93 Sentences With "xerography" | Random Sentence Generator

In xerography, static electricity quickly and precisely manipulates electrostatically sensitive powdered ink—a.k.a. toner.

The solution was xerography, invented by Chester Carlson, the physicist co-founder of Xerox, in 1938.

The company gained the rights to xerography in 1947 and launched the first known copier in 1959 using the technology.

Some highlights include a talk between curators Zanna Gilbert (of the Getty Research Institute) and John Tain (of the Asia Art Archive) on the history of xerography in art, and a "presentation of vintage marijuana growers' guides" by Family Books.

Curators Zanna Gilbert (Getty Research Institute) and John Tain (Asia Art Archive) will speak about the history of artists' use of xerography, SFMoMA Librarian David Senior will give a talk on the connections between publishing and performance art, and Rakish Light will co-present a reading by painter Gailyn Saroyan & poet Aram Saroyan.

Xerography is a dry photocopying technique. Originally called electrophotography, it was renamed xerography—from the Greek roots ξηρός xeros, "dry" and -γραφία -graphia, "writing"—to emphasize that unlike reproduction techniques then in use such as cyanotype, the process of xerography used no liquid chemicals.

Static electricity is commonly used in xerography, air filters (particularly electrostatic precipitators), paint sprayers, powder testing.

Photoconductive polymers are widely used in imaging equipment such as copy machines and laser printers (also see xerography).

Funding Universe. 18 Nov. 2008 . Xerography accounted for most of the company’s profits, and photography operations were placed under the new Haloid photo division.

Chester Carlson read one of Selenyi's papers in the 1930s and was very greatly impressed; subsequently, he invested in a big effort to develop xerography. That may be the reason why Selenyi was known as the "father of xerography" by some people. Pál Selényi studied physics and mathematics at the Budapest University. After finishing his studies, Selényi started to work for the newly created Applied Physics Department of the University.

Where the volume of drawings reproduced justifies the cost of the machine, a large format photocopier using xerography can reproduce drawings at lower cost than re-plotting them.

Net Industries. 18 Nov. 2008 . Before Robert joined the company, xerography was good at copying thin lines and characters, but could not successfully reproduce large, solid black areas.

After years of debate within the company, the board approved a name change to "Haloid Xerox" in 1958, reflecting the fact that xerography was now the company's main line of business.

The toner is printed directly onto the drum, by direct contact with a rubber developing roller which, by reversing the bias, removes all the unwanted toner and returns it to the developer unit for reuse. The development of xerography has led to new technologies that have the potential to eventually eradicate traditional offset printing machines. These new machines that print in full CMYK color, such as Xeikon, use xerography but provide nearly the quality of traditional ink prints.

A scorotron (from screen controlled corona), also called a corona grid, is a device which creates corona discharge current, used in xerography. Scorotrons appear in photocopiers, in xeroradiography equipment, and similar applications.

When large size xerography machines became available, 1975, they replaced the older printing methods. As computer-aided design techniques came into use, the designs were printed directly using a computer printer or plotter.

Reprography is the reproduction of graphics through mechanical or electrical means, such as photography or xerography. Reprography is commonly used in catalogs and archives, as well as in the architectural, engineering, and construction industries.

The studio was in serious debt and had to cut the cost of animation. In 1960, this resulted in Disney switching to xerography, that replaced the traditional hand-inking. The first feature film that used Xerox cels was 101 Dalmatians in 1961.

John H. Dessauer, also known as Hans Dessauer, (13 May 1905 – 12 August 1993) was a German-American chemical engineer and an innovator in developing xerography. He was instrumental in turning a $7 million company of the 1930s into Xerox, a billion-dollar copier company.

Looking for a term to differentiate its new system, Haloid coined the term xerography from two Greek roots meaning "dry writing". Haloid changed its name to Haloid Xerox in 1958 and then Xerox Corporation in 1961."Xerox Hopes Its New Logo Doesn't Say 'Copier'" , NYT.com.

The drawings are also called blue-lines or bluelines. Blueprints replaced by whiteprints Other comparable dye-based prints were known as blacklines. Diazo prints remained in use until they were replaced by xerographic print processes. Xerography is standard copy machine technology using toner on bond paper.

Starting in the 1960s she started to experiment with fine art, and by 1966 she was exhibiting her art. In the 1960s and 1970s, Nesbitt was one of the earliest artists experimenting with xerox art. She invent three xerography techniques, named transcapsa, photo-transcapsa, and chromacapsa.

A. B. Dick also produced machines using the competing spirit duplicator technology. Starting in the 1960s, xerography began to overtake A. B. Dick's older mimeograph technology. John C. Stetson was president of A. B. Dick when he was appointed Secretary of the Air Force in 1978.

He was being challenged even there by Yeltsin, who by the end of the fall had taken over most of the Soviet government. Xerography of Accords The preamble of the document stated that "the USSR, as a subject of international law and a geopolitical reality, is ceasing its existence".

Compared to the earlier xerography process used by Disney, the lines can be controlled better and multiple copies made quickly. The drawings are photographed on high-contrast sheet film, and these negatives are then exposed onto the cels. A line on an animated character can be in color instead of just black. This is known as self-colored lines.

With it, he discovered the basic principle of modern xerography copy machine technology. By discharging a high voltage point near an insulator, he was able to record strange, tree-like patterns in fixed dust. These Lichtenberg figures are considered today to be examples of fractals. A crater on the Moon is named Lichtenberg in his honour.

Klaus Urbons (Göhren on Rügen, 1952) is a German photographer and xerography printmaker. He is a pioneer and leading figure of copy art in Germany and not only. He founded the Museum für Fotokopie, and is the author and translator of books on the history of Copy Art and photocopiers, as well as a curator and a collector.

In the 1970s, she began exploring Polaroid technology and Xerography as a vehicle for art making. She moved to Toronto in 1970 to attend OCAD. Wanting to explore the city she found inspiration in Kensington Market, Spadina Avenue and Queen Street West. Her first successful solo show was held in 1973, at Toronto's Baldwin Street Gallery of Photography.

Xerography was invented by American physicist Chester Carlson, based significantly on contributions by Hungarian physicist Pál Selényi. Carlson applied for and was awarded on October 6, 1942. Carlson's innovation combined electrostatic printing with photography, unlike the dry electrostatic printing process invented by Georg Christoph Lichtenberg in 1778. Carlson's original process was cumbersome, requiring several manual processing steps with flat plates.

The Xerox Corporation expanded internationally, opening subsidiaries in Mexico, continental Europe, Japan, and Australia. By 1968, the Xerox 914 led the company to over $1 billion in sales. With the debut of the 914, Xerox was granted 15-year exclusive patent rights to xerography. These rights, along with millions of dollars spent for product development, allowed Robert Gundach to refine photocopiers undisturbed.

In defiance of these regulations, some banned authors began writing samizdat articles and distributing them secretly in Czechoslovakia and abroad. In order to produce multiple copies of their works, they used carbon paper to produce up to fifteen copies at once. Other methods of copying included cyclostyle, spirit duplicator, photocopying, and xerography. The materials were secretly distributed among dissidents and sometimes smuggled abroad.

Pál Selényi Engineer Pál Selényi (17 November 1884 – 21 March 1954) "Fizikai Szemle 1999/5 - Zsolt Bor: OPTICS BY HUNGARIANS" (with Pál Selényi), József Attila University, Szeged, Hungary, 1999, webpage: KFKI-Hungary-Bor. was known as the "father of xerography" at Tungsram corporation."GE Lighting 2" (including Pál Selényi), Rövid Történet, GE Lighting Tungsram, 1996, webpage: Tungsram-History . He is also known as Paul Selenyi.

Using xerography, animation drawings could be photochemically transferred rather than traced from paper drawings to the clear acetate sheets ("cels") used in final animation production. The resulting art style – a scratchier line which revealed the construction lines in the animators' drawings – typified Disney films into the 1980s. The film was a success, being the tenth highest-grossing film of 1961 with rentals of $6.4 million.

Charles Kettering invented the first automatic starter for automobiles, and was the co-founder of Delco Electronics, today part of Delphi Corporation. The Battelle Memorial Institute perfected xerography, resulting in the company Xerox. At Cincinnati's Children's Hospital, Albert Sabin developed the first oral polio vaccine, which was administered throughout the world. In 1955, Joseph McVicker tested a wallpaper cleaner in Cincinnati schools, eventually becoming known as the product Play-Doh.

Aquamania is a 1961 American animated Goofy cartoon produced by Walt Disney Productions and released by Buena Vista Distribution on December 20, 1961. This cartoon was the last from Disney's "Golden Era" which featured Goofy as a solo star, and the first time the xerography animation-technique was used in a Goofy cartoon. Aquamania basically combined Goofy's three familiar areas in his career: sports, fatherhood, and documentary-subject.

The company had, the previous year, announced the refined development of xerography in collaboration with Battelle Development Corporation, of Columbus, Ohio. Manually operated, it was also known as the Ox Box. An improved version, Camera #1, was introduced in 1950. Haloid was renamed Haloid Xerox in 1958, and, after the instant success of the 914, when the name Xerox soon became synonymous with "copy", would become the Xerox Corporation.

Robert W. Gundlach (September 7, 1926 – August 18, 2010) was an American physicist. He is most noted for his prolific contributions to the field of xerography, specifically the development of the modern photocopier. Gundlach helped transform the Haloid Company, a small photographic firm, into the thriving Xerox Corporation. Over the course of his 42 year career with the company, he contributed over 155 patents, making photocopying technology more affordable and practical.

In 1945 Taylor was requested by Sir John Toothill to set up an electronics research laboratory in Edinburgh which attracted the likes of D T N Williamson, who, although better known for his amplifier fame was responsible with Taylor and others for many aircraft navigation developments. Taylor spent around five years here and worked on, and patented, an early form of Xerography before leaving to start a research laboratory in Canada.

The spacing of the wires controls the resolution of the plotter; for example, 100 or 400 wires to the inch. Dry Toner models use a process similar to xerography in photocopiers. Unlike a laser printer or photocopier, there is no transfer drum used in most electrostatic plotters; the imaging paper is directly exposed to the charging electrode array. Electrostatic plotters can print in black and white or in color.

Neaderland began using the photocopier for making art during a residency at Women's Studio Workshop, WSW, in 1972 and received a residency grant from WSW in 1982. By the 1980s she had gained international recognition in the field of xerography. In 1982, Neaderland founded the International Society of Copier Artists in New York City[]. She is the author/artist of many xerographic limited edition books, some of which are still available to private collectors.

Despite the 1959 layoffs and competition for Walt Disney's attention from the company's grown live-action film, TV, and theme park departments, production continued on feature animation productions at a reduced level.Shostak, Stu (03-28-2012). "Interview with Floyd Norman". Stu's Show. Retrieved June 22, 2014. In 1961, the studio released One Hundred and One Dalmatians, an animated feature which popularized the use of xerography during the process of inking and painting traditional animation cels.

Perhaps the greatest barrier to a paradigm shift, in some cases, is the reality of paradigm paralysis: the inability or refusal to see beyond the current models of thinking.Do you suffer from paradigm paralysis? This is similar to what psychologists term confirmation bias and the Semmelweis reflex. Examples include rejection of Aristarchus of Samos', Copernicus', and Galileo's theory of a heliocentric solar system, the discovery of electrostatic photography, xerography and the quartz clock.

Besides the camera, other methods of forming images with light are available. For instance, a photocopy or xerography machine forms permanent images but uses the transfer of static electrical charges rather than photographic medium, hence the term electrophotography. Photograms are images produced by the shadows of objects cast on the photographic paper, without the use of a camera. Objects can also be placed directly on the glass of an image scanner to produce digital pictures.

The Xerox 914 was the first marketable automatic and plain-paper copier. This machine could produce a good quality copy in under a minute. Although it was large and weighed 650 pounds, businesses had high demand for the efficient copier. Small businesses could lease it on a monthly basis, making xerography affordable to startup companies. The 914 was a huge success, exceeding Haloid’s most optimistic projections, and creating a huge market demand for the product.

He developed more improvements and was quickly promoted within the company. In 1963, Gundlach was one of the company’s first four Senior Scientists. In 1966, he was named Xerox’s first Research Fellow, and in 1978, he was appointed Senior Research Fellow. One of his most significant inventions was tri-level xerography, a process that allows the printing of two colors in a single pass, achieving perfect registration and greater speed than earlier methods.

He has made pioneering contributions to the application of modern control methods to semiconductor chip manufacturing processes, particularly to plasma processes for etching silicon and other materials. Other applications include color xerography and control of reconfigurable manufacturing systems. In recent years, he has focused on the problem of integrating wind and solar electricity into the power grid. The challenge here is to deal with the inherent variability, unpredictability and uncontrollability of these electric energy sources.

In 1964, Xerox Corporation introduced (and patented) what many consider to be the first commercialized version of the modern fax machine, under the name (LDX) or Long Distance Xerography. This model was superseded two years later with a unit that would truly set the standard for fax machines for years to come. Up until this point facsimile machines were very expensive and hard to operate. In 1966, Xerox released the Magnafax Telecopiers, a smaller, 46-pound facsimile machine.

It was almost 18 years before a fully automated process was developed, the key breakthrough being use of a cylindrical drum coated with selenium instead of a flat plate. This resulted in the first commercial automatic copier, the Xerox 914, being released by Haloid/Xerox in 1960. Before that year, Carlson had proposed his idea to more than a dozen companies, but none were interested. Xerography is now used in most photocopying machines and in laser and LED printers.

A static shock occurs when the surface of the second material, negatively charged with electrons, touches a positively charged conductor, or vice versa. Static electricity is commonly used in xerography, air filters, and some automotive coating processes. Static electricity is a build-up of electric charges on two objects that have become separated from each other. Small electrical components can be damaged by static electricity, and component manufacturers use a number of antistatic devices to avoid this.

Gundlach continued his research and experimentation in the field of xerography, developing a process that allowed many copies to be produced from a single image. Early photocopiers were slow and impractical, requiring several minutes to copy and reproduce a single document. Gunchlach’s process significantly increased the speed of the photocopier and paved the way for its commercial success. In 1955, Haloid transformed its photo-paper warehouses into showrooms for its Xerox machines and hired several hundred sales and service people.

The Museum also collected several devices from the very early stages of this printing technique in the 1950s: in Germany called Blitzkopie and in the USA called xerography. The collection of about 100 copying machines and consumables, technical library & documentation as well as a prospectus collection (since 1950) is hosted by the German Museum of Technology (Berlin) in 1999. In 2013, Urbons co-founded the "Makroscope: Centre for Art and Technology" in Mülheim. In 2017, Klaus Urbons was awarded the Prize .

The images of the living OTUs (29 species) were made available in the early 1960s; those of the fossil ones (48 species) later in the decade. These images were copied using xerography. Copies of all OTUs were in the possession of Dr. Paul A. Ehrlich (Stanford University), Dr. W. Wayne Moss (Philadelphia Academy of Sciences) and Robert R. Sokal (State University of New York at Stony Brook) in 1983. The original drawings by Joseph H. Camin have unfortunately been lost.

Although corona discharge is usually undesirable, until recently it was essential in the operation of photocopiers (xerography) and laser printers. Many modern copiers and laser printers now charge the photoconductor drum with an electrically conductive roller, reducing undesirable indoor ozone pollution. Lightning rods use corona discharge to create conductive paths in the air that point towards the rod, deflecting potentially-damaging lightning away from buildings and other structures. Corona discharges are also used to modify the surface properties of many polymers.

A blue pencil is a pencil traditionally used by a copy editor or sub-editor to show corrections to a written copy. The colour is used specifically because it will not show in some lithographic or photographic reproduction processes; these are known as non-photo blue pencils. For similar reasons, sometimes red pencils are used since their pigment will not reproduce by xerography. With the introduction of electronic editing using word processors or desktop publishing, literal blue pencils are seen more rarely.

Mario Santoro – Woith (born 1968 in Cuba) is an Italian photographer working in the field of experimental photography, xerography, printmaking and self- publishing artist's books. He is based in Todi (Umbria). His work has been exhibited internationally and is held in numerous private and public Artist's book collections including the Museum of Modern Art in New York City. Together with and Todd Brandow, Mario is one of the founders of the Todi Circle, a photography think tank held every year in Todi during the month of June.

From the "Dis – sectum" project Mario's mastery of the conceptual, technical and mechanical aspects of experimental photography culminate in his extensive use of photocopying machines and industrial machines overlaid with photography. With these machines and techniques, he created large-scale works and installations. Such prints span many meters and have been exhibited in installations as well as set designs for theater performances. One of Mario's primary photography philosophies is to reject the notion that xerography is less sophisticated or complex than other artistic printing processes and mediums.

It is not known if the process was ever used in animation. The xerographic method was first tested by Disney in a few scenes of Sleeping Beauty and was first fully used in the short film Goliath II, while the first feature entirely using this process was One Hundred and One Dalmatians (1961). The graphic style of this film was strongly influenced by the process. Some hand inking was still used together with xerography in this and subsequent films when distinct colored lines were needed.

They could videotape an action, then print out small black and white thermal images from the tape for reference for both human and animal characters, a shorthand method similar to the rotoscoping technique (called in fact xerography) used since the earliest days of animation, in which sequences are shot in live action and traced onto animation cels. They also utilized the process of building models and photographing them, particularly the ship at sea, and the "Giant Mouse of Minsk", a technique also used in many Disney films.

Another example is the Einbetoniertes Buch, 1971 (book in concrete) by Wolf Vostell. Louise Odes Neaderland, the founder and Director of the non-profit group International Society of Copier Artists (I.S.C.A.) helped to establish electrostatic art as a legitimate art form, and to offer a means of distribution and exhibition to Xerox book Artists. Volume 1, #1 of The I.S.C.A. Quarterly was issued in April 1982 in a folio of 50 eight by eleven inch unbound prints in black and white or color Xerography.

Xerography, a process of producing images using electricity, was invented in 1938 by physicist-lawyer Chester Floyd "Chet" Carlson (1906–1968), and an engineering friend, Otto Kornei. Carlson entered into a research agreement with the Battelle Memorial Institute in 1944, when he and Kornei produced the first operable copy machine. He sold his rights in 1947 to the Haloid Company, a wet-chemical photocopy machine manufacturer, founded in 1906 in Rochester, New York. Haloid introduced the first commercial xerographic copier, the Xerox Model A, in 1949.

Laser printing differs from traditional xerography as implemented in analog photocopiers in that in the latter, the image is formed by reflecting light off an existing document onto the exposed drum. Invented at Xerox PARC in the 1970s, laser printers were introduced for the office and then home markets in subsequent years by IBM, Canon, Xerox, Apple, Hewlett-Packard and many others. Over the decades, quality and speed have increased as the price has fallen, and the once cutting-edge printing devices are now ubiquitous.

Animation on The Jungle Book commenced on May 2, 1966. While many of the later Disney feature films had animators being responsible for single characters, in The Jungle Book the animators were in charge of whole sequences, since many have characters interacting with one another. The animation was done by xerography, with character design, led by Ken Anderson, employing rough, artistic edges in contrast to the round animals seen in productions such as Dumbo. Anderson also decided to make Shere Khan resemble his voice actor, George Sanders.

Goliath II is a 1960 American short animated comedy film produced by Walt Disney Productions. Directed by Wolfgang Reitherman and written by Bill Peet, it is narrated by Sterling Holloway and stars Kevin Corcoran. It was released theatrically in the United States on January 21, 1960 alongside the live- action Toby Tyler (also starring Corcoran). The short was the first Disney short cartoon to make full use of xerography, a process of using Xerox technology to transfer animation drawings to cels as part of the traditional animation process instead of utilizing hand-inking.

By 1948, Haloid realized that it would have to make a public announcement about electrophotography in order to retain its claims to the technology. However, the term electrophotography troubled Haloid; for one thing, its use of the term "photography" invited unwelcome comparisons with traditional duplicating technologies. After considering several options, Haloid chose a term invented by a public-relations employee at Battelle, who had asked a classics professor at Ohio State University for ideas. The professor suggested the term xerography—formed by combining the Greek words xeros ("dry") and graphein ("writing").

In 1955, Haloid signed a new agreement with Battelle granting it full title to Carlson's xerography patents, in exchange for fifty thousand shares of Haloid stock. Carlson received forty percent of the cash and stock from that deal, due to his agreement with Battelle. That same year, the British motion picture company Rank Organisation was looking for a product to sit alongside a small business it had making camera lenses. Thomas A Law, who was the head of that business, found his answer in a scientific magazine he picked up by chance.

For One Hundred and One Dalmatians (1961) production costs were restrained, helped by the xerography process that eliminated the inking process. Although the relatively sketchy look was not appreciated by Walt Disney personally, it didn't bother critics or audiences and the film was another hit for the studio. The Sword in the Stone (1963) was another financial success, but over the years it has become one of the least known Disney features. It was followed by the live-action/animation hit Mary Poppins (1964) which received 13 Academy Awards nominations, including Best Picture.

When he completed it in 2002, it was composed of about 4,200 canvases, each measuring . Gaber used xerography to modify photographs, and then combined them on canvas using photomontage and charcoal. The work is ordered in chronological sequence, starting with Weimar Republic and ending at the conclusion of World War II. When exhibited in its entirety, with canvases arranged in rows five high, the work runs nearly in length. In 1995, Southwestern College in Chula Vista, California, mounted an exhibit of the first 950 canvases—its first public showing.

Before the invention of the printing press (1440), the Mesopotamians, Chinese and Egyptians used stamps and presses to emboss images into clay and print on cloth (BC). With the invention of paper in the second century AD, reproduction of literature became more efficient. The thirteenth century brought letterpress and relief printing to the scene, a method used to produce religious scripts. Since then, offset printing (1875), the mimeograph (1886), the duplicator/"ditto machine" (1920s), Xerography (1938), inkjet printing (1951), laser printing (1965), and digital printing (1991) have made the process increasingly more accessible to the general public.

A notable example is Cruella de Vil's car in Disney's One Hundred and One Dalmatians. The process of transferring 3D objects to cels was greatly improved in the 1980s when computer graphics advanced enough to allow the creation of 3D computer-generated objects that could be manipulated in any way the animators wanted, and then printed as outlines on paper before being copied onto cels using Xerography or the APT process. This technique was used in Disney films such as Oliver and Company (1988) and The Little Mermaid (1989). This process has more or less been superseded by the use of cel- shading.

An electrofax involved electrostatic printer and copier technology, where an image was formed directly on the paper, instead of first on a drum, then transferred to paper, as it would be in xerography. It was used in the United States from the 1950s through the 1980s. The paper used in this process was coated with a zinc oxide powder, adhered with a resin, to make it able to hold an electrostatic charge, and absorb toner, to form an image and allow the evaporation of toner dispersants. Users of electrofax machines purchased paper with the coating already applied.

They were less expensive to manufacture than xerographic copiers, although the paper was slightly more costly than the plain paper used by xerography. Electrofax fell out of favor when other copier technologies could produce markedly better quality copies at less expense. By comparison, electrofax suffered a number of drawbacks, including: weak blacks in the image (most machines could only produce a dark gray), dampness and odor of the copies, the need for special paper, and multiple-bottle liquid toner replacement. Similarly, the need for electrofax based printers & plotters faded, as laser printers became cheaper, followed by inkjet printers.

He left Germany in 1929 and went to the US, initially working at Ansco for six years in Binghamton, New York. He went to work for the Rectigraph Company in Rochester, New York in 1935, which was bought by the Haloid Company. At Haloid, he became director of research in 1938, and was instrumental in turning it from a $7 million company into a billion-dollar copier company, which became the Xerox Corporation. It was Dessauer who spotted an article about electrostatic photography, later known as xerography in Monthly Abstract Bulletin in April 1945 and recognized its potential for copying.

Monthly Abstract Bulletin is a monthly scientific journal documenting recent developments in photographing and printing, published in Rochester, New York from 1915 to 1961. It is authored by Kodak Research Laboratories, associated with the Anso company, and is published by the Eastman Kodak Company. It was John H. Dessauer, a former employee of Anco incidentally, who spotted an article about electrostatic photography, later known as xerography in Monthly Abstract Bulletin in April 1945 and recognized its potential for copying, who together with Chester Carlson and businessman Joseph C. Wilson were behind the success of the Xerox Corporation.

On October 22, 1948, ten years to the day after that first microscope slide was copied, the Haloid Company made the first public announcement of xerography. In 1949, it shipped the first commercial photocopier: the XeroX Model A Copier, known inside the company as the "Ox Box." The Model A was difficult to use, requiring thirty-nine steps to make a copy, as the process was mostly manual. The product would likely have been a failure, except that it turned out to be a good way to make paper masters for offset printing presses, even with the difficulty of use.

Kodak LED printer Oki LED printhead An LED printer is a type of computer printer similar to a laser printer. Such a printer uses a light-emitting diode (LED) array as a light source in the printhead instead of the laser used in laser printers and, more generally, in the xerography process. The LED bar pulse-flashes across the entire page width and creates the image on the print drum or belt as it moves past. LEDs are more efficient and reliable than conventional laser printers, since they have fewer moving parts, allowing for less mechanical wear.

Under several hundred diameters magnification, one will see in the microscope, when well focused upon individual lycopodium particles, that the spore particles "dance" randomly. This is in response to asymmetric collisional forces applied to the macroscopic (but still quite small) powder particle by microscopic water molecules in random thermal motion. As a then-common laboratory supply, lycopodium powder was often used by inventors developing experimental prototypes. For example, Nicéphore Niépce used lycopodium powder in the fuel for the first internal combustion engine, the Pyréolophore, about 1807, and Chester Carlson used lycopodium powder in 1938 in his early experiments to demonstrate xerography.

According to Graham Dowson, later Rank's chief executive, it was "a stroke of luck that turned out to be a touch of genius … If Tom Law had not seen that magazine, we would not have known about xerography – or at least not before it was too late".Daily Telegraph, 13 January 1995 Haloid needed to grow, and its existing offices in Rochester were old and scattered. In 1955, the company purchased a large parcel of land in the Rochester suburb of Webster, New York; this site would eventually become the company's main research-and-development campus. Haloid's CEO, Joseph Wilson, had decided Haloid needed a new name as early as 1954.

After which the photographic print is handled just as any other photo-print. Whereas xerography and inkjet printing employ a halftone process and ink to reproduce digital images on paper, digital-C is a photographic continuous tone process rather than halftone or error diffusion which are common on offset press or ink-jet. The device natively supports 24-bit RGB raster files, and is capable printing vector based files when fronted by a photographic Raster Image Processor (RIP). 24 bit color continuous-tone devices use large multitudes of colors, up to 16,777,216, rather than the small number of colors available to 4-color press and 8-color ink-jet type devices.

In her study of the role of xerography in urban cultures in this period, the anthropologist Kate Eichhorn recounts: Orfalea wrote in his autobiography that disentangling him from Kinko's took enormous effort from the lawyers at Gibson, Dunn & Crutcher.Paul Orfalea and Ann Marsh, Copy This!: How I Turned Dyslexia, ADHD, and 100 Square Feet Into a Company Called Kinko's (New York: Workman Publishing, 2007), 171-176. The problem was that rather than adopt the traditional franchising model (by which the promoter creates a corporation that sells franchises), he had built the company as a series of loosely connected personal partnerships between each store owner and himself.

The new studio handled some of the animation for All Dogs Go to Heaven, as well as some television commercials. The move helped strengthen the studio's presence in the North American market, and early promotion for All Dogs Go to Heaven included a presentation at the 1989 San Diego Comic-Con and sales of animation cels from previous productions. Initially the new US studio handled only the rough animation, with the drawings then sent to the Dublin studio for cleanup, ink-and-paint and shooting. As the studio expanded, it took on more and more of the animation process, with the paper animation completed there and sent to Dublin for Xerography and painting.

Ever since One Hundred and One Dalmatians (1961), animation for theatrical Disney animated films was done by xerography, which had only been able to produce black outlines, but had been improved for the cel artists to use a medium-grey toner in order to create a softer-looking line. At the end of production, it marked the last joint effort by veterans Milt Kahl, Ollie Johnston, and Frank Thomas, and the first Disney film worked on by Don Bluth as a directing animator, instead of an assistant animator. Other animators who stepped up during production were Glen Keane, Ron Clements, and Andy Gaskill, who would all play an important role in the Disney Renaissance.

The Twelve Tasks of Asterix (Les Douze travaux d'Astérix) is a 1976 Belgian/French animated feature film based on the Asterix comic book series. René Goscinny and Albert Uderzo, the creators of the series, wrote the story and directed the film themselves; with co-direction by Pierre Watrin and the screenplay co-written by Pierre Tchernia, a friend of Goscinny and Uderzo. The film was directed, produced and animated at Goscinny and Uderzo's own animation studio, Studios Idéfix and is the only Asterix animated film that has used the Xerography Process. At the time of its release, the film received polarized reviews since its tone is more cartoony and frequently breaks the fourth wall.

Sixty-five half-hour episodes of three seven-minute chapters were produced, for a total of 195 segments that ran initially in broadcast syndication from September 1, 1966 to December 1, 1966. The series, produced in color, had extremely limited animation produced by xerography, consisting of photocopied images taken directly from the comics and manipulated to minimize the need for animation production. The cartoons were presented as a series of static comic- strip panel images; generally the only movement involved the lips when a character spoke, the eyes, and the occasional arm or leg, or a fully animated black silhouette. The series used the original stories largely in their entirety, showcasing Jack Kirby, Steve Ditko and Don Heck art, among others, from the period fans and historians call the Silver Age of comic books.

"GrOnk brought together British, Czech, American, Canadian, French and Austrian concrete and experimental practitioners..." One of Canada's longest running independent little magazines, grOnk ran for 126 distinct issues in a wide range of book and magazine formats utilizing diverse print technologies such as letterpress, rubberstamp, mimeography, offset and, later, xerography and audiocassette, including many hand-wrought additions (for examples, John Riddell's "A hOle in the Head" included many handcoloured pages and scissor-cut windows, while jwcurry's "AS IS OR WITH" was drawn entirely by hand throughout the edition). 6 issues, the grOnk Piggyback Series, ran as broadside sections in the Toronto literary tabloid Poetry Canada Review (1987–89). grOnk ceased publication in 1988 with the death of bpNichol, although some numbers have continued to be issued in the grOnk Inadmissible Series by Nicky Drumbolis's Letters and jwcurry's Room 302 Books.

Applied to animation by Ub Iwerks at the Walt Disney studio during the late 1950s, the electrostatic copying technique called xerography allowed the drawings to be copied directly onto the cels, eliminating much of the "inking" portion of the ink-and-paint process. This saved time and money, and it also made it possible to put in more details and to control the size of the xeroxed objects and characters (this replaced the little known, and seldom used, photographic lines technique at Disney, used to reduce the size of animation when needed). At first, it resulted in a more sketchy look, but the technique was improved upon over time. Disney animator and engineer Bill Justice had patented a forerunner of the Xerox process in 1944, where drawings made with a special pencil would be transferred to a cel by pressure, and then fixing it.

Riding Beggar Press, 1982 PostHype v3 n1, 1984 The Howling Mad Mail, 1985 I'm Trying to See, 1988 John Jacob began his career as an artist, working with reproductive media including photography, Xerography, rubber-stamps, mail-art, and artist's books. During the 1980s, he taught classes on color Xerox and the rubber stamp as a print- making medium, at Pratt Manhattan, with mail-artist Ed Plunkett, and founded the Riding Beggar Press ("If wishes were horses...") to promote his and other artists' work. His first sale, of a sheet of artists' stamps for $75, was from an exhibition curated by Buster Cleveland for the 13th Hour Gallery (NY, 1984). Jacob's efforts during this period include the irregular mail-art magazine PostHype (1981–85), and the International Portfolio of Artists' Photography (1983–86), an assembling book project conceived to integrate mail- art, book-art, and photography.

A smaller team at the Disney-MGM Studios theme park in Lake Buena Vista, Florida assisted the California team on several scenes, particularly the "Be Our Guest" number. Beauty and the Beast was the second film, after The Rescuers Down Under, produced using CAPS (Computer Animation Production System), a digital scanning, ink, paint, and compositing system of software and hardware developed for Disney by Pixar. The software allowed for a wider range of colors, as well as soft shading and colored line effects for the characters, techniques lost when the Disney studio abandoned hand inking for xerography in the early 1960s. CAPS/ink & paint also allowed the production crew to simulate multiplane effects: placing characters and/or backgrounds on separate layers and moving them towards/away from the camera on the Z-axis to give the illusion of depth, as well as altering the focus of each layer.

All subsequent Disney animated features were digitally inked-and-painted (starting with The Rescuers Down Under, which was also the first major feature film to entirely use digital ink and paint), using Disney's proprietary CAPS (Computer Animation Production System) technology, developed primarily by Pixar Animation Studios. The CAPS system allowed the Disney artists to make use of colored ink-line techniques mostly lost during the xerography era, as well as multiplane effects, blended shading, and easier integration with 3D CGI backgrounds (as in the ballroom sequence in the 1991 film Beauty and the Beast), props, and characters. While Hanna-Barbera and Disney began implementing digital inking and painting, it took the rest of the industry longer to adapt. Many filmmakers and studios did not want to shift to the digital ink-and-paint process because they felt that the digitally-colored animation would look too synthetic and would lose the aesthetic appeal of the non-computerized cel for their projects.

While the production of shorts slowed significantly during the 1950s and 1960s, the studio released a number of popular animated features, like Lady and the Tramp (1955), Sleeping Beauty (1959) and One Hundred and One Dalmatians (1961), which introduced a new xerography process to transfer the drawings to animation cels. Disney's live-action releases were spread across a number of genres, including historical fiction (Johnny Tremain, 1957), adaptations of children's books (Pollyanna, 1960) and modern-day comedies (The Shaggy Dog, 1959). Disney's most successful film of the 1960s was a live action/animated musical adaptation of Mary Poppins, which was one of the all-time highest- grossing movies and received five Academy Awards, including Best Actress for Julie Andrews and Best Song for Robert B. Sherman & Richard M. Sherman for "Chim Chim Cher-ee". The theme park design and architectural group became so integral to the Disney studio's operations that the studio bought it on February 5, 1965, along with the WED Enterprises name.

Since Alice Comedies in the 1920s, Walt Disney Animation Studios has produced a series of prominent short films, including the Mickey Mouse cartoons and the Silly Symphonies series. Many of these shorts provided a medium for the studio to experiment with new technologies that they would use in their filmmaking process, such as the synchronization of sound in Steamboat Willie (1928), the integration of the three-strip Technicolor process in Flowers and Trees (1932), the multiplane camera in The Old Mill (1937), the xerography process in Goliath II (1960), and the hand-drawn/CGI hybrid animation in Off His Rockers (1992), Paperman (2012), and Get a Horse! (2013). From 2001 to 2008, Disney released the Walt Disney Treasures a limited collector DVD series, celebrating what would have been Walt Disney's 100th birthday. On August 18, 2015, Disney released twelve short animation films entitled: Walt Disney Animation Studios Short Films Collection which includes among others Tick Tock Tale (2010) directed by Dean Wellins and Prep & Landing – Operation: Secret Santa (2010) written and directed by Kevin Deters Stevie Wermers-Skelton.

According to Graham Dowson, later Rank's chief executive, it was "a stroke of luck that turned out to be a touch of genius … If Tom Law had not seen that magazine, we would not have known about xerography – or at least not before it was too late."Daily Telegraph, 13 January 1995. In 1962, Rank Xerox also formed a joint marketing and manufacturing facility in Japan with The Fuji Photo Film Company and named Fuji Xerox. In 1968, Rank Xerox under Nigel Foulkes, initiated a marketing concept to sell rather than rent their copying machines behind the Iron Curtain, by appointing Gordon S Planner as General Manager East Export Operations via a firm of head hunters.'Marketing' September 1970 page 50, item by Paul Zentner Sales of machines increased rapidly to Eastern Europe and a unique marketing concept deployed in 1973 using a specially built and equipped train showcasing Rank Xerox copiers, it toured nine countries in Eastern Europe covering 30,000 miles and returned orders of over £3m.

Among his films was another postmodern comedy Vovka in the Far Far Away Kingdom (1965), the paint- on-glass animation Song of a Falcon (1967), the highly popular Karlsson-on- the-Roof dilogy (1968–1970) that made use of xerography and The Nutcracker adaptation (1973) that presented a familiar story without a single spoken word. Some patriarchs also joined the new wave. Ivanov-Vano was appointed an artistic director of the puppet division where he made a number of stop motion/cutout films inspired by Russian folk art, like Lefty (1964) that addressed lubok, Go There, Don't Know Where (1966) that used elements of rayok and skomorokh theatre, The Seasons (1969) based around Tchaikovsky's two character pieces, presented as a combination of Dymkovo toys and lace, and the award-winning The Battle of Kerzhenets (1971) where frescos and icons came to life. Another well-respected old-timer Boris Dyozhkin launched a popular series of short comedy films about two teams that competed in various sport disciplines such as football, hockey, skiing, boxing and so on.

It turned very popular and won a prize at the 1960 Annecy International Animated Film Festival. In 1962 they made a sequel of sorts — a half-hour live-action animated film Not Just Now where Petya, played by a real-life child actor, traveled through time and interacted with hand-drawn environment.Monsters of Animation. Boris Stepantsev at the official 2×2 channel (in Russian) From 1956 to 1960 Stepantsev and Raykovsky also directed one of the first Soviet mini-series that starred Murzilka, a popular character from the children's magazine of the same name. The third part, Murzilka on Sputnik (1960), became the first Soviet widescreen animated short and was awarded the first prize at the 1960 Karlovy Vary International Film Festival. Since 1963 Stepantsev directed films on his own. Between 1965 and 1970 he produced three of his most popular pictures: Vovka in a Far Far Away Kingdom (1965), another postmodern comedy about a lazy pioneer Vovka who found his way into a book of Russian fairy tales, and the Karlsson-on-the-Roof dilogy (1968, 1970) based on the fairy tale by the Swedish author Astrid Lindgren. The latter were also the first Soviet animated movies to introduce xerography.