All language subtitles for How Its Made S21E03 Lace and Orchids 1080p AMZN WEB-DL DDP2 0 H 264-SLAG_track4_[eng]

--Captions by VITAC--
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CAPTIONS PAID FOR BY
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Narrator:
LACE BEGAN AS A FRINGE FABRIC.

BACK IN THE MIDDLE AGES,

IT WAS HANDCRAFTED BY EUROPEAN
WOMEN TO TRIM FASHION FINERY.

THE LADIES' FINGERS GOT A BREAK

WITH THE ADVENT OF LACE-MAKING
EQUIPMENT IN THE 19th CENTURY.

WITH MASS PRODUCTION,

LACE MOVED FROM THE FRINGE
TO THE MAINSTREAM.

IN THE MATERIAL WORLD,
LACE USED TO BE A LUXURY,

HANDCRAFTED FOR DECORATIVE
RATHER THAN PRACTICAL REASONS.

MACHINES
NOW PRODUCE LACE QUICKLY,

AND YOU DON'T HAVE TO BE WEALTHY
TO AFFORD IT.

TO MANUFACTURE LACE,

HUNDREDS OF NYLON
AND POLYESTER THREADS

UNWIND SIMULTANEOUSLY
INTO A SEPARATOR.

IT ARRANGES THE THREADS IN A
CONFIGURATION FOR MANUFACTURING

AND KEEPS THEM FROM TANGLING
AS THEY MOVE FORWARD.

TO MAINTAIN THE FORMATION,

THE THE THREADS PASS THROUGH
A COMB-LIKE APPARATUS.

STILL
IN THAT NEAT CONFIGURATION,

THE THREADS
WIND AROUND A LARGE SPOOL.

THIS SPOOL IS
KNOWN AS A GROUND BEAM

BECAUSE THE THREADS ON IT

WILL BE USED
FOR THE LACE'S GROUND, OR MESH.

THESE SMALLER SPOOLS SUPPLY
THE THREADS FOR THE PATTERN.

THEY ALL UNWIND
INTO THE LACE-MAKING MACHINE,

WHICH WILL INTERWEAVE THEM TO
CREATE A PATTERN ON THE GROUND.

HERE'S HOW IT HAPPENS.

A LONG THICK CARD
WITH HOLES PUNCHED INTO IT

DEFINES THE PATTERN

AND GUIDES
A SYSTEM OF HOOKS AND NEEDLES.

IT'S CALLED A JACQUARD CARD,

AND THE TECHNOLOGY HAS BEEN
AROUND FOR TWO CENTURIES

AND WAS ACTUALLY THE INSPIRATION
FOR COMPUTER TECHNOLOGY.

EACH HOLE ON THE CARD
CORRESPONDS TO ONE HOOK,

AND THE HOOKS ARE
ATTACHED TO THESE GUIDE BARS.

IF THE HOOK ENCOUNTERS
A HOLE IN THE JACQUARD CARD,

IT LOOPS A THREAD,

AND IF IT ENCOUNTERS
THE SOLID CARD, IT STOPS.

THE GUIDE BARS
SHUFFLE BACK AND FORTH

TO MOVE THE HOOKS
IN CONCERT WITH NEEDLES

AND WEAVE THE DESIGN
ON THE GROUND.

THIS IS THE LACE-WEAVING ACTION
IN SLOW MOTION.

THE PUNCH-CARD SYSTEM
ALLOWS FOR THE SAME PATTERN

TO BE WOVEN REPEATEDLY
WITHOUT ERROR.

IT'S ALL
PERFECTLY CHOREOGRAPHED,

AND THIS COMPLEX LACE DESIGN

COMES TOGETHER QUICKLY
WITH NO SNARLS.

THE RESULT
IS A THING OF BEAUTY --

AN INTRICATE FLORAL PATTERN
ON A MESH BACKGROUND.

THE LACE ROLLS BY INSPECTORS,

WHO SCRUTINIZE THE NEEDLEWORK
FOR FLAWS.

IT THEN HEADS INTO A STATION
WITH HIGH-SPEED KNIVES.

THEY CUT THE LOOSE THREADS THAT
RUN BETWEEN THE FLORAL PATTERNS

ON THE FRONT OF THE LACE.

A WORKER FINISHES THE JOB
BY HAND,

REMOVING WHAT THE KNIVES MISS.

HERE YOU CAN SEE THE DIFFERENCE
THE TRIMMING MAKES.

THE MESH BETWEEN THE NEEDLEWORK
IS NOW COMPLETELY TRANSPARENT.

THEY MEND THE LACE WHEN NEEDED,

AND THEN IT'S INTO A DYING
MACHINE TO ADD SOME COLOR.

AFTER RINSING,
THE NOW BRIGHT-YELLOW LACE

TRAVELS OVER BARS UNDER TENSION
TO WRING OUT THE WATER.

THE LACE, STILL DAMP,
LANDS AND ACCUMULATES IN A BIN,

WHICH THEY WHEEL OVER
TO A FINISHING MACHINE.

THE FINISHING MACHINE
IS EQUIPPED WITH ROLLERS.

THE FIRST ONES
REMOVE THE CURL FROM THE LACE.

THE OTHERS TAKE IT
THROUGH A CHEMICAL BATH

FOR A TREATMENT
THAT BOTH SOFTENS THE LACE

AND PREVENTS SHRINKAGE.

A TRIP THROUGH A DRYER REMOVES
THE WATER FROM THE FABRIC

AND CURES
THE FINISHING CHEMICALS.

NOW COMPLETE, THE LACE EXITS
ONTO A NETWORK OF ROLLERS.

THE FINAL ONE
SWINGS THE FABRIC TO AND FRO

SO THAT IT LANDS NEATLY FOLDED

FOR TRANSFER
TO THE PACKAGING LINE.

HEAVY INDUSTRIAL MACHINERY
HAS PRODUCED THIS DELICATE LACE

IN A MATTER OF MINUTES.

THEY ROLL IT AND WRAP IT,

AND IT'S ON ITS WAY TO THE
FABRIC STORE OR ANOTHER FACTORY.

NO ORDINARY TEXTILE,

THE FACTORY-MADE LACE WILL ADD
BEAUTY TO THINGS OF NECESSITY

LIKE CURTAINS,
A TABLECLOTH, OR A DRESS.

ITS SHEER GOOD LOOKS
WILL ADD VISUAL APPEAL

TO THESE ORDINARY ITEMS.

Narrator: IT'S IMPORTANT
THAT THE FRAME AROUND A PAINTING

BE STYLISTICALLY CONSISTENT

WITH THE PERIOD IN WHICH
THE ARTIST CREATED THE WORK.

WHEN YOU'RE DEALING WITH A
CENTURIES-OLD PAINTING, HOWEVER,

THE ORIGINAL FRAME
HAS OFTEN BEEN REPLACED

WITH A NEWER ONE.

THE SOLUTION IS COMMISSIONING

AN HISTORICALLY ACCURATE
ANTIQUE REPLICA.

WHEN A PAINTING'S ORIGINAL FRAME
IS LOST,

A SPECIALIST CAN PRODUCE
AN EXACT REPLICA

OR A HISTORICALLY ACCURATE
ALTERNATIVE.

BASSWOOD IS THE WOOD OF CHOICE

BECAUSE IT'S RELATIVELY SOFT
AND EVEN-GRAINED.

FIRST, THEY SAW THE LENGTH
REQUIRED FOR THE FRAME.

THEN THEY PLANE THE SIDES
TO SMOOTH THE ROUGH EDGES.

NEXT, THEY SAW THE PIECE
TO THE REQUIRED DIMENSIONS.

ONCE PIECES FOR ALL FOUR SIDES
OF THE FRAME ARE CUT,

WORKERS SET UP A MACHINE
CALLED A MOLDING PLANER.

AS ITS CONTOURED STEEL BLADE
SPINS,

THEY RUN EACH PIECE AGAINST IT,

CARVING THE BLADE'S PROFILE
INTO THE WOOD.

THE WORKSHOP
HAS THOUSAND OF BLADES,

EACH WITH A DIFFERENT PROFILE.

THEY ALL BEGAN
AS A FLAT BAR OF STEEL,

WHICH THE SHOP MILLED TO SHAPE
FOLLOWING A PROFILE DRAWING.

ONCE EACH SIDE IS CONTOURED,

WORKERS SAW THE ENDS
AT 45-DEGREE ANGLES...

...THEN CUT A SLOT IN EACH ONE.

THEY SPREAD GLUE IN THE SLOT
AND OVER THE ENTIRE SURFACE,

THEN INSERT A BEECHWOOD BISCUIT.

THE BISCUIT GOES IN
JUST HALFWAY.

THEY INSERT THE OTHER HALF

INTO THE GLUED SLOT
OF THE ADJOINING FRAME PIECE.

ONCE THE GLUE DRIES,
THE MASTER CARVER GETS TO WORK.

WITH A PENCIL,

HE DRAWS THE FRAME'S DESIGN
ONTO TRACING PAPER,

THEN LAYS THE PAPER
UPSIDE DOWN ON THE REPLICA

AND RETRACES THE DESIGN,

WHICH TRANSFERS IT IN GRAPHITE
ONTO THE FRAME SURFACE.

THEN HE TURNS TO HIS ARSENAL
OF 40-PLUS CHISELS

AND BEGINS CARVING OUT
THE DESIGN.

EACH CHISEL HAS
A DIFFERENT SHAPE AND SIZED TIP

AND THEREFORE MAKES
A VERY SPECIFIC TYPE OF CUT.

HE FIRST CUTS STRAIGHT DOWN
ALONG THE OUTLINE

TO SEVER THE WOOD GRAIN.

THIS PREVENTS
THE ANGLED CUTS, WHICH FOLLOW,

FROM SPLITTING THE WOOD
BEYOND THE OUTLINE.

INTERCHANGING CHISELS,

HE REPEATEDLY REMOVES
SMALL CHUNKS OF WOOD

UNTIL THE DESIGN EMERGES.

HE CLEARS AWAY THE WOOD CHIPS
WITH A WIRE BRUSH.

NOW THE MASTER GILDER
TAKES OVER,

BRUSHING ON
UP TO 20 COATS OF GESSO --

A TRADITIONAL MIXTURE OF WATER,
CALCIUM CARBONATE,

AND A VERY FLEXIBLE GLUE
MADE FROM RABBIT SKIN.

FLEXIBILITY PREVENTS CRACKING

WHEN THE WOOD
EXPANDS AND CONTRACTS.

HE BRUSHES ON FOUR COATS

OF ANOTHER TRADITIONAL MIXTURE
CALLED BOLE.

THE INGREDIENTS --

ULTRA-FINE PARTICLE CLAY, WATER,
AND, AGAIN, RABBIT-SKIN GLUE.

BOLE PROVIDES BACKGROUND COLORS.

IT ALSO PROVIDES A CUSHION

BETWEEN THE GESSO LAYER
AND THE GOLD LEAF.

NEXT, A COAT OF WHAT'S CALLED
GILDER'S LIQUOR --

A COMBINATION OF WATER, ALCOHOL,

AND EITHER GELATIN
OR RABBIT-SKIN GLUE.

THEN HE CUTS
A PIECE OF GOLD LEAF --

A SHEET OF GENUINE GOLD A MERE
1/10,000 OF A MILLIMETER THICK.

HE APPLIES IT WITH A FINE BRUSH
MADE OF SQUIRREL HAIR,

WHICH HE HAS LIGHTLY OILED.

AS SOON AS HE TAPS THE FRAME,

THE WATER IN THE GILDER'S LIQUOR
GRABS THE GOLD LEAF,

PULLING IT AWAY FROM THE OIL,
ADHERING IT TO THE BRISTLES.

THIS IS THE TRICKY PART,

BECAUSE TOO MUCH OIL
ON THE BRUSH

OR TOO LITTLE WATER
IN THE GILDER'S LIQUOR

CAN HINDER
THIS DELICATE TRANSFER.

NEXT, THE MASTER GILDER RUBS
SELECT AREAS

WITH A POLISHED AGATE,
A NATURAL STONE.

THIS BURNISHING PROCESS
COMPRESSES THE GOLD LEAF,

MAKING IT SMOOTH AND SHINY.

NOW HE'LL MAKE THE FRAME
LOOK OLD.

HE REMOVES SOME GOLD
FROM THE HIGH POINTS

TO CREATE
THE APPEARANCE OF WEAR.

THEN HE APPLIES A TINTED GLAZE
TO SIMULATE PATINA --

NATURAL DARKENING
THAT DEVELOPS OVER TIME

DUE TO THE ACCUMULATION
OF AIRBORNE DUST AND DIRT.

HE WORKS IN THE GLAZE
WITH A BRUSH

TO DISTRIBUTE IT STRATEGICALLY

SO THAT THE FAKE PATINA
LOOKS PERFECTLY NATURAL.

FOR THIS FRAME,
HE USES 23-KARAT GOLD LEAF.

GILDERS WILL ALSO USE 6-, 12-,
14, 18-, AND 22-KARAT LEAF

TO ACHIEVE
DIFFERENT SHADES OF GOLD.

THE HIGHER THE KARAT,
THE YELLOWER THE COLOR,

DUE TO THE GREATER PROPORTION
OF GOLD IN THE COMPOSITION

AND LESSER PROPORTION
OF COPPER AND SILVER ALLOYS.

Narrator:
ORCHIDS ARE A STANDOUT.

THEIR EXQUISITE BEAUTY

EVEN CAUSED A FRENZY
IN THE MID-19th CENTURY

WHEN WEALTHY BRITISH COLLECTORS
HIRED ORCHID HUNTERS

TO SEARCH THE WORLD
FOR NEW SPECIES.

TODAY, THE FASCINATION
WITH ORCHIDS CONTINUES,

AND CULTIVATING THEM
IS A GROWING INDUSTRY.

IN THAILAND, ORCHIDS GROW WILD,

BUT THE WILD ORCHIDS
HAVE BEEN TAMED.

THEY'VE BEEN
HYBRIDIZED AND DOMESTICATED

TO SATISFY A GLOBAL DEMAND
FOR THIS FANTASTIC FLOWER.

AT THIS FARM, CULTIVATION
STARTS WITH BUD CUTTINGS,

MIXED WITH NUTRIENTS AND WATER
IN GLASS BOTTLE.

THE BOTTLE PROVIDES
A GERM-FREE GROWING ENVIRONMENT,

KEEPING THE CUTTINGS
DISEASE-FREE

AS THEY GROW INTO BABY ORCHIDS.

THIS TAKES A YEAR OR MORE.

WHEN THE PLANTS HAVE DEVELOPED
A STRONG ROOT SYSTEM,

THEY'RE READY TO COME OUT
INTO THE WORLD.

THE WORKER DEPOSITS THE BABY
ORCHIDS IN A TUB OF CLEAN WATER

AND SWISHES EACH ONE AROUND TO
GIVE THEIR ROOTS A GOOD RINSE.

SHE TRANSFERS THE BABY ORCHIDS
TO A PERFORATED PLASTIC BASKET.

A WAD OF COCONUT FIBER
SOAKED IN WATER

PROVIDES
THE NEXT GROWING ENVIRONMENT.

THE WORKER PLACES
THE ROOTS OF EACH BABY PLANT

IN ONE OF THE WADS.

SHE WRAPS THE FIBER SNUGGLY
AND TIES THE WAD.

SHE PLACES THE FIBER-WRAPPED
ORCHIDS IN GROWING CELLS.

THE TEAM WATERS AND FERTILIZES
THEM FOR FOUR TO SIX MONTHS.

THE ORCHIDS GROW TO MIDSIZE,

AND THE PLANT'S ROOT SYSTEM
FLOURISHES.

THE PLANTS ARE NOW READY
FOR THE NEXT PHASE OF GROWTH.

THEY TRANSFER THE MID-SIZED
ORCHIDS TO COCONUT HUSKS.

THE HUSKS ACT AS A KIND OF PLANT
POT AND GROWING MEDIA IN ONE.

THEY ABSORB WATER TO PROVIDE
A CONSTANT SUPPLY TO THE PLANTS.

THE PLANTS GROW ON THE HUSKS.

NO SOIL IS NEEDED.

IN NATURE, ORCHIDS FLOURISH
ON TREE BARK OR CRACKS IN ROCKS,

AND COCONUT HUSKS
ARE THE NEXT BEST THING.

OVERHEAD, A NYLON-FABRIC ROOF
DIFFUSES SUNLIGHT

TO SIMULATE CONDITIONS
FOUND IN A SHADY RAINFOREST.

TOO MUCH LIGHT AND
THE HEAT WOULD HARM THE PLANTS.

GARDENERS REGULARLY OBSERVE
THE GROWTH OF THE ORCHIDS.

THEY'RE ON THE LOOKOUT
FOR DISEASE OR OTHER PROBLEMS.

NOT ALL OF THE PLANTS
WILL THRIVE.

THEY'LL LOSE
ABOUT 10% OF THE CROP.

THEY FERTILIZE AND WATER
THE ORCHIDS

OVER A PERIOD OF SEVERAL MONTHS.

MANY OF THE PLANTS ARE HYBRIDS,

CREATED BY CROSSING SPECIES TO
ACHIEVE A CERTAIN COLOR OR SHAPE

OR TO IMPROVE THE PLANT'S VIGOR.

WITH THOUSANDS OF SPECIES
AVAILABLE IN NATURE,

THE POTENTIAL COMBINATIONS
ARE NEVER-ENDING,

AND THE RESULTS
ARE ALWAYS STUNNING.

WITH THE ORCHIDS IN FULL BLOOM,
IT'S TIME FOR THE HARVEST.

WORKERS CUT THE ORCHIDS
AT THE BASE OF THE STEMS,

WITH AN EYE TO MAKING THEM
APPROXIMATELY THE SAME LENGTH.

IN THE PACKING ROOM, THEY TWEAK
THE LENGTH OF THE STEMS

UNTIL EACH BUNCH
IS PERFECTLY UNIFORM.

THEY MAKE THIS FINAL CUT
ON AN ANGLE.

THIS CREATES A LARGER SURFACE
FOR ABSORBING WATER

SO THE ORCHID
WILL STAY FRESH LONGER.

THEY SORT THE FLOWERS
BY THE SIZE OF THE BLOOM.

THEY INSERT THE STEMS
IN PLASTIC CAPSULES

THAT CONTAIN
A FLOWER-FOOD AND WATER MIXTURE.

THIS SHOULD MAINTAIN
THE ORCHIDS' FRESHNESS

DURING SHIPPING.

IT'S TIME TO WRAP UP
EACH STUNNING DISPLAY.

THE PLASTIC SLEEVE WILL PRESERVE
THEM ON THE JOURNEY AHEAD.

THIS PARTICULAR ORCHID IS A
HYBRID SPECIES KNOWN AS MOKARA.

EXTREMELY DESIRABLE,

CUT MOKARA ORCHIDS SHOULD BLOOM
FOR UP TO THREE WEEKS.

EN ROUTE TO THE AIRPORT
IN A CLIMATE-CONTROLLED TRUCK,

THEY'LL SOON BE
ON AN INTERNATIONAL FLIGHT.

THAI ORCHIDS
ARE SOLD AROUND THE WORLD.

CHANCES ARE THEY'LL END UP

AT THE CENTER OF A BIG EVENT
IN SOMEONE'S LIFE,

AND WHETHER
IT'S A WEDDING OR A BIRTHDAY,

THESE STUNNING ORCHIDS WILL ADD
SOMETHING SPECIAL TO THE PARTY.

Narrator: THE KEY PART
OF A WHEEL IS ITS HUB,

THE CENTRAL POINT TO WHICH
ALL THE SPOKES ATTACH.

IT'S COMPRISED OF A BODY
WHICH RECEIVES THE SPOKES

AND HOUSES AN AXLE AND BEARINGS.

IF THE WHEEL HAS A GEAR SYSTEM,

THEN THOSE GEARS AND A CLUTCH

ARE ALSO INTEGRATED
INTO THE HUB.

THIS IS THE ONLY
COMMERCIALLY AVAILABLE UNICYCLE

WITH A GEARING SYSTEM.

LOCATED ON THE WHEEL HUB,

IT ENABLES THE RIDER
TO PUSH A BUTTON

TO SHIFT FROM REGULAR GEAR
INTO HIGH GEAR

AND REACH 25 MILES PER HOUR --

TWICE THE SPEED
OF A REGULAR UNICYCLE.

THE GEARED WHEEL HUB CONTAINS
SIX IDENTICAL SMALL GEARS,

ROTATING
AROUND A LARGE CENTRAL GEAR.

THE CENTRAL ONE
IS CALLED THE SUN WHEEL

AND THE SMALL ONES,
PLANETARY GEARS,

BECAUSE THEY REVOLVE
AROUND THE CENTRAL GEAR

THE WAY PLANETS
REVOLVE AROUND THE SUN.

EACH OF THE SMALL GEARS BEGINS
AS A DISK-SHAPED STEEL BLANK.

A CONVENTIONAL,
1950s-ERA GEAR-CUTTING MACHINE

CUTS TEETH INTO IT

AS A SHOWER OF OIL WASHES AWAY
THE SHARDS OF METAL.

THE OIL ALSO COOLS
AND LUBRICATES THE TOOL

SO THAT IT DOESN'T
OVERHEAT OR JAM.

AFTER ABOUT 30 SECONDS
OF MACHINING,

THE BLANK IS
A FULLY SHAPED GEAR.

AN EVEN OLDER MACHINE,
CIRCA 1930,

MILLS A LARGER BLANK
INTO THE CENTRAL GEAR.

HOWEVER,
BECAUSE THIS GEAR IS BIGGER,

CUTTING THE TEETH INTO IT

TAKES MUCH LONGER --
ABOUT TWO MINUTES.

ONCE ALL THE GEARS ARE MACHINED,

THEY, ALONG WITH THE HUB'S
OTHER STEEL COMPONENTS,

UNDERGO A COMPLEX HEAT-TREATMENT
PROCESS TO STRENGTHEN THE STEEL.

ELSEWHERE IN THE FACTORY,

WORKERS ASSEMBLE
THE TWO HALVES OF THE CLUTCH,

THE COMPONENT WHICH LOCKS
INTO REGULAR OR HIGH GEAR

WHEN THE RIDER SHIFTS.

USING A CYLINDRICAL TOOL
CALLED A BROACH,

THE MACHINE GROOVES
IN THE CENTER OF THE CLUTCH.

SLOTS ON THE AXLE
WILL FIT INTO THESE GROOVES.

NEXT, THEY UNSCREW
THE TWO HALVES OF THE CLUTCH

AND MOUNT EIGHT HOLLOW PINS
IN EACH ONE.

IN ONE HALF, THEY ALSO INSTALL
THREE LONGER ALIGNMENT PINS

AND A GREASED SPRING
INSIDE EACH HOLLOW PIN.

THEN THEY THREAD THE TWO HALVES
OF THE CLUTCH ONTO THE AXLE,

ALIGNING THE AXLE SLOTS
IN THE CLUTCH'S GROOVES

AND THE PINS ON ONE HALF

WITH CORRESPONDING PINS
AND HOLES ON THE OTHER.

AFTER FASTENING THE HALVES
TOGETHER ONCE AGAIN,

THEY MOUNT
THE SIX PLANETARY GEARS

ON A RING CALLED
THE PLANET CARRIER,

THEN INSTALL IT ON THE AXLE.

THE SPRING-LOADED PINS
ON THE CLUTCH

CLICK INTO CORRESPONDING SLOTS
ON THE PLANET CARRIER.

THESE SLOTS ARE ENGINEERED
TO FIT THE PINS

WITH NO MORE THAN
.01 MILLIMETERS OF CLEARANCE.

AFTER SECURING
THE PLANET CARRIER TO THE AXLE

WITH A RETAINING CLIP,

THEY INSERT BALL BEARINGS
WITH A SPRING

IN TWO HOLES
ON OPPOSITE SIDES OF THE AXLE.

A RETAINING RING HOLDS THESE
SPRING-LOADED BEARINGS IN PLACE.

MEANWHILE, A LASER ENGRAVER
ETCHES THE COMPANY LOGO

AND PRODUCT IDENTIFICATION
ON THE WHEEL-HUB BODY.

THE BODY IS MADE
OF HIGH-STRENGTH ALUMINUM

THAT'S UNDERGONE
AN ELECTROCHEMICAL TREATMENT

TO MAKE IT CORROSION-RESISTANT.

THEY MOUNT THE HUB BODY
ON A HYDRAULIC PRESS

AND INSERT THE SUN WHEEL,

SURROUNDED
BY A LARGE BALL BEARING.

THEN THEY ACTIVATE THE PRESS,

WHICH FORCES THE SUN WHEEL
INTO THE BODY.

THEY INSTALL THE BODY
ON THE AXLE,

POSITIONING THE SUN WHEEL

RIGHT IN THE CENTER
OF THE PLANETARY GEARS.

A COVER PROTECTS THE GEARS FROM
DUST, DIRT, AND PRECIPITATION.

ON THE OPPOSITE END OF THE BODY,

THEY INSTALL ADDITIONAL BEARINGS

AND AFFIX A COVER
WITH NINE SCREWS.

NOW THE SHIFT BUTTONS --

A CHROME-PLATED ONE
FOR SHIFTING DOWN,

A GOLD-PLATED ONE
FOR SHIFTING UP.

BOTH SCREW INTO A SHAFT RUNNING
THROUGH THE CENTER OF THE AXLE.

THE TWO SPRING-LOADED BEARINGS

WORKERS INSERTED IN THE AXLE
EARLIER

HOLD THAT SHAFT IN PLACE.

THIS CROSS-SECTION MODEL SHOWS
HOW EVERYTHING COMES TOGETHER.

THE SHIFT BUTTON
MOVES THE SHAFT,

WHICH MOVES THE CLUTCH
TO LOCK INTO THE SELECTED GEAR.

IN REGULAR GEAR,

PEDALING ONE REVOLUTION MAKES
THE WHEEL TURN ONE REVOLUTION.

WHEN THE RIDER SHIFTS
TO HIGH GEAR,

PEDALING ONE REVOLUTION

MAKES THE WHEEL TURN
1 1/2 REVOLUTIONS.

THE UNICYCLE MOVES 50% FURTHER
AS A RESULT OF THE SAME ACTION.

RIDERS USE THE REGULAR GEAR
FOR CLIMBING

AND THE HIGHER GEAR
FOR FLAT OR DOWNHILL TERRAIN.

THEY HIT THE SHIFT BUTTON

WITH THEIR HEEL OR ANKLE
WHILE PEDALING --

A QUICK, SLIGHT MOVEMENT THAT
WON'T THROW THEM OFF BALANCE.

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