How It's Made (2001–…): Season 5, Episode 5 - Ambulances/Dining Room Tables/Diatonic Accordians/Acrylic Awards - full transcript


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Narrator: TODAY ON
"HOW IT'S MADE"...

AMBULANCES...

...DINING ROOM TABLES...

...DIATONIC ACCORDIONS...

AND ACRYLIC AWARDS.

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HISTORIANS BELIEVE
THE NOTION OF AMBULANCE SERVICE

GREW OUT OF
THE 11th-CENTURY CRUSADES,

WHEN THE KNIGHTS OF ST. JOHN

TRANSPORTED WOUNDED SOLDIERS
TO TREATMENT TENTS.

TODAY'S AMBULANCE TECHNICIANS
AND PARAMEDICS

CARRY ON THAT TRADITION
IN STATE-OF-THE-ART AMBULANCES

EQUIPPED TO PROVIDE LIFESAVING
CARE EN ROUTE TO A HOSPITAL.

THERE ARE THREE TYPES
OF VEHICLES

COMMONLY TRANSFORMED
INTO AMBULANCES --

MINIVANS, TRUCKS
WITH A CLOSED DRIVER'S CAB,

AND TRUCKS WITH AN OPENING
BETWEEN THE DRIVER'S CAB

AND THE BACK STORAGE AREA,
LIKE THIS MODEL.

THE MOST IMPORTANT
STRUCTURAL ADDITION

IS A STABILIZATION BAR
TO DIMINISH ROCKING

WHEN THE VEHICLE
IS RACING AT HIGH SPEED.

OTHERWISE,
IT'S MOSTLY A QUESTION

OF RETROFITTING
A REGULAR VEHICLE

TO GIVE IT THE FEATURES
AN AMBULANCE NEEDS.

WORKERS BEGIN
BY CUTTING A HOLE IN THE ROOF.

THIS ALLOWS THEM TO INSTALL
A RAISED, AERODYNAMIC ROOF.

THE ANGLE OF THE NEW ROOF
LESSENS AIR RESISTANCE,

ENABLING THE AMBULANCE
TO RUN MORE EFFICIENTLY

WITH MORE CONTROL.

INSIDE, MEANWHILE, THEY INSTALL
FIBERGLASS INSULATION PANELS

WITH A FIREPROOF METAL SURFACE.

THIS INSULATION KEEPS THE
MEDICAL AREA WARM IN THE WINTER

AND COOL IN THE SUMMER.

WORKERS AFFIX THE RAISED ROOF
WITH ADHESIVE CAULKING.

THE ROOF HAS INTEGRATED LIGHTS.

PROTRUDING LIGHTS
WOULD RUIN THE STREAMLINE.

WORKERS MEASURE CAREFULLY

TO ENSURE THEY CENTER THE ROOF
PERFECTLY.

NOW THEY SPRAY GLUE
ON THE BACK OF SHEET VINYL.

THIS HIGHLY DURABLE
ANTIBACTERIAL FLOORING

GOES ON TOP
OF A PLYWOOD SUBFLOOR

THEY'VE INSTALLED ON TOP
OF THE TRUCK'S ALUMINUM FLOOR.

NOW FOR THE ELECTRICAL SYSTEM.

THEY START BY REPLACING
THE TRUCK'S ORIGINAL GRILL

WITH AN AMBULANCE GRILL
THAT INCORPORATES LIGHTS,

A SIREN, AND LOUDSPEAKERS.

THE TRUCK COMES EQUIPPED
FROM THE AUTOMOTIVE PLANT

WITH CERTAIN OPTIONS DESIGNED
FOR CONVERSION TO AN AMBULANCE.

FOR INSTANCE, INSTEAD
OF TWO REGULAR BATTERIES,

THE TRUCK
TAKES FOUR BATTERIES --

TWO TO POWER
THE TRUCK ACCESSORIES,

THE OTHER TWO TO POWER
THE EQUIPMENT IN THE BACK.

NOW THEY ASSEMBLE
THE FRONT CONSOLE --

AN ARRAY OF BUTTONS AND SWITCHES

THAT CONTROL
ALL THE NONMEDICAL EQUIPMENT,

SUCH AS THE EMERGENCY LIGHTS,
THE SIREN, AND THE HEADLIGHTS.

THERE'S ALSO
A BATTERY-LIFE INDICATOR

AND OTHER SYSTEM GAUGES.

ONCE ASSEMBLED,
THE CONSOLE GOES INTO THE DASH,

AND WORKERS TEST EVERYTHING OUT.

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THE HEATING
AND AIR-CONDITIONING SYSTEMS

IN THE ORIGINAL TRUCK
AREN'T STRONG ENOUGH,

SO THE AMBULANCE FACTORY
ADDS AN EXTRA SYSTEM OF EACH

TO WORK IN TANDEM
WITH THE EXISTING SYSTEMS.

THE FRAME OF THE MEDICAL CABINET
IS MADE OF ALUMINUM --

A METAL THAT'S LIGHTWEIGHT

AND, THEREFORE,
WON'T WEIGH DOWN THE VEHICLE.

THE CABINET SHELVING IS MADE
OF EITHER PLASTIC OR FIBERGLASS.

IT'S MOLDED TO THE CONTOUR
OF THE VEHICLE,

MAXIMIZING STORAGE SPACE.

AFTER INSTALLING THE SUCTION
AND OXYGEN SYSTEMS,

ELECTRICIANS RUN THE WIRES
FOR THE CABINET LIGHTING.

ONCE THE MAIN
ELECTRICAL PANEL IS IN PLACE,

THEY CAN MOUNT THE CABINET AND
HOOK UP THE OXYGEN EQUIPMENT,

THE SUCTION MACHINE,
AND THE LIGHTING.

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A DIVIDER BETWEEN THE CAB
AND THE BACK

GIVES THE PATIENT PRIVACY.

VINYL-COVERED FOAM PADDING
ON THE CEILING

PROTECTS AMBULANCE WORKERS'
HEADS WHEN THE VEHICLE JERKS.

THIS AMBULANCE MODEL
HAS ROTATING LIGHTS.

THE RED COVER, CALLED THE LENS,

IS MADE OF
VIRTUALLY UNBREAKABLE PLASTIC

SO THAT IT DOESN'T CRACK
FROM THE AIR PRESSURE

WHEN THE AMBULANCE IS SPEEDING.

THE MEDICAL AREA
HAS A SWIVEL CHAIR

POSITIONED WHERE
THE PATIENT'S HEAD WILL BE.

WITHIN REACH OF THE CHAIR
IS THE SUCTION MACHINE.

THE FACTORY THOROUGHLY TESTS IT,

ALONG WITH
ALL OTHER MEDICAL EQUIPMENT.

A SAFETY NET
BY THE THREE-SEATER SQUAD BENCH

PROTECTS THE CREW SHOULD THE
AMBULANCE COME TO A SUDDEN STOP.

THIS MECHANISM
HOLDS THE STRETCHER IN PLACE

WHILE THE AMBULANCE IS MOVING.

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THE STRETCHER SIMPLY LOCKS IN,

KEEPING THE PATIENT
SAFELY IMMOBILE

UNTIL THE AMBULANCE
REACHES THE HOSPITAL.

Narrator: THERE WAS A TIME
WHEN THE DINING ROOM

WAS FOR FORMAL DINING ONLY,

AND THE STYLE OF DINING-ROOM
FURNITURE REFLECTED THAT.

NOT ANYMORE.

TODAY'S DINING-ROOM SETS COME IN
BOTH ELEGANT AND CASUAL STYLES,

AND THERE'S SOMETHING
TO SUIT EVERY DECOR,

FROM CONTEMPORARY TO COUNTRY,
FROM TRADITIONAL TO ULTRAMODERN.

THIS FACTORY MAKES
CASUAL DINING-ROOM FURNITURE.

IT USES ONLY DURABLE HARDWOODS,
SUCH AS BIRCH AND BEECH.

IT BUYS THE PARTS PREMADE
FROM A SUPPLIER.

THE WORKERS HERE
ASSEMBLE THE PIECES

AND FINISH THE FURNITURE TO
THE CUSTOMERS' SPECIFICATIONS.

WE'RE GOING TO SEE
HOW THEY MAKE TABLES.

THE PARTS ARRIVE ALREADY SANDED,

BUT THEY STILL
GO THROUGH A MACHINE

THAT GIVES THEM
AN ADDITIONAL FINE SANDING.

THIS PREPARES THE WOOD
FOR STAINING.

WORKERS SAND THE SOLID-WOOD
PARTS FOR THE APRON BY HAND.

THE APRON WILL GO
JUST UNDER THE TABLETOP.

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WORKERS CLOSELY INSPECT

ALL THE COMPONENTS
UNDER FLUORESCENT LIGHT.

THEY LOOK FOR ANY FLAWS
IN THE WOOD

THAT THEY MIGHT HAVE MISSED
DURING SANDING.

IT'S CRITICAL THAT EVERY
IMPERFECTION BE SANDED DOWN.

OTHERWISE, IT WILL SHOW UP
AS A GLARING DEFECT

ONCE THEY STAIN THE WOOD.

AFTER ALL THE PARTS PASS
INSPECTION, ASSEMBLY CAN BEGIN.

FIRST, THEY REMOVE
THE TABLETOP'S EXTENSION PIECE,

CALLED THE LEAF.

THEY MAKE SURE THE TWO MAIN
SECTIONS FIT TOGETHER PERFECTLY.

THEN, USING A TEMPLATE
TO ENSURE THE EXACT POSITIONING,

THEY SCREW ON THE RUNNERS --

THE SLIDING MECHANISM
FOR EXTENDING THE TABLE.

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THEN THEY MOUNT SUPPORT PIECES
CALLED STRETCHERS.

AFTER MARKING THE POSITION
OF THE APRON,

WORKERS SCREW IN STEEL BRACES
TO LEVEL

AND ALIGN THE THREE SECTIONS
OF THE TABLE.

THIS TABLE WILL HAVE A PEDESTAL
BASE RATHER THAN FOUR LEGS.

AFTER INSTALLING A PART
CALLED THE ASSEMBLY PLATE,

THEY LAY DOWN A SERIES
OF METAL TEMPLATES.

THESE ENSURE THAT
THEY MOUNT THE APRON PRECISELY.

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NOW THAT THEY'VE FINISHED
ASSEMBLING THE TABLETOP,

THEY CHECK ITS STABILITY
AND TEST THE MECHANICS.

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IF EVERYTHING IS UP TO PAR,

THE TABLETOP MOVES ON
TO THE FINISHING DEPARTMENT.

THE FACTORY BUYS WOOD STAIN
FROM A SUPPLIER.

TO ENSURE THAT THE COLORS ARE
CONSISTENT FROM TABLE TO TABLE,

THE FACTORY TESTS THE STAIN
BEFORE USING IT,

COMPARING IT TO A COLOR SAMPLE.

THE STAINING OPERATION TAKES
PLACE IN THE PART OF THE FACTORY

KNOWN AS THE PAINT KITCHEN.

EACH TANK HAS A MIXER INSIDE
TO KEEP THE STAIN WELL-BLENDED

SO THAT THE PIGMENTS
DON'T SETTLE

TO THE BOTTOM OF THE TANK.

THIS ENSURES
THE COLOR WILL BE CONSISTENT.

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THERE IS A SEPARATE SPRAY GUN
FOR EACH STAIN COLOR.

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AFTER SPRAYING THE STAIN
ONTO THE TABLETOP,

A TEAM OF WORKERS
QUICKLY WIPES OFF THE EXCESS.

THEY HAVE JUST 30 TO 90 SECONDS.

OTHERWISE,
THE SHADE WILL BE OFF.

ANOTHER INSPECTION
UNDER FLUORESCENT LIGHT.

ANY FLAW IN THE WOOD
THEY MISSED BEFORE

WOULD DEFINITELY SHOW UP NOW,
THANKS TO THE STAIN.

EVERY IMPERFECTION
WILL BE SANDED DOWN.

NOW THEY SPRAY THE TABLE
WITH SEALANT.

THIS PROTECTS
AGAINST VARIATIONS IN HUMIDITY,

WHICH WOULD MAKE THE WOOD
EXPAND AND CONTRACT

AND EVENTUALLY SPLIT.

THEN THEY SAND THE SEALANT

TO PREPARE
FOR A COAT OF CLEAR LACQUER.

THE LACQUER PLAYS TWO ROLES --

ONE FUNCTIONAL, PROTECTING
THE WOOD FROM SCRATCHES,

ONE DECORATIVE,
GIVING IT A MILD SHEEN.

TO CURE THE LACQUER,
ALL THE TABLE COMPONENTS

GO INTO AN OVEN
AT 300 DEGREES FAHRENHEIT.

THIS ALSO
STRENGTHENS THE FINISH.

THIS FACTORY SPECIALIZES
IN PERSONALIZATION.

YOU CAN CHOOSE YOUR STAIN COLOR

OR TWO COLORS
FOR A TWO-TONE EFFECT.

YOU CAN ALSO SELECT
THE SHAPE OF YOUR TABLETOP,

THE TYPE OF EDGE AND APRON,

AND, OF COURSE,
THE STYLE OF TABLE LEGS.

Narrator:
A DIATONIC ACCORDION

IS MUCH SMALLER
THAN A PIANO ACCORDION

AND IS STRUCTURALLY DIFFERENT.

IT HAS 10 BUTTONS, EACH OF WHICH
PRODUCES TWO NOTES --

ONE WHEN
YOU PUSH THE BELLOWS IN,

THE OTHER
WHEN YOU PULL THE BELLOWS OUT.

THE DIATONIC ACCORDION,
ALSO CALLED A SQUEEZE-BOX,

IS A STAPLE OF CAJUN MUSIC.

[ UP-TEMPO MUSIC PLAYING ]

THE ACCORDION MAKER
CRAFTS THE RIGHT-HAND KEYBOARD

FROM MAPLE -- A HARDWOOD.

HE SAWS 10 SLOTS,
THEN DRILLS 10 HOLES.

THE KEYBOARD HAS NO KEYS,
ACTUALLY.

IT HAS 10 BUTTONS.
THEY PRODUCE THE TREBLE NOTES.

NOW HE TURNS THE KEYBOARD OVER

AND HOLLOWS OUT THE WOOD
WITH A ROUTER.

THIS CREATES SPACE
FOR COMPONENTS TO MOVE.

EACH SLOT IN THE KEYBOARD
WILL HOUSE A ROCKER --

A PIECE THAT LINKS EACH BUTTON
TO ITS CORRESPONDING AIR VALVE.

NOW HE BUILDS THE WIND-CHEST --

THE BOX
THAT HOUSES THE STEEL REEDS

THAT PRODUCE
THE ACCORDION'S SOUND.

MOVING THE BELLOWS IN AND OUT

FORCES AIR THROUGH HOLES
IN THE WIND-CHEST.

THE BUTTONS YOU PUSH DETERMINE
WHICH REEDS GET THIS AIR,

PRODUCING NOTES.

THE LONGER AND THICKER THE REED,
THE SLOWER IT VIBRATES,

AND THE LOWER THE PITCH
OF THE NOTE.

THE SHORTER
AND THINNER THE REED,

THE FASTER THE VIBRATION,
AND THE HIGHER THE NOTE.

THERE ARE EIGHT REEDS
PER BUTTON.

PUSHING THE BELLOWS IN
ACTIVATES FOUR.

PULLING THE BELLOWS OUT,
THE OTHER FOUR.

USING A HOT IRON,
THE ACCORDION MAKER

SEALS THE REED FRAMES
WITH BEESWAX.

THIS PREVENTS AIR FROM ESCAPING.

NOW BACK TO THE KEYBOARD.

THE ACCORDION MAKER INSTALLS
10 VALVES MADE OF MAPLE WOOD.

EACH ONE HAS A PLASTIC ROCKER
ON THE END.

A SPRING ENSURES THE ROCKER
HAS JUST THE RIGHT TENSION

TO OPEN
AND CLOSE THE VALVE PROPERLY

WHEN THE MUSICIAN
PRESSES THE BUTTON.

AFTER STAINING
AND VARNISHING THE WOOD,

HE GLUES A BUTTON INTO EACH HOLE
ONTO THE ROCKER INSIDE.

PRESSING A BUTTON
TRIGGERS THE ROCKER UNDERNEATH

TO LIFT THE VALVE
AND UNCOVER THE AIR HOLE,

LETTING AIR
HIT THE DESIGNATED REEDS.

THE ACCORDION MAKER NOW SCREWS
THE FULLY ASSEMBLED KEYBOARD

TO THE WIND-CHEST.

NOW HE CONSTRUCTS
THE LEFT-HAND KEYBOARD.

HE SETS THE REEDS
INTO THE LEFT WIND-CHEST,

USING A HOT IRON AND BEESWAX,
JUST LIKE BEFORE.

THE VALVES IN THIS KEYBOARD
ARE MADE OF PINE,

A MORE FLEXIBLE WOOD,

MAKING THEM EASIER TO INSTALL
IN THIS ENCLOSED SPACE.

ON THE OUTSIDE,
A DECORATIVE WOOD INLAY --

A STRIP OF EBONY
AND SOME ROSEWOOD DETAILING.

THE LEFT-HAND KEYBOARD
HAS TWO BUTTONS

CORRESPONDING
TO THREE REEDS EACH.

IT PRODUCES TWO BASS NOTES
AND TWO CHORDS.

AFTER STAINING
AND VARNISHING THE KEYBOARD,

HE HOOKS A SPRING

BETWEEN EACH VALVE
AND THE BUTTON THAT OPERATES IT.

HE ADJUSTS THE SPRING TENSION
AND CHECKS THE AIR SEAL.

THEN HE STAMPS
THE COMPANY NAME INSIDE.

NOW HE SCREWS
THE FINISHED KEYBOARD

TO THE FINISHED WIND-CHEST.

MEANWHILE, ANOTHER WORKER
PREPARES THE BELLOWS,

WHICH FORCE AIR
THROUGH THE REEDS.

THE FACTORY
BUYS PRE-FOLDED CARDBOARD,

THEN CUTS AND ASSEMBLES IT.

THESE DIAMOND-SHAPED PIECES
OF LEATHER SEAL THE OPENINGS,

PREVENTING AIR FROM ESCAPING.

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NOW SHE GLUES FABRIC STRIPS

INSIDE THE FOLDS
OF THE CARDBOARD.

THIS IS PURELY FOR DECORATION.

THESE STAINLESS-STEEL COVERS
REINFORCE THE CARDBOARD CORNERS

SO THAT THEY WON'T PERFORATE
FROM REPEATED MOVEMENT.

NOW SHE GLUES FABRIC STRIPS
ONTO THE EDGES OF THE FOLDS.

THIS BOTH DECORATES
AND STRENGTHENS THE CARDBOARD.

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NOW FOR THE FINAL ASSEMBLY.

THE ACCORDION MAKER
NAILS THE BELLOWS

TO THE LEFT-HAND KEYBOARD.

WHY NAILS RATHER THAN SCREWS?
TRADITION.

THE LEFT-HAND KEYBOARD
HAS A HAND STRAP.

THE RIGHT-HAND KEYBOARD,
A THUMB STRAP.

AFTER NAILING THE RIGHT-HAND
KEYBOARD TO THE REST,

THIS $2,500 DIATONIC ACCORDION

IS READY
FOR A MUSICAL TEST-DRIVE.

[ UP-TEMPO MUSIC PLAYING ]

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Narrator: THERE WAS A TIME
WHEN YOU'D BE PRESENTED

WITH A GOLD WATCH IN RECOGNITION

OF YEARS OF LOYAL SERVICE
TO YOUR EMPLOYER.

TODAY, YOU'RE MORE LIKELY

TO GET A PERSONALIZED MEMENTO
CAST IN ACRYLIC.

COMPANIES AND ORGANIZATIONS

OFTEN CHOOSE TO HAND OUT
CUSTOM-MADE ACRYLIC AWARDS

TO RECOGNIZE MILESTONES
OR SPECIAL ACHIEVEMENTS.

THESE AREN'T
YOUR RUN-OF-THE-MILL PLAQUES

AND TROPHIES, BUT MORE
LIKE ARTISTIC SCULPTURES.

THEY'RE CUSTOM-DESIGNED
AND CAST IN HIGH-GRADE ACRYLIC.

IN THE CASTING DEPARTMENT,

WORKERS MAKE ACRYLIC
BY MIXING MONOMER,

A CLEAR, LIQUID CHEMICAL,
WITH POLYMER, A RESIN POWDER.

ONCE CURED, THIS THICK, WHITE
MIXTURE WILL BE CRYSTAL CLEAR.

TO MAKE COLORED ACRYLIC,
THEY ADD COLORANTS.

BY CREATIVELY COMBINING SHADES,

THEY CAN EVEN
PRODUCE SPECIAL EFFECTS,

SUCH AS A MARBLE
OR GRANITE LOOK.

TO CAST SIMPLE SHAPES
WITH STRAIGHT LINES,

THEY USE DISPOSABLE MOLDS
MADE OF THICK CARDBOARD.

THIS DESIGN
CALLS FOR A BLUE BASE,

SO THEY POUR BLUE ACRYLIC
TO THE FIRST FILL LINE.

IN TWO TO THREE HOURS,

THE ACRYLIC HARDENS
TO A GELATIN-LIKE STATE.

THAT'S SOLID ENOUGH TO BEAR
THE WEIGHT OF THE NEXT LAYER --

A CLEAR ONE, WHICH THEY POUR
TO THE NEXT FILL LINE.

NOW ANOTHER TWO-
OR THREE-HOUR WAIT

UNTIL THE ACRYLIC CAN
SUPPORT A DECORATIVE OBJECT --

IN THIS CASE, A GLOBE.

ONCE THEY ENSURE
IT'S PROPERLY CENTERED,

THEY POUR ACRYLIC
TO THE NEXT FILL LINE

AND WAIT TWO
TO THREE HOURS AGAIN.

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NOW THEY APPLY THE CLIENT'S NAME
AND LOGO PRINTED ON ACETATE

AND POUR THE FINAL LAYER.

ONCE THAT HARDENS, IT'S OFF
TO THE CURING DEPARTMENT.

THERE, WORKERS LOAD THE PIECES
INTO A PRESSURIZED OVEN

CALLED AN AUTOCLAVE.

IT WORKS SOMEWHAT
LIKE A PRESSURE COOKER,

FORCING OUT
THE TRAPPED AIR BUBBLES

AND CURING THE ACRYLIC UNTIL
IT'S ROCK-HARD AND TRANSPARENT.

THIS TAKES 12 TO 15 HOURS.

CURVED DESIGNS
ARE CAST AND CURED

IN REUSABLE METAL MOLDS
LIKE THIS.

THE FACTORY ALWAYS CASTS A PIECE

SLIGHTLY LARGER
THAN ITS FINAL DIMENSIONS

TO ALLOW FOR SHRINKAGE
DURING THE CURING PROCESS

AND SOME LOSS THROUGH SANDING.

WORKERS SAND EACH PIECE
THREE TIMES

WITH PROGRESSIVELY FINER
SANDPAPER TO PERFECT THE SHAPE.

THEN TO REMOVE THE MARKS
THAT SANDING LEAVES BEHIND,

THEY BUFF THE PIECE
ON A CLOTH-COVERED WHEEL.

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THEN THEY POLISH THE PIECE
WITH AN EVEN SOFTER WHEEL.

THIS SHINES THE ACRYLIC
TO A HIGH-GLOSS FINISH.

WHEN IT'S NOT VIABLE TO MAKE
A MOLD FOR A PARTICULAR SHAPE,

THEY CAST A STARTING SHAPE, THEN
MACHINE IT TO THE FINAL SHAPE.

TO MAKE A SPHERE, FOR EXAMPLE,
THEY FIRST CAST A CUBE.

THEY TRANSFORM THE CUBE
INTO A CYLINDER,

THEN, WORKING ONE SIDE AT
A TIME, INTO A PERFECT SPHERE.

THE AUTOMATED TOOLING EQUIPMENT

IS ALL COMPUTER-GUIDED
FOR ULTIMATE PRECISION.

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SOME DESIGNS CALL FOR
ADDITIONAL ARTISTIC FEATURES.

FOR EXAMPLE, THE FACTORY
CAN PRINT ARTWORK ON PAPER,

ACETATE, OR A METAL PLATE,
THEN EMBED IT INTO THE ACRYLIC.

ANOTHER OPTION IS TO CREATE
AN OPAQUE IMAGE ON THE SURFACE.

AS WE SEE HERE, ONCE THEY FINISH
MACHINING THE SPHERE,

THEY APPLY TAPE
THAT'S BEEN LASER-CUT

INTO THE SHAPE OF A WORLD MAP.

THEY SANDBLAST
THE EXPOSED AREAS,

TRANSFORMING THE SPHERE
INTO A GLOBE.

THEY CAN ALSO ENGRAVE
THE SURFACE OF A PIECE OR,

USING A SPECIAL LASER BEAM,

ETCH LETTERS OR A DESIGN
RIGHT INSIDE THE ACRYLIC.

THE CREATIVE POSSIBILITIES
ARE ENDLESS.

THE INFINITE COMBINATIONS
OF SHAPES, COLORS,

EMBEDDED OBJECTS,
AND ARTISTIC FEATURES

MAKE THESE ACRYLIC AWARDS HIGHLY
CUSTOMIZED AND CLEARLY UNIQUE.

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