DOCSLIB.ORG

THE I-STUBBLEPRO TOOL TIPS Ultimate Precision Shorter Beard & Designer Stubble Trimmer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE I-STUBBLEPRO TOOL TIPS Ultimate Precision Shorter Beard & Designer Stubble Trimmer THE i-STUBBLEPRO TOOL TIPS ultimate precision shorter beard & designer stubble trimmer. VSM7896A HEY YOU! TAKE A BOW FINE SIR. THINGS ARE LOOKING UP & YOU’VE JUST MADE A QUALITY PURCHASE WITH THIS NEW GROOMING TOOL. WE KNOW YOU’VE GOT THIS, BUT BEFORE YOU JUMP INTO USING YOUR NEW SIDE KICK, HERE’S A FEW TIPS & TRICKS TO KNOW BEFORE LETTING YOUR CREATIVITY RUN LOOSE. HIT UP VSFORMEN.COM.AU FOR MORE GROOMING & INSPIRATION OR FOLLOW US ONLINE 2 THE i-STUBBLE PRO / TOOL TIPS 3 THE i-STUBBLE PRO / TOOL TIPS IMPORTANT SAFETY INSTRUCTIONS - This appliance is not intended for use by persons (including children) with reduced physical, sensory or mental capabilities, or lack of experience and knowledge, unless they have been given supervision or instruction concerning use of the appliance by a person responsible for their safety. - Children should be supervised to ensure that they do not play with the appliance. - This appliance is only to be used with the power supply unit provided with the appliance. - This appliance must only be supplied at safety extra low voltage corresponding to the marking on the appliance. When using electrical appliances, especially when children are present, basic safety instructions should always be followed, including the following: Polythene bags over product or package may be dangerous. To avoid danger of suffocation, keep this wrapper away from babies and children. This bag is not a toy. DANGER: When the unit is used in a bathroom, unplug it after use since the proximity of water presents a hazard even when the appliance is switched off WARNING: Do not use or leave the AC power adaptor in a position where it can become wet or there is a danger of it falling into a basin or other vessels containing water. Keep the appliance dry, unless it is otherwise specified. Do not use this appliance in or near bathtubs, showers, basins or other vessels containing water. - Do not immerse appliance in water or other liquids. - Do not reach for an appliance that has fallen into water. Unplug immediately. - Take care to avoid contact between the moving blades of the unit and the skin, paying particular attention to the face, neck and hands. IMPORTANT: Always unplug the appliance when not in use or before cleaning. Do not leave unattended when plugged in or switched on. Do not place on any heat sensitive surface. 4 THE i-STUBBLE PRO / TOOL TIPS - Do not use any attachments other than those supplied by Conair Australia Pty Ltd. - Use this appliance only for its intended use as described within this instruction booklet. - Always unplug the appliance when fully charged. - This appliance is not intended for commercial use. - Never drop or insert any object into an opening. - Do not use the appliance with damaged or broken attachment combs or with any teeth missing from the blades, as injury may occur. - Do not place on any surface while it is operating. - Keep the cord away from heated surfaces - Never twist or pull on the power cord. - Do not use an extension cord with this appliance. - After use do not wrap the cord around the appliance as in time this may cause the cord to fracture. Coil cord loosely by the side of the appliance in storage. - Do not use outdoors or operate where aerosol (spray) products are being used or where oxygen is being administered. - Do not use the appliance if it is damaged. In the event of damage, discontinue use immediately and contact your dealer for instructions on returning it for examination or exchange. If the supply cord is damaged, it must be replaced by the manufacturer, its service agent or similarly qualified person in order to avoid a hazard. - Always ensure that the voltage to be used corresponds to the voltage marked on the unit. - For additional protection, the installation of a residual current device (RCD) with a rated operating current not exceeding 30mA is advisable in the electrical current circuit supplying the bathroom. Ask your installer for advice. - The appliance is only to be used with the power supply unit provided with the appliance. - The appliance must only be supplied at safety extra low voltage corresponding to the marking on the appliance. - WARNING: For purposes of recharging battery, only use detachable supply unit CA11 provided with this appliance. - This appliance contains batteries that are only replaceable by skilled persons. - This appliance contains batteries that are non-replaceable. 5 THE i-STUBBLE PRO / TOOL TIPS DJUSTS TO T LY A HE CT C E ON THE i-STUBBLE PRO F T R E O P U R S O F BRAVO. YOU’VE MADE A QUALITY PURCHASE. Y O U R F A The i-STUBBLE PRO is the precision beard & stubble C trimmer for ultimate control of shorter beard styles and E designer stubble. 4 5 6 7 12 11 8 9 14 13 10 15 3 2 1 1. Cord/cordless use 5. Ultra-flexing 8. + up button – 12. Ergonomic design 2. 90mins for full contouring head increases the with curved body charge with 60 6. COMB GUIDE - trimming length for easy control & run time 0.4mm - 5.0mm 9. - down button – compete comfort 3. 5 minute quick trimming lengths decreases the in use charge for 3 7. Ultra-precise trimming length 13. Cleaning brush minutes of motorised 10. On/Off switch 14. Oil trimming, enough adjustments at the 11. LCD display shows 15. Power adaptor for a complete touch of a button cutting length trimming session settings and 4. Diamond sharpened battery charge time stainless steel remaining blades 6 THE i-STUBBLE PRO / TOOL TIPS PREPPING YOUR NEW TOOL CHARGING The i-STUBBLE PRO is so easy to use. But before you start using your new tool, you must take the time to charge it for 3 hours before its first use. Your new tool comes with a small amount of charge, but the initial charge will ensure your new tool will have optimum power performance to give you smooth fast cutting, every time. - Before using for the first time, fully charge your new tool continuously for 3 hours. After the first charge a full charge will only take 90 minutes. - Maximum battery capacity will only be reached after 3 charging & discharging cycles. - To charge the trimmer, first ensure your new tool is switched off, then insert the small plug on the charging adaptor into the hole on the base of the trimmer. - Plug the charging adaptor into a suitable mains power socket and switch on. - Always check that the charging indicator on the LCD comes on when you have switched the charging adaptor on. - When the trimmer is charging the LCD display lights up for a few seconds and battery symbol indication will start to flash until the trimmer reaches maximum capacity of 90 minutes. - A full charge will take 90 minutes and will supply 60 minutes cordless runtime. - A quick charge of 5 minutes will supply 3 minutes cordless runtime, sufficient for a single instant beard or stubble trim. - To maintain optimum capacity of the rechargeable battery, it is highly recommended to fully discharge & then recharge your tool for 3 hours every 3 months. 7 THE i-STUBBLE PRO / TOOL TIPS NB - When the trimmer has less than 5 minutes charge left, the battery symbol indication will start to flash. This indicates that the trimmer needs to be recharged, however it may continue to run for a very short while after. CORDED USE To use the trimmer connected to mains power: - Insert the small plug on the charging adaptor into the socket on the bottom of your new tool. - Plug the charging adaptor into a suitable mains power socket and switch on. - Switch the trimmer on – NOTE – if the battery is weak and low on battery charge, wait approx. 1min before switching the trimmer on. 8 THE i-STUBBLE PRO / TOOL TIPS HOW TO USE THE i-STUBBLE PRO BEFORE USING • Always inspect the trimmer blades for noticeable signs of damage. • Always inspect the trimmer blades before use to ensure they are free from hair, debris etc. • Ensure the trimmer is sufficiently charged before use. • For best performance use on clean, dry hair that has been combed until tangle-free. • If possible, when using for the first time, try and grow your facial hair for a few days before cutting so you can trim down to a level that is best for you. 9 THE i-STUBBLE PRO / TOOL TIPS SELECTING A CUTTING LENGTH The i-STUBBLE PRO comes with 15 precision motorised lengths for crafting defined shorter beard & stubble looks. The motorised settings allow you to change the cutting length of your trimmer. You’ll need to experiment to find your preferred length, but as a guide, 0.4mm will give you very short stubble, whilst 4mm will give you a short beard look. • Depending on the length setting you desire, use the ‘‘+’’ or ‘‘-’’ buttons to adjust the comb guides to the required trimming length. • The trimming lengths are displayed on the LCD screen in ‘‘mm’’ – scroll through the available length settings with the digital touch controls. The length settings on the LCD screen will change as you adjust the ‘‘+’’ or ‘‘-’’ buttons. • There are 15 length settings available: 0.4mm-2.0mm in 0.2mm increments, 2.0-5.0mm in 0.5mm increments. 10 THE i-STUBBLE PRO / TOOL TIPS TRAVEL LOCK FEATURE The i-STUBBLE PRO comes with a travel lock feature which will lock the on/off button from turning on accidently. To lock the trimmer, hold the ‘On/Off’ Button for 3 seconds, the comb guide will return to start position and power will shut off.
Load more

Recommended publications
  • How the Experience of Cyberspace Contributes to the Emerging Story of Self in Young People
    Morph Constructing identity: how the experience of cyberspace contributes to the emerging story of self in young people. Jill Lesley Clough Thesis submitted towards the degree of Doctor of Philosophy in the School of English Literature Language, and Linguistics Newcastle University April 2013 Awarded October 2013 Supervisors: Professor Linda Anderson, Professor Jackie Kay Abstract for Morph. Constructing identity: how the experience of cyberspace contributes to the emerging story of self in young people. This thesis develops from the belief that young people construct identities for themselves which inevitably surprise their parents, particularly where so much of their coming-of-age is influenced by hidden virtual experiences. The novel which explores this is Morph. Joey, the protagonist, is uneasy about her gender. She has a loving family, intelligence, a satisfying way of life, but loathes her body. She investigates alternative futures, initially online. Her closest friend also has a secret, revealed after a suicide attempt that Joey averts: sexual abuse by her father. Each has to discover how to live with the evolving sense of self. If Joey wishes to change gender her character may alter, too; she finds she can be violent when confronting the abusive father. The story is told through Joey’s eyes and activities in cyberspace, which she thinks of as a free place, parallel to the mountains over which she loves to run. She feels at ease in both places. Eventually she decides to live as both male and female (Other) because she does not have a ‘condition’ needing to be cured. Classification in the natural world allows for infinite variety, and she want similar opportunities for herself.
    [Show full text]
  • I's the Merb'y: Masculinity, Mermen and Contemporary Newfoundland
    I’S THE MERB’Y Masculinity, Mermen and Contemporary Newfoundland [Received 22nd April 2018; accepted 29th July 2018 – DOI: 10.21463/shima.12.2.17] Philip Hayward University of Technology Sydney <[email protected]> Cory W. Thorne Memorial University of Newfoundland <[email protected]> ABSTRACT: In late 2017 initial, low-key publicity for a charity calendar featuring a range of bearded Newfoundlanders posing as mermen resulted in international media coverage that discussed and commended the non-stereotypical images produced for the project. This article situates the calendar’s imagery within the history of regional folklore concerning mermen and mermaids, the socio-cultural character of the island of Newfoundland and, in particular, the milieu of its port capital, St. John’s. Through these perspectives, the article analyses aspects of masculinity present in an island society that has experienced significant transitions in recent decades in relation to the decline of its fishery, the increasing work- related mobility of former fisherpeople, increasing ethnic diversity and immigration, and the breaking down of once strongly held attitudes of Newfoundland as being isolated, homogenous and tradition-based. In terms of Island Studies discourse, this has involved the island’s transition from being a relatively autonomous aquapelagic assemblage to an increasingly post-aquapelagic one firmly incorporated within a nation-state. Long viewed as a quintessential “folk setting”, Newfoundland is in a state of change that includes the gradual modification of regional stereotypes of masculinity. The revised images and roles presented in the calendar can be seen to represent new, more fluid definitions of masculinity appropriate for an increasingly more cosmopolitan — yet proudly unique — island society.
    [Show full text]
  • A Critical Study of Transsexual Transition in a Familial Context
    1 Straddling the scalpel of identity: a critical study of transsexual transition in a familial context Claire Elizabeth Jenkins Doctor of Philosophy Sociological Studies December 2012 2 Acknowledgements Many have helped me. Firstly I would like to thank my immediate family, my ex-wife and my four children, for sharing in my transition which was the genesis of this research. I very much appreciate the invaluable help given by Dr Emily Gray in formulating my original research proposal. Perlin Dobson and David Jackson, my dear friends, have consistently supported me through transition to submission. David read many of my drafts and gave me critical feedback. Perlin gave emotional support when times were difficult. I am very appreciative of the invaluable advice and support given by Kevin Mahoney of Sheffield University Careers Service. These friends together with Nirmal Fernando, David Jones, Professor Stephen Whittle, Dr Roshan das Nair, Jayne Tulip and Imogen Hale were especially helpful when I experienced a major setback. They helped me to re-continue afterwards. I would also like to more formally thank my supervisors, Dr Victoria Robinson, Dr Lorna Warren and Professor Jenny Hockey, who taught me much about sociological writing and thought and who gave extensive critical feedback. Dr Warren has especially helped me regain academic confidence during 2012. I am also grateful for the informed critiques received from Professor Ruth McDonald, Professor Brendan Gough and David Miers. I am especially grateful to Brenda Stephenson and Dawn Montiel for the proof reading early drafts. I would also like to thank Duncan Macmillan House Staff Library and Nottingham Trent University Library Staff for supporting me locally through book acquisition, loans and for obtaining journal articles.
    [Show full text]
  • The Art of a Beard
    The Art Of A Beard From designer stubble to a full grown man, it’s clear to see that the beard is becoming more standard procedure than the sign of being homeless in recent years. With celebrities such as Johnny Depp, Brad Pitt and David Beckham sporting facial fur it’s become an unwritten rule that a fashionable man cannot be without a beard. With dedicated websites to the beard that include step by step guides to growing a beard, featured beards and beard galleries, the modern man has all the information he needs at his fingertips to shape colour or groom his beard into any style he wants. So how comes beards are seen as more of a fashion statement than just pure laziness? Do us gents perceive the beard as a manly statement rather than a result of being scruffy? Whether you like the beard of not, it’s become more and more acceptable to have a beard in the office. In fact, it has been said that the vast majority of men now sport beards, and that it’s moved from sticking out like a sore thumb with a beard to looking out of place if you don’t have a beard. There’s even a sponsored facial hair growing month. ‘During November each year, Movember is responsible for the sprouting of moustaches on thousands of men’s faces in the UK and around the world. The aim of which is to raise vital funds and awareness for men’s health, specifically prostate cancer and other cancers that affect men.’ Says Movember.com.
    [Show full text]
  • 1 the Driver Mr Tahsin Cilekbileckli
    F.html 07/12/2009 11:44 1 the driver Mr Tahsin Cilekbileckli Outward appearance Like Antonio Banderas in Interview with the Vampire, down to the long black hair. Neatly pressed London Underground uniform, except for the jacket, which is slung over the back of his chair. Unshaven, baggy-eyed. His Hush Puppy shoes are worn along one edge. Inside information A qualified [[136]] Turkish political scientist living in Britain with a British wife. He walks splay footedly because his feet were beaten while he was in prison. His name means Perfection With Steel Wrists. Turkish surnames are new this century, added under the rule of Ataturk -- Father Turk. Such names sound beautiful to them. What he is doing or thinking The train pulls out, Tahsin sighs with despair and exhaustion. Last night he argued with his two best friends about Islamic fundamentalism. Tunc teaches at the [[ftnt1]] School of Oriental and African Studies and is from an old Ottoman family. "There are only a million modern Turks, but we have all the power," Tunc said, heavy lidded with superiority. Tahsin's other friend Umut is a failed actor, drinking himself to death. "There would be no more wine," Umut complained. "Umut" means Hope. Tahsin lost his temper with both of them. Tahsin is from Marash, a town famous only for its rubbery ice cream. His mother and father are illiterate and faithful. "My modern son," sighs his father on the phone with pride when told Tahsin is writing a book on a computer. After all the other isms, Islam at least feels native.
    [Show full text]
  • Chapter 8 Appearance, Uniforms, and Equipment
    Chapter 8 Appearance, Uniforms, and Equipment I. APPEARANCE OF PERSONNEL A. All members of the department have the responsibility to present and maintain a professional public appearance that reflects the high standards of the Pima County Sheriff's Department. Integral elements of personal appearance are grooming, neatness, and cleanliness. B. Overall Appearance 1. All members of the Pima County Sheriff's Department are expected to report to work dressed in clothing that is neat, clean, and in good repair. Acceptable dress is standard business attire. Some items of clothing are not acceptable, either because of their unprofessional appearance or because they present a safety or security issue. 2. Hair must be neat and well groomed. Extreme hairstyles, makeup, and jewelry are prohibited. If members choose to color their hair, only natural colors shall be used. Wigs and hairpieces shall not be worn unless they conform to the standards for natural hair. (Bureau Commanders may make exceptions in cases of special assignments.) C. The following rules shall apply to all commissioned and corrections members wearing a Sheriff's Department uniform. 1. Hairstyles a. Hair shall be neat, clean, properly trimmed, and well- groomed. b. In no case shall the bulk or length of the hair interfere with the proper wearing of authorized headgear. c. Hair may be worn in contemporary styles but no lower than the top of the shirt collar at the back of the neck for men, bottom of the shirt collar at the back of the neck for women, and the mid-point of the ear at the sides when the man or woman is standing with his/her head in a normal position.
    [Show full text]
  • Downloaded from Straight Razor Place 1
    Subject: Razor FAQ for September 1999 Date: 4 Sep 1999 16:05:47 GMT From: [email protected] (Joe Talmadge) Organization: Hewlett Packard Cupertino Site Newsgroups: rec.knives Please send comments or questions directly to Arthur Boon!! Detail and pictures on the homepage: http://members/tripod.com/razorgate Downloaded from Straight Razor Place http://www.straightrazorplace.com 1 The Straight Razor Author: Arthur Boon PART 1......................................................................................................................................................1 1.00 Introduction .................................................................................................................................1 1.01 Manufacturers ..............................................................................................................................2 1.02 Geometry.....................................................................................................................................2 1.03 Principles .....................................................................................................................................3 1.04 Purpose .......................................................................................................................................4 1.05 Materials ......................................................................................................................................4 1.06 Collecting .....................................................................................................................................5
    [Show full text]
  • Internal Diversity
    GLOBAL DIVERSITIES Internal Diversity Iranian Germans Between Local Boundaries and Transnational Capital Sonja Moghaddari mpimmg Global Diversities Series Editors Steven Vertovec Department of Socio-Cultural Diversity Max Planck Institute for the Study of Religious and Ethnic Diversity Göttingen, Germany Peter van der Veer Department of Religious Diversity Max Planck Institute for the Study of Religious and Ethnic Diversity Göttingen, Germany Ayelet Shachar Department of Ethics, Law, and Politics Max Planck Institute for the Study of Religious and Ethnic Diversity Göttingen, Germany Over the past decade, the concept of ‘diversity’ has gained a leading place in academic thought, business practice, politics and public policy across the world. However, local conditions and meanings of ‘diversity’ are highly dissimilar and changing. For these reasons, deeper and more com- parative understandings of pertinent concepts, processes and phenomena are in great demand. This series will examine multiple forms and configu- rations of diversity, how these have been conceived, imagined, and repre- sented, how they have been or could be regulated or governed, how different processes of inter-ethnic or inter-religious encounter unfold, how conflicts arise and how political solutions are negotiated and prac- ticed, and what truly convivial societies might actually look like. By com- paratively examining a range of conditions, processes and cases revealing the contemporary meanings and dynamics of ‘diversity’, this series will be a key resource for students and professional social scientists. It will repre- sent a landmark within a field that has become, and will continue to be, one of the foremost topics of global concern throughout the twenty-first century.
    [Show full text]
  • Linked in Twitter K S Y Preferences Sexual
    ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! This paper might be a pre-copy-editing or a post-print author-produced .pdf of an article accepted for publication. For the definitive publisher-authenticated version, please refer directly to publishing house’s archive system. SENSEable CITY GUIDE TO MOSCOW M MOSCOW SENSEable CITY GUIDE COPYRIGHT ©2012 by SENSEable City Lab. All rights reserved. MOSCOW Cambridge, Massachusetts. PRODUCED BY SENSEable City Guide The SENSEable City Lab, The Massachusetts Institute of Technology WITH SUPPORT FROM The Strelka Institute for Media, Architecture and Design M1 / M4 / Moscow in Motion Grassroutes PRODUCTION MANAGER Prudence Robinson by Anna Siprikova by Travis Sheehan EDITED BY Prudence Robinson M2 / M9 / Anthony Vanky RIOTAP Infrastructureless AUTHORS Rio de Janeiro’s Parking System Anna Siprikova travel companion by Claudio Martani Carlos Medellin by Aristodimos Komninos Ekaterina Izmestyev Elena Bykova M10 / Irina Rudnichenko Natalia Kopeikina M3 / Bike all the way! Philipp Kats TripGINI by Sunnie S. Lau Tatiana Mamaeva by J. Ira Winder INSTRUCTORS Dennis Frenchman Assaf Biderman Carlo Ratti Dasha Paramonova CONTRIBUTORS Alexander Ausan Bayram Annakov Vasily Gatov Yulia Dobina Eduard Haiman Alex Haw Anna Ischenco Eugeniya Kuyda Dmitriy Levinets Dina Lun GRAPHIC DESIGN Anna Militskaya studio FM milano Nashid Nabian Fedor Novikov PRINTED BY Anton Polsky Puritan Press, Inc. Adam Pruden Arthur Pesaturo PUBLISHED BY Stefan Seer SA+P Press Vadim Smakhtin Peter Sirgist ISBN Sergey Shpilko
    [Show full text]
  • Describing Males
    DESCRIBING MALES BLOND HAIR LEVEL 1 LEVEL 2 LEVEL 3 LEVEL 4 LEVEL 5 OTHERS Viking-gold Nordic-gold Aryan-gold lions mane- Achilles-gold hair hair hair gold hair hair Hercules- Scandinavian- Teutonic- mother lode- Apollo-gold gold hair gold hair gold hair gold hair hair 1. He had wavy, Hercules-gold hair. 2. He had mussed, Nordic-gold hair. 3. He had twirling, Aryan-gold hair. 4. He had a swirling, lion’s mane of gold hair. 5. He had whisked, Apollo-gold hair that danced in the wind. SHORT HAIR a crew cut a Mohican a marine a razor’s- a bald pate hair cut haircut edge cur close a rooster cut a military a buzz-cut a chrome cropped hair hair cut dome 1. He had a crew cut and darting eyes. 2. He had a rooster cut and piercing eyes. 3. He had a marine cut and penetrating eyes. 4. He had buzz-cut and gimlet eyes. 5. He had a chrome dome and far-seeing eyes. EYEBROWS bushy sickle shaped crescent-of- beetle- fire eyebrows moon shape browed worshipper- black bristly scythe equinox- hirsute Hades-black eyebrows shaped black eyebrows eyebrows eyebrows 1. He had bushy eyebrows and a pleasing face. 2. He had sickle shaped eyebrows and a shapely face. 3. He had equinox-black eyebrows and a seemly face. 4. He had hirsute, bible-black eyebrows on an artist’s face. 5. He had Hades-black eyebrows affixed to an aesthetic face. NOSE a falcon’s a Roman a patrician a raptor’s a lordly nose nose nose nose nose a hawkish an imperial an imperious an aquiline a kingly nose nose nose nose nose 1.
    [Show full text]
  • British Airways Uniform Wearer Standards
    Uniform Wearer Standards Updated July 2015 Contents Julien Macdonald 4 Male uniform Coat 27 Looking the part 5 Scarf 27 Brevets 6 Gloves 27 Female uniform Contents Jacket 28 Female hat* 9 SCCM jacket* 28 Coat 10 Trousers 28 Scarf 10 Shirt 29 Gloves 10 Customer contact tie 29 Jacket 11 In-flight gilet 29 SCCM jacket* 11 Knitwear 30 Skirt 12 Footwear 31 Trousers* 13 Socks 31 Blouse 14 Hairstyles and grooming 32 In-flight gilet 14 Facial hair 33 Customer contact cravat 15 Skincare and grooming 34 Uniform handbag* 15 Knitwear 16 Truly international Maternity dress and blouse 17 Modesty uniform 36 Footwear 18 South Asia uniform Sherwani 37 Hosiery 19 Kurta 38 Hairstyles and grooming 20 Hijab 40 Hair accessories 23 Skincare and make-up 24 * Please refer to disclaimer notice on page 56 British Airways Uniform Wearers Guide | 2 Turnround Management/Coordination Baggage 50 TRM/TRC 42 Uniform ordering and collections 52 Uniform comittee 53 Finishing the look Name badges 44 General information 54 Additional badges 45 Dry cleaning information 57 Contents Additional Items 46 Version control 62 Jewellery 47 Glasses 49 Acknowledgement 65 Throughout this guideline you will see this icon in the bottom left corner, when selected it will lead you back to the contents page. British Airways Uniform Wearers Guide | 3 Julien Macdonald Julien Mcdonald graduated from the University of Brighton with a BA (Hons) in Fashion & Textiles and an MA from the Royal College of Art. He held positions as Head Knitwear designer for Chanel and Creative Director for Givenchy in Paris.
    [Show full text]
  • 1451741361075.Pdf
    q i Credits Table of Contents Author: Peter C. Spahn Characters 2 Artwork: Rick Hershey, Jon Gibbons Crime 13 Special Thanks To: Brett M. Bernstein, Mark Miami Nights Tips and Optional Rules 17 Bruno, Alex Hunter, Justin D. Jacobson, Sean Miami Nights Stories 22 Petroff The 1980s 28 Miami 33 Based on the game Vice Squad: 80s Police Episodes 48 Adventures by Mark Bruno and Precis The Deal (sample adventure) 65 Intermedia Character Templates 73 Character Sheet 80 Charts 81 Miami Nights 80s Trivia 83 Vice Squad: Miami Nights is © 2007 by Peter C. Spahn. genreDiversion is a trademark of Precis Intermedia and is used here under license. All rights reserved. No part of this book may be reproduced in any form, except where noted (one copy may be printed for personal use only). WWW.PIGAMES.NET MIAMI NIGHTS Vice Squad: Miami Nights is a genreDiversion add-on that chatting up the ladies and solving crimes, or a corrupt cop focuses on crime in 1980s Miami. Uphold the law as beat looking for the next big bribe. cops, bust drug dealers as vice squad detectives, make the Miami Nights takes you to the crime-ridden streets of streets safe as part of an anti-gang unit, join a S.W.A.T team to Miami where anything is possible. The game is set in 1985, take on heavy-hitters, or play IAD and fight corruption in the however, if you think of something from the late 80s that you department. If law and order are not your thing, play a mafia want to include, feel free to drop it in.
    [Show full text]