View allAll Photos Tagged Manufacturing_process
An ultrathin Ag film based OLED inside Professor Jay Guo’s lab at 3537 G.G. Brown on North Campus in Ann Arbor MI on May 5, 2021.
Guo’s group is systematically improving the light power distribution in OLEDs by removing the waveguide mode and optimizing the organic stacks and the ultrathin AG anode. This simple yet effective method leads to significantly enhanced performance of the external quantum efficiency of the OLED.
Guo’s solution is not only simple in process but also can achieve high throughput and low cost with excellent compatibility with the large-scale manufacturing process in the display industry. In principle, the modal elimination approach introduced in this work could be extended to other solid-state light emitting diodes (LEDs) such as perovskites, quantum-dots, or III-V based LEDs since all of which are susceptible to the issue of light trapping as waveguide mode.
Photo: Robert Coelius/University of Michigan Engineering, Communications & Marketing
Changyeong Jeong, PhD Candidate in Electrical and Computer Engineering, handles an ultrathin Ag film based OLED inside Professor Jay Guo’s lab at 3537 G.G. Brown on North Campus in Ann Arbor MI on May 5, 2021.
Guo’s group is systematically improving the light power distribution in OLEDs by removing the waveguide mode and optimizing the organic stacks and the ultrathin AG anode. This simple yet effective method leads to significantly enhanced performance of the external quantum efficiency of the OLED.
Jeong and Guo’s solution is not only simple in process but also can achieve high throughput and low cost with excellent compatibility with the large-scale manufacturing process in the display industry. In principle, the modal elimination approach introduced in this work could be extended to other solid-state light emitting diodes (LEDs) such as perovskites, quantum-dots, or III-V based LEDs since all of which are susceptible to the issue of light trapping as waveguide mode.
Photo: Robert Coelius/University of Michigan Engineering, Communications & Marketing
Ever wondered how your flu vaccine is made? Look no further. This infographic illustrates the most common way that flu vaccines are made using an egg-based manufacturing process that has been in existence for more than 70 years. For more: www.ifpma.org
Old model watches in the museum at Prim.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!
iPlay V1
Our design had to be cheap to manufacture, with minimal manufacture processes and a low overall cost. Keeping this in mind I sketched my basic idea and then rendered it. After exporting the DXF files I lasercut them and had my first prototype.
There is an everlasting debate amongst gamers as to which console and controller is the best. I found that the PS3 controller was the most popular second being Xbox 360. The PS3 controller is symettrical unlike the Xbox controller and is so ergonomoic you can often forget you are holding it.
I illustrated the PS3 controller outline to kickstart the CAD process. My design consists of 3 layers of 5mm acrylic creating an iphone cavity depth of 10mm (iPhone 4 has a thickness of 9.3mm) and an overall thickness of 15mm. The structure would be held together with tight fit acrylic rods. I need to carry out test pieces on 2.99+-0.1mm radii to decide what are the best dimensions to use for these slots bearing in mind the lasercutter burns away material.
The whole in the bottom layer is so the device can be pushed out from the case after use.
V2
I asked some students to test the V1 prototype. They liked the product especially its simplicity. There were points that I could develop and improve.
Not all iPhone games auto orientate, hence it was essential I adapted my design so the phone could be rotated 180 degress. This would be easy by simply duplicating the button slots.
In addition to this there was no camera hole. If I were to introduce a camera holeto the design it would have to be duplicated 180 degrees to ensure photos could be taken no matter what orientation the iPhone was.
Taking this on board I designed and manufactured iPlay V2. Although acrylic rod would create a tight fit, 4 drops of dichloromethane would chemically weld the components together for a long lasting permanent fit. After this I used a buffing wheel to create round edges making the product more ergonomic to hold.
V3
Once again I asked some students for feedback on my prototype. They were impressed with how I addressed the previous issues. The only negative point raised was that it would not fit in your pocket. This was the next challenge I faced.
I considered hinging the lower two arms and making them lock into the back of the case. However this would make the design more complex and increase cost and manufacturing processes.
I moved the top pair of holes further up to better distribute the stress. I decided to split the product in half. My V3 model has alternating layers this creates cavities that allow it to be locked together together when not in use as photographed. This would easily fit in you pocket.
The problem the alternating layers created is a less ergonomic shape. Secondly there was nothing holding the two half together when placed on the phone.
In my V4 model I introduced a rubber band which kept the two half together when on the phone. It would also prevent one half form being lost. This created a new problem; the top half of the rubber band would not always line up as there was nothing guiding it. This was my next problem to solve.
V4
My final model would be made from acrylic but I was not going to buff it as that would add a manufacture process and would siginificanty increase the manufacture time. Since I was already using the laser cutter for cutting my components I thought I may aswell engrave some sort of graphics onto the top layer. I decided to remove the gaps in between the layers to make it better to hold and to remodel the rubberband tracks.
V5
I solved the problem of the inconvenient rubber band with two more locating rods on the top. These extra rods would keep the rubber band guided along the correct track. I made a MDF prototype to test my idea and it worked successfully even with coffee stirrers replicating the acrylic rod.
Satisfied with my idea I finally created an acrylic version. This required a bit more thought than previously as I had to accomodate for the thick rubber band. I decided to use 3mm acrylic instead of 5mm to create a thinner profile. This meant I needed a total of 5 layers to accomodate an iPhone 4.
Since I was already using a lasercutter and I wanted the product to appeal to gamers I decided to engrave some patterns. I was going to use a translucent coloured acrylic for the bottom layer and adjust the design so that it covers the camera and flash. This way the case will act as a camera filter and the flash/torch will produce coloured light.
Now that the product was split into halfs the individual components were so small that cutting a single iPlay V5 uses less than an A4 sized amount of 3mm acrylic (the 2D Design screenshot has an A3 page layout). This also meant that it would fit both an iPhone 4 & 5 as the rubber can stretch to accomodate for an iPhone 5. Apart from the height of the iPhone 5 the dimensions are very similair to those of the 4.
I am very pleased with the final product and getting through to the next stage with KFDS. If I were to develop the product further I would find a way to lock the two halves together when not on the phone. This could be done like a jigsaw puzzle or by manipulating the rods into a dowel joint.
#Thankyou 4 #free #xmas #coffee @waitrose #N13 ☕ #jody #thisislondon #enfield on @TfL #bus 😙 #noedit #biglove #haveagreatday 👍 making #insulated #paper #cups + #lids is a #manufacturing process whose #machines = #engineering 🔧#imkissing #imwearing @rimmel #takethestage #lipstick + #kiss by #aphotoangel + #nails #colour choice in #albanian #shqip by me #fingernails in #gelec or #shellac by #heenabeauty #greenlanes #woodgreen #shoppingcity 💅 (at Enfield Chase)
Detroit’s Packard Motors Plant is a massive factory complex designed by Albert Kahn and built by Henry Joy in 1907. Work areas around the main buildings were completed in 1911. Kahn’s industrial designs stood out for meeting modern requirements for mass manufacturing processes. Reinforced concrete structures were essential for fire resistance and load bearing capacity for heavy machinery required for making cars. Ford’s Highland Park Plant, and the Fisher 21 Body Plant share similar design and functional elements.
From the early 1920’s influential car companies such as Ford, Studebaker, EMF, Hudson, Hupp, Pierce Arrow, General Motors and Continental Motors had operating plants in Detroit. Many plants were located near the railways which would transport finished cars throughout the US domestic market. The Great Depression of the 1930’s destroyed many of these companies as they were forced to merge with other companies or go bankrupt.
Packard also made fighter engines for the allies in World War II. In spite lucrative military contracts, Packard and many other companies could not recover from the previous decade, and faded away into history. Packard Motors famous promotional tagline was “Packard ask a man who owns one”. To this day Packard cars have a rabid following, however the factory that made them has not been protected by heritage status.
This trip turned out to be the final expedition at the Packard Plant. Numerous fires and recycling of building materials severely damaged the structural integrity of the site. Restoration of this historic industrial facility seems unlikely.
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Never patented and widely held secret for many years, this technology—which was developed largely over a 10 year period—permitted the real time detection of process machine components which were contributing to the reduction of transmission SRL properties. With literally hundreds of machine components in a single process line, this technology permitted immediate identification and remediation of worn or improperly adjusted machines and machine components. By doing so, scrap levels were dramatically reduced, and the production and inventorying of "off spec" product was also greatly reduced. It permitted the establishment of higher industry standards which were all but impossible to economically produce by existing producers and potential start-ups. The technology started development in the early 1970s with ultra low frequency analog techniques, but the advent of lower cost computer technology led to CommScope applying single channel, digital, FFT process analysis from time to the frequency domain. By the early- to mid-1980s, CommScope had developed its own proprietary equipment for multichannel (50 ch) supervision of the factory. www.commscope.com/top-40-innovations/
PLASTIC TURBO RESONATOR
•OEM Make & Model: Ford Motor Co. 2012MY Ford® 2.0-L Ecoboost®- equipped Fusion® sedan & Escape® CUV
•Tier Supplier/Processor: Contitech MGW GmbH / Polymer Products Co., Inc.
•Material Supplier / Toolmaker: DuPont Performance Polymers / not provided
•Material / Process: Zytel® 70G20HSLX & 70G35HSLX PA 6/6 / injection & 2D blow molding
•Description: The goals for this program were to reduce weight, optimize package flexibility, integrate parts, reduce cost, create Best-in-Class quality, and produce a part with repeatable dimensions and tuning. Benchmarking showed that no one had fully accomplished all these objectives. Through a team effort, an innovative manufacturing process was developed. Injection molding is used to form the PA 6/6 insert, which increases structural stability, eliminates a metal ring, and precisely controls the most NVH-sensitive element. Windows on the insert can be modified to tailor it to specific vehicle requirements. It is, in turn, insert molded in the 2D blow molding process to form the outer resonator, whose shape flexibility contributes to the packaging requirement.
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
This is a transformer from a desktop computer. It transforms electrical energy into magnetic energy, then back into electrical energy again. Because its operation depends on electromagnetic induction between two stationary coils and a magnetic flux of changing magnitude and "polarity," transformers are necessarily AC devices.
Both coils of wire can be seen here with copper-colored varnish insulation. The top coil (primary winding) is larger than the bottom coil (secondary winding), having a greater number of "turns" around the core. In transformers, the inductor coils are often referred to as windings, in reference to the manufacturing process where wire is wound around the core material. The powered inductor of a transformer is called the primary winding, while the unpowered coil is called the secondary winding.
Since the secondary winding has about 100 times as many turns as the primary winding, the secondary voltage can also be about 100 times greater than the induced primary voltage. The current flow establishes a magnetic field around the windings. The field is intensified by the solid iron core.
Transformer dynamics is a complex subject. What is important to understand is this: when an AC voltage is applied to the primary coil, it creates a magnetic flux in the core, which induces AC voltage in the secondary coil in-phase with the source voltage. Any current drawn through the secondary coil to power a load induces a corresponding current in the primary coil, drawing current from the source.
Sources:
electricianeducation.com/theory/electric_transformers.htm
www.cdxetextbook.com/electrical/ignition/conBreakIg/windi...
Gestamp effectively combines components of all our different manufacturing processes using welding, clinching and adhesive technologies.
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Nerbs NERDS, comprised of Anthony Tammaro and Amanda Bowman, created a freestanding floor or tabletop lamp.
"Our lamp was designed with simplicity and elegance in mind. Our intention was to create a lamp which looks smart and possesses strong production potential within the new 'FAB' cottage industry. It packs flat and is easy to assemble. It's materials are inexpensive and recyclable, while it's production process is not labor intensive nor does it have a large carbon footprint. The result is a locally designed and fabricated product which is affordable, highly functional and aesthetically pleasing. I'll take two!
Anthony Tammaro is a new media artist who operates at the intersection of Art, Design, and Craft, Anthony’s most recognizable work leverages his expertise with 3D software and additive manufacturing processes to create novel solutions to design problems related to the body as site. Presently, Anthony is a visiting artist at Rowan University where he is exploring and creating new connections between the Art and Engineering departments to develop interdisciplinary craft and digital studio work.
Amanda Bowman is a recent graduate from Tyler School of Art, Temple University receiving a BFA focused in the Metals/Jewelry/CAD-CAM department. Bowman uses 3D software and rapid manufacturing technology to create small scale sculpture for the body. She is highly skilled in both traditional and digital studio techniques. "
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
The existing Freeport Community Center & a historic Edward B. Mallett house has been joined by a spacious addition to provide new social services offices, thrift store, teen center, coffee bar & multi-funtion community room. Not only was there a goal to preserve history landmarks....but to obtain serious energy savings!
Hunter XCI Foil product is used in the construction of the renovation & addition of the Freeport Community Center.. XCI Foil is a high thermal, rigid building insulation composed of a closed cell polyiso foam core bonded on-line during the manufacturing process to an impermeable foil facing material. It is designed for use in commercial cavity wall applications to provide continuous insulation within the building envelope.
Hunter Xci polyiso products:
- Have the highest R-Value per inch of any insulation
- NFPA 285 TEST - Passed
- Energy Star approved
- Contribute toward LEED certification credits
- HCFC, CFC, zero ODP, and negligable GWP.
Construction by: Warren Construction
XCI Twitter: twitter.com/#!/HunterXCI
XCI Facebook: www.facebook.com/pages/Hunter-Xci-Exterior-Continuous-Ins...
View more: www.hunterxci.com/
We are happy to present you with the first limited edition of TypeTogether t-shirts, featuring symbols from Wolfgang Homola’s Soleil typeface. These striking t-shirts are made from 100% fair-trade organic cotton, using a low carbon-footprint manufacturing process. Check out our website for further information about sizes, colours, prices and shipping.
www.type-together.com/index.php?action=portal/viewContent...
The Japanese made some of the best matchlock arquebuses, partially because they took the time to refine the manufacturing process to a craft. In Europe, in contrast, arquebuses were quickly rendered obsolete in favor of flitlock muskets.
The Segno Iroko Wood Arm Chair, by Emuamericas, is a unique arm chair that is a perfect blend of steel and wood. Founded and operating out of Italy, the house ofEmuamericasis well known internationally for their high quality designs and innovative manufacturing processes.
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Io Aircraft - www.ioaircraft.com
Drew Blair
www.linkedin.com/in/drew-b-25485312/
io aircraft, phantom express, phantom works, boeing phantom works, lockheed skunk works, hypersonic weapon, hypersonic missile, scramjet missile, scramjet engineering, scramjet physics, boost glide, tactical glide vehicle, Boeing XS-1, htv, Air-Launched Rapid Response Weapon, (ARRW), hypersonic tactical vehicle, hypersonic plane, hypersonic aircraft, space plane, scramjet, turbine based combined cycle, ramjet, dual mode ramjet, darpa, onr, navair, afrl, air force research lab, defense science, missile defense agency, aerospike,
Advanced Additive Manufacturing for Hypersonic Aircraft
Utilizing new methods of fabrication and construction, make it possible to use additive manufacturing, dramatically reducing the time and costs of producing hypersonic platforms from missiles, aircraft, and space capable craft. Instead of aircraft being produced in piece, then bolted together; small platforms can be produced as a single unit and large platforms can be produces in large section and mated without bolting. These techniques include using exotic materials and advanced assembly processes, with an end result of streamlining the production costs and time for hypersonic aircraft; reducing months of assembly to weeks. Overall, this process greatly reduced the cost for producing hypersonic platforms. Even to such an extent that a Hellfire missile costs apx $100,000 but by utilizing our technologies, replacing it with a Mach 8-10 hypersonic missile of our physics/engineering and that missile would cost roughly $75,000 each delivered.
Materials used for these manufacturing processes are not disclosed, but overall, provides a foundation for extremely high stresses and thermodynamics, ideal for hypersonic platforms. This specific methodology and materials applications is many decades ahead of all known programs. Even to the extend of normalized space flight and re-entry, without concern of thermodynamic failure.
*Note, most entities that are experimenting with additive manufacturing for hypersonic aircraft, this makes it mainstream and standardized processes, which also applies for mass production.
What would normally be measured in years and perhaps a decade to go from drawing board to test flights, is reduced to singular months and ready for production within a year maximum.
Unified Turbine Based Combined Cycle (U-TBCC)
To date, the closest that NASA and industry have achieved for turbine based aircraft to fly at hypersonic velocities is by mounting a turbine into an aircraft and sharing the inlet with a scramjet or rocket based motor. Reaction Engines Sabre is not able to achieve hypersonic velocities and can only transition into a non air breathing rocket for beyond Mach 4.5
However, utilizing Unified Turbine Based Combine Cycle also known as U-TBCC, the two separate platforms are able to share a common inlet and the dual mode ramjet/scramjet is contained within the engine itself, which allows for a much smaller airframe footprint, thus engingeers are able to then design much higher performance aerial platforms for hypersonic flight, including the ability for constructing true single stage to orbit aircraft by utilizing a modification/version that allows for transition to outside atmosphere propulsion without any other propulsion platforms within the aircraft. By transitioning and developing aircraft to use Unified Turbine Based Combined Cycle, this propulsion system opens up new options to replace that airframe deficit for increased fuel capacity and/or payload.
Enhanced Dynamic Cavitation
Dramatically Increasing the efficiency of fuel air mixture for combustion processes at hypersonic velocities within scramjet propulsion platforms. The aspects of these processes are non disclosable.
Dynamic Scramjet Ignition Processes
For optimal scramjet ignition, a process known as Self Start is sought after, but in many cases if the platform becomes out of attitude, the scramjet will ignite. We have already solved this problem which as a result, a scramjet propulsion system can ignite at lower velocities, high velocities, at optimal attitude or not optimal attitude. It doesn't matter, it will ignite anyways at the proper point for maximum thrust capabilities at hypersonic velocities.
Hydrogen vs Kerosene Fuel Sources
Kerosene is an easy fuel to work with, and most western nations developing scramjet platforms use Kerosene for that fact. However, while kerosene has better thermal properties then Hydrogen, Hydrogen is a far superior fuel source in scramjet propulsion flight, do it having a much higher efficiency capability. Because of this aspect, in conjunction with our developments, it allows for a MUCH increased fuel to air mixture, combustion, thrust; and ability for higher speeds; instead of very low hypersonic velocities in the Mach 5-6 range. Instead, Mach 8-10 range, while we have begun developing hypersonic capabilities to exceed 15 in atmosphere within less then 5 years.
Conforming High Pressure Tank Technology for CNG and H2.
As most know in hypersonics, Hydrogen is a superior fuel source, but due to the storage abilities, can only be stored in cylinders thus much less fuel supply. Not anymore, we developed conforming high pressure storage technology for use in aerospace, automotive sectors, maritime, etc; which means any overall shape required for 8,000+ PSI CNG or Hydrogen. For hypersonic platforms, this means the ability to store a much larger volume of hydrogen vs cylinders.
As an example, X-43 flown by Nasa which flew at Mach 9.97. The fuel source was Hydrogen, which is extremely more volatile and combustible then kerosene (JP-7), via a cylinder in the main body. If it had used our technology, that entire section of the airframe would had been an 8,000 PSI H2 tank, which would had yielded 5-6 times the capacity. While the X-43 flew 11 seconds under power at Mach 9.97, at 6 times the fuel capacity would had yielded apx 66 seconds of fuel under power at Mach 9.97. If it had flew slower, around Mach 6, same principles applied would had yielded apx 500 seconds of fuel supply under power (slower speeds required less energy to maintain).
Enhanced Fuel Mixture During Shock Train Interaction
Normally, fuel injection is conducted at the correct insertion point within the shock train for maximum burn/combustion. Our methodologies differ, since almost half the fuel injection is conducted PRE shock train within the isolator, so at the point of isolator injection the fuel enhances the combustion process, which then requires less fuel injection to reach the same level of thrust capabilities.
Improved Bow Shock Interaction
Smoother interaction at hypersonic velocities and mitigating heat/stresses for beyond Mach 6 thermodynamics, which extraordinarily improves Type 3, 4, and 5 shock interaction.
6,000+ Fahrenheit Thermal Resistance
To date, the maximum thermal resistance was tested at AFRL in the spring of 2018, which resulted in a 3,200F thermal resistance for a short duration. This technology, allows for normalized hypersonic thermal resistance of 3,000-3,500F sustained, and up to 6,500F resistance for short endurance, ie 90 seconds or less. 10-20 minute resistance estimate approximately 4,500F +/- 200F.
*** This technology advancement also applies to Aerospike rocket engines, in which it is common for Aerospike's to exceed 4,500-5,000F temperatures, which results in the melting of the reversed bell housing. That melting no longer ocurrs, providing for stable combustion to ocurr for the entire flight envelope
Scramjet Propulsion Side Wall Cooling
With old technologies, side wall cooling is required for hypersonic flight and scramjet propulsion systems, otherwise the isolator and combustion regions of a scramjet would melt, even using advanced ablatives and ceramics, due to their inability to cope with very high temperatures. Using technology we have developed for very high thermodynamics and high stresses, side wall cooling is no longer required, thus removing that variable from the design process and focusing on improved ignition processes and increasing net thrust values.
Lower Threshold for Hypersonic Ignition
Active and adaptive flight dynamics, resulting in the ability for scramjet ignition at a much lower velocity, ie within ramjet envelope, between Mach 2-4, and seamless transition from supersonic to hypersonic flight, ie supersonic ramjet (scramjet). This active and dynamic aspect, has a wide variety of parameters for many flight dynamics, velocities, and altitudes; which means platforms no longer need to be engineered for specific altitude ranges or preset velocities, but those parameters can then be selected during launch configuration and are able to adapt actively in flight.
Dramatically Improved Maneuvering Capabilities at Hypersonic Velocities
Hypersonic vehicles, like their less technologically advanced brethren, use large actuator and the developers hope those controls surfaces do not disintegrate in flight. In reality, it is like rolling the dice, they may or may not survive, hence another reason why the attempt to keep velocities to Mach 6 or below. We have shrunken down control actuators while almost doubling torque and response capabilities specifically for hypersonic dynamics and extreme stresses involved, which makes it possible for maximum input authority for Mach 10 and beyond.
Paradigm Shift in Control Surface Methodologies, Increasing Control Authority (Internal Mechanical Applications)
To date, most control surfaces for hypersonic missile platforms still use fins, similar to lower speed conventional missiles, and some using ducted fins. This is mostly due to lack of comprehension of hypersonic velocities in their own favor. Instead, the body itself incorporates those control surfaces, greatly enhancing the airframe strength, opening up more space for hardware and fuel capacity; while simultaneously enhancing the platforms maneuvering capabilities.
A scramjet missile can then fly like conventional missile platforms, and not straight and level at high altitudes, losing velocity on it's decent trajectory to target. Another added benefit to this aspect, is the ability to extend range greatly, so if anyone elses hypersonic missile platform were developed for 400 mile range, falling out of the sky due to lack of glide capabilities; our platforms can easily reach 600+ miles, with minimal glide deceleration.
austin, texas
1977
motorola semiconductor plant
(partial / end of roll)
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
The existing Freeport Community Center & a historic Edward B. Mallett house has been joined by a spacious addition to provide new social services offices, thrift store, teen center, coffee bar & multi-funtion community room. Not only was there a goal to preserve history landmarks....but to obtain serious energy savings!
Hunter XCI Foil product is used in the construction of the renovation & addition of the Freeport Community Center.. XCI Foil is a high thermal, rigid building insulation composed of a closed cell polyiso foam core bonded on-line during the manufacturing process to an impermeable foil facing material. It is designed for use in commercial cavity wall applications to provide continuous insulation within the building envelope.
Hunter Xci polyiso products:
- Have the highest R-Value per inch of any insulation
- NFPA 285 TEST - Passed
- Energy Star approved
- Contribute toward LEED certification credits
- HCFC, CFC, zero ODP, and negligable GWP.
Construction by: Warren Construction
XCI Twitter: twitter.com/#!/HunterXCI
XCI Facebook: www.facebook.com/pages/Hunter-Xci-Exterior-Continuous-Ins...
View more: www.hunterxci.com/
Maker:
Born: UK
Active: UK
Medium: engraving
Size: 5 1/2" x 7 1/2"
Location:
Object No. 2020.556g
Shelf: PHO-1873
Publication: Evert A. Duyckinck, Portrait Gallery of Eminent Men Ans Women of Europe and America, Johnson, Wilson and Company, New York, 1874
Other Collections:
Provenance:
Notes: Justus Freiherr von Liebig (12 May 1803 – 18 April 1873) was a German scientist who made major contributions to agricultural and biological chemistry, and is considered one of the principal founders of organic chemistry. As a professor at the University of Giessen, he devised the modern laboratory-oriented teaching method, and for such innovations, he is regarded as one of the greatest chemistry teachers of all time. He has been described as the "father of the fertilizer industry" for his emphasis on nitrogen and trace minerals as essential plant nutrients, and his formulation of the law of the minimum, which described how plant growth relied on the scarcest nutrient resource, rather than the total amount of resources available.He also developed a manufacturing process for beef extracts, and with his consent a company, called Liebig Extract of Meat Company, was founded to exploit the concept; it later introduced the Oxo brand beef bouillon cube. He popularized an earlier invention for condensing vapors, which came to be known as the Liebig condenser.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
The watch restoration and assembly room at Prim.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
Scrapers - "PALEO TOOLS: The kinds of tools used by the Paleoindians can tell us much about their way of life. Most of the tools surviving today are made of stone. Spear points, knives, drills, and scrapers are typical Paleoindian artifacts. They were used for a variety of tasks, including hunting and butchering animals, processing plants, and working raw materials to make other tools. Archaeological sites of the Paleoindians contain mostly chipped stone tools and waste flakes left from the manufacturing process. However it is almost certain that these people made wide use of other raw materials including bone, wood, ivory, and antler. Objects made of these materials do not preserve as well as stone and have likely decayed over the past 10,000 years. Springs, sinkholes and deep river beds offer good conditions for preserving organic materials because of their high mineral content and lack of oxygen. Fragments of bone, wood, and other plant remains will give clues to future archaeologists who research the skills that Paleoindians needed to survive in Ice Age Florida. " ~ Display at the Florida Museum of Natural History. (Photo 091712-013.jpg) Paleoindians section of the Division of Historical Resources - Florida Museum of History - Where I used to work - September 17, 2012: A Walk Down Memory Lane - revisiting College Town - Tallahassee, Florida. (c) 2012 - photography by Leaf McGowan, Thomas Baurley, Eadaoin Bineid - technogypsie.com. To purchase this photo or to obtain permission to use, go to www.technogypsie.com/photography/
"PALEOINDIANS: The earliest people who inhabited North America are called Paleoindians. They came to Florida during the end of the last Ice Age, at least 12,000 years ago. Their way of life lasted for about 2,500 years. Archaeologists have found few Paleoindian sites. If, as it seems likely, these early people lived along the coast of Florida, their settlements have been covered by the rising sea level. Compared to later Florida Indian cultures, Paleoindians lived in small, widely dispersed groups. Their artifacts are often found around outcrops of a flint-like rock called chert. Pieces of chert were chipped, or knapped, to make stone tools. Paleoindian artifacts are also found in springs, sinkholes and rivers that were probably ancient waterholes. These were important sources of fresh water in an otherwise dry landscape.
PALEO TIMELINE: 12,000 B.P. to 9,500 B.P. (Before present) - EARLY PALEO PERIOD: 12,000-10,000 BP - Simpson point on mammoth ivory foreshaft (circa 11,500 BP) - First evidence of people on the Florida peninsula, Paleoindians live a semi-nomadic life, hunt big game like mastadon, climate was drier than today, and sea level is more than 100 feet lower than today. - Bison antiguns skull with embedded spearpoint, Wacissa River (circa 11,000 BP).
LATE PALEO PERIOD: 10,000 to 9500 BP - stone bola weight (circa 10,000 BP) had most big game animals extinct, wetter climate prevails, sea level rises gradually, several new styles of stone points appear, like the side notched bolan point. " ~ Display in the Florida Museum of Natural History.
For more information visit:
Paleoindians: www.technogypsie.com/science/?p=939 (expected publication December 2012)
Tallahassee: www.technogypsie.com/reviews/?p=5093 (Expected publication November 2012)
Florida: www.technogypsie.com/reviews/?p=5079 (Expected Publication December 2012)
For travel tales, visit:
Entry in category 3. ©Rutishauser Susanne; See also bit.ly/snsf_comp_copy
Nikon D300, AF Nikkor 50mm, ISO 400, aperture 2, time 1/320, recording date 20.06.2016, Kinneret Regional Project, Israel.
In blue plastic boxes are washed ceramic shards to the dry out, behind it are placed on a wall lined up building helmets. Due to the shape, color and composition of the clay, small ceramic pieces of flake also reveal information about the manufacturing process and provide information on the dating process. Thus, all fragments found are carefully washed. If paint can be seen before, these shards are cleaned with a moistened cotton swab in order not to damage the colors. Afterwards, the diagnostic fragments such as floors, borders and decorated shards, which in particular allow statements on the dating are sorted out. In further work steps, the material is photographed and drawn and the important information is entered into the database. ¦ Image#3_100
(En) Founded in 1906, the Coking Plant of Anderlues was specialized in the production of coke for industrial use.
Coke was obtained by distillation of coal in furnaces and, thanks to its superior fuel coal properties, it was used afterwards to feed the blast furnaces in the steel manufacturing process.
Closed and abandoned since 2002, the site has since undergone many losses and damages, not including an important pollution. While some buildings have now been demolished, there are however still some important parts of the former coking plant.
Among them, the former coal tower, next to the imposing "battery" of 38 furnaces, where the coke was produced. Besides them, we still can see the administrative buildings, the power station with its cooling tower, and buildings for the by-products, which were obtained by recovering the tar and coal gas. There are also a gasometer north side, the coal tip east side and a settling basin south side.
-----------
(Fr) Fondées en 1906, les Cokeries d'Anderlues étaient spécialisées dans la fabrication de coke à usage industriel.
Le coke était obtenu par distillation de la houille dans des fours et, grâce à ses propriétés combustibles supérieures au charbon, il servait par après à alimenter les hauts-fourneaux dans le processus de fabrication de l'acier.
Fermé et laissé à l'abandon depuis 2002, le site a depuis lors subi de nombreuses pertes et dégradations, sans compter la pollution qui y règne. Si certains bâtiments (comme l'ancien lavoir à charbon) ont aujourd'hui été démolis, on retrouve encore toutefois certaines parties importantes de cette ancienne cokerie.
Parmi celles-ci, l'ancienne tour à charbon suivie de près par l'imposante "batterie" de 38 fours, où était produit le coke. A côté d'eux, on découvre également les bâtiments administratifs, la centrale électrique avec sa tour de refroidissement, ainsi que les bâtiments des sous-produits, lesquels étaient obtenus par récupération du goudron et du gaz de houille. Et en périphérie, on retrouve un gazomètre côté nord, le terril à l'est et un bassin de décantation côté sud.
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
(1 Samuel 16)
Shown in photo:
Fisher Price Little People Noah and Shepherd (nativity)
Poeme Perfume by Lancome (travel or purse size, 4 mL ~ .14 oz.)
Science and Technology Connections
Water and Oil (Fluid) Simulation
www.escapemotions.com/experiments/fluid_water_3/
Purifying Gold to Make Coins
Amazing Melting Pure Gold Technology - Modern Gold Coins and Bars Manufacturing Process
NaLac Technique
Archimedes and the Gold Crown
(Density Sink or Float Lab and Watch Water Overflow)
kcts9.pbslearningmedia.org/resource/arct15-sci-densitylab...
Ultra High Precision Foil Wraparound Surface Mount Chip Resistor
with TCR of ± 0.05 ppm/°C and Power Coefficient of 5 ppm at
Rated Power and Load Life Stability of ± 0.005 % (50 ppm)
VSMP Series (0805, 1206, 1506, 2010, 2512) (Z-Foil)
Vishay Foil Resistors
Document Number: 63060 For any questions, contact: foil@vishaypg.com www.foilresistors.com
Revision: 25-Mar-10 1
INTRODUCTION
VSMP Series is the industry’s first device to provide high
rated power, excellent load life stability along with extremely
low TCR all in one resistor.
One of the most important parameters influencing stability is
the temperature coefficient of resistance (TCR). Although the
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characteristic has been further refined over the years. The
VSMP Series utilizes ultra high precision Bulk Metal® Z-foil.
The Z-foil technology provides a significant reduction of the
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variations (TCR) and to self heating when power is applied
(power coefficient). Along with the inherently low PCR and
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The VSMP has a full wraparound termination which ensures
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Our application engineering department is available to
advise and make recommendations. For non-standard
technical requirements and special applications, please
contact us using the e-mail address in the footer below.
Note
(1) For tighter performances and non-standard values up to 150K,
please contact Vishay application engineering using the e-mail
addresses in the footer below.
FEATURES
• Temperature coefficient of resistance (TCR):
0.05 ppm/°C typical (0 °C to + 60 °C)
0.2 ppm/°C typical (- 55 °C to + 125 °C, + 25 °C ref.)
• Tolerance: to ± 0.01 %
• Power coefficient “ΔR due to self heating”:
5 ppm at rated power
• Power rating: to 750 mW at + 70 °C
• Load life stability: to ± 0.005 % at 70 °C, 2000 h at rated
power
• Resistance range: 10 Ω to 125 kΩ (for higher and lower
values, please contact us)
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we can supply specific “as required” values at no extra cost
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• Short time overload: ≤ 0.005 %
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• Rise time: 1 ns effectively no ringing
• Current noise: - 42 dB
• Voltage coefficient < 0.1 ppm/V
• Non inductive: < 0.08 μH
• Non hot spot design
• Terminal finishes available: lead (Pb)-free, tin/lead alloy
• Compliant to RoHS directive 2002/95/EC
• Matched sets are available on request
• Prototype quantities available in just 5 working days
or sooner. For more information, please contact
foil@vishaypg.com
• For better performances please contact us
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• Automatic test equipment (ATE)
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They have a nice thin top line and sole. The top line and sole are a little thicker and the cavity back a little deeper. The face appears to be slightly larger. This makes sense because you give up a little feel and playability for a extra forgiveness. And the bright blue does scream "game improvement".
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The contemporary Ipanema Deep Seating Sofa, designed by Glyn Peter Machin, is a three person seating option and a great way to bring elegance and comfort to any outdoor entertainment area. With a precise and unique manufacturing process alongside their trademark use of teak wood for all of their furniture, Kinglsey Bate has become the top producer of outdoor furniture in America and continues to present top notch contemporary designs.
Suwanee point - "PALEO TOOLS: The kinds of tools used by the Paleoindians can tell us much about their way of life. Most of the tools surviving today are made of stone. Spear points, knives, drills, and scrapers are typical Paleoindian artifacts. They were used for a variety of tasks, including hunting and butchering animals, processing plants, and working raw materials to make other tools. Archaeological sites of the Paleoindians contain mostly chipped stone tools and waste flakes left from the manufacturing process. However it is almost certain that these people made wide use of other raw materials including bone, wood, ivory, and antler. Objects made of these materials do not preserve as well as stone and have likely decayed over the past 10,000 years. Springs, sinkholes and deep river beds offer good conditions for preserving organic materials because of their high mineral content and lack of oxygen. Fragments of bone, wood, and other plant remains will give clues to future archaeologists who research the skills that Paleoindians needed to survive in Ice Age Florida. " ~ Display at the Florida Museum of Natural History. (Photo 091712-013.jpg) Paleoindians section of the Division of Historical Resources - Florida Museum of History - Where I used to work - September 17, 2012: A Walk Down Memory Lane - revisiting College Town - Tallahassee, Florida. (c) 2012 - photography by Leaf McGowan, Thomas Baurley, Eadaoin Bineid - technogypsie.com. To purchase this photo or to obtain permission to use, go to www.technogypsie.com/photography/
"PALEOINDIANS: The earliest people who inhabited North America are called Paleoindians. They came to Florida during the end of the last Ice Age, at least 12,000 years ago. Their way of life lasted for about 2,500 years. Archaeologists have found few Paleoindian sites. If, as it seems likely, these early people lived along the coast of Florida, their settlements have been covered by the rising sea level. Compared to later Florida Indian cultures, Paleoindians lived in small, widely dispersed groups. Their artifacts are often found around outcrops of a flint-like rock called chert. Pieces of chert were chipped, or knapped, to make stone tools. Paleoindian artifacts are also found in springs, sinkholes and rivers that were probably ancient waterholes. These were important sources of fresh water in an otherwise dry landscape.
PALEO TIMELINE: 12,000 B.P. to 9,500 B.P. (Before present) - EARLY PALEO PERIOD: 12,000-10,000 BP - Simpson point on mammoth ivory foreshaft (circa 11,500 BP) - First evidence of people on the Florida peninsula, Paleoindians live a semi-nomadic life, hunt big game like mastadon, climate was drier than today, and sea level is more than 100 feet lower than today. - Bison antiguns skull with embedded spearpoint, Wacissa River (circa 11,000 BP).
LATE PALEO PERIOD: 10,000 to 9500 BP - stone bola weight (circa 10,000 BP) had most big game animals extinct, wetter climate prevails, sea level rises gradually, several new styles of stone points appear, like the side notched bolan point. " ~ Display in the Florida Museum of Natural History.
For more information visit:
Paleoindians: www.technogypsie.com/science/?p=939 (expected publication December 2012)
Tallahassee: www.technogypsie.com/reviews/?p=5093 (Expected publication November 2012)
Florida: www.technogypsie.com/reviews/?p=5079 (Expected Publication December 2012)
For travel tales, visit:
Conical core with flake - "PALEO TOOLS: The kinds of tools used by the Paleoindians can tell us much about their way of life. Most of the tools surviving today are made of stone. Spear points, knives, drills, and scrapers are typical Paleoindian artifacts. They were used for a variety of tasks, including hunting and butchering animals, processing plants, and working raw materials to make other tools. Archaeological sites of the Paleoindians contain mostly chipped stone tools and waste flakes left from the manufacturing process. However it is almost certain that these people made wide use of other raw materials including bone, wood, ivory, and antler. Objects made of these materials do not preserve as well as stone and have likely decayed over the past 10,000 years. Springs, sinkholes and deep river beds offer good conditions for preserving organic materials because of their high mineral content and lack of oxygen. Fragments of bone, wood, and other plant remains will give clues to future archaeologists who research the skills that Paleoindians needed to survive in Ice Age Florida. " ~ Display at the Florida Museum of Natural History. (Photo 091712-013.jpg) Paleoindians section of the Division of Historical Resources - Florida Museum of History - Where I used to work - September 17, 2012: A Walk Down Memory Lane - revisiting College Town - Tallahassee, Florida. (c) 2012 - photography by Leaf McGowan, Thomas Baurley, Eadaoin Bineid - technogypsie.com. To purchase this photo or to obtain permission to use, go to www.technogypsie.com/photography/
"PALEOINDIANS: The earliest people who inhabited North America are called Paleoindians. They came to Florida during the end of the last Ice Age, at least 12,000 years ago. Their way of life lasted for about 2,500 years. Archaeologists have found few Paleoindian sites. If, as it seems likely, these early people lived along the coast of Florida, their settlements have been covered by the rising sea level. Compared to later Florida Indian cultures, Paleoindians lived in small, widely dispersed groups. Their artifacts are often found around outcrops of a flint-like rock called chert. Pieces of chert were chipped, or knapped, to make stone tools. Paleoindian artifacts are also found in springs, sinkholes and rivers that were probably ancient waterholes. These were important sources of fresh water in an otherwise dry landscape.
PALEO TIMELINE: 12,000 B.P. to 9,500 B.P. (Before present) - EARLY PALEO PERIOD: 12,000-10,000 BP - Simpson point on mammoth ivory foreshaft (circa 11,500 BP) - First evidence of people on the Florida peninsula, Paleoindians live a semi-nomadic life, hunt big game like mastadon, climate was drier than today, and sea level is more than 100 feet lower than today. - Bison antiguns skull with embedded spearpoint, Wacissa River (circa 11,000 BP).
LATE PALEO PERIOD: 10,000 to 9500 BP - stone bola weight (circa 10,000 BP) had most big game animals extinct, wetter climate prevails, sea level rises gradually, several new styles of stone points appear, like the side notched bolan point. " ~ Display in the Florida Museum of Natural History.
For more information visit:
Paleoindians: www.technogypsie.com/science/?p=939 (expected publication December 2012)
Tallahassee: www.technogypsie.com/reviews/?p=5093 (Expected publication November 2012)
Florida: www.technogypsie.com/reviews/?p=5079 (Expected Publication December 2012)
For travel tales, visit:
In this work mussels are mercilessly lashed into an electro-stimulated design apparatus to make a vase. The creatures are allowed to relax up to a certain point, then shocked, prompting movement that scratches a design onto the object. The resulting form might be seen as a sobering memento mori, a reflection on manufacturing processes that exploit biology, or our own inevitable destination, after much toil, that amounts to mere scratches on the earth, for what?
credit: Hanneke Wetzer
The existing Freeport Community Center & a historic Edward B. Mallett house has been joined by a spacious addition to provide new social services offices, thrift store, teen center, coffee bar & multi-funtion community room. Not only was there a goal to preserve history landmarks....but to obtain serious energy savings!
Hunter XCI Foil product is used in the construction of the renovation & addition of the Freeport Community Center.. XCI Foil is a high thermal, rigid building insulation composed of a closed cell polyiso foam core bonded on-line during the manufacturing process to an impermeable foil facing material. It is designed for use in commercial cavity wall applications to provide continuous insulation within the building envelope.
Hunter Xci polyiso products:
- Have the highest R-Value per inch of any insulation
- NFPA 285 TEST - Passed
- Energy Star approved
- Contribute toward LEED certification credits
- HCFC, CFC, zero ODP, and negligable GWP.
Construction by: Warren Construction
XCI Twitter: twitter.com/#!/HunterXCI
XCI Facebook: www.facebook.com/pages/Hunter-Xci-Exterior-Continuous-Ins...
View more: www.hunterxci.com/
Museu del Disseny / Design Museum Barcelona, Spain
The Museu del Disseny de Barcelona brings together, under one roof, the collections of the Museu de les Arts Decoratives, the Museu de Ceràmica, the Museu Tèxtil i d'Indumentària and the Gabinet de les Arts Gràfiques, to showcase its vast heritage of more than 70,000 objects.
The Museu del Disseny is based on a common theme «From the decorative arts to design», and is dedicated to the culture of the object, focusing on pieces that are often from the everyday sphere, their design, manufacturing process, use and distribution, aesthetic and functional obsolescence, all from a 21st-century perspective.
The Disseny Hub Barcelona building was designed by MBM architects. The building comprises two parts: an underground section made possible by the change in level caused by the redevelopment of the square; and a block at street level, which cantilevers out towards the Plaça de les Glòries, 14.5 metres above the ground. This block houses the venues for long- and short-term temporary exhibitions, as well as a hall for events and a large auditorium. Most of the building's floor space is located below this level and houses key areas such as the main exhibition gallery, the documentation centre, research rooms, the bar and restaurant and the shop. The entire project complies with high environmental quality and sustainability standards which are achieved through a large-scale, self-sufficient energy system.
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
iPlay V1
Our design had to be cheap to manufacture, with minimal manufacture processes and a low overall cost. Keeping this in mind I sketched my basic idea and then rendered it. After exporting the DXF files I lasercut them and had my first prototype.
There is an everlasting debate amongst gamers as to which console and controller is the best. I found that the PS3 controller was the most popular second being Xbox 360. The PS3 controller is symettrical unlike the Xbox controller and is so ergonomoic you can often forget you are holding it.
I illustrated the PS3 controller outline to kickstart the CAD process. My design consists of 3 layers of 5mm acrylic creating an iphone cavity depth of 10mm (iPhone 4 has a thickness of 9.3mm) and an overall thickness of 15mm. The structure would be held together with tight fit acrylic rods. I need to carry out test pieces on 2.99+-0.1mm radii to decide what are the best dimensions to use for these slots bearing in mind the lasercutter burns away material.
The whole in the bottom layer is so the device can be pushed out from the case after use.
V2
I asked some students to test the V1 prototype. They liked the product especially its simplicity. There were points that I could develop and improve.
Not all iPhone games auto orientate, hence it was essential I adapted my design so the phone could be rotated 180 degress. This would be easy by simply duplicating the button slots.
In addition to this there was no camera hole. If I were to introduce a camera holeto the design it would have to be duplicated 180 degrees to ensure photos could be taken no matter what orientation the iPhone was.
Taking this on board I designed and manufactured iPlay V2. Although acrylic rod would create a tight fit, 4 drops of dichloromethane would chemically weld the components together for a long lasting permanent fit. After this I used a buffing wheel to create round edges making the product more ergonomic to hold.
V3
Once again I asked some students for feedback on my prototype. They were impressed with how I addressed the previous issues. The only negative point raised was that it would not fit in your pocket. This was the next challenge I faced.
I considered hinging the lower two arms and making them lock into the back of the case. However this would make the design more complex and increase cost and manufacturing processes.
I moved the top pair of holes further up to better distribute the stress. I decided to split the product in half. My V3 model has alternating layers this creates cavities that allow it to be locked together together when not in use as photographed. This would easily fit in you pocket.
The problem the alternating layers created is a less ergonomic shape. Secondly there was nothing holding the two half together when placed on the phone.
In my V4 model I introduced a rubber band which kept the two half together when on the phone. It would also prevent one half form being lost. This created a new problem; the top half of the rubber band would not always line up as there was nothing guiding it. This was my next problem to solve.
V4
My final model would be made from acrylic but I was not going to buff it as that would add a manufacture process and would siginificanty increase the manufacture time. Since I was already using the laser cutter for cutting my components I thought I may aswell engrave some sort of graphics onto the top layer. I decided to remove the gaps in between the layers to make it better to hold and to remodel the rubberband tracks.
V5
I solved the problem of the inconvenient rubber band with two more locating rods on the top. These extra rods would keep the rubber band guided along the correct track. I made a MDF prototype to test my idea and it worked successfully even with coffee stirrers replicating the acrylic rod.
Satisfied with my idea I finally created an acrylic version. This required a bit more thought than previously as I had to accomodate for the thick rubber band. I decided to use 3mm acrylic instead of 5mm to create a thinner profile. This meant I needed a total of 5 layers to accomodate an iPhone 4.
Since I was already using a lasercutter and I wanted the product to appeal to gamers I decided to engrave some patterns. I was going to use a translucent coloured acrylic for the bottom layer and adjust the design so that it covers the camera and flash. This way the case will act as a camera filter and the flash/torch will produce coloured light.
Now that the product was split into halfs the individual components were so small that cutting a single iPlay V5 uses less than an A4 sized amount of 3mm acrylic (the 2D Design screenshot has an A3 page layout). This also meant that it would fit both an iPhone 4 & 5 as the rubber can stretch to accomodate for an iPhone 5. Apart from the height of the iPhone 5 the dimensions are very similair to those of the 4.
I am very pleased with the final product and getting through to the next stage with KFDS. If I were to develop the product further I would find a way to lock the two halves together when not on the phone. This could be done like a jigsaw puzzle or by manipulating the rods into a dowel joint.
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
The first potters in Moustiers were monks. The legend says that a monk from Faenza in Italy brought the secret technique of producing the white enamel with him. The term faïencier appeared in Moustier's historical archives first in 1679. The refinement of ceramics from a utilitarian item to fine tableware gave rise to a new type of artisans. The nobility's fascination with the blue and white glazes and beautiful designs created strong demand for faïence. The town of Moustiers became the center for design and production of faïences. The best known faïencer from this time was Pierre Clérissy who worked in Moustiers. His brother Joseph headed the St. Jean du Désert factory in Marseille. The creative and ornate style of the faïence from Moustiers was the most coveted ceramics for more than 200 years. Other designers developed their own style variations, such as Joseph Olérys's factory in the early 18th century. He produced the first polychromatic (multi-colored) faïences, baked over an open fire and using the dipping and enamel processes still en vogue today. During this time the famous Moustiers figures, the "Grotesques" were created, some of Moustier's best known decorative items. In the mid 18th century the brothers Jean Baptiste and Louis Ferrat made vivid, bright colors popular by refining the manufacturing process for faïences further.
The popularity of the "Moustiers", as the faïence from Moustiers was called, declined in the 19th century as inexpensive china made in England swamped the French market and by 1873 the last faïencier closed shop. Marcel Provence (1892-1951), the Provençal historian and leader of the Félibrige, the Provençal movement founded by Frederic Mistral, was instrumental in reviving the faïence industry in Moustiers in the 1920s. Today there are 20 ateliers in Moustiers designing faithful replications and new creations, most of which are produced in workshops outside Moustiers.
A beautiful Prim Sport "Igen" 38 being rebuilt in the watch restoration and assembly room at Prim.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!