Surrender Dorothy NYC tags
Text
Minaxi Minerals, Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Ceramic Raw Material, Ceramic Machinery Spare & Parts, Raw Material & Chemicals, Ceramic Roller & Grinding Media, China Clay, Digital Ink, Ceramic Color, Frit & Zinc Oxide, Refractories, Feldspar (Soda & Potash), Quartz, ceramic india
Text
This is a different kind of button repurposing project: buttons glued to a wine cork to make a DIY wax seal / signet stamp. That’s very clever! How-to by Patti Estep at Hearth and Vine.
Text
Researchers develop ultralight aerohydrogel scaffold for 3D brain cell cultures
- By Nuadox Crew -
Researchers at Kiel University developed an ultralight aerohydrogel scaffold designed for three-dimensional cultures of human brain cells.
[[MORE]]The material is formed by coating a temporary zinc-oxide framework with a thin hydrogel layer, then removing the underlying structure to leave a porous network.
In laboratory tests with astrocytes and microglia, the scaffold supported cell growth and allowed researchers to observe inflammatory signaling between the two cell types.
The study, published in Chem & Bio Engineering with collaborators from Harvard Medical School and University of Oxford, suggests the platform could be used to study brain cell interactions in controlled 3D environments.
Image: Electron microscope image of tetrapodal zinc oxide. The four-armed crystals form the initial scaffold for the aerohydrogels, which is later transformed into an ultralight hydrogel network. Credit: AG Funktionale Nanomaterialien, Kiel University
Header image: Fluorescent astrocytes under the microscope: the cells show their cytoskeleton in red, astrocyte-specific marker Connexin 43 in green, and cell nuclei in blue. Credit: Luise Schlotterose
Read more at Kiel University/Medical Xpress
Scientific paper: Torge Hartig et al, 3D Aerohydrogel Scaffolds for Brain Tissue Engineering and In Vitro Neuroscience, Chem & Bio Engineering (2026). DOI: 10.1021/cbe.5c00104
Related Content
Johns Hopkins researchers grow multi-region whole‑brain organoid
Other Recent News
“The MacBook Neo is the laptop I’ve been waiting for. Here’s why I’m buying it”
Sign up for Nuadox’ newsletter
Text
Carbon nanotube fiber ‘textile’ heaters could help industry electrify high-temperature gas heating
A cross-disciplinary team at Rice University has developed a new type of electric heating element — one that looks less like a traditional metal coil and more like a high-performance thread.
In a study published in Small, the researchers demonstrated that wires and fabrics made from carbon nanotube fibers (CNTFs) can deliver substantially more heating power per unit mass than conventional…
Carbon nanotube fiber ‘textile’ heaters could help industry electrify high-temperature gas heating
Text
Electrons catapult across solar materials in just 18 femtoseconds
Scientists have discovered that electrons can be propelled across solar materials at speeds close to the fastest nature allows, a result that challenges long accepted ideas about how solar energy systems operate.
The finding could open new paths for designing technologies that capture sunlight more efficiently and convert it into electricity.
In laboratory experiments tracking events lasting…
Electrons catapult across solar materials in just 18 femtoseconds
Text
Sanjay Minerals, Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Ceramic Raw Material, Ceramic Machinery Spare & Parts, Raw Material & Chemicals, Ceramic Roller & Grinding Media, China Clay, Digital Ink, Ceramic Color, Frit & Zinc Oxide, Refractories, Feldspar (Soda & Potash), Quartz, ceramic india
Text
What Is Eco-Friendly Junk Removal and Why Does It Matter?
Moving represents a fresh start, but the process of getting there? That’s where the stress lives. Packing a lifetime of belongings, coordinating logistics, hoping nothing breaks—it’s exhausting before you even lift a box. Amid the chaos, the mountain of junk left behind often goes unnoticed, yet how we handle it can make a significant difference for our planet.
Quick Answer:
Eco-friendly junk removal means responsibly sorting, recycling, donating, and disposing of unwanted items to minimize landfill waste and reduce environmental impact. The most effective methods include donating usable goods, recycling electronics and metals, and choosing junk removal services that prioritize sustainable disposal practices.
What Is Eco-Friendly Junk Removal and Why Does It Matter?
Eco-friendly junk removal
refers to the process of disposing of unwanted items in ways that minimize harm to the environment. This involves prioritizing reuse, recycling, and proper handling of hazardous materials over simply dumping waste in landfills. According to the Environmental Protection Agency (EPA), about 75% of the waste stream is recyclable, yet only 30% is recycled annually — highlighting a huge opportunity to reduce landfill overflow through conscious junk removal.
By adopting eco-friendly junk removal methods, households and businesses can significantly reduce greenhouse gas emissions, conserve natural resources, and lower pollution. For example, recycling metals saves up to 90% of the energy needed to produce new metals from ore (source:
EPA
).
10 Actionable Tips for Eco-Friendly Junk Removal
Here are practical steps to help you manage junk sustainably and reduce your environmental footprint:
Sort Before You Toss:
Separate items into categories: recyclables, donations, hazardous waste, and landfill. This makes responsible disposal easier.
Donate Usable Items:
Clothes, furniture, electronics, and books in good condition can support local charities or shelters, extending their lifecycle.
Recycle Electronics Responsibly:
E-waste contains toxic materials but also valuable metals. Use certified e-waste recyclers to handle these safely.
Use Certified Junk Removal Companies:
Choose services that advertise eco-friendly practices, such as material recovery and landfill diversion.
Compost Organic Waste:
Text
Bond Impex, Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Bond Impex
Ceramic Raw Material, Ceramic Machinery Spare & Parts, Raw Material & Chemicals, Ceramic Roller & Grinding Media, China Clay, Digital Ink, Ceramic Color, Frit & Zinc Oxide, Refractories, Feldspar (Soda & Potash), Quartz, ceramic india
Text
Shyam Cera, Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Ceramic Raw Material, Ceramic Machinery Spare & Parts, Raw Material & Chemicals, Ceramic Roller & Grinding Media, China Clay, Digital Ink, Ceramic Color, Frit & Zinc Oxide, Refractories, Feldspar (Soda & Potash), Quartz, ceramic india
Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Photo
Text
Shree Ram China Clay, Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Ceramic Raw Material for tiles and sanitarywares, Ceramic India
Ceramic Raw Material, Ceramic Machinery Spare & Parts, Raw Material & Chemicals, Ceramic Roller & Grinding Media, China Clay, Digital Ink, Ceramic Color, Frit & Zinc Oxide, Refractories, Feldspar (Soda & Potash), Quartz, ceramic india
Text
Text
A New Way to Build 2D Materials Without Harsh Chemicals Pays Off Big - Science News
MXenes are an emerging class of two-dimensional materials whose properties depend sensitively on the atoms bound to their surfaces. A new synthesis approach now allows researchers to control these surface terminations with unprecedented precision. First identified in 2011, MXenes are a fast-expanding family of ultra-thin inorganic materials only a few atoms thick. Their structure consists…
Text
Breakthrough AI Tool Identifies 25 Previously Unknown Magnetic Materials - Science News
New research may help reduce reliance on rare earth elements used to power modern technology. Scientists at the University of New Hampshire are using artificial intelligence to dramatically speed up the search for new magnetic materials. Their approach has produced a searchable database containing 67,573 magnetic materials, including 25 previously unknown compounds that retain their […]
Read…
Text
Team develops smart synthetic material inspired by octopus skin
Despite the prevalence of synthetic materials across different industries and scientific fields, most are developed to serve a limited set of functions. To address this inflexibility, researchers at Penn State, led by Hongtao Sun, assistant professor of industrial and manufacturing engineering (IME), have developed a fabrication method that can print multifunctional “smart synthetic skin” —…
Team develops smart synthetic material inspired by octopus skin
Text
Portland Pozzolana Cement (PPC) | Advantages of PPC Cement
In the dynamic world of construction materials, the choice of cement plays a pivotal role in determining the strength, durability, and sustainability of structures. Portland Pozzolana Cement (PPC) has emerged as a versatile and advantageous option, offering unique properties that distinguish it from conventional cements.
Understanding Portland Pozzolana Cement (PPC)
1. Composition and Production
PPC is a hydraulic cement that consists of Portland clinker, pozzolanic material (usually fly ash), and a small amount of gypsum. The pozzolanic material, when combined with Portland clinker, reacts with calcium hydroxide to form additional cementitious compounds. This supplementary reaction enhances the strength and durability of the cement. The production process involves blending the components to create a fine powder, which is then used in various construction applications.
Text
Materials, properties and visual quirks
When we refer to ‘rendering’ in 2d drawing it’s evolved to mean some combination of representing light, materials and values in some tangled blob - this section will make more sense with context of those topics - (I have some write ups dotted around)
When you paint, these are the things we will be primarily be trying to represent on canvas with our pigment (oils, acrylics, watercolours etc).
What this isn’t is the technical drawing side of things - draftsmanship, shape design and composition which is drawing.
Once we understand composition, (how and where to place things) we can start adding in different materials to differentiate textures. If we don’t think about this, everything in an image starts to feel flat. A good handle on this topic means you can even chop and change things as you want. Want to paint a moon made of actual cheese? You can do that by thinking about materials.
Understanding light, value and material relationships
When we are missing information of one of the constituent parts it makes it impossible to make informed decisions in a painting.
“I want to paint this apple as if it were metal”
if we don’t know how light works we can’t place reflections, if we don’t know values we can’t mix our colours, if we don’t know how shiny metal is we’re going to paint something that doesn’t look metallic enough.
It is hard because you have to juggle everything at once, in context of balance and flow of the rest of the piece.
People can make it effortless because they spent enough time internalising all of the parts. The idea is that we have a limited capacity to be able to make decisions before it becomes overwhelming. If we can internalise as we can we can develop our instinct to kick in when we come to actually painting so that we just know when something is off and have enough muscle memory to adjust.
What even is a material?
Texture. It adds visual interest, helps define and guide people to understand what they’re looking at. Without it, skin looks like cloth, metal looks like wood, everything is muddy and confusing.
Materials are the physical properties of objects, which we can see due to how light interacts with the molecules and elements present. (I’ll skip the chem lesson for now, what we need to focus on is how does that make it look on the visual surface scale).
Think of a sword, if you draw it without straight lines, it looks all floppy, that might be what you want for a punchline of a cartoon, or it could make the steel look unreliable such that in a critical moment the sword breaks in the heat of the moment.
Or we can make it as realistic as possible.
If we don’t consider how a material looks under regular conditions and under stress it won’t be believable. Someone walking away from an explosion with no cuts, burns, perfect clothes could be what you want - to show how how untouchable the villain is, or you max it out to show how dire of a situation your character is in.
A handed understanding of materials isn’t to do with just depicting what something is, this is how we make stories feel alive, add intrigue and believability to the imaginary.
Composition is how we lay it out, values making it readable, design and silhouette make it recognisable, anatomy lets it move, form lets it exist, and changing materials will show us the passage of time.
We can pick the format for delivery - comics, animation, tv
We can add skill from other disciplines - sound, writing
What to think about
(You can do this at any time, but it’ll be helpful to test it in context by trying to draw and paint it)
Materials follow consistent behaviour, there’re also a lot of them, we we need to use an efficient system to remember things about them. Unless you’ve got a very good memory it’s a lot easier to remember behaviours, such that you can apply them in the moment.
Let’s work with three examples of common things: wood, metal, plastic. (We can use similar objects to help us out, a wood plank, a steel rod and a tall plastic drink bottle)
First we need to think about how light interacts.
This is how shiny it is, how much light passes through, what changes when the colour of the material changes, does where the material came from change anything?
The light doesn’t pass through wood and metal, but it does for plastic, but sometimes, it looks a bit different when the plastic is thicker. We then think about what other objects do this - something like glass.
We notice that the glass is also shiny, also the metal, and the wood kind of - when it’s polished with resin or has honey dropped on it.
By doing this we unpick how things look different under different conditions.
With this in mind, we think about the physical properties of each object - how does it bend, squish, what happens if we stretch it, squash it, twist it, scratch it, expand it. Throw as many verbs (actions) as you can think at it, every material will do something different and share similarities. This is material.
(To draw this you will need to understand topics such as form and perspective)
When we manipulate an object it will have an effect on the form, this then means the planes that catch light changes - which affects what we can see - which means we need to adjust the values.
(Art is complex because it’s a myriad of moving parts where if you miss something you can’t depict it, no wonder it feels discouraging right? We’re deconstructing the world and trying to draw it while keeping a calm head)
When we can understand how to manipulate an object we can understand how different conditions will impact what we can see about it.
How does the light catch a sheet of metal once it has been slashed with a knife? What happens to the hue when you heat it up? Our pour water on it? What about dropping a rock off a building? Does it smash and shatter, or does it bounce pr even land with a thud.
(We can look to cartoons, it’s all about exaggeration and distortion. A cel shaded flat of an anthropomorphic wolf doesn’t actually hold a 1 tonne weight, but we can make it look like it has weight when they miss the road runner and they squish themself instead)
How to consider materials
It’s a lot to remember, it’s not expected to be able to regurgitate exact details all the time, this is why we use references, if we can remember a pattern like: “shiny objects have hight contrast and mirror reflections proportionally to the distance of the viewer” then when we come to drawing it we can just focus on working out how we’re going to do that.
We can work out the patterns just by looking at things in the real world. Interacting with things, looking at stuff in different lighting conditions.
Closing thoughts
This topic exists on a large scale, generally the more you want it to look impressing will lie in how you render/colour generally. Being able to paint realistically isn’t a prerequisite however, understanding how these things apply to the real world opens up many opens even for highly stylised work.
Art schools aren’t militant about realism to be assholes about it, being able to copy an established rendering style will look impressive, but it doesn’t tell them how well you actually understand the underlying topics in a way that they can measure. (Even this isn’t the whole picture, the portfolio they will want will change depending on the place, an institution isn’t necessary for this stuff though, just depends how you like to learn)
Understanding materials, light and color, all of this will get the credit and make your work stand out. In the long run it is totally meaningless if the underlying drawing and compositions are so so a good render won’t do anything but highlight the issues. Think of this as the frosting on a cake, drawing is building the cake, even a simple cupcake is a cake, even if it’s a bit boring.
I bring it up since it seems consistently that’s what people are tripping up on. Learning this stuff early is actually a distraction. The rendering is proportional to effort and time spent… Getting a nice render is just going to take longer, thinking you have to render everything to completion every time is going to slow down progress for the things that do matter. It’s an exercise of patience and delayed gratification tbh more than anything.
The colors, materials, textures, light, all of it serves as the stuff that will lift your work to new heights, but it needs something to stand on. If we never play around with this stuff it’s boring and will drain any enjoyment there is out of art entirely and if we never work on the foundations we end up with drawings that will collapse under any amount of scrutiny, we work on both and alternate, easy win, you’re already a great artist, so just keep going :)
(materials knowledge has application in many different areas of life by the way, not just art, understanding what makes something flammable for example can be used to make supplies for camping, knowing what will block and reflect light adequately lets you make choices about which blinds to use for your windows, knowing chemical compositions of elements lets you know when a brand is ripping you off by charging a 5x markup on the exact same product that is found in the super market off brand)
Text
Using generative AI to help scientists synthesize complex materials
Generative AI models have been used to create enormous libraries of theoretical materials that could help solve all kinds of problems. Now, scientists just have to figure out how to make them.
In many cases, materials synthes is not as simple as following a recipe in the kitchen. Factors like the temperature and length of processing can yield huge changes in a material’s properties that make or…
Using generative AI to help scientists synthesize complex materials