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The images were created using custom LDraw scripts that optimize the viewing angle and enhance the contrast of each part. The scripts are proprietary and hard to use. There are several ways you can help! My storage solution consists of 15 Akro-mils cabinets. The Sterilite drawers beneath them are used for bulk storage, complete sets, and instruction manuals.
When I have more parts than will fit in one of these smaller drawers, I store the extra parts in ziploc bags, which are stored in large plastic drawers or stackable bins. After completing the book, I finally had a chance to update the collection. The Technic collection was added in April , and the collection grew to more than labels by September I try to update the collection twice a year to include newly released LEGO elements, and less common parts which were missing from the collection.
You can read the detailed version history to see which labels were added in each update. Hi all, thanks for doing this. Picked up the PTouch without reading the issues here, and, as can be expected, I had issues on Mac with the images printing, but only a portion of them.
Blew everything off the system, reinstalled the PTouch editor software 5. Any thoughts on how to proceed? Hi Tom, I love your labels. Thank you for creating them. I would like larger prints for large drawers. Yes, when your printer is attached to your PC and turned on, it should report the label width back to the app. If you load one of the files at that time, it should attempt to re-size the labels for the larger tape.
You may need to manually adjust to make them look perfect, though. Excellent choices for new labels as always. Just looked through the v37 pdf and noticed there is a row of clip labels overlapping another row of labels. Keep up the great work. Do you have even more granular system for putting overflowing like parts into other drawers if at all , like by color, or would you just randomly split them up?
Am I on the right path? Oh, and I realize now that the Container Store cabinet I linked to might possibly be the same as the Iris cabinet you already linked to, albeit rebranded to make it friendlier to the crafting crowd.
Please log in with your username or email to continue. No account yet? Create an account. Edit this Article. We use cookies to make wikiHow great. By using our site, you agree to our cookie policy. Cookie Settings. Learn why people trust wikiHow. Download Article Explore this Article parts. Tips and Warnings. Things You'll Need. Related Articles. Article Summary. Part 1. Choose soapstone if you are a beginner and have few tools for carving.
Soapstone's texture resembles a dry bar of soap and is extremely malleable. It will easily form a shape with little force. Use soapstone if you are making a small sculpture that won't be easily damaged if you accidentally scratch or nudge it. You can find soapstone and other soft rocks at a local stone carving supplies stores.
For example, in California there is a store called "Stone Sculptors Supplies" that sells soft stones for carving. Know, however, that these stones are typically used for construction purposes building counter tops, for example and may be harder than artistically provided stones. Buy alabaster for the best combination of durability and malleability. Alabaster comes in a wide range of colors and is available from many suppliers. It can come in variety of colors like white, grey, beige, orange, yellows, reds, and translucent.
Although alabaster is generally harder than soapstone, it still carves easily. It is the ideal choice for new sculptors since it will still retain its shape without requiring specialized tools or strenuous effort. An alternative to alabaster is limestone, which carves easily and regularly but is not available in a wide range of colors typical limestone comes in different shades of grey.
Also, limestone can be difficult to sculpt if you get the wrong piece. Limestone is slightly harder and doesn't polish as well as alabaster. Avoid very hard stones like granite and marble. Carving these stones requires specialized tools like electric grinders and hammers. Granite and marble are usually sculpted in large quantities since they are most optimal for statues and other large items that require durability.
Working with large slabs of hard stones requires very strenuous effort. Even experienced carvers can spend up to 80 hours working on a relatively simple piece. Pick a slab of stone that is much larger than your intended sculpture. Carving is a subtractive process, not an additive one. Unlike adding more paint to a portrait, carving involves taking away stone to create the piece's shape. Limit your stone size to something you will finish in a relatively short time.
This is especially important if you are trying your hand at sculpting for the first time and are unsure of whether you will enjoy the process.
The suggested size of stone blocks for sculpting is lbs. Blocks that are smaller than 15 lbs will break if carved with a hammer and chisel. Any larger, and completing your sculpture will take much longer than you desire. If you intend on using soapstone to sculpt a heart-shaped pendant, then you can most likely work with a block well under 15 lbs.
Just remember that you will most likely have to use other, less accurate tools like harder rocks or a file to shape it. You will also have fewer chances to correct any mistakes you accidentally make during the carving process. Inspect your stone for cracks and fissures.
Since you're working with natural materials, it won't be unusual to experience structural flaws. Finding a stone with few flaws will reduce the likelihood that your stone will break when carving. Cracks and fissures are sometimes easiest to see when the stone is wet.
Use a spray bottle or sprinkle water over your stone. If you find any cracks, try to follow it to see where it ends. A crack that goes all the way around a stone is in danger of breaking during the carving process. If the block makes a "ringing" sound, there is a higher chance that your stone is solid in the area you are hitting it. If it gives off a dead "thud" and no ring, chances are there is a crack that is absorbing the energy of the tap.
Ask an experienced carver or a store employee to help you find a sturdy stone to work with. If you are a beginner and do not have experience judging the integrity of a stone, acquire your stone from a stone carving supplier instead of a stone yard.
Part 2. Wear respiratory protection while carving. Even if you are carving small quantities of stone, the stone itself may contain asbestos or silica. These are both harmful if inhaled.
To help reduce the amount of dust, wet the rock first before carving. Also, work in an outdoor environment in the yard or on a porch is optimal. Wear protective goggles over your eyes. If you wear a prescription pair of glasses, cover those with the goggles as well.
Small stone chips can easily enter your eye when using a hammer and chisel. Though this isn't a potentially lethal risk like inhalation of stone dust, it can still be quite painful.
It will also impair your vision, making sculpting very difficult to do accurately. If you're working with a small stone, you can wear protective glasses instead of goggles. Escape to Elfdream! What Nacky Patcher and Teedie Flinn discover in the owl light and blackberry water of Yole Lake causes them to suspect they are losing their wits.
Polished wood as far as the eye can see—an entire ship comes unbuttoned! Yet they see something else, too, something far more important: a way out from the curse that has burdened the poor folks of Yole for generations. Jeffrey Kluger, co-author of the blockbuster book-turned-film Apollo 13, delivers one of the finest, quirkiest, and most emotionally satisfying reads of the year. A collection of riveting stories about preternatural revenge.
Some stories will be regionally well known. Others are nearly forgotten. All are cursed. In a steampunk version of America that lost the Revolutionary War, Charmian Kit Kittredge makes her living investigating magic crimes and exposing the frauds behind them. Lady Diana Walsh calls on Kit to investigate and dispel the curse she believes responsible for carving hateful words into her own flesh as she sleeps. Sleuthing in the city of Rumsen is difficult enough, but soon Kit must also skirt the unwanted attentions of nefarious deathmage Lucien Dredmore and the unwelcome scrutiny of police Chief Inspector Thomas Doyle.
The series Studies of the Bible and Its Reception SBR publishes monographs and collected volumes which explore the reception history of the Bible in a wide variety of academic and cultural contexts. Closely linked to the multi-volume project Encyclopedia of the Bible and Its Reception EBR , this book series is a publication platform for works which cover the broad field of reception history of the Bible in various religious traditions, historical periods, and cultural fields.
Volumes in this series aim to present the material of reception processes or to develop methodological discussions in more detail, enabling authors and readers to more deeply engage and understand the dynamics of biblical reception in a wide variety of academic fields. This book investigates how representations of Black Africans have been negotiated over time in Arabic literature and film.
The book offers direct readings of a representative selection of primary texts, shedding light on the divergent ways these authors understood race across different genres, including pre-Islamic classical poetry, polemical essays, travel narratives, novels, and films.
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