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Here is a neat little adaptor prototype that one of my guys printed on his 3D machine. This adaptor holds large composition matrices so that they align with a display mould. As designed, Monotype display moulds and composition moulds have their nicks on opposite sides (Cast type in the Super Caster exits the display mould and accumulates on the right side of the machine, to be read "right side up" with the nick towards the operator. If the original designer of the Super Caster were a trained compositor who was used to reading type upside-down, the machine would just use composition mould architecture and eject the type "upside down", with the nick away from the operator as it would appear in a composition stick, with no issue. With the composition machine, designed before the Super Caster, the type is still accumulating to the right of the operator, but the orientation of the type itself is reversed as the machine runs on perforated tape that is read from the last line first. This is a brilliant feature of the comp caster, it reads each line spacing requirement before it casts the line, even though the spacing information was punched in the paper tape after the line was created). By turning a large comp mat 180 degrees to cast in a regular holder it is also offset by 0.200", this little device should correct the location of the mat back to a proper position over the mould. I have a nice mat case of 18 pt. Imprint waiting to be cast. What is your experience with casting large composition on the Super Caster, is there another way to do it without having the comp mould of the correct size and still have the nick in the correct location? Thanks goes out to John Cornelisse for his original ideas about the 4SL holder and possible adaptors.
May 11 -- This holder works on large comp matrices that would normally cast in the 5SL holder, they cannot be rotated and keep the same position. The 4SL holder is more flexible and should be adjustable. If you have followed this so far, it just allows a lot more flexibility to the 4SL holder, which is such a nice holder to begin with.
allll sorts of stuff.
the first of 7 sorts trays and a box full of slides purchased from the back of a car in a parking lot in NH
"La Matrice du Monde"
Acier brut, 2,7 tonnes, 270 mm d'épaisseur.
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Unconventional and iconoclastic graffitis, writings, posters, humanities, artistic alterations, paintings, portraits and sculptures in situ at @La Demeure du Chaos HQ @artprice.
Les graff, écrits, affiches, belles lettres, détournements, peintures, portraits et sculptures in situ décalés & iconoclastes de @La Demeure du Chaos HQ @artprice.
Les belles lettres graffées sur les murs et sculptures de @La Demeure du Chaos HQ @Artprice. Des idées ? écrire à belleslettres@demeureduchaos.org .
The humanities, graffitis on the walls and sculptures by @La Demeure du Chaos the HQ of @Artprice. Any ideas? Email humanities@demeureduchaos.org
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Regard de thierry Ehrmann, auteur de la Demeure du Chaos / Abode of Chaos
Découvrez gratuitement l’intégralité de l’Opus IX de la Demeure du Chaos (504 pages)
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Secrets revealed of the Abode of Chaos (144 pages, adult only) >>>
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HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone
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999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre
Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.
courtesy of Organ Museum
©2019 www.AbodeofChaos.org
the casting side clean, flip them and clean the reference side.
note how dull the ears and toes appear.
plaque above door of building in background: Scuola artistico industriale per la ceramica Luigi Sturzo (Sturzo was a Catholic priest, born in Caltagirone, one of founders of Partito Popolare Italiano, forced into exile with the rise of Italian fascism)
Google Maps is telling me the building on the left is the Biblioteca dell'Archivio di Stato di Catania, Sezione di Caltagirone (identified elsewhere as Chiesa e Torre di San Gregorio) AND they have street view of this corner!
El domingo 13/09/2009 se ha producido un robo de matrices de espadas de hoja triangular del siglo XIX en el museo de Klingenthal, Francia, en el momento de proceder a una demostración de forjado de espadas. Esta foto es de sus hermanas y las medidas son 55 x 22 x 22 mm. Si alguien ve estos objetos agradecería su información. Gracias anticipadas.
Two moulds (patterns) from XIX century for the manufacture of triangular swords were stolen in the Klingenthal museum, France, on september 13th 2009. This is the photo of the sisters; measurements are 55 x 22 x 22 mm. Thanks in advance for your calling at the museum or forum in case of discovery.
Matrix multiplication calculator is an online tool to calculate multiplication of two (2 × 2)matrices. It is a tool which makes calculations easy and fun. If two matrices are given then it easily multiply it.
The molds used in Monotype hot-metal typesetting. These were loaded into a matrix holder and cast on a specialized machine using pneumatic air.
The cathedral, originally the matrice until Gozo became a separate diocese in 1864, is built on the site of three or more older places of worship, including Roman and Phoenician temples. Construction commenced in 1697, four years after the 1693 earthquake had damaged its predecessor and destroyed large tracts of southeast Sicily. (The cathedral at Mdina was another victim of the earthquake, and Lorenzo Gafa was commissioned to design replacements for both.) By the end of the 17th century Maltese Baroque had become more sophisticated, the simple swaggering effect having more impact than mere ornamentation. Here, the rectangular façade with its gown of stairs coming down from the Corinthian pillars lends height, and the escutcheon is that of Grand Master Perrellos in whose reign it was built. From the outside the façade gives the impression of a gloomy nave, but inside it is surprisingly pilasters on the ornate tessellated floor of tombstones. The single most interesting feature is a pure example of Gozitan ingenuity: due to lack of funds a dome was not added to the structure, so the Sicilian Antonio Manuele was commissioned in 1739 to paint a meticulous trompe l0eil in its stead. The clever perspective is at first too difficult to grasp – watch out for others walking around in dizzying circles craning their necks. From a distance, the domeless cathedral oddly fits in with the decapitated Gozitan hills. It is ironic that poor Gafa did not have the funds at his disposal to add his signature, a dome, in this, the last work of his life.
The irregular Cathedral Square, guarded by two toy-sized 17th-century cannons, once housed dwellings on the now vacant south and west walls.