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Duncan's *CIELO* 29er complete bike
Blue Lug Custom
Spec
Frame:*CIELO* 29er
Fork:*FOX* 32float
Headset:*CHRIS KING* inset7
Stem:*THOMSON* elite x4
Handle:*NITTO* for shred bar
Wheels:*CHRIS KING* iso hub X *STANS* flow
Tire:*WTB* nano
Brake&Shifter:*SRAM* X0
Crankset:*SRAM* X0
Seatpost:*THOMSON* elite seatpost
Saddle:*WTB* silverado
FD&RD:*SRAM* X0
BB:*PHILWOOD* outboard bb
Brake:*AVID* elixar
Stembag:*OUTER SHELL ADVENTURE* stem caddy
Seat Bag:*FAIRWEATHER* seat bag mini
Here's the nearly complete oven, sand form out, still waiting on a finish coat. This oven's hearth measures 36" x 40", used 60 bricks for the floor, and well over 1000lbs of cob for the dome.
A 2007 Salsa Campeón frameset, built up with Dura-Ace, Zipp 404s, FSA MegaExo Ceramic bottom bracket and K-Force carbon crankset. Total weight: 17.4 pounds.
Connecticut Power Lines asked if I could get a few more shots of the spacer line... here ya go! Are they indeed Hendrix?
Hendrix of Milford, NH is still in business but their spacers are now gray. I remember them making such mundane items as bird cages.
For my first Gunpla, and my first plastic model (outside of LEGO) that I have built in years, it does not look too bad. My next kit will be more in depth and be a completely painted kit to help hide any mistakes (nub marks, seam lines, etc.) that are made during the build. Overall I am very satisfied with this kit.
Added hood insulation after painting. The round fasteners hold best; the square ones kept popping out.
Pearl Vision VX905 5-Piece Drum set w/ Pearl hardware
Zildjian Master Sound Hi-Hat, 14 inch
Zildjian K Dark Medium-Thin Crash, 16 inch
Wuhan China Cymbal, 20 inch
Zildjian K Custom Dark Crash, 18 inch
Zildjian Scimitar Ride, 20 inch (that I've had FOREVER)
never spent 2 week's time to finish an illustration .. the moment when 100% is complete is too happy! :)
in my Caviyummy shop~
first let me say sorry for not uploading this sooner. i had to give one of my three tropicana conatiners the chop to get thier 6x16 plates, and the 6 x 10 plates are bowing out is any one else having this problem thanks.
Completed building for the New Headquarters of PGGM Insurance Company in Zeist (Holland). April 2011.
© Adrià Goula
I couldn't really take a swim that day when everybody was having fun.. cause I had a slight injury cause of an accident.. But I did later on join them as I couldn't just stare at them having a great time!!
*SURLY* steamroller complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* steamroller BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Headset:*CANE CREEK*
Stem: *VELO ORANGE* threadless stem
Handle:*FAIRWEATHER* mod174 all road bar (black)
Wheels: *VELO CITY* a23 × *GRAN COMPE* small track hub
Tire: *PANARACER* pacera
Brake lever:*SHIMANO*
Crankset: *FSA* gimondi track crankset
Saddle: *BROOKS* team pro classic
Seat post:*BL SELECT* slit seatpost
Bar tape:*BROOKS* leather bartape
*AFFINITY CYCLES* metropolitan complete bike
BLUE LUG custom
SPEC
Frame: *AFFINITY CYCLES*metropolitan
Headset:*DIA-TECH*
Wheels: *H PLUS SON* archetype rim × *PHILWOOD* high flange track hub (orange)
Tire:*PANARACER* pasela
Brake lever:*CANE-CREEK*crosstop
Crankset: *FAIRWERTHER* cx crankset
Brake:*CAMPAGNOLO*veloche
Handle:*FAIRWEATHER* mod174 all road bar
Stem:*FAIRWEATHER* MT-31 side clamp stem
Seat post: *NITTO* s65
Saddle:*SELLE SAN MARCO* regal (black)
Bartape:*FIZIK* superlight classic
Manoel de Oliveira Movie Theater, Porto, Portugal.
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Manoel Cândido Pinto de Oliveira (11 December 1908 – 2 April 2015) was a Portuguese film director and screenwriter born in Cedofeita, Porto. He first began making films in 1927, when he and some friends attempted to make a film about World War I. In 1931, he completed his first film Douro, Faina Fluvial, a documentary about his home city Porto made in the city-symphony genre. He made his feature film debut in 1942 with Aniki-Bóbó and continued to make shorts and documentaries for the next 30 years, gaining a minimal amount of recognition without being considered a major world film director.
In 1971, Oliveira directed his second feature narrative film, Past and Present, a social satire that both set the standard for his film career afterwards and gained him recognition in the global film community. He continued making films of growing ambition throughout the 1970s and 1980s, gaining critical acclaim and numerous awards. Beginning in the late 1980s, he was one of the most prolific working film directors and made an average of one film per year past the age of 100. In March 2008, he was reported to be the oldest active film director in the world.
Oliveira was born on 11 December 1908 in Porto, Portugal, to Francisco José de Oliveira and Cândida Ferreira Pinto. His family were wealthy industrialists and agricultural landowners. His father owned a dry-goods factory, produced the first electric light bulbs in Portugal and built an electric energy plant before he died in 1932. Oliveira was educated at the Colégio Universal in Porto before attending a Jesuit boarding school in Galicia, Spain.
As a teenager, his goal was to become an actor. At 17, he joined his brothers as an executive in his father's factories, where he remained for the majority of his adult life when not making films. In a 1981 Sight and Sound article, John Gillett describes Oliveira as having "spent most of his life in business ... making films only when circumstances allowed."
From an early age, Oliveira was interested in the poverty of the lower classes, the arts and especially films. While he named D. W. Griffith, Erich von Stroheim, Charlie Chaplin, Max Linder, Carl Dreyer's The Passion of Joan of Arc and Sergei Eisenstein's The General Line as early influences, he was also disappointed to have virtually no Portuguese filmmakers to emulate. The Portuguese film industry was also highly censored and restricted under the fascist Salazar regime that lasted from the early 1930s until the mid-1970s. His later films, such as The Cannibals and Belle Toujours (a sequel to Belle de Jour), suggest an affinity with Spanish-Mexican filmmaker Luis Buñuel. He stated "I'm closer to Buñuel. He's a reverse Catholic and I was raised a Catholic. It's a religion that permits sin, and Buñuel at the very deepest is one of the most moralistic directors but he does everything to the contrary. I never say that I'm Catholic because to be Catholic is very difficult. I prefer to be thought of as a great sinner."
In 1967, the Cineclube do Porto sponsored a Week of Portuguese Cinema, where many filmmakers from the blossoming Cinema Novo movement screened films and discussed "the precarious situation of Portuguese cinema in the marketplace, and the decline of the film club movement." This resulted in the Calouste Gulbenkian Foundation's creation of the Centro Portuges de Cinema, which would help to finance and distribute films in Portugal. The first film that the foundation chose to sponsor was Oliveira's next feature, and the early 1970s would come to be known as the Gulbenkian Years of Portuguese cinema.
In 2002, Portuguese architect Eduardo Souto de Moura completed "Cinema House" in Porto, which was designed to commemorate the work of Oliveira.
Manoel de Oliveira married Maria Isabel Brandão de Meneses de Almeida Carvalhais (1 September 1918 - 11 September 2019) in Porto on December 4, 1940. They remained married for nearly 75 years and had four children; their two sons are Manuel Casimiro Brandão Carvalhais de Oliveira (a painter born in 1941 known as Manuel Casimiro), Jose Manuel Brandão Carvalhais de Oliveira (born 1944), and their two daughters Maria Isabel Brandão Carvalhais de Oliveira (born 1947) and Adelaide Maria Brandão Carvalhais de Oliveira (born 1948). They have several grandchildren, including actor Ricardo Trêpa through his youngest daughter.
In his younger days, Oliveira competed as a race car driver. During the 1937 Grand Prix season, he competed in and won the International Estoril Circuit race, driving a Ford V8 Special.
Manoel de Oliveira, at the age of 101, was chosen to give the welcoming speech at Pope Benedict XVI's meeting with representatives of the Portuguese cultural world on May 12, 2010, at the Belém Cultural Center. In the speech, titled "Religion and Art", he said that morality and art may well have derived from the religious attempt at "an explanation of the existence of human beings" with regard to their "concrete insertion in the Cosmos". The arts "have always been strictly linked to religions" and Christianity has been "prodigal in artistic expressions". In an interview published the day before, Oliveira, who was raised a Catholic, said that, "doubts or not, the religious aspect of life has always accompanied me," and added, "All my films are religious."
For several years before Oliveira's death, a feature film called A Igreja do Diabo (The Church of the Devil) was in development. In an interview conducted less than five months before his death, Oliveira revealed that he had plans for future films.
In July 2012, Oliveira spent a week in hospital to treat a respiratory infection and congestive heart failure. Oliveira died in Porto on 2 April 2015, aged 106. He was survived by a wife, four children, and numerous grandchildren and great-grandchildren.
Features
1997 Voyage to the Beginning of the World
1998 Anxiety
The finished piece for the Kindle. Note the left side of the Landscape was used, and I overlayed the broken frame on the image with some dark gray digitally coated over it to make the inside image pop.
Hahaha and this is what became of Lexian. Ya'll should know now I love mah boys in corsets. XD
Lexian got a pretty butterfly and flame tattoo so he wouldn't feel left out.
Completed toilets in villages in Sahibganj, along the banks of the Ganga, through the Implementation of Rural Sanitation Initiatives for Ganga Rejuvenation in Jharkhand partnership [Photo: UNDP India]
So I’ve been recycling tin cans and using them as containers for my art and writing supplies. Now in order to save more space on my new work area, I decided to hang them on my wall. Of course, I wanted each container to be completely detachable and portable; for instance, if I wanted to use only Micron pens in the living room, I can just remove that can and take it with me.
At first I was going to use magnets or one of those magnetic knife racks, but after prototyping with some heavy duty magnets lying around my apartment, I realized stuff like that couldn’t support the weight of, say, 20 Sharpies or the rounded surface area of the can.
Instead, I figured a system of hooks and loops would work.
Using small nuts and bolts, I attached D-Ring Strap Hangers (you know, the ones drilled in the back of wooden picture frames) to the cans. The D-Ring would latch onto a screw on the wall. In order to keep the cans balanced and not topple over if the weight shifted, I hammered two nails below each screw. Again, this keeps the can from shifting and its contents falling (a can full of X-acto blades would be the worst thing to fall on you).