#a4 paper making machine

[newbusinessideas]

A4 Copier Paper Manufacturing Business Plan

Want to know how to make paper pay off? 📝 Learn how to start your own A4 Copier Paper Manufacturing Business and unlock a world of opportunities! 🌟 Hit follow and stay tuned for more business insights! 📲 #EntrepreneurGoals #BusinessGrowth #SideHustle

Paper is widely used in our daily lives and despite the transition to digital media, the demand for paper continues to increase. And A4 paper is the largest paper in the world. It is used for many documents, including magazines, catalogues, articles and documents belonging to various businesses and organizations. Therefore, starting an A4 paper business is a profitable business. So, If you’re…

[your-shirley-xie-blog]

20T Jumbo Roll A4 Paper Making Machine

If you plan to build an A4 paper production line, we can provide the complete set of production line machine. Welcome contact me for more details Email: leizhanchina@gmail.com WhatsAPP: +86 18539133178 https://www.leizhanchina.com/cultural-paper-making-line/20t-jumbo-roll-a4-paper-making-machine/

[livinginteo]

Free simple Fin Fin plush pattern!

Having found the amazing blender plugin Seams to Sewing Pattern, I created a Fin Fin plush model in Blender with the intent to make it in real life (despite not having sewn anything since I was very little).

And... here he is! 100% hand sewn to the best of my newbie ability. I'm now releasing this pattern for free, hopeful to see more Fin Fin out in the world!

Download Link (Google Drive Folders)

Kofi donation link

Disclaimers under the break (Please read before sewing!):

I'd recommend machine sewing if you take this up yourself. Hand sewing requires a lot of patience, but it is very doable if it's your only option.

Some basic sewing knowledge is required as I can't provide a good guide for putting this guy together (I had to piece him together with some trial and error myself, using my own model as reference. Feel free to use it for reference yourself, too.

You will need at least half a meter of blue and white fabric for him. I used cuddle fleece. However, you can use whatever you like. You will also need something for his eyes, I used the traditional plastic safety eyes with a felt lining.

I've included two sizes in the download, I used the larger of the two, and printed on regular A4 paper, he comes out about a hand and a half tall and about a hand wide.

I can't provide too much help or support for the process, but you're free to ask me simple questions in DMs or on my Discord server. I can't guarantee I'll have an answer since I'm basically brand new with sewing and pattern making.

Good luck!

[tervaneula]

HA I WON THE DARE. TAKE THAT @witchofthemoss /aff x10000

Sadly the print shop didn't have a bigger machine available so these are only ~A4 (the paper quality is freaking amazing though) but I think I can make them look better with some nice lil frames 🤔 Also they're very close to falling off because I just quickly slapped them on with some painter's tape lmao gotta take them down before that happens

Further proof featuring a selfie because I know someone will call photoshop because "no one's that easy to influence":

Joke's on them, I in fact am that easy.

Also I'm laughing at the name of my usb stick because it's I_DONT_WORK but in Finnish and I do wonder if the salesperson was amused by it (not that a woman my age coming in to print ninja turtle fanart memes wouldn't be amusing by itself)

[koddlet]

love your zines! what’s your method for sewing across the paper? before/after binding? does your machine like it? i’ve always wanted to try it!!

thank you! my zines are the one-sheet type so there's no binding involved. i start sewing into it after i've made my folds and the centre cut. i try not to stitch across pages to reduce stress on the folds, but tbh it hasn't really been an issue so far. otherwise it's pretty straightforward. my machine isn't that great, but doesn't throw too much of a fuss as long as i'm not going through too many layers or thick material.

my machine is also on the smaller side, so i have to fold it and manoeuver it around to get to the middle pages especially. this is what working with a4 looks like for me... if your machine is bigger, i'm sure you'll have no problem!

i don't really have many tips because idk much about sewing machines at all, i'm honestly just crossing my fingers everytime. uhh increase your stitch length. any holes you make are permanent. sewing paper dulls your needles faster

[protege-not-protagonist]

Grace's Desk

Grace's desk is in the bull pen of the BAU and once belonged to Doctor Reid. Her extension line is number 67, which also used to be Doctor Reid's, occasionally she will get calls intended for him. She doesn't keep many personal item's on the surface like photo frames or figurines. Grace doesn't feel like she has worked there long enough to personalise her space too much, but as she becomes more comfortable she might eventually bring some things in. She also doesn't have any photos she would display like her colleagues do, but she hopes to change that.

On top of her desk is always these three things; the files she is working on, one of her various note books and a blank A4 piece of Paper she can scribble things down quickly on. Some of her colleagues also use this to write her messages.

The desk has three draws. The top draw is filled with stationary that doesn't fit in the pen pot on top and a stash of spearmint gum. The second draw has spare paper and folders to make case files. She also put a coin purse right at the back of the draw intending to use it for the vending machine, but she has forgotten about this. The third Draw is a large draw intended to hold files. But Grace keeps a folded blanket in there that she discreetly pulls out when no one is watching and covers her legs with it under the desk because the aircon is too cold and she doesn't want to bother anyone asking if she can turn it up. This draw is also where she keeps a small lock box with her standard issue gun and it's ammunition. It is under the blanket most the time. Grace also keeps a teddy bear and pretend doctors kit in there.

This is for whenever children end up at the BAU while their parents are being interviewed. She brought it in because she thought the toys in the family room were abysmal, but secretly she also uses the pretend doctors kit and bear as a tool to assess a child's wellbeing. She will observe how children will play pretend with the items given to them. She can tell a lot about what behaviour the child has witnessed from the adults around them from how they treat the teddy bear as a 'patient.'

-Details from The Protege

The next chapter will be a little while away but I thought I would post individual pieces from the new masterlist cover and new header with some tid bits to keep you guys going. I'm also thinking of doing a small illustration and a quote for the start of each case and end of each case like the show, what do you guys think of that?

Thematically this would make it a bit more like the show with the quotes, but also show the kind of things Grace goes home and adds to her art journal which will become an important part of the story later.

Tag list @bridgeoverstrawberryfields @pleasantwitchgarden @cultish-corner

[writingwhateveriwant]

Stanford Pines was sitting at his desk, graphite making its way over the page. He kept his mind in a different place, anywhere except for where it wanted to be. Stanley Pines was not home, he had been gone for quite some time already. There wasn’t an easy way out of this predicament. His brother was mad at him, and rightfully so.

He put down the pencil and stared at the paper. His eyes hung in position for a while, staring at the house marked in lead over the A4 sheet. He was tired, looking at the house without his best friend in it got old after a while. Stanford rose from his seat and took a sip of his coffee. Cold now. A sigh met his lips and he shook his head as he walked for the elevator to the vending machines stairs.

Maybe one day Stanley will come back. But for now, Stanford will just draw a house. And a house. And a house.

Home would only be Stanley.

[claudiosuenaga]

Book Release: The Reliability of UFO Witness Testimony (With a Chapter by Cláudio Tsuyoshi Suenaga)

V.J. Ballester-Olmos & Richard W. Heiden (Eds.)

For 76 years, casual observers around the world have reported sightings of aerial phenomena unexplainable to them. More elaborate personal experiences have been reported by others whose testimony speak of close interactions with fantastic flying machines that land, from which strange beings descend, and even kidnap the onlookers. In the absence of compelling physical evidence of the reality of these narrations, how should science study immaterial observations and test these claims? The very standard of reputable witness reliability is at stake here.

The Reliability of UFO Witness Testimony is the first major book to comprehensively focus on the discussion and current views on problems and challenges posed by the reliability of UFO testimonies. This is a cross-disciplinary compendium of papers by 60 authors from 14 different countries. They are specialists in social, physical, and biological sciences, including psychology (predominantly) as well as psychiatry, sociology, anthropology, history, philosophy, folklore, religion, journalism, engineering, computing, medicine, education, analysts with experience in the critical study of UFO perceivers, and other professionals. This volume shares thematically convergent ideas about the plausibility of alternate explanations for an alleged close-range UFO phenomenon.

The 57 chapters in this book are divided into seven section headings: Case Studies, Psychological Perspectives, On Witness Testimony, Empirical Research, Anthropological Approach, Metrics and Scaling, and Epistemological Issues. There, the subject matter is analyzed from statistical work to clinical assessment, psychometrics, comparative and evaluation inquiry, and other topic perspectives.

Some extracts from the Foreword, written by Dr. Leonard S. Newman, Professor of Psychology at Syracuse University:

"The contributors to this book include some very smart people. There are all sorts of issues to which they could be devoting their intellectual energy, and all sorts of scholarly and research contributions they could make. They don’t have to write thoughtful and rigorous chapters for a book called The Reliability of UFO Witness Testimony, but this is what they have done. And so, the work continues, as attested to by the papers in this volume. I’m not sure if there exists any collection of papers on any topic that can claim to comprehensively summarize everything that is currently known about it. But this one comes pretty close."

This 711-page book has been released online in the Academia.edu portal, from where it can be downloaded for free:

Simultaneously, UPIAR Publishing House (Turin, Italy) has published two softcover, A4 format print editions, one in black & white, another in full color (ISBN: 9791281441002). The book can be purchased through this link:

Four outstanding academics have provided praise notes to this volume. This is what they said:

Elizabeth Loftus, Ph.D., Distinguished Professor of Psychology at the University of California, Irvine, USA:

"When ordinary citizens claim to have extraterrestrial encounters, such as seeing UFOs or meeting with alien beings, what should we think? Did the alien abduction really happen or was it a hoax? Is someone deliberately lying? Are they false memories? Readers will be enthralled by the fascinating case histories that are presented in The Reliability of UFO Witness Testimony*, a volume where sixty experts examine these issues with depth and insight. These cases teach us a great deal about how humans come to believe they have experienced bizarre events that may have never occurred at all."

Steven Jay Lynn, Ph.D., Distinguished Professor of Psychology, Binghamton University (SUNY), USA:

"This captivating book will appeal to anyone interested in UFOs (and who isn’t?), the vagaries of memory, eyewitness perception and misperception, critical analysis of puzzling phenomena, and evaluating scientific vs. pseudoscientific claims. This volume ranks in the elite category of essential reading for students, scientists, and the seriously curious among us, and therefore has my highest recommendation. Bravo!"

Henry Otgaar, Ph.D., Professor of Legal Psychology, Maastricht University, the Netherlands, and Leuven Catholic University, Belgium:

"Claims of UFO sightings and experiences continue to fascinate us. This book has collected a unique and diverse set of case studies and critical articles on how such experiences unfold and what the authenticity of these claims is. The collection of these different articles is truly groundbreaking and is the first-ever complete assemblage concerning the validity of UFO testimony."

Benjamin E. Zeller, Ph.D., Professor and Chair of Religion, Lake Forest College, Illinois, USA:

"In referring to extraterrestrial contact, Carl Sagan said that extraordinary claims require extraordinary evidence. This fine book seeks to contextualize what such evidence entails. Its contributors analyze UFO sightings and cases both famous and obscure, recent and historical, and quite international in scope. They draw from an impressive range of methodological, academic, and scientific perspectives, and consider such topics as the nature of cognition, memory, types of belief and testimony, psychology, and the rationality of belief. Skeptics, believers, and scholars of ufology will all find this book fascinating!"

For additional information please contact:

UPIAR Publisher: info@upiar.com

Editor: V.J. Ballester-Olmos, ballesterolmos@yahoo.es

The Objectivity of Witnesses and the Subjectivity of Testemonies

Cláudio Tsuyoshi Suenaga

I had the honor of being one of the select few invited by the distinguished Vicente-Juan Ballester Olmos, one of the organizers and editors of this impressive scientific-academic book, together with the equally distinguished Richard W. Heiden, to write a paper on the "reliability of the testimony of witnesses of UFOs", a crucial aspect of ufological research, since, in the absence of material evidence of the phenomenon, this is the primary source we deal with, the "raw material", so to speak, to permeate our analyses, even more so for those who not only deals with "second-hand" reports, but gathers them directly from the witnesses themselves, in sometimes harsh and hostile field conditions.

In my contribution entitled "The Objectivity of Witnesses and the Subjectivity of Testimonies", I carried out a critical analysis of the general reference base of the UFO problem, the testimony, seen as a cultural source authentic and indisputable, but which presents serious distortions. One of the main points questioned by me was the exact value of the testimonies, which form the basis of the reports and, therefore, of the UFO phenomenon. I tried to give an adequate scientific treatment to these data and factors relegated to the background by ufologists: the subjective observational parameters, the perceptive aspects, the language and the historical-cultural context of the witness and the psychosociological variables, that is, everything that was disparagingly called "background noise", the "sociological reject" despised in detriment of the "signal".

Consult and keep close at hand, therefore, this, the first major book to comprehensively focus on the discussion and current views on problems and challenges posed by the reliability of UFO testimonies. A cross-disciplinary compendium of papers by 60 authors from 14 different countries.

(large format, 711 pages)

You can download the full 711-page book on my Patreon:

[jetspikepub]

New artbook info!

(Machine translation from official website)

This book is an official book commemorating the 25th anniversary of the TV broadcast of "Cowboy Bebop" and consists of two A4 size booklets, one in color and one in black and white.

The three-sided box that holds the two booklets was designed by graphic designer Toshiaki Uesugi (Mach 55), who also created the eye-catchers and other elements for this work.

On the back cover of the box are the signatures of director Shinichiro Watanabe, producer Masahiko Minami, character designer Toshihiro Kawamoto, mechanical designer Kimitoshi Yamane, and musician Yoko Kanno. The cover is beautifully decorated with gold foil stamping and embossing.

The color booklet includes character and mecha setting drawings, art settings, monitor screen settings, and copyright illustrations from "Cowboy Bebop" and "COWBOY BEBOP: Heaven's Door". In addition, the booklet includes a dialogue between Shinichiro Watanabe and Masahiko Minami, a dialogue between Toshihiro Kawamoto and Kimitoshi Yamane, an interview with Yoko Kanno, and some storyboards for OP, ED, etc., making it a highly readable volume.

The black-and-white booklet contains line drawings of character and mecha settings for each episode in an easy-to-understand format. The front and back covers of the color and black-and-white booklets feature new illustrations of the main characters (Spike, Faye, Jet, Ed, and Ein) by Toshihiro Kawamoto, with background design by Toshiaki Uesugi.

As a store bonus, the Sunrise Store (in Premium Bandai) will offer a miniature color paper (121mm x 136mm) of "Spike" illustrated on the cover of the booklet, and the A-on Store will offer a miniature color paper (121mm x 136mm) of "Faye", also illustrated on the cover of the booklet. Both color paper are signed by Toshihiro Kawamoto. (For details on store special offers, please check each store's order site.)

This is a definitive item for fans, so please don't miss it!

Price: 12 100 JPY

If you preorder on Sunrise store you'll get Spike shikishi, A-on store - Faye

Bebop website

[centralsaints]

hey. don't cry. take an a4 sheet of paper, fold it like so

print out pictures of your fave, photography you like, quotes; place and paste them in the little booklet you have made with you a4 sheet in a way you like. unfold your sheet, place it face down on a photocopy machine. print out. and now you have the power of making zines abt ur blorbos.

[mimsta]

Tagged by @nicht-alles-gold ! Dunno what this is called so imm going to stick with tag meme. Typing this on a phone keyboard is fucking killing me

I have not done one of these in literal years, thanks so much for tagging me 🥺❤️

Last song: steam machine - daft punk

Fave colour; orange

Currently watching; uhhh nothing :( i’m bad at watching anything. Movies and series alike lol.

I was planning to watch the 93 city hunter movie eventually though

Last movie: unmm… half of the raggedy anne and andy musical adventure lol

Yt was like ; someone uploaded the entire movie dyw watch?

Like ok. Looks cute! Its a very adorable movie

Currently reading: the artists way by patricia haywood. The exercises are kicking my ass and i barely get through them every week, but they’ve helped me with my approach to drawing and also realising how bad the internet has affected me with trying to create anything

It makes me wanna actually draw stuff now lol

Sweet/savoury/spicy - savoury

Relationship status; married to mista

Current obsession: hong kong anything. Hk Diners, hk beauty with strong eyebrows and red lipstick, kung fu, just… sucked in completely. No idea why tho

That and cooking. I’m just chomping at the bit to buy a pasta maker and pasta tree - wanting to make umeshu sometime soon too, i just need to get some alcohol and janerik fruitas a substitute

Last google: idk, something about how to print a B5 image on A4 paper

Currently working on; playing kaito files. No hand craft project but i might do one before the end of the year

I tag @thesquishypenguin and @flyttadigs

No pressure ofc ❤️

[cricutsetupmac]

How To Use Cricut Transfer Paper On Vinyl? [Step By Step Guide]

If you usually make Cricut or Silhouette projects, you will have to use transfer paper once in a while. Cricut transfer paper eases the process of getting the design from backing paper and transfer it to final project. If you don’t know how to use Cricut transfer paper on vinyl, this guide is for you. The cut vinyl appears as a big sticker that you need to remove from the backing paper and attach to your project. However, the vinyl is very thin and difficult to transfer using your hands. Plus, it gets more difficult with complicated designs.

Hence, if you are starting to make vinyl craft stickers, transfer paper will be useful for you. We will reveal the use of transfer paper with vinyl. The process is simple- cutting and weeding the vinyl, transferring the vinyl to the transfer paper, and then transferring the design onto the final project.

There are many vinyl projects to create. You can increase your business with a Cricut machine, permanent vinyl, and good-quality transfer tape. If you haven’t used transfer paper on vinyl, read this blog that describes a step-by-step guide.

What Is A Cricut Transfer Paper?

Cricut transfer paper looks like a paper roll or A4 sheet pack. You can also say transfer paper as transfer tape. You can print on transfer paper via an inkjet printer. For instance, printing a design onto a shirt. Transfer paper is sticky and transfers vinyl to the final material and can work on various materials such as mugs, glasses, cups, etc. It is a good tool to transfer the vinyl decal to the material you need to personalize.

Cricut transfer tape has two sides. The bottom side is the paper backing that you need to remove, and the sticky upper side is composed of a plastic film. The top sticky side is attached to the top of the vinyl. Crafters use mugs, cups, and tumblers using adhesive vinyl. However, if you are working with heat transfer vinyl, you won’t need transfer paper. For the vinyl projects that have to be frequently washed, such as cups and mugs, you should use permanent adhesive vinyl.

What Are The Types Of Transfer Tape?

Transfer paper is available as a regular and strong grip. The standard transfer paper is used for most projects and has a strong grip on glitter vinyl, as you need extra strength to grip the surface. If you have an issue lifting the vinyl from the backing sheet, use a strong grip transfer tape.

How To Use Cricut Transfer Paper On Vinyl?

First, cut the design from adhesive vinyl with your Cricut machine. After that, weed the excess vinyl in and around the design. When you only have the design you need to transfer, you need to peel off the transfer tape.

Follow the steps to use transfer tape on vinyl:

First, cut the transfer tape a little larger than your design. Before you get rid of transfer tape you should use it several times. Hence, take a little larger transfer tape for your project for proper adhesiveness.

Then, peel back the backing paper. Keep the paper backing to use later to stick to the transfer tape.

Place the transfer paper on your design and burn it down. You can use a scraper or an old gift card or a credit card.

You can either turn the piece, take off the backing paper, or lift the transfer tape. You need to fix the design on the tape.

Now your design is on the tape, and you can move it to your project.

Then, press the vinyl down and burnish it once again.

After that, peel back the transfer tape. Make sure that your project surface is stuck properly to vinyl. Remove the tape and burnish it a little more if it is still lifting.

What Kinds Of Projects Can You Make With Permanent Vinyl?

You can make many projects using permanent vinyl and transfer paper. You can put the design prints on glass, plastic, ceramic, or acrylic surfaces. It means that you can transfer designs on wine glasses, notebooks, flower vases, and many more.

FAQs

Why Use Cricut Transfer Paper For Vinyl?

Cricut transfer paper or tape is generally used to transfer the vinyl with designs to materials such as water bottles, mugs, and tumblers.

Do I Need To Mirror Vinyl While Using Transfer Paper?

In the case of permanent vinyl, there is no need to mirror the design on the Cricut Design Space. The design mirroring is necessary in the case of heat transfer vinyl.

Can I Use Any Type Of Vinyl With Transfer Tape?

The answer is no; you cannot use any type of vinyl with transfer tape. For heavy vinyl, such as glitter, you must use a high-tack transfer tape. But for standard vinyl like holographic, you should use a medium tack transfer tape.

Is Cricut Transfer Tape Reusable?

Yes, Cricut transfer tape is reusable. Once you finish the project, put a Teflon sheet or parchment paper on the transfer tape and save it to use later. Next time you can use it if it has enough adhesion for the transfer.

Which Side Of The Vinyl Should I Put On Transfer Tape?

The shiniest or top side of the vinyl should be put on the transfer tape. On the other hand, the sticky side of the transfer tape should stick to the top of the vinyl.

design cricut.com download

design.cricut.com/setup

[grand-theft-carbohydrates]

looking at pictures is no longer enough. Get in guys, we’re going to xi’an! (Its an 8h trip from shangdong. Bring snacks.)

Sorry Ol’ Greenskin. This time we’re taking the highspeed rail.

Kneeling archer: god im such a big fan of this guy, the crossbow in his hand has long since rotted away but you can still see the red pigments on his armor from when he use to be painted. He’s got a super cool zigzag braid on the back of his head, and you can even see the TREADS on his SHOES. I did the sketch for this drawing months ago, but i finished it in the pit! This is officially my biggest flex.

The general: he’s the tallest and heaviest guy in the collection. Look at the details on his hands, you can see fingernails and the lines on his palms. I made this drawing for my jing ke comic while i was back in nz, but i brought it into the pit with me!

———

You guys wanna see my favorite piece in the exhibit?

It’s this:

This placard is very small and easy to miss, it’s only the size of a sheet of A4 paper. A foreigner might not even understand what is the significance of this bit of plastic (it certainly took me a second) but it’s one of the most ubiquitous things in china.

A man walked past and said in delight, “look! He’s got a citizenship card!”

————

I think the reason i obsess over minor historical details in my stories is because I’ve always wanted to travel back in time. I want to watch the sun run backwards in the sky, for deserts to turn back into seas, and the dead to rise from their graves and tell me their stories. Of course, all that is impossible, but maybe, just maybe, if i learn one more fact, if i can get one more detail right, if i find one more piece of the never-ending puzzle, then maybe this story will turn into a time machine, and we can all go back together.

While i was busy trying to travel backwards in time to see the past, the past found a way to travel forwards in time to meet me. If you go to pit 1, and look behind the orderly rows of upright soldiers, you will see a mangled mess of broken limbs and shattered pottery. Thats what the soldiers originally looked like. There is the barest hint of grey charcoal lining the yellow clay— two thousand year old remnants of arson. In the years following Emperor Qin’s death, the warlord Xiang Yu looted the weapons, smashed the statues, and then torched the place. Had he been more thorough in his destruction, we might have never gotten see this place at all. Had the farmers digging a well in 1974 gone a few feet to the left or right, they would have missed the pit altogether and this place would have remained lost to history. I looked at the train schedules the other day. The original trip on the old greenskin actually took me 12 hours, but i misremembered it as 4. It didn’t feel long at all. This place makes you measure time differently.

i literally spend at least 2 hours a week just looking at various pictures of the terracotta army. utterly entranced. look at the details in the hair. you'd never see ANY of this when they're lined up in formation, but they're there.  

theres about 8000 of these guys down there, no two faces are alike. they're works of art. they're the manifestation of a cruel despot's delusions of grandeur. a talisman against the terrible inevitability of death, both pathetic and strangely pitiful. like watching a child clinging to his blanket, begging you not to turn off the light. they were a bunch of insignificant clay statues from a side chamber that was so small and unremarkable, no one bothered to write down the location. they were modelled after real people. their only purpose was to serve qin shi huang in the afterlife, so he could reign in heaven as he did on earth. now the emperor is just a ghost and his pawns are immortal. my dad and i visited them in the dead of winter, on a weekday, just so we wouldn't have to deal with tourists like us. the place had easily 500 people--not including the ones below ground. we traveled to xian via the old "green skin" diesel train. there are faster means, like highspeed rail but dad insisted i try the authentic way, the same way he would have traveled when he was my age it was also like, a quarter of the price but im sure that had nothing to do with it! back in the 80s carriages would get so packed people had to have their luggage passed in via the windows. as we chugged along, i read my book and my dad made us cup noodles. car is just a shortened version of "carriage", the word is the same but the mechanism is different. it's the same in chinese. i think if i told someone from the warring states period i could travel from the Kingdom of Qi to Qin in just four hours with my metal carriage, i'd be laughed out of town--or accused of being a spy and sentenced to 'death by carriage.' we hopped off the train at 4am and took a different "carriage." the taxi driver joked; "basically every dynasty put their capital in xian, stick a shovel anywhere and you'll turn up some national treasure or another." i wonder what it would have felt like to be a farmer digging a well and then out pops a remarkably realistic human head. statistical analysis show the soldier's faces bear a strong similarity to people living in the region today. the taxi stopped in front of a jewellery-hawking tourist trap and refused budge an inch until we went inside. did you know the terracotta soldiers were originally multi-coloured and painfully gaudy, just like the greek marbles? they were made assembly-line style. the arms and legs were made from the same workshops that made clay plumbing pipes and roof tiles. for quality control, the artisans were required to stamp their names. the workers who built these tombs were executed shortly afterwards, because only dead men can be trusted with secrets. qin shi huang's mausoleum is unlikely to be excavated in my father's lifetime, or mine, not unless i'm willing to take a BIG ONE for the team... instead of the tomb, they built some kind of qin shi huang-themed theme park next to it. not only was it tacky as hell the entrance fee was like $50. we went to the museum and i looked at bronze tools and pottery shards for three hours. look why can't we just crack the thing open i can't be the only one here whos dying from curiosity what if we all just took turns digging

[zayziinccoza]

bk440

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Zayzi Inc is your one-stop solution for all your office and stationery needs. Visit our website Zayzi Inc to browse our extensive collection of products and find everything you need in one place. Whether you are looking for a bantex filing box, magic tape, or a high-performance printer, we’ve got you covered.