All language subtitles for How.Its.Made.S29E07.Artist.Brushes.and.Game.Tables.1080p.AMZN.WEB-DL.DDP2.0.H.264-SLAG_track4_[eng]

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Narrator:
AN ARTIST'S PAINT BRUSH
CAN HAVE SYNTHETIC BRISTLES

OR NATURAL ONES
MADE OF ANIMAL HAIR.

WHICH TYPE TO USE
IS REALLY A MATTER

OF THE ARTIST'S PREFERENCE.

HOWEVER,
PAINTERS OFTEN TEND TO USE

A NATURAL BRUSH FOR WATERCOLORS,

A SYNTHETIC BRUSH FOR ACRYLICS,
AND EITHER TYPE FOR OILS.

THESE NATURAL-HAIR PAINTBRUSHES
ARE MADE OF RED SABLE,

WHICH IS TAIL HAIR
FROM A SPECIES OF WEASEL.

RED SABLE IS RENOWNED
FOR ITS SOFTNESS

AND FOR SPREADING PAINT
THINLY AND EVENLY.

AN EXPERIENCED HEAD-MAKER
PERFORMS THE INITIAL STEPS

OF MAKING THE HEAD
OF THE PAINTBRUSH.

SHE UNROLLS AND STRAIGHTENS OUT
A BUNDLE OF RED SABLE,

THEN SEPARATES ENOUGH HAIRS
FOR ONE BRUSH OF THIS SIZE.

SHE INSERTS THE HAIRS
INTO A METAL BAND,

CALLED A FERRULE,
MADE OF NICKEL-PLATED BRASS.

SHE FEELS HOW THEY FIT
IN THE FERRULE.

IF THE FIT'S TOO TIGHT,
SHE REMOVES SOME HAIRS.

IF IT'S TOO LOOSE,
SHE ADDS SOME.

BRUSHES OF DIFFERENT SHAPES
REQUIRE DIFFERENT TENSIONS.

THE HEAD-MAKER TAKES
THE CORRECT BRASS MOLD

FOR THE BRUSH SHAPE SHE'S MAKING
AND INSERTS THE HAIRS

ALL THE WAY
DOWN INTO THE MOLD CAVITY.

SHE TIES THE ROOTS
OF THE HAIRS TOGETHER

WITH A STRING...

THEN REMOVES THEM
FROM THE MOLD.

SHE INSERTS THE BRUSH HEAD
BACK INTO THE FERRULE...

...THEN REMOVES THE STRING.

NEXT, USING A TEMPLATE,
SHE ADJUSTS WHAT'S CALLED

THE LENGTH-OUT
OF THE BRUSH HEAD.

LENGTH-OUT IS HOW FAR
THE HAIRS PROTRUDE

FROM THE END OF THE FERRULE.

AFTER REMOVING STRAY HAIRS,

SHE ALIGNS THE END
OF THE FERRULE

WITH THE EDGE OF THE NEARLY
1-INCH-LONG TEMPLATE

AND PULLS OUT
OR PUSHES IN THE HAIRS

UNTIL THEIR TIPS ALIGN
WITH THE OPPOSITE EDGE

OF THE TEMPLATE.

SHE COMPLETES HER
SPECIALIZED WORK BY SUSPENDING

THE ASSEMBLED BRUSH HEAD
FROM A RACK.

ANOTHER WORKER NOW FILLS
A SYRINGE WITH EPOXY GLUE,

THEN, WITH THE SYRINGE,
FILLS THE FERRULE

WITH ENOUGH GLUE
TO SUBMERGE THE HAIRS.

ONCE THE GLUE
HAS DRIED OVERNIGHT,

ANOTHER WORKER
TAPS THE BRUSH HEAD

AGAINST A STRIP OF ADHESIVE TAPE

TO REMOVE ANY SHORT HAIRS
THAT DIDN'T ADHERE.

SHE DIPS THE HAIRS INTO
A SOLUTION OF STARCH AND WATER

AND WORKS THE SOLUTION
INTO ALL THE HAIRS

BY MASSAGING THE HEAD
ON A TOWEL.

THE STARCH ALLOWS THE HAIRS

TO BE TRAINED
TO A PERMANENT SHAPE.

SHE MAKES THIS PARTICULAR
POINTED SHAPE

BY SPINNING THE HEAD,

THEN SMOOTHING THE HAIRS
WITH HER FINGERS.

THE STARCH DRIES OVERNIGHT,
LOCKING IN THE SHAPE.

TO MAKE THE PAINTBRUSH HANDLE,

A WORKER INSERTS
BIRCH DOWELS IN A PEGBOARD,

THEN MOUNTS THE BOARD
UPSIDE-DOWN

ON A DIPPING MACHINE.

THIS MACHINE
SUBMERGES THE DOWELS

IN BLACK LACQUER PAINT.

AFTER ONE DAY OF DRYING TIME,
THERE IS A SECOND DIP,

PARTWAY THIS TIME,
IN SILVER PAINT.

THE MACHINE HAS MARKINGS
TO INDICATE

HOW DEEP TO DIP THE DOWELS
FOR EACH COLOR.

AFTER ANOTHER DAY
OF DRYING TIME,

THERE IS A THIRD DIP,

THIS TIME
PARTWAY IN BLACK PAINT.

THIS CREATES A BLACK HANDLE
WITH A SILVER STRIPE.

ONCE THE LAST COAT
OF BLACK PAINT DRIES,

A WORKER USES A PAD PRINTER
TO STAMP LETTERING

ON THE HANDLE
WITH QUICK-DRY SILVER INK.

ONE STAMP SIMULTANEOUSLY APPLIES

THE MANUFACTURER'S NAME,
THE BRUSH-HAIR MATERIAL,

THE SIZE OF THE BRUSH,
AND THE SERIES NUMBER.

A WORKER GLUES THE BRUSH HEAD
ONTO THE HANDLE.

THEN THE WORKER
SETS THE BRUSH ASIDE

FOR A COUPLE OF HOURS

UNTIL THE GLUE PARTIALLY DRIES
TO A TACKY STATE

BECAUSE THE NEXT STEP, CRIMPING,

WOULD CRACK THE FULLY DRIED,
HARDENED GLUE.

THE WORKER INSERTS THE FERRULE
INTO A CRIMPING MACHINE,

WHICH HAS BEEN LOADED
WITH THE DYE

THAT'S THE CORRECT DIAMETER
FOR THIS BRUSH HANDLE.

THE MACHINE CRIMPS THE FERRULE
TIGHTLY TO THE HANDLE,

ATTACHING IT PERMANENTLY.

ONCE THAT GLUE HARDENS,
THE PAINTBRUSH IS FINALLY READY.

FROM THIS POINT ONWARD,
IT'S IN THE ARTIST'S HANDS.

Narrator: A DIESEL EXHAUST
FLUID, OR D.E.F., TANK HEATER,

IS A DEVICE WHICH PREVENTS
DIESEL EXHAUST FLUID

FROM FREEZING.

DIESEL EXHAUST FLUID
IS A SOLUTION SPRAYED

INTO THE EXHAUST SYSTEM
OF A VEHICLE

WITH A DIESEL ENGINE

TO BREAK DOWN DANGEROUS
POLLUTING CHEMICALS

THE TAILPIPE
WOULD OTHERWISE EMIT.

ONCE
THE OUTDOOR TEMPERATURE DIPS

TO THE DIESEL EXHAUST FLUID'S
FREEZING POINT,

THE VEHICLE'S COMPUTER
AUTOMATICALLY STARTS UP

THIS HEATER INSTALLED INSIDE
THE D.E.F. HOLDING TANK.

THE HEATER WARMS THE TANK

BY CYCLING HOT RADIATOR FLUID
THOUGH ITS TUBING.

AT THE FACTORY, WORKERS FORM
THE HEATER TUBE OUT OF LENGTHS

OF STAINLESS-STEEL TUBE.

A COMPUTER-GUIDED SAW CUTS
A TUBE TO THE LENGTH REQUIRED

FOR THE HEATER SIZE
THEY'RE PRODUCING.

CARS HAVE SMALLER
D.E.F. HEATERS.

TRUCKS AND CONSTRUCTION
EQUIPMENT HAVE LARGER ONES.

A WORKER PROGRAMS
A ROBOTIC BENDER

TO BEND THE CUT TUBE
TO THE REQUIRED SHAPE.

THESE BENDS ARE SO COMPLEX

THAT NO TRADITIONAL MANUALLY
OPERATED BENDING MACHINE

WOULD BE ABLE TO DO THEM
THIS ACCURATELY.

THE HEATER SITS RIGHT INSIDE
THE D.E.F. HOLDING TANK.

THAT'S WHY MANUFACTURERS
USE STAINLESS STEEL

RATHER THAN ORDINARY STEEL
FOR THIS TUBING.

STAINLESS STEEL BETTER RESISTS

THE CORROSIVENESS
OF THE D.E.F. FLUID.

AT THE NEXT STATION,
A WORKER INSERTS

THE BENT TUBE INTO
THE TANK HEATER SENSOR UNIT.

THE TUBE FITS THROUGH OPENINGS
IN THE SENSOR UNIT'S HEADER.

WHEN CONNECTED BY A CABLE
TO THE VEHICLE'S COMPUTER,

THE SENSOR UNIT
DETECTS THE LEVEL,

TEMPERATURE,
AND QUALITY OF THE D.E.F.

NEXT, THE WORKER PUTS THE TUBING
IN A PUNCH PRESS,

WHICH SHAPES THE ENDS.

HE PUTS THOSE SHAPED ENDS
IN A BENDER,

WHICH CURVES THEM.

ANOTHER TUBE MADE THE SAME WAY
SIPHONS D.E.F.

FROM THE HOLDING TANK
TO A DEVICE

THAT SPRAYS THE FLUID
ON THE EXHAUST STREAM.

HE INSTALLS A RUBBER O-RING

ONTO THIS SIPHON TUBE
AND APPLIES LUBRICANT.

HE INSTALLS THE TUBE
INTO THE HEADER,

AND THE O-RING FITS
INTO A NOTCH.

THE WORKER
THEN INSTALLS A BRACKET

AT THE BASE OF THE HEATER,
RIVETING IT TO THE TUBING.

THE BRACKET HOLDS
A RUBBER GROMMET

THAT SECURES THE HEATER IN PLACE
INSIDE THE D.E.F. TANK.

FURTHER UP, HE RIVETS ON
A SECOND BRACKET TO STABILIZE

THE SENSOR TUBE THAT RUNS DOWN
THE CENTER OF THE SENSOR UNIT.

THIS PREVENTS THE TUBE
FROM RATTLING.

THEN HE INSTALLS
THE RETURN TUBE,

WHICH FEEDS ANY EXCESS
UNSPRAYED D.E.F.

BACK TO THE HOLDING TANK.

RETAINING BRACKETS
APPLY PRESSURE

TO ALL THE O-RINGS,

SEALING THE TUBE CONNECTIONS
AGAINST LEAKS.

HE FLIPS THE HEATER OVER
TO ATTACH THE DRAIN TUBE,

WHICH IS THE BOTTOM HALF
OF THE RETURN TUBE.

HE CAPS ALL THE TUBES
TO KEEP THEM CLEAN

UNTIL THE HEATER
IS INSTALLED IN THE VEHICLE.

HE ATTACHES A NYLON FILTER
TO THE SIPHON TUBE,

SECURING IT IN PLACE
WITH THE RETAINING CLIP.

AS THE SIPHON TUBE
DRAWS THE D.E.F.

FROM THE HOLDING TANK
TOWARD THE SPRAYER,

THE FILTER REMOVES CONTAMINANTS
SUCH AS SAND.

FINALLY, THIS RUBBER GROMMET

SNAPS INTO THE BRACKET
AT THE BASE OF THE HEATER.

THE GROMMET FITS OVER
A RAISED BUMP ON THE TANK FLOOR,

HOLDING THE UNIT
SECURELY IN PLACE.

ONCE CONNECTED TO
THE VEHICLE'S COMPUTER,

THE HEATER KEEPS
THE DIESEL EXHAUST FLUID

FROM FREEZING,
NO MATTER HOW COLD THE WEATHER.

Narrator:
IN THE 17th AND 18th CENTURIES,

MOST WEALTHY PEOPLE
IN EUROPE AND AMERICA

HAD AT LEAST ONE
FINELY CRAFTED GAME TABLE

IN THE DRAWING ROOM FOR CARDS
AND CONVERSATION AFTER DINNER.

TODAY, GAME TABLES
AREN'T JUST FOR THE WEALTHY

BUT FOR ANYONE
WHO ENJOYS THIS FUN

AND FUNCTIONAL FURNITURE.

THIS MODERN GAME TABLE
DOES DOUBLE DUTY.

FLIP THE GAME TOP OVER,
AND IT BECOMES A DINING TABLE.

WHEN IT COMES TO SPACE-SAVING,
THIS TABLE'S A GAME CHANGER.

A SAW CARVES KILN-DRIED
MAPLE BOARDS INTO THICK STRIPS,

HELPED BY A LASER SCANNER

SO THE SAW CAN MAKE
CLEAN AND JUDICIOUS CUTS.

AN EQUIPMENT OPERATOR
SCRUTINIZES THE STRIPS

FOR KNOTS AND OTHER DEFECTS

AND MARKS THEM
WITH ORANGE CHALK.

ANOTHER SCANNER DETECTS
THE ORANGE MARKS,

ENABLING A SAW
TO CUT AROUND THE DEFECTS

AS IT CHOPS THE STRIPS
INTO SHORTER LENGTHS.

THE NEXT WORKER DIPS ONE SIDE
OF THE STRIPS

IN POLYVINYL ACETATE,
A SUPER STRONG GLUE.

THE NEXT WORKER ARRANGES
THE STRIPS IN A SPECIFIC ORDER,

ALTERNATING THE GRAIN TO BALANCE

THE WOOD'S EXPANSION
AND CONTRACTION FORCES.

HE CLAMPS THEM TIGHTLY TOGETHER
AND ALLOWS THE GLUE TO SET.

WORKERS SAND THE TOP AND BOTTOM

AND TRIM THE SIDES TO PRODUCE
ONE OF THE RIM SEGMENTS.

A COMPUTERIZED ROUTER NOW MOVES
FROM ONE SEGMENT TO THE NEXT

AS IT CARVES SLOTS
FOR POKER CHIPS AND DRINKS.

IT THEN DRILLS HOLES IN
THE SIDES FOR THE WOODEN DOWELS

THAT WILL BE USED TO JOIN
THE EIGHT TABLE SEGMENTS.

THE SEGMENTS ARE NOW READY
FOR ASSEMBLY.

A WORKER PIPES HIGH-STRENGTH
ADHESIVE IN GROOVES

ALONG THE EDGES
AND INTO THE DOWEL HOLES.

HE INSERTS THE DOWELS
IN THE HOLES

IN ONE SIDE OF EACH SEGMENT.

HE ARRANGES THE SEGMENTS
IN A CIRCULAR PATTERN

AND INSERTS THE DOWELS
IN THE CORRESPONDING HOLES.

HE PULLS THE EIGHT RIM SEGMENTS
TIGHTLY TOGETHER

WITH A STRAP CLAMP

AND LEAVES THE GLUED
CONFIGURATION TO CURE OVERNIGHT.

THIS PERMANENTLY BONDS
THE TABLE RIM SEGMENTS.

THE NEXT DAY,

A COMPUTERIZED ROUTER
ROUNDS THE OUTSIDE OF THE RIM.

IT ALSO TRIMS
THE INSIDE OF THE RIM

AND FORMS A CHANNEL
FOR THE INSERTION

OF THE CENTER OF THE GAME TABLE.

THE GAME TABLE RIM
IS NOW COMPLETE.

WITH THE RIM NOW GAME SIDE DOWN,
THE NEXT MEMBER OF THE TEAM

PIPES MORE OF THE SUPER ADHESIVE
INTO THE INNER CHANNEL.

HE INSERTS
THE DINING-TABLE SURFACE.

THIS MAPLE CENTER
HAS BEEN PRECISION-CUT

TO FIT INTO THE GROOVE
IN THE RIM.

USING A RUBBER MALLET,
HE TAPS THE TABLETOP

TO ENTRENCH IT
MORE FIRMLY IN THE GROOVE.

HE FLIPS THE TABLETOP
BACK TO THE GAME SIDE

AND INSTALLS 16 SCREWS
ON AN ANGLE

TO TIGHTEN THE TOP TO THE RIM.

THE SCREWS SERVE
AS A CLAMP SYSTEM

TO HOLD THE TABLE CENTER
IN PLACE AS THE GLUE CURES.

WITH THE CENTER
NOW BONDED TO THE RIM,

A WORKER SPRAYS A BASE COLOR

AND THEN A WOOD STAIN
ONTO BOTH SIDES.

THIS HIGHLIGHTS
THE CHARACTER OF THE WOOD

AND GIVES IT A WARM TONE.

A WORKER THEN APPLIES TWO COATS
OF A URETHANE VARNISH

AND SANDS THE FINISH
BETWEEN THE COATS.

THEN, WORKERS ASSEMBLE
A PEDESTAL BASE...

AND INSTALL A PIECE OF LAMINATE
IN A STAINED MAPLE FRAME.

THIS CREATES
A STORAGE COMPARTMENT

UNDER THE TABLETOP,

AS WELL AS PROVIDING
A FOUNDATION

FOR THE TABLETOP TO SIT ON.

THE TEAM TRANSFERS
THE PEDESTAL BASE

TO THE TABLE FOUNDATION.

THEY BOLT THEM TOGETHER,

WHICH CREATES THE SUPPORT
STRUCTURE FOR THE TABLETOP.

BACK TO THE GAME TABLETOP,

A WORKER INSTALLS
A CLOTH-COVERED PADDED INSERT.

THIS WILL SERVE AS A SMOOTH

AND CUSHY SURFACE
FOR CARD PLAYING.

AND WITH THAT,

WORKERS FINALLY TRANSFER
THE GAME TABLETOP TO THE BASE.

THE GAMES CAN NOW BEGIN.

THE FIRST SCONCES
WERE CANDLEHOLDERS

ATTACHED TO THE WALL
BY EXTENDING BRACKETS

TO KEEP THE FLAME
A SAFE DISTANCE AWAY.

WITH THE INVENTION
OF ELECTRICITY,

SCONCES COULD BE MOUNTED
FLUSH TO WALLS.

THIS OPENED UP
NEW DESIGN POSSIBILITIES,

AMONG THEM,
ART GLASS WALL SCONCES.

ART GLASS WALL SCONCES

CAN BE USED TO BOTH
DECORATE AND ILLUMINATE.

TURNING ON THESE LIGHTS
MAKES A DESIGN STATEMENT.

AT THIS FACTORY, WORKERS CRAFT
EVERY SCONCE BY HAND.

THE PROCESS STARTS
WITH SCRAP GLASS

FROM A WINDOW MANUFACTURER.

THE CRAFTSPERSON
MEASURES THE GLASS

AND SCORES IT
WITH A CUTTING WHEEL.

USING SPECIAL PLIERS,

SHE APPLIES PRESSURE TO FRACTURE
THE GLASS ALONG THE SCORE LINE.

SHE MANUALLY COMPLETES
THE BREAK.

SHE CUTS A LARGE PANE
AND A SMALLER ONE.

SHE SETS
THE LARGE ONE ASIDE

AND TAPES THE SMALL ONE OVER
A DETAILED SKETCH OF ARTWORK.

SHE TRACES
THE LINES OF THE SKETCH

ONTO THE CLEAR GLASS
USING LIQUEFIED DARK ENAMEL,

CREATING THICK LINES

TO MIMIC THE LOOK OF LEAD VEINS
IN STAINED GLASS.

ONCE THE LINES DRY
AND HARDEN A BIT,

SHE PAINTS THE DESIGNATED COLORS
WITHIN THEM.

EACH AREA OF THE SKETCH
HAS A LETTER THAT CORRESPONDS

TO A PARTICULAR COLOR
OF ENAMEL.

SHE CENTERS THE PAINTED PANE
ON THE CLEAR LARGER ONE

TO FEATURE THE ARTWORK
MORE PROMINENTLY.

THEN SHE TRANSFERS THE TWO PANES
TO AN ELECTRICALLY-FIRED KILN.

IT WILL GRADUALLY HEAT THE GLASS
TO OVER 1,400 DEGREES FAHRENHEIT

AND THEN COOL IT
OVER A PERIOD OF 10 HOURS.

THIS PREVENTS FRACTURING

AS THE HEAT
FUSES THE TWO PANES TOGETHER

AND BAKES THE ARTWORK
INTO THE GLASS.

THE BAKING ALSO DEEPENS
THE ENAMEL COLORS.

NEXT, A MIXER BLENDS CLAY
TO A PUDDING-LIKE CONSISTENCY.

AN EMPLOYEE POURS THE CLAY
INTO PLASTER MOLDS

FOR THE SCONCE'S CASING.

THE CLAY BEGINS TO FIRM UP

ALONG THE INSIDE WALLS
OF THE MOLD.

HE POURS OUT THE CLAY
THAT'S STILL LIQUEFIED.

NOW A PUTTY-LIKE CONSISTENCY,
HE TRIMS THE EXCESS AT THE TOP.

HE SETS THE MOLD ON ITS SIDE
AND OPENS IT TO REVEAL

THE NEWLY SHAPED SCONCE CASING.

IT CURES OVERNIGHT.

THE NEXT DAY,
THE PART IS STILL SOFT

BUT CAN WITHSTAND SANDING.

THE WORKER THINS THE RIM
AND SMOOTHS THE OUTSIDE.

WITH A SHARP KNIFE,

HE CUTS AN OPENING
FOR THE ART GLASS PANE,

FIRST SCORING
THE STILL-FRAGILE CLAY

AND THEN MAKING DEEPER CUTS.

HE REMOVES THE CLAY CUTOUT.

USING A DIFFERENT KNIFE,
HE NOW SCULPTS

A CHISELED PROFILE
ALONG THE EDGES

THAT WILL EVENTUALLY FRAME
THE ART GLASS PANE.

HE CUTS A HOLE
FOR THE LIGHT SOCKET

AND ANOTHER ONE
TO MOUNT THE FIXTURE

TO AN ELECTRICAL JUNCTION BOX.

THE CLAY CASING NOW SPENDS
EIGHT HOURS IN A KILN,

EXPOSED TO A TEMPERATURE OF
OVER 1,800 DEGREES FAHRENHEIT.

THIS TRANSFORMS THE CLAY INTO
A DURABLE GLASS-LIKE CERAMIC.

HE BRUSHES A COLORED GLAZE
ON THE OUTSIDE OF THE CERAMIC,

LEAVING THE INSIDE WHITE
TO REFLECT THE LIGHT FORWARD.

HE BAKES THE CERAMIC
IN ANOTHER KILN FOR SIX HOURS,

AND THIS FUSES THE GLAZE TO IT.

THE FINAL FINISH IS GLOSSY,

AND THE COLOR IS INTRINSIC
TO THE CERAMIC.

THE WORKER
NOW INSTALLS THE LIGHT SOCKET

IN ONE OF THE HOLES
IN THE SCONCE CASING

AND PULLS THE WIRING
THROUGH THE BACK.

HE SLIDES A BRASS WASHER
OVER THE WIRES AT THE BACK,

FOLLOWED BY A SECOND WASHER

THAT'S CONNECTED
TO A GROUND WIRE.

HE SECURES THE WASHERS

AND THE WIRES TO THE BACK
OF THE SCONCE WITH A NUT.

HE SCREWS A BULB
INTO THE SOCKET.

IT'S NOW READY
FOR THE ART GLASS PANE.

HE PIPES ADHESIVE
ONTO THE SIDES OF THE PANE.

PICKING IT UP
FROM THE UNGLUED ENDS,

HE MOVES THE PANE INTO PLACE

IN THE CERAMIC FRAME
OF THE SCONCE WINDOW.

HE CLIPS THE PANE
TO THE CERAMICS AROUND

USING CLOTHESPINS

AND LEAVES THE SCONCE OVERNIGHT
FOR THE ADHESIVE TO CURE.

THE NEXT DAY,

THE ART GLASS SCONCE
IS READY TO SHINE,

AND AFTER INSTALLATION,
THE LIGHTING IS ON THE WALL.