View allAll Photos Tagged worktable
Shelves for your workshop, to match the worktable I made! Because it's worth it, work in a nice place. :D
For more into, check out the shelves on the SL Marketplace or come and see them in the R(S)W Main Store on Livingtree (You'll find them upstairs.)
Elias Howe, who invented the sewing machine, received a patent in 1851 for an "Automatic, Continuous Clothing Closure". Perhaps because of the success of his sewing machine, he did not try to seriously market it, and missed out on any recognition he might otherwise have received. Forty-two years later, Whitcomb Judson, who invented the pneumatic street railway, marketed a "Clasp Locker". The device was similar to Howe's patent, but actually served as a (more complicated) hook-and-eye shoe fastener. With the support of businessman Colonel Lewis Walker, Whitcomb launched the Universal Fastener Company to manufacture the new device. The clasp locker had its public debut at the 1893 Chicago World's Fair and met with little commercial success.
Gideon Sundbäck, a Swedish-American electrical engineer, was hired to work for the Universal Fastener Company in Hoboken, New Jersey in 1906. Good technical skills and a marriage to the plant-manager's daughter Elvira Aronson led Sundbäck to the position of head designer. After his wife's death in 1911, he devoted himself to the worktable, and by December 1913 had designed the modern zipper.
Sundbäck increased the number of fastening elements from four per inch to ten or eleven, introduced two facing rows of teeth that pulled into a single piece by the slider, and increased the opening for the teeth guided by the slider. The patent for the "Separable Fastener" was issued in 1917. Sundbäck also created the manufacturing machine for the new device.
1/4 plate dag. Polished on the wheel then hand buffed with rouge in 8 directions and then lamp black in 4 directions The punchiest and easily viewed dags to date. Starting to get an idea of how much first iodine(about 1:45) to bromine by coating until just past straw yellow to the slightest hint of orange. Bromine times have been around 1 minute to a nice orange color and then 30-40 seconds for the second iodine. I am finding that my mercury times are more on the range of 8 minutes with no signs of mercury frost in the shadows. The plate was developed by inspection l until I got a good negative image on the plate. This was one was exposed at f3.5 with a Soviet 150mm lens for 25 seconds using a 600watt cfl bulbs(one 6500k 300watt and two 5000k 150watt). This was a keeper so was went ahead and gilded it.
These tools belong to Dan Webb and this is how he has them neatly arranged on his worktable. I did lay the mallet on its side for compositions purposes.
A range of dining tables is available to complinent original kitchen pieces. here the table legs have been turned to contrast in style.
A treat of cottage cheese and pineapple to break a busy morning of studio time....getting things checked off the list. #cy365 day347 'treat'
Ok, I've been keeping my 1970 decorating posts to about 5 every Saturday morning, but there are so many juicy kitchen choices I couldn't pare down. I generally like all of these (although some of the wallpaper/fabric choices leave a bit to be desired).
Caption reads:
Desk/cleanup area of this bold-colored kitchen packs a wealth of spacesavers in its scant dimensions. Wall cabinets open not only toward the dishwasher and sink so that clean dishes can be immediately stacked away, but also toward the dining area on the other side of the wall, for quick table setting. Dishwasher rolls about to provide more work surface wherever it is needed. Because it loads from the front, the top needn't be cleared at washing times. Single-bowl sink is deep enough for the biggest pot. Built-in coffee maker, suspended below cabinets, brews one cup or ten at a time. The desk, of hardwood and steel, has a hinged leaf that flips down to make a worktable. It stands against a permanent table-height shelf wide enough for telephone, pencils, note pad, and small adding machine.
I painted and redid my shelves, Then built this worktable to do my crafts on. I painted the room this garish mint green color to put with the brown shelves and I dont care for it all at night. It looks ok during the day. I plan to put several coats of Varathane floor finish on the table before moving back in.
“A Little Tale”…
He was born to two very powerful wizards. Both his parents were highly respected for their strong abilities and gifts. Other wizards were in awe of what each could do alone and together. They were a force no one dared to reckon with.
Unfortunately, as life does, it extracts a price for every gift received. Maybe that is Universal Laws’ “Law of Balance”. In the case of the young wizard, he was the price his parents had to pay for their great wizardly and other abilities. You see, their son, their only child, had very little, okay, truth be told, almost no wizardly abilities. And, the ones he did possess were uncontrollable and weak.
Rather ironic, don’t you think? The two most powerful wizards produced an offspring who was barely a wizard; and, they were ashamed of him. He shamed them because they felt they failed to continue the long line of superior wizards, and thus, to them, that meant that they had flaws and were not as perfect as they considered themselves to be. They felt that the other wizards took delight in their son’s lack of powers and abilities and that they were ridiculed behind their backs. So, they regarded their son, their own child, as something less and an abomination. They also believed he was dumb and simple minded.
And, he, their son, knew how they felt and rather than being in their loving sunlight, as their son, he was cast into their shadows. No matter what he did, it never succeeded in pleasing his parents. He always fell short of their mark in some way.
The way his parents felt about and regarded him alienated them from him…He saw each time they glanced at him, they saw failure…his and theirs. But, in truth, it was no one’s failure or fault, but, rather, nature’s doing. But, they did not see him that way. He was an enormous embarrassment and burden to them.
Thus, they avoided him as much as possible and when in his presence, treated him as if were simple minded. And, that could not be farther from the truth. He was, in fact, quite brilliant, in spite of his lack of wizard super powers and abilities. He would have been considered a genius among humans. But, sadly, he was not human and so, his parents were blind to the gifts he was given…all of them.
He had the ability to invent and create gadgets, machines, gizmos, and the like at a time in history when there were no electronics, computer was not nonexistent and neither were many of today’s taken for granted conveniences. Some of his creations, which I am certain you have heard of, include…the Time Reversenum, the Magnifyometer, and the Energy Directiumus.
More than once, he tried to share his inventions with his parents, but they always waved him off like a mere fly. They had no need for gadgets or machinery. They had their powers. Plus, they had, in reality, disowned him, unofficially, as their son. They simply didn’t care about him or want him.
Hurt badly to his very core by his parents’ feelings toward him and their treatment of and disregard for him, he made a vow to himself that he would not let them make him feel as if he was a failure, a nothing or a loser. They, in fact, were the ones, in spite of their super powers, who fell short of the mark as sentient beings. They were conceited, small minded, self involved and self absorbed, vain, and looked down on others. He was grateful he was nothing like them. He was his own person.
So, he packed his things, left them a brief note of goodbye, which he knew would bring them great joy, and set out to follow his own life plan and destiny. He settled in the Enchanted Woods where he was immediately accepted. He found a very old, huge, and dead Oak tree, which had been abandoned. Inside it had so many floors going up to the top of the tree; each connected by spiral branch staircases. But best of all, it had, below the ground, where its dead roots were, a cellar. It was enormous. This was the ideal place to set up his lab and create his inventions.
His neighbors in the Enchanted Woods-elementals, fairies, witches, hobbits, gnomes, squirrels, wizards, and others, delighted in each of his “odd”, scary, and “magical” inventions. They loved to see them work and try them out. They were fascinated by them and by him. The wizards and witches especially loved his Energy Directiumus because it helped them direct the energy needed for difficult or complicated spells.
They would “pop” in unexpected from time to time just to see what he was working on. This was fine with him. He enjoyed hearing the fairies giggle, the gnomes snort in glee, and the wizards and witches saying, “OOOO! or “Hmmmm”. Their reactions gave him great pleasure and a sense of worth. He was accepted for himself and respected for his gifts. The hurt and the pain of his early years with his parents fell away and his life was one of accomplishment, friendship, and happiness.
~ Marsha J. West, Author~ edited for Flickr
(This is my original story or “A Little Tale”. It is my personal property and cannot be copied or used in any medium either online or written without prior approval.)
Carte de visite by Bell & Hall of Washington, D.C. A man sits with an open book on his knee and an arm resting on a worktable. Upon the table is visible a stereoviewer, field glasses and paper prints. One of the prints is tacked to a support beam. Another beam in the foreground has a sign of some sort attached to it. Sitting atop a wood platform behind him is his hat and what may be holders for glass photographic plates. An empty box sits on the floor in front of the table. The entire setup is located inside an elaborate support structure of steel beams angled and bolted in place. A cylindrical object sits in the foreground.
The structural details resemble contemporary images of the interior of the dome of the U.S. Capitol Building.
The photographers credited with this image, William H. Bell and A.F. Hall, were active in the District of Columbia between 1866-1867. One of Bell’s brothers, Nephi, a former ambrotypist for Washington’s Turner & Co., had started Bell & Brother by 1862. This studio became Bell & Hall.
The man seated in this portrait is identified on the back in period pencil as Gulick. One J.P. Gulick, a policeman on the grounds of the Capitol, is referenced in a September 1864 memo published in Between the Lines: Secret Service Stories Told Fifty Years After, by Henry Bascom Smith.
A second reference to J.P. Gulick, this one as a guard inside the Dome, can be found in the 1869 edition of Appletons’ Hand-Book of American Travel. “In the group representing the Arts and Science the figures of Franklin, Walter, and Fulton occupy prominent places. Mr. J.P. Gulick has immediate charge of this portion of the Dome.”
Another reference to Gulick can be found in the 1866 Register of Officers and Agents, Civil, Military and Naval, in the Service of the United States. This volume lists John P. Gulick as one of two men appointed Watchmen in the Grounds of the Capitol. He is also listed as having been born in Pennsylvania and appointed to his post from Virginia.
Genealogical resources point to John Patterson Gulick (1810-1895) as a prime candidate for the man seated here. And it is confirmed by his photo and biographical sketch in the 1887 book, Biographical and Historical Record of Greene and Carroll Counties, Iowa, supports the above references. It also lists him as a captain in the 16th New York Cavalry when the New Yorkers captured John Wilkes Booth. There is no record he served in a formal role with the 16th or any other military organization during the war, but he may have accompanied them on the manhunt for Booth:
JOHN P. GULICK, farmer, Grand Junction, was born in Northumberland County, Pennsylvania, September 18, 1810, son of Abram Gulick, born in Sussex County, New Jersey, who was a soldier in the war of 1812, and now deceased. He was reared on a farm, and educated in the subscription school, in a small frame house covered with slabs, slab benches, and a board fastened to the wall for a desk; a huge fire-place in one end, a long window on one side, two rows of lights, and a four-light window for the teacher. In 1843 he removed to Three Rivers, Michigan, being in search of a fair young damsel whom he had met in Pennsylvania. He traveled through Illinois to Iowa, and back to White Pigeon, Michigan, and found her in the person of Mary D. Kownover, whom he married October 29, 1844. She was a daughter of Richard L. Kownover, of New Jersey, and was born in Northumberland County, Pennsylvania. July 4, 1844, our subject drove a reaper and thresher combined, on prairie round drawn by fourteen horses. The machine had on it a liberty pole, bearing the names of "Polk and Dallas." That day they cut and sacked twenty-eight acres of wheat with that machine. Mr. and Mrs. Gulick have had eight chidlren, six of whom are living -- William B., Emma J., Charley M., Kate, Margaret M. and Addie L. They have an adopted child -- Maude. In 1846 they returned to Luzerne County, Pennsylvania, thence to Northumberland County, Virginia, in 1852, and returned to Pennsylvania in 1862. They spent about four years in Washington, D.C., Mr. Gulick being in the employ of the United States four years. He was Captain of a squad of the Sixteenth New York, under Colonel Nickelson, sent by General Auger to capture Booth, the assassinator of Lincoln. He rendered valuable service to the Government during the war; being a sailor, he gave information which led to the capture of many rebel vessels. In 1866 he removed to St. Joseph County, Indiana, thence to this county in 1873, where he has since lived. He conducted the Ashley House over three years. He belongs to the Masonic and Odd Fellows Societies, and is a member of the Presbyterian Church. The family are Baptists.
Update
On April 30, 2020, Victoria Singer of the Office of the Curator, Architect of the Capitol, responded to my request for information about Gulick and the substructure. Ms. Singer was in possession of information similar to the above when she offered this evaluation:
"Currently, with the information from our records, I cannot confirm that the gentleman in the photo is Mr. Gulick. From all of your references and research; however, I think it is certainly plausible. The substructure surrounding the figure does indeed resemble the interstitial space seen in the interior of the U.S. Capitol dome. The same structure and shape can be seen in a drawing of the cross-section of the dome by Thomas U. Walter. You can view the image here. www.flickr.com/photos/uscapitol/albums/72157627522560000/...; www.flickr.com/photos/uscapitol/6915560084/in/album-72157... The balustrades, in your photo, strongly resemble those of the dome’s second visitor’s gallery."
I encourage you to use this image for educational purposes only. However, please ask for permission.
There's a challenge on one of the doll communities I'm on to show off how we display our dolls and organize our doll stuff. My dollcave is actually pretty clean at the moment (despite also doubling temporarily as a guestroom), so I took the opportunity to participate.
Pictures like this really force me to realize how many dolls I have, which I don't like to do. I flat out refuse to actually get an accurate count on groups like the Monster Highs which are just piled up, or the mini lalaloopys which I now have more of than will fit in the carrier (there are literally over 100 in the carrier, too). I can at least console myself that five of the dolls on the upper shelves aren't mine, although at least three of mine aren't pictured for various reasons... so maybe it evens out.
Normally there is a worktable that comes off the ends of the cubes in an L-shape with the desk that's across from them (not pictured because it's a fucking mess), but that's in storage and instead there's a bed in the way. The bed is also hiding the bottom row of cubes, which has four little cloth pull out "drawers" of crafting things. There's one of doll customizing tools and things, one of beading supplies, one of random bits and bobs, and one of yarn and other related crochet things. The visible trays also hold dolls in various states of customizing, and what have you.
On the opposite side of the room from my stone and working top is a maple-topped metal worktable that I use for typesetting, bookbinding, wood carving, printmaking and even occasionally sign painting. Unfortunately none of these processes can be performed simultaneously.
My half of the craft table. The_dean and I share this 7' long work bench that's in our home office. This table takes up most of the wall on one side with the_dean's figurines and painting supplies neatly stacked up at the end. On the other side of the world is the nook where my computer table is and beside it, the open closet. It's my favorite room in our house. :) Now you see partly why.
(Best viewed large)
Once in a while you come across a great "find". . . I collect old brushes and I recently acquired this very old wooden palette. It is amazing! And don't you just love the brush in the middle with the carved wooden handle?
See '1930's, Dijkhuis, Veere, studio' On Black!
My grandfather's workspace/studio which was a later addition standing free and at right angles from the house itself.
So this is where he worked and designed much of what made him a sought after artist in his day. It's a beautiful room with his worktable looking into the garden and the desk by the window overlooking the sea and Veere beyond.
It's funny to upload this picture today: the day after tomorrow is the grand opening of an exhibition of his work in the Amsterdam Theatre Institute as well as the presentation of a new book about him, the first signs of renewed interest in his work for decades!
A calligrapher's worktable with plenty of gold and black paint, some gummy calligrapher's paintbrushes, some green tea-leaves and a cigarette (to set a person up for the afternoon).
I'm about to finish my current journal and I had been thinking about whether I wanted to do a rebound composition book journal like my volume five volume seven, and volume eight, or just open one I have from the store and use that.
I had no intention to do it, but sometimes a force seems to drag me to my worktable and make me do things.
I was minding my own business, reading blogs on blogline, when I came to Mary Ann Moss's blog . I was sunk. A few days ago she showed another journal she had made in a similar style. I liked it - a lot. This journal of Mary Ann's moved me to action. It was 10:00 PM. Not good. I was up till after 2:00 AM. I didn't even get the journal sewn together last night. I got up this morning, well afternoon, and finished it. My other rebound composition books were sewn together in one big signature. I did this one a bit differently. I made three signatures. Since I was using the sewing machine anyway and since I don't like things slipping around while I'm trying to hand sew, I sewed each signature on the sewing machine seperately. Then I sewed them to the cover with phamplet stitch following directions in Gwen Diehn's Decorated Journal.
Neutral postcard from bits on my worktable. Book page, price tag, bit of cardboard box, sewing pattern, wrapping paper, stamp selvedge
He was trying to protect his eyes from my non-existent flash. Too much bad experience with other tourists.
This delicate Art Nouveau inspired necklace is much more romantic then what my pieces usually are. But this was one of those pieces that just happen. When the separate elements – first intended for other pieces - just end up together on the worktable and lies there, in perfect symmetry and there is no way of ignoring them. You just HAVE to put them together.
The two swirly side elements are wrapped to the centre element with lovely faceted rondelles of Green Amethysts. From the centre element one stunning, big faceted briolette of Brazilian Emerald with amazing colour hang. A double chain leads up and closes with my handmade hook style clasp. A simple, but very very elegant necklace.
Total length – 51cm (20”)
Focal total drop – 8cm (3.1”)
My table tonight as I work on this painting. I'm doing new things, so I feel like a fragile butterfly as I feel things out!