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Using Resin Parts to Create a Resin Scale Model

2018-06-25 15:10:47 | 高齢社会
Introduction
The vast majority of resin scale model kits made today are made from plastic (polystyrene).  Most modelers will, sooner or later, come across other materials and cast polyethylene resin is one of these.  Working with polyethylene resin requires different methods and products.  This tutorial is a guide to dealing with this material.
Background information about cast resin can be found in the article ‘Model Kit Materials’and so we will not repeat it here.

Preparing Parts
Whether you are building a complete resin kit, or using an aftermarket kit to convert a standard plastic kit, you will find that the resin parts are likely to need more work on them than the more normal injection molded plastic parts that you may be used to
The quality of plastic kits on the market is very good and most modelers have become used to snipping a plastic part from the spruce and, with little or no clean-up, putting it on the model.  Unfortunately that will not be the case with resin.
Resin parts are cast from a liquid and may well come still attached to the casting block.  If this is so, then they need to be separated. If the attachment point is thin then it might be separated with repeated passes from a sharp hobby knife.  However, if the attachment point is thick it will need to be cut off with a fine saw, sometimes called a razor saw, which is designed for hobbyists.  Normal saws available from hardware stores cannot be used as the teeth of the saw will be too large. The sawing process can be difficult and time-consuming, especially if the link between the part and the casting block is large, but there is no way to avoid it.  You may wish to try using a motor tool to speed up the process, but great care is needed when doing this.  If too much friction is generated, the resin may melt.
The greatest difficulty can be cutting away the casting block without damaging the part.  Sometimes it is better to cut away the bulk of the casting block, leaving a small amount behind that can be trimmed away with a modelling knife.

Note that whenever cutting resin like this, or sanding it, there will be a fine dust produced which is very bad for the lungs.  Wear a filter mask and clean up your work area afterwards.
When the parts have been removed from the casting blocks, they need to be cleaned up.  Any remaining lug where the part was attached to the casting block will need to be cut away with a knife or sanded/filed away.  There is also likely to be a seam that will need to be removed with a sharp blade.

Examining All Parts
Once the parts have been removed from the casting blocks and cleaned up they need to be examined.
One potential fault is warping.  Check whether the part has become distorted.  For example, if it is the chassis of a vehicle place it on a flat surface and see if it sits right or whether it rocks back and forth.  If you find a part has been warped then it is possible to sometimes undo the damage by applying gently heat, such as boiling water or even a hair dryer which softens the resin and makes it possible to reshape it.  Clearly care needs to be used when applying heat in this way to avoid injury.
A second fault is air bubbles.  Sometimes tiny air bubbles can be trapped in the mould whilst the resin is setting and this might mar the surface detail.  These tiny holes are sometimes called ‘pin holes’.  This fault can be rectified with filler and sanding.  Remember that fillers designed for styrene plastic will not adhere to resin.  However, if the pin holes are tiny, almost any type of filler will work well.
Another thing to check for is the need to drill any holes.  Injection molded parts will probably have holes molded into them, but it is more difficult to create holes that go right through a part when it is cast.  It may be that the resin part has an indentation to show where a hole should be, so that the modeller can drill it out completely.

Gluing Parts

Standard polystyrene cement which is perfect for conventional styrene models is absolutely useless for resin parts. Poly cement works by slightly dissolving the styrene plastic, but it will not dissolve resin and so will not work at all. When gluing resin parts to each other, or to plastic, you will need to use either two-part epoxy glue or cyano (superglue) adhesive. Both of these work well, so it is down to individual preference.
Cyano is the most convenient because it does not have to be mixed and so is probably the first choice for many modellers.  However, the epoxy cement will probably produce the strongest and most reliable bond.
Whichever glue you use, it will only work if the surface is prepared properly.  Both types of glue need a dust-free and grease-free surface, so wash the parts in warm water with detergent and dry them thoroughly.  The bond will probably be stronger if the surfaces to be joined are roughened slightly with sand paper.
Once you have glued the parts together, there may be a need for filler.  The normal fillers intended for polystyrene such as Squadron ‘Green Stuff’ and ‘White Stuff’ will not adhere to resin because they are designed to ‘melt’ the surface of polystyrene.  This does not mean that they cannot be used in certain situations, but you should be aware that they may flake away if spread thinly.  Epoxy putties such as Milliput, or other fillers that have a natural tackiness, should normally used in preference when filling resin parts.

Summary

Using resin parts does provide the modeller with additional challenges, but there are also additional rewards.  You have the opportunity to make an unusual or even unique model.  Using resin also gives you the opportunity to hone and develop your modelling skills.  Give it a go.  Try starting with a simple conversion kit to enhance or modify an injection molded kit and build up to a full resin scale model.

How Cans Are Made

2018-06-25 14:52:01 | 高齢社会
How many pieces are used to make a can such as a cookie tin can? How involved is the process? Get an inside look at how the food and beverage cans we use every day are manufactured.

Making A Two-Piece Can
Cup Blanking and Drawing Press punches out hundreds of cups per minute from huge coils of aluminum or steel.

Ironing and Doming Cup is forced through a series of rings to iron out cans to full length and form bottom dome.

Trimming Cans are spun as cutting tool trims to length.
Cleaning Washer cycles hundred of cans per minute through multiple cleaning stations.
Printing and Varnishing At printing station, cans are rolled against cylinder to print up to four colors simultaneously.

Bottom Varnishing Cans are conveyed past applicator that varnishes bottom.
Baking Cans wind through conveying system in oven to dry and set lithography.

Inside Spraying A protective specially compounded coating is applied to inside of cans.

Baking Trip through funnel oven bakes and cures inside coating.
Necking In Can necks are reduced at top to fit the designated end size.

Flanging and Testing Can rims are flanged for future double seaming of ends. Then, each can is mechanically tested for leakage. Finally, cans are automatically stacked in cartons or on pallets for shipment.

Making A Three-Piece Can:
Shearing The large coil of metal is cut into sheets at the rate of 160 sheets per minute on the shear press Shearing The large coil of metal is cut into pre-scolled sheets at the rate of 150 sheets per minute. The irregular ends of the sheets are designed for the maximum number of ends per sheet.
Coating An inside protective coating is placed on the sheets and cured.
Coating An inside protective coating is placed on the pre-scroll sheet and cured.
Printing The sheets are decorated with whatever printing the customer desires and then an over coat of varnish is placed on the decorated sheet and cured.

The body sheets are now stacked on pallets for shipment to a fabricating plant.
Printing The sheets are decorated with whatever printing the customer desires and then an over coat of varnish is placed on the decorated sheet.

Coating A second inside protective coating is placed on the sheets and cured.
Slitting Body sheets containing up to 35 body blanks per sheet are slit into individual body blanks which will be formed into cans.
Scroll Shearing The pre-scrolled sheets are now cut into small scroll sheets which will be fed into the end making press.

End Forming Ends are stamped out of the scroll sheets at the rate of 650 ends per minute. Finished ends are packed into tubes for delivery to fabricating plants and customers.

Body Forming Body blanks are fed into a bodymaker where they are formed into cylinders and joined at their side seams by solder, cement or weld.
Flanging The formed cylinder comes from the bodymaker to the flanger. Here the metal on both ends is rolled to form a flange on each end of the can. This flange will at a later time accept double seaming.
Double Seaming One end, top or bottom, depending on customer specifications, is double seamed on the can.
Spray Coating A final coating is placed on the interior surface of the can. This is a specially compounded protective coating.

Baking here the final interior coating is baked and cured through a funnel type oven where the time-temperature cycle must be controlled carefully.
Testing A 100 per cent quality control inspection for any micro leak is given to every can.

Packing Cans are packed into cartons or placed on pallets for delivery to customers.

This is the process of making the cookie tin cans of the biscuit.

The history of the biscuit tin box

2018-06-25 14:43:24 | 高齢社会
Biscuit tin box is utilitarian or decorative containers used to package and sell biscuits (such as those served during tea) and some confectionery. They are commonly found in households in Great Britain, Ireland, and Commonwealth countries, but also on continental Europe and French Canada. Popularity in the United States and English Canada spread later in the 20th century.

Because of their attractive appearance, biscuit tin box have often been used by charities and by some visitor attractions as fundraising devices since the value of the biscuits in a biscuit tin box is substantially less than the price that many customers will happily pay for a tin of biscuits.

Biscuit tin box is steel cans made of tin plate. This consists of steel sheets thinly coated with tin. The sheets are then bent to shape. By about 1850, Great Britain had become the dominant world supplier of tin plate, through a combination of technical innovation and political control over most of the suppliers of tin ore. Biscuit tin manufacture was a small but prestigious part of the vast industry of tin plate production, which saw a huge increase in demand in the 19th century was directly related to the growing industrialisation of food production, by increasingly sophisticated methods of preservation and the requirements made by changing methods of distribution.

The British biscuit tin box came about when the Licensed Grocer's Act of 1861 allowed groceries to be individually packaged and sold. Coinciding with the removal of the duty on paper for printed labels, printing directly on to tinplate became common. The new process of offset lithography, patented in 1877, allowed multicoloured designs to be printed on to exotically shaped tins.

The earliest decorated biscuit tin box was commissioned in 1868 by Huntley & Palmers from the London firm of De La Rue to a design by Owen Jones. Early methods of printing included the transfer process (essentially the method used to decorate porcelain and pottery since about 1750) and the direct lithographic process, which involved laying an inked stone directly on to a sheet of tin. Its disadvantage was that correct colour registration was difficult. The breakthrough in decorative tin plate production was the invention of the offset lithographic process. It consists of bringing a sheet of rubber into contact with the decorated stone, and then setting-off the impression so obtained upon the metal surface. The advantages over previous methods of printing were that any number of colours could be used, correctly positioned, and applied to an uneven surface if necessary. Thus the elaborately embossed, colourful designs that were such a feature of the late Victorian biscuit tin industry became technically possible.

The most exotic designs were produced in the early years of the 20th century, just prior to the First World War. In the 1920s and 1930s, costs had risen substantially and the design of biscuit tin boxs tended to be more conservative, with the exception of the tins targeted at the Christmas market and intended to appeal primarily to children. The designs generally reflected popular interests and tastes.

The advent of the Second World War stopped all production of decorative tin ware and after it ended in 1945, the custom did not enjoy the same popularity as before.

Vintage biscuit tin boxs can be found in various museums and on the market have become collector items.

The power transformer

2018-06-22 16:01:32 | 高齢社会
Power transformer is a static machine used in transmission network. It helps in transmission of power from one network to the other without change in frequency. These transformers operate at high or peak load and have maximum efficiency at full load. One of the key concerns in transmission of power is transmission loss. Power transformers allow transmission of power over long distances at high voltages, thus minimizing the transmission loss. Over the years, there has been a significant increase in the transmission voltages whereas generation and distribution voltages have remained constant. Power transformers have allowed this shift from low-voltage power transmission to high-voltage power transmission.
The power transformer (<100 MVA) market is currently in the growth stage, majorly for large transformers. Increase in demand for power, cross border power transmission, initiative to utilize more renewable and non-conventional energy sources, smart grids, and need to upgrade transmission networks boost the power transformer (<100 MVA) market. Utilization of ultra-high voltage transmission technology in the developing economies such as China and India demonstrate increase in importance of power transformers. However, high transformer cost as well as cost of protection instruments and supporting infrastructure prevents optimal utilization of power transformers throughout the region.


Why the wooden kitchen cabinet is back in vogue

2018-06-22 13:49:18 | 高齢社会
Not so long ago, the sleek, handleless kitchen was the epitome of modern style. When minimalism held sway, a streamlined space with high-spec integrated appliances and all clutter packed behind uniform cabinet doors (save for the odd artfully placed vase of flowers or potted herb) was the design blueprint, in city apartments and suburban semis alike.
Over the past few years, however, as we’ve gravitated towards natural materials and more personalised spaces, the traditional, rustic-style kitchen has started to make a comeback – free-standing units, visible utensils and all – and it is surprisingly well-suited to modern urban spaces.
Kitchen designer Tom Howley credits a growing appreciation for craftsmanship to demand for more rural-style, wooden kitchen cabinets; his Hartford range starts from £40,000.
“Many customers are now understanding the work that goes into making a kitchen, which revolves around the desire for quality and performance, longevity being a key driving factor when investing in a kitchen,” he says. “A high-gloss, handleless kitchen is a trend-based buying decision, but a classic shaker-style kitchen can be easily updated.”
In practical terms, any marks or scratches can be sanded down or painted over, and a simple paint job can create a completely new look: a wooden cabinet door may have rustic associations, but painted navy blue or deep teal, it looks altogether more modern and sophisticated. Changing the handles is an even easier update: brass, matt black and leather are on-trend finishes.

As open-plan and broken-plan continue to be the layout of choice, the kitchen island remains popular as a transitional element between kitchen and sitting room. Howley reports that an island was specified in 75 per cent of his kitchen designs last year, and that it doesn’t have to be big to become a social hub.

It’s also a product of the growing popularity of restaurant-level cooking and, in particular, baking at home: maximum worktop space is top of kitchen-buyers’ wish-lists, and we’re increasingly opting for traditional materials such as marble (perfect for pastry-making) and granite, over man-made materials like Corian.
Similarly, more and more of us are opting for a range cooker, the mainstay of a country kitchen – whether or not we live in a country house.