A propane burnisher is a type of rotary floor burnisher, a floor buffing (polishing) device, that is powered by propane. It is designed to rotate in speeds in excess of 1200-1800 RPM. It typically has a series of interchangeable pads that promote the cleaning, along with different types of abrasives and solvents available to buff the floor to a shine.
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The process originated in 1938 at a time when high-society ladies wore white gloves that were easily tarnished during the exchange of money. It uses borax soap in an antiquated, manually-operated burnisher.
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Burnisher for card scrapers Process of sharpening: The cutting component of a card scraper is the burred edge of the scraper. The burr is a sharp hook of metal which is turned on the edge of the scraper by burnishing with a burnisher or steel rod. A file or sharpening stone is used to joint the edge of the scraper before burnishing. Cabinet makers typically joint the edge square, or at a right angle to the face of the scraper, which allows a fine burr to be turned on both sides.
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When a copper plate is roughened in preparation for working on it, thousands of tiny holes are produced on the surface of the plate to hold the ink. Kipniss's preference has been for mechanically roughened plates because of their greater uniformity. Unlike many makers of mezzotints, he prefers using a burnisher rather than a scraper for reducing the depth of the holes, a process that controls the amount of ink held on the plate. The burnisher allows him freer motion and a greater range of pressure, as a pencil would, giving him the ability to create an image that looks drawn rather than machine crafted.
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I further certify, that the spoons need no preparation for the burnisher except the edge, consequently almost all the loss of filings, scrapings and stonings is saved. JOHN ADAM On 28 July 28, 1803, Adam married Mary Hayes. His first business advertisement was published on November 18, 1803, as a gold- and silversmith.
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Various scrapers, with burnisher Card scrapers are available in a range of shapes and sizes, the most common being a rectangular shape approximately and with a thickness of . Another common configuration is the gooseneck scraper, which has a shape resembling a french curve and is useful for scraping curved surfaces. For scraping convex shapes such as violin fingerboards, small flexible rectangular scrapers are useful. Scrapers are normally made from high carbon steel.
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Foust has been creating hand-made linocut prints for over 30 years, using the same spoon as the burnisher for the printmaking process. She exhibits in galleries, but mostly she sells her work in about 30 art festivals a year. Why she does art festivals: > Foust started doing art festivals about 11 years ago at the urging of an > artist friend. "I didn't think my work would sell at festivals," she says.
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The back of the paper or fabric is rubbed with a "hard pad, a flat piece of wood, a burnisher, or a leather frotton".Hind, Arthur M. An Introduction to a History of Woodcut, p64-94, Houghton Mifflin Co. 1935 (in USA), reprinted Dover Publications, 1963 ; Printing in a press: "Presses" only seem to have been used in Asia in relatively recent times. Simple weighted presses may have been used in Europe, but firm evidence is lacking. Later, printing-presses were used (from about 1480).
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It is, however, possible to create the image by only roughening the plate selectively, so working from light to dark. Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colors to be printed; secondly because the process of smoothing the texture with burin, burnisher and scraper allows fine gradations in tone to be developed. The mezzotint printmaking method was invented by Ludwig von Siegen (1609–1680). The process was used widely in England from the mid-eighteenth century, to reproduce oil paintings and in particular portraits.
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Three of King Arthur's retainers, Bedyr, Kai and the possibly somewhat learned Gwrhyr Interpreter of Languages, arrive at the castle of the giant, along with some men whom they have befriended from Chief Giant Ysbaddeden's land. Nobody has ever gone into this castle, the listener is told, and managed to escape with his life, unless he brings a craft. Kai says that he is a sword burnisher and is allowed admittance. Having burnished the giant's sword to its owner's satisfaction, Kai contrives to hold it above the giant's head whilst pretending to inspect its sheath, cuts off Wrnach's head and so achieves the task.
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Artists using this technique include John Martin, Ludwig von Siegen, John Smith, Wallerant Vaillant, Carol Wax An intaglio variant of engraving in which the image is formed from subtle gradations of light and shade. Mezzotint—from the Italian mezzo ("half") and tinta ("tone")—is a "dark manner" form of printmaking, which requires artists to work from dark to light. To create a mezzotint, the surface of a copper printing plate is roughened evenly all over with the aid of a tool known as a rocker; the image is then formed by smoothing the surface with a tool known as a burnisher. When inked, the roughened areas of the plate will hold more ink and print more darkly, while smoother areas of the plate hold less or no ink, and will print more lightly or not at all.
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One of the three Ndop statues in the British Museum To create the distinct round contours of this sculpture, the sculptor primarily worked with an adze, which has a wooden handle to which a metal blade is attached at an acute angle. Knives and a burnisher were also used. Kuba carvers demonstrated fine hand and eye coordination to bring out details with the combination of these tools. In addition to the naturalistic shape of the facial features and body parts, the sculptor reproduces realistic detail on the body, including the collarbones and outline of the lips. Another Ndop seated statue in the British Museum, estimated to be over 200 years old The durable hardwood and the palm oil anointments underscore the longevity of these works, the earliest examples of which, such as the ndop in the Brooklyn Museum’s collection, are among the oldest surviving wood works from the continent.
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