Antique Light Fixture. This beauty needs a new home. Its an antique and super awesome. Would look great in a rustic man cave or behind the bar in a basement. It works! Can deliver for a fee. For convenience please use the link to view the property in advance. The bathroom has been redone since the pictures were taken. Double car oversized insulated garage and shed in back yard.
Modern layout makes this sqft feel a lot larger. Quiet street, close to all amenities. The timeless design of the Williston forge classic faux leather bar chair set has a traditional look with a modern touch and will easily fit into the decor of the kitchen breakfast bar or the basement game room. Each bar chair is easy to assemble with a large padded seat and backrest a black steel legs and footrest.
Cedar Bar. Its 8 ft long and should be anchored to a wall. Not damaged!! Restained, wont work in my basement as it's too large. Brand New Foldable Mini 40'' Trampoline. Rarely used and has been just sitting in the basement. Great for a cardio workout. Comes with suction and flat feet. A jogging suit is much more believable than the embarrassment of having your tabi out in plain sight. For photographs and Ninja films the uniform portrayed looks great, but it is more effective to look like a fallen tree branch than a model for Ninja magazine.
Colors for concealment In order to be invisible, it is crucial that you wear clothing or material that blends in with your surrounding environment.
Colors should have the same intensity, brightness and contrast in order to remain consistent. Night: Dark blue, black, gray or other dark color Country: Green and browns City: Gray sometimes blue Just because it is night, does not mean a black uniform from head to toe will make you invisible. That outfit will make you stick out and be easy to spot when moving.
Unless you remain deep in the shadows, a dark black outfit is not realistic. Remember, black isn't a very natural color - the sky is dark blue not black and trees, leaves and grass are usually made up of greens or browns.
Also, a black uniform is limited to night work while a green and brown uniform can adapt when the sun comes out.
Remember, the goal is to remove the distinct shape of the human form. Color choices can help to do this. Movement Always move from shadow to shadow, rock to rock, obstacle to obstacle. Other strategies and body control are used in combination with your movements. The more you look like part of the surroundings and the less you look like a human hiding behind a bush, the more likely you will remain invisible.
You will usually use your environment in one of two ways: either to hide behind or blend beside. If the area you are hiding behind does not fully conceal your figure or form, then it is important that you shape your body to look like that of your cover. For example: laying down in a field, crouching amongst rocks and extending your arms and legs along tree limbs and branches.
Night vision It can take a person up to thirty minutes for their eyes to adapt to the darkness so that they can see. Anyone without this timed night sight, will have greatly reduced vision when looking out into a darkened area. A flash of light is all that is necessary to ruin a persons night vision for another twenty to thirty minutes. What's the tip? Don't lose your night vision and if you can, keep your opponent from developing his.
This will allow the shadow warrior to observe his enemy yet still remain invisible and camouflaged in the night. You can do this by looking in a circular motion around the object, for example a circular or figure eight pattern.
Most of this is about awareness - your next step will be to develop skills to improve your ability to stay quiet and unseen.
Sound Another major ingredient to the art of staying invisible is your ability to move quietly through various terrain. Following are some practical techniques for stealth, it is up to you to actually make them work. After time and training, you will begin to develop your own style of stealth. Some will be slight variations of what you learned here and some will be completely new and unique to your individual style. These techniques alone will not make you move through the night as quiet as the wind.
This information is only a principle to aid in your practice and is of little use by itself. You must practice until you become very good at moving silently, in turn - staying quiet. In order to move in silence, we must pay attention but not focus on what it is that makes noise in the first place. The next step would be to reduce these "here I am's" as much as possible. In training, you can practice on various terrain's to get a feel of the different techniques you can use.
Making choices Okay, you come to a point where you must choose one of two paths. One path is open and laid with sand while the other is narrow and laid with trees. Which path would you take? The sand path will be quieter to move across unlike the tree path which has leaves and branches strewn about. However, the tree path offers cover and camouflage and as we learned earlier, it is better to be heard than to be seen.
These type of questions only help to explain the variety of choices you will have to deal with. If you prepare - you can handle the situation appropriately. You depend on your foot work. Practice won't make it perfect, but it will sure make a difference. Before completing a step, keep your weight on the ground leg until the other leg is in position. This requires balance and harmony to master.
Touch Stepping is only half the battle. Use your hands and feet to feel for obstacles and for clearing the way. Thick soled shoes make it difficult to feel and manage over a noisy terrain. Either where light shoes or go barefoot.
The more you can feel your surroundings, the better you chances are of moving through them quietly. Exhale Don't hold your breath when you move. Breath as you step, twist, turn or lower. This will keep you and your muscles relaxed and assist in your ability to adapt with your movements. Attention Pay attention to your surroundings and not just the ground below. Keep a circular vision at all times - focus when you step, but keep your attention on your environment.
This includes all your senses and not just visual. Listen Stay alert to the sounds you are making and pay attention to the way these sounds correlate with your surroundings. Stop completely if you make a sound, listen for any reactions or any signs of being discovered. Keep a constant ear for any changes in the environment. Tolerance Patience is your key to staying quiet. If you are not patient, your movements will be jerky and.
How long can you tolerate standing still? How long can you tolerate remaining absolutely quiet? How long can you tolerate holding your leg frozen in the air prior to stepping? Harmony Stay focused, keep the knees bent and move with all the muscles and joints flowing naturally. Move like a cat - balanced, patient and fluid.
Techniques for stealth Below are the eight different techniques we teach at TRMS to develop your footwork skills. These skills must be taught to you by an instructor. Spend time with each one separately, then as your skill improves, combine the techniques, so that you are simulating practical use of each.
Normal stealthy step 2. Cross step stealth 3. Cat stealthy step 4. Sweeping cat step 5. Stealth crawling 6. The dropping squat 7. The cross crouch 8. The fall back Practice The only way to develop your skills is to actually practice. Since sneaking around other people may cause some trouble - I suggest you find some other means to practicing your footwork.
Here are just a few ideas - expand on these and come up with a few of your own. Here kitty kitty Try sneaking up to a sleeping cat and touching it before it discovers what you are doing.
Please note, that this only works on cats that are active and healthy. Also, stuffed animals won't work and by "cat" I mean a house cat - not a mountain lion. Snap, Crackle, Pop Another fun thing to sneak up on is a mini-cassette recorder. You need one that has voice activation.
Create a distance between yourself and the recorder to sneak up on. Then, play it back to see if you could hear yourself getting closer. Pay attention to all the natural sounds in the environment. Try this in different terrains. Don't turn around Games are a great way to improve you silent footwork.
We play a lot of these at camp, the only requirement is having at least one more person to play with. Here is one that we use a lot. Have your partner stand about feet away. Your partner is trying to listen and has one chance to turn around, but only if you are within touching distance. This next one requires that you know your partner or the other person very well.
If you haven't guessed it yet - this exercise requires that you sneak up and scare someone. I used to do this to my family and friends all the time and I was lucky enough that they had a sense of humor. Some people are not very nice and will get very mad if you scare them.
So, make sure you know who you are scaring. I have a few interesting stories that came about from the "boo" tactic - for example, my brother once did this by accident to a police officer on duty. Although he scared the beegeebers out of the officer - he almost got in a lot of trouble.
The rest you will have to come up with on your own - either that, or join us at a training camp. A note on Terrain Dry areas are the loudest and unless you plan to carry a bucket of water with you, try to either avoid dry areas or practice moving through them.
Snapping twigs are probably number one cause to losing your concealment. Smell You never want to hear, "I smelled you a mile away. This includes your smell. Although this may sound obvious it doesn't always smell that way. Cologne and perfumes are easy to smell, so. The closer you are to your environment in all aspects, the more likely you are to remain camouflaged within it.
Use natural oils from your surroundings to help mask your scent. Heck, take a mud bath. Other Factors Remaining invisible is not just a few concepts thrown together to give you an idea about stepping on twigs. You need an overall development.
This requires expanding your thoughts and thinking laterally. Many things could have an affect your ability to stay concealed. Here are a few examples: Are the people you are hiding from are expecting company. Are you in a group - in which case if one member snaps - you all snap.
Unexpected weather or terrain. The concealment you had last night - is gone. A dog is barking at what smells like a big mac and fries. There is a nearby accident and you are the only one to help. Did you go to the bathroom before you left the house. These are just a few - but, if you think about them, you could prepare and or develop a better understanding for the art of invisibility. Don't expect any article to offer you the secrets to mastering the martial arts.
No matter how much you know, you still need to develop that knowledge into action. If you want to be good at kicking - kick. This is the same for vanishing into thin air. Shuriken are primarily weapons of distraction. To be thrown to escape or to cover other actions such as a sword draw. I have only included bo shuriken in this essay as I consider senban shuriken very easy to throw, needing considerably less skill than bo shuriken.
But then again, as a weapon of distraction it is not important whether or not the shuriken sticks to it's target, just that the target tries to avoid being hit. Perhaps the first thing that should be discussed, is the difference between Bo and Senban shuriken. Senban shuriken are flat piece's of steel, have four points and are square shaped.
Bo shuriken are rods with one or both ends ending in points. Senban shuriken are very easily thrown by holding it in the palm of your hand with a finger on one edge. The shuriken is thrown by snapping the wrist forward.
Bo shuriken is a little harder to throw. The shuriken should be gripped in the palm of the hand, upright, so it sits along side the middle and index finger. Start a short distance from the target and stand in Doko Ichimonji no Kamae, with the hand holding the shuriken well back behind your head.
To throw the shuriken, push your palm toward the target, keeping your fingers upright. When the arm is straigh, the shuriken is released and flies straight toward the target without a rotation short distance. This method is effective upto feet. As you go further away from the target, you compensate by throwing the shuriken harder.
It is important not to spin the shuriken at this point. Further distance's are achieved by placing the shuriken point down in the palm and allowing the shuriken to rotate degrees half a turn. The throwing method is the same.
This may take some practice to get consistent. There are several methods to throwing bo shuriken. The way described above is the way usually demonstrated by Shihan in demo's in Japan. I have learned several other methods for throwing shuriken which are also very interesting. It involved using San Shin no Kata as a throwing method and was linked to Kenjutsu, bringing us back to the subject that shuriken are a distraction tool.
Here are the techniques studied that day. Chi no Kata Tori is in Seigan no Kamae with daito drawn. Letting go with the right hand, thrust the daito into Uke's face while drawing the shuriken from obi at small of back.
Perform Chi no Kata , releasing shuriken as though striking with san shitan ken. As the right hand swings forward the left hand draws the sword to the left and behind. After the shuriken is released, regrip the daito with the right hand and cut gyaku kesa giri R-L. Sui no Kata Tori is in Seigan no Kamae with daito drawn.
Perform Sui no Kata. As right hand extends to stike ura kitan ken, release the shuriken. As right hand throws, the left hand moves the sword out to the left. After the shuriken is thrown right hand regrips the daito and cuts with kesa giri R-L Ka no Kata Tori is in Seigan no Kamae with daito drawn. Perform Ka no Kata. Release shuriken instead of striking with omote kitan ken. As shuriken is thrown, left hand moves daito to the left side of you head.
After shuriken is thrown, right hand regrips daito and cuts kesa giri RL. Fu no Kata The throwing techniques for this form was the style as described at the top of this page. Tori is in Seigan no Kamae with daito drawn. Perform Fu no Kata. As the shuriken is being thrown the point of the daito was lowered to the floor.
After throw the daito was regriped and tsuki at Uke. Ku no Kata Ku no Kata comprised of throwing mulitple shuriken with both right and left hands. Tori is in Doko Ichimonji no Kamae, with shuriken in both hands. Throws multiple shuriken with right hand any of the above methods , while stepping forward with the right foot, then throws the shuriken in the left hand any above method while stepping with the left foot. These techniques were a lot of fun to do.
Don't get to hung up on making the shuriken stick into the target. If uke flinches or tries to block the shuriken, then that's the opening your looking for to cut him down. Used in conjunction with metsubushi, shuriken can make an excellent tool for escape. While the ninja did not regard their shinobigatana short sword with the same reverence the samurai gave their exquisitely forged katana, they nonetheless knew and greatly appreciated its incomparable value.
The saya scabbard was usually longer than the short blade, the extra space used to hide messages, blinding powders or explosives; the extra-long sageo scabbard cord could be used for any number or extracurricular activities, including tying up a captured enemy or as a trip wire across a doorway or forest path.
And because it was short, the shinobigatana could be easily carried, especially in areas where the cunning ninja were most often to be found: in narrow corridors and alleyways, in tight crawl spaces, up among the tangle of branches of trees or down in a trough or a hollowed-out log. Also, because the blade was not honed as precisely as the supersharp katana, the ninja could not wield it in the same manner as the samurai; instead, he relied more on body weight in motion in order to execute effective cuts.
The ninja made better use of his weapon with slamming stabs and thrusts and sawing dragged-edge cuts. In Part One I demonstrated for you the way of loosening the sword and then drawing it. If I am correct, most of you concentrated your attention entirely on the sword; perhaps some of you observed the body motion; I think very few of you noticed the feet. And so, in the following specially prepared photographs I have demonstrated the feet of the ninja in the iai sword drawing technique.
After that I have instructed on different ways of carrying and drawing the sword from various positions. And then, in conclusion, I have demonstrated the proper way to sheathe the shinobigatana. After all, once a weapon has been drawn and served you well, it should be put away properly. Please note that I am holding the sword guard tightly with the thumb of my left hand while keeping my right foot diagonally to the right, backward. This shows my determination not to draw the sword at random.
However, I am obliged to draw the sword as I shift my body weight and my left foot diagonally backward in order to cripple the attacker's fighting power. Now let me show you the shinobi iai happou sabaki eight ways of footwork of the ninja iai 1. Please watch the cross carefully. First you move your feet sideways. Take a step to the right by moving your left foot before your right one 2.
Moving to the left you move your right foot before your left one 3. Moving your left foot diagonally to the left backward 4. Moving your right foot diagonally to the right backward 5. Moving straight forward with the right foot because the ninja is right handed 6. Moving diagonally to the right forward 7. Moving diagonally to the left forward 8.
Attaining Invulnerability : Invulnerability is an attitude, a quality, a way of being. It is not so much a static state as a fluid process. To become invulnerable is to become inaccessible rather than indestructible. There is no such thing as absolute physical invulnerability. Here are ten steps to achieving invulnerabiliy in your life. Be calm, still and centered. Stillness is first a matter of physical arrangement, then of mental quietness.
Calmness results from stillness maintained over time. By themselves, stillness and calm are fragile conditions. Centeredness is stillness and calm in the face of outwardly chaotic or threatening conditions.
Centeredness is a function of motion and centricity. The centered person, though outwardly still and calm, operates at a minimum of two levels--one visible and apparent to others, a second hidden and invisible.
It is this second level that is ceaselessly moving and changing, adding fluidity and unpredictability to one's life. Be present focused. To divide your attention among past, present and future is to weaken yourself.
To focus exclusively on the present is to vastly increase your powers of concentration and execution. The key to present focus is full awareness. The ronin's code, "Arise every morning, ready to die", represents an extreme example of internalized present focus and a major element in attaining practical invulnerability. When you follow this code, there is an implicit obligation to "keep the ledger balanced" with all others on a daily basis--a not inconsiderable task.
Present focus enables you to experience the process fully without being preoccupied with the result. Be open to experience. Experience is a chain of significant events. So there are two elements here: openness, and the capacity to discriminate between the significant and the trivial.
This form of discrimination arises naturally from full awareness, particularly of the "still small voice" of intuition. Openness is true power, for only as you are open does it become possible to join, blend, and redirect. Touch the earth gently. Experience should be savored rather than devoured. Think of touching a cloud, holding a newborn in your arms, or laying a needle on the surface of the water so gently that it does not sink.
The secret of eliciting a positive response to life lies in touching it gently. Gentleness is true strength.
Become a warrior. To become a warrior is to be totally committed to what you are about in this life--to discover your own truth and live by it. Nothing less than total commitment results in mastery. Warriorship is neither a religion nor a philosophy. It is a way of life that demands everything you have to give, and rewards accordingly. But it is important to understand that neither the paths nor the rewards of warriorship are necessarily the "world's".
Warriorship begins in transformation and ends in transcendence. Live tactically. To live tactically is to deal with the issues of life and of this world wisely, effortlessly,and purposefully. Effective tactics are based upon overriding "strategies". A warrior lives tactically, a master lives strategically. Tactics are personal and situational; they depend on the person employing them and they can vary according to the situation.
Here are seven examples of tactics: 1 Make decisions so carefully that nothing can disturb you or cause you to lose your balance Don Juan 2 Become inaccessible or accessible only by choice 3 Choose your time and your turf 4 Learn the wisdom of not-combatting 5 Know your enemy 6 Allow and arrange the facts to speak for you 7 Don't allow others to make you part of their problems.
Recognize paradox as a condition of this life. Paradox--when things are not as they seem to be, or when two truths appear inconsistent with one another--will always attend residence in the human body and in this world.
Paradox is part of the "cloud of great unknowing" and evidence that the human and divine order are quite different. To admit the existence and legitimacy of paradox in your life is to increase your openness to new learning. Acknowledge a higher power. I was also adamant the next man I'd be with and commit to, would be the man I'd spend the rest of my life with just not married.
I was very fussy and didn't expect to meet a man on Tinder. I decided to sign up anyways and just match away and see what happened. My college roommate and I both would stay up on Tinder, not looking for anything serious also not looking for hookups though, just entertainment. My now husband and I matched on Tinder. I didn't think anything would ever come about from it, but one day I saw this stunning beauty come across the app.
I Super Liked her, paying a dollar extra for the Super Like! I had just gotten out of a relationship, and Annie had just started dating women so we were both nervous and treading lightly for a little bit!
He took the bottle from his pocket, tipped the liquor down his throat until it burned, and slipped it away again. Laura coughed sympathetically. They thought the printers were just mules, dumbly carrying coded messages from town to town. Letters did funny things when you were married to them.
They shifted and made themselves into words. They formed order out of the chaos, like a cloud becom-. He pulled the lever again, his voice calm, distant. Laura moaned again, and and Laura got to work casting another line of type.
Stirling kicked her furnace and pulled the stamp Strings of letters became adverts, news from the lever. Coded messages started to unravel them- said. You ever beat out of time when the universe did. What- concealed something. She signed a second set of questions for you to answer.
She had her That should clarify your position. You have one own ideas, and she surprised you sometimes. Brown, the need for you to be open and honest. Laura moaned, his sudden ab- said. The quarizimi on his belt hissed and clicked, let someone else know what they were. His fingers moved, know who the someone else was.
He to him. Stirling appeared from the adjoining room, took And if the hisaab did get to the truth? Carter bit his tongue, and she gave an angry even remember where. There were four? The scowl melted One of them asked whose fault it was. It struck from his face, his expression becoming cold. There Then there was a … blank patch in his memory. The eyes looked watery smouldering military uniform, watching helplessly and dead. You empty the bottle al- Carter looked at Laura again as she shook.
She ready? There was a cracking Stirling the bottle. They had to make ink bottles to sound and a rush of air. Carter knew. He dropped to last. And then, she let go. Shop named the print shop. Carter was Stirling knocked back the last of the whiskey, out the door before he could smell the burning flesh and handed the empty bottle back.
History remembers odd things. The escapees from the shop wer being quickly tied not by the past, and not by the future. Glass from the window ex- The flames mushroomed as the roof began to ploded onto the street, and flames began to crawl collapse, and the spectators took a step back.
Carter looked at the crowd. Nicholas, You will find enclosed herein the journal excerpt of which we spoke. I must remind you that I have not sent this to you as a peace-offering. August Malcombe March 15, June 12, Jack visited me again tonight.
I swear that one of these days that man will do for me, running about in the dark. He again asked me if I had contrived to get the key for the Inner Chamber. I will write this, as I told him not three and twenty minutes past, so that if my transgressions are discovered, I shall have a full and complete record before Almighty God and man. I was forced at my great displeasure to tell him that I was again unable to convince Darien to let me borrow it, even only for a minute!
Jack seems different these days. No longer does he haunt the old pubs of our youth, but spends his night god- knows-where, planning and scheming things which, even to my semi- educated mind, are certainly too complex to grasp. He rattles on that we must take a stand against the King. June 21st, Mariana lost her child, my nephew, this morning. I can have no doubt as to the reason that God saw fit to take such a lovely babe: London now is no place for a child; the lawlessness and filth that sit on wobbly legs all around us will surely smother us.
The doctor, arrogant as he is, was still sympathetic. He said in no uncertain terms that it. We paid him a small sum not to report the death to the con- stables, so that we might bury him in peace. It is too damnable wet in this house! I do not know what to do. I sit here useless, day in and day out. I spend the mornings at the roundhouse, but it is such a small wage— not enough to live on.
No one has work, and tomorrow we will gather around the rookery and sing a burial song. July 4th, I saw that vile man Quilt Arnold down at the laundry to- day. He was washing clothes with his filthy children. I swear that if it were not for the little ones, I would have walked over there and drowned the man. He is a bully, and a thief, and last week he split the lip of Henry Conner, the old man that lives with his simple daughter, because Henry tried to stop him from leering at the voiceless woman while she was finishing her errands, such as they are.
That man will get what needs done to him, if there is any jus- tice. Oh yes, and some idiot ran down the street today wear- ing the colors of the Regrettable Colonies. He was arrested for indecency, and it was a good thing, too—the fool could have been killed. July 18th, I had an excellent idea this morning, and this afternoon I have seen it come to fruition. Thus I now have the key. Henrietta has a friend whose husband can fashion a replica in a little discreet shop he keeps barred up on Oxford Street.
July 22nd, Some men were by this afternoon. They loitered around the corner for some hours, asking people questions that all. They will nev- with. It is a sad time indeed. Wild is such an ar- November 3rd, rogant bastard—he thinks that if he finds Sheppard It has been a wonderful day.
King George is before Sheppard gets a hold of that valve, he can dead! His son is of course using the opportunity to claim credit for himself. Do they think Geor- castle, and we are using the lull in the violence to gy-Peorgy will let us modify our own engines? I had been hiding in this hole for almost three days with no food.
I was awoken with August 14, a shake this morning, and who was it? It was Jack That idiot Whitefield is shouting in the street Sheppard, come to visit me once again while I was again. I jest, but it was a great sur- prise, and I was very glad to see him. He had most August 15th, of the Harod family with him, and together we stole Sheppard has the valve, and has given it to the away from the city, using the darkness as our ally.
Non-Royal Engineering Society. They are pleased There were flames coming from over the further as can be at the contraption. Apparently it allows buildings. What fool starts a war after a war? Is the steam to travel omni-directionally in a closed valve weight of gold so worth the price of blood? Give me system, by some order or another.
And I am a happy man tonight, as we sit here. I have lost my family, and the grief that wells within October 29th, me when I think of it is too much to bear. So I will It has been a long time since I have written. He told me yesterday as we wait- Things have changed. You may rend the flesh from his bones, but he will march on, through December 14th, fire and steam. They bombed St. Giles two weeks London is burning. It came without warning. Yesterday, killed, buried beneath that horrible slum I had with the help of the Engineering Corps of Cornwall, made her live in for too many years.
Mariana has we repealed the attack on our Northern Flank and disappeared. I have been alone for the last three pressed men into the city. I am an observer, now. After the out of my hands, but I know that it will end well. The Non-Royal Engineering Society successfully re- Prince has been killed, his body taken to the Circus created the valve, it was found that we could not and hung on the snowy rafters of our scorched nest.
It is rumored that he is we could build cranes that would re-build them seeking some treasure, but who can say? When this completely. I hope they never let the were lost. I write this in a hole that was made by a Rule of Law vanish from the earth. Through fire and bomb, launched from Knightsbridge, no doubt, by steam, we march. Keith Newstead has been making automata moving figurative sculptures for the last 20 years, and draws his style from a wide source of influences.
His work R ecently, I discovered Steampunk. I felt that the style lent itself particularly well to au- tomata, and I was inspired to create a new work. The driver would be dressed in a suit of You can find pictures documenting the black rubber, and behind him would be a rusty tin construction of this work on his Facebook group, compartment containing a small clockwork heart.
The rollers would then turn the wheels which, in turn, would power all the movements in the automata. I took my original small sketch and enlarged it to the finished size. I did not want to lose any of the freshness of the original drawing by re-working it. The first parts I made were the wheels.
I used. I then made a jig and soldered the spokes to the wheel rims; then I made rubber tyres from the large rubber rings used in vacuum cleaners. It took one day to make the 3 wheels. Next, I made the chas- sis from galvanised fencing wire: first, sanding the wire so that it would rust, and then making two wooden jigs one for each side and soldering the wires for each.
I soldered the two sides to- gether and made brackets for the wheels and other at- tachments, referring to my drawing. The heart compartment was made from an old tin oil drum [see inset illustra- tion]. I found that the easi- est and neatest way to cut the tin was to clamp it between two sheets of thin metallic paint, which I then sprayed with vinegar.
This is a good The plywood stops the tin catching in the saw technique to use to make wooden parts appear to blade and jumping, and a very good and detailed be made of metal cut can be achieved this way. The roof of the heart To make the clockwork heart, I took some thin compartment was dome-shaped so I made a card brass sheet and cut out a small heart shape. I re- roof first. When I had achieved the correct shape, moved the small hammer from the ringing arm I folded it flat and used it as a template for cutting of an old alarm clock, soldered the heart onto the the tin.
When it was finished, I rusted it using sea- arm, and made a wooden pulley to fit onto the water and then painted it using acrylic paint. Then winding mechanism of the alarm having first re- I re-applied more sea-water so that the rust would moved the spring. This pulley was then connected break through the paint. The heart door using a small magnifying lens held in place compartment door is opened and closed by a crank by a wooden surround.
I painted the surround in on the back wheel. For the hands I first made the shape, without fin- gers, from the wood, then drilled holes and glued in pieces of wire for the fin- gers and thumbs which were covered in heat- shrink tubing.
By heating just the ends of the tubing I achieved a tapered fin- ger effect. This was then unraveled using the point of a cocktail stick to produce thin strands. Later, the hair was dipped in thin black paint which stiffened it and allowed it to be styled. The body parts were then dressed in rubber from an old inner tube. This is a very nice ma- terial to use as it is easy to cut, can be stretched around shapes, and sticks well with super glue.
Other small details such as buckles were then add- ed. The Romancer is acti- vated by a bent metal rod which passes through his body and rotates, giving him a nice fluid move- ment. This rod is driven by the front wheels. These chimneys and pistons were made from brass tube were made from beads with brass shafts, and are and polished.
The dome on the front of the engine worked by cams attached to the front wheels. As is the bell from an alarm clock, and the governor is they pull, they give movement to the Romancers made from an expanding wall plug decorated with hands and arms which are attached to them.
The steam engine was made from tin, wood and The gauges were made by wrapping and solder- found objects. I wanted to achieve the look of an ing very thin brass sheet around wooden dowel, old boat, with varnished wood, rust and polished leaving a small hollow in the top. I then painted brass. The boiler was made by first covering a small circles of card with a thin rust solution steel small length of 1" diameter dowel with thin strips wool dissolved in vinegar and drew on the hands.
The first ones I made were a dis- them tight. The brackets which hold the seat to- aster as the resin leaked out of the bottom, so on gether are made from aluminum and were cut by my second attempt I sealed the gaps at the bottom clamping the metal between two pieces of ply as with wood filler first. I then added small gear wheels and Once finished, the gauges were strategically levers to finish. In total, the automata took one month to com- Next, I made the wings from galvanised wire plete and was a journey of discovery for me.
The which was covered with a very fine black fabric, biggest problem was finding all the small gear stuck on with super glue. I splattered them with wheels I needed, but in the end I solved this by some rust solution to give an aged effect.
The wings buying a few new alarm clocks and dismantling are operated by the back wheel and not only flap them. The clocks I used are made by Acctim, and but fold into themselves. They stock brass brought from my local charity shop. I studded the tube, brass gear wheels and the liquid water that I cover by sewing on small brass beads and pulling used for the gauges.
M Robin Martin is an artistic explorer aterials and inspiration are, to me, who enjoys nothing more than delv- interwoven. Since her seren- a gallant horseless carriage instead. Limitations dipitous discovery of steampunk late imposed by the materials and the scale challenge last year, she has made a number me to find new uses for unlikely objects, and it is of delightful friends: academicians, always best to adapt ideas around the things that aviatrixes, and adventurers among you can scavenge to tinker with and be led by the them.
One of my machines required a way of conducting. In any case, I imag- control panel. Its small size precluded ine my steampunk dolls to be so eager using something as large, and obvious, to work on their inventions that the as a garden hose. While wracking my state of their clothing is of second- brain, I happened to undo my ponytail ary importance to them at best!
Is she concentrating? Is With a vague idea, some wire, and a he agitated, or eager? The face is crumpled ball of aluminum foil, I begin where it will show. To me, the to build the armature—a sort of stick expression is more important figure skeleton to which the polymer than the precise and coldly ar- clay flesh will adhere. Not just any telescope, though; this one will name?
The christening, so to speak, is one of my be operated by so many gears, levers, and other de- favorite aspects of making an art doll, the point at vices that it must be placed on a sturdy, and rather which all my efforts come together. I love names tall, framework.
After the telescope the men and still be home in time for tea. Our astronomer is a man of leisure, able to af- The crank mechanism will be constructed from ford both the funding to construct an elaborate small gears, a round toothpick, and a gold-colored telescope and the freedom to stay awake until all bead for the handle. Bracing is required to support the the poetry.
My lords, ladies, and gentlemen, allow me to in- troduce my new friend and his amazing invention, In Conclusion Sir Newton Octavius Coleridge and the Coleridge So, dear reader, our friend is decently attired and Proculastravisopticon!
What else is there to do? A moment, please; how. Here illustrated are the crafting of hands, the stepping on stools, and the peering through scopes. F lea Circuses became popular in Andy Clark is researching the history Victorian times when the travelling per- of the flea circus and has an interest former L.
Bertolotto displayed his indus- in animation and anything mechani- trious fleas to the world. However, the ideas and cal. For the last couple of years he has techniques evolved much earlier from the skills of been living in North London making watchmakers and jewellers. A few years ago, a Mr. Boverick, an ingenious watchmaker, of London, exhibited to the pub- lic, a little ivory chaise, with four wheels, and all its proper apparatus, and a man sitting on the box, all of which were drawn by a single flea.
He made a small landau, which opened and shut by springs, with six horses harnessed to it, a coachman sitting on the box, and a dog between his legs : four persons were in the car- riage, two footmen behind it, and a postilion riding on one of the fore horses, which was also easily drawn along by a flea.
He likewise had a chain of brass, about two inches long, containing links, with a hook at one end, and a padlock and key at the other, which the flea drew very nimbly along. Although there were no detailed illustrations of the props used in the early days of the flea circus, I had seen some later ones in videos.
The wheels and axle were turned on a lathe chining the wheels. Mostly the chariot was made without needing magnification but I did use a magnifying glass for the filing and fitting. A digital camera was also used to check some of the details. It was a fairly straight forward project with a nice range of different skills including turning and brazing as well as some manual metal working. The design for the wheels was spokeless because of the difficulties given the size and because I did not really have any ability to drill holes around a circle.
I used a 3D modelling tool Carrara Studio that allowed me to visualise the results. I then created some rough sketches of each of the components that I required and finally added some measurements. Tools and Materials Given that this was my first project using brass, I decided to make some soft jaws for the vice. Soft jaws are simple aluminium sheets bent around the jaws of the vice to stop them from scratching or marking the materials.
The size of the components I was work- ing on meant that I had to hold some of them in some small toolmakers clamps. I also used a junior hacksaw, standard files for rough shaping , needlefiles, and a magnifying glass. I used a small, manual metalworking lathe. The Victorians would have used a treadle or belt driven lathe; mine was driven with an electric motor. I used high speed steel tools whereas the Victorians would have used carbon steel, for this kind of work there is not a lot of difference between the two; their tools could even have been sharper than mine.
The materials were fairly simple, some brass strip in two different thicknesses and some 4mm brass rod. The design actually called for thinner rod so I had to ma- chine it down from 4mm to 2mm. Machining the Parts The axle and the wheels of the chariot needed to be turned to a smaller diameter in the lathe. However due to a lack of appropriately sized material, I also ended up machining the hook at the front of the chariot.
To turn the 4mm brass rod down to 2mm for the axle, I needed to support the rod at both ends to stop it bending when being cut. I did this using a female cen- tre to support the tailstock end of the rod.
The middle section of the rod was then turned down to size. Once this was complete, the ends were sawn off. The rod was replaced in the chuck and the ends were carefully turned down to 1mm.
The towing hook of the chariot the rod needed to be even thinner; I wanted it to be 1. I started using the same technique as above, but the rod was bending as it was machined. This meant that the middle was fatter than the ends which were supported. The solution to this was to run more passes with a finer feed. I only had one type of silver solder but I also had of rod using a small parting tool.
I used The holes in the wheels were first spotted with a a cotton bud to apply flux to the joints and heated the very small centre drill and then drilled to 1.
Because the drill was so The parts need to be held firmly together, do small I needed to use a small drill chuck mounted not use too much force as the brass softens when in the larger chuck of the tailstock. The wheels were it is heated. I used crocodile clips as they provided sawn from their support with a junior hacksaw and just the right force for clamping. The body was then soldered using soft solder An offcut from the axle was also used to make the and appropriate flux and an electric soldering iron washers that held on the wheels.
For the wheels to rotate I needed to protect them from the solder. While the solder was cooling brass strip and rounded with a file. Then using a I checked that the wheels still rotated. The front of the chariot was made from Finish a slightly thinner brass strip and filed to shape. Hence I left it that way. I simply bent the strip I wandered around a few coin shops in London around the base of the chariot. A photo with the looking for a cheap coin and finally settled digital camera showed where it did not fit properly on an French coin with a relief of Napoleon III.
The chariot is secured with a small cube magnet Because the parts were so small I kept them in a glued to the coin. A tiny flake of steel glued below plastic container to avoid losing them. Brazing and Soldering Summary The first thing I did was to clean all of the parts using The investigation part of the project has been go- wirewool and checked that they fitted correctly.
The build to clamp them all in place at once. The parts are process took about 12 hours spread over several in close proximity, so it is also not possible to sil- days between Christmas and New Year. The solution to this issue is called step soldering. Thanks to the chaps from Model Engineering This requires solder with two different melting points. Clearing House the for their tips on drilling with The higher melting point solder is used first then this very small drills. Thanks to Mike Freeman for his is followed by a lower melting point.
For complex tips on silver soldering and cleaning flux. The foreman says the shackles keep us our bodies can beat out of the seams. The ore blisters of rock against rock, the wheeze of a seam the skin, steams the sweat and carves just before it snaps. The blood the carbide light with dust and shadow. Twenty-nine days they promised was enough to feed a family, is the time it takes for a man to die buy a house and woo a wife a thousand deaths.
We count the ways— to keep it.
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