View allAll Photos Tagged Realization
+1
I had a realization today. I realize why I love college so much. Because everything still feels like summer, it’s like those giant gaps of boredom from before is filled with a few classes, then I go to work like I usually do and then go home. On days I don’t have work; I finish school and spend time with my friends. Anyway, today I began with work nothing too awful, we were really busy taking a lot of sessions, and I photographed about ten session total, and then did one sale. I also found out I have the third highest sales record of our studio (9 people), over this past month. I think I made a total of about one hundred dollars because I had been selling such high priced packages. (I get $2-6 in extra money for every sale we make over one hundred). We had new people tanning today as well which means I no longer a “newbie,” I guess the two of them have worked for the company before but that was back when they used film. I really am trying to like them but they are both really disrespectful, I try and not judge people as much as I can, but they just were really…arrogant toward someone who they were supposed to be watching (they were watching one of our top salespeople do a sale), The one wasn’t paying attention at all, and the other started to act as if she knew what she was talking about. I know they have worked there before, but they don’t anymore, it’s a new system and then need to start form them bottom… oh well some people just have those weird personalities.
After work I went home and finished off a nice old classic bottled sprite I found in our mall’s sub shop. The guy was really nice and I bought it for two bucks. Since I worked in the vintage soda business before I’ve seen my fair share of bottles, but I had never seen a classic sprite bottle yet, so I had to get my hands on one. Especially today being over 100 degree weather and being in a work uniform consisting of ALL BLACK. Then after lunch I went to dinner with my girlfriend and saw X-Men first class at the three dollar theater. It was fantastic!
My girlfriend snapped this photo for me, the sunset rays were gorgeous and I couldn't take it since I was driving. I talked her through the settings. So lucky to have her! :)
Happy Friday Everyone!
FF - my last funeral realization at Garash Gallery in Mexico DF. Twin graves made from mirror in Black Castro Funebris. Dark Pit, Sorrow, Reflection, Mimesis, Portal…The project deals with the questions of Death, Death Culture and Functionalism of the Beauty.
Maurycy Gomulicki
"Final Fantasy" - installation
Original music: Maciek Sienkiewicz
Garash Galeria, Alvaro Obregon 49
Colonia Roma, Mexico DF.
Strange day today, not only is it a day that occurs only one year in four, but scho0l was cancelled due to a winter storm that has yet to develop at 11 am. The storm was predicted to be ugly up here...will have to wait to see what develops.
I had in my mind I wanted to jump (something I must admit I don't often do) but realized that I can't. I tried to jump with the assistance of my cane and the cupboard but had to finally resort to photoshop. My mind was willing, but not the body : (
Happy Leap Day!
It’s very cold in Chengdu these days. So, I went for a trip to Kun Ming, the capital of Yun Nan, China. Interpreted as Eternal Spring City, where sun's shine seems everlasting and a place where a lot of people come during a biting cold winter season. My group were headed to a place known to have a very beautiful sunrise and sunset reflecting on the man-made rice terraces located in the mountains of Yuan Yang.
I'm excited most of all because I really want to see the awesome sun showing its glory and magnificence. I missed the sunshine. It was too long since I last saw it.
We arrived in Kun Ming at 2pm. almost 2 hours flight from Chengdu, and headed directly to Yuan Yang. We got into a Lexus SUV, which I realized later the significance why we used this kind of vehicle. I dozed off in a couple of minutes and when I woke up, the sun was setting already. I do not know how far Yuan Yang from Kun Ming is. The driver was busy tinkering the GPS and figuring out if we are on the right road, the Boss was talking to Shushu. John was helping the driver on the LCD buttons, and the other guy at the back was still sleeping. I got bored. I looked at the sun, it is magnificent. And it’s almost gone. I can't explain the feeling of seeing it. It gave me happiness, but a little sad because clouds are engulfing its splendour and soon it will be night.
I got the urge of taking a shot while it was setting. My D700 is at the back, and so is the guy who was still sleeping. I thought it wasn't nice to wake him up for my camera bag. I felt the urge of taking a photo while the sun slowly fades. But I was reluctant. I was thinking it would be better if I take the shot using my D700. I was thinking it will still shine brightly tomorrow. I am in at “Eternal Spring City” where the sun shines brightly in a clear blue sky. I can wait.
But I thought it was the right time. If not the right place to take the shot, It was the right time. What if it will not shine tomorrow? What if there will be rain the next day? What the heck. Who cares if it is called spring city and it will surely shines up again tomorrow, I got to take this shot. It has to be quick. Otherwise I will lose this chance. I reached for my left pocket and grabbed my iphone. I missed at first shot. There was a tree in the middle and it was blocking the sun. We were travelling in a couple of miles per hour, so I have to be quick. Ready...and I hit the shutter button. There it is! My second shot. The sun and its glory! I am happy of this shot.
I plan to narrate this 2 day trip with all of the pictures I took until my arrival back here in Chengdu. And hopefully be concluding before I leave for Dubai early next month. I hope you will like this story that I'll be writing.
Keep on shooting friends!
- H.H. Dilgo Khyentse
The Hundred Verses of Advice. Tibetan Buddhist Teachings on What Matters Most, translated by the Padmakara Translation Group, Shambhala Publications, Boston & London, 2005.
Very low tide, Mavericks, Pillar Point, San Mateo County, Northern California Beach, USA
In the process of realization
Small articulated doll (15cm. of pure love)
textile
Soon on sale
(I'm finishing his packging and surprises)
Location: Germany, Sachsen-Anhalt, Nebra
Type: Museum, Planetarium, Watch-tower
Architect: Holzer Kobler Architekturen
Investor: Burgenlandkreis, Kreisverwaltung
Realization: 2007
Recent realization: Since I began illustrating professionally, I haven't done nearly as much sketching for fun as I used to. Creative play helps remind me not to worry so much about being technically perfect, to just have fun with it.
I took advantage of the 1-day DeSerres Member 25%-off sale today at our local store (you need a coupon) to buy a bunch of supplies, most of which I'm going to use for PURE PLAY. Thank SO MUCH to my children's book writer/illustrator sister, Ruth Ohi, for alerting me to the sale; I usually unsubscribe from promo mailing lists so missed the announcement.
The small packets are cartridge refills for my favourite sketching pen, the Pentel Pocket Brush Pen. I go through a lot of them, so figure I may as get a bunch of them for the 25% discount. Also bought a pile of sketchbooks, watercolor sketchbooks and watercolors to play around with over the coming year.
Before you super-experienced artists start advising me to get higher-grade supplies -- I'm purposely opting for less expensive alternatives because (1) I'm still learning and (2) getting more expensive supplies will make me more self-conscious about experimenting.
Just LOOKING at my new art toys is making my fingers itch, wanting to dive in and start playing. CAN'T WAIT.
------
More about me and my work: DebbieOhi.com. Twitter: @inkyelbows
All images ©2013 Debbie Ridpath Ohi. Please don't use without permission, thanks.
SOTD: Jump Then Fall - Taylor Swift
"I like the way your hair in your face, you got the keys to me, I love each freckle on your face. Oh I've never been so wrapped up, honey. I like the way you're everything I ever wanted. I had time to think over and I can say is come closer."
Vermurte Landschaft, oil on fibreboard, 1986-87 (loan Peter Infeld Private Foundation Vienna)
Anton Lehmden (1929 in Nitra, Slovakia), painter, graphic artist
Lives in Deutschkreutz, Burgenland, state of Austria
Mud-covered landscape, Öl auf Holzfaserplatte, 1986-87 (Leihgabe Peter Infeld Privatstiftung Wien)
Anton Lehmden (1929 in Nitra, Slowakei), Maler, Grafiker
Lebt in Deutschkreutz, Österreich
The Museum of the Dreamers
The Phantastenmuseum is a museum in the Palais Palffy in the 1st district of Vienna Inner City. It shows the evolution of fantastic, surreal and visionary art of the postwar period to the present.
History
Following discussions between the Austrian artist Ernst Fuchs (* 13. Februar 1930 in Wien; † 9. November 2015) and the publisher, organizer and author Gerhard Habarta the idea of a museum of fantastic art in Vienna came to the realization. The "Austrian Cultural Center since 1958" in the Palais Palffy was enthusiastic about the idea, the plans for the new museum were concretised in the year of 2010. In autumn 2010 was started with the adaptation of the premises, which was completed in January 2011. The opening of the museum took place under the patronage of Federal President Heinz Fischer on 15 January 2011.
Premises
For the museum parts of the historical Palais Palffy due to war damage in the 1950s renovated were used.
The foyer was designed by Lehmden student Kurt Welther about The Marriage of Figaro. Here, also a lobby with the ticket office, the information and the museum shop has been set up. In this one gifts like replicas of famous works of art, sculptures, jewelery, catalogs and posters as well as original editions are sold. On the 1st floor is located opposite the Figaro Concert Hall the gallery. It is a 150 m² large space for solo exhibitions. The museum occupies the entire top floor and consists of designed spaces. In addition to works from its own collection and permanent loans, documents and portraits of artist personalities are shown.
The museum
The museum is divided into the following areas:
Impulses: Here are the inspirations identified which brought the young artists first information after the war, with works by Edgar Jené and Gustav K. Beck and Arnulf Neuwirth.
Academy: Here, the young creatives found an artistic home, including works by Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden and Kurt Steinwendner before he turned into the filmmaker and object artist Curt Stenvert.
Contemporaries: These include older artists of fantastic, who had survived the dictatorship, like Greta Freist, Kurt Goebel, Charles Lipka or the CIA agent Charles von Ripper. And the young ones, as Rudolf Schoenwald or Arnulf Rainer as well as painters who moved in later Art Club. These include the "partisan" Maria Biljan-Bilger, Peppino Wieternik before he turned to the abstract, and Carl Unger who designed a large glass front of the Palais Palffy.
Art Club: It gathered the artistic elite of the post-war period and became with the Strohkoffer (straw suitcase) a social center.
Dog Group: It became the first counter-movement, in which the rebels as Ernst Fuchs, Arnulf Rainer and Maria Lassnig, Wolfgang Kudrnofsky and maverick visionary Anton Krejcar with graphics that today have become valuable manifested themselves.
The Pintorarium of Friedensreich Hundertwasser, Ernst Fuchs and Arnulf Rainer fought actionistically with wall newspaper and nude demonstration against the established Academy, bad architecture and for the freedom of the spirit.
Hundertwasser realized the theories of Pintorarium in his buildings. A photo documentation of Kurt Pultar.
Vienna School of Fantastic Realism: The core of the museum with pictures of Arik Brauer, Wolfgang Hutter, Fritz Janschka, who lives in the United States and Anton Lehmden. Of Rudolf Hausner is - in addition to an oil painting - the documentation of long-term work on his Ark of Odysseus to see. In addition to an early work by Ernst Fuchs, a specially created for the museum great painting version of a 55 years ago arosen drawing is shown.
In the department of simultaneous 16 images of that Viennese Fantasts can be seen who presented themselves in the 1960s for the first time, among other things, in the gallery that installed Ernst Fuchs.
In the Department Next Generation are those almost still "young ones" which - despite temporary exclusion by the avant-garde - are committed to the new tendencies of the fantastic. They studied partly with Hausner, Lehmden, Hutter and Fuchs and also learned as wizards.
The Graphic Cabinet presents some etchings and lithographs to stamps. Here the global network is shown in about 30 works by international visionaries. Representatives from Japan, the US, Australia and European centers are the ambassadors of associations of fantastic artists, the Ambassadors of the Fantastic Universe.
Phantastenmuseum
Das Phantastenmuseum ist ein Museum im Palais Pálffy im 1. Wiener Gemeindebezirk Innere Stadt. Es zeigt die Entwicklung der phantastischen, surrealen und visionären Kunst von der Nachkriegszeit bis zur Gegenwart.
Geschichte
Nach Gesprächen zwischen dem österreichischen Künstler Ernst Fuchs und dem Verleger, Organisator und Autor Gerhard Habarta entstand die Idee zur Verwirklichung eines Museums für phantastische Kunst in Wien. Das „Österreichische Kulturzentrum seit 1958“ im Palais Pálffy zeigte sich von der Idee begeistert, die Pläne für das neue Museum wurden im Jahr 2010 konkretisiert. Im Herbst 2010 wurde mit der Adaptierung der Räumlichkeiten begonnen, die im Jänner 2011 abgeschlossen wurde. Die Eröffnung des Museums fand am 15. Jänner 2011 unter dem Ehrenschutz von Bundespräsident Heinz Fischer statt.
Räumlichkeiten
Für das Museum wurden Teile des historischen, aufgrund Kriegsschäden in den 1950er Jahren renovierten Palais Pálffy genutzt.
Das Foyer wurde vom Lehmden-Schüler Kurt Welther zum Thema Figaros Hochzeit gestaltet. Hier wurde auch ein Empfangsbereich mit der Ticketkasse, der Information und dem Museums-Shop eingerichtet. In diesem werden Geschenke wie Nachbildungen berühmter Kunstwerke, Skulpturen, Schmuck, Kataloge und Kunstdrucke sowie auch Original-Editionen verkauft. Im 1. Stock befindet sich gegenüber dem Figaro-Konzertsaal die Galerie. Es handelt sich um einen 150 m² großen Raum für Einzelausstellungen. Das Museum nimmt das gesamte Obergeschoss ein und besteht aus gestalteten Räumen. Neben den Werken aus eigenem Bestand und Dauerleihgaben werden Dokumente und Porträts der Künstlerpersönlichkeiten gezeigt.
Das Museum
Das Museum ist in folgende Bereiche gegliedert:
Impulse: Hier werden die Impulse aufgezeigt, die den jungen Künstlern erste Informationen nach dem Krieg brachten, mit Werken von Edgar Jené und Gustav K. Beck und Arnulf Neuwirth.
Akademie: Hier fanden die jungen Kreativen eine künstlerische Heimat, mit Werken von Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden und Kurt Steinwendner, bevor er zum Filmemacher und Objektkünstler Curt Stenvert wurde.
Zeitgenossen: Dazu zählen ältere Künstler des Phantastischen, die die Diktatur überlebt hatten, wie Greta Freist, Kurt Goebel, Charles Lipka oder der CIA-Agent Charles von Ripper. Und die Jungen, wie Rudolf Schönwald oder Arnulf Rainer sowie Maler die sich im späteren Art Club bewegten. Dazu gehören die „Partisanin“ Maria Biljan-Bilger, Peppino Wieternik, bevor er sich zum Abstrakten wandte, und Carl Unger der für das Palais Pálffy eine große Glasfront gestaltete.
Art Club: Er versammelte die künstlerische Elite der Nachkriegszeit und wurde mit dem Strohkoffer ein geselliges Zentrum.
Hundsgruppe: Sie wurde zur ersten Gegenbewegung, in der sich die Aufrührer wie Ernst Fuchs, Arnulf Rainer und Maria Lassnig, Wolfgang Kudrnofsky und der Außenseiter-Phantast Anton Krejcar mit heute wertvoll gewordenen Grafiken manifestierten.
Das Pintorarium von Friedensreich Hundertwasser, Ernst Fuchs und Arnulf Rainer kämpfte aktionistisch mit Wandzeitung und Nacktdemonstration gegen die etablierte Akademie, schlechte Architektur und für die Freiheit des Geistes.
Hundertwasser verwirklichte die Theorien des Pintorariums in seinen Bauten. Eine Fotodokumentation von Kurt Pultar.
Wiener Schule des Phantastischen Realismus: Der Kern des Museums mit Bildern von Arik Brauer, Wolfgang Hutter, dem in den USA lebenden Fritz Janschka und von Anton Lehmden. Von Rudolf Hausner ist - neben einem Ölbild - die Dokumentation der langjährigen Arbeit an seiner Arche des Odysseus zu sehen. Neben einem Frühwerk von Ernst Fuchs ist auch eine eigens für das Museum geschaffene große Gemälde-Fassung einer vor 55 Jahren entstandenen Zeichnung ausgestellt.
In der Abteilung der Gleichzeitigen sind 16 Bilder jener Wiener Fantasten zu sehen, die sich in den 1960er-Jahren zum ersten Mal präsentierten, u.a. in der Galerie, die Ernst Fuchs installierte.
In der Abteilung Next Generation sind jene fast „noch Jungen“, die sich – trotz zeitweiliger Ausgrenzung durch die Avantgarde – neuen Tendenzen des Phantastischen verpflichtet fühlen. Sie haben zum Teil bei Hausner, Lehmden, Hutter und Fuchs studiert und auch als Assistenten gelernt.
Das Graphische Kabinett stellt einige Radierungen und Lithographien bis hin zu Briefmarken aus. Hier wird in etwa 30 Werken internationaler Phantasten die weltweite Vernetzung gezeigt. Vertreter aus Japan, den USA, Australien und europäischen Zentren sind die Botschafter von Vereinigungen phantastischer Künstler, den Ambassadors of the Fantastic Universe.
August 24, 2025, 22.17-mile gravel bike ride to Boulder Creek Canyon, Chapman, Artist Point, and down Flagstaff Mountain.
Towards the end of the Korean War, the USAF came to the realization that their transport fleet was becoming obsolete. The C-46 Commandos and C-47 Skytrains in service were no longer adequate, while the C-119 Flying Boxcar was having difficulties. In 1951, the USAF issued a requirement for a new tactical transport, an aircraft that would need to carry at least 72 passengers, be capable of dropping paratroopers, and have a ramp for loading vehicles directly into the cargo compartment. Moreover, it must be a “clean sheet” design, not a conversion from an existing airliner, and the USAF preferred it be a turboprop design. Five companies submitted designs, and six months later the USAF chose Lockheed’s L-402 design—over the misgivings of Lockheed’s chief designer, Clarence “Kelly” Johnson, who warned that the L-402 would destroy the company. Little was Johnson to know that, fifty years later, the L-402—designated C-130 Hercules by the USAF—would still be in production, and one out of only five aircraft to have over 50 years of service with the original purchaser.
The C-130 was designed to give mostly unfettered access to a large cargo compartment—the ramp forms an integral part of the rear fuselage, the wing is mounted above the fuselage, and the landing gear is carried in sponsons attached to the fuselage itself, while the fuselage has a circular design to maximize loading potential. The high wing also gives the C-130 good lift, especially in “high and hot” situations. The Allison T56 turboprop was designed specifically for the Hercules, and has gone on to become one of the most successful turboprop designs in history.
After two YC-130 prototypes, the Hercules went into production as the C-130A in 1956, to be superseded by the improved C-130B in 1959. The latter became the baseline Hercules variant: C-130As had three-blade propellers and a rounded “Roman” nose, while the B introduced the more familiar, longer radar nose and four-blade propellers. (Virtually all A models were later retrofitted to the long nose, though they kept the three-blade propellers.) In the 50 years hence, the basic C-130 design has not changed much: the C-130E introduced underwing external fuel tanks, while the C-130H has a slightly different wing. Even the new C-130J variant only introduced new engines with more fuel efficient six-bladed propellers: the basic design remains the same. Lockheed also offers stretched versions of the Hercules, initially as a civilian-only option (the L-100-30); the British Royal Air Force bought this version as the C-130K and it was later adopted by other nations, including the United States.
The basic C-130 is strictly a transport aircraft, but the versatility of the aircraft has meant it has been modified into a dizzying number of variants. These include the AC-130 Spectre gunship, the HC-130 rescue aircraft and WC-130 weather reconnaissance version. Other versions include several dozen EC-130 electronic warfare/Elint variants, KC-130 tankers, and DC-130 drone aircraft controllers. The USAF, the US Navy, and the US Marine Corps are all C-130 operators as well. Besides the United States, there are 67 other operators of C-130s, making it one of the world’s most prolific aircraft, with its only rivals the Bell UH-1 Iroquois family and the Antonov An-2 Colt biplane transport. C-130s are also used extensively by civilian operators as well as the L-100 series.
The “Herky Bird,” as it is often nicknamed, has participated in every military campaign fought by the United States since 1960 in one variation or the other. During Vietnam, it was used in almost every role imaginable, from standard transport to emergency bomber: as the latter, it dropped M121 10,000 pound mass-focus bombs to clear jungle away for helicopter landing zones, and it was even attempted to use C-130s with these bombs against the infamous Thanh Hoa Bridge in North Vietnam. (Later this capability was added as standard to MC-130 Combat Talon special forces support aircraft; the MC-130 is the only aircraft cleared to carry the GBU-43 MOAB.) It was also instrumental in resupplying the Khe Sanh garrison during its three-month siege. Hercules crews paid the price as well: nearly 70 C-130s were lost during the Vietnam War. In foreign service, C-130s have also been used heavily, the most famous instance of which was likely the Israeli Entebbe Raid of 1976, one of the longest-ranged C-130 missions in history. C-130s are often in the forefront of humanitarian missions to trouble spots around the world.
As of this writing, over 2300 C-130s have been built, and most are still in service. It remains the backbone of the USAF’s tactical transport service; attempts to replace it with the Advanced Tactical Transport Program (ATTP) in the 1980s and to supplement it with the C-27J Spartan in the 2000s both failed, as the USAF realized that the only real replacement for a C-130 is another C-130.
This former Royal Norwegian Air Force C-130H is in the Pima Air and Space Museum's restoration yard. Serial Number 355 was built for the RNAF, and served its entire career with 335 Squadron at Oslo-Gardemoen, from around 1978 to 2008. It was retired in favor of a C-130J, and flown to storage at AMARC in Arizona. In 2020, it was chosen by Coulson Aerospace for conversion to a C-130 firebomber, and towed from AMARC to Pima.
Though Pima does lack a C-130H (they have a C-130A and LC-130D), this looks to be a temporary home for 355. It still retains its RNAF colors and Spraylat preservative; the device on the rudder is a gust lock. If this aircraft will be flying again before long, I'm glad I got a shot of 355 in June 2022.
Nobody can talk about grace as much as I do without coming to the realization that none of us truly deserves all the great things we have in our lives. But believing in grace doesn't mean that I don't believe in hard work, or that I think all my blessings are unearned.
Dave wondered if the MSU I graduated from is the same MSU he attended--it isn't, but his asking the question made me realize that there's a story I'd always wanted to share here but never did. And if this gets dangerously close to bragging on myself, well, I've never denied having a healthy ego.
I spent the first year and a half of college at a small liberal arts college affiliated with my church. I won't name it because my experiences there had little to do with the college and more to do with where I was in life at that time. But let's just say I was not happy there. I wasn't happy anywhere at that time.
You see, I was depressed. And I didn't know it.
After three semesters I felt like what I needed most was a change of scenery so I left there and transferred to Minnesota State (which was still going by Mankato State in those days). I came in as an accounting major, which strikes me as laughable now--I'm no more fit to be an accountant than I'm fit to be a mother. By the end of my first quarter at MSU, my grade point had dropped to 1.98 and I found myself--a kid who had been in the Talented and Gifted program since 2nd grade--on academic probation. I was three hundredths of a grade point away from being expelled.
In the spring quarter of my sophomore year I made the first smart decision of my academic career and changed my major to 'undecided.' That quarter I only took classes that I knew I would find interesting. That meant American literature, meteorology, Constitutional law, and social and political philosophy. I didn't know where these courses would lead me. I didn't care. I just didn't want to get thrown out of school.
I did well in all the classes, but I felt a real affinity for the philosophy course. I devoured my readings and wanted more. And I delighted in not having to turn in a bunch of bogus busywork--the grade for the entire class came down to one paper.
I got an A for a paper on William James' "The Moral Equivalence of War." I was addicted. So I changed my major to philosophy, which led to derisive hooting from my friends.
"What are you ever going to do with a degree in philosophy?"
It's true, there aren't many job openings for philosophers. But there are even fewer employers looking for people who can't think or can't work hard without a gun to their heads.
Everything fell into place. For the rest of my college career I got one B and one C. The rest of my grades were As. I worked hard, not just at the stuff that I liked but also at the stuff that I didn't. (Being filled up in philosophy classes helped me deal with all the general education dreariness that's part of almost everyone's college experience.)
By the time I graduated in August 1994 I'd raised my GPA from 1.98 to 3.53 overall. I'd been diagnosed with subclinical depression, a condition I still struggle with from time to time. And I found myself in a position I hadn't envisioned just two and a half years earlier: having options for what happened to me next. I chose seminary (or seminary chose me) but I could've gone on to library school or further study in philosophy or public administration--I'd been offered all of those opportunities.
The key to success, I'm convinced, lies in two things: knowing what you love, and doing it. No matter what. No matter if the Web articles tell you it's a promising career field or not. No matter if your family understands your choice or not. You can't be a success without being inwardly happy, because inward happiness is the first and greatest element of success.
And for me, those gold letters 'magna cum laude' make me very happy. I know what I did to deserve them.
The photo above shows two different realizations of a working origami roller bearing;
The yellow bearing is the inner yellow triangle and the 3 inner rolled sheets of paper making the cylinders.
The Red Bearing is folded from a single 21 inch square sheet of card stock (very light poster board). The rollers are simulated using inner fins that are folded curves.
The yellow bearing was my original concept before I learned that you had to use a single square.
Both will spin relatively freely on an axel. You could use any rod including a tightly rolled sheet of paper.
The yellow bearing will support considerable weight. I have used additional card stock to make arms which are strapped to the inner triangle. Arm extensions can be added by inserting additional material. I have tested the yellow bearing with three arms that were over two meters in length. The bearing still rotated freely with very minimal effort.
I also strapped 15 (1 inch) wooden blocks to test for weight. The rolled cylinders do not squash perceptibly and provide a relative smooth rotation with very minimal effort.
The red bearing depends on the strength of the paper for bearing up under weight. I believe the fins will squash inward but have not tested this bearing under substantial weight. Under moderate weight, it holds up quite well.
You can reduce the width of the red bearing by using a narrower rectangle, thus reducing the friction caused by drag. I can see using this roller on a vehicle that will roll on slight inclines. I might have to try this with either my Duesenberg or my fire truck.
For a discussion of machine design with bearing go to this link:
machinedesign.com/whats-difference-between/what-s-differe...
You will notice that most bearing have many more rollers. I decided that for my “paper only” design that just 3 contact points would be most efficient.