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the-firebird69 · 3 years ago

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There's a huge amount of death this round gigantic these people are going to hog a while down there, and the more like her seeking out Tommy f as our foreigners aggressively very aggressively I must say that most foreigners note that they didn't think it was Corky grabbing them the ones that escaped thought it was Christmas people or Max clones that were mutated or Forg I couldn't tell, the quiet and did their jobs systematically. Everybody is noticing now these are a troopers and they're trained to be soldiers and they're going about it that way trying to but wow it's a chill up the up the spine and down the spine for a lot of people they're here with our son is yelling and then they see them doing it and then say it's these idiots tons of people see it and they saw them grab granddaddy acrely from Port Charlotte and from their own house they're pulling them out it's not really right and Biden filed a lawsuit against them, he has seven day notice from Castle he didn't get a notice from the county and he's still there up in the castle house and he should be they have to work to evict him otherwise and he's suing the sheriff because they went by castle's paperwork and it's typical for Tommy f to go by paperwork and stupid rules instead of laws he's done it to our son for many years.

We're taking over his businesses as they fail because the clones are evacuating, to full combat.

Several businesses are huge and Fortune 500 out of the top 20 we have three of Tommy f as of tonight and his three left one of them is similar to general Mills except the name changed that's who it was and that's what he was saying why don't we have the food so we took the food over because they're a bunch of assholes and boobs and they threatened all the time I don't do much so it's like well what can we tell you get out and the other two are very big companies and it's dow Corning yes it's not dow chemical a separate company, and yes it's one of the three and corny had it's more or less called Corning tons and tons of products that were high tech well they are high tech and we're taking over and providing all new ones that the consumer uses the rest of these people will have to flounder for or find ways to do it and the third is a curious one it's not high tech it's very low tech and it is about rubber and not the guy from UMass, it is a huge company huge it's a conglomerate of a whole bunch of tire companies and they got together and did so in the 90s and more so than 2000s and the late 2000s all of them did practically all the tire companies on Earth except ours is a huge risk allowing them to do that but we had infiltrated and taking over it was not a problem it took minutes just like the general Mills and kick out 10% of the people that's it all done. And it is going to get broken up by area and we can't afford to just run the whole thing and it doesn't make any sense and it's not going to be under one big umbrella it's too big and there's too many suppliers and those suppliers have to be us and it's too much area to cover for different persons running it it's going to help a lot because they're going to take control of the forests more so.

Tommy has only three more out of the top 20 and then they're cleaned out it's all ours he's amazed

Those three probably be ours by the end of the day or the week and there are two more like Cisco there's the famous chip company Intel... And a huge distributor company we really need them in now he says and we do have a lot of it and we're working on it so he understands and that distributorship is Cisco , no, it's not logistics it's distributorship and they didn't take over of course except for a company we already have it's like Lane bro lame bro is the way if you really know if it could be phonetics Hasbro, nope, Hera wants to guess tamebro, nope, it's not really about and I'm not remembering so I do say this it's kind of like not those rhyme it's the words. How about Fame bro zigzag we see people are hostile but... Okay some people don't want to do it it's kind of cheesy it sounds like this we cant let himm say it. Lanesboro... No that would be phonetically I see a point though I was just going to annoy me to do it probably I can look it up and say that I think there's a lanesboro though actually is and it's on a truck so a company took the name and translated it and made a new name and that's exactly what they did and that's why I'm saying it that way and you find an interesting and he thought I would say the truck name and it was confused what are you doing bro it's pretty lame bro so I get it. It's a matter of phonetics no but he's the proper spelling this is bro or burrow it's really weird Lane and burrow are similar that really means something it says it's going to come to your lane and your your area and these people don't care about all that they say we're down below that's what we are and we're in space airborne separate from people and don't want to be near you and definitely don't want to work with you or for you they have a lot of trouble fitting in cuz they're just soldiers they're losing even in space just crashing down without fuel not very good shoulders it's ridiculous and not organized now we're using it too we have to. Foreigners are hitting them as well. It's a war the blockade will be down tonight and the Saturday will start emptying it has to

What is that distributorship company and that's it for the top 20 the rest are falling as well is there abandoning them Max are paying all the businesses as well and Florence don't have time they're too busy fighting and Corky doesn't have time he's wicked lazy I don't work they could have an issue in and taking all those companies over and said they did nothing there's a drawing them off cuz they're sitting there bothering everyone like really really bad and it works and it's working I need to do more of it and we need someone task force to watch it and we got one going and they're getting stuff up now castles are raiding and harassing right now while this is going on yes.

It's a huge deal that there's so many of these idiots huge it's too harsh for anyone even Mac Daddy can't make it to these days always at him and a bunch of losers. The tunnels are filling and we mean feeling I mean there are huge armies going in there of all types and they're going after the small balls of thorium it's a ridiculous fight no he said it you got to take the harvesters there and they can eat up something over there eating up like crazy I can't really see them that well, they're becoming huge soon they'll be gigantic all of them and they're making trillions of offspring and we're going to start raising dormant ones thier duplicates.

We're beginning now to raise them a lot of them are here and we have an army of them and he says we should have one go to each area if we can we are each area has a small army going to raise them and it's one reason I'm here it's pretty big and going to these sites that he was calling out damn it he killed the bugs on the pillow so it's contaminated

Thor Freya

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thestructurepipe · 3 years ago

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americanblowers · 3 years ago

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livegrow832 · 4 years ago

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Antique Slot Machines

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Casino Restorations is a spinoff of a coin operated distributor in St. Paul, MN from the 1930’s until 1960. The doors were closed due to the death of the owner. Parts, tooling and a few machines were moved to new locations and operated from those locations until 1979 when my cherished friend and mentor passed away at the young age of 72.

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Our goals have always been to do museum quality Antique Slot Machine Repair and Restoration from the late 1800’s into the 1940’s and Penny Arcade Machines and related items from the late 1800’s to 1930’s.

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1935 Bally Reliance Dice Machine 5 cent

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1948 Mills Black Beauty 10 cent

1959 Mills Hi top 7-7-7 $1.00

1938 Watling Rolatop Vendor 5 cent

1938 Watling Cherry Front 5 cent

1948 Watling Checker Board 10 cent

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overheaddoorcompanyofcharlotte · 5 years ago

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Overhead Door – Non-Insulated Sectional Doors in Charlotte, NC for Heavy-Duty Commercial and Industrial Applications

The commercial and industrial heavy-duty operations in Charlotte, NC are experiencing challenges in their daily process due to commercial door issues. It is difficult for business owners or facility managers when your high-performance door in your facility or warehouse is not functional.

Choosing the right commercial sectional door in your warehouse or facility will contribute to extended door life, low maintenance costs, and maximum productivity. The Overhead Door - Sectional Steel Doors have a space-saving feature which is an advantage for industrial and commercial facilities.

These types of doors have an automated attribute to promote the safety and security of the workers, goods, and equipment.

The Overhead Door – Non-Insulated sectional doors product are the following:

· Overhead Door- Model 416 Steel Sectional Door

The non-insulated sectional steel door model 416 feature flush panel designs that are strong, durable, and versatile. Featuring 16-gauge galvanized steel these doors are designed for heavy-duty commercial and industrial applications, these doors also offer many optional features that allow you to make a bold design statement without compromising functionality.

Features: · Standard Max Width: 32’2″ (9804 mm) · Standard Max Height: 21’1″ (6426 mm) · Warranty: 1 year limited · Exterior Steel: 16-gauge galvanized steel · Exterior Surface: Flush · Finish: White baked on-polyester · End Stiles: 16-gauge steel · Center Stiles: 16-gauge steel · Back Cover: 26-gauge galvanized steel · Interior Color: White · Standard Mounting: Angle mount · Standard Track: 2″ (51mm) · Standard Springs: 10,000 cycle · Weatherstripping: Flexible PVC bottom with retainer · Operation: Manual pull rope · Lock: Interior mounted slide lock

· Overhead Door- Model 420 Steel Sectional Door

The non-insulated sectional steel door model 420 feature a ribbed exterior and are strong, durable, and versatile. Featuring 20-gauge galvanized steel these doors are designed for heavy-duty commercial and industrial applications, these doors also offer many optional features that allow for meeting nearly any project requirement.

Features: · Standard Max Width: 31’2″ (9500 mm) · Standard Max Height: 24’1″ (7341 mm) · Warranty: 1 year limited · Nominal Thickness: 2″ (51 mm) · Back Cover: 26-gauge galvanized steel · Standard Mounting: Angle mount · Standard Track: 2″ (51 mm) · Standard Springs: 10,000 cycle · Exterior Steel: 20-gauge galvanized steel · Exterior Surface: Ribbed · Center Stiles: 16-gauge steel · Interior Color: White · Operation: Manual pull rope · Finish: White baked on-polyester · Lock: Interior mounted slide lock · Weatherstripping: Flexible PVC bottom with retainer · End Stiles: 16-gauge steel

· Overhead Door- Model 424 Steel Sectional Door

The non-insulated sectional steel door model 424 feature a ribbed exterior and are strong, durable, and versatile. Featuring 24-gauge galvanized steel these doors are designed for heavy-duty commercial and industrial applications, these doors also offer many optional features that allow for meeting nearly any project requirement.

Features: · Standard Max Width: 30’2″ (9195 Mm) · Standard Max Height: 24’1″ (7341 Mm) · Warranty: 1 Year Limited · Nominal Thickness: 2″ (51 Mm) · Back Cover: 26-Gauge Galvanized Steel · Standard Mounting: Angle Mount · Standard Track: 2″ (51 Mm) · Standard Springs: 10,000 Cycle · Exterior Steel: 24-Gauge Galvanized Steel · Exterior Surface: Ribbed · End Stiles: 16-Gauge Steel · Interior Color: White · Weatherstripping: Flexible Pvc Bottom With Retainer · Operation: Manual Pull Rope · Center Stiles: 16-Gauge Steel · Finish: White or Industrial Brown Baked On-Polyester · Lock: Interior Mounted Slide Lock

· Overhead Door - Model 430 Steel Sectional Door

The non-insulated sectional steel door model 430 is available in sizes up to 20'2" in width and 16'1" in height for a variety of medium-duty applications. These doors feature a 2" (51 mm) panel thickness and a nominal 24-gauge ribbed, white galvanized steel exterior. The 430 Series is customizable to any project specification and offers a variety of available options.

The 430 Series sectional steel door is available in sizes up to 20´2″ in width and 16´1″ in height (6147 mm and 4902 mm) for a variety of medium-duty applications. These doors feature a 2″ (51 mm) panel thickness and a nominal 24-gauge, ribbed, white galvanized steel exterior with 16-gauge steel intermediate and end stiles (Industrial Brown exterior is available). The 430 Series is customizable to any project specification with a variety of additionally available options.

Overhead Door Company of Charlotte, a division of DuraServ Corp, is the leading distributor of sectional steel door and loading dock equipment in the area of Charlotte, NC and nearby areas. It offers the high-quality of Overhead Door sectional steel doors, service, and maintenance.

Sectional steel door installation is handled by our highly-skilled technicians and guaranteed with quality output.

With our 24/7 Parts & Service, we are a one-stop-shop for commercial doors. Our stock of high-quality tools, equipment, and professionals include: · A large array of service and installation trucks · Fully stocked warehouse · A team of professionally trained and qualified service technicians with various years of experience · A team of educated coordinators to answer your call

We service Charlotte, NC areas and its surrounding areas including Concord, Rock Hill, Fort Mill, Huntersville, Mooresville, Lake Wylie, Weddington, and Davidson.

Call Overhead Door Company of Charlotte at 704-594-5094 or contact us for a

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Source: https://www.overheaddoor.com/sectional-steel-doors

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californiaprelawland · 5 years ago

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The Supreme Court Rules That Under The New York Convention Nonsignatories Can Enforce Arbitration Agreement

By Qian Chen, University of California, San Diego Class of 2021

July 1, 2020

On June 1st, the Supreme Court unanimously decided that the Convention on the Recognition and Enforcement of Foreign Arbitral Awards does not conflict with the domestic principle of equitable estoppel that permits a non-signatory of a contract to compel the arbitration. GE Energy Power Conversion France SAS v. Outokumpu Stainless USA, LLC, 590 U. S. ____ (2020) The Court supports the petitioner’s claim (GE Energy) that the language of the Convention leaves ambiguity which does not bar the courts from enforcing domestic doctrines. In addition, the Court denied the Eleventh Circuit interpretation of the word “parties” in Article II as “the parties actually sign an agreement to arbitrate their disputes in order to compel arbitration”[1]. In the majority decision, Justice Thomas explained under the available tools of international treaty interpretation how the Convention should be read as a floor that the contracting states agree to do to promote arbitration, instead of a ceiling that precludes “the use of domestic law to enforce arbitration agreements”[2].

The Convention on the Recognition and Enforcement of Foreign Arbitral Awards, commonly known as the New York Convention, is a multilateral trade treaty regarding arbitration in international commercial agreements. It aims to encourage arbitration as a means of resolving commercial disputes by seeking common legislative standards that the courts compel arbitration and enforce rewards[3]. The United States incorporates the New York Convention into its legal system through Chapter 2 of the Federal Arbitration Act. Section 201 recognizes the enforcement of the Convention, and Section 203 grants federal courts jurisdiction over actions governed under the Convention. In Section 202, the legal scope of the Convention is defined such that that Convention governs a legal relationship raised out of a contractual agreement, with one party that has a reasonable relationship with a foreign state[4]. This means that the Convention does not apply in a legal relationship that is entirely between citizens of the United States.

GE Energy Power Conversion France SAS v. Outokumpu Stainless USA, LLC involves a dispute that falls under the governance of the Convention. On November 25th, 2007, ThyssenKrupp Stainless USA, LLC, a U. S. corporation, entered into three contracts with F. L. Industries, Inc., also a U. S. corporation, for the construction of cold rollings mills at a steel manufacturing plant in Alabama. Each contract contained an arbitration clause to settle any disputes. F. L. Industries, Inc. entered a subcontractor agreement with Converteam SAS, now known as GE Energy Power Conversion SAS, a French corporation, for the manufacture of motors. By August 2005, all the motors that GE Energy manufactured had failed. Outokumpu Stainless USA, LLC, which acquired ownership of the steel manufacturing plant, and its foreign insurers sued GE Energy in Alabama state court. GE Energy removed the case to the federal court under 9 U.S.C. §205. Federal subject matter jurisdiction allows the removal of suits that the subject matter “relates to an arbitration agreement or award falling under the Convention”. GE Energy moved to dismiss the case and to compel arbitration based on the arbitration clause under the original contracts between ThyssenKrupp and F. L. Industries, Inc. Outokumpu frivolously opposes this motion based on the claim that GE Energy, as the subcontractor, cannot invoke the arbitration under the governance of the New York Convention, since there exists no written agreement to arbitration between Outokumpu and GE Energy.

This case is concerned with the interpretation of the language “the parties” in the Convention. Article II, clause 2 states that “the term ‘agreement in writing’ shall include an arbitral clause in a contract or an arbitration agreement, signed by the parties or contained in an exchange of letters or telegrams”[5]. The language of “the parties” ambiguously means the buyers and the sellers in a commercial transaction. Whether the subtractors are considered as the seller parties in a contract determines whether a non-signatory can invoke the arbitration clause. The Eleventh Circuit ruled against GE Energy as it reads the requirement “agreement in writing” defines the parties as ones who actually sign the contract. During the oral argument, GE Energy disagreed with the Eleventh Circuit’s ruling and suggested that in a domestic dispute the courts will support a non-signatory’s motion to compel arbitration under the principle of equitable estoppel. In Arthur Andersen v. Carlisle, the Court decided that despite the Chapter 1 of the FAA mandates on a written contract for arbitration it does not “alter background principles of state contract law regarding the scope of agreements (including the question of who is bound by them)”[6]. The question left to answer is whether traditional state law permitted under Chapter 1 of the FAA conflicts with the Convention.

Justice Clarence Thomas delivered the unanimous opinion of the Court and reserved the Eleventh Circuit’s judgment. In the decision, Justice Thomas noticed that the Convention is silent on the issue of non-signatory enforcement. Given the principle of “a matter not covered is not covered”, the interpretation of the international law focuses on the requirements that are explicitly mentioned in the text, instead of inferring requirements on areas that are simply not covered. In the analysis of the Convention, the Court noticed that the language of the text leaves out ambiguity that can only be solved with the aid of domestic law, such that the Convention does not define what disputes are arbitrable and fails to define important terms, such as “the parties” or “null and void”. It leaves the contracting states to interpret those words based on their own domestic principle. Another reason in support of GE Energy’s claim is that the Convention contains no exclusive language that would effectively limit the enforcement of arbitration to certain circumstances. Article II(3) where it states that courts of a contracting state “shall . . . refer the parties to arbitration”[7], does not limit the courts to compel arbitration only in the identified circumstance.

Justice Thomas also looked at other treaty interpretation tools to clarify the meaning of the text. Despite the drafting history of a treaty cannot support interpretations that find no evidence in the text, the drafters of the Convention wish to impose a baseline requirement that encourages arbitration or at least the courts of the contracting states will recognize and enforce arbitral awards in the identified circumstance. The Court also looks into the decisions made by the courts of other convention signatory states, which permits non-signatory to enforce arbitration. The Court noticed that despite those decisions made decades after the finalization of the New York Convention, it supports the Court’s reading. Therefore, it is only natural to read the Convention as it does not bar non-signatory of a contract from the enforcement of arbitration under the domestic principle of equitable estoppel.

This decision not only upholds the trend of favoring arbitration over court battle, but also it opens the doors for many non-signatories of a contract to resolve commercial disputes through arbitration. A commentary notices that “Many subcontractors, distributors, vendors, guarantors, and customers in the international commercial chains may not be signatories to agreements containing arbitration clauses”[8]. Excluding all of them from the enforcement of arbitration for the reason that they do not actually sign the contract is only counterintuitive to the purpose of the New York Convention. With the substantial growth of international commerce and economic interdependence, the Convention paves the groundwork for prompting arbitration as the means to settle disputes. The courts of contracting states should have corporate domestic principles to encourage arbitration, instead of vice versa.

________________________________________________________________

Qian Chen is a rising senior at the University of California, San Diego, where he studies Philosophy and Politics with an emphasis on Law, Ethics and Society. Qian is always interested in the philosophy of law and the Constitution. He plans to attend law school or a master’s program in public policy after his bachelor’s degree.

________________________________________________________________

[1] Outokumpu Stainless USA, LLC v. Converteam SAS, 902 F. 3d 1316 (2018)

[2] GE Energy Power Conversion France SAS v. Outokumpu Stainless USA, LLC, 590 U. S. ____ (2020)

[3] UNCITRAL, “Convention on the Recognition and Enforcement of Foreign Arbitral Awards”, UNCITRAL, accessed June 28th, 2020.

[4] 9 U. S. C. §201, 9 U. S. C. §202, 9 U. S. C. §203

[5] New York Convention, Article II(2)

[6] Arthur Andersen LLP v. Carlisle, 556 U. S. 624, 630

[7] New York Convention, Article II(3)

[8] Max B. Chester, “U.S. Supreme Court Holds That New York Convention Does Not Bar Nonsignatory From Compelling International Arbitration”, The National Law Review, accessed June 28th, 2020.

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the-master-cylinder · 5 years ago

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SUMMARY A small family relocates to the Sonoran Desert to be closer to the grandparents of the family. Though there are news reports of a spectacular triple supernova and the young granddaughter has seen a glowing alien construction behind the barn, the family is at ease until, one night, a UFO soars overhead and appears to land in the nearby hills. Apparently, the triple supernova has opened a rift in space and time. The family finds that their electrical appliances no longer function, and the youngest daughter of the family has a telepathic encounter with an extraterrestrial. The grandmother, too, sees one of these diminutive creatures beckoning to her, but it soon vanishes.

The grandfather, while trying to start the car, sees that a strange animal is approaching from the distance. The grandfather goes back inside and informs the family that something is coming; before long, a variety of horrific, alien monsters (all of these creatures being of a reptilian or amphibious nature) are proceeding to slaughter each other outside the house; some are trying to break in (after knocking) and kill the family. After a few moments, the UFO appears again and teleports the creatures to a different place. The family take this opportunity to escape to the barn, which is more easily defensible than the house. The family become separated from one another and each hides until sunrise, where they find that they have been launched thousands of years into the future. They meet up with the daughter, who had become separated from the family during one of the time-warp events. She knows, somehow, that everything is going to be fine now. After walking across the desert, they finally see a domed city in the distance, and decide to seek refuge there. The grandfather proclaims that there must be a purpose to all of this. The family walks off into the distance, having survived the day time ended.

Producer Paul Gentry in The Day Time Ended (1979)

PRODUCTION The film was originally conceived by script writers Steve Neill, Paul Gentry, and Wayne Schmidt. The three offered a script for another project to producer Charles Band, who thought it was too expensive to make but offered to produce a science-fiction film if it was based in one or two locations.

Steve Neill is not your everyday, run-of the-mill, bottom-of-the-barrel scraper, however. For the last four years, he’s been making a fine living off his makeup talents, designing and applying material for The Crater Lake Monster, Kingdom of the Spiders, The Private Files of J. Edgar Hoover, Demon and various other film features and TV commercials. His partners in the Vortex production, Paul Gentry and Wayne Schmidt, come from the same creative background but don’t have the impressive list of credits.

“I’m a science-fiction fan,” says Schmidt, “doing the convention circuit and the whole bit while writing screenplays no one seemed to buy. Until this came up I was doing a lot of starving.”

What came up was Neill going to work for Charles Band on the young producer’s two SF efforts of last year-End of the World and Laserblast. Suddenly, Neill had found his responsive ear and took no time in exploiting it.

“Steve had the tenacity to walk into work with some spaceship models he designed,” Schmidt relates. “They subsequently caught Charlie’s eye. He grilled Steve as to what they were for and Steve told him they were for a movie he was working on. Charlie was receptive so Steve brought me into it.”

What emerged was a concept alternately titled Race for Antari or Star Racers, concerning, not surprisingly, racers in space. Band was interested not so much in the theme at that point, but the creative package he could create: Neill on makeup, Gentry on SFX and Schmidt on script. Unfortunately, the idea soon became too big for Band’s budget.

“Charlie called me into the office one day,” Neill recalls, “and said, ‘I’ve got some good news and some bad news. First, the bad news is that Star Racers has been shelved. The good news is that I still want a picture from you. I want simplicity, I want one location and I want it this week.’”

Neill accepted the challenge and one hour later came up with the concept of Vortex.

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“Basically,” Schmidt narrates, “it involves a family who moves out to the desert and builds a completely self-sufficient house out there. But due to a space occurrence it turns out that their home is built on what you might call ‘the Bermuda Triangle fault-line.’ It gets whisked into other dimensions and the family goes through all sorts of-how shall I put it?-traumatic experiences. Heh, heh, heh.”

“It seemed to work real well,” Neill takes up the story, “so we drafted it out real fast. We signed three contracts and started the picture based on a one-page synopsis!”

But one page does not a movie make. The spanking new production team of Neill, Gentry and Schmidt had to get a shooting script, they had to get a director, and they had to gather a cast. Suddenly filmmaking wasn’t fun anymore. It was still exciting, but it sure wasn’t fun.

“The scriptwriting went on and on and on,” says Schmidt. “And the film grew in scope until we wound up with a project as involved as our Star Racers. And it was to take close to as much time. It’s not the simple project we started with by any stretch of the imagination. While Charlie handled most of the casting decisions with feedback from the distributors, we started creating the ‘look’ of the film.

“We brought in Lane Liska who worked on Star Wars and Battlestar Galactica to draw up our ideas. Meantime Steve, who had worked with John Bud Cardos on The Dark, called the director and got him in on this one.”

Although a second location was added and the final shooting script called for months of post-production effects work, things were going smoothly. Band had signed Jim Davis, Dorothy Malane, Chris Mitchum, Natasha Ryan and Marcy Lafferty to play the leads, while Cardos began putting his crew together. According to their contracts, Gentry would be the director of photography and head of special effects, Schmidt would discover the wonders of producing by doing a little bit of everything and Neill would oversee it all-valiantly trying to stave off his first ulcer.

The crew descended on Apple Valley for 10 days of location shooting, then things began to get a little dusty. The crew turned out not to be entirely reliable and Gentry was removed as cinematographer.

“The problem with low-budget films,” details Neill, “is that you get crews who are experienced in only that type of film, there is a lot of hiring and firing because they’re, kind of, in-between talents. I hate the watch-watchers, though, the guys who complain all the time then quit on you. If it weren’t for guys like Greg Jein, our model maker, and Joel Goldsmith-Jerry’s son who is doing the sound, the movie wouldn’t stay together. These guys are totally dedicated. I mean, when Paul Gentry was replaced as DP he took it cool. He knew he got aced, but he worked it out smoothly and kept helping. I can’t thank these guys enough.”

Not only was Neill’s patience tried, his wallet was sorely tapped as well. In the movie business, the least little mistake can push the film thousands of dollars over the budget-a lesson the young trio learned the hard way.

“We were supposed to be on location 10 days and we were there 16,” Neill relates. “The government charged us $6500 for use of the land. Beyond that they wanted so much for each actor, so much for each camera, so much for each truck and so much for each car. It cost like $10,000 to rent a dry lake bed. And we didn’t even have to be there!

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“You see, Bud had this idea that a scene which was set to be shot with special effects could be done on location. It called for a sort-of ‘intergalactic spaceship graveyard.’ He had all these friends, he said, who had all these old planes that could be flown down for free, etc., etc. It turned out to be a nightmare. When it came time, there were no free planes. It cost $6000 to fly one plane mockup to the location. It seems that Bud would rather see his old planes out there and shoot it for himself than hand it over to special effects. That’s been a problem.”

Fortunately, the production wasn’t all problems. The stage-bound mock-ups of the house, the barn and the corral turned out better than expected and the SFX were being created with style. All in all, the production values for Vortex marked a new high for Charles Band. The young filmmakers expressed their admiration for the abilities of their youthful boss.

“I’ll give him credit,” Schmidt says. “He was willing to take a chance with three guys who had no “authorized’ experience on a film. He has a lot of courage and for that we owe him a great debt of thanks.”

Neill, while mirroring his partner’s sentiments, also points out one of the problems of low-budget filmmaking. “Charlie is incredible. He signed us for Vortex, Dave Allen for The Primevals, wrapped Tourist Trap and Auditions just before releasing Fairy Tales. And that’s just this year, practically. Our only problem is that he seems to think he’s giving us enough money but he’s not. We’re stretching as hard as we can to make this a great picture.”

The final judgment will come, of course, after Vortex is released and the money starts-or doesn’t start to roll in. Given the returns on Band’s prior contributions to the genre, the trio are confident of a decent showing. But win, lose or draw, they all feel very strongly about the lesson in life their film has taught them.

“All through the production I wanted to strangle people,” says Neill. “But as a producer I couldn’t do it. You’ve got to bite your tongue instead of blowing up. I used to have a really bad temper, but that’s gone now. I learned to smile at people, sometimes leaving a bad taste in my mouth.”

Happily, the best is yet to come for the team. The principal photography is finished and they are now deep into the SFX, their first love.

“The special effects are the nicest part of the production,” says Neill, and his associates concur. “It’s like we’re free of Bud and free of the crew and Charlie has dumped the film in our laps and said, ‘Go for it.’ We are, believe me. We’re pouring our flesh and blood into this.

“But you know what? I’m not excited. There’s too much to do. I’ll get excited the night the film opens. Then I can just sit there and shout, ‘Yeah!’ at the screen. Until then, I’ll be very serious.”

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CAST/CREW Directed John Cardos

Produced Charles Band Paul Gentry Steve Neill Wayne Schmidt

Written J. Larry Carroll Steve Neill Wayne Schmidt David Schmoeller

Jim Davis as Grant Williams Dorothy Malone as Ana Williams Christopher Mitchum as Richard Williams Marcy Lafferty as Beth Williams Scott Kolden as Steve Williams Natasha Ryan as Jenny Williams Roberto Contreras as Gas Station Attendant

Visual Effects by David Allen … dimensional animation / technical advisor: Special Visual Effects Unit Beth Block … opticals: 2nd unit Dave Carson … effects art director: Special Visual Effects Unit Chris Casady … special animation crew Lyle Conway … stop-motion figures designer & creator Randall William Cook … dimensional animation (as Randy Cook) / storyboards (as Randy Cook) Jim Danforth … The “City of Light” by Paul Gentry … dimensional animation (as Paul W. Gentry) / director of special visual effects: Special Visual Effects Unit (as Paul W. Gentry) Gregory Jein … models constructed by (as Greg Jein) Laurel Klick … opticals: 2nd unit (as Laural Klick) Peter Kuran … special animation effects supervisor (as Pete Kuran) James F. Liles … opticals: 3rd unit Laine Liska … models designed by (as Lain Liska) Robin Loudon … effects production secretary Steven Nielson … effects editor (as Steve Neilson) Lori Redfern … special animation crew Wayne Schmidt … opticals: 1st unit Jerome Seven … special animation crew Tom St. Amand … stop-motion armatures (as Tom St. Armand) Rick Taylor … special animation crew Pam Vick … special animation crew Joe Viskocil … special pyrotechnic effects Garry Waller … special animation crew (as Gary Waller) Jim Danforth … matte artist (uncredited) / matte photographer (uncredited)

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Cinefantastique Vol 08 No 2-3 Famous Monsters of Filmland#161

The Day Time Ended (1980) Retrospective SUMMARY A small family relocates to the Sonoran Desert to be closer to the grandparents of the family.

#70sFilms #BAND #EMPIRE

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seeksstaronmewni · 6 years ago

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While an official collection of @paramountpictures’ Noveltoons is yet to be released, thinking of those Popeye the Sailor Warner Archive DVDs, their should be at least a more official, more complete, and more remastered (like from the original film negatives) collection of Herman and Katnip.

In 2011, Dreamworks Classics (then called Classic Media) and Vivendi Entertainment released a “complete” collection of Herman and Katnip on DVD. Though the distributors are official, the DVD release seemed treated cheap enough and priced around $8 (until it became an OOP $80-100+ rarity). This release is incomplete as it’s missing the 1940′s shorts like “Cheese Burglar” (not to be confused with a McDonald’s icon) and “Naughty but Mice” (although those may not be considered as part of the series since Katnip was in development as a black cat, and Herman was the sole featured star). "Classic Media” made their own 2011 HarveyToons intro and credits as if this was a new TV show packaging old “public domain” cartoons. Worse, though, is that, given the better picture quality/masters used, they WIPED Paramount’s logos off--even the copyright is cheaply replaced with “HARVEY FILMS, INC”--except for 2 shorts, “Rail-rodents” and “Hide and Peak”. The DVD cover already looked kind of cheap for a “Classic Media” DVD.

The official Popeye DVD volumes were released by @warnerarchive due to Turner Entertainment acquiring the rights to these Paramount shorts (the same goes for the official Paramount/Max Flesicher Superman DVD set from Warner Home Video, since WarnerMedia owns DC), so I would expect Warner Archive to restore all of the original shorts and release a new complete collection on DVD (Turner, a WarnerMedia Company, acquired the rights to Popeye shorts way back in 1987). However, Universal owns most of the pre-1950 Paramount library as well as Psycho and Vertigo; coincidentally Universal also currently owns Dreamworks Classics (AKA Classic Media), which produced the complete Herman and Katnip set. Since these shorts may be considered “public domain”, I’m not sure if Turner/Warner Archive, Paramount, or Universal/Dreamworks Classics would distribute official rights to the shorts.

Speaking of restoration, I noticed some shots in a few prints of “Naughty but Mice” that are a bit deteriorated, suggesting areas where the picture couldn’t be completely restored. The VHS masters that Pluto TV and other prints use also lessens quality. The print on Mill Creek Entertainment’s Giant 600 Cartoon Collection DVD set has brighter picture but is worse condition due to very unsteady, shaky picture; Herman drawing a coffin around Katnip is cut off for some reason (the macabre image was pretty obvious by that point, though). The quality of “Cheese Burglar” on the same Mill Creek DVD is even worse, though, since it’s an NTA print that obviously censors “Paramount” and “Technicolor” (both 100-year-old companies that still exist)

Tweet version to spark releases here.

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businesresearch-blog · 6 years ago

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IC Sockets Market- Production Forecast by Type, Application and Regions to 2025

February 20, 2019: Global IC Sockets Market is segmented on the basis of device type as Memory, Analog, Micro components, and MOS Logic. An IC socket is usually deployed in devices that consist of an integrated circuit. It acts as a placeholder for IC chips. The major role that it performs is of enabling secure removal and insertion of IC chips as IC chips may get impaired from heat due to soldering. The extended form of IC socket is integrated circuit socket. IC sockets have a wide range of applications attached with it. They are widely utilized in the applications where integrated circuit devices possess short lead pins. They are mostly discovered in desktop and server computers. They are also employed for prototyping new circuits as they enable easy and simple component swapping.

It has been observed that IC sockets are gaining huge recognition around the world. Their significance has been raised in the industry of microelectronics. The manufacturers are taking efforts to innovate modern designs for the aim of linking solutions for fine pitch, high I/O, low profile applications, and for accomplishing strict regulations of consisting and performance. It has been anticipated that in the coming future, the market would be witnessing an incessant progression of socket designs to attend to the speedy advancements in device and semiconductor industry.

Request a Sample Copy of This Report @ https://www.millioninsights.com/industry-reports/ic-sockets-market/request-sample

The prominent factor that is playing a key role in boosting the growth of the IC manufacturing industry include reduced costs. On the other hand, constant advancements in technology are also assisting in satisfying the wants and necessities of leading-edge electronic systems. Moreover, when an IC producer is being provided with an alternative of keeping costs under control or employing the most progressive technology, his alternative generally would incline towards reducing the costs.

Due to its widening scope, the market is developing at a greater pace. It has been estimated that it will display a robust CAGR in the near future. Among all the device types, Analog has occupied a major place in the particular industry. IC Sockets Market is segmented on the basis of product category as Data Conversion ICs, Standard cell ASICs, MPUs, and DRAMs. IC Sockets Market is segmented on the basis of memory ICs as Volatile memory ICs, and Non-volatile memory ICs.

View Full Report with TOC @ https://www.millioninsights.com/industry-reports/ic-sockets-market

Market Segment:

Geographically, this report is segmented into several key Regions, with production, consumption, revenue (million USD), market share and growth rate of IC Sockets in these regions, from 2013 to 2025 (forecast), covering

• United States

• EU

• China

• Japan

• South Korea

• Taiwan

Global IC Sockets market competition by top manufacturers, with production, price, revenue (value) and market share for each manufacturer; the top players including

• 3M Company

• Aries Electronics

• Chupond Precision Co., Ltd.

• Enplas Corporation

• FCI

• Foxconn Technology Group

• Johnstech International Corporation

• Loranger International Corporation

• Mill-Max Mfg. Corporation

Table of Contents

1 IC Sockets Market Overview

2 Global IC Sockets Market Competition by Manufacturers

3 Global IC Sockets Capacity, Production, Revenue (Value) by Region (2013-2018)

4 Global IC Sockets Supply (Production), Consumption, Export, Import by Region (2013-2018)

5 Global IC Sockets Production, Revenue (Value), Price Trend by Type

6 Global IC Sockets Market Analysis by Application

7 Global IC Sockets Manufacturers Profiles/Analysis

8 IC Sockets Manufacturing Cost Analysis

9 Industrial Chain, Sourcing Strategy and Downstream Buyers

10 Marketing Strategy Analysis, Distributors/Traders

11 Market Effect Factors Analysis

12 Global IC Sockets Market Forecast (2018-2025)

For More Details Visit @ million insights

#ic sockets market #ic sockets #consumer electronics

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tomwlaschihafanpage-blog · 8 years ago

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Article of the movie “Berlin Falling” with Tom Wlaschiha ad Ken Duken

Berlin: NFP Takes Ken Duken's 'Berlin Falling' for Germany (Exclusive)

The terrorist thriller eerily anticipated the Berlin Christmas Market attack in December.

Independent distributor NFP, fresh off the success of Oscar nominee Toni Erdmann, has picked up German thriller Berlin Falling, the directorial debut of actor Ken Duken, for Germany.

The film, which Duken shot last year, follows a terrorist who hijacks a car and forces the driver to take him to Berlin where, in the middle of Christmas celebrations, he plans to carry out a brutal attack. The plot is frighteningly similar to the real-life attack in Berlin on Dec. 19, when a terrorist hijacked a truck and drove into the crowd at a Berlin Christmas market, killing 12 people.

Duken, a major German TV star who's had supporting roles in films including Max Manus and Inglourious Basterds, stars as Frank, the hapless driver of the hijacked car. Tom Wlaschiha, known to Game of Thrones fans as the face-shifting assassin Jaqen H'ghar, plays Andreas, his tormentor.

Duken came up with the idea for a thriller centered around a Berlin terror attack nearly two years ago and developed the script together with Christoph Mille and Norbert Kneissl. The movie was financed by pay TV giant Sky's Sky Deutschland unit.

In an uncanny case of synchronicity, Duken first screened the movie for cast and crew on Dec. 19, in a theater just a few blocks from Breitscheidplatz, where the attack took place.

Berlin Falling is eyeing a festival debut later this year.

From here

#tom wlaschiha #berlin falling #ken duken #Berlinale 2017 #berlinale #game of thrones #jaqen hghar #Jaqen H'ghar

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itsworn · 7 years ago

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Junkyard Crawl: Pair of ’70s Supercars Discovered in Texas

The ’70s high-performance scene was twisted upside down compared to previous decades. Thanks to the 1971 establishment of the Environmental Protection Agency (EPA), automakers suddenly found themselves being told how to build new cars—by politicians with little to no automotive training. The results were not pretty.

The Mirage body kit consisted of Reaction Injection Molded (RIM) polyurethane cladding designed to emulate the wide-stance look of an IMSA Camel GT series road racer. The Texas sun has bleached out the special red, white, and blue stripes and exposed the yellow plastic panel construction. Semi complete Mirages were built at the Quebec, Canada plant then sent to Michigan Auto Techniques in Grand Rapids for body kit installation and final assembly.

Facing fines and penalties for over polluting and missing Corporate Average Fuel Economy (CAFÉ) goals, shaker hoods, Ram Air heads, Hemis, and fat Holley carburetors were replaced by bluster and paranoia. But there were exceptions. In this month’s installment of Junkyard Crawl, we’re at CTC Auto Ranch in Denton, TX checking out a pair of late-’70s performance cars—with very different approaches—a 1977 Chevy Monza Mirage and a 1978 Plymouth Fury Police Pursuit.

Built to a price, the upper edges of the Mirage body panels are trapped beneath plastic rails that are pop-riveted in place. Again, the Texas sun has de-gassed the plastic rail, causing it to flake away. Done properly, Chevrolet would have designed a specific steel quarter panel with added width to be welded in place. But it was the ’70s…

The Mirage was just that, one of Detroit’s most exaggerated “sticker supercars” of all time. With its pop-riveted IMSA road race fender extensions, extreme spoilers, and anemic 145 horsepower LG4 305 2-barrel small-block V8, the $700 Mirage option was truly all show and minimal go. Contemporary magazine road tests recorded 0-60 in 9.1 seconds and the quarter-mile sprint in 16.9 seconds. But then again, since the Monza was based on Chevy’s sub-compact Vega platform, it isn’t wrong to see the Mirage as the factory-built V8 Vega Chevy teased us with but never built. With some smart bolt-ons—or a gaggle of leaf blower turbos (…see Roadkill’s Monza Spyder episode [https://youtu.be/U81_0waqEWA]) these things can really fly.

It’s no fantasy, GM bought the rights to install Wankel rotary engines in the Monza, which accounts for its extra wide engine bay. Emissions and fuel economy hassles snuffed the dream, so Mirages got standard 305 2-barrel power. Despite government scrutiny, Briggs Chevrolet offered the dealer-built “Banshee” with bolt-on engine goodies and steeper axle ratios for Monza owners wanting more. A handful were built.

On the other side of the coin, the 1978 Plymouth Fury Police Pursuit was one of Mopar’s all-time sleepers. Keep in mind, after 1974, the Fury nameplate was transferred from the massive, full-sized C-Body to the much lighter mid-sized B-Body. So with the available E86 440, the 1975-’78 Fury Pursuit represents the only time you could get the top-dog 440 in a B-Body with four doors. Back in the supercar ’60s, the biggest mill available in a 4-door B-Body was the 383. Big 440s only came in 2-door prestige models like the Plymouth GTX and Coronet R/T.

Don’t be fooled by the baby food yellow paint. It’s a hasty re-spray applied when this law enforcement champion was sold at auction. The 15×7 vented “cop wheels” tell the true tale.

And with 255 net horsepower and true dual exhaust (with twin catalytic converters added for 1978), the 1978 Fury Pursuit could do 0-100 in under 25 seconds while maxing out at a true 132.7 mph. Until the arrival of the 260 horsepower 1994 Chevy Caprice Police Package and 2006-up Dodge Hemi Charger / Magnum Police Pursuits, no full-size squad car from any manufacturer could break 120 mph (Special Service Package Fox Mustangs were 2-doors). Let’s dive in!

Only 4,097 Monza Mirages were built in 1977. Virtually forgotten today, the Monza was Motor Trend magazine’s Car of the Year in 1975. Though Monza shared the Vega’s 97-inch wheelbase and 65.4-inch width, Monza was 9-inches longer and ½ inch lower.

Though de-contented with a cast crank, mild cam, and 7.8:1 compression, it’s still a 440. VIN spotters look for engine code U in the fifth spot. The curious box on the dual snorkel air cleaner is the Lean Burn computer. It took data from eight sensors to help the carburetor and distributor come up with the most efficient calibrations. The flaw was computer longevity. Most failed after 12 to 24 months and required replacement.

The certified 140mph speedometer is no bluff. Testing at the 1978 Michigan State Police Trials verified the 440 Pursuit’s 132.7 mph top speed. This was 10 to 30 mph faster than period Corvettes, Mustang Cobra IIs, Z/28s, and Trans Ams.

To keep up with the 440’s 360 ft-lb of torque, Chrysler’s largest available rear axle in the late ’70s—the corporate 9 ¼-inch unit—replaced the smaller 8 1/4 incher used in small-block 318 and 360, and 400 big-block models. Don’t confuse the 9 1/4 with the Dana 60 (which was dropped after 1972). To help achieve 130 mph, most Police Pursuit axles packed 2.71 gears but 3.21s were optional.

Groovy Factoids

Before Monza, Chevrolet planned to use the name Chaparral, to honor Jim Hall’s successful line of road racing cars. When financial matters got in the way, Monza was chosen.

The Monza wasn’t Chevrolet’s only Wankel might-have-been. Several Wankel powered Corvette show cars hinted at a dead-ended program to offer rotary Stingrays in the early Seventies.

The Blues Brothers action movie saw the sad destruction of dozens of retired Chicago police units. The Blues Mobile was based on a full-size (C-body) 1974 Dodge Monaco Pursuit, not the smaller B-body platform shown here.

BONUS Junkyard Crawl! Here’s some bonus coverage of the 1977 Chevy Monza Mirage and 1978 Plymouth Fury Pursuit we unearthed at CTC Auto Ranch in Denton, Texas. To see even more, subscribe to Motor Trend on Demand and watch Episode SEVEN of Junkyard Gold to see these cars discovered in real time. –Steve Magnante

Inside this Mirage we hoped to see the optional manual transmission. But alas, a ho-hum 3-speed automatic does the job. Though Chevrolet initially promoted an optional 5-speed overdrive stick shift with the Monza’s 262 and 305 V8 engines, reliability problems terminated the program before any were sold to the public. Instead, the few stick-shifted V8 Monzas built got Saginaw 4-speed manual gearboxes with direct (1:1) Fourth gear.

The 1977 Mirage’s 80mph speedometer appeared a full three years before the federally mandated 1980 switch to 85mph speedometers. Chevrolet likely engaged in a bit of psychological manipulation to curb the temptation of a 100- or 120mph maximum. In 1977, Trans Am and Corvette speedometers still read to over 100 mph.

This peeling manufacturer certification sticker on the driver side proves this car is one of the 4,097 built by Michigan Auto Techniques in Grand Rapids, MI. Mirages without this sticker are either unfortunate re-paints or got the Mirage body kit added after retail sale. Records show that Michigan Auto Techniques also sold Mirage body kits and graphics for dealer installation. Obviously, collectors swarm to pre-retail units like this one.

Yes, they’re plastic. The Mirage’s standard-issue styled wheel covers were designed to emulate the cast-aluminum wheels of the 1972 XP-897 GT Two-Rotor Corvette concept car. Dig the Vega-spec 13-inch wheels and chromed acorn nuts designed to compliment the finned wheel covers.

Not every Police Pursuit is “de-commissioned” prior to public auction. This one still wears its black-and-white service paint scheme, though all traces of police markings, lights, and special equipment are eradicated. Sadly, this rust-free Texas machine is likely headed to the crusher. Public appreciation for police cars is growing, but lags far behind demand for muscle cars.

1975-’78 Police Pursuit B-Bodies wear their trim tags on the radiator support. Important codes here are E86 (440 V8), D36 (heavy duty Torqueflite automatic transmission), RL41U (440 powered Plymouth Fury 4-door sedan) and A38 (Pursuit package).

Don’t forget, if you want to see the discovery of these interesting ’70s Supercars in motion picture form, subscribe to Motor Trend on Demand and search Episode SEVEN of Junkyard Gold. – Steve Magnante

The post Junkyard Crawl: Pair of ’70s Supercars Discovered in Texas appeared first on Hot Rod Network.

from Hot Rod Network https://www.hotrod.com/articles/junkyard-crawl-pair-70s-supercars-discovered-texas/ via IFTTT

#IFTTT #Hot Rod Network

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myongfisher · 7 years ago

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Exciting new paper stocks for your next print project

Leapin’ lizards! The last time there were so many new, uncoated paper stocks introduced to the graphic design community was probably the same week that fire was invented. It’s been a long time coming, but there are great new finishes, textures and hues now available for printing and packaging projects.

With the addition of these beautiful new paper stocks design potential is growing exponentially. Coupling the new stunning colors and finishes with outstanding graphic design can yield breathtaking results. In this article we’ll introduce you to some exciting new paper options and what you can use them for.

But, first some background on uncoated paper stocks.

What are uncoated paper stocks? —

For the past several decades, there have basically been about a half-dozen finishes and textures manufactured which fall under the uncoated paper umbrella.

Non-embossed, uncoated paper stocks

This business card gets a lot of character from uncoated paper stocks. Design by Ian Douglas.

There are several types of non-embossed, uncoated paper finishes. Vellum paper has almost an eggshell appearance and a somewhat rough-hewn finish. Its name is sometimes confused with translucent paper, which is correctly known as ultravellum. Chances are good that paper manufactured for stationery usage, letterheads and matching envelopes is wove paper. This typically has a semi-smooth surface and no real distinguishing characteristics. Smooth and ultra-smooth paper has been repeatedly flattened during the manufacturing process. This finish is commonly used in copying machines and for digital printing.

Smooth and vellum finishes are often available as opaque paper stocks. Generally, these are low-priced “work-horse” paper stocks that have reduced show-through and are most suitable for reports, workbooks, journals and other lengthier publications. These are perhaps more for function than for design.

Embossed, uncoated paper stocks

Among the embossed, tactile, uncoated paper finishes, laid paper gives the feel and appearance of a very traditional (some would say aged), hand-crafted, high-quality paper. It has a series of continuous, fine lines on its surface that run parallel to the paper’s grain direction. A linen paper is a more complex version of laid. Linen stocks are reminiscent of fine linen napkins or tablecloths, featuring a crosshatch pattern on both sides of the stock. Felt paper has a coarse, grainy texture, which appears as a series of hills and valleys on the paper surface when magnified.

Exciting new paper stocks you need to know about —

Now, let’s explore several of the new and exciting print and packaging paper options available to art directors and business owners looking to make their print projects shine.

I’ll take cream and two sugars with that paper

Kona Paper by Monadnock Paper Mills via JetPens.com

Monadnock Paper Mills, based in leafy New Hampshire, has been manufacturing fine printing and packaging paper since way back in 1819. Despite its old age, it has introduced some truly rad, new products to the market.

Taking recycling to the max, Monadnock has created Kona Paper, which is produced from fiber derived from used burlap coffee bags. Saving these bags from eternal life in landfills, they have been repurposed into paper stock used for labels, tags and folding boxes/packaging. Manufactured in two caffeine inspired hues, Light Roast and Medium Roast, Kona can be appropriate for offset and digital print reproduction.

It’s rewarding to be part of a solution where you divert packaging from the landfill.

- Lisa Berghaus

“It’s rewarding to be part of a solution where you divert packaging that was made from natural fiber from the landfill, and make something new and really beautiful,” explains Lisa Berghaus, Monadnock Paper’s Director of Marketing Communications. “We’re helping to close this loop in the coffee supply chain.“

In a nod to the ever-expanding signage market, Monadnock earlier this year announced the introduction of their Ultrahide Blockout Poster stock. This is a 100 percent opaque cover stock (meaning no show-through), ideal for two-sided signage, window signs and other retail, point-of-purchase, event and hospitality uses. It is most suitable for offset printing and Latex or UV inkjet.

The key to kolour

Keaykolour by Mohawk

New York State’s Mohawk Fine Papers has very recently been named the sole US distributor of Keaykolour. Long established outside the US and manufactured by Arjowiggins Paper, Keaykolour has been revamped by Mohawk; actually transforming the brand to better serve the US graphic community’s needs.

Among the changes made to Keaykolour: it is now available in 43 hues, including three shades of white. The beautiful color palette works individually or combined, with hues ranging from Cappuccino (notice a coffee theme here) to Blackberry to Lipstick to Steel.

Using colored paper has never been so easy and accessible.

- Chris Harrold

“Using colored paper has never been so easy and accessible,” says Chris Harrold, Vice President and Creative Director for Mohawk. “Simply choose from 43 colors in text or cover weight.“

Keaykolour has a vellum finish, and is manufactured in 80 lb text and 111 lb cover weights. Keaykolour can be the right choice for a wide-breadth of projects, and is compatible with both offset and HP Indigo digital printing. Matching envelopes can also be provided.

All that glitters is paper

Glitter you can print on! Diamond Print by Harmony Papers.

Looking for a lot of glitter with that design? Harmony Papers has created Diamond Print, which they describe as printable glitter paper. Certified for HP Indigo digital and offset printing, Diamond Print can provide a truly memorable background for everything from invitations to pocket folders to envelopes to displays to packaging.

Diamond Print is made in Crystal (white) and Champagne (natural white) colors, in text and cover weights.

So classic, yet so radical

Neenah Paper’s Classic Paper has been a go-to brand for the design community for decades, but it has recently become a whole lot more interesting. In 2017, the Neenah mill added three totally unique, completely unduplicated, new finishes to the Classic family, collectively known as Classic Textures.

For designers and brands seeking a paper texture that gives off a warm, homey vibe, Classic Woodgrain provides the aesthetic charm of a wood finish. Neenah’s Commercial Sales Manager Holly Kirby says, “With an organic feel and complementary color palette, Classic Woodgrain was developed specifically because designers requested an environmental, organic touch to fall in line with current trends.”

Designers requested an environmental, organic touch to fall in line with current trends.

- Holly Kirby

Last, but not least, is Classic Techweave, a finish that embodies the texture of fabric, but with a high-tech twist. Kirby describes Techwave as “high touch meets high tech with this new texture.” She adds that, “It is the feel of finely woven fabric, with one-of-a-kind surface, inspired by the movement of digital data.” Both of these are available in six shades of white, plus ten additional colors; manufactured in weights ranging from 80 lb text to 165 lb double-thick cover.

Neenah has also expanded its Cotton brand of 100 percent cotton paper that’s ideal for letterpress, engraving, embossing, foil stamping and digital or offset printing. Three new hues in the Letterpress finish—blush, gray and mint—join three shades of white. Neenah Cotton, also manufactured in wove and smooth finishes, is a great fit for invitations, letterheads, envelopes and professional documents.

Versatility matters

by George paper via ArcherMalmo

Crafted in South Carolina by International Paper Company, by George is a new family of fairly smooth, cover weight only stocks perfect for a potpourri of applications.

Manufactured in 11 point and 18 point thicknesses, suggested uses include hang tags, table tents, invitations, book covers, menus and posters. There are seven colors in the by George family, ranging from bright white to deep black. Ideal for various finishing processes, by George can be embossed, foil stamped, die-cut and folded.

The right paper will do the trick —

Keep these stocks in mind for your upcoming design projects. Between the vast array of unusual new textures and finishes, along with the introduction of new colors to the marketplace, the design possibilities are endless.

Chances are good that paper samples and/or swatch books can be obtained from your print vendor, or from the above-mentioned paper mills. Check them out to find the perfect paper for your next print project.

Want to make sure your next print project becomes a raving success?

Find the perfect graphic designer to work with.

Let’s go!

The post Exciting new paper stocks for your next print project appeared first on 99designs.

Exciting new paper stocks for your next print project published first on https://www.lilpackaging.com/

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pamelahetrick · 7 years ago

Text

Exciting new paper stocks for your next print project

But, first some background on uncoated paper stocks.

What are uncoated paper stocks? —

For the past several decades, there have basically been about a half-dozen finishes and textures manufactured which fall under the uncoated paper umbrella.

Non-embossed, uncoated paper stocks

This business card gets a lot of character from uncoated paper stocks. Design by Ian Douglas.

Embossed, uncoated paper stocks

Exciting new paper stocks you need to know about —

Now, let’s explore several of the new and exciting print and packaging paper options available to art directors and business owners looking to make their print projects shine.

I’ll take cream and two sugars with that paper

Kona Paper by Monadnock Paper Mills via JetPens.com

It’s rewarding to be part of a solution where you divert packaging from the landfill.

- Lisa Berghaus

The key to kolour

Keaykolour by Mohawk

Using colored paper has never been so easy and accessible.

- Chris Harrold

“Using colored paper has never been so easy and accessible,” says Chris Harrold, Vice President and Creative Director for Mohawk. “Simply choose from 43 colors in text or cover weight.“

All that glitters is paper

Glitter you can print on! Diamond Print by Harmony Papers.

Diamond Print is made in Crystal (white) and Champagne (natural white) colors, in text and cover weights.

So classic, yet so radical

Designers requested an environmental, organic touch to fall in line with current trends.

- Holly Kirby

Versatility matters

by George paper via ArcherMalmo

Crafted in South Carolina by International Paper Company, by George is a new family of fairly smooth, cover weight only stocks perfect for a potpourri of applications.

The right paper will do the trick —

Want to make sure your next print project becomes a raving success?

Find the perfect graphic designer to work with.

Let's go!

The post Exciting new paper stocks for your next print project appeared first on 99designs.

via 99designs https://99designs.co.uk/blog/design-other-en-gb/new-paper-stocks-for-print/

0 notes

susaanrogers · 7 years ago

Text

Exciting new paper stocks for your next print project

But, first some background on uncoated paper stocks.

What are uncoated paper stocks? —

For the past several decades, there have basically been about a half-dozen finishes and textures manufactured which fall under the uncoated paper umbrella.

Non-embossed, uncoated paper stocks

This business card gets a lot of character from uncoated paper stocks. Design by Ian Douglas.

Embossed, uncoated paper stocks

Exciting new paper stocks you need to know about —

Now, let’s explore several of the new and exciting print and packaging paper options available to art directors and business owners looking to make their print projects shine.

I’ll take cream and two sugars with that paper

Kona Paper by Monadnock Paper Mills via JetPens.com

It’s rewarding to be part of a solution where you divert packaging from the landfill.

- Lisa Berghaus

The key to kolour

Keaykolour by Mohawk

Using colored paper has never been so easy and accessible.

- Chris Harrold

“Using colored paper has never been so easy and accessible,” says Chris Harrold, Vice President and Creative Director for Mohawk. “Simply choose from 43 colors in text or cover weight.“

All that glitters is paper

Glitter you can print on! Diamond Print by Harmony Papers.

Diamond Print is made in Crystal (white) and Champagne (natural white) colors, in text and cover weights.

So classic, yet so radical

Designers requested an environmental, organic touch to fall in line with current trends.

- Holly Kirby

Versatility matters

by George paper via ArcherMalmo

Crafted in South Carolina by International Paper Company, by George is a new family of fairly smooth, cover weight only stocks perfect for a potpourri of applications.

The right paper will do the trick —

Want to make sure your next print project becomes a raving success?

Find the perfect graphic designer to work with.

Let's go!

The post Exciting new paper stocks for your next print project appeared first on 99designs.

0 notes

bizporto-blog1 · 7 years ago

Text

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