!±8± 3M Scotch Positionable Mounting Adhesive - PMA Adhesive Roll, 50 ft, 16
#568 PMA Adhesive, 50 ft (15 m) long.
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Monday, December 26, 2011
Tuesday, December 20, 2011
How to fix dimo (flute membrane)
The video shows how you fix the dimo onto a Chinese Bamboo flute with Erjiao. To purchase a Dizi, go to: www.eason.com.sg To purchase dizi accessories, go to: www.eason.com.sg
Thursday, December 15, 2011
076 RC10 Ratrod rebuild. A attic run, and I'm happy.
Mounting battery, scotch tape, and a couple of maneuvers in my kitchen... Yes, there's a tape fail in there too... lol
Thursday, December 8, 2011
How to Frame Cross Stitch Projects
It can be expensive to go to a store and have them frame your cross stitch artwork for you. Plus, it can take a few weeks before you get it back, since most stores will send it somewhere else to be framed. It can be frustrating to wait that long, especially if you are giving your cross stitch piece away as a gift. A simple solution is to do it yourself. It doesn't take long and will save you a lot of money.
To start, you will need an acid free mounting board, iron, scissors, masking tape, a frame and matting (optional). Before you frame, you will want to iron your cross stitching to give it a fresh, crisp look. Once all the wrinkles have been ironed out, you are ready to frame it.
Before you can place the cross stitching in a frame, you will need to put it on a mounting board. Use acid free mounting boards, either padded or non-padded, which can be found at your local craft store. One side of mounting boards is sticky so that the fabric will stay in place once framed. The reason the mounting boards are acid free, is that the acid will damage the fabric and discolour it over time. Avoid using cardboard instead of a mounting board; cardboard may be cheaper, but is very acidic. Padded mounting boards are great to use when framing without glass or when framing with a shadow box, as it will give dimension to your cross stitched piece. Tip: If you are framing without glass, remember to spray the fabric with Scotch guard to prevent future staining.
To use a mounting board, first centre the cross stitching on the board. Then smooth the fabric and gently press it in place. Cut off excess fabric from the edges, leaving about one inch or less of fabric. Turn the board over and use masking tape to hold the excess fabric in place and to prevent the edges from fraying. Place the matting and then the mounted cross stitching in a frame, and presto, you are done!
Once you have framed your cross stitching, you will want to make sure that the colours stay vibrant and won't fade over time. There are two ways you can prevent the fading of colours once you have framed your cross stitch piece - I recommend doing both. The first way is to keep finished and framed pieces out of direct sunlight. Throughout the day, observe the area where you want to hang or place your finished piece. Take note of where the sun hits the walls and where it doesn't, and place your cross stitch piece where the sun will not touch it. After you have found a place, check the position during the different seasons, as the angle of the sun and where it shines will change.
The second way is to use UV filtering glass. Ultraviolet "UV" light is the largest reason why colours will fade over time. UV filtering glass can block over 97% of UV light, while regular glass will only block 60%. You can purchase UV filtering glass at your local framing store. You now have a beautifully preserved piece of art!
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Monday, December 5, 2011
Tradeshow Emergency Kit - What's a Gang Box and Why Do I Need One?
It doesn't seem like much right now, while you are in the comfort of your own office. When you're on the road, running out of staples, needing extra Velcro to attach your graphics to your booth, needing a little duct tape to fix, well, just about anything...it becomes a crisis and an expensive one at that. It's a simple case of supply and demand. You demand a roll of tape, it's 10 minutes before the show starts, the only supplier is show services...they can charge whatever they want.
Tip: An hour before the show starts and you realize you are missing a graphic or need a product spec sheet printed is not the time to go hunting for the nearest Kinkos. You are wasting valuable time. Before you leave for the show, look up the closest walk-in service printing outlets to the convention center (don't worry, these people are on to us, they will be very close) and stick information such as phone numbers, addresses, direction, hours of operations in your gang box.
Every seasoned exhibitor has a gang box that goes with them to every show. It is one of the most important pieces to their exhibit so it is checked and restocked after every show and double checked before it is sent with the booth. We've split the list into two, one for the basics everyone should have regardless of what kind of display you use. We've also included an optional list to cover the needs of bigger booths which involve more labor, parts and pieces.
Must Haves
Even if you are thinking I won't need that, trust me...if you don't pack it you will probably need it. You will also find yourself channeling MacGyver at a show and will come up with amazing alternative uses for some of these items. Also, keep adding to this list when things come up again over and over again.
Roll of Velcro (this is our number one favorite/most useful item...you can hem a skirt or pants if need be)
A pair of scissors
Solar calculator
Super-glue
Glue stick
Scotch tape and double sided tape
Packing tape/gaffers tape (doesn't leave as much sticky residue as Duct Tape)
Mini stapler, staples, staple remover
5 black Sharpies (no end to the uses, graphics touchups, shoe scuff touchup, writing things down)
Box of pens
Pack of assorted color felt tip markers (for graphics touchup)
Mechanical pencil with eraser and extra lead
Highlighter pen
An assortment of sticky notes, message pads, and three-by-five note cards
White Out (doubles as graphic and scuff touchup)
Pre-printed Fed-Ex labels and envelopes
Binder clips, paper clips, rubber bands, straight pins, safety pins
Cable ties (black, white and booth colors)
Paper towels and aerosol cleaner (wiping down booth counters, you can take partial roll or remove the cardboard center for easier packing, liquid cleaner spills)
Screwdriver set (both Phillips and flathead)
Pliers
Wire cutter
Ruler (make sure it's sturdy so you can use as a straight edge for cutting and tearing too)
Measuring tape
Box cutter
Mini flash light (at some point you will have your head in a cabinet trying to figure out why it won't close right)
Small level
Fishing line
Disposable camera (proving damage during shipping, fun candid photos of your staff)
CD/DVD of all booth graphics, handouts and brochures (know where the closest Kinkos is before you go to the show)
Extra copy of demo/presentation/software
Computer/network cables (a Cat5 cable will run you about from show services)
Blank CDs/Jump drives
Personal Items
These are things you will want to pack and keep in the booth during the show. They are all things we have found have saved the day for our staff over the years...we are still adding to the list all the time.
Quick dissolve breath strips
Small first aid kit
Wetnaps (we prefer these because they don't take up much room and are individually packed and can be replenished from just about any seafood restaurant or bar that serves wings)
A fingernail clipper with file
A small sewing kit
Small lint remover
Stain removing pen
Antacid, Aspirin, Ibuprofen, Tylenol (have all of them on hand, people have allergies or preferences), Eye drops--yes, people will inevitably stay up too late.
Hand cream
Tampons
Comb
Mini shoe buffer
Eye drops
Mini packs of tissues
Over the counter allergy medicine
Optional
Read over this list and think, "would I ever find a use for this in my booth?" Even if the answer is, "only if a forklift backed into my booth and knocked it down" PACK IT. If you've never experienced a minor emergency where you needed a staple gun or battery powered screw driver you are thinking, "this is going to cost a lot of money to ship." That's nothing compared to what show services will charge for their carpenter to come over and screw or nail the corner of your booth together.
Grounded UL-rated surge protector strip Staple gun with extra staples Adhesive remover Battery powered screw driver Manual screwdriver (why would I need both you may ask...because in some towns the unions will cry foul if they hear that screwdriver turned on) Extra light bulbs (make sure they match the ones in your booth) Extra screws, nuts, bolts, etc. Copy of exhibit prints (Just in case you forget which is the front and which is the back or to prove you were right) Pictures of booth completely set up from all angles (makes it easy to know which graphic goes where) A can of artists' spray mount (this will become one of your best friends over the years Strong shipping tape Double-sided carpet tape (also makes a great hem) Electrical tape Shrink wrap
Friday, December 2, 2011
China Repair: The Museum Quality Method
The two most common china repair techniques are "museum quality repair" and "invisible repair". Although they're often cited by professional restorers in one breath, the two techniques are different.
Museum quality repair centers on gluing and bonding the item, sculpting the necessary missing pieces, and filling in the cracks. But it doesn't mask the hairline cracks or the restoration method. When a professional ceramic or porcelain restorer performs an invisible restoration, in addition to the above steps, he or she matches and replicates the color and pattern/design of the item, airbrushes and glazes the surface. When the process is done correctly, the restoration is not even visible under an ultraviolet light used at auction houses.
Below are the steps involved in museum restoration and the process' aesthetic considerations. Note that only the cold method (no firing) is appropriate for museum and invisible restorations, and at no point should the item that's being restored be subjected to any form of heating.
Proper Working Conditions:
It's preferable that the restoration is undertaken in daylight. Discolorations on the surface of a damaged item is not often visible in artificial light. A good dental drill with various drill bit sizes (preferably diamond-tipped), and a spacious container for uncooked rice in order to steady the item being restored without using unnecessary clamps that may damage the surface.
The Process:
Identify the cracks. Are they complete or partial? You can use an ultraviolet lamp to determine whether they are partial or complete. Usually, if a section of the damaged item looks darker (yellowish, if the surface color is white or off-white), that section has been over-painted to mask the bad repair. Black spots in the glaze is another dead giveaway.
Often, cotton swabs dipped in a commercial solvent, such as can be used to remove the access paint or discoloration; sometimes, however, it may be easier to immerse the entire item in a basin filled with methylene chloride rather than use swabs.
Another important aspect of the process is the removal of metal staples, which restores prior to the middle of the 20th Century commonly used. Although some collectors prefer to leave the staples in, as a relic from a previous era, modern museums prefer that the staples be removed because they are unsightly.
The staples can easily be removed with pliers after the area has been cleaned with warm water. Sometimes the riveted area needs to be carefully sewn in order to extract the staples. Green stains can be removed with warm water mixed with 30% ammonia.
The choice of the glue or adhesive to be used depends largely on the nature and texture of china or ceramic. While a cold-curing epoxy resin can be used on harder-bodied ceramic such as porcelain and china, 5 Minute Epoxy should be used on earthenware and stoneware.
Before proceeding with gluing and bonding, it is important to note that all the pieces should be clean and dry. If there are many pieces, they should be assembled and held in place with Scotch tape.
After bonding, all missing areas have be to filled. A white, soft but durable filling is used for china or porcelain, and ceramic.
Next step is retouching. Be sure that the surface is as clear and flat as it can be, otherwise even a slight discrepancy will spoil the process. It helps if one is a painter or graphic designer, for finding the correct color to match the surface of the item is one of the most important elements of professional restoration.
The degree is of shine is very important. You are not making the item look new, but "original", or they way it looked before it got broken or damaged. Although a regular paint brush will work, it is strongly recommended to use an airbrush or any spray brush that has a steady and even flow. Retouching requires expertise, so doing it one layer at a time would be the best solution for a beginning restorer.
Display:
No professionally restored object can be used for practical purposes - display only.
A restored object should never be displayed outside or in hot/humid indoor environment.
Avoid mounting the restored objects on wood panels or marble surfaces as damage could be done to the restoration.
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