![]() Luckily I had some old bottles, which I popped the tops out of and transfer into new bottles. These cause you to use way too much product. Instead of a nice little plastic top with a tiny hole in the middle, they arrive with a skimpy piece of plastic covering the neck, which you are supposed to remove for use. Goo gone has recently opted to “save money” by changing the distribution method on their bottles. I have tried “natural” products that were much less poisonous but sadly, also much less effective. Goo Gone, while effective, is also poisonous, so I always make sure that it is capped between usages, and that I don’t expose myself unnecessarily to its fumes. Goo Gone Warnings: I often throw caution to the wind (don’t tell my mother) and don’t wear gloves, but it is safer to wear them and not have contact with Goo Gone. These require more love and care – peeling the labels off VERY slowly using your tools, sometimes a hairdryer set at high heat can loosen the gum as well. Very absorptive books (older paperbacks without that glossy finish, papery dustjackets, and the like) cannot handle Goo Gone. More clean pads with more goo gone, swiping them with a tissue afterwards, and holding it up to the light to make sure it’s actually clean is the ticket there. ![]() Patience and technique will usually get them off without marring the cover too much, then it’s just a matter of melting off the thick gooey residue they leave behind. These have to be eked off – the Scotty Peelers are good for this, a strong thumbnail bit by bit. Some labels have a security feature (ie – they come apart in about ten little fragments, and leave a thick, greasy, sticky residue underneath). Try to get the top off of particularly shiny labels, exposing their tender papery underbelly, which can easily be soaked with goo-gone and removed as per the above instructions. Nasty labels require a little more patience (and depending on your personality type, perhaps a little more colourful language as well). Assuming that it’s a “nice label” all you’ll need to do is take a little Kleenex, perhaps another cotton pad with a TINY amount of goo gone on it, wipe off the residue, and your book is good to go. You’ll be tempted to come back sooner, but trust me, it’s not worth it – impatience just leads to ripped covers.Ĭoming back, take out your pen knife, or one of your Scotty Peelers and work it under the corner/edge of the offending label, and then work it underneath and across until it gently peels off. Now leave the product to do its work, and go do something else for about ten minutes. Soak all labels thoroughly with a gentle rub/press, and throw the soaked cotton pad out in a sealed garbage can. Now it’s time to spread out our books, offensive label side up (double-side offenders get put together in one area), put on our gloves, and load up a cotton pad with a healthy amount of Goo Gone. If not removed, this residue will still feel sticky, as well as attract dirt and grime over time.Īny books with label residue simply get a firm, circular scrubbing motion with a cotton pad and Goo Gone, and a swipe with a Kleenex to remove any extra product. We then distribute a tiny amount of Goo Gone on a cotton pad and rub off any residue. Getting a whole “side” of the label with your peeling tool often improves the likelihood of removal in one nice piece. Simply slide your thumbnail, Scotty Peeler or pen knife under the edge of a corner and peel. Some labels can be removed without much effort at all. Our tools for the job include disposable surgical gloves, cotton pads (preferably with a “scrubby/rough” side – dollar stores are great for cheap ones), Kleenex, Goo Gone, a pen knife, our thumb-nails, and our Scotty Peelers. This enables us to set up your work station, don gloves, and save time by doing a mass soak & remove cycle. We set aside all books with labels, or label residue on them, and tackle them all at once. It not only helps us present all books in their best possible condition – it also shields both customers and staff from unpleasant conversations involving price discrepancies. At The Book Man, we have a strict label removal policy – we always remove labels from other bookstores, thrift shops and the like.
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![]() It’s as if the very molecules of Isaiah’s body are dissolving and about to crumble to the ground. And the phrase ‘I am ruined’ is literally ‘I’m destroyed’ or even ‘I’m disintegrating’. But he is forced to declare the seventh ‘Woe’ against himself. When Isaiah was confronted with the holy God before whom the seraphim hide their faces and about whom they sing, ‘Holy, holy, holy,’ Isaiah declares, ‘Woe to me! I am ruined!’ Six times in Isaiah 5 Isaiah has declared ‘Woe’ against sinful people. Isaiah’s ministry was shaped by an encounter with the holy God. Or rather the holiness of God is the big issue. ![]() What the cross is really about is not the cancer that eats away at our bodies, but the cancer of sin that infects our souls. We therefore all deserve the righteous judgment of God. We are all transgressors, people who have broken God’s holy law. Just before Isaiah says that ‘by his wounds we are healed,’ he says: ‘But he was pierced for our transgressions, he was crushed for our iniquities.’ (Isaiah 53:5) This is the real issue. Instead illness is a picture of the real problem which is sin. We shouldn’t take ‘wounds’ literally, some people say. So what are we to make of the promise that ‘by his wounds we are healed’? Sickness and sin Christians and unbelievers alike continue to be beset by illness. Struggling with cancer is hard enough without compounding the challenge by mixing in a crisis of faith.ĭid Jesus heal our diseases at the cross? No. I’ve seen too many people who were convinced God had promised to heal them only for it to end in bitter disappointment. I do know I’ve been a pastor too long to share his confidence. ‘By his wounds we are healed,’ he says, ‘and therefore God will heal my cancer – I just need to believe.’ I admire his confidence. Add to basket The problemīut there's an obvious problem with this: our diseases are not all healed.Ĭolin is claiming this promise for his cancer. Lent devotional in Isaiah 52 - 53 to help you delight in the beauty of Christ. The Garden, the Curtain, and the Cross Series. ![]() He is not easily swayed by emotions and instead relies on his Ti (Introverted Thinking) function to make logical and rational decisions. His Si (Introverted Sensing) function also manifests in his adherence to traditions and respect for authority. This can be seen in the way he is organized, practical, and detail-oriented, as well as his loyalty and dedication to his duties as a butler. Othello from Black Butler appears to have the ISTJ (Introverted-Sensing-Thinking-Judging) personality type. ![]() Through Othello's character, the audience is able to see a different side of the Black Butler world, one where alchemy and magic play a prominent role. He is a reliable and knowledgeable butler who is always willing to lend his expertise to the cause. In the series, Othello plays a significant role in helping Ciel and his demon butler, Sebastian, solve various mysteries and complete tasks. Othello's exceptional skills make him a valuable asset to the Phantomhive household, especially when it comes to some of the more dangerous missions. He can use this ability to perform various tasks, such as healing wounds or creating powerful explosives. Despite his serious demeanor, Othello is a caring and empathetic person who is often concerned about the well-being of those around him.Īs an alchemist, Othello is able to manipulate objects and materials by transmuting their fundamental properties. He carries out his tasks with precision, always keeping his emotions in check. Othello is a serious and stoic character who is deeply devoted to his duties as a butler. Othello is unique among the other butlers in the series due to his unusual abilities, which are rooted in alchemy. He is a highly skilled butler who serves under the Phantomhive family, specifically the head of the household, Ciel Phantomhive. Othello is a character from the anime Black Butler, also known as Kuroshitsuji. ![]() "An honorable death is better than a life of shame." - Othello ![]() Retain pdf hyperlinks: Export your graphic design as a pdf without having to remove links.Hand lettering: Take freehand fonts and digitize them.Artwork export: Export your graphic design as a WebP image for website and app usage.Retype: Identify unknown fonts from artwork and use them instantly in your design.Image Trace: Auto-detect a specific kind of art, remove image coloring, and reduce anchor points for easier tracing.Their annual plan is $20.99 per month, and the monthly plan is $31.49. While this graphic design software offers a seven-day free trial, it requires customers to input credit card information and select a subscription plan for when the free trial ends. Illustrator is also constantly developing new features for users with their new Generative Recolor tool, for example, customers can use the power of AI to explore limitless color palettes and themes.įor organizations or solopreneurs on a budget, however, Adobe might not be the best fit. It sets the standard for professionally designed logos, artwork, infographics, and icons. I do this when I’ve accidently drawn it first, then need to create the blank frame, copy my original drawing, paste it into the blank frame, I then have 2 layers showing the exact same thing, so I merge them together.Adobe Illustrator wrote the book on vector graphics software. So you can either paste into an active layer, keep it as a separate layer, or right click on it and merge it with a different layer to keep things neat. the drawing then goes into that frame.īy pasting, it will create it’s own new layer automatically. ![]() ![]() The simplest workaround I’ve found for plonking existing art (from either my initial drawing before I forgot to add the frame, or from copy and pasting from another source) would be to create a blank frame where you need it, go to your drawing and copy, click on the blank frame and paste. (it’s still there, just not inside a frame in the animation timeline). And of course, once I create the new keyframe, my initial drawing goes away. When I begin an animation, project I quite often draw something to then realise I’d forgotten to create the blank keyframe first. It’s a bit of a runaround but it has to be done because of the separation of ‘static image’ space and ‘animated image’ space. You can also drag a keyframe from one animated layer to another.Įither way, I then delete that original layer from the Layers docker because it has served its purpose, which was to convert static content into a keyframe of an animated layer. Then, on frame-0 of the newly made animated layer, you do right-click → Copy Keyframe then you can do right-click → Paste Keyframe on any frame of any animated layer. I find that annoying so I only do that on frame-0. It also creates the same keyframe at frame-0. That will create a keyframe at frame-n which contains the content of what used to be a static image layer. Then, on the Timeline of that static image layer, you do right-click → Duplicate Frame at frame-n. The result will be your image content as a static image layer. The indicators for keyframe content along the Timeline are also a good hint:īetween two open krita files, you can copy/paste entire layers using the right-click context menu in the Layers docker. Use of Duplicate Frame on an animated layer will duplicate the previous keyframe of that layer to make a new keyframe with content that is a copy of the previous keyframe.Įdit:Add: You can tell the difference between a static (non-animated) layer and an animated layer by the icon on it in the Layers docker. After that, you can do all sorts with it along the timeline in any animated layer. That converts the non-animated layer content to a keyframe on an animated layer. You do that by right-click → Duplicate Frame on the Timeline docker. The only way to get content from a non animated layer to an animated layer is to convert the non-animated layer to an animated layer. They exist in separate ‘worlds’ for that operation.įor animated layers, using right-click on the frame on the Timeline, you can cut/copy - paste and clone and drag-move frames all over the place. You can’t copy/cut and paste content from a non-animated layer to an animated layer. |
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