The Process Manual: A Manual Explaining 7 Different Processes

THE PROCESS MANUAL A Manual Explaining 7 Different Processes

Noelle J. Olsen

THE PROCESS MANUAL

" The finished book, the limits of what’s possible. No claim to objectivity in making the selection. No claim to rightness in the choice of code and ciphers. Only the most open-ended outlook possible."

Super Welcome to Graphic Wonderland

CONTENTS 1. SCREEN PRINTING 1.1 INKS 1.2 BLOCK-OUT MATERIALS FOR DIRECT STENCILS 1.3 FLOAT AND PRINT STROKES 1.4 REGISTRATION METHODS 1.5 DRYING AND CLEANING SCREENS 2. ARCHITECTURE 2.1 DRAWING PROCESS 2.2 FINAL DRAWING 3. CARTOGRAPHY 3.1 WHAT IS A MAP? 3.2 WHY ARE YOU MAKING A MAP? 3.3 MAPPABLE DATA 3.4 MAP-MAKING TOOLS 3.5 MAP DESIGN 4. COMPUTER PROGRAMMING 4.1 NAMESPACES IN JAVSCRIPT 4.2 CREATING A CL ASS 4.3 DERIVING A CL ASS 4.4 CREATING MIXINS 4.5 ENCAPSUL ATION 5. PHOTOGRAPHY 5.1 NOISE REDUCTION 5.2 WHITE BAL ANCE 5.3 APERTURE AND DEPTH OF FIELD 5.4 SHUTTER SPEED 5.5 CENTER-WEIGHTED AVERAGING 6. WATERCOLOR 6.1 MATERIALS 6.2 PAINTING PROCESS 7. SCULPTURE 7.1 SHEARING 7.2 SOLDERING 7.3 FUSION WELDING 7.4 BRAZING

PREFACE The Process Manual: A Manual Explaining 7 Different Processes was created as an exploration intended to issue notice of new relationships between a set of books selected by Noelle J. Olsen from the Marriott Library at the University of Utah in Salt Lake City. The book focuses on processes that professions go through on a daily basis and how they tell their own story.

Each section connects through similar thought processes and/or materials, while teaching the reader about the process itself.

The idea for this book was inspired by Super Welcome to Graphic Wonderland by Thomas Bruggiser and Michel Fries. Bruggiser and Fries approached 12 European designers and asked them to create and design an entire chapter for the book using their artistic freedom. When the book came together, each section was completely different in subject matter and style, but still cohesive in purpose. This use of a book was interesting to me and I took this when creating The Process Manual.

1. SCREEN PRINTING HOW TO PRINT WITH BLOCK-OUT MATERIALS

1.1 INKS The inks used to print on paper are often called poster inks. Reading labels is important when choosing screen—printing inks. Both water—based and oil—based inks are available. Some are designed for fabric and are quite common in art supply stores because of the large market for printed t—shirts. Pay particular attention to warning labels and necessary precautions to take when the product is used. Many inks have specially formulated additives. Some extenders are added to make the inks more transparent; others increase the volume of ink without affecting the viscosity. Some inks and photo emulsions require that the screen be washed with special materials. Some water—based inks are acrylic—based and will not dissolve in water once they have dried.

1.2 USING BLOCK-OUT MATERIALS FOR DIRECT STENCILS Stencils developed on the screen are classified as direct stencils, and this category includes painted block—out materials. Water—soluble screen fillers and crayons let oil—based inks pass through without dissolving.

Tusche, litho crayons, and other materials that dissolve in solvents let water—based inks pass through without dissolving.

There is a water—soluble screen filler that works as a resist for both water— and oil—based inks. The Hunt Speedball water—soluble screen filler requires a heavy detergent such as Formula 409, Wisk, or Mr. Clean and warm water to remove it. Therefore inks or screen fillers that dissolve in cold water or with petroleum solvents can be successfully used with it.

You can make a negative screen using a three—step process. First paint Hunt Speedball drawing fluid or Ulano number 60 drawing fluid with a brush in the areas that you want to print. When this drawing is dry, squeegee on Speedball screen filler, which will cover the areas not painted.

Once the filler is very dry, wash out the drawing fluid with cool water, which will leave the screen filler undisturbed and an exposed area of screen where your drawing used to be. The ink will pass through this area, creating a replica of your drawing.

A similar principle applies to other combinations of materials. What you are looking for is a drawing medium that resists a screen and washes out of the screen with something that doesn’t disturb the filler. This allows you to draw or paint a positive image that will dissolve while the surrounding screen filler stays intact. For example, water-soluble crayons designed for small children wash out with cold water and soap.

Since this will not disturb Hunt Speedball water—soluble screen filler (which, as explained above, requires warm water and heavy detergent), you can use these crayons as a resist. Draw directly on the fabric, and then squeegee the filler over your crayon drawing. When you remove the crayon with cold water and soap, it leaves “holes” in the screen filler.

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If oil—based inks will be used, you can create the image by painting liquid tusche or drawing with lithographic crayons on the fabric. Then squeegee water—soluble filler made of LePages glue diluted 50 percent with water over the screen filling in the open fabric. Next apply a “sandwich” of turpentine to both sides of the screen until the tusche or crayon is removed.

Dorothy Hoyal, Bali Bungalow, Screen Print, 7x11”

SCREEN PRINTING

Dorothy Hoyal applies Speedball drawing fluid to the screen, using a color painting underneath as a guideline.

This is a common practice for creating stencils with the reductive technique. The drawing fluid is water‒soluble but will work as a block‒ out material with her oil—based Naz—Dar inks.

Once she has completed her design on the screen, Hoyal positions paper beneath it and prints the background color.

This first printing shows how the drawing fluid blocked out the areas that are to remain the color of the paper. She will now block out the areas that are to remain this color.

Next she uses solvent to clean the oil—based ink off the screen but does not disturb the drawing fluid. Instead she gradually builds up the cool design, pa i n t i n g more dr a w i n g fluid onto the screen to block out the areas where she wants the background color, but not the next, and then prints the black over the gray printing.

After fur ther blocking Hoyal prints the next color through the screen.

The layer by itself: when she prints the color over the other two.

This screen brings more information to the foreground.

The last screen adds detail, it is usually done last so that other colors won’t cover it.

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1.3 FLOAT AND PRINT STROKES After the paper is in place, elevate the screen on the leg stand, and add the ink in a line across the screen. Use the squeegee to push the ink across the image to the opposite side of the screen. Use the squeegee to push the ink across the image to the opposite side of the screen. This is called the float stroke, and it fills the mesh of the screen with ink.

Now lower the frame. Firmly and deliberately, with both hands, pull the squeegee and ink across the screen. This is called the print stroke, and it forces the ink through the screen to the paper below. This two—stroke method ensures more even printing than if you tried to use only one stroke. It also prevents ink from drying in the screen mesh and blocking the design itself.

Finally raise the leg stand and remove the paper. If the paper moves or sticks to the fabric, off—screen printing is needed. This is done by lifting the frame from the print surface. Prop up the front of the screen on tabs ¼ to ½ inch high, and raise the hinge system in the back equally.

(You can use small pieces of cardboard, tacks, or pushpins as tabs.) Thus the screen is still flat but slightly separated from the paper. The squeegee presses the fabric to the paper surface and the screen snaps back after the blade passes.

SCREEN PRINTING

1.4 REGISTRATION METHODS Place the paper on the baseboard for printing. Even for a simple one—stencil print on paper, you will need a registration system to align the work within the paper margins. You can use cardboard or plastic tabs that grasp two sides of one corner of the paper. As you print, make sure that these tabs align with other tabs taped into place on the baseboard.

If you are making a multicolor print, another alternative is to hinge a sheet of Mylar to the baseboard with tape and print it with the first color.

Then pull back the Mylar to print the first color on enough sheets of paper for your edition. Once the first color has dried on paper and you are ready to add the second color, put the first sheet of paper back on the baseboard and then flip the Mylar on top of it. Make any minor adjustments if necessary so that the first color on the paper aligns with that on the Mylar.

Since the Mylar is actually attached to the backboard, you can count on it as an accurate gauge of where the screen will fall.

1.5 DRYING AND CLEANING SCREENS Before you begin the printing process, plan where you will dry your prints.

Clothespins or bulldog clips strung on wires are effective for clipping prints and hanging them to dry.

Regardless of what screen—printing method you have been using, start the screen cleanup by detaching the frames from the backboard and using cardboard squares to scrape the unused ink back into its container. Wash the screen in the sink with water and detergent. Rinse it thoroughly and dry off excess water before proceeding to next step.

Cleanup of the screen fabric will vary according to the inks and stencil materials you used. A water—based ink used with Hunter Speedball screen filler will require simple cleanup with soap and water. First rinse the ink from the fabric, and remove the stencil material by placing the screen in a “sandwich” of paper toweling and detergent, such as Mr. Clean, to soak.

Oil—based inks are effectively removed with the sandwich soak. Each manufacturer recommend the proper solvent for its ink or stencil material.

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2. ARCHITECTURE DRAWING PROCESS OF COHEN RESIDENCE IN SIESTA KEY, FLORIDA BY PAUL RUDOLPH

2.1 DRAWING PROCESS

2.2 FINAL DRAWING

3. CARTOGRAPHY THE CREATION OF A MAP START TO FINISH

3.1 WHAT IS A MAP? Maps are a graphic statement that locates facts.

GRAPHIC — A visual display of marks which stand for something else. An airplane shape on a map implies an airplane.

STATEMENT — To put forth information, a formal embodiment of facts.

LOCATING FACTS — Phenomena located in geographic space ‒ what we see (roads, rivers) and what we cannot see (temperature, radiation), varying in amount (population) and kind (vegetation types).

3.2 WHY ARE YOU MAKING A MAP? Prior to making a map, clarify your intent. Simply writing out the purpose of the map prior to making it will clarify goals; help determine relevant data, map design, and symbolization choices; and will lead to a better map.

Good

Poor A map showing a proposed Black Heritage Trail in Eli County, VA. The map is the visual centerpiece of a proposal for grants to develop the trail and its associated sites, and must visually tantalize branding agencies.

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DETERMINE WHO YOUR MAP IS FOR

NOVICES know less about the map subject and may not be familiar with the way maps are symbolized. They need a map that is more explanatory.

Novices may be less motivated than expert users, but they want the map to help them learn something. They expect clarity, and may be put off by a complex map.

EXPERTS know a lot about the subject of the map. Experts are highly motivated and very interested in the facts the map presents. They expect more substance and expect to engage a complex map.

DETERMINE HOW YOUR MAP WILL BE PRESENTED Maps can be presented in many different ways such as on a computer monitor, black and white on paper, color on paper, projected, or even on a poster.

CARTOGRAPHY

3.3 MAPPABLE DATA Given your purpose, what data do you need? Roads? Rivers? Coastlines?

Population? Toxin levels in wells? Number of deer per county? Some data are free and easy to find. Other data exist, but at a cost. The facts you need may not exist at all, and you may have to collect them yourself or pay someone to do so. Locating and processing mappable data can be among the most expensive and time—consuming parts of making maps.

Between deciding what you want to map and mapping it lies the important task of acquiring mappable data. The data you need to make your map may or may not be easily available, or in a usable form. When making maps, budget both time and money for data, and leave sufficient time for acquiring and processing the data. Understanding mappable data involves eight issues: PHENOMENA & DATA — Maps display data, and data distill human and physical phenomena. It is vital to distinguish data from phenomena when making maps.

DATA LAYERS — Some data layers provide other data on a map. Data may come from different sources, and must be processed to work together.

GETTING DATA — We acquire data directly from the environment, or use already collected data from an existing source.

DATA ORGANIZATION — Mappable data are organized as either raster or vector format. Your goals for your map and the software you are using determine which format should use.

QUANTIFYING DATA — Data can be qualitative or quantitative, and there are several different kinds of each. The level of quantification will shape how you symbolize your data.

TRANSFORMING DATA — Common processing of data makes them more mappable, including averages, densities, and rations.

DATA ACCURACY — Accuracy is complicated, there are many aspects of data accuracy you must assess when working with mappable data.

DIGITAL DATA AND GIS — Digital data require understanding issues of metadata and copyright.

3.4 MAP-MAKING TOOLS Which tools will you use to make your map? Internet map—making sites are free but limited in data and map—making capabilities. Geographical Information System (GIS) software is a more sophisticated and flexible but expensive to purchase and more difficult to use. Select appropriate mapmaking tools based on the kind of map you want to make: you cannot make every map using internet sites, but you don’t need GIS for every map either.

MAP MAKING WITHOUT COMPUTERS You certainly don’t need a computer to make maps. Indeed, map making with pencils and paper is appropriate, inexpensive, and effective in many instances. A sketch map made with pencils and paper may be your final map, or it may be a vital step in the process of producing a map with other tools.

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MAKING MAPS ON THE INTERNET The internet has democratized map making. Anyone with access to the internet can make maps on sophisticated interactive mapping sites. Such sites are free and easy to use but limited in functions, compared to mapping software you can purchase. Internet mapping sites are increasingly sophisticated, with more mapping functions and more control over map design.

Use the internet for getting mappable data, the United States Geologic Survey (USGS) map locator, map snapshots, locations and directions; looking up maps, map projections, and performing basic GIS analysis.

MAKING MAPS WITH GIS Geographic Information Systems (GIS) software is not only for making maps. GIS assists in the manipulation and analysis of geographic data including queries (show all parcels owned by the city), buffers (show all roads within 100 feet of wetlands), and overlay (combine a map of soils with a map of wetlands, and show only the soils that underlie wetlands).

In most cases, GIS users interact with maps while engaged in GIS analysis, and the outcome of the analysis is a map. Because of this, most GIS software has map—making and map design capabilities.

CARTOGRAPHY

GRAPHIC DESIGN TOOLS Internet mapping tools offer limited control over map design, and the results are low—resolution raster files. GIS mapping tools offer more control over map design, and higher—resolution output, but still may not meet the needs of those who produce high—quality maps for publication.

Software designed for graphic design offers extensive control over text, color, and all point, line, and area symbols on a map. While not designed with map making in mind, graphic design software can import raster maps or maps generated by GIS, re—create and redesign them, and generate files that can be professionally printed.

3.5 MAP DESIGN Given the reason you are making the map, mappable data, and map-making tools, how do you make a map that fulfills your goals — a map that works? Key issues include the geographic framework, map layout, intellectual and visual hierarchies, map generalization and classification, map symbolization, and the use of type and color.

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4. COMPUTER PROGRAMMING THE FUNDAMENTALS OF WINJS

WinJS is an open source JavaScript library and provides helpers that facilitate the development of native Windows Store apps using HTML5 and JavaScript. The library consists of modules and functions that expose the Windows Runtime in a way that is consistent with JavaScript coding conventions. WinJS makes it possible to add Windows UI controls to HTML. This is accompanied by support for data binding and a template engine.

When building an app using a library for the platform, it is important to understand the features that the library provides. You’ll look at various features that WinJS provides for building Windows Runtime apps using JavaScript, HTML, and CSS. These features include namespaces, modules, promises, and query selectors. These features used in almost all the app lications that you build using WinJS. By taking advantage of the features like namespaces and modules, you can make your app easier to maintain, instead of adding everything under the global namespace.

4.1 NAMESPACES IN JAVASCRIPT Namespaces allow developers to better group or organize common functionalities. The other programming languages - C#, VB.NET, Java, and so forth - provide this feature. Plenty of JavaScript frameworks do not support namespaces, but WinJS provides a feature in which developers can utilize the namespaces in their projects. Namespaces can come in handy, especially when your app utilizes multiple libraries written by various developers. Developers can use the WinJS.Namespace.define method to declare a namespace.

The WinJS library lets developers declare namespaces by using the WinJS.Namespace.define method. The WinJS.Namespace.define method takes two parameters: NAME — This is the first parameter and represents the name of the new namespace.

MEMBERS — This is the second parameter and it is completely optional. This parameter represents the list of objects that need to be added to the namespace being defined.

The following are the steps to create a new namespace in a Window Store Universal app using WinJS. 1. Launch Visual Studio and select File -> New Project. In the New Project dialog, select JavaScript -> Windows -> Universal from the Installed Templates sidebar. Select Blank App (Universal Windows) from the template and name the project ch2.1WinJSFundamentals. Click the ok button. This created the necessary files within the Visual Studio solution.

2. Add a new JavaScript file to the ch2.1WinJSFundamentals project by right-clicking the project’s js folder and selecting the Add -> New Item option. Select the JavaScript file from the Add New Item dialog and name the file WinJSFundamentals.js. Add the following code to the file: // Define the Namespace Developerpublish WinJS.Namespace.define(“DeveloperPublish”); THE PROCESS MANUAL

// Utilities created in the DeveloperPublish Namespace DeveloperPublish.Utilities = { DisplayMessage: function () { return “Message from DeveloperPublish Namespace”; } }; // Define the Namespace Apress and create the Utilities under it.

WinJS.Namespace.define(“Apress”, { Utilities: { DisplayMessage: function () { return “Message from Apress Namespace”; } } }); console.log(DeveloperPublish.Utilities.DisplayMessage()); console.log(Apress.Utilities.DisplayMessage());

In the preceding code snippet, the DeveloperPublish namespace demonstrates the usage of the WinJS.Namespace.define method with a single parameter. The objects are added to the namespaces, with the namespace followed by a period and the name of the object.

The Aspress namespace is created with the two parameters. The first parameter is the name of the namespace. Apress; wheras the second parameter is the object that is part of the Apress namespace.

1. Open the default.html page and add the reference to the WinJS Fundamentals.js file by using the following code snippet: <script src=”js/ WinJSFundamentals.js”></script> 2. Run the Windows app. You will notice that the string that is returned from DisplayMessage of the Utilities class is displayed in the console window as shown in the figure.

COMPUTER PROGRAMMING

The following are objects and functions that are part of WinJS.Namespace: PROMISE — This object provides the mechanism to implement asynchronous programming in your JavaScript code.

VALIDATION — This property can be set to show the results of the validation.

DEFINE — This function defines a new namespace with the specified name.

DEFINEWITHPARENT — This function defines a namespace with a specified name under a specified parent namespace.

LOG — This function writes the output to the JavaScript console window XHR — This function wraps the calls made to XML.HttpRequest in a promise.

Note that you should not refer to a namespace before it is defined. When you try to access the namespace before it is defined, you receive a “Namespace is undefined” error. The Namespace feature is included in the WinJS library to better handle problems related to the scope. The source code for the Namespaces implementation in WinJS is found in the base.js file, which is under the WinJS/js folder of your project.

4.2 CREATING A CLASS C# and VB.NET are object—oriented languages. They have good implementation and support for the object—oriented concepts within the language; one such feature is the creation of the class. JavaScript, on the other hand, does not have the built—in support for the creation of the class. Everything in JavaScript is treated as an object.

WinJS lets developers create classes and utilize them within their applications. You can use the WinJS.Class.define method to create a new class in WinJS. The WinJS.Class.define method takes three parameters CONSTRUCTOR — The first parameter lets developers initialize an object.

INSTANCE MEMBERS — The second parameter is the collection of instance members, which includes properties and methods.

STATIC MEMBERS — The third parameter includes static properties and static methods.

Open the WinJSFundamentals.js file in the project and replace it with the following code snippet. // Create a class called Author var Author = WinJS.Class.define( function (name, title) { this.name = name; this.title = title; }, { _Name: undefined, _title: undefined, name : { set :function(value) { this._Name = value; THE PROCESS MANUAL

{ return this._Name; } }, title : { set :function(value) { this._title = value: }, get :function() { return this._title; } } }); // instantiate the aurthor class by invoking the constructor with 2 parameters var author1 = new Author (“Senthil”, “WinJS recipes”); // display the name and the title, in the console window. console.log(author1.name); console.log(author1.title); In the preceding code snippet, the Author class is created using the WinJS.Class.define method. The first parameter to this method is the constructor, which takes two parameters and initializes the name and title. The Author class has two properties: the title with its backing field _title, and the name with its backing field _name. Both of these properties contain a getter method and a setter method. Look at the following property, for example: title : { set :function(value) { this._title = value; }, get :function() { return this._title; } } The title property has a set method, which lets developers set a value to the property. Similarly, you can retrieve the value of _title using the title property to the get method. From a developer’s perspective, the call to the <PropertyName> object is good enough to get or set the value.

Run the Windows project. You should see the name and the title that are used when instantiating the object, as shown in the figure.

COMPUTER PROGRAMMING

4.3 DERIVING A CLASS The WinJS library provides the WinJS.Class.derive method that lets developers apply inheritance to derive one class from another. The WinJS. Class.derive method takes the following parameters.

BASE CLASS — The class that the current class needs to inherit from.

CONSTRUCTOR — This parameter refers to the constructor function that can be used to initialize the class members.

INSTANCE MEMBERS — This parameter defines instance members, which includes properties and methods.

STATIC MEMBERS — This defines static properties and static methods.

Open the WinJS Fundamentals.js file and replace the code with the following code snippet. // Create a class called Employee var Employee = WinJS.Class.define( function () { this.name = name; this.type = “Employee”; }, { _Name: undefined, _type: undefined, name : { set :function(value) { this._Name = value; }, get :function() { return this._Name; } }, THE PROCESS MANUAL

type: { set :function(value) { this._type = value; }, get :function() { return this._type; } } }); var ContractEmployee = WinJS.Class.derive(Employee, function (name) { this.name = name; this.type = “Contract Employee:; }); var ContractEmployee1 = new ContractEmployee(“Senthil”); // display the name and the title in the console window. console.log(ContractEmployee1.name); console.log(ContractEmployee1.type); This code snippet creates a class called Employee. Later, another class called ContractEmployee is created; it derives from the Employee class.

A contract employee instance is created and the name and the type of employment is displayed in the console window. Run the Windows Store project from Visual Studio. This displays the name and the type in the JavaScript console window, as shown in the figure.

The WinJS.Class.derive function behaves like the WinJS.Class.define function, except that it uses the prototype of the base class using the Object.create function to construct the derived class. The Object. create method derives one type from another by prototyping the parent object; it also adds the properties that are part of the child object.

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4.4 CREATING MIXINS The WinJS.Class.derive method uses prototype inheritance, which has its own advantages and disadvantages. It requires additional time to process and has a performance impact. This can be overcome by using WinJS.Class.mix method. The WinJS.Class.mix method takes two parameters.

CONSTRUCTOR — The first is used to initialize the class members.

MIXIN — The second parameter is the array that takes the mixin methods.

Open the WinJSFundamentals.js file in the project and replace it with the following code snippet. // Create a class called Employee var Employee = WinJS.Class.define( function () { this.name = name; this.type = “Employee”; }, { _Name: undefined, _type: undefined, name : { set :function(value) { this._Name = value; }, get :function() { return this._Name; } }, type: { set :function(value) { this._type = value; }, get :function() { return this._type; } } }); var ContractEmployee = WinJS.Class.mix( function (name) { this.name = name; this.type = “Contract Employee”; },Employee); THE PROCESS MANUAL

var ContractEmployee1 = new ContractEmployee(“Senthil”); // display the name and the title in the console window. console.log(ContractEmployee1.name); console.log(ContractEmployee1.type); In this code sample, an Employee class is created and later another class called, ContractEmployee, is created; it inherits from the Employee class. Note that you have used the mix method instead of the derive method.

Well, the code might look similar to the one that was used with derive method, but the mixin adds more features. One such feature is the support of multiple inheritances. Since the second parameter in the mixin method is an array of mixins, you could have the ContractEmployee class implement the features from multiple classes. When you execute this program, you see the name and the type of the employee, as shown in the figure.

4.5 ENCAPSULATION When you create your own JavaScript library, you might want to create both public and private methods. The public methods can be exposed as an API and can be used by third-party developers. The problem here is that JavaScript does not support access modifiers. A variable in JavaScript has the following scope.

GLOBAL SCOPE — This is available throughout the application FUNCTION SCOPE — This is available only within the function.

The function scope feature is used in WinJS to hide methods to make it somewhat private. The methods can be exposed as public by manually adding methods to the namespace. Imagine a scenario where you are writing a library to track page view and display the cost-per-million (CPM) impressions. You want to expose the GetPageViews method to users but not the GetCPMRate method.

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Open the WinJSFundamentals.js file in the shared project and replace it with the following code snippet. (function (global) { // public method function GetPageViews() { return 1000; } //private method. function GetCPMRate() { return 1; } WinJS.Namespace.define(“DeveloperPublish”, { GetPageViews: GetPageViews }); })(this); console.log(DeveloperPublish.GetPageViews()); The self—executing anonymous function has two methods: GetPageViews and GetCPMRate. The DeveloperPublish namespace is used to expose or export the GetPageViews function and give it public access. Get CPMRate, on the other hand, is a private method. You can call the GetCPMRate method within the global scope method, but not using the DeveloperPublish namespace. For example, the following code snippet demonstrates a scenario where the GetPageViews and GetTotalRate functions are exposed using the DeveloperPublish namespace; the GetCPMRate is only used within the GetTotalRate. (function (global) { // public method function GetPageViews() { return 1000; } //private method. function GetCPMRate() { return 2; } function GetTotalRate() { return GetPageViews() * GetCPMRate(); } WinJS.Namespace.define(“DeveloperPublish”, { GetPageViews: GetPageViews, GetTotalRate: GetTotalRate THE PROCESS MANUAL

}); })(this); console.log(DeveloperPublish.GetPageViews()); console.log(DeveloperPublish.GetTotalRate()); Run the Windows project, and look at the figure.

When you try to access the GetCPMRate a method outside of the selfexecuting anonymous function, you get the following error: 0x800a1391: JavaScript runtime error: ‘GetCPMRate’ is undefined.

This is a useful feature, especially when you are building a library when you want to restrict access to certain methods in WinJS.

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5. PHOTOGRAPHY DSLR FUNCTIONS

The processes being shown are not camera— or software—specific. The author has worked with, and tested, many digital cameras and image—processing software programs through the years, and have taken special care to include only features that are common to the majority of cameras and software programs. Although some illustrations are not particular to one camera or program, you will be able to understand the terms and translate them to your own gear.

5.1 NOISE REDUCTION

HOW IT WORKS A sensor has what’s called a native speed, its sensitivity to light. Most sensors have either an ISO 100 or 200 native speed. When you increase the ISO setting, or enhance the sensor’s light sensitivity, you’re applying “gain,” or extra electrical charge across the sensor, which increases the static, or noise. Noise reduction filters actually work to enhance the signal—to—noise ratio so that this static, or visual grain, is reduced. Noise can result from setting a high ISO and from long exposure times. Some cameras exhibit more noise than others at equivalent ISO settings. This may be simply a matter of better NR filtration algorithms.

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TRY IT Photograph in low light with a high ISO without setting NR filtration (if necessary, disable the default NR filtration to do this). Then, make the same photograph with NR on. If there are two NR settings, Low and High, try the same image with both. Crop in on the area of highest noise in the “off” image, and compare with the same area in the NR “on” image or images.

ADVANCED OPTION If your camera has an Auto NR function, find out the settings that will activate it. For example, NR may automatically kick in at any setting above ISO 400, or at an exposure time of 1 second or longer. This may help you avoid setting and resetting NR as you shoot. In raw mode, shoot without setting NR (or with NR disabled), and then apply NR in raw processing software. Compare this with NR in camera.

5.2 WHITE BALANCE

HOW IT WORKS White balance is based on the Kelvin temperature scale, a visual scale that in essence goes from daylight at the “center” to red/amber/yellow on the visually “warm” side to blue on the visually “cool” side of the spectrum.

Kelvin temperature is arrived at in a carefully controlled experiment by correlating the temperature at which an object is heated to the color light PHOTOGRAPHY

it emits. In photography, it has been used to codify the color of prevailing light and the ways in which that light is brought into “balance” (that is, to yield “true” color in whatever the prevailing light might be). Digital white balance replaces the color filters that were placed over the lens in film photography with color image processing that adds a color “wash” to the image.

Daylight in the Kelvin scale is about 5500 degrees Kelvin (K). Since blue heat is always hotter in degrees Kelvin than yellow heat, the Kelvin scale might seem counterintuitive. So, a scene dominated by a blue cast (such as high altitude landscapes and cloudy days) are higher on the scale, at about 6800 K to 7200 K, and those that are dominated by a yellow cast (such as interior photographs lit by household bulbs) are at about 2800 K to 3200 K. The white balance modes actually add color casts that counteract those readings, so an Incandescent setting adds a blue cast while a Cloudy setting adds a yellow one.

TRY IT Make a series of pictures without flash outdoors in direct light, in shady conditions, and indoors. On each set, use three white balance settings on your camera—Auto, Shade, and Tungsten (or Incandescent) — so that for each shot you’re taking three versions (one for each WB, or white balance, setting). Compare the results, and note how each setting alters the image that is already in place.

THE PROCESS MANUAL

ADVANCED OPTION Work with the custom white balance setting to get exactly the color balance you want from the camera in camera, not later in software. Set up a white card in the scene that is struck by the prevailing light source, and use the custom white balance function on your camera. Make pictures with the custom white balance setting, then revert to the Auto white balance setting, and compare the results. Try this under various lighting conditions.

5.3 APERTURE AND DEPTH OF FIELD

HOW IT WORKS A lens gathers light and sends it toward the sensor. Light from different distances converges at different points, some right on the surface of the sensor (“in focus”) and some before or beyond the surface (“out of focus”).

The tolerance for what is sharp and not sharp is determined by a “circle of confusion,” a cone of light created by divergence of the light rays from different distances before or after the sensor surface; a diameter smaller than this circle of confusion is often perceived as sharp, and one larger as not sharp. Narrower lens openings constrict the angle at which light enters and tend to gather the points of convergence and divergence closer to the surface than wider lens openings. This creates the sense that light from different distances is in focus, or creates a greater depth of field.

Cameras “show” you a scene through the viewfinder at the largest aperture available, as this lets the most light through for composing the viewing your potential picture. But this does not give you a sense of what PHOTOGRAPHY

the actual image will look like if you’re photographing with a smaller aperture, which you generally will do. Many DSLR cameras have depthof—field preview, a mechanism that allows for viewing of the scene at the set aperture. This gives you the advantage of seeing what will be sharp and not sharp before you make the picture. It’s a very important creative tool, so much so that if a DSLR camera doesn’t have this feature, you shouldn’t consider purchasing it.

TRY IT Place your main subject 6 feet from the camera with a background that’s at least 20 feet away from the subject. Then take two pictures: one with focus on the main subject and Aperture Priority mode set at the largest lens opening (f/2 or f/2.8, for example) and another focused on the same spot but with a smaller lens opening (f/11 or f/16, for example).

In addition, make a close—up photograph with a wide—angle lens set at f/16 (or the smallest opening) and also at the largest lens opening.

ADVANCED OPTION One of the factors in depth—of—field calculation is the focal length of the lens. You’ll get quite different results if you photograph with a wideangle lens than you will when you use the telephoto focal length ranges.

To create the shallowest depth of field, photograph with a telephoto lens from fairly close up at a wide—open aperture. Photograph the same subject with a wide—angle focal length setting from the same apparent distance (that which emulates the framing of the telephoto) with a very narrow aperture setting.

5.4 SHUTTER SPEED

HOW IT WORKS Many digital SLR cameras still utilize the shutter gate used in film reflex cameras, which means that light is allowed In through the action of a shutter mechanism located behind the lens and in front of the sensor.

The gate has leading and following curtains that create a slit, or opening, timed to set shutter speed. Shutter speeds as fast as 1/8000 sec. are possible with many digital SLR cameras.

THE PROCESS MANUAL

Cameras have a shutter speed range in automatic modes (any modes in which the exposure system chooses aperture and shutter speed for you).

This range can be anywhere from 30 seconds to 1/8000 sec. in some cameras. Longer shutter speeds may be possible with a B, or Bulb, setting, which keeps the shutter open for as long as pressure is maintained on the shutter release button.

TRY IT To see the effect of various shutter speeds on action subjects, set up your camera to photograph at disparate shutter speeds, such as 1/2000 sec. and ¼ sec. Be sure to brace or steady the camera at the slower shutter speeds. Try this with a sports game and with running water. Note when you “run out” of aperture settings as you go to the faster and slower settings, and change ISO when needed.

ADVANCED OPTION While fast shutter speeds are fascinating in what they can reveal about subjects in motion, the slower shutter speeds are perhaps even more intriguing because we have become so used to action—stopping shots. Set your camera at 1/8sec., use a tripod or other steadying setup, and photograph subjects in motion. Do so at night, when lights from cars might be trailing away from you, or during the day to reveal a different kind of time/space continuum. Set your camera to the lowest ISO to aid you in attaining slower shutter speeds in brighter light, or shoot on an overcast day or in the shade to avoid overexposure.

5.5 CENTER-WEIGHTED AVERAGING HOW IT WORKS Center-weighted averaging (CWA) describes how the meter gathers the light from the finder and what it does with it to calculate exposure. This is the “relic” of in—camera light—reading setups, as it has been in use ever since through—the—lens (TTL) metering became available in the midtwentieth century. Center—weighted refers to the fact that the light gathered is from all parts of the viewfinder but that the light in the center (in an oval shape that extends toward the edges of the frame) is given more weight in the metering system’s exposure calculations, usually 70/30, center to edges.

Averaging refers to how a final exposure is reached. Assuming a fixed shutter speed, the meter takes the brightest reading (say, f/16) and the darkest reading (say, f/4) and, according to the intensity or proportion of those values in the scene, creates an average, life f/8. Since the exposure is made with a fixed aperture, and cannot adapt to varying light intensities like the eye can, it cannot deliver the correct exposure for all values. What it does, however, is sort those values, if you will, from highlight (bright) to shadow (dark). Since all these values work in lockstep, the average of the bright and the dark retains the bright areas as bright in the recording. If, however, exposure is made for the brightest PHOTOGRAPHY

part of the scene only, then the darker parts of the scene would become very dark. Similarly, if you would expose only for the dark values (say, f/4), then the bright values (f/16) would be very overexposed and would render the image useless.

THE PROCESS MANUAL

TRY IT Find scenes that would benefit from the use of CWA metering mode, especially those with highly â&#x20AC;&#x153;directionalâ&#x20AC;? light enhanced by deep shadows.

Make a reading that incorporates the brighter areas, and lock that reading and expose. Then, make a reading with the fully automatic (or matrix or evaluative) mode on the camera, and compare.

ADVANCED OPTION Spot metering is also a great way to capture neon signs, billboards at night, and other bright subjects. Keep in mind that when you do this, most of the other values in the scene will go quite dark. Use spot metering to see how you can control the way light and color records in various situations.

PHOTOGRAPHY

6. WATERCOLOR HOW TO PAINT STEP BY STEP

6.1 MATERIALS You should select high quality brushes and paper, however, if you wish to obtain reasonably good results a basic palette should include: COLORS Cadmium Yellow, Pale Grumbacker, Red Alizarin Crimson Light Red (English Red) Payne’s Gray Cerulean Blue Cobalt Blue Yellow Ochre Burnt Sienna Burnt Umber French Ultramarine Blue Thalo Blue Thalo Green Ivory Black BRUSHES Buy the best brushes your wallet permits, even if you have to start with just a few. With experience, you will want to add to your collection of brushes as well as experiment with additional color on your palette. A size 12 red sable brush is best for all around painting. For detail and smaller areas, you will need a size 3 and a size 8. A flat, red sable or ox hair brush such as the Grumbacher aquarelle, in ¾” to 1” sizes is useful for laying in larger washes. In addition, these brushes come with a beveled end to the handle which is good for certain effects. Don’t leave brushes standing in your water container after use. They should be rinsed with clear water, shaped and stored so that the hair does not come in contact with any surface.

THE PROCESS MANUAL

PALETTE Palette’s are a necessity when mixing colors and organization. You can get something simple that has compartments to something a little nicer.

PAPER Watercolor paper comes in a variety of surfaces and weights. The principal textures are hot—pressed (HP), which has a very smooth finish; cold— pressed (CP), which has a slight texture; and rough finish (R), which has the most texture. The general size for sheets is 22” x 30” and papers range in weight from 72 lb. to 300 lb. The heavier weight papers are generally most desirable because they buckle least when wet.

ACCESSORIES Many of the “tricks” in watercolor, as they are sometimes called, depend on additional tools such as blotters, sponges, razors, and masking materials. These should be added to your list along with a rag for wiping your brushes. Pencils for drawing in the subject should not be too hard or they will dig into the surface of the paper. For cleaning up pencil work from the finished painting, add a kneaded eraser to your equipment.

WATERCOLOR

6.2 PAINTING PROCESS

This painting which concentrates primarily on the dramatic quality of the sky was executed on stretched 140 lb. Capri rough watercolor paper.

THE PROCESS MANUAL

After very lightly penciling in the elements of the subject, I soaked the area of the sky down to the top of the distant hills, using a sponge.

Cerulean blue, as seen in the bright patch of the open sky, was brushed in and around this I applied washes of Raw Umber allowing the colors to fuse.

The Raw Umber was introduced toward the horizon as well. The middle value clouds were painted using French Ultramarine Blue mixed with Payne’s Gray and the darker clouds primarily with Payne’s Gray with much more pigment in the brush. The paper was quite wet through all of this and the Raw Umber underpainting fused into the blue and gray.

The next step was to paint in the distant hills. For warm earth color accents, I used washes of Burnt Sienna and for the closer hills, Hooker’s Green, Deep. In the larger hill form, French Ultramarine Blue mixed with Burnt Sienna was used. This area was moistened at spots where I wanted a soft blending with the sky. The board was tilted back to let color run into the sky area in a limited way.

The painting was finished using Hooker’s Green, Deep, Yellow Ochre, and Burnt Sienna for the foreground. Light branches were scratched into the mass of the first line of trees using a pocket knife. Darkest accents were put in last and when the painting had dried, the roof tops of distant buildings, the road in the distance, and the bird above the trees were scratched out with a razor. The palette used on this painting was as follows: Cerulean Blue, French Ultramarine Blue, Payne’s Gray, Yellow Ochre, Raw Umber, Burnt Sienna, and Hooker’s Green, Deep.

WATERCOLOR

7. SCULPTURE METAL TECHNIQUES

Metal—fabrication techniques, such as riveting, forge welding, and other simple mechanical devices, are ancient. Egyptian statuary of riveted sheet copper dates back to 2300 B.C. Somerian craftmen working around 2500 B.C. were particularly skilled in many forms of metal work.

Most fastening or fabrication devices used today are products of the last one hundred years. Both welding (which started around 1900) and adhesive bonding developed considerably during and immediately after the Second World War; high—performance requirements in rocket design and space travel resulted in new and more sophisticated fabrication techniques. The development of these processes has contributed significantly to materials and techniques in sculpture and three-dimensional designing.

7.1 SHEARING One of the simplest and most economical methods of cutting metal is by shearing. We are all familiar with the hand shears used in occasional cutting of tin or sheet metal. The most common shearing device is the footsquaring shears, which are foot operated. We are generally less familiar with motor—operated shears and punch presses operated by industry.

Hand shears, available in a variety of designs, are versatile, very adequate in the fabrication of light—weight sheet material, and are designed for straight, left—handed or right—hand cuts. Blade designs are also available that will accomplish all three cutting operations, and special shears are available with compound leverage for cutting thick and difficult materials or difficult angles. Electric hand shears are also available. The Image illustrates a variety of hand shears which are commonly used in metal shops and which are of possible use to the sculptor or designer.

Foot—squaring shears are used primarily for shearing light—gauge materials, and are particularly useful when a quantity of similar—sized pieces are needed. The principal advantage over hand shearing is the ease with which the cutting can be accomplished, moreover, there is less distortion of the metal.

THE PROCESS MANUAL

Power shearing or stamping is normally used for large quantities of cuts and for the cutting of thick metal when manual shearing is not possible.

Usually expensive, power shears are used only by large metal suppliers or fabricators. If a quantity of shearing is needed, the firm supplying the metal will usually be able to shear to your specifications at a reasonable cost.

Metal stamping is a cutting process using a hydraulic press and cutting dies. Many shapes are available in terms of standard dies that a metal— stamping firm would have in stock. To have a die custom—designed is, of course, expensive and, for the sculptor or industrial designer, usually limited to pre—contracted work.

SCULPTURE

7.2 SOLDERING Soldering consists of using a nonferrous, low—melting—point metal to join metal to metal. Solder is a tin—lead mixture with a melting point of about 420 degrees Fahrenheit. The mixtures are from 40 to 60 percent tin to lead. Larger amounts of tin result in a lower melting point. Hard solders consisting of silver alloys can be used where greater strength is required.

These are classified as “easy flow,” with a flow temperature of 1,300 degrees Fahrenheit; “medium,” with a flow temperature of 1,360 degrees; and “hard,” with a flow temperature of 1,460 degrees. Aluminum solders are also available for soldering aluminum.

With proper conditions, soldering is a simple process. Normally, a soldering iron, electric soldering gun, or flame produced by air—acetylene or air—propane, is used as a heat source. With a silver solder, an air—acetylene torch or oxyacetylene torch is usually used because of the higher melting temperature of the material. It is important that the metal be clean. Steel wood, emery paper, or sandpaper are usual cleaning tools.

After the metal has been cleaned, its surface is coated thinly with an appropriate flux. The metal is heated to a temperature that will melt the solder, at which point the solder is introduced into the solder area.

The solder should melt when touching the heated metal. In soldering parts like copper fittings for fountains, the solder will draw into the space between the parts by capillary action, if the parts are clean and have been properly fluxed.

Since flux is often corrosive, it should be cleaned from the metal with soup and water or other suitable cleaners. Care should be exercised in preventing flux and solder from splattering into the eyes. Wearing protective goggles can be a good practice. Lead fumes from solder (particularly if it is overheated) can be toxic. Silver solder fumes can also be toxic, particularly if the alloying element is cadmium. Use good ventilation when soldering any appreciable amount.

THE PROCESS MANUAL

7.3 FUSION WELDING Most welding operations require a neutral flame. In fusion welding, the tip of the neutral flame is directed at the joint to be welded. As the edges of the metal start to melt, the tip of the flame is moved in a series of overlapping ovals, allowing a molten puddle to form, joining the two pieces.

If a filler metal is added to the weld, the filler rod is directed to the edge of the molten puddle in front of the flame, working from right to left, melting off small amounts of rod as the weld proceeds. This is referred to as a “forehand technique” and is most commonly used. When the rod is fed behind the flame, working from left to right, the procedure is referred to as a “backhand technique.”

There is a number of very common problems that occur when welding is first attempted. If the tip of the flame (inner cone) is not close enough to the metal, it may be difficult to get the metal to a melting point; when the melting point is reached (particularly on thin sheet metal), the heat is distributed over too large an area, and the molten metal will separate, forming a hole in the metal. To confine the heat to the weld area, it is essential to work with the tip of the flame next to the metal; there should be about a 1/16 to 1/8 inch gap between the tip of the flame and the metal.

Selection of proper tip size is also important. If the tip of the flame is being directed properly at the metal and the molten puddle does not readily form, the tip may be too small. If the puddle separates and holes appear, the tip may be too large, or you may not be using the overlapping or oval motion to assist in formation of the puddle.

Another common problem involves feeding the filler rod in too soon.

This results in deposits of metal before the molten puddle has formed.

These deposits tend to overheat and burn, resulting in a brittle weld.

In welding an edge of a material to the center of a piece of metal, or a small piece to a large piece, the small piece or edge may tend to melt away.

Here, it is necessary to direct the heat to the largest amount of material or area, first, until a molten spot starts to form; then, by moving back and forth in the overlapping, oval pattern, favoring the thicker or larger section, you can complete the weld.

Overheating of the weld can also be a problem. Since metal will chemically change to an oxide in the presence of air or oxygen, and heat and oxygen accelerate this process, overheating of the weld results in a porous and brittle weld. The speed at which the torch is moved and the weld developed, as well as learning to recognize the shiny, molten puddle, are important.

SCULPTURE

7.4 BRAZING Brazing or bronze welding generally involves the use of a nonferrous filler metal with a melting point above 1,000 degrees Fahrenheit but lower than the melting point of the metal to be joined.

The bronze welding rod is used principally in the fabrication of copper or copper alloys, or in the joining of dissimilar metals, such as copper or bronze to steel. The brazing technique is also used extensively in producing decorative surfaces on copper, brass, bronze, and steel; bronze rod is used for these effects, producing a golden brassâ&#x20AC;&#x201D;like surface that can be oxidized to a variety of color. Silver colors can be achieved with the use of nickelâ&#x20AC;&#x201D;silver rod. Eutectic Corporation produces a variety of rods with distinct variations in color due to the varied alloys.

In bronze welding, if the metal is properly cleaned and the proper rod and flux are used, bronze welds with excellent tensile strength can be achieved. The metal can be cleaned with solvents, steam, sand blasting, wireâ&#x20AC;&#x201D;brushing, or abrasives. The welding procedure consists of heating the base metal from dull to cherry red, at which point bits of bronze rod are melted and fused to the base metal, forming a bead, as in fusion welding. Care must be exercised in letting the base metal reach the proper temperature; if the temperature is too low, the weld will not be properly THE PROCESS MANUAL

bonded to the base metal; if it is too high, the bronze will burn and fume, producing an improper weld.

In using the brazing technique to develop textural surfaces, a small area about the size of a half dollar is heated to a dull red, at which point the rod is introduced into the weld area. The tip of the flame is directed to the rod, melting off a small portion which flows over the preheated area.

As the torch is moved from rod to metal, the brazing continues. If more heat is directed to the rod, the texture becomes rather thick and bumpy; if more heat is directed to the metal, the bronze will flow out and produce a thin surface texture.

In bronze welding or brazing, a proper flux must be used. The end of the rod is slightly heated and dipped into the flux. As the rod is melted, the flux flows over the metal and protects the metal from oxidation as the weld develops. Fluxâ&#x20AC;&#x201D;coated rods, obtainable at a slightly higher cost, are far more convenient to use and assure the proper amount of flux being present on the rod. On large quantities of brazing, considerable time is saved with the coated rod.

In most instances, the surface brazing of metal is performed prior to assembly of the pieces. The distortion that occurs during brazing can be removed by hammering and forming. The figures shown illustrate the fabrication steps: forming the basic metal to the finished relief, using the brazing process. Good ventilation should be provided when bronze welding or brazing, as the zinc fumes from bronze can be irritating.

SCULPTURE

THE PROCESS MANUAL

SCULPTURE

BIBLIOGRAPHY Blue Complicated Map. cdn-images-1.medium.com/max/2600/1*n5hJwlMee4H99f4JW-42CA.png.

Bruggiser, Thomas, and Michel Fries. Super Welcome to Graphic Wonderland. Die Gestalten Verlag, 2003.

“Expert Map.” Istack, i.stack.imgur.com/3hBTV.jpg.

“Hands-on Digital Photography: a Step-by-Step Course in Camera Controls, Software Techniques, and Successful Imaging.” Hands-on Digital Photography: a Step-by-Step Course in Camera Controls, Software Techniques, and Successful Imaging, by George Schaub, Amphoto, 2007, pp. 66–86.

“Hand Drawn Map.” Imgur, i.imgur.com/Na9tVOv.jpg.

How to Clean a Screen When Screen Printing. i.ytimg.com/vi/02SSB BiT8cc/maxresdefault.jpg.

“How to Fill the Screen When Screen Printing.” Heat Press Guide, heatpres sguide.com/wp-content/uploads/2016/12/screen-pr intingmanual.jpg.

Krygier, John, and Denis Wood. Making Maps: a Visual Guide to Map Design for GIS. Guilford Press, 2016.

Kumar, Senthil., Goudagere Nagaraj, Lohith, Rawal, Pathik, and Rohilla, Pryank. Windows 10 Development Recipes: A Problem-Solution Approach in HTML and JavaScript. 2015. Web. “Massimo Vignelli Map.” Ilya Birman, Aegea, 2018, ilyabirman.net/meanwhile/pictures/vignelli.jpg.

“Paint Brushes in a Cup.” Max Pixel, www.maxpixel.net/static/photo/1x/ Artist-Art-Artistic-Creative-Brush-Paintbrush-3716263.jpg.

Paint Palette. www.ebay.com/itm/Non-toxic-Formula-FundamentalsWatercolor-Palette-Pan-Set-Washable-36-Colors-/332670779061.

“Paul Rudolph: Dessins D’architecture: Architekturzeichnungen: Architectural Drawings.” Paul Rudolph: Dessins D’architecture: Architekturzeichnungen: Architectural Drawings, by Paul Rudolph and Yukio Futagawa, Architectural Book Pub. Co., 1981.

“Printmaking Techniques.” Printmaking Techniques, by Julia Ayres, WatsonGuptill Publications, 1993, pp. 118–120, 124.

Roche, Nicholas. “4 Image Quality Photos in One.” PhotographyPro, IPS Media LLC, 31 Jan. 2018, cdn.photographypro.com/wp-content/uploads/2018 /01/white-balance-comparison@2x-1.jpg.

“Sculpture: Tools, Materials, and Techniques.” Sculpture: Tools, Materials, and Techniques, by Wilbert Verhelst, Prentice-Hall, 1988, pp. 132–161.

“The Art of Painting: Step-by-Step Instruction and Demonstration in Color Mixing and Painting Techniques, Selected from the Grumbacher Library.”

The Art of Painting: Step-by-Step Instruction and Demonstration in Color Mixing and Painting Techniques, Selected from the Grumbacher Library, by Walter Brooks, Golden Press, 1968, pp. 1–15, 172–173.

“Three Way Shutter Speed Example.” PHLEARN, phlearn.com/wp-content/ uploads/2019/01/Shutter-Speed-Final-1.jpg.

Watercolor Misket. encr ypted-tbn1.gstatic.com/shopping?q=tbn:ANd 9GcSAFwDDytSMI AWmpZQsRdi-bnEn0i6lqo7qCbemza9aglHF Y0rzkOZJby9xPZhH3bfaoVDn30MLmRbPfGkVuISkByXZtx-fBg&usqp=CAY. “Watercolor Paper GSM.” Local Masters, Aug. 2015, community.localmasters. com/wp-content/uploads/2015/08/watercolor-paper-weights-GSM.jpg.

“Watercolor Sponges.” Amazon, images-na.ssl-images-amazon.com/ images/I/819EXocyMdL._SL1500_.jpg.

The text of The Process Manual is set in URW DIN, a typeface designed by Volker Schnebel and published by URW in 2017. The typeface is based off of the digital outline fonts, DIN 1451 Fette Engschrift and Fette Mittelschrift that were also created by URW in 1984 for the URW SIGNUS system. This book was designed by Noelle J. Olsen in 2019. Processes were sourced from the following books: Super Welcome to Graphic Wonderland (Bruggiser, Fries); Printmaking Techniques (Ayres), Paul Rudolph: Dessins Dâ&#x20AC;&#x2122;architecture: Architekturzeichnungen: Architectural Drawings (Rudolph, Futagawa); Making Maps: a Visual Guide to Map Design for GIS (Krygier, Wood); Windows 10 Development Recipes: A Problem-Solution Approach in HTML and JavaScript (Kumar, Goudagere Nagaraj, Rawal, Rohilla); Hands-on Digital Photography: a Step-by-Step Course in Camera Controls, Software Techniques, and Successful Imaging (Schaub); The Art of Painting: Step-by-Step Instruction and Demonstration in Color Mixing and Painting Techniques, Selected from the Grumbacher Library (Brooks); and Sculpture: Tools, Materials, and Techniques (Verhelst).

Copyright Š 2019