The Best Window Curtains, According to Interior Designers

    The Best Window Curtains, According to Interior Designers

    You may not appreciate the importance of window dressings — which, in addition to looks, provide privacy and block light — until you move into a place with naked windows. Luckily, adding curtains is one of the easier — and less expensive — projects you can undertake to transform a room. To help you dress your windows with the least amount of headache, we turned to 10 interior designers for their favorite curtains, lots of which are surprisingly quite budget friendly. (If you’re shopping for curtains, you’re likely looking at rods, and this list has a bunch of expert-recommended options to choose from.)

    Before we get to the blackout curtain— which include a range of ready-made styles in different opacities, colors, and patterns, as well as a couple of custom options — some quick guidelines for how to size the drapery you choose for your space. When it comes to measuring your windows, Megan Hersch, the owner of Studio MG Interiors and online interior-design service RoomLift, says you should measure 12 to 24 inches beyond the window on either side to determine how wide each curtain panel should be, so that you have some gather. In determining the length of your curtain, Hersch says it depends on how formal you want them to look — and how much cleaning you want to do. “I typically measure the drapery so that it just ‘kisses’ the floor,” she says. “This way, nothing is dragging and trapping dirt, but you are sure they don’t look too short.” For a more formal look, she suggests adding an extra 1.5 inches so the drape just “breaks” on the floor. The most dramatic look is to have the panels “puddle” on the floor, which means adding anywhere from 8 to 12 inches to the length of the curtain (the type of fabric, whether stiff like taffeta or soft like velvet, will also determine how naturally it gathers on the floor).

    A sheer curtain is a great choice if you want a little bit of everything from your window treatments — privacy, light, and looks — without having to commit too heavily to any one of those needs. As Megan Huffman, a designer with the online interior-design service Modsy, puts it, sheer curtains “provide the ability to allow natural light into a space and help brighten up dark rooms while still allowing privacy,” adding that, “there’s nothing I love more than a crisp, white, sheer curtain.” She recommends this pair from West Elm, which features a subtle crosshatch pattern that adds a bit of texture. If you like the look of sheer curtains during the day but also want to keep light pollution from coming through at night, Huffman says these can easily be hung on a double curtain rod with a pair of thicker, more opaque blackout curtains.

    Interior designer Nicole Fuller also loves the sheer look, noting that sheer curtains made with linen in particular allow for that “gauzy feel” as the sun shines through the fabric. Linen drapes in general, she adds, “are incredibly timeless.” Fuller told us her favorite linen curtains come from Restoration Hardware’s Perennials line. But Hersch did us one better: She pointed us to these less expensive Perennials dupes from Restoration Hardware’s teen line, which she says will often have “very affordable,” premade drapery panels. (Hersch says Pottery Barn’s teen line is another source of affordable but expensive-looking curtains.) The curtains shown are made from a linen-cotton blend and cost about a third of their counterparts from the Perennials line.

    For something more opaque (and still less expensive than Restoration’s regular line), try this linen-cotton style, which has the same look as the curtains above, but with a blackout lining that offers full privacy and light control.

    For basic, neutral curtain panels that are less than $20 apiece, Dani Mulhearn, a senior designer at online interior-design service Havenly, recommends these curtains she uses in her own home. She says they “add a bit of softness and dress up standard window treatments in a space.” While Mulhearn cautions they are not true blackout curtains — just “room-darkening” — they still work great for privacy. She likes the pearl color, calling it “a great neutral that goes with any cool or warm color schemes.” (If pearl’s not your thing, there are 16 other colors available.) Mulhearn also appreciates the fact that they have grommets, which are “a super-functional” detail that negates the need to buy curtain rings, and makes opening and closing them easy.

    For faux linen blackout curtain, these are Mulhearn’s go-tos. She likes that they’re affordable, come in a variety of neutral colors, and are available in various lengths, from 63 inches to 108 inches. They also have a grommet top, which means you don’t need to get additional curtain rings to hang them from a rod.

    If you’re looking for solid curtains with more drama, Huffman recommends using velvet ones — specifically, these light-blocking matte velvet curtains from Anthropologie that come in an array of jewel tones. The fabric’s piled texture and more substantial feel add heft to a space, not to mention color, making them a functional and stylish choice, she says. Each panel is made to order, which accounts for the price tag (velvet is also generally a more expensive material because of the way it is made).

    If you want to stick to neutral colors but crave a bit more personality, consider these cotton-canvas patterned curtains from West Elm that also come recommended by Mulhearn. She told us they “have a little sheen to them,” with a “subtle enough pattern to give your windows that ‘dressed up’ feel without being super flashy,” noting that they also block most light and help insulate windows.

    This curtain is Decorilla design expert Devin Shaffer’s choice. He says the panel’s raised pattern, which is made with metallic threads and kind of looks like tree bark, reminds him of the outdoors. While noticeable, the neutral-colored pattern is subtle enough that it won’t overwhelm a room, he adds.

    Pinstripes add a “casual and coastal feel” to otherwise straightforward drapery, according to Modsy designer Katherine Tlapa, who says these curtains “add height and brighten a space with their simple vertical striping” while still being “clean and classic.” Interior designer Bachman Brown agrees that patterned curtains like this can do wonders for a room. “A large-scale pattern is one of the best drapery treatments you can do for a window,” he says. “It sets the tone for the room, and nothing draws your eye more than a grand-scaled fabric.”

    Decorist designer Katy Byrne likes experimenting with boldly patterned curtains because “unlike paint, drapes can add a lot of color to a room while being much easier to swap out with changing trends.” She recommends these ikat panels that she says “would add a fun highlight to a playroom or kids’ space.”

    If you want to splurge on custom drapery, interior designer Betsy Burnham, who also prefers “clean, unfussy treatments,” recommends the Shade Store. She likes its solid linens, opting for those with “inverted pleat drapery,” like this one, “for its tailored feel.” If you don’t like the linen fabric, Burnham says these curtains can be customized with a range of other materials.

    For many of us, lockdown means looking: gazing at the views outside our windows, the traffic and the trees, with thoughts of post-pandemic life dancing through our heads. We ought to give some thoughts to those windows too, whether they are panes, sheets, or entire walls of glass. As my mother once said regarding domestic architecture, “A house without a porch is like a man without a country.” To my mind, a similar rule applies to windows—without blinds or shades or shutters or curtains, many windows are just featureless voids. I’m not the only one who thinks this: Scores of AD100 interior designers from Manhattan’s Jeffrey Bilhuber to Milan’s Studio Peregalli consider a window undressed to be a window unfinished.

    Historically speaking, windows have typically had some sort of covering, to regulate sunlight, protect interiors from inclement weather, and to provide privacy for you and yours. In the ancient world, they were simple fabric panels that could be folded back or lifted up and then held in place, in one manner or another, for the duration.

    Time-travel thousands of years later to the minimalist Bauhaus era, where rejection was the rule yet curtains were still considered essential decorative components. Le Corbusier specified curtains and shades for his projects, and Dutch architect Gerrit Rietveld’s houses possessed their own complement of window treatments, from full-length to café short. Alas, Rietveld’s marvelous little 1924 house for and in collaboration with the young widow Truus Schr?der in Utrecht, his very first architectural commission and now a museum, possesses no shades or sheer window treatments anymore—a curatorial mistake, to my mind, because that decision deifies the architecture while ignoring the domesticity of Schr?der and her children for which it was built. (Rietveld, though married, would become his client’s lover and live there too, returning to his family only at night.)

    Luxurious floor-to-ceiling curtains outfitted the Czech Republic’s Villa Tugendhat, one of modernism’s most celebrated residences, a glass-walled villa designed by architect Ludwig Mies van der Rohe and decorated with designer Lilly Reich in the 1920s. Some of them were made of silver-gray shantung silk, while others were fashioned of black or white velvet, the uncomplicated lengths and plain colors framing a green landscape. The Frenchman Jean-Michel Frank may have been a pioneering reductivist, but even he understood the power of a pretty window. After all, he was the man who put dramatically ruffled curtains into Elsa Schiaparelli’s Place Vend?me fashion salon.

    Concurrently, while the tastemakers of the 1920s and 1930s were paring back but not abandoning window treatments entirely, their traditionalist peers held faithful to layered looks that began in the 17th century, grew more complicated in the 18th century, and became suffocatingly elaborate in the 19th century. Sumptuous window dressings reached their 20th-century apotheosis in the work of the British tastemaker John Fowler, a cofounder of London’s Sibyl Colefax & John Fowler, as well as such disciples as America’s Mario Buatta.

    Fowler’s curtains for aristocratic country houses and the apartments of international grandees remain a standard in the craft—lined, interlined, fringed, looped, swagged, tasseled, pinked, and otherwise elaborated in a manner that brings to mind the intricacies of haute couture as well as 18th-century France, one of the decorator’s passions. Among my favorites of the genre, though far simpler than Fowler’s swoony extravagances—such as the madly romantic cascades of silk taffeta in Evangeline and David Bruce’s famous London drawing room—are the ones that his colleague Tom Parr created in the 1980s for the Manhattan multipurpose living room of Grace, Countess of Dudley, and her longtime companion, Robert Silvers, editor in chief of the New York Review of Books. Great lengths of rose-splashed white chintz sluiced from ceiling to floor in the vast primary space—the 50-odd-foot sweep was divided into several areas for living and dining—emphasizing the height of the ceiling and parted to reveal views of Park Avenue.

    Take note of the word parted. Beyond the myriad practical aspects, window treatments, from simple to elaborate, offer us moments of communion, as human hands—whether your own or those of Lady Dudley’s housekeeper—adjust them at will. There are aural pleasures too, from the clicking of curtain rings to the swish of fabric to the creak of shutters to the whir of roller blinds. Literally, the beauty of geometric blackout curtain is an open-and-shut case.

The Jacquard Loom: A Driver of the Industrial

    The Jacquard Loom: A Driver of the Industrial

    THE INSTITUTEThis month The Institute is focusing on how technology is transforming the garment industry. The electronic Jacquard loom was the first loom that automatically created complex textile patterns. This led to the mass production of cloth with intricate designs.

    Joseph Marie Charles Jacquard of France was born into a family of weavers in 1752. He received no formal schooling but tinkered with ways to improve the mechanical textile looms of the day.

    At that time, two people were needed on each loom. A skilled weaver and an assistant, or draw boy, chose by hand which warps (the lengthwise threads held under tension on the loom) to pull up so the weft (the thread inserted at right angles) could be pulled through the warps to create a pattern.

    At an industrial exhibition in Paris in 1801, Jacquard demonstrated something truly remarkable: a loom in which a series of cards with punched holes (one card for each row of the design) automatically created complex textile patterns. The draw boy was no longer needed. Patterns that had been painstaking to produce and prone to error could now be mass-produced quickly and flawlessly, once programmed and punched on the cards.

    The government of France soon nationalized the loom (or considered it government property) and compensated Jacquard with a pension to support him while he continued to innovate. He also was paid a royalty for each machine sold. It took Jacquard several more years to perfect the device and make it commercially successful.

    The social and psychological impact of a machine that could replace human labor was immense.

    HOW IT WORKED

    Jacquard did not invent a whole new loom but a head that attaches to the loom and allows the weaving machine to create intricate patterns. Thus, any loom that uses the attachment is called a Jacquard loom.

    The state-of the art loom at that time was one in which the harnesses holding the threads were raised or lowered by foot pedals on a treadle, leaving the weaver free to operate the machine with his hands. The Jacquard loom, in contrast, was controlled by a chain of punch cards laced together in a sequence. Multiple rows of holes were punched on each card, with one complete card corresponding to one row of the design. Chains of cards allowed sequences of any length to be constructed, not limited by the cards’ size.

    Each hole position in the card corresponded to a hook, which could either be raised or lowered depending on whether the hole was punched. The hook raised or lowered the harness that carried and guided the thread. The sequence of raised and lowered threads created the pattern. A hook could be attached to a number of threads to create a continuous, intricate design.Already in the late 18th century, workers throughout Europe were upset with the increasing mechanization of their trades. Jacquard’s loom was fiercely opposed by silk-weavers in Paris who rightly saw it would put many of them out of work. In England, where an anti-industry workers movement was already well developed, news of the Jacquard loom fostered momentum for the Luddite movement, whose textile workers protested the new technology. Although the French looms did not arrive in England until the early 1820s, news of their existence helped intensify violent protests. People smashed the machines and killed textile mill owners; the authorities violently suppressed the protests. To this day, people who resist new technology are called Luddites.

    But the high speed electronic Jacquard loom was too good to be ignored. Ultimately, it became standard throughout the industrializing world for weaving luxury fabrics, replaced by the dobby loom in the 1840s. In a dobby, a chain of bars with pegs, rather than foot pedals, is used to select and move the harness. Even then, parts of Jacquard’s control system could be adapted to the dobby loom.Perhaps what is most interesting about the Jacquard loom was its afterlife. When computer pioneer Charles Babbage, a British mathematician, envisioned an “analytical engine” in 1837 that would essentially become the first general-purpose computer, he decided that the computer’s input would be stored on punch cards, modeled after Jacquard’s system. Although Babbage never built his engine, he and his work were well known to the mathematics community and eventually influenced the field that came to be computer science.THE INSTITUTEThis month The Institute is focusing on how technology is transforming the garment industry. The Jacquard Loom was the first loom that automatically created complex textile patterns. This led to the mass production of cloth with intricate designs.

    Joseph Marie Charles Jacquard of France was born into a family of weavers in 1752. He received no formal schooling but tinkered with ways to improve the mechanical textile looms of the day.

    At that time, two people were needed on each loom. A skilled weaver and an assistant, or draw boy, chose by hand which warps (the lengthwise threads held under tension on the loom) to pull up so the weft (the thread inserted at right angles) could be pulled through the warps to create a pattern.

    At an industrial exhibition in Paris in 1801, Jacquard demonstrated something truly remarkable: a loom in which a series of cards with punched holes (one card for each row of the design) automatically created complex textile patterns. The draw boy was no longer needed. Patterns that had been painstaking to produce and prone to error could now be mass-produced quickly and flawlessly, once programmed and punched on the cards.

    The government of France soon nationalized the loom (or considered it government property) and compensated Jacquard with a pension to support him while he continued to innovate. He also was paid a royalty for each machine sold. It took Jacquard several more years to perfect the device and make it commercially successful.

    The social and psychological impact of a machine that could replace human labor was immense.

    HOW IT WORKED

    Jacquard did not invent a whole new loom but a head that attaches to the loom and allows the weaving machine to create intricate patterns. Thus, any loom that uses the attachment is called a Jacquard loom.

    The state-of the art loom at that time was one in which the harnesses holding the threads were raised or lowered by foot pedals on a treadle, leaving the weaver free to operate the machine with his hands. The Jacquard loom, in contrast, was controlled by a chain of punch cards laced together in a sequence. Multiple rows of holes were punched on each card, with one complete card corresponding to one row of the design. Chains of cards allowed sequences of any length to be constructed, not limited by the cards’ size.

    Each hole position in the card corresponded to a hook, which could either be raised or lowered depending on whether the hole was punched. The hook raised or lowered the harness that carried and guided the thread. The sequence of raised and lowered threads created the pattern. A hook could be attached to a number of threads to create a continuous, intricate design.

    Herman Hollerith\u2019s punched-card computer, invented in the early 1880s, was inspired by the Jacquard loomHerman Hollerith’s punched-card computer, invented in the early 1880s, was inspired by the Jacquard loom PHOTO: HULTON ARCHIVE/GETTY IMAGES

    FIERCE OPPOSITION

    Already in the late 18th century, workers throughout Europe were upset with the increasing mechanization of their trades. Jacquard’s loom was fiercely opposed by silk-weavers in Paris who rightly saw it would put many of them out of work. In England, where an anti-industry workers movement was already well developed, news of the high speed electronic Jacquard loom for weaving machine fostered momentum for the Luddite movement, whose textile workers protested the new technology. Although the French looms did not arrive in England until the early 1820s, news of their existence helped intensify violent protests. People smashed the machines and killed textile mill owners; the authorities violently suppressed the protests. To this day, people who resist new technology are called Luddites.

    But the Jacquard loom was too good to be ignored. Ultimately, it became standard throughout the industrializing world for weaving luxury fabrics, replaced by the dobby loom in the 1840s. In a dobby, a chain of bars with pegs, rather than foot pedals, is used to select and move the harness. Even then, parts of Jacquard’s control system could be adapted to the dobby loom.

    A LONG LEGACY

    Perhaps what is most interesting about the Jacquard loom was its afterlife. When computer pioneer Charles Babbage, a British mathematician, envisioned an “analytical engine” in 1837 that would essentially become the first general-purpose computer, he decided that the computer’s input would be stored on punch cards, modeled after Jacquard’s system. Although Babbage never built his engine, he and his work were well known to the mathematics community and eventually influenced the field that came to be computer science.

    In the mid-1880s, the U.S. Census Bureau began to experiment with ways to automate the way it was assessing the population of the United States and processing the answers to the questions survey takers asked each household. The data from the 1880 census was overwhelming; it took eight years to compile and process. Engineer Herman Hollerith, who was on the bureau’s technical staff, felt he could improve the process. He got busy and, in 1884, filed a patent for an electromechanical device that rapidly read information encoded by punching holes on a paper tape or a set of cards. In 1889 Hollerith’s newly formed Tabulating Machine Co. was chosen to process the 1890 census. The company was decidedly successful; data from the 1890 census was compiled in only one year. The 1890 population of the United States was put at 62,947,714 people.

    Apparently, Hollerith based his concept on the electronic Jacquard loom machine. Historians disagree, however, as to whether he also was influenced by Babbage’s work.

    The Tabulating Machine Co. eventually became IBM. (Some IEEE members undoubtedly remember using IBM punch cards into the 1970s.)

    Thus, the computer industry—which became a field of cutting-edge innovation—was affected by at least two streams of influence from the Jacquard loom. It is only fitting and fair that computing is now generating innovation in the textile industry with such creations as wearables, 3-D printed clothing, and digital industrial knitting machines. Before even the telegraph, innovation in textile technology was one of the “engines” (along with steam power and iron production) that drove the Industrial Revolution.

    When Joseph-Marie Jacquard, a French weaver and merchant, patented his invention in 1804, he revolutionised how patterned cloth could be woven. His Jacquard machine, which built on earlier developments by inventor Jacques de Vaucanson, made it possible for complex and detailed patterns to be manufactured by unskilled workers in a fraction of the time it took a master weaver and his assistant working manually. 

    The spread of Jacquard's invention caused the cost of fashionable, highly sought-after patterned cloth to plummet. It could now be mass produced, becoming affordable to a wide market of consumers, not only the wealthiest in society.

    To weave fabric on a loom, a thread (called the weft) is passed over and under a set of threads (called the warp). It is this interlacing of threads at right angles to each other that forms cloth. The particular order in which the weft passes over and under the warp threads determines the pattern that is woven into the fabric. 

    Before the Jacquard system, a weaver's assistant (known as a draw boy) had to sit atop a loom and manually raise and lower its warp threads to create patterned cloth. This was a slow and laborious process.

    The key to the success of Jacquard's invention was its use of interchangeable cards, upon which small holes were punched, which held instructions for weaving a pattern. This innovation effectively took over the time-consuming job of the draw boy. 

    When fed into the Jacquard mechanism (fitted to the top of the loom), the cards controlled which warp threads should be raised to allow the weft thread to pass under them. With these punch cards, Jacquard looms could quickly reproduce any pattern a designer could think up, and replicate it again and again.

    First, a designer paints their pattern onto squared paper. A card maker then translates the pattern row by row onto punch cards. For each square on the paper that has not been painted in, the card maker punches a hole in the card. For each painted square, no hole is punched.

    The cards, each with their own combination of punched holes corresponding to the part of the pattern they represent, are then laced together, ready to be fed one by one through the Jacquard mechanism fitted at the top of the loom. When a card is pushed towards a matrix of pins in the Jacquard mechanism, the pins pass  through the punched holes, and hooks are activated to raise their warp threads. Where there are no holes the pins press against the card, stopping the corresponding hooks from raising their threads. 

    A shuttle then travels across the loom, carrying the weft thread under the warp threads that have been raised and over those that have not. This repeating process causes the loom to produce the patterned cloth that the punch cards have instructed it to create.Manchester engineering companies also began manufacturing Jacquard machinery to supply to the region's textile mills. Devoge and Co. was established in 1834 and continued producing Jacquard mechanisms until the 1980s.

    Jacquard's invention transformed patterned cloth production, but it also represented a revolution in human-machine interaction in its use of binary code—either punched hole or no punched hole—to instruct a machine (the loom) to carry out an automated process (weaving).

    The Jacquard needle loom machine is often considered a predecessor to modern computing because its interchangeable punch cards inspired the design of early computers.

    With his Analytical Engine, Babbage envisaged a machine that could receive instructions from punch cards to carry out mathematical calculations. His idea was that the punch cards would feed numbers, and instructions about what to do with those numbers, into the machine.Ada Lovelace took Babbage's idea a step further, proposing that the numbers the engine manipulated could represent not just quantities, but any data. She saw the potential for computers to be used beyond mathematical calculation and proposed the idea of what we now know as computer programming.

    Unfortunately, the Analytical Engine was never completed, and it was 100 years before Babbage's and Lovelace's predictions were realised.

    However, their work, and the inspiration provided by Jacquard's revolutionary weaving machine, came to underpin the technological development of the modern computer.

How Toner Cartridges Work？

    How Toner Cartridges Work？

    What do printers do? Well, they make paper copies of what's on your screen. But contrary to what you may think, modern LaserJet toner cartridges don't print using ink. So then how do LaserJet toner cartridges work?

    Here's everything you need to know about LaserJet printers, toner cartridges, and which ones are the best to buy.

    One of the interesting aspects of 男同志按摩 printers and copiers is the toner. 

    Rather than the printer applying ink, the paper actually “grabs” the toner.

    The toner itself is not ink, but rather an electrically-charged powder made of plastic and pigment.

    A LaserJet printer consists of several components. Let's start with the photoreceptor drum assembly, a revolving cylinder made of photoconductive material.

    Printers beam a 男同志按摩 beam across the surface of this revolving drum. The drum has a positive charge, but the 男同志按摩 discharges the points it comes in contact with, leaving the resulting image with a negative charge (or vice versa). In this way, the 男同志按摩 draws the document or image you wish to print.The printer then coats the drum not with ink, but with powder. This powder sticks to the electrostatic image the 男同志按摩 has drawn. The powder consists of two ingredients: pigment and plastic. Pigment provides the color, while the plastic is there to adhere the pigment to paper. This mixture, known as toner, is spun in a component called the hopper.

    The printer then feeds paper under the drum, first giving the paper a stronger negative charge than that of the electrostatic image. This enables the paper to pull the powder away from the drum.

    The paper then passes through a pair of heated rollers referred to as the fuser. As it does, the plastic particles melt and blend with the paper. This process allows the powder to adhere to more types of paper than conventional ink, as long as they can handle the fuser's heat.

    This is also why paper is hot when it first comes out of a 男同志按摩 printer.

    Toner cartridges may largely do the same task, but they're not all the same. When planned obsolescence kicks in and the time comes to invest in a new one, you want to make sure you're buying a quality product.

    To save money and walk away with the kind of experience you want, here are some questions to keep in mind while shopping:

    Does the cartridge work in your printer? If you're buying a new cartridge, this is as simple as matching brand and model numbers. But if you're looking at third-party options, you may have to do more research. Even if a cartridge theoretically works with your printer, differences in toner powder or other components can result in damage. Triple-check reviews and whatever other information you can get your hands on.

    How much does it cost to print a page? Toner cartridges can be expensive, sometimes more expensive than the cost of the printer itself. When comparing price, look at the cost per page, rather than the total cost of the cartridge. This gives you a more accurate read on whether one cartridge is truly more affordable than another.

    How many pages can you print? Toner cartridges may be expensive, but you're getting a lot of pages for your buck. The average compatible toner cartridge for kyocera lasts over 1,500 pages. Some print more, and some print less. How many pages is an acceptable number to you?

    Can you recycle this cartridge? Some LaserJet toner cartridge manufacturers provide their own recycling programs. Various department stores also perform this service. See which options are available in your area, and which brands are supported.

    Manufacturers test and design new cartridges specifically for your machine. Refilling a cartridge adds variability to the process. Is it guaranteed to break your printer? Not at all. But you are exposing yourself to that risk. Though if you're used to buying used products, you may already be comfortable with such a gamble.

    Unfortunately, you may not even have the option. Like inkjet printers, some LaserJet toner cartridges now contain chips that communicate when a cartridge is empty. You can refill the product, but without the ability to reset the chip, the printer will still think there's nothing there.

    You may also notice a difference in print quality. A refilled cartridge might not give you the kind of crisp prints you expect. You may also find that you're not getting as many prints as you were before.

    How does toner work?

    The two ingredients of toner, plastic and pigment, each have a simple role in the printing process.

    The pigment provides the color, while the plastic allows the pigment to stick to the paper when the plastic is heated and melts.

    The melting process gives 男同志按摩 toner an advantage over ink, in that it binds firmly to the paper fibers, resisting smudges and bleeding.

    This also provides an even, vivid tone that helps text appear sharp on paper.

    Another advantage of toner is the cost. Offices usually choose 男同志按摩 printers because the cost of replacing the toner cartridges is less than inkjet printer cartridges, and 男同志按摩 printers tend to cost only slightly more than inkjet printers.

    Anatomy of a toner cartridge

    The design of a compatible toner cartridge for ricoh varies with different models and manufacturers, but the following components are commonly found in most toner cartridges.

    Toner hopper:The small container which houses the toner

    Seal:A removable strip that prevents toner from spilling before installation

    Doctor blade: Helps control the precise amount of toner that is distributed to the developer

    Developer:Transfers toner to the OPC drum

    Waste bin:Collects residual toner wiped from the OPC drum

    Wiper blade:Wipes away residual toner applied to the page

    Primary charge roller (PCR):Applies a uniform negative to the OPC drum prior to 男同志按摩-writing. It also erases the 男同志按摩 image

    Organic photo-conductor (OPC) drum:holds an electrostatic image and transfers toner onto the paper

    Drum shutter:protects the drum from light when outside the machine and retracts the drum into the printer

    How does the cartridge work?

    In most cartridges, the toner hopper, developer and drum assembly are all part of the replaceable cartridge unit.

    When an image or text is being printed on paper, the printer gathers toner from the hopper with the developer.

    The developer, composed of negatively-charged magnetic beads attached to a metal roller, moves through the hopper gathering toner.

    The developer collects positively-charged toner particles and brushes them past the drum assembly.

    The electrostatic image on the drum has a stronger negative charge than the beads on the developer, so the toner is pulled from the developer onto the drum.

    Next, the drum moves over the paper. The paper has an even stronger negative charge than the drum, and pulls the toner particles off of the drum in the shape of the electrostatic image.

    Next, the paper is discharged by the detac corona wire.

    At this point, gravity is the only thing keeping the toner in place. In order to affix the toner, the paper needs to pass through the fuser rollers, which are heated by internal quartz tube lamps.

    The heat melts the plastic in the toner particles, causing the toner to be absorbed into the paper fibers.

    Although the melted plastic sticks to the paper, it does not adhere to the heated fuser rollers.

    This is possible because the rollers are coated with Teflon, the same material that helps food slide out of non-stick frying pans.

    Color vs. Monochrome Printing

    Color toner works essentially the same way as monochrome toner, except the process is repeated for each of the toner colors.


    The standard toner colors are cyan (blue), magenta (red), yellow and black. The black is needed because the three primary colors (red, yellow and blue) can be combined to form any color except black.

    The reason for this is black is not technically a color, but the complete absence of color.

    These four toner colors, when combined at varying levels of saturation and lightness, can produce millions of different shades and hues.

    This quick guided tour of toner cartridges should help provide a basic understanding of how they work.

    The current technology of compatible toner cartridge for canon has allowed 男同志按摩 printers to dominate the office printing market.

    In the years to come, new designs of toner cartridges promise to provide more efficient and cost-effective solutions for office and home printing.


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How Music and Instruments Began？

    Music must first be defined and distinguished from speech, and from animal and bird cries. We discuss the stages of hominid anatomy that permit music to be perceived and created, with the likelihood of both Homo neanderthalensis and Homo sapiens both being capable. The earlier hominid ability to emit sounds of variable pitch with some meaning shows that music at its simplest level must have predated speech. The possibilities of anthropoid motor impulse suggest that rhythm may have preceded melody, though full control of rhythm may well not have come any earlier than the perception of music above. There are four evident purposes for music: dance, ritual, entertainment personal, and communal, and above all social cohesion, again on both personal and communal levels. We then proceed to how outdoor musical instrument began, with a brief survey of the surviving examples from the Mousterian period onward, including the possible Neanderthal evidence and the extent to which they showed “artistic” potential in other fields. We warn that our performance on replicas of surviving instruments may bear little or no resemblance to that of the original players. We continue with how later instruments, strings, and skin-drums began and developed into instruments we know in worldwide cultures today. The sound of music is then discussed, scales and intervals, and the lack of any consistency of consonant tonality around the world. This is followed by iconographic evidence of the instruments of later antiquity into the European Middle Ages, and finally, the history of public performance, again from the possibilities of early humanity into more modern times. This paper draws the ethnomusicological perspective on the entire development of music, instruments, and performance, from the times of H. neanderthalensis and H. sapiens into those of modern musical history, and it is written with the deliberate intention of informing readers who are without special education in music, and providing necessary information for inquiries into the origin of music by cognitive scientists.

    But even those elementary questions are a step too far, because first we have to ask “What is music?” and this is a question that is almost impossible to answer. Your idea of music may be very different from mine, and our next-door neighbor’s will almost certainly be different again. Each of us can only answer for ourselves.

    Mine is that it is “Sound that conveys emotion.”

    We can probably most of us agree that it is sound; yes, silence is a part of that sound, but can there be any music without sound of some sort? For me, that sound has to do something—it cannot just be random noises meaning nothing. There must be some purpose to it, so I use the phrase “that conveys emotion.” What that emotion may be is largely irrelevant to the definition; there is an infinite range of possibilities. An obvious one is pleasure. But equally another could be fear or revulsion.

    How do we distinguish that sound from speech, for speech can also convey emotion? It would seem that musical sound must have some sort of controlled variation of pitch, controlled because speech can also vary in pitch, especially when under overt emotion. So music should also have some element of rhythm, at least of pattern. But so has the recital of a sonnet, and this is why I said above that the question of “What is music?” is impossible to answer. Perhaps the answer is that each of us in our own way can say “Yes, this is music,” and “No, that is speech.”

    Must the sound be organized? I have thought that it must be, and yet an unorganized series of sounds can create a sense of fear or of warning. Here, again, I must insert a personal explanation: I am what is called an ethno-organologist; my work is the study of musical tubular musical instrument (organology) and worldwide (hence the ethno-, as in ethnomusicology, the study of music worldwide). So to take just one example of an instrument, the ratchet or rattle, a blade, usually of wood, striking against the teeth of a cogwheel as the blade rotates round the handle that holds the cogwheel. This instrument is used by crowds at sporting matches of all sorts; it is used by farmers to scare the birds from the crops; it was and still is used by the Roman Catholic church in Holy Week when the bells “go to Rome to be blessed” (they do not of course actually go but they are silenced for that week); it was scored by Beethoven to represent musketry in his so-called Battle Symphony, a work more formally called Wellingtons Sieg oder die Schlacht bei Vittoria, Op.91, that was written originally for Maelzel’s giant musical box, the Panharmonicon. Beethoven also scored it out for live performance by orchestras and it is now often heard in our concert halls “with cannon and mortar effects” to attract people to popular concerts. And it was also, during the Second World War, used in Britain by Air-Raid Precaution wardens to warn of a gas attack, thus producing an emotion of fear. If it was scored by Beethoven, it must be regarded as a musical instrument, and there are many other noise-makers that, like it, which must be regarded as musical instruments.

    And so, to return to our definition of music, organization may be regarded as desirable for musical sound, but that it cannot be deemed essential, and thus my definition remains “Sound that conveys emotion.”

    But then another question arises: is music only ours? We can, I think, now agree that two elements of music are melody, i.e., variation of pitch, plus rhythmic impulse. But almost all animals can produce sounds that vary in pitch, and every animal has a heart beat. Can we regard bird song as music? It certainly conveys musical pleasure for us, it is copied musically (Beethoven again, in his Pastoral Symphony, no.6, op. 68, and in many works by other composers), and it conveys distinct signals for that bird and for other birds and, as a warning, for other animals also. Animal cries also convey signals, and both birds and animals have been observed moving apparently rhythmically. But here, we, as musicologists and ethnomusicologists alike, are generally agreed to ignore bird song, animal cries, and rhythmic movement as music even if, later, we may regard it as important when we are discussing origins below. We ignore these sounds, partly because they seem only to be signals, for example alarms etc, or “this is my territory,” and partly, although they are frequently parts of a mating display, this does not seem to impinge on society as a whole, a feature that, as we shall see, can be of prime importance in human music. Perhaps, too, we should admit to a prejudice: that we are human and animals are not…

    So now, we can turn to the questions of vocalization versus motor impulse: which came first, singing or percussive rhythms? At least we can have no doubt whatsoever that for melody, singing must long have preceded instrumental performance, but did physical movement have the accompaniment of hand- or body-clapping and perhaps its amplification with clappers of sticks or stones, and which of them came first?

    Here, we turn first to the study of the potentials of the human body. There is a large literature on this, but it has recently been summarized by Iain Morley in his The Prehistory of Music (Morley, 2013). So far as vocalization is concerned, at what point in our evolution was the vocal tract able to control the production of a range of musical pitch? For although my initial definition of music did not include the question of pitch, nor of rhythm, once we begin to discuss and amplify our ideas of music, one or other of these, does seem to be an essential—a single sound with no variation of pitch nor with any variation in time can hardly be described as musical.

    All animals have the ability to produce sounds, and most of these sounds have meanings, at least to their ears. Surely, this is true also of the earliest hominims. If a mother emits sounds to soothe a baby, and if such sound inflects somewhat in pitch, however vaguely, is this song? An ethnomusicologist, those who study the music of exotic peoples, would probably say “yes,” while trying to analyze and record the pitches concerned. A biologist would also regard mother–infant vocalizations as prototypical of music (Fitch, 2006). There are peoples (or have been before the ever-contaminating influence of the electronic profusion of musical reproduction) whose music has consisted only of two or three pitches, and those pitches not always consistent, and these have always been accepted as music by ethnomusicologists. So we have to admit that vocal music of some sort may have existed from the earliest traces of humanity, long before the proper anatomical and physiological developments enabled the use of both speech and what we might call “music proper,” with control and appreciation of pitch.

    In this context, it is clear also that “music” in this earliest form must surely have preceded speech. The ability to produce something melodic, a murmuration of sound, something between humming and crooning to a baby, must have long preceded the ability to form the consonants and vowels that are the essential constituents of speech. A meaning, yes: “Mama looks after you, darling,” “Oy, look out!” and other non-verbal signals convey meaning, but they are not speech.

    The possibilities of motor impulse are also complex. Here, again, we need to look at the animal kingdom. Both animals and birds have been observed making movements that, if they were humans, would certainly be described as dance, especially for courtship, but also, with the higher apes in groups. Accompaniment for the latter can include foot-slapping, making more sound than is necessary just for locomotion, and also body-slapping (Williams, 1967). Can we regard such sounds as music? If they were humans, yes without doubt. So how far back in the evolutionary tree can we suggest that motor impulse and its sonorous accompaniment might go? I have already postulated in my Origins and Development of xylophone musical instrument (Montagu, 2007, p. 1) that this could go back as far as the earliest flint tools, that striking two stones together as a rhythmic accompaniment to movement might have produced the first flakes that were used as tools, or alternatively that interaction between two or more flint-knappers may have led to rhythms and counter-rhythms, such as we still hear between smiths and mortar-and-pestle millers of grains and coffee beans. This, of course, was kite-flying rather than a wholly serious suggestion, but the possibilities remain. At what stage did a hominim realize that it could make more sound, or could alleviate painful palms, by striking two sticks or stones together, rather than by simple clapping? Again we turn to Morley and to the capability of the physiological and neurological expression of rhythm.

    The physiological must be presumed from the above animal observations. The neurological would again, at its simplest, seem to be pre-human. There is plenty of evidence for gorillas drumming their chests and for chimpanzees to move rhythmically in groups. However, apes’ capacity for keeping steady rhythm is very limited (Geissmann, 2000), suggesting that it constitutes a later evolutionary development in hominins. Perceptions of more detailed appreciation of rhythm, particularly of rhythmic variation, can only be hypothesized by studies of modern humans, especially of course of infantile behavior and perception.

    From all this, it would seem that motor impulse, leading to rhythmic music and to dance could be at least as early as the simplest vocal inflection of sounds. Indeed, it could be earlier. We said above that animals have hearts, and certainly, all anthropoids have a heartbeat slow enough, and perceptible enough, to form some basis for rhythmic movement at a reasonable speed. Could this have been a basis for rhythmic movement such as we have just mentioned? This can only be a hypothesis, for there is no way to check it, but it does seem to me that almost all creatures seem to have an innate tendency to move together in the same rhythm when moving in groups, and this without any audible signal, so that some form of rhythmic movement may have preceded vocalization.

    But Why Does Music Develop from Such Beginnings? What is the Purpose of Music?

    There are four obvious purposes: dance, personal or communal entertainment, communication, and ritual.

    Seemingly more important than these fairly obvious reasons for why music developed is one for why music began in the first place. This is something that Noah Mithen mentions again and again in his book, The Singing Neanderthals (Mithen, 2005): that music is not only cohesive on society but almost adhesive. Music leads to bonding, bonding between mother and child, bonding between groups who are working together or who are together for any other purpose. Work songs are a cohesive element in most pre-industrial societies, for they mean that everyone of the group moves together and thus increases the force of their work. Even today “Music while you Work” has a strong element of keeping workers happy when doing repetitive and otherwise boring work. Dancing or singing together before a hunt or warfare binds the participants into a cohesive group, and we all know how walking or marching in step helps to keep one going. It is even suggested that it was music, in causing such bonding, that created not only the family but society itself, bringing individuals together who might otherwise have led solitary lives, scattered at random over the landscape.

    Thus, it may be that the whole purpose of music was cohesion, cohesion between parent and child, cohesion between father and mother, cohesion between one family and the next, and thus the creation of the whole organization of society.

    Much of this above can only be theoretical—we know of much of its existence in our own time but we have no way of estimating its antiquity other than by the often-derided “evidence” of the anthropological records of isolated, pre-literate peoples. So let us now turn to the hard evidence of early musical practice, that of the surviving musical instruments.1

    This can only be comparatively late in time, for it would seem to be obvious that sound makers of soft vegetal origin should have preceded those of harder materials that are more difficult to work, whereas it is only the hard materials that can survive through the millennia. Surely natural materials such as grasses, reeds, and wood preceded bone? That this is so is strongly supported by the advanced state of many early bone pipes—the makers clearly knew exactly what they were doing in making musical instruments, with years or generations of experiment behind them on the softer materials. For example, some end-blown and notch-blown flutes, the earliest undoubted ones that we have, from Geissenkl?sterle and Hohle Fels in Swabia, Germany, made from swan, vulture wing (radius) bones, and ivory in the earliest Aurignacian period (between 43,000 and 39,000 years BP), have their fingerholes recessed by thinning an area around the hole to ensure an airtight seal when the finger closes them. This can only be the result of long experience of flute making.

    So how did tembos musical instrument begin? First a warning: with archeological material, we have what has been found; we do not have what has not been found. A site can be found and excavated, but if another site has not been found, then it will not have been excavated. Thus, absence of material does not mean that it did not exist, only that it has not been found yet. Geography is relevant too. Archeology has been a much older science in Europe than elsewhere, so that most of our evidence is European, whereas in Africa, where all species of Homo seem to have originated, site archeology is in its infancy. Also, we have much evidence of bone pipes simply because a piece of bone with a number of holes along its length is fairly obviously a probable musical instrument, whereas how can we tell whether some bone tubes without fingerholes might have been held together as panpipes? Or whether a number of pieces of bone found together might or might not have been struck together as idiophones? We shall find one complex of these later on here which certainly were instruments. And what about bullroarers, those blades of bone, with a hole or a constriction at one end for a cord, which were whirled around the player’s head to create a noise-like thunder or the bellowing of a bull, or if small and whirled faster sounded like the scream of a devil? We have many such bones, but how many were bullroarers, how many were used for some other purpose?

    So how did pipes begin? Did someone hear the wind whistle over the top of a broken reed and then try to emulate that sound with his own breath? Did he or his successors eventually realize that a shorter piece of reed produced a higher pitch and a longer segment a lower one? Did he ever combine these into a group of tubes, either disjunctly, each played by a separate player, as among the Venda of South Africa and in Lithuania, or conjointly lashed together to form a panpipe for a single player? Did, over the generations, someone find that these grouped pipes could be replaced with a single tube by boring holes in it, with each hole representing the length of one of that group? All this is speculation, of course, but something like it must have happened.

    Or were instruments first made to imitate cries? The idea of the hunting lure, the device to imitate an animal’s cry and so lure it within reach, is of unknown age. Or were they first made to imitate the animal in a ritual to call for the success of tomorrow’s hunt? Some cries can be imitated by the mouth; others need a tool, a short piece of cane, bits of reed or grass or bone blown across the end like a key or a pen-top. Others are made from a piece of bark held between the tongue and the lip (I have heard a credit card used in this way!). The piece of cane or bone would only produce a single sound, but the bark, or in Romania a carp scale, can produce the most beautiful music as well as being used as a hunting call. The softer materials will not have survived and with the many small segments of bone that we have, there is no way to tell whether they might have been used in this way or whether they are merely the detritus from the dining table.

    This bone does raise the whole question of whether H. neanderthalensis knew of or practised music in any form. For rhythm, we can only say surely, as above—if earlier hominids could have, so could H. neanderthalensis. Could they have sung? A critical anatomical feature is the position of the larynx (Morley, 2013, 135ff); the lower the larynx in the throat the longer the vocal cords and thus the greater flexibility of pitch variation and of vowel sounds (to put it at its simplest). It would seem to have been that with H. heidelbergensis and its successors that the larynx was lower and thus that singing, as distinct from humming, could have been possible, but “seems to have been” is necessary because, as is so often, this is still the subject of controversy. However, it does seem fairly clear that H. neanderthalensis could indeed have sung. It follows, too, that while the Divje Babe “pipe” may or may not have been an instrument, others may yet be found that were ensemble musical instrument. There is evidence that the Neanderthals had at least artistic sensibilities, for there are bones with scratch marks on them that may have been some form of art, and certainly there is a number of small pierced objects, pieces of shell, animal teeth, and so forth, found in various excavations that can only have served as beads for a necklace or other ornamentation – or just possibly as rattles. There have also been found pieces of pigments of various colors, some of them showing wear marks and thus that they had been used to color something, and at least one that had been shaped into the form of a crayon, indicating that some reasonably delicate pigmentation had been desired. Burials have been found, with some small deposits of grave goods, though whether these reveal sensibilities or forms of ritual or belief, we cannot know (D’Errico et al., 2003, 19ff). There have also been found many bone awls, including some very delicate ones which, we may presume, had been used to pierce skins so that they could be sewn together. All this leads us to the conclusion that the Neanderthals had at least some artistic and other feelings, were capable of some musical practices, even if only vocal, and were clothed, rather than being the grunting, naked savages that have been assumed in the past.

What is velvet fabric?

    Velvet is a sleek, soft fabric that is commonly used in intimate garments, upholstery and other textile applications. Due to how expensive it was to produce velvet textiles in the past, this fabric is often associated with the aristocracy. Even though most types of modern velvet are adulterated with cheap synthetic materials, this unique fabric remains one of the sleekest, softest man-made materials ever engineered.

    The first recorded mention of velvet fabric is from the 14th century, and scholars of the past mostly believed that this textile was originally produced in East Asia before making its way down the Silk Road into Europe. Traditional forms of velvet were made with pure silk, which made them incredibly popular. Asian silk was already very soft, but the unique production processes used to make velvet result in a material that’s even more sumptuous and luxurious than other silk products.

    Until velvet gained popularity in Europe during the Renaissance, this fabric was commonly used in the Middle East. The records of many civilizations located within the borders of in modern Iraq and Iran, for instance, indicate that velvet was a favorite fabric among the royalty the region.

    When machine looms were invented, velvet production became much less expensive, and the development of synthetic fabrics that somewhat approximate the properties of silk finally brought the wonders of velvet to even the lowest rungs of society. While today’s velvet may not be as pure or exotic as the velvet of the past, it remains prized as a material for curtains, blankets, stuffed animals, and all manner of other products that are supposed to be as soft and cuddly as possible.

    While various materials can be used to make velvet, the process used to produce this burnout velvet fabric is the same regardless of which base textile is used. Velvet can only be woven on a unique type of loom that spins two layers of fabric simultaneously. These fabric layers are then separated, and they are wound up on rolls.

    Velvet is made with vertical yarn, and velveteen is made with horizontal yarn, but otherwise, these two textiles are made with largely the same processes. Velveteen, however, is often mixed with normal cotton yarn, which reduces its quality and changes its texture.

    Silk, one of the most popular velvet materials, is made by unraveling the cocoons of silkworms and spinning these threads into yarn. Synthetic textiles such as rayon are made by rendering petrochemicals into filaments. Once one of these yarn types is woven into velvet cloth, it can be dyed or treated depending on the intended application.

    The main desirable attribute of velvet is its softness, so this textile is primarily used in applications in which fabric is placed close to the skin. At the same time, velvet also has a distinctive visual allure, so it’s commonly used in home decor in applications such as curtains and throw pillows. Unlike some other interior decor items, velvet feels as good as it looks, which makes this fabric a multi-sensory home design experience.

    Due to its softness, velvet is sometimes used in bedding. In particular, this fabric is commonly used in the insulative blankets that are placed between sheets and duvets. Velvet is much more prevalent in womenswear than it is in clothing for men, and it is often used to accentuate womanly curves and create stunning eveningwear. Some stiff forms of velvet are used to make hats, and this material is popular in glove linings.

    China leads the world as the most prolific producer of synthetic textiles. These and other reckless industrial practices have rapidly made this communist nation the world’s largest polluter as well, and China is lagging far behind the rest of the world’s gradual switch to sustainable fabrics and non-polluting production processes.

    Since “velvet” refers to a fabric weave instead of a material, it can’t technically be said that velvet as a concept has any impact on the environment. The different materials used to make velvet, however, have varying degrees of environmental impact that should be carefully considered.

    Environmental impact of silk

    Silk is the closest thing we have to an ideal fabric from an environmental standpoint. This embossed velvet fabric is still, in most cases, produced the same way it has been produced for thousands of years, and since the production of silk is not aided by any pesticides, fertilizers, or other toxic substances, making this fabric does not have any significant negative environmental impact.

    Environmental impact of rayon and other synthetic textiles

    Rayon is the most commonly used substitute for silk in velvet and velvet-inspired fabrics, and the production of this synthetic substance is significantly harmful to the environment. The rayon production process involves multiple chemical washes, and the base material of this substance is petroleum.

    Essentially, rayon is non-biodegradable fossil fuel product that introduces tons of harmful chemicals into the water supply as it is created. With these detractors in full view, the only reason that rayon is still produced is that it is inexpensive.

    The term “velvety” means soft, and it takes its meaning from its namesake fabric: velvet. The soft, smooth fabric epitomizes luxury, with its smooth nap and shiny appearance. Velvet has been a fixture of fashion design and home decor for years, and its high-end feel and appearance make it an ideal textile for elevated design.

    Velvet is a soft, luxurious fabric that is characterized by a dense pile of evenly cut fibers that have a smooth nap. Velvet has a beautiful drape and a unique soft and shiny appearance due to the characteristics of the short pile fibers.

    Velvet fabric is popular for evening wear and dresses for special occasions, as the jaguar velvet fabric was initially made from silk. Cotton, linen, wool, mohair, and synthetic fibers can also be used to make velvet, making velvet less expensive and incorporated into daily-wear clothes. Velvet is also a fixture of home decor, where it’s used as upholstery fabric, curtains, pillows, and more.

    The first velvets were made from silk and, as such, were incredibly expensive and only accessible by the royal and noble classes. The material was first introduced in Baghdad, around 750 A.D., but production eventually spread to the Mediterranean and the fabric was distributed throughout Europe.

    New loom technology lowered the cost of production during the Renaissance. During this period, Florence, Italy became the dominant velvet production center.

    Velvet is made on a special loom known as a double cloth, which produces two pieces of velvet simultaneously. Velvet is characterized by its even pile height, which is usually less than half a centimeter.

    Velvet today is usually made from synthetic and natural fibers, but it was originally made from silk. Pure silk velvet is rare today, as it’s extremely expensive. Most velvet that is marketed as silk velvet combines both silk and rayon. Synthetic velvet can be made from polyester, nylon, viscose, or rayon.

    There are several different Holland velvet fabric types, as the fabric can be woven from a variety of different materials using a variety of methods.

    Crushed velvet. As the name suggests, crushed velvet has a “crushed” look that is achieved by twisting the fabric while wet or by pressing the pile in different directions. The appearance is patterned and shiny, and the material has a unique texture.


    Panne velvet. Panne velvet is a type of crushed velvet for which heavy pressure is applied to the material to push the pile in one direction. The same pattern can appear in knit fabrics like velour, which is usually made from polyester and is not true velvet.

    Embossed velvet. Embossed velvet is a printed fabric created via a heat stamp, which is used to apply pressure to velvet, pushing down the piles to create a pattern. Embossed velvet is popular in upholstery velvet materials, which are used in home decor and design.

    Ciselé. This type of patterned velvet is created by cutting some looped threads and leaving others uncut.

    Plain velvet. Plain velvet is usually a cotton velvet. It is heavy with very little stretch and doesn’t have the shine that velvet made from silk or synthetic fibers has.

    Stretch velvet. Stretch velvet has spandex incorporated in the weave which makes the material more flexible and stretchy.

    Pile-on-pile velvet. This type of velvet has piles of varying lengths that create a pattern. Velvet upholstery fabric usually contains this type of velvet.

    Velvet, velveteen, and velour are all soft, drapey fabrics, but they differ in terms of weave and composition.

    Velour is a knitted fabric made from cotton and polyester that resembles velvet. It has more stretch than velvet and is great for dance and sports clothes, particularly leotards and tracksuits.

    Velveteen pile is much shorter pile than velvet pile, and instead of creating the pile from the vertical warp threads, velveteens pile comes from the horizontal weft threads. Velveteen is heavier and has less shine and drape than velvet, which is softer and smoother.

    For budding fashion designers, understanding the characteristics and feel of different fabrics is key. In her 20s, Diane von Furstenberg convinced a textile factory owner in Italy to let her produce her first designs. With those samples, she flew to New York City to build one of the world’s most iconic and enduring fashion brands. In her fashion design MasterClass, Diane explains how to create a visual identity, stay true to your vision, and launch your product.

    Become a better fashion designer with the MasterClass Annual Membership. Gain access to exclusive video lessons taught by fashion design masters including Marc Jacobs, Diane von Furstenberg, and more.

Roll forming of a high strength aluminum tube

    The presented paper provides a modelling strategy for roll forming of a high strength aluminum alloy tube. Roll forming allows the cost-effective production of large quantities of long profiles. Forming of high strength aluminum brings challenges like high springback and poor formability due to the low Young’s modulus, low ductility and high yield strength. Forming processes with high strength aluminum, such as the AA7075 alloy, therefore require a detailed process design. Three different forming strategies, one double radius strategy and two W-forming strategies are discussed in the paper. The paper addresses the question whether common roll forming strategies are appropriate for the challenge of roll forming of a high strength aluminum micro channel tube. For this purpose, different forming strategies are investigated numerically regarding buckling, longitudinal strain distribution and final geometry. While geometry is quite the same for all strategies, buckling and strain distribution differ with every strategy. The result of the numerical investigation is an open tube that can be welded into a closed tube in a subsequent step. Finally, roll forming experiments are conducted and compared with the numerical results.Current research in production technology focuses primarily on increasing resource efficiency and thus follows the approach of fundamental sustainability of processes and products. High strength aluminum alloys (e.g. AA7075) are commonly used in aerospace applications in spite of their high cost of about 5 €/kg and poor formability [1]. Due to ambitious legal requirements, such as the CO2 target in automotive engineering, new lightweight construction concepts are still needed [2]. An excellent basis is offered by the production of high strength AA7075 thin walled tubes as semi-finished products by roll forming. These can be further processed in subsequent customized processes such as welding, stamping, cutting or rotary swaging.

    According to DIN 8586, roll forming is a bending technology with rotating tool motion to produce open and closed profiles [3]. Several pairs of forming rolls are aligned one behind the other for the forming process. The friction between the rotating forming rolls and the sheet metal causes a forward movement of the sheet. Simultaneously the sheet is formed in and between the stations. For the production of large quantities, roll forming is a cost-effective manufacturing process, compared to tube extrusion or tube drawing. Roll forming can also be competitive for smaller quantities, if the number of forming passes is small enough [4]. The incremental nature of the roll forming process also allows forming of high strength materials, such as ultra high strength steel (UHSS) [5].

    During roll forming there is a limit for the amount of deformation regarding buckling limit strain (BLS), which can be reached in one forming station [6]. Abeyrathna [5], Park [7] and Bui [8] showed that longitudinal strain has a major impact on product defects, such as bow or buckling. The maximum longitudinal strain occurs in the area of the band edge. Plastic elongation in the roll gap between the forming rolls followed by compression when the sheet leaves the forming rolls leads to buckling. Figure 1 illustrates the elongation, followed by compression when forming a tube. To prevent buckling, the maximum longitudinal strain must be low. Once buckling takes place, welding of the formed tube becomes very difficult or even impossible [9]. Parameters with a large influence on buckling are the stiffness of the sheet and the yield strength of the material. According to Halmos [10], elongation of the band edge depends on the flange height and inter-station distance ld. High bending angles of a single forming station Θp and a small inter-station distance ld lead to large elongation of the band edge and thus to buckling. For circular sections (e.g. tube), the BLS is 5–10 times higher than the BLS for a U-profile [6].Groche et al. [11], Park et al. [7], Zou et al. [12] and Lee et al. [13] showed that roll forming of high strength materials and especially of high strength aluminum drawn tube brings challenges compared to commonly roll formed steel grades. High strength leads to high springback and thus to less dimensional accuracy in the processed part. Parameters, which have an influence on springback are shown in Table 1. Difficulties regarding aluminum include early fracture due to low ductility, higher springback and redundant deformation. This requires a well-designed forming strategy in order to get the lowest possible springback and buckling in the roll forming process and the best quality of the processed part. In contrast, aluminum shows a good-natured behavior with regard to buckling due to a higher value of BLS compared to steel [14].The single radius-forming strategy has the advantage to form tubes with different sheet thickness on the same tool. A flower pattern with constant bending radius over the entire cross-section of the sheet is characteristic for the single radius-forming. For high-strength materials, the single radius-forming strategy is not applicable due to high springback caused by the high elastic bending content [10, 18].

    The double radius- and W-forming strategies are appropriate for high strength steels. For both strategies, two radii are combined in each pass, whereby the radius in the edge area is equal to the end radius already in the first pass of the process [18]. In contrast to double radius forming, a negative bending is initially introduced in the middle section in the W-forming process. The main advantage of this strategy is that the final radius can be formed into the band edge area at the first pass of the process [18]. Another approach is described by Jiang et al. [19] with a cage roll forming mill for the production of electric resistance welded pipes.

    The height displacement of the profile is called “up-hill” or “down-hill”. During the down-hill strategy, the profile is lowered step by step in each pass. The use of a down-hill forming strategy can reduce plastic elongation in the band edge and thus the number of forming stations [10]. Based on the fundamental differences in roll forming between aluminum and steel, this publication addresses the question if one of the strategies suits for forming a tube of the high-strength aluminum alloy AA7075.

    FE-Simulation of the roll forming process

    The roll forming tools are designed by numerical simulation of the process. The target geometry is a tube with an outer diameter of d=54.98mm (ro=27,49mm/ri=25,99mm) and a wall thickness of s0=1.5mm. An AA7075-T6 aluminum alloy is used for the roll forming process. Table 2 shows the mechanical properties of the alloy.The first forming strategy suggested automatically by UBECO Profil after defining the target geometry is a double radius-forming strategy and has 27 passes in total. Based on tube forming sequences in literature [15, 16], the number of passes is reduced to 14 passes by skipping every second pass, in order to increase process efficiency. After the reduction to 14 passes, the edge strain is still below the critical limit in every stage of the process according to the PSA. The approach for the first forming strategy is to form the tube in uniform increments and to keep the longitudinal strain low in the band edge. The further approach is to calculate the stresses of the formed tube to arrive at the number of passes required. Forming strategy 2R is the first strategy numerically investigated by the FE-software Marc Mentat.In this paper, roll forming of a high strength extruded aluminum tube is investigated. Due to the difficult determination of the design parameters, roll forming of high strength aluminum is a challenge. Conventional roll forming strategies quickly reach their limits when forming aluminum or high strength steels. To form a tube out of high-strength aluminum alloys such as AA7075, a W-forming strategy is recommended. Another positive influence is the application of a down-hill strategy. The investigations have shown that an efficient roll forming production line for high strength aluminum tubes can be set up even with a small number of forming passes. The W-forming strategies showed a good behavior with regard to buckling, compared to the double radius forming strategy. Forming strategy W2 combines the advantages of few passes with a good final part geometry thanks to detailed process design. The numerical investigation and the following experiments demonstrated the feasibility of roll forming a high-strength aluminum tube. It is shown that conventional design methods are also valid for high-strength materials.A further result of the numerical investigation is that the design of the tools should not be based on longitudinal strain in the band edge alone. For a first estimation, the elongation of the band edge is a valid factor, but for an exact process design a numerical simulation should always be performed. In addition, BLS is material dependent, which makes an analytical calculation even more difficult.

    Regarding the springback angle, the experimental investigations show little deviations from the FE-model. The reasons for this are the simplified material model, which does not consider combined hardening effects, the influence of the smaller modulus of elasticity after plastic deformation and compliance of the forming stand. Nevertheless, the simplified FE-model provides sufficiently accurate results regarding buckling and geometry of the tube.

    Axial crash of thin-walled circular seamless aluminum tube is investigated in this study. These kinds of tubes usually are used in automobile and train structures to absorb the impact energy. An explicit finite element method (FEM) is used to model and analyse the behaviour. Formulation of the energy absorption and the mean crash force in the range of variables is presented using design of experiments (DOE) and response surface method (RSM). Comparison with experimental tests has been accomplished in some results for validation. Also, comparison with the analytical aspect of this problem has been done. Mean crash force has been considered as a constraint as its value is directly related to the crash severity and occupant injury. The results show that the triggering causes a decrease in the maximum force level during crash.

未試過想試下 粗暴同變態少少都ok 暫時諗到最變態可以試下比你深喉屙尿
利申肥仔嚟 冇地方 有意pm留tg

181 69kg Slim fit 
好耐冇仆過野又唔想叫雞
搵人幫我含或者可以試下互含
Pm line WeChat or tg

想搵比較高同大隻BF 最好高過我
line lamyip1234

【六】* W; T) T2 r: h2 ~5 j: E
週日的籃球場上，本來應該沒有任何人，可是現在，圍着一個籃球架，站了十多個男生。
“嘿嘿，力哥，你這樣好性感啊！”
一个高大男生捏了捏嚴力的胸肌，壞笑着打量這個田徑隊的體育生。3 U) m) A# h! e2 F
“老子還有更性感的，要不要看？”严力臉上始終掛着痞痞的笑容。
只不過現在，他的雙手抱在腦後，雙腳張開，呈現一個大字，站在籃球架下，周圍的十幾個男生，都是高高大大，穿著籃球服，帶著戲謔的笑容看著他。# U0 B3 C4 i5 m# l* p' Y1 [
“哈哈，你們體訓隊的人是不是真的可以隨便和你玩？”高大健壯的男生湊過來壞笑道，“那力哥你屁眼不是被他們操鬆了？”
“怎麼可能，”嚴力不屑地豎了個中指，“就那幫傻逼的小鸡巴，都塞不滿老子的屁眼，想操松老子，做夢！”
說完，還拍了拍緊壯的臀大肌。
“我檢查看看，”男生壞笑着，把手伸向嚴力的嘴巴，“先舔舔，省得老子手指插不進去。”
誰知嚴力淫笑道：“老子屁眼現在濕的，用不着潤滑！”6 I! |. g- E% H! _
男生罵了一聲“操”，從嚴力後腰插進褲腰，然後就是叫起來：“我日，他媽的褲襠裡濕得一逼！”6 ]% H8 q. \. H4 [& v" r
嚴力不屑的笑笑，他從早上開始，得知教練的訓練任務後，就興奮得不行。屁眼裡早就淫汁氾濫，褲襠裡應該是一塌糊塗。* ?/ D- I! E# V
姜鵬伸手，插進嚴力屁眼，立刻被緊緊吸住，拔不出來。姜鵬也是個較勁的性子，當即用力往外一抽，“啵”的一聲拔了出來，指尖上已經沾滿了粘稠的液體，聞起來還有股怪怪的味道。+ k$ v; J9 S' g  z7 z; M
嚴力穿著體訓的訓練服，只有一件緊身背心，還有一條和內褲一樣短小的訓練短褲。他抓住訓練短褲往下一拉，把下半身露在外面。6 u8 {8 o: v  z" N4 }7 H
“操！”  @3 x; W9 j# k
嚴力的鸡巴沒有硬起來，因為上面掛着一個黑色的塑料的殼子，上頭還有一把鎖。兩個塑料殻上帶著的鐵環，一個套住陰莖根部，一個套在陰囊根部，沒給鸡巴留出活動的空間，只在裹住龜頭的塑料部分留了一個開口，應該是撒尿用的。
“沒見過鸡巴啊？”嚴力故意挺了挺腰，把塑料殻裹着的那一大包朝姜鵬甩動。3 y' C; x& }/ Y' D) w
“力哥你媽的戴着貞操帶！”姜鵬揉了揉胯下籃球褲裡的一大包，“怎麼射啊？”
“射個鸡巴！”嚴力吐了口唾沫，用腳碾了碾，“老子一週戴着這鬼東西，他媽硬都硬不起來！今天要不是訓練，教練還要讓我戴一週。”
說到這裡，嚴力有些忿忿，教練說要調整他對性慾的感受度，讓他鸡巴上套了貞操鎖，除了訓練，連洗澡睡覺都戴着。有時候興奮起來，鸡巴在裡面硬不起來的感覺，讓這個高大健壯的體育生鬱悶極了。
“哈哈，牛逼！”姜鵬抓住那一包。2 [; b) V* G1 E, h& d2 n
嚴力扯開衣領，脖子上掛着一把小小的鑰匙。取下鑰匙插進鎖頭，咔嗒一聲，那軟垂的巨蟒從束縛中解放開，懸在雙腿之間。
“日，真鸡巴舒服，”嚴力甩了甩那一根粗軟的大屌，壞笑道，“大不大？”
“牛掰！”姜鵬把手指上的腸液抹到嚴力臉上，露出一個挑釁的笑，“不過，老子籃球隊的兄弟們可不比你們體訓隊的差！”' l( U4 r+ V- Y- s1 }. n7 A
嚴力揚起眉毛，伸手抓住姜鵬褲襠，裡面也是滿滿一包，隨着嚴力的抓握也逐漸抬起頭來。; Y% Y( X$ N1 J7 |( q  i
“操，夠爺們兒！”嚴力舔舔嘴唇，姜鵬這樣的尺寸，才能讓他心甘情願地把鸡巴交到對方手裡，能碰他鸡巴的，就要是這樣的雄性！
“快點開始吧，老子等不及了！”& ]7 |6 F5 i0 M9 Z6 ?& ?
姜鵬蹲下來，脫下嚴力的籃球鞋，一股濃郁的味道散發出來，皺眉道：“臥槽，這什麼鸡巴味兒？”
嚴力咧嘴壞笑：“老子一週没洗澡，訓練襪子都没换，還有隊裡兄弟的精液，你說什麼鸡巴味兒？”
嚴力穿著一雙耐克白色短襪，已經全部濕透，全是黃斑，連鞋底都是黏黏的一層。裡面不僅僅是腳汗，還有體訓隊兄弟們在裡面射的精液，為了習慣隊友的氣味，這雙鞋他穿了一週，悶在裡面，現在散發着濃厚的雄性氣息。. `$ E' t/ D9 y! j4 p
“怎麼樣？好聞吧？”聞到那股混合著精液的腳味，嚴力的鸡巴已經勃起，在姜鵬手裡流水。9 U+ p: S% e& k
“老子都聞硬了！”姜鵬邪笑起來，把嚴力的球鞋拿起來，牢牢綁在他鸡巴上，“怕你待會兒撐不住尿了！”% o+ w3 d) y; {$ V/ ]
“操，有本事玩尿老子！”嚴力不屑地挺挺鸡巴，讓姜鵬捆得更緊。胯下的大屌被繩子紮住根部，顯得更加碩大堅挺。4 G) W9 J& ~  y; }2 G/ {& M
“兄弟們，把這肌肉猛貨吊起來！”
籃球隊員們一哄而上，把嚴力手腳捆住，吊在籃球架上，雙腿朝天。嚴力絲毫沒有反抗，反而是咬牙道：“再緊一點！”
姜鵬拍拍他對著大家的屁股，邪笑道：“撐不住就求爸爸！”7 f0 T; O( V8 ?' g0 @4 W
“日！求你？”嚴力不屑地吐了口唾沫，把籃球背心往地上一丟，全裸着被綁在籃球架上，雙腿大張，把鸡巴和屁眼對著一幫籃球隊員，球鞋從胯下垂下來，不停晃動着。
籃球隊員們開始吹起口哨，期待隊長玩弄這個肌肉賤貨。* H( Z0 \- h; ?9 |( L& Z
“規則，站在球場那頭朝他鸡巴丟三分，砸中就算，每人十次，按投球結果算，第一的可以操他屁眼，他媽的誰最後一名，丟了籃球隊的臉，老子弄不死他！”姜鵬狠狠地朝地上吐了口唾沫，“誰先來？”6 ~  c( D; ]( M: J# Z
“我來！”8 H$ S3 j1 G- g. o  K
一個高大的男生站了出來，雙腿微微後曲，雙臂持球，往嚴力的鸡巴投去。可是隔着大半個籃球場，高度也不是籃筐的高度，這個球沒有砸中嚴力的鸡巴，反而是砸在了他的腹肌上。
嚴力腹肌一顫，闷哼一声，上面印上一個籃球印子，不但沒有喊痛，反而挑釁說道：“哈，籃球隊的就這麼鸡巴點能耐，繼續啊！”
“操！”男生罵了一句，但是在看到隊長姜鵬的眼神後不敢多說什麼，專注地投出第二個球。
“砰”的一聲，籃球砸中嚴力鸡巴，砸得他腹肌都收緊起來，胯下垂吊著的球鞋晃蕩不停。
“一個！”姜鵬數着，“繼續砸！把這肌肉猛貨砸尿！”
嚴力鼓起全身肌肉，朝姜鵬露出一個不屑的笑容，那意思是，放馬過來！
所有的隊員都投完，嚴力身上不知道挨了多少記籃球，腹肌和胸肌被砸出痕跡，通紅一片，汗水將全身肌肉浸濕，散發着油亮的光。. U: m; h8 \9 j, e) U. L/ u+ D
“老子來！媽的，一群傻逼，沒一個管用！”& n7 \2 q& K- U1 o+ d
姜鵬惡狠狠罵著，一邊狠狠瞪着籃球隊的隊員們。都是搞體育的，籃球隊和闐徑隊一直暗中較勁，誰也不服誰，今天要是不讓嚴力服了，自己的臉他媽沒地方擱了！
姜鵬抓起籃球，臉色變了，眼神彷彿一隻狼，盯着獵物。3 N* @% E* ?( g* n+ u$ g. b
“砰！”6 `$ \/ E8 v/ O; z1 P6 H% r
籃球飛出好看的弧線，重重落在嚴力的鸡巴上，讓他咬緊了牙關。
“怎麼樣，爽不爽？”姜鵬邪笑。& l1 M" L$ I# A
“哈哈，夠勁！再來！”
“兩個！”
“三個！”
“四個！”/ ~- Q  ?9 k# T+ Y( @9 v9 o
……/ g5 M+ D5 @, j4 {3 C0 L: p+ V# K
姜鵬不愧是籃球隊長，連續九個球，都精準的落在嚴力鸡巴上，砸得這個渾身肌肉的健壯體育生青筋畢露，連腿都輕微顫抖起來。只不過，越是被砸，嚴力的鸡巴越是堅挺，赤紅一根，彷彿燒紅的鐵棒，不屈地朝天挺立。$ w2 y1 l; B2 h8 i$ z3 d( S
“最後一個！”
嚴力挑釁地看著姜鵬，姜鵬露出一個冷笑，抬手，投出。- M" n3 x; d4 B$ u: F1 A& I, X
籃球沒有落在鸡巴上，而是落在了嚴力的臉上，留下半個籃球印子。
“哈哈！差一個！”嚴力喘着氣，咧嘴笑起來。
“隊長最多！”籃球隊員們起鬨起來，“隊長玩他！”( G" S6 B$ A6 a3 t3 H) V/ j6 @/ c
“老子故意投漏的，”姜鵬在嚴力耳邊說道，“九個也夠玩你了，來，幫我含着。”) b2 y0 q& z; N2 @- H, e
說完，姜鵬扯下籃球褲，露出裡面早就勃起的碩大鸡巴，蹭在嚴力臉上。嚴力露出一個野性的笑，張嘴含住姜鵬的鸡巴，吮吸起來。. u+ A2 t' @0 a. P+ G- X7 e
“啊……”姜鵬呻吟一聲，手指在嚴力屁眼上摳挖起來。
嚴力嘴裡含着一根不輸自己的大鸡巴，屁眼又被摳挖着，爽得雙腿打顫，. B6 h4 ], Q! i, p4 d2 _
“力哥你屁眼裡水好多啊，”姜鵬壞笑着抽出手指，放到嘴裡舔了一下，“真鸡巴腥！鸡巴脹那麼大，是想被老子操？”
“你才是想玩爸爸的大鸡巴吧！”嚴力回應道。
“老子不玩你鸡巴，只玩你……屁眼！”
說完，姜鵬抓住嚴力的雙腿，狠狠把鸡巴朝那體育生的緊致屁眼裡幹了進去。! _0 A) X6 a7 ]
“啊！”
兩人同時低吼，都是爽的。等到適應了彼此的大小，姜鵬握住嚴力的腰肌，狠狠操幹起來。& {0 A. g# b+ K  w3 l" Q- Q. c
“力哥，你裡面好熱好緊！”5 {7 z% ]2 S( Y5 X: s
“用力啊！操！真鸡巴爽！啊！”
姜鵬一邊操着他，一邊吼道：“剛才是哪個沒卵子的最後一名？給老子出來！”
最先投球的那個男生戰戰兢兢走出來，比姜鵬還要健壯的體型，卻屁都不敢放一個。
“給老子舔！”  L9 ^7 r7 o- O, D& q3 `
姜鵬把嚴力的腳伸到男生面前，男生不敢反對，抱住嚴力散發着精液腥味和腳臭的大腳，舔吮着浸透襪子的男人雄汁。舔着舔着，胯下籃球褲裡的鸡巴也硬了。
“媽的，真舒服！”姜鵬一把扯下嚴力大的襪子，套在他鸡巴上，被淫水一浸，味道越發濃厚。
忽然，身後的男生喘息起來，姜鵬回頭一看，原來男生用嚴力的腳趾夾住自己的鸡巴，正在給自己打腳槍。* `' E" o! y: N: l
“哈哈，老子的腳爽不爽？”嚴力喘息着，一邊被姜鵬乾著屁眼，一邊被籃球隊員乾著大臭腳。
“老子要射了！灌滿你屁眼！”
姜鵬低吼一聲，抓住嚴力兩塊胸肌，將鸡巴一插到底，噴出濃厚的男人雄漿。
“操，射好多，”姜鵬拔出鸡巴，壞笑着伸到嚴力嘴邊，“力哥來舔舔，嘗嘗老子的味道！”6 \3 T) t. B& ], L/ h( y
嚴力舔完姜鵬鸡巴上面的精液和腸液，露出一口白牙：“老子還沒喂飽呢！”
“日，老子喂不飽你！”姜鵬罵了一聲，將鸡巴捅進去到底，“老子喂你喝爸爸的騷水！”
騷臭的尿水從姜鵬尿眼裡噴出，嚴力含緊鸡巴，喉結一陣翻滾，將尿液嚥下，然後露出一個爺們兒的笑容。) n! {" D+ M: J7 l8 y) N. J1 Y
“老子還沒喝夠！”
“操，兄弟們，讓力哥嘗嘗籃球隊的尿有多騷！”
籃球隊員們早就等不及，紛紛拉下褲腰，露出一根根粗壯的鸡巴，輪流幹着嚴力的屁眼，然後在他嘴裡撒尿。
“啊，好爽！操！乾死我！”5 ~  R2 N/ {: J2 l* q+ U
等到籃球隊員們射完精，嚴力那雙大腳上已經全部是白色的粘稠精液，屁眼張着一個洞，裡面的黃白精漿不斷滴下，姜鵬能輕鬆把四根手指插進去。5 y. L- S" g" z$ g0 e7 W$ \
而嚴力的鸡巴卻始終堅挺着，高高舉起朝天。/ }  G) T8 ?9 d) v
“力哥，想不想射？”姜鵬壞笑着。
“讓老子射！啊！”嚴力低吼着，渾身肌肉都緊繃起來。
姜鵬見狀，一把扯下繫在鸡巴上的鞋帶，那雙散發着濃烈腳味的球鞋應聲落地，而與之同時，嚴力的鸡巴朝着自己的臉上猛烈噴發出積攢多時的粘稠精塊。
“啊！啊！射了！爽！”( p9 r& {8 ]) `- q$ T! ]
姜鵬看著這個盡情釋放自己慾望的體育生，低頭狠狠吻了上去。嚴力遲疑了一下，露出一個野性的笑，也回吻過去。4 C! C. u  C' W5 B& ]2 w) o  i2 _
兩條濕潤的舌頭交纏着，分享着籃球隊員們的尿味。( V* r( }0 `7 i, x) [$ L: G
……+ b$ l" Z4 J% O: W
……8 V! {1 ^6 k9 `0 n6 c8 t
“力哥，你們體訓隊福利這麼好，下次來我們隊玩吧！”
“操！讓你操一次算爸爸賞你面子！”
“大不了讓你操一次！”8 ~8 _# n- P3 _: q& g
“你說的！”+ N$ T2 _5 U9 d2 e1 ^
“老子說的！”
“老子要當着你隊員們的面，狠狠操你！”
“有種就來！尼瑪！你個鸡巴又他媽硬了！”
夜幕降臨下的籃球場上，年輕雄性們彼此粗野地大笑，分享着彼此的鸡巴，還有屁
眼和臭腳


【七】
訓練結束後，嚴力和兄弟們一起回到更衣室。只不過和平時不同的是，大家都沒有換衣服，而是忍着一身汗臭，圍着嚴力。& o, k4 p' S, [! n) B( n# M
“力哥，快點啊！”
“操，你急個鸡巴！老子先休息會兒！”
嚴力罵了一句，一屁股在椅子上坐下來喘氣。有膽大的隊友伸手過去，蓋在嚴力褲襠上。
“想摸就痛快點！”嚴力罵了一句。% |. y0 ^9 ]# G
隊友嘿嘿一笑，捏了捏嚴力褲襠裡那一大包，然後怪叫起來：“力哥，你鸡巴上戴着什麼？”: U0 o) `- H; H
“沒見過吧？老子讓你們開開眼！”
嚴力站起身來，一把扯下短小的訓練短褲。碩大的鸡巴被擠在塑料殼子裡，上面一把小小的鎖，迫使這根同類中的巨物扭曲在狹小的空間裡。# X" f! N, h" q
“我操，真的有啊！”有體訓隊的兄弟怪叫起來，“老子第一次真的看到鸡巴上鎖呢！”
嚴力做了個鬼臉，這個是教練強制他戴上的，為了防止他過度手淫。還別說，自從戴了這東西，嚴力沒法!
捋鸡巴，體育成績提高了不少。只不過反過來的短褲襠部，全是白色的痕跡，那是前列腺液乾透後留下的。
“哈哈，力哥你這鸡巴，訓練的時候流這麼多騷水啊！”
隊友托住嚴力被鎖住的垂軟鸡巴，嚴力在他手裡挺挺腰，故意磨蹭了幾下。要是平時這樣興奮一整天，現在早就擼管了。可是教練說了，今天是他第一次展示給隊友們訓練成果，要做好一點，何況還有貞操鎖的束縛。
“握緊了哈！老子給你們看更牛逼的！”7 K; p) `" k" [. _
嚴力深吸一口氣，用力憋緊腹肌，健壯的臀肌顫抖着，一根黑色的東西慢慢往外滑出。* f( c# }5 ?" V" h
“哦哦，真的插在屁眼裡！”
“出來了，臥槽，好大！”/ |- v2 q" l, ^+ ~% y4 W* x' y: A2 t
“唔！”
嚴力悶哼一聲，屁眼被撐開那根東西被噴出，落在地上，是一根黑色的假鸡巴，上面全是粘粘的腸液。; ]) W; X: n( i2 S
一邊的隊友撿起來，馬上罵道：“日，弄老子一手！”
其餘隊員哈哈大笑，紛紛湊過去看那根假鸡巴，互相傳遞打鬧着。- N' t+ _" j5 c8 b. E
“屁眼裡這麼多水？”
“廢話，你他媽拉的屎干的啊？”
體育生們正興奮的玩着手上的假鸡巴，就看到一個人走了進來。
“教練！”體育生們趕緊站好，齊聲吼道。! |$ i* P" Y8 j' Y
“都給老子站好！”教練皺眉，轉向嚴力，“準備好了？”
“早準備好了！”嚴力咧嘴一笑，指了指胯下被鎖住的鸡巴，“憋死我了，教練，把我鸡巴籠子解了吧！”0 J" E8 U; c+ ^! e8 Q
“你急個鸡巴，先讓老子檢查檢查，”教練笑罵道，“別他媽待會兒給老子丟人！”
“是！”嚴力甩甩鸡巴，鎖和塑料殻撞得嘩嘩作響。8 L4 x# w( o6 E* X' ^
教練彎下腰，一把摳住嚴力屁眼，罵道：“媽的，又硬了是吧？”5 P2 Y9 U; [8 o+ ?
嚴力嘿嘿一笑，任由自己的鸡巴被教練搓揉，說：“教練，不知怎麼，被你摳屁眼比自己摳還爽！每次一摳，鸡巴就硬得和鐵似的，打飛機硬是半天射不出來！”
“現在能塞進幾個球？”& n7 Q7 F, @0 `
“嘿嘿，五個！教練，我厲害不？”嚴力夾了夾括約肌。: C: [: C6 E& z' G6 S5 h6 r
“操，這屁眼子越玩越大！”教練罵了一聲。
“靠！教練，老子屁眼可緊了！不信你試試！”嚴力不服氣地叫嚷起來。; O9 A8 h4 x. H
“試個鸡巴！你就想老子操你是不？”$ E" I! q% Q, c0 d
嚴力不答話，腹肌一緊，說道：“教練，你往外抽！抽得出來我再戴一個月鸡巴籠子！”' L- m9 t& ]$ J7 x# B
教練聽他一說，把手指往外用力拔，卻一下沒拔出來，被屁眼緊緊吸住。9 \6 Z2 s0 @7 s- L( L
“真他媽緊！臀大肌鍛鍊得不錯！”教練在嚴力壯臀上拍了一巴掌，“不錯！要給你點獎勵！”
“教練，獎勵什麼啊？”8 _1 E6 X" |% G! {3 ]! J  z
“老子一泡尿憋了好久了，你不就想喝老子尿？張嘴接着！”5 i" H  ^2 T2 H/ t4 x) [/ g
嚴力興奮起來，他覺得自己是有些受虐傾向的，喜歡被教練當眾責罵，加罰他訓練，繃著全身肌肉去完成懲罰。但是還不夠，他想要教練更加兇狠地懲罰他！把他按在地上，揍他的腹肌，踩住他的鸡巴，往他嘴裡撒尿，逼着他全部喝下去！) K0 ?" H* V+ B2 ]# q
現在當着體訓隊兄弟們的面，喝教練的騷尿，嚴力的鸡巴更硬了！$ l7 b% _/ b% V/ N4 z
粗大的鸡巴捅進喉嚨裡，嚴力就感到一股激流打在自己喉嚨裡，趕緊開始吞嚥。
教練一泡尿快一分鐘，全都灌進了嚴力肚子裡。  Q5 Z3 W( J1 @3 a8 U9 _( [
隊友笑起來，起哄問道：“力哥，教練的尿水什麼味啊？”
嚴力吐出鸡巴，喘着氣，咧嘴笑道：“男人味！夠勁！”* t( E/ g7 r( D* {" o5 v
“我日，力哥鸡巴硬了！”/ n  @% a2 t9 x- j$ x
胯下的貞操鎖裡，原本垂軟的一團開始變得堅硬，把貞操鎖往前頂了起來。
“他媽的，天天鎖着還能流這麼多騷水！”教練撿起地上嚴力脫掉的訓練短褲，朝他嘴裡塞去。嚴力緊緊咬着自己的訓練短褲，上面的淫水被口水化開，滿嘴都是自己鸡巴的味道。+ t) m4 i& O& n/ P' b
咔嗒一聲，貞操鎖被解開。被束縛的大砲猛地挺起來，嚴力喉嚨裡發出低沉的興奮吼叫。- q6 D/ i  X8 R' \
教練把手指從嚴力屁眼裡抽出來，就着手上的腸液，握住了嚴力硬挺的鸡巴，狠勁兒往下掰。; }" a& J- J# w4 |1 d
嚴力挺起腰胯，伸出鸡巴讓教練全部握住，嘴裡還含糊地說道：“狠勁兒掰！掰斷這大鸡巴！”; S1 a8 `* L/ d5 z
“看好了啊！老子告訴你們怎麼和這逼崽子做，”教練抓抓胯下一包，“男人屁眼很緊，要先潤滑……笑個鸡巴，沒用過潤滑劑啊！”
教練瞪了一眼這群天不怕地不怕的肌肉小子們，繼續說道：“你們力哥沒有女人的屄水兒，屁眼裡雖然有腸液，但是以防萬一，要先做足準備！”
嚴力湊過去，壞笑着看了教練一眼，低頭朝教練的胯下湊過去，埋在褲襠裡深深吸氣。* d8 E9 i% |, r/ \
“對，要正對著鸡巴……操，掏出來舔！”# b3 h2 h& M' B; D: y
教練笑罵著，在嚴力臉上輕輕拍了一巴掌。嚴力退開，因為埋在教練褲襠裡缺氧而臉色發紅，卻更加性感。  E9 Y, p% J' ?% K" K
“教練你硬了。”有體育生朝教練擠眉弄眼，其餘人馬上起鬨。
“操！小逼崽子！老子又不陽痿！”教練瞪起眼睛，“接下來該幹嘛了？”
“舔鸡巴！”隊友們起鬨。" n7 K# i0 p  ^: _4 ~7 }3 n9 y5 n
嚴力興奮起來，一把拉下教練褲子。教練就穿著一條籃球褲，被嚴力一把扯下，教練對著嚴力笑，把握住碩大的鸡巴甩了甩，拍打在嚴力臉上，示意他把嘴裡的內褲吐出來。9 ?$ ^( |! `2 w# |' ^/ `* d" _
“操，教練，又要舔啊！”嚴力吐出內褲，有些鬱悶，“那麼長，吃不下啊。”0 Q5 \" H8 u3 }- t  U. A
“別他媽廢話！”教練把鸡巴往嚴力嘴裡捅。0 F# f, Q9 f- G5 J
嚴力無奈地張開嘴，讓教練把鸡巴捅進來，舌尖不住地舔吮着教練那根傲人的肉棍子，將它浸潤。
“好了！”
教練從嚴力嘴裡抽出鸡巴，已經是一柱擎天，粗粗壯壯的一根硬貨。
“教練鸡巴好大！”6 s6 H6 c2 a% E6 O8 w+ m" r' W
“操力哥！操力哥！”
“都他媽給老子仔細聽著！”教練一聲怒吼，體育生們老實下來，“就算是鸡巴舔濕了，也還是不夠！所以需要擴張！上去趴着！”
嚴力趴在長凳上，用力分開自己雙臀，露出中間的屁眼。
“先進去一根手指，像這樣慢慢插進去轉動……摸索到某個部位，對，看到沒有，他鸡巴跳了一下，找準這個位置慢慢按壓，然後逐漸加多……大概三四根手指就行了，懂了嗎？誰來試試？”: @% Q8 F/ P2 E0 s: n" b
畢竟是操男人，第一次都有些顧忌，所以沒人搭話。8 N! }- C6 F" Z  v% u
“媽的，一群鸡巴大膽子小的慫貨！”教練吐了口唾沫，“誰來！”
“教練，我！”0 ~) Z5 Z6 R* `5 \7 F  X+ g
“陳路就你他媽最積極！”教練讚了一句，“有種！”5 X/ f# r0 N0 Z3 l- P) ^
陳路嘿嘿一笑，竄了過來，在嚴力屁股上狠狠拍了一巴掌。
“嘿嘿，力哥，你第一次是我操的！”: z; E( G) ~6 I6 [) O/ w
“操，老子被教練操了好多次了！”嚴力豎起一根中指，痞笑起來，“你這鸡巴想操老子第一次？門兒都沒有！”
“教練，你怎麼先上了，不公平啊！”陳路喊冤。
“滾你！”教練笑罵道，“還不快點！”
“反正咱隊裡我第一個操你！也賺了！”
陳路剛摸到嚴力屁眼，就感覺到那柔軟的小穴蠕動起來，立刻把手指噗哧一下插進嚴力屁眼，興奮地喊道：“力哥，老子第一回摸你屁眼，裡面真鸡巴緊啊！”$ i3 ?' L/ E" h
“知道爸爸屁眼緊吧？要操老子趕緊操，爸爸鸡巴硬得都流水了知道不？快讓爸爸爽爽！”0 K. N# k; P. k: l( ]
“操！誰他媽是爸爸？兒子鸡巴流水了是不？想要爸爸鸡巴操你？先把你老子鸡巴潤潤！”
陳路亟不可待地扒下訓練短褲，掏出那根在田徑場裹了兩個小時的騷臭鸡巴，塞進了嚴力嘴裡。7 T1 d+ K* o  ~5 Y
“怎麼樣？爸爸鸡巴大不？大就多吃吃！”
嚴力舔得夠了，吐出那根雄壯的鸡巴，痞笑：“這麼小，塞不滿老子屁眼呢！換個大的來！”, P: O' k  D+ R% Z4 h: W' L' h% c
“力哥，再大就只能用棒子捅了！”隊友起鬨，看陳路的笑話。7 m1 ?/ _0 h  ~# [) A
“靠！讓你嘴硬！”
陳路面子上掛不住，一把扯掉鞋襪，把穿了一天的臭襪子塞在嚴力嘴裡，然後抱住嚴力的臀肌，一桿進洞。! z9 H, d6 y1 `
“怎麼樣？爸爸鸡巴大不大？操得兒子爽不爽？”陳路一邊狠狠操乾著嚴力，一邊罵著，“用你後邊的騷洞把爸爸鸡巴好好含着！”" i4 W6 L% i, L" _* }: s
“就你這……小鸡巴，想把爸爸操舒服……呃……”嚴力嘴裡塞着襪子，說話含含糊糊，還在故意夾緊屁眼，想把陳路的精液榨出來。* |) e6 m& `/ N5 _/ F* U
“教練，他鸡巴硬了，要不要給他打飛機？”7 J$ l0 {) R' [  ~; C3 o: r4 n
“打個屁！把他翻過來操！”
“嘿嘿，得令！”- y  V$ {: L. z8 g
陳路立刻把嚴力抱在身上，狠狠往上挺腰，捅進他屁眼的深處。
“狗日的，鸡巴這麼大，被人操硬了！ `
教練的球鞋踩在嚴力鸡巴上，嚴力吐出舌頭，壞笑着看了教練一眼，張開大腿，好讓教練踩住整根鸡巴。: T5 |' j" [. v. u, I8 H8 o1 T1 _
“教練，幫我打腳槍……啊……爽……踩爛老子的大鸡巴……”
“媽的，襪子都塞不住你那張嘴！給老子含着！”
教練一把抽出嚴力嘴裡死死咬住的襪子，把鸡巴捅了進去。% r. s: q" ]5 m% t# v" `& k+ o
“哦……舒服！喝老子屌汁……都喝乾淨……操，你他媽幹什麼！”
不知道什麼時候，嚴力的手指開始在教練屁眼周圍轉來轉去，趁教練沉浸在鸡巴被吮吸的快感中，一把插了進去。/ ^3 s) s. b/ V
嚴力摸過自己屁眼，沒有玩過別人的。教練屁股外面好多毛髮，裡面滾燙，緊緊地吸着他的手指。於是他更加賣力地吮吸着教練的鸡巴，手指在後頭操着教練的屁眼。
過了會兒，嚴力吐出鸡巴，壞笑道：“嘿嘿，教練，要不要舔舔？”
教練猶豫了一下，被自己的隊員舔屁眼有些丟份，但是都是幫搞體育的男爺們兒，爽起來了什麼都不顧，想起嚴力被舔屁眼時的爽樣，也就痛快同意了。! J( f( z5 D- @! p/ G+ v
教練轉過身來，露出臀肌間緊密的小穴，嘴裡威脅道：“媽的，給老子舔爽了！”
“嘿嘿，是！”
嚴力抓住教練飽滿緊壯的臀肌，往教練臀縫間伸出舌頭舔了一下，壞笑道：“教練，你屁眼味道真大！”/ ]- z7 r$ |8 {: ^' ~
“操！”教練臉上有些掛不住，“要舔就舔，廢話那麼多，小心老子加罰你！”6 j& V" o4 A: W& G9 g" d% l9 N6 q
嚴力閉了嘴，倒不是怕加罰，而是現在他全神貫注地把舌尖往教練的屁眼裡伸去，男人的汗味和排泄物的些微味道混合在一起，令他異常興奮。9 B2 E( @# U: g; I
教練微微呻吟起來，呼吸粗重了許多。陳路在後面操着嚴力，問道：“力哥，教練屁眼什麼味兒？”) s) n! ?# ?+ v5 r* q; ^# B' Y& X& ?
“鹹的……啊……操深點……”7 V( H) N5 I& A, R) S4 V# `' X
陳路伸手越過嚴力，握住了教練的鸡巴，頓時叫起來：“操，教練流汁了！”
其實教練早就被舔得爽得不行，鸡巴上騷水滴了一地。每一次嚴力的呼吸噴在屁眼上，都是癢癢的，讓他想要被進入更深。可是嚴力舌尖只有那麼長，每次只能舔進屁眼一點點，陳路這一嗓子，讓他乾脆爆發了。9 ^9 `% q- S$ S
教練低吼一聲，反手握住嚴力的鸡巴就要往屁眼裡插，可是這時候嚴力卻抓住自己的鸡巴，就是不插進去，反而伸手摳住教練屁眼，不讓他坐下來。3 r) D2 o/ p4 |" M* E) O
“教練，你幹啥？”3 I$ D$ K3 r2 K" y' U/ F# i
“我……我想……”教練嚥了口唾沫，然後低聲說道，“我想被你鸡巴操！”/ i/ U  d: O# ?- |
“日！教練，你開玩笑的吧？”嚴力叫起來，“不都是你操我？”
“我……我想試試，感覺蠻爽的。”7 W7 q! e/ g. _
見教練語氣放得蠻低了，嚴力說道：“自己插進去吧。”# g+ r- u+ h0 p1 ^  y# r
教練早就忍不住了，見嚴力答應，掰開自己屁眼，把那根大鸡巴抵住自己的穴口，往下一坐。
“啊！”" r( X$ X, c9 J+ M7 h7 T6 n
教練吼了一嗓子，屁眼裡被撐得滿滿噹噹的，雖然很痛，但是那種被填滿的感覺，卻讓他興奮極了。
“教練你這麼重，我操不動啊。”嚴力捏了捏教練的乳頭，懶洋洋說道。8 M3 M" f8 R  C' @- s2 E
“媽的，耍老子是吧！”教練怒罵，“你他媽有操不動的時候！”7 U! S- R. ]1 q) `' E9 l# L
“那，叫我一聲教練我就操你。”嚴力撓撓胸肌，就是不接茬。7 m  A: D  R- U: b! u
“……”教練沉默了一會兒，然後喊道，“嚴教練。”5 w% O1 }7 Y6 x0 K0 B$ M1 m
“叫我什麼？”, A4 ~7 |" w4 ^; t- {- R$ W' o) j% X
“……嚴教練！”( Q/ K' K& e) L2 d' h! |* w- T
“幹什麼？”/ ?5 h, }7 W, o3 x+ x/ H8 {$ |9 J
“嚴教練操我！”9 _  I& J% i( s4 L8 @
嚴力聽到這句，終於猛烈開動起來，抱住教練得身體，憑藉著精實有力的腰肌和腹肌，狠狠地挺起身，操進教練屁眼深處。而身下的陳路，根本不用自己動了，嚴力每一次抱著教練操，都會從自己鸡巴上離開，就剩個龜頭在裡面，然後再狠狠地吞下，來來回回幾次，比自己動還舒服。8 y. H+ T; U4 u: N, W
“操，力哥，牛逼啊，舒服！”
“更舒服的還在後面呢！”& {- n1 O' F2 U/ h+ u
嚴力抱起教練，直接從陳路身上站起來，雙手分開教練健壯的雙腿，然後蹲在陳路面前，壞笑道：“哈哈，你操不到老子第一次，教練的第一次也被老子操了！”
陳路看著面前的教練，被嚴力用把尿的姿勢抱著，雙腿分開，籃球褲掛在一條腿上，鸡巴跟銅棍一樣高高翹起，淫水流得到處都是。0 t' j# Q; X: t1 q8 }& O
“操，教練，你這樣子真他媽性感！”陳路嚥了口唾沫，不自覺的伸手握住教練的鸡巴，又粗又熱的一根，比自己這幫體育生小子的大多了。5 H6 K$ _' [1 C3 h
“別抓……啊……老子……鸡巴……”教練遮住臉，低聲吼道。
“哈哈，教練，你屁眼都出汁了，”嚴力摸了摸兩個人結合的地方，手上弄得都是白漿，然後對陳路壞笑，“要不要試試？”8 N0 Q# H" l+ m
“媽的，插得進去？”陳路舔舔嘴唇，覺得自己鸡巴快爆炸了。* H' _0 O1 b2 Z% w# }
“老子都能被操進去，教練肯定能行！”嚴力壞笑起來，“試試唄！”
陳路伸出手指，往教練屁眼裡摳進去。教練窄小的處男穴被嚴力屁眼塞着，滿滿噹噹的，連屁眼裡的淫汁都漏不出來，可是架不住陳路蠻幹，竟然真的把手指插了兩根進去。% D8 n0 X# c* m$ l6 ~; N) W
“操，教練，你這麼壯，屁眼裡怎麼這麼嫩！”' K! [3 f  r2 Z& _5 a
“我操,你們兩個小逼崽子……”" b1 N: Y* ]4 X% ]2 @: _: b# \* x8 }
“教練，想不想試試？”嚴力在教練耳邊誘惑道，“我和陳路兩根大鸡巴插進你屁眼哦？”% g# [' p1 k3 S3 |
“你媽逼……”教練的聲音小了下去。
嚴力把鸡巴抽出來，粗大的手指插進教練屁眼，然後用力往兩邊分開，露出鮮紅的腸肉。教練的腹肌頓時收緊，喉嚨裡低吼一聲。( A0 p/ s9 ?/ o1 b
陳路把自己的鸡巴和嚴力的鸡巴並在一起，兩根粗壯的鸡巴上，都沾滿了腸液，散發着淫靡的光澤，然後朝教練被掰開的屁眼用力插了進去。# g+ J- w( U- o3 g
“啊！”+ m: C; a& i; ~4 C
教練咆哮一聲，兩根粗壯的鸡巴捅進來，幾乎讓他腦子空白了一瞬，然後是撕裂般的疼痛。
“操！快給老子拔出來！”
嚴力和陳路都沒有說話，教練抬起頭來，發現隊員們用驚訝的眼神看著自己。% g  ]+ D) g* S0 L5 m' @
“教練，你剛才那一下，臥槽，牛逼啊！”" Z: w7 M' Q6 s0 `
什麼東西？$ q7 d5 d% O* t) y
教練低頭，才發現自己腹肌上全是白花花的粘稠精液，還有透明的液體。
“男人也會潮吹啊！”陳路抹了一把教練的精液放進嘴裡，“呸，真他媽腥！”' p0 X" S( p$ {, |* o  M& d
陳路把教練的雙腿扛在肩膀上，和嚴力一起用力，將教練抱了起來，站起身操着，三人結合的部位，淫汁一直流在地上。- P9 o7 V* ]5 i" D# }5 S7 x; I
“媽的，老子受不了了！”: E4 Z* [% i: W9 w: ^" l, _/ R
有隊員吼了一嗓子，扯下褲子，挺起堅硬的鸡巴，朝嚴力走過去。
嚴力痞痞一笑，一隻手在自己臀大肌上拍了一下，說道：“來！”
伴隨着四周漸漸起伏的喘息，更衣室裡空氣彷彿被煮沸，年輕雄性的低吼和呻吟在不大的空間迴蕩着。這一晚，注定是體育生們愉悅的巔峰.


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