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New items that I am working on, basically like my printed civil war great coats but just plain fabric.
Colors so far are black, dark blue, light blay, dark blay, tan, dark tan and sand blue. Of course being fabric the colors are not a complete match but look good.
I'll have bricklink photo's up in the next couple of days and have them listed.
For my printed fabric wraps, I had to come up with a new process for treating and printing, I pretty much have it worked out and will be restocking and listing new items.
EOS 1DX, 40mm F2.8 STM, Sigma 50mm F1.4 Art, Sigma 35mm F1.4 Art, 70-200 F2.8 USM IS II and 16-35 F4 USM IS. Photo was taken by EOS 600D + Zeiss Makro-Planar T* 2/50 ZE. I prefer using 35mm and 50mm fast prime lens instead of 24-70 zoom
This is the brick geometry that makes the station work.
The angle is really close to 15 degrees. 360 degrees
(a circle) divided by 15 degress = 24. Twenty-four is a
nice number of sections to have - you get one at 0, 90,
180, and 270.
This was found through trial and error, not calculation.
This little fellow never stood idle,it was always on the lookout for nuts and when it found them,all it wanted to do was to protect them and have it for himself!
P.S:I happen to find all Squirrels extremely cute! Would love to have this one as a pet!
Here’s my two black dress Barbie Basics Lea dolls. Of course I can’t quite replicate the fine detailing of a decent Mattel doll but I’m pretty happy she looks good now.
Also trying to dress dolls from before 2016 in any modern Mattel fashions is impossible cuz of how infantile and garish they look so Phoebe is wearing a 2011 Fashionista dress instead.
*Picture property of Iplehouse* Today is a lucky day... I ordered Carina basic on a layaway... can't believe I'm getting my first Iplehouse doll... she's 65cm large, I ordered her with make-up type B (like on these pictures) and large breasts.... also with some fashions, wig and shoe set.... GOSH, I'm sooo happy !!!
Aidan Mac Diarmuid doesn't need much to be guilty of being gorgeous...
He wears:
Shirt: FR Adrian
Jeans: Me
Dog tag: FR Francisco
Cuff: Marcela Gorga
Date Taken: June 1, 2015
Basic Details:
Operator: Fröhlich Tours Tourist Transport Service, Inc.
Fleet Number: 00195
Classification: Air-Conditioned Tourists & Charter Bus
Seating Configuration: 2x1 Seats
Seating Capacity: 29 Passengers
Body:
Coachbuilder: Suzhou Higer Bus Co., Ltd.
Body Model: Higer A80 KLQ6123K "U-Tour"
Chassis:
Chassis Model: Higer KLQ6123KQE31
Layout: Rear-Longitudinally-Mounted Engine Rear-Wheel Drive
Suspension: Air-Suspension
Engine:
Engine Model: Hino P11C-UH
Cylinder Displacement: 10.5 Liters
Cylinder Configuration: Straight-6
Engine Aspiration: Turbocharged & Intercooled
Max. Power Output: 325 hp @ 2,100 rpm
Peak Torque Output: 1,420 N.m @ 1,100 rpm
Transmission:
Type: Manual Transmission
Gears: 6-Speed Forward, 1-Speed Reverse
* Some parts of the specifications may be subjected for verification and may be changed without prior notice...
View on Sub-Reddit r/bus
Our Official Facebook Fan Page: Philippine Bus Enthusiasts Society (PhilBES)
a basic, low cost MRW carbine MSRP: $1000
credit to shock for the stock, and durruti for help on the RIS
Designed as a basic frame to test new joint styles and proportions. Tried to keep specialty parts to a minimum and allow for a lot of easy changes for customization.
I often get requests for instructions, and while I'm happy to oblige now and then, I usually find it's far more fun to build your own thing, even if it's initially a ripoff of another design. This basic frame should be easy for even smaller collections to put together, and super easy to variate off of to make your own designs. Nothing groundbreaking in the joint tech, but several different styles are used to give a basis for learning/using.
Download the LXF here: dl.dropboxusercontent.com/u/20334182/basic-gm.lxf
Feel free to use and abuse. If you build something based on this, tag me, I'd love to see it.
This is about the most basic origami quilt one can make. It consists of squares folded so they can be attached on the reverse side to connector pieces. I would call it a form of modular origami, even though it uses 2 types of modules instead of just 1. This was my first attempt at an origami quilt, and I used traditional paper from Japan: the connectors are made from a rich solid red paper that has a special fibrous texture, while the squares are made from the same style of paper that has printed with designs of origami cranes, temari balls, folding fans, and other items using thick, raised layers of colored ink or possibly paint.
This was a setup I tried a little while ago, but am just now posting. Tell me what you think! I am eager to hear what others think about these kind of setups.
Thanks for viewing and I'd appreciate a comment over a favorite. ;)
The interior of Oscar Niemeyer's recurved chapel adjacent to the Palace of the Dawn was designed by Brazilian artist Athos Bulcão.
enciclopedia.itaucultural.org.br/en/pessoa10287/athos-bulcao
Basic Shading II
Before going on, I should note that I re-sized the screenshots from 1024 x 768 to a 4K resolution of 4096 x 3072. On that note, resolution ties in a bit with the scaling of virtual land. For, if you think about it, a sim, or region, is essentially a 3D canvas with its own scale as a type of resolution. In other words, the size of a sim or region is the size of the canvas - the scale of the land provides the environmental boundaries of the 'box' that one creates in. The prim count is something like a virtual material pallet, or what gives the limits and boundaries of how many 'colors', or what types of brushes can be used in the 3D environment. But, this is more important when it comes to prim counting and (for SL) land impact on the level of creating objects and uploading mesh models onto a grid.
For shading, the number of objects and their placement matter on various levels depending on how the shading settings interact with the objects. On these bare bones settings shown in the screenshots, the shading effects only the surface texture of an object - the prims, sculpties, mesh objects, land and water meshs, etc.
In this screenshot, under the '[TOR] Midday - Anime Ciel' Windlight setting, the lighting of the sun is set to where the light interacts with the top surface of the tigress avatar, brightening the chest, while the tummy and most of the legs interact with shading. The prims give a better, basic visual of what is happening, showing how the surface of the vertical (the Z axis) interacts directly with the sun's lighting while the horizontal (the X axis and the Y axis) interact more with shading. Sure, it's being Captain Obvious, but sometimes these basic elements are so obvious that one can forget that they're there, and can forget to take into consideration this play of interaction of lighting and shadows, even at their most basic elements, both in a virtual and real environment. And yet it is in shadows and lighting that visual art exists and takes form. Even with colors, lights and shadows change the way in which we see the colors. Light itself is said to have all the spectrum of colors within it. Shadows, in a sense, consume the light and change things, such as the intensity of a given color, giving us the distinction between say, pink and red, or blue and violet and purple - all of which have a bit of each color in them. But yet they are distinct from each other, and are given their most elemental distinctions in the primary colors, such as red, blue, green, and yellow. However, these distinctions are made visible to us in the context of how light and shadows interact with each other. For instance, where the blue texture of the Tigress' shorts is most highlighted by the light of the sun, it becomes nearly white. Where the shadows interact with the shorts, the blues in that area draw close to black. Yet, in both instances, neither the lighting, nor the shadows are intense enough to completely consume the color blue to become completely black or white.
One could also see in the black bra worn shades of grey. Whether there are 50 shades displayed on the bra, I'll leave that open for interpretation. =~.^=
Por favor, no use esta imagen en sitios web, blogs u otros medios, sin mi explicito permiso © Todos los derechos estan reservados.
A great looking 1936 Ford 5 Window Coupe dressed in red and black that appeared at the 2015 Basehor-Linwood High School Car Show.
The Ford Motor Company produced only two models for 1936: the 48 and 68 Series. Both cars were carryovers from 1935 with the same basic body styling, but with modest upgrades. Both models featured numerous body styles and sold well despite Ford falling behind Chevrolet in overall sales. The Fords came in standard and deluxe trim levels.
Model 48
The 1936 Ford Model 48 came in a cabriolet, convertible sedan, three-window coupe, five-window coupe, deluxe five-window coupe, deluxe Fordor sedan, deluxe sedan, deluxe Tudor sedan, Fordor sedan, Phaeton, roadster, station wagon, touring sedan and Tudor sedan. The Model 48 was not as popular as the Model 68. The 48’s best-selling model was the touring sedan with 1,362 units sold. The cabriolets numbered 1,116.
Model 68
Ford offered the immensely popular Model 68 as a cabriolet, club cabriolet, convertible sedan, five-window coupe, five-window deluxe coupe, three-window deluxe coupe, deluxe Fordor, deluxe Phaeton, deluxe roadster, deluxe sedan, deluxe Tudor, Fordor sedan, touring Fordor sedan, two- and four-door sedans with trunk, station wagon, Tudor sedan and touring Tudor sedan. Top sellers were the Tudor sedan with 174,470 units sold and the sedan with a trunk following in second with 166,018 leaving the showroom. Ford also sold 159,825 touring Fordor sedans. In all, Ford sold manufactured 792,000 Model 48s and Model 68s.
Engine
Ford offered only one engine. A 221-cubic-inch flat-head V-8 powered both models. It had a 3.1-inch bore, a 3.75-inch stroke and a 6.3-to-1 compression ratio to generate 90 horsepower for the Model 48 and 85 horsepower for the Model 68. A Stromberg dual downdraft carburetor delivered the fuel to the engine. A three-speed manual transmission transmitted the power to the wheels. The final rear gear ratio of the spiral bevel differential was 4.11-to-1.
Dimensions
Both 1936 models sat on a 112-inch wheelbase with a 55.5-inch front tread width and 58.25-inch rear tread width. The models measured 182.7 inches long and 69.5 inches wide. The fuel tank held 14 gallons.
Chassis
Front and rear suspension consisted of transverse leaf springs with a worm and sector steering gear mechanism. Stopping power came from all-wheel mechanical internal expanding 12-inch drum brakes. Ford moved the engine closer to the nose by 8.5 inches and made the body 5.5 inches wider. It also repositioned the front springs forward of the front axle and moved the rear springs behind the rear axle for better weight distribution.
Ford offered its 1936 models in Gun Metal Gray, Washington Blue, Gray Vineyard Green, Benton Gray Metallic, Cordoba Tan, Desert Sand, Light Fast Maroon, Bambalino Blue and Armory Green.
Features
The 1936 models featured leather interiors, a Steward Warner gasoline heater, a clock ensconced in the rearview mirror and a radio. Ford hid the dual horns in 1936 and added bright work around the headlamps and grille. The model year 1936 proved to be the last year of the freestanding headlamps.