SKU: 78266764830

送料無料 お名前シール(スタンダード アイロン伸縮タイプ 148ピース)くすみラベンダー

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送料無料 お名前シール(スタンダード アイロン伸縮タイプ 148ピース)くすみラベンダー375 148 148 745 148OK ! 1 T :60mm20mm(2) :43mm15mm(21) :30mm8mm(60) :23mm6. 5mm(56) :20mm20mm(9) 121014(JIS2) 11 ( () 57() ()() 5 24 : A4 57() PC


商品タイプ
撥水タイプ　375ピース
アイロンタイプ　148ピース
アイロン伸縮タイプ　148ピース
算数セット　745ピース






【アイロン伸縮タイプ　148ピース】

アイロンでピタッと貼るだけの布用シールで、伸びるものにもOK。便利なカット済みなので、手間なく簡単＆スピーディーです。
この度、シールのバリエーションを増やしてリニューアル!1シートあたりの枚数がさらに増えて、使いやすくなりました。
シール自体に伸縮性があるので、靴下やTシャツ・体操服・肌着など伸び縮みするストレッチ素材のものにおすすめ。シールの表面は、布の色が透けない素材を使用。印字されたお名前がきちんと見えるので安心です。
※ご使用前に取扱説明書を必ずお読み下さい。

特大:横60mm×縦20mm(2枚)
大:横43mm×縦15mm(21枚)
中:横30mm×縦8mm(60枚)
小:横23mm×縦6.5mm(56枚)
角:横20mm×縦20mm(9枚)

ひらがな・カタカナの場合12文字以内、漢字の場合10文字以内、アルファベットの場合14字以内となります。(JIS規格第2水準漢字まで入ります。)

・1シートに印字するお名前は1種類のみとなります。
・書体・印字の色は選べません。
・記号・罫線・ロゴ・旧漢字の印字はできません。
・名前と苗字の間には自動的にスペースが入ります。

文字間の幅やバランスのご指定はお受けできません。
(当社で調整させていただきます。予めご了承ください。）

お名前シールの書体は、学校の教科書で学ぶ文字を使用しています。文字を覚えたての子供が、自然と正しい文字を覚えることができます。
※子供が間違いやすい「き」や「さ」などのつながり文字は使用しておりません。



※ゆうパケット便での発送となります。
※ご一緒にご注文いただいた他の商品とは別送となります。
※ご注文いただいてから通常5～7営業日での発送となります(土日祝は営業日外となります)。日時指定はできません。
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受注生産のため、ご注文後の内容変更やキャンセルはできませんので、ご了承ください。

アイロンをかける前のご注意
・表面に防水加工や特殊加工がされている生地(ビニール、合皮)、起毛素材(タオル)には付けないでください。
・合繊やナイロン系の熱に弱い布地は、アイロンは使用できませんので縫い付けてください。
・リブなど凹凸のある素材には圧着しにくい場合があります。
・新品の製品は、糊や表面加工によりうまくつかない場合があるので、一度洗濯をしてから接着してください。
・生地自体に弱撥水～通常撥水の加工がされていると圧着しにくい場合があります。
・漂白剤の入った洗濯洗剤で洗濯された衣服に関しては、圧着しにくく、はがれやすくなる場合があります。
・スチームアイロンは、スチームの状態では使用しないでください。
・アイロンをあて過ぎますと、生地などを焦がすおそれがございますのでご注意ください。
・アイロンをあてる際は、あて布をしてください。あて布が厚すぎると熱が伝わりにくい場合があります。
・濡れた布には接着できません。
・一度接着するとはがれませんのでご注意ください。
・けがややけどには十分ご注意ください。作業中のけがや事故等については一切保障いたしかねます。

※伸縮性のある布地に付ける場合は＜アイロン伸縮タイプ＞をご使用ください。きれいに仕上げるためには
アイロンは5分以上予熱して、接着する直前に温度が下がっていないか確認してください。
アイロンは布の上をすべらせずに、上からしっかり体重をかけて押しあててください。
シールの周辺と角にしっかりアイロンをあててください。はがれそうな場合は再度アイロンをあててください。
アイロンの先端ではなく、中心部の辺りであてて下さい。
あて布が厚すぎると熱が伝わりにくいおそれがあります。
よく冷ましてからあて布をはがして下さい。

アイロンをかけた後のご注意
ドライクリーニングはお避けください。こすり洗いや乾燥機のご使用ははがれるおそれがございます。
お洗濯の際はネットをご使用になるか、裏返しにして洗ってください。
シールの印刷面に直接アイロンをあてないでください。アイロンをあてる際はあて布をしてください。
シールを接着した生地の裏面をアイロンする際、アイロン台へ絵柄が移る可能性がございますのでご注意ください。
・シール接着後、24時間以上あけてから洗濯してください。

※用紙サイズ:A4

素材：白ポリウレタン　



納期：ご注文いただいてから通常5～7営業日での発送となります(土日祝は営業日外となります)。日時指定はできません。

配送：ゆうパケット便にて別送
※お名前シールの代金引換配送はご利用いただけませんのでご了承ください。

●商品の画像の色について
※お客様のモニター設定やPCの機種、室内環境等により、色味に違いが発生してしまう場合もございます。

●商品仕様について
商品は写真と異なる場合や同等品へ仕様変更する場合がございます。予めご了承ください。

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SKU: 78266764830

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4.0 ★★★★★
Based on 17 reviews
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Product Reviews
B
Verified Purchase
Bookworm
Lowell, US
★★★★★ 5
It's All Right Here. All of it.
Format: Hardcover
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 21, 2016
J
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jk Smiles
Louisville, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Lake Worth, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Pawtucket, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Lowell, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017

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