You can use Imposition Wizard as imposition plugin for Adobe Acrobat or in standalone mode. Imposition Wizard features all the standard impositions: n-up, step and repeat, cut stack and booklet schemes. Imposition Wizard combines easy user interface with powerful PDF imposition capabilities. It can use your Adobe Acrobat for PDF processing or work in standalone mode. Imposition Wizard works both on Mac and Windows and provides the same user interface on both platforms. Backed with powerful PDF engine, Imposition Wizard guarantees 100% perfect results. Realtime preview allows you to see the document exactly as it will be printed. Imposition Wizard is created with simplicity in mind and features a dead simple user interface which lets you focus on your main task. Imposition Wizard - PDF Imposition software with Adobe Acrobat integration, simple user interface, realtime preview, and command-line support. Define output settings to integrate with your workflow.Imposition Wizard 3.3.4 (圆4) + Portable | 34.5/32 Mb.Export with cutting parameters for downstream finishing.Control over JDF data type and version.Integrate inpO2 into an existing workflow using the Hot folders to capture new jobs and direct completed layouts to the next workflow phase.Set-up any automated workflow independent of page size or page count.Drag and drop PDF files into a predefined hot folder to automatically impose common layouts.Gang as many jobs as needed on just about any format size using Optimization.Override the automated results by changing variables with a simple click of the mouse.Drag and drop jobs, enter the desired run length and select your target output.Professional Feature Set: Complete page control, ink management, mark sets, checkpoints.Web Press Capabilities: Easy-to-use interface to create complex layouts for single web, half-web multi-web, come and go or section stacking.Planning Capabilities: Post-press driven approach to imposition, using press, paper and fi nishing methods data.Assembly Manager: Convenient assembly-tree interface to impose projects requiring complex assemblies.Edit your layouts easily with this option.The Layout editor adds the powerful light-table to the Wizard.Quick and simple Wizard to create imposition for folded or flat work of any size!.Building blocks for your production needs JDF Export of layout and finishing parameters for JDF compatible workflows, RIPs, and finishing equipment. Perfect for customers looking to automate their common imposition work, or Web to Print customers who want to make inpO2 a key part of their overall automated workflow. No limit to the number of workflows that can be defined and each workflow can be set for a specific trim size, or made to be dynamic and change based on the input file. Take anything you can do in inpO2 Wizard and make it as simple as "drag and drop". See your run length based on your quantities, paper waste and make adjustments to get just the right layout for your ganging needs. Import your files, define your press sheet, quantities, and finishing methods then inpO2 Optimization does the rest. Optimization makes ganging multiple jobs on a single sheet easy and flexible. In addition, other professional features such as page level controls, mark sets, ink merging and more! Network licenses are also available for customers who need multiple seats. inpO2 Pro+ adds template based assembly for offset and web press printing, along with our inpO2 planner for interactive imposition planning. (Wizard + Layout Editor + Assembly Planner + Automation + Optimization + JDF) See below for more information on the Wizard and Layout Editor. inpO2+ is perfect for basic offset and digital printing applications. The easy to use and cost effective starting point for the rest of the inpO2 product line. (Wizard + Layout Editor + Automation + Optimization + JDF) As a modular imposition solution, you can pick the right features to meet your production needs and budget. InpO2 is a powerful, modular PDF imposition software, built right into the familiar environment of Acrobat DC. Flexible Imposition for Digital, Offset and Web Printers
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Fluid forces are also affected by a number of cardiac cells that were developing into blood cells, lodged in the trabeculation fluid spaces. We also find that there is a squeezing motion of cardiac tissues on the trabeculation fluid spaces, which is the main mechanism that generated fluid forces. We find that they cause fluid forces to have spatial variability and an oscillatory nature. The heart’s inner surface has uneven trabeculation structures. We find that the use of a particular fish line that expresses fluorescence at the exact boundary between heart tissue and blood, that is the endocardial cell membrane boundary, is important to give high quality results. To do this, we perform high resolution imaging of zebrafish embryonic hearts and image-based flow simulations. We thus perform careful quantification of these forces, using the zebrafish embryo as a model. In the embryonic heart, the mechanical forces that blood fluid imposes on the cardiac tissues are known to be important biological stimuli that affect the proper heart development. Overall, our results suggested that a complex multi-component consideration of both anatomic features and motion dynamics were needed to quantify the trabeculated embryonic heart fluid mechanics. We further found cells attached to the endocardium within the intra-trabecular spaces, which were likely embryonic hemogenic cells, whose presence increased endocardial WSS. We found that trabecular structures were responsible for the high spatial variability of the magnitude and oscillatory nature of WSS, and for reducing the endocardial deformational burden. By conducting simulations of single intra-trabecular spaces under varied scenarios, where the translational or deformational motions (caused by contraction) were removed, we found that a squeeze flow effect was responsible for most of the WSS magnitude in the intra-trabecular spaces, rather than the shear interaction with the flow in the main ventricular chamber. Our endocardial wall shear stress (WSS) results were found to exceed those reported in existing literature, which were estimated using myocardial rather than endocardial boundaries. To capture trabecular geometric and motion details, we used a fish line that expresses fluorescence at the endocardial cell membrane, and high resolution 3D confocal microscopy. Here, we conducted image-based computational fluid dynamics (CFD) simulations to quantify the fluid mechanics associated with the zebrafish embryonic heart trabeculae. However, the fluid dynamical behaviour close to the embryonic endocardial surface is very sensitive to the geometry and motion dynamics of fine-scale cardiac trabecular surface structures. It is thus important to understand the nature of embryonic heart fluid forces. Embryonic heart development is a mechanosensitive process, where specific fluid forces are needed for the correct development, and abnormal mechanical stimuli can lead to malformations. Stresses professionalism and safety in the medical setting. Department permission required for registration.Ĭurrently: The first of a two-term course introducing the basic histologic knowledge, skills and practices including instrumentation, tissue fixation, embedding, cutting, staining and troubleshooting. Stresses professionalism and safety in medical settings. Introduces histologic knowledge and skills including instrumentation, tissue fixation, embedding, cutting, staining and troubleshooting. Proposed: First course of two-course sequence. MLT 201 INTRODUCTION TO HISTOLOGIC TECHNIQUES 1 -COURSE DESCRIPTION CHANGE MLT 201 INTRODUCTION TO HISTOLOGIC TECHNIQUES 1 – LEARNING OUTCOMESĢ31. MLT 201 INTRODUCTION TO HISTOLOGIC TECHNIQUES 1 – COURSE CREDIT/CONTACT HOUR CHANGEĢ30a. Please note change in rooms for the MAY meeting – Pine RoomĢ30. R, G, B are independent, find the closest color for each channel separately.PCC / Curriculum Office / Curriculum Committee / Curriculum Committee Archives / Agenda 5-7-2003ĬURRICULUM GEN/ED COMMITTEE of the EDUCATIONAL ADVISORY COUNCIL All inputs and outputs should use lowercase letters, and the output is 7 characters.Any answer which has the same (highest) similarity as the best answer will be accepted.color is a valid RGB color: for i > 0, color is a hexadecimal digit from 0 to f.This is the highest among any shorthand color. Given the color "#ABCDEF", return a 7 character color that is most similar to #ABCDEF, and has a shorthand (that is, it can be represented as some "#XYZ" Example 1: Input: color = "#09f166" Now, say the similarity between two colors "#ABCDEF" and "#UVWXYZ" is -(AB - UV)^2 - (CD - WX)^2 - (EF - YZ)^2. For example, "#15c" is shorthand for the color "#1155cc". The red-green-blue color "#AABBCC" can be written as "#ABC" in shorthand. In the following, every capital letter represents some hexadecimal digit from 0 to f.
The saturation option produces a stroke that has differing levers of saturation. Keep an eye on the brush stroke preview at the top of the Sub tool detail options window to see how the colors change as you choose different active colors. If you choose a desaturated color as your active color, the random colors will be desaturated. The intensity of these colors depend on the base color that you set, too! If you choose a very bright and saturated color for your “brush color” then the tip colors will be very saturated. Then in the Subtool window, click on the three horizontal lines in the top left corner to bring up the menu, as shown below, and then click on “Import sub tool…”Īs you can see, the Hue setting introduces more colors into the brush tip. For this article, since I’m using brushes that are supposed to imitate wet media, I’m going to choose the “Brush” category. The first way is the “long way” - which is really just a few clicks, and the second is my preferred way of importing tools that aren’t coming from the CSP Assets menu!įirst you’ll need to decide what overall category of tool that you want to put your PS tools in. Importing tools into CSP is just about one of the easiest things you can do! There are two ways to do it, so I’ll share both of those here. Side note, if you want an easy way to save a single brush from PS, these directions from seem easy and straight-forward! abr file that contains your PS brushes, and that is what we’ll use to move these tools to Clip Studio in the next section. Once you’ve completed this step you will have an. Select the location to save the brushes and type in a file name. If you want to only save and import a few brushes at a time, you will have to change your loaded brushes to just those tools.įrom the brush menu in Photoshop, click on “Save Brushes…” as shown above to save the current brush presets to a file. That means that if you save a set of brushes that has 50 tools in it, when you transfer that ABR file to CSP you will be loading 50 brushes. Note that when you save brushes from Photoshop, you will save all the presets that are currently loaded in your brush window. For this example, I will be saving the “Wet Media Brushes” presets from Adobe Photoshop CS4. But this process will transfer the brush tip material and basic brush information from one program to the other, making it much faster than having to recreate and resave brush materials!Įxporting your brushes from Photoshop is not a difficult process. You will likely still have to tweak the imported brushes a bit after transferring them from PS to CSP. Note that from what I’ve tested so far, this process is not perfect. You can now save these brushes from Photoshop and put them into Clip Studio for your use. If you’re a long-time user of Photoshop you likely have a collection of your favorite brushes, either made by you or downloaded from the internet. In this article we will cover the following topics: But this week I’m excited to discuss how to use your Photoshop brushes in Clip Studio Paint! There are also some brand new brush options that we’ll be covering in the final part of this article. In this update are several exciting new features that I’ll be covering over the next few weeks. On DecemClip Studio Paint released their 1.10.5 version. Many of you probably know my name from those books, in fact! I was a beta-tester on the Manga Studio 5 program and for Clip Studio Paint, and I have written three books and several video courses about the program. However, people that use the brushes for commissions and non-profits organizations don't need to purchase a commercial license.Hello! My name is Liz Staley and I’m a long-time user of Clip Studio Paint (I started using the program back when it was known as Manga Studio 4!). And licenses are sold on my page! If you are a large corporation or gaming developer you must email me for a separate license. These are not intended for NF/T projects.Ĭommercial licenses must be purchased if end product is for sale (i.e. Licenses are for creating your own product with the brush tools, not to resell the brush set as your own. Licenses can be revoked if the end product is deemed inappropriate by seller. a computer or tablet that supports CSP or PhotoshopĭISTRIBUTION AND RESALE OF THIS PRODUCT IS PROHIBITED UNDER COPYRIGHT LAW. You must have the following to use the brushes: Premium Pack Includes over 40 different hair texture brushes for Clip Studio Paint and Photoshop You'll receive the digital file immediately after purchasing through your email.ĭeluxe Pack Includes 20 hair texture brushes for Clip Studio Paint and Photoshop This is a digital file and you will not receive a physical product. This set is strictly for CSP (.sut) and Photoshop (.abr)! Curl, coil and wave brushes are all made for Clip Studio Paint and Photoshop. In 1941 a two coloured leaf patterned suit was introduced and was referred to as letniy kamuflyazh (summer leaf camouflage), which was produced in at least two variations (green or grey/brown). In 1944 a three coloured block deceptive pattern was also introduced. However,Īnother pattern, the Mochalniy, a dark green suit which had tufts of simulated string/raffia grass attached and loops for fixing local foliage all over the suit. background in a slate grey colour with amoeba shapes in black and on the reverse side, a background in lighter steel grey colour with amoeba shapes in dark grey. Supposedly a reversible item in two schemes for mountain terrains i.e. песочный (цвет но.4) Sand colour No.4, with a yellow/tan coloured background with amoeba shapes in one colour of light brown. осенний (цвет но.3) autumn colour No.3, which had three background colour variations, two in autumnal green/brown each with amoeba shapes in one colour, either dark or mid brown and a third colour background of autumnal beige with black amoeba shapes. зеленый (цвет но.5), green colour No.5, which had two variations of a brighter light green background each with amoeba shapes in one colour, either dark and mid brown. There were twelve known amoeba colour schemes i.e зеленый (цвет но.2) green colour No.2, which had four background shade variations from dark, mid to light green, each with its own amoeba shapes of one colour, either dark,mid and light brown or in black. Some patterns had a face veil attached to the hood and others had a separate face veil mask. Both types were of a thin loose fitting material with a large hood attached, designed to be worn over the standard uniform and equipment. The MK (Maskirovochniy Kombinezon) was a one piece coverall and the MKK (Maskirovochniy Kamuflirovanniy Kostum) was a two piece suit. It came in various colour schemes for the relevant seasons and in two different cuts. In 1938 a new type pattern suit was issued, distinguished by its large splotches, or the "amoeba" pattern as it has became to be known. By 1927 three types of camouflage garments were produced, consisting of a loose fitting two piece oversuit in dull green summer and autumn colours and one which had painted sponges glued to it to simulate foliage. As early as 1919 they had set up research and development and a school dedicated to camouflage and concealment, or "masking" as it was know in the Soviet Union. The Soviet Union and the Red Army were early exponents in the development of camouflage clothing. Schapka ushanka (шапка ушанка) in Russian literally means " ear flap cap", from the word "уши" meaning ears. A 32mm red enamelled/painted or subdued green cap star was affixed to the front flap of the hat. The synthetic fur hats came in various shades and colours, but followed a basic pattern in shape and appearance. Officer caps were of a better quality made from lambswool or astrakhan. bearing no resemblance to fur from any animal. One of the archetypal images during the Great Patriotic War was of the Red Army soldier wearing a fur cap.Įnlisted men's caps were made from a synthetic material and was jokingly referred by the soldiers as being made from "fish fur", i.e. The ushanka was supposedly based on the Finnish Army M1939 turkislakki fur caps. Introduced in 1940 to replace the Budenovka winter schlem, which proved to be ineffective against extreme cold weather, as encountered by the Soviets during the Winter War with Finland in 1939-40. A Russian fur cap with ear covering flaps that can be tied up to the crown of the cap, or fastened at the chin to protect the ears, jaw, and lower chin during cold weather conditions. Details of the licenses are available at org/licenses/by-sa/3.0/ and old-licenses/gpl-2.0.html. This document is distributed in the hope that it will be useful, but without any warranty without even the implied warranty of merchantability or fitness for a particular purpose. This manual is free documentation: you can redistribute it and/or modify it under the terms of either (i) the CC-BY-SA license as published by Creative Commons (either version 3 of the License, or (at your option) any later version) or (ii) the GNU General Public License as published by the Free Software Foundation (either version 2 of the License, or (at your option) any later version) or (iii) both in parallel. 1 A short manual for TEXworks Alain Delmotte, Stefan Löffler, and others lowering the entry barrier to the TEX worldĢ Copyright Alain Delmotte, Stefan Löffler, and contributors. On this page you enter your data specified during registration - Username/Email address and password. Click on the tab accounts in your case says "No accounts", open the from list, click "manage" go to the login page. Run our favorite TLauncher that you have already downloaded and installed the box next to "Accounts". Besides, you can choose from our catalogue, they're all beautiful. Recommend using a size of 64x32 (unless of course you purchased the Premium with which it is possible to install HD skins, i.e. Go to the registration page and enter the required data in the field.Īfter registration, you will be in your profile where you can not only install the skin, but and cape (only for Premium users).Ĭlick "Upload skin" you can choose the skin file from your computer. It is necessary to register on the site so you can continue to use these login details in the launcher. Of course, you must use our launcher to download TLauncher on the main page.Īttention: If the skins do not work for you on version 1.17 or 1.18, but they work on others, then you need to expect the TL icons for this versions. In this how-to describes fully the process, which by the way will not take more than five minutes, and please your skin for a long time. To connect to the game server, you can get a domain for free.Play with the standard skin for many boring and not interesting, so it's worth thinking about installing his own skin. Our control panel allows you to install TeamSpeak or MySQL on your hosting. You can also modify the server's.jar file. Multiple Minecraft servers can be installed on one server. Our Minecraft server hosting service is free and supports plugins and mods. You may credit tokens with credit card, Paypal, PaySafeCard, or cellular codes/calls. Give Change Is the neighborhood changing and you want more energy? Change your choice at any time, within the limitation of a single shift every 15 days. Your personal altered Minecraft server is simply a click away.ĭoes your Minecraft mods take a database? 2GB web hosting along with also a MySQL database are included at no cost. With Complete Conversion, put in the Minecraft mods of your own choice. We have put everything set up to supply you the best. 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Finding loved ones, reconnecting with high school sweethearts, and doing a background check on potential tenants have never been easier. More than 35 million people have used the services of Whitepages since it opened its doors in 1997. If anyone has any more tips of hints on getting the best out of Olympus. I figured the ORF>TIFF step would also be of interest to Lightroom users so I'd share it. I'm aware that there are more bits in a TIFF than a JPG so it seems sensible that it's a better place to begin when editing. I've just had a play with OV3, exporting to TIFF with neutral settings, then loading in GIMP editing and exporting as JPG and it does seem to give you more to play with.Īs a two step for processing an image it's not too painful and I could even batch process TIFFs from OV3 to play with later. Then I came across this video which relates to earlier versions of Olympus Viewer 2 and Lightroom 4 and shows how much more detail OV2 could extract from the same ORF file. Googling Olympus Viewer doesn't give a lot of help, mostly people suggesting that you abandon it and use Adobe Lightroom which comes with the software houses all the I/O options enthusiasts demand plus the ability to. I've tried editing the ORF files from my E-M10 and E-PL5 in Olympus Viewer 3 and struggled - partly because the interface is complicated, the help is pretty minimal and also because it's s o s l o w. New Olympus E-330 DSLR Canon event Chanai Ok so it. Jump To A Section:Part 1: Macro Photo with a StrobePart 2: Wide Angle Photos with a StrobePart 3: Wide Angle & Macro Video (Coming Soon)Download the Complete Settings Guide PDF (Coming Soon)Part 1: Macro PhotoBACK TO TOPIn Part 1, we will cover all the settings and techniques you need to know for capturing outstanding Macro Photos with the Olympus E-PL10 and a single strobe.Download the Macro Photo with Strobe Settings GuidePart 2: Wide Angle PhotoBACK TO TOPIn Part 2, we will cover all the settings and techniques you need to know for capturing outstanding Wide Angle Photos with the Olympus E-PL10.Download the Wide Angle Photo with Strobe Settings GuideStay tuned for the rest of our Best Settings Series coming soon!Check out our Full Review for the Olympus E-PL10.LEARN MORECamera Options & HousingOlympus E-PL10 Camera Mirrorless Camera Body $599.99BUY NOWOlympus E-PL10Camera and 14-42mm EZ Lens $699.99BUY NOW Backscatter E-PL10 Octo Underwater Housing $649.I've fairly recently moved to shooting JPG+RAW having previously shot JPG (no editing) then JPG with some post processing in GIMP. Jump to a section via the links below, or watch the entire series in sequence to become the ultimate E-PL10 shooter. select the viewer window, choose Image5D -> Copy to RGB Stack(t) from the. They were the first to adopt a new standard - called 4/3 - that uses a sensor with dimensions that are better suited for large-scale prints. In clinical as well as research settings, bright-field and fluorescence. These will make it easier to follow along during the videos, and can be stashed in a camera bag for quick reference out in the world. This Olympus E-510 Guide will introduce you to this new 10.2 megapixel digital SLR camera from a company thats been pushing the boundaries of SLR technology. Open Talk - v d dpregim Pm Digitawalk fig Get you r copy now at 123 I. If the selection screen appears on the LCD monitor, select PC or Storage and press the OK button. Turn off the camera before inserting the USB cable. Insert the other end of the USB cable into the camera. With the new High-Res Mode introduced on this camera, however, the resulting files. The front and rear dials allow you to customise the colour or monochrome profile. Make sure to download and save a copy of the Best Settings Guide for each shooting style. PLANNING YOUR SITE I 5 File Edit View Favorites Tools Help GBack a 1' E E H. Insert the bundled USB cable into a USB port on your computer. At base ISO and the expanded low ISO 100 setting, the E-M5 Mark II manages excellent prints up to 24 x 36 inches. the colour profile control allows you to vary the saturation of 12 individual colours independently or all together in 10 steps (+5 to -5) the monochrome profile control allows you to choose between 8 colour filters and vary the strength in 3 steps. Get started with Macro Photo in Part 1, and stay tuned for the upcoming tutorials about Wide Angle Photo and Video Settings. We’ve already called it the Best Bang For Your Buck in Underwater Photography in our comprehensive review, and now we’re breaking down everything that underwater photographers need to know in order to get the best image results in the easiest method possible. quite subtle compared to Topaz Video Enhance Ai /> Part 3 Deep Learning. The Olympus E-PL10 is one of our favorite mirrorless underwater camera systems. The Olympus E-PL10 is one of our favorite mirrorless underwater camera systems. using every setting I tried Video Enhance AI requires modern hardware and. Two: the units in which we create our blocks must be checked, as they must coincide with the units in which we normally work. One: it is preferable to create the entire block in layer 0, and thanks to this precaution, if we insert a block of a bed or a table in the "furniture" layer, for example, the inserted block acquires said layer, so that when we manage the layers, activating or deactivating them, the inserted bed will behave like the rest of the elements in that layer. When we produce a design or drawing in order to use it subsequently as a block, the following rules must be taken into account as a minimum for optimum use of blocks: Once modified and saved, it will be automatically changed in the remaining blocks since it is a single entity. There is another parallel advantage to this, whereby if some of the blocks in our drawing need to be altered, the change only needs to be made in some of them, through the block editor. dxf versions with the business aim of projects stipulating the need for their products or technical solutions and offering them on their websites.Īnother advantage of using AutoCAD blocks is saving space in the file since only the data for one single block or block entity is stored regardless of whether it is repeated 2 or 20 times. In addition, companies that manufacture products or construction systems often create their own product libraries in. Reuse of AutoCAD blocks is not restricted to our own designs, since logically, we can also use any block or CAD file produced by third parties if their use is permitted in our project. The main advantage lies in the significant amount of time saved when developing our technical projects, thus allowing better quality graphic representations. In subsequent projects where the same object is required, instead of drawing it again, it is reused by inserting it in the CAD file in which we are working. Now, thanks to the blocks, this CAD drawing only needs to be produced once, the first time it is needed. It can be inserted into the existing drawing to complete it, complement it and help us save time in our CAD project.ĬAD blocks arose as a result of the need for repetitive use of multiple objects in different projects. Something as simple as this creates enormous advantages over the traditional construction of technical projects, allowing infinite possibilities, since once we have produced any design, AutoCAD blocks, or those from any other CAD program, are files that can be inserted in other CAD files, it's that simple. |