View allAll Photos Tagged squeegee
This photo was taken at the corner of Lakeshore Boulevard and Jarvis.
For the last fifteen years or more pedestrians have been directed to cross on the east side of Jarvis. There were no crosswalks, or pedestrian signals on the west side. About ten or twelve years ago a large Loblaws was built just south of this intersection, and hundreds of pedestrians started jay-walking at this intersection.
The two black cars are at the bottom of an exit ramp from the Gardiner Expressway -- Toronto's only elevated expressway. This is probably why pedestrians weren't supposed to use this side.
Today I noticed, for the first time that pedestrian signals and crosswalks have been installed. They western crosswalk may have been installed over a year ago, when lots of cross walk signals in my neighbourhood had countdown timers installed. The little guy in the crosswalk changes to the countdown timer to show pedestrians this was their last chance to cross safely. At most intersections the countdown timer gives pedestrians ten or twelve seconds. At this intersection the walking man changes to the countdown timer almost right away, at the 21 second point.
The funny thing is that the sign directing pedestrians to cross at the other side has not been removed.
Oh yeah -- the squeegee kids -- there always used to be one or two squeegee kids at this corner. Even after an anti-squeegee kid law was passed they continued to try their luck at this corner
Everyone else got up! I was too beat...Music started at 5:30 and lasted until 9:30. I got there too late to see SUBURBS VS CITIES and PLAYGROUND AUTHORITY. Sorry. I had dinner at Mountain Mike's Pizza during SOL and Captain Squeegee. I tried to skank at full speed and had muscle cramps after I got home. Being old is only better than the alternative.
. All are real, nothing is made up.
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Links are inspiration.
Squeeks was being quite photogenic on this day! I like the relaxed look he has in this one.
Thanks, Guys! My baby Squeeks got to be in Explore one more time!
#331, Sept. 11, 2007
1. Barney's Bridge, 2. Heaven's Blooms, 3. Birds Returning Home, 4. Pink Passion, 5. Across the Park, 6. Copy of Even Palms Praise, 7. Tigger on his new blanket, 8. Day 259- It's all about the perspective,
9. Marshland Grasses, 10. Overview Scenic, 11. Setting Sun Over The Dock, 12. Beach, 13. Ghost Ibis Vignette, 14. Wings, 15. Nearly Overlooked, 16. Inlet Glow Bright,
17. Snowflake House, 18. Day 243- Wanton, 19. Duck formation, 20. Gull in Flight, 21. Come Fly With Me, 22. Strut Your Stuff, 23. Gull, 24. Dock on the Horizon,
25. Solo Flight, 26. Full Moon Rising, 27. Pier in the Distance, 28. Fetch, 29. Distant Lighthouse Scenic, 30. Walkway, 31. Dunes, 32. Inlet Scenic,
33. Ponce Inlet Lighthouse, 34. Walking Into The Sunset, 35. Beach at Twilight, 36. St. Mary's Church's New Roof, 37. Cat Purrfection, 38. Florida Colors Scenic, 39. Banana Palm Scenic, 40. Sailboat Under the Bridge,
41. Day 197- Bits & Pieces, 42. Duck Pond Scenic, 43. Dragonfly on the Lake Grass, 44. Sailboat, 45. Michael, 46. Archway to the ocean, 47. Bird on a Twig, 48. In the Glow,
49. Palm Fan and Berries, 50. Day 173 Portrait, 51. Squeegee's Portrait, 52. Ibis in the Lake, 53. Wetlands Getting Wetter, 54. Bad Moon Rising, 55. Egret at Reed Canal Park, 56. Squeegee Reclining Portrait,
57. Squeegee the Sphynx Portrait, 58. Light on the Marshes, 59. Duck in Lake, 60. Grasshopper Poser, 61. Day 135, 62. Typically Me, 63. Day 129- A Painful Decision, 64. Blue Lotus Portrait,
65. Baby Blues on Black, 66. Day 122-Wondering What The Future Holds Retro Portrait, 67. The Doors of Saint Paul's Basilica, 68. Unwarranted Smiles- Day 113, 69. Day 109- Daydreams, 70. 3rd Lightening Bolt of the Day, 71. Egret Watching the Storm portrait, 72. Day 96,
73. Clouds surreal, 74. Barrymore Gives Great Face, 75. Lunar Scenic, 76. Day 79- Naughty in Pink, 77. Trapped in this place, 78. Dune Walkway, 79. Rock Wall
Created with fd's Flickr Toys.
The 1 and only Sir Vival. The brainchild of a Worcester Mass inventor who was determined to build the world's safest car. In the early fifties he modified a '47 Hudson and built a car that was in 2 sections, the engine in front connected to the passenger compartment in back via an articulated joint. For maximum visibility the driver sat in the raised turret area surrounded by 360 degree glass cylinder that rotated thru vertical squeegees so the driver wouldn't have to view the road obscured by wiper blades. The car was featured in every auto and mechanical mag of the day. He displayed it at several world's fairs including the NY fair of 64.
Wielkanoc jest dla nas sygnałem do wielkich porządków. Gdy odkurzymy już salon i przedpokój, trzeba będzie ruszyć także łazienkę – najbardziej kłopotliwe z pomieszczeń do sprzątania. Kabina prysznicowa jest jednym z elementów wyposażenia, których mycie jest wyjątkowo uciążliwe. Oto kilka rad, dzi...
Hubert Scheibl, 1952 Ones, 2011/2012 (Albertina - Sammlung Batliner)
Hubert Scheibl's so-called Ones take the "landscape strokes" that he typically places in the bottom area of his paintings to evoke associations of vast views and broad horizons one step further. The Ones lift off the ground and start floating. Here, Hubert Scheibl draws a single gestural broad brushstroke across the grounding. He thus leaves a time trace, a single line that viewers may follow with their eyes and that brings some deceleration amid the hectic sensory overload of today's world.
Die sogenannten Ones sind eine Weiterentwicklung der "Landschaftsstriche", die Hubert Scheibl an den unteren Rand seiner Bilder setzt und die Assoziationen von Landschaften und Weite hervorrufen. Die Ones verlieren die Bodenhaftung und schweben. Hier zieht Hubert Scheibl nur einen einzigen gestischen breiten Pinselstrich auf dem Untergrund. Er setzt damit eine Zeitspur, einen einzigen Strich, dem man mit den Augen nachspüren kann und der so zur Entschleunigung in unserer reizüberfluteten Welt beiträgt.
The Play between Realism and Vagueness
Already in 1990, the Vienna-based painter Hubert Scheibl was exhibited in New York side by side with American Ross Bleckner. Scheibl's paintings are abstract and impressive because of their sheer seize, atmosphere, and spatial depth. Also, they are informed by latent representationalism. His painting style if often compared to Gerhard Richter. What they have in common, though, ist only the painting tool, the broad squeegee, which they both use: for while Richter unfolds no painterly space, applying many consecutive layers of paint to the canvas, Scheibl builds his pictorial space already with the first layer of paint. He first lays the paint on with a brush and then smoothens it out with a squeegee. He then places broad brushstrokes, some with deliberation, others randomly, on this grounding. If placed in the bottom area of the painting, these brushstrokes create the impression of a horizon, evoking in the viewer mental images of landscapes, oceans, or far-out galaxies.
Ross Bleckner's career started out in the 1980s in New York, where he exhibited together with friends and exponents of "New Painting," with Julian Schnabel, Eric Fischl, and David Salle. His oeuvre is comprised of widely different groups of works: paintings about AIDS, night skies, pictures of birds, flowers, and human cells. Ever since the AIDS crisis of the 1980s, Ross Bleckner has internalized a strong sense of human mortality. He executes his floral paintings with fastidious care like still lifes. The he pulls a squeegee across the still wet canvas, blurring contours and details to the point of making them unrecognizable. This play between realism and blurry vagueness is what Bleckner has in common with both Gerhard Richter and Hubert Scheibl. For Bleckner, the quiet disappearance of the representational speaks of the transient nature of the world. For Hubert Scheibl, on the other hand, blurriness is what affords viewers freedom of association.
Das Spiel zwischen Realismus und Unschärfe
Bereits 1990 ist der in Wien tätige Hubert Scheibl mit dem Amerikaner Ross Bleckner in einer Ausstellung in New zu sehen. Scheibls Bilder sind abstrakt und beeindrucken durch ihre Größe, Atmosphäre und räumliche Tiefe. Zugleich sind sie jedoch von einer unterschwelligen Gegenständlichkeit bestimmt. Seine Malerei wird of mit der von Gerhard Richter verglichen. Die Gemeinsamkeiten beschränken sich allerdings auf da Malwerkzeug, die breite Spachtel, die beiden verwenden: Denn während Gerhard Richter keinen malerischen Raum aufbaut, baut Hubert Scheibl seinen Bildraum bereits mit der ersten Malschicht auf. Er trägt die Farben zunächst mit dem Pinsel auf und zieht sie dann mit der Spachtel glatt ab. Dann setzt er einzelne breite Pinselstriche auf den Untergrund, teils planvoll, teils zufallsgesteuert. Werden die Pinselstriche am unteren Rand der Bilder platziert, wirken sie wie ein Horizont und lassen im Kopf des Betrachters Bilder von Landschaften, Meeren oder weit entfernten Galaxien entstehen.
Ross Bleckners Karrier beginnt in den 1980er-Jahren in New York, wo er mit befreundeten Vertretern der sogenannten "Neuen Malerei" ausstellt, mit Julian Schnabel, Eric Fischl und David Salle. Sein Oeuvre umfasst ganz unterschiedliche Werkgruppen: Bilder, die Aids zum Thema haben, Nachthimmel, Vogelgemälde, Blumenbilder und menschliche Zellen. Seit der Aids-Krise in den 1980er-Jahren hat Ross Bleckner das Gefühl der Sterblichkeit verinnerlicht. Seine Blumenbilder malt er so sorgfältig wie Stillleben. Dann zieht er eine breite Spachtel über die noch nasse Farbe und verwischt Details und Umrisse der Gegenstände bis zur Unkenntlichkeit. Das Spiel zwischen Realismus und Unschärfe hat er bis zu dieser Zeit mit Gerhard Richter und Hubert Scheibl gemeinsam. Für Ross Bleckner handelt dieses leise Verschwinden des Gegenständlichen von der Vergänglichkeit der Welt. Für Hubert Scheibl hingegen verschafft die Unschärfe dem Betrachter die Freiheit zu Assoziationen.
The focus of Albertina Contemporary Art is on the art of the second half of the 20th century. Both the stars and the diversity of post-1945 art will be on display: works by Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz and Maria Lassnig, among others, form the centerpiece of this year's presentation of contemporary positions from the ALBERTINA.
Around 80 masterpieces illustrate the multi-faceted artistic production, ranging from hyperrealism to abstraction, from facets of aesthetics of color to political topics, and illustrate the complex parallel currents of the past decades.
Der Fokus von Albertina Contemporary Art liegt auf der Kunst der zweiten Hälfte des 20. Jahrhunderts. Gezeigt werden sowohl die Stars als auch die Vielfalt der Kunst nach 1945: Werke von Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz und Maria Lassnig bilden neben anderen das Zentrum der diesjährigen Präsentation zeitgenössischer Positionen aus der ALBERTINA.
Rund 80 Meisterwerke illustrieren die facettenreiche künstlerische Produktion, die von Hyperrealismus bis Abstraktion, von farbästhetischen bis zu politischen Themen reicht, und veranschaulichen die komplexen parallelen Strömungen der vergangenen Jahrzehnte.
The 1 and only Sir Vival. The brainchild of a Worcester Mass inventor who was determined to build the world's safest car. In the early fifties he modified a '47 Hudson and built a car that was in 2 sections, the engine in front connected to the passenger compartment in back via an articulated joint. For maximum visibility the driver sat in the raised turret area surrounded by 360 degree glass cylinder that rotated thru vertical squeegees so the driver wouldn't have to view the road obscured by wiper blades. The car was featured in every auto and mechanical mag of the day. He displayed it at several world's fairs including the NY fair of 64.
If there's ever anything I'll remember about Barrymore, it's the way he loves to sit in front of the door, staring out at the world.
More-More is a good cat, but he's had some tough blows this past year. First, his arch nemesis, Tigger, came to live with us, and left quite an impression on their first night loose together...a claw imbedded in Barrymore's nose!
2008 also marked the death of his person, my mom, who loved him so much that she requested him while on her deathbed at hospice. They allowed him to visit for a couple of days, and he began the transition to being "my" cat then. When he and Squeegee came to visit her, the first day I let them loose in the room, Barrymore came over to me, not Mom, and placed his paw on my foot and just stood there. That was something he'd only done with her before that. It was as if he knew. For the next couple of days, he layed on her hospital bed, and hardly left her side. Finally, the nurse made me take the cats back home. Mom seemed to lose heart after that. After she passed on Christmas Day, Barrymore was beside himself, but since that time, he's been bonding more and more with me. He follows me around like a puppy dog! He sleeps with me on a twin bed, which, considering he weighs 20 lbs. and is HUGE, isn't always pleasant, but I don't shoo him because I know he's been through a lot that he doesn't understand, and needs to be loved now more than ever.
If More-More looks sad in this photo, it's probably because he misses Mom. I know he thinks about her, because I see him lying outside her bedroom door sometimes, as if he's waiting for her to come out. Whoever said cats aren't loving and don't feel emotion has never met my cats. They are intelligent, and highly feeling animals. It's actually quite amazing. It's been a tough year for me, too, and having my three kitty boys has really been a comfort.
Signature Window Washing;1929 W 52nd Pl, Denver, CO 80221;(303) 551-1708;https://google.com/maps/dir/Baker+Denver+CO/Signature+Window+Washing+1929+W+52nd+Pl+Denver+CO
The office windows are getting some attention today.
The cleaner is using traditional window cleaning equipment, and is completing the job using a rubber strip 'squeegee' that is Plenty good enough - no paper towels are required.
Not even Juan Sheet is used.
i was on the way to see a movie satruday at the canadian film board, which is on st. denis when i saw this woman walking thru traffic cleaning windows. by the time i got to the theater, her peeps had camped out right in front with a bunch of dogs.
this is the piece of cloth i use to wipe my hands on/wipe up ink spills/rest my squeegee on when i'm printing. isn't it pretty?
I made that up.
: )
Completely bored today, so I used my four-minute allotment of energy to get up on the ladder with my Telescopic Stinging Pest Hive Relocation Apparatus™ (window squeegee) and let 'em know what-for. I knew that I was positioned close to where it was likely to roll down, so I wasn't surprised when it did roll down and bounce off of my chest on the way to the ground. Made me laugh. Heh! :D
Would you like me to shellac it for you? : )
The hive, that is...
Original Silkscreen Print made with fabric inks.
One pull of the squeegee, but with different pressure's
I completed the squeegee by cutting a thin slot in the groove where the blade goes, and then drilling holes for the t-bolts. This is so there is some flex when tightening the bolts and the wood does not crack.
(It's not incredibly pretty at this point, but it is fully assembled.)
Previously: rasterweb.net/raster/2011/08/24/squeegee-making/
The 1 and only Sir Vival. The brainchild of a Worcester Mass inventor who was determined to build the world's safest car. In the early fifties he modified a '47 Hudson and built a car that was in 2 sections, the engine in front connected to the passenger compartment in back via an articulated joint. For maximum visibility the driver sat in the raised turret area surrounded by 360 degree glass cylinder that rotated thru vertical squeegees so the driver wouldn't have to view the road obscured by wiper blades. The car was featured in every auto and mechanical mag of the day. He displayed it at several world's fairs including the NY fair of 64.
Installation steps for Custom Cut Static Cling Window film
This video shows how to install Static Cling Window Film yourself using Greenfilm's residential window film steps by steps.
This video shows how to install Static Cling Window Film yourself. Here we use Greenfilm's residential window film steps by steps.
Installation
Before Installation:
Make sure all windows are clean and free of debris/dust. You can clean the window with the solution and squeegee or scraper to remove the dust on the window.
Step 1:
Place dry film onto the window. If the film has stuck to itself, place dry film onto the window and gently pull until flat.
Step 2:
Spray solution generously on both sides of the film.
Tip: Lift the top edges of the film and apply the solution.
Step 3: Squeegee the solution starting from the center to all edges.
If any bubbles remain, you can spray and squeegee again.
Be sure to use the squeegee on wet film to prevent damage to the film.
Tip: Before trimming, squeegee the edge of the window to make sure it does not move while trimming.
Step 4: Press the edge of the window using the cutting stick and trim excess film with cutting knife.
Final Step; Spray the solution onto film once more. Then cover squeegee with the napkin and apply firm pressure to ensure all edges are flat and solution are all pushed out.
Removing & Storing
Grab a corner of the film and pull gently to remove the film from the window. Place film on white paper and roll for storage.
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