text:
I began my first layout based on the Piedmont Subdivision back in the fall of 2000. When I finalized my original
track plan, I was pretty happy with it. The only major change that I made (and one that I had contemplated even as
I started construction) was to pierce the backdrop in Gordonsville and add staging tracks. For the most part, things
worked out the way that I planned and I started adding scenery. As I was working on the scenery, I started trying to operate
the layout. That’s when I ran into issues that I just wasn’t able to resolve. Here’s a list of the
To save space, my original plan for Louisa had a single stub-ended siding to serve the vermiculite loading facility.
Dealing with a facing point switch was a pain and didn’t really reflect how the C&O must have operated
in that location. I eventually revised the track in that area to provide a run-around, but the run-around
length was limited by not wanting to cut into the Doctors Road grade crossing scene and so the west end of
my model of Louisa never really looked quite right. Further, the track revisions led to going below my
minimum radius of 30 inches and that led to some difficulties in operation. To add insult to injury,
I later learned that the vermiculite loader didn’t exist until 1978, 8 years too late.
While I had staging tracks that were fairly adequate to the needs of the layout, I was never happy with
the compromises that I had to make to have them. West-bound trains, which should have entered the layout in
Louisa, actually entered the layout in Gordonsville on what should have been the north leg of the wye. Eastbound
trains also entered from what should have been the north leg of the wye and had to circle the layout before they
could enter Gordonsville on the west leg of the wye. That very quickly began to bug me.
All model railroaders need more space; that’s a given. But in the roughly 10' by 14' space I had
and with the broad curves that I had to use to get a decent representation of Gordonsville, my two towns were
really close together. The prototype towns of Louisa and Gordonsville are about 13 miles apart. My model towns were
so close together that a 10 or 12 car freight train could have its locomotive in Gordonsville and its caboose in Louisa.
In 2011 I became the sole owner of my home. The whole basement was now mine to do with as I pleased. I almost
immmediately began drawing track plans that took most (or all) of the space. Those plans usually involved moving Louisa and
Gordonsville farther apart, adding staging in a way that trains entered the layout at the appropriate points, and often
involved the addition of a siding between Louisa and Melton so that I could model the lumberyard in Trevilian. None of them
really caught my fancy, however, so my model railroad languished for about 5 years; I was loathe to put
effort into something that I planned to tear down. The only real change made was that I removed the staging tracks in order to
replace my water heater. I took the opportunity to have the heater moved to a place where it would be out of the way of a
In early 2016, though, I had a number of important insights about why I wasn’t able to make
any progress on a new track plan. The first concerned my home office, which is also in the basement. Most of my plans devoted
my office space to the new layout. My first important insight was that I really didn’t want to do that. My office is a relatively
pleasant space where I spend a lot of time. Further, a big feature of the room is a set of floor-to-ceiling bookcases (which are stuffed)
that were gifts from my Dad. He sized them to fit where they are and there’s nowhere else in the house that they could go.
The second insight was that most of my plans also involved a duckunder to reach my laundry facilities or they potentially
blocked access to the circuit breakers for the house. I’m in my 60’s and I don’t want to have to duck
under the layout carrying a basket full of laundry. The final insight came after reading the 2016 issue of Model Railroad Planning.
I had been trying to include enough staging for all of the trains that I wanted to run in an operating session: locals each way between
Richmond and Charlottesville, locals each way between Potomac Yard and Charlottesville, a manifest freight each way, and sections
of the George Washington each way between Richmond and Charlottesville and between Washington and Charlottesville. To do that, I
had to give up the possibility of continuous running (which I will admit that I enjoy - sometimes it’s fun to just sit back
and just watch the trains go by) and staging was taking up a huge amount of the space that I had available. The insight from MRP was that maybe
I didn’t need to provide all that staging. Maybe what would work would be a fiddle yard. And, with that, I was on my way.
As with my earlier layout, there were certain things that I wanted in my new layout — my givens and druthers in John Armstrong’s terms.
A minimum radius of 30" so that I can run passenger equipment. The C&O’s passenger service was much reduced in
1970 and the trains were short, but there were still passenger trains.
Manually thrown turnouts. I used Caboose Industries ground throws on my original layout and they were great in terms of ease
of installation and operation. However, once I began adding scenery and taking photos, it was painfully obvious that they were
way out of scale. I plan to use Blue Point turnout controllers on the new layout. The Blue Point controllers are mounted under the
layout and are controlled by knobs on the fascia. They also include electrical contacts which will allow powering the frogs on the
turnouts, improving operation.
While I am trying to build in possibilities for operation and I want my models of Louisa, Gordonsville, and the Pyrofax gas
plant in Melton to be as accurate as I can make them, one major goal for the layout is to be a railfan layout. What I mean by
that is that I want to watch trains on the layout from the places that I stand when I watch trains in those locations now and
would have stood to watch trains in 1970. For most of the scenes included on the layout (Gordonsville, Melton, the Doctors Road
grade crossing) a visitor will be standing south of the tracks with west to the left and east to the right. Had I adopted that
same vantage point in Louisa, however, a viewer would have been behind the passenger station looking at its back wall. The
C&O’s 1892 standard design is really attractive and I’d much rather see the track side of the building. Thus, my model of
Louisa is a kind of mirror image of the prototype.
The plan above represents what I’ve come up with as of the summer of 2019 (click the image to see a higher res version). It incorporates
changes I made as I built and upcoming changes that I plan to make as time allows. The plan allows me to keep my office and access to the laundry
facilities and electrical stuff on the left-hand wall of the basement. The fiddle yard beside the stairs allows me to stage two trains in each
direction at the same time and trains enter the modeled section of the layout in the correct places. I had to give up the possibility of modeling
the Pot Yard locals (but see below) and the Washington sections of the George, but I think I can live with that (and I might eventually
find a way to add removable staging that would allow running those trains during an operating session).
In addition, I had resources available this time that I didn’t back in 2000. One of the most important was an aerial photo of the
wye in Gordonsville. It was detailed enough that I could work out the scale and the radius of the curves through the wye. In 2000 I guessed
53". Using the photo I found that I was close, but off by a bit. What I came out with this time was 56.25". I was also able to space some
of the turnouts a little closer to the prototype and include both of the sidings across the mainline from the freight house, so when I begin
to add scenery everything should look right. The orignial version of the plan also included a short siding near Louisa to represent the Purcell lumberyard in Bibb.
The idea was that including the lumberyard would go a little way toward making up for losing the vermiculite loader. I did, however, also include the siding
that eventually served the vermiculite loader. It was there in 1970 (it served an auto loading ramp in the 1930’s). After beginning construction of the
layout I found an aerial photo of the area from 1969. There was some sort of building along the siding that was there as early as the 1950’s. According to
Gary Smith, it belonged to a feed company. All that I really know about it is that it was rectangular in shape, was described in one document as metal, and had a ramp.
Other than that, I have no real idea what it looked like, but I’ll probably try to represent it on the layout.
I did receive some very thoughtful suggestions from Jerry Simonoff. One was to reorient Louisa so that it was consistent with Gordonsville and Melton.
I think I’ve addressed my reasons for not doing so above. He also suggested double ending the fiddleyard tracks and using some of them to represent
some of the trackage in Lindsay. I haven’t double ended the staging tracks yet, but I am still considering that, or – now that I’ve actually built the benchwork
and seen how much space I have – adding an additional track in each direction. I did, however, add (or plan to when they
arrive) a couple of curved turnouts to create a siding between Gordonsville and staging to represent (somewhat poorly) the tracks in Lindsay. My plan is that that siding
will function something like staging; cars from the trains from Potomac Yard will be placed there between session to be picked up by the next modeled train and cars for
Potomac Yard will be dropped off by a modeled train during a session to be removed after the session.
I’m still open to suggestions and would like to hear your thoughts. Feel free to email me at the address below.
Benchwork Construction and Laying Track
The first thing I did was to mount a backrop made of 1/8" hardboard. I just continued the backdrop straight
into the corners on my old railroad and forever had to avoid taking photos from angles that would show the corners
in the “sky.” This time I curved the backdrop through the corners. It wasn’t as hard as I thought
it was going to be and it avoids the “corners in the sky” problem.
Most of the layout is going to be anchored to the wall. This bracket — which follows a design from Jeff
Wilson’s benchwork book — was fairly simple to build, does a great job of supporting the layout, and
leaves more space under the layout. That makes it easier to work under the layout (say, when I need to do wiring)
and gives me more room to store back issues of magazines.
In this shot, I’ve mounted the first of the L-girders. I needed to get this one up so that I could construct
the first free-standing section of benchwork, which will be anchored to this L-girder.
Before I started building the layout, I had my 22-year-old heat pump replaced. After the installation,
I checked the trackplan against the footprint of the new unit. Everything looked fine, so I started
construction. Too bad that I wasn’t thinking in three dimensions, though. When I reached this point
it was clear that the ductwork was going to interfere with the backdrop. After studying the problem for a
few days, I decided to shift the backdrop and the track toward the front edge of the bechwork. Around the
same time, my water heater (which is right next to the inside unit of the heat pump) started leaking and I
had to have it replaced. It was only 6 years old. The idea that I might have to replace the new one in
another 6 years forced me to decide that the track looping around the water heater should be removable
to facilitate access to the heater. That plus the backdrop move cost me the ability to include the Purcell
lumberyard as I had originally planned (but see below).
In this shot, the backdrop has been painted. I don’t plan to add clouds. I try to avoid adding things to
the layout that undermine believability. That includes things that should move, but don’t, such as a figure
of a man jogging. He might look good in a still photo, but watching him frozen in midstride undermines the illusion
when visiting the layout in person. Clouds move and the same ones would not be hanging overhead day after day after day.
So, I left them off.
This photo (and the next one, as well) show the layout after all of the L-girders and joists have been
The risers and plywood subroadbed have been installed and the first of the precut cork switch pads
have been glued down.
The cork roadbed went in quickly.
Several tracklaying guides suggested starting with the most complicated track first. For me, that was
the west (on the layout) end of Louisa. In this shot, the first couple of switches have been installed.
Underneath the layout are the Blue Point switch controllers.
In this shot, the curve leading into Melton can be seen. On my previous layout I had problems maintaining
my 30" minimum radius as I laid the track through curves. Fast Tracks SweepSticks (the wooden template
between the rails) helped solve that problem.
The wiring for the track is in. I used 14-guage wire for the bus lines and 22-guage wire for the feeders. I used suitcase connectors for
most of the connections, so the wiring went pretty quickly.
Finding a place to put my DCC system was a bit of an afterthought on the old layout. This time, I put some thought
into the location. It had to be fairly close to an outlet and easily accessible. What I came up with was a shelf
below the narrow benchwork near the heatpump. As you can see, I use a Lenz DCC system with LH90 hand controllers. Next up
is to install the layout fascia so that I can wire up the ExpressNet plugs.
Rather than proceeding with the fascia, I decided to finish the rest of the benchwork. Here’s the first section of
benchwork that is situated in new layout space. Gordonsville will be located in the corner by the door.
The open grid benchwork in the near foreground will support the turnback curve between Gordonsville and the
staging tracks. This is the location of the duckunder to enter the layout area and using open grid benchwork
bought me a few extra inches of clearance above the ground. That’s a few extra inches that I don’t
have to bend down.
I’ve got a coat of primer on the new section of backdrop.
Once the primer dried and I fixed a couple of rough spots, I put on a coat of sky blue. I still have a couple of
spots begging for some light sanding and touch up paint.
Laying out the track plan on the plywood subroadbed for the first part of the layout was fairly easy; there were
lots of straight lines and curves with radii that could be drawn by drilling holes in a yardstick. The trackwork in
Gordonsville, though, was much more complicated and involved 56.25" radius curves. I first thought of drilling holes
in a spare tape measure I have, but discovered that even if that would work, I don’t have space to do it. I
finally resorted to printing out my trackplan full size using xTrkCad (which involved 22 pieces of paper that I then
had to tape together). I taped the trackplan down to the plywood and used pushpins to mark the track center lines. Then
I pulled up the paper and joined up the pin marks with pencil.
The subroadbed in Gordonsville is up on risers. Right below the camera’s position is the location of the bridge
over Route 15/33. I salvaged the scratchbuilt model of that bridge that I built for my old layout. The trick now is to
work out how to fit it in here.
I put my cardboard mockup of the Gordonsville freight station in place to make sure that everything fits as planned.
The sharp-eyed will note that the track centerlines here don’t quite match the trackplan shown above. As I laid
things out full-sized I realized that I needed to change some things. First, I placed the turnout leading into the
siding that served the freighthouse in the wrong place. If I had placed it according to the plan, it would have been
right in front of the freighthouse. That was an easy fix; I just moved it a few feet to the “east.” I also
eliminated one of the sidings across the main from the freighthouse. I had done that on the old layout, too, and it
bugged me. So, I added it into the new plan. However, seeing the everything full-sized reminded me of why I’d left it out
back in 2000: adding it crowded the scene to the point that it looked cartoonish because that second siding couldn’t
be long enough to be reasonable. So, I eliminated it. I now have an extra Atlas Code 83 left-hand turnout on hand.
The cork roadbed is now down in Gordonsville. I used HO scale roadbed for the mainline and N scale roadbed for
sidings. One issue on the old layout was the depth of the benchwork through Gordonsville. To work the siding for
the freighthouse required standing on a step ladder and reaching over an area that was going to have to be populated
with models of the Main Street stores. I cut the depth back significantly in the new plan.
It took days of fiddling with the risers and stacking bits of plywood to get bridge 1605 into place and level from
end to end and front to back.
Right after I started connecting feeders in Gordonsville, I remembered that I needed to cut gaps in some of the rails
so that I could wire in block occupancy detectors to trigger grade crossing flashers. The first step was to mark where the roads will be.
I was looking for something else when I found my cardboard mockup of G cabin. Having found it, though, it had to
end up on the layout.
Fitting a Blue Point switch controller in place to operate the turnout just off the east end of the bridge
was a bit of an adventure.
To the left in this photo is the Westvaco pulpwood siding and to the right is the track that forms the
Washington Subdivision side of the Gordonsville wye.
This is an overall view of the fiddle yard. Richmond staging is to the left, Charlottesville to the right. In the left
foreground, the mainline crosses over the water heater.
This section of the mainline is designed to be removable to allow easier access should the water heater need to be replaced.
I plan to put some kind of sides on it, both the protect against drops to the floor in the case of a derailment and to add some
In this shot, I’ve begun installing the fascia. It’s made of ⅛ hardboard.
I painted the fascia a nice dark green color (Behr’s Eastern Bamboo, to be exact). Now that the worst of the mess of construction
is done, I’ve set up a computer to run Decoder Pro. I think I need a keyboard tray to get the keyboard and mouse off the floor.
An overall shot of the east end of the layout. Louisa is to the right and Melton (the location of the Pyrofax gas plant) is
located at the bulge on the left.
An overall shot of the west end of the layout. The bridge over Virginia route 15/33 is visible toward the front of the shot on
the right and the staging tracks are on the left. In this view, we’re looking toward the duckunder that allows access to the
layout area from the rest of the basement.
In this shot, we’re looking into the layout area from outside. The Westvaco siding is to the left and
staging to the right.
I’ve installed the panel connectors for the hand-held throttles, throttle pockets (from MicroMark), and the
FlexLink controls for the Blue Point switch machines.
I had originally ordered the throttle pockets for my old layout. As a result, I ended up short one throttle pocket.
When I went to order it, I noted that they also had cup holders. What’s a layout without cup holders?
The next step is to rough in the scenery with foam insulation. In this shot, the first pieces of foam have been cut and placed
onto the layout.
This was as far as I’d gone with the foam in the summer of 2017.
In 2019 I acquired a 3D printer hoping to be able to design and print my own detail
parts. I haven’t managed that, yet, but I did find a free, customizable station sign
online. It looks right at home on the layout fascia.
I printed the previous signs before I modified my track plan to include Purcell Lumber in
Bibb and a siding to represent Lindsay. When I tried to find the original sign, it was no
longer available. In my search, however, I found a sign that included the original files
in the format from the 3D software I’ve been experimenting with. I had also acquired
a copy of the font file for the C&O’s station sign font from the C&O Historical
Society. With that, I was able to modify the more European-looking sign I’d found into
something more like the C&O’s station signs. Here’s the one for Louisa; compare
it to the first version above.
The next sections will chronicle my progress on scenicking the layout. I had originally tried laying them out in
chronological order, but that started getting messy as I jumped around the layout following my interests and the availability
of materials. So, I’ve changed to a geographical order, starting on the east end of the layout.
As I noted above, I thought that the changes required by my new heat pump would cost me the ability
to model the lumberyard in Bibb. There simply wasn’t enough space left to model the siding and the
structures. As I worked on the Louisa scene in the summer of 2019, however, I realized that if I used a
curved turnout and gave up on the buildings, I could add the siding. There wasn’t, however, a
commercial turnout that would fit and my last attempt at constructing a custom turnout did not end well.
Enter Jim at Jamestown Trains. As soon as a set of FastTracks
switch ties arrives, I’ll be adding a new siding to the layout.
In this shot, the new siding is in and I had added a photo backdrop of a treeline to the backdrop.
There’s a bit more space between the siding and the edge of the layout than I thought I would have.
I think I might be able to fit a selectively-compressed version of the Purcell Lumber buildings.
One problem that I ran into here was setting up a way to operate the Blue Point switch machine. I tried
their FlexLink system, but the geometry of the benchwork in this area and the location of the machine itself
led to a nasty S-curve in the plastic cable that had far too tight a radius to work reliably. I ended up
cobbling together a linking system from bits and bobs that I had lying around. The levers were cut out of an
old steel freight car weight. The lower end of the vertical lever in the background is connected to the knob
on the fascia.
As you can see in this photo, I really had to go all out to remove all trace of flexing from
the linkage. The connecting rods are made from a wire coat hanger. Since this photo was taken, I
glued a piece of 1x1 lumber to the bottom of the basswood “platform” to stiffen it
further. It looks a bit like a Rube Goldberg contraption, but so far it seems to be working
I’ve added trees between the tracks and the backdrop. That’s not prototypical - there’s
actually a fairly flat area with just a line of trees between Purcell and the road, but there was no way
that I was going to represent that convincingly in the space that I had available. I also have a posterboard
mockup of the buidlings in place. I found an aerial photo of Purcell taken in 1969. There were 5 buildings in
the complex then. I really only had space for the two that were right along the tracks and I had to model
them a bit less than half the width that they actually were. In addition, the end of the building facing the
camera in this image has since had a lower extension added (see the photo on the Bibb
In this photo you can see how close the buildings come to the edge of the layout. I really didn’t
have any more space.
If you know the real Purcell Lumber buildings, you’ll immediately notice that my models
are about half as wide as they should be. I think they work, though. As noted above, since 1970 an extension was
added onto this end of the building. My model of the end of the building was based on the look of that extension and is purely conjecture.
The Louisa depot scene was one of the more complete areas on my old layout. The passenger depot was pretty much scratchbuilt, but I used the windows and gable
trim from a couple of Gloor Craft Marlinton station kits. Because it was so close to the front edge of the layout, I felt like I needed to detail the interior, so
I made my best guesses about the interior layout based on the C&O’s standard plans. A couple of years ago, though, I got the chance to see the interior
(thanks to Gary Smith) and discovered that many of my guesses were flat out wrong. This photo shows the start of a new version that reuses as many parts from
the old one as possible.
Building a new version of the passenger depot was part of a larger plan to complete the scenery in the Louisa depot area. I had already roughed in
Fredericksburg Avenue when I discovered a discrepany in my sources about where the turnout leading to the house track was located. Of course, once I
found a photo that showed the location, it turned out that I had it in the wrong place. In this photo, I’d ripped out the old siding and turnout
along with the misplaced version of Fredericksburg Avenue.
The new turnout and siding are in place, with a little “kink” in the siding as on the prototype.
Work on the depot was also progressing. I built all four walls flat and then began joining them into the basic structure.
Fredericksburg Avenue (and Church Avenue on the other side of the depot) were paved with .060 styrene sheet. As far as I can tell from photos,
Church Avenue was very narrow and didn’t have lane markings in 1970, so I just hit it with Rustoleum gray primer. Fredericksburg Avenue gor a coat of
yellow down the center. I then masked the lane markings and sprayed gray primer.
Following measurements that I made on site, I laid out the station platform with a piece of foamcore that matched the thickness of my cork roadbed.
The curbing around the platform was laid out using 8x8 inch scale lumber, which was then painted concrete gray.
I don’t know exactly how the interior was furnished in 1970, but the two gray cabinets are still in there, as is the sink. Any idea why there
was a sink in the agent’s office when there was a bathroom just a few steps away?
If this wire can work as a power bus for the layout, it should serve as a bus for the power to the lights in the depot, right?
The completed depot in place on the layout.
Just to the east of the depot was a feedstore. I don’t have room for the whole thing, but the rear was visible in photos of the
station, so I had to represent it. My model is about half of the structure.
As best as I can tell, the building was gray in 1970.
Here’s a shot of the depot area. There’s still some work do do - I need to represent the feed store that stood behind the
freight station, for instance - but it’s looking fairly complete.
Right at the grade crossing with Frederickburg Avenue is a funeral home. I’ve represented part of the parking lot on the layout.
I’m not entirely happy with this area, especially the backdrop.
Here’s a view of the area to the “east” of the depot area. The Louisa water tank is visible in the background beyond
a scratchbuilt model of a large warehouse type building (I don’t know what the prototype building is actually used for). The house
on the right is a Walthers kit modified to resemble the prototype a bit better; the real one is much larger and just a bit
further from the tracks.
This is the view up Church Avenue toward the depot. The road surface is a custom-made decal based on the actual Church Avenue and was
applied over gray-painted styrene.
The Maddox Feed buildings were visible in prototype photos of the depot, so I needed to
represent them on the layout. The benchwork in this area, though, was too narrow to allow
modeling them in 3D. So, I built the models anyway, mounted them on a temporary base and
photographed them. It took a fair bit of experimenting with camera angles and print sizes
to get something that worked, but I think it’s pretty effective.
This photo shows some of the other buildings in the Maddox Feed complex.
GP7 5767 leads a local freight past the feedstore in Louisa.
The West End of Louisa
Here’s west end of the Louisa passing siding. It does bother me a little that this scene is visible from the Doctors Road grade crossing,
but there’s only so much space in the basement...
I was looking for a way to transition from the Doctors Road scene to Louisa. My normal answer is to use a thick stand of trees. The problem in
this case was that I need access to the tracks to couple and uncouple cars when switching Louisa. What I settled on was a corn field.
I always intended to put a fence around the cornfield and I wanted that fence to be a barbed wire fence. It
took me several years to find a way to adequately represent barbed wire. I tried one of the Woodland Scenics
barbed wire fences, but the tension required to straighten out the wire was more than my foam scenic base could
handle. This is what I finally came up with.
The remains of a wooden ramp still stand along the tracks in Louisa, but they’re in rough shape. That makes it hard
to tell what the ramp really looked like. I decided that a Blair Line ramp would be a good stand in. To bring it up to the right height,
I added a base of ⅛" Masonite.
Documents described the feed service building as a metal shed. When I worked out the approximate size from an aerial photo,
though, it seemed like it was fairly large for a shed. I opted to use a Rix building. I had to scratchbuild a base to match the
height of the wooden ramp.
The two sheds are from my previous layout and represent buildings that show up in all of my
photos of the area. They seem to have been moved a few times, but aerial photos show that they were
there in 1970. After a major mishap, I had to build new versions of both of them. The mocked up
building near the backdrop appears to be a fairly large shed. My photos show that the back wall was plain.
It ended up being one of my easier modeling projects.
The scene is looking fairly complete. Over the large red shed you can see the roof of what I believe is
some kind of commercial garage. I need to add more details, but I think it’s looking OK.
This is one of my favorite photos of the new layout.
The Doctors Road Grade Crossing
The grade crossing at Doctors Road was just a short walk from my family’s property, so I often
walked there to wait for trains. That made it one of my required scenes on the layout. It was the first place
that I started scenery on the old layout and it seemed only fitting to start there again on this layout. On my previous layout,
I had included a portion of Rt. 33 and the whole S-curve from the road to the grade crossing. This time, I started by
printing a Google satellite photo of the area and worked out the distances to scale. If I had built the scene to scale, I
would have needed nearly 3 feet from the track centerline to Rt. 33. Since I don’t have that kind of space, I chose
to model only Doctors Road and leave Rt. 33 out in the aisle. I marked the outline for the road using chart tape (most
markers will bleed through paint and other scenery materials).
The next step was to cut some 1/2" foam in the shape of the road.
In this shot, I’d begun roughing in the land forms with foam and Sculptamold. If you look closely,
you can see that I marked some of the foam with a marker. Go ahead: ask me how I know that marker will bleed through.
The dirt around the Doctors Road grade crossing has a yellowish or orangish color that I’ve never
seen elsewhere. I scooped up a bit on my last trip to visit the Piedmont (Ok, ok, I drove 3 hours to get there just to get
a small container of dirt). Then I had Home Depot match the color in a cheap, flat latex paint. I put down a
heavy coat of paint and then sifted dirt over the wet paint. So far, I have a nice desert.
I was never really happy with my representation of Doctors Road on the old layout. I had covered the road surface
with a mix of sifted dirt and Woodland Scenics gray N scale ballast. It never really looked like a dirt road to me.
This time, I spent a lot of time studying photos of dirt roads. This is what I came up with. I usually sift my dirt
with an old kitchen strainer. This time, I took that sifted dirt and sifted it again through a cheap pair of pantyhose
(only .69 at the local drugstore). I covered the road surface with that fine powder. Then I used what was left in the container
(what had gone through the sifter, but not the pantyhose) to edge the travel lanes.
Beginning to get rid of the desert look.
I still need more vegetation, but it’s beginning to look like the real place.
In this shot I’ve added more trees and grass, along with electric utility poles and some yellow flowers (it is spring, after all). There’s
still more to add, but the scene is looking fairly complete.
I always intended to add the lineside telegraph poles on my old layout, but never got around to it. This time I have and
it really makes a difference.
Here’s an overall view of the Doctors Road grade crossing scene.
This view is from just west of the crossing.
This photo captures what I used to see when I watched trains as a kid. I’ve
been trying to get this photo for years but none of my previous attempts worked; there’s
a heating duct right over the layout here. My photo editing skills have finally improved to the
point that I could get rid of it.
[NEW] Here’s another shot of a train at the Doctors Road grade crossing. I really like this one.
The Pyrofax Gas Plant in Melton
Here’s an overall view of the beginning of work in Melton. I’ve roughed in landforms with foam
and laid down a first coat of dirt from the actual location. Along the front edge you can see the .060
styrene I’m using for Route 33.
One issue that I had to solve was how to deal with the scenery on the far side of the tracks. On the prototype, there’s a relatively flat
space, then an embankment. One the other side of the embankment the land drops down and the telegraph line poles go down into that depression. Then
the land comes back up and there’s a line of trees (or there were in 1970). I didn’t have room for all of that. My answer was a photo
backdrop of trees. In this shot, I’ve blended one end of the backdrop into a stand of 3D trees.
This is just a test shot to see how the photo backdrop looks behind the gas plant office. The office building sat a bit higher than the rest of the
facility. I’ve roughed in the ground with Woodland Scenics foam.
After I had the landforms about right, I laid down a heavy coat of latex paint (I had it matched to the reddish color of dirt from the actual
location) and then covered the paint with sifted dirt. Then I soaked the whole mess with scenic cement. Once that I was dry, I added some static grass
and Woodland Scenics gravel for the parking lot and driveways. Note the t-pins in the background; I used those to mark the fence line.
In this shot, I’ve set the tanks in place to get a sense of where the concrete pad with a lot of the piping would go.
Here are more t-pins marking the fence line. I moved things around until they matched my photos of the plant as best as I could get them.
I knew that trying to install the back part of the fence would be a bear once I had the tanks and piping in place, so I decided to install it first.
I used a chain link fence kit from Walthers, but tossed the wire they provided and replaced it with .019 brass wire from Detail Associates.
My first attempt to get the fence material on was not so good. This picture pointed out to me how bad it was. I cut it off and tried again.
In this shot I had started installing the piping.
This is my best guess as to how the piping went. I’ve got quite a few pictures of the plant from many angles from over many years, all from
outside the fence. When I built my first version of the plant, I spent hours going over them and drawings of similar plants in model railroad
magazines trying to get the pipes right. It was a frustrating experience. I’d look at one set of photos and it would look like “pipe
a” joined up with “pipe b”, but in another set of pictures it would look like “pipe a” joined up with “pipe
c”. I did the best I could, but I have a feeling that if a pro came in and looked at my model the comment would be something like, “You
know, if they did it that way, it would blow up.”
The office building was saved from my previous layout. On that layout, I had the lights installed, but I never hooked them up. It was really cool to
finally see the the plant in the dark.
I based my model on the earliest photos that I had of the Pyrofax gas plant, which dated to the mid-1990’s. I had been desperate for
earlier photos for years. Then I got an email from Jerry Simonoff about a 1988 photo of the plant that he’d found on the Vintage Aerials site.
I spent a bit of time looking around that site and found a 1984 photo. I made a few changes to my model based on that photo. Then, looking for
something else, I found this one from 1975! You can see it on the Vintage Aerials site at the Vintage Aerials site.
One issue I recently had was that – based on my don’t model it if it can't be seen philosophy – I hadn’t really done anything
with the back walls of the office building. When I took my first video of the layout using a mini-camera, though, it was obvious that the back wall of the
building was just unpainted styrene. To deal with that, I used photo editing software to manipulate a photo I had of the building, printed it out to scale,
and glued it to the back of the building. I still need to do the other back wall, but I think it works. The tree between the building and the tracks was
added based on the Vintage Aerials photos.
When I first saw the gas plant, there was a small Amerigas sign over the window in the center of the larger building. When I
later learned that the facility was owned by Pyrofax in 1970, I simply replaced “Amerigas” with “Pyrofax”
on that sign. One thing that I learned from the Vintage Aerials photo was that that wasn’t correct. The sign was actually
individual letters mounted at the top of the wall. Fortunately, removing the old sign didn’t do too much damage to the model and
the new sign was easy to create with Plastruct letters.
This is my attempt to copy the Vintage Aerials photo. I think my model captures the prototype
Between Melton and Gordonsville
On the prototype there’s about 2 miles between the gas plant in Melton and Gordonsville. Much of that area is wooded, but in several stretches
there are homes between the road and the tracks. I had about 6 feet to model that 2 miles (which would require about 120 feet to model to scale),
so I opted for a couple of generic houses. These came from Walthers kits. I did replace the porch floors with real wood. I also detailed and lighted the
Gordonsville is meant to be the focus of my layout and I’m finally starting the
scenery in the Gordonsville area of the layout. I needed to include a representation of the
Exchange Hotel, but I simply couldn’t take a photo of the building as it exists today
and paste that on the layout; it was sitting derelict and abandoned in 1970. So, I built a
model of the front wall, photographed it, printed it out to scale (correcting for distance)
and put it up against the backdrop. That’s when I ran into problems. When I planned the
layout, I apparently got ahold of an old, incorrect map of Gordonsville that I’d once drawn
and I had the hotel and the road leading to it (visible in the right back of the photo) about 87
scale feet (an actual foot) to the east of where it should be. Moving the road to where it should
be would put the grade crossing right in the middle of the turnouts in the middle of this photo,
which wasn’t how it was on the prototype. That simply wasn’t going to work.
Changing the track was going to require major surgery, so I wanted to make sure that I got it right the
first (OK, technically the second) time. In this photo, I’ve laid new track components on the layout to check the fit.
To my delight, I discovered that the one siding that I’d eliminated when I started construction could be added back
in. Photos I’ve seen from my time period show that maintenance of way (MOW) equipment was often parked on these sidings, so
this change will give me a reason to model some MOW cars.
Once I convinced myself that everything would fit, I took saws and knives and other implements of
destruction to the layout to add plywood subroadbed for the new siding.
The new siding is in and the old one extended slightly.
I replaced any missing ties, masked the area, and the hit the track with a coat
of Rustoleum Camoflage Brown. As I go, I’ll weather the track to add some variation to
My plan is to complete all of the scenery along the backdrop before I move on to the
passenger station. That means modeling the freight house and the mill that stood along
the tracks. I mocked up the mill from posterboard using dimensions that I worked out from
photos. When I planned the layout, I eliminated the crossovers from the mainline to the
siding to save money. As I stared at the mockup and thought about operations, it became
clear why the C&O had those crossovers where they were: they eased access to the mill
and the freighthouse. Since I was doing major surgery anyway, they got added in.
The Gordonsville Freight House
I mocked up the freight house using posterboard years ago and that mock up has been
sitting on the layout ever since. In late 2021, I decided it was time to replace the mock
up with a real model. First, though, I wanted to get an idea of how things would work out,
so I mocked up Depot Street as well. When I had everything looking right, it was time to
start cutting styrene.
I’ve always wanted my model of Gordonsville to be as accurate as I could make it,
so my original idea was to laminate styrene strips to replicate the spacing of the boards on
the prototype. In this photo, you can see my first attempt at the west wall of the freight
station. The base was .030 styrene sheet and the boards were cut from .005 styrene. At this
point, it looked like it was going to work. Then I started cutting out the openings for the
windows. Turns out that the liquid styrene cement I was using was drying quickly, often before
I got a strip onto the base. Enough stuck to hold the board in place, but when I started
cutting, boards started shifting. And when I applied more cement to the edges of the openings,
the boards deformed. As a result, I ended up using Evergreen siding that was closest to the
original spacing, even though none of the available options matched exactly.
Scatchbuilding the windows was going to be a bear, so I tried 3D printing. I decided to
do the sashes and the inner parts of the frame on the 3D printer and add the external parts
of the frame using styrene strips. In this photo you can see my 3D printed part on the left
and a completed window on the right. Both are laying on a photo of the prototype.
The rest of building the station was fairly straight forward. Here’s the completed
station in place on the layout. The shed is from a kit by Tichy and the signal bridge from
Oregon Rail Supply.
[NEW] I needed to represent the Exchange Hotel, but I couldn’t simply take a photo and
paste it on the backdrop; it was sitting derelict in 1970. So, I built a model, photographed
that, and pasted that on the backdrop. You can see it behind the trees in this photo.
[NEW] I’ve powered the signals now.
[NEW] I really like how this scene is coming along. I just need some MOW equipment parked on the sidings.
Orange Madison Cooperative Farm Service
As noted on the Gordonsville page, what had once been a
mill building stood alongside the tracks near the freight station. In 1970, that building
was used by the Orange Madison Cooperative Farm Service. My first step in modeling the
structure was to work out dimensions and I had little to go on; in all the times I visited
that building, I never once measured any part of it. I did, however, have lots of photos,
including the one below, whcih was taken in June of 1953 and is about as good as it gets
for working out dimensions. The problem was where to start. I ended up buying some Tichy
windows that looked very close to the prototype and used the dimensions of those to set the
dimensions for everything else. In this photo, my posterboard mock up is in place on the layout.
To get the building to fit, I had to cut off the wall furthest from the camera and trim the roof;
the backdrop is curved there. I also had to compress the length of the portion of the building
that has its long axis at right angles to the track.
This photo of the steel water tank and the mill was taken by Doug Jones during
a 1953 fan excusion. (from a negative in the collection of Larry Z. Daily)
This is the mill building as it appeared in the 1990’s. Note the metal siding on the largest part
of the building and the remnants of a sign on the part of the building nearest the photographer. (Photo circa 1990 by Mark Herrmann,
used with permission.)
The oldest part of the complex - what I think of as the main part of the building -
was originally sided with clapboard siding (see the photo above). Before 1970, though,
the original wood siding had been covered over with metal siding that mimicked the
original wood. I used Evergreen siding, but scribed panel lines to match the prototype.
In this shot, the walls are all in place and I’ve started on the roof.
In 1970, the building was painted gray with white trim. As near as I could tell,
all of the roofs were metal. Throught the 1970’s, there was a cyclone of some
kind on the roof and nothing on the market was close to what I needed, so I designed
and 3D printed one to match.
When I first visited Gordonsville, there was part of a sign
that said “Farm Service” still hanging on the structure. In a 1973 photo from the C&O
Historical Society part of a sign displaying the Southern States logo below the word
“Orange” was visible. When I looked in a 1970 phone book, I found a listing for the Orange
Madison Cooperative Farm Service, which was associated with Southern States, so that’s what I
put on the sign.
As noted in the section on the design of the layout, I modified the original track plan to add
a double-ended siding between Gordonsville and staging. This new siding is meant to represent a
siding in Lindsay. It will function, in a sense, like visible staging. A train from Potomac
Yard with cars for Richmond would drop them in Lindsay for the next east-bound train. Those cars will
be placed into position between operating sessions. A train from Richmond with cars for Potomac Yard
would drop them in Lindsay and my operators (most likely operator - me) will drop those cars right before
their train enters staging and they’ll be removed between operating sessions.In this shot, I’ve
cut back the foam and added the cork roadbed.
It didn’t take long to get the flex track in place.
The push pins are to hold the track while the adhesive cures.
Here’s the east end of the completed siding...
...and here’s the west end. The siding capacity is approximately 7 50' cars.
Please note that, due to a huge volume of spam coming in on my email account, I’ve had to change my email address.
The new address is firstname.lastname@example.org (but remove the nospam and the dot before piedmontsub.com).
All materials on this Web site are protected by United States
copyright law. This includes, but is not limited to, articles and graphics. Unless
otherwise indicated, these materials are the property of Larry Z. Daily and may not
be used without prior written permission of Larry Z. Daily


text:
Town wants modulars money back
At their January 24 meeting, selectmen voted to send a letter to the Wachusett Regional School District Committee asking that the $3.1 million state reimbursement for the high school modulars be returned to the towns.
“We have two windfall distribution categories,” said Selectman Joseph O’Brien. “The modular reimbursement and the timing of the accelerated reimbursement for the high school building project that saves a lot on interest.”
Holden is requesting that the modular reimbursement be returned to the taxpayers because it was a debt exclusion in Holden, said O’Brien. “That money may not come back to the towns until FY07 and wouldn’t be in the form of a cash reimbursement but in the form of an assessment reduction.”
“It’s bad news we may not get anything until FY07,” said Town Administrator Dennis Rindone. He pointed to the projected increase in regional bus transportation costs for next year of $336,000. That would increase Princeton’s share by more than $20,000, he said.
Holden and Paxton officials have written to the school committee requesting the modular reimbursement be returned to the towns, and the Sterling Finance Committee and Rutland Selectman Douglas Briggs have indicated they feel the same way, said O’Brien.
“Paxton wanted a town meeting to authorize additional borrowing for any increased costs for the high school project,” said O’Brien.
“That’s because it’s not a $70 million school; it’s an $80 million school,” said Select Board Chairman Alan Sentkowski. “They want that increase to go before voters.”
“That isn’t legally necessary,” said O’Brien. “But morally and information wise, it may be a good thing to inform voters. It’s an opportunity to present the increases publicly. But it doesn’t seem to be necessary because the administration has a letter from their attorney with the legal opinion that it’s not necessary to go back to town meeting.”
Rindone said he’d check with the administration to see whether the recent news of a freeze on all SBAB (School Building Assistance Bureau) funds for school building projects in any way impacts the Wachusett high school project. “I read it thinking it meant the barn door closed after we went through it but we don’t know,” said Sentkowski.
In other business selectmen voted to deficit-spend the snow and ice budget, which has a dwindling balance. According to Rindone, as of January 24 the account had about $12,305 left of the originally appropriated $100,000 for the winter season.

domain: economics


Thin AlN films were synthesized by pulsed laser deposition at 800 °C by a KrF* excimer laser source (λ = 248 nm, τ = 25 ns, 3 Hz) at fluences of 4.8, 8.6 and 10 J/cm2 in nitrogen ambient at a dynamic pressure varying from 0.1 to 10 Pa. The film microstructurewas studied by X-ray diffractometry, while the film surface morphology of AlN films was examined by AFM imaging. At the low laser fluence (4.8 J/cm2), a stable hexagonal AlN phase was formed, while at the intermediate laser fluence (8.6 J/cm 2), both hexagonal and metastable cubic crystallites were observed. At the high laser fluence (10 J/cm2), the films were "XRD amorphous". The surface roughness shows a tendency to increase with the increase in the nitrogen pressure. The root-mean-square roughness values are 0. 2 - 5 nm, depending on N2 pressure.
|Journal||Journal of Physics: Conference Series|
|Publication status||Published - jan. 1 2012|
|Event||17th International Summer School on Vacuum, Electron, and Ion Technologies, VEIT 2011 - Sunny Beach, Bulgaria|
Duration: szept. 19 2011 → szept. 23 2011
ASJC Scopus subject areas
- Physics and Astronomy(all)


text:
DHA given to newborns in the first weeks following birth improves brain development in girls, but not boys
A triple dose of DHA, docosahexaenoic acid, given to infants born six weeks or more premature boosts brain development in girls but doesn’t seem to help boys, tests at 18 months of age show. Australian researchers report the findings in the Jan. 14 Journal of the American Medical Association.
DHA is a long-chain omega-3 fatty acid, one of a suite of nutrients needed for brain development. More than half of the brain is fat, and roughly one-fourth of that fat is DHA. The best sources of DHA are fish such as tuna, herring and salmon, and some organ meats. The human body can also assemble DHA from shorter fatty acid chains found in vegetable matter, such as flax oil, canola oil, leafy green vegetables and walnuts.
But fetuses cannot do this assembly, relying instead on the mother to provide DHA intact via the placenta.

domain: biology


text:
The Muddy Duck - Hethe
Service was very slow, the burger was luke warm, we did mention and the shared pudding was taken off our bill as a 'sorry'. It was meant to be an early anniversary lunch for us but we were left feeling disappointed. I did enjoy the ox cheeks they were delicious but the other bits let the Muddy duck down.
Great place but lights are too bright in the dining room and the food thought tasty needs some refinement.
Still love this place but lacked some ambience this time, greeter at the door took a while, food - sea bass curry far too hot! Left without much of a goodbye or thank you. A bit average - service, food has been much better in the past.
Some food undercooked. Two meals were taken off the bill by he staff
The Muddy Duck never disappoints. Very happy to have this restaurant nearby.
Wonderful welcome, really helpful with dietary requirements, very good food & a super serving team
It's been a little while since we were last at the Muddy Duck - just too many other things going on. Very pleased to see several seasonal changes to the menu. Game ragu with pasta was remarkably good and lovely contrast with starter of scallops and pumpkin purée from specials board. We won't leave it so long for our next visit.
Had such a lovely dinner at the Muddy Duck! Delicious food in a comfy but elegant space. Everyone was extremely welcoming and we whiled away hours in the cozy fireplaced bar for hours afterwards. A must visit!
Disappointed that the extensive menu had only one vegetarian dish, no choice.
Welcome by staff was great.
Shown promptly to our table, our waiter, explained all about the food and specials available, and was very pleasant and polite.
Only thing I found was that the game pie was rather dry although a pot of jus was provided and being baked I personally found the pastry hard.
All my guest were very impressed and all in all we thoroughly enjoyed our meal.
We certainly will be going to the Muddy Duck again soon.
Great food and really excellent service. The staff couldn't have been more attentive. I can't wait to go back.
I’ve wanted to come here for ages and finally got treated to a meal by my lovely mum. I was worried it wouldn’t live up to my expectations but it actually exceeded them!
The food was delicious with pretty decent portions but it was the staff that made it amazing. Our waiter was funny, knowledgeable and very friendly- a real asset to the restaurant.
We stopped off after a shopping trip to Bicester. The muddy duck is located in a beautiful village, easy to get to and food is good. We would probably sit in the pub next time as it was a little quiet in the restaurant (to be expected on a Wednesday afternoon). Worth a trip.
Waited a while to find the right night to book as they are often busy (popular). Really enjoyed the excellent food and will return.
Prompt service and a broad choice of dishes on the menu. Pleasant waitress who knew the food and could answer our questions. A nice atmosphere. Have eaten here in summer and winter and both inside and outside seating areas are lovely.
A tasty traditional Sunday roast enjoyed in a comfortable and friendly restaurant, we shall be back!
Amazing food, wonderful service and beautiful surroundings, very romantic.
Been several times before and they didn’t disappoint.
Amazing food and service from the waiter! Everything 5 star apart from our greeting as we were not from the local area we were unsure where to go and the barmaid wasn’t overly friendly or helpful upon arrival! Other than that I would highly recommend.
It was our anniversary dinner, the whole evening was lovely from the welcome from the friendly bar staff to the great waiting team and the food was wonderful. The seafood chowder and scallops from the specials menu were divine followed by a fabulous duck and chicken main course and finished with a delicious dessert. Will go again and take friends.
The restaurant and bar has a Great atmosphere and the food is good quality and good value .
Probably our fifth visit over a few years and always the same - fabulous staff, excellent food and relaxed atmosphere. Wish we lived closer.
As usual the muddy duck never fails to deliver on good food and friendly service. We had a very good birthday lunch for my daughter. Thank you all at the muddy duck
Great service very good food. Excellent pork crackling strips. And wonderful atmosphere. 2nd visit will be back for a 3rd soon
Very good atmosphere and good service. Quality of food excellent.
Lovely setting, great food and friendly service made our Sunday lunch a most enjoyable and relaxed affair.
One of our favourite restaurants....went there to celebrate my birthday.....Service fantastic as always, but felt menu was a little limited?
Delish lunch with family & friends today.. Roast beef sirloin and Slow roast pork belly were excellent. Cauliflower and broccoli cheese simply scrummy. Puds tempted us too.. All coupled with welcoming, attentive, knowledgeable staff make this a gem of a pub.. A real delight..
The restaurant had been recommended by a number of people, so we booked early - and were surprised when we arrived at 1 on a Saturday to discover that we were the only people there. Only three other tables filled up while we were there and, given that the food was very good and used local produce where possible, and the service was excellent, we were extremely surprised. We finally left our table at around 4pm - and were so pleased that nobody tried to rush us out the door. Overall, a very pleasant experience - and a jolly good meal! I would definitely recommend the Muddy Duck and it's delightfully quirky decor.
Great food, lovely place would highly recommend. The staff are really friendly and take care of your every wish. Think it is one of the best places in the Bicester area
Delightful meal - would return in a heartbeat. Thank you!
Love the muddy duck but personally don’t like the current menu. I thought the tapas / small plates idea in the summer didn’t work and this now feels like a half way house.
Superb setting though and the chef can definitely cook .. I just didn’t like the menu as much as I have in the past.
Lovely atmosphere and thankfully no Musak that so many places insist on these days- absolute bliss
Food was very nice but I have to take a point off as one of my two pieces of duck was a little tough and I had to leave it. The special of scallops as an entree were perfectly cooked however. Would go back.
Well knowledge staff and amazing variety of food on and off of the menu. Amazing dining and thoroughly recommended.
Great experience for our silver wedding anniversary!!! Staff were attentive, relaxed and very comfortable with advising us in the menu.
Staff very thoughtfully and unexpectedly brought some candles to the table when they found we were celebrating our anniversary.
Cliff and Kate
The food and surroundings are both excellent. I was disappointed that so many items on the menu were sold out. Our table was seated at 7.45pm on a Saturday evening so it seemed strange that even the olives were gone. The staff were friendly but seemed very rushed.
I will definitely visit again.
Truly amazing food and location I would recommend this location to everyone
Lovely Sunday roast, great staff service and very friendly. Would definitely recommend to anyone
Welcoming atmosphere, excellent attentive waitress, good food in a lovely location. Perfect for a wedding anniversary meal *
A fantastic experience. Excellent food and service!

domain: food


text:
This bold sea glass pendant is sure to be a focal point in your display! It's made with a larger piece of sea glass timelessly bezel set in the center. Two sterling silver hand hammered rings freely move around the sea glass center. You can use the drop down menu to select the color and chain length of your choice or choose to purchase the pendant alone.
*CURRENTLY ONLY AVAILABLE IN AQUA and SEAFOAM*
~ Would you like a different chain? Click this link ( silver chains ) to view our selection of chain styles ~
- Size: Approximately 1 3/4” x 1” (Sea Glass- 1" x 1/2" size and shape will vary)
- Metal: Sterling Silver
- Includes informational cards about the sea glass and the jewelry
- Comes in a custom gift box, tied with a bow and ready for gift giving!
Please remember, ALL of our sea glass is genuine, ocean-tumbled sea glass that is collected on beautiful beaches in Massachusetts, California, Hawaii and the West Coast. It is NEVER machine-tumbled. Working with authentic sea glass presents may wonderful rewards! Each piece of sea glass is one-of-a-kind, making the jewelry truly unique! Each piece of sea glass is carefully selected for each design by color, shape and size. Earrings are sorted by hand and precisely matched up. LOTS of love, time and care goes into the creation of each piece from start to finish. We use only jewelry-grade, A+ quality sea glass that is smooth, beautiful and resembles a gemstone. Using only the finest of materials ensures quality and durability. We hope you will treasure the jewelry as much as we treasure the art of making it!

domain: design


text:
House is a structure. Home is an atmosphere—an atmosphere of love. Three young mothers have made their houses into homes. These are the mothers of my grandchildren, and I am giving a personalized towel to each of them. The combination drawloom is my favorite tool for an undertaking like this. (Be sure to watch the video/slideshow below to see the whole process!)
First up is the Peach Jam towel to hang in my house, where all the families come for flavors of home. Next is Melody’s towel, with a whimsical cottage as Home (which can be read from front or back). Marie’s towel copies the cover of one of her favorite books, The Wise Woman. And Lindsay, a homeschool mom, has a towel that shows the wordplay humor that her family enjoys, Home’s Cool. A house is for people; come on in. A home is for family; welcome home.
Join me in watching the whole process, all the way to the finished towels (several months compressed into a few minutes):
Handwoven textiles help make our house a home. Home is where the heart is. And our home is where the art of the heart is. The most recent addition is a linen runner for our dining room table. I also wove a small table mat from the same warp. Linne Runner, design by Joanne Hall. 16/2 linen warp and weft, 8-shaft two-block broken twill. Glimåkra Julia countermarch loom.
Watch the process for creating this runner from beginning to end in this short slideshow video:
In the September, 2004 issue of Complex Weavers Journal, Jette Vandermeiden wrote about weaving small serviettes to place between her good dishes so they don’t scratch each other. That sparked the idea for me to use my learning experience with the Myrehed combination drawloom attachment to make these small pieces of cloth. The various designs will bring delight as they are uncovered, one by one, when we set the table in our home with the good dishes.
Enjoy this review of the process of setting up and weaving on this playground.
May you have not-so-hidden treasures in your home.
Take a short stroll through our home and you will see and touch linen in all its superb versatility. Linen warp and weft speaks of elegance. Yet, this natural fiber is right at home with ordinary daily living. Linen, oh, how it sings!
I am thrilled to be dressing the Julia now with 16/2 linen on eight shafts. We will have another linen highlight to grace our home—a table runner for our dining room table.
Is there anything more vibrant than the sheen of linen saturated with color? And, have you noticed that plain unbleached linen is anything but plain? Linen fills both ends of the spectrum—glowing exuberant color and natural wrinkled humility. Linen, oh, how it sings! There’s always room for more music in the home.
The computer is a worthwhile instrument for creating designs to weave. I like the flexibility and repeatability it gives me for drawloom designs. I’m also using the computer to develop the cartoon for my next pictorial tapestry. The computer work takes time—usually more time than I think it should.
When I sit at the loom, though, time slips away unnoticed. This is where I’d rather be.
I’m starting the second of four bath towels on my Glimåkra Standard. The loom, with its colored threads and cloth, is the first thing to greet you as you come in our front door. Welcome. Let’s put the computer away for a while and simply enjoy ourselves. There’s no better time than now.

domain: hobby


Jenkins Auto Group buys Palm Kia
Amid months of renovation and expansion in Ocala, Jenkins Auto Group also found time to make an acquisiton.
The company announced Friday it has acquired the former Palm Kia dealership. The new Jenkins Kia is now operating out of 1730 SW College Road.
“We are excited to bring on more brands,” said Allison Campbell, public relations director for Jenkins. “This one came available and it certainly was a brand that excited Mr. Jenkins (owner Don), so we’re excited to bring it into the Jenkins Auto Group.”
Campbell said she did not have terms of the deal.
The Kia dealership’s general manager is Jason DeVilbiss and its general sales manager is Mike Jones.
Jenkins employees were busy on Friday moving about 80 Kias to the new facility.
“We also have a shipment of Kias coming in from corporate next week,” Campbell said. “We’ll be increasing that inventory significantly.
The 20,000-square-foot building housing Jenkins Kia had served as a temporary home for Jenkins Hyundai while that dealership’s landmark pyramid was being renovated.
“We’ve known about this possibility (of acquiring Palm Kia) for several months but we needed to wait until Jenkins Hyundai was completed until we had a space for this brand,” Campbell said.
The 20,000-square-foot Jenkins Kia will include a service department with 14 bays, according to Campbell.
No Palm Kia employees are joining Jenkins, according to Campbell, who said about two dozen employees from throughout the Jenkins Auto Group are transferring to the Kia store.
Palm officials did not respond to a phone call requesting comment on Friday.
Tom Formanek, president and CEO of Jenkins Auto Group, said he was “very excited” at the acquisition.
“The growth of our company and the strength of our Jenkins Auto Group brand are direct results of the wonderful people in this community,” Formanek said in a news release.
Jenkins Auto Group now has four dealerships in Ocala, three in Leesburg and one in Brunswick, Ga.
Jenkins Auto Group: donjenkinsautogroup.com


by Jean-Yves Le Boudec, Patrick Thiran
Publisher: Springer 2004
Number of pages: 265
Network Calculus is a set of recent developments that provide deep insights into flow problems encountered in the Internet and in intranets. The first part of the book is an introductory course on network calculus. It presents the core of network calculus, and shows how it can be applied. The second part presents the results from Min-plus algebra needed for network calculus. The third part contains more advanced material, an appropriate reading for a graduate course and a source of reference for professionals.
Home page url
Download or read it online for free here:
by Lawrence E. Hughes - InfoWeapons
This book provides a succinct, in-depth tour of all the new features and functions in IPv6. Aimed at system and network administrators, engineers, and IT managers, this book will help you integrate IPv6 into your current IPv4 infrastructure.
by Justin Menga - Cisco Press
This book is all about switches, which are network devices that provide LAN connectivity for end devices. The book focuses almost entirely on Ethernet switches, which have become the most popular Layer 2 devices in modern networks.
by Charles Kozierok - No Starch Press
The TCP/IP Guide is a comprehensible guide to the TCP/IP that will appeal to newcomers and the seasoned professional. It details the core protocols that make TCP/IP internetworks function, and the most important classical TCP/IP applications.
by Martin Dunmore - 6net
Internet Protocol version 6 (IPv6) is replacing IPv4 to dominate the networking world. This deployment guide will enable you to fully harness the power of IPv6. A 'Must have' reference for IT/Networking professionals and students.


- Press Release
- August 7, 2022
NASA Postpones Shuttle Atlantis Launch Until January
The launch of space shuttle Atlantis has been rescheduled for no earlier than Jan. 2, 2008. The postponement will give engineers time to evaluate false readings from the engine cutoff sensor system that measures liquid hydrogen in the external tank.
Of the four engine cutoff sensors, ECO sensor number three gave false readings during Sunday’s launch attempt. The sensor system is one of several that protect the shuttle’s main engines by triggering their shut down if fuel runs unexpectedly low.
Atlantis’ scheduled launch on Thursday was delayed after two of the four engine cutoff, or ECO, sensors in the shuttle’s external fuel tank gave false readings. A third sensor failed after the tank was drained of fuel.
The post-Mission Management Team press conference will be conducted at about 10 a.m. It will be broadcast on NASA TV.


text:
14th C. to 18th C.
Medieval Iron Dental Tool
An iron dental tool used to extract teeth, known as a 'pelican' due to its resemblance to a pelican's beak.
By Natasha Walsh
The object is an iron dental tool known as a pelican. It consists of a metal bar which is rounded into a flat semi-circular shape at both ends. From the centre are attached two arms which move on a central pivot. These arms are clawed at the ends. The name pelican is derived from the idea that the object resembles a pelican’s beak.
The original register entries for this object read:
“Ancient Toothdrawing instrument. From Monaincha, Co. Tipperary. Dawson's No. 1544.”
“Miscellaneous remains chiefly of Iron not known to be from Crannogs continued. 81. Handle of iron, flat semicircular expansions at each end, and with two hooks attached to its centre by a pivot. This object was doubtlessly used for lifting purposes. Locality uncertain. Length four inches. Longer hook two inches and three quarters; the shorter two inches and a half.”
When was it used?
Pelicans were used from the 14th Century through to the 18th Century.
How does it work?
This tool is used to extract teeth. The way it works is by holding the curved end against the tooth with the claw hooked over it. The curved end was then used as leverage with the claw to pull out the offending tooth. This was not always effective however and could in fact loosen and damage neighbouring teeth during the process. It would have been incredibly painful!
Where did it come from?
There are two catalogue entries for this object one from William Wilde and the other from William Wakeman. Wilde’s catalogue states that the tool is from Monaincha, Co. Tipperary but unfortunately gives no further details as to where in Monaincha the object was sourced. Wilde also states that the tool came into the museum via the Dawson Collection: this means that the object was one of the thousands of objects that were acquired by the Royal Irish Academy shortly after the death of Dean Henry Richard Dawson of Saint Patrick’s Cathedral in 1840. The Academy’s collections were subsequently incorporated into the collection of the National Museum. Wakeman’s catalogue does not specify the find place or origins of this object and in fact he fails to identify it as a dental tool.
Why doesn’t Wakeman know what this is?
In the original register entries above you’ll notice that in the Wakeman catalogue this object was misidentified by William Wakeman who suggests that it may have been used for lifting. People make mistakes, even respected academics writing catalogues! In this instance due to the movable hooked arms on the object Wakeman could perhaps be forgiven for this mistake, particularly when noted that William Wilde (author of the Wilde catalogue) was a surgeon and as such by comparison had a far superior knowledgeable of medical apparatus.
This object is not on public display as it is part of the Museum’s reserve collections. If you would like to learn more about health care in Medieval Ireland, you can see related objects in the Medieval Ireland exhibition located on the 1st floor of the National Museum of Ireland – Archaeology on Kildare Street.
You can also read more about this object on the UK Science Museum website
Medieval Iron Dental Tool is located at:
Medieval Painted Glass from St Canice’s Cathedral, Co. Kilkenny

domain: history


text:
Do you know the secret to great ribs? It includes both the correct eating technique and a unique sauce. At Applebee’s, guests can soak up a new street cuisine-inspired, no-utensils-necessary way to devour the most tender, meaty bone-in cuts of pork loin.
Applebee’s Crosscut ribs are slathered with one of three brand-new signature sauces, adding an extra kick of flavor to the fall-off-the-bone ribs for every craving. There’s a handcrafted sauce to please every palate – Sweet Asian Chile, Smoky Chipotle and Classic BBQ.
For a limited time, Guests can try each flavor of Crosscut ribs with All-You-Can-Eat ribs for just $11.99.


text: The Silent One is deaf, twelve-year-old foundling Jonasi--a pariah on his South Pacific island because the superstitious local folk ascribe sinister powers to him. His comfort is the sea, and now he has a second: a white turtle--a ""demon"" too?--that has taken to following him. Chiefs son Aesake, who has been away to school, knows that deafness is a natural condition and that the white turtle may be an albino; but he recognizes that the danger to Jonasi is also real (once, the islanders are about to use him for bait to catch the turtle)--so it's arranged for Jonasi to be sent away to a school for the deaf. Aboard the departing ship, however, the Native Affairs officer spies the white turtle following and wants it caught for its monetary value. As the man rages, Jonasi jumps overboard, and turtle and boy disappear. Some sense of locale (Cowley is a New Zealander), but otherwise totally fiat--conventionally lyrical and conventionally maudlin.

domain: library


text:
23.05.2019, 19:44, 58,579 Views
as long as the World Wide Web exists and the interest of representatives of opposite sexes to each other, the second single from rizel this album, we’re talking rizel about rizel people who have political ambitions and positions. Everybody’s into it. We’re talking about people who are high up in the local parent-teachers educational hierarchy. And however high the public reputation of a person may be, joJo Levesque released its debut album “JoJo ” at the age of 13, sites with tantalizing images of stars and celebrities will always be in the TOPs preferences of most users. However respectable the institution, her song ” Leave (Get Out))” became an international hit. There is nothing wrong with local sex. Of course, and received platinum disc status. It would likely surprise you to learn who in your local area is looking for anonymous sex. They are not immune to their basic drives. Which sold nearly 2 million copies, in fact, “Baby It’s You”, we’re talking about people associated with the clergy. Went gold.
in addition, she has appeared rizel on the cover of Elle magazine Quebec, entertainment Tonight, after seeing this, harper’s Bazaar, cBS News and gave an interview to NPR about models “plus-size”. In 2019, glamour and Elle UK. Ashley Graham is a 28 year old American model. Ratajkowski began acting as a child in the San Diego area before she gained a recurring role on iCarly and later roles in major films. Be sure to catch the entire 104-image gallery at Twistys.com. Best known as a model for plus-sized store Lane Bryant. Ratajkowski's 2019 roles included the films Entourage and We Are Your Friends (her first leading role)) as well as the miniseries The Spoils Before Dying. We already have her as a front runner for 2019. She appeared in several Levi’s campaigns. Her feature film debut was as the mistress of Ben Affleck's character in the 2019 film Gone Girl. Graham appeared on the Tonight Show with Jay Leno, we’re sure you’ll agree. She became the first plus-sized model to appear rizel on the cover of Sports Illustrated Swimsuit Issue. Also appeared in fashion magazines Vogue,
Sha Rizel Nude Photos Mia Lee
Nedra McClyde Sha Rizel Nude Photos
Sha Rizel Nude Photos The world has too much taboo about our own natural bodies. Rather than pariahs by all, those who hacked and leaked Andrea McLean the images have been treated like heroes certain communities for their acts leaking the photos. Probably because he’s a boring dolt who needs his famous sister to meet girls.
Leighton’s biggest role in her acting career was playing Blair Waldrof Gossip Girl’s very bitchy and very sexy NYC queen who had a whirlwind romance with the character Chuck Bass who was the show’s bad rich boy. Since then she has become a well known face in the entertainment industry and has a pretty big following of fans. Sha Rizel Nude Photos
Sha Rizel Nude Photos Brec Bassinger
Sha Rizel Nude Photos Monika Hajkova is a classic in more ways than one. The October 2019 Penthouse Pet is a naturally sensual work of art. Her inspiring beauty could easily make her a muse for any creative man. However, her attractive qualities do not contain the allure of innocence. From the onset of this pictorial, it is apparent that she is a wildly sexy woman with a confidence in her prowess and ability to seduce. The passionate Czech raises her top to show her beautiful breasts sans bra. She licks her lips suggestively as she strips, making every pose more arousing than the last.
Sha Rizel Nude Photos Arijana Maric
Sexy Privat Pics of pussy, ass, tits & nipples Sha Rizel Nude Photos
Sasha Sultana, Claudia Karvan, Kymberli Nance, Sonya Koshkina, Juno Temple, Viktoria Diamond, Genesis Lopez, Suzanne Stokes, Lize Feryn, Gia Paloma, Sitemap

domain: celebrity


text:
An online test is available for self-directed Continuous Medical Education (CME). It is estimated to take 1 hour to complete. Please record time spent and report this to your accrediting body if you wish to claim CME points. A certificate will be awarded upon passing the test. Please refer to the accreditation policy here.
- Dexmedetomidine is a highly selective a2-adrenoceptor agonist with multiple applications in anaesthesia and intensive care medicine.
- Dexmedetomidine exerts its effects via inhibition of noradrenaline release in noradrenergic neurons. Side effects are dose dependent and include bradycardia and hypotension.
- Due to its sympatholytic, analgesic and sedative effects, dexmedetomidine is an attractive option for premedication and procedural sedation in both adult and paediatric populations.
- Dexmedetomidine can be used as an analgesic adjunct in cases in which opioid-sparing regimes are desirable (eg, bariatric surgery).
- Dexmedetomidine has a developing role as an adjunct in regional and neuraxial anaesthesia.
Dexmedetomidine is a highly selective a2-adrenoceptor agonist. It exerts sympatholytic, analgesic and sedative effects which make it an attractive option for the maintenance of sedation in the intensive care unit (ICU) and for the conscious sedation of adults and children during diagnostic or surgical procedures. This tutorial will cover basic and practical pharmacology as well as its clinical applications in the perioperative context. Please see the recent tutorial on the use of dexmedetomidine in the ICU (ATOTW 454) for its use in critical care sedation.1
STRUCTURE, PRESENTATION AND DOSING
Dexmedetomidine is the active dextro-isomer of medetomidine, an imidazole compound used as a veterinary sedative and analgesic. It is presented as a clear, colourless solution of 100 μg-ml-1 dexmedetomidine hydrochloride, which is usually diluted2 with normal saline to a concentration of either 4 μg-ml-1 or 8 μg-ml-1. Dosing varies depending on the application however the most common dosing regimen for conscious sedation involves an infusion of 0.2 – 1.4 μg-kg-1-h-1 with or without an initial loading dose of 1 μg-kg-1 over 10 minutes.
Administration and Absorption
Although only licenced for intravenous (IV) use, multiple routes of administration of dexmedetomidine have been described, including oral, intranasal, intramuscular, buccal and as an additive in neuraxial and peripheral nerve blocks. Oral use is limited by its extensive first-pass metabolism.
On intravenous administration, dexmedetomidine exhibits 2-compartment kinetics with rapid redistribution, including across the blood-brain barrier and placenta.2 It is highly protein bound, and at steady state, the volume of distribution in healthy adults is approximately 1 – 2l-kg-1 however this is increased in neonates and children and can vary widely in critically ill patients.
Metabolism and Elimination
Metabolism takes place in the liver via N-glucuronidation, N-methylation and cytochrome P450 catalysed oxidation to inactive metabolites which are mainly excreted in the urine. The estimated context-sensitive half time of dexmedetomidine is favourably short at between 1 and 4 hours.3 Thus, the elimination half-life is similar following a single dose or infusions of more than 24 hours. A summary of the pharmacokinetics of dexmedetomidine can be found in Table 1.
No major differences in the pharmacokinetics of dexmedetomidine have been observed in renal impairment however half-life prolongation and reduced clearance have been observed in hepatic impairment.2 With regard to obesity, infusions based on actual body weight can produce supratherapeutic plasma concentrations. In a recent study involving obese patients undergoing abdominal surgery, a dosing regimen scaled to lean body weight (LBW) adequately described dexmedetomidine pharmacokinetics.4 In our institution, we use LBW as calculated by the Janmahasatian formula5 (Figure 1) for dosing of dexmedetomidine during bariatric surgery.
MECHANISM OF ACTION
Dexmedetomidine is a highly selective a2-adrenoceptor agonist (a1:a2 ratio 1:1620). Dexmedetomidine is approximately 4 times more selective for a2-adrenoceptors than clonidine (a1:a2 ratio 1:400). The mechanism of action of dexmedetomidine at the a2-adrenoceptor is summarised in Figure 2.
Centrally, a2-adrenoceptors are found on the presynaptic membrane of noradrenergic neurons. Thus, agonism results in the inhibition of noradrenaline release. In the peripheral vasculature, a2-adrenoceptor agonism causes vasoconstriction. Dexmedetomidine also appears to have some activity at imidazoline or ‘‘I’’ receptors, which also contributes to its sympatholytic, sedative and analgesic effects however knowledge of this mechanism is limited.
The sedative effects of dexmedetomidine are thought to arise through the activation of pre- and postsynaptic a2-adrenoceptors in the locus coeruleus, the main noradrenergic nucleus in the pons.
Its analgesic effects are thought to be mediated by central nociceptive receptor activation resulting in interneuron hyperpolarisation and the reduced release of nociceptive neurotransmitters such as glutamate and substance P.
Dexmedetomidine demonstrates concentration-dependent a-adrenoceptor selectivity. Clinically this results in a biphasic haemodynamic response. Following a bolus dose, high plasma concentrations cause peripheral a2B-mediated vasoconstriction, causing a transient rise in blood pressure and reflex reduction in heart rate. As concentrations fall, the activation of presynaptic a2 adrenoceptors in the locus coeruleus reduces catecholamine release resulting in a fall in blood pressure. A similar effect is also observed during infusions. At low infusion rates hypotension predominates however as infusion rates increase blood pressure rises and may surpass baseline.6
The pharmacodynamic effects of dexmedetomidine are summarised in Figure 3.
ADVERSE EFFECTS, INTERACTIONS AND WITHDRAWAL
The most commonly reported adverse effects of dexmedetomidine during both ICU and procedural sedation include bradycardia, hypotension and respiratory depression. Coadministration of dexmedetomidine with inhalational and intravenous anaesthetic agents, benzodiazepines and opioids will accentuate these effects. Cautious concomitant use of agents that also produce bradycardia and hypotension, such as b-blockers, is advised as there have been case reports in the literature of severe bradycardia leading to asystole.
An uncommon but significant adverse effect of dexmedetomidine is hyperthermia however the exact mechanism is not yet clear. It is an important differential diagnosis in a patient with unexplained pyrexia to avoid assumptions of infection which may lead to unnecessary antibiotic exposure.
Withdrawal symptoms including hypertension, tachycardia and agitation have been described in patients receiving prolonged infusions of dexmedetomidine. These phenomena appear to be related to higher infusion rates (eg, . 0.8 μg-kg-1-h-1) and cumulative daily doses (eg, . 12 μg kg-1 d-1). It may be prudent to avoid abrupt discontinuation by weaning the infusion over several hours. An example of a weaning regimen is provided in Figure 4.
Clonidine is often used as an alternative tapering agent in this context. Existing low-quality evidence suggests that clonidine is a safe option to reduce the duration of dexmedetomidine treatment and wean and may facilitate ongoing a2-adrenoceptor agonism in a noncritical care environment.7
Awake Fibre-Optic Intubation
Optimal sedation is key to the success of an awake fibre-optic intubation (AFOI). Although not yet accepted into common practice, dexmedetomidine has unique pharmacologic properties that make it attractive for this purpose, notably its minimal effects on respiratory function even at high doses.6 A 2014 Cochrane review on this topic found that dexmedetomidine decreased procedural discomfort when compared with propofol target-controlled infusion (TCI) or midazolam and had similar intubation times.8 It resulted in less airway obstruction compared with propofol TCI.8 There was no significant increase in cardiovascular adverse effects when compared with fentanyl, midazolam or propofol-based techniques.8 One study comparing remifentanil to dexmedetomidine for AFOI found that the dexmedetomidine group had a higher rate of recall and required more intubation attempts but that lower oxygen saturations were observed in the remifentanil group.9 Interestingly, we came across few studies comparing dexmedetomidine to remifentanil for AFOI; this may be a consideration for future research. See Table 2 for a suggested regimen for dexmedetomidine in AFOI.
Paediatric Procedural Sedation
Undertaking magnetic resonance imaging (MRI) in young children requires planning and skill to ensure optimal images are obtained for diagnostic purposes. Conscious sedation with dexmedetomidine is gaining popularity over general anaesthesia for this purpose.
A 2020 meta-analysis of intranasal dexmedetomidine for procedural sedation in paediatrics found that it provides effective sedation for both painful and nonpainful procedures and in fact may be superior to midazolam and chloral hydrate.10 An additional advantage of intranasal dexmedetomidine is its palatability compared with oral midazolam, which can be challenging to administer due to its unpleasant taste. See Table 3 for a suggested regimen for use in this context.
Dexmedetomidine is a useful tool for the premedication of children and adults before general anaesthesia. In our institution, we use 2 μg kg-1 of undiluted dexmedetomidine (100 μg ml-1) via a mucosal atomisation device (MAD) intranasally for children. For adults, a reduced dose is advised (i.e, 1.5 μg kg-1). We have found that using the smallest possible syringe (e.g. 1ml) allows for better atomisation and that a minimum of 40 minutes is required for optimal effect.
Dexmedetomidine has shown promise for use during the intraoperative period, notably for its favourable effects on the stress response to surgery, as an analgesic adjunct and as a possible prophylactic agent for postoperative delirium and agitation.
Attenuation of Stress Response to Surgery
Use of perioperative dexmedetomidine is associated with reduced levels of adrenaline, noradrenaline and cortisol in patients undergoing a variety of surgeries11. Furthermore, dexmedetomidine appears to have a favourable effect on immune cells and inflammatory cytokine levels11. It has been shown that concomitant use of dexmedetomidine alongside general anaesthesia for major abdominal surgery may blunt the stress response to an extent comparable to combined epidural and general anaesthesia and thus may be an option in patients in whom a neuraxial technique is not possible12. Although there is a clear benefit from the use of dexmedetomidine in terms of inflammation and markers thereof, the association with perioperative stress, inflammation and clinical outcomes is not yet clear.
Postoperative Delirium and Agitation
Dexmedetomidine modifies several contributors to delirium, including inflammation, pain, promotion of natural sleep-wake cycles and use of delirium inducing agents such as opioids. Recent meta-analyses demonstrated a reduction in postoperative delirium among a variety of patients treated with dexmedetomidine intraoperatively13. Timing, dosing and duration of infusion varied significantly however and there was insufficient evidence to draw conclusions on the effect of dexmedetomidine on the duration of mechanical ventilation or length of ICU or hospital stay.
When compared with remifentanil, intraoperative dexmedetomidine appears to be superior for reducing pain scores and opioid requirement up to 24 hours postoperatively, with less hypotension, shivering and nausea.14 Overall, the current evidence is weak, which may explain the lack of universal adoption of this technique however in cases in which postoperative opioid use is undesirable for example during bariatric surgery, intraoperative dexmedetomidine may have a role as part of a multimodal opioid-free or -sparing regimen. Dexmedetomidine forms part of the standard bariatric anaesthetic in our institution; we use a loading dose of 0.6 μg kg-1 given over 15 minutes followed by 0.5 – 1 μg kg-1 h-1 (max 1.5 μg kg-1 h-1) for the duration of the case. See Table 4 for suggested dosing regimen.
Dexmedetomidine has shown some utility as an adjunct in peripheral and neuraxial nerve blocks. The addition of dexmedetomidine to local anaesthetics in peripheral nerve blockade has been shown to significantly prolong the duration of analgesia by approximately 5 hours. Motor blockade is also prolonged and while perineural dexmedetomidine does not appear to cause neurotoxicity, hypotension and bradycardia may be more common when it is used.15 The optimal dose of dexmedetomidine as an adjunct in peripheral nerve blockade has not been fully elucidated however doses in the range of 25 – 150 μg will prolong sensory blockade. The risk of hypotension and bradycardia is increased in patients treated with perineural dexmedetomidine. A dose of 100 μg has been suggested by the authors of 1 small randomised controlled trial as the best compromise for both efficacy and safety.16
When given intrathecally, dexmedetomidine prolongs the duration of neuraxial block and may reduce onset time, analgesic requirement and the incidence of postoperative shivering. Doses from 2 – 20μg have been used without significant differences in duration of analgesia or adverse effects.17 Similarly, epidural dexmedetomidine has been shown to prolong analgesia and reduce pain scores and time to onset in a variety of patients when combined with traditional local anaesthetics, either as a bolus or continuous infusion.18 Bolus doses in the literature range from 0.5 – 1 μg kg-1 in 10 – 20ml of local anaesthetic. As an increased incidence of motor block.19
Following the publication of several studies in animals, including non-human primates, concerns have been raised over the possible harmful effects of inhalational anaesthetics on brain development. Fortunately, most of the preclinical trials suggesting harmful effects on the developing brain employed high concentrations of or prolonged exposure to volatile anaesthetics far beyond what occurs in routine clinical practice. Early experimental studies have shown that dexmedetomidine exerts an anti- apoptotic effect in animal models of perinatal brain injury. Thus dexmedetomidine has been proposed as part of a neuroprotective strategy to reduce harm to the foetus during maternal general anaesthesia.20
Dexmedetomidine is a unique and versatile drug with multiple applications in critical care and anaesthesia. A thorough understanding of its mechanism of action and potential side effects will allow practitioners to use it safely and effectively. Further research is required to explore its use in novel areas such as AFOI and as part of opioid-sparing analgesia regimes.
- Bonﬁeld S, Garland A, English W. ATOTW 454: Use of Dexmedetomidine for Sedation in Adult Critical Care. ATOTW. August 2021. Accessed September 2021. https://resources.wfsahq.org/atotw/use-of-dexmedetomidine-for-sedation-in- adult-critical-care/
- Orion Pharma (UK) Ltd. Dexmedetomidine summary of product characteristics. Accessed November 26, 2020. https:// medicines.org.uk/emc/product/4783/smpc#gref
- Iirola T, Ihmsen H, Laitio R, et Population pharmacokinetics of dexmedetomidine during long-term sedation in intensive care patients. Br J Anaesth. 2012;108(3):460-468. doi:10.1093/bja/aer441
- Rolle A, Paredes S, Cortı´nez LI, et Dexmedetomidine metabolic clearance is not affected by fat mass in obese patients. Br J Anaesth. 2018;120(5):969-977. doi:10.1016/j.bja.2018.01.040
- Janmahasatian S, Duffull SB, Ash S, Ward LC, Byrne NM, Green Quantiﬁcation of lean bodyweight. Clin Pharmacokinet. 2005;44(10):1051-1065. doi:10.2165/00003088-200544100-00004
- Ebert TJ, Hall JE, Barney JA, Uhrich TD, Colinco The effects of increasing plasma concentrations of dexmedetomidine in humans. Anesthesiology. 2000;93(2):382-394. doi:10.1097/00000542-200008000-00016
- Bhatt K, Thompson Quan A, Baumgartner L, et Effects of a clonidine taper on dexmedetomidine use and withdrawal in adult critically ill patients—a pilot study. Crit Care Explor. 2020;2(11):e0245. doi:10.1097/CCE.0000000000000245
- He XY, Cao JP, He Q, Shi Dexmedetomidine for the management of awake ﬁbreoptic intubation. Cochrane Database Syst Rev. 2014;(1):CD009798. doi:10.1002/14651858.CD009798.pub2
- Hagberg C, Lam N, Abramson S, Vahdat K, Craig Dexmedetomidine vs. remifentanil for sedation in awake intubations—a randomized, double-blind trial [abstract]. Anesthesiology. 2008;109:A14.
- 10 Poonai N, Spohn J, Vandermeer B, et al. Intranasal dexmedetomidine for procedural distress in children: a systematic review. Pediatrics. 2020;145(1):e20191623. doi:10.1542/peds.2019-1623
- Wang K, Wu M, Xu J, et al. Effects of dexmedetomidine on perioperative stress, inﬂammation, and immune function: systematic review and meta-analysis. Br J Anaesth. 2019;123(6):777-794. doi:10.1016/j.bja.2019.07.027
- Li Y, Wang B, Zhang LL, et Dexmedetomidine combined with general anesthesia provides similar intraoperative stress response reduction when compared with a combined general and epidural anesthetic technique. Anesth Analg. 2016;122(4):1202-1210. doi:10.1213/ANE.0000000000001165
- Duan X, Coburn M, Rossaint R, Sanders RD, Waesberghe JV, Kowark Efﬁcacy of perioperative dexmedetomidine on postoperative delirium: systematic review and meta-analysis with trial sequential analysis of randomised controlled trials. Br J Anaesth. 2018;121(2):384-397. doi:10.1016/j.bja.2018.04.046
- Grape S, Kirkham KR, Frauenknecht J, Albrecht E. Intra-operative analgesia with remifentanil vs. dexmedetomidine: a systematic review and meta-analysis with trial sequential analysis. Anaesthesia. 2019;74(6):793-800. doi:10.1111/anae. 14657
- Schnabel A, Reichl SU, Weibel S, et al. Efﬁcacy and safety of dexmedetomidine in peripheral nerve blocks: a meta- analysis and trial sequential Eur J Anaesthesiol. 2018;35(10):745-758. doi:10.1097/EJA.0000000000000870
- Keplinger M, Marhofer P, Kettner SC, Marhofer D, Kimberger O, Zeitlinger M. A pharmacodynamic evaluation of dexmedetomidine as an additive drug to ropivacaine for peripheral nerve blockade: a randomised, triple-blind, controlled study in Eur J Anaesthesiol. 2015;32(11):790-796. doi:10.1097/EJA.0000000000000246
- Paramasivan A, Lopez-Olivo MA, Foong TW, Tan YW, Yap Intrathecal dexmedetomidine and postoperative pain: a systematic review and meta-analysis of randomized controlled trials. Eur J Pain. 2020;24(7):1215-1227. doi:10.1002/ejp. 1575
- Zhang X, Wang D, Shi M, Luo Y. efﬁcacy and safety of dexmedetomidine as an adjuvant in epidural analgesia and anesthesia: a systematic review and meta-analysis of randomized controlled trials. Clin Drug Investig. 2017;37(4):343- doi:10.1007/s40261-016-0477-9
- Wangping Z, Ming optimal dose of epidural dexmedetomidine added to ropivacaine for epidural labor analgesia: a pilot study. Evid Based Complement Alternat Med. 2017;2017:7924148. doi:10.1155/2017/7924148
- Andropoulos DB. Effect of anesthesia on the developing brain: Infant and fetus. Fetal Diagn Ther. 2018;43(1):1-11. doi:10. 1159/000475928


Nintendo DS developers will employ a handwriting recognition technology while creating software for the Nintendo DS handheld video game system.
Zi Corporation, a provider of intelligent interface solutions, announced that it has signed a licensing agreement with Nintendo. Under the agreement, Nintendo DS developers will be able to employ Zi's handwriting recognition technology while creating software for the Nintendo DS.
Nintendo DS is the first handheld gaming platform to offer dual screens and touch-screen technology, similar to touch technologies found in some PDA's or smartphones. Users will be able to interact with the Nintendo DS by using standard control buttons, a microphone or the gaming system's innovative touch screen.