View allAll Photos Tagged Manufacturing_process
The ELTON hodinárská in Nové Mesto nad Metují, Czech Republic where Prim watches are manufactured.
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
This was part of the 'factory side' of the site, one side had severall kilns and a bunch of admin type buildings while the other appeared to be home to the rest of the manufacturing process.
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
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
VIFT had organised an Industrial visit for the Jewellery Department to Tanishq, Titan Company Limited on 25.3.17. This experience was insightful for the students who got a hands on experience into the entire process from Design and product development to the entire Manufacturing process with the latest technology used in the jewellery industry . Students expressed their gratitude to the faculties for organising this industrial visit.
#Tanishq #Titan #VIFT #Industrialvisit #jewellery #Design #manufacturing #technology #productdevelopment
AMES TECHNICIAN OBSERVING A UNIQUE TOOLMARK EMBEDDED IN THE SURFACE OF AN ORDINARY PAIR OF PLIERS USED IN A FORENSIC STUDY.
A FORENSIC COMPARISON MICROSCOPE IS USED TO CAPTURE DIGITAL IMAGES OF TOOLMARKS, WHICH ARE ENTERED INTO A DATABASE. FORENSIC EXPERTS CAN USE THE DATABASE TO IDENTIFY TOOLMARKS PRODUCED ON A TOOL THROUGH DIFFERENT MANUFACTURING PROCESSES. IT IS KNOWN IN THE FORENSIC COMMUNITY THAT DURING THE MANUFACTURING PROCESS OF TOOLS, SUCH AS SCREWDRIVERS, PLIERS, OR WIRE CUTTERS, MARKS ARE EMBEDDED ON THEIR SURFACES, MAKING PATTERNS THAT RENDER EACH TOOL UNIQUE.
For more information or additional images, please contact 202-586-5251.
These salt lamps come in special shapes, including Floral, Fruit, Shell, Vase and many more starting from 2 kg to 10 kg lamp. To carve these lamps, first a block of required size is cut from the raw lumps of salt rock, and then a hole is drilled to accommodate the bulb. Duly drilled block then passed over to Machinist who carves the desire shape on the machine. Once finished, the lamp is then fixed with a wooden or onyx base then plastic shrink wrapped and manufacturing process is completed.
We do make custom shapes and designs according to given diagrams, not every design is possible to Craft on the Rock Salt, but we can try to make one of your choice. Any kind of logo or name or diagram in shape of flower or any special characters can be carved on salt
Size: small, large and usb
Colors: Red, Reddish Orange, pink and white salt
Base Polished Wood, marble and Onyx and plastic in usb
Cable: 110,220 volt with on off switch or usb port cable
Packing: shrink wrapping on each lamp, air bubble packing, 4 ply inner, 7 ply master cartoons
In 1880 having been taught the use of simple lathes and machinery by his uncle,
and encouraged by William Morris, William Arthur Smith Benson began metalwork production
in Fulham, London. As his business grew Benson closely followed developments in technology, mastering all the processes of casting, turning, folding and riveting many variations of interchangeable components. He opened a showroom in Bond Street in 1887 displaying
light fittings, fireplace accessories, plant stands and hollow-ware, in silver, copper, brass,
iron and polished steel, patenting many of his popular designs to protect them from the
array of sub-standard copies that flooded the market.
WAS Benson was at the forefront of electric installation in homes all over Britain, advising on suitable lighting schemes and installation. In 1893 he electrified Philip Webb’s latest architectural commission, Standen, near East Grinstead, Sussex, now owned by the National Trust.
His metalwork and lighting designs reached iconic status, sold in galleries throughout Europe,
and in 1896 when William Morris died it was Benson with a colleague who bought Morris & Co and ran it alongside his own company until he resigned in 1917.
Benson attracted much acclaim for his metalwork designs and manufacturing processes.
The Studio Magazine of Decorative Arts, The Magazine of Art, and Herman Muthesius in
Das Englische Haus, were among the many who applauded his innovations.
Delvendahl Martin Architects’ installation for Moss Bross explores the possibilities of the windows by distorting the perception of depth and perspective as viewed from the street. This is achieved by using hundreds of cotton strings to stitch the edges of the window space to form a series of seemingly floating voids, where the three main strands of Moss Bros products arebe displayed. The material expression of the cotton strings recall the raw materials of garments, the loom-based manufacturing process of cloth, and the craftsmanship of the Moss Bespoke service.
Photography (c) Agnese Sanvito
This steampunk necklace features a pretty skull in white and pink enamel set against a unique gold watch gear. A pink enamel flower rests under the skull on this eco friendly pendant and is adorned with a bright pink Swarovski crystal. The skull has matching pink crystals for eyes. The pendant is made from a vintage pocket watch movement. The watch movement has a speckled guilloche, an engraved pattern that is created during the watch's manufacturing process. This watch movement is from around the year 1925. The watch movement is mainly silver, and has a warm patina that complements the watch gear and the thick gold tone chain.
The 275,000-square-foot school is built to serve up to 1,400 students.
Hunter XCI Foil product is used in the construction of the new Ankeny High school. 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.
View more: www.hunterxci.com/
Architect: DLR Group
GC/Builder: Stahl Construction
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
Customized card accessories are applied on ordinary plastic cards to achieve data input and record, highlighting the design focus and anti-counterfeiting features. It includes id card accessories and plastic card accessories.
Applications
Plastic card accessories include the magnetic stripe, scratch-off label, signature panel, stamp foil and laser hologram.
(1)Magnetic stripe as the carrier of personal information is the important accessory of the loyalty card. A plastic magnetic stripe card after encoding process can be a bank card, or a hotel key card, or a casino loyalty card, or a hypermarket discount card, or a library card, or a fuel card etc.
(2)Scratch-off is used to prevent PIN code from being stolen by third parties before the cardholder sees it. Scratch-off label is available in a variety of materials, sizes and patterns. Once the scratch-off is destroyed, it means that the PIN code has been exposed.
(3)Signature panel is made of a kind of white or transparent ink that is screen printed according with the customized size and shape. On the panel the card holder can write necessary information as name, title, address and expiry date.
(4)By hot stamp process the customized logo or pattern can be applied on card surface to highlight its outline and colors.
(5)Laser hologram is one of the anti-counterfeiting technology products. The main material of this kind of mark is aluminum oxide film. It can be printed with corporate information, logo, trademark and also with a portrait or other custom pattern or line. Its common application on plastic cards is bank card such as VISA or MASTER cards. Because of the complexity and cost of the manufacturing process, it has also become an effective anti-counterfeiting technology for loyalty cards.
As a full-service rfid china manufacturers with over 18 years export experience, Star Trend ships millions of card every year to more than 80 countries worldwide.
Star Trend is committed to provide an end-to-end service including manufacturing, personalization and distribution. We know the customer's request very well, especially as quality, cost and timing for importers and distributors.
Buy smart cards, choose StarTrend manufacturer - your reliable smart card factory supplier. We accept custom service, we can design with your own logo.
www.card-in-china.com/products/customized-plastic-card-ac...
This high-speed inspection system — originally developed to inspect small-arms ammunition — had the adaptability to be fitted for a variety of other manufactured processes.
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory"; Please use provided caption information for use in appropriate context.
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
I did a lot of brazing for training purposes before building my firs own fork.
Joints were cut to analyse solder distribution and connection between materials.
Enjoyed the improvement in the manufacturing process!
Unlike other vertical blinds, our 28-30 Gauge vinyl vanes will not crimp, bend, tear or break. A special manufacturing process ensures that the vanes stay in perfect alignment.
-Curved PVC Vertical Blinds PVC Vertical Blinds are available with smooth vanes in an array of colors or textured vanes that beautifully replicate the look of fabric.
- Fabric Vertical Blinds Contemporary woven textures and classic, sophisticated patterns add richness, warmth and color to any room.
- S-Shaped Vanes This uniquely shaped vane closes tighter to block incoming light and provide greater privacy.
Call Al @ 916.799.4376
Email @ Al.Turk@3Day.com
This is a picture of a plastic part subjected to polarized light. A horizontal and a vertical polarizing screen are placed in front of and behind a clear plastic manufactured component and light shone through. Stresses inherent in the part from its manufacturing process show up as coloured areas (or grey in this image). Seen at the Medical Design and Manufacturing Show in Philadelphia in May 2012.
Canon A-1
Tri-X 400
Ilfosol-3 6:15mins @ 69 degrees F
Epson V700
Florida Clovis 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:
The old town square at Nové Mesto nad Metují, Czech Republic - the home of Prim watches.
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!
Minton Tiles
The richly patterned and colored Minton tile floors are one of the most striking features of the extensions of the United States Capitol. They were first installed in 1856, when Thomas U. Walter was engaged in the design and construction of vast additions to the Capitol (1851-1865). For the floors in his extensions, Walter chose encaustic tile for its beauty, durability and sophistication.
•Artist: Minton, Hollins and Company
•Date: Installed in 1856
One striking example of the contrast between the interiors of the Old Capitol (finished in 1826) and the extensions (begun in 1851) may be seen in the differences in flooring materials. In the Old Capitol, stone pavers were used in corridors and other public spaces, such as the Rotunda and Crypt, while brick was used to floor committee rooms and offices. These materials, although durable and fireproof, would have looked plain and old-fashioned to the Victorian eye. In the mid-19th century, encaustic tile flooring was considered the most suitable and beautiful material for high-traffic areas. Unlike ordinary glazed tile, the pattern in encaustic tile is made of colored clays inlaid or imbedded in the clay ground. Because the color is part of the fabric of the encaustic tile, it will retain its beauty after years of wear. One observer noted:
“The indestructibility of tiles may be judged from the fact that the excavations at Pompeii have unearthed apartments where painted tiles are just as beautiful, the colors as fresh and bright as... when the fated city was in all its glory.”
Two types of tile were used at the U.S. Capitol: plain and inlaid encaustic tiles in a range of colors. Plain tiles were used as borders for the elaborate inlaid designs or to pave large corridor areas. They were available in seven colors: buff, red, black, drab, chocolate, light blue and white. Additional colors, such as cobalt blue, blue-gray, and light and dark green, appear in the inlaid encaustic tiles that form the elaborate centerpieces and architectural borders. They were made by “filling indentations in the unburnt tile with the desired colors and burning the whole together.”
The patterns and designs formed in the inlaid tiles were limited only by taste and imagination. They include geometric patterns such as the Greek key, guilloche, and basket weave; floral designs such as the fleur-de-lis; and figures such as dolphins and classical heads. Few of the patterns are repeated. Although most of the tiles are six-by-six-inch squares, some are round, triangular or pie-shaped. Approximately 1,000 different tile patterns are used in the corridors of the Capitol alone, and up to 100 different tiles may be needed to create a single design.
The original encaustic tiles in the Capitol extensions were manufactured at Stoke-upon-Trent in Staffordshire, England, by Minton, Hollins and Company. The firm’s patented tiles had won numerous gold medals at international exhibitions and were considered the best tiles made. In 1876, having seen Minton’s large display at the Centennial Exhibition in Philadelphia, one critic wrote, “Messr. Minton shone superior to all exhibits of the sort… and may be cited as showing the highest results in tile-pottery achieved by modern skill and research.”
Beginning in 1856, and continuing for five years, the tile was installed by the import firm of Miller and Coates of New York City. For the journey from New York to Washington, the tiles were packed in wooden casks weighing about 1100 pounds; each cask contained enough tiles to pave about 100 square feet. The cost of the tile ranged from $0.68 to $2.03 per square foot.
Thomas U. Walter had every reason to believe that the encaustic tile floors would last as long as his extensions stood. One visitor noted in 1859 that the tile floors vied with the beauty of marble and surpassed it in durability. While perhaps valid for other installations, however, this prediction proved overly optimistic for the Capitol Building. By 1924, the Minton tile was removed from the corridors in the first and second floors of the House Wing and replaced by “marble tile in patterns of a simple order.” In that day, marble was selected for its superior durability and because suitable replacement tile was difficult to find.
In the 1970s, however, a similar condition prompted a very different response. In 1972, a search was undertaken to determine a source of similar tiles in order to restore the original appearance of the building. Inquiries were made of all major American tile manufacturers, the American Ceramic Tile Manufacturers Association, and even Mexican and Spanish tile suppliers. Although the colors and designs could be reproduced relatively easily, the patterns would quickly wear because they would be applied to the surface. The “inlaid” feature of the encaustic tiles, i.e., the approximately 1/8-inch thickness of the pattern and color, is the characteristic that enables the Minton tiles to be walked upon for over 100 years without signs of wear. It was this technique that formed the basic difficulty of manufacture.
Finally, as a result of the Capitol’s needs becoming generally known, the Architect of the Capitol was placed in contact with H & R Johnson Tiles Ltd., located at Stoke-on-Trent, England. It was discovered that that firm was a successor company to the Minton Tile Co. and had even retained many of the original hand tools and forms in a private museum at the company’s manufacturing site.
Contact was then made with Mr. James Ellis, the Directing Architect of Ancient Monuments and Historic Buildings for the Crown. He had been trying for many years to establish a program for the replacement of the worn Minton tiles at the Houses of Parliament but had more or less given up the attempt because of H & R Johnson’s continued unwillingness to revive the encaustic tile process. However, the restoration work at the Arts and Industries Building of the Smithsonian Institution was in process at about the time the needs of the Capitol became known; it thus appeared that a market for such tiles was developing to the degree that the manufacturer began to reconsider its prior position. The company thus began the experiments that finally led to the present availability, after many decades, of the original Minton-type tiles.
Because the tiles in the Capitol are more decorative and have more complicated designs and color combinations than those in either the Houses of Parliament or the Smithsonian, those institutions were able to obtain replacement tiles sooner than the Capitol. The lessons learned in the manufacture of the simpler tiles served as a basis for filling the later needs.
Color photographs and full-sized drawings of the many required patterns were made and recorded, and many developmental submissions were made as the hand-made manufacturing process was re-developed. Finally, in 1986, the first acceptable tiles were delivered. The installation process was accomplished with modern cement adhesives and has yielded excellent results.
The program enabled the original tiles to be replaced with exact replicas. This project began on the first floor of the Senate wing, where the effects of 130 years of wear and tear were most noticeable. Replacement tile was closely scrutinized to ensure fidelity to the nineteenth-century originals. While difficult and slow, this process is the only fitting response to the history of the Capitol extensions, not only to restore the original beauty and elegance of these unique floors, but also to provide for their continuing attractiveness for the foreseeable future.
JCC received a grant award through the Western New York Regional Economic Development Council’s Consolidated Funding Application to offer the Machinist Training Program which features classroom and hands-on training and consists of a mixture of college credit and non-credit classes spread over 12 months. Training for the manufacturing environment includes drafting, shop math, CNC machining, teamwork, and lean manufacturing processes.
A scanning electron microscopy image of a bioresorbable material developed for use as a surgical sponge is superimposed with an image of the manufacturing process, electrospinning.
Image by PhD candidate Jonathan Guerrette.
Submitted as part of the 2012 Visionaries in Technology student contest.
This photo appeared in Collaboration by Design in the Winter 2016 issue of Dartmouth Engineer magazine.
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
Hammerstone - "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:
This leather case has been handmade by our experienced leather craftsmen in high quality cowskin , it has passed strict quality controls during the whole manufacturing process.
- Snap Closure.
- Sync through travel cable.
- 1 document compartment.
- Soft Leather Lining.
- ABS inserted protection.
As the most trusted fabric brands in India, Siyaram's ensures strict quality control & monitoring for all of its manufacturing processes. Since decades, Siyaram's has been delivering highly reliable stylish suiting material fabric and stylish shirting material/ fabric.
Modern women's Euro-style polo shirts. Smooth stretch finish. Two self-coloured buttons. Narrow placket, spare button. Shaped side seams with side vents for feminine fit. Genuine authentic Fruit Of The Loom® brand. Eco-friendly manufacturing processes. See more at: www.blankclothing.com.au/plain-stretch-polo-shirt-women-b....
Stone Legends video profile. Close up TV News came to our factory and filmed our General Manager, Richard Carey leading them on a tour. See our unique manufacturing process, and our services, as well as our ability to produce unique designs and custom artistic pieces. As seen on ION TV Network, Channel 68 in Dallas, TX.
Watch cases under manufacture.
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!
11.5%
A wonderfully strong and yet not overpowering beer, pours well, and has a meringue like heard, which then fades away leaving a wonderfully complex beer.
I like it.
------------------------------------------------
Refreshing as an aperitif, and just as full of flavour and rich in aroma as a beer from heaven. That's Deus.
A magnificent symbiosis of brewing a beer and creating a sparkling wine. Ideal for delighting your guests sometime as an unusual choice with before-dinner nibbles and amuse-geules. Perfect if you have something to celebrate.
Truly the sparkling divine drink based on barley. The result of a months-long manufacturing process in which the best of two methods is combined. In Belgium the master brewer ferments the beer. After that the DeuS to be travels to France where it is transformed into a sparkling divine drink using a centuries old technique.
The elegant contours of the bottle are advance proof of the delightful subtlety of Deus. In a flute glass you will discover a light blonde to pale golden beer, brightly scintillating, saturated and with extremely tiny bubbles.
Deus is crowned by a fine linen white, meringue-like head. A fascinating complexity. It develops the fragrance of fresh apples backed by mint, thyme, citrus, ginger, malt, pears, hops, allspice and cloves. Deus is delicate and complex.
It glides over the tongue as smoothly as silk and then blossoms into a creamy, tingling sparkle. Deus is light and vivacious and seduces you with the sweetness of a grape and the fruitiness of a desert apple.
The finish is beautifully dry with a bare hint of tannin.
"It's stunning - I've never had anything like it." Garrett Oliver, Brewmaster and International Beer Expert
"Other great beers might approach but not quite match the delicacy of Deus." Michael Jackson, Reknowned Beer Author
(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.
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(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.
(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.
Fluted Greenbriar 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:
A dial press 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!
Two inscriptions - one on the marble colonnade in the Forum and another by the rear entrance in Via dell'Abbondanza - attribute this building to Eumachia, a priestess of Venus and owner of a flourishing business operating in the wool industry, which she had inherited from her husband.
Indeed, this is thought to be the seat of the Corporation of wool and cloth manufacturers, although another interpretation claims that the building was dedicated by the priestess to the Gens Iulia and was used for cult worship of the Emperor Augustus through the statues of his ancestors. It may well be that the building served both commemorative and commercial functions.
The building itself dates from the Tiberian age and looks onto the Forum from a facade with two apses and four rectangular niches which, according to the fragments of inscriptions found here, housed the statues of the imperial family's ancestors: Aeneas, Romulus, Julius Caesar, the Emperor Augustus, as in the Augustan Forum in Rome.
Just inside the entrance, on the right we find a small room that was used as a urinal. Its location at the vary centre of the Forum can be explained by the need to procure urine, which was used to bleach material in the manufacturing process.
A large courtyard inside the building was surrounded by a two-storey colonnade with an Apse that housed a statue of the Concordia Augusta on a podium.
On the other side of the colonnade wall with its large windows stood the three-sided Cryptoporticus. Here, behind the Apse the statue of Eumachia was found in a niche adjacent to a small corridor leading to Via dell'Abbondanza, right in front of the fountain that gives its name to the street (the Street of Plenty). Damaged during the earthquake of 62 A.D. the building had been only partially restored by the time of the eruption. The wool-makers dedicated a statue to the priestess, whose family manufactured tiles and amphorae and also made wine. The statue is on display at the National Archaeological Museum in Naples.
A team of Central Oregon high school students led by an Oregon State University – Cascades computer science junior Andras Mihaly are building sensors that Oregon firms can use to advance manufacturing processes and extend the life of their equipment. The project is a partnership of the OSU-Cascades Innovation Co-Lab, Oregon Manufacturing Extension Partnership, Central Oregon STEM Hub and Oregon Department of Education CTE program. Photos by Joe Kline.
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The 275,000-square-foot school is built to serve up to 1,400 students.
Hunter XCI Foil product is used in the construction of the new Ankeny High school. 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.
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View more: www.hunterxci.com/
Architect: DLR Group
GC/Builder: Stahl Construction
At the Cup Noodles Museum, you can learn the secret of cup noodle and even have the opportunity to make one-of-a-kind ramen yourself.
Japanese food company Nissin operates this unique museum for Ramen.
The museum shows the 40 year product history as well as the founder, Mr. Ando Momofuku's creativity, by exhibiting 3,000 kinds of cup noodle packages.
They also recreate Mr. Ando Momofuku's humble research facility.
At "My Cup Noodle Factory," you can make your own cup noodle out of 5,460 soup base / topping combinations.
There is also "Cup Noodles Park", a playground for kids where they can experience the manufacturing process of Cup Noodle.
There is a "Chicken Ramen Factory" where you can make Chicken Ramen by hand, starting with kneading, spreading, and steaming the wheat flour and then drying it with the hot oil drying method. After experiencing the process that led to the invention of the world's first instant ramen, you can take your freshly made ramen with you and enjoy its delicious taste at home.
And of course you can enjoy global varieties of noodles in the contemporarily designed museum restaurant!
(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.
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(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.
Teamcenter Express delivers a comprehensive cPDM environment including preconfigured workflows for efficient completion of engineering change and release to 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
I'm not a big fan of Greenleaf's manufacturing process or junky wood. This is why.
Blogged about here: amazingminiatures.com/blog/greenleaf-corona-concepts-will...