The forums are retiring and are now closed for new topics and comments. The existing content will remain online and accessible through 2020 to provide everyone the opportunity to save any relevant information. In the spring of 2021, these Community forums will be taken offline.

Search for stretch fabric in Topics


How to sew stretch fabric without a serger?

There are quite a few sewing projects that I want to try, but they all use stretch fabric, which I've never worked with before. We have a sewing machine with about 10/12 stitch options but I don't think it can take double needles. Would a zig zag stitch work? Or would I need to use something else as well?

Question by tang6567    |  last reply


Which stretchable conductive fabric to be use for posture detection

Hello Sir/madam I am working on Posuure recogniton/Activity level classification.please help me on this like which fabric i need to use  or please suggest me how to proceed with it. i was using this fabric but it is more sensitive and change its resistance every time when we stretch it and there is no constant increase or decrease in stretchingand after washing also there is huge difference in the resistance value.please anyone can suggest me which fabric to be use for this application. https://www.tanotis.com/products/sparkfun-eeontex-conductive-stretchable-fabric?gclid=Cj0KCQjwi97NBRD1ARIsAPXVWWAjOVpJlmVfjxULdvjhI_7v-dGI4plgZtfPhkkjdEeANLk9acYoHVUaAmo8EALw_wcB&variant;=42402339152

Question by PrincyR  


String experts please help!

First time poster sorry if do something incorrectly! Anyone who knows a great deal about string I need some help! It needs to have certain qualities. 1.  <5mm diameter. 2. Does not stretch. 3. Can be compressed to a smaller diameter. 4. Returns to size when decompressed. 5. Maintains shape after repeated compression/decompression. I am currently using oval shoelace which works perfectly save for one flaw, after a short time it "breaks in" and loses its sponginess, no longer returning to it's normal size if compressed then decompressed. The compression comes from two parallel lines of shoelace being twisted together until wound tightly then untwisted fully and re-twisted in the opposite direction, this process will continue through the life of the device. The shoelace starts excellently but then quickly degrades over time. I need to accomplish the same effect with no degradation of the sponginess of the string, or greatly reduced. Any method or material suggestions are greatly appreciated! 

Topic by saronson    |  last reply


How To Get What You Want

Holy Lo, it's the Mecca of All Things Soft-Tech. Stretch sensors. Knit stretch sensors. Soldering conductive thread. Soldering conductive fabric (why hadn't I thought of that yet?). Fabric switches. Workshops, workshops, workshops! Solar tshirts, piano tshirts, fabric sensors, and, gobs of INSTRUCTABLES from user Plusea and mikamika. WooHoo!Check out stuff you know, stuff you don't know, and stuff you never thought about all in one easy place! How to Get What You Want.Go!Now!Thanks Hannah and Mika!

Topic by scoochmaroo    |  last reply


Outside lounge chair

We have an outdoor lounge chair used for sunbathing. The one we have has a metal frame with fabric stretched across. Recently the fabric part ripped, leaving the chair unusable. It kind of looks like the one in the photo, except on ours, the fabric on the 'back' of the chair is separate from the fabric on the 'body' of the chair. http://www.egoparis.com/user-data/product/fullImage/2/296aef16f7e8d00ef7be21cf418335ae.jpg (Sorry, I couldn't figure out how to post an image. :P) Surely there is an instructable teaching how to make an outdoor lounge/sunbathing chair, though I couldn't find one. Anyone know of one or know how I can fix the old chair?

Topic by minderbinder    |  last reply


Where can I get recycled industrial textile material?

 I've been looking for this: http://www.markrobson.fr/page5/files/metisse1.jpg kind of industrial recycled felt(?) type material everywhere and I can't seem to find any source that isn't exclusively sold wholesale with insanely huge minimum bulk orders like 1,000 meters minimum or something. I really really like the look of the material and wanted to use it for home decor things like for furniture or even use as a rug and possibly clothes or something and I also of course like the fact that it's made of recycled materials. Which brings up another question does anyone happen to know if this stuff is safe for those kinds of applications or is it similar to fiberglass insulation which is actually pretty harmful to touch? I really want to use it for clothes or home decor if it isn't harmful but definitely don't have the money or even use for anything over 10 meters of this material and even that's a stretch I really am looking more like up to five meters or so at the moment.

Question by ADiEAN    |  last reply


How do i draw on lycra? Answered

I wonna make an R2D2 bathing suit I would buy a white bathing suit and paint on the shapes. Would permanent marker work? i don't want to use fabric paint which will become crusty and won't allow the suit to stretch properly. Help is appreciated :D

Question by lpringiers    |  last reply


Can any tiny spy cam emulate the basic human visual range/angle?

I ask because i made a large almost featureless spherical mascot head which i dont want to ruin by cutting a gaping view hole through the front, iv tried the stretched mesh fabric approach but it doesnt look right at all. The current version has a wide slit so my horizontal vision is great but iv got almost no vertical vision, im taller than average and need to see where people around me are around me so i need an improved ability to look downwards. So iv been thinking about one of those tiny spycams linked to a screen mounted inside (perhaps vr goggles), is there a camera with the kind of wide viewing angle you naturally get out of your eyeballs, so i can angle my head down and actually see the ground reasonably close to my feet?

Question by ambientvoid    |  last reply


(newsletter) Chocolate Painting, Redirect a Light Switch, Car Dash Camera Mount

Sign-up for this newsletter: Earthjustice United States of Efficiency Contest - Create an energy-saving Instructable and you could win a MacBook Pro! April Fools Contest - Share your best pranks, tricks, and practical jokes! Klutz Rubber Band-Powered Contest - Open to any rubber band-powered contraption. Win cool books from Klutz!Burning Questions 7 - Answer our questions and win the love of thousands, or at least a spiffy new t-shirt! ThinkGeek Hacks Contest - Hack or modify any ThinkGeek item and win a $250 gift certificate! Epilog Challenge - Enter any awesome project with a green twist for the chance to win an Epilog Zing laser cutter or gift certificates from Ponoko! Starburst Mirror Compact and Cheap Hydroponics System Car Dash Camera Mount Desktop Energy Seed Lamp Win a laser cutter! Stretch, twist, and power something cool Etch Aluminum Panel Labels/Designs Chicken Barrow Carbon Composite Hydrofoil From Junk! Manly Crafts Guide Featured questions from our new Answers section: What can be put on the compost pile? Is it possible for a device to be 100% efficient? Robot Racer Redirect a Light Switch Build a PC Enable Half Stars In iTunes Win a green MacBook Pro! Closes for entries this Sunday! Home Gardening Guide Fabric Tilt Sensing Bracelet Chocolate Painting Reverse Clock Sign-up for this newsletter:

Topic by noahw  


(newsletter) 5-Minute Cake, Run Through World of Warcraft, Fake Scars...

Oct 23, 2008 Sign-up for this newsletter: function openSubscribePopUp(src){ var emailValidate = /\w{1,}[@][\w\-]{1,}([.]([\w\-]{1,})){1,3}$/ if(emailValidate.test(src.value) == false){ alert("Please enter correct email"); return; } window.open("/newsletter/newslettersignup?email=" + src.value,"newslettersignup1","status=yes,scrollbars=yes,resizable=yes,width=420,height=250"); } Welcome back! Our book, The Best of Instructables, Volume 1, is now on sale! We selected over 120 of the best Instructables and put it into an awesome book. Check it out and buy a copy today! Enter the Party Like It's 1929! Contest! With the economy in the toilet we need to find clever ways to save money, live with less, and reuse what we've got. Remember the Great Depression? We can definitely do better this time around. Share your cash-stretching tips and tricks, and win something useful! The DIY Halloween Contest is scaring up awesome projects! We've partnered with some of your favorite websites to bring you the biggest and best Halloween contest ever -- and we've got tons of great prizes to give away. Show us your best costumes, treats, gadgets, jack-o-lanterns, and more! Check out the entries and get inspired for the best Maker holiday ever. The Hungry Scientist Contest and this round of Burning Questions close this weekend. Enter now to win a Kitchen Aid mixer, a super nice knife set, or a Le Creuset Enamel Cast Iron Cook Set for your food hack or a t-shirt for your Burning Answer!Stop by our office tonight for our Halloween open build night and make something awesome! The Best of Instructables - Video by ewilhelm Run Through the World of WarCraft by ManaEnergyPotion 5-minute Chocolate Cake by scoochmaroo Easy to do VERY convincing scar! by BlackDidThis Tons and tons of spooky andamazing prizes!Closes this weekend! Leather iPod Touch Case using Water! by gmjhowe Clear a clogged drain with SCIENCE! by fultron89 Eat a Sprouted Coconut by TimAnderson Little Zen Garden by itschrys Cookie Periodic Table by maicoh Reclaimed Wood Table by drocko Is Your Printer Spying on You? by EFForg Journal to Save Your Life by johnnyallenshaw 10 ways to gross out your guests Share your best money-saving tips! Make a Laptop Stand with a Coat Hanger by tullytully Make a Shirred Fabric Summer Dress by threadbanger Homemade Spaghetti by gregr Sewable Arduino Interface by Plusea Now go make something awesome, and I'll see you next week! - Eric Sign-up for this newsletter: function openSubscribePopUp(src){ var emailValidate = /\w{1,}[@][\w\-]{1,}([.]([\w\-]{1,})){1,3}$/ if(emailValidate.test(src.value) == false){ alert("Please enter correct email"); return; } window.open("/newsletter/newslettersignup?email=" + src.value,"newslettersignup2","status=yes,scrollbars=yes,resizable=yes,width=420,height=250"); }

Topic by fungus amungus    |  last reply


History of Printing Mesh

Sit in on a trade show seminar or visit an online forum, and you'll encounter countless debates about the "right" type of mesh to use. The truth is, while there are some guidelines to follow, the best way to determine what's right for your shop is by trial and error. Only problem is, who has the time to experiment? There are literally hundreds of mesh types out there. Trying to choose the best one can seem like an overwhelming task, but by following some general rules of thumb, you can narrow down your mesh choices to a dozen or so. Then testing each kind won't seem so unmanageable. Specs. It may look like the screen on your back door, but screen printing mesh isn't the same kind of material. The biggest difference is that unlike what keeps bugs out of your house, this type of mesh is made from fabric, not wire. For this industry, monofilament polyester is the most frequently used mesh material. When you start shopping for mesh, you'll also need to determine the weave, count, thread diameter and color that's best for your shop. The type of weave is a no-brainer. When researching mesh, you may come upon the terms plain-weave and twill mesh. The difference between the two is how the threads are woven to create the mesh pattern. Make sure you purchase plain-weave mesh instead of twill mesh, which can cause moiré problems, especially in the high mesh counts. Mesh is often referred to by its mesh count – i.e. 120 mesh, 230 mesh etc. – representing the number of threads per inch. The lower the count, the bigger the mesh openings. Low mesh counts are commonly used with specialty inks such as glitter and puff to allow big ink particles to reach the substrate. High mesh counts are mainly used to print fine details and halftones. Printing through high mesh counts also produces a thin layer of ink on the garment, creating a soft hand. Mesh with a count that falls somewhere in the middle is what most screen printers rely on for their basic, everyday print jobs. The last factor you'll need to decide on is thread diameter. Until a few years ago, terms such as S, T and HD were commonly used to refer to thread diameter. Now, however, a more universal method of referring to the diameter number (in microns) helps keep consistency throughout the industry. While there's no standard thread diameter for each mesh count, there's generally a heavy-duty and a light version for each mesh count. The thinner the thread, the better the detail, but the weaker the fabric. The mesh manufacturer or your local distributor will help you weigh the benefits of each and determine what's right for your individual shop. As you shop for mesh, you're sure to come across different colors. Mesh is typically offered in white and yellow, although orange is available from some manufacturers. During exposure, a white mesh will refract the light similar to the way in which a fiber optic cable works. The light travels down and out, affecting edge definition and quality. This isn't as important with lower mesh counts, but when you're doing a lot of fine detail and halftone work, such slight adjustments will show up in the final print. For this reason, many printers stick with white for lower mesh counts, but use yellow or orange for higher mesh counts. Assess Your Need. Everyone has a preferred type, but there are some general guidelines to go by when you're in the market for mesh. Look around your shop and you'll find clues to what type of mesh counts you should be printing with. The three factors to base your decision on are the type of garments you're printing on, your ink type and the kind of frame system that you use on a regular basis. You'll also need to take into account the type of print jobs you typically do. For most screen printers, T-shirts are the order of the day. They can probably get by using a middle-of-the-road mesh count such as a 110 mesh. However, if you print a lot of athletic numbers and use thick ink to withstand the rough treatment jerseys encounter on the field, you'll probably need a coarser mesh count to allow the thicker ink to reach the material. In such cases, it's not necessary to use a high mesh count. On the other hand, if you do a lot of halftone and fine detail work, you'll need a higher mesh count to retain the minute details in the design. Also let your distributor or manufacturer know what type of frame system you use, as some types require sturdier mesh (and higher thread diameters) to withstand repeated use. In general, most screen printers find that a 110 mesh count will work fine for most jobs. The key word here, though, is "most." Don't rely on 110 mesh for each and every single job. Instead, try out different mesh counts with different print jobs, and keep a record of your production results. Note the mesh type, screen tension, type of ink and whether the print job is multicolor, process color, etc. Also note the garment type: Are you printing on a nylon jacket or a cotton T-shirt? Regularly reviewing your records will help you see a pattern, and decide which mesh tends to work best with a particular ink and design combination. You'll be surprised by the varying results between your "everyday" mesh count and one that's a little higher or lower. If you want to experiment with different mesh counts, start with the coarsest mesh and work your way up to the higher numbers, noting how the print looks with each version. Hit the Trail. Most screen printers have an established local distributor that they order supplies from. Others may prefer to order directly from the manufacturer. To find a list of mesh distributors and manufacturers, check out IMPRESSIONS' 2003 Sourcebook. Decoding the Salesspeak. The world of mesh can get a little technical. Here are some key terms to help you navigate the terminology: Low-elongation (LE) mesh – Most monofilament polyester fabrics are low elongation. The term refers to the mesh's ability to retain its tension level. In the past, stretching screens required tensioning the mesh to say, 25 N/cm, letting it relax to a lower tension then repeating the process. Today's low elongation mesh typically only requires one go-around. Monofilament polyester mesh – Some printers who've been around for years still use multifilament polyester mesh. However, the majority of the industry has switched to monofilament. Although it must be abraded for good emulsion adhesion, monofilament mesh tends to stretch, hold tension and print better than multifilament mesh. Plain-weave mesh – Almost all mesh for the textile printing industry is plain weave. The term refers to the method by which the threads are arranged to create the mesh openings. Warp – The threads that run the length of a roll of mesh. Weft – The threads that run the width of a roll of mesh. The Numbers Game. Mesh is typically ordered by the roll, usually in yards. The price depends on the width of the roll (40", 50", 60" wide, etc.), the mesh count and the color. White mesh is not quite as expensive as yellow or orange mesh, because it doesn't go through the dying and rinse processes. Setup Surprises. Be careful how you open the packaging surrounding your new roll of mesh. Avoid using a knife if possible – mesh can be damaged just by being carelessly opened. Once you've opened your new mesh, store it someplace out of the traffic flow. Try hanging it on a wall like a paper towel roll. Getting it up and off the floor can prevent accidental damage. Keeping the roll visible also allows staff to monitor the supply. Don't wait until the last minute to order mesh – you may not be able to get a new supply in time for that next rush job. Care and Feeding. Once you stretch your screens, what can you do to keep the mesh in top shape? For one thing, be careful with your screens. While coarse mesh can withstand more wear and tear, high mesh counts can be easily damaged when moving them around the shop. To extend the life of your mesh, try stretching your screens so that the squeegee stroke runs parallel to the warp. After several print jobs, who can remember what the mesh count is on a particular screen? To help keep confusion to a minimum, consider writing the mesh count number directly on the screens or frame. Or, color code your stock: white for lower mesh counts, yellow for the more detailed work. So while there's no hard rule for what mesh counts to use, knowing what to look for can help you find what's right for your shop. – CW from Internet

Topic by sharefilters  


SteamPunk Typewriter Keyboard for PC!!! Handmade please look!!

Check out this eBay auction for the following SteamPunk Typewriter Keyboard!!http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item;=170344004923&ssPageName;=ADME:X:AAQ:US:1123"SteamPunk" Typewriter Keyboard for PCThis is a custom made "Steampunk" Typewriter Keyboard that is fully functional and works with any PC! I hand made this over the course of many weeks of hard and meticulous work, using the guts of a very solid Logitech PC keyboard system which I completely rebuilt over many stages, into this solid, beautiful, and unique piece of antique technological art! Three separate sets of antique Royal glass typewriter keys make up all of the keys besides the handmade brass keys (described below). I can personally guarantee this keyboard is completely unique, and you won't find anything like it out on the market! This new beautiful style of combining the old Victorian look with new high-tech products is becoming very popular from young teens looking to be creative and inspired to rich business CEO's wanting something beautiful to match their office. Think about the all the joy and beauty this would bring to your life (not to mention bragging rights!). Right now is your chance to own a piece or art and history which you can put to use everyday!This keyboards design consists of:Solid glass keys from a three different sets of original antique Royal early 1900's typewriters.Hand and naturally aged copper top and bottom rails.Custom, hand punched, leather backing (perfectly fitted and stretched over the top and seamed underneath).Custom bent steel side brackets (which have been properly welded to the copper rails to make a very solid keyboard).Beautiful antique cloth wire loom covering computer connector.Hand made brass Esc key, F keys (done in roman numerals), Arrows, and nine keys above Arrows (because they didn't make any of these keys on antique typewriters).Brief "Steampunk" HistorySteampunk is a sub-genre of fantasy and speculative fiction that came into prominence in the 1980s and early 1990s. The term denotes works set in an era or world where steam power is still widely used usually the 19th century, and often Victorian era England but with prominent elements of either science fiction or fantasy, such as fictional technological inventions like those found in the works of H. G. Wells and Jules Verne, or real technological developments like the computer occurring at an earlier date.Functionality and BeautyAs I keep strongly pointing out, not only does this piece of techno-art look beautiful, but it also works as beautifully too! All the keys were lubricated then meticulously aligned and ergonomically angled with high strength silicon glue, which will stand up to many years of hard use! Keys that weren't available (such as the F keys and arrows) I custom made from brass which was then clear coated for years of protection.A Brief Fabrication ProcessThis whole keyboard started with an idea in my head one day, and then turned into numbers of sketches and design ideas until I filled my notebook and decided it was time to make it! I started with a high quality Logitech PC keyboard, and gutted it down to the bare parts. Then after trimming all the borders off the top frame I perfectly aligned the key frame back together with now a flat surface. Next I had to hand cut all the key tops off and level them for attachment of the Royal typewriter keys. During this process I custom made the copper/steel rails and side pieces making sure the height and angle was ergonomically correct. Next was the custom punching of the leather backing which was quite difficult to align perfectly, but came out beautifully! Finally the smaller things like the light posts, cloth wire loom, painting and copper aging, and electrical work was done. (P.S. Like I said, this is a very brief summary of the complete process! Many, many steps took place during this fabrication!)Level, Sturdy, and Desk Scratching Friendly!This frame was professionally welded together by a hired welder who meticulously made sure was level and solid. Every detail about this keyboard was thoroughly thought through, down to the hidden padded bases so it won't slide around on your desk or scratch it!You Wont Find Anything Like It!Obviously you can tell by now that this is a very custom piece of art that you have the chance to own and display in your office or home! You can't imagine the beauty of this in real life, pictures just simply do no justice! A few other people have attempted to make such type of typewriter keyboards that consist of the original ugly plastic base and just changed keys.... this keyboard goes above and beyond the bar and you will not be disappointed!Reduced Environmental ImpactAs always, I tried to stay eco-conscious while designing and fabricating this keyboard. It was designed with the following features to reduce its environmental impact:High quality polyurethane based Leather alternative (no animals harmed!)Recycled copper pipingOriginal and restored Royal typewriter keys.Highly recyclable parts (although you'll never want to get rid of this!)

Topic by maxter32    |  last reply


Restore an old steam trunk

This is a quick CALL FOR HELP regarding the restoration of an old steam trunk. The idea is to convert it into a stylish coffee table and storage space and I could really use your suggestions on how to strengthen it's construction and embellish it's exterior. With your help I'll go forward with the plans and publish my progress here. The timeline is also important since the trunk occupies considerable space in our little apartment, so ideally I would like to finish all the woodwork within the next couple of weeks (until beginning of May 2012). The exterior and small touches could wait. HOW I FOUND THE TRUNK I found the trunk next to our dumpster 2 days ago and I just couldn't believe it - Who would throw away such a beautiful thing? - Was I such a good boy that Garbage Santa gave me this gift for Passover/Easter? I hauled it to our flat - my wife asking me what did the cat drag in this time.. (she just loves it that pack our home/car with stuff I find) she couldn't believe her eyes when she saw it. Since we live in a flat with almost no storage space it's very difficult to put together all the needed materials for this project, plus, I insist on doing it with recycled wood (what I find lying around) so to minimize costs. Requirements: @ The trunk should be sturdy (kids might climb on it at some point, ~20kg on the lid). @ It will probably hold a big pile of magazines (10 - 40 kg on the bottom), pillows/blankets. @ I want to add 4 or 6 casters to the bottom so it'll be more mobile. @ I think there should be additional internal support where the leather handles are so when they're pulled I won't be standing with one side of the trunk in my hand. Materials: - Wood - I currently have a solid pine wood dresser in my car, ready to be disassembled for it's beams (?) - OSB - there is some around where I work, 10mm thick. I'll try to find any more materials you'll suggest. Tools: - Drill (and screws) - Glue gun - Staple gun - Carpenter's glue - Hammer - Oxalic acid - Will need to finally buy a Gigsaw.... Trunk internal measurements: Length - 980mm Height - Box - 485mm, Lid - 105mm Depth - 559mm The trunk's side thickness is about 7-8mm made of ply wood covered with black leather. I has seen better days, but it's in relatively good condition. We were thinking of gluing the black surfaces with some sort of bright colored wallpaper (leaving the black leather lining with pins visible) so it would give it some sort of lightness - less bulky. I was also thinking of maybe gluing some sort of fabric with a cool vintage design, but it seems like a lot of work making it look good, stretched with no wrinkles, excess glue... plus it'll probably gather a lot more dust than a wallpaper (I'm allergic). There are two issues that concern me: 1. A fear that this current design isn't strong enough for a clumsy family. 2. I want to attach the corner supports and lid OSB without needing to drill the exterior (too much). I thought of using a lot of glue, but I'm not sure it's the best way to go. What do you think? I'm also attaching this design in Google SketchUp.

Topic by Mr.Bahur    |  last reply


Walking with Dinosaurs

WALKING WITH DINOSAURS the Live Experience is no longer produced or presented by Immersion Edutainment -- please revise your copy appropriately. For 200 million years the Dinosaurs ruled the earth Now, they’re back roaming the arenas of America in an extraordinary new theatrical production WALKING WITH DINOSAURS – The Live Experience Based on the award-winning BBC Television Series Now on a two-year North American tour June 10, 2008--- Dinosaurs once again roam the earth in a spectacular theatrical arena show, WALKING WITH DINOSAURS – The Live Experience, based on the award-winning BBC Television Series. WALKING WITH DINOSAURS – The Live Experience is now on tour in North America. Over one and a half million Americans have already seen the production since it opened in July 2007. The show originated in Australia, where after years of planning, WALKING WITH DINOSAURS came to life at Sydney’s Acer Arena in January 2007. The show proved itself such a sensation, that this North American tour was fast-tracked. It began a short three months after completing its sold out engagements in Australia. WALKING WITH DINOSAURS – The Live Experience is brought to North America by The Creature Production Company, headed by CEO Carmen Pavlovic. Pavlovic said, “The BBC Series was a brilliant blend of special effects, escapism, excitement and information. Our show brings together all of that, plus something extra - it’s live! In this production, fifteen roaring, snarling “live” dinosaurs mesmerize the audience – and are as awe-inspiring as when they first walked on earth.” Pavlovic continued, “The dinosaurs are life-size, making the show so immense, it could only fit in arenas. It’s a $20 million arena spectacle of unprecedented size and quality, which captivates young and old alike. With Walking with Dinosaurs, we really believe we have created a new genre in entertainment and we hope to continue to bring new product to arenas for years to come ” WALKING WITH DINOSAURS – The Live Experience has sold out performances and broken records in arenas all over the America – generating more than $50 million in ticket sales to date. It has been seen on "The Today Show," Good Morning America," "Live with Regis and Kelly," and has been written about in Newsweek, The New York Times, the Christian Science Monitor and the Wall Street Journal. It was the subject of a Discovery Channel Really Big Things episode and a video clue category on Jeopardy. more WALKING WITH DINOSAURS - Page 2 The production has won the 2007 THEA Award for Outstanding Achievement in Touring Event. The THEAs recognize excellence in the creation of compelling educational, historical, and entertainment projects. Artistic Director William May developed the creative vision of the show based on an original idea by entrepreneur Bruce Mactaggart to create an arena version of the Walking with Dinosaurs television series. A talented and experienced team of creative artists came together to produce WALKING WITH DINOSAURS – The Live Experience. The show is directed by Scott Faris, a Broadway veteran who has worked side by side with Harold Prince, Trevor Nunn, Michael Blakemore, Gene Saks, John Caird, Tommy Tune and Jerry Zaks. The creatures are designed and built by Sonny Tilders; the set and projected image design are by Peter England; the show’s lighting is by John Rayment, our score was composed by James Brett; and Warner Brown wrote the script. Tim Haines, creator and producer of the original BBC series, which was seen by a worldwide audience of 700 million, serves as Project Consultant to WALKING WITH DINOSAURS – The Live Experience. The series won six Emmy and three BAFTA Awards. Ten species are represented from the entire 200 million year reign of the dinosaurs. The show includes the Tyrannosaurus Rex, the terror of the ancient terrain, as well as the Plateosaurus and Liliensternus from the Triassic period, the Stegosaurus and Allosaurus from the Jurassic period and Torosaurus and Utahraptor from the awesome Cretaceous. The largest of them, the Brachiosaurus is 36 feet tall, and 56 feet from nose to tail. It took a team of 50 – including engineers, fabricators, skin makers, artists and painters, and animatronic experts – a year to build the original production. The show depicts the dinosaurs’ evolution, complete with the climatic and tectonic changes that took place, which led to the demise of many species. With almost cinematic realism, WALKING WITH DINOSAURS has scenes of the interactions between dinosaurs, and the audience sees how carnivorous dinosaurs evolved to walk on two legs, and how the herbivores fended off their more agile predators. The history of the world is played out with the splitting of the earth’s continents, and the transition from the arid desert of the Triassic period is given over to the lush green prairies and forces of the later Jurassic. Oceans form, volcanoes erupt, a forest catches fire -- all leading to the impact of the massive comet, which struck the earth, and forced the extinction of the dinosaurs. Variety said, “The dinosaurs are stunning, life-size and faultlessly nimble. In act one, the beasts parade into the arena gnashing and cavorting as a safari-suited paleontologist describes their attributes … in the second half, the action cranks up, culminating in a spectacular clash as a T-Rex mom defends her baby from predators. Sonny Tilders' triumphant creature design ensures ‘Walking With Dinosaurs’ is a truly spectacular spectacular. It is everything a dino-phile could want.” The New York Times said that in this show dinosaurs make "a thundering comeback after 65 million years." Gloria Goodale of the Christian Science Monitor said, “When the dinosaurs start pouring out onto the stage, if you don’t have to stifle the natural flight response of any living breathing being, then it’s your pulse that needs checking.” Newsweek called the show, "that rare entertainment beast that parents and kids can enjoy together." More WALKING WITH DINOSAURS - Page 3 It took artists and technicians one year to build the show. The 15 dinosaurs were originally “hatched” by Tilders, the head of creature design, in a Melbourne Docklands workshop big enough to park a 747. For the North American tour, the only building large enough to house rehearsals for the dinosaurs – some as large as 36 ft tall by 56 ft long, was the Greater Tacoma Convention and Trade Center! Artistic Director William May is known around the globe for co-producing shows with Malcolm Cooke for the past 30 years, including The Hobbit and The Lion, The Witch and the Wardrobe. He produced Marilyn An American Fable on Broadway and co-composed and wrote the musical Always for the West End. Director Scott Faris directed Michael Crawford in EFX at MGM Grand Hotel in Las Vegas, which at the time was the biggest stage production ever conceived, and was on the production team that created Siegfried & Roy at the Mirage Hotel. Faris has directed Chicago the Musical in 16 countries around the world in over a dozen languages. Most recently he directed Bette Midler in her new Las Vegas show, The Showgirl Must Go On at Caesars Palace. Faris said, "We take the audience on a journey back in time and show them how the dinosaurs might have actually looked in their prime - huge, sometimes frightening, sometimes comical monsters - that fought for survival every day of their lives. Our dinosaurs move exactly like they are real -- with all the roars, snorts and excitement that go with it. The realism is mind-blowing!" Sonny Tilders, who designed and built the creatures has been, for the past decade, one of the major creative forces of the high-tech world of animatronic puppetry for film and television. He was one of the lead animatronic engineers for Jim Henson’s Creature workshop on the Farscape series, followed by work on Star Wars: Episode III – Revenge of the Sith, Peter Pan, Ghost Rider and The Chronicles of Narnia. Tilders said, “Many of the technologies we are using on WALKING WITH DINOSAURS – The Live Experience are borrowed from film. The computer software and hardware we have developed is based on the systems used to control animatronic creatures in feature films.” “To make it appear that these creatures are flesh and blood weighing six, eight or even 20 tons, we use a system called ‘muscle bags,’ made from stretch mesh fabric and filled with polystyrene balls, stretched across moving points on the body. These contract and stretch in the same manner that muscle, fat, and skin does on real creatures.” “The puppeteers use ‘voodoo rigs’ to make many of the dinosaurs move. They are miniature versions of the dinosaurs with the same joints and range of movement as their life-sized counterparts. The puppeteer manipulates the voodoo rig and these actions are interpreted by computer and transmitted by radio waves to make the hydraulic cylinders in the actual dinosaur replicate the action, with a driver hidden below the animal, helping to maneuver it around the arena.” Suited puppeteer specialists, who are inside the creatures, operate five of the smaller dinosaurs. More WALKING WITH DINOSAURS - Page 4 Warner Brown wrote the script of WALKING WITH DINOSAURS – The Live Experience. He is an accomplished writer whose works include the book of the musical Flickers on Broadway, the screenplay of Nijinsky for Regent Entertainment, the musical The Black and White Ball, which features music by Cole Porter and The Truth About Light, written with composer Jimmy Roberts. Other credits include a new version of Half A Sixpence for the West End in 2008, Garbo – The Musical with music by Jim Steinman and Michael Reed, playing in Europe, and the plays and musicals Scandal, The Biograph Girl, Six for Gold, Cinderella, Talullah for a Day and Dance for Life. The score of WALKING WITH DINOSAURS – The Live Experience is by James Brett whose work can be heard on soundtracks including 10,000 BC, Alien vs Predator, Miramax's Ella Enchanted and the forthcoming UK feature Outpost. He also helped create the groundbreaking collaboration between Metallica and the San Francisco Symphony. The album S&M has sold over 5 million copies worldwide. The sets and projections are by the multi-award winning designer Peter England whose work has toured the world extensively. A frequent collaborator at Opera Australia, the Australian Ballet and Bangarra Dance Theatre, he also designed sections of the 2000 Sydney Olympic Games Opening and Closing Ceremonies, three City of Sydney New Year's Eve Celebrations and in 2002 was a finalist in the international design competition for the Pentagon Memorial in Washington DC. Lighting Designer John Rayment lit the Opening and Closing Ceremonies of the 2000 Sydney Olympic Games; Hong Kong’s original A Symphony of Light, a massive cityscape permanent lighting display involving over 18 buildings; Singapore’s 2002 National Day Parade stadium event; and Singapore’s Marina Bay annual New Year’s Eve Countdown display. Rayment also works frequently at Opera Australia and has lit 30 productions for Sydney Dance Company. WALKING WITH DINOSAURS – The Live Experience was originally produced in Australia by Gerry Ryan, Malcolm Cooke and Jill Bryant and is brought to North America by The Creature Production Company. For more information, please visit www.dinosaurlive.com. Video of the show is available on our site under “The Dinosaurs” tab in the middle of the front page. # # # For more information about WALKING WITH DINOSAURS – The Live Experience, or to set up coverage about the show, please contact: David Barber, Davidson & Choy Publicity 323-954-7510 ex 19; d.barber@dcpublicity.com Walking with Dinosaurs word mark & logo TM & © BBC 1998

Topic by David BPR  


Relativity and why E can't really equal m²

See this topic as something that should be in our now deeply missed random fun section.Everyone learned in school that there was Albert Einstein and we have to thank him for bringing humanity into the next evolution.At least in terms of understanding the universe, quantum physics and things like this.Over the years I developed my own funny theories on why Einstein was so stunned that his calculated energy output from the first nuclear test was off by a factor of about 4 - meaning his calulations were at least 4 times lower than the real thing....The official story about this "mistake" is something like this in a destilled and drastically simplified way:"We did our best but this totally new terrain, theory got corrected by real world test.We now know how to factor all this in correctly for selfsustaining nuclear reactions with a critical mass."The real explanation with all calculations and so on was document of about 200 pages....The inoffical story about the first test and the corrected results was a bit longer and personal.Nicola and ALbert had a long hate-love relationship.Similar interests and theories got them together, diference in the opinion what can be put into our current math system for calculations and conflic of used terms got them apart.But like every good couple they always got over their differences and corresponded again - sometimes with a year or two before they were ready to talk to each other again.In this story Nicola had massive arguments with Albert about the required, sustained and released energy levels for Gadget - the first test of the Trinity series.To give you an idea why it was so hard for both to understand the other or to accept the other's calculations:Einstein based all his theories and what we use today when it comes to math.Tesla however prefered his own mathematical system, one he promoted and got into every day use in many US schools at the time.In simple world it was based on a big circle, I like to call it the circle of math.Almost all of our natural constants (that were known back then) were present as lines, multiplication, squre roots and more were as easy as following the right lines and pathways indicated on this circle.Both system, ours and Tesla's provided the exact same results, the later however without any need for additional "notes" along the way or complicated formulas.And even worse when it came to energy.Back then science alrealy knew there is more than what our laws of physics state and what we know.And what we could not really understand and only proove in theory is now as common as butter on your bread.Thinks like quantum mechanics, quarks or the fact that you can't observe a light particle on a quantum level directly, only as its sum....Tesla however already had "a higher understanding" on how different energies interact and how get from one form of energy to another.Like his tesla transformer, the radio transmitter and so on.While we had no clue at all Tesla already studied the ionosphere, he had different name for it though.For him it was obvious that it is not just a reflective barrier for radio waves but that it also has a very energy potential on its own.Either way the argument was the Albert only factored in the mass of the nuclear material, the explosive forces from the ignition and the corresponding implosion.Basically everything we could see, explain or theorise about back in the day - and it needed to be possible to claculate it somehow to match expections.Nicola made the claim that during the explosion also a lot of electromagnetic energy is created together with what he called a break in the fabric of the universe.Not only that but the electromagnetic shock (we call it now EMP) is not really a single thing but spread basically over the entire know frequency range, including visible light.The visible light claim was confirmed during the test by shadows burnt into walls....You can clearly imagine how good old Einstein must have felt seeing his good friend being dead serious about things he could not have the slightest idea about.After all there never was any test before and certainly none with Tesla present...How the personal story between the two continued can be found online if you some digging or if you prefer in a well stocked library - yes they still exist as real place ;)What was mostly left undocumented, at least for public eyes was the implications from the Trinity test series.That Tesla really was onto something even if the smartest man on the planet could not understand a single word of it became painfully obvious.At least for Albert....In his later theories you can find the influence the revelation of finally understanding why his calulations were of and most importantly understanding what Tesla meant by the fabric of the universe.E does not really equal mc² for quite a few reasons.Firstly because it is based on the assumption that nothing can be faster than the speed of light.So did our best to measure it, cheated by making definition of light speed and meter based on the same thing.I mean: If you take two "unknown" variables to create a result and then use the result to finetune the input- how accurate can it really be?....Today we long know that there things travelling much faster than the speed of light, for example gravimetric shockwaves when a distant star goes booom.We detect these "gravity quake" now so we can aim our big telescopes to where it happened and see it in "realtime" once the light arrived long after the shockwave.And if you dare to re-do the original calculations for Gadget and factor in that a gravimetric shockwave travels about 4 times fast than light you get an idea why Tesla already knew all about it.What came out of all the offcial calculations and theories is well known.What is missing from E=mc² was never officially published by Einstein...Applications for the possible damage to what Tesla called the fabric of the universe.We are trained to only use our brains in two dimensions.A bit of it comes from our evolution as since the dawn of time we prefered creating a flat image over creating a sculpture with similar details.Some people though can use their brin in three dimensions with ease, like when a really good sculpture artist say "The sculture is already in the rock, I only need to remove what is covering it."And sure enough every color or texture detail of the rock ends up in exactly the right spot to make the result perfect.Musicians are quite similar, a lot of them have no clue about notes or how read them to create a nice tune on an instrument.Some only need to hear a song once and can repeat it on all instruments they play like they studied the song for years.Others hear the vocals only and create tunes and melodies from it that not only match voice act but also reflect on the mood, the feelings.In some really good songs you only need to hear the instruments and can almost imagine what the singer would sing to it...A very few can do similar with math, we like to call them a genius because we can not imagine a complex and long number as a series of meaningful images or emotions paired with colors - for example, as there many more ways to deal with numbers...People like Einstein realised after the Trinity tests that the EMP and corresponding electromagnetic effects are too strong to be measured by anything unless it is from a great distance.That means, like lumen per area, the strenght of the electromagnetic effects increase exponentially the closer you get to the source.Still... No big deal right?Well if you dare you make a frog levitate in a magnetic field, won't be a healthy experience for the frog but it will levitate.You can look these frog experiment and corresponding scientific explanations up online if you are bored enough one day.The point is: If a frog can be excluded from gravity in a magnetic field of suffient strenght, orientation and other features, then what else can "float"? ....Or more to the point: Why exactly does the frog float if he is not magnetic enough to begin with?....We have no problems visualising or imagining the shockwave from a big explosion like Gadget.High speed films show us that there would be an expanding perfect sphere, only object like the ground limit this experience, but you see it nice in underwater explosions!What most people can't even begin to understand is how a shockwave of which the EMP is only a small part acts, travels or what effects it migh thave.Unlike a normal shockwave we have something like redox reaction happening.The explosion creates an unimaginably strong electric impulse, a bit like all lightning strikes in world feeding into a single lightbulb at the same point in time.For argument sake lets say is almost indefinately high.However, like in an ignition coil this impulse creates and equally strong electromagnetic impulse.And since the entire reaction at this point is far from over we get a harmonic resonance and feedback system.Imagine a second you stretch around the globe as a band and then you cut a mm off it - that would be about the timeframe for the most intense electromagnetic field swinging around at all sorts of frequencies.And during this very short period of time a bubble is created that expands what modern sciensts now call the space - time - continium.Same name as in the movies but this time based on quantum theories and such things to explain gravity.An awful lot of energy is trapped inside this bubble and once the initial reaction is over the electromagnetic impuls disappears and only the normal reaction from the explosion continues.The bubble however does not pop or disappear, it implodes.All this energy is compressed basically to a single atom size and released.Sadly this energy has no visible effect, nothing we can observer with our eyes or instruments...Again we use quantum theories to explain what must happen to find way to it "visible" somehow or to find way to really measure it.Gravity sensors are a result of these theories and developments and now part of basically any good GPS satellite or space probe.Some fancy phones have them too.What would actually happen if we would have found a way to affect the space time continuum in a very controlled way?Without explosions or such bad things, just by using simple technologies.Now I would have to explain things in at least four dimensions, which means most readers would shut off now.Using five would be insane, I know :(So let try to ignore how things work fr real and do what every good scientist does: simplify to make the imagination work in just 2 or 2.5 dimensions.Put a cork on a pond a throw a rock in it.It moves, mostly wobbling on the waves but it moves away from where the rock was dropped.If it could be "anchored" at the right spot between two crests of the wave it would move with it, like a surfer on a good wave does.A craft that creates our field from the inside and in a neutral configuration would create a perfect sphere.What would that mean for the craft and those outside observers?At a first glance nothing until you realise the craft has no mass at all.You could lift a 5 ton vehicle with your little finger and flick away like something you found in your nose.Unlike our suspended frog the craft would create a field bubble where gravity diverts around it.Gravitity is the driving force of the space time continuum.Without it there would be no time, without time there would be nothing.If you would be inside the craft and be flicked away by a finger you would only realise it if you looked out of window or onto a screen showing the outside.As the craft does not exist in the normal space time continuum, so to say, the same non existing effects of things like acceleration, g-forces and such can't apply for what is inside either.Well, at least until you reach the wall, the suddenly all is stopped and has to enter our normal continuum again.You would be mince meat on some wall inside what is left from your craft...Increase the field strenght to overcome inertia of smaller particles and even air molecules or dust particles are diverted around the field.Nothing though that would rival the mass of the craft in a significant way, like flying into a solid wall or mountain....A modfied field geometry allows to affect the shape of the bubble.To keep it in two dimensions, imagine a ping pong ball as the field that you press into some slime, or similar fun stuff.Start moving it and it forms something like a wave in the front and something like a wake on the other side.Our field can shape the bubble so that our space time continuum would look quite similar - if we could see it instead of theorising about it.As result the craft now moves in our normal continuum without having and appearent form of engine.The bigger you make these "waves" with your field, the fast you go....And suddenly those impossible movements in the sky that are always dismissed as a hoax or weather balloon make a lot more sense.Be it a Scalar drive, the Fluxliner, VR7 and derivates, they all use garvity as a propulsion system.Fair enough you might say, but what does mean in terms of where we might have been already since almost one hundred years....A gravity based drive system in the sience fiction section has many names.Warp Drives of course comes to mind first.But also FTL drive or Jump Drive.Just because gravity waves are much faster than light already means lightspeed is not really a limit and hasn't been for a very long time.Why do you think superconductors were first developed by/for the military? ;)With no mass it is only a matter of the avilable energy how fast you can accelerate and what top speed you can reach....Or to be precise: How effiently you can create an insanely strong electromagnetic field.Make you wonder what else came from understanding what things like a Hedron Collider can do...With an estimated energy output equal to truck sized generator you could make it from Virginia to Mare Tranquillitatis in about 10 minutes.Make it 30 if you want to get out and stretch your legs when you are there.Some now say "I don't care who or why someone goes to the moon."But what about those who think climate change is real and how we produce and use energy plays a big role in it?Let alone those actually considering that fossil fuels might run out one day....If you have a gravity drive then you have a very neat way to create almost limitless, clean energy.....I leave it up to what it would mean if everyone and everything in our world would have access to free and virtually unlimited energy....Isn't it good that all this is just a nice story and that all is just fiction with no relation to reality?But if E does not equal mc² then how relative is our reality really?

Topic by Downunder35m    |  last reply