Sadly, you may not want to go for this card if you are a serious player or duelist, thought it might be something to chase if you are a serious collector. First appearances would see this card as would be good because it requires a sacrifice, but that may not be true. In reality, you may end up sacrificing a much stronger card just to get the Dark Magician Knight into play.
The Knight starts off with an attack power of 2500 but requires that you sacrifice a card to summon the Knight. Since you must also have a Dark Magician in play, this usually means you have to sacrifice the that itself! In essence this means that you are trading the cards, and very little beyond that.
Myself, I can't see much reason to put this card into your deck because it appears to be little more than a potential wasted card in your hand if you end up drawing it. Then why does a card like this exist? The best players actually question the use of a card with such little playable value.
Ultimately this card appears be just a collector's item because it tends to be rather useless for real duel game play. Though if you want to create a deck full of magician cards as a collector, then you pretty much have to get a hold of this card. So if you are a player, then avoid this card for tournaments and fun duels. But watch for this card if you are trying to complete a magician set of cards.
Stronger and more useful cards can and do include the Dark Magician himself, the Chaos Magicians, and even potentially the Dark Magician Girl. Be careful and think things through when considering placing the Dark Magician Knight into your dueling deck.
Article written by Shandon Lewis
Thursday, August 6, 2009
Stained Glass Art - Tools For Beginners
Interested in creating stained glass art but think that it is too complicated or expensive? In actuality, the tools are relatively inexpensive and the skills needed to use them are easy to learn. This article will describe all the tools necessary to get started.
The simplest stained glass art style that requires the fewest number of tools is a glass panel using the copper foil technique. There are several tools used with this style; however, not every tool described below is absolutely required. The non-essential tools will make the process easier and quicker.
* Pattern Book -- A good pattern is essential to any stained glass art project. There are many books available and range in price from a few dollars to thirty dollars or more. While a pattern book is not required, beginners will be able to find many good patterns and ideas. There are also many good free patterns available on the internet.
* Glass -- Glass comes in a variety of colors and textures. Generally, sheets of 12 x 12 inch are good for beginners. Also, clear colored glass is easier to transfer the pattern to than opaque glass that cannot be seen through. Pricing depends on the color and texture but usually is only a few dollars a sheet.
* Glass Cutter -- A glass cutter is a required tool used to cut the glass to the correct shape. The cutter has a diamond or carbide tip that does not actually cut the glass but rather scores it. The glass can then be broken along that score line. Glass cutters come in a variety of shapes and styles and range in price from five to thirty dollars.
* Glass Cutting Oil -- Cutting oil is not required but highly recommended to extend the life of the glass cutter tip. A four ounce bottle will run about ten dollars and will last a long time.
* Glass Running Pliers -- These specialized pliers have a curved jaw and are used to break the glass along the score line. While not absolutely required, they make breaking smaller pieces of glass easier and safer. Many times, the glass can be broken by hand but can be dangerous since glass is very sharp. A good pair of running pliers will run less than twenty dollars and are highly recommended.
* Grozer Pliers -- These pliers have a special jaw design that allows small pieces of glass to be nibbled away if the original cut was a little too big or out of shape. While not required, they do allow small adjustments on the work piece rather than having to start over with a new piece. Grozer pliers generally run ten to twenty dollars.
* Copper Foil Tape -- This is a required item. It is a very thin strip of copper that is sticky on one side. The foil is wrapped around the edge of all the glass work pieces and is what the solder adheres to. Depending on the width and backing color, prices range from ten to thirty dollars.
* Foil Burnisher -- A burnisher is simply a plastic stick used to press the copper foil firmly to the glass. While it is required for properly working the copper foil, many items can be used in place of a professional tool such as the edge of a plastic ink pen or a plastic spoon. A burnisher specifically for stained glass will only run a few dollars.
* Soldering Flux -- Flux is an important item for soldering. It not only prepares the copper surface to accept the solder, it also helps keep the solder from sticking to the glass. Flux will generally run from a few dollars up to ten depending on the amount.
* Soldering Iron -- This is going to be the most expensive tool required to create stained glass art. The iron is used to melt the solder and apply it to the foil. A good soldering iron will run anywhere from thirty to fifty dollars.
* Solder -- This is what binds all the glass pieces together. There are many different types and each have unique working properties. For the beginner, a 60/40 tin-lead solder is a good place to start. If the lead content in the solder is an issue, there are non-lead solders available. Solder ranges in price from fifteen to thirty dollars. One spool of solder can do several small (8 x 10 inch) projects.
With the proper tools available, stained glass artwork can be created easily and safely. Most of the tools described above can be used for years before needing replaced. Others, such as the foil, oil, flux, etc, will need to be replaced when they run out. Thankfully, they are generally the least expensive of the tools.
For more information on stained glass tools and more specific information on their proper use, visit http://beststainedglassart.com
Follow along with an example showing all the tools and steps required to easily create a stained glass panel.
Article written by Austin Hansell
The simplest stained glass art style that requires the fewest number of tools is a glass panel using the copper foil technique. There are several tools used with this style; however, not every tool described below is absolutely required. The non-essential tools will make the process easier and quicker.
* Pattern Book -- A good pattern is essential to any stained glass art project. There are many books available and range in price from a few dollars to thirty dollars or more. While a pattern book is not required, beginners will be able to find many good patterns and ideas. There are also many good free patterns available on the internet.
* Glass -- Glass comes in a variety of colors and textures. Generally, sheets of 12 x 12 inch are good for beginners. Also, clear colored glass is easier to transfer the pattern to than opaque glass that cannot be seen through. Pricing depends on the color and texture but usually is only a few dollars a sheet.
* Glass Cutter -- A glass cutter is a required tool used to cut the glass to the correct shape. The cutter has a diamond or carbide tip that does not actually cut the glass but rather scores it. The glass can then be broken along that score line. Glass cutters come in a variety of shapes and styles and range in price from five to thirty dollars.
* Glass Cutting Oil -- Cutting oil is not required but highly recommended to extend the life of the glass cutter tip. A four ounce bottle will run about ten dollars and will last a long time.
* Glass Running Pliers -- These specialized pliers have a curved jaw and are used to break the glass along the score line. While not absolutely required, they make breaking smaller pieces of glass easier and safer. Many times, the glass can be broken by hand but can be dangerous since glass is very sharp. A good pair of running pliers will run less than twenty dollars and are highly recommended.
* Grozer Pliers -- These pliers have a special jaw design that allows small pieces of glass to be nibbled away if the original cut was a little too big or out of shape. While not required, they do allow small adjustments on the work piece rather than having to start over with a new piece. Grozer pliers generally run ten to twenty dollars.
* Copper Foil Tape -- This is a required item. It is a very thin strip of copper that is sticky on one side. The foil is wrapped around the edge of all the glass work pieces and is what the solder adheres to. Depending on the width and backing color, prices range from ten to thirty dollars.
* Foil Burnisher -- A burnisher is simply a plastic stick used to press the copper foil firmly to the glass. While it is required for properly working the copper foil, many items can be used in place of a professional tool such as the edge of a plastic ink pen or a plastic spoon. A burnisher specifically for stained glass will only run a few dollars.
* Soldering Flux -- Flux is an important item for soldering. It not only prepares the copper surface to accept the solder, it also helps keep the solder from sticking to the glass. Flux will generally run from a few dollars up to ten depending on the amount.
* Soldering Iron -- This is going to be the most expensive tool required to create stained glass art. The iron is used to melt the solder and apply it to the foil. A good soldering iron will run anywhere from thirty to fifty dollars.
* Solder -- This is what binds all the glass pieces together. There are many different types and each have unique working properties. For the beginner, a 60/40 tin-lead solder is a good place to start. If the lead content in the solder is an issue, there are non-lead solders available. Solder ranges in price from fifteen to thirty dollars. One spool of solder can do several small (8 x 10 inch) projects.
With the proper tools available, stained glass artwork can be created easily and safely. Most of the tools described above can be used for years before needing replaced. Others, such as the foil, oil, flux, etc, will need to be replaced when they run out. Thankfully, they are generally the least expensive of the tools.
For more information on stained glass tools and more specific information on their proper use, visit http://beststainedglassart.com
Follow along with an example showing all the tools and steps required to easily create a stained glass panel.
Article written by Austin Hansell
White Balancing and Color Temperature For Video Production
Two things a bit on the technical side when it comes to making video are color temperature and white balancing. They are related. This post tells you everything you need to know from a practical level about these terms and how they affect the way you shoot video.
White balancing is an adjustment you make to the camera that tells it what kind of light you are recording in so that the camera records video the correct color.
(Small, automatic cameras always have automatic white balancing so you do not need to worry about it, but larger video cameras have manual white balance control which gives you better quality. )
WHY DO YOU NEED TO WHITE BALANCE?
Different types of light are different colors. The camera needs to adjust itself in order to shoot proper color. This might seem strange, because light generally looks white to us humans, regardless of its source. We do not see sunlight as blue, florescent light as green, or incandescent as orange, but they are.
Cameras see the light as it is truly colored but our brains and eyes sort them all out as white or else we'd feel like we were on a permanent LSD trip. (Wow man, everything is soooo colorful.)
Color temperature is the technical term for measuring the color of light. The Kelvin Temperature scale is used. Standard sunlight is about 5,400 degrees Kelvin. Shadowy sunlight is "colder," about 7,400 degrees. Tungsten halogen TV lights are orange and come in at 3200 degrees kelvin.
You do not really have to know these exact values to adjust your camera. Most cameras white balance by pointing them at a white card that is reflecting the light being shot under. Then a button is pushed and the camera reads the white and adjusts all other colors relative to it.
One advanced tip is to white balance on a card with a slight blue tint and you will get a nice warm orange. Not orange enough to look distorted, just orange enough to look inviting.
You can do the reverse by balancing on a slightly orange card. This gives you a blue tint, which might just be what you need to make that Christmas scene shot in July look cold.
To play it safe and get the truest color, it is best to shoot in one type of light. Mixtures can throw a camera off. For example, if you shoot inside under incandescent light your windows will look overly blue. Sometimes that can actually look nice, but often it looks horrible.
If you go outside to shoot without changing your white balance setting from taping indoors, your video is likely to be very blue.
If your camera has a manual white balance, use it every single time you change light. Also change it as the day lingers, because sunlight in the evening is much bluer than sunlight at noon.
One great feature to look for in more advanced video cameras is the ability to set white balance presets. They can help you change your white balance quickly, without having to go through the typical routine with the white card.
Article written Lorraine Grula
White balancing is an adjustment you make to the camera that tells it what kind of light you are recording in so that the camera records video the correct color.
(Small, automatic cameras always have automatic white balancing so you do not need to worry about it, but larger video cameras have manual white balance control which gives you better quality. )
WHY DO YOU NEED TO WHITE BALANCE?
Different types of light are different colors. The camera needs to adjust itself in order to shoot proper color. This might seem strange, because light generally looks white to us humans, regardless of its source. We do not see sunlight as blue, florescent light as green, or incandescent as orange, but they are.
Cameras see the light as it is truly colored but our brains and eyes sort them all out as white or else we'd feel like we were on a permanent LSD trip. (Wow man, everything is soooo colorful.)
Color temperature is the technical term for measuring the color of light. The Kelvin Temperature scale is used. Standard sunlight is about 5,400 degrees Kelvin. Shadowy sunlight is "colder," about 7,400 degrees. Tungsten halogen TV lights are orange and come in at 3200 degrees kelvin.
You do not really have to know these exact values to adjust your camera. Most cameras white balance by pointing them at a white card that is reflecting the light being shot under. Then a button is pushed and the camera reads the white and adjusts all other colors relative to it.
One advanced tip is to white balance on a card with a slight blue tint and you will get a nice warm orange. Not orange enough to look distorted, just orange enough to look inviting.
You can do the reverse by balancing on a slightly orange card. This gives you a blue tint, which might just be what you need to make that Christmas scene shot in July look cold.
To play it safe and get the truest color, it is best to shoot in one type of light. Mixtures can throw a camera off. For example, if you shoot inside under incandescent light your windows will look overly blue. Sometimes that can actually look nice, but often it looks horrible.
If you go outside to shoot without changing your white balance setting from taping indoors, your video is likely to be very blue.
If your camera has a manual white balance, use it every single time you change light. Also change it as the day lingers, because sunlight in the evening is much bluer than sunlight at noon.
One great feature to look for in more advanced video cameras is the ability to set white balance presets. They can help you change your white balance quickly, without having to go through the typical routine with the white card.
Article written Lorraine Grula
Wednesday, August 5, 2009
Zanni Masks - Their Origins & Character
The Zanni family, of Masquerade Masks, originated in Venice in the fifteenth century with the Italian Comedy - The Commedia Dell' Arte. The word originates from the Venetian, Giovanni (John) and is a diminutive of it. Zanni is also sometimes known as Zan, Zane, Zanne, Zany, or Zani, and is where the English term 'zany' comes from. Meaning: a clown, an awkward simpleton, a buffoon or a person who is a, stupid incompetent fool.
The class of the Zanni family of Masquerade Masks depicts the buffoon, always from the lower class, the peasant, a migrant worker, holding positions of servants, valets, slaves, porters, odd-job person, hawkers, rogues etc. Zanni refers to the class of mask, as well as to an individual character. In The Commedia Dell' Arte, Zanni was an important character type, representing a social class.
The name and its class were inspired by the Bergamo peasants who finding that they were facing a famine and unable to sustain a living in the countryside due to heavy cheaper imports from Greece and other countries after the Venetians conquered their province in 1428, where forced off their farms to find work in the towns of northern Italy including Venice. Giovanni was a common name for the men of this area. They migrated into the towns offering themselves as servants, gofers, porters etc, selling what they could bring with them from the country. They were known for their nimbleness, agility, sturdiness, crudeness as well as their course and fantastic speech, which became heavily mimicked by the Zanni of The Commedia Dell' Arte. The family Zanni includes the characters of the Harlequin, Brighelle, Francatrippa, Pedrolino, Arlecchino among its class, as named individual characters; however Zanni are also any unnamed character in a play.
The Zanni Mask was first a full-face mask, which developed into a half mask, covering the nose eyes and forehead. The nose on a Zanni Mask is important, as the nose delineates how stupid or simple the character is. The longer the nose of the Zanni, the more dullard the individual is.
The Zanni, portraying country folk are primarily dressed in sacking, and have a stance of one used to carrying heavy burdens, so they are usually hunched, with knees in a bowed position and feet splayed, in stark contracts to their betters the gentry, who display deportment. The Zanni, are an animated people, constantly moving their arms and hands as they communicate, displaying a coarse rough voice and language. The Zanni's body often times has a mind of its own, with different body parts making odd and animated movements; the less stupid shorter nosed Zanni break out into acrobatics and handstands. Zanni is well known for farting, burping & snoring with gusto. Coming from a famine, Zanni displays a deep unforgotten hunger of the body, constantly hungry, constantly searching for food appearing gluttonous. Zanni are known for their laziness and perchance for sleeping, which they will do at inappropriate times and in any place, including whilst standing. The Zanni are ignorant, rouges, but can be loyal. They can be seen with a slapstick, which they are more than happy to beat someone with, parcels, baggage, food, or other items belonging to another, in their roles as gofers, porters, servants etc.
The Zanni Mask, is a mask of many characters, always from the peasant class, portraying, the ignorant, silly, loutish fellow, who has been built with agility and ease of movement. The Zanni Mask can portray a porter, soldier, baker, farmer, a market hawker, the Harlequin and more. There is diversity to the occupation of the Zanni. When you slip on a Zanni Masquerade Mask, who will you be?
Article written by Melanie Robson
The class of the Zanni family of Masquerade Masks depicts the buffoon, always from the lower class, the peasant, a migrant worker, holding positions of servants, valets, slaves, porters, odd-job person, hawkers, rogues etc. Zanni refers to the class of mask, as well as to an individual character. In The Commedia Dell' Arte, Zanni was an important character type, representing a social class.
The name and its class were inspired by the Bergamo peasants who finding that they were facing a famine and unable to sustain a living in the countryside due to heavy cheaper imports from Greece and other countries after the Venetians conquered their province in 1428, where forced off their farms to find work in the towns of northern Italy including Venice. Giovanni was a common name for the men of this area. They migrated into the towns offering themselves as servants, gofers, porters etc, selling what they could bring with them from the country. They were known for their nimbleness, agility, sturdiness, crudeness as well as their course and fantastic speech, which became heavily mimicked by the Zanni of The Commedia Dell' Arte. The family Zanni includes the characters of the Harlequin, Brighelle, Francatrippa, Pedrolino, Arlecchino among its class, as named individual characters; however Zanni are also any unnamed character in a play.
The Zanni Mask was first a full-face mask, which developed into a half mask, covering the nose eyes and forehead. The nose on a Zanni Mask is important, as the nose delineates how stupid or simple the character is. The longer the nose of the Zanni, the more dullard the individual is.
The Zanni, portraying country folk are primarily dressed in sacking, and have a stance of one used to carrying heavy burdens, so they are usually hunched, with knees in a bowed position and feet splayed, in stark contracts to their betters the gentry, who display deportment. The Zanni, are an animated people, constantly moving their arms and hands as they communicate, displaying a coarse rough voice and language. The Zanni's body often times has a mind of its own, with different body parts making odd and animated movements; the less stupid shorter nosed Zanni break out into acrobatics and handstands. Zanni is well known for farting, burping & snoring with gusto. Coming from a famine, Zanni displays a deep unforgotten hunger of the body, constantly hungry, constantly searching for food appearing gluttonous. Zanni are known for their laziness and perchance for sleeping, which they will do at inappropriate times and in any place, including whilst standing. The Zanni are ignorant, rouges, but can be loyal. They can be seen with a slapstick, which they are more than happy to beat someone with, parcels, baggage, food, or other items belonging to another, in their roles as gofers, porters, servants etc.
The Zanni Mask, is a mask of many characters, always from the peasant class, portraying, the ignorant, silly, loutish fellow, who has been built with agility and ease of movement. The Zanni Mask can portray a porter, soldier, baker, farmer, a market hawker, the Harlequin and more. There is diversity to the occupation of the Zanni. When you slip on a Zanni Masquerade Mask, who will you be?
Article written by Melanie Robson
Why Are Tattoo Designs Becoming So Popular Nowadays?
Tattoo designs are at their height & are a sign of the times, and as many people search for a way to separate themselves away from the ordinary, the popularity of getting "inked" as a way of self representation is just likely to grow. For this reason, the industry has serious guidelines & takes every safety measure so the chance of transmitting HIV or other diseases is close to nonexistent.
I feel, if you're capable of walking, you must be fully qualified to choose whether or not the choice to get a tattoo is a good one.
Folks will get tattoo designs for a multitude of reasons. For instance, you can always find a sizable quantity of service men who have put the names of fallen friends on their body for everyone to witness. Several times individuals will put their skills and abilities or even what it is they do for their careers as a way of showing for all of humanity to notice exactly what they're all about.
When you get a tattoo design it basically consist of marking the flesh, so there may to be a little soreness involved, regardless of how little the design or how big it is on your body. The more tattoo designs you contain, the more ink spots you will have all over your body as time goes by.
Here's a trouble-free list of tips, dos & don'ts and valuable information you ought to keep in mind while deciding if a "tat" is right for you?
A temporary "tattoo" will last from anywhere to a a few of days to a few months and possibly will be a different option for those of you who are not convinced that a permanent tattoo design is right for you. A respectable, well-trained tattoo artist has strict health rules and is able to answer all of your concerns in relation to tattooing procedures and guidelines.
Several folks are getting in on the fad and jumping on the tattoo design bandwagon, so be unique & creative.
The greatest protection in the fight against the fading tattoo is to keep away from the sun & protect the tattoo design with clothing and wear a really good sunscreen.
There are multiple concerns when having a tattoo such as Hepatitis. This is a disease that attacks the liver & demands a much lesser amount of body fluid to pass on, though it ought to be mentioned that , according to the Centers for Disease Control, there has never been a known case of Hepatitis or AIDS caused by a tattoo design.
Try to use some kind of recommended, all natural lotion, as a few scents may inflame the still-tender flesh of your tattoo. Individuals are very diverse. Some will want to only beautify a minor part of their body, while in others it may well be challenging to discover a square inch of un-tattooed flesh.
After having your tattoo design completed here are a number of aftercare tips that cannot be unnoticed, so make certain to understand all instructions set by your tattoo artist.
Fortunately there are different avenues you can select from as a replacement for having a everlasting tattoo design on your body. Tattoos are and will remain to be a extreme road to express your individuality and original sense of style.
Get unlimited access to thousands of tattoo designs plus a members forum, a tattoo picture gallery and much more for a low one time fee.
Article written by Mike Seward
I feel, if you're capable of walking, you must be fully qualified to choose whether or not the choice to get a tattoo is a good one.
Folks will get tattoo designs for a multitude of reasons. For instance, you can always find a sizable quantity of service men who have put the names of fallen friends on their body for everyone to witness. Several times individuals will put their skills and abilities or even what it is they do for their careers as a way of showing for all of humanity to notice exactly what they're all about.
When you get a tattoo design it basically consist of marking the flesh, so there may to be a little soreness involved, regardless of how little the design or how big it is on your body. The more tattoo designs you contain, the more ink spots you will have all over your body as time goes by.
Here's a trouble-free list of tips, dos & don'ts and valuable information you ought to keep in mind while deciding if a "tat" is right for you?
A temporary "tattoo" will last from anywhere to a a few of days to a few months and possibly will be a different option for those of you who are not convinced that a permanent tattoo design is right for you. A respectable, well-trained tattoo artist has strict health rules and is able to answer all of your concerns in relation to tattooing procedures and guidelines.
Several folks are getting in on the fad and jumping on the tattoo design bandwagon, so be unique & creative.
The greatest protection in the fight against the fading tattoo is to keep away from the sun & protect the tattoo design with clothing and wear a really good sunscreen.
There are multiple concerns when having a tattoo such as Hepatitis. This is a disease that attacks the liver & demands a much lesser amount of body fluid to pass on, though it ought to be mentioned that , according to the Centers for Disease Control, there has never been a known case of Hepatitis or AIDS caused by a tattoo design.
Try to use some kind of recommended, all natural lotion, as a few scents may inflame the still-tender flesh of your tattoo. Individuals are very diverse. Some will want to only beautify a minor part of their body, while in others it may well be challenging to discover a square inch of un-tattooed flesh.
After having your tattoo design completed here are a number of aftercare tips that cannot be unnoticed, so make certain to understand all instructions set by your tattoo artist.
Fortunately there are different avenues you can select from as a replacement for having a everlasting tattoo design on your body. Tattoos are and will remain to be a extreme road to express your individuality and original sense of style.
Get unlimited access to thousands of tattoo designs plus a members forum, a tattoo picture gallery and much more for a low one time fee.
Article written by Mike Seward
Which Bar Stools Did Hemingway Sit On?
Have you ever thought about which bar stools Hemingway would have sat on? This probably isn't the type of thing that would enter the average person's mind on a daily basis but for some people, particularly Hemingway fans, it is a reasonable question.
A recent news story from sunny Florida brought this question to light for many people. The famous and upscale Sloppy Joe's Bar are taking the owners of Captain Tony's Saloon to court to settle an issue over who can really claim rights as the owner of the original Sloppy Joe's as well as bragging rights for a piece of the legend of Ernest Hemingway. The lawsuit which was filed on July 7th in the US District Court said that Captain Tony's infringed on the trademark of Sloppy Joe's. Legends say that Hemingway spent a great time drinking and writing at each bar. Fans of the individual bars argue over the facts that Hemingway ever drank or even visited the opposing bar.
Regardless of which bar is the true owner of the story, if either, there's one thing that's brought to mind when we think of this. If Hemingway really spent as many hours as they say (and as some of his stories would suggest) sitting in the bar writing, what kind of bar stools did he sit on. Were they comfortable? Did they have backs to them? Were they metal or wooden? Did these bar stools swivel?
There are so many questions which one might ponder about the chair that the famous Hemingway may have sat in for so many hours a day, writing and drinking. One would think that these bar stools were comfortable if he spent so much time in them but we can't say for certain. A regular, ordinary old wooden bar stool may have been his thing. Writers are known for their intricacies and this could have been one of Hemingway's.
Since there's no proof of which bar, if either, Hemingway really spent so much time at, it's hard to say exactly what kind of bar stools he sat on. One thing we can assume is that the bar stools he sat on were most likely similar to the other styles of the times. You can look at the era in which Hemingway would have been frequenting bars to get an idea for the types of stools that may have been common but there is little proof of exactly what type he would have been sitting on. Since the bars themselves have also changed over the years, it's not likely they still have the same types of bar stools. This is especially true about Sloppy Joe's which has gained international fame as more than just a bar but also a restaurant, museum and tribute to Hemingway. Sloppy Joe's would be considered much more "high class" than bars of Hemingway's day and it's more like the bar stools he sat on were more like those of the quant Captain Tony's.
Article written by Ben Weissman
A recent news story from sunny Florida brought this question to light for many people. The famous and upscale Sloppy Joe's Bar are taking the owners of Captain Tony's Saloon to court to settle an issue over who can really claim rights as the owner of the original Sloppy Joe's as well as bragging rights for a piece of the legend of Ernest Hemingway. The lawsuit which was filed on July 7th in the US District Court said that Captain Tony's infringed on the trademark of Sloppy Joe's. Legends say that Hemingway spent a great time drinking and writing at each bar. Fans of the individual bars argue over the facts that Hemingway ever drank or even visited the opposing bar.
Regardless of which bar is the true owner of the story, if either, there's one thing that's brought to mind when we think of this. If Hemingway really spent as many hours as they say (and as some of his stories would suggest) sitting in the bar writing, what kind of bar stools did he sit on. Were they comfortable? Did they have backs to them? Were they metal or wooden? Did these bar stools swivel?
There are so many questions which one might ponder about the chair that the famous Hemingway may have sat in for so many hours a day, writing and drinking. One would think that these bar stools were comfortable if he spent so much time in them but we can't say for certain. A regular, ordinary old wooden bar stool may have been his thing. Writers are known for their intricacies and this could have been one of Hemingway's.
Since there's no proof of which bar, if either, Hemingway really spent so much time at, it's hard to say exactly what kind of bar stools he sat on. One thing we can assume is that the bar stools he sat on were most likely similar to the other styles of the times. You can look at the era in which Hemingway would have been frequenting bars to get an idea for the types of stools that may have been common but there is little proof of exactly what type he would have been sitting on. Since the bars themselves have also changed over the years, it's not likely they still have the same types of bar stools. This is especially true about Sloppy Joe's which has gained international fame as more than just a bar but also a restaurant, museum and tribute to Hemingway. Sloppy Joe's would be considered much more "high class" than bars of Hemingway's day and it's more like the bar stools he sat on were more like those of the quant Captain Tony's.
Article written by Ben Weissman
Bulat Steel
Bulat steel was lost at the beginning of the 19th century Petrovich Anosov was a student of the Damascus steel. He studied them for over ten years. He was believed to be able to recreate this steel in 1838. Petrovich Ansosv steel Bulat steel was very popular in the making of cannons. But when the Bessemer process was made it kill Petrovich. This process was able to create the same steel for much less money.
Bulat steel was lost at the beginning of the 19th century Petrovich Anosov was a student of the Damascus steel. He studied them for over ten years. He was believed to be able to recreate this steel in 1838. Petrovich Ansosv steel Bulat steel was very popular in the making of cannons. But when the Bessemer process was made it kill Petrovich. This process was able to create the same steel for much less money. Potrovich started at the Saint Petersburg Min Cabet School in 1810. This is where he first saw a Damascus Steel sword in a case. This sword grabbed is attention.
Then seven years later he went to the factories of Zlatoust mining region in the Urals. while there he was promoted to the inspector of the weapon decoration department. Once again he came in contact with another Damascus steel sword. One big different is this sword was a European copy and not even close to the equal of the sword from the Middle East. This sword was just one of pattern welding. At this time Petrovich Ansosv chose to give making Damascus steel a try for himself. He had been working on some Quenching techniques and gave it a shot. Now again no one knows if he truly duplicated Damascus steel but he did eventually make a methodology the very much increased the hardness of his own steel.
What make these steel so good is the structure of the components. so carbon steel has two componets. It has pure iron, and cementite, or iron carbide. Cementite is very very brittle. In fact on the Brinell hardness test it would score a 640 this is brittle. scoring 200 on the test is ferrite. So when you work these two together and then very slowly cool them to allow cementite to precipitate as micro particles between the ferrite crystals and then arrange in a pattern. carbide is dark and the steel is grey. This is what make the pattern on true Damascus steel. Another big part of making Bulat or Damascus steel is Ceramic. This is what is thought to make this steel so sharp. It breaks down in between 600 and 1100 C and goes into the ferrite and carbon.
This steel is very hard to make and really can only be made by a master sword maker. These swords are some the sharpest and beautiful in the world.
Article written by James Huff
Bulat steel was lost at the beginning of the 19th century Petrovich Anosov was a student of the Damascus steel. He studied them for over ten years. He was believed to be able to recreate this steel in 1838. Petrovich Ansosv steel Bulat steel was very popular in the making of cannons. But when the Bessemer process was made it kill Petrovich. This process was able to create the same steel for much less money. Potrovich started at the Saint Petersburg Min Cabet School in 1810. This is where he first saw a Damascus Steel sword in a case. This sword grabbed is attention.
Then seven years later he went to the factories of Zlatoust mining region in the Urals. while there he was promoted to the inspector of the weapon decoration department. Once again he came in contact with another Damascus steel sword. One big different is this sword was a European copy and not even close to the equal of the sword from the Middle East. This sword was just one of pattern welding. At this time Petrovich Ansosv chose to give making Damascus steel a try for himself. He had been working on some Quenching techniques and gave it a shot. Now again no one knows if he truly duplicated Damascus steel but he did eventually make a methodology the very much increased the hardness of his own steel.
What make these steel so good is the structure of the components. so carbon steel has two componets. It has pure iron, and cementite, or iron carbide. Cementite is very very brittle. In fact on the Brinell hardness test it would score a 640 this is brittle. scoring 200 on the test is ferrite. So when you work these two together and then very slowly cool them to allow cementite to precipitate as micro particles between the ferrite crystals and then arrange in a pattern. carbide is dark and the steel is grey. This is what make the pattern on true Damascus steel. Another big part of making Bulat or Damascus steel is Ceramic. This is what is thought to make this steel so sharp. It breaks down in between 600 and 1100 C and goes into the ferrite and carbon.
This steel is very hard to make and really can only be made by a master sword maker. These swords are some the sharpest and beautiful in the world.
Article written by James Huff
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