Rabu, Agustus 26, 2009

Telekinetic Pen
























Using a small battery, a magnetic reed switch, and a miniature pager motor, this device will fit concealed inside a fine-point Sharpie pen. When a magnet is drawn near, the contacts on the reed switch close, making the Sharpie dance and vibrate on a table. I call this device the Telekinetic Pen.




































The entire device can be built in an hour or two, with only a couple of soldered connections and a little work with hand tools. You can even "prove" it's a real pen by writing with it.

The Telekinetic Pen is a real attention-getter, and as far as the requisite magician's patter and routines, your imagination is the limit.















1. PREPARE THE BRASS TUBE

With a 1/16" drill bit, drill a cross-hole as close to the end of the brass tube as possible (Figure A). To prevent the tube from crushing, insert a regular Crayola crayon into the end before you drill.

2. SOLDER THE PAGER MOTOR, REED SWITCH, AND BATTERY

Take the motor, bend 1 lead downward, and solder to an end of the reed switch. Solder a short length of the 24-gauge wire to the other motor lead so that it extends upward and beyond the motor by 1" or so (Figures B- D).

Put a section of coffee straw around the reed switch (Figure E). Slip a plastic soda straw around the motor plus the switch, and add a little extra length (Figure F). Bend the unsoldered lead of the reed switch 90° from its original position. Solder the button end of the battery directly to the lead on the switch (Figure G). The motor/reed switch/battery assembly is complete.

3. INSERT THE ASSEMBLY INTO THE TUBE

Slide the assembly into the tube, battery first, until the top of the motor weight is just flush with the tube end (Figure H). Push on the straw to get the assembly into the tube. If the fit is loose, secure with a drop of super glue.



















4. SOLDER THE WIRE TO THE TUBE

Bend the top wire around the tube and downward. Solder the wire onto the outside of the tube and let it cool (Figure J).

After cooling, manually check the rotation of the motor to make sure that the wire does not interfere with the counterweight. If it does, push the wire away with a pencil.

5. COMPLETE THE MODULE ASSEMBLY

Insert the spring, then the washer, and finally the cross-pin, which holds everything in place. The cross-pin can be made from a properly sized brad or any type of sturdy metal, and cut and filed to length.

6. PREPARE THE SHARPIE PEN

Pull the Sharpie apart (Figure K). Discard the large ink reservoir. With pliers, remove the writing point from the nose (Figure L), and set the point aside. With an 11/32" drill bit. drill out the nose of the Sharpie to a depth of around 1". Snip the writing point to about 1/4" long, and reinsert it into the Sharpie nose. Now insert the vibrating module into the Sharpie and snap the 2 ends together. Put the cap back on (Figure M). When a magnet is drawn near the pen. or vice versa, it will vibrate.

Neodymium magnets have the best power-to-size ratios of all magnets. and can be concealed easily. A drop of super glue can hold one under your hand, and when you sweep it over the Telekinetic Pen, it'll set it off. The magnet can be peeled off afterward, and any glue remnants will wear away.

NOTE: The Telekinetic Pen will be heavier than a standard Sharpie. so plan accordingly.

- Telekinetic Pen Kit: The Maker Store
(store makezine.com) is offering a parts kit for this project, including a cut-to-length brass tube, the micro pager motor. reed switch, spring, washer, and pin material.

--------------
Brian Dereu
is a self-employed manufacturer who enjoys
gadgets, fishing, and family.

Make Magazine Vo. 13

Selasa, Agustus 25, 2009

Dictionary of Chemistry

Dictionary of Chemistry
McGraw Hill | Mark D. Licker | Pdf | 443 pgs | 3 mb
The McGraw-Hill Dictionary of Chemistry provides a compendium of 8000 terms that are central to chemistry and related fields of science and technology. The coverage in this Second Edition is focused on the the areas of analytical chemisty, general chemistry, inorganic chemistry, organic chemistry, physical chemistry, and spectroscopy, with new terms added and others revised as necessary.

Chemistry deals with the composition, properties, and structure of matter. Its various branches analyze composition and properties, and study the changes that occur in matter, the underlying processes, the energetics of these processes, and the rates at which they occur. Thus, the terms contained in this Dictionary may be used in virtually all areas of science, for example, biochemistry, geochemistry, and cosmochemistry, and in many areas of technology.

All of the definitions are drawn from the McGraw-Hill Dictionary of Scientific and Technical Terms, Sixth Edition (2003). Each definition is classified according to the field with which it is primarily associated; if it is used in more than one area, it is identified by the general label [CHEM]. The pronunciation of each term is provided, along with synonyms, acronyms, and abbreviations where appropriate. A guide to the use of the Dictionary appears on pages vii-viii, explaining the alphabetical organization of terms, the format of the book, cross referencing, chemical formulas, and how synonyms, variant spellings, abbreviations, and similar information are handled. The Pronunciation Key is provided on page x. The Appendix provides conversion tables for commonly used scientific units as well as other listings of chemical data.

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Understanding Blend Modes

Understanding Blend Modes
Photoshop Creative #20| Pdf | 12 pgs | 3 mb
Blending modes have been a vital part of Photoshop ever since layers were introduced in version 3. By altering the way a layer affects what’s below, they open up a vast range of creative possibilities. Their uses are most obvious when you’re building up a layered composition, but you can also layer copies of the same image to produce custom effects. And blending modes can be used in other areas of Photoshop as well, for example with brushes.

When you add a layer to a Photoshop document, whatever’s in it covers up what’s in the layer(s) underneath. For example, when you use the Text tool to add type to a photo, the letters appear in a new layer. The pixels within the letters appear in the selected colour, covering up the image below. The pixels outside the letters are transparent, so the image shows through unchanged.
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Kite Aerial Photography

Kite Aerial Photography Puts Your Eye in the Sky
Charles Benton | Make Vol. 01 - 2005 | Pdf | 36 pgs | 8 mb
Kite aerial photography appeals to that part of me, perhaps of all of us, that would slip our earthly bonds and see the world from new heights. An aerial view offers a fresh perspective of familiar landscapes, and in doing so challenges our spatial sensibilities, our grasp of relationships.

To take pictures from a kite, you need three things: a kite, a camera, and a special rig that attaches the camera to the kiteline and activates the shutter button on the camera. Here's how to do it.
---Charles C. Benton

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Animating Real-Time Game Characters

Animating Real-Time Game Characters
Paul Steed | ISBN: 1-58450-270-3 | Pdf | 400 pgs | 12 mb
My intent in writing Animating Real-Time Game Characters has been to
share my work methods, thoughts, and ideas about animating real-time
characters in 3ds max 4™ and character studio 3®. Any factor that affects
the animation process using these two tools has been covered. Design,
modeling, texturing, rigging, weighting, keyframing, motion capture, and
exporting to a game engine are all in here. Written for the relatively new
or intermediate user of 3ds max, the book isn't just a rehash of the manuals
and tutorials that came with your software, it's a companion to
them. Make sure that you know your way around 3ds max 4 at a basic
level and that you have at least gone through the animation tutorials in
order to understand the terminology that will be used. Since I usually
wait at least a year after the latest version of 3ds max comes out until I
begin using it, the information presented doesn't include or apply to 3ds
max 5. However, with the exception of a couple of key features, I'm confident
that many of the tips and tricks covered will work for 3ds max 3
and 3ds max 5 as well.
To illustrate ideas, tips, tricks, and techniques, I've used several characters
from games or projects I've completed over the last year and a half,
but most often I've used a character called Betty Bad from the self-titled
game that was released January 2002 by WildTangent. This is primarily
to show you the thought and work that goes into an implemented game
character. By doing so, I've hopefully given you a snapshot of what I do
every day and have been doing every day for the past nine years: character
animation. It's not just my job, it's my hobby, passion, and the thing I
love to discuss with others.
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