#introduction to lithography class

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Art Class Near me | Singapore Art Classes Near me - Follow Ur Arts

Art Class Near me | Singapore Art Classes Near me - Follow Ur Arts

Introduction

Singapore's vibrant art scene is a haven for artists and enthusiasts alike. From beginners to seasoned professionals, the island offers an array of art classes designed to cater to every skill level and interest. This comprehensive guide explores the diverse Kids art classes in Singapore, providing detailed insights into finding the perfect class to ignite your creative passion.

The Importance of Art Classes

Enhancing Creativity and Skill

Art classes are not just about learning techniques; they are about unlocking creativity and honing skills. Through structured lessons and guided practice, students can develop their artistic abilities, exploring new mediums and styles.

Personal and Professional Growth

Engaging in kids art classes can lead to significant personal growth. For many, art is a form of therapy, providing a means to express emotions and reduce stress. Professionally, art skills can enhance careers in various fields such as design, advertising, and multimedia.

Exploring the Singapore Art Scene

A Hub for Artistic Expression

Singapore is renowned for its rich cultural heritage and dynamic art scene. Areas like Bras Basah.Bugis and Gillman Barracks are epicenters of artistic activity, offering a plethora of galleries, studios, and art schools. These districts are perfect for immersing oneself in the local art culture.

Art Events and Festivals

The city-state hosts numerous art events and festivals throughout the year, such as the Singapore Art Week and Affordable Art Fair. These events provide opportunities to engage with the art community, discover new talents, and gain inspiration.

Types of Art Classes Available in Singapore

Drawing and Sketching Classes

Drawing and sketching classes focus on the fundamentals of art, teaching students about line, form, shading, and perspective. These classes are essential for building a strong foundation in visual art.

Painting Classes

Oil Painting

Oil painting classes teach the traditional techniques of this versatile medium, known for its rich colors and textures. Students learn about color mixing, brushwork, and layering.

Acrylic Painting

Acrylic painting is popular for its quick drying time and vibrant colors. Classes in this medium cover various techniques such as glazing, impasto, and blending.

Watercolor Painting

Watercolor classes explore the fluid and translucent nature of watercolors. Students learn about washes, wet-on-wet techniques, and creating depth with layers.

Digital Art Classes

In the digital age, digital art classes for kids are in high demand. These classes cover software such as Adobe Photoshop, Illustrator, and Procreate, teaching students to create digital illustrations, concept art, and graphic designs.

Sculpture and Ceramics Classes

Sculpture and ceramics classes offer a hands-on approach to art. Students learn about different sculpting techniques and materials, from clay modeling to metalwork.

Printmaking Classes

Printmaking classes introduce various methods such as etching, lithography, and screen printing. These techniques allow artists to produce unique prints and explore different textures and effects.

Finding the Right Art Class

Assess Your Skill Level

Before enrolling, it’s crucial to assess your current skill level. Are you a complete beginner, or do you have some experience? This will help you choose a class that is tailored to your abilities and ensures you get the most out of your learning experience.

Define Your Interests

Art is a broad field with numerous specialties. Identifying what interests you most—whether it’s painting, digital art, or sculpture—will help you find a class that aligns with your passion.

Set Clear Goals

Determine what you want to achieve from your kids art classes. Whether it’s developing a new hobby, preparing a portfolio for further education, or enhancing your professional skills, having clear goals will keep you motivated and focused.

Community Centers and Local Workshops

Affordable and Accessible Options

Community centers across Singapore offer affordable art classes, making art education accessible to all. These classes are typically budget-friendly and cater to various age groups and skill levels.

Local Workshops

Local workshops and pop-up classes are perfect for those looking to try out different art forms without a long-term commitment. These short-term sessions are often hosted by local artists and cover a range of unique and niche topics.

Cost Considerations

Understanding Class Fees

Art classes for kids  fees can vary significantly based on the type of class, the instructor’s experience, and the duration of the course. It’s important to understand what is included in the fees, such as materials and studio time.

Budget-Friendly Options

For those on a budget, community centers and online platforms often provide more affordable options. Many studios also offer discounts for package deals or early registration, making it easier to access quality art education without breaking the bank.

Maximising Your Art Class Experience

Practice Regularly

Consistent practice is key to improving your art skills. Set aside regular time each week to work on your projects and apply what you’ve learned in class.

Seek Constructive Feedback

Feedback from instructors and peers is invaluable for artistic growth. Be open to constructive criticism and use it to refine your techniques and improve your work.

Engage with the Art Community

Building relationships with fellow students and artists can enhance your learning experience. Participate in class discussions, group projects, and local art events to expand your network and gain new insights.

Conclusion

Singapore’s art scene offers a wealth of opportunities for artists at all levels. Whether you’re looking to develop a new hobby, enhance your professional skills, or simply explore your creative side, there’s an art class in Singapore that’s perfect for you. Embrace the journey, engage with the community, and let your creativity flourish.

[pixelatedboredom]

GALLERY PHOTO

This is a poster created by the OPSAAAL (Organization of Solidarity with the People of Asia, Africa and Latin America) that is being portrayed at the V&A museum. For class, we were given the assignment to visit the V&A museum and take a few photos of the OPSAAAL collection. Here, I learnt that OPSAAAL’s main method of communication was a magazine they named Tricontinental. Tricontinental came with posters that was easy to remove and put on show (V&A Museum, 2022). The Day of the Heroic Guerilla was an offset lithographic poster made by Cuban graphic artist, Elena Serrano in 1968. Offset lithography was cost- efficient and produced high image quality (Crown Connect, no date). I felt motivated to research about the movement more and find out what OPSAAAL was fully. The trip to the museum was nice and I went to with a classmate. Unfortunately, I don’t feel as though we fully appreciated the art for what it was. My classmate viewed the visit as an assignment rather than something to fully put themself into and I was quite put off by that. From the full experience, I learnt that I should definitely look more into the introduction and story of art collections as well as the production method used to create the art pieces. In the future, I will summon the confidence to got to museums on my own in order to fully appreciate the artwork and also look into the ‘backgrounds’ of art collections :)

[biproroy]

Graphics Design

Graphic design is a profession whose business is the act of designing, programming, and create visual communications, generally produced by industrial means and intended to convey specific messages to specific social groups, with a clear purpose. This is the activity that enables graphically communicate ideas, facts and values processed and synthesized in terms of form and communication, social, cultural, economic, aesthetic and technological. Also known as visual communication design, because some associate the word figure only to the printing industry, and understand that visual messages are channeled through many media, not just print.

Given the massive and rapid growth in the exchange of information, the demand for graphic designers is greater than ever, particularly because of the development of new technologies and the need to pay attention to the human factors that are beyond the competence of engineers who develop them.

Some classifications are widely used graphic design: advertising design, editorial design, corporate identity design, web design, packaging design, typographic design, signage design, multimedia design, among others.

Graphic Design History

The definition of the graphic design profession is rather recent, in what concerns their preparation, their activities and goals. Although there is no consensus on the exact date of the birth of graphic design, some dating during the interwar period. Others understand that begins to identify as such to the late nineteenth century.

Arguably specific graphic communications purposes have their origin in Paleolithic cave paintings and the birth of written language in the third millennium BC. C. But the differences in working methods and training required auxiliary sciences are such that it is not possible to clearly identify the current graphic designer with prehistoric man, with xylograph fifteenth century or the lithographer 1890.

The diversity of opinion reflects the fact that some see as a product of graphic design and all other graphical demonstration only those that arise as a result of the application of a model of industrial production, those visual manifestations that have been "projected" contemplating needs of different types: productive symbolic ergonomic contextual etc.

Background

A page from the Book of Kells: Folio 114, with decorated text contains the Tunc dicit illis. An example of art and page layout of the Middle Ages.

The Book of Kells - A Bible handwritten richly illustrated by Irish monks in the ninth century CE-is for some a very beautiful and early example of graphic design concept. It is a graphic demonstration of great artistic value, high quality, and that even a model for learning to design-for even surpasses in quality to many of the current-editorial productions, and also from a functional point of view contemporary This graphic piece responds to all needs presented the team of people who made it, however others believe that it would be graphic design product, because they understand that their design is not adjusted to the idea of current graphic design project.

The history of typography-and by transitive, also the history of the book-is closely linked to graphic design, this may be because there are virtually no graphics designs that do not include such items graphics. Hence, when talking about the history of graphic design, typography also cited the Trajan column, medieval miniatures, Johannes Gutenberg's printing press, the evolution of the book industry, the posters Parisian Arts Movement and Crafts (Arts and Crafts), William Morris, Bauhaus, etc.. "

The introduction of movable type by Johannes Gutenberg made books cheaper to produce, and facilitate their dissemination. The first printed books (incunabula) scored the role model to the twentieth century. Graphic design of this era has become known as Old Style (especially the typefaces which these early typographers used), or Humanist, due to the predominant philosophical school of the time.

After Gutenberg, no significant changes were seen until the late nineteenth century, particularly in Britain, there was an effort to create a clear division between the fine and applied arts.

In the 19th Century

First page of the book "The Nature of Gothic" by John Ruskin, published by the Kelmscott Press. The Arts and Crafts intended to revive the medieval art, inspiration in nature and manual labor.

During the nineteenth century visual message design was entrusted alternately two professionals: the artist or the publisher. The first was formed as an artist and the second as a craftsman, often both in the same schools of arts and crafts. For the printer as art was the use of ornaments and selecting fonts printed in his compositions. The artist saw typography as a child and paying more attention to ornamental and illustrative elements.

Between 1891 and 1896, the William Morris Kelmscott Press published some of the most significant graphic products Arts and Crafts Movement (Arts and Crafts), and established a lucrative business based on the design of books of great stylistic refinement and selling them to the upper classes as luxury items. Morris proved that a market existed for works of graphic design, establishing the separation of design from production and the fine arts. The work of the Kelmscott Press is characterized by its recreation of historic styles, especially medieval.

First Vanguards

Poster for the Moulin Rouge in Paris. Made by Henri de Toulouse-Lautrec with color lithography in 1891. Thanks to Art Nouveau, graphic design and visual clarity gained by the composition.

Isotype of the Bauhaus. Founded in 1919 by Walter Gropius, is considered the birthplace of the graphic design profession.

Given Poster for Matinée. Made by Theo van Doesburg in January 1923. The free font organization, expresses the spirit of the Dada movement, irrationality, for freedom and oppose the status quo and visual expressions of the time.

Corporate identity design for Lufthansa, by the Development Group 5 of the HFG Ulm. Ulm School was an inflection point in the history of design, since there is outlined the design profession through scientific methodology.

Current pictograms design for the National Park Service of the United States. The idea to simplify the symbols forms developed during the 1950s.

The design of the early twentieth century, as well as the fine arts of the same period, was a reaction against the decadence of typography and design of the late nineteenth century.

The interest in ornamentation and the proliferation of measurement changes and typographical style one piece design, synonymous with good design, it was an idea that was maintained until the late nineteenth century. The Art Nouveau, with its clear desire stylistic was a movement that contributed to higher order visual composition. While maintaining a high level of formal complexity, did so within a strong visual consistency, discarding the variation of typographic styles in one graphic piece.

Art movements of the second decade of the twentieth century and the political turmoil that accompanied them, generated dramatic changes in graphic design. The Dada, De Stijl, Suprematism, Cubism, Constructivism, Futurism, the Bauhaus and created a new vision that influenced all branches of the visual arts and design. All these movements opposed to the decorative arts and popular, as well as the Art Nouveau, which under the influence of the new interest in geometry evolved into the Art Deco. All these movements were a revisionist and transgressive spirit in all arts of the time. This period also publications and manifestos proliferated through which artists and educators expressed their opinions.

During the 1930s developed for the composition interesting aspects of graphic design. The graphic style change was significant because it shows a reaction against eclecticism ornamentalist organicism and the time and proposes a more stripped and geometric. This style, connected with Constructivism, Suprematism, Neoplasticism, De Stijl and Bauhaus exerted a lasting influence and inescapable in the development of twentieth century graphic design. Another important element in relation to professional practice, was the increasing use of visual form as communication element. This item appeared mostly in the designs produced by the Dada and De Stijl.

The symbol of modern typography is the sans serif font or serif, inspired by industrial types of the late nineteenth century. Highlights include Edward Johnston, author of the font for the London Underground, and Eric Gill.

Design Schools

Jan Tschichold embodied the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy presented in this book, calling it fascist, but remained very influential. Herbert Bayer, who dirigó from 1925-1928 the typography and advertising workshop at the Bauhaus, created the conditions for a new profession: the graphic designer. He put the subject "Advertising" in the education program including, among other things, the analysis of advertising media and the psychology of advertising. Notably, the first to define the term Graphic Design was the designer and typographer William Addison Dwiggins in 1922.

Thus Tschichold, Herbert Bayer, László Moholy-Nagy, and El Lissitzky became parents of graphic design as we know it today. They pioneered production techniques and styles that have been using later. Today, computers have dramatically altered production systems, but the approach that contributed to experimental design is more relevant than ever dynamism, experimentation and even very specific things like choosing fonts (Helvetica is a revival, originally a Typography design based on the nineteenth-century industrial) and orthogonal compositions.

In the years following the modern style gained acceptance, while stagnated. Notable names in modern design midcentury are Adrian Frutiger, designer of the typefaces Univers and Frutiger, and Josef Müller-Brockmann, large poster of the fifties and sixties.

The Hochschule für Gestaltung (HFG) in Ulm was another key institution in the development of the graphic design profession. Since its founding, the HFG distanced himself from a possible affiliation with advertising. At the beginning, the department concerned was called Visual Design, but it quickly became clear that his current goal was to solve design problems in the area of mass communication in the academic year 1956-1957 the name was changed to Department of Visual Communication, modeled Visual Communication Department at the New Bauhaus in Chicago.2 3 In the HFG Ulm, decided to work primarily in the area of persuasive communication in the fields such as traffic sign systems, plans for technical equipment, or visual translation of scientific content. Until that time were not systematically taught these areas in any other European school. In the early '70s, members of the Bund Deutscher Grafik-Designer (Association of German graphic designers), unveiled several features of their professional identity, as in the case of Anton Stankowski among others. While in 1962 the official definition of the profession was directed almost exclusively to the advertising, now extended to include areas located under the rubric of communication visual.4 corporate images produced by the Development Group 5 of the HFG Ulm such as those created for the firm Braun or airline Lufthansa were also critical to this new professional identity.

Gui Bonsiepe and Tomas Maldonado were two of the first people who tried to apply the design ideas from semantics. In a seminar held at the HFG Ulm in 1956, Maldonado proposed modernizing rhetoric, classical art of persuasion. Maldonado Bonsiepe and then wrote several articles on semiotics and rhetoric for Uppercase English publication and Ulm magazine that would be an important resource for designers to that area. Bonsiepe suggested that it was necessary to have a modern system of rhetoric, semiotics updated as a tool to describe and analyze the phenomena of advertising. Using this terminology, could expose the "ubiquitous structure" of a message publicitario.5

The idea of simplicity and good design feature continued this for many years, not only in the design of alphabets but also in other areas. The tendency to simplify influenced all means at the forefront of design in the 1950s. At that time, developed a consensus that simple, not only was the equivalent of good, but was also more readable equivalent. One of the hardest hit areas was the design of symbols. The designers raised the question of how they could be simplified without destroying its informative function. However, recent investigations have shown that the shape simplification only one symbol does not necessarily increase readability.

Second Vanguards

Reaction to the sobriety growing graphic design was slow but inexorable. The origins of postmodern fonts back to the humanist movement of the fifties. In this group highlights Hermann Zapf, who designed two typefaces today ubiquitous Palatino (1948) and Best (1952). Blurring the line between serif fonts and sans serif and reintroducing organic lines in the lyrics, these designs served more to ratify the modern movement to rebel against him.

An important milestone was the publication of the Manifesto, first things first (1964), which was a call for a more radical form of graphic design, criticizing the idea of design in series worthless. He had a massive influence on a new generation of graphic designers, contributing to the emergence of publications such as Emigre magazine.

Another notable designer of the late twentieth century is Milton Glaser, who designed the unmistakable I Love NY campaign (1973), and a famous Bob Dylan poster (1968). Glaser took elements of the popular culture of the sixties and seventies.

The advances of the early twentieth century were strongly inspired by technological advances in photography and printing. In the last decade of the century, technology played a similar role, but this time it was computers. At first it was a step back. Zuzana Licko began using computers to compositions soon, when computer memory was measured in kilobytes and typefaces were created by dots. She and her husband, Rudy VanderLans, founded the pioneering Emigre magazine and type foundry of the same name. They played with the extraordinary limitations of computers, releasing a great creative power. Emigre magazine became the bible of digital design.

David Carson is the culmination of the movement against contrition sobriety and modern design. Some of his designs for Raygun magazine are intentionally illegible, designed to be more visual than literary experiences.

Present Times

Today, much of the work of graphic designers is assisted by digital tools. The graphic design has changed enormously because of computers. From 1984, with the appearance of the first desktop publishing systems, personal computers gradually replaced all analog in nature technical procedures for digital systems. Thus computers have become indispensable tools and, with the advent of hypertext and the web, its functions have been extended as a means of communication. In addition, the technology also has been noted with the rise of telecommuting and special crowd sourcing has begun to intervene in work arrangements. This change has increased the need to reflect on time, motion and interactivity. Even so, the professional practice of design has not been essential changes. While the forms of production have changed and communication channels have been extended, the fundamental concepts that allow us to understand human communication remain the same.

Job performance and skills

The ability to design is not innate, but acquired through practice and reflection. Still, it remains an option, one thing potentially. To exploit this power is necessary continuing education and practice, as it is very difficult to acquire by intuition. Creativity, innovation and lateral thinking are key skills for graphic designer job performance. Creativity in design exists within established frames of reference, but more than anything, is a cultivated skill to find unexpected solutions to seemingly intractable problems. This translates into design work of the highest level and quality. The creative act is the core of the design process manager but creativity itself is not an act of design. However, creativity is not exclusive graphics performance and no profession, although it is absolutely necessary for the proper performance of the design work.

The role that the graphic designer in the process of communication is the encoder or interpreter works in the interpretation, organization and presentation of visual messages. His sensitivity to the form must be parallel to its sensitivity to the content. This work deals with the planning and structuring of communications, with its production and evaluation. The design work is always based on customer demand, demand which eventually established linguistically, either orally or in writing. This means that the graphic design transforms a linguistic message in a visual demonstration.

The professional graphic design rarely works with nonverbal messages. At times the word appears briefly, and in other texts appears as complex. The editor is in many cases an essential member of the communications team.

The design activity often requires the participation of a team of professionals, such as photographers, illustrators, technical illustrators, including professionals with less related to visual message. The designer is often a coordinator of various disciplines that contribute to the production of the visual message. Thus, coordinates its research, design and production, making use of information or specialists in accordance with the requirements of different projects.

Graphic design is interdisciplinary and therefore the designer needs to have knowledge of other activities such as photography, freehand drawing, technical drawing, descriptive geometry, psychology of perception, Gestalt psychology, semiology, typography, technology and communication.

The professional graphic design is a visual communications specialist and his work is related to all steps of the communication process, in which context, the action of creating a visual object is only one aspect of that process. This process includes the following:

Defining the problem.

Targeting.

Conception of communication strategy.

Display.

Schedule Production.

Monitoring Production.

Evaluation.

This process requires the designer to possess an intimate knowledge of the areas of:

Visual communication.

Communication.

Visual Perception.

Management of financial and human resources.

Technology.

Media.

Assessment techniques.

The four guiding principles of graphic design are variables that graphic design professional should consider when facing a project, these are:

The Individual: conceived as ethical and aesthetic unit that integrates society which is part and to whom the visual space is uniform, continuous and connected.

The advantage: because it responds to a need for information and this is communication.

The atmosphere: because it requires knowledge of physical reality to contribute to the harmony of the habitat, and the reality of other contexts for understanding the structure and meaning of the human environment.

The economy: it encompasses all aspects related to the study of the cost and streamlining of processes and materials for the implementation of the elements.

For graphic design services visit here.

[gigaplus-blog]

GIGABYTE Introduces the All-New AERO Series Designed for Content Creators

Since 2017, GIGABYTE’s AERO 15 laptop continues to receive praise from the media and customers alike, with two consecutive years of recognition from NVIDIA® CEO Jensen Huang, by personally showcasing the laptop at the world’s largest electronic show (CES) and further calling the AERO “the new generation thin and light performance laptop”. GIGABYTE strives for further leadership in the “creator” segment at Computex 2019 with a fresh redesign of the 15” AERO 15 OLED, AERO 15 and the introduction of a brand new 17” version of the device, the AERO 17. The all new AERO 15 laptops remain a processing powerhouse with its all new Intel® Core™ i9, 8 core processor, NVIDIA® GeForce RTX™ 20 series GPUs (63% less image output time when compared to other multimedia laptop*) massively increasing the creator’s work efficiency, all neatly packed inside a light (2kg) and thin (2cm) chassis. Portability is not compromised, even with such powerful performance, you can expect 8.5 hours of battery usage. The AERO also leads the industry with Xrite™ Pantone® colour correction certificated Samsung AMOLED display panel, plus class leading suite of connectivity ports, providing creators an ultimate portable work station.

Exclusive Hardware and Creative Software Compatibility Testing | Switch On and Create

Content creators normally use different software and hardware to produce their work, for example: Adobe creative suite, digital drawing board and external storage devices. GIGABYTE wants to ensure each and every creator gets the most stable performance in various scenarios, by taking the AERO to an industry first with specialised software and hardware compatibility tests including Adobe creative suite, WACOM digital drawing boards and Thunderbolt 3 external storage devices. All this testing ensures users can create their work smoothly and stress-free, saving time on finding the right compatible hardware/software, further improving work efficiency, and of course enhancing creativity.

Figure 2. Your Studio: AT THE SPEED OF IMAGINATION

NVIDIA® RTX Studio Laptop l DEFY CREATIVE GRAVITY

AERO 15 OLED has been certified as NVIDIA® RTX Studio laptops. All RTX studio laptops come with NVIDIA Studio Drivers for the best reliability in creative apps, NVIDIA RTX GPUs for fast ray tracing, AI processing, and high-resolution video editing, and system specs built for demanding workloads,

Same Thin & Light | Now Even More Powerful

The new AERO series laptops biggest highlight is definitely its new redesigned appearance. With a design cue coming from science fiction movies, through the use of CNC aluminum cutting technology creating a smooth aluminum body, embellished with a premium touch of design flare using “NIL” nanoimprint lithography. The AERO creates a simple yet complete chassis that still has a contemporary, clean and unique design. On the cooling side of things, GIGABYTE implemented an all-new Supra Cool 2 cooling technology, with two fans that consists of 71 blades each, 5 full copper heat pipes, 11 intake and exhaust vents and an added touch of thermal paste from leading innovator Thermal Grizzly’s TG-H-001-RS thermal paste. All these developments come together to increase the heat dissipation performance by 30%, and are complimented with the all-new 9th gen Intel® Core™ i9, 8 core processor and the NVIDIA® GeForce RTX™ 20 series graphics chip. Furthermore, The AERO can accept up to 64GB of dual channel Samsung ram and up to 2 Intel® 760P SSD that has a read speed of up to 3000 MB/s (a 63% video output and 20% shorter 3D rendering time than that of other brand multimedia laptop*). The all-new AERO series laptops also come with exclusive “Microsoft Azure AI”, enabling automatic adjustment of hardware settings to optimise the power and performance required by any specific program being used, empowering designers and creators to focus on what they do best: Creating.

Figure 3. All-New Cooling Design That Drastically Increases Processing Performance

Variety of Connection Ports | Personalise Your Workstation

Content creators normally need multiple external devices to aid their work performance, from multiple external displays to accessories, cameras and more. The all new AERO series laptops are not restricted by its thin and light chassis, offering more connection port options than its competitors. Besides the usual USB Type-A (three ports), comes the addition of HDMI 2.0 and DP 1.4 for image outputs, Thunderbolt 3 and an ultra-fast UHS-II SD card reader that drastically decreases the transfer time by delivering files up to 12 times faster than a traditional SD card reader. Editorial deadlines to meet? AERO delivers. No matter what type of connections: external displays, high-speed file transfers, external storage and external graphics, all-new AERO takes it all in its self-assured sgure 3. The First to Equip an Xrite™ Pantone® Calibrated AMOLED Display

Xrite™ Pantone® Colour Calibrated AMOLED Display Panel

Besides the current Sharp 240Hz IGZO display offerings, the AERO 15 OLED leads the industry with the first to offer a 4K Samsung AMOLED display. Not only does it support 100% DCI-P3 colour gamut, offering 25% wider range of colours than the traditional sRGB, it also meets the VESA Display HDR 400 standard, producing more details than the traditional LCD. All AERO series laptops are Xrite™ Pantone® calibrated and certified before they leave the factory. In contrast to the industry norm of only calibrating a few laptop samples, GIGABYTE shines in this sector and insists on calibrating each and individual laptop, ensuring that every AERO user experiences the most accurate colours possible.

Planned for 2019 June, the 15” AERO 15 and AERO 15 OLED highest configuration comes with Intel® Core™ i9-9980HK processor and NVIDA GeForce RTX™ 2080 graphics chip. Additional flavours include Corei7-9750H paired with RTX 2060 and RTX 2070 Enthusiast GPUs. The brand new 17” form factor version, AERO 17, is planned for 2019 August release.

*Claim based on comparison between GIGABYTE AERO 15 OLED XA (Intel Core i7-9750H/NVIDIA GeForce RTX 2070) vs other brand multimedia laptop (15 inch, Intel Core i7-8750H/Radeon Pro 555x) on video exporting test and 3D rendering test.

*Video exporting test: Exporting H.264 video in After Effect CC; 3D rendering test: Exporting Cinema 4D project as an image.

Model AERO 15 OLED YA AERO 15 OLED XA AERO 15 OLED WA AERO 15 OLED SA AERO 15 OLED NA AERO 15 XA OS Windows 10 Pro High End / Windows 10 Pro / Windows 10 CPU Intel® Core™ i9-9980HK

Intel® Core™ i7-9750H Display Samsung 4K AMOLED Sharp FHD 240Hz *X-Rite™ Pantone® Certified, individually factory calibrated System Memory Samsung® DDR4 2666MHz, 2 slots (Max 64GB) Video Graphics NVIDIA® GeForce RTX™ 2080 With Max-Q Design NVIDIA® GeForce RTX™ 2070 With Max-Q Design NVIDIA® GeForce RTX™ 2060 NVIDIA® GeForce® GTX 1660 Ti NVIDIA® GeForce® GTX 1650 NVIDIA® GeForce RTX™ 2070 With Max-Q Design Storage Intel® 760P SSD (2x M.2 SSD slots) Keyboard GIGABYTE Fusion RGB Per-Key Backlit Keyboard I/O Port 3x USB 3.1 Gen1 (Type-A)

1x Thunderbolt™ 3 (USB Type-C)

1x HDMI 2.0 1x DP 1.4 & USB3.1 (USB Type-C) 1x 3.5mm Audio Combo Jack 1x UHS-II SD Card Reader

DC-in Jack 1x RJ-45 Communications Killer™ Ethernet E2600 / Killer™ Wi-Fi 6 AX1650 (Powered by Intel)/ Bluetooth: Bluetooth V5.0 + LE Adapter 230W Battery Li Polymer 94.24Wh Dimensions 356(W) x 250(D) x 20(H) mm / 14.0(W) x 9.8(D) x 0.78(H) inch Weight ~2.1 kg (w/Battery, M.2 SSD) / 4.72 lb Product specifications may differ from country to country.

Contact: About GIGABYTE GIGABYTE Technology Co. Ltd., headquartered in Taipei, Taiwan, is known as a leading brand in the IT industry with branch offices located in 24 countries around the world. Founded in 1986, GIGABYTE started as a small research and development team and has since taken a position as one of the in the world's top motherboard manufacturers. In addition to motherboards and graphics cards, GIGABYTE further expanded its product portfolio to include notebook and desktop PCs, datacenter servers, networking products, mobile handsets, and home entertainment devices to serve each facet of the digital life in the home and office. Everyday GIGABYTE aims to “Upgrade Your Life” with innovative technology, exceptional quality, and unmatched customer service. Visit www.gigabyte.com for more information.

[printmakersopenforum]

PrintCamp2019 Session Two Shop Assistant

ALLISON ROSH

WEBSITE:

www.allisonhrosh.com

ABOUT HER WORK:

The surface of the body acts as a barrier between our internal and external selves exposing the vulnerabilities between mind and body. As fragile and receptive beings, the past builds up and manifests itself through our daily actions and repetitive tendencies. Constant awareness of our physical forms and emotional states are visually impressed upon us. There is a strong desire to control our appearance and physical signs of well-being. The length one will go, to appear well and put together intrigues me. These preconceived expectations of self, become overwhelming, and the focus of our obsessive dwelling. 

The presence of the body is suggested in these pieces, through various processes that reflect healing and destructive patterns. Veiled pieces are mended meticulously by hand, creating another skin. Etched impressions on copper are abstracted and deteriorated. Surfaces are abraded; etched; mended, and covered. These act to highlight the subtle and startling effects of our physical movements, mental states, and overall health.

RESUME

EDUCATION

2016    MFA University of Iowa, Iowa City, IA

Major: Printmaking, Minor: Drawing

2015    MA, University of Iowa, Iowa City, IA

Major: Printmaking, Minor: Drawing

2013    Bachelor of Fine Arts, Bowling Green State University, Bowling Green, OH

    Major: Two Dimensional Studies

TEACHING

Present – 2018    Adjunct Instructor, University of Cincinnati, Cincinnati, OH

Introduction to Lithography, Introduction to Intaglio

2016 Adjunct Instructor, Northern Kentucky University, Highland Heights, KY     

Adjunct Instructor - Art Appreciation for Non-Majors – School Based Scholars Program, Northern Kentucky University, Highland Heights, KY

2016 Teaching Assistant – Instructor of Record, University of Iowa, Iowa City, IA

2015    Teaching Assistant – Instructor of Record, University of Iowa, Iowa City, IA

Introduction to Printmaking: Fall 2015

Print processes covered: Stone Lithography and Silkscreen.

Teaching Assistant - General Education Course - Creativity for a Lifetime

Co-taught by Anita Jung, Clar Baldus, and Matthew Gilcrest, University of Iowa, Iowa City, IA

Teaching Assistant - Summer Intensive Foil Imaging Workshop, University of Iowa, Iowa City, IA 

PROFESSIONAL EXPERIENCE

Present - 2016    Social Media Coordinator, Mid America Print Council (MAPC)

2016 Curator for the Virginia A. Myers Memorial Exhibition, Levitt Gallery, Iowa City, IA

2015 Intern at the University of Iowa Museum of Natural History, University of Iowa, Iowa City, IA

Iowa Print Group Archive Community Outreach - University of Iowa Mobile Museum, Iowa City, IA

2014-2015    Co-founder of Iowa Print Group, University of Iowa, Iowa City, IA

Mud Stencil Workshop, Creative Time Summit, Iowa City, IA

Curator of Friends Under Pressure, Printmaking Department Exchange and exhibition, University of Iowa, Iowa City, IA

Printmaking Studio Monitor, University of Iowa, Iowa City, IA

2013  Relief Demonstration, University of Iowa History of Print Class, Iowa City, IA

Iowa City Press Co-op, Iowa City, IA

2015    Pronto Plate Lithography Workshop, Zenzic Press, Iowa City, IA

2014    Monotype and Watercolor Monoprint Workshop, Zenzic Press, Iowa City, IA

EXHIBITIONS

Solo Exhibitions

2016        Embodied Response, Levitt Gallery, Art Building West, Iowa City, IA

Reveal /Conceal, Medical Museum, University of Iowa Hospital and Clinics, Iowa City, IA

2015   From the Outside, In, Kendall Gallery, Iowa Memorial Union, Iowa City, IA      

Emergence, Printmaking Staging Space, Iowa City, IA

JURIED AND GROUP EXHIBITIONS

2019 /just to be alive/1628 ltd Cincinnati, OH     

2018  Women, Memory, and Psychological Scapes Portfolio, Travelling exhibition

 IMPACT 10, Universidad de Cantibria, Santander, Spain

 Grenfell Art Gallery, Corner Brook, Newfoundland

Unframed, Tiger Lily Press Members show, Covington, KY

California College of the Arts, Blattner Studio Gallery, Oakland, CA

Southern Graphics Council International, Las Vegas, NV

Bodies Under Pressure, Kimura Gallery, University of Alaska Anchorage, Anchorage, AK

9th International Printmaking Biennale Douro, Alijo, Portugal

2017        The Contemporary Print, 02 Gallery/PrintAustin, Austin, TX

Global Print 3, Coa Museum, Alijo, Portugal

Star-Crossed Lovers, Morissey Gallery, St. Ambrose University, Davenport, IA

25th Parkside National Small Print Exhibition, UW-Parkside Gallery, Kenosha, WI

FE17: Full and Part-Time Visual Arts Faculty Exhibition, Highland Heights, KY 

2016        Of Rules and Rebellion, Schneider Hall, University of Louisville, Louisville, KY

Awkward Portal, Public Space One, Iowa City, IA

BIBLIOGRAPHY

2016        “Changing Light: A New Visual Language”, Virginia A.Myers, Pg. 99-100

“In the Foil of Life”, daily-iowan.com, August

“The Daily Palette”, dailypalette.uiowa.edu, February and May

2015        “The Magnolia Review”, Issue 2, Pg. 62, July

[allisonswrittenwords]

“Too Cool for School” Month wraps up with the inclusion of the last major staple of our very nostalgic school life!

Previously, on Allison’s Written Words…

We stocked up on the most important school supplies to prepare for our very nostalgic school life – a Trapper Keeper to store our school and homework in (bonus points if it was from the “designer series”), stocked up on Lisa Frank pens, pencils, stickers, erasers, and jewelry (gotta have it!), and we probably even picked up a locker answering machine or pocket folders with jeans-clad posteriors on them (or perhaps something else from the Class Act school supply line?).  We’re missing one all-important supply: something to store our much needed fuel to keep us going during our very nostalgic school life!

Enter the ultimate container, where what is on it is just as important as what is in it!

“What Character Do You Have?”

The idea of a character-adorned lunchbox is not a new or novel concept, invented with the time I was growing up, and it certainly didn’t get ushered in with the current generation (though they’d probably like to believe they “invented” it!).  In fact, it came in to the classroom on our parents’ generation.

The first licensed character lunchboxes, a common thing in today’s school supply aisle, was first ushered in during the early 1950s.  A strategic move by Aladdin Industries, who had been making the standard lunch container since 1908, was to put Hopalong Cassidy on a lunchbox, increasing sales of lunchboxes from 50,000 units…to 600,000 units.

Unbelievable, you say.

Well, Aladdin knew what they were doing, striking a chord with consumerism that apparently really liked licensed characters.  During much of the next 30 years, Aladdin continued to dominate, and well, the lunchbox went from being what kids carried their lunch in, to being “what character do you have?”.

The original licensed character lunchbox, circa 1954 (Image: eBay)

I should note though, it was only after American Thermos introduced full-lithography on all sides of their lunchbox, did Aladdin change their tune.

Adding On a Thermos, And The Change from Metal to Plastic

Aladdin’s acquisition of the Stanley Bottle operation cemented their company’s position in the food and beverage container in a big way, and it only increased from there.  Not only did we get a cool new lunchbox, but a MATCHING THERMOS!!!!!

What wasn’t to love?

The introduction of Superman, Mickey Mouse, and The Jetsons on future lunchboxes after the initial introduction of Hopalong Cassidy only kept the line endearing to image-conscious kids who needed a lunchbox for days school didn’t have lunch they wanted.  Saturday morning cartoons didn’t just have toys, books, bedroom sets, clothing, school supplies, and backpacks, they also had their faces printed on lunchboxes.

By the 1980s, metal lunchboxes turned to molded plastic, which were cheaper to manufacture.  My first lunchbox (for preschool in the mid-1980s) was metal, but the first one I carried to elementary school in 1989 was plastic, as would my second lunchbox (More on those beauties later).  I heard a story some years ago that the metal lunchboxes were banned, and I just assumed this was never true.  I mean, why would metal lunchboxes be banned in school?

It actually is true.  The state of Florida banned metal lunchboxes in 1972, amid “dangerous weapon” concerns.  While other states followed, the molded plastic design was actually cheaper to manufacture, which lead to the ultimate discontinuation of the metal lunchbox by 1985.

What was the last metal lunchbox,you ask?

For $20, you can own the last metal lunchbox produced. Image: eBay

Metal lunchboxes met their end in a literal (guns) blazing glory in 1985, with Rambo conquering Vietnam…and lunchtime!

Yes, they were banned by some schools as weapons, but in reality, it was the lower cost of molded plastic that ended the metal lunchbox’s reign at lunchtime.

From Plastic, To Insulated, To One Company’s Discontinuation of Lunchboxes

By the mid-late 1980s, plastic lunchbox/thermos kits dominated the lunchrooms once populated by metal lunchboxes.  Nothing changed about them, aside from the plastic lunchboxes only having the sticker of your licensed character adorning the front of the box.  The rest was just brightly colored plastic.  But you didn’t care about that minor detail, as long as it had the character you liked!

By 1998, Aladdin discontinued making the lunchbox altogether, but Thermos, Aladdin’s direct competitor in the “what character do you have?” game kept right on going, converting the cool images on those plastic lunchboxes to their insulated bags.  Thermos still makes them to this day, but for the nostalgic set, these do nothing for us.  For the kids some of us buy them for, perhaps, but not for us.

Although if you handed me an Avengers lunchbox tomorrow, insulated or otherwise, I’d run off happily with it.

Allison’s Lunchboxes

So, as I said earlier, I did own several lunchboxes in my very nostalgic childhood.  My first one was a metal lunchbox/Thermos combination, featuring The Muppet Babies.

Allison’s first lunchbox, circa 1985. (Image: Everything But the House)

My brother and I both had this.  The Thermos was super cute, featuring my favorite Muppet, Kermit.  I have had a particular affinity for Kermit since my mom bought a Christmas stocking holder when I was about a year old. It’s not like I knew who Kermit was or anything (or maybe my one-year-old brain connected it with Sesame Street, I have no idea), but I liked it and kept a death grip on it.  My mom said I liked it so much, I took it with us when we went out to dinner.

I’m assuming that lunchbox was bought for pre-school use, but after that, it became the holder of Crayola crayons (and a big red Crayola sharpener) for quite a few years.  I have no clue what happened to the thermos, but the lunchbox stuck around for a while.  I spotted it in a thrift store in Ocean City, NJ in the summer of 2002, along with the thermos.  No, it wasn’t mine, I’m pretty sure that lunchbox found a trashcan in the early 1990s.  I was tempted to buy it back then, but decided against it. Even now, I don’t really know what purpose it would serve, and lord knows I wouldn’t want to use a thirty-something-year old thermos that wasn’t originally mine!

The idea of that just…yeah.  Ew.

By the time I was in first grade (we had half-day Kindergarten in my school, so I don’t recall needing a lunchbox), the need for a lunchbox was upon us, so we (naturally), went right for the licensed characters.  It’s like I’ve seen in several lunchbox-related articles, they were like concert t-shirts for teenagers.  This was 1989, and as licensed character stuff went from Care Bears, Strawberry Shortcake, and Rainbow Brite, to whatever was big among girls in the late 1980s.  Of the popular characters to choose from of that time, I chose something rather timeless, brought up to a 1980s vibe.

Image: PicClick

I LOVED this lunchbox, especially that Thermos.  Apparently there were several different version of the Mickey and Minnie lunchbox that year, but this all-glammed-up version was the one I took to first grade in 1989.

My final licensed character lunchbox was in second grade (1990-1991).  This one surprises me.  Where the early 1990s a dearth of good licensed character lunchboxes for girls?  My brother had this really cool lunchbox that year…

Image: Pinterest

And I had this.

So it has been explained (through research) that the Yum Yums were Hallmark’s version of the Care Bears crossed with Fisher Price’s The Wild Puffalumps, several years after both franchises had quieted down (the former) and faded away (the latter).  The toys smelled like candy, and these colorful characters had their own one-off special from Hanna-Barbera, The Day Things Went Sour.

(It’s on YouTube.)

I guess I saw it, and liked the characters…or was it because this lunchbox was neon pink and pretty?  Either way, there was only one other kid with a Yum Yums lunchbox in second grade, and we weren’t in the same class.  I’m pretty sure this was a over and done with long before I was over and done with that lunchbox at the end of the school year.  I do love that thermos, it is super cute!

I don’t recall having any other Yum Yum toys.  Nosey Bears, yes, but not Yum Yums.

If I had known this would be the swan song of carrying a plastic character lunchbox to school, I would have chosen more wisely.  I mean, this one was cute, but there had to be something else I was interested in, right?

It probably wasn’t socially acceptable to take a lunchbox to school with a boy-type licensed character on it.  That’s pretty much what I liked at that time, my brother’s cartoons.

When third grade rolled around the following year, I went to the Intermediate School, which meant big kids…and a big kid lunchbox to go with it.  I remember a new insulated lunch bag that didn’t come with a Thermos, but my mom did use something new in the bag…an ice pack!  By that point, character lunchboxes kinda fell by the wayside, and the big kids carried insulated bags.  It was a nice time, while it lasted.

Further Reading and Watching

Image: Etsy

The History of the Lunch Box: Smithsonian Magazine has an awesome article from 2012 all about the history of the lunchbox, from its beginnings as kids fashioning their own from cookie or tobacco containers (they wanted to be like their working daddies) all the way to our very nostalgic school life, and beyond!  It’s a great read!

Quality Logo Products: A detailed timeline of the lunchbox, from introduction to the ban on metal boxes, to Thermos introducing the soft-sided lunchbox.

CBS Sunday Morning correspondent Nancy Giles visits the Lunchbox Museum in Columbus, GA, where 1000 lunchboxes are preserved for the sake of our very nostalgic school life!  (From 2017)

Upload via CBS Sunday Morning

And Now, You!

Images: PicClick, Pinterest, eBay, Antiques, Top Masters in Education, and Buzzfeed

Did you have a Thermos or Aladdin character lunchbox as a kid?  What one(s) did you carry to school?  Sound off in the comments below, or be social on social media.  As always, I’d love to hear from you!

“Too Cool for School” month is coming to a close, as the school year rolls on.  Usually by October, we were settled into a routine, the new-ness of a new school year wearing off.  Which means we can settle into a new theme for October!

Come by Allison’s Written Words Facebook page on Monday night, September 30th at 10:00 pm, for the new month’s theme!

Oh, and on Wednesday…a rare Wednesday post!  What could it be?

(Well, I know already because I finished and scheduled it, but you won’t know until then!)

Such suspense, it must be killing you!

Have a great day!

Did You Carry A Little Character On Your Lunchbox? - It was a status symbol of elementary school. What lunch box did you have? "Too Cool for School" Month wraps up with the inclusion of the last major staple of our very nostalgic school life!

[juniperpublishers-robotics-blog]

Design of a Cyber Physical Industrial Robotic Manipulator- Juniper Publishers

Abstract

A key component of Cyber Physical Production Systems (CPPS) are connected Cyber Physical Machines (CPMs), or smart machines, which can act independently to each other and communicate in situation dependant ways. This new era of connected manufacturing has brought about new requirements for machines which are being deployed to the manufacturing shop floor. Cyber physical machines are not only required to execute industrial or manufacturing process, but they need to be capable of meeting other requirements, such as self-diagnoses, intelligent decision making, modularity and networkability. This research explores the design process of cyber physical machines as it is applied to the design of an industrial robotic manipulator.

Keywords: Industry 4.0; Design Process; Manufacturing

Abbreviations : CPPS: Cyber Physical Production Systems; CPM: Cyber Physical Machines; IoT: Internet of Things; CPS: Cyber Physical Systems; FDM: Fused Deposition Modelling, SLA: Stereo lithography; DP: Design Parameters; FR: Functional Requirements; COTS: Commercially Off The Shelf

Introduction

Cyber physical production systems

The “Internet of Things (IoT)” and “Cyber Physical Systems (CPS)” [1] are bringing about a digital transformation to the traditional shop floor. The full industrial implementation of Cyber Physical Production Systems(CPPS) in manufacturing environments is bringing about the fourth industrial revolution or as defined by the German Federal Minister of Education and Research, Industry 4.0 [2].

Cyber Physical Production Systems (CPPS) consist of autonomous and cooperative elements (e.g. Cyber Physical Machines) and systems (e.g. Smart Factories) that are connected with each other in situation dependent ways, on and across all levels of production, from the processes level up to factory and production levels [3]. This new reality is being brought about by advances in technologies such as low power electronics, wireless communications, smart sensors [4], cloud manufacturing [5], advanced communication protocols such as OPC/UA [6] and data models such as Automation ML [7].

Cyber physical machines

As previously stated CPPS are composed of smart machines which are networked to each other.Smart machines, or cyber physical machines, are at the core of Industry 4.0. They are embedded with new capabilities and enabling technologies. This makes it possible to achieve functions which were not previously possible. For example, sensors on board of a cyber physical machine can be monitored remotely in real-time. This allows an intelligent Condition Monitoring System (CMS) to diagnose the machines condition and make it possible to carry out routine maintenance before a breakdown in the machine, possibly avoiding costly downtime [8].

The need for continuous adaptation has also driven the development of approaches that implement the concept of plug- and-produce. Plug-and-produce allows for different elements of a production system to be added and removed from the production system depending on the needs of production. This concept of plug-and-produce also allows for the development of modular production systems. As explained by several authors, Schleipen et al. [9], Onori [10] and Maeda [11], the concept of plug-and-produce must be supported not only from a mechanical function, but also by the development of new and improved software and control paradigms.

Therefore another characteristic which is central to CPPS is decentralized and cognitive control. This is achieved by using machines that have embedded processing and networking capabilities [12]. This distributed control is gaining further popularity with the capability to use cognitive processing to analyze data gathered from machine sensors which allows for the decentralization of the CPPS control.

Collaborative and connected robotics

.The emergence of CPPSs has also brought with it an increased utilization of robotics. This trend has been highlighted at the World Economic Forum in Davos, which identifies advanced robotics as one of the main technological drivers behind Industry 4.0. Industrial robotics provides high efficiency and precision whilst being flexible and re- deployable. Robots have seen increased utilization where fast cycle times of repetitive tasks needs to be maintained.

That said, this does not mean that humans will be completely eradicated from the shop floor. In fact based on detailed studies and experimentation conducted, Pfeiffer [13] argues that human experience will be still needed on the future shop floor. Based on this, the need for humans and robots to collaborate together on manufacturing operations will increase in the coming years [14]. In response to this growing need, it can in fact be seen how all major robot manufacturers are introducing to their lineup collaborative robots who are capable of working hand-in-hand with human operators. Collaborative robots are industrial robots which have been designed to confirm with specific safety standards which allow them to work within close proximity to human operators.

Research aims

Cyber physical machines need to be developed with specific characteristics as described above, in order to be implemented into CPPSs. These include characteristics such as communication, intelligence, modularity, which would allow these robots to communicate with the manufacturing cloud. The first activity in designing cyber physical machines is to define the requirements that need to be met and the functions which need to be executed. A solution is then synthesised from a set of design elements in order to meet these requirements. As will be presented in Section 2 from a review of the state of the art there are very few approaches which tackle the design approach of cyber physical machines.In order to understand the design process of cyber physical machines this research aims to explore the design process of a cyber physical industrial robotic manipulator.Section 3therefore describes the design process utilized to develop the industrial robotic manipulator, and the knowledge which was gained from this exercise. Section 4 then presents the prototype design and implementation. The conclusions and future work relating to this research are presented in Section 5.

State of the Art

In this section the authors present the state of the art relating to the topics of this research. Networked robots are defined as a system of multiple robots communicating with each other over a network, thus coordinating various tasks and roles, sometimes even with human operators. This means that networked robots are classified into two classes: teleoperated and autonomous. Teleoperated robots are controlled by humans, who send commands and receive feedback over the network. Autonomous robots communicate together as mentioned earlier, without the necessity of human intervention [15]. For autonomous robotic networks, it is ideal to have a decentralised network, thus allowing for a set of industrial robots to work together over a network. This promotes fast and optimum communication between these robots [15,16] without the need of other robot systems to receive the information from a centralised controller.

Democratization of technology refers to the process by which more people rapidly gain access to technology. An approach to meet this need is to facilitate the implementation of robotics by developing cheaper and more customizable robots that can be easily implemented by small to medium enterprises. Rapid prototyping technology is thereforeoften used to develop open-source 3D printable dextrous anthropomorphic robots. By using rapid prototyping, the designers were able to create the design at a low cost. Moreover, the hardware and software designs were made available online, thus encouraging further improvement of the concept by the engineering community. This introduces an activity known as the democratisation of robotics, which means that the design of this robot system had to be accessible and usable by anyone [17,18]. Onal et al. have similarly succeeded in using rapid prototyping to provide a quick and inexpensive method to produce robotic manipulators [19] . In the case of Onal et al., 3D printing methods were used to create robot designs based on the structure of origami. Although this design is not currently used in any industrial applications, it proves the possibility of using RP to reduce costs while maintaining quality and increasing production speed [18,19]. We can note that several enterprises are founded on the basis of rapid prototyping robotic manipulators such as Franka Emika, which has created its own RP robotic manipulator. This has seven degrees of freedom, and is also able to communicate using Ethernet (TCP/IP) network standards. This manipulator also incorporates several safety features, such as collision detection, force sensing and virtual wall collision avoidance [20] .

During this research several design methods for CPPS and CPS were also reviewed [21-23]. Whilst they all highlight the multiple perspectives of CPPS, none of these illustrates the design process from requirements to the final design. This lack of CPPS design methods has also been highlighted by Fisher et al. [23].

From the literature review carried out the authors can conclude that there is no approach which combines 3D printed robots designed using a generative design approach for use in CPPS. As argued in Section 1, such an approach would decrease implementation costs and therefore sustain the democratization of robotics hence supporting SMEs in implementing CPPS.

Cyber Physical Machine Design Process

The design process must describe the design activities from goal (the requirements) to means (the approved design). To meet the aims of cyber physical production, a design process for Cyber Physical Machines (CPM) needs to be utilized that that takes into consideration not only the Physical but also the Cyber perspectives. This research utilized the systematic design process depicted by Roozenburg's basic design cycle [24] as a basis to explore the activities involved in designing CPMs. The different activities involved in designing CPMs being proposed by this approach will therefore be described in the next section.

Analysis of CPM functional requirements

The first activity carried out in design is an Analysis of the requirements that need to be met. When starting a new design cycle the designer begins by analyzing the requirements for the CPM. During the analysis the designer forms a better understanding of the problems (problem statement) and determines the goals that need to be achieved.

The basic goal of a CPM is to carry out the required manufacturing process at the required time, cost and quality and flexibility [25]. The analysis of the CPM requirements will also define the criteria by which the manufacturing system solution will be evaluated in future design activities. As described in the introduction, beyond these basic requirements, there are several other requirements which need to be met by CPMs. Therefore, if a CPM needs to operate within a CPPS the CPM requirements must include the capabilities of configurability, modularity, diagnosability and connectability. If the CPM solution does not meet these requirements it cannot be considered as a cyber physical system.

CPM synthesis

The next activity in the design cycle is Synthesis. Synthesis can be defined as the combination of components or elements to form a connected whole. It is in this activity of the design process that the CPM designer develops solutions for the design problems. Blessing [26] states that the synthesis activity can be broken down into some sub-activities. For example the 'generate' activity creates or finds elements suitable for the solution which are then 'selected' and 'synthesised' into possible solutions. It is also important to note that designers make selection commitments based on the CPM requirements defined in the previous activity.

Based on the principles of axiomatic design [27], and as illustrated in Figure 1, Chryssolouris [25] and ElMaraghy [28] discuss that design synthesis is the activity of mapping from the functional requirements (FRs) onto suitable values of design parameters (DPs).

These decision variables combine to make a system, which describes both the physical design (Compositional View) and the manner of operation of the CPM (Functional View) [29].

This research proposes that during synthesis of CPM, consciously or not, designers make commitment in the cyber and physical domains. This research is therefore prescribing a synthesis design approach were designers take provisional commitments in these two domains. The result of the synthesis from the different domains of CPM design is a provisional design solution.

Simulation: The next stage of the CPM design cycle involves the Simulation of the provisional CPM design solution. Simulation involves the generation of an artificial history of a system and the observation of that history to draw inferences concerning the operating characteristics of the real system. The result of this study is the expected properties of the provisional CPM design solution. As explained by Hehenberger et al. [30], in order to simulate the full capabilities of a CPM, tools are required which model and simulate not only the physical performance of the CPM, but also the information and communications exchange between systems.

Evaluation: During Evaluation of the provisional design solution the expected properties are compared to the design criteria established during the analysis stage. A value is then given to that design solution to quantify how well the provisional solution meets the CPM requirements.

Decision: The manufacturing system designer will then Decide whether to continue developing the design by further elaborating the provisional design or whether to try a different type of solution to generate a better design proposal. Once the manufacturing system designer is satisfied that the provisional design meets the requirements and criteria then the status will be upgraded to that of final design and the project can move on to implementation planning.

Prototype Design and Implementation

The CPM design process previously discussed was used during this research in order to design and implement the cyber connected industrial robotic manipulator which is discussed in this section.

Physical Component Design

The physical component design process results in the physical interface of the robotic manipulator. The physical system design utilizes a set of robotic joint modules, some of which are connected by a link module. Once produced and assembled, the robotic manipulator is essentially an articulated robot as shown in Figure 2. The manipulator is driven with the use of stepper motors in the joint modules.

Design for modularity: In order to meet the requirements of being customizable for different industrial applications, the physical robotic manipulator design is configured by selecting, adding and removing joint and link modules. This design configuration was chosen specifically as it allows for the design of a modular industrial robotic manipulator, with the addition or subtraction of joints and motors depending on the application required. The design for modularity approach adopted here means that modules and interfaces between modules needed to be designed. The main module of this robotic manipulator is the joint which contains the servo motor. Two different configurations of this module were developed; the co-linear axis of rotation module, and the 90-degree axis of rotation module. The other module which was designed was the joint link module which connects the joints to each other.

The main configuration of the robotic manipulator is the one illustrated in Figure 2, and which employs six degrees of freedom. This means that the robotic manipulator is made up of six joints, each of which is a revolute joint. The six degrees of freedom ensure that the end effectors can reach any position and orientation within the workspace of the manipulator. Different stepper motor sizes and gear ratios are used in order to lift a 1.5kg load at maximum extension.

Design for 3D printing: Since this robotic manipulator was intended to be mostly rapid prototyped, several factors and constraints needed to be taken into account during production of the prototype. Fused Deposition Modelling (FDM) and Stereo lithography (SLA) were used as the processes of rapid prototyping. The process was chosen based on the geometry of each part. Parts which had important geometry on one of their sides were 3D printed using SLA, such as the specially designed gears. Placing the side with the important geometry away from the support material was important for the preservation of said geometry.

On the other hand, parts which have a flat surface on one of their sides were printed using FDM, with that side being placed on the printing bed. The use of FDM was also encouraged when 3D printed parts required support material in internal and unreachable parts. Soluble support was used in these cases, making the support material easily removable during postprocessing.

In designing for 3D printing, an important factor considered was the minimization of weight. While modeling using CAD, several parts were designed to have the minimum wall thickness possible. This first step led to the search for other possible means of weight reduction. This included reduction in the diameter of the joints modules which led to all the internal parts also being smaller, and thus lighter.

Cyber component design

Requirements: The design goal for the control system of this device is for it to encourage integration with other systems and to encourage further development by system integrators. Integration must be done in a simple and rapid manner, on both the hardware and software domains. The system must be based on standardized or open source software control and development tools. To maintain a democratic design, the control hardware must be based on commercially off the shelf parts (COTS), enabling a low cost solution.

Industrial Ethernet: An industrial network based on Ethernet hardware shall serve as the backbone of the control system. There are multiple relevant industrial Ethernet protocols; the one selected for this solution is Ether CAT.

Ether CAT is an industrial network based on the standard Ethernet physical layer (Ethernet PHY). The network is deterministic, and can be used in a real-time environment. It supports shorter cycle times than other industrial networks, which make it suitable for motion control applications. Apart from the suitable performance Ether CAT provides, there are other factors which make it suitable for a system intended for the democratization of robotic technologies.

When networks are based on the Ethernet PHY, they would typically require a managed network switch, every Ether CAT device has two Ethernet PHYs which enable them to be connected via a daisy chain configuration, eliminating the need for a network switch if a ring network topology suffices. Furthermore, Ether CAT slave devices are responsible for controlling the timing of the network, without the need for a specialized master network controller. Therefore, the master device in an Ether CAT network can use common COTS Ethernet network interface cards (NIC), keeping the cost of implementing an Ether CAT network even lower. The use of a standard NIC allows for the implementation of an Ether CAT master through the use of any suitable device with basic Ethernet capabilities, this includes using a Raspberry Pi should the developer see fit.

Ether CAT is an open source technology, encouraging the development of hardware and software to work with this technology.

Robot controller: As illustrated in Figure 3, the robot controller was based on the ATMega2560, developed through Arduino/Genuino development platforms. Apart from the low cost required for developing solutions with Arduino, the vast user base contributing to various projects shortens and simplifies the microcontroller development cycle.

As illustrated in Figure 3, the microcontroller was interfaced to the Ether CAT network via Microchip's LAN9252 Ether CAT controller for slave devices using SPI communication. A COTS add-on (shield) to the Arduino platform based on the LAN9252 is produced by AB&T Srl. The robot controller receives the joint positional data from its Ether CAT master and subsequently translates from joint position to the required pulses to drive the stepper motor.

Master controller: To support the flexibility required in the control system to adapt to different robot kinematic parameters, a real-time soft PLC was used. The soft PLC implemented was CODESYS Control Soft Motion RTE, it is developed using the 1EC 61131-3 compliant CODESYS V3.5 development environment. The CODESYS development environment is free of charge, it also includes non-real-time versions of the soft PLC systems.

Once again, the low cost of the system enables the democratization of the control software and hardware. As of the time of writing, the real-time versions of the soft PLC systems can be downloaded and used without a license for a limited time before requiring a restart. CODESYS Soft Motion also has the inbuilt functionality to derive robot kinematics by defining the robot's Denavit-Hartenberg parameters (DH parameters).

Conclusion

This research therefore explored the design process of Cyber Physical Machines, through the application of this process to an industrial robotic manipulator. This approach considers not only the physical and hardware development but also the cyber and connectivity perspectives of CPMs. Future work by this research initiative will explore in further detail the cyber and physical elements of CPMs. The aim is to develop a knowledge based design support tool which can guide and support designers in taking decisions during the CPM design process.

Acknowledgement

The authors acknowledge the University of Malta for the financial support through the Research Grant "Digital Planning and Simulation for the Factory of the Future” (Vote No. 1MERP 05-16).

For more open access journals please visit: Juniper publishers

For more articles please click on: Robotics & Automation Engineering Journal

[transparencym-blog]

Lithography Equipment Market Size, Top Companies, Trends, Growth 2027

Immersion Lithography Market: Introduction

Immersion lithography is a technique that fills the space between lens and wafer of the exposure system with liquid. Immersion lithography uses liquids with refractive indices more than one (index of the air). The resolution is increased by a factor equal to the refractive index of the liquid. Liquid immersion is being used for over 100 years now to increase the numeric aperture (NA) and resolution in optical microscopy. Smaller wavelength in liquid allows imaging of smaller features. Additionally, water is used as the liquid.

Global Immersion Lithography Market: Competition Landscape

ASML Holding N.V.

Founded in 1984, ASML Holding N.V. is headquartered in Veldhoven, the Netherlands. ASML Holding N.V. is one of the leading chip making equipment manufacturers. The company offers hardware, software, and services for semiconductor equipment. The company manufactures products related to lithography: DUV lithography, EUV lithography, Immersion lithography, and holistic lithography solutions. The company was formerly called ASM lithography Holding N.V. and was renamed ASML Holding N.V. in 2001.

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Nikon Corporation

Incorporated in 1917, Nikon Corporation is headquartered in Tokyo, Japan. Nikon Corporation has a separate advanced lithography development segment offering innovative products and technologies. It is a prominent investor and manufacturer in the advanced lithography technology market. Nikon Corporation provides a wide selection of industrial products, including class steppers and scanners. These products serve semiconductor, thin-film magnetic head industries, and flat panel displays. The company provides training, service, technical support, and application, as well as marketing and sales support for Nikon lithography equipment.

Other companies that are expected to invest in the immersion lithography market includes Taiwan Semiconductor Manufacturing Company Limited and Canon Inc.

Global Immersion Lithography Market: Dynamics

Miniaturization of Electronic Devices to Drive Global Immersion Lithography Market

Miniaturization and sophistication of electronic devices can result in high capacities and advanced integration as well as fast semiconductor chip calculation speeds. Thus, in order to achieve this, circuit patterns of semiconductor chips must be miniaturized. Advanced packaging solutions for miniaturized devices is likely to attract potential customers, which will drive the demand for lithography systems. Moreover, high penetration of 5G and artificial intelligence, and IoT enablement across industries, including telecommunication, agriculture, medical, manufacturing, and automotive is expected to create opportunities for the lithography market. However, some of the major challenges faced by the immersion lithography market is the movement of wafer in and out of the fluid. The development of immersion lithography for 40 nm logic LSIs is expected to contribute to the growth of the global immersion lithography market.

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Ammonium Dichromate Market Expected to Witness a Sustainable Growth over 2028

Global Ammonium Dichromate Market: Market Introduction

Ammonium dichromate is a chemical compound, having chemical formulae- (NH4)2Cr2O7 and mainly utilized in the fire explosive compounds. When ammonium dichromate is heated, it burns with the appearance of the volcano due to its ignition property. Alternative names of ammonium dichromate are vesuvian fire, ammonium bichromate, and ammonium pyrochromate, others.

In terms of appearance, ammonium dichromate is an orange-red crystalline compound. It is an irritant chemical, poisonous, and thermodynamically unstable compound. Ammonium dichromate has a number of regulations for its end-use application due to its toxic nature. However, it has a sound demand in various applications such as pyrotechnics, photography, and lithography, dyeing pigments, oil purification, production of chrome alum, alizarin and leather tanning, and among other applications.

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Global Ammonium Dichromate Market: Market Dynamics

The Global ammonium dichromate market is primarily driven by the pyrotechnics industry. Pyrotechnic industry expected to witness high growth in the next few years due to the increasing usage of pyrotechnics in carnivals and other celebration & recreational events. An increase in a number of events including the regional festivals, amusement parks, commercial as well as sports events are expected to propel the demand of ammonium dichromate market over the forecast period. Explosive compounds like ammonium dichromate are widely used in the military sector. The increasing spending on the military sector is also additionally projected to drive the global ammonium dichromate market by end of the forecast period

Furthermore, end-use industries for ammonium dichromate, such as textiles, printing inks, among others, are likely to register steady growth during the forecast period (2018-2028). Also, there has been tremendous growth in the colorant market in recent times, which includes dyes & pigments, owing to the large middle-class population in emerging economies. Factors, such as growing consumer spending and growing preference towards the use of varied colors, is also anticipated to impact the ammonium dichromate market

However, ammonium dichromate is generally derived from the refinery operations & petrochemical feedstock. Volatility in prices of feedstock, in turn, will result in hamper the global ammonium dichromate market growth. Ammonium dichromate is more ignited compound and start to decompose exothermally, due to this, is harmful compound for workers. This properties of ammonium dichromate will show a negative impact on the global market. On another hand, ammonium dichromate is widely utilized in the photography application and the photography is a worldwide trend in recent times. In turn, this factor will impact as a trend for global ammonium dichromate market

Global Ammonium Dichromate Market: Market Segmentation

Global ammonium dichromate market can be segmented on the basis of applications, and regions. On the basis of applications, global ammonium dichromate market can be segmented into five segments such as,

Pyrotechnics

Photography

Lithography

Dyeing pigments

Others (oil purification, pure nitrogen library, production of chrome alum, alizarin and leather tanning, etc.)

Global Ammonium Dichromate Market: Regional Outlook

Geographically, global ammonium dichromate market can be segmented into seven key regions, such as North America, Latin America, Eastern Europe, South East Asia Pacific, Middle East & Africa, Japan, and Western Europe. Increasing urbanization and per capita consumption of chemicals in developing countries like India and China will be act as significant platforms for global ammonium dichromate market. Brazil and Mexico are prominent countries in the Latin America market with paint & varnish production. In turn, demand of Latin America ammonium dichromate market continues to grow during the forecast period

Further, the acceptance of innovative technologies (Pyrotechnics, lithography, etc.) in developed regions such as North America and Europe will generate the demand for ammonium dichromate in these regions in the upcoming few years.

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Global Ammonium Dichromate Market: Market Participants

Global ammonium dichromate market is highly fragmented, have local and international players placed across the world. We identified few key players across the value chain of global ammonium dichromate market which are as: J.T. Baker-A Division of Mallinckrodt Baker, Energy chemical, Service Chemical, Wako Pure Chemical Industries, Fisher Scientific, City Chemical LLC., VWR International, Merck Schuchardt OHG, ALFA AESAR, Alfa Aesar, Kanto Chemical Co., Sinopharm Chemical Reagent Co., Kanto Chemical Co. and among others

[market-research-blog-land]

Semiconductor Processing Equipment Market 2018-2023 by Growth Factors, Applications, Recent Developmnt & Key Players like Tokyo Electron, LAM RESEARCH, ASML Holdings, Applied Materials

Global Semiconductor Processing Equipment Market Research Report provides an in – depth Analysis of Type, Application, Industry Vertical, Competition by Manufacturers, Rising Technology and Region into its vast depository of research reports. Research report on the Semiconductor Processing Equipment Market provides a comprehensive analysis of some of the most significant trends and patterns that are anticipated to impact the market potentials throughout the forecast period. A number of analysis tools such as SWOT analysis and Porter’s five forces analysis have been employed to provide an accurate understanding of this market. Download a Sample Copy @ https://www.reportsweb.com/inquiry&RW00012340226/sample The key manufacturers covered in this report: Tokyo Electron, LAM RESEARCH, ASML Holdings, Applied Materials, KLA-Tencor Corporation, Screen Holdings, Teradyne, Advantest, Hitachi High-Technologies, Plasma-Therm. Segmentation by product type: Lithography, Wafer Surface Conditioning, Cleaning Processes, Segmentation by application: Assembly & Packaging, Dicing, Bonding, Metrology This report also splits the market by region: Americas, United States, Canada, Mexico, Brazil, APAC, China, Japan, Korea, Southeast Asia, India, Australia, Europe, Germany, France, UK, Italy, Russia, Spain, Middle East & Africa, Egypt, South Africa, Israel, Turkey, GCC Countries Get Discount for this report: https://www.reportsweb.com/inquiry&RW00012340226/discount There are 15 Chapters to deeply display the Global Semiconductor Processing Equipment Market. Chapter 1, to describe Semiconductor Processing Equipment Introduction, product scope, market overview, market opportunities, market risk, market driving force; Chapter 2, to analyze the top manufacturers of Semiconductor Processing Equipment, with sales, revenue, and price of Semiconductor Processing Equipment, in 2016 and 2017; Chapter 3, to display the competitive situation among the top manufacturers, with sales, revenue and market share in 2016 and 2017; Chapter 4, to show the World market by regions, with sales, revenue and market share of Semiconductor Processing Equipment, for each region, from 2013 to 2018; Chapter 5, 6, 7, 8 and 9, to analyze the market by countries, by type, by application and by manufacturers, with sales, revenue and market share by key countries in these regions; Chapter 10 and 11, to show the market by type and application, with sales market share and growth rate by type, application, from 2013 to 2018; Chapter 12, Semiconductor Processing Equipment market forecast, by regions, type and application, with sales and revenue, from 2018 to 2023; Chapter 13, 14 and 15, to describe Semiconductor Processing Equipment sales channel, distributors, traders, dealers, Research Findings and Conclusion, appendix and data source. Key questions answered in this report: 1. What will be the market size by the end of the forecast period? 2. What are the factors driving the growth of the market? 3. What are the trends and developments that are likely to drive the growth of the market? 4. Who are the key players operating in the market? 5. What are the challenges, threats, and opportunities faced by the leading players? 6. What are the strengths and weaknesses of the key players of the market? Buy This Report @ https://www.reportsweb.com/inquiry&RW00012340226/buying

About ReportsWeb: ReportsWeb.com is a one stop shop of market research reports and solutions to various companies across the globe. We help our clients in their decision support system by helping them choose most relevant and cost effective research reports and solutions from various publishers. We provide best in class customer service and our customer support team is always available to help you on your research queries.

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[pradnyakulkarni-blog]

Shrink Label Machine Market Estimated to Flourish by 2027

Global Shrink Label Machine Market: Introduction

Recent trends in packaging industry shows the rapidly changing needs of packaging buyers. To serve the maximum number of buyers, label manufacturers are preferring fully automated label making machines. Growing consumer demand and preference for high graphic glossy labels which are expected to drive the retail sales is enhancing the demand for shrink labels. Due to recent developments in label printing technology and label material today, the label making machine manufacturers are launching innovative machines with attractive added features. Packaging buyers are moving from traditional pressure sensitive labels to shrink sleeve labels. Shrink sleeve labels are glossy, provide aesthetic look, easy to apply on any product with any shape. Growing demand for shrink sleeve labels from FMCG manufacturers is boosting the demand for shrink label machines. Shrink label machine market is highly dominated by small & medium scale manufacturers. Manufacturers are dominantly concentrated in China, Taiwan, Japan and India. Growing demand for low cost machines from China is driving the shrink label machines market in Asia Pacific region. China exports shrink label machines to North America, Western Europe and Africa and Asia. Although the demand for shrink labels is growing worldwide, the manufacturer’s individual production capacity has increased considerably. Due to this the market is anticipating pierce competition.

Global Shrink Label Machine: Market Dynamics

Shrink labels provide tamper proof or tamper evident feature to packaging products. There are various types of printing technologies e.g. flexographic printing, lithography, digital printing etc. available for label manufactures. Flexographic printing is anticipated to grow at a higher annual growth rate. The flexibility of printing and tamper proof features are driving the demand for shrink label machines. Suitable label material includes PVC, PET, OPP and OPS. The shrink label machines can be used to label round bottle, square bottle, flat bottle, curved bottle and cup-shaped, etc. Shrink labels enable excellent product presentation. They also provide full 360’ reverse text printing, which makes them perfect solution for packaging products like bottles, cups, tubes, metal cans, boxes & bins etc. Growing demand for consumer packaged goods (CPGs) from middle class population and tough competition between FMCG manufacturers to push their brands is influencing the demand for shrink label machines. Tamper evident shrink label packaging brands is the new trend in the packaging industry. Tamper evident feature provides fast and easy way to secure the containers, add value and protection to products. Tamper evident shrink labels are excessively used in personal care, cosmetics and pharmaceutical industries.

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Global Shrink Label Machine: Market Segmentation

The shrink label machine market is segmented on the basis of packaging material, performance, and application.

On the basis of packaging material type, the global shrink label machine market is segmented into:

Glass

Metal

Paper

Plastic

Wood

Based on the performance, global shrink label machine market is segmented into:

Less than 50 products/min

50 to 150 products/min

150 to 250 products/min

250 to 400 products/min

More than 400 products/min

Based on the application, global shrink label machine market is segmented into:

Apparel

Beverage

Chemical

Commodity

Food

Machinery & Hardware

Medical

Textiles

Global Shrink Label Machine Market: Regional outlook

Shrink label machine market has been segmented on the basis of region into North America, Latin America Eastern Europe, Western Europe, Asia Pacific Excluding Japan (APEJ), Middle East & Africa (MEA), and Japan.  Asia Pacific Excluding Japan (APEJ) is expected to dominate the overall global shrink label machine market, followed by Western Europe. This is due to increasing number of shrink labels machine manufacturers in Western European countries like Germany and France. Over the forecast period, APEJ shrink label machine market is expected to dominate the global shrink label machine market. China, North Korea, Taiwan and India are expected to drive the APEJ shrink label machines market.

Request Report TOC @ https://www.futuremarketinsights.com/toc/rep-gb-5873

Global Shrink Label Machine Market: Key players

Some of the players associated with the global shrink label machine market are Engage Technologies Corporation (American Film & Machinery), U. V. Tech Systems, Shanghai Xinhua Machinery Equipment Co., Ltd., Shanghai Chuangling Packaging Machine Manufacturing Co., Ltd., Shanghai Leadworld Machinery Technology, Sanket Packseal Machines Pvt. Ltd. and others.

[studyabroadaide]

UGC NET Electronic Science Books

New Post has been published on http://studyabroadaide.com/ugc-net-electronic-science-books/

UGC NET Electronic Science Books

UGC NET Electronic Science Books

Books Publisher 1 CBSE UGC NET/SET (NATIONAL ELIGIBILITY TEST) (STATE ELIGIBILITY TEST) ELECTRONIC SCIENCE Danika Publishing Company 2  Ugc Net Electronic Science  BOOKHIVE INDIA  3 Bookhive’s Cbse Net Electronics Sciences Paper  BHI EDITORIALS  4 UGC Net Electronic Science(Question Paper Book)  IBS Institute Rohini

UGC NET Electronic Science Books

  CBSE UGC NET/SET (NATIONAL ELIGIBILITY TEST) (STATE ELIGIBILITY TEST) ELECTRONIC SCIENCE



  Ugc Net Electronic Science

Bookhive’s Cbse Net Electronics Sciences Paper

  

UGC Net Electronic Science(Question Paper Book)

  UGC NET Electronic Science Books

UGC Net Electronic Science syllabus 2018

  UGC Net Electronic Science syllabus 2018

    UNIVERSITY GRANTS COMMISSION NET BUREAU Code No. : 88 Subject: ELECTRONIC SCIENCE SYLLABUS Note: There will be two question papers, Paper—lI will cover 50 Multiple Choice Questions (Multiple choice, Matching type, True/False, Assertion-Reasoning type) carrying 100 marks and Paper-ill will have two Parts-A and B.

Part-A will have 10 short essay-type questions (300 words) carrying 16 marks each. There will be one question from each unit with internal choice from the same unit. Total marks will be 160.

Part-B will be compulsory and questions will be set from Unit—I to Unit—X. The candidate will attempt only one question from Part—B (800 words) carrying 40 marks. Total marks of Paper—iii will be 200.

  PAPER-lI and III (Part A & B)

Unit—I

Electronic Transport in semiconductor, PN Junction, Diode equation and diode equivalent circuit. Breakdown in diodes, Zener diodes, Tunnel diode, Semiconductor diodes, characteristics and equivalent circuits of BJT, JFET, MOSFET, IC fabrication—crystal growth, epitaxy, oxidation, lithography, doping, etching, isolation methods, metalization, bonding, Thin film active and passive devices.

Unit—Il

Superposition, Thevenin, Norton and Maximum Power Transfer Theorems, Network elements, Network graphs, Nodal and Mesh analysis, Zero and Poles, Bode Plots, Laplace, Fourier and Z-transforms. Time and frequency domain responses. Image impedance and passive filters. Two-port Network Parameters. Transfer functions, Signal representation. State variable method of circuit analysis, AC circuit analysis, Transient analysis.

Unit—Ill

Rectifiers, Voltage regulated ICs and regulated power supply, Biasing of Bipolar junction transistors and JFET. Single stage amplifiers, Multistage amplifiers, Feedback in amplifiers, oscillators, function generators, multivibrators, Operational Amplifiers (OPAMP)—charactcristics and Applications, Computational Applications, Integrator, Differentiator, Wave shaping circuits, F to V and V to F converters. Active filters, Schmitt trigger, Phase locked loop.

Unit-TV

Logic families, ifip-flops, Gates, Boolean algebra and minimization techniques, Multivibrators and clock circuits, Counters—Ring, Ripple. Synchronous, Asynchronous, Up and down shift registers, multiplexers and demultiplexers, Arithmetic circuits, Memories, A/D and D/A converters.

Unit-V

Architecture of 8085 and 8086 Microprocessors, Addressing modes, 8085 instruction set, 8085 interrupts, Programming, Memory and 1/0 interfacing, Interfacing 8155, 8255, 8279, 8253, 8257, 8259, 8251 with 8085 Microprocessors, Serial communication protocols, Introduction of Microcontrollers (8 bit)—803 1/8051 and 8048.

Unit—VI

Introduction of High-level Programming Language, Introduction of data in C. Operators and its precedence, Various data types in C, Storage classes in C, Decision-making and forming loop in program, Handling character, Arrays in C, Structure and union, User defmed function, Pointers in C, Advanced pointer. Pointer to structures, pointer to functions, Dynamic data structure, file handling in C, Command line argument, Graphics-video modes, video adapters, Drawing various objects on screen, Interfacing to external hardware via seriallparallel port using C, Applying C to electronic circuit problems. Introduction to object-oriented Programming and C++. Introduction of FORTRAN language, programming discipline, statements to write a program, intrinsic functions, integer-type data, type statement, IF statement, Data validation, Format-directed input and output. Subscripted variables and DO loops. Array, Fortran Subprogram.

Unit—VIl

Maxwell’s equations, Time varying fields, Wave equation and its solution, Rectangular waveguide, Propagation of wave in ionosphere, Poynting vector, Antenna parameters, Half-wave antenna, Transmission lines, Characteristic of Impedance matching, Smith chart, Microwave components-T, Magic-T, Tuner. Circulator isolator, Direction couplers, Sources—Reflex Klystron, Principle of operation of Magnetron, Solid State Microwave devices; Basic Theory of Gunn, GaAs FET, Crystal Defector and PIN diode for detection of microwaves.

Unit—Ill

Basic principles of amplitude, frequency and phase modulation, Demodulation, Intermediate frequency and principle of superheterodyne receiver, Spectral analysis and signal transmission through linear systems, Random signals and noise, Noise temperature and noise figure. Basic concepts of information theory, Digital modulation and Demodulation; PM, PCM, ASK, FSK, PSK, Time-division Multiplexing, Frequency-Division Multiplexing, Data Communications—Circuits, Codes and Modems. Basic concepts of signal processing and digital filters.

Unit—IX (a)

Characteristics of solid state power devices—SCR, Triac, UJT, Triggering circuits, converters, choppers, inverters, converters. AC – regulators, speed control of a.c. and d.c. motors. Stepper and synchronous motors; Three phase controlled rectifier; Switch mode power supply; Uninterrupted power supply.

Unit—IX (b)

Optical sources—LED, Spontaneous emission, Stimulated emission, Semiconductor Diode LASER, Photodetectors—p-n photodiode. PIN photodiode, Phototransistors, Optocouplers, Solar cells, Display devices, Optical Fibres—Light propagation in fibre, Types of fibre, Characteristic parameters, Modes, Fibre splicing, Fibre optic communication system—coupling to and from the fibre, Modulation, Multiplexing and coding, Repeaters, Bandwidth and Rise time budgets.

Unit—X (a)

Transduces—Resistance, Inductance Capacitance, Peizoelectric, Thermoelectric, Hall effect, Photoelectric, Techogenerators, Measurement of displacement, velocity, acceleration, force, torque, strain, speed and sound temperature, pressure, flow, humidity, thickness, pH, position. V V Measuring Equipment—Measurement of R, L and C, Bridge and Potentiometers, voltage, current, power, energy, frequency/time, phase, DVMs, DMMs, CR0, Digital storage oscilloscope, Logic probes, Logic State Analyser, Spectrum Analyzer, Recorder, Noise and Interference in instrumentation, Instrumentation amplifiers, Radio Telemetry. Analytical Instruments—Biomedical . instruments—ECG, blood pressure measurements, spectrophotometers, Electron Microscope, X-ray diffractometer.

Unit-X (b)

Open-loop and close-loop control system. Error amplifier, on-off controller, Proportional (P), Proportional-Integral (P1), Proportional-Derivative (PD), P11) controllers, Dynamic Behaviour of control systems—servomechanism characteristics parameters of control systems—Accuracy, Sensitivity, Disturbances, Transient response, Stability, Routh-Hurwitz criterion, Bode plots, Nyquist criterion, Controlling speed. Temperature and position using analog/digital control circuits.

  UGC NET Electronic Science Books

UGC Net Electronic Science syllabus 2018

[666labr]

Mono print introduction class

My process:

1. We got given two pierces of acetate. One for background one to add detail. for my background I decided to make it as colourful as possible. I also did this to see what colours would mix well and look the best next to eachother. I started off in using Lithography ink in this coloured order: Dark blue, yellow, red and dark blue again. Lithogpraphy ink is rubber based so it stays wet for a long time thus making you able to create a print and not have to rush and worry the ink will dry up before its even been printed. This ink is different to the ink used for example: intaglio and etching techniques. 

I used a roller long enough to stretch across the acetate this is to stop lines being created in the ink. Any marks or lines in the ink will be printed onto the paper, this is why its best to use a clean roller big enough for your print. We used a ‘kicking’ technique to push the ink down the acetate evenly. Once colour is almost fully rolled out we listened for a sort of soft hissing sound the ink created instead of a ripping sound - this meant to ink was spread lightly. To much ink creates blurred out parts on the paper as the ink will just run. This could also cause the paper to stick to the acetate and rip off, ruining the print entirely.

My aim was to create a ‘Rainbow roll’. I rolled the inks out in a straight line repeatedly so I could see which colours were created in-between. I wasn't interested in the actual colours themselves (obviously if youre going to use primary colours such as red yellow blue etc you know what colours would be produced) this was more for the tone and hue of the colour. I wanted to see how bright or dark the colours would come out. My favourite was the red and dark blue. when mixed together it became a really deep purple.

2. Reductive and additive printing - This part of the process was to add colour reduce it. I experimented with adding mixed colours of inks using paint brushes and I used card to add quick lines of paint. for reducing the ink I use cotton wool, I was initially meant to just wipe away the ink but most of it stuck to the link. This was a really nice unintentional way of making a sort of cloud effect when printed. I also used Carborundum substance used to removed scratches from cars. This gave a really gritty effect when resisting the ink. My favourite new resistant material to use would be talcum powder. I decided to use it purely to see if the ink would somehow mix with or absorb it. To my surprise it resisted the ink really delicately. 

Stage four continues...

[futuremarketinsightsreports]

Ammonium Dichromate Market: Study Offers In-depth Competitive Landscape Assessment 2018 – 2028

Global Ammonium Dichromate Market: Market Introduction

Ammonium dichromate is a chemical compound, having chemical formulae- (NH4)2Cr2O7 and mainly utilized in the fire explosive compounds. When ammonium dichromate is heated, it burns with the appearance of the volcano due to its ignition property. Alternative names of ammonium dichromate are vesuvian fire, ammonium bichromate, and ammonium pyrochromate, others.

In terms of appearance, ammonium dichromate is an orange-red crystalline compound. It is an irritant chemical, poisonous, and thermodynamically unstable compound. Ammonium dichromate has a number of regulations for its end-use application due to its toxic nature. However, it has a sound demand in various applications such as pyrotechnics, photography, and lithography, dyeing pigments, oil purification, production of chrome alum, alizarin and leather tanning, and among other applications.

A sample of this report is available upon request @ https://www.futuremarketinsights.com/reports/sample/rep-gb-8780

Global Ammonium Dichromate Market: Market Dynamics

The Global ammonium dichromate market is primarily driven by the pyrotechnics industry. Pyrotechnic industry expected to witness high growth in the next few years due to the increasing usage of pyrotechnics in carnivals and other celebration & recreational events. An increase in a number of events including the regional festivals, amusement parks, commercial as well as sports events are expected to propel the demand of ammonium dichromate market over the forecast period. Explosive compounds like ammonium dichromate are widely used in the military sector. The increasing spending on the military sector is also additionally projected to drive the global ammonium dichromate market by end of the forecast period

Furthermore, end-use industries for ammonium dichromate, such as textiles, printing inks, among others, are likely to register steady growth during the forecast period (2018-2028). Also, there has been tremendous growth in the colorant market in recent times, which includes dyes & pigments, owing to the large middle-class population in emerging economies. Factors, such as growing consumer spending and growing preference towards the use of varied colors, is also anticipated to impact the ammonium dichromate market

However, ammonium dichromate is generally derived from the refinery operations & petrochemical feedstock. Volatility in prices of feedstock, in turn, will result in hamper the global ammonium dichromate market growth. Ammonium dichromate is more ignited compound and start to decompose exothermally, due to this, is harmful compound for workers. This properties of ammonium dichromate will show a negative impact on the global market. On another hand, ammonium dichromate is widely utilized in the photography application and the photography is a worldwide trend in recent times. In turn, this factor will impact as a trend for global ammonium dichromate market

Global Ammonium Dichromate Market: Market Segmentation

Global ammonium dichromate market can be segmented on the basis of applications, and regions. On the basis of applications, global ammonium dichromate market can be segmented into five segments such as,

Pyrotechnics

Photography

Lithography

Dyeing pigments

Others (oil purification, pure nitrogen library, production of chrome alum, alizarin and leather tanning, etc.)

To view TOC of this report is available upon request @ https://www.futuremarketinsights.com/toc/rep-gb-8780

Global Ammonium Dichromate Market: Regional Outlook

Geographically, global ammonium dichromate market can be segmented into seven key regions, such as North America, Latin America, Eastern Europe, South East Asia Pacific, Middle East & Africa, Japan, and Western Europe. Increasing urbanization and per capita consumption of chemicals in developing countries like India and China will be act as significant platforms for global ammonium dichromate market. Brazil and Mexico are prominent countries in the Latin America market with paint & varnish production. In turn, demand of Latin America ammonium dichromate market continues to grow during the forecast period

Further, the acceptance of innovative technologies (Pyrotechnics, lithography, etc.) in developed regions such as North America and Europe will generate the demand for ammonium dichromate in these regions in the upcoming few years.

Global Ammonium Dichromate Market: Market Participants

Global ammonium dichromate market is highly fragmented, have local and international players placed across the world. We identified few key players across the value chain of global ammonium dichromate market which are as: J.T. Baker-A Division of Mallinckrodt Baker, Energy chemical, Service Chemical, Wako Pure Chemical Industries, Fisher Scientific, City Chemical LLC., VWR International, Merck Schuchardt OHG, ALFA AESAR, Alfa Aesar, Kanto Chemical Co., Sinopharm Chemical Reagent Co., Kanto Chemical Co. and among others

[market-research-blog-land]

Semiconductor Processing Equipment Market 2018-2023 by Growth Factors, Applications, Recent Developmnt & Key Players like Tokyo Electron, LAM RESEARCH, ASML Holdings, Applied Materials

Global Semiconductor Processing Equipment Market Research Report provides an in – depth Analysis of Type, Application, Industry Vertical, Competition by Manufacturers, Rising Technology and Region into its vast depository of research reports. Research report on the Semiconductor Processing Equipment Market provides a comprehensive analysis of some of the most significant trends and patterns that are anticipated to impact the market potentials throughout the forecast period. A number of analysis tools such as SWOT analysis and Porter’s five forces analysis have been employed to provide an accurate understanding of this market.Download a Sample Copy @ https://www.reportsweb.com/inquiry&RW00012340226/sampleThe key manufacturers covered in this report:Tokyo Electron, LAM RESEARCH, ASML Holdings, Applied Materials, KLA-Tencor Corporation, Screen Holdings, Teradyne, Advantest, Hitachi High-Technologies, Plasma-Therm.Segmentation by product type:Lithography, Wafer Surface Conditioning, Cleaning Processes,Segmentation by application:Assembly & Packaging, Dicing, Bonding, MetrologyThis report also splits the market by region:Americas, United States, Canada, Mexico, Brazil, APAC, China, Japan, Korea, Southeast Asia, India, Australia, Europe, Germany, France, UK, Italy, Russia, Spain, Middle East & Africa, Egypt, South Africa, Israel, Turkey, GCC CountriesGet Up-to 50% Discount for this report: https://www.reportsweb.com/inquiry&RW00012340226/discountThere are 15 Chapters to deeply display the Global Semiconductor Processing Equipment Market.Chapter 1, to describe Semiconductor Processing Equipment Introduction, product scope, market overview, market opportunities, market risk, market driving force;Chapter 2, to analyze the top manufacturers of Semiconductor Processing Equipment, with sales, revenue, and price of Semiconductor Processing Equipment, in 2016 and 2017;Chapter 3, to display the competitive situation among the top manufacturers, with sales, revenue and market share in 2016 and 2017;Chapter 4, to show the World market by regions, with sales, revenue and market share of Semiconductor Processing Equipment, for each region, from 2013 to 2018;Chapter 5, 6, 7, 8 and 9, to analyze the market by countries, by type, by application and by manufacturers, with sales, revenue and market share by key countries in these regions;Chapter 10 and 11, to show the market by type and application, with sales market share and growth rate by type, application, from 2013 to 2018;Chapter 12, Semiconductor Processing Equipment market forecast, by regions, type and application, with sales and revenue, from 2018 to 2023;Chapter 13, 14 and 15, to describe Semiconductor Processing Equipment sales channel, distributors, traders, dealers, Research Findings and Conclusion, appendix and data source.Key questions answered in this report:1. What will be the market size by the end of the forecast period?2. What are the factors driving the growth of the market?3. What are the trends and developments that are likely to drive the growth of the market?4. Who are the key players operating in the market?5. What are the challenges, threats, and opportunities faced by the leading players?6. What are the strengths and weaknesses of the key players of the market? Buy This Report @ https://www.reportsweb.com/inquiry&RW00012340226/buying

About ReportsWeb: ReportsWeb.com is a one stop shop of market research reports and solutions to various companies across the globe. We help our clients in their decision support system by helping them choose most relevant and cost effective research reports and solutions from various publishers. We provide best in class customer service and our customer support team is always available to help you on your research queries.

Contact Us: Call: +1-646-491-9876 Email: sales@reportsweb.com

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[philatelicdatabase]

Railway Newspaper and Parcel Stamps (1899)

“Newspaper Parcel Prepaid Stamps.

“Labels like the one engraved below [the stamp illustrated was about the size of the present North Eastern Railway newspaper stamps, and the design consisted of the shields of the five companies in the centre, with the name of the individual company at the top, and the value of the stamp at the bottom] have been adopted by the Midland, Lancashire and Yorkshire, North Eastern, Manchester, Sheffield and Lincolnshire, and East Lancashire Railway Companies for the prepayment of newspaper parcels.

“They are issued in pounds’ worth to newspaper proprietors only; and the parcel, being duly labelled, passes free not over one, but, if a through parcel, over all the lines of the associated companies. The rates are very low., and specially adopted to enable the transmission of papers to all places. It is, in fact, the postage stamp system applied to newspaper parcels.

“Some time since it was proposed to apply this system to all small parcels, but some of the companies did not see their way to the change, as a general one.

“This excellent system is at present confined to the above companies; but surely the London and North Western and Great Northern Companies will follow, and give the Metropolitan Press the advantage of the new system, now confined to the country.

“The system or a cheap prepaid label or stamp avoids booking, weighing at stations, or delay; and enables the transmission of newspapers into localities where, otherwise, from high cost of conveyance, they could never penetrate, except to the houses of the rich.”

The early newspaper stamps were much larger than those at present in use. Some of the companies; the Maryport and Carlisle (illustrated below), Cambrian, and North Eastern, still use the large stamps.

Parcel stamps are not used on all lines; the Great Eastern appears to be the first to bring them into use in 1879. The following companies now use stamps to prepay carriage on parcels:– London and North Western, Lancashire and Yorkshire, North Eastern, and Colne Valley. In the matter of design, these stamps have an advantage over the letter stamps, as the companies were not bound to one particular design, as in the latter case, consequently some very pleasing stamps were produced, as a glance at the illustrations will reveal. The stamps issued by the Manchester, South Junction, and Altrincham Railway and the North Eastern are very effective. The Furness Company had a very quaint design for their early stamps (called 1 pence); there were two values, 1d. for newspapers, and 9d. for milk, both of a salmon colour. The patriotic design of the London and North Western Company on their parcel stamps, showing Britannia seated with the British lion at her feet must not be overlooked, but I do not know why she should turn her head away from the train (London and North Western I presume) proceeding over the viaduct on the left. Special stamps are also issued for the conveyance of news correspondence, those of the London and North Western and Great Northern Companies are of red, and of three values, 2d., 3d., and 4d., the Midland labels being blue and of the values of 2d. and 3d. The Great Eastern, Great Northern and Midland Joint, Midland and Great Eastern, also issue special labels for the prepayment of carriage on corn samples, the Great Eastern label, red and yellow, being one of the largest of railway-stamps. Most of the stamps above described are produced by the process of lithography, but a few of the newspaper labels are simply type set. The prepayment of parcels on the Government railways of Australia is also effected by the means of stamps, those in use on the New South Wales and South Australian lines being here illustrated. At this late date it would be impossible to form anything like a complete collection of the various issues of newspaper stamps, but in the case of the parcel and letter-fee stamps this difficulty does not present itself, as they are, comparatively, both of recent introduction.

Before concluding this article the writer would like to add a few remarks on letter-fee stamps, contained in the following interesting note (by Mr. Ewen) respecting the origin of such stamps:–

“In the early part of 1890 Messrs. De La Rue, at the instance of the Stamp Department at Somerset House, on the instructions of the Post Office, prepared designs for a 3d. Postage and Railway Letter Service stamp, and the same were submitted to the Postmaster-General. The matter, however, never went beyond the designs, for at the close of the year, the idea was abandoned.

“It was also suggested that the ordinary 3d. postage stamp should be over-printed for railway service, and proof impressions were actually made, but this system, too, had to be abandoned, principally on account of the immense amount of book-keeping its adoption would have entailed. Eventually, as we know, each company was left to collect its own share of the postage.”

It would also be interesting to know by whom the original design was prepared. Amongst the issues of the English railways that of the Colne Valley Railway (illustrated on page 142) is the most striking, and with that of the Lancashire, Derbyshire and East Coast Railway form a pleasing departure from the somewhat monotonous design of the other companies. The stamps of the Waterford, Dungarvan, and Lismore Railway are obsolete, that line having been amalgamated with the Great Southern and Western system since 1st July, 1898. It is claimed for the collection of postage stamps that a vast amount of knowledge can be acquired respecting the various countries, historical, geographical, etc. So it is with the collection of railway stamps, much information, historical, geographical, and statistical can be obtained from their study. In these days when so much interest is taken in our railways, the collection of the various kinds of stamps in use should prove an interesting, instructive, and certainly inexpensive hobby.

Originally published in “The Railway Magazine” in 1899, and written by H. Clark.

Railway Newspaper and Parcel Stamps (1899) was originally published on Philatelic Database