate numbers if you want at the “Page Numbering”, “Start at” option within that box. 2 – TITLE PAGE WITHOUT A PAGE NUMBER…….. Option A – …And second page being page number 2 (a) Click the “Insert” tab. (b) Go to the “Header & Footer” Section and click on “Page Number” drop down menu (c) Choose the location on the page where you want the page to appear (i.e. top page, bottom page, etc.) (d) Once you have clicked on the “box” of your preference, the pages will be inserted automatically on each page, starting from page 1 on. -
II-17 Page Layouts.Pdf
Chapter II-17 II-17Page Layouts Overview.......................................................................................................................................................... 389 Page Layout Windows ................................................................................................................................... 390 Page Layout Names and Titles .............................................................................................................. 390 Hiding and Showing a Layout............................................................................................................... 390 Killing and Recreating a Layout............................................................................................................ 390 Page Layout Zooming............................................................................................................................. 390 Page Layout Background Color............................................................................................................. 390 Page Layout Pages .......................................................................................................................................... 391 The Page Sorter ........................................................................................................................................ 391 Page Layout Page Sizes........................................................................................................................... 391 Compatibility with -
Multimedia Foundations Glossary of Terms Chapter 5 – Page Layout
Multimedia Foundations Glossary of Terms Chapter 5 – Page Layout Body Copy The main text of a published document or advertisement. Border A visible outline or stroke denoting the outer frame of a design element such as a table cell, text box, or graphic. A border’s width and style can vary according to the aesthetic needs or preferences of the designer. Box Model Or CSS Box Model. A layout and design convention used in CSS for wrapping HTML text and images in a definable box consisting of: margins, borders, and padding. Cell The editable region of a data table or grid defined by the intersection of a row and column. Chunking The visual consolidation of related sentences or ideas into small blocks of information that can be quickly and easily digested (e.g. paragraphs, lists, callouts, text boxes, etc.). Column The vertically aligned cells in a data table or grid. Dynamic Page A multimedia page with content that changes (often) over time or with each individual viewing experience. F-Layout A layout design where the reader’s gaze is directed through the page in a pattern that resembles the letter F. Fixed Layout A multimedia layout where the width of the page (or wrapper) is constrained to a predetermined width and/or height. Floating Graphic The layout of a graphic on a page whereby the adjacent text wraps around it to the left and/or right. Fluid Layout Or liquid layout. A multimedia layout where the width of the page (or wrapper) is set to a percentage of the current user’s browser window size.