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Books on the topic 'Foam printing'

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Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

United States Government Printing Office. Style manual: An official guide to the form and style of Federal Government printing 2008. Washington, DC: U.S. G.P.O., 2008.

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2

Litunov, S. N. Metody rascheta oborudovanii︠a︡ dli︠a︡ izgotovlenii︠a︡ trafaretnykh form: Monografii︠a︡. Omsk: Izdatelʹstvo OmGTU, 2012.

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3

Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. New York: Van Nostrand Reinhold, 1985.

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4

B, Meggs Philip, and Day Ben, eds. Typographic design: Form and communication. 4th ed. Hoboken, N.J: John Wiley & Sons, 2007.

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5

Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. 2nd ed. New York: Van Nostrand Reinhold, 1993.

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6

Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. 2nd ed. New York: John Wiley, 1993.

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7

B, Meggs Philip, and Day Ben, eds. Typographic design: Form and communication. 3rd ed. New York: John Wiley & Sons, 2002.

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8

United States Government Printing Office. Style manual: An official guide to the form and style of Federal Government printing 2008. Washington, DC: U.S. G.P.O., 2008.

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9

United States Government Printing Office. Style manual: An official guide to the form and style of Federal Government printing 2008. Washington, DC: U.S. G.P.O., 2008.

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10

Library, British, ed. Form and meaning in the history of the book: Selected essays. London: British Library, 2003.

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11

B, Meggs Philip, and Day Ben, eds. Typographic design: Form and communication. 5th ed. Hoboken, N.J: John Wiley & Sons, 2011.

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12

Form und Funktion des Druckbildes in englischen Texten des 16. Jahrhunderts. Frankfurt am Main: P. Lang, 1988.

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13

Smith, Virginia Grace St. George. Forms in modernism: A visual set : the unity of typography, architecture & the design arts. New York: Watson-Guptill, 2005.

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14

The economy of literary form: English literature and the industrialization of publishing, 1800-1850. Baltimore: Johns Hopkins University Press, 1996.

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15

Johnson, Merle De Vore. A bibliography of the works of Mark Twain, Samuel Langhorne Clemens: A list of first editions in book form and of first printings in periodicals and occasional publications of his varied literary activities. Mansfield Center, CT: Martino Pub., 2008.

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16

Kerouac, Jack. Atop an Underwood: Early stories and other writings. New York: Penguin Books, 2000.

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17

Kerouac, Jack. Atop an Underwood: Early stories and other writings. New York: Viking, 1999.

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18

Textual bodies: Modernism, postmodernism, and print. Lewisburg [Pa.]: Bucknell University Press, 1994.

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19

Block Print: All You Need to Know to Make Fine-Art Prints with Lino Blocks, Foam Blocks, and Stamp Sets. Quarto Publishing Group USA, 2016.

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20

Brundin, Abigail, Deborah Howard, and Mary Laven. Printing and Piety. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816553.003.0008.

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This chapter focuses on the second half of the sixteenth century, which witnessed an outpouring of printed devotional texts aimed at new kinds of readers from lower down the social scale, and asks what impact this form of production might have had on domestic devotion. Three case studies for comparison are chosen: Vicenza, in the Veneto; Macerata, in the Marche; and Naples, the largest city in Europe in the period. An analysis of local, devotional printing helps to give a picture of the kinds of books ordinary people in three very different cities might have been able to buy cheaply in local bookshops to keep in their homes. The chapter argues that the proliferation of printed texts in the late sixteenth century provided opportunities to ordinary people to develop their individual faith in an unprecedented way.
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21

Gillaerts, Paul, and Maurizio Gotti. Genre Variation in Business Letters: 2nd Printing. Lang AG International Academic Publishers, Peter, 2008.

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22

U.S. Government Printing Office Style Manual: An official guide to the form and style of Federal Government printing. Military Bookshop, 2010.

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23

Meggs, Philip B. Typographic Design: Form and Communication. Wiley & Sons, Limited, John, 2018.

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24

Sanders, Mark, Ben Day, Philip B. Meggs, Rob Carter, and Sandra Maxa. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2014.

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25

Day, Ben, Philip B. Meggs, and Rob Carter. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2012.

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26

Day, Ben, Philip B. Meggs, and Rob Carter. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2011.

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27

Day, Ben, Philip B. Meggs, and Rob Carter. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2012.

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28

U. S. Government Printing Office Staff. U. S. Government Printing Office Style Manual: An Official Guide to the Form and Style of Federal Government Printing. Bernan Associates, 2009.

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29

Census Of Manufactures, Final Reports, Industry Series: Manifold Business Form Printing 2002. Bernan Assoc, 2004.

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30

DataGroup, Editorial. Manifold Business Form Printing World Summary: Product Values and Financials by Country. Independently Published, 2019.

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31

United States Government Printing Office. U. S. Government Printing Office - Style Manual: An Official Guide to the Form and Style of Federal Government Printing 2008. Rowman & Littlefield Publishers, Incorporated, 2009.

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32

Ray, Sumantra (Shumone), Sue Fitzpatrick, Rajna Golubic, Susan Fisher, and Sarah Gibbings, eds. Data capture tools: case report form (CRF). Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199608478.003.0016.

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This chapter outlines the overall design process, highlights the aspects of design that are significant for the success of the case report form (CRF) and considers the effects of electronic data capture (EDC) in the production of electronic CRFs (eCRFs). It defines the purpose and regulatory requirements in designing a CRF. The chapter describes the data to be recorded in the CRF to answer the hypothesis being posed and collect safety data. The layout and design features are reviewed ensuring an aesthetically pleasing, easy to complete format is achieved. Hint and tips for CRF completion are described and the chapter shows how important question construction is in achieving the objectives of a CRF. The process of CRF printing is described and the different methods for binding and their importance in the production of a robust CRF. The pros and cons of Paper vs. eCRFs is described and the use of tablets and mobile phones being used for data capture is explored, Whatever the method of data capture the design features of the CFR will largely remain the same.
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33

Kornicki, Peter Francis. Material Texts. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797821.003.0005.

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This chapter deals with the forms in which Chinese texts reached neighbouring societies and were reproduced there. Thanks to the spread of paper-making technology, the materials with which to make manuscripts were plentiful, and in fact manuscripts continued to form an important part of book production even after the advent of print. The earliest kind of printing was xylography (woodblock printing), which was probably first put to use in China in the seventh century and rapidly spread to Korea, Japan, and elsewhere. In the eleventh century typography (movable type printing) was invented in China, but it was not put to much use there: rather, it was in the Tangut empire and Korea that typography, under the auspices of the state, came to be used extensively for book production. Typography also reached Japan and Vietnam, but had only a limited impact and in both societies xylography remained dominant.
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34

Day, Ben, Philip B. Meggs, and Rob Carter. Typographic Design: Form and Communication. Wiley, 2006.

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35

Day, Ben, Philip B. Meggs, and Rob Carter. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2012.

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36

Sanders, Mark, Ben Day, Philip B. Meggs, Rob Carter, and Sandra Maxa. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2014.

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37

Sanders, Mark, Ben Day, Philip B. Meggs, Rob Carter, and Sandra Maxa. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2017.

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38

Erik, Forsberg Karl, and Uppsala universitetsbibliotek, eds. Karl-Erik Forsberg: Grafisk form : utställning i Uppsala universitetsbibliotek, 1987. [Uppsala: Universitetsbiblioteket, 1987.

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39

Bredekamp, Horst. Galileis Denkende Hand: Form und Forschung Um 1600. De Gruyter, Inc., 2014.

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40

Galileis Denkende Hand: Form und Forschung Um 1600. de Gruyter GmbH, Walter, 2014.

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41

Art and Design GNVQ Selection Pack: FOA: Packaging / FOA: Printing / Steel: Solutions in Technology / GNVQ Teachers Notes Covering Contexts. Hobsons PLC, 1994.

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42

Barker, Nicolas. Form and Meaning in the History of the Book: British Library Studies in the History of the Book (British Library - British Library Studies in the History of the Book). British Library, 2002.

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43

Moore, John W. Moore's Historical, Biographical, and Miscellaneous Gatherings, in the Form of Disconnected Notes Relative to Printers, Printing, Publishing, and Edi. Lenox Hill Pub, 1986.

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44

Lippert, Amy K. DeFalco. “These Lofty Aspirants of Fame”: The Making of the Gold Rush Legend. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190268978.003.0002.

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San Francisco constituted the epicenter of the vibrant image production and printing industry that produced visualizations of the gold rush experience for miners and their far-flung audiences around the world. This chapter examines the artist-rendered representations of the gold rush, especially in the form of illustrated letter sheets—the precursors to the modern postcard. Letter sheets, and the notes that miners scrawled on them to the folks at home, stressed the irreplaceability of direct experience through the popular metaphor of “seeing the elephant.” Gold rush illustrations crafted an archetypal (white, male) miner identity and juxtaposed it with depictions of nonwhite groups like the Chinese and California Indians, who were cast as visual exotics.
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45

Dzelzainis, Martin. Managing the Later Stuart Press, 1662–1696. Edited by Lorna Hutson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199660889.013.47.

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The system of pre-publication censorship laid down in 1662 finally collapsed when the Printing Act expired in 1695. Yet even in the interim censorship rarely took the form of a direct confrontation between a writer and the state. In practice, the authorities simply lacked the means to police a regime of censorship of the kind now associated with the impersonal agency of the state. More representative of the way in which the Stuarts managed the press is the career of George Larkin (c.1642–1707), a printer, bookseller, and author overlooked in standard accounts of the London literary underground. This chapter provides a case study of Larkin against the background of these legislative developments.
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46

Office, Government Publishing. Style Manual: An Official Guide to the Form and Style of Federal Government Publishing 2016. Bernan Press, 2017.

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47

Office, Government Publishing. Style Manual: An Official Guide to the Form and Style of Federal Government Publishing 2016. Bernan Press, 2017.

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48

Dussinger, John. Samuel Richardson and the Epistolary Novel. Edited by Alan Downie. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.011.

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Despite having turned 50 before publishing his first novel, Samuel Richardson’s literary career began already in his youth as a precocious letter-writer and developed during the 1720s after launching his London printing business. Richardson’s letter-writing style stresses continual flux as living experience, and this emphasis on temporality is continued in his three experimental ‘histories’ of characters struggling under the pressure of momentary perceptions. As a ‘dramatic’ novel, Clarissa exploits the resources of theatrical presentation as direct discourse and of narrative storytelling as indirect and free indirect discourse. Its epistolary form obviates an omniscient narrator and, except for an occasional ‘editor’, depends wholly on the individual voices that comprise piecemeal the story. This focus on temporality, however, has ultimately a religious and moral dimension: beyond the sound and the fury of present time is an intimation of eternal order.
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49

Hinds, Peter. The Book Trade at the Turn of the Eighteenth Century. Edited by Alan Downie. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.032.

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This essay provides an overview of the publishing context at the turn of the eighteenth century out of which the novel would emerge, including the development and early dominance of the London book, before going on to describe the conditions for the spread of printing and bookselling nationally from 1695 onwards. As well as considering book production, the essay examines readers’ experiences in the period, looking at the testimony of individual, historical readers, and some specific genres of writing—such as diaries, autobiographies, and collections of letters—often considered important for the emergence of the novel form. The essay then turns to establish the ‘conceptual horizons’ of readers’ expectations with regard to fiction—horizons which authors could work within or seek to challenge and push further by innovating new forms of literary expression, the novel amongst them.
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50

McGuiness, C. L., R. K. Smith, M. E. Anderson, P. S. Weiss, and D. L. Allara. Nanolithography using molecular films and processing. Edited by A. V. Narlikar and Y. Y. Fu. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199533060.013.23.

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This article focuses on the use of molecular films as building blocks for nanolithography. More specifically, it reviews efforts aimed at utilizing organic molecular assemblies in overcoming the limitations of lithography, including self-patterning and directed patterning. It considers the methods of patterning self-assembled organic monolayer films through soft-lithographic methods such as microcontact printing and nanoimprint lithography, through direct ‘write’ or ‘machine’ processes with a nanometer-sized tip and through exposure to electron or photon beams. It also discusses efforts to pattern the organic assemblies via the physicochemical self-assembling interactions, including patterning via phase separation of chemically different molecules and insertion of guest adsorbates into host matrices. Furthermore, it examines the efforts that have been made to couple patterned molecular assemblies with inorganic thin-film growth methods to form spatially constrained, three-dimensional thin films. Finally, it describes a hybrid self-assembly/conventional lithography (i.e. molecular rulers) approach to forming nanostructures.
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