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The Silver Pagoda is located on the south side of the Royal Palace, Phnom Penh.
Formerly, it was known as Wat Ubosoth Ratanaram. The temple's official name is Preah Vihear Preah Keo Morakot (Khmer: ព្រះវិហារព្រះកែវមក៌ត, "Temple of the Emerald-Crystal Buddha") which is commonly shortened to Wat Preah Keo (Khmer: វត្តព្រះកែវ) in Khmer.
The vihara houses many national treasures including gold and jeweled Buddha statues. Most notable is a small green crystal Buddha (the "Emerald Buddha" of Cambodia) — some sources maintain it was made of Baccarat Crystal in 17th century but that's not possible since Baccarat Crystal didn't exist until 18th century; other sources indicate it was made in 19th century by Lalique, a glass designer who lived in 19th-20th century, what makes more sense taking into account that the Royal Palace of Phnom Penh was built using the Bangkok's Grand Palace as a model so the Bangkok's Emerald Buddha would be copied at the same time; but there are not reliable sources — and a life-sized gold Maitreya Buddha decorated with 9584 diamonds, the largest of which weighs 25 carats.
It was created in the palace workshops during 1906 and 1907, the gold Buddha weighs in at 90 kg and is dressed in royal regalia commissioned by King Sisowath. During King Norodom Sihanouk's pre-Khmer Rouge reign, the Silver Pagoda was inlaid with more than 5,000 silver tiles and some of its outer facade was remodeled with Italian marble. However, only a small area of these tiles are available to be viewed by the public on entering the pagoda.
The wall that surrounds the structures is covered with murals of the Reamker painted in 1903-1904 by Cambodian artists directed by the architect of the Silver Pagoda Oknha Tep Nimit Mak.
It is a notable wat (Buddhist temple) in Phnom Penh; Its grounds being used for various national and royal ceremonies. The cremated remains of Norodom Sihanouk are interred in the stupa of Kantha Bopha located on the temple's compound.
Macro Mondays Theme is "Eye".
Still a bit dusty. Keepsake from childhood. I would save all my coins using the slit on the top then shake all my coins out and count all my money. Would never crack my piggy open!
Height measures 2.75" from bottom of foot to top of piggy's ear. Piggy's face measures 1.75" by 1.75". Nose to end depth measures 2.5".
Cypripedium calceolus (Gelber Frauenschuh, lady's-slipper orchid) Kreuzenstein, Niederösterreich, Austria. It was a dry periode, but they survived untill the rain came a week later. Steinheil Cassar 2.8/50.
Sunday 17th November saw the launch of Lothian Country new service X38 operating between Linlithgow, Kirkliston and Edinburgh.
Here is 177 at Waterloo Place departing on the first X38 service to Linlithgow.
Not really the go-to or solid backup shot in my case, as I've never stepped foot here before, but all of my research on the remaining semiphores here convinced me this shot was, if nothing else, the one angle I was going to walk away with.
This was almost true, with leaving Trinidad behind the train, losing it again in Raton due to road work, and stopping for the previously-uploaded sub-par shot at Wagon Mound. The stop at Las Vegas, NM allowed me to get ahead of the train once more and set up for the third and last chance I'd have to frame some semiphores on this trip.
The long write-up aside, Amtrak's Southwest Chief rolls up to the classic, well-documented, semiphores at MP 774.2.
Las Vegas, NM
March 14th, 2022
Metra SW1 #1 sits at the Blue Island Vermont Street station on the Rock Island District with electric bilevels to be serviced. Built in 1939, this unit still serves daily having also worked under the Illinois Central and Rock Island.
" To Claudio Del Fuoco", for your help and explanation, about my new Jellika Copyright!"
"Thank you very much, my friend"
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***Canon 5D Mark II - EF 24-105mm 1:4 L IS USM. © 2016.***
Lázaro Antônio dos Santos - "monsieurlazarophotographies".
Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
---------------------------------GOD BLESS YOU------------------------------------
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Murano glass paper weights
Murano glass is glass made on the Venetian island of Murano, which has specialized in fancy glasswares for centuries. Murano’s glassmakers led Europe for centuries, developing or refining many technologies including crystalline glass, enamelled glass (smalto), glass with threads of gold (aventurine), multicolored glass (millefiori), milk glass (lattimo), and imitation gemstones made of glass. Today, the artisans of Murano are still employing these centuries-old techniques, crafting everything from contemporary art glass and glass figurines to Murano glass chandeliers and wine stoppers, as well as tourist souvenirs.
Today, Murano is home to a vast number of factories and a few individual artists' studios making all manner of glass objects from mass marketed stemware to original sculpture. The Museo del Vetro (Glass Museum) in the Palazzo Giustinian houses displays on the history of glassmaking as well as glass samples ranging from Egyptian times through the present day.
History
A Murano glassworker adds color to his creation
Making the glass malleable
Making a Glass Horse
Located 1.5 km (0.93 mi) from the main city Venice, Italy, Murano has been a commercial port since as far back as the 7th century. It is believed that glassmaking in Murano originated in 8th-century Rome, with significant Asian and Muslim influences, as Venice was a major trading port[citation needed]. Murano glass is similar to the 1st-century BC Greek glasses found in the shipwreck of Antikythera[citation needed]. Murano’s reputation as a center for glassmaking was born when the Venetian Republic, fearing fire and destruction of the city’s mostly wooden buildings, ordered glassmakers to move their foundries to Murano in 1291. Murano glass is the largest proportion of Venetian glass.
Murano's glassmakers were soon the island’s most prominent citizens. By the 14th century, glassmakers were allowed to wear swords, enjoyed immunity from prosecution by the Venetian state, and their daughters permitted to marry into Venice’s most affluent families. Marriage between glass master and the daughter of the nobleman wasn't regarded as misalliance. However glassmakers were not allowed to leave the Republic. Exportation of professional secret was punished by death. Many craftsmen took this risk and set up glass furnaces in surrounding cities and as far afield as England and the Netherlands. By the end of the 16th century, three thousand of Murano island's seven thousand inhabitants were involved in some way in the glassmaking industry. French revolutionary armies occupied Murano in 1797.
Murano glass was produced in great quantities in the 1950s and 1960s for export and for tourists.
Murano glass chandeliers
In the 18th century Murano glassmakers started to introduce new products such as glass mirrors and chandeliers to their production. In history these glass chandeliers became popular after the iron, wood and brass era of chandeliers, and they were such a success that instantly brought chandeliers to a new dimension. The first Murano glass chandeliers to be produced by Venetian glassmakers date back around the year 1700. This new type of chandelier was called "ciocca", literally bouquet of flowers, for the characteristic decorations of glazed polychrome flowers. The most sumptuous of them consisted of a metal frame covered with small elements in blown glass, transparent or colored, with decorations of flowers, fruits and leaves, while simpler model had arms made with a unique piece of glass. Their shape was inspired by an original architectural concept: the space on the inside is left almost empty since decorations are spread all around the central support, distanced from it by the length of the arms. One of the common use of the huge Murano Chandeliers was the interior lighting of theatres and rooms in important palaces.
Giuseppe Briati was the most famous producer of these chandeliers. He focused his work on the creation of what are now recognised as the typical Murano chandeliers with multiple arms decorated with garlands, flowers and leaves, called "ciocche". Born on the island of Murano in 1686 from a family of glassmakers he apparently had the chance to work in a Bohemian glass factory, where he learned the secrets of working the crystal, that at the time was taking over venetian glass leadership on the European market. Briati contributed significantly to improve the fortunes of the Venetian glass, which after having experienced a period of success, was heavily decayed. His furnace became famous for the production of Bohemian inspired glass with a twist of eccentricity, that through colors and decorations gave them the look of triumph of polychrome flowers. Giuseppe Briati created what it's now called Rezzonico Chandelier, whose name derive from the first chandelier of its kind, that represents the classic Murano chandelier. It was designed by Briati for the noble venetian family Rezzonico and hung in their palace along the Grand Canal, now famed venetian museum under the name "Ca' Rezzonico". This kind of chandelier, completely realized by hand, required a particular working by the glassmakers due to the arms being formed by many small pieces of glass. Every shape of glass had to be masterly executed because any outsize piece wouldn't fit to be mounted between the others. Rezzonico chandelier is an example of the ability of the Italian craftmanship to adapt to changes and to offer new and innovative solutions to the mutation of architectural needs.
Murano glass chandeliers have a unique history and continue to be produced in Venice today, thanks to the success that makes them one of Venetian glass best-known and most appreciated products. These pretty and joyful glass chandeliers that became popular after the iron, wood and brass era of chandeliers, instantly brings a new dimension of fun and fashion to the idea of chandelier. Today they are widely appreciated as one of the most beautiful and decorative types of chandelier.
Murano glass in the 20th century
Conditioned by the gusto of recovery and revival which had decreed the nineteenth century re-launching, modern glass-making on Murano was born relatively late on, that is, in the first years of the century while it gave original results only in the second decade at the time when the great foreign Art Nouveau glass-makers had already given their best works.
In the first twenty years of this century the glass of modern style was produced at Murano quite discontinuously, for the most part on the occasion of the Venice Biennale exhibitions and of the Fondazione Bevilacqua la Masa at Ca’ Pesaro. Only in the immediate post-war period did the factories begin a normal production of non-traditional models which often constituted the development of attempts made in previous years. In the 1920s Muranese glass-making positively felt the changes which had taken place in the international artistic world to a greater extent than had been the case in the pre-war period. In the 1930s and 1940s we have the happy union to Art Deco, with its preciosity and decorative fancies. The handicraft of production which will continue to characterize the Muranese glass-works in the 30’s and 40’s in such a way that at the dour Biennale of 1942, invaded by praise of war, the Murano glass constituted a vivacious and almost anachronistic note. Having come out from the nightmare of the dictatorship and the war, those who operated in the interior decorating sector took up activity once again with enthusiasm, nevertheless showing themselves divided between the desire to renew themselves on the bases of rationalist principles and the continuous and inevitable reference to the experiences of the 1930s.
The modern furniture market was covered almost completely by Swedish production for the whole of the 1950s. The rationalists produced furnishing objects which were practical and simple, even programmatically modest. The rationalist instances were generally ignored in Murano, while the attempt was made to stylistically renew the product. In this way the glass-makers, exploiting traditional manual techniques, shaped vases in elementary forms, often square, in bright and provocative colors, with schematic motifs, sometimes geometrical whilst others were inspired by abstract painting. This was an exasperated and provocative affirmation of modernity which, shortly after, would be resolved in more meditated ways.
Murano glass today
Some of Murano's historical glass factories remain well known brands today, amongst them De Biasi, Gabbiani, Venini, Salviati, Barovier & Toso, Pauly, Berengo Studio, Seguso, Formia International, Simone Cenedese, Alessandro Mandruzzato, Vetreria Ducale, Estevan Rossetto 1950 and many others. The oldest glass factory is Antica Vetreria Fratelli Toso, founded in 1854.
Orange Murano beads
Murano Millefiori pendant
Overall, the industry has been shrinking as demand has waned. Imitation works (easily recognizable by experts but not by the common client) from Asia and Eastern Europe take an estimated 40% - 45% of the market for Murano glass, and public tastes have changed while the designs in Murano have largely stayed the same. Due to these factors, as well as the difficult and low-paying nature of the work, the number of professional glassmakers in Murano has decreased from about 6000 in 1990 to fewer than 1000 today.
In an effort to curb imitations, a collection of companies and concerned individuals in Murano created a trademark to certify authenticity. Today about 50 companies use the Artistic Glass Murano® trademark of origin.[6] The trademark was introduced by and continues to be regulated by Region of Veneto Law no.70 of the 23/12/1994. Factories on the island are not required to apply for the trademark and many choose not to, but if a work carries the trademark, its authenticity is guaranteed.
Materials
The other raw materials, called flux or melting agents, soften at lower temperatures. The more sodium oxide present in the glass, the slower it solidifies. This is important for hand-working because it allows the glassmaker more time to shape the material. The various raw materials that an artisan might add to a glass mixture are sodium (to make the glass surface opaque), nitrate and arsenic (to eliminate bubbles) and coloring or opacifying substances.
Colors, techniques and materials
The Murano glass is made up of 70% silica sand, added to a 30% of other substances called “fluxes” and "stabilizers" (soda and lime). These added “fluxes” allows the glass to be melted at a lower temperature, and the "stabilizers" prevent the glass's solubility in water. When the glass melts at a lower temperature, it is possible to create homogeneous and bubble free Murano glass. The Murano glass in its basic composition is colorless. The colors are obtained by adding small amounts of minerals, oxides, and chemical derivatives to the base composition of the glass powder. This is the Murano magic that creates infinite combinations of transparent colors, crayons and alabasters.
Colors, techniques and materials vary depending upon the look a glassmaker is trying to achieve. Aquamarine is created through the use of copper and cobalt compounds, whereas ruby red uses a gold solution as a coloring agent.
Murrine technique begins with the layering of colored liquid glass, which is then stretched into long rods called canes (see caneworking). When cold, these canes are then sliced in cross-section, which reveals the layered pattern. The better-known term "millefiori" is a style of murrine that is defined by each layer of molten color being molded into a star, then cooled and layered again. When sliced, this type of murrine has the appearance of many flowers, thus mille- (thousand) fiori (flowers).
Filigree (a type of caneworking), glass engraving, gold engraving, incalmo, lattimo, painted enamel, ribbed glass and submersion are just a few of the other techniques a glassmaker can employ.
Sommerso
Sommerso (lit. "submerged" in Italian), or "sunken glasses", is a form of artistic Murano glass that has layers of contrasting colors (typically two), which are formed by dipping a gather of colored glass into another molten glass and then blowing the gather into the desired shape; the outermost layer, or casing, is often clear. Sommerso was developed in Murano during the late thirties and was made popular by Seguso d'Arte in the fifties. This process is a popular technique for vases, and is sometimes used for sculptures.
Tools
Special tools are essential for Murano artisans to make their glass. Some of these tools include borselle (tongs or pliers used to hand-form the red-hot glass), canna da soffio (blowing pipe), pontello (an iron rod to which the craftsman attaches the object after blowing in order to add final touches), scagno (the glass-master's workbench) and tagianti (large glass-cutting clippers). The tools for glass-blowing have changed little over the centuries and remain simple. An old Murano saying goes "Good tools are nice, but good hands are better," reinforcing the artistic nature of the glass-making process, which relies on the skill of the worker rather than the use of special tools.
In popular culture
In The Sopranos episode, "A Hit Is a Hit", Tony Soprano's neighbor, Jean Cusimano, hosts a dinner party, at which she comments about the Soprano home: "Oh, but that bar with the goombah[disambiguation needed] Murano glass". Dinner party guest (and Tony's psychiatrist), Dr. Jennifer Melfi, responds: "I like Murano glass". This exchange occurred in the context of a larger conversation that addressed the blurred distinctions amongst various socio-economic classes of Italian-Americans and between gangsters and successful professionals.
Informations from Wikipedia, the free Encyclopedia.
Former used car lot sitting along a state highway.
Night, near full moon, 180 second exposure, handheld light producing device set to white and yellow, large sodium vapor light to camera left and numerous passing cars behind the camera.
Click on the image, because it's best BIG on BLACK!!!
Getting a shot of a Sacred Kingfisher in the Sandy Camp Wetland is almost guaranteed. They take advantage of the large number of arboreal termite nests which provide ideal breeding sites throughout the bushland.
nicolas-hoizey.photo/p/inoummar-agadir/
The Inoummar agadir is the largest granary in the Western Anti-Atlas (576 huts), near Ait Baha, on the road from Agadir to Tafraoute.
The "igoudars" testify to an ancestral history and a secular tradition. Long preserved in time, they reflect a culture both architectural and societal. They are collective granaries in the form of citadels, mostly watched over by a "lamine", which literally means trustworthy man. They were used to store foodstuffs, crops of wheat, corn and barley, oil, jewelry and precious documents. Because of their fortified form, they constituted the ideal refuge and the reliable shelter of the foodstuffs and goods of the douar populations against the temptations of the brigands.
Many Thanks to the +13,880,000 visitors of my photographic stream
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© Ioan C. Bacivarov
All the photos on this gallery are protected by the international of copyright and they are not for being used on any site, blog or forum, transmitted or manipulated without the explicit written permission of the author. Thank you in advance
Please view my most interesting photos on flickriver stream: www.flickriver.com/photos/ioan_bacivarov/..
Pushing her hard is the SD Reliable (right), accompanied by SD Impulse (left), and (centre) the SD Resourceful.
USNS Robert E. Peary (T-AKE-5) is a Lewis and Clark-class dry cargo and ammunition ship of the United States Navy. She is the fourth Navy ship named for Arctic explorer, Rear Admiral Robert E. Peary (1856–1920). Crew complement: 49 military, 123 civilians. Aircraft carried:two helicopters, either Sikorsky or Aerospatiale Pumas.
Name: USNS Robert E Peary
Namesake: Robert Peary
Builder: National Steel and Shipbuilding
Laid Down: 12 December, 2006.
Launched: 27 October 2007
Christened: 9 February 2008.
Motto: “King of the Team”.
Gross tonnage: 43,758 tons.
Max dry cargo weight:
5,910 long tons (6,005 t)
Max dry cargo volume: 83,000 cubic feet (22,000m³)
Max cargo fuel weight: 2,350 long tons (2,390t)
Cargo fuel volume: 18,000 barrels (2,900 m³)
(DFM: 10,500) (JP5:7,500)
Armament: 2–6 × 12.7 mm machine guns; or 7.62 mm medium machine guns.
Aircraft carried: two helicopters (Sikorsky or Pumas)
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SD Reliable: The SD prefix represents the operating contractor Serco Denholm Marine, who took over most of the MOD harbour vessels and tugs after the disbanding of the RMAS in March 2008.(copyright Dave Forbes). Vessels currently in service can be recognised by their black hulls with white beading and white-coloured upperworks
SD Reliable (based Faslane):
Gross Tonnage: 271
Length: 29.14m;
Beam: 9.59m.
Year Built: 2009.
SD Impulse:
Gross tonnage: 319 tonne
Length: 33 m
Beam: 10 m
Draught: 4.2 m
SD Resourceful:
designed to offer towage and assistance services to large vessels and maritime objects on inland waters, in ports, and on coastal waters in heavy weather conditions. Azimuth steering - i.e.360 degrees turn for propellers. Used for Harbour and coastal berthing operations, inc fire fighting.
Length overall (inc. fenders): 29.14 m
Beam (inc. fenders): 9.98 m
Depth at side (at half length): 4.00 m
Draught aft (approx): 4.8 m
Passengers:
Max 15 (12 pax, 3 crew)Crew: Accommodation for 6
Max Speed (knots): 13.1 ahead/13.3 astern knots
CSXT 323 shows off an honorable mention to the L&N RR, aka "The Old Reliable" while hanging out in Bedford Park Intermodal Yard in Bedford Park, Illinois.
Union Pacific SD40N 1948 rolls past some rubber-tired testaments to its reliability as a main-line locomotive for the past four decades.
Built in 1979 for the UP, 1948 is going strong on the Janesville turn as it passes O'Hare Airport on the way out of town, reliability is certainly one of the hallmarks of the SD40 family. Will those trucks still be on the road in forty years?
I can't tell you how many times I've shot L249 rolling south through Richfield, but the character of this location always seems to work.
WAMX 3893
Reliable Karin posin´ for a poster. Look carefully and you´ll see me too! I´m a bit busy with other stuff for the moment, don´t have the I time I would like to have for my Flikr.friends...But at least my health is improving after three weeks of boring illness...so I´ll be back soon...
For several years, A408 was my go-to train for a good chase on the IC mainline through central Illinois. Nothing to do on my days off? Go look for A408. Here, a pair of IC SD70's roar south past the ancient and long-disused Tuscola Farmers' Co-Op elevator at Hayes. Those were the days!
The Black Crown and Yellow Crown ( shown here ) are the to 2 or 3 species here in the wetlands that I just love to photograph, maybe because of there scarcity and elusiveness. This guy amongst others sometimes 4 or 5 or more in the same location for weeks and weeks, hence Mr. Reliable. Thanks for stopping by and have a great Sunday.
This is in the upper portion of Waterfall 227. For those of you that don't know (or care), I call it Waterfall 227 because to it's on Hwy 227 and to my knowledge doesn't have a real name.
I also call it Old Reliable because this one is always flowing, as it is fed primarily by runoff (seems like very clean water) from a pipe on top of the hill.
The farther we are from noisy cities, the more we interact with nature and the more we have to work with our hands. Of course, we cannot completely abandon the benefits of civilization, otherwise life on the countryside will turn into a struggle. But sometimes even the rejection of smartphones, computers and information flows allows us to feel truly alive.
This simple little tractor was inspired by the classic LEGO Town 6608 “Tractor” set from 1982. It's always interesting for me to dig back into the past in search of real gems in old sets. LEGO makes it possible to take this simple and recognizable things and create a modern version based on it.
Turning on the time machine today for this view of CP/CSX train X500 rolling along just east of Fox in Cascade Township. X500 was, for years, a train you could almost always count on seeing east of Grand Rapids, usually mid day. It was also always good for having some cooler CP power out of Bensenville, like SD40-2s and SOO SD60s. However, that chance diminished considerably once CP began taking delivery of ES44ACs, as illustrated by this pair of locomotives.
Interested in purchasing a high-quality digital download of this photo, suitable for printing and framing? Let me know and I will add it to my Etsy Shop, MittenRailandMarine! Follow this link to see what images are currently listed for sale: www.etsy.com/shop/MittenRailandMarine
If you are interested in specific locomotives, trains, or freighters, please contact me. I have been photographing trains and ships for over 15 years and have accumulated an extensive library!
if nothing else is about is the days around christmas, you can always rely on the 6k05 engineers to run. Here is 66425 yesterday at Hellifield Green in some stunning late afternoon light with the 6k05 Carlisle-Crewe running 53 minutes early.
My equipment got compact and light weighted. The telescope was the heaviest element among the equipment except the battery. It is natural and pertinent.
The mount performed precise work through the night with 250mm counterweight shaft and 4.8kg counterweight, and 17.5kg weight in total on the genuine stone bag. It was pointing Polaris, ready for Polar Drift Alignment on PHD2 Guiding. Mechanism for polar alignment was precise and stiff, just the same as Losmandy G11.
I hope to try next generation ZWO AM7 and AM3 in the future. Please make the bottom plate thicker. I will put heavier weights.
equipment: AstroPhysics 130GTX "Granturismo," Field Flattener at f/6.7 focal length 873mm, 22.1mm Spacer, EOS Adapter, Kipon EOS-EOS R adapter, and Canon EOS R-SP4II, modified by Seo-san on ZWO AM5 Equatorial Mount, auto guided at a star with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, ZWO ASI 120MM-mini, GPUSB, and PHD2 Guiding
I put the guide camera and lens on the side of the mount body at the night, but it was a minor mistake. Minor drifting of stars was remarkable on some frames of longer exposure.
Small and lighter guide scope must not have moved remarkably, but long and heavier scope may have moved more against the mount body due to slip between telescope and rings and/or elastic deformation of dovetail, dovetail plate, and rings. I will put the small and light guide scope on the dovetail plate or the ring next trial.
site: 1,530m above sea level at lat. 36 26 01 North and long. 138 30 24 East in Rhododendron Park in Tsumagoi near Mt.Asama 群馬県嬬恋村しゃくなげ園. Ambient temperature was around 2 degrees Celsius or 36 degrees Fahrenheit. Wind was mild. SQML was 20.80.
Deansgate Junction signal box panel.
The original 1880 built lever box was closed in 1957 and was replaced by the current building which houses the 1991 NX panel and controls trains to and from Northenden and Mobberley as well as the trams towards Timperley.
A very busy and cramped box, it is double manned as it oversees the busy crossings at Navigation Road and Hale as well as its own at Deansgate Lane.
With the bio-mass services now running this way, the signallers are even busier and there is never really any time when there isn't a train on the panel. Despite the age of the place there seem to be few issues with the signalling compared with other locations and systems and it keeps plodding along, accommodating the intense service.
* There's an unfunny old joke about a 'Wabbit living in a Westinghouse" which you'll be pleased to know I can't remember!
© I m a g e D a v e F o r b e s
Engagement 2,500+
UK Gov MOD Service Tug
_______________________________________________
VESSEL BUILDER
Constructed Gdansk Poland 2009
by Crist Shipyard
Outsourced Contractor Serco
Hence the prefix 'SD'
271grt
IMO 9533402
First Name & Unchanged
CN's L508 Quad turn rarely serves up power that is "boring". Yesterday was no exception with the GTW GP38 in the lead followed by a zebra-striped CN GP40-2LW.
GTW 4928
CN 9486
I decided to stop making customs because Mr.Super Clear is no longer reliable.
A while ago Mr.Hobby changed the famous MSC from "FLAT" to "MATT" but they didn't only change the labeling, they also changed the formula.
All the dolls I made with the old MSC FLAT remains perfect even after 6 years but the dolls I made with the new MSC MATT starts to crack after a while.
This can take 3 months or a year but the cracks starts to appear. Sometimes they are evident and sometimes you have to watch carefully under a direct light to see them but they are or will be there.
This is happening to a lot of awesome custom artists in the Pullip, Blythe and Bjd communities (and more each day) so I decided to talk to Mr.Hobby about this and they have confirmed to me the obvious: They changed the formula and it can't be used the same as before.
I'm looking for alternatives and making tests to other sealers but this can take a while...
When I find a sealer that works for me I will start making new dolls and remaking the ones that cracked.
If anyone knows about good alternatives to MSC that works and last in plastic I'd appreciate the info.
I'd also like to take the opportunity to ask, especially customizers, that you get in touch with Mr.Hobby (you can change the language from japanese to english in their web and there is a form contact) about this. Personally I think it's a budgetary issue and they won't change it, but if they receive many complaints we may have a chance.
Finally I would like to thank my awesome customers and followers for their encouragement and support, specially now. THANK YOU!
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Anuncio Importante
He decidido dejar de hacer customs porque el Mr.Super Clear ya no es fiable.
Hace un tiempo Mr.Hobby cambió el famoso MSC de "FLAT" a "MATT" pero ellos no solo cambiaron el nombre y las etiquetas, también cambiaron la fórmula.
Las muñecas que hice con el antiguo MSC FLAT siguen perfectas incluso después de 6 años, pero las que he hecho con el nuevo MSC MATT empiezan a agrietarse después de un tiempo.
Ésto puede pasar a los 3 meses o incluso después de un año pero las grietas empiezan a aparecer. A veces son muy evidentes y otras veces hay que mirar la muñeca bajo una luz directa para verlas pero ahí están o estarán.
Ésto le esta pasando a muchos customizadores en el mundo Pullip, Blythe y Bjd (y más cada dia) así que me puse en contacto con Mr.Hobby y me han confirmado lo que era obvio: Han cambiado la fórmula y ya no se puede usar como antes.
Estoy buscando alternativas y haciendo pruebas a otros selladores pero ésto puede tomar un tiempo...
Cuando encuentre un sellador que me funcione seguiré haciendo nuevas muñecas y rehaciendo las que se hayan agrietado.
Si alguien conoce buenas alternativas al MSC que funcionen y duren bien en plástico os agradecería mucho la información.
Aprovecho la oportunidad para pedir, especialmente a los customizadores, que os pongáis en contacto con Mr.Hobby (podeis hacerlo desde el formulario de contacto de su web, que también está en inglés). Personalmente creo que es un problema presupuestario y que no lo van a volver a cambiar pero si reciben muchas quejas quizás tengamos una oportunidad.
Finalmente me gustaría agradecer a mis clientes y seguidores todo su ánimo y su apoyo, especialmente ahora. Muchas muchas gracias!