Blackwing Point Guard Pencil Cap – Matte Black
Blackwing Point Guard Pencil Cap – Matte Black | JetPens
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|Description||Specifications||Questions & Answers|
Use this high-quality machined aluminum pencil cap to protect your pencils and keep them from marking up the inside of your pocket or pencil case. It is specifically designed to compliment the shape and style of Blackwing pencils, but it is compatible with most ordinary wooden pencils too. When used on a sharpened pencil, this cap adds about 1.5 cm to the overall length of the pencil.Compare Colors & Sizes
|Model Number||BLACKWING 105353|
|Diameter – Max||10. 7 mm|
|Quantity in Pack||1|
|Size – Length||5.0 cm / 2.0 inches|
|Weight – Item Without Packaging i
For a product that contains more than one of the same item, this is the weight of one single item.
|0.20 oz / 6 grams|
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This item: Blackwing Point Guard Pencil Cap – Matte Black – $9.95
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March 4, 2021
It looks nice but has a hard time staying on and coming off during travel
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Very happy. Looks great…
August 14, 2020
Very happy. Looks great on my Bauhaus Blackwings. A bit pricey but packaged well
and worth it.
2 people found this helpful
It does what it should…
October 12, 2020
It does what it should and looks good doing it.
2 people found this helpful
Perfect fit. Just what…
August 28, 2021
Perfect fit. Just what I need for my work bag
Cool little gizmo. Does…
August 24, 2021
Cool little gizmo. Does what it says and looks good doing it. Where was this in
Touch-up pencil Porsche 80K Guards Red (12ml) – Lackstift-Shop
Touch-up pencil Porsche 80K, colour guards red for the reperation of small scratches, caused bystone-chips, inattentive people, etc. When using a metalic laquer, we recommend the usage of a clear paint to guarantee a high gloss.
The Porsche paint colour 80K guards red was painted 1987 – 2002. It is perfectly suited for the reperation of small scratches.
Quality and Properties
- Epoxy quality
- Resistant to solvents, petrol and chemicals
- Increased UV protection
- Tough, very hard surface
- Very efficient
- High gloss
Physical and Chemical Data
- Drying time (at 20C, 50% relative air humidity):
Dust-dry: after approx. 30 minutes
Non-sticky: after approx. 2 hours
Dry to touch: after approx. 8 hours
Can be polished: after approx. 24 hours
Cured: after approx. 24 hours
The drying time depends on surrounding temperature, air humidity and thickness of the applied coat.
- Temperature-resistant: up to 100C
- Storage stability:
24 months if appropriate storage provided (=10-25C, relative air humidity max. 60%).
- Disposal: Put only empty cans into the recycling bin. Bring cans with remainders of paint to the special refuse disposal.
- Size: 12 ml
- Derust damaged area with Rust Converter.
- When there is bare metall, we recoment a primer:
- Shake theTouch-up pencil Porsche 80K, colour guards red till you hear the noise of the mixing balls. In order to mix the paint pigments in the lacquer well, you should shake for approx. 2 – 3 minutes. If you use 2-coat clear lacquer (without mixing balls) 1 minute is sufficient.
- To fill small scratches, apply 2 – 3 caots (in intervals of approx. 20 minutes): slightly wipe off the brush so it does not drop, then generously fill the scratch. Slight scratches should be filled as thin and narrow as possible,in order to avoid that you enlarge the damage. After approx. 20 minutes drying time, metallic paints should be coated with a clear lacquer, in order to protect the metallic particles from weathering influences.
Horse Guards Parade, by Frederick Farrell, (1882-1935), etching, signed in pencil and blindstamp to lower margin, plate size 25 x 35cm (10 x 14ins), framed and glazed. by Frederick Farrell (1882-1935): First Edition., Signed by Author Art / Print / Poster
Published by Frederick Farrell
Art / Print / Poster
About this Item
Horse Guards Parade, by Frederick Farrell, (Glasgow 1882-1935), etching, signed in pencil and blindstamp to lower margin, plate size 25 x 35cm (10 x 14ins), framed and glazed. In Fine condition. Seller Inventory # 104153
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Title: Horse Guards Parade, by Frederick Farrell, (…
Publisher: Frederick Farrell
Book Condition: Fine
Dust Jacket Condition: No Jacket
Signed: Signed by Author
Edition: First Edition.
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Justice Sotomayor Discusses Grim Facts of James Calvert Case
Associate Justice Sonia Sotomayor sits during a group photo of the Justices at the Supreme Court in Washington, DC on April 23, 2021.
Supreme Court Justice Sonia Sotomayor penned a statement related to an order denying certioari on Monday in a death penalty case involving the courtroom recollection of a grim but ultimately irrelevant story about a pencil that was jammed into a prison guard’s eye.
“James Calvert was convicted in Texas of murdering his ex-wife,” the justice’s account of the sentencing begins. “At sentencing, the State called David Logan, a former corrections officer. Logan testified in detail about an incident in which an inmate stabbed him in the eye with a pencil, leaving him blind in that eye. The State introduced a medical scan showing that the pencil traveled four inches into Logan’s brain before coming to rest against an artery. Logan was unsure why the inmate attacked him, but testified that if an inmate ‘has it on his mind to hurt you, there’s nothing you can do.’”
“You may be asking what Calvert had to do with this gruesome incident,” the left-wing justice notes. “The answer is nothing.”
Sotomayor goes on to explain:
The State nonetheless argued that Logan’s testimony and brain scan were admissible because they revealed “an inmate’s opportunity for violence within the penitentiary.” “Do you think they can be controlled in the pen, these inmates?” the State rhetorically asked the jury in its closing argument. “Then you tell me why David Logan got a pencil stabbed into his brain.” “Because of what happened to [Logan],” the State argued, Calvert “should get the death penalty.” At the jury’s recommendation, the trial court sentenced Calvert to death.
The case stylized as Calvert v. Texas asks the court to answer the novel question of whether introducing evidence about another inmate’s attack was in violation of the constitutional right to individualized sentencing guaranteed by the Eighth Amendment.
“In my view, Calvert raises a serious argument that the State’s reliance on a graphic instance of violence by an unrelated inmate to prove that he posed a future danger deprived him of his right to an individualized sentencing,” the justice says.
The court, however, declined to grant Calvert’s petition for writ for certiorari–something Sotomayor says she doesn’t necessarily disagree with because the case doesn’t implicate the procedural and jurisprudential considerations governing review in Rule 10.
“The legal question Calvert presents is complex and would benefit from further percolation in the lower courts prior to this Court granting review,” the left-wing justice argues. “Certainly, the law is not clear enough to warrant this Court summarily reversing the Texas Court of Criminal Appeals, as Calvert requests.”
While the jurisprudential reasoning that the nation’s high court uses when selecting cases for review forecloses against taking on Calvert’s case for now, Sotomayor insists, the legal merits of his case appear to be strong and the facts are decidedly appalling.
The justice’s statement notes:
[T]he gruesome attack on Officer Logan “had no connection” to Calvert. Indeed, the State introduced no evidence that Calvert ‘had attempted to attack or physically injure anyone” while incarcerated. The State asked the jury to sentence Calvert to death in part because of a different person’s violent conduct that had nothing to do with Calvert. It succeeded. Although this case does not meet this Court’s traditional criteria for certiorari, it still stands as a grim reminder that courts should rigorously scrutinize how States prove that a person should face the ultimate penalty.
“Juries must have a clear view of the ‘uniquely individual human beings’ they are sentencing to death, not one tainted by irrelevant facts about other people’s crimes,” Sotomayor continues. “The Constitution and basic principles of justice require nothing less.”
And one particularly unsettling detail about the human being at stake looms large in the Calvert case.
Sotomayor notes, in a lengthy footnote:
Calvert raises another claim based on courtroom deputies administering a 50,000-volt electric shock to him because of his failure to follow the court’s rule that he stand when addressing the court. While the Texas Court of Criminal Appeals agreed with Calvert that the incident violated due process, it denied relief, concluding that the error was not structural because it occurred outside of the presence of the jury and did not affect Calvert’s presumption of innocence or ability to participate in his defense at trial. Although it may be appropriate for this Court to defer to the lower court’s factbound prejudice determination, I underscore how astonishing it is for a court to direct deputies to shock a defendant during trial. If there could ever be an excuse for such violence, enforcing courtroom decorum would not be it.
The justice also looks beyond the three distinct claims raised by Calvert (he also alleged the initial introduction was in violation of Texas law; the Texas court agreed with him but said the error didn’t actually harm him) and suggested that there may be a valid due process claim as well.
“The Court’s decision today should not be viewed as a rejection of the merits of that potential claim,” Sotomayor noted, well aware that Calvert’s defense attorneys are likely to take her advice under consideration.
[Image via Erin Schaff-Pool/Getty Images]
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Woodwind Instrumentation Codes
Following many of the titles in our Wind Ensemble catalog, you will see a set of numbers enclosed in square brackets, as in this example:
Quintet in Bb [1011-1 w/piano]
The bracketed numbers tell you the precise instrumentation of the ensemble. The first number stands for Flute, the second for Oboe, the third for Clarinet, the fourth for Bassoon, and the fifth (separated from the woodwinds by a dash) is for Horn. Any additional instruments (Piano in this example) are indicated by “w/” (meaning “with”) or by using a plus sign.
Flute Oboe Clarinet Bassoon — Horn
This woodwind quartet is for 1 Flute, no Oboe, 1 Clarinet, 1 Bassoon, 1 Horn and Piano.
Sometimes there are instruments in the ensemble other than those shown above. These are linked to their respective principal instruments with either a “d” if the same player doubles the instrument, or a “+” if an extra player is required. Whenever this occurs, we will separate the first four digits with commas for clarity. Thus a double reed quartet of 2 oboes, english horn and bassoon will look like this:
Note the “2+1” portion means “2 oboes plus english horn”
Titles with no bracketed numbers are assumed to use “Standard Instrumentation.” The following is considered to be Standard Instrumentation:
- Duo – Flute & Clarinet – or [1010-0]
- Trio – Flute, Oboe & Clarinet – or [1110-0]
- Quartet – Flute, Oboe, Clarinet & Bassoon – or [1111-0]
- Quintet – Flute, Oboe, Clarinet, Bassoon & Horn – [or 1111-1]
Brass Instrumentation Codes
Following many of the titles in our Brass Ensemble catalog, you will see a set of five numbers enclosed in square brackets, as in this example:
Fanfare for the Common Man [343. 01 w/tympani]
The bracketed numbers tell you how many of each instrument are in the ensemble. The first number stands for Trumpet, the second for Horn, the third for Trombone, the fourth (separated from the first three by a dot) for Euphonium and the fifth for Tuba. Any additional instruments (Tympani in this example) are indicated by a “w/” (meaning “with”) or by using a plus sign.
Trumpet Horn Trombone . Euphonium Tuba
Thus, the Copland Fanfare shown above is for 3 Trumpets, 4 Horns, 3 Trombones, no Euphonium, 1 Tuba and Tympani. There is no separate number for Bass Trombone, but it can generally be assumed that if there are multiple Trombone parts, the lowest part can/should be performed on Bass Trombone.
Titles listed in our catalog without bracketed numbers are assumed to use “Standard Instrumentation. ” The following is considered to be Standard Instrumentation:
- Brass Duo – Trumpet & Trombone, or [101.00]
- Brass Trio – Trumpet, Horn & Trombone, or [111.00]
- Brass Quartet – 2 Trumpets, Horn & Trombone, or [211.00]
- Brass Quintet – 2 Trumpets, Horn, Trombone & Tuba, or [211.01]
- Brass Sextet and greater – No Standard Instrumentaion
People often ask us about “PJBE” or “Philip Jones” instrumentation. This is a special instrumentation adopted and perfected by the Philip Jones Brass Ensemble. It consists of the forces 414.01, and often includes Percussion and/or Tympani. In addition, there are often doublings in the Trumpet section
– Piccolo and Flugelhorn being the most common. While this instrumentation has come to be common, it is still not “Standard” as many Brass Dectets use very different forces, most often with more Horns than PJBE.
String Instrumentation Codes
Following many of the titles in our String Ensemble catalog, you will see a set of four numbers enclosed in square brackets, as in this example:
Vance’s Dance 
These numbers tell you how many of each instrument are in the ensemble. The first number stands for Violin, the second for Viola, the third for Cello, and the fourth for Double Bass. Thus, this string quartet is for 2 Violas and 2 Cellos, rather than the usual 2110.
Titles with no bracketed numbers are assumed to use “Standard Instrumentation.” The following is considered to be Standard Instrumentation:
- String Duo – Viola & Viola – 
- String Trio – Violin, Viola, Cello – 
- String Quartet – 2 Violins, Viola, Cello – 
- String Quintet – 2 Violins, Viola, Cello, Bass – 
Orchestra & Band Instrumentation Codes
Following some titles in our Orchestra & Band catalogs, you will see a numeric code enclosed in square brackets, as in these examples:
Symphony No 1 in C, op 21
[2,2,2,2-2,2,0,0, tymp, 44322]
Wind Band Overture
[2+1,1,3+ac+bc,2,SATB-2+2,4,3+1,1, tymp, percussion, double bass]
Hines Pond Fantasy (DePaolo)
[2d1+1,1,2+1,1-2,2(+2),3,0, perc, tymp, 44322, Eb clarinet, SAATB saxes, trombone solo]
The bracketed numbers tell you the precise instrumentation of the ensemble. The system used above is standard in the orchestra music field. The first set of numbers (before the dash) represent the Woodwinds. The set of numbers after the dash represent the Brass. Percussion is abbreviated following the brass. Strings are represented with a series of five digits representing the quantity of each part (first violin, second violin, viola, cello, bass). Other Required and Solo parts follow the strings:
Woodwinds—Brass, Percussion, Strings, Other
Principal auxilary instruments (piccolo, english horn, bass clarinet, contrabassoon, wagner tuba, cornet & euphonium) are linked to their respective instruments with either a “d” if the same player doubles the auxiliary instrument, or a “+” if an extra player is required. Instruments shown in parenthesis are optional and may be omitted.
Example 1 – Beethoven:
[2,2,2,2-2,2,0,0, tymp, 44322]
The Beethoven example is typical of much Classical and early Romantic fare. In this case, the winds are all doubled (2 flutes, 2 oboes, 2 clarinets and 2 bassoons), and there are two each horns and trumpets. There is no low brass. There is tympani. Strings are a standard 44322 configuration (4 first violin, 4 second violin, 3 viola, 2 cello, 2 bass). Sometimes strings are simply listed as “str,” which means 44322 strings.
Example 2 – Jones: (concert band/wind ensemble example)
[2+1,1,3+ac+bc,2,SAATB-2+2,4,3+1,1, tymp, percussion, double bass]
The second example is common for a concert band or wind ensemble piece. This ficticious work is for 2 flutes (plus piccolo), 1 oboe, 3 clarinets plus alto and bass clarinets, 2 bassoons, 5 saxes (soprano, 2 altos, tenor & bari), 2 trumpets (plus 2 cornets), 3 trombones, euphonium, tuba, tympani, percussion and double bass. Note the inclusion of the saxes after bassoon for this band work. Note also that the separate euphonium part is attached to trombone with a plus sign. For orchestral music, saxes are at the end (see Saxophones below. It is highly typical of band sets to have multiple copies of parts, especially flute, clarinet, sax, trumpet, trombone & percussion. Multiples, if any, are not shown in this system. The numbers represent only distinct parts, not the number of copies of a part.
Example 3 – MacKenzie: (a fictional work, by the way).
[2d1+1,1,2+1,1-2,2(+2),3,0, perc, tymp, 66432, Eb clarinet, SAATB saxes, trombone solo]
In the third example, we have a rather extreme use of the system. It is an orchestral work for piccolo, 2 flutes (1 of whom doubles on piccolo), 1 oboe, 2 clarinets plus an additional bass clarinet, 1 bassoon, 2 horns, 2 trumpets (plus an optional 2 cornets), 3 trombones, no tuba, percussion, tympani, 6 first violins, 6 second violins, 4 violas, 3 cellos, 2 double basses, Eb clarinet (as an additional chair, not doubled), 5 saxes (soprano, 2 alto, tenor & baritone) & a trombone soloist.
Note: This system lists Horn before Trumpet. This is standard orchestral nomenclature. Unless otherwise noted, we will use this system for both orchestra and band works (in most band scores, Trumpet precedes Horn, and sometimes Oboe & Bassoon follow Clarinet). Also, it should be noted that Euphonium can be doubled by either Trombone or Tuba. Typically, orchestra scores have the tuba linked to euphonium, but it does happen where Trombone is the principal instead.
Saxophones, when included in orchestral music (they rarely are) will be shown in the “other instrument” location after strings and before the soloist, if any. However for band music, they are commonly present and therefore will be indicated after bassoon as something similar to “SAATB” where S=soprano, A=alto, T=tenor and B=baritone. Letters that are duplicated (as in A in this example) indicate multiple parts.
And finally, here is one more way to visualize the above code sequence:
- Flute (doubles or with additional Piccolo)
- Oboe (doubles or with additional English Horn)
- Clarinet (doubles or with additional Bass Clarinet)
- Bassoon (doubles or with additional Contrabassoon)
- Saxophones (band music only, showing SATB voicing)
- – (dash)
- Horn (doubles or with additional Wagner Tuba)
- Trumpet (doubles or with additional Cornet)
- Trombone (doubles or with additional Euphonium)
- Tuba (doubles or with additional Euphonium)
- Strings (1st & 2nd Violin, Viola, Cello, Bass)
- Other Required Parts
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Jiangsu Kelin Police Equipment Manufacturing Co., Ltd. Was founded in 1993. We have two brands -“Kelin”, “Kobay”, three production bases. The office and production area is over 50, 000 square meters. We have a staff of 3, 200 people, and our annual production capacity is over 10 million pieces. 200 people of our staff are working for R&D, designing and brand operation. With our virtue of rich production experience, technical capacity, exquisite production, inspection equipment, advanced production and processing technology, our company can provide customers with an overall series of professional services including product design, production and OEM processing.
“Kelin” series products mainly include over ten series and more than 300 varieties of police equipment and safety protection products. Such as individual police equipment series, bulletproof series, anti-riot series, criminal investigation series, stun guns, police flashlight, pepper sprays, anti-riot shields, bullet proof helmets, anti-riot suits, handcuffs, tactical vests, etc.
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Deco, Edwardian, and Victorian propelling pencils
In the early 1920s, pencils suddenly began to look very much like the hugely successful Wahl-Eversharp ring-top and full-size (with clip) gold-filled pencils. Eversharp’s industry dominance also produced the first standardization of mechanical pencil leads in “thin” and “thick” sizes, with the thick size (.046″ [approx. 1.15mm]) being more common than the thin (.036″ [approx .9mm]).
A full-size (5 1/4″) Wahl-Eversharp pencil with clip, in the attractive “Console” pattern. A very nice example of a Wahl-Eversharp Ringtop, in vermeil straight and ripple line panel pattern.A rosewood-patterned hard rubber Wahl-Eversharp ring top.A Simmons Eversharp-style ring-top pencil with bands of gold-plated and machine-pattern gold-filled sections.An unbranded Edwardian ring-top pencil with machined gold-filled and black enamel bands.
A Wahl-Eversharp has an inside sleeve with a moving expeller connected to a sideways-protruding slide that has a few grooves in it. These grooves interface with rifling in the interior of the barrel, allowing you to twist the back crown piece to expel the lead. To retract the lead, you twist the crown in reverse and then push the lead back in by pushing down against a table.
Interior mechanism with expelling rod and rifling-engaging slider.
To refill the lead, you retract the expeller, pull out the interior mechanism, and then put a new lead on the end, against the retracted expeller.
New lead in place.
Then re-insert the interior mechanism and turn until the lead advances through the nozzle.
Many of these pencils also have erasers under the end crown—the crown is friction-fit over the eraser end, and just pulls off.
Eversharp pencil with eraser exposed.
Some Wahl-Eversharps and similar Edwardian pencils also have a storage chamber for spare leads. This is accessed by unscrewing the crown/eraser from the back end of the mechanism.
Spare leads in a Wahl-Eversharp.
Before Eversharp standardized the market, there were a number of different common designs. One common kind is a “gravity pencil,” “drop pencil,” or “slider pencil.” These are metal, often silver, and are basically holders for wooden pencils. The sliders advance or retract the pencil using (you guessed it) a slider, while gravity/drop pencils have a button that releases an internal slider that moves by (you guessed it) just dropping out by gravity. The wooden pencils are thinner than standard pencils today, and have brass-threaded ferrules, and I haven’t yet found a place to get refills
Another common kind is the “magic pencil,” which projects and retracts the pencil nozzle by pulling the ring from the back. When retracted, it looks like a simple pendant. Depending on when they were made, magic pencils may be in geometric art deco styles or ornate art nouveau repoussé patterns.
An unbranded gold-filled and black hard rubber magic pencil, 4 3/4″ extended.An unbranded gold-filled and black hard rubber magic pencil, only 2.5″ retracted.
Early Victorian pencils were sometimes very small, and worn on chatelaines, along with other small tools and trinkets, like scissors, sewing tools, and perfume bottles. These were sometimes “magic pencils” and sometimes had sliding propeller bands.
Victorian chatelaine magic pencil, 3.5″ extended.Victorian chatelaine magic pencil, 2″ retracted.Victorian chatelaine pencil with slider, 2 3/4″ extended.Victorian chatelaine pencil with slider, 2 1/4″ retracted.
Besides the magic pencils and the tiny chatelaines, another common style of Victorian mechanical pencils is a jewel-ended all-metal retractable pencil with a hexagonal shaft. Some have sliding side-rings, and would be worn by women on either a chatelaine or on 48″ long chains with sliders, called guard chains, muff chains, or sautoirs. They’re gold-filled brass, but seem to be rarely hallmarked—10K gold-filled seems to be most common.
Some of these may have real gems, especially those with opaque or semi-opaque gems. All the ones I’ve seen with clear jewels are probably foil-backed paste jewels. Paste jewels are leaded glass, and can be very bright and attractive, but the foil back is often discolored, presumably because it’s gotten wet at some point. A jeweler I work with informs me that taking it out and cleaning it isn’t a real option—once it’s out, the foil back can’t really be restored.
Not sure what stone this is. Could be howlite.This is very typical of jewel-ends in worse condition. The citrine-like paste gem has turned cloudy and green as age and moisture has damaged the foil back.This is an excellent quality citrine or “citrine” jewel.An excellent amethyst or “amethyst” jewel end.
They come in a variety of sizes. I’ve seen them from 2″ to 3 3/8″ retracted; 2 3/4″ to 4″ extended. The very smallest that I’ve worked with used lead that was just slightly thinner than . 9mm, and .9mm Pentel lead could be inserted slowly, shaving just a bit off the side as it was put in. All the others I’ve worked with have taken .040″ (1.02mm) leads, which is hard to find. The Legendary Lead Company is the only place I know selling them, and I recommend them highly.
The right lead size matters a lot with these. The lead is friction-fit only, so if it’s not just right, it either won’t fit in, or it’ll just fall out. The lead is expelled using a brass rod. To advance the lead, you turn the nozzle clockwise as it faces you—the “wrong” way. To repel the lead, you turn the nozzle counter-clockwise as it faces you to retract the brass rod, and then push the tip against the table to push the lead back in.
This is the fully extended brass expeller rod, exposed by removing the nozzle end.
To load the pencil, if the lead fits just right, you can turn the nozzle counter-clockwise to retract the rod completely, insert the lead as far as it will go, and then break off the excess. If it’s just a tiny bit bit too loose, you can gently squeeze the very tip of the pencil to bend the metal into a very slight oval. If the lead is a tiny bit too tight, you may be able to get it to fit while shaving just a bit off as you insert the lead, but this is best done from the inside in order to avoid deforming the slightly malleable tip.
To load lead from the inside, unscrew the front end of the nozzle by turning it counter-clockwise as it faces you. Retract the rod, and then put the lead through the back end of the front part of the nozzle. Screw it back on, push the lead in as far as it’ll go, and break off the excess.
Lead inserted before replacing nozzle end and breaking off excess.
I’ve never read this anywhere, but it seems to me like these are designed to store lead as well. The pencil should be able to hold about half of a then-standard 1.5″ long lead. When you break off the excess, it fits just right into the back of the pencil, in a little spot under the jeweled end-cap.
Lead storage? It works that way, at least.90,000 Lego – Building and finishing materials! Everything for home and summer residence, tandoor
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Trade and production base of building materials: price, prices.
On the website of the Lego Trade and Production Base, you can familiarize yourself with the price list for each category of goods simply by clicking on the link. We offer our customers high quality products at the best prices. If you need to buy building materials in Volgodonsk, use the services of the Lego trade and production base. Shop without seriously damaging your wallet.
Products of excellent quality – from proven domestic manufacturers and well-known foreign brands on the Russian market.
Phone Screen Protectors | pigu.lt
Each of us wants to have a phone that would delight with its functions, but the beautiful design also adds additional attractiveness when choosing this product. Have you got a new mobile and want to enjoy its unchanged appearance for a long time? Then it is important to take care of proper screen protection! Screen protectors for phones are one of the easiest ways to protect your mobile from various scratches. No matter how hard you try to avoid them, in the end we notice a couple of scratches on the screen, which do not add attractiveness over time, especially when the phone is increasingly becoming not only a necessity, but also a certain detail of the image.A protective film for your phone allows you to avoid them, but at the same time does not affect the aesthetic appearance of the phone and its convenient use, so you can continue to enjoy all the functions of the device and the unchanged appearance of the screen without any scratches. The price of screen protectors for phones corresponds to the quality, but still the most important step in this matter is sticking a screen protector for phones. This business requires a lot of care, but in fact anyone can do it – it’s enough to know that unwanted bubbles on the screen are formed due to dust, so the protective film for the phone should be glued in a more humid room, and when performing this action, it is important not to touch her fingers.A few precise movements and the screen of your phone will be protected, and if necessary, you can quickly replace the old film with a new one. For those who are pondering what should be a screen protector for a phone, reviews and additional information about the product will help you find the most suitable option. For those who seek even greater protection, special protective glass is also suitable, it will be even easier to stick it on, so it remains only to assess your needs. Samsung phone screen protectors or third-party products are sold in the Pigu online store. lt – we invite you to familiarize yourself with the range of products and choose what suits you. Here, protective films are sold at an attractive price, and the ability to order them on the Internet allows you to save not only additional funds, but also time – it is often not enough for each of us. Just a few clicks and high-quality screen protectors for phones will be at your home, while you can devote time not wasted on shopping trips to people dear to you, work or just communication.
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