Fabric Painting As A Career


Fabric painting is not the most conventional of careers to choose from; in fact most would relegate it to the hobbies listing, an obscure craft. Some would ask, “Who would want to spend their career with fabric paint?” But think about it; if the career were not a significant one, we would all be sitting on bland, colorless and design free furniture, we would probably all be dressed up in flour sacks and staring at blank walls. Of course that’s a slight exaggeration, but you get the point, I’m sure.

As a career fabric painter, you have the opportunity to add creative and sometimes colorful value to the world we live in. Although fabric painting can be a laborious pursuit it has become thousands of times easier to reproduce fabric painting on numerous mediums. With the advent of digital art, reproduction artwork can be placed on cups, plates, textiles, shoes, wood and more.

The prospects are actually quite exciting when you think about it. Rather than designers buying that blase fabric for their fashion accessories project, you can now offer them custom fabrics, specially created for their specific use; something unique to their collection. Designers can now say bye, bye to boring; and hello to happy. Their clients will love you for it.

Artists can now create their masterpieces and have them duplicated for short run reproduction just as easy as or perhaps easier than it would have been to process the art through the traditional fabric mills. This is great but there are still some major manufacturing companies that hire artists to create hand painted designs for their new collections. They then take the artists designs and produce them on various types of fabrics.

One career that is easily integrated and is an offshoot of fabric painting is, screen printing, which in itself is a vast field. Traditionally, screen printing has been viewed as the answer to producing tee shirts for schools and casual wear. Today the screen printing industry is booming as artists are getting even more creative and adding flair to their designs.

The sizes of screens have grown from a little bitty square on the front of your shirt to a large format screen designed for all over tee shirt design. Still there are others who use this screen printing method to create custom yardage for sale and for creating their own line of goods.

Such artwork was initially painted on fabric and later printed on garments for toddlers and adults alike. Just as the original was embellished with studs, stones, sequins and glitter, so too are the creations of the silk screen artist. The beauty of course is once the original design has been developed on fabric and screens created, the design can be produced in unlimited colors, sizes and of course quantities.

On the flip side of the screen printing issue are the embellishers who are also fabric painters in their own right. These artists take a generally basic design and customize it, giving it the oomph it may have needed. This is done many times with fabric paint, rhinestones, mirrors, ribbons and a host of other accessories.

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Source by Teri M Bethel

Cortesi Home Wabi-Sabi I Tempered Glass Wall Art, 12″ x 16″

Cortesi Home Wabi-Sabi I Tempered Glass Wall Art, 12

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Wabi-Sabi is the Japanese ideal of beauty, said to bring out your spiritual longing. Enjoy the zen like simplicity of this art piece with its beautiful composition between rocks and a bold red flower. Printed on tempered glass this is the perfect piece for residential or commercial spaces. Dimensions: 12″W x .02″L x 16″HTempered glass is strong and durable
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EuroGraphics Agemaki by Haruyo Morita Puzzle (1000-Piece)

EuroGraphics Agemaki by Haruyo Morita Puzzle (1000-Piece)

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EuroGraphics Agemaki by Haruyo Morita 1000-Piece Puzzle. Box size: 8″ x 8″ Puzzle Dimensions: 19.25″ x 26.5″. Many of Haruyo’s paintings hail from her deep appreciation of the style, flamboyance and drama of Kabuki theatre. Haruyo herself trained for many years as a Kimono painter under rigorous schooling. This training naturally imbued her with many of the design skills, displayed in her art, which are so obviously redolent of a unique national heritage. Strong high-quality puzzle pieces. Made from recycled board and printed with vegetable based ink. This superior quality puzzle will delight and educate all at the same time.1000-Piece Puzzle (Small Box)
Box size: 8″ x 8″ x 2.37″
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Kobudo: Weapons and Styles


Kobudo

Kobudo is a weapons-based form of martial arts originating in the Southern Japanese islands of Okinawa. The term Kobudo itself translates from the Japanese as “the old martial of Okinawa”, although the translation is modern as the people of Okinawa did not give names to their martial arts until after the 19th century.

The popular myth surrounding Okinawan Kobudo is that it was developed from farmers using their farm tools as weapons, as they were forbidden from having actual weapons by the Japanese Samurai class for fear of popular insurrection. This myth has gained traction due to the nature of the martial arts weapons employed in Okinawan Kobudo, all of which are related to common farm implements and will be discussed below. However, there are many links between Okinawan Kobudo and similar Chinese forms of weapons-based martial arts which predate Japanese occupation of the island, casting doubts upon such founding myths. It’s possible that the varying martial arts originated before Japanese occupation, but gained popularity in response to the general ban on weapons.

As Okinawan Kobudo is primarily weapons-based, the specific martial arts weapons involved are outlined below.

Martial Arts Weapons of Kobudo

Kobudo Bo: The most important weapon of Kobudo, the Kobudo Bo is typically a 6 ft long staff (although some Kobudo Bos are longer, and some shorter), made of either hard material like red or white oak, or more flexible material such as bamboo, pine, or rattan, ranging in weight from heavy to light. The Japanese art of using the Kobudo Bo is called Bojutsu. A Kobudo Bo is often tapered, thicker at the center than at the ends. Some Bos are ornately decorated, while others are merely simple staffs. For competition purposes, a Kobudo Bo may have stripes of metal along its sides, or specialized grips in the center.

Combat with the Kobudo Bo involves different thrusting, striking, and swinging techniques, along with a number of blocks, sweeps, and entrapments. Many movements with the Kobudo Bo resemble empty-handed fighting styles like Kobudo Karate, as the philosophy behind the Kobudo Bo holds it as merely an extension of one’s limbs. The back hand is used to generate power, while the forward hand is used to guide the martial arts weapon.

The Kobudo Bo may well have been based off the tenpin, the traditional staff rested on one’s back while carrying buckets during farm work, as well as on the handles of shovels, rakes, and walking sticks, used by monks. It may have been from these practical instruments that the martial art developed, in response to the Japanese ban on weapons in Okinawa in the 17th century. The Japanese could not confiscate simple staffs, and so people may have trained with them in order to defend themselves against the often brutal Samurai.

The Kobudo Bo is the primary weapon in the martial art, but a number of others are employed as well.

Sai: The Sai is three-pronged truncheon with a blunt end. The two short ends are usually used for trapping and breaking other weapons, such as a bo or sword, and they may be wielded two at a time.

Tonfa: The Tonfa is similar to a side-handle baton, and can also be wielded with one in each hand. The style of fighting with a tonfa reflects the empty-handed techniques, and it may have originated from the handle of a millstone.

Nunchaku: The nunchaku are a popular weapon made of two sections of wood connected by a chord. Theories of its origins differ, with some saying it came from a Chinese weapons, others from a horse’s bit, and still others from a threshing flail. The Chinese design is rounded, while the Okinawan is octagonal. It was popularized in Bruce Lee movies, and is now common throughout the world in countless dojos.

Kama: The Kama is a weapon based off the farming sickle, with a relatively short handle and a curved blade at the end. It is difficult to learn due to the inherent dangers associated with its practice, although duller versions have been developed for students. Some versions of the weapon have a nook in the handle to catch a Kobudo bo, but this was a weakpoint in the design, and other models do without it, or with a bend in the handle for that purpose.

Tekko: The tekko resemble a knuckleduster, spanning the entire fist with between 1 and 3 sharp points at the end.

Surujin: The Surujin is a chain with a weight either at both ends or at one end and a blade on the other. It can be easily concealed, making it particularly effective in surprising opponents. Moreover, its unorthodox design and unpredictable nature make it a supremely dangerous weapon in skilled hands.

A number of different schools of Kobudo exist, having survived the Second World War. Two of the most popular are Matayoshi Kobudo and Shorin-Ryu, which will be discussed below.

Matayoshi Kobudo

Matayoshi Kobudo is the style of Okinawan Kobudo developed under Matayoshi Shinpo in the 20th century, influenced by the Japanese, Chinese, and Okinawan martial arts styles. Matayoshi Shinko, his father, demonstrated his style of Kobudo to the Japanese Emperor in the early 20th century, who was so impressed that he awarded the master the Royal Emblem, which was combined with the Okinawan emblem to from the Zen Okinawa Kobudo Renmei logo. After Matayoshi Shinko’s death in 1947, his son Shinpo opened up a dojo in his father’s honor, teaching traditional Okinawan Kobudo. His style employs all of the martial arts weapons listed above, based on the traditional tools of the peasant class. Due to the efforts of Matayoshi Shinpo and his students, Matayoshi Kobudo has spread throughout the world, with over 2000 dojos worldwide.

Shorin-Ryu

Shorin refers to the Shaolin Temple of China, and Ryu means style, although the literal translation of Shorin Ryu is “Pine Tree School”. It was developed by Choshin Chibana in 1933, although the system itself is much older. It was based off the traditional Okinawa fighting style of Shuri-te. Chosin Chibana was a top student of a great master of shuri-te, Anko Itosu, who himself was a student of the great master Matsumura Sokon, bodyguard to three Okinawan kings.

Shorin-Ryu, also known as Shorin-Ryu Karate, is a form of Karate Kobudo characterized by natural breathing, natural stances, and circular rather than direct movements. Crucial to Shorin-Ryu Karate are correct motion, fluid movement to evade attacks, and solid structure for powerful attacking moves. A distinctive feature of Shorin-Ryu Karate is the position of the fist when striking. The fist should not be held horizontally nor vertically, but rather with a slight can’t to the inside, so that the third knuckle of the index finger is in line with the second knuckle of the pinky finger. This allows for more powerful, stable, and faster strikes.

Beginners initiating into Shorin Ryu must first learn balance, stance, and coordination. Only at higher levels are speed and power added.

Karate Kobudo

One final point concerns the relation between Karate and Kobudo. Although many believe these are distinct martial arts styles, they are in-fact closely related. There is strong evidence that Okinawan Kobudo preceded and influenced the development of Karate, as there are strong stylistic links between the martial arts. Weapons-based Kobudo includes kicks similar to those of Karate, and the overall flow of movement is similar as well. Many dojos who primarily teach Karate also teach Kobudo weapons training in conjunction with the traditionally empty-handed martial art.

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Source by David A Katzevich

Fine Art Wedding Photography: How to Capture Images with Style for the Modern Bride

Fine Art Wedding Photography: How to Capture Images with Style for the Modern Bride

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Many semi-pro and professional wedding photographers are looking to “wake up” their style, stay current, and stimulate business. And today, that means lifestyle photography, also referred to as “fine art wedding photography.” Fine art wedding photography isn’t just a catchy phrase; it’s a modern approach in which design is paramount. Fine art wedding images are more graphic and stylized than traditional wedding photojournalism, as if they were pulled from the pages of a glossy wedding or lifestyle magazine.

Acclaimed wedding photographer Jose Villa was a pioneer in fine art wedding photography before it became a trendy buzzword. Here, he shares his secrets for bringing a stylized sense of composition, lighting, posing, and most important, design, to your images, while still keeping them organic and narrative. You’ll learn Jose’s trademark technique of capturing the more natural moment after a pose, and tips for getting images right in-camera to avoid the need for heavy postproduction. Final chapters show you how to integrate design through the delivered product, whether an album or slideshow, and continue nurturing clients after the wedding by expanding to baby and family portraiture.

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How To Paint A Wooden Boat


One of the great increasing mysteries of today’s modern boatbuilding is the amount of hi-tech gobble-de-gook that the average home boat builder is expected to wade through when the time comes to paint the boat after the horrendous amount of sanding, fairing and hard work is (mostly) over and the fruits of your labour now require a shiny deep lustre that the painting now promises to bring. This part, to my mind at least, is one of the best parts of boatbuilding, the finish! (Well, at least the start of the finish!)

Painting a boat used to be a reasonably simple task. All one needed was a fine dry day, one of Dad’s paintbrushes, some turps, a roll of masking tape, a bit of pink primer left over from the decorating and a half gallon of shiny blue enamel paint from the local hardware store…they were the days!

Not so today, my friends! The unsuspecting boat builder who toddles off to the local chandlery or superstore best be prepared for the very worst- not only will he (or she) face a huge financial onslaught on their wallet but a mind boggling array of hi-tech whiz wow balderdash that the (generally) uninformed shop assistant will proceed to throw in their general direction in the faint hope that you will give in under the stress and buy several litres of the latest polurethanicalslitheryaminomolecular goop that’s just come in. For example, you’ll be faced with trade names like ‘Interlux Interthane coating’. I mean, come on, it sounds like a new space invaders game! This is bloody paint! There are many others but I’m sure you get the gist of what I’m saying.

Another example of the kind of thing that drives me nuts is that you can expect to buy several litres of a iso-cyanate two pack marine polyurethane paint only to be cheerfully told its illegal to spray it unless you have a proper licenced premises to do so, drone drone!! I suppose they have to make up new names to go with the new paint company policies of charging up to $150 a litre for some of these new fangled paints! What the hell have they discovered that’s so expensive to put in this stuff? I was under the impression that paint was a few litres of linseed oil, turps, some drying agents and a few ounces of pigments for colour…can I really be so out of touch?

BACK TO BASICS

So, why do we paint wooden boats? Or any other boat for that matter? The first part of that question is easy. Boats look much smarter and better if they shine and gleam a bit… it’s only human nature after all. The second part to that question is: We want to protect it. Ok, from what? Well, wood rots if you don’t paint it, right? – wrong! Wood left to its own devices does not rot. Wood only rots as a result of its environment. There are multiple cases of how, plain untreated wood can last for centuries as long as it is in the correct environment. There are basically only a few elements that start wood rotting. Biological attack from spores, fungi, temperature, high humidity or total absorption, physical attack from marine borers and crustaceans that allow ingress to all the other elements aforementioned.

Don’t let’s forget that polluted waters can degrade timber to the point where it will rot….we’ll add chemical attack to that list too. So, in view of all these very compelling reasons we protect our boat by painting it to coat it fully against these assaults.

PREPARATION OF TIMBER

The actual preparation of timber can cover a range of differing requirements. If your boat is a new build you won’t have to go through many of the preparatory stages that an older boat may have to go through. With some forms of boatbuilding where a boat has been built by a different method such as strip planking or cold moulding, we paint the boat as if it were a fibreglass boat, due to the fact that either layers of fibreglass cover the timber or that the timber has been coated with epoxy that does not allow conventional paints to adhere to it properly. However, if we wish to protect bare timber then we use a different tack. Timber in its bare natural state has millions of thin hollow tubes running through it, constructed of cellulose in its natural form. We have to seal these tubes to prevent the ingress of water into them. Therefore we seal and coat the timber first of all.

The first thing we do is to clean and remove any loose and flaking or damaged paint plus any dirt that remains on the hull – sounds easy if you say it quick but it must be done! If necessary (and most times it is) degrease the hull using a proprietary paint degreaser after removing all dust preferably with a vacuum cleaner. Don’t forget it won’t be absolutely necessary to get all the hull back to bare wood just dry, clean, grease and dust free.

FILLING AND IMPERFECTIONS

Obviously, not many timber craft are perfect on the outside. There are many blemishes, cracks, imperfections and splits both large and small to deal with by filling them and sanding them flush before priming the boat. It’s a bit of a chore but time spent here will reward you with a boat that will certainly look better plus have a longer life. Some folks fill these holes and imperfections in timber with epoxy filler but it is not a good idea. Sometime later, for example, when the boat has to undergo a repair, it will be the very devil of a job to remove the epoxy from a fastening hole. It’s best to use some kind of proper timber filler that dries hard and fast but is never that hard that it can’t be removed later on. For example, painter’s glazing compound is a fairly hard setting soft paste that can be quickly applied then sanded and painted satisfactorily. Carvel boats usually have their seams filled fair with a special seam compound AFTER the boat has been primed. Once the boat has been filled and faired smooth and all dust removed we are ready to put some actual paint on. Remember, the difference between a professional paint job and an amateur is the PREPARATION!

WOOD PRESERVATIVE

There are two schools of thought about treating bare timber with wood preservatives. I’ve heard stories that primers and paints don’t adhere to many of them. In my case, I have never personally had that happen to me, so I am generally in favour of using them. Nevertheless, I am convinced that in many cases where the paint refuses to stick to timber is because the wood has not properly dried out after application. There is a definite percentage of humidity level that every timber has (and most of them differ slightly) where paint of any description simply won’t stick. It can be up to fifteen per cent in some timbers. Above all, ensure that your timber is dry enough to allow any paint or filler to adhere to it. Remember too that salt deposits on timber will readily contain water and keep it damp…. if your boat was in salty water wash it off in fresh before commencing painting. When and only when, your timber preservative is dry the next stage is:

PRIMER

The first coat of primer to go onto your hull is metallic grey primer. It is a good primer to use because it is made up of millions of microscopic flat metal (aluminium) plates that lie on top of each other giving water a very hard time to pass though it…Pink primer for example, has circular molecules of substances therefore allowing water to ingress a lot quicker…fact! Grey primers also contain certain oils and most have anti-mould agents contained within (biocides to you and I) We put two coats of grey primer above the waterline and three, no less, below it.

SOME OTHER OBSERVATIONS ABOUT PRIMERS

There are a whole world of paint primers out there and confusion about their qualities are very common. For basic dry timbers, the grey metallic primers are good as previously explained. Also many oil-based primers from well-known companies are also very good and will do the job perfectly well. Hi-build primers however must be approached with caution and I must say that I have never personally got on too well with them. Most of them contain Titanium Dioxide (that’s talcum powder to us lot) and even when it is fully cured can absorb copious amounts of moisture that can prevent really good paint adhesion. To avoid this only paint hi-build primers on good clear dry days and avoid excessive atmospheric humidity levels. Then, as soon as is possible apply the topcoats to seal them in. Note too, that hi-build primers are a soft type of paint and can suffer badly from scuffing over stony or shingly beaches and even when launching from boat trailers. When sanding these primers remember that huge clouds of white dust are released so be aware of where you sand and wear appropriate safety masks.

TOPCOATS

Once again, there are many types to choose from. Let’s get the two- packs out of the way first. TWO-PACK POLYURETHANES have to be applied over a two-pack epoxy undercoat first of all. They have a fantastic finish and that’s fine but you must be absolutely sure that the timber underneath is not going to move because the paint cures so hard that it can and will crack (strip plankers and cold moulded boats are your best bet here…apart of course from glass boats). The primary reason is that timber constructed boats move or ‘work’ as it is known. You may well get away with it if your timber boat has been glassed from new….not glassed over later as a preventative method to stop leaks. Rarely boats treated thus dry out properly and are still susceptible to movement as the timber inside the glass either rots because it was wet or it dries out too much and shrinks. Also boats that have been chined properly, that is, strips of timber glued in between the planks instead of being caulked, stand a reasonable chance of not moving.

Ok, what else? One pack or single pack polyurethane paints can be a good choice for a topcoat…they are almost as glossy and as durable as the two-packs but not quite! They are however, less expensive and far easier to apply than the two-packs… there are a multitude of them out there, so a bit of research is required plus your own personal choice…I’m not going to get involved in a slanging match about which ones are the best! However, remember most major well-known paint manufacturer’s products are usually ok! It’s your call!

So next on my list are marine enamels. Once again, it pays to remember that anything with MARINE in front of it is usually expensive…a good place to avoid in this quest is the large hardware chain stores that sport one or two paints in this category and I’ve fallen for it myself before now. It’s the Name we are looking for!

Even with decent quality marine enamels some of the whites have been known to yellow with age and the way round this is to buy the off-white colours such as cream or buff. My last choice in Marine enamels proper, is a relative newcomer…a water-based enamel. I personally have never used any but I have heard some good reports and there has to be a few advantages with them, quick cleanup for one and you can even drink the thinners!

ASSORTED CHOICES

There are a few types of paint systems that are different to the abovementioned and as usual they probably will draw a lot of flack from those types that love writing to the editor for some reason or the other. Mainly I suspect, because something isn’t quite conventional. Each of the following paints has their different uses and attributes.

HOUSE PAINT ENAMELS

Over the years the quality of house paint enamels has been increasing dramatically to the point where many yachties I know paint their boats with it. It’s a bit softer (and definitely cheaper) than most single pack polyurethanes and some colours, mostly the darker hues, tend to fade earlier than others. However, the fact remains that they can be an excellent choice especially if you own a small boat and don’t mind repainting it every couple of years….cheap to buy, easy to apply!

WATER BASED ACRYLICS

A few years ago you wouldn’t have dreamed of painting your boat with acrylic paint….it would have peeled off in great strips. That does not apply today however. My own boat, The NICKY J has been painted using Wattyl’s Acrylic semi-gloss “CANE” and it is really amazing. I used gloss for the hull and semi-gloss for the decks over white epoxy primer single pack and it has been really good. Never once has it even looked like delaminating. I paint the boat once a year with a roller and it takes less than a day…and she’s forty two feet long! It is yet another choice!

Well there’s your main paint choices but I urge you to remember one thing…preparation is King… it will save you plenty of money in the long run, for sure.

HOW TO APPLY YOUR PAINT

There are of course, three main methods of applying your paints; Spraying, brushing and rollering. There’s another that many people use, a combination of the last two, rolling and tipping, we’ll deal with that one later.

Let’s take a look at spraying. There are several pre-requisites for a decent spray job. These usually are a decent workshop complete with suction fans and half decent ventilation using good spray gear (cheapo underpowered stuff just doesn’t cut the mustard) and most importantly, adequate and proper safety gear. There are always exceptions to the rule and there’s one chap who works in Edge’s boatyard outside in the weather and he does a fantastic job…imagine how much better he might be if he worked indoors!! You will also have to watch the weather, high humidity is not good and also where the overspray goes…not over anyone’s car as is so often the case! A good excess of paint is lost and wasted in the process. If you have a driving need for you boat to look like your car then sprayings for you! Oh yeah, it quick(ish) too!

Brushing by hand can yield incredible results if you are patient and also know what you are doing. I’ve seen boats that at first glance look like they have been sprayed only to find out that they were hand painted by brush…….Dust free atmosphere and bloody good brushes (I mean expensive) are an absolute must here.

Last of all, rollering especially the ‘roll and tip’ method. This requires two people working together as a team. One rolls the paint on thinly and the other follows closely with a decent brush and ‘tips’ out the bubbles left behind by the roller – unbelievably good finishes can be obtained by this method.

A word of warning, no matter which method you use. Don’t be tempted to retouch runs or sags in the paint or you will ruin the finish….wait until the paint has fully dried then deal with it! It’s tempting but paint always seems to gel quicker than you would think!

A SUMMARY

There are many facets to the successful painting of a boat. We can’t be good at all of them and you have to choose the method most suited to you own particular capabilities. A lot depends on the facilities that you have available at your disposal. Some people have the garden to work in others may have huge sheds and even access to a warehouse! I will say that a few basic rules apply to painting even the smallest boat. Often, too much, too clever or too sophisticated is often detrimental to what you are trying to achieve.

I have seen boats that cost twenty grand to paint and they were just really average…why? Wrong choice of painter, that’s why. If you are going to choose a painter it’s not a crime to ask him to show you some examples of his work. If he’s any good there should be plenty…there are plenty of chancers and cowboys about, rest assured. All boats, every single one of them will need retouching or even a repaint within years. Just how long you get for your money is the trick. Unless you put your freshly painted boat in a museum or garage and lock it away you can bet that from day one, it will collect nicks, dings, scratches and scars, it’s inevitable. Beware the painter who tells you, ‘yes it will be ten grand, but it’ll outlast you and me’. The need for repainting is directly proportional to how badly the boat is treated over the years. The only way of keeping your boat pristine and perfect is never to actually put it in that dirty old water once it’s done! Be realistic about your own abilities and your expectations. Simple can be better in many cases.

A SIMPLE FORMULA FOR CALCULATING HOW MUCH PAINT YOU NEED (FOR ONE COAT)

This is interesting if not exactly exact! But it gets very close indeed. This is applicable to brushing and rolling only NOT spraying. There’s a different formula for that and I don’t know it!

THE FORMULA

ONE COAT = The boat’s length overall x the beam x 0.85

Divided by square feet covered per litre listed on the paint can instructions.

If you can’t work it out the paint manufacturer will tell you if you ring the company hotline.

Over the years, wooden boats have survived the elements in spite of very crude and primitive forms of paint. Many early vessels were simply daubed in pitch, bitumen, turps and beeswax. An early Thames barge had survived for over a hundred years in perfect condition as she was originally used as a bitumen tanker!! The dark brown shiny finish was the most perfect example of preserved wood that I have ever seen. One of the most interesting boats I ever saw was painted with fence paint…the owner reckoned he’d only ever painted it once in thirty years! Another old boat builder I knew once told me the secret of painting a wooden boat was to paint it with as many coats of paint that you could afford!

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Source by Terry Buddell

Feather Artist Club Professional Blade

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Feather professional blades will fit any of the artist club razors. Manufactured to the highest quality standards, and designed for professional use, you can expect them to provide the closest and smoothest shave possible. Blade performance is equal to that of a 4/8 or 5/8 size traditional straight razor. The thinner blade allows greater edge flexibility to better conform to facial contours. If you want the closeness of a barbershop straight razor shave, the feather professional blade is a great option.Please read all label information on delivery
Country of origin: Japan
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ArtToFrames 18×24 inch Weathered Barnwood in Saturated Pimento Wood Picture Frame, WOMSM-ECO150-PIM-18×24

ArtToFrames 18x24 inch Weathered Barnwood in Saturated Pimento Wood Picture Frame, WOMSM-ECO150-PIM-18x24

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This is a brand new 18×24 picture, photo, diploma, poster frame (meaning a 18 ” x 24 ” or a 24 ” x 18 ” print will fit just right). This 18 x 24 Weathered Barnwood in Saturated Pimento frame is made of Wood, measuring 1.5” wide, and 0.69” deep, with a .42 ” deep rabbet (the space below the lip to the bottom of the frame). It is carefully made to the highest quality industry standards. This frame comes with Plexi Glass. This .Discounted designer frame is a unique frame that you will not find in most frame shops. The frame is perfect to lighten up your most cherished picture, photo, art gallery, poster, photograph, painting, diploma, artwork, craft project, needle-point or more, yet modest enough to match just about any environment. This Weathered Barnwood in Saturated Pimento frame works perfectly with black-and-white , and color pictures or paintings. Makes a nice Christmas gift! Please don’t hesitate to browse through our policies and feedback. If you’re not sure this is exactly the frame you’d like, feel free to use the search at the top of this page and search ArtToFrames to view our huge selection of wood picture frames, metal picture frames, and premade picture frames. Don’t forget to add us to favorites, so you don’t have to search for us again next time you need a picture frame!~~~~~~~~~~~~~~~~~Product SKU # – – WOMSM-ECO150-PIM-18×24~~~~~~~~~~~~~~~~~Comes with Plexi Glass and a wire hanging set for wall mounting!
Made of Wood – this one of a kind custom picture frame will enhance any piece of art you put in it!
For other colors and non-standard sizes in this frame style search ‘2WOMSM-ECO150-PIM-4×4’ on amazon.com
Fits 18×24 inch Photos! Actual Frame size (finished size) is 20.5×26.5 inches and the frame is 1.5 inches wide. Please Note: Actual color and wood grain may vary depending on the cut of wood and wood color.
Vivid rustic finish in pimento on solid distressed barnwood



Immobilienmakler Heidelberg

Makler Heidelberg


Immobilienmakler Heidelberg

Makler Heidelberg


Der Immoblienmakler für Heidelberg Mannheim und Karlsruhe
Wir verkaufen für Verkäufer zu 100% kostenfrei
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Instrument Transformer


The instrument transformer are special type of transformers these transformers are defined as the transformer intended to supply measuring instruments, meters, relay and other similar apparatus.

In the measuring large current in a do circuit current and voltage is measured by using low range ammeter with a suitable shunt. For measuring high voltage high resistance is used in parallel.

For AC circuit measurements specially for high voltage measuriment the simple instruments are not suitable as these are designed for low voltage. Also a high rating instrument are not suitable on the economic point of view.

The measurement of these quantities is done with special device known as instrument transformers. These transformers steps down current and voltage in definite proportion. This reduced quantity is measured with the help of low range ammeters and voltmeters and are then changed to actual value by knowing the transformation ratio of the transformer.

Advantages Of Instrument Transformers:

The following are the advantages of instrument transformers over the shunts and multipliers etc.

1. The readings of instrument transformers does not depends upon their constants such as resistance, capacitance and inductance etc.

2. The secondary winding of CT &VT shows a current and voltage respectively of such a low value which falls in the range of measuring instrument can be done easily.

3. With the use of instrument transformer the measuring circuit is isolated from power circuit.

4. With the standardization of CT & PT’s secondary winding it is possible to standardize instrument around the rating and so it becomes easy for manufacture to have a great reduction in costs of instrument transformer.

Types of instrument transformer:

Two types of instrument transformer are there.

1. current transformer (CT)

2. pottential transformer (PT/VT)

CURRENT TRANSFORMER:

Current transformer is an instrument transformer in which the secondary current in normal conditions of use is substantially proportional to thee primary current and differs in phase from it by an angle which is approximately zero for an appropriate direction of connections. It should be noted that in case of CT and PT that if one stteped down the another will get stteped up.

All current transformers operate on the principal of ampere turn balance in a closed magnetic circuit. The CT consists of a primary winding of Np turns and secondary of Ns turns carrying current Ip and Is respectively. A component of the primary ampere turns is utilized in magnetising the core with the result that ampere turns available for transformation is the vector differ of primary and exciting ampere turns the exciting ampere turns give rise to error in CT.

CT CORES:

CT cores are of two types:

* LAMINATED CORE

* SPIRAL WOUND CORE

Laminated core:

The laminated cores are made from T, U, L, E and I stampings. The strips of such a shape are cut and arranged in a struck to form complete core cruciform core is not popular in case of CT’s.

The laminated cores are convenient for making CT’s of the type in which primaries are also wound.

Spiral wound core:

The CT’s of high grade are having spiral wound core. The core is made by ring shapeings stacked in cylindrical form. The secondary winding is wound on the core. The conductor carrying the current acts like primary winding and is made passing through the hole.

The spiral wound cores may be of two different types one so to have a stack of ring shaped stamping and another is to use stamping of spiral form. The cores of such a type are called torodial cores. These cores are most popular these days because it ensures that the flux path is always along the grains of grain oriented material and so minimum reluctance is there.

Core Material:

The requirements of core material for CT’s are

1. Low reluctance

2. Low core loss

3. Highly permeable

4. Small retentively

5. Easy availability

6. Low cost

The high permeability nickel iron cores are used for high precision CT’s.

The materials used for making CT cores are.

1. Mumetal (70% Ni)

2. Permandur (50% Co, 50% Fe)

3. Hipernik (50% Ni, 50% Fe)

All the materials have their own advantages and disadvantages. The material is chosen on the basic of the requirement of CT’s.

TYPE OF CT:

Irrespective of the types of CT due to core material some more types of CT’s are popular on the basic of their use and winding.

1. CT Wound Type:

It is type of CT in which the primary winding of more than one full turns wound on the core. The wound types CT’s are used for measuring current in a circuit of high voltage where a very precise measurement is not essential.

2. CT Bar Type:

It is CT in which the primary winding consists of a bar of suitable size and material forming an integral part of the CT. the current line on which we have to measure current is connected to the bar. This type of CT is suitable to measure high currents.

3. CT Liquid Immersed:

Ordinary CT’S are of dry type they do not require and oil or cooling medium other than natural air for its operation.

But a special class of C’s has been developed which require use of oil or other suitable liquid of suitable characteristics as insulating and closing medium.

These types of CT’s are used in switchyards and substations for the purpose of measurement and for connecting relays etc. for protection of the device.

4. Hermetically sealed CT:

It is a liquid immersed CT which is sealed and does not communicate with atmospheric air. A casing of suitable material is made which does not allowed the air to be in touch with CT.

5. Ring type CT:

It is type of CT which has an opening in the center to accommodate a primary conductor through it. In these types of CT’s the core is wound only for secondary winding. The conductor passing through CT itself acts as primary winding. These are the most popular type of CT’s. Because of their easy availability and ready to use property.

6. Multicore CT:

It is CT having more than one secondary core and winding with a common primary winding.

The different cores of such a CT are used to connect different relays and protective devises with it. Such as one core is used for measuring current other is connected with differential protection relay.

7. Multi Ratio CT:

It is type of CT in which more than one ratio is obtainable by reconnection, tappings etc. in primary or secondary winding. This is the advantage of this type of CT on others. It can be used for measuring a wide range of currents according to the measuring conditions. Ordinary CT’s are manufactories to measure a particular value of current and for a higher value of current they are not suitable. But the multi ratio CT’s can be used for measuring a long rang of current by changing the turn’s ratio.

Immobilienmakler Heidelberg

Makler Heidelberg


Immobilienmakler Heidelberg

Makler Heidelberg


Der Immoblienmakler für Heidelberg Mannheim und Karlsruhe
Wir verkaufen für Verkäufer zu 100% kostenfrei
Schnell, zuverlässig und zum Höchstpreis


Source by Lalit Bansal

Gardman 8422 Poppy Wall Art, Three Pieces: Large 17″ Wide, Medium 12″ Wide, Small 8″ Wide

Gardman 8422 Poppy Wall Art, Three Pieces: Large 17

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Gardman 8422 Poppy Wall Art. Three Pieces – Large: 17″ Long x 17″ Wide, Medium: 12″ long x 12″ wide, Small: 8″ long x 8″ wide. Enjoy delicate blooms in your house or garden throughout the year with this Poppy Wall Art. Set of three differently sized poppies lend a beautiful delicate look to home or garden wall. Petal shapes are crafted from solid round metal rods and overlap each other for a very realistic three dimensional effect. Additional straight rods extend from the center and angle outward. The brown hue of each flower matches virtually any setting. The three blooms may be organized as you desire for a custom look. Hidden keyhole mounting bracket on back of each allows it to be placed alone, grouped together as a bouquet, or in a line for a modern look. Durable steel construction makes this perfect for use indoors or out. Poppy measurements – Large: 17″ long x 17″ wide, Medium: 12″ long x 12″ wide, Small: 8″ long x 8″ wide. Gardman “Bring your garden to life”Set of three differently sized poppies lend a beautiful delicate look to home or garden wall
Place alone, grouped together as a bouquet, or in a line for a modern look
Durable steel construction will provide years of use
May be hung indoors or out
Poppy measurements – Large: 17″ long x 17″ wide, Medium: 12″ long x 12″ wide, Small: 8″ long x 8″ wide



Immobilienmakler Heidelberg

Makler Heidelberg


Immobilienmakler Heidelberg

Makler Heidelberg


Der Immoblienmakler für Heidelberg Mannheim und Karlsruhe
Wir verkaufen für Verkäufer zu 100% kostenfrei
Schnell, zuverlässig und zum Höchstpreis