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The Academy of Natural Sciences of Drexel University, formerly the Academy of Natural Sciences of Philadelphia, is the oldest natural science research institution and museum in the New World. It was founded in 1. American republic with an expressed mission of . For over two centuries of continuous operations, the Academy has sponsored expeditions, conducted original environmental and systematics research, and amassed natural history collections containing more than 1. The Academy also has a long tradition of public exhibits and educational programs for both schools and the general public. History. Two of the city's institutions, the Library Company and the American Philosophical Society, were centers of enlightened thought and scientific inquiry. The increasing sophistication of the earth and life sciences, combined with a growing awareness of the great variety of life and landscape in the American wilderness waiting to be discovered, led a small group of naturalists to establish the Academy of Natural Sciences in the winter of 1. The academy was meant to foster a gathering of fellow naturalists, and nurture the growth and credibility of American science. They frequently looked to their European counterparts for inspiration and expertise and longed to be regarded as equals. On 2. 5 April 1. 81. Academy of Natural Sciences of Philadelphia by the legislature of Pennsylvania. By 1 January 1. 81. Drexel University - Pennoni Honors College 3 Co-Curricular Opportunities The Honors Program organizes an array of social and cultural activities, events, and trips each term. Students have the opportunity to attend special events and receive a limited number. What is the International Visiting Scholars Program? 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Fulbright Visiting Scholar Program for Iraq Egypt Lebanon Tunisia Outreach Lecturing Fund Scholar-in. Blog Posts Videos On Campus Alumni Ambassadors Fulbright Scholar Liaison Scholar Liaison Network Drexel University-United States-Philadelphia. Academy members were frequently enlisted to participate in national surveys of the western territories and other major expeditions. Several of its earliest members, including William Bartram, John Godman, Richard Harlan, Charles Alexandre Lesueur, William Maclure, Titian Peale, Charles Pickering, Thomas Say, and Alexander Wilson were among the pioneers or recognized authorities in their respective areas of study. Thomas Jefferson of Virginia, John Edwards Holbrook of South Carolina, Thomas Nuttall and Richard Owen of the United Kingdom, Georges Cuvier of France, and Alexander von Humboldt of Prussia were among the corresponding members (members who lived far from Philadelphia) of the Academy's first decades. Later during the 1. Boyer, John Cassin, Edward Drinker Cope, Ezra Townsend Cresson, Richard Harlan, Ferdinand V. Hayden, Isaac Lea, John Lawrence Le. Conte, Joseph Leidy. Corresponding members included such luminaries as Charles Darwin, Asa Gray, and Thomas Henry Huxley. For much of its history, new members had to be nominated by two current members and then elected by the remaining members. These requirements were dropped in 1. Notable 2. 0th- century scientists include James B. The size and scope of its collections have grown substantially since the early years. Currently, there are over 1. These collections grew through a combination of means, including the donation or purchase of existing collections or individual items, the collection activities of Academy- sponsored expeditions, or those of individual scientists, whether or not they work at the Academy. Sometimes the Academy is also enlisted to house and care for collections originally gathered by other institutions. For example, a number of the natural history collections at the American Philosophical Society were relocated to the Academy by the end of the 1. But these collections are not maintained just to collect dust. They provide a library of biodiversity. Traditionally, researchers at natural science (or natural history) institutions such as the Academy engaged in biological taxonomy, the science of discovering, describing, naming, and classifying species: in essence, the cataloging of Nature. In recent decades, research has shifted in emphasis to the science of systematics, the study of the evolutionary relationships among these species. Either way, the collections are invaluable. They provide the type specimens, the reference material that helps establish a species' identity. They also provide raw materials with which scientists can investigate the nature of these species, their relationships with other species, their evolutionary history, or their conservation status. New questions and new technology illustrate the importance of these collections. Yet, modern scientists have such options because these specimens are part of the collections. Biological systematics. It is also the science with which current natural history collections are most intimately associated. The Academy's collections and systematics research are presented below. Botany collections at the Academy, which are housed in the Philadelphia Herbarium (PH), include some of the oldest and most important botanical collections in the Americas. Notable early collectors include Benjamin Smith Barton, Constatine Rafinesque, Thomas Meehan, Thomas Nuttall, and Fredrick Pursh. The current curator, Tatyana Livshultz, studies the systematics of and the development of flowers in the Apocynaceae (milkweed or dogbane family). The herbarium contains approximately 1. It also contains some special collections, including the plants collected by Johann and Georg Forster during the voyages of Captain James Cook, and by Meriwether Lewis during the Lewis and Clark expedition (Corps of Discovery). Diatoms. The herbarium contains many specimens contributed by notable collectors, a diversity of fossil diatoms, and diatoms collected as part of numerous freshwater environmental surveys in the United States. The Diatom Herbarium also provides collections and taxonomic services for the Phycology Section of the Patrick Center for Environmental Research. Former curators of note include Charles S. Boyer, Ruth Patrick, and Charles Reimer. Entomology. Two of its earliest members include Thomas Say, regarded as the father of American entomology, and Titian Peale, a leading natural history illustrator and the chief naturalist on the United States Exploring Expedition (1. The entomology collection currently contains more than 3. Titian Peale Moth and Butterfly Collection, the oldest entomology collection in the United States. Senior curator Daniel Otte, an expert on Orthoptera (crickets, grasshoppers, and their relatives) is a pioneer of presenting biological data on the internet through the creation of the Orthopera Species File. Another curator, Jon Gelhaus, an expert on crane flies, manages the Mongolian Aquatic Insect Survey. Ichthyology. A few years later, Henry Weed Fowler began his remarkable tenure at the Academy, during which he systematized the collections and described 1,4. The current curator, John Lundberg, an expert in catfishes, pioneered deep channel collecting in large tropical rivers and is the lead author of a seminal scientific paper on the biological and geographic history of the Amazon River Basin. The Ichthyology collection, which currently houses nearly 1. United States. The department also hosts the All Catfish Species Inventory (a comprehensive online resource on catfish) and Catfish Bones (an online digital atlas of catfish morphology), and is a participant in Neodat II (an online resource of Neotropic ichthyology collections). Malacology. Tucker Abbott, Samuel Stehman Haldeman, Henry A. Pilsbry, and George W. The Academy's malacology collection is the oldest such collection in the United States and is the 3rd largest in the world. It currently contains over 1. Curator Gary Rosenberg, an expert on Jamaican land snails, is a leader in moving museum collections and research data online. Research websites include the Malacology Georeferencing Project an online database of Atlantic Marine Mollusca (Malacolog), and the OBIS Indo- Pacific Mollusc database. Research associate and former curator Daniel L. Graf, an expert on Unionidae (freshwater mussels), maintains the MUSSEL Project web site. Ornithology. Later notable Academy ornithologists include James Bond, Frank Gill, Rodolphe Meyer de Schauensee, Pete Myers, Fred Sheldon, and Witmer Stone. With nearly 2. 00,0. Ornithology collection is one of the largest and most taxonomically complete bird collections in the world. Vertebrate paleontology. By the end of the 1. APS, including the Thomas Jefferson Fossil Collection, had been transferred to the Academy for safekeeping. Currently, the collection contains more than 2. Richard Harlan was an early member who introduced many American naturalists to the groundbreaking works of Georges Cuvier. Joseph Leidy, who described Hadrosaurus and alerted the scientific world to the paleontological treasures of the American West, is considered the . Edward Drinker Cope, who also worked extensively on other vertebrates, is best known for his rivalry with Othniel Charles Marsh during the infamous Bone Wars. Daeschler is currently studying the evolution of Devoniantetrapods. He is a co- discoverer of the transitional . The general invertebrate collection contains about 2. Both contain numerous type specimens. Generally, 2. 1,5. Myers Rotifer Collection is the most comprehensive collection of rotifers on microslides. The herpetology collection contains about 4. The mammalogy collection contains about 3. Among the naturalists and scientists associated with these collections are Timothy Conrad, Edward Drinker Cope, Richard Harlan, John Edwards Holbrook, Henry Charles Lea, Isaac Lea, Joseph Leidy, Samuel G. Morton, and Thomas Say. Patrick Center for Environmental Research. Founded in 1. 94. Ruth Patrick, formerly of the Diatom Herbarium, it was one of the earliest U. S. Its attachment to the Academy led it to become the first to employ interdisciplinary teams of scientists to study freshwater systems and the first to regard biodiversity as a central criterion of water quality. Its 1. 94. 8 biological survey of the Conestoga River Basin in Pennsylvania, a milestone in environmental research, led to similar surveys and studies throughout much of the United States. Since the rise of the environmental movement in the 1. Academy are increasingly conducted by private environmental consulting firms. Citrus County chronicle. Tools for the i-Travel supplier community, and. The European Commis s ion’s Smartes t Cars Video Project (SCVP). ATM, the Milanese public transport. Hack facebook account without any software’s 100 % working.Credit monitoring can alert consumers when someone applies for a new line of credit in their name, which affects the consumers\' credit reports. Imaging Tools for professionals TIF Druckertreiber f. Wireless Management Software Ethernet Dienste Monitoring. Installationen von Betriebssystem und Anwendungen smartes Verteilen. 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You'll find the Rectangular Marquee Tool sitting at the very top of the Tools panel in Photoshop. It's the tool with the icon that looks like the outline of a square. Click on it to select it: The Rectangular Marquee Tool is located at the top of the Tools panel. If you're using Photoshop CS4 as I am here, or Photoshop CS3, and you have your Tools panel set to a single column layout, the Rectangular Marquee Tool will be the second icon from the top: The Tools panel in Photoshop CS3 and higher can be displayed in either a single or double column layout. Drawing Rectangular Selections. Using the Rectangular Marquee Tool in its most basic form is easy. You simply click with your mouse at the point where you want to begin the selection, which will usually be in the top left corner of the object or area you need to select, then continue holding your mouse button down as you drag towards the bottom right corner of the object or area. When you release your mouse button, the selection is complete! Here's a photo of some wooden blocks: Colorful wooden blocks. See that large red block in the top row? Let's say I wanted to change its color, a very simple thing to do. Now, if this was Star Trek, I could simply say . Unfortunately, reality hasn't quite caught up to science fiction just yet, but that doesn't mean life in this day and age is unbearably difficult. Photoshop may not be able to identify the wooden block, since all it sees are pixels, but not only can you and I see it, we can see that it's very clearly in the shape of a rectangle, which means that the task of selecting it is perfectly suited for the Rectangular Marquee Tool. First, I'll select the Rectangular Marquee Tool from the Tools panel as we saw a moment ago. You can also select tools using their keyboard shortcuts. Pressing the letter M on your keyboard will instantly select the Rectangular Marquee Tool. Then, to begin the selection, I'll click in the top left corner of the block. While still holding down my mouse button, I'll drag towards the bottom right corner of the block: Click in the top left corner to begin a selection, then drag down to the bottom right corner. Release your mouse button to complete it. If you find that you didn't begin your selection in exactly the right spot, there's no need to start over. Just hold down your spacebar, then drag your mouse to move the selection where you need it. When you're done, release your spacebar and continue dragging out the selection. To complete the selection, all I need to do is release my mouse button. The wooden block is now selected (or at least, the pixels that make up what we see as the block are selected), and a selection outline appears around the block in the document window. Any edits I make at this point will affect that specific block and no others: Selection outlines appear as a series of moving dashed lines, also known as . To select it, I'll go up to the Image menu at the top of the screen where I'll choose Adjustments and then Hue/Saturation: The Hue/Saturation image adjustment is great for changing the color of objects in an image. This brings up the Hue/Saturation dialog box. I think I'll change the block's color to orange. I know I said purple earlier, but now that I've had a few more minutes to think about it, a nice bright orange would probably be a better choice. Changing the color is as easy as dragging the Hue slider left or right until you find the color you want. I'm going to drag mine towards the right to a value of 2. Then, to bump up the color saturation a bit, I'll drag the Saturation slider towards the right to a value of around +2. Change an object's color by dragging the Hue slider. Increase or decrease color saturation with the Saturation slider. When I'm happy with the new color, I'll click OK to exit out of the dialog box. I don't need my selection anymore, so to remove it, I'll go up to the Select menu at the top of the screen and choose Deselect: Remove selections by choosing Deselect from under the Select menu. A faster way to remove a selection is with the keyboard shortcut, Ctrl+D (Win) / Command+D (Mac), but either way will work. With the selection outline now gone, we can see that only the area that was inside the rectangular selection outline was affected by the Hue/Saturation adjustment. The formerly red block is now an orange block, while the rest of the photo remains unchanged: Only the area inside the rectangular selection was affected by the Hue/Saturation adjustment. Selecting the wooden block with the Rectangular Marquee Tool was easy, but what if the object we need to select is perfectly square? We'll look at that next! Drawing Square Selections. So far, we've seen how easy it is to select a rectangular- shaped object or area in a photo with the Rectangular Marquee Tool, but what if you need to select something that's perfectly square? Is there a way to force the selection outline into a square? Not only is there a way to do it, there's actually two ways to do it, although one of them is much faster than the other. Here's a photo I have open in Photoshop of some rather grungy looking tiles: Dirty, grungy looking tiles. Let's say I want to select the tile in the center so I can use it as an interesting background or texture for an effect. Since the tile is obviously square, we'll want to constrain our selection to a square. First, we'll look at the long way to go about it. Any time the Rectangular Marquee Tool is selected, the Options Bar at the top of the screen will display options specifically for this tool. One of the options is called Style, and by default, it's set to Normal, which means we're free to drag out any size selection we need with any dimensions. To force the selection into a square, first change the Style option to Fixed Ratio, then enter a value of 1 for both the Width and Height options (1 is the default value for the Width and Height so you may not need to change it): Change the Style option to Fixed Ratio, then set both the Width and Height to 1. This forces the selection into a width to height aspect ratio of 1: 1, which means the width and height of our selection will always be equal to each other, which means we can now easily draw out a perfect square. I'll click with my mouse in the top left corner of the tile to begin my selection, just as I did previously, and with my mouse button still down, I'll drag towards the bottom right corner of the tile. This time, thanks to the options I set in the Options Bar, my selection outline is constrained to a square: No matter how large of a selection I draw, it remains a perfect square. Once again, there's no need to start over if you didn't begin your selection in the right spot. Just hold down your spacebar, drag the selection to its new location, then release the spacebar and continue dragging out the rest of the selection. To complete the selection, I'll release my mouse button, and we can see in the document window that the square tile in the center is now selected, ready for whatever I decide to do with it: The center tile is now selected. The only problem with using this method to force the selection into a square is that the options in the Options Bar are . I can't even begin to tell you how many times I've tried to drag out a rectangular selection only to have the selection constrained to a square or some other aspect ratio because I forgot to change the Style option back to Normal. So, before we go any further, let's change it back to Normal right now: Make sure to set the Style option back to Normal since Photoshop won't do it for you. The Keyboard Shortcut. A much better way to constrain a selection to a square with the Rectangular Marquee Tool is with a simple keyboard shortcut. Click on the starting point and begin dragging out a rectangular selection as you normally would, then hold down your Shift key as you continue to drag. As soon as you press the Shift key, you'll see the selection outline jump to a perfect square. Keep holding the Shift key down until you're finished drawing the selection. Release your mouse button to complete the selection, then release the Shift key. The order you do things here is important. If you release your Shift key before releasing your mouse button to complete the selection, your selection outline will jump back into a rectangular shape and you'll have to press and hold the Shift key again to switch back to the square. Also, if you hold the Shift key down before clicking to begin your selection, you'll enter the Add to Selection mode, which isn't something we need to get into here but it could give you unexpected results if you already have one selection active and try to start a new one. So remember, to constrain the selection to a square with the keyboard shortcut, first click to set a starting point and begin dragging, then hold down the Shift key. The Basics - Photoshop Tools Part 1 of 3. March 1. 7, 2. 01. Featured, Photoshop by Rufino. The Basics – Photoshop Tools Part 1 of 3. One of the most powerful and the leading, industry standard software on image and graphics editing or creation is the Adobe Photoshop, or merely Photoshop. If you’re just starting to learn about Photoshop, you might know some of its tools and basic editing tasks like resizing and cropping but to be able to fully understand and master all of its tools takes a lot of time. That’s the reason why the main purpose of this Photoshop Tutorial is to help you learn the basics of Photoshop (starting with Photoshop tools) for you to get started with it. People tend to skip the basics or the fundamentals and start on learning the advanced Photoshop tutorials which they thought is easier. Jacob Gube once said, “If you take the time to learn the basics, you’ll run into less trouble because you understand how things work.”Author: Rufino Peligrino Jr. The first part of this Photoshop tutorial is to know the basic Photoshop tools. Here’s the full list of Photoshop tools with its corresponding shortcuts, descriptions and features. The shortcut keys are inside the parenthesis ( ). Move Tool (V)– The Move Tool is used, apparently, to move a selected area/image or layer. Click to select the Move Tool located at the top portion of your Photoshop Toolbox. You can also select the Move Tool by holding on your keyboard the Ctrl key for Windows and Command key for Mac.– In order to move a selected image/area, click on the selection (while the Move Tool is activated), hold it down, then drag it to the desired location and drop.– Now, to move a layer, same thing for the selection, just click the layer, hold, drag, and drop.– You can also use the arrow keys in your keyboard to precisely move the layer or selected image/area.– While moving a layer or selection, hold down the Shift key to limit the movement to horizontal or vertical. Rectangular Marquee Tool (M)– The Rectangular Marque Tool, one of the 4 marquee tools, is used to make rectangle selections. Select the Rectangular Marquee Tool at the top of the Photoshop Toolbox just below the Move Tool. Right click on the marquee tool icon to view the four marquee tools.– To make a rectangle selection, activate the Rectangle Marquee Tool and click on the area/image and drag.– To constrain the selection to a perfect square, just simply hold down the Shift key while selecting.– When you select a specific tool, there are options that will appear on Options bar located just below the menu bar. Elliptical Marquee Tool (M)– The Elliptical Marquee Tool is another type of marquee tool that makes elliptical selections. The features of this tool are pretty much the same as Rectangle Marquee Tool except for the fact that it creates elliptical selections rather than rectangles.– Press the Shift key down while selecting to constrain your selection to a perfect circle.– The options on the Option bar for the Elliptical Marquee Tool are just the same with Rectangle Marquee Tool. Single Row Marquee Tool– The Single Row Marquee Tool is used to create a horizontal selection of one pixel high. Also, all wide row selections for image can be created using this tool. It is one of the Marquee tools so its features and options are the same. Single Column Marquee Tool– Single Column Marquee Tool is the same as Single Row Marquee Tool, only it is now used to create one pixel high vertical selections. Lasso Tool (L)– The Lasso Tool allows you to create freehand selections. To make a selection, just click on the Lasso tool (just below the Marquee tools), then click on where you want to start your selection and draw your desired selection while holding your mouse’s left button. To complete your selection, just release the button. There are 3 Lasso Tools that are available. Just right click or hold down the left click to view them all. Polygon Lasso Tool (L)– The Polygon Lasso Tool is like the Lasso tool, but instead of holding down your mouse button while you draw your selection, you just have to click on various points to make a selection. It’s just like creating polygon selections. To complete the selection, click on the starting/first point of your selection or just double left- click at any point. Magnetic Lasso Tool (L)– The Magnetic Lasso Tool is used to create a selection, automatically clinging to the edges of the defined area of the contrast objects. Click on the Magnetic Lasso Tool, click at the image to create your starting point. Move the mouse on the edges of the object. The tool will create fastening points that clings at the edges. You can manually put a fastening point by clicking the desired key point. To complete the selection, click on the starting/first point of your selection or just double left- click at any point.– When you select the Magnetic Lasso Tool, you can see these following options at the options bar: The Width is responsible for the tool’s range of detecting edges. The Contrast is responsible for the tool’s sensitivity. And the Frequency is responsible for the amount or how often the fastening points the tool will set. Quick Selection Tool (W)– The Quick Selection Tool, one of the two Color Selection Tools, is used to quickly create/select a defined area. Select the Quick Selection Tool just below the Lasso Tools and simply click on the area that you want to select or to be included in your selection. Right click on the icon to view the two Color Selection Tools.– While activating the Quick Selection Tool, you can see these following options at the Option bar: Magic Wand Tool (W)– The Magic Wand Tool selects an area or all objects in an image with the same/similar color, stroke color, stroke weight, blending mode, or opacity. While the tool is activated, make a selection by simply clicking the image. The Magic Wand Tool is the second Color Selection Tool.– While activating the Magic Wand Tool, you can see these following options at the Option bar: The Tolerance is responsible for the sensitivity of the tool. The higher the tolerance, the wider the selection. Contiguous option selects the areas that are only joined together. Sample All Layers option is the same as with the Quick Selection Tool. Crop Tool (C)– The Crop Tool enables you to cut out a specific area by discarding or deleting everything outside the selection. It is located below the Color Selection Tools. Click on the Crop Tool and click on the image, then draw a rectangle selection by holding down your mouse’s button. When you release your mouse button, your selected area will have a bounding box. You can move, rotate or resize the selected area. To move it, click on the selected area, hold the mouse button and drag it. To rotate it, click outside the selection area, hold the mouse button and drag. And finally to resize the selection, just click on the selection handles, hold and drag.– To perform or apply the crop, just press the Enter key. And to discard the process, just hit the Esc key.– In the Option bar, you can pre- define the target image’s size. Just fill in the Width, Height and its Resolution fields. Slice Tool (C)– The Slice Tool lets you to cut images into smaller pieces which fit together. It is usually used for website designing. This tool is under the same group with the Crop Tool. Just right click on the Crop Tool to view it. Click on the Slice Tool to activate it. Click and drag the area that you want to slice and release your mouse button.– While selecting the Slice Tool, you can see the following options on the Option bar: The Fixed Aspect Ratio option is used to create pre- defined proportion slices. You just have to set your preferred values of Width and Height. The Fixed Size option allows you to create pre- defined size slices. Again, you just have to fill in the Width and Height values.– After making the slice, right click on it to show the context menu of the tool. By this, you can gain access to the available commands in Photoshop. Slice Select Tool (C)– The Slice Select Tool allows you to select, move, and resize the slices that you made. This tool is also under the same group as the Crop Tool. Click the Slice Select Tool and select the slice that you want to move or resize. To move it, click on the slice and drag it. To resize it, click on the slice handles and drag it. Eyedropper Tool (I)– The Eyedropper Tool is useful when you want to change your foreground or background color. Click on the Eyedropper Tool just below the Crop Tool. On the Eyedropper Tool, there are 3 other tools under this group, the Color Sampler Tool, Ruler Tool and Note Tool.– While the Eyedropper Tool is activated, click on the color of the image that you want the foreground color to be.– If you want to change the background color, just click on the color of the image that you want while holding the Alt key.– You can see these following option in the Options bar: The Point Sample option allows you to pick up the color on the pixel that you clicked on. All of the other samples from the options read the average values from the larger areas. Color Sampler Tool (I)– The Color Sampler Tool is used to sample color values from a single pixel of your image. Click on the Color Sampler Tool and click on the page or image where your first sampler will be set. It will then show the color channel values in your Info palette. You only have up to 4 samples to be set on your image.– In order to delete one of your samples, just hold Alt key and click on the sample. Ruler Tool (I)– The Ruler Tool or previously Measure Tool is used for calculating the distances and angles between two points in your work area. Select the Ruler Tool and click on one point of your work area and drag it to the other point.– In your Options bar, you can see the tool’s measuring data: The, and Y are the starting point’s coordinates. The W is the width or horizontal length. The H is the height or vertical length. A is the angle that is relative to axis. L1 is the total length of the first line. |
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