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To obtain the pumping capacity of a batch rotor stator mixer, it is necessary to measure the velocity eld entering and/or emanating from the mixer head. Since this is often tedious and requires sophisticated instrumentation, few pumping capacity data exist for batch devices. One must usually rely on vendor information or trial-and-error experimentation to estimate batch time. Rotor stator mixers are often operated off-center in unbaf ed vessels to promote good bulk mixing. As an alternative, the vessel may be equipped with a standard axial impeller to provide bulk mixing (see Figure 8-5c). Mixer location affects both pumping capacity and blend time. It is much easier to measure the pumping capacity of an in-line rotor stator mixer, so vendor data are much more reliable. Units that have a rotor with blades, such as the Silverson in-line series, can simultaneously pump and emulsify/disperse material. However, many designs, such as those with multiple rows of rotor and stator teeth, have marginal pumping capacity and may even cause a pressure drop. While rotor rotation acts to create pressure and pumping, the resulting tangential velocities are redirected radially as the uid passes through the stator slots to counteract the pumping action of the rotor. However, it is the dissipation of this pressure energy that promotes good dispersion/emulsi cation. This is discussed in more detail below. It is often necessary to feed the mixer with a separate pump.

Here s how to create the simplest form of mask: 1. To begin with, the content that will be visible through the mask should be in place on its own layer, with visibility turned on. This is called the Masked layer. 2. Next, create a new layer above the Masked layer. 3. Then, create the aperture through which the contents of the Masked layer will be viewed. This aperture can be any filled item, text, or placed instance of a symbol. The only constraint is that the aperture must be a filled item. (Of course, lines can be used as masks if they are first converted to fills with the Modify Shapes Convert Lines to Fills command.) This layer is called the Mask layer. 4. Now, situate your Mask over the contents of the Masked layer so that it covers the area that you will want to be visible through the mask. 5. Finally, right-click/Ctrl+Click the layer bar of the Mask layer to invoke the contextual menu, and then choose Mask from the menu. 6. The Masked layer will become subordinated to the Mask layer and both layers will become locked. The contents of the Masked layer are now visible only through the filled portion(s) of the Mask layer (as shown at the left in Figure 10-15.)

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If large particles have a very long dissolution time, there may be degradation of the product in the bulk.

In most cases, you want a wide-angle lens that can fill the entire picture frame However, there are specialized wide-angle lenses to create special effects One such wide-angle lens is the fisheye lens The fisheye lens gets its name from the way fish sees the environment around them These lenses generate a circular image that is warped The image has a large angle of view to capture up to 180 degrees or more The fisheye lens generally creates a circular vignette around the picture, as shown in Figure 7-12 There are also some semi-fisheye lenses The semi-fisheye lenses are like the fisheye lenses, except they are not so extreme Some of them can provide the warping effect but still fill the entire picture frame with images from the scene.

<routes> <route routeid= 3 title= A1 to Station (North) lat= -0.652313 lng= 52.9164 /> <route routeid= 13 title= Barrowby to Nottingham ; lat= -0.685959 lng= 52.9197 /> <route routeid= 14 title= Courthouse to Shell Garage ; lat= -0.645833 lng= 52.9094 /> <route routeid= 12 title= Home to Asda lat= -0.683942 lng= 52.9164 /> <route routeid= 15 title= Home to Sainsburys lat= -0.683942 lng= 52.9164 /> <route routeid= 11 title= One on Wharf to St Wulframs lat= -0.639954 lng= 52.9094 /> </routes>

In addition to the settings illustrated in Figures 10-13 through 10-18, you also have the following options at your disposal: Noise adds additional randomness to brush footprints. Soft footprints can be beneficial, especially when you enable this setting. Wet Edges adds color along the edges of a brush stroke while leaving the rest semitransparent, useful for creating watercolor effects. Airbrush simulates traditional airbrush used by artists to build up color gradually while retaining a soft edge. The effect is similar to spray painting. Smoothing evens out the brush footprints, thereby producing smoother curved brush strokes. Protect Texture substitutes the texture in the current preset in all saved presets, useful for ensuring consistency when using several presets to paint an area that must have the same look and feel. For example, if the strokes from different presets must have a canvas texture, change the texture for the current preset to canvas and then select Protect Texture. The texture specified in the saved presets will be overridden and replaced by the canvas texture.

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