You probably know that nature is crawling with the Fibonacci numbers 1, 2, 3, 5, 8, 13, 21, etc. But have you ever seen a simple explanation for this phenome…
A curated list of code and resources for pen plotters and other robots that draw. Contributions are very welcome. Please see CONTRIBUTING and CODE-OF-CONDUCT for details.
Kodu lets kids create games on the PC via a simple visual programming language. Kodu can be used to teach creativity, problem solving, storytelling, as well as programming. Anyone can use Kodu to make a game, young children as well as adults with no design or programming skills.
Seymour Papert’s Mindstorms was published by Basic Books in 1980, and outlines his vision of children using computers as instruments for learning. A second edition, with new Forewords by John Sculley and Carol Sperry, was published in 1993. The book remains as relevant now as when first published almost forty years ago.
In computing, a visual programming language ( VPL) is any programming language that lets users create programs by manipulating program elements graphically rather than by specifying them textually. A VPL allows programming with visual expressions, spatial arrangements of text and graphic symbols, used either as elements of syntax or secondary notation.
I’ve been teaching computers to stipple. It’s fun stuff. Stippling: The production of continuous graduations of light and shade through the use of small, discrete dots or strokes. In painting the technique is more commonly called pointillism. New! You can now download executables and source code.
The following information is retained for historical purposes. Adrian Secord has removed his Weighted Voronoi Stippler program from his website. Two other stipplers based upon Adrian’s work and which produce SVG to consider are Evil Mad Science’s StippleGen and http://www.saliences.com/projects/npr/stippling/stippling.html. Unfortunately, there is very little in the way of ready-to-use software packages or plugins for automatically producing stippled images.
SquiggleDraw will create a SVG file from an image, using the brightness to change the amplitude of sine waves. It is easier to look at the examples below to better understand. 🙂 You can use the saved SVG file to print from Inkscape/AI/etc, draw with a pen on a pen plotter (like the awesome AxiDraw), or engrave with a lasercutter (it looks cool!)
Halftone is the reprographic technique that simulates continuous-tone imagery through the use of dots, varying either in size or in spacing, thus generating a gradient-like effect. “Halftone” can also be used to refer specifically to the image that is produced by this process.
StippleGen is a free, open source, and cross-platform application from Evil Mad Scientist Laboratories that can create stipple drawings and ” TSP art,” from image files. One of the perennial problems that we have come across in a variety of contexts, including CNC artwork and producing artwork for the Egg-Bot, is the difficulty of creating good-quality toolpaths- i.e., vector artwork representing halftones -when starting from image files.
[flipbook pdf="https://flowpaper.com/Paper.pdf" lightbox="true" cover="https://email@example.com" header="Opening catalog..."]
Information about specific ports, and developer info Source and binary executables are signed by the release manager or binary builder using their OpenPGP key.
This is a beta version, released on December, 3rd, 2019. Note that the Windows packages that you can download here will always contain the most up-to-date fixes for the 1.0 code, and are not frozen to the status of beta2.
Andreas Klostermann is working on a concept for a new type of scripting language for Blender. From what I’ve seen so far it has the potential to make scripting more easily accessible for artists. What do you think? Blender Vraag is a Python library for more elegant or easy scripting in Blender.
location pc C:\Program Files\Blender Foundation\Blender\2.80\scripts\addons
This project was developed as part of a TU Vienna Bachelor thesis on the use of L-systems inside of the open source 3D computer graphics software Blender. The thesis describes applications of the code prodived in this project for specific use cases of L-system modeling in Blender and specifically to environmental interaction of a growing structure with a Blender scene.
L-systems were conceived as a mathematical framework for modeling growth of plants. L-Py is a simulation software that mixes L-systems construction with the Python high-level modeling language. In addition to this software module, an integrated visual development environment has been developed that facilitates the creation of plant models.
pip install conda-app (0.11)
conda create -n lpy openalea.lpy -c openalea
JEG ER EN HEADINGhttps://hub.gke.mybinder.org/user/ipython-ipython-in-depth-j7y1mszi/notebooks/binder/Index.ipynb
default /home/pi wget https://www.python.org/ftp/python/3.8.0/Python-3.8.0.tgz tar xzvf Python-3.8.0.tgz cd Python-3.8.0/ ./configure make -j4 sudo make install or sudo make altinstall echo "alias python3=’/usr/local/opt/python-3.8.0/bin/python3.8′" >> ~/.profile
If you are using Raspbian, then you must have Raspbian Jessie as a minimum version. Raspbian Buster is the currently supported version. We provide a script to install Node.js, npm and Node-RED onto a Raspberry Pi. The script can also be used to upgrade an existing install when a new release is available.
If you are using Raspbian, then you must have Raspbian Jessie as a minimum version. Raspbian Buster is the currently supported version. We provide a script to install Node.js, npm and Node-RED onto a Raspberry Pi. The script can also be used to upgrade an existing install when a new release is available.
Once you have entered the IP address, berryCam.py needs to be run as a Python process in order to provide the necessary links to allow the BerryCam iOS app to trigger the camera, provide previews and save files.
- AMD OSX vanilla https://vanilla.amd-osx.com/
- GibMacOS: https://github.com/corpnewt/gibMacOS
- Vanilla AMD config: https://github.com/AMD-OSX/AMD_Vanilla
- Kext repo: https://onedrive.live.com/?authkey=%21APjCyRpzoAKp4xs&id=FE4038DA929BFB23%21455036&cid=FE4038DA929BFB23
- CloverEFIbootloader: https://sourceforge.net/projects/cloverefiboot/files/Installer/
- AMDVanillaPatches: https://github.com/corpnewt/AMDVanill…
- CorpNewt’s guide to config.plist: https://hackintosh.gitbook.io/-r-hack…
- Olarila for AMD https://olarila.com/forum/viewtopic.php?f=50&t=8685
14 Oct 2007 0.4 version released 21 Aug 2006: 0.3 version released 14 Apr 2006: 0.2 version released 18 Nov 2003: First 0.1 package was missing scripts directory, uploaded a quick fix (hopefully not too many people got that broken version). 15 Nov 2003: PyLogo first announced.
some samples of online Logo programming:
The CircuitPython Library Bundle contains all current libraries available for CircuitPython. They are designed for use with CircuitPython and may or may not work with MicroPython. The bundle options are explained below. CircuitPython libraries are separate files designed to work with CircuitPython code. CircuitPython programs require a lot of information to run.
use LTS – download & install
terminal install server: “sudo npm i http-server -g” _ read info
cd folder – write “http-server” to start it on localhost port 8080
node package manager
node packages: https://www.npmjs.com/
npm -i python3 – npm -i python2
I’ve searched for this three times this week, so I figured I’d better make sure I have a copy of it. Python 2: python -m SimpleHTTPServer 8000 Navigate to the project directory in the terminal and do that command. Then http://localhost:8000 will server up that directory (as in, it’s `index.html` file).
python -m SimpleHTTPServer 8000
python3 -m http.server --cgi 8080
php -S localhost:2222
npm i -g serve//
http://www.bittysoftware.com Watch this video to find out how to pair your BBC micro:bit with your Apple Mac.
Square Kufi Square Designs: To create a square design, start with a band of square kufi calligraphy, then divides the words along the four sides of the square. Next, create a central pattern to tie the ends of the letters and fill the center of the square (figs. 1, 2, 3).
Logo programs are usually collections of small procedures. Generally, procedures are defined by writing them in a text editor. The special word to is followed by the name of the procedure. Subsequent lines form the procedure definition. The word end signals that you’re finished.
Turtle Blocks is an activity with a Logo-inspired graphical “turtle” that draws colorful art based on snap-together visual programming elements. Its “low floor” provides an easy entry point for beginners. It also has “high ceiling” programming, graphics, mathematics, and Computer Science features which will challenge the more adventurous student.
Simple, powerful, free tools to create and use millions of apps. Watch Video Use more than a million free web apps instantly, or remix to make them your own. Find handy tools for work, art experiments, big ideas for education, and more.
S T E A M
science, technology, engineering, art and mathematics
STEAM programs aim to teach students to think critically and use engineering or technology in imaginative designs or creative approaches to real-world problems while building on students’ mathematics and science base. STEAM programs add art to STEM curriculum by drawing on design principles and encouraging creative solutions.
I believe art and design are poised to transform our economy in the 21st century like science and technology did in the last century
- Repetier 1.0.2 – https://reprap.org/wiki/Repetier-Firmware
- Makelangelo 6.17.1 – http://www.makelangelo.com/
- Marlin 1.1.9 – http://marlinfw.org/meta/download/
- Repetier 2.13 – 1.10 – https://www.repetier.com/download-now/
- PrintRun 1.6.0 – http://www.pronterface.com
- Makelangelo 7.15.5 – http://www.makelangelo.com/
BOARDS: CNC – ARDUINO
- GRBL 1.1f – https://github.com/gnea/grbl/releases
- LaserWeb – https://github.com/LaserWeb/LaserWeb4-Binaries/releases
(Free Mac – PC)
- LaserGrbl – https://lasergrbl.com/en/download/
(Free – Mac – PC)
- Benbox – http://www.electronoobs.com/eng_impresoras_eleksmaker_soft1.php (custom grlb 0.8)
- RobotLaser – http://www.robot-eyes.com/RobotLaser/Download.htm
(Payment – PC – grbl 1.1)
- T2Laser – http://t2graphics.weebly.com/
(Payment – Windows)
- Universal Gcode Sender 2.0 – github.com/winder/Universal-G-Code-Sender
install node.js (https://nodejs.org/en/)
sudo npm install http-server -g
cd til Mappen hvor du vil serve f. eks “SERVER” på desktoppen
og skriv “http-server”
http://127.0.0.1:8080/ – http://localhost:8080/
Hit CTRL-C to stop the server
Learn more about the features of the Microsoft MakeCode product, and better understand how it can be used to teach every student computer science in a fun, engaging way. Ready to jump into Making and Coding? Find out how easy it is to get started with Microsoft MakeCode.
Printing size: 300300400 mm
Layer height: 0.05~0.4 mm (Low: 0.25mm – Normal: 0.2mm – Fine: 0.1mm)
Nozzle size: 0.4 mm
Printing precision: ±0.1 mm
Print speed: <200 mm/s – suggest: 50 mm/s
Printing material:1.75 mm PLA, ABS, Wood and so on
Support format: STL – obj – gcode (.gco)
System: Linux – Windows – OSX
Heatplate: PLA: 40-60 degrees
other – Prusa Mendel i3
Tools: Print all at once
File-Machine Settings: 300 300 400 height
Heated Bed check
Change Machine Name CR-10 – ok
Layer height: 0.15mm
Shell Thickness: 1.2mm (0.8 – 2mm)
enable retraction: yes
Bottom top thickness: 1.2mm
Fill density: 20% (solid: 100% – empty: 0% – normally 20 is enough) – how strong
— Speed and Temperature
Print speed: 50 mm (- 80mm)
Printing temperature: PLA: 200 C (190-220)
Bed termperature: 40C 45C 50C
Everywhere (none – touching build plate)
Raft (None – brim)
Nozzle 0.4 mm (0.2 – 1mm) smaller is finer and slower – more clogging
Speed: 70mm (80)
Distance: 8mm (10)
Initial layer: 0.3mm
Initial line width: 100
Cut off bottom: 0.0
Dual overlap: 0.15mm
Travel speed: 70 mm/s
Bottom layer speed: 25 mm/s
Infill speed: 0.0mm/s (0 = printing speed) reduce time but less quality
Outer Shell speed: 30mm/s (0 = printing speed)
Inner Shell speed: 0.0mm/s (0 = printing speed)
Minimal layer time: 5 sec
enable cooling fan: YES
A Servo Motor can be either a DC, AC or other type of motor and includes a device to know it’s position (ex.: potentiometer, digital encoder…).
Inside most Servo Motors you will find: A motor, gears, some type of limit stops that will limit the movement of the shaft, a potentiometer of some kind for position feedback and some integrated circuit to move the servo to a specific position.
A Standard Servo has around 180 degrees of motion. These can be modified to make them rotate 360 degrees or you can buy them already made this way.
The modification involves opening the Servo case, removing the limiting device and disconnect the potentiometer from the shaft. Once done the Servo will rotate in either direction endlessly since it has no way of knowing it’s position anymore and there are no limit switches to stop it.
Most Servo Motors have three wires:
White or Yellow: Control Wire.
To move a Servo you send a pulse to the control wire. This process is referred to Pulse Coded Modulation.
Standard Servos expects to see a pulse every 20ms. Depending on the length of this pulse the Servo will move to a specific angle.
For example a 1.5ms pulse will make the Servo move to the 90 degree position (which normally is the neutral or middle position).
A pulse shorter than 1.5ms will be move the Servo closer to 0 degrees and a longer one will move closer to 180 degrees.
Servos can have a lot of torque for their size and they also draw power in proportion to how hard they are working. So if you project is not moving much weight than the Servo will not consume much energy.
TUTORIAL Use the PCA9685 PWM Module to control a lot of servos simultaneously! – OVERVIEW We have seen in prior tutorials how to connect and control Stepper Motors. Stepper Motors are great for many projects but can get expensive when your projects needs
sudo apt update
sudo apt full-upgrade -y
apt list nodejs
Major Version Upgrades
curl -sL https://deb.nodesource.com/setup_8.x | sudo -E bash –
curl -sL https://deb.nodesource.com/setup_10.x | sudo -E bash –
sudo apt install nodejs
- $ node
- > 1 + 3
- > # We can hit Ctrl-C twice to exit the REPL and get back to the bash (shell) prompt.
excerpt from http://thisdavej.com/beginners-guide-to-installing-node-js-on-a-raspberry-pi/
Install Node.js and Npm on Raspberry Pi: You can build many apps using node.js and npm on your raspberry pi and it’s very easy to interact with GPIO or other components connected to your raspberry pi. So if you are like me and like to do it on node.js here a few simple steps to install n…
All handouts are in PDF format for easy download and printout, and you are welcome to use and share. The handouts are updated from time to time, so check back once in a while. I try to provide accurate information, but everyone works in different studios with different materials, so adjust and adapt as needed.
Kevin Haas | www.wsu.edu/~khaas
CREATING YOUR IMAGE
DRAWING MATERIALS Ball Point Pen, Sharpie or Permanent Marker, China Marker/ Litho Crayons, Photocopier Toner (Must be heat-set in an oven or on a hot plate at 225º – 250º for 10 minutes.)
PHOTOCOPIED AND DIGITAL IMAGES
Using Adobe Photoshop and a laser printer you can easily scan and print images onto polyester plates. A 1200dpi laser printer such as an HP 5000, a GCC Elite XL or a Xante printer will work best. However, it is best to make a few adjustments to your print settings to make polyester plates print easily and accurately at the press. By default most laser printers will print images over 133 lines per inch. Lines per inch (lpi) is a measurement of how many lines of small varying sized halftone dots are used to create the illusion of a continuous tone image. Since printing these plates by hand requires more ink and pressure than offset printing, which is what these plates were intended for, we need to decrease the lpi to 75. If you did not do this, the ink sitting on top of all the very tiny halftone dots would likely run together, or ‘bridge’. To prevent this from happening, lower the lpi to maintain a balance between the amount of ink that is needed to print and the space around the dots to hold water that repels the ink. As you gain more control over your printing the easier it will be for you to print higher lpi images. 95lpi is ﬁne for hand printing, but can still be manageable. Another good thing to keep in mind is the size of your image. Although the plate size may be 11×17” or 13×19”, it can be difﬁcult to ink an image that covers almost the entire plate. I would recommend at least 1” margins on each side and printing no larger than an 9×15 image on an 11×17” plate, and a 11×17” image on a 13×19” plate. These are the steps you should follow to properly image your polyester plates:
- Check your Page Setup. MB > File > Page Setup…
Set the Format to the printer you are using and the Page Size to match the size of the polyester plates. Orientation (portrait or landscape) should also be set at this time.
Set your Printing Options MB > File > Print with Preview…
Use this dialogue box to ﬂip the image so it will be backwards on the plate by checking the ‘Emulsion Down’ box. This is also where you will access the Screen settings to change the lpi of the printed image. Set your Halftone Screen’s Lines Per Inch to 75. Angles for 4 Color images: Black/Darkest Color: 45°, Cyan/Next Lighter: 15°, Magenta/Next Lighter: 75°, Yellow/Lightest: 90°.
Set the image Quality Settings MB > File > Print
Load your polyester plate into the manual feed tray on the printer and click Print. Viola!
PRINTING YOUR PLATES
• Printing Paper, Newsprint
• Two Bowls one ﬁlled with 1 L water and 30ml Gum Arabic
• One large sponge cut in half
• Felt & Toothpaste
• Inking Brayers
• Lithography Inks: Black(Graphic #1796), Handschy Yellow, Magenta, Cyan, White, Tint Base/Transparent Base
• Magnesium Carbonate or #8 Varnish.
Prepare newsprint, and printing paper, making sure to add the ‘T’ and Bar registration marks on the back of the paper. Mix and modify your inks as needed and roll out your slab of ink with the brayer. Fill one bowl with about 1L water and 15ml of Gum Arabic. This will help reduce the Ph of the water. Ideally, polyester plates work best with a dampening solution between 5.5 and 4.5 Ph, but I ﬁnd that the small amount of Gum Arabic in the water is adequate. Rinse your sponges. Setup the press, checking pressure, and registration on your plates.
MIXING AND MODIFYING INKS
Polyester plates print best with inks that are moderately stiff with a fair bit of length. True lithographic inks for hand printing are very stiff and moderately short. An ink such as Daniel Smith’s Crayon Black is too stiff for polyester plates and should be modiﬁed by adding a lighter varnish, such as #3, or by adding Handschy CS800 transparent base to make it more pliable for printing these plates. The Graphic Chemical Litho Black #1796 works well, but may need a small amount of mag or #8 varnish. Color Litho inks, such as the Handschy line of inks, may work well out of the can but will often need to be modiﬁed with Magnesium Carbonate. Slowly fold it into your ink until it is mixed in well and then check the consistency to determine if it is correct. It should hold its shape as it sits on the slab rather than immediately relaxing into a blob. If the pigment ‘bleeds’ from your ink while printing, such as it will do with magenta and cyan, adding #8 varnish or body gum to the ink will help greatly. Color mixtures using mostly Handschy Tint Base will require more mag.
Printing using an etching press
To print on the Brand etching press, set the pressure to –1|0, so the roller is just in contact with the press bed. It is easiest to ink your plate on a separate glass slab before printing. Once it is inked, place the dried plate face up on the center of the bed and your paper face down on the plate. Cover the plate and paper with 2 sheets of newsprint. Place a tympan on top and run them through the press. Felts are not needed.
Printing using a litho press
To print on a litho press, lay your plate centered and face up on the press. Place your paper on the plate according to your registration marks, and cover with two sheets of newsprint. Cover with a greased tympan and print. You should only use as much pressure as needed to pull a good impression. The plate will break down quicker if excessive pressure is used. Before you print, set up the litho press by centering your plate, setting the pressure, and marking your start and stop points (traverse marks).
MATTE malemiddel er et all round malemiddel med en konsistens, så det kan hældes ud af beholderen. Kan bruges som strækmiddel, til at dæmpe glansen og perfektionere overfladen. Den kan også bruges som en næsten klar malegrund på lærred, i stedet for gesso
Source: Golden Matte Medium 3530
In traditional lithography, this basic methodology is enhanced through highly complex and finely tuned chemistry involving the use of tar, tallow, acids, soaps, solvents, and so forth. Unfortunately, many of these very things are detrimental to health, and elaborate safety measures are needed to practice this type of lithography with any reasonable degree of safety.Traditional LithographyWhen Alois Senefelder invented lithography in 1798 it represented a genuine innovation in the repertoire of printmaking techniques.
368 pages – softcover
ISBN – 9780136031918 / 0136031919
Appropriate for all beginning and intermediate courses in Art, Basic Drawing, Figure Drawing, or Life Drawing.
Providing a concise but comprehensive survey of all matters pertaining to drawing the human figure, this well-illustrated and accurate guide demonstrates the interplay of structure, anatomy, design, and expression in sound figure drawing. This text shows how the integration of these four factors is essential in drawing the figure in a compelling and lucid manner.
Finally getting to print some editions in my little print shop. Take the tour! This little building used to house garden tools and a lawnmower. Now it’s the perfect little print shop. I picked up this Dickerson Combination Press in Western Pennsylvania. A nice workhorse that can print lithographs and etchings.
One thing a printmaker needs is a safe place to dry prints. Over the years I have cobbled together various methods, most involving string and pegs, but they were always precarious, awkward to use and no good for larger print runs. I didn’t want to pay the money for a professional wire drying rack and,…
12×12 inch: 30x30cm
January 1st, 2018: Permanent Gelli-Plate Happy New year! To bring in 2018, we’re going to show you how to make a permanent gelli-plate. It’s re-moldable, mol…
1.5 Cups Glycerin – 3.54dl
4.5 oz (18 packets) Geletin – 127.57g
1.5 cups cold water – 3.54dl
1.5 cups of isopropyl alcohol – 3.54dl
112.64/127.57 = 0.883
Viscosity printing is a multi-color printmaking technique that incorporates principles of relief printing and intaglio printing. It was pioneered by Stanley William Hayter. The process uses the principle of viscosity to print multiple colors of ink from a single plate, rather than relying upon multiple plates for color separation.
160 gram Gelatinepulver
250 ml Vand
125 ml Isopropyl-Alkohol 70%
125 ml Glycerin
1 – hæld 250ml vand i en gryde
2 – tilsæt gelantine – omrør
3 – simre i 10 min
4 – bland 125 ml Isopropyl-Alkohol 70% og 125 ml Glycerin
5 – lad gelantine størkne
6 – tilsæt alkohol/glycerin blandingen
7 – opvarm til klumperne er væk
8 – hæld i støbeform gennem si for at undgå bobler
9 – fjern evt luftbobler med papirlapper
Um eine dauerhafte Gelatine-Platte zu machen benötigt man folgende Zutaten: 9 Päckchen Gelatinepulver (je 9g = ca. 80 g), 250 ml Wasser, 125 ml Isopropyl-Alk…
Recipe for a non-toxic moldfree Gelli Plate. Perfect for gel printing; the classic hectograph technique for monoprints. No need to cool or freeze. When it gets damaged or too dirty you can easily melt it for reuse. It becomes even better after a while.
1 – 1 liter glycerin
2 – sugar 250g
3 – gelatine 175g
4 – 600 ml postevand
1 opløs sukkeret i 200ml vand
2 put resterende 400ml vand i gelatinen – rør
3 hvil 10 min
4 tilfør sukkervandet – rør
5 put i gryde – tilsæt glycerinen
6 opvarm – må IKKE koge
7 afskum om nødvendigt
8 gør form klar
9 køl ned
Finally a good recipe for a non-toxic moldfree Gelli Plate. Perfect for gel printing; the classic hectograph technique for monoprints. No need to cool or fre…
1 – klip i stykker m. saks
2 – micro 2-3 min 900W
3 – si gamle malingsrester fra
4 – støb ny
Gelatine printing is a form of monoprinting in which a gelatine slab is used as a printing `plate’ in conjunction with standard water soluble printing inks/paints to create images. Very little pressure is required to make monoprints using this technique – no press is required.
- slab of glass for ink rolling
- paper/ aluminum foil /plastic – for covering the work space
- removable tape (masking, cellophane, etc. not essential but can be handy)
- water-soluble printing ink , acrylic paint, (Oil-based inks are not advised.)
- something to print e.g. stencils or flat textured objects: plants, feathers, found objects, etc.
To create the gelatine plate
I use 2 tablespoons of unflavored gelatine for each cup of water – food grade Gelatine – (It can be helpful to dissolve the gelatine with some cold water first then add hot to make up the amount.) The finished slab should have a yellow tinge. If the gelatine is too thick I have noticed that it is harder to release the paint/ink – weather conditions also effect this.) The plate can remain in the container (if your paper size is smaller than the container) but if you want to use the edges you need to turn it out and make a plate that is about 1.5 cm thick.
For a more permanent gelatine plate substitute 1/2 the water for glycerine. (eg. 6 TBS gelatine, 1 1/2 c glycerine and 1 1/2 c water)
Smooth is good as any marks will leave indentations. Try shallow baking tins, Tupperware style containers, trays from op shops etc. You can make your own shape by building up the edges with non-drying modelling clay/plasticine around the interior edge of a tray or on a plexiglass sheet. The plexiglass will yield gelatine with two flat, workable sides, but the plate must be level and check very carefully for leaks in your clay dams before pouring the hot gelatine. Larger plates may be made using larger containers, in which case lining the bottom with plastic wrap will make the plate easier to remove.
Pour dissolved gelatine into the mould. Sweep out any air bubbles with paper scraps. Allow the liquid gelatine to solidify by leaving it undisturbed in a cool place (refrigerator, if possible), until it is quite firm to the touch.
When ready, dip a knife in warm water and run it carefully along the inside of the mould, then gently get hands underneath hands underneath lift up, keeping hands wide walk your fingers along length to avoid cracking and ease the gelatine out of the mould.
Smooth is good, thin is good. Use a dry paper. Watercolor papers, especially the hot press ones (Arches is good). Rives BFK, some pastel drawing paper, lightweight printmaking paper, Asian papers, brown paper, and tissue paper. Paj and organza silk pick up with delicacy. Computer and velum paper tend to curl up at the edges once they dry.
Standard water-based printing inks generally dry very fast, typically less than 5 minutes. This is good because your prints dry quickly however the ink/paint may dry too quickly on the gelatine block. It can be useful to add mediums: gel medium to acrylic paint, textile medium to textile inks, transparent base and extender to printing inks.
Many techniques used in traditional monotypes are possible using gelatine as the printing surface. Ink can be applied to the gelatine in a positive manner, using brushes and brayers to develop the image. One great advantage of using a gelatine plate is that ink can be transferred fairly evenly with very little pressure and gelatine is an excellent material for transferring details from found materials.
Squeeze some printing ink onto your palate and brayer it evenly until you have a nice thin coating on the brayer. Brayer the ink onto the gelatine plate gently and evenly. (Or paint on with a brush and even out with a brayer directly on the plate) The ink colour should both suit your subject matter and contrast with your paper in order to bring out the most detail.
Place flat textured object/s on top of the inked plate. Gently press down to be sure there is good contact with the gelatine, but try not to tear, gouge, or damage the plate.
Leave the object/s in place on the plate and lay a piece of paper down on top of it. Rub your palm lightly over the back of the paper to transfer the ink. You don’t need much pressure; gently ensure that the paper makes good contact with the exposed gelatine plate. Peel the paper off. The resulting print is called a negative image. Newsprint can be used like a blotter if you are not so keen on the silhouette image results from this step, or have a spare piece of paper where everything excess gets loaded onto – could be useful for wrapping paper.
Continue by gently lifting the textured object/s off the gelatine. You will see some texture imprints which will appear in your monotype. Lay a fresh dry piece of paper/fabric down on the gelatine plate and run your hand over gently, again to ensure a good contact between the paper and the gelatine. Slowly peel the paper off. This print is called a positive image.
Gelatine has a natural suction to it and ink transfers quickly and easily. As you continue to work with the gelatine, it starts to give off moisture, which mixes in with the inks, adding fluidity and translucency, resulting in painterly, fluid-looking prints. While the plate can be cleaned and used several times, it will eventually start to break down. After much use, it can crack, crumble, and develop texture, all of which give interesting effects in your prints. These irregularities and surprises can give you the opportunity to think of some of the printmaking session as drawing.
start with a flat application of color, making layering a part of the image from the beginning. (Use a bit of masking tape to fix your paper down on one end to help with registration) As the image develops and some areas become complete, they can be blocked out with a homemade stencil of cardstock or mylar, and you can continue developing your image on the uncovered areas of the plate. You can cut your own stencil shapes, or even incorporate store-bought stencils into your prints. I like using the boldness of stencils with something more detailed, like fabric mesh.
The gelatine plate is quite cold when it comes out of the refrigerator and moisture will condense on it for the first 20 or so minutes of use. You may find that your first prints are a little bit runnier than your later prints or you may need to wait until the plate dries up slightly. As the plate warms up, it will become more and more `mushy’ and may start to fall apart. Chilling the plate after 2 or 3 hours of use helps to restore its firmness.
If you tear the edges, just cut away with a knife till you have the shape you want.
I cut stencils out like this – photocopy (or draw) a simple silhouette onto the middle of a sheet of mylar and then cut around the image with a soldering iron. Do on a glass surface. My soldering iron is a textile one – it has a fixed temperature and a fine point.
Clean the plate: you can use a piece of newspaper to pick up extra ink left behind, or use a slightly damp sponge. I clean mine with baby wipes! The plate may look coloured but you can print other colours on it after cleaning.
- Negative-on-positive, positive-on-negative
- Printing negative images on top of positive images and vice-versa.
- Apply ink to printing object
- Apply small amounts of ink, either with the brayer or your fingertips, to an object before pressing it onto the gelatine plate.
- Different papers – different types of paper will absorb the ink differently and reflect the technique differently. I like using white paint on black paper for strong imagery.
- Experiment with different brands and types of printing ink, paints, dyes, etc.
- Tempera paint is particularly well suited for young children. Be sure that all colorants are water soluble! Many recommend Akua Kolor.
- Use the plate like a rubber stamp – cut the plate into pieces, ink them, then pick them up and print on surfaces as if you were using a rubber stamp.(It’s easy to see where you are stamping as you can see through the gelatine!)
- Do a woodblock/screenprint print over the top.
- Alternative media – try fabric, painted surfaces, wood, egg shells, etc.
- Gelatine can even be used as a material for relief printing, cutting, gouging the plate. It must be handled carefully, and it won’t stand up to editioning.
- Pour gelatine onto one of your etching plates to create a flexible stamp.
Gelatine er et naturprodukt af animalsk oprindelse. Det fremstilles udfra kollagen, som er er protein og en vigtig bestanddel af bindevæv. Gelatine kan derfor udvindes fra hud, sener og knogler. Omdannelsen fra kollagen til gelatine består i en ændring i molekylets struktur, som f.eks. vil ske ved opvarmning. Gelatine er i modsætning til kollagen vandopløseligt, og ved afkøling vil der derfor dannes en gel.
Den industrielle fremstilling af gelatine er typisk af hud, sener og knogler fra svin og kvæg, men kan også bestå af råvarer fra andre drøvtyggere (får og geder), fjerkræ, fisk og vildt.
Først foretages en knusning af råvarerne, hvorefter der foretages en grundig affedtning. Dernæst behandles råvarerne i saltsyrebad i flere dage, hvorefter gelatineproduktet ekstraheres (udtrækkes) fra knogler, huder m.m. med syre og så behandles gelatineproduktet i basisk væske i flere uger. Derefter foretages ekstraktion i varmt vand. Endelig bliver gelatineopløsningen filtreret, koncentreret og steriliseret ved 140°C før den endelige tørring af produktet.
Teknologisk har gelatine flere egenskaber som for eksempel emulgeringsmiddel, geleringsmiddel, bindemiddel og fortykkelsesmiddel. En lang række forarbejdede fødevarer som f.eks. kødpålæg, kager, desserter og slik, herunder vingummi, indeholder gelatine.
gelantine er også kendt som husblas for forbrugerne….
RCWL-0516 Sensor Test & Review The RCWL-0516 microwave radar motion sensor module is a low cost sensor that has been newly added to ICSTATION inventory. There is quite a lack of information on the module online, at least not that I could find, so I’m compiling what I could find and posting it all here …
This is an ongoing project as I learn gilding techniques and better comprehend their application. As part of my own experimentation I have used supports that I am likely to use in a real application, 230gm pergamenata and 100lb Strathmore Bristol Vellum.
Take a look at the image of a square next to a circle. When the circle is mathematically the same height as the square it appears to be too small… to counteract that the height needs to be increased slightly so it looks correct to the human eye. This height increase is called ‘Overshoot’.
see great blog by type designer Tobias Frere-Jones that explains Type Mechanics
Inverting files isn´t always straightforward:
As you can see from the image above when black on a white object is reversed we experience what’s known as irradiation phenomenon, whereby the white version looks 10% larger. To counteract this illusion, it’s important to slightly reduce the overall weight of the logo.
download and install latest LTS for your system.
Check version using Powershell:
node --version; npm --version
add-ons from vanilla install
flickr – tumblr – instagram
pi gpio johnny five
SL 03 RFID pi
midi — fail
(dmx – openlighting – artnet)
MeshLab the open source system for processing and editing 3D triangular meshes. It provides a set of tools for editing, cleaning, healing, inspecting, rendering, texturing and converting meshes. It offers features for processing raw data produced by 3D digitization tools/devices and for preparing models for 3D printing.
Photo etching using BIG
The conventional view holds that girih (geometric star-and-polygon) patterns in medieval Islamic architecture were conceived by their designers as a network of zigzagging lines, where the lines were drafted directly with a straightedge and a compass. We show that by 1200 C.E.
To create even easier ornaments, than with the laser cutted Girih tiles, I decided to write a specialized App for it. An App has some advantages to the physical tiles: Physical tiles tend to move around a bit, when you release your fingers or add another piece.
Girih tiles are a set of five tiles that were historically used in the creation of ornaments for decoration of buildings in Islamic architecture. This browser app allows you to:
- Lay Girih patterns on an infinite canvas.
- Color and style your design.
- Export as vector images.
Girih tiles are a set of five tiles that were used in the creation of Islamic geometric patterns using strapwork ( girih) for decoration of buildings in Islamic architecture. They have been used since about the year 1200 and their arrangements found significant improvement starting with the Darb-i Imam shrine in Isfahan in Iran built in 1453.
With shiftr.io the process of interconnecting objects, devices and apps becomes more accessible and less complex. Regardless of whether you are building an interactive installation, prototyping the next connected product or simply playing around with new technologies, shiftr.io lets you add connectivity to your project in the early stage.
Tsubaki Abura – Camellia Oil
Camellia oil is applied to the barengawa (the bamboo sheath on a baren) to keep it supple and prolong its life. The oil may be applied with a saturated pad, cotton ball, or use the palm of your hand. Rub just a drop or two of oil into the sheath, paying attention to the sides as well as the face of the barengawa.
Imported from Japan, our camellia oil comes from camellia japonica seeds. It is cosmetic grade and used in Japan as a hair and skin moisturizer, so it is good for your skin as well the barengawa.
The oil will also protect cutting tools from rust. Apply a small amount to the steel blade after sharpening it on water stones.
Disk Baren This high tech plastic baren was designed by the famous Japanese relief printmaker, Akira Kurosaki. The replaceable disc has tiny bumps on the surface that apply pressure evenly across the paper as you print. When these bumps wear down after extended use, you can simply remove the old disc and press on a new one.
This neutral pH rice starch powder is made from glutinous rice, so mixing and
cooking it on the stove is not necessary. If your tap water has a high mineral content, use distilled water instead.
1. Place 3 tablespoons of rice starch powder in 1 cup of boiling water.
2. Stir briskly with a wire whisk until smooth. If there are lumps left, pour the hot mixture through a strainer and discard the lumps.
3. Cool before using. The rice paste will thicken as it cools. This recipe will produce a paste that is about the consistency of heavy cream or yogurt.
For a thicker paste, use 4 tablespoons of rice starch; for a thinner paste, use 2 tablespoons.
If you prefer to cook the paste, this recipe is from The Art & Craft of Woodblock Printmaking.
1. Mix 2 tablespoons of rice starch with 5 dl (3½ tablespoons) cold water
2. Stir until smooth and milky
3. Bring 150ml (2/3 cup) of water almost to the boil
4. Add the paste mix in a smooth ribbon while stirring
5. Bring to a boil and keep stirring constantly until the mix goes translucent (about five minutes)
6. Cool, stirring from time to time
The mixture will thicken as it cools. If it is too thick, thin with water. If it is too thin, make a new mixture
but this time make it extra thick so you can add it to the first mixture. Combining the two will give the
Nori is very important in the Japanese style of printmaking. It works as a dispersing agent to give the ink body so it will spread evenly over the block. Ink without nori can look speckled when it is printed, often an unwanted effect, while ink with nori prints more uniformly. Traditionally, it is also used to paste the original drawing to the block.
Nori can be used for chine collé, book repair, and everyday paper pasting jobs. It is smooth, has a pleasant scent, and will not stain. Water reversible, nori is acid free, strong, and because it contains a very tiny amount of formalin, it does not spoil.
If you prefer to make your own rice paste, we also carry Pure Rice Starch.
seen at McClain´s Printmaking Supplies
The kento is a simple device by means of which the printer insures the register of the picture throughout the printing process. It has been employed for several centuries, and experience has proved it to be the best means for the purpose. The principle is to maintain with absolute exactness the width of the margin of every requisite block by means of two small projections, the kagi (key) and the hikitsuke (draw stop), which are cut directly on the block, as shown in Figure 1. These guides cut on the key block will be printed on the kyogo (proofs pulled from the key block) and therefore copies on every color block, keeping the margin the same width as that of the key block. The printer positions his paper so that its edges coincide with these guides during printing. The kagi is a right-angled guide at the lower right-hand corner of the block; the hikitsuke, a straight-line guide…at a short distance from the lower left-hand corner. To cut these guides, the carver uses the kento-nomi,(a 15mm chisel) the edge of which is strongly made with a wider angle and is perfectly straight. The kento-nomi is held by the grip in the right hand, resting upright on the board with its edge exactly at the line to be cut, in such a manner that the flat side of the tools is vertical to the surface of the board (Figure 2). Then it is pressed down to make a cut about one-eighteenth of an inch deep. After the necessary lines have been cut in this way, the space must be cleared with an aisuki(bull-nose chisel) of large size. The clearing must be very shallow and must produce a flat and smooth surface in order to facilitate the fitting of the paper during printing. The depth required is two to three times the thickness of the paper to be used. In making the kagi, the cleared part must slope very slightly toward the point of the right-angled corner. The hikitsuke is left in the form of a sort of step, the top of which is cut in a straight line. The detail of these two guides can be seen in Figure 3a and 3b.
Re-printed from Japanese Print-Making by Toshi Yoshida and Rei Yuki, c. 1966
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