Nice High-quality Plastic Mould photos

Nice High-quality Plastic Mould photos

A few nice high-quality plastic mould images I found:

FAKE FOOD in OKINAWA
high-quality plastic mould
Image by Okinawa Soba (Rob)
FAKE FOOD !!! — Yeah, you know it, and you love it. Those "wax food" meals, drinks, and pastries seen in display cases in front of so many restaurants on Okinawa.

Some are under the mistaken impression that all of this "wax food" comes from mainland Japan, and is hard to find or buy. This is only true for most of the mainland chain restaurants on Okinawa that bring their made-in-Japan fake food displays with them.

HOWEVER, most Okinawan restaurants get their FAKE FOOD from right here on Okinawa, from the only place in Okinawa that makes these goodies.

The Yara Family in Naha has been turning this stuff out for the past 35 years, and their high-tech, flexible polymer artistry exceeds that of the mainland artisans whose traditional wax creations have a tendency to slowly melt and deform in Okinawa’s tropical climate.

And YES, they have a little-known retail store on the premises, where you may purchase their hand-made creations. Need a timeless bowl of Pork-Rib Soba or some Taco Rice as a rare souvenir of Okinawa ? How about just a refrigerator magnet, or a piece of bacon to dangle from your cell phone ?

From Pastry to Pasta, from Sausage to Soba, they make it all, piece by piece, right here.

Expect to pay anywhere from ¥500 to ¥5000 yen for any item. If they are out of any creation, it will take a week or so for them to make a new one.

Remember, these are NOT low-quality, blow-molded plastic "toys". These are heavy, serious works of art that are usually intended for commercial display.

If you have ever been fascinated by these "Fake Foods", you are living in a good place to get it at the source, made by Okinawan sculptors and artists, with theme-specific menu items to match your Okinawan experience.

♥ As for me, I picked up a realistic bowl of Soba noodles topped with "san-mai niku" bacon, fish cake, red ginger, and sliced green-onion leaves, in a high-quality ceramic bowl — all of it hand-made — and only the size of a silver dollar ! It set me back ¥1,200. A little over 10 bucks. It’s now hanging from my car key. 🙂

Enjoy the pics, and have fun visiting their little store between Kokusai Street and Route 330 in Naha (they are right under the Monorail).

Store Name : SHOKUHIN SAMPULU SANGETSU 食品サンプル山月

Here’s the PIN : goo.gl/maps/w92PFDR1wTL2

FAKE FOOD in OKINAWA
high-quality plastic mould
Image by Okinawa Soba (Rob)
FAKE FOOD !!! — Yeah, you know it, and you love it. Those "wax food" meals, drinks, and pastries seen in display cases in front of so many restaurants on Okinawa.

Some are under the mistaken impression that all of this "wax food" comes from mainland Japan, and is hard to find or buy. This is only true for most of the mainland chain restaurants on Okinawa that bring their made-in-Japan fake food displays with them.

HOWEVER, most Okinawan restaurants get their FAKE FOOD from right here on Okinawa, from the only place in Okinawa that makes these goodies.

The Yara Family in Naha has been turning this stuff out for the past 35 years, and their high-tech, flexible polymer artistry exceeds that of the mainland artisans whose traditional wax creations have a tendency to slowly melt and deform in Okinawa’s tropical climate.

And YES, they have a little-known retail store on the premises, where you may purchase their hand-made creations. Need a timeless bowl of Pork-Rib Soba or some Taco Rice as a rare souvenir of Okinawa ? How about just a refrigerator magnet, or a piece of bacon to dangle from your cell phone ?

From Pastry to Pasta, from Sausage to Soba, they make it all, piece by piece, right here.

Expect to pay anywhere from ¥500 to ¥5000 yen for any item. If they are out of any creation, it will take a week or so for them to make a new one.

Remember, these are NOT low-quality, blow-molded plastic "toys". These are heavy, serious works of art that are usually intended for commercial display.

If you have ever been fascinated by these "Fake Foods", you are living in a good place to get it at the source, made by Okinawan sculptors and artists, with theme-specific menu items to match your Okinawan experience.

♥ As for me, I picked up a realistic bowl of Soba noodles topped with "san-mai niku" bacon, fish cake, red ginger, and sliced green-onion leaves, in a high-quality ceramic bowl — all of it hand-made — and only the size of a silver dollar ! It set me back ¥1,200. A little over 10 bucks. It’s now hanging from my car key. 🙂

Enjoy the pics, and have fun visiting their little store between Kokusai Street and Route 330 in Naha (they are right under the Monorail).

Store Name : SHOKUHIN SAMPULU SANGETSU 食品サンプル山月

Here’s the PIN : goo.gl/maps/w92PFDR1wTL2

Nice Two Shots Mould China photos

Nice Two Shots Mould China photos

Check out these two shots mould china images:

CPR / My Neighbour to the West
two shots mould china
Image by bill barber
From my set entitled “Our Home, Streetsville”
www.flickr.com/photos/21861018@N00/sets/72157600265395738/
In my collection entitled “Places”
www.flickr.com/photos/21861018@N00/collections/7215760074…
In my photostream
www.flickr.com/photos/21861018@N00/

I’ve always lived close to railway lines. When I was growing up in Orangeville, Ontario, I lived near the main station. Both the Canadian National Railway (CNR) and the Canadian Pacific Railway (CPR) passed through town. When my sister and I moved to a fifty acre farm in Dixie, Ontario (near Toronto) in 1960, the CPR bisected our land.

For the twenty-two years Karen and I have lived at our current address in Streetsville, Ontario, the CPR has been our neighbour across the back fence. People ask us, “Don’t the trains bother you?” We answer that we don’t even hear them.

We sit on the deck and view a lot of interesting stuff go by. One day I watched a trainload of tanks pass. Didn’t know Canada had so many tanks. We also see intriguing graffiti on the sides of tankers and boxcars. And there are cars from all over the U.S. and Canada.

This is the first shot of the trains I have taken from the deck, but there will be more. It’s best to take such pictures after the leaves have dropped, since it’s hard to see the trains through the summer foliage.

Reproduced from Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Canadian_Pacific_Railway
The Canadian Pacific Railway (CPR; AAR reporting marks CP, CPAA, CPI), known as CP Rail between 1968 and 1996, is a Canadian Class I railway operated by Canadian Pacific Railway Limited. Its rail network stretches from Vancouver to Montreal, and also serves major cities in the United States such as Minneapolis, Chicago, and New York City. Its headquarters are in Calgary, Alberta.

The railway was originally built between eastern Canada and British Columbia between 1881 and 1885 (connecting with Ottawa Valley and Georgian Bay area lines built earlier), fulfilling a promise extended to British Columbia when it entered Confederation in 1871. It was Canada’s first transcontinental railway. Now primarily a freight railway, the CPR was for decades the only practical means of long distance passenger transport in most regions of Canada, and was instrumental in the settlement and development of Western Canada. The CP company became one of the largest and most powerful in Canada, a position it held as late as 1975.[1] Its primary passenger services were eliminated in 1986 after being assumed by VIA Rail Canada in 1978. A beaver was chosen as the railway’s logo because it is one of the national symbols of Canada and represents the hardworking character of the company. The object of both praise and condemnation for over 120 years, the CPR remains an indisputable icon of Canadian nationalism.

The Canadian Pacific Railway is a public company with over 15,000 employees and market capitalization of 7 billion USD in 2008.[2]

Canada’s very existence depended on the successful completion of the major civil engineering project, the creation of a transcontinental railway. Creation of the Canadian Pacific Railway was a task originally undertaken for a combination of reasons by the Conservative government of Prime Minister Sir John A. Macdonald. British Columbia had insisted upon a transport link to the east as a condition for joining the Confederation of Canada (initially requesting a wagon road). The government however, proposed to build a railway linking the Pacific province to the eastern provinces within ten years of July 20, 1871. Macdonald also saw it as essential to the creation of a unified Canadian nation that would stretch across the continent. Moreover, manufacturing interests in Quebec and Ontario desired access to sources of raw materials and markets in Canada’s west.

The first obstacle to its construction was economic. The logical route went through the American Midwest and the city of Chicago, Illinois. In addition to the obvious difficulty of building a railroad through the Canadian Rockies, an entirely Canadian route would require crossing 1,600 km (1,000 miles) of rugged terrain of the barren Canadian Shield and muskeg of Northern Ontario. To ensure this routing, the government offered huge incentives including vast grants of land in Western Canada.

In 1872, Sir John A. Macdonald and other high-ranking politicians, swayed by bribes in the so-called Pacific Scandal, granted federal contracts to Hugh Allan’s "Canada Pacific Railway Company" (which was unrelated to the current company) and to the Inter-Ocean Railway Company. Because of this scandal, the Conservative party was removed from office in 1873. The new Liberal prime minister, Alexander Mackenzie, began construction of segments of the railway as a public enterprise under the supervision of the Department of Public Works. The Thunder Bay branch linking Lake Superior to Winnipeg was commenced in 1875. Progress was discouragingly slow because of the lack of public money. With Sir John A. Macdonald’s return to power on October 16, 1878, a more aggressive construction policy was adopted. Macdonald confirmed that Port Moody would be the terminus of the transcontinental railway, and announced that the railway would follow the Fraser and Thompson rivers between Port Moody and Kamloops. In 1879, the federal government floated bonds in London and called for tenders to construct the 206 km (128 mile) section of the railway from Yale, British Columbia to Savona’s Ferry on Kamloops Lake. The contract was awarded to Andrew Onderdonk, whose men started work on May 15, 1880. After the completion of that section, Onderdonk received contracts to build between Yale and Port Moody, and between Savona’s Ferry and Eagle Pass.

On October 21, 1880, a new syndicate, unrelated to Hugh Allan’s, signed a contract with the Macdonald government. They agreed to build the railway in exchange for ,000,000 (approximately 5,000,000 in modern Canadian dollars) in credit from the Canadian government and a grant of 25,000,000 acres (100,000 km²) of land. The government transferred to the new company those sections of the railway it had constructed under government ownership. The government also defrayed surveying costs and exempted the railway from property taxes for 20 years. The Montreal-based syndicate officially comprised five men: George Stephen, James J. Hill, Duncan McIntyre, Richard B. Angus, and John Stewart Kennedy. Donald A. Smith and Norman Kittson were unofficial silent partners with a significant financial interest. On February 15, 1881, legislation confirming the contract received royal assent, and the Canadian Pacific Railway Company was formally incorporated the next day.

The CPR started its westward expansion from Bonfield, Ontario (previously called Callander Station) where the first spike was driven into a sunken railway tie. Bonfield, Ontario was inducted into Canadian Railway Hall of Fame in 2002 as the CPR First Spike location. That was the point where the Canada Central Railway extension ended. The CCR was owned by Duncan McIntyre who amalgamated it with the CPR and became one of the handful of officers of the newly formed CPR. The CCR started in Brockville and extended to Pembroke. It then followed a westward route along the Ottawa River passing through places like Cobden, Deux-Rivières, and eventually to Mattawa at the confluence of the Mattawa and Ottawa Rivers. It then proceeded cross-country towards its final destination Bonfield (previously called Callander Station).

Duncan McIntyre and his contractor James Worthington piloted the CCR expansion. Worthington continued on as the construction superintendent for the CPR past Bonfield. He remained with the CPR for about a year until he left the company. McIntyre was uncle to John Ferguson who staked out future North Bay after getting assurance from his uncle and Worthington that it would be the divisional and a location of some importance.

It was assumed that the railway would travel through the rich "Fertile Belt" of the North Saskatchewan River valley and cross the Rocky Mountains via the Yellowhead Pass, a route suggested by Sir Sandford Fleming based on a decade of work. However, the CPR quickly discarded this plan in favour of a more southerly route across the arid Palliser’s Triangle in Saskatchewan and through Kicking Horse Pass over the Field Hill. This route was more direct and closer to the American border, making it easier for the CPR to keep American railways from encroaching on the Canadian market. However, this route also had several disadvantages.

One consequence was that the CPR would need to find a route through the Selkirk Mountains, as at the time it was not known whether a route even existed. The job of finding a pass was assigned to a surveyor named Major Albert Bowman Rogers. The CPR promised him a cheque for ,000 and that the pass would be named in his honour. Rogers became obsessed with finding the pass that would immortalize his name. He found the pass on May 29, 1881, and true to its word, the CPR named the pass "Rogers Pass" and gave him the cheque. This however, he at first refused to cash, preferring to frame it, and saying he did not do it for the money. He later agreed to cash it with the promise of an engraved watch.

Another obstacle was that the proposed route crossed land controlled by the Blackfoot First Nation. This difficulty was overcome when a missionary priest, Albert Lacombe, persuaded the Blackfoot chief Crowfoot that construction of the railway was inevitable.

In return for his assent, Crowfoot was famously rewarded with a lifetime pass to ride the CPR. A more lasting consequence of the choice of route was that, unlike the one proposed by Fleming, the land surrounding the railway often proved too arid for successful agriculture. The CPR may have placed too much reliance on a report from naturalist John Macoun, who had crossed the prairies at a time of very high rainfall and had reported that the area was fertile.

The greatest disadvantage of the route was in Kicking Horse Pass. In the first 6 km (3.7 miles) west of the 1,625 metre (5,330 ft) high summit, the Kicking Horse River drops 350 metres (1,150 ft). The steep drop would force the cash-strapped CPR to build a 7 km (4.5 mile) long stretch of track with a very steep 4.5% gradient once it reached the pass in 1884. This was over four times the maximum gradient recommended for railways of this era, and even modern railways rarely exceed a 2% gradient. However, this route was far more direct than one through the Yellowhead Pass, and saved hours for both passengers and freight. This section of track was the CPR’s Big Hill. Safety switches were installed at several points, the speed limit for descending trains was set at 10 km per hour (6 mph), and special locomotives were ordered. Despite these measures, several serious runaways still occurred. CPR officials insisted that this was a temporary expediency, but this state of affairs would last for 25 years until the completion of the Spiral Tunnels in the early 20th century.

In 1881 construction progressed at a pace too slow for the railway’s officials, who in 1882 hired the renowned railway executive William Cornelius Van Horne, to oversee construction with the inducement of a generous salary and the intriguing challenge of handling such a difficult railway project. Van Horne stated that he would have 800 km (500 miles) of main line built in 1882. Floods delayed the start of the construction season, but over 672 km (417 miles) of main line, as well as various sidings and branch lines, were built that year. The Thunder Bay branch (west from Fort William) was completed in June 1882 by the Department of Railways and Canals and turned over to the company in May 1883, permitting all-Canadian lake and rail traffic from eastern Canada to Winnipeg for the first time in Canada’s history. By the end of 1883, the railway had reached the Rocky Mountains, just eight km (5 miles) east of Kicking Horse Pass. The construction seasons of 1884 and 1885 would be spent in the mountains of British Columbia and on the north shore of Lake Superior.

Many thousands of navvies worked on the railway. Many were European immigrants. In British Columbia, the CPR hired workers from China, nicknamed coolies. A navvy received between and .50 per day, but had to pay for his own food, clothing, transportation to the job site, mail, and medical care. After two and a half months of back-breaking labour, they could net as little as . Chinese navvies in British Columbia made only between .75 and .25 a day, not including expenses, leaving barely anything to send home. They did the most dangerous construction jobs, such as working with explosives. The families of the Chinese who were killed received no compensation, or even notification of loss of life. Many of the men who survived did not have enough money to return to their families in China. Many spent years in lonely, sad and often poor conditions. Yet the Chinese were hard working and played a key role in building the western stretch of the railway; even some boys as young as 12 years old served as tea-boys.

By 1883, railway construction was progressing rapidly, but the CPR was in danger of running out of funds. In response, on January 31, 1884, the government passed the Railway Relief Bill, providing a further ,500,000 in loans to the CPR. The bill received royal assent on March 6, 1884.

In March 1885, the North-West Rebellion broke out in the District of Saskatchewan. Van Horne, in Ottawa at the time, suggested to the government that the CPR could transport troops to Qu’Appelle, Assiniboia, in eleven days. Some sections of track were incomplete or had not been used before, but the trip to Winnipeg was made in nine days and the rebellion was quickly put down. Perhaps because the government was grateful for this service, they subsequently re-organized the CPR’s debt and provided a further ,000,000 loan. This money was desperately needed by the CPR. On November 7, 1885 the Last Spike was driven at Craigellachie, British Columbia, making good on the original promise. Four days earlier, the last spike of the Lake Superior section was driven in just west of Jackfish, Ontario. While the railway was completed four years after the original 1881 deadline, it was completed more than five years ahead of the new date of 1891 that Macdonald gave in 1881.

The successful construction of such a massive project, although troubled by delays and scandal, was considered an impressive feat of engineering and political will for a country with such a small population, limited capital, and difficult terrain. It was by far the longest railway ever constructed at the time. It had taken 12,000 men, 5,000 horses, and 300 dog-sled teams to build the railway.

Meanwhile, in Eastern Canada, the CPR had created a network of lines reaching from Quebec City to St. Thomas, Ontario by 1885, and had launched a fleet of Great Lakes ships to link its terminals. The CPR had effected purchases and long-term leases of several railways through an associated railway company, the Ontario and Quebec Railway (O&Q). The O&Q built a line between Perth, Ontario, and Toronto (completed on May 5, 1884) to connect these acquisitions. The CPR obtained a 999-year lease on the O&Q on January 4, 1884. Later, in 1895, it acquired a minority interest in the Toronto, Hamilton and Buffalo Railway, giving it a link to New York and the northeast US.

So many cost-cutting shortcuts were taken in constructing the railway that regular transcontinental service could not start for another seven months while work was done to improve the railway’s condition. However, had these shortcuts not been taken, it is conceivable that the CPR might have had to default financially, leaving the railway unfinished. The first transcontinental passenger train departed from Montreal’s Dalhousie Station, located at Berri Street and Notre Dame Street on June 28, 1886 at 8:00 p.m. and arrived at Port Moody on July 4, 1886 at noon. This train consisted of two baggage cars, a mail car, one second-class coach, two immigrant sleepers, two first-class coaches, two sleeping cars, and a diner.

By that time, however, the CPR had decided to move its western terminus from Port Moody to Gastown, which was renamed "Vancouver" later that year. The first official train destined for Vancouver arrived on May 23, 1887, although the line had already been in use for three months. The CPR quickly became profitable, and all loans from the Federal government were repaid years ahead of time.

In 1888, a branch line was opened between Sudbury and Sault Ste. Marie where the CPR connected with the American railway system and its own steamships. That same year, work was started on a line from London, Ontario to the American border at Windsor, Ontario. That line opened on June 12, 1890.

The CPR also leased the New Brunswick Railway for 999 years and built the International Railway of Maine, connecting Montreal with Saint John, New Brunswick in 1889. The connection with Saint John on the Atlantic coast made the CPR the first truly transcontinental railway company and permitted trans-Atlantic cargo and passenger services to continue year-round when sea ice in the Gulf of St. Lawrence closed the port of Montreal during the winter months.

By 1896, competition with the Great Northern Railway for traffic in southern British Columbia forced the CPR to construct a second line across the province, south of the original line. Van Horne, now president of the CPR, asked for government aid, and the government agreed to provide around .6 million to construct a railway from Lethbridge, Alberta through Crowsnest Pass to the south shore of Kootenay Lake, in exchange for the CPR agreeing to reduce freight rates in perpetuity for key commodities shipped in Western Canada. The controversial Crowsnest Pass Agreement effectively locked the eastbound rate on grain products and westbound rates on certain "settlers’ effects" at the 1897 level. Although temporarily suspended during World War I, it was not until 1983 that the "Crow Rate" was permanently replaced by the Western Grain Transportation Act which allowed for the gradual increase of grain shipping prices. The Crowsnest Pass line opened on June 18, 1899.

Practically speaking, the CPR had built a railway that operated mostly in the wilderness. The usefulness of the Prairies was questionable in the minds of many. The thinking prevailed that the Prairies had great potential. Under the initial contract with the Canadian Government to build the railway, the CPR was granted 25,000,000 acres (100,000 km²). Proving already to be a very resourceful organization, Canadian Pacific began an intense campaign to bring immigrants to Canada.

Canadian Pacific agents operated in many overseas locations. Immigrants were often sold a package that included passage on a CP ship, travel on a CP train, and land sold by the CP railway. Land was priced at .50 an acre and up. Immigrants paid very little for a seven-day journey to the West. They rode in Colonist cars that had sleeping facilities and a small kitchen at one end of the car. Children were not allowed off the train, lest they wander off and be left behind. The directors of the CPR knew that not only were they creating a nation, but also a long-term source of revenue for their company.

During the first decade of the twentieth century, the CPR continued to build more lines. In 1908 the CPR opened a line connecting Toronto with Sudbury. Previously, westbound traffic originating in southern Ontario took a circuitous route through eastern Ontario.
Several operational improvements were also made to the railway in western Canada. In 1909 the CPR completed two significant engineering accomplishments. The most significant was the replacement of the Big Hill, which had become a major bottleneck in the CPR’s main line, with the Spiral Tunnels, reducing the grade to 2.2% from 4.5%. The Spiral Tunnels opened in August. On November 3, 1909, the Lethbridge Viaduct over the Oldman River valley at Lethbridge, Alberta was opened. It is 1,624 metres (5,327 ft) long and, at its maximum, 96 metres (314 ft) high, making it the longest railway bridge in Canada. In 1916 the CPR replaced its line through Rogers Pass, which was prone to avalanches, with the Connaught Tunnel, an eight km (5 mile) long tunnel under Mount Macdonald that was, at the time of its opening, the longest railway tunnel in the Western Hemisphere.

The CPR acquired several smaller railways via long-term leases in 1912. On January 3, 1912, the CPR acquired the Dominion Atlantic Railway, a railway that ran in western Nova Scotia. This acquisition gave the CPR a connection to Halifax, a significant port on the Atlantic Ocean. The Dominion Atlantic was isolated from the rest of the CPR network and used the CNR to facilitate interchange; the DAR also operated ferry services across the Bay of Fundy for passengers and cargo (but not rail cars) from the port of Digby, Nova Scotia to the CPR at Saint John, New Brunswick. DAR steamships also provided connections for passengers and cargo between Yarmouth, Boston and New York.

On July 1, 1912, the CPR acquired the Esquimalt and Nanaimo Railway, a railway on Vancouver Island that connected to the CPR using a railcar ferry. The CPR also acquired the Quebec Central Railway on December 14, 1912.

During the late 19th century, the railway undertook an ambitious program of hotel construction, building the Château Frontenac in Quebec City, the Royal York Hotel in Toronto, the Banff Springs Hotel, and several other major Canadian landmarks. By then, the CPR had competition from three other transcontinental lines, all of them money-losers. In 1919, these lines were consolidated, along with the track of the old Intercolonial Railway and its spurs, into the government-owned Canadian National Railways.

When World War I broke out in 1914, the CPR devoted resources to the war effort, and managed to stay profitable while its competitors struggled to remain solvent. After the war, the Federal government created Canadian National Railways (CNR, later CN) out of several bankrupt railways that fell into government hands during and after the war. CNR would become the main competitor to the CPR in Canada.

The Great Depression, which lasted from 1929 until 1939, hit many companies heavily. While the CPR was affected, it was not affected to the extent of its rival CNR because it, unlike the CNR, was debt-free. The CPR scaled back on some of its passenger and freight services, and stopped issuing dividends to its shareholders after 1932.

One highlight of the 1930s, both for the railway and for Canada, was the visit of King George VI and Queen Elizabeth to Canada in 1939, the first time that the reigning monarch had visited the country. The CPR and the CNR shared the honours of pulling the royal train across the country, with the CPR undertaking the westbound journey from Quebec City to Vancouver.

Later that year, World War II began. As it had done in World War I, the CPR devoted much of its resources to the war effort. It retooled its Angus Shops in Montreal to produce Valentine tanks, and transported troops and resources across the country. As well, 22 of the CPR’s ships went to warfare, 12 of which were sunk.

After World War II, the transportation industry in Canada changed. Where railways had previously provided almost universal freight and passenger services, cars, trucks, and airplanes started to take traffic away from railways. This naturally helped the CPR’s air and trucking operations, and the railway’s freight operations continued to thrive hauling resource traffic and bulk commodities. However, passenger trains quickly became unprofitable.

During the 1950s, the railway introduced new innovations in passenger service, and in 1955 introduced The Canadian, a new luxury transcontinental train. However, starting in the 1960s the company started to pull out of passenger services, ending services on many of its branch lines. It also discontinued its transcontinental train The Dominion in 1966, and in 1970 unsuccessfully applied to discontinue The Canadian. For the next eight years, it continued to apply to discontinue the service, and service on The Canadian declined markedly. On October 29, 1978, CP Rail transferred its passenger services to VIA Rail, a new federal Crown corporation that is responsible for managing all intercity passenger service formerly handled by both CP Rail and CN. VIA eventually took almost all of its passenger trains, including The Canadian, off CP’s lines.

In 1968, as part of a corporate re-organization, each of the CPR’s major operations, including its rail operations, were organized as separate subsidiaries. The name of the railway was changed to CP Rail, and the parent company changed its name to Canadian Pacific Limited in 1971. Its express, telecommunications, hotel and real estate holdings were spun off, and ownership of all of the companies transferred to Canadian Pacific Investments. The company discarded its beaver logo, adopting the new Multimark logo that could be used for each of its operations.

In 1984 CP Rail commenced construction of the Mount Macdonald Tunnel to augment the Connaught Tunnel under the Selkirk Mountains. The first revenue train passed through the tunnel in 1988. At 14.7 km (9 miles), it is the longest tunnel in the Americas.

During the 1980s, the Soo Line, in which CP Rail still owned a controlling interest, underwent several changes. It acquired the Minneapolis, Northfield and Southern Railway in 1982. Then on February 21, 1985, the Soo Line obtained a controlling interest in the Milwaukee Road, merging it into its system on January 1, 1986. Also in 1980 Canadian Pacific bought out the controlling interests of the Toronto, Hamilton and Buffalo Railway (TH&B) from Conrail and molded it into the Canadian Pacific System, dissolving the TH&B’s name from the books in 1985. In 1987 most of CPR’s trackage in the Great Lakes region, including much of the original Soo Line, were spun off into a new railway, the Wisconsin Central, which was subsequently purchased by CN.

Influenced by the Canada-U.S. Free Trade Agreement of 1989 which liberalized trade between the two nations, the CPR’s expansion continued during the early 1990s: CP Rail gained full control of the Soo Line in 1990, and bought the Delaware and Hudson Railway in 1991. These two acquisitions gave CP Rail routes to the major American cities of Chicago (via the Soo Line) and New York City (via the D&H).

During the next few years CP Rail downsized its route, and several Canadian branch lines were either sold to short lines or abandoned. This included all of its lines east of Montreal, with the routes operating across Maine and New Brunswick to the port of Saint John (operating as the Canadian Atlantic Railway) being sold or abandoned, severing CPR’s transcontinental status (in Canada); the opening of the St. Lawrence Seaway in the late 1950s, coupled with subsidized icebreaking services, made Saint John surplus to CPR’s requirements. During the 1990s, both CP Rail and CN attempted unsuccessfully to buy out the eastern assets of the other, so as to permit further rationalization. As well, it closed divisional and regional offices, drastically reduced white collar staff, and consolidated its Canadian traffic control system in Calgary, Alberta.

Finally, in 1996, reflecting the increased importance of western traffic to the railway, CP Rail moved its head office to Calgary from Montreal and changed its name back to Canadian Pacific Railway. A new subsidiary company, the St. Lawrence and Hudson Railway, was created to operate its money-losing lines in eastern North America, covering Quebec, Southern and Eastern Ontario, trackage rights to Chicago, Illinois, as well as the Delaware and Hudson Railway in the U.S. Northeast. However, the new subsidiary, threatened with being sold off and free to innovate, quickly spun off losing track to short lines, instituted scheduled freight service, and produced an unexpected turn-around in profitability. After only four years, CPR revised its opinion and the StL&H formally re-amalgamated with its parent on January 1, 2001.

In 2001, the CPR’s parent company, Canadian Pacific Limited, spun off its five subsidiaries, including the CPR, into independent companies. Canadian Pacific Railway formally (but, not legally) shortened its name to Canadian Pacific in early 2007, dropping the word "railway" in order to reflect more operational flexibility. Shortly after the name revision, Canadian Pacific announced that it had committed to becoming a major sponsor and logistics provider to the 2010 Olympic Winter Games in Vancouver, British Columbia.

On September 4, 2007, CPR announced it was acquiring the Dakota, Minnesota and Eastern Railroad from its present owners, London-based Electra Private Equity.[3] The transaction is an "end-to-end" consolidation,[4][5] and will give CPR access to U.S. shippers of agricultural products, ethanol, and coal. CPR has stated its intention to use this purchase to gain access to the rich coal fields of Wyoming’s Powder River Basin. The purchase price is US.48 billion, and future payments of over US.0 billion contingent on commencement of construction on the smaller railroad’s Powder River extension and specified volumes of coal shipments from the Powder River basin.[4] The transaction was subject to approval of the U.S. Surface Transportation Board (STB), which was expected to take a year.[4] On October 4, 2007, CPR announced it has completed the financial transactions required for the acquisition, placing the DM&E and IC&E in a voting trust with Richard Hamlin appointed as the trustee. CPR planned to integrate the railroads’ operations once the STB approves the acquisition.[6] The merger was completed as of October 31, 2008.[7]

Post Processing;
Topaz: vibrance
PhotoShop Elements 5: crop, multiply, posterization, ink outlines, sandstone texture

Nice High Quality Plastic Mould photos

Nice High Quality Plastic Mould photos

A few nice high quality plastic mould images I found:

The Guinness “widget”
high quality plastic mould
Image by slworking2
Curiosity got the best of me tonight and I decided to cut open a can of
Guinness in order to have a closer look at the "widget".

From Wikipedia, the free encyclopedia

The "floating widget" found in cans of beer is a hollow sphere, 3 cm in diameter. The can is pressurised by adding liquid nitrogen, which vaporises and expands in
volume after the can is sealed, forcing gas and beer into the widget’s
hollow interior through a tiny hole – the less beer the better for
subsequent head quality. In addition some nitrogen dissolves in the beer
which also contains dissolved carbon dioxide. The presence of dissolved
nitrogen allows smaller bubbles to be formed with consequent greater
creaminess of the subsequent head. This is because the smaller bubbles need
a higher internal pressure to balance the greater surface tension, which is
inversely proportional to the radius of the bubbles. Achieving this higher
pressure is not possible just with dissolved carbon dioxide because the much
greater solubility of this gas compared to nitrogen would create an
unacceptably large head. When the can is opened, the pressure in the can
drops, causing the pressurised gas and beer inside the widget to jet out
from the hole. This agitation on the surrounding beer causes a chain
reaction of bubble formation throughout the beer. The result, when the can
is then poured out, is a surging mixture in the glass of very small gas
bubbles and liquid, just as is the case with certain types of draught beer such as draught stouts. In the case of these draught beers, which also contain before dispensing a
mixture of dissolved nitrogen and carbon dioxide, the agitation is caused by
forcing the beer under pressure through small holes in a restrictor in the
tap. The surging mixture gradually settles to produce a very creamy head.
The original widget was patented in the UK by Guinness.

The word "widget" as applied to this device is a trademark of the Guinness
brewery.

Background

Draught Guinness as it is known today was first produced in 1964. With
Guinness keen to produce Draught in package for consumers to drink at home,
Bottled Draught Guinness was formulated in 1978 and launched into the Irish
market in 1979. It was never actively marketed internationally as it
required an initiator which looked rather like a syringe to make it work.

Development

The initial inventors of generating draught Guinness from cans or bottles by
means of a sudden gas discharge from an internal compartment when the can or
bottle is opened were Tony Carey and Sammy Hildebrand, brewers with Guinness
in Dublin, in 1968. This invention was patented by them in British Patent No
1266351, filed 1969-01-27, complete specification published 1972-03-08. Development work on a can system under Project ACORN focused on an arrangement whereby a false lid underneath the main lid formed the gas chamber. Technical difficulties led to a
decision to put the can route on hold and concentrate on bottles using
external initiators. Subsequently, Guinness allowed this patent to lapse and
it was not until Ernest Saunders centralised R & D in 1984 that work
re-started on this invention under the direction of Alan Forage.

The design of an internal compartment that could be readily inserted during
the canning process was devised by Alan Forage and William Byrne, and work
started on the widget during the period 1984/85. The plan was to introduce a
plastic capsule into the can, pressurise it during the filling process and
then allow it to release this pressure in a controlled manner when the can
was being opened. This would be sufficient to initiate the product and give
it the characteristic creamy head. However, it was pointed out by Tony Carey
that this resulted in beer being forced into the ‘widget’ during
pasteurisation with consequent very poor head quality. He suggested
overcoming this by rapidly inverting the can after the lid was seamed on.
This extra innovation was successful.

It is important that oxygen is eliminated from any process developed as this can cause flavour deterioration when present.

The first samples sent to Dublin were labelled "Project Dynamite", which
caused some delay before customs and excise would release the samples.
Because of this the name was changed to Oaktree. Another name that changed
was ‘inserts’ – the operators called them widgets almost immediately after
they arrived on site – a name that has now stuck with the industry.

The development of ideas continued. In fact over 100 alternatives were
considered. The blow moulded widget was to be pierced with a laser and a
blower was then necessary to blow away the plume created by the laser
burning through the polypropylene. This was abandoned and instead it was
decided to gas exchange air for nitrogen on the filler, and produce the
inserts with a hole in place using straight forward and cheaper injection
moulding techniques.

Commissioning began January 1988, with a national launch date of March 1989.

This first generation widget was a plastic disk held by friction in the
bottom of the can. This method worked fine if the beer was served cold; when
served warm the can would overflow when opened. The floating widget, which
was launched in 1997, does not have this problem.

http://en.wikipedia.org/wiki/Widget_(beer)

Nice Plastic Mould Made In China photos

Nice Plastic Mould Made In China photos

A few nice plastic mould made in china images I found:

Image from page 402 of “China : a history of the laws, manners and customs of the people” (1878)
plastic mould made in china
Image by Internet Archive Book Images
Identifier: chinahistoryofla02grayuoft
Title: China : a history of the laws, manners and customs of the people
Year: 1878 (1870s)
Authors: Gray, John Henry, 1828-1890 Gregor, William Gow
Subjects: China — Social life and customs
Publisher: London : Macmillan
Contributing Library: Robarts – University of Toronto
Digitizing Sponsor: MSN

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garded as a proof of a hostile disposition.On passing through the streets, however, the Chinese began tomake remarks, and to call out one to another, Beware ofthat foreigner, he will club some of you I As my friend hada habit of swinging his stick about when walking, the excite-ment increased as we progressed. Eventually a large crowdgathered, and becoming exceedingly angry, attacked us, andforced us to seek refuge in a pottery, whence we were witliditficulty conveyed through back streets to our boat. In various parts of China the manufacture of fiat clay tiles,which resemble flags, is carried on. At Pak-hin-hok, nearCanton, and at other places in the vicinity, these tiles are madein large quantities. The plastic clay of which they are formedis brought to Canton from the neighbouring counties or districtsof Toong-koon and Pun-yu respectively. As rivers and creeksare the highways of Kwang-tung, the clay is conveyed to thetile-yards i)i Pak-liin-hok in boats. It is ])ih^(l up in stacks.

Text Appearing After Image:
xxviii.] TILF:S AND BRICKS. 245 from which it is taken as roquired, and placed on a threshing-floor to be kneaded or tempered by being trodden by the feet.Tiles are made of the clay thus tempered by means of moulds,according to the size and pattern required. The kilns in whichthe tiles are baked are very large, and the process of bakinge>vtends, I believe, over nine or ten days. They are not removed,however, from tlie kihi until the sixtli day after the fire isextinguished. In many parts of this vast empire bricks are now, and forcenturies past have been, made in great numbers. They aremade in the following manner: the surface soil, or encallow, asit is termed by brickmakers, is first removed. The clay is thentempered or kneaded by the feet of buffaloes, which for this pur-pose are led or driven over it by bo}s, backwards and forwardsfor several hours. At the town of You-tou, however, which isnear Woo-see Hien, the clay is trodden Ijy men. In Persia also,I may observe in passing, a

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Cool China Inner Part Mould images

Cool China Inner Part Mould images

Some cool china inner part mould images:

Image from page 166 of “The manufacture of rubber goods : a practical handbook for the use of manufacturers, chemists, and others” (1919)
china inner part mould
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Identifier: manufactureofrub00heil
Title: The manufacture of rubber goods : a practical handbook for the use of manufacturers, chemists, and others
Year: 1919 (1910s)
Authors: Heil, Adolf Esch, W. (Werner), b. 1878 Lewis, Edward W. (Edward Watkin)
Subjects: Rubber Rubber industry and trade
Publisher: London : C. Griffin & Company
Contributing Library: Claire T. Carney Library, University of Massachusetts Dartmouth
Digitizing Sponsor: Claire T. Carney Library, University of Massachusetts Dartmouth

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ulcanised in French chalk, and subsequently cut to the 1 See also the article , Kombinierte hydraulische Kesselpresse Id theGummi-Zeitung, 1905, vol. xix. p. 1001. MANUFACTURE OF SOFT-RUBBER ARTICLES. 155 proper size by means of an eccentric punch, holes being at thesame time punched in them. The matrix which holds the knifeand the punch can be adjusted to take all sizes. One man canpunch on an average 8000 flat pedals in a day. Curved brake-rubbers with a hard-rubber inner layer are run on the machine inthe two different qualities, joined together by means of solution,cut up into pieces of the proper size, and vulcanised in Frenchchalk. The curved surface is buffed into shape on the lathe, bymeans of a shaped emery-wheel. Complicated rubbers must bemade up and vulcanised in moulds. Solid bicycle-tyres are run on the tube machine and then vulcan-ised in moulds (fig. 70) under the hydraulic vulcanising press, endlesstyres being made in suitable closed moulds, as also are cushion tyres.

Text Appearing After Image:
Fig. 70. Perambulator tyres are also machined, and are then joined up andvulcanised in chalk in the open, or in moulds under the press. 9. Manufacture of Soft-Rubber Surgical Goods, etc.—The manu-facture of air-cushions, water-cushions, mattresses, hot-water bottles,and also of gas-bags, constitutes another department of the industry,to which it is now proposed to direct the readers attention. The three chief factors for success in this branch are: (1) clean,dense mixings, free from grit; (2) calendered sheet of uniformthickness, and fabric closely proofed; (3) careful hand labour. The mixings in most frequent use are white ones. For cushions, e.g., the following mixings may be recommended:— Mozambique . 10,000 gras. China-clay 3,500 gms Sulphur . 1,200 „ Ceresin . 200 „ Zinc white . . 6,500 ,, Magnesia usta. 200 „ The mixing is in part run into lengths of doubled sheet on thecalenders, and made up into cushions with cloth-impression; and in 156 RUBBER MANUFACTURE. part made

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Image from page 131 of “Illustrated catalogue of the remarkable collection of ancient Chinese bronzes, beautiful old porcelains, amber and stone carvings, sumptuous eighteenth century brocades, interesting old paintings on glas and fine old carpets, rugs
china inner part mould
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Identifier: illustratedcatal00yama
Title: Illustrated catalogue of the remarkable collection of ancient Chinese bronzes, beautiful old porcelains, amber and stone carvings, sumptuous eighteenth century brocades, interesting old paintings on glas and fine old carpets, rugs and furniture, from ancient palaces and temples of China comprising the private collection of a Chinese nobleman of Tien-Tsin
Year: 1914 (1910s)
Authors: Yamanaka & Company Carroll, Dana H
Subjects: Art objects, Chinese Art, Chinese
Publisher: New York, American art association
Contributing Library: New York Public Library
Digitizing Sponsor: MSN

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with acool but rich, luxuriant and brilliant green glaze, with fine andall-pervading crackle, the glaze applied also to the inner part ofthe foot, and in lighter tone covering the interior of the vessels.The color, infrequently met with in the multiplicity of Celestialgreens, is known to the Chinese as watermelon-green. Height, iy^ inches. 234—YRrrERs Brish-hoi.df.r (Cliien-hnig) Cylindrical, in the form of a section of a bamboo tree of smalldiameter and glazed in a delicate yellow-brown or tan color;upper and lower edges finely pricked in imitation of the bamboofiber. Ornamented under the glaze with relief modelings ofShou-lao with attendants and a spotted stag and flying bats. Hrif/ht, 4% inches. 235—MoTTEED Lapis-isi.ie Ovoid Bowi, (Cliien-hing) Exterior and interior covered with a glaze of speckled or mottledlapis-blue, infrequently found. Dkimcler, iY^ inches. 236—Short Bottle-shaped ^.ASE {Kniig-hsi) Witli thickened, protruding, molded lip Covered witli a uniform minutely

Text Appearing After Image:
and low foot. iellia-1crackled. camellia-leaf green glaze HiUjht. 514 Inches. 237—Rose-di-Baery Coupe ( Yung Cheng) Modeled in low form on a short circularfoot, its brief body expanding or bulbousand finishing with a wide mouth. Purewhite, dense, resonant porcelain, investedwith an even, smooth glaze of the meltcd-rose hue with lavender-pink suggestionswhich is known as rosc-du-Barrif. IikiiixIi r. A:% inches. 238—Roiiixs-EGc: Souffle Gallipot (Chicn-liiiig) Bulbous body with full shoulder, thecontour slightly recurving at the foot. Covered with a char-acteristic robins-egg sonfjic glaze, in which the malachite tone predominates. UeKjht. 6/, inches. 239—Irox-rist :Iktai.li(-luster Vase (Chien-hiiig) In inverted-pear sha))e on a narrow foot which a thickened glazemakes slightly bulbous, and having a short neck witli a whiterinL Covered with a glaze in the rusty hue of disintegratingiron, with innumerable metallic fleckings, the rust-brown glazecontinued on the interior of the ne

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Cool China Once Used Mould images

Cool China Once Used Mould images

Check out these china once used mould images:

Image from page 708 of “American cookery” (1914)
china once used mould
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Identifier: americancookery19unse_4
Title: American cookery
Year: 1914 (1910s)
Authors:
Subjects:
Publisher: New York [etc.] : Whitney Publications [etc.]
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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DISHES THAT MEN LIKE WE are always looking for dishes that will please the masculine taste — dishes which once eaten oftenreappear by special request. In these Perfection Salad and Snow Pudding recipes you willfind such dishes, for they have won universal favor with the men wherever they have been served —and I know they have been favorites in my own home for years. Not only will the masculine members of your family appreciate these dishes, but you will likethem too, because they are easy to make and may be made with syrup in place of sugar, when thatprecious article soars in price or is impossible to get.

Text Appearing After Image:
PERFECTION SALAD 2 cup sugar or Yt cupful of syrup 1 teaspoonful salt 1 cup cabbage, finely shredded Yi cup mild vinegar2 cups boiling water2 cups celery, cut small2 tablespoonfuls lemon juice 14, can sweet red peppers orfresh peppers finely cut 1 envelope KNOX SparklingGelatine Yl cup cold water Soak the gelatine in cold water five minutes; add vinegar, lemon juice, boiling water, sugar and salt; stir until dissolved.Strain and when beginning to set add remaining ingredients. Turn into mold, first dipped in cold water, and chill. Serveon lettuce leaves with mayonnaise dressing, or cut in dice and serve in cases made of red or green peppers; or the mixturemay be shaped in molds lined with pimentoes.In my recipes no special molds are required; — any vegetable, china or glass dish will mold them nicely. NOTE: Use fruits instead of vegetables in the above recipe and you have a delicious fruit salad. SNOW PUDDING Yi envelope KNOX Sparkling Gela- s/i cup sugar or tine % cup of syrup i c

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I use scrap wood. I use anything that doesn’t burn in the wood stove
china once used mould
Image by Jim Surkamp
Pots Thru Time With Joy Bridy – This is local clay dug up from around the foundation of my house and I’m going to process it in this old bath tub, and before I process it, I break it up in little pieces and screen it through some hardware cloth, which helps to get any stones, weeds, detritus out of it. This clay does not have high plasticity which means it is a little harder to work with. plasticity definition: Capable of being formed into a shape or moulded without cracking. It might break and crack as I work with it, but that’s probably what I like about it. It adds character, instead of plasticity. It’s also reddish brown stoneware, not real white like a porcelain and not super iron-rich. It won’t be black sort of an orangish color when it’s fired. It will have some porousness. I fire it to a high enough temperature that it’s useful as functional ware as well as sculptural. This clay is also local clay and I’ll break it up into small marble-size pieces and slake it down in water in which I’ll run my hands through it for about ten or fifteen minutes (per) each bucket to get any rocks and stones and grass out. Then I’ll process this clay – once it’s wet – by drying it out slowly on top of bed sheets in the sun – so it’s a nice working consistancy. After I make the pieces I bisque fire them once. Then I’ll glaze and fire them in my wood kiln. (This is my wood kiln here). This is my wood kiln. I designed and built it five years ago. It’s a very old and traditional style and it’s fueled one hundred per cent with wood. I don’t know what the process would have been in the early eras of Weis pottery – if they would have used wood (They used wood and they used groundhog kilns). Ahh groundhog kilns are the type of kiln that I’m trained in. They tend to be long and flame-like, and very low and in the ground; and they fire for a similar amount of time as this kiln. When I fired this kiln, it fires for three days around the clock and Weis pottery would have done a very similar thing. Once you start a firing, you can’t leave it alone. You have to stay with it the whole time. Pots fill the chamber all the way up to the top, from the side wall, all the way up to the bagwall which you can see on the inside. The flame comes in from the fire box into the ware chamber, brings heat and ash and deposits- ash on the pots – leaves flame markings on the pots – then leaves through the exit flues into the chimney and straight up. My kiln reaches 2400 degrees, which is a high, (for) stoneware temperature. Traditionally, I think, kilns were fired a little cooler, probably 2000-2100 degrees. But wood can reach any temperature you would like depending on your combustion zone, your ware chamber, and your chimney. A fifth generation potter Davis P. Brown observed: “Speaking of firing, lots of people think red’s HOT. Red-hot ain’t even hot; when it’s HOT and you look in them, it’s like looking into the sun.” I use scrap wood. I use anything that doesn’t burn in the wood stove and anything that I would burn in a bonfire. So lots of limbs. The skinny limbs have the most minerals so you get the most interesting deposits and they allow for the most flexibility in gaining heat. And it’s all scrap. (I did some research, Joy, showing the data about the Weis’ pottery operation in 1850. And they reported that they spent seven hundred period dollars for a year’s work and they used six hundred cords of wood and a whole lot of lead. what does that signify to you, as a potter?). Six hundred cords of wood is a lot of wood! For me a cord of wood is eight foot by eight foot by four foot, and in a firing I go through maybe two cords of wood. With the groundhog style kiln, they were very inefficient. So they were stoking wood constantly and a lot of that fuel was leaving the kiln as smoke. Nowadays we know a little more on how to capture that fuel better. “A,” it tells me that we had a lot of wood in this area. Six hundred cords of wood is a huge amount of wood. And “B,” the lead is interesting because a lot of our local clays makes a really wonderful “slip,” that also makes a glaze on the inside of the pot. (A slip?) A slip is like a watered down clay. So a “paint” or a “glaze.” A lot of people use the terms back and forth. It would be what you would glaze with. So if they were using lead, it would be very bad for their health. They probably didn’t live long. and “B” it’s expensive. Even then it was expensive, but it was what people thought they needed to do. Nowadays we know that we can use all these natural things, and the styles that I work in are much more akin to what the Weis potters could have been doing in that I use a lot of local clays. I mix my glazes out of ashes and clay bodies. So I have a very low overhead compared to what they did in that I’m not buying any lead, I’m not buying any expensive colorants that they would have done. My studio is similar to the way they would work in that I have a closed system. My water comes from a rain barrel. I don’t have any running water. My kiln is fired with wood. I don’t fire a gas kiln which a lot of people do nowadays. And my clay is closed-cycle: whatever clay comes into my studio I keep recycling until it turns into pots. And, anything I don’t like I “slip” back down and make clay out of it again, which would have been a practice during their time. So everything stays within the studio. (So in many ways, you’re doing a traditional method that the Weises did, but with greater efficiency). It may have been an aesthetic choice for them in that they chose to do specifically what they were doing. As it is now, I could use a very expensive overhead, using porcelain from China and Europe and using glazes that I buy pre-mixed that have expensive rare earth elements in them. But I prefer the more elementary approach in that I like using clay. I like the variables that come into play with wood firing, and with using ash glazes and with mixing a lot of my own ingredients. This my kiln. This is the firebox of my Bourry box wood kiln. It’s different from a groundhog style in that the groundhog style kilns would have been in the ground. You would have had to crawl to get in them. You would have entered only through the front through a very small opening and had to load everything while on your knees. This is the front. This is the fire box. This is where the fire starts. I load it through the ware chamber door which then gets bricked up with rows of bricks. This side is the firebox where the actual fire occurs, and it starts in the bottom. Once the fire hits about eleven hundred degrees, I can close up this door. (How long does that take Joy?) . It takes a day and a half. Then I can open the side-stoking doors on both sides and start stoking across the top, which allows me to reach a temperature of twenty-four hundred degrees inside the chamber. It’s hotter in the firebox, but that’s the chamber temperature. (What type of design is this called?) This is called a “bourry” box – B-O-U-R-R-Y. It’a an Australian design. What it does – it’s a very efficient, wood-burning kiln because the wood is burning up here and the coal bed is down below. Air comes in. It burns the wood, but then all the smoke and the waste products that would be going up the chimney burn off over the coal bed. So I get what we refer to as a “double burn cycle:” getting heat during the first burn of the wood and extra heat as the smoke and gasses burn off. So it’s very efficient. I get no smoke and no waste product in that way, and I use half as much wood that I would in a kiln of this size without the Bourry box fire. It’s a crossed-dressed kiln because the fire box is here and then everything goes up into the chamber and then back down across from the firebox. It’s more to the flame pattern. Groundhog kilns are often called updraft although they are kind of a hybrid, because if you imagine a flame-shaped kiln it’s also going uphill. So your firebox is down below and you’re stoking the wood, and then the kiln goes up and the chimney’s at the top. So it has a little different pull to it. The chimney is always the engine of the kiln. It’s always what’s pulling the heat and flame through the kiln. This is called “wedging” the clay and what it does is it increases plasticity, which means that as you’re working with it, it will stretch a little easier. It also removes air bubbles and makes it smoother to work with in general. Every piece I make has to go across the wedging board. (This is the process they would do back in the 1800s?). This is as old as it gets: with a heavy round wheel at the bottom and a small light round wheel at the top. It’s been done in every culture across the globe. My rims are probably thin compared to theirs (Weises), because I’m used to a more contemporary look and feel. Theirs probably would have been a little beefier, easier to grab, easier to use. (Somebody made the comment that they were like the fiesta ware of their period) um-hm. Yeh. That’s all they had. And they’re all remarkably similar no matter where you go, especially in the Appalachian foothills. If you did/do the kick wheel, you can’t be in a hurry. This would have been a relative of a classic crock form, which would have been useful in every kitchen across the county during the years the Weis family was in operation. It would have been their bread and butter literally. And their tools would have been extremely similar: a wooden stick, some kind of sponge. Something with a point just in case. And for decoration: a fingernail; everybody would have their decoration around here (side of crock), seems to have been some fingernail marks. We can do another one on the electric. This is starting to center the clay on the wheelhead, and before I can actually make the piece, the clay has to be in the center of the wheel completely. These are all different techniques that help make that happen. This is called wedging on the wheel, where I squeeze it up and then lean it back down, and it also helps to align the particles. I have a modern-day wheel here. This is an electric wheel, which is silent, which is really nice. I center the clay if it comes closer to the starting shape that I want. And the first thing that I do to actually throw the pot is called “opening.” I sink my thumbs into the middle and start to create the “inside” versus the “outside.” Now I’m setting the bottom. Without compressing the clay, you end up getting cracks and flaws in the bottom. Using the pressure of my fingers against the wheelhead, compressing the clay between the two makes for a strong, useful pot. Next, I’ll actually pull up the walls of the vessel. This is the part that looks fun – and IS fun. As the pot gets closer to the form that I want, I fine-tune it with different tools. All of them could have been used in any era. This a wooden rib, and, again, it compresses the clay particles. What I’m looking for is a wall that’s even – thin, but not too thin. I want it to be sturdy when it’s used, but not too heavy. So I dance in between thin versus sturdy. At this point where the wall feels good, that I start to think about the form. I find one of the most important parts is the rim. It has to look good, but it also has to be compressed, because it is very common to bang it on a kitchen sink and it would chip if it wasn’t compressed very well. So it’s important to spend a little extra time, making sure that functional pots actually work. (Is that maybe why the Weises had kind of a strong lip?) Yes. A little extra clay at the foot, because that’s also a spot. I’m lucky enough to come out of the tradition of functional pottery throughout history, when I was in Pennsylvania I used to visit the groundhog kiln sites there. What became of the Wise family? Wrote Mary Bedinger Mitchell of her early years in Shepherdstown in the 1850s: “The town was thriving. There was a brick kiln and a very interesting primitive manufactory of the glazed crocks or earthen pots so much in use. It was carried on by an old man in the old house and had quite a medieval flavor.” After the Weis men would dig up and load the low-plasticity, red-burning clay on the outer bend in the Potomac nearby, they would bring it by wagon back to their worksite. To children like Mary the clay mill “was of absorbing interest, and they hoped for a ride on the long wooden shaft or tongue, to which the gentle horse was hitched along going round and round in a prescribed circle, as it patiently ground the clay into a fine smooth powder. A stone burr working on the same principle as a flour mill did the work. Time progressed and tastes changed in favor of the blue glazed crocks and jugs and the Weis manufactory went into a long, slow decline through the rest of the 19th century, the family finally selling their home to George Beltzhoover. Ever faithful at St. Peter’s Lutheran Church, William Weis’ burial site was graced with a stunning urn – so stunning that vandals threatened it. So, today the urn and Weis’ pots bear witness on a secure shelf at St. Peters, just as others bear witness at the Shepherdstown Historic museum, The County Visitors Center, the Jefferson County Museum, and there is the effort to preserve their memory by Pam and Ren Parziale. To this their traditional skills are also kept fresh by Joy Bridy in her modern pottery, but also keeping the ways of the Weises close at hand, literally.

Thanks to Joy Bridy at joybridy.com

Made possible with the generous, community-minded support of American Public University System (apus.edu)

Researched, written, produced by Jim Surkamp.

Primary References:

Weis Pots courtesy St. Peter’s Lutheran Church, Shepherdstown, WV; Jefferson County Museum, Charles Town, WV; and Historic Shepherdstown Museum.
wikiclay.com
heat-work.blogspot.com
ceramica.wikia.com
wvculture.org
wikipedia.org
nlm.nih.gov
studiopottery.com
wvgeohistory.org

Barber, E. A. (1893). “The Pottery and Porcelain of the United States.” New York, NY: G.P. Putnam’s & Sons.

Bourry, Emile; Wilton P. Rix. (1901). ”Treatise on Ceramic Industries: A Complete Manual for Pottery, Tile and Brick Works.” London, UK: Scott & Greenwood & Co.

POTTERY-EARTHENWARE-KILN-TOOLS
Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers (Encyclopaedia, or a Systematic Dictionary of the Sciences, Arts, and Crafts). 1751. edited by Denis Diderot and Jean le Rond d’Alembert Paris, Fr: André le Breton, publisher.

Kenamond, A. D. (1963). “Prominent Men of Shepherdstown, 1762-1962.” Charles Town, WV: Jefferson County Historical Society.

Mitchell, Mary B. “Memories.” edited by Nina Mitchell. Shepherd University Library.

Moler, Mrs. M. S. R.(1940). “George Weis and His Pottery.” Magazine of the Jefferson County Historical Society Vol. 6. pp.16-17.

Morton, Clyde D. (1987). “The Weis Pottery and the Genealogy of the Potters.” Magazine of the Jefferson County Historical Society Vol. 52. pp. 48-55.

Parziale, Reynolds and Pamela. (1981). “Pottery in the 1800s. The Weis Pottery, Shepherdstown, West Virginia.” Magazine of the Jefferson County Historical Society Vol. 47. pp. 23-29.

Rice, A. H.; John Baer Stoudt. (1929). “The Shenandoah Pottery.” Strasburg, VA: Shenandoah Publishing House, Inc.

Sanderson, Robert; Coll Monigue. (2000). “Wood-fired Ceramics: Contemporary Practices.” Philadelphia, PA: University of Pennsylvania Press. pp. 10-14.

Sweezy, Nancy. (1994). “Raised in Clay: The Southern Pottery Tradition.” Chapel Hill, NC: University of North Carolina Press.

Timbrell, John. (2005). “The Poison Paradox: Chemicals as Friends and Foes.” Oxford, UK: Oxford University Press. Print.

Weaver, Emma. (1967). “Artisans of the Appalachians.” Photos by Edward L. Dupuy. Asheville, North Carolina: Miller Printing Co.

1860 U.S. Federal Census – Population – National Archive and Records Administration (NARA).

William Weis’ burial site was graced with a stunning urn
china once used mould
Image by Jim Surkamp
Pots Thru Time With Joy Bridy – This is local clay dug up from around the foundation of my house and I’m going to process it in this old bath tub, and before I process it, I break it up in little pieces and screen it through some hardware cloth, which helps to get any stones, weeds, detritus out of it. This clay does not have high plasticity which means it is a little harder to work with. plasticity definition: Capable of being formed into a shape or moulded without cracking. It might break and crack as I work with it, but that’s probably what I like about it. It adds character, instead of plasticity. It’s also reddish brown stoneware, not real white like a porcelain and not super iron-rich. It won’t be black sort of an orangish color when it’s fired. It will have some porousness. I fire it to a high enough temperature that it’s useful as functional ware as well as sculptural. This clay is also local clay and I’ll break it up into small marble-size pieces and slake it down in water in which I’ll run my hands through it for about ten or fifteen minutes (per) each bucket to get any rocks and stones and grass out. Then I’ll process this clay – once it’s wet – by drying it out slowly on top of bed sheets in the sun – so it’s a nice working consistancy. After I make the pieces I bisque fire them once. Then I’ll glaze and fire them in my wood kiln. (This is my wood kiln here). This is my wood kiln. I designed and built it five years ago. It’s a very old and traditional style and it’s fueled one hundred per cent with wood. I don’t know what the process would have been in the early eras of Weis pottery – if they would have used wood (They used wood and they used groundhog kilns). Ahh groundhog kilns are the type of kiln that I’m trained in. They tend to be long and flame-like, and very low and in the ground; and they fire for a similar amount of time as this kiln. When I fired this kiln, it fires for three days around the clock and Weis pottery would have done a very similar thing. Once you start a firing, you can’t leave it alone. You have to stay with it the whole time. Pots fill the chamber all the way up to the top, from the side wall, all the way up to the bagwall which you can see on the inside. The flame comes in from the fire box into the ware chamber, brings heat and ash and deposits- ash on the pots – leaves flame markings on the pots – then leaves through the exit flues into the chimney and straight up. My kiln reaches 2400 degrees, which is a high, (for) stoneware temperature. Traditionally, I think, kilns were fired a little cooler, probably 2000-2100 degrees. But wood can reach any temperature you would like depending on your combustion zone, your ware chamber, and your chimney. A fifth generation potter Davis P. Brown observed: “Speaking of firing, lots of people think red’s HOT. Red-hot ain’t even hot; when it’s HOT and you look in them, it’s like looking into the sun.” I use scrap wood. I use anything that doesn’t burn in the wood stove and anything that I would burn in a bonfire. So lots of limbs. The skinny limbs have the most minerals so you get the most interesting deposits and they allow for the most flexibility in gaining heat. And it’s all scrap. (I did some research, Joy, showing the data about the Weis’ pottery operation in 1850. And they reported that they spent seven hundred period dollars for a year’s work and they used six hundred cords of wood and a whole lot of lead. what does that signify to you, as a potter?). Six hundred cords of wood is a lot of wood! For me a cord of wood is eight foot by eight foot by four foot, and in a firing I go through maybe two cords of wood. With the groundhog style kiln, they were very inefficient. So they were stoking wood constantly and a lot of that fuel was leaving the kiln as smoke. Nowadays we know a little more on how to capture that fuel better. “A,” it tells me that we had a lot of wood in this area. Six hundred cords of wood is a huge amount of wood. And “B,” the lead is interesting because a lot of our local clays makes a really wonderful “slip,” that also makes a glaze on the inside of the pot. (A slip?) A slip is like a watered down clay. So a “paint” or a “glaze.” A lot of people use the terms back and forth. It would be what you would glaze with. So if they were using lead, it would be very bad for their health. They probably didn’t live long. and “B” it’s expensive. Even then it was expensive, but it was what people thought they needed to do. Nowadays we know that we can use all these natural things, and the styles that I work in are much more akin to what the Weis potters could have been doing in that I use a lot of local clays. I mix my glazes out of ashes and clay bodies. So I have a very low overhead compared to what they did in that I’m not buying any lead, I’m not buying any expensive colorants that they would have done. My studio is similar to the way they would work in that I have a closed system. My water comes from a rain barrel. I don’t have any running water. My kiln is fired with wood. I don’t fire a gas kiln which a lot of people do nowadays. And my clay is closed-cycle: whatever clay comes into my studio I keep recycling until it turns into pots. And, anything I don’t like I “slip” back down and make clay out of it again, which would have been a practice during their time. So everything stays within the studio. (So in many ways, you’re doing a traditional method that the Weises did, but with greater efficiency). It may have been an aesthetic choice for them in that they chose to do specifically what they were doing. As it is now, I could use a very expensive overhead, using porcelain from China and Europe and using glazes that I buy pre-mixed that have expensive rare earth elements in them. But I prefer the more elementary approach in that I like using clay. I like the variables that come into play with wood firing, and with using ash glazes and with mixing a lot of my own ingredients. This my kiln. This is the firebox of my Bourry box wood kiln. It’s different from a groundhog style in that the groundhog style kilns would have been in the ground. You would have had to crawl to get in them. You would have entered only through the front through a very small opening and had to load everything while on your knees. This is the front. This is the fire box. This is where the fire starts. I load it through the ware chamber door which then gets bricked up with rows of bricks. This side is the firebox where the actual fire occurs, and it starts in the bottom. Once the fire hits about eleven hundred degrees, I can close up this door. (How long does that take Joy?) . It takes a day and a half. Then I can open the side-stoking doors on both sides and start stoking across the top, which allows me to reach a temperature of twenty-four hundred degrees inside the chamber. It’s hotter in the firebox, but that’s the chamber temperature. (What type of design is this called?) This is called a “bourry” box – B-O-U-R-R-Y. It’a an Australian design. What it does – it’s a very efficient, wood-burning kiln because the wood is burning up here and the coal bed is down below. Air comes in. It burns the wood, but then all the smoke and the waste products that would be going up the chimney burn off over the coal bed. So I get what we refer to as a “double burn cycle:” getting heat during the first burn of the wood and extra heat as the smoke and gasses burn off. So it’s very efficient. I get no smoke and no waste product in that way, and I use half as much wood that I would in a kiln of this size without the Bourry box fire. It’s a crossed-dressed kiln because the fire box is here and then everything goes up into the chamber and then back down across from the firebox. It’s more to the flame pattern. Groundhog kilns are often called updraft although they are kind of a hybrid, because if you imagine a flame-shaped kiln it’s also going uphill. So your firebox is down below and you’re stoking the wood, and then the kiln goes up and the chimney’s at the top. So it has a little different pull to it. The chimney is always the engine of the kiln. It’s always what’s pulling the heat and flame through the kiln. This is called “wedging” the clay and what it does is it increases plasticity, which means that as you’re working with it, it will stretch a little easier. It also removes air bubbles and makes it smoother to work with in general. Every piece I make has to go across the wedging board. (This is the process they would do back in the 1800s?). This is as old as it gets: with a heavy round wheel at the bottom and a small light round wheel at the top. It’s been done in every culture across the globe. My rims are probably thin compared to theirs (Weises), because I’m used to a more contemporary look and feel. Theirs probably would have been a little beefier, easier to grab, easier to use. (Somebody made the comment that they were like the fiesta ware of their period) um-hm. Yeh. That’s all they had. And they’re all remarkably similar no matter where you go, especially in the Appalachian foothills. If you did/do the kick wheel, you can’t be in a hurry. This would have been a relative of a classic crock form, which would have been useful in every kitchen across the county during the years the Weis family was in operation. It would have been their bread and butter literally. And their tools would have been extremely similar: a wooden stick, some kind of sponge. Something with a point just in case. And for decoration: a fingernail; everybody would have their decoration around here (side of crock), seems to have been some fingernail marks. We can do another one on the electric. This is starting to center the clay on the wheelhead, and before I can actually make the piece, the clay has to be in the center of the wheel completely. These are all different techniques that help make that happen. This is called wedging on the wheel, where I squeeze it up and then lean it back down, and it also helps to align the particles. I have a modern-day wheel here. This is an electric wheel, which is silent, which is really nice. I center the clay if it comes closer to the starting shape that I want. And the first thing that I do to actually throw the pot is called “opening.” I sink my thumbs into the middle and start to create the “inside” versus the “outside.” Now I’m setting the bottom. Without compressing the clay, you end up getting cracks and flaws in the bottom. Using the pressure of my fingers against the wheelhead, compressing the clay between the two makes for a strong, useful pot. Next, I’ll actually pull up the walls of the vessel. This is the part that looks fun – and IS fun. As the pot gets closer to the form that I want, I fine-tune it with different tools. All of them could have been used in any era. This a wooden rib, and, again, it compresses the clay particles. What I’m looking for is a wall that’s even – thin, but not too thin. I want it to be sturdy when it’s used, but not too heavy. So I dance in between thin versus sturdy. At this point where the wall feels good, that I start to think about the form. I find one of the most important parts is the rim. It has to look good, but it also has to be compressed, because it is very common to bang it on a kitchen sink and it would chip if it wasn’t compressed very well. So it’s important to spend a little extra time, making sure that functional pots actually work. (Is that maybe why the Weises had kind of a strong lip?) Yes. A little extra clay at the foot, because that’s also a spot. I’m lucky enough to come out of the tradition of functional pottery throughout history, when I was in Pennsylvania I used to visit the groundhog kiln sites there. What became of the Wise family? Wrote Mary Bedinger Mitchell of her early years in Shepherdstown in the 1850s: “The town was thriving. There was a brick kiln and a very interesting primitive manufactory of the glazed crocks or earthen pots so much in use. It was carried on by an old man in the old house and had quite a medieval flavor.” After the Weis men would dig up and load the low-plasticity, red-burning clay on the outer bend in the Potomac nearby, they would bring it by wagon back to their worksite. To children like Mary the clay mill “was of absorbing interest, and they hoped for a ride on the long wooden shaft or tongue, to which the gentle horse was hitched along going round and round in a prescribed circle, as it patiently ground the clay into a fine smooth powder. A stone burr working on the same principle as a flour mill did the work. Time progressed and tastes changed in favor of the blue glazed crocks and jugs and the Weis manufactory went into a long, slow decline through the rest of the 19th century, the family finally selling their home to George Beltzhoover. Ever faithful at St. Peter’s Lutheran Church, William Weis’ burial site was graced with a stunning urn – so stunning that vandals threatened it. So, today the urn and Weis’ pots bear witness on a secure shelf at St. Peters, just as others bear witness at the Shepherdstown Historic museum, The County Visitors Center, the Jefferson County Museum, and there is the effort to preserve their memory by Pam and Ren Parziale. To this their traditional skills are also kept fresh by Joy Bridy in her modern pottery, but also keeping the ways of the Weises close at hand, literally.

Thanks to Joy Bridy at joybridy.com

Made possible with the generous, community-minded support of American Public University System (apus.edu)

Researched, written, produced by Jim Surkamp.

Primary References:

Weis Pots courtesy St. Peter’s Lutheran Church, Shepherdstown, WV; Jefferson County Museum, Charles Town, WV; and Historic Shepherdstown Museum.
wikiclay.com
heat-work.blogspot.com
ceramica.wikia.com
wvculture.org
wikipedia.org
nlm.nih.gov
studiopottery.com
wvgeohistory.org

Barber, E. A. (1893). “The Pottery and Porcelain of the United States.” New York, NY: G.P. Putnam’s & Sons.

Bourry, Emile; Wilton P. Rix. (1901). ”Treatise on Ceramic Industries: A Complete Manual for Pottery, Tile and Brick Works.” London, UK: Scott & Greenwood & Co.

POTTERY-EARTHENWARE-KILN-TOOLS
Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers (Encyclopaedia, or a Systematic Dictionary of the Sciences, Arts, and Crafts). 1751. edited by Denis Diderot and Jean le Rond d’Alembert Paris, Fr: André le Breton, publisher.

Kenamond, A. D. (1963). “Prominent Men of Shepherdstown, 1762-1962.” Charles Town, WV: Jefferson County Historical Society.

Mitchell, Mary B. “Memories.” edited by Nina Mitchell. Shepherd University Library.

Moler, Mrs. M. S. R.(1940). “George Weis and His Pottery.” Magazine of the Jefferson County Historical Society Vol. 6. pp.16-17.

Morton, Clyde D. (1987). “The Weis Pottery and the Genealogy of the Potters.” Magazine of the Jefferson County Historical Society Vol. 52. pp. 48-55.

Parziale, Reynolds and Pamela. (1981). “Pottery in the 1800s. The Weis Pottery, Shepherdstown, West Virginia.” Magazine of the Jefferson County Historical Society Vol. 47. pp. 23-29.

Rice, A. H.; John Baer Stoudt. (1929). “The Shenandoah Pottery.” Strasburg, VA: Shenandoah Publishing House, Inc.

Sanderson, Robert; Coll Monigue. (2000). “Wood-fired Ceramics: Contemporary Practices.” Philadelphia, PA: University of Pennsylvania Press. pp. 10-14.

Sweezy, Nancy. (1994). “Raised in Clay: The Southern Pottery Tradition.” Chapel Hill, NC: University of North Carolina Press.

Timbrell, John. (2005). “The Poison Paradox: Chemicals as Friends and Foes.” Oxford, UK: Oxford University Press. Print.

Weaver, Emma. (1967). “Artisans of the Appalachians.” Photos by Edward L. Dupuy. Asheville, North Carolina: Miller Printing Co.

1860 U.S. Federal Census – Population – National Archive and Records Administration (NARA).

Cool High Quality Plastic Mould images

Cool High Quality Plastic Mould images

A few nice high quality plastic mould images I found:

Image from page 178 of “William Shakespeare; poet, dramatist, and man” (1901)
high quality plastic mould
Image by Internet Archive Book Images
Identifier: williamshakespe00mabi
Title: William Shakespeare; poet, dramatist, and man
Year: 1901 (1900s)
Authors: Mabie, Hamilton Wright, 1846-1916
Subjects: Shakespeare, William, 1564-1616
Publisher: New York : The Macmillan company London, Macmillan & co., ltd.
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book

Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
hadbecome a well-defined and highly developed nationalspeech when Shakespeare began to use it, but wasstill the language of life rather than of literature;its freshest and most beguiling combinations ofsound and sense were still to be made; it was stillwarm from the moulds in which it had been cast; itwas still plastic to the touch of the imagination.The poet had learned its most intimate familiar APPRENTICESHIP 135 symbols of homely, domestic, daily life among thepeople at Strat-ford ; he haddrunk of itsancient classi-cal springs inthe grammarschool; and, inLondon, amongmen of gift,quality, andknowledge ofthe world, hecame quickly tomaster the vo-cabulary of themen of action,adventure, andaffairs. Thedrama as a liter-ary form was atthe same criti-cal stage ; itwas well de-fined, its mainlines were dis-tinctly marked,but it had nothardened into wiluam shakespeare. final fnv TY-i c ^^^ J ^ ^ ^^■^ statue, which stands at the entrance to thellliai iOrmS. jVIall, central Park, New York.

Text Appearing After Image:
136 WILLIAM SHAKESPEARE The genius of Marlowe had brought to Its de-velopment the richness of diction and the imagi-native splendour of great poetry. It remained forShakespeare to harmonize both language and artwith the highest individual insight and gift of song,and to blend in forms of ultimate beauty and powerthe vitality of his age, the quality of his genius, agreat philosophy of life, and the freedom and flexi-bility of a language of noble compass both ofthought and music. The stage offered both the form and the field fora great popular literature ; a literature capaciousenough to receive and conserve the largest thoughtconcerning human destiny, to disclose and to employthe finest resources of poetry, and yet to use a speechwhich was part of every Englishmans memory andexperience. The drama was the one great oppor-tunity of expression which the age offered, andShakespeare turned to it instinctively. The meas-ure of his orenius was the measure of his sensitive-ness, and his imagin

Note About Images
Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability – coloration and appearance of these illustrations may not perfectly resemble the original work.

Image from page 168 of “William Shakespeare; poet, dramatist, and man” (1901)
high quality plastic mould
Image by Internet Archive Book Images
Identifier: williamshakespea01mabi
Title: William Shakespeare; poet, dramatist, and man
Year: 1901 (1900s)
Authors: Mabie, Hamilton Wright, 1846-1916
Subjects: Shakespeare, William, 1564-1616 Dramatists, English
Publisher: New York, The Macmillan company London, Macmillan & co., ltd.
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book

Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
ombined, hadbecome a well-defined and highly developed nationalspeech when Shakespeare began to use it, but wasstill the language of life rather than of literature;its freshest and most beguiling combinations ofsound and sense were still to be made; it was stillwarm from the moulds in which it had been cast; itwas still plastic to the touch of the imagination.The poet had learned its most intimate familiar APPRENTICESHIP 135 symbols of homely, domestic, daily life among thepeople at Strat-ford ; he haddrunk of itsancient classi-cal springs inthe grammarschool; and, inLondon, amongmen of gift,quality, andknowledge ofthe world, hecame quickly tomaster the vo-cabulary of themen of action,adventure, andaffairs. Thedrama as a liter-ary form was atthe same criti-cal stage ; itwas well de-fined, its mainlines were dis-tinctly marked,but it had nothardened into william shakespeare. £• 1 r The J. Q. A. Ward statue, which stands at the entrance to the inailOrmS. Mall, central Park, New York.

Text Appearing After Image:
136 WILLIAM SHAKESPEARE The genius of Marlowe had brought to its de-velopment the richness of diction and the imagi-native splendour of great poetry. It remained forShakespeare to harmonize both language and artwith the highest individual insight and gift of song,and to blend in forms of ultimate beauty and powerthe vitality of his age, the quality of his genius, agreat philosophy of life, and the freedom and flexi-bility of a language of noble compass both ofthought and music. The stage offered both the form and the field fora great popular literature ; a literature capaciousenough to receive and conserve the largest thoughtconcerning human destiny, to disclose and to employthe finest resources of poetry, and yet to use a speechwhich was part of every Englishmans memory andexperience. The drama was the one great oppor-tunity of expression which the age offered, andShakespeare turned to it instinctively. The meas-ure of his genius was the measure of his sensitive-ness, and his imagina

Note About Images
Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability – coloration and appearance of these illustrations may not perfectly resemble the original work.

Nice China Mould Produce photos

Nice China Mould Produce photos

Check out these china mould produce images:

Stalinorgel. Stalin’s Organ. Сталинский орган.
china mould produce
Image by Peer.Gynt
Katyusha multiple rocket launchers (Russian: Катюша) are a type of rocket artillery first built and fielded by the Soviet Union in World War II. Compared to other artillery, these multiple rocket launchers deliver a devastating amount of explosives to an area target quickly, but with lower accuracy and requiring a longer time to reload. They are fragile compared to artillery guns, but inexpensive and easy to produce. Katyushas of World War II, the first self-propelled artillery mass-produced by the Soviet Union,[1] were usually mounted on trucks. This mobility gave Katyushas (and other self-propelled artillery) another advantage: being able to deliver a large blow all at once, and then move before being located and attacked with counter-battery fire.

Katyusha weapons of World War II included the BM-13 launcher, light BM-8, and heavy BM-31. Today, the nickname is also applied to newer truck-mounted Soviet multiple rocket launchers—notably the common BM-21—and derivatives.

The nickname

Initially, the secrecy kept their military designation from being known by the soldiers who operated them. They were called by code names such as Kostikov Guns (after the head of the RNII), and finally classed as Guards Mortars.[2] The name BM-13 was only allowed into secret documents in 1942, and remained classified until after the war.[3]

Because they were marked with the letter K, for Voronezh Komintern Factory,[3] Red Army troops adopted a nickname from Mikhail Isakovsky’s popular wartime song, Katyusha, about a girl longing for her absent beloved, who is away performing military service.[4] Katyusha is the Russian equivalent of Katie, an endearing diminutive form of the name Katherine: Yekaterina →Katya →Katyusha.

German troops coined the sobriquet Stalin’s organ (German: Stalinorgel), after Soviet leader Joseph Stalin for its visual resemblance to a church musical organ and alluding to the sound of the weapon’s rockets. They are known by the same name in Sweden. [4]

The heavy BM-31 launcher was also referred to as Andryusha (Андрюша, “Andrew”, endearing diminutive).[5]
Katyushas of World War II

Katyusha rocket launchers were mounted on many platforms during World War II, including on trucks, artillery tractors, tanks, and armoured trains, as well as on naval and riverine vessels as assault support weapons.

The design was relatively simple, consisting of racks of parallel rails on which rockets were mounted, with a folding frame to raise the rails to launch position. Each truck had between 14 and 48 launchers. The 132-mm diameter M-13 rocket of the BM-13 system was 180 centimetres (70.9 in) long, 13.2 centimetres (5.2 in) in diameter and weighed 42 kilograms (92 lb). Initially, the caliber was 130 mm, but the caliber was changed (first the designation, and then the actual size), to avoid confusing them with regular artillery shells[3]. It was propelled by a solid nitrocellulose-based propellant of tubular shape, arranged in a steel-case rocket engine with a single central nozzle at the bottom end. The rocket was stabilised by cruciform fins of pressed sheet steel. The warhead, either fragmentation, high-explosive or shaped-charge, weighed around 22 kg (48 lb). The range of the rockets was about 5.4 kilometres (3.4 mi). Later, 82-mm diameter M-8 and 310-mm diameter M-31 rockets were also developed.

The weapon is less accurate than conventional artillery guns, but is extremely effective in saturation bombardment, and was particularly feared by German soldiers. A battery of four BM-13 launchers could fire a salvo in 7–10 seconds that delivered 4.35 tons of high explosives over a four-hectare (10 acres) impact zone.[2] With an efficient crew, the launchers could redeploy to a new location immediately after firing, denying the enemy the opportunity for counterbattery fire. Katyusha batteries were often massed in very large numbers to create a shock effect on enemy forces. The weapon’s disadvantage was the long time it took to reload a launcher, in contrast to conventional guns which could sustain a continuous low rate of fire.

The sound of the rocket launching also was unique in that the constant "woosh" sound that came from the firing of the rockets could be used for psychological warfare. The rocket’s devastating destruction also helped to lower the morale of the German army.

Development
Katyushas of World War II

Katyusha rocket launchers were mounted on many platforms during World War II, including on trucks, artillery tractors, tanks, and armoured trains, as well as on naval and riverine vessels as assault support weapons.

The design was relatively simple, consisting of racks of parallel rails on which rockets were mounted, with a folding frame to raise the rails to launch position. Each truck had between 14 and 48 launchers. The 132-mm diameter M-13 rocket of the BM-13 system was 180 centimetres (70.9 in) long, 13.2 centimetres (5.2 in) in diameter and weighed 42 kilograms (92 lb). Initially, the caliber was 130 mm, but the caliber was changed (first the designation, and then the actual size), to avoid confusing them with regular artillery shells[3]. It was propelled by a solid nitrocellulose-based propellant of tubular shape, arranged in a steel-case rocket engine with a single central nozzle at the bottom end. The rocket was stabilised by cruciform fins of pressed sheet steel. The warhead, either fragmentation, high-explosive or shaped-charge, weighed around 22 kg (48 lb). The range of the rockets was about 5.4 kilometres (3.4 mi). Later, 82-mm diameter M-8 and 310-mm diameter M-31 rockets were also developed.

The weapon is less accurate than conventional artillery guns, but is extremely effective in saturation bombardment, and was particularly feared by German soldiers. A battery of four BM-13 launchers could fire a salvo in 7–10 seconds that delivered 4.35 tons of high explosives over a four-hectare (10 acres) impact zone.[2] With an efficient crew, the launchers could redeploy to a new location immediately after firing, denying the enemy the opportunity for counterbattery fire. Katyusha batteries were often massed in very large numbers to create a shock effect on enemy forces. The weapon’s disadvantage was the long time it took to reload a launcher, in contrast to conventional guns which could sustain a continuous low rate of fire.

The sound of the rocket launching also was unique in that the constant "woosh" sound that came from the firing of the rockets could be used for psychological warfare. The rocket’s devastating destruction also helped to lower the morale of the German army.

Combat history
BM-13 battery fire, during the Battle of Berlin, April 1945, with metal blast covers pulled over the windshields

The multiple rocket launchers were top secret in the beginning of World War II. A special unit of the NKVD secret police was raised to operate them.[2] On July 7, 1941, an experimental artillery battery of seven launchers was first used in battle at Orsha in Belarus, under the command of Captain Ivan Flyorov, destroying a station with several supply trains, and causing massive German Army casualties. Following the success, the Red Army organized new Guards Mortar batteries for the support of infantry divisions. A battery’s complement was standardized at four launchers. They remained under NKVD control until German Nebelwerfer rocket launchers became common later in the war.[6]
A battery of BM-31 multiple rocket launchers in operation

On August 8, 1941, Stalin ordered the formation of eight Special Guards Mortar regiments under the direct control of the General Headquarters Reserve (Stavka-VGK). Each regiment comprised three battalions of three batteries, totalling 36 BM-13 or BM-8 launchers. Independent Guards Mortar battalions were also formed, comprising 36 launchers in three batteries of twelve. By the end of 1941, there were eight regiments, 35 independent battalions, and two independent batteries in service, holding a total of 554 launchers.[11]

In June 1942 Heavy Guards Mortar battalions were formed around the new M-30 static rocket launch frames, consisting of 96 launchers in three batteries. In July, a battalion of BM-13s was added to the establishment of a tank corps.[12] In 1944, the BM-31 was used in Motorized Heavy Guards Mortar battalions of 48 launchers. In 1943, Guards Mortar brigades, and later divisions, were formed equipped with static launchers.[11]

By the end of 1942, 57 regiments were in service—together with the smaller independent battalions, this was the equivalent of 216 batteries: 21% BM-8 light launchers, 56% BM-13, and 23% M-30 heavy launchers. By the end of the war, the equivalent of 518 batteries were in service.[11]
[edit] Katyushas since World War II
Russian forces use BM-27 rocket launchers during the Second Chechen War

The success and economy of multiple rocket launchers (MRL) have led them to continue to be developed. During the Cold War, the Soviet Union fielded several models of Katyushas, notably the BM-21 launchers fitting the stereotypical Katyusha mould, and the larger BM-27. Advances in artillery munitions have been applied to some Katyusha-type multiple launch rocket systems, including bomblet submunitions, remotely-deployed land mines, and chemical warheads.

With the breakup of the Soviet Union, Russia inherited most of its military arsenal including the Katyusha rockets. In recent history, they have been used by Russian forces during the First and Second Chechen Wars and by Armenian and Azerbaijani forces during the Nagorno-Karabakh War. Georgian government forces are reported to have used BM-21 or similar rocket artillery in fighting in the 2008 South Ossetia war.[13]

Katyushas were exported to Afghanistan, Angola, Czechoslovakia, Egypt, East Germany, Hungary, Iran, Iraq, North Korea, Poland, Syria, and Vietnam. They were also built in Czechoslovakia[14], People’s Republic of China, North Korea, and Iran.[citation needed]

Katyushas also saw action in the Korean War, used by the Chinese People’s Volunteer Army against the South and United Nations forces. Soviet BM-13s were known to have been imported to China before the Sino-Soviet split and were operational in the People’s Liberation Army.

Israel captured BM-24 MRLs during the Six-Day War (1967), used them in two battalions during the Yom Kippur War (1973) and the 1982 Lebanon War, and later developed the MAR-240 launcher for the same rockets, based on a Sherman tank chassis. During the 2006 Lebanon War, Hezbollah fired between 3,970 and 4,228 rockets, from light truck-mounts and single-rail man-portable launchers. About 95% of these were 122 mm (4.8 in) Syrian-manufactured Katyusha artillery rockets, which carried warheads up to 30 kg (66 lb) and had a range of up to 30 km (19 mi).[15][16].[15][17][18] Hamas has launched 122-mm “Grad-type Katyusha” rockets from the Gaza Strip against several cities in Israel,[19] although they are not reported to have truck-mounted launchers.

Katyushas were also allegedly used by the Rwandan Patriotic Front during its 1990 invasion of Rwanda, through the 1994 genocide. They were effective in battle, but translated into much anti-Tutsi sentiment in the local media.[20]

It was reported that BM-21 launchers were used against American forces during 2003 invasion of Iraq. They have also been used in the Afghanistan and Iraq insurgencies. In Iraq, according to Associated Press and Agence France-Presse reports, Katyusha rockets were fired at the Green Zone late March 2008.[21][22]

NYC – Metropolitan Museum of Art: Astor Court – Cold Spring Pavilion
china mould produce
Image by wallyg
Historically, the finest scholars’ gardens of China were in Suzhou (soochow), a serene city inland from Shanghai. The design of the Astor Court is based on a courtyard in the Garden of the Master of the Fishing Nets (Wangshi Yuan) in Suzhou. Like its model, this court has three typical garden structures: a covered walkway, a small reception hall, and a half-pavilion along the west wall. Cold Spring Pavilion, identified by a tile plaque set in the wall, takes its name from the nearby pool. The exuberant upsweep of the roof corners is characteristic of Chinese architecture in the south.

Gray terracotta was a popular building material in Chinese gardens. In this court, the bricks are arranged in alternating sets of four; the large suqare floor tiles the doorframes, the low balustrades, and the trim along the tops of the walls are all low-fired unglazed ceramic specially produced for the Astor Court at an eighteenth-century imperial kiln near Suzhou. The granite slabs and the wood elements were also crafted in China ccording to traditional techniques. The components were installed by a team of twenty-seven Chinese engineers and craftsmen who worked at the Museum from January through May 1980.

The Ming’s Scholar’s retreat, a garden court and reception hall, was the concept of Brooke Russell Astor and became a reality because of her steadfast and generous support.

**
The Metropolitan Museum of Art‘s permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met’s purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favorite Architecture list.

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

National Historic Register #86003556

Nice Injection Mould Made In China photos

Nice Injection Mould Made In China photos

Some cool injection mould made in china images:

“Sensible A/C Outlet position” #nerds #opinions / SML.20130110.IP3.SQ.AC.PowerOutlet.Opinions
injection mould made in china
Image by See-ming Lee 李思明 SML
“Sensible A/C Outlet position” #nerds #opinions

I bought the 500W 110 to 220 voltage converter (1) to power the Denon DN-X800 digital/analog mixer (pictured) and the Denon DN-2600F DJ CD player (not shown)—two pieces of 110V electronics which I bought in the US. The cords of the Denon units are not very long so I put the converter on the shelves (2).

Turns out that this is the best position for all electronics so even though I don’t need to convert the voltage for 100-240V electronics e.g. the iPad / iPhone, I now also plug the charger into the converter because it saves me time scrambling on the floor looking for outlet.

I think that I am going to make a rack mount unit and just create rows of outlet on desk level as that makes the most sense to me.

# Notes
1. I bought mine at Sham Shui Po (SSP 深水埗) for HK0 (US).
2. Doron Lachisch’s Cubitec Shelving (2008) combines the exceptional strength and stability of injection-molded polypropylene with simple, modular design. Available at Design Within Reach dwr.com — highly recommended. I bought mine in 2009. Looks new til this day because it is easily cleanable.

/ SML.20130110.IP3.SQ.AC.PowerOutlet.Opinions
/ #smlopinions #ccby #smlmusic #smluniverse #smlchaos #smlprojects
/ #AC #voltage #converter #electronics #outlet #opinions #nerds #geeks #Denon #X800 #Cubitec #shelving #organization #DoronLachisch #design
/ #馬鞍山 #MaOnShan #香港 #HongKong #中國 #中国 #China
/ #smlrec 攝影 摄影 photography IP3 SQ 2013 201301 20130110 power iPad iPhone charger