Stirring Adventures and Mad Mods! Saving the world one questionable decision at a time.
This entry is part of a series, 12 Volt Power supply» aka
Swanking your jank
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Working hard in the lab, the corset post and exploring the world with the family have distracted me from posting the project I have completed. While I don’t apologize for my priorities, I do make an apology to those who have been checking in.
Not only did I finish the case for the ATX Power supply for myself, but I built a second for a good friend who is a fabulous tinker himself.
The wooden part of the cases themselves are simple wood working – plywood with the edges covered in oak veneers. I used luan was used for the grills, hand cut with a coping saw. While unfettered ventilation is important, but not wanting to sacrifice aesthetic, I brass painted some window screen and glued it behind the grill to help obscure internal components. The mark II has a black painted baffle halfway between the grill and the internal components to further aid this concealment. Wood stain and tongue oil help to give the wood parts a quality look.
Brass corners a dress up the edges of the vertical unit. Some sheet tin is sufficient to mount the power supply in the rear on the unit. I used some tin ceiling scraps for one and flashing scrap for the other. Screw holes for mounting are best made with a nail punch, instead of a drill, because the flanges re-enforce the holes a bit.
The name plate, terminal plates and switch plate were electro-etched using the power supplies themselves. If one looks closely at the horizontal unit, it can be observed that the terminal plates and switch plate and switch plate are in negative image. Mistakes do happen when one is in a hurry! This is my lab power supple, and being dyslexic, I thought I would leave them this way to help me remember to check the orientation of my etching resistor transfer in the future.
All tubes and coils were made for the project. Painted window screen, plastic from water bottles, construction paper, old phone wire, thin sheet copper, painted steel wool and metallic tape were key components in this process. Each is internally lit with an LED, in series with a resistor power by the un-used 5 volt capacity of the ATX unit. Simple and effective LED tools can be found at http://led.linear1.org/1led.wiz to help with resistor value selection. My favorite tubes were not the ones I tried to made like vacuum tubes, but the ones where I got creative and just did my thing.
More pictures of this project can be found here.
This is a contenuation of the:
This entry is part of a series, Construction of Custom Corsets» Part 1 was the custom pre-pattern
Part 3 adding-structure-to-the-back-layer-finishing-and-boning-in-a-corset/
Figure 1
This is part two of a living document on making custom corsets, as it will be edited, revised, have new information and links added as readers post comments. So please post your comments, questions, and tips so that we can learn from your experience as well as mine.
For this step you can you have some options for the pattern material. For years, I used newspaper because it was free. It has many drawbacks, beside the whole smearing ink issue. Notes written on the pattern can be hard to read, it does not hold up well and just ages poorly in general. Pattern tracing paper is another option. The stuff I have found in the fabric stores is wretched stuff, because it is flimsy, weak and hard to write on. Now, I use the pattern tracing paper stocked by the people at Folkwear.com. It’s not expensive and doesn’t have the drawbacks of the other pattern materials. For simplicity’s sake, no matter your choice, I’ll call it “pattern paper”.
If you are making an heirloom, a garment for a paying client, or a single layer (such as an undergarment) corset, coutil is prime choice for corset backing fabric. It is pricey, and Farthingales seems to be the only reliable source of it I have found so far. However, canvas or heavy canvas duck will work just fine for multi-layer or limited wear corsets. You will need about a yard to a yard and half for the under-layer, stay sleeves and grommet re-enforcing.
Corset can be built one layer fabric, two layers or three layers. Common retail is the two layer corset, with a cover layer and a backing layer. For this description we are using a backing layer, a cover layer and sleeves for the boning.
Figure 2
Start by marking some alignment notches, double notches, etc at different levels on both sides of the various seams. Mark the top, grain line and also label the panels (front, front side, side, rear side, rear, etc.) Now cut the duct tape pre-pattern apart on the seam lines you drew on it while it was on the client. Think about how the seam will work as you sew the (eventual) fabric back together. (figure 3 & 4) Make sure to remove the reduction curves from the pre pattern. The individual pieces should at this point lay out fairly flat.
Figure 3
Figure 4
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Figure 5
Now you are ready to make the pattern from the pre-pattern. You can work on the floor, but a table is better. Banish the cat. Lay out your pre-pattern pieces on the pattern paper, leaving about an inch minimal from any edge, and an inch and a half between any pieces. (figure 5) One at a time, press each pre-pattern piece flat while you trace around it. A clever seamstress can shift the pieces a bit to deal with curve in the pre-pattern, however the less experienced should probably trace them as they lie. Transfer notches, tops, label, etc to pattern. Set aside the pre-pattern. You shouldn’t need it again if all goes well, but it can be helpful for thinking your way out of a problem.
Figure 6
Once all parts are traced out use a ruler or a hemming ruler to make a consistent seam allowance around each pattern.(figure 6) For a 5/8” seam allowance I mark a ½ inch, to compensate for tracing expansion from the pre-pattern to the pattern. I use a different color marker for my seam allowance than my pattern tracing to avoid confusion. If the seam allowance overlaps from one pattern piece to another, make sure to mark the area that is going to be a bit shy and try to make it obvious. Transfer your notch marking out to the seam allowances lines. Finally, cut out the pattern on the seam allowance line.
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Figure 7
Figure 8
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Take a moment to look at what you have. Experiment mentally or physically with the pieces just to double check how they will work. For example, in figure ??? I have marked for a seam to end in a dart. For ease of fitting, I have decided to make this into two separate pattern pieces instead. After cutting them apart, because I used quality pattern tracing paper, I was able to sew on some scraps, add seam allowances, and then trim them.(figures 7 & 8 )
You are ready to start on the backing layer. Lay out and pin down the pattern piece on your coutil or canvas, being conscious of how the grain will minimize stretch and straighten the garment. DON’T CUT OUT THE COVER LAYER YET. Remember to include your notches. Once it’s all cut out, you’re ready to sew the pieces together. With contrasting curves you need to pin frequently and to pin a small gather of fabric where the seam will be, if you want a tidy seam.( figure 9 ) If you want to use a busk in the front, heavily but temporary baste that seam to gether. Do not sew the lacing / grommet edges together, however you can zig-zag stitch the edge to minimize fraying. Just keep in mind none of these seams are set in stone yet.
Figure 9
It’s fitting time. These next two fitting step are important to the process, so pay attention.
Step one is the fitting itself, and you are going to wish you had six extra steam-powered hands, and could sew the backing layer on the Client. Try the corset backing on the client. (Client here – as in the pre-pattern, wear whatever you intend to wear under the corset, if anything, and hold still! Or get stuck with pins.) Pin the top and bottom closed at the lace/grommet area. The waist will not stay pinned closed if you are making a corset with any shape to it whatsoever. Use your hands to pull this area closed as you look at the shape of the backing layer.
It should just fit at the top and be a tad loose on the hip so as not to bunch up the Client’s skin or cut in. I use pins when I can to fit, if not I use chalk marks and sewing by matching seams, removing old seams, and refitting, until I am happy. Once the top and bottom are correct move to tailoring the belly. The stomach of a corset should be flat or slightly concave if the client’s body allows. The chest is next, perhaps with some adjustment to get the cleavage where and how you want it, to allow tailoring to keep the desired position.
Then, on to the waist. It is amazing how much one can safely, and with minimal discomfort, compress the side of the waist between the floater ribs and the top of the hips. The floater ribs can only take a little compression and the rib cage itself is best to avoid, unless the client really knows what s/he is getting into. A good rule for corset beginners is, if you can just pull the back closed with your hand, the corset should be comfortable for the client. Ask to make sure.
Step two is to transfer any new seams to both pattern pieces that each new seam affects. ( figure 10 ). Measure new seam allowances off of these new pattern lines, remembering to transfer notches. Trim the pattern on the new seam allowances.
Now, you’re ready to cut and sew the cover fabric to match the backing layer. Lay pattern pieces out on the fabric so the cut out pieces will look their best when sewn, paying attention to grain and design of cover fabric. Also you can clip the seam allowance to help curves lay flat, and zig-zag stitch all the seams on the backing layer down flat, which also helps re-enforce the seams.
Figure 10
In part three I’ll show you how to finish up the custom corset.
This entry is part of a series, How to Etch» Before I go on to post other projects and forget, let’s talk about etching brass and copper. The fan project and some others I had in mind would greatly benefit from some decorative design work, so I had to remember some old knowledge and learn some new skills. Below I will gloss over acid etching and cover electrolytic etching.
Hold on a minute, lets get something important out of the way:
SAFTY FIRST: GOOGLE, GLOVES, VENTILATION and COMMON SENSE.
Now for the fine print:
The information posted here for inspiration and so others can have a base schema of knowledge to from which begin their own research. These are not complete instructions!! Do more research of your own before attempting!!
Repousse was out for a number of reasons, the first being cost in money or time. Lets’ face it – tools either have to be made or bought, and I would need a good number of specialized hardened iron little tools, wax or resin pans, etc. I have tried my hand at it and it takes a lot of time and planning to turn out an impressive little piece, on thinner metal. Plus, I wanted sturdier stock. But mostly because I have some artist friends who have done some really dang good work, antiquity quality work, with repousse, and I would end up judging my own work by means of comparison. Etching and machining is a more period look for steam punk.
On to the work! Prepare the piece for etching by applying a resistor where you want to keep material, so what is exposed to the process will be eaten away or ‘bitten into’ to make an indention. First the piece must be clean of oxidation, oils, and varnish. It is important to note that most brass and copper are shipped covered in plastic film, varnish or what not to keep them from tarnishing. The resistor can be clear box tape, cut on the piece for simple work. For more complex design on flat pieces I prefer the toner transfer method. For my work, the method I learned in electronics lab, using a permanent ink marker as a resistor, does not hold up well to the processes itself, as the ink is not thick enough to protect the un-etched areas.
The toner transfer method that I use requires access to a laser printer. I build the design to scale in photo shop at about 200dpi. Once complete, reverse the image to a negative and converted into black and white. It is important to note that there is a learned ratio for detail to etching time. Once this is crossed detail is lost, so it is best to err on the side of simplicity. Print the image on to glossy photo Inkjet paper loaded into a Laser printer. Take note that I did mean to say glossy photo Inkjet paper loader into a Laser printer.
I try to fill up a sheet of paper.
Freshly clean the work piece so its shiny and reasonably smooth. Cut the paper the image is on down to size and place it toner side down on the metal. Now use a hot iron and a block stamp roller to apply the toner to the metal. Heat by pressing for about 30 seconds, roll, heat, roll, repeat and repeat again. Once complete bonding is achieved and the piece is cool to the touch soak it in water for about 10 to 15 minutes. The paper peels off in layers, this will requires soaking again for a few minutes as you work. The last bit of paper can be rubbed of with your fingers until the toner is revealed. I have found that a little white haze doesn’t significantly slow the process, but that removing too much can weaken the toner’s hold. After looking at the work of others, I remembered that I as a lad in my basement electronics lab, had etched my own circuit boards using basic supplies. After wasting a whole lot of time trying to acquire a bottle of that brown etching solution, and for the most part only getting a lot of attitude about wanting something that everyone says they can get but won’t, it was on to the aether. Bless the DIY electronic geeks out there, for having dealt with this aggravation, and come up with a cheaper solution! Here is a link to some short notes on it.
This maybe simple chemistry, but it is real chemistry with a hazardous chemical so don’t be stupid, do your own research before attempting. Have baking soda handy for first aid. If you get acid on your skin, rinse with cold water, then apply baking soda. Also always add your acids to your peroxide so you don’t get an accelerated reaction. Peroxide first, then acid.
Acid etching is fine for large pieces, but has a few issues: diminished returns on the use of the chemical and disposal of the chemical. Flushing of muriatic acid is allowed into some municipal systems, however the metal content makes it a questionable act environmentally. Waste of this kind is really hard on septic systems and your water table. I also prefer to play with electricity more than just acid.
Part Two…..
ETCHING WITH ELECTRICITY
By Madame vonHedwig on Wednesday, February 18th, 2009
In order to further this aim, we vonHedwigs have been acquiring and decorating hats as fast as our little paychecks and big imaginations can manage. We began with one ladies topper, on permanent loan from Becky, who got it for the purposes of looking like Marlena Dietrich for an evening. Which was an excellent notion, for now we can all look at this:
I decorated this hat with a scrap of black lace and some curly feathers (from a big box store, I am sorry to say, but the black chickens were not forthcoming during molting season, and object strongly to having their feathers forcibly removed), and now it looks like this:
Then Yuletide arrived, and my dear husband and I exchanged the gift of toppers. I decorated mine with a remarkable decorative metal ribbon that a very artistic friend had given me years ago, and that had been ornamenting the pianoforte until I realized I could wear it. Then I lashed together a long, gorgeous pheasant tail feather (a gift from a hunter of my acquaintance) with some chicken feathers (the Reds were much more generous during molt) and more of the crazy black curly ones to support it.
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For my navy ensemble, I purchased a hat blank at a millinery shop on Duke of Gloucester Street in Williamsburg, Virginia. It is very sturdy felt, and the cause of a) acquisition of millinery needles, and b) various holes in my fingers. I trimmed it with lace and ribbon, and a beautiful bow made for me by Annabelle.
To wear it, I first lift up much of my hair and augment it with a pad (what my mother called a rat’s nest) of hair pulled out of the family’s hairbrushes, saved up and shoved in the foot of an old stocking. Then I pin my own hair over it. At this point I look like a terrifying sixties country singer, only with ringlets. (No, you may not see a picture of this.) Then I (or sometimes a team of sturdy-fingered dressers) shove in as many hatpins as it takes, usually 3-4. As difficult as this dressing regimen may be, I am pleased with the effect.
Transcriptions from P. Phinneus’ notebooks are just that. They are neither complete nor instructions, but are what he feels he needs to write down to remember or learn. They are posted here for inspiration and so others can have a base schema of knowledge to from which begin their own research. These are not complete instructions!! Do more research of your own before attempting!! Copies of the original notes can be found on deviantart. (http://fearlessfabricator.deviantart.com/ )
Non-Ferrous Metal parts production (page 1)
Non-Ferrous metal when heated* and quenched quickly becomes soft. Slow cooling has a hardening effect. (It will work harden.)
Copper rivets can be made from (copper) wire, which has been soften by tempering. Slowly (with light strokes of a small ball peen hammer) peen one end in a vise or pliers. Trim slightly long, about the same (as the) width of the wire after inserting in a well-sized hole. Slowly peen the other side (he means the freshly cut end). Bending can occur if worked to quickly or too large of a ball peen hammer.
Plumber solder is higher in acid but silver (jewlers) does not bridge gaps.
*Heated refers to glowing hot.
*as opposed to ferrous metals.
(page 2)
ETCHING (with acid)
Etching solution can be hard and expensive to find. Luckily it is simple to make if one is careful. 2 parts Muriatic acid can be added to 1 part Hydrogen Peroxide (common drugstore 3% is fine)
WARNING- Mixing is a hazardous process (if done wrong)!!!
WARNING- add acid to peroxide, not the reverse.
(WARNING- have baking soda handy for mishaps)
Ventilation is important.
Eye protection and gloves, rubber (or) vinyl.
This entry is part of a series, 12 Volt Power supply» I built this to provide current for electrolytic etching of copper and brass, but it can be used to power electronic projects as well. It is a simple procedure, for those with basic electrical skill and understanding of the safety practices needed for working with power supplies.
WARNING: If you read this and don’t understand any part of it, you don’t have the base knowledge needed to attempt this project safely.
WARNING: unplug unit before attempting anything!
WARNING: power supplies can hold a charge of electricity!
WARNING: If you don’t know or don’t think electricity can kill you dead, DO NOT PROCEED!
Necessary parts:
10 ohm 10 watt resistor
SPST switch
Electrical tape and or heat shrink tubing
Optional parts:
LEDs
Resistors (for 20 to 25 ma 84 to 100 ohms ¼ watt should work fine)
Now down to work.
Remove ATX power supple unit from computer if not all ready separate, keeping wires as long as possible but remove the connectors. The power supply has a number of checks or safeties that keep it from working at this point. Next remove the access cover, but it is not necessary to remove the circuit board from the power supply housing. Sort wires so you have set aside the following:
2 red wires (only one if you are skipping the LEDs)
1 yellow
4 black (only three if you are skipping the LEDs)
1 green
1 brown (if brown/orange pair is present)
1 orange (if brown/orange pair is present)
Clip all other wires at circuit board, if longer cover the ends with electrical tape or shrink tube.
Brown and orange are connected together permanently for the 3.3 volt sense to enable the power supply to work. (If there’s no brown/orange pair, ignore this step.)
Next the 5 volt rail needs a load for the power supply to operate properly. The 10 ohm 10 watt resistor provides this load when connected between a red and a black wire. This baby heats up a bit so it needs to be mounted in a way that dissipates that heat, like in the air flow of the fan or on a heat sink.
The power on/off is made by connecting the SPST switch between the black and the green wires. Insulate all bare connections. LED with a resistor can be hooked in parallel between a set of red and black wire.
The two remaining black wires are twisted together. Now when activated there should be 12 volts dc between the yellow and paired black.
12 volt power supply
Mount, jank, decorate, and make safe your new power supply.
LED exact resistors needed can be calculated at http://led.linear1.org/1led.wiz
Max power output can be figured with the equation Watt = volts x amps, minus say 10% (just of the top of my brain) for 5volt load, LEDs and loss. These are modifications the instructions from http://www.vonslatt.com/bus-tron.shtml
While many things are going on in the lab, most are still in the secret classified category until after the holidays, their completion or their use, in time of need, leads to their change classification. However, I can show the hat pins The Madam needed me to make her for her new hat.
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And here is the new 13 button knee high spats.
13 button spats
For all of you asking about P. Phinneas latest creation in men’s fashion’ here is the new waistcoat.
Waistcoat
