#moulding hot press machine

[metallurgyandmetrology]

if you are planning to buy moulding or mounting machine the multitek technologies is one of the best solution for you to buy moulding machine according to your need from Multitek Technologies.

[tojiphile]

ALL FAIRYTALES HAVE A HAPPY ENDING + GOJO SATORU

a/n. comfort fic. non-canon compliant. slight angst but happy ending of course <3 pre-established relationship with satoru, kissing, cuddling, words of affirmation.

most nights, satoru comes home late. when you first started dating him, it used to worry you. his absence plagued you with thoughts worse than cheating. you’d spend hours wondering if your boyfriend was still safe, praying for him to just be alive.

now, you’ve come to understand—he has a role, a part to play, a cog in the machine that makes the world run, that allows it to survive. still, that didn’t mean you had to like it.

now, on most nights when he’s back home late, you’re able to crawl into your side of the bed, and go to sleep. you stir when he joins you, cuddling up into you and pressing a kiss on your forehead. “you’re home?” you’d sigh into his neck. “i’m home.” he’s reply, whispering sweet nothings in your ear until you fall back asleep.

but tonight is different. you’re not one for superstitions (satoru proves them all wrong), but you can’t help but feel a sick sense of dread in your stomach. something was wrong. you ate dinner alone in front of the tv, flipping through channels. you stopped when you saw the news.

“this just in: shibuya is under attack! as of 7:00pm, shibuya has been placed under lockdown by a mysterious invisible wall. government officials are looking into the situation now. our sources tell us that the civilians trapped are crying for help desperately, all looking for one satoru gojo.”

you freeze.

“if anyone has any information on the situation, please call the hotline below…” the announcer’s words faded away as all your intrusive thoughts raced through your mind, your heart hammering in your chest. where was satoru? was he okay?

hands trembling, you reach for your phone and dial your boyfriend. it rings exactly three and a half times before the call ends. you call again, and again, and again, but he never picks up. so, you ring the only person you can think of—kiyotaka ijichi. satoru might jokingly insult the man sometimes, but all in the times you’ve been worried, kiyotaka had answered your questions, trying his best to remain calm, giving you answers as to where your boyfriend was.

he doesn’t pick up either.

you pace the living room. you know that satoru can handle anything. he was a living reminder of it. even in the times he’d come home, battered and bruised, he’d give you that same cocky grin, pointing his thumb at himself and declaring, “i’m the strongest!”

so you try your best to calm down, breathing deep breaths. whatever this was, satoru would come home. you just have to take a shower, go to bed, and when you wake up, he’ll be right there next to you, warm and inviting.

and you do just that. but as you lay awake in bed, staring at the ceiling full of little glow in the dark stars that satoru helped you stick up, you couldn’t fall asleep. this was different somehow, you could feel it.

you return to the living room after pouring yourself a glass of wine. but just as you’re about to sit down, you hear the jingle of keys, a heavy sigh, a click, and the front door swings open.

“i’m home.”

satoru stands in the doorway. he looks too exhausted to move. there’s dried blood on his face and his eyes are glowing a vibrant sky of blue. you drop your of glass of wine, not caring as it shatters to the ground and race to your boyfriend. as you approach him, he finally lets his guard down, eyes returning to their normal hue.

you wrap your arms around him, clasping him tightly as you press your head into his chest. you can’t help the hot tears of relief that spill as you mumble, muffled by his clothes, “welcome home.”

he pulls you in, squeezing you tight, as if he was trying to mould the two of you together so you would never have to leave his side. he hugs you in all his despair, because you were the only reason he still fought.

after suguru passed, satoru lost the will to live. he fought, yes, he fought. but battle after battle, the bloodshed was never worth anything. there was no joy, no happiness because there was no love left to lose. he fought a good fight, but if he had lost, he would have stopped fighting.

but now, here, with you in front of him, holding onto him like he’s everything you’ve ever needed packed into a man-sized box, he knows that in your eyes, he’s more than just a figure of greatness. gojo satoru is simply a man who has wants and needs and flaws and feelings.

so for you, who sees him for him, he fights. everyday, he fights to come back home to you, to take you in his arms and hold you tight. he wants to press his body against yours and feel your warmth, and he doesn’t want to let it go even as he sees the morning light.

he kisses the top of your head and whispers, “i promised you i’d come home. i don’t break my promises. and after all…”

you can feel him smile into your head, “i am the strongest.”

(extra:

at his cheeky comment, you give him a firm whack on his buttocks, and he yelps in surprise, pulling away from you.

“mean!” he pouts, “i just got back from a long fight and won against the king of curses! shouldn’t you, my lovely girlfriend, be taking care of me?”

you shoot him a glare. “i thought you died! don’t play around at a time like this!”

he chuckles, “aw, was my poor baby worried about me?”

satoru wraps you up in another an embrace, but as you’re about to return he hug, you let out a yelp as he throws you over his shoulder and says, “let me take care of you now!”

you try to squirm out of his grip, but he’s holding onto your waist tightly. you can only see his ass from this point of view but you yell at him anyway, “i hate you!”

a smile. “i love you too.”)

[iwritetopassthetime]

home to you (2/9)

Bradley "Rooster" Bradshaw x fem!reader

CHAPTER ONE: Blossom // Previous chapter // Masterlist // Next chapter

Wordcount: 4.3K

Summary: When two people are meant to be together, fate will always find a way to bring them to each other. It's just that sometimes it's not under the normal-est of circumstances. But a flower that blooms in adversity is the rarest and most beautiful of all, and Bradley will be ready to go through anything for the love of his Blossom.

Warnings: themes of abuse/domestic violence, descriptions of a panic/anxiety attack, self-deprecating thoughts, some heavy angst in this chapter so get ready, my dudes, Bradley being a sweetheart

A/N: This is my first time writing in 2nd person so let me know if I've fucked up somewhere, this was so odd for me!

When experiencing a panic or anxiety attack, it always helps to use the five sense grounding technique. 

The first time you had to do it had felt difficult, near impossible; your body was shaking and heart pounding so heard you could swear you could hear it, or it could’ve been all the blood that was thumping in your ears. Adrenaline was coursing at high speed all through your body, shooting up into your brain and into the recesses within it that told you to run, freeze or hide. But your body wasn’t moving, the shaking in your hands being the only minuscule movement that someone else could register. 

After three years of having to rely on your senses to ground you when in that state, it felt as easy to pick out different aspects of your surroundings as plucking out dead leaves from a plant. 

It was almost mechanical. 

Five things you could see… what could you see? The muddy tips of your trainers, the light grey linoleum floor beneath them, the table across from you, a stack of paper cup carriers on top of it, and a glittery pot containing a very poorly kept jade plant.

Someone had overwatered it. The thick leaves were brown and moulding. How could anyone fail to take care of a jade plant, they were so simple and easy to care for?! Why would someone keep something so precious and just mistreat it?

Your breathing started picking up as you once again spiralled downwards. But you caught yourself quickly and continued with the following step.

Four things you could touch… okay, okay, okay… Four things, just four. Breathe… Hold… Exhale. The metal frame of your chair in your hands, the clothes on your back, your hair — both still damp from running in the early evening drizzle — and your phone poking out of your jean pocket. 

Three things you could hear… your breathing slowly evening out, the sound of a coffee machine and people’s muffled voices on the other side of the door.

Two things you could smell… freshly brewed coffee and rain.

One thing you could taste… the lingering, coppery taste of blood from your split lip. 

The split lip that Jett gave you when he smacked you across the face and his signet ring bit into the soft flesh. 

Why did you run, huh? You think you can just leave me? Fucking bitch! Stop crying, stop fucking crying!

You quickly banished that memory before it brought upon another attack. Your breathing had evened out and your heartbeat was within the spectrum of regularity. Your chest still felt very sore as if the organ had bashed itself against your rib cage from the inside. Your lungs felt hot and you coughed. Pain shot through your neck which only reminded you of the probability of bruising already forming there. 

You could still feel his hands grabbing and squeezing. Holding. Holding. Holding. 

Please! I’m sorry! Please, stop— I can’t breathe!

You shakily reached up and felt around the skin; it felt hot and tender. When you pressed your fingers against it, you hissed out as pain shot through you and you dropped your hands to your lap.

What time was it? Was it well past midnight? Or was it only a few minutes after you’d finished your phone call to Penny? And the panic had settled in.

Your phone was dead and you didn’t have your watch with you. There was a clock on the wall, but it wasn’t working, stuck on the same hour and minute.

You could potentially leave the storage room and go ask the lady in the coffee shop you’d found refuge in for the time. But the fear that he could’ve followed you, kept you glued to the uncomfortable chair. 

Just breathing. 

Your head was empty of everything save for the glimpses of what had happened tonight. Flashes of the door being kicked down and the chain snapping like it was nothing. Falling, hitting the floor and pain shooting through your left shoulder. Your back hurt something terrible. 

You reached around, feeling against your lower back where most of the aching came from and slowly rubbed circles into the spot. It didn’t bring instant relief but it did help a little. If you couldn’t get the pain throughout your body to cease, you could at least deal with the one pain you’d carried for much longer. 

The sound of the front doorbell ringing reached your ears and you steeled yourself lest it turned out to be him. You could’ve prayed to someone — there certainly wasn’t a shortage on deities in the world — but in the last three years you’d discovered that there wasn’t anyone who would answer. You were always on your own. 

Then you heard it. A familiar voice, but one that didn’t strike fear in your heart. A voice that brought memories of chocolate chip pancakes, you mum’s arms around you as she talked to her best friend, ringing laughter and happiness. Something that felt so foreign, you had to think again if those weren’t someone else’s memories. Or something you’d seen on TV. 

The door to the storage room opened and your head snapped in its direction.

Penny Benjamin gasped upon seeing you and rushed to your side, dropping on her knees in front of you. Her beautiful brown eyes started glistening with tears that soon started to fall. You felt your own do the same and your marred lip wobbled.

Penny wrapped you in a hug that invoked all those happy memories. The memories of Mama and Auntie Penny getting together when Penny was in the neighbourhood, talking for hours on end and laughing. Auntie Penny used to call you Blossom, a precious little flower that delighted everybody around. Your laughter used to delight her and Mama. You hadn’t laughed in such a long time, you couldn’t remember why is it that they found it so charming. 

‘Oh, Blossom!’ Penny sighed against your damp hair, arms keeping you close to her. The embrace warmed you to your bones and somehow even the chill in the air couldn’t get to you anymore. Finally you felt safe. At least a little bit.

Penny pulled back so she could look you over, her eyebrows furrowing and face falling more and more with each bruise and cut she saw. Your face wasn’t all that hurt — the cut lip and a tender feeling in her right cheek where a bruise had most likely formed by the slap — but the flimsy long-sleeved shirt you wore drew attention to the tender skin along your throat. To an ugly necklace of pain. 

‘I’m so sorry, Blossom. You’re safe now, sweetheart. Everything’s gonna be alright!’ 

Penny’s whispered assurances washed over you like a gust of warm wind and you felt more tears spring to your eyes at the thought alone. Safe. You were safe with Auntie Penny. 

Penny then turned to a man her age who was hanging by the door, his eyes just as worried as hers, and started talking. Her voice sounded too far away, like they were once again behind the door to the main part of the coffee shop. You were tired, and growing dizzier, and still under too much stress to register everything that was being said or happening around you. Something Penny seemed to notice because she gently pulled you up from the chair, guiding you out of the storage room and towards her parked jeep outside, an arm wrapped securely about your shoulders. 

One thought replaced all the others in your head for the first time in a long time: you were safe. 

Once at the Benjamin residence, Penny showed you to the en-suite bathroom in the guest room. She gave you towels and toiletries, some of which belonged to her daughter Amelia. You can meet her when you feel better, she’d said and you all but burst out in tears again at all the tenderness and care Penny showed you. And she was giving all that to you without question, without requiring anything in return, only that you were going to take your time and tell her if you needed anything else. 

You felt greedy asking for more. You still couldn’t wrap your head around the fact that she’d come to pick you up after not seeing you for ages. And not only that, she took you to a hospital in L.A. to get you checked out, paid out of pocket for the examination and medication you were prescribed. For god’s sake, the price of the petrol she would’ve had to pay for the trip to and from L.A.! It must be enough to make you choke on the hot water that was pouring over your head. 

Your hands were wrapped around yourself as you stood completely still beneath the stream, letting the heat overwhelm you so your own traitorous thoughts wouldn’t. Only when you felt the stiffness in you back and arms thaw did you reach for the shampoo Penny left for you.

You looked over the bottle as you slowly rubbed the citrusy liquid into your scalp all the way down to the ends of your hair. It seemed to be one of those custom made expensive brands, the ones that you couldn’t afford even when you worked at that nice landscaping firm. The prices just kept adding up and your breathing quickened as you spiralled further down that rabbit hole.

How would you ever manage to repay Penny’s kindness when you had nothing but the clothes on your back? Clothes that she was now putting through the laundry and dried as she promised.

You turned the water off once you thought you were sufficiently clean. You could finally feel the exhaustion in your bones as the stress of the past several hours started to wear off. Your back started to hurt again and it made breathing harder, like there was something sitting on your chest. You took a seat at the toilet, giving yourself a moment to catch your breath.

A soft knock came from the door and you heard Penny ask, ‘Blossom, is it okay for me to come in?’

‘Yea—’ your voice sounded rough and scratchy so you cleared your throat before trying to answer again, ‘Yeah.’

Penny slowly opened the door and smiled when she saw you all wrapped up in the towel she gave you. She came in and shut the door behind herself. In one hand she carried a small tub which she placed on the sink’s counter next to you. 

‘I remember your mother had very specific haircare products, and I don’t know which ones you normally use, but I found this,’ she showed you the tub. Now that it was close you could see the thick, shiny product inside. Penny rolled the lid and opened it, ‘Would you like me to help you or would you rather do it yourself?’

The sweet scent of the hair product hit you about as hard as someone throwing a daisy at your face and it made your eyes water again.

‘Oh, sweetie, I’m sorry. Is that too much, would you like me to leave?’

You waved off her concerns, sobbing incessantly so you couldn’t form a word. 

Penny placed the tub of lotion back on the counter and placed her hands on your shoulders, rubbing them soothingly. 

‘I-I have n-no money to repay you,’ you hiccuped in between sobs.

She looked so shocked at your statement; it took you a second to remind yourself that even if you had unintentionally insulted her, Penny wouldn’t smack you across the face. Right?

‘What are you talking about, sweetie?’

‘Th-the doctor visit, the medication, driving up to L.A. and back,’ you listed off. ‘This,’ you pointed at the lotion, ‘letting me use your shower and your daughter’s shampoo and stuff. I don’t have the money to pay you back.’

Comprehension dawned on Penny’s features and she sighed, wrapping her up in another hug. 

‘Sweetie, I’m doing this for you and because your mother was one of my closest friends on the West Coast.’ She pulled back to give you a gentle, yet serious look. ‘I don’t expect you to give me even a single cent, do you understand. You’re family, I’m not taking any money from you. I’m doing this because I care for your safety and wellbeing.’

That only seemed to spur another tidal wave of sobbing from you which Penny faced head on, wrapping her arms around you and whispering soothing words against your temple. 

It took you another ten minutes to fully calm down after which Penny opened the tub of hair lotion and silently ran the product through your hair. She then took a smaller towel and carefully wrapped it around your head in a turban. After helping you out of the bathroom, she showed you the underwear and pyjamas she’d picked out for you and left you to change.

‘I’ll go make you something to drink in the meantime. Do you still like rose and mint tea?’

You nodded.

‘Good.’ Penny smiled at you. ‘Amelia and I drink it all the time. We’re big fans, too.’

The door closed and you were left to change in the semi-dark room. Through the gaps in the Venetian blinds you could see the warm, morning sunlight pour into the room as the new day began, but you were willing to skip on it if it meant getting some much needed rest.

It seemed that all the stress, and fear, and running had used up what little strength you had left and you could feel your head grow heavy with sleep. You snuck underneath the warm bedding just as the door opened to reveal Penny holding a steaming mug of tea that was quickly pressed into your grateful hands. 

‘I hope you don’t mind,’ Penny began as she took a seat on the edge of the bed, ‘Pete has asked his godson to stay over. He thought Bradley might keep you company when you feel up for it. But,’ she gave you a serious look, ‘if you feel uncomfortable, there is no issue with telling me that and I’ll ask him to leave.’

‘No, it’s okay.’

You took a sip of the tea, feeling how the herbal mixture instantly soothed your aching throat. The memories the taste itself brought up, however, soothed you heart. 

‘You won’t feel uncomfortable with a guy staying over?’

‘I actually don’t mind being surrounded by people right now,’ you said simply. ‘Makes me feel less… anxious, you know?’

Penny smiled again, tapping her fingers on the under side of your chin as she used to do back in the day. The action managed to get some semblance of a smile back on your face which immensely delighted the older woman.

‘I will leave you to rest now. If you need me, I’ll be downstairs. Pete, Amelia and Bradley are at home as well, in case I have to go run some errands and you need something.’

‘Okay.’ 

Even though sleep was coming upon you hard and fast, your eyelids heavy and droopy, you were going to finish the tea first. Penny had gone to the trouble of making it, you wouldn’t disrespect her by letting it grow cold. 

As she was about to leave, you lowered the almost empty mug to your lap and called after her. 

‘Thank you, Aunt Penny.’

She smiled brightly at you, the light from the corridor outside back-lighting her. A halo formed around the crown of her head. How fitting, you thought. 

‘I’m happy you’re safe now, Blossom. Sleep tight.’

You had managed to sleep through most of the day and night, only waking up at short intervals. You were kind of glad that your sleep was uninterrupted by nightmares as it had been before, but then again the exhaustion from the past day and night was so severe that even your mind needed a rest.

Until your back started aching again.

Whatever you did, it didn’t seem to help. You sat up in bed to stretch, then rolled out of bed to stretch your entire body, then walked about the room in the hopes it would alleviate the pain a little, but to no avail. You took notice of a box of Tylenol that was left on the edge of your bedside table — Penny had most likely dropped by to leave it for you while you were sleeping — and you opened it to fish out two tablets that you swallowed dry.

Having had those pains for most of your life, chugging down pain medication without the help of a drink had become a sort of party trick. Albeit a sad one, but you couldn’t pride yourself on much else. 

Maybe the you from three years ago… She could pride herself on so many things. The you that was loud, boisterous, and all the things that people loved to have around them. The you that was unapologetically happy. Now it seemed like that was a different life, a different person. If you from three years ago could see you now, she’d be disappointed that you’d made all the mistakes she swore she’d never make. 

And all because you from three years ago— no, you from always was a hopeless romantic at heart who could only see the best in people. Maybe that was your best party trick. Naivety. 

You’re a fucking moron, sweetheart!

You couldn’t wait for the pills to kick in, suddenly feeling on edge. You grabbed a large UVA hoodie that was hanging from a hook on the door, slipped it on and a pair of slippers that were conveniently placed at the foot of the bed, and walked out.

It was still a little dark outside, most likely an hour or so away from sunrise. You made sure to be as quiet as possible, fearful of accidentally waking anybody in the house. You padded down the carpeted stairs, to the ground floor where you found your way to the kitchen and then to the backyard door. 

It wouldn’t hurt to sit in the fresh air for a little bit, you thought. 

You pushed the door open — leaving it slightly ajar lest it shuts loudly behind you and wakes someone up — and took a seat on the porch stairs. 

The sky looked beautiful from here. Scratch that, the entire view from Penny’s back porch was beautiful. Truly mesmerising. You could make out the ocean just beyond the fence, smell the salt in the air, feel the breeze caress your face. The scene before you was peaceful and that sensation moved into your heart. 

Someone knocked on the door frame behind you and your head whipped about, eyes darting up to look at the origin of the sudden disturbance. 

In the gap between the frame and the door itself stood a very tall man with shoulders that went on for days. His eyes were warm and inviting, the dim pre-dawn light catching in them. His long nose ended where a very manly — very 80’s — moustache began and just below it were his lips. A pair of lovely, plush lips that curved in a small, tentative smile. 

‘Hey, hope you don’t mind,’ he began. ‘I heard you coming outside and just wanted to check if you were alright.’

You noticed that his voice didn’t make you flinch, it didn’t make your anxiety spark up and guard go up.

‘I’m alright,’ you mumbled back. ‘I’m sorry, was I too loud?’

‘No, no, no,’ the young man pushed the door further open, hands coming up and waving your worries off. ‘I just… ya know… just wanted to make sure you were okay. I’m Bradley.’

You allowed yourself a small polite smile. Your cheeks felt very warm and you refused to admit that yes, maybe you did just blush at his consideration for you. 

‘I know. Penny told me. You are her boyfriend’s godson, right?’

‘That’s me.’ Bradley’s smile grew into a grin. 

His expression then changed for a second, remembering something and he reached back into the kitchen, his foot still holding the door open. He popped back out with two cups in his large hands.

‘Mind if I make you some company?’

You shook your head and he happily sat down on the stairs next to you, handing you one of the cups. The smell alone told you this was some really nice brand of coffee. 

Bradley kept a respectful distance between the two of you. He placed his own cup in the gap while fishing for something in the pockets of his grey sweatpants. 

He pulled out a few creamer pods, holding his palm out for you to take any if you needed them. And need them indeed you did. Not that you disliked black coffee, it’s just that you couldn’t sit still afterwards and felt horribly dizzy.

‘Thank you.’ 

It felt almost unnatural for someone to be as attentive without knowing you. A part of you reminded you that small bouts of kindness always preceded or were followed by pain and insults. But another part was willing to allow Bradley this one weakness on your part, only because his smile put you truly and completely at ease. 

‘I didn’t know how you take your coffee.’ His hand slowly dipped in a wide arch to take ahold his own cup and bring it to his lips, eyes trained at the horizon.

His movements were measured and delicate which seemed unnatural for a man of his size. He looked like the kind of person who didn’t need to bother with tentativeness. Was he doing this because of you? Was he being extra slow and gentle with his movements so he doesn’t scare you?

You felt your heart stutter and eyes water so you stared down into your cup as you emptied three of the creamers into the steaming coffee, your gaze following beige swirls as they fully mixed in with the drink. You couldn’t cry in front of a guy you just met. You didn’t want to insult him or make him think you were uncomfortable next to him after the lengths he’d gone to to make you coffee and be so sweet to you. 

Did Penny already tell him what had happened to you?

‘Couldn’t sleep?’

You looked up at him again, but found that he was still watching the ocean. It gave you a moment to take in his features. If circumstances were different and you felt just a little bolder, you might even dare to think him handsome. Which he was… incredibly handsome that is. Why on earth would this incredibly handsome man bother himself to make you company? What could he possibly get out of it?

When you didn’t immediately respond, Bradley glanced your way. 

‘Oh, uh— No, not exactly,’ you stuttered out a response, bringing the cup to your lips and taking your first drink of coffee. Man, it tasted just as good as it smelled! ‘I have back pains — thoracic scoliosis. It’s not that severe, but it gets irritated sometimes and makes sleeping… hard.’ 

‘Do you need some pain killers?’

‘Already took some Tylenol that Penny left me.’ You smiled at him and that seemed to make him happy. Gosh, you really liked the feeling that gave you! Made you almost proud.

‘Good ol’ Penny.’

‘She is.’

‘So... I’m guessing Blossom is a nickname,’ he added and you you shook your head with a little smile. 

‘Did she tell you that?’

‘It slipped out yesterday.’

You watched the sky alter its colours as the sun began to rise somewhere behind them. The stars began to disappear into the daylight one by one and the darkest shades of blue dipped beyond the distant line of the Pacific. 

‘She used to call me that when I was a child. I always loved flowers,’ you admitted bashfully, ‘lover learning about them, loved… stealing them from our neighbours’s gardens.’ 

You remembered with fondness how Mrs Davies would chase you away with her water hose which only seemed to amuse you rather than deter you from picking her petunias. 

‘Penny thought it up. She hasn’t changed her mind about it since… which makes me kinda glad.’

‘Suits you,’ Bradley said simply and you thanked him quietly. 

It felt good to simply sit there and talk of anything but what had transpired before you were brought to this house. Deep down you were worried that Bradley would be morbidly curious about what had happened to you. You had experienced that with a colleague when you still worked at the landscaping company, before Jett made you quit entirely; they felt more interested in the ugly details than they were in actually helping you. And that was also the last time you actively sought out someone’s help. Until the other night. 

‘Well then.’ Bradley got up from the stairs, dusting the back of his sweatpants. ‘I’m gonna go grab a shower and get started on breakfast. Hope you like chocolate chip pancakes, Amelia requested it and I’m kind of amazing at making those.’ 

You genuinely giggled at his not-so-humble brag. ‘I can’t think of a single person who doesn’t like chocolate chip pancakes.’

‘Perfect,’ he climbed up the steps and opened the back door. ‘You drink your coffee and I’ll call you when I’ve got a good first batch ready.’

‘Thank you, Bradley.’

He smiled at you, his moustache curling adorably on his top lip and brown eyes twinkling in the morning light. 

‘You’re very welcome, Blossom.’

Next chapter

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Worldbuilding: Setting

Plying aimlessly through cosmic gulfs at the end of time, beyond the death of ordered space roam untethered, clotted remains of worlds decaying, a stygian waste full of strange and terrible mystery. Here is a fractal superstructure, shifting, aggregate detritus cast in titanic confusion, labyrinthine chambers and halls, warrens of machinery and ecology moulded together with the eerie desolation of industrial sprawl.

Throughout this mammoth complex, intelligent computers oversee great seas of organic slurry birthing predacious effigies of flesh and machine that haunt the wastes within its impenetrable, ever-changing walls. Yet, even here, in twilit places, a contrivance of civilisation persists in desperate confutation, huddled within the confluence of its vital systems where has been raised amidst scarred walls and searching lights the metropolis of Sforzinda, the First City of the fallen elves, foul industrial fortress now last redoubt of civilisation.

Called colloquially “Zin”, walls upon walls, rising out from the upheavals left by the Eugenics Wars between Imperial humanity and the graven hordes of the Dwarven Autarky, it looms as a monument from which the clear tones of the White Bell turns away the toxic air. At its gates, refugees beg for succour amidst the howls of those twisted by disease-bearing miasma, haphazard siblings joined in neverending hunt, pressed against illimitable barriers hewn in trembling desperation to keep the horrors out.

~~~

Almost exclusively, the inhabited places here are the relatively stable environments near water supplies where spaces rest but uneasily. Confused but predictable, the routes between them are painstakingly charted as safe ways warp over time into trap-filled snarls.

From these outflows are grown the staples on which the populace rely, rare oases, that are but singular, self-contained regions amidst the benighted turmoil. Huddled within, the people cling to co-opted apparatuses suspended within the all-encompassing conurbation that is the co-mingled confusion of the wastes beyond.

If such facilities are the nerve centres then the flow of water between them is the lifeblood, moving in regular cycles of heating and rising from the hot, shrouded depths, cooling as it goes, only to flow downwards once more. These cycles are the basis of chronological reckoning as waters rise and fall over time and where they gather, life has arisen, their pathways becoming the foundations of what passes for civilisation skulking around in the filth and dark.

~~~

Such are the alienated environs twisting through Sforzinda, bazalgettean congeries of lawless, clustered catacombs, waterways and cathedrals of sewage like an extended, suppurating gutter. The remnant wastes beyond are little better and rarely travelled, a labyrinth of unnerving angles and ever-shifting pathways criss-crossing throughout, filled with pitfalls and artefacts that defy sense.

The ignoble remnants left by the Eugenics Wars, this scarred landscape of irradiated wastes is a bleakness dominated by cyclopean structures and shifting monoliths of polyhedral suggestion which hang in the noisome air. Shunned and empty, the shattered expanse of this desiccated frontier is worn smooth by corrosive sand carried on the constant, howling winds rushing hot through knife-edged crags, cutting through the monuments of a past left to ruin beyond Zin’s walls.

At odds to the relative sterility of Zin itself, these protean environs are distorted by anomalous hazards and beset by growing, alien things that cluster ever more densely the further one travels from the ringing safety of the Bell. Beginning in the Zone of Alienation, that no-man’s land of burned-out trenches maintained by Zin’s inhabitants, these soon shade into foetid marshes and, ultimately, vast snarls of creeping, clinging life inimical to any fool enough to venture beyond the walls to brave their tangled expanse.

The urban barrens of Zin’s outermost strata, beyond the Zone, remain yet home to a patchwork of communities that have coalesced amidst automated processes and untamed tracts of origami architecture. For most of these, time is spent labouring to feed the endless needs of the city and its infrastructure in exchange for safety, alongside clean water, food and the promise of citizenship for themselves or their children.

~~~

In desperate refutation of such burgeoning horrors, Zin’s inhabitants turn inwards, seeking in the cryptic and forsaken depths of that monolithic city some meagre succour against them. Metals are the primary incentive most have for braving the undercrofts, a rare and precious commodity alongside pre-war technologies, or else they follow whispers of strange, cryptic artefacts which will sell for a tidy profit at the Exchange.

The relative safety of this holding is of little comfort as theirs is a life gathering and refining the materials necessary for the continued survival of the citizens within Zin, while others instead strike out into the deep maze in search of caches yet unclaimed. The vast majority know little beyond survival amidst broken masonry punctuated by detritus blown on miasmic winds, piling around chemical pools into mountains of toxic trash scoured for the promise of value.

Though first the purview of specialists trained and outfitted by governing bodies, the growth of industrial demand has given rise to a nascent class of pioneering prospectors who stalk the untrod catacombs in search of dubious fortune. The primary hub of these expeditions is the outpost of Palisade, a nascent industrial centre of freebooters, mercenaries, the desperate and foolish, all hoping to find their fortune within the Vaults of Zin.

~~~

Fully three centuries have passed since the end of the Eugenics Wars and, driven behind the walls of Sforzinda in desperate cooperation, open conflict between the factions that emerged have instead shifted into a contest of exploitation and subterfuge amidst acts of espionage and domestic terror. During the interim, the imperial estates of humanity have become the harried vanguard of an uneasy accord, Ordinators, bolstered by the cultural, technological and economic advancements coming out of the special administrative district drawn up within the pages of that agreement.

By contrast, the greatest clans of the Dwarven Autarky have seen what remains of their peoples wracked by cultural and political schism brought about by rebellion within the ranks of their graven servants, forcing many of their leadership to retreat into the guarded isolation of their ancestral cloisters. Although tensions remain between themselves and humanity, a masquerade of peace has persisted in the guilds of the Federated Economic Bloc, buoyed upon a nascent second industrial revolution helmed by enemies turned wary allies, a grim promise to a populace which upholds a fractured front in the face of the wars’ lingering fallout.

Bringing order to this disparate union is the Circle of the White Bell, upheld by the Ordinators’ legions of manufactured soldiers in order to oversee the artificial populace of the Federation, whose sole purpose is to render the materials by which to raise the innumerate walls which hold back the nightmares that emerge from outside the walls. Through the archival efforts embodied in the Circle, the District has become the hub of a new social revival pieced together from the tattered histories and cultures lost after so many centuries lived under the shadow of a military-industrial complex that has grown to perpetually fight itself.

In that time, the last redoubt of the District has become an enclosed battlefield where bloodshed has been replaced with engagements of economic rivalry and strained alliances, where the threat of renewed violence planned in guild halls is played out by proxy across the streets and back alleys of the unguilded phyles that live in their shadows. To many, chafing between the proscriptions necessary for survival and the injustices that persist under the promise of safety, facing the terrors beyond the Cordon seems an unlikely sort of succour, a paradoxical escape from the mundane embodied in folk tales and the prospect of shaping one’s life with their own hand.

[littlelemontarte]

coffee-chocolate mousse with a lemon confit insert and a coffee icecream with caramelized hazelnuts

because @silenceandiblog asked, here are the recipes, for probably six people:

lemon confit

- 50g lemon peel

- 150g lemon juice

- 75g sugar

carefully peel the lemon, so that you don't have any of the white parts. put the zests into a small pot, fill it with water halfway and bring to a boil. blanch the lemon peel for a minute. sieve them and repeat two times (this will reduce the bitterness). once you've blanched the lemon peel three times, put them into a pot, add the lemon juice and sugar and let it cook for 40-50 minutes. fill the hot mixture in a marmelade glass.

if you want to serve this the way i did, you can fill some of the lemon confit into a silicone mould (mine contained 30ml per cavity) and freeze it for at least three hours.

coffee mousse:

- 4g gelatine (note: i used this much gelatine because i wanted to fill it into a silicone mould which means the mousse had to be a bit more stable compared to being served in a glass. if you want to serve it differently, you can definitely reduce the amount of gelatine to at least 2g or maybe even go without it completely)

- 125g cream (1)

- 35g coffee beans

- 1 stick (1.8g) instant coffee

- 70g milk chocolate

- pinch of salt

- 125g cream (2)

heat up cream (1) with the coffee beans and bring to a boil. allow it to infuse for at least thirty minutes but you can let it steep for up to two hours.

soak the gelatine in cold water. melt the chocolate with the instant coffee and the salt over warm water. reheat the cream/coffee mixture and let the gelatine dissolve in it. sieve out the coffee beans and add the warm cream to the chocolate. use a hand blender to make sure everything emulsifies. let it cool down a bit (till it's handwarm).

whip up cream (2) and carefully fold it under the chocolate mixture.

option 1: you fill it into a silicone mould (mine had 100ml per cavity). fill the individual cavity up to two third, add the frozen lemon confit insert, press down lightly and add as much mousse as needed. you can leave it like this or add a biscuit base of your choice. freeze over night and unmould it the next day, carefully let it unfreeze in the fridge.

option 2: you serve it as a glass dessert. pick a glass of your choice and fill in the mousse. let it rest in the fridge over night. add as much lemon confit as you want when you serve it.

(note: this cream is relatively bitter and very focused on the coffee flavour. you can leave out the instant coffee and reduce the amount of coffee beans if that's more your taste)

coffee icecream with hazelnuts

(note: i used an icecream machine to make this)

- 600g cream

- 50g coffee beans

- 150g sugar

- pinch of salt (1)

- cinnamon to taste

- 100g chopped hazelnuts

- 25g maple sirup

- pinch of salt (2)

for the hazelnuts, preheat the oven to 160° (fan oven). combine the hazelnuts with the maple sirup and the salt, put it on a baking sheet and bake it for twenty-twentyfive minutes. let it cool.

put 500g of cream in a pot, add the sugar, coffee beans and pinch of salt (1) and bring to boil. let it cool down and let the coffee beans infuse in the fridge over night.

the next day, sieve out the coffee, add the remaining 100g of cream and cinnamon to taste (i added less than a teaspoon but this is individual preference). fill it into an icecream machine and let it cool according to the instructions of the machine. in the last ten minutes, add the hazelnuts. fill the finished ice cream into a container and put it in the freezer till serving.

assemble the mousse and the icecream on a plate of your choice, serve and enjoy :)

[viratsteelspecial-blog]

What is the differences between the H11 and H13 Hot Work Steel? Looking to source Hot Work Tool Steel from India?

If we compare between H11 and H13, H11 tool steel consists of less vanadium than the commonly used H13 hot work tool steel. This gives H11 steels the higher toughness, with some reduction in wear resistance and tamper resistance.

H13 is another popular alloy from the family of Chromium Hot Work Steels corresponding to the ASTM A681 standard. With a Carbon content that can vary from 0.32 to 0.45 percent it is also a low Carbon steel like H11 ( 2343 steel ) and the Chromium content can be in the 4.75 to 5.5 percent range. It differs from H11 principally in its Vanadium content which is at least 0.8 percent and could be as high as 1.2 percent. This, when coupled with its significant Molybdenum content of around 1.5 percent, lends great strength to the alloy while the high Chromium ensures that it does not turn soft even at relatively high temperatures.    

Compared to H11, H13 ( 2344 steel ) has less impact toughness but greater wear resistance as well as temper resistance.

As a general rule more other constituents in an allow cause the thermal conductivity to drop and while the thermal conductivity of H11 tool steel is 42.2 W/mK, the thermal conductivity of H13 tool steel is 28.6 W/mK. For applications such as stamping higher thermal conductivity may be preferred (so that cooling takes place quicker leading to shorter cycle times). For applications where such conductivity is not that important, H13 tool steel may be preferred for its longer life and greater resilience to the development of fractures.  

APPLICATIONS: Forging Dies, Punches / Dies for Extrusion on non ferrous alloys, Pressure Die Casting of Aluminium Alloys, Moulds for Thermo plastic polymer injection with high polishability. Die Inserts, Extrusion Press Tools, Forming Dies, Mandrels, Hot Shear Blades, Rolls for Hot Rolling Machines,Tools for Nuts,Screws, Bolts, Rivets, Fasteners, etc

Mode of Supply: The Prime Supplier of Hot Work Steel in India is "VIRAT SPECIAL STEELS," an ISO 9001:2008 certified company. Recognized globally as suppliers of quality steel they enjoy enviable affiliations with the leading producers of special steels and heavy engineering across the world. So their advice and solutions should prove invaluable in the choice of steel for different applications – 

such as guidance on whether H13 or H11 is better suited for your process.

Learn more: https://www.viratsteels.com/hot-work-steel.html https://www.viratsteels.com/h13.html https://www.viratsteels.com/h11.html

Email us: info@viratsteels.com Call Us Now: +91-9814021775

[zetarvac]

All about Thermoforming Production Process

Thermoforming involves heating, vacuum forming, cooling and other processes of PVC, PS, PET and other resin sheets in a thermoforming machine to shape them according to the shape of the mold, and then punch them into a single product using a die on a punch machine, and finally packaging products made through folding, punching and other processes.

This kind of packaging product has the characteristics of cheap materials, simple technology, low investment and considerable profits. It is suitable for packaging small daily necessities, small electrical appliances, toys and other commodities. It is not suitable for packaging products with high cushioning requirements and heavy products.

Compared with traditional cold forming processing technology, hot forming process is characterized by a constantly changing temperature field on the processed sheet. Under the action of the temperature field, the basic structure and mechanical properties inside the sheet change, resulting in changes in the stress field of the sheet. At the same time, the stress field of the material reacts on the temperature field. Therefore, the vacuum forming plastic manufacturing process means that the internal temperature field and stress field of the sheet coexist and Mutually coupled change processes.

There are several thermoforming methods used in actual production, and the most basic ones are six: differential pressure forming, overmolding, plunger-assisted molding, suction molding, countermolding, and twin sheet forming.

Ⅰ. Thermoforming Production Process

The main production processes of thermoformed products include mold removal, pull tabs, punching, folding, punching, packaging, etc.

Mould or Drawing

A thermoforming project starts with design, which requires a model or drawing of the product, or a sample provided by the customer.

Mold Design & Making

After the customer confirms the sample, the plaster mold used for proofing is used as the master mold. After electroplating copper, the production mold is made according to a certain quantity and position. There are three types of conventional molds: plaster mold, copper mold, and aluminum mold. The plaster molds are mainly used for proofing and generally cannot be used for mass production. The production time is generally 24 hours.

The copper mold is a plaster mold electroplated with a layer of copper, which has enhanced strength and wear resistance and is not high in cost. It is the most commonly used mold in production. The general production cycle is 100 hours, at least 3 days, and the service life is about 100,000 pieces. When the quantity reaches more than 1 million, aluminum molds can be made.

The aluminum molds are made of pure aluminum, which is costly and requires machine processing. The general mold making time is 3 days. Aluminum molds have good production quality, fast heat dissipation, high product precision, and long service life. If the customer requires precise products and the copper mold cannot meet the accuracy requirements, aluminum molds must be made even if the quantity is small.

Install the Mold

Based on product and material information, the mold's cavity count and expected cycle time can be estimated. With this data, the moldmaker has all the details to build the tooling accordingly. The mold consists of two mold halves, each mounted on a removable platen of a vertical toggle press.

Heating & Forming

The thermoforming machine heats the raw material coils or plastic sheets through the vacuum forming machine, vacuum thermoforms them, and cools them, and then automatically cuts them into predetermined sizes. This process is the most important process of pressure forming.

The length of the sheet is between 600 and 1170mm according to actual needs. Different materials, different thicknesses, and different temperature adjustment requirements require considerable experience from the startup personnel. The adjustment test usually takes 3 pictures.

Punching

After heated plastic sheet and forming, there are usually multiple products (according to the number of mold rows), which need to be punched into a single product on a punch. This process is called punching.

If the customer has special requirements, this process should be added when perforating the thermoformed part.

Folding

For some products that need to fold over two or more corners of the thermoformed product to insert paper cards, this process is required. This process is completed by a folding machine.

Package

Must pay attention to the packaging of thermoformed products, and determine the appropriate packaging method according to the strictness of customer requirements, product materials, shapes, etc.

If the customer has no special requirements, packing and plastic bags can be used. For products that are white or brightly colored, easily scratched by friction, or cannot attract dust or fingerprints, gloves are often worn during production.

Ⅱ. Thermoforming Materials

Commonly used vacuum forming materials include PVC (accounting for approximately 50%, density is 1.36g/cm³), PS (accounting for approximately 30%, density is 1.06g/cm³), PET (accounting for approximately 10%, density is 1.39g/cm³) , PP (about 10%, density is 0.92g/cm³).

Among them, the maximum thickness of PVC is generally 0.8mm, and that of PS is generally up to 1.2mm. Films exceeding this thickness are difficult to pull and may easily cause damage to the equipment.

The color of the material is generally determined according to the customer's requirements. Generally, PANTON color standards, color drafts, color separation standards, etc. need to be provided. The customer can also specify the approximate color and provide the customer with the color based on the product inventory. If there is no requirement from the customer, generally colorless and transparent materials that are easiest to produce can be used.

If you order colored sheets, they generally need to be more than 2 tons before they can be customized. Colored materials are denser than transparent materials. Flocking materials generally use PS materials with smaller density. If the density is high, it is easy to produce lint-free parts of the surface after stretching.

Generally, materials with brighter colors are easier to produce and do not have high requirements for packaging. Scratches on light-colored materials are easy to see, so packaging requirements are strict. Generally, flocking materials need to be protected from scratches and indentations.

When the products are put together, friction will easily occur in the tight contact areas and cause them to turn white. In places like this, special attention must be paid when packaging. If the requirements are strict, consider using plastic bags, copy paper and other methods for protection. Flocking materials are generally ordered according to length (meters).

Material properties generally include anti-static properties. Anti-static materials are produced by soaking or adding anti-static ingredients. The latter method has long-lasting anti-static properties. The static value of anti-static materials can generally reach 106~1012Ω.

In addition, there is environmental protection, among which APET is the most environmentally friendly and PVC is recyclable. Generally speaking, the thicker the material, the longer it takes to heat and the slower the production speed. The thinner the material, the faster it can be produced, but the longer the roll will be.

Ⅲ. Thermoforming Mold

Lower Mold

The lower mold is an essential mold in thermoforming production. According to different production processes and materials, they can be divided into plaster molds, copper molds, and aluminum molds. When customers provide samples, drawings or physical objects, plaster molds for adding samples need to be made.

The gypsum mold is made of gypsum powder and water is added to it to set it into a certain shape. It hardens after dehydration to form a mold. Materials and tools such as gypsum powder, drill bits, emery cloth, and wooden boards are required. Because it is handmade, there will be a deviation of about 2mm from the drawing. Plaster molds can be prototyped directly after being made and are not suitable for mass production.

The plaster mold can be modified after it is formed, and it is generally easier to make it smaller than to make it bigger. After the customer confirms the sample, the proofed plaster mold can be used as the seed mold (master mold), and multiple sub-molds can be produced according to production needs. The size of the sub-mold will not deviate greatly from the seed mold, generally around 0.5mm.

After the lower mold is made, it needs to be fixed on a plywood about 8mm thick, and then it can be mounted on the mold basin during production. When the heated sheet passes through the mold, it is sucked by the vacuum pump and attached to the lower mold to make a product with the same shape as the lower mold.

Upper Mold

Sometimes vacuum suction alone is not enough to shape the product, and a certain external force needs to be applied to make the upper mold. The upper mold is not required for all products, but depends on the needs of production.

When testing the machine, if the thermoforming is not good and a upper mold is needed, the operator will make the upper mold according to the shape. The material of the upper mold is generally iron or wood, and the surface in contact with the product needs to be wrapped with soft sponge or flannel.

Cutting Die

Generally, multiple vacuum forming molds are used to open multiple molds. After forming, they need to be cut into finished products according to the size and shape of the product. The process of cutting into finished products is the punch press, and the mold used is the cutting die.

Cutting die can be divided into three types according to different materials and production processes: iron dies, wood die, and laser cutting die. Among them, iron die are thicker and can generally be made into cutting dies with more regular shapes, such as rectangles, ovals, etc., and are not suitable for shapes that are too curved.

The blade used in the wooden die is the beer machine cutting die used for color boxes. It needs to be stacked with a certain number of layers according to the height of the product, and sometimes a cushion is required. For cutting dies that require higher precision, laser die can be made, similar to wood sample knives.

After the die is made, the product that needs to be positioned generally needs to be fixed with a finished product in the die to facilitate positioning when punching the product. For products that do not require positioning, such as edgeless thermoformed products, iron knives are generally used as molds.

Ⅳ. Dimensions and Tolerances

Thermoforming dimensions can be obtained in three ways: copying according to customer samples, making molds based on drawings, and designing by yourself based on the actual object. Because the shape of pressure forming is generally customized based on the actual object, the shape is often irregular. Many dimensions are inaccurate or cannot be marked when the drawings are made, so there is a large deviation when making according to the drawings. For the sake of accuracy, it must be accompanied by a physical trial installation. The size deviation of products made based on sample replicas is not large.

The general thickness tolerance is 0.1mm, and the product deviation is ±2mm. The main reasons for tolerance are:

1. Deviation caused by manual mold removal. This deviation is generally less than 2mm.

2. Deviation caused when the seed mold copies the sub-mold. This deviation is small, generally less than 0.5mm.

3. Thickness deviations in the same mold caused by different materials and thermoforming temperatures. This deviation is small, generally less than 0.1mm.

4. The thickness tolerance depends on the specific situation. The larger the same area is stretched, the thinner the thickness of the piece becomes. Different operators and different forming temperature will also make the thickness of the same part different.

Among the above reasons, the first one is the main reason for dimensional tolerance, but because the mold can be modified and corrected, the deviation of thermoforming process can generally be controlled within 2mm.

It should be noted that the material thickness is two sizes (0.05mm) smaller than the finished product thickness. Although there are phenomena such as when the surface area of the finished product is much larger than the surface area of the material, the thickness of the finished product will be much smaller than the thickness of the material, the surface area of the finished product is much larger than the surface area of the material, and the thickness of the finished product will be much smaller than the thickness of the material, but overall Generally speaking, the general difference is 0.05mm.

Vacuum forming is a very definite product. If you want the size to be right, you must take the actual product and try it out.

Ⅴ. Draft Angle

All products stamped with molds need to set the draft angle during design, and the same is true for thermoforming. The general draft angle for thermoforming is 3°. The draft angle will cause the size of the upper surface to be smaller than the size of the lower surface. If the thermoforming is placed in a box, there will be a gap between the upper surface and the box wall. When the draft angle is the same, the size of the gap is related to the height.

Calculation Formula

The calculation formula is: d=h×tgθ

d——Size of the gap on each side.

h——Height of thermoforming.

θ——Draft angle, usually 3°.

Ⅵ. Mold Layout and Material Setting

Mold arrangement refers to arranging the molds on the mold plate and fixing them. The distance between the molds depends on the height of the product. The general rule is that the distance between the molds is equal to the height of the mold, and the distance between the mold and the four sides of the mold plate is equal to the height of the mold divided by 2. The high point of the mold refers to the highest point of the mold.

The height of the product refers to the highest dimension of the product. See Figure 2-1. Neither h1 nor h2 is the height of the product. The largest h is the height of the product.

When arranging the mold, the width must be arranged to the edge. The length can be more or less, but no more than 1120mm at most and no less than 600mm at least. Between 600 and 1120mm, the longer the better. The number of molds for APET materials cannot be too many, between 600 and 800.

The mold plate width plus 50mm equals the material width, and the mold row length plus 50mm equals the sheet length.

Conclusion

Thermoforming is a process that uses high temperature and high forming pressure to form raw materials into products of the desired shape and structure through steps such as heating, air pressure regulation, and cooling. This process can be used for processing materials such as plastics, metals and ceramics. By controlling parameters, products with different properties, shapes and sizes can be manufactured. The hot press molding process is widely used in automobiles, electronics, aerospace and other fields, providing high-quality products to all walks of life.

Thermoforming is different from injection molding, blow molding, rotational molding and other forms of processing plastics. Thin gauge thermoforming is used primarily to create disposable cups, containers, lids, trays, blisters, clamshells and other products for the food, medical and general retail industries. Thick-gauge vacuum forming includes parts as diverse as car doors and dashboards, refrigerator liners, utility vehicle floors and plastic pallets.

[hlhrapidlimited]

Understanding the Key Cycles of the Injection Moulding Process

Injection molding is a method for producing a wide variety of plastic products. It is utilised in a variety of industries to create intricate and challenging plastic parts. The procedure is divided into stages to ensure that the pieces are completed correctly. Knowing about these steps speeds up the production of superior components. Let's look at the key steps of injection moulding.

1. Clamping Cycle:

This stage starts the whole process by firmly closing the mold. It's important to keep the mold safe while injecting.

Machines use either hydraulics or mechanics to press the mold shut perfectly, making sure the final product looks the same every time.

Getting the right pressure is crucial to avoid extra bits, bending, or mistakes in the parts.

2. Injection Cycle:

During the injection process, hot liquid plastic is pressed firmly into a closed mould.

The plastic begins as microscopic fragments, which are melted and forced into the mould with a special instrument including a screw or plunger.

Controlling how hot it is, how hard it is pressed, and how quickly it goes in is critical to ensuring that the pieces appear excellent and do not have any issues such as holes or bending.

Once the mould is filled, the pressure holds the plastic in place until it hardens, ensuring that the components come out exactly as they should.

3. Cooling Cycle:

When the mold is full, the cooling part starts to make the liquid plastic harden.

Making sure it cools down fast is important to keep the parts the right size, make them faster, and stop them from bending or getting weak inside.

The mold has special channels to cool it down quickly, so the parts can be made faster without making them worse.

Deciding how long it takes to cool it depends on things like what kind of plastic it is, what shape the part is, and what you want it to be like in the end.

4. Ejection Cycle:

When the liquid plastic has cooled down and become hard enough, it's time to take the part out of the mold.

Things like pins or plates push the part out of the mold very carefully.

Doing this the right way is important to keep the part and the mold safe, and to make sure everything keeps working well for a long time.

Making sure the part has the right angles and shape helps it come out of the mold easily without getting bent or stuck.

5. Post-processing Cycle (optional):

Sometimes, more steps might be needed to finish the parts just right.

This could mean cutting off extra bits, making the surface smooth, putting parts together, or checking to make sure they're good enough.

Doing these extra steps makes the product better and makes sure it's just how the customer wants it to be.

Knowing how injection molding works is important for making plastic parts that are always good quality, made fast, and don't cost too much. Each step in the process is super important for making sure the parts look the same every time, have fewer mistakes, and can be made faster.

 Using fancy machines, being careful with how everything is done, and coming up with new ways to design molds helps companies make the most out of injection molding for all sorts of industries. If you would like to learn more, visit our website: www.hlhrapid.com

About the Author:

HLH Rapid is a leading rapid prototype manufacturer, renowned for its cutting-edge services. Specializing in rapid prototyping, we excel in turning ideas into reality with precision and efficiency. The expertise lies in understanding the distinct cycles of the injection molding process, ensuring consistent quality, streamlined production, and cost-effectiveness.

[eastasiamanagementuniversity]

I took technical classes at Tanjong Katong Secondary Tech. School aka TK Tech, which was also situated along Haig road. I learnt a jumble of practical skills on how to produce household essentials made out of scant materials like epoxy resin, acrylics, plywood, aluminium and alloy sheets. We had to do a variety of hands-on tasks such as measuring distances and gradient, drilling of holes, hot pressing or moulding the required shapes, soldering joints, shaving grain, woodworking, riveting nuts, buffering corners, filing edges, all of which employed a variety of tools like the triple bit mill-drill machine, mould plates, wood planer, chisel, mallet, hacksaw, G-clamp, rivets, file tool, sandpaper, protective goggle, navy blue apron etc.... We made plates, soap dishes, paper weights and shoehorns out of epoxy, as well as platters and ashtrays produced from alloy. Other creations included simple machine crafted products like stools and benches that came from lumber stacked in the workshop. We all had bits of shite stuck to our faces and had to do a great deal of sanitizing thereafter

[metallurgyandmetrology]

If you are looking for moulding and mounting hot press achine with single and double disk then Multitek is one of the best solutions for you. Multitek has a dedicated team of experts to manufacture customized Moulding machine according to customers need. Fell free to visit us. https://www.multitek.in/mounting-moulding-machines

#moulding #mounting #hot #press #machine #mounting #mouldingmachine #mountingmachine

[chemicalsectorupdates]

Paper Cups Market Forecast: Projections and Strategic Recommendations

The Versatile Yet Humble Paper Cup History Paper cups were invented in the late 1890s by Lawrence Luellen, a dentist from St. Louis, Missouri. Prior to paper mugs, drinks were served in glasses, mugs or metal cups. Luellen saw an opportunity to create disposable drinking cups for public places like circuses and fairgrounds where it was difficult to clean glassware. In 1890, he patented a cup-making machine that could rapidly produce paper mugs by pasting paper onto a paper mache mould. These early paper mugs were not lined and would dissolve if any liquid was left in them for too long. While paper mugs only gained popularity over time as the manufacturing process improved, Luellen's invention laid the foundation for what would become a ubiquitous single-use item. By the 1920s, cup manufacturers started lining paper mugs with wax or plastics to prevent disintegration and leakage. This made paper mugs a more viable option for on-the-go drinking outside the home. During World War II, paper mugs saw a boom in demand as traditional glassware was in short supply. This cemented their role as a versatile and disposable alternative. Types of Paper Cups There are a few main categories of paper mugs based on material, size and use: Hot cups - Made from thick paperboard lined with a heat-resistant plastic or wax coating. They are designed to hold hot beverages like coffee and keep the drink insulated for a period of time. Popular sizes include 8 oz, 12 oz, 16 oz and 20 oz. Cold cups - Similar in composition to hot cups but thinner to avoid over-insulation of cold drinks. Often used for beverages, snacks and frozen foods. Sizes range from 8 oz to 36 oz party cups. Takeaway cups - Tall and narrow cups ideal for on-the-go drinking. Sturdy construction makes them leakproof for travel. Many fast food restaurants use branded takeaway cups. Portion cups - Short and wide cups used for individual servings of food like soup, ice cream or salad. Convenient for events, airlines and cafeterias. Common sizes are 4 oz and 6 oz. Party cups - Disposable cups for events and gatherings where paper options are preferred over glass or plastic. May have colorful designs or themes printed on them. Range in size from 8 oz to 24 oz. Confectionary cups - Small cups designed to hold individual candies, nuts or snacks. Usually 2 oz or smaller in size. Often feature colorful patterns for visual appeal. Materials and Manufacturing Process Paper cups are made from paperboard - a thick, fibrous material stronger than regular paper. The manufacturing process involves: - Card stock paper is fed continuously through a series of rollers to create the stiff paperboard material. - Dies or moulds shape the paperboard into cups. Modern high-speed machines can rapidly form hundreds of cups per minute. - A heat-resistant plastic liner is applied to the inside using a spray or dip coating method. This prevents liquid absorption. - Inks are printed onto the outside surface through a multi-color rotary press for branding or designs. - Cups pass through an oven to cure the lining and ensure a moisture-proof seal. - Lasers or blades cut thecups from the continuous roll and they are stacked into boxes for shipping. - Quality checks ensure structural integrity and compliance with food safety standards. The paper cup remains both tremendously useful yet strains sustainable practices due to its fleeting usage. While improvements are being made, further innovations are still needed to balance convenience with reduced environmental fallout from this ubiquitous product. Whether reusable alternatives can achieve comparable affordability and scale also remains to be seen.

[dilutedrink]

HELLO HERE IS THE FIRST DRAFT OF AN ESSAY ON THE EVOLUTION OF THE DESIGN OF MUSIC PUBLICATIONS

I'm planning on adding a lot more information and detail, alongside bringing in more analysis, reference imagery and theory. I referenced Walter Benjamin and would like to go into his theories and their relevance to my topic in much greater detail. I'd also like to focus more on cultural movements, technology changes in sections other than the beginning, and key figures in design for music. Including primary sources is a big goal for improving this work in the future, and i'd like to talk to creatives involved in the field. Throughout the piece I'd like to have a stronger voice to my own opinion running throughout and really place the history of the industry in the frame of the current climate, contextualising it for the reader, and having a more critical take on the systems that have led to the downfall of one of our formerly great cultural objects. weee genuinely love this topic so much i love print media and design and writing and music.

Introduction

The 21st century presents a complex time for music magazines. Once-dominant publications grapple with declining sales and a rapidly evolving media landscape. One can’t help but wonder if there is still a space for music magazines at all, let alone in print. Amidst this decline, however, there appears to be a resurgence of physical media, fueled by a growing distrust in technology. Is there an opportunity for independent publishers to revive the industry with a focus on aesthetics, quality design, and reader-focused business models? Looking at magazine design through a music specific lens gives a unique view on its history, allowing us to gain a deeper understanding of how it has been shaped through social movements and technological advancements. By examining this progression, we gain nuanced analysis of the music magazine, from its inception to the present day.

The Beginning

The first true music-specific publication is widely considered to be Melody Maker, established in 1926 by Lawrence Wright. Recognising the potential of the magazine publishing market, which had grown largely due to an increase in advertising revenue, and the potential to promote his own songwriting, Wright would go on to found one of the major players in the music magazine market for many decades. However, Melody Maker would soon find a challenger in New Musical Express (NME).

In 1952, facing financial difficulties, the paper known as Musical Express was looking for a buyer. Maurice Kinn, a promoter who had advertised in the paper, saw an opportunity and purchased it, starting a new venture into publishing. The paper relaunched as New Musical Express, a direct challenger to Melody Maker, even poaching staff of the older magazine. Despite initially being seen as a paper that wouldn't last longer than a few months, NME went on to dominate the market for music weeklies, becoming one of the most prominent music magazines in the UK throughout history. NME broke from the existing format by understanding there was a gap in the market for a music paper with richer visual content and a more interactive experience, expanding the paper, utilising an image based cover, and moving reader letters to the front of the issue.

These early magazines looked not dissimilar to newspapers of the time, printed on broadsheet to tabloid size paper. Design was highly influenced by the technology used, that being a relief process of printing, generally hot metal type machines such as the linotype. These machines required a worker to input one line of type at a time, creating a mould in the process, into which the machine would pour liquid metal. This machine greatly sped up typesetting and printing, an incredible improvement from older hot metal machines or using moveable type presses for large bodies of text. Linotype machines were limited to one typeface at a time, the process of switching requiring taking out the entire set of characters and replacing them with another. This led to magazines keeping their body text in the same typeface, which helped define each magazine's look, and despite the wide variety of typefaces available today most magazines continue that tradition, tending to stick to a limited number of fonts throughout. Headlines were still created with moveable type, which allowed for a little more variation in type size and style. These headlines would be locked into a frame alongside the lines of body text, advertisements, photos and all other components of a magazine. This block of components would then be inked and printed, finally forming one page of the publication. Images were included via the relief halftone process, which involved exposing images through a type of screen that would break the image up into dots. Via various mechanical and chemical processes this exposed image could be used to create a metal plate where the dots were raised and able to be inked alongside the text of a magazine. Whilst cheap and quick to make compared to alternative methods of reproducing photos, relief halftones were limited to a certain quality, halftone images not hugely advancing until offset printers became the standard technology.

The quality of visuals of music papers in particular would become increasingly essential with time however, a way of differentiating and standing out from the competition, or offering an exclusive experience. The importance of imagery is perhaps most evident in cover designs throughout the years, going back to NME’s relaunch in 1952. Disc embraced a reliance on cover star photography, while Record Mirror set itself apart from other music weeklies by being one of the first to feature a full colour front page.

The effectiveness of quality visuals is also clear in the near obsoletion of letterpress processes in magazine printing by the 1970s, the market overtaken by offset lithography. This is a planographic process, where a rubber roller picks up ink from a flat surface, then transfers it to the paper. Offset lithography allowed for higher quality photographs as it could replicate halftone images that had finer dots of a much greater count than relief halftones could manage. It also encouraged more experimentation with colour as the rubber material used to print onto the page could create an incredibly even solid colour. This method of printing also didn’t warp the paper like the impression of a letterpress block did, the resulting lack of alignment issues meaning four colour processes could be perfected.

These advances in technology enabled the creation of graphics that could fully reflect music alongside the fashion and cultural movements surrounding it, their decreasing price point leading to a surge in underground publications and fanzines.

The Underground Press

Underground publications that covered music really took off in the 1960s, with many started by contributors to sci-fi zines, which were a more established genre. Crawdaddy, which was launched by Paul Williams as a fanzine in 1966 contained critical writing on rock music. Williams had previously contributed to sci-fi zines such as Within. The zine transformed into one of the more notable rock magazines in America, predating both Rolling Stone and Creem, and often sharing writers with them too, notably Lester Bangs, the defining voice of Creem magazine for many years. Creem itself was an independent magazine, influenced by zine style layouts, “The layout was of the slap-it-down/ move-it-out school” as Kenneth Fitzgerald puts it. The magazine closed down in the 1980s, and while a couple editions were produced in the 1990s with a more sophisticated design initiated by Marvin Jarrett, the attempt didn’t regain the former success of Creem’s earlier days and was once more discontinued, Jarrett moving on to found Ray Gun. Today Creem lives on as a small independent operation, led by JJ Kramer, son of Barry Kramer, the magazine’s original publisher.

Back in the UK, International Times was launched as a counter cultural magazine in the same year as crawdaddy, 1966. The launch of the paper was celebrated by an event at the roundhouse in London, headlined by Pink Floyd. The magazine covered politics and underground music that went unacknowledged by the mainstream music press. After IT had laid the groundwork countless more would follow, 70s punk fanzines taking clear inspiration.

Oz in particular is of note when talking about the underground press, its prolific use of colour, psychedelic visuals and an obscenity trial setting it apart from the rest. Frequent intervention by the authorities such as the trial faced by those that ran Oz magazine, among other issues with the format led to the underground press losing coherence and impact over time. Nevertheless these independent publications had massively changed the industry, inspiring greater coverage of media and culture in the mainstream press and pushing design in music magazines forward.

Popular music

Following the lead of underground publications, larger magazines began to adopt more creative layouts and a more informal tone, but as they relied entirely on advertiser funding and ran an overall more expensive operation, could not afford to be nearly as controversial as certain underground papers. The artistic essence of independent magazines was lost somewhat in the process, in line with Walter Benjamin’s theories of mass production altering perception of media. New independent magazines were still being created that pushed boundaries though, the 90s saw the launch of Ray Gun, a chaotic and challengingly designed magazine that covered alternative rock. The magazine was founded by Marvin Jarret and designed by David Carson, whose distressed type and layout design gave Ray Gun a unique appeal. Still, larger papers offered space for professional writers and developed opinions. With writing critically about pop and rock music no longer a foreign concept, this style of content flourished in the majors for a good number of years. However, a change began brewing with the arrival of the internet.

Rise of the Internet

With the growing prevalence of the internet many music magazines started to diversify their content, opening themselves up to a wider range of advertisers and attempting to draw in more readers with a more mass appeal. As advertisers withdrew from magazines in favour of cheaper, targeted marketing offered by the internet, the money in publishing dwindled, leading to many publications closing down, even the legendary Melody Maker, who rather ironically was merged with longstanding rival NME. The majority of publications launched websites and started to discontinue print editions, however a few magazines on the other end of the spectrum pursued the luxury appeal of well designed, high quality magazines. Accepting new formats and ways of communicating content was essential for magazines to persist at the turn of the century, and this greatly impacted the visuals. Clean, simple and navigable designs generally dominate music magazine website design, based on the most effective way to get the content to the reader efficiently. Magazines also use social media accounts to promote articles, usually with photography of artists or events. Creativity in major publications has been somewhat lost with the adoption of the internet, the types and variety of visuals becoming reduced. Despite this there are a number of smaller and newer magazines doing things differently today, and this is possibly the most interesting area of the industry in the present day.

Physical Media Revival

As we move further into a tech saturated world a growing number of people have a desire for media in a more tangible format. This has led to the success of independent publications in print such as So Young, a magazine and record label with a focus on emerging talent. The layout design of So Young Magazine is relatively simple yet incredibly appealing in its nostalgic look and use of colour. The magazine is usually composed of interviews with artists, paired with an illustration. So Young uses a wide variety of illustrators, resulting in a huge diversity of visual content. Full colour pages with reversed out text are a frequent occurrence, and photography used tends to have a grainy film quality, adding to the nostalgia appeal. One off pieces and interviews with visual artists make occasional appearances too. Outside of the print magazine So Young also sells merchandise, organises events, and runs a label. These other activities highlight a key change within the magazine industry with the adoption of the internet, the fact that with so much content being available online, magazines could no longer rely on exclusive photography or interviews to get sales, and instead have to market themselves as unique brands, able to be applied to multiple ventures. Dork magazine launched their own radio, featuring a variety of shows and interviews with artists. Smaller magazines of a higher quality can also rely on reader purchases more than advertisers, providing a cleaner, more enjoyable experience.

Whilst the internet resulted in a lot of websites being launched to replace discontinuing print issues, it has also provided the opportunity for the opposite process, smaller magazines gathering a supportive audience first, then launching a print edition funded by readers, such as electric sound, a magazine that started as an interactive ipad app. Brands in other areas of music are getting involved in print too, a number of labels having started their own publications. State51, a record label and music company launched greedmag, a magazine with incredibly unique design, that provides sold out editions available in full on their website.It would seem that print is not dead, it just needed to slow down, the breakneck pace of music weeklies no longer a sustainable option. Even NME, which had ceased its print edition in 2018, is back in print as of 2023, as a sleek bi-monthly magazine. Perhaps scaling back is a better approach for music magazines, allowing them to become closer to the fans and artists together.

Conclusion

The cultural movements led by music have greatly impacted magazine design, leading to the creation of underground zines which pushed design in a more expressive direction, or the rise of celebrities and an increasing interest in their lives leading to greater photography coverage throughout magazines. The importance of advertising to music magazines is not to be underestimated either. By initially bringing more money into magazines, Advertisers increased the amount of competition as more people wanted in on the money to be made in publishing, and that competition drove visual innovation and a higher level of music criticism as ways to stand out. The changes in writing style would also influence the design of the pages, Lester Bangs rough and ready takes complementing the scrappy design of Creem magazine perfectly. Technology has also evidently had a great impact on the music press and its design in the past century, and continues to change it as the market pivots to something more indie and reader funded. This change in my eyes is the best turning point in the industry, and something I hope continues. I think the diversification of magazines into brands and multimedia platforms will create more spaces for people working in the industry to grow, the magazine itself no longer being the main product but its surrounding community, ideas and direction.

[brakemold]

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[hsmleindia]

Double-Station Automatic Metallographic Specimen Mounting Press

Metallographic specimen mounting press is a kind of full automatic mounting press, equipped with double working positions and in-out water cooling system. It is suitable for the hot mounting (thermo-hardening & thermoplastic) for all kinds of materials. After the parameters such as heating temperature, heat preserving time etc. are set up, put the specimen and mounting material into the machine, close the cover and press the start button, then the machine will finish the job automatically. It is not necessary for the operator to be on duty. According to different requirements of the material, there are four kinds of moulds that can be chosen to meet the demands at will. It is the ideal specimen preparing instrument for using in factories, scientific research institutes and laboratories of colleges.

[mitchelindustri]

8 Ideas to Increase an Injection Moulding Machine’s Lifespan

The molten material is injected under high pressure into metal moulds during injection moulding. Once it has sufficiently cooled, the completed portion is immediately removed. The procedure is highly automated and can produce vast quantities of goods, particularly plastic components. To produce these high volumes, injection moulding equipment must undergo routine preventative maintenance. To maintain tools and inspection machines prepared for manufacturing, mould maintenance is essential. Moulds that are not properly maintained may produce parts that do not meet standards, leading to additional downtime, raw material waste, and financial consequences.

This article describes some essential things for an injection mould maintenance checklist.

Table of Contents

1. Tonnage

2. Low Pressure Close

3. Set Up Core

4. Mould Open and Close

5. Ejection Set Up

6. Hot Runners and Valve Gates

7. Mould Watering

8. Cleaning and Care

In conclusion,

1. Tonnage

Make sure you are using the right amount of tonnage for each mould. Injection pressure can surpass the required tonnage requirements and blow open the mould if an operator uses too little tonnage. If a user applies too much force, the injection moulding machine will compress the tool’s separating lines, vent areas, and mould components.

Use the formula below to calculate the correct tonnage for each mould to prevent these scenarios:

Cavity Area = Mould Face Length x Width (in/2)

Cavity Area (Pa) = # of Cavities Parts Area (Pa)

Parts Area *(T) = Tonnage (T) = 3 tons/in2.

2. Low Pressure Close

Install a low-pressure closure (LPC) on the press to safeguard the mould. The high-pressure lock-up setting should be no more than 0.05 above the actual mould touch location. Additionally, cycle the mould to lower LPC pressure till it doesn’t lock up. Slowly increasing pressure gives the mould enough pressure to change from low-pressure to high-pressure lock up. Additionally, set the mould close timer to 0.5 seconds longer than the necessary mould close time. Set the mould close timer to 1.26 seconds, for instance, if the actual mould close duration is 0.76 seconds.

3. Set Up Core

Adapt core pressures and speeds to the demands of the application. Remember for inspection machines, speed does not affect pressure set points, but pressure might limit speed. To avoid crash circumstances, fire cores are based on position rather than time. Cycle speed is impacted by core functioning. Keep a close eye on core functioning to spot any indications that parts are pulling or setting irregularly.

4. Mould Open and Close

Clamp speeds undoubtedly influence cycle time, although more incredible speeds are not always preferable because they risk damaging or wearing out the tools. Look for lunging at close, rapid speeds that could lead to mould drop and possible pin and component misalignment. Ensure that the change from close fast to close slow is seamless and that the close slow condition happens right before the component/pin matches up. Ensure the transition between the mould open fast segment and the mould breakaway phase is seamless. The open fast segment should happen after all components have passed through the pins.

5. Ejection Set Up

By over-stroking or ejecting pieces improperly, which causes them to jam between mould halves, incorrect set points might damage the life of the mould. Determine the necessary separation for properly removing components from the mould before establishing forward positions. Ejector pins and lifters endure too much stress from over-stroking. Never should bottoming out the ejector plate be necessary for part extraction. Ensure pressure set points only employ the necessary amount to reduce stress on ejection components.

6. Hot Runners and Valve Gates

Mould life is affected by start-up and shutdown procedures. Poor start-ups result in over-packed cavities that need mould removal and maintenance. Manually fire valve gates to ensure appropriate setup and functional condition before starting any components. To ensure the hot runner drops are heated and ready for start-up, purge plastic through them. Run the barrel dry during hot runner shutdown, then promptly lower hot runner temperatures to lessen the chance of degradation.

7. Mould Watering

Limit mould temperatures to the bare minimum necessary for acceptable part aesthetics because higher mould temperatures might negatively influence mould life. Additionally, make sure there is no more than a 20 F difference in temperature between the stationary and moving mould portions. Temperatures over this range result in poor tool mating and incorrect heat soak conditions, both of which harm the tool. To avoid installing a mould incorrectly, clearly mark circuits and supply and return requirements.

8. Cleaning and Care

Injection moulding machine should always be inspected, cleaned, and greased at least once each shift in production environments. Look for wear indicators like metal shavings, burrs, galling, and parting line wear. To set preventative maintenance frequencies that will aid in reducing unplanned service events, create a regular preventative maintenance schedule, maintain mould service records, and examine recurring service/repair events.

Check to see that the slides are operating correctly and that the slide slots are lubricated. Keep an eye out for loose gibs and detent failure symptoms. After each cleaning and inspection, ensure the slide locations are accurate before leaving the mould. When a mould won’t be used for more than six hours, use a rust preventative and extensively coat textured and glossy parts to guard against rust damage.

In conclusion,

Prolonging the life of your injection moulding machine is a wise investment in efficiency and sustainability, as well as a way to reduce costs. You can ensure that your machine keeps performing at its best for years by putting the concepts covered in this article into practice, such as routine maintenance, appropriate training, and technology upgrades. By extending its lifespan, you may improve productivity while minimising downtime, lessening your impact on the environment, and maintaining the competitiveness of your manufacturing operations in a market that is changing quickly.