Special Effects In Plastics 2002

In recent years there has been a explosion in finishing effects for plastics. Differentiation through product design as well as packaging design has become a paramount arm in the fight for market share in consumer products markets and elsewhere. Mass customisation through finishing effects is considered a key to commercially successful designs. Rapid developments in technology as well as a host of new plastics coming on stream have enabled the plastics industry and those that use plastics in their products to realize dramatic product enhancements in terms of both aesthetics and functionality. This conference addressed the potential of special effects through presentations from leading companies.

The Mission: To learn about the dynamic, technical advances occurring in special effect pigments and to know how to exploit them in specific coatings, plastics, printing inks and cosmetics applications while satisfying the demands of the market. The Audience: Colour designers, product developers and applications technologists in the coatings, plastics, printing inks and cosmetics industries, as well as all marketing and sales employees of these divisions who are seeking to instill coatings and pigment knowledge into their customers. The Value: Readers acquire a profound knowledge of the properties, manufacturing processes and specific application areas of special effect pigments. The latest advances in colorimetry ensure that products containing special effect pigments are subjected to state-of-the-art quality assurance methods.

At a time when it is critical to many plastics processors to add value to products, colorants are an essential part of the additives repertoire. Plastics are often processed at very high temperatures and shear, and products are exposed to heat and light. Colorants must tolerate these conditions to function adequately. This Rapra Review Report provides practical information for plastics processors with regard to colorant selection and the range of products and effects available. The review is accompanied by around 400 abstracts from the Rapra Polymer Library database, to facilitate further reading on this subject.

This first international conference on The Art of Plastics Design brought together designers, manufacturers, plastics engineers and end-users, together with producers of innovative plastics materials.

Highlighting more than a decade of research, this one-of-a-kind reference reviews the production, processing, and characteristics of a wide range of materials utilized in the modern tire and rubber industry. Rubber Compounding investigates the chemistry and modification of raw materials, elastomers, and material compounds for optimal formulation an

Most moviegoers think of editing and special effects as distinct components of the filmmaking process. We might even conceive of them as polar opposites, since effective film editing is often subtle and almost invisible, whereas special effects frequently call attention to themselves. Yet, film editors and visual effects artists have worked hand-in-hand from the dawn of cinema to the present day. Editing and Special/Visual Effects brings together a diverse range of film scholars who trace how the arts of editing and effects have evolved in tandem. Collectively, the contributors demonstrate how these two crafts have been integral to cinematic history, starting with the “trick films” of the early silent era, which astounded audiences by splicing in or editing out key frames, all the way up to cutting-edge effects technologies and concealed edits used to create the illusions. Throughout, readers learn about a variety of filmmaking techniques, from classic Hollywood’s rear projection and matte shots to the fast cuts and wall-to-wall CGI of the contemporary blockbuster. In addition to providing a rich historical overview, Editing and Special/Visual Effects supplies multiple perspectives on these twinned crafts, introducing readers to the analog and digital tools used in each craft, showing the impact of changes in the film industry, and giving the reader a new appreciation for the processes of artistic collaboration they involve.

This second international conference focused on developments in High Performance Fillers from established materials to the latest innovations. There were presentations on many different types of fillers from flash calcined clays (Imerys), diatomaceous earths and perlites (World Minerals), aluminas (Sasol), natural fibres (Queens's University Belfast), titanium oxides (Oxonica), mica (Quartzwerke), wollastonite (RT Vanderbilt), pigments (Eckhart) and glass foam (Trovotech) to nanographite (State University of Michigan), POSS (Hybrid Plastics) and nanocomposites (Prof Camino, Prof Kenig, S Dunger). BASF AG and Electrolux discussed filler interactions with other compounding ingredients, whilst surface modification with silanes was presented by Dow Corning.

You are girlish, our images tell us. You are plastic. Girlhood and the Plastic Image explains how, revealing the increasing girlishness of contemporary media. The figure of the girl has long been prized for its mutability, for the assumed instability and flexibility of the not-yet-woman. The plasticity of girlish identity has met its match in the plastic world of digital art and cinema. A richly satisfying interdisciplinary study showing girlish transformation to be a widespread condition of mediation, Girlhood and the Plastic Image explores how and why our images promise us the adaptability of youth. This original and engaging study will appeal to a broad interdisciplinary audience including scholars of media studies, film studies, art history, and women's studies.

Julie A. Turnock tracks the use and evolution of special effects in 1970s filmmaking, a development as revolutionary to film as the form's transition to sound in the 1920s. Beginning with the classical studio era's early approaches to special effects, she follows the industry's slow build toward the significant advances of the late 1960s and early 1970s, which set the stage for the groundbreaking achievements of 1977. Turnock analyzes the far-reaching impact of the convincing, absorbing, and seemingly unlimited fantasy environments of that year's iconic films, dedicating a major section of her book to the unparalleled innovations of Star Wars and Close Encounters of the Third Kind. She then traces these films' technological, cultural, and aesthetic influence into the 1980s in the deployment of optical special effects as well as the "not-too-realistic" and hyper-realistic techniques of traditional stop motion and Showscan. She concludes with a critique of special effects practices in the 2000s and their implications for the future of filmmaking and the production and experience of other visual media.