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The Forex world is constantly evolving and during its weekly trading hours there is a wealth of news a trader must keep on top of if they want to make the most money possible. Indeed, because the market can be affected by a number of dynamics, it is essential they know exactly what's happening at all times in order to avoid any unprofitable deals.
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Knowing the value of each currency based on various internal and external factors is crucial and the reason why FXBrokerSearch.com's Forex news centre is a vital resource. Drawing on a number of resources, our information section provides the latest information and data from which users can refine their trading activity.
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By compiling all this current data into one portal we believe investors will be able to make even more money in the Forex market. Indeed, thanks to our dedicated team of analysts and experts, users can find out the latest market developments as well as the best deals in the industry. Putting all this together should help everyone gain a better understanding of the market, which in turn should give them the ability to make even more money.
Former Volkswagen (VOWG_p.DE) Chief Executive Martin Winterkorn refused to tell German lawmakers when he first learned about systematic exhaust emissions cheating but said it ..
SAN FRANCISCO/NEW YORK (Reuters) - This past November, Nasdaq Inc hired a helicopter to film Manhattan's skyline using Snapchat's new video-camera sunglasses and sen ..
The European Central Bank kept its super-easy monetary policy unchanged as expected on Thursday and its president, Mario Draghi, told critics of his stimulus path to be patien ..
A unit of private investment firm Starwood Capital Group said it would buy Canada's Milestone Apartments Real Estate Investment Trust in a deal valued at about $2.85 bill ..
Anthem Inc (ANTM.N) on Thursday said it extended the deadline for its acquisition of Cigna Corp (CI.N) by three months as it awaits a federal court ruling on the U.S. governme ..
Global banks have begun signaling how they will put plans into action to cope with a "hard" exit by Britain from the European Union. Bank executives will present pla ..
Saudi Basic Industries Corp (SABIC) remains upbeat on a proposed petrochemical venture in the United States with Exxon Mobil (XOM.N) and a preliminary investment decision coul ..
Goldman Sachs Chief Executive Lloyd Blankfein said on Thursday that he still doesn't know if there will be just one location the bank will relocate operations to in order ..
Business leaders in Davos, traditionally the high priests of globalization, are talking up the benefits of local production this week to shield themselves from criticism from ..
BlackRock Inc has a stake in Toshiba Corp of 5.01 percent, according to a Japanese government filing, likely becoming the struggling firm's top shareholder. According the ..
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Tagged: Rick Astley
The Filibuster
Looks like the Tigers made a deal. Will Washburn be our savior now or is Jake Peavy the nail in the coffin for the White Sox?
Farmington Hills, MI
question Mandy. And it's pretty amusing that Peavy ended up on the
White Sox after all those rumors about him going to the Cubs. Man,
Piniella must be spittin' mad right about now. But I digress. You asked
about Washburn and to Washburn we will go. And the simple answer is, I
don't know.
See, starting pitching really hasn't been the
Tigers' problem this year. They have Verlander and Jackson in the
rotation and both of them are All-Stars.
Washburn does improve the rotation but that isn't going to matter much
if the Tigers' hitters continue coming up short and if the bullpen
can't hold a lead. Zumaya is out for the rest of the season, Lyon has
been a bust and Rodney may be converting most of his save opportunities but
he's shaky enough that you almost wish Todd Jones was still there.
The main problem with your question, Mandy, is that it's
irrelevant. I don't say that to be mean, it's just that the American League central, and, by extension, your question, is
irrelevant. Whether the Twins, Tigers or White Sox take the crown, they
can't possibly measure up against a loaded Angels club or the Red Sox and
Yankees. The talent, like the rivers, flows from the continental divide to the coasts and,
despite occasional flukes, there's a reason that the same teams from
the same cities tend to be in the hunt every year.
Does Peavy
make the White Sox better? Sure. Does Washburn make Detroit better? Of course.
But does it matter when the Red Sox already have a stacked pitching
staff and then added Victor Martinez behind the plate? Or how about
the Phillies with the addition of Cliff Lee and Pedro Martinez?
Now Mandy, don't get me wrong. I think the rest of the season in the AL Central should be a dogfight and it will probably go right down to the wire. The couple of wins that a Peavy or a Washburn can get you might make all the difference. But that difference doesn't amount to a hill of beans when you get to the playoffs and face these other teams.
There is good news, though. Although it sometimes seems like everything is going wrong and the Tigers' chances are as barren as nonagenarian cloistered sister, I always have someplace I can turn. And that, Mandy, is worth it's weight in gold.

subset: commoncrawl


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Access to our data for Lucy Lu is only available to paid subscribers with BNiQ access.
The BNiQ search engine is Western Australia's most accurate and comprehensive business listings and searchable database.
Lucy Lu is linked to 1 organisation which is included in 2 lists - Engineers and Contractors.
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Were you in the yard with your wife and children?
Or working on some stage in LA?
Did you stand there in shock at the sight of
That black smoke rising against that blue sky?
Did you shout out in anger
In fear for your neighbor?
Or did you just sit down and cry?
Did you weep for the children
Who lost their dear loved ones
And pray for the ones who don't know?
Did you rejoice for the people who walked from the rubble
And sob for the ones left below?
Did you burst out with pride
For the red white and blue
And the heroes who died just doing what they do?
Did you look up to heaven for some kind of answer
And look at yourself and what really matters
I'm just a singer of simple songs
I'm not a real political man
I watch CNN but I'm not sure I can tell you
The difference in Iraq and Iran
But I know Jesus and I talk to God
And I remember this from when I was young
Faith, Hope and Love are some good things He gave us
And the greatest is Love
--Alan Jackson
I'll never forget. I had just completed a pacemaker battery change, just 6 months after starting my current job... "a plane hit a building in New York," the lab techs told me. At first disbelief, then shock as a second plane hit, then gripping empathy for those in the buildings, then sadness as it all came to an end and eternity started too soon for so many.
But what was most remarkable after this devastating loss was the incredible outpouring of generosity, kindness and love between total strangers of all races, color and creed. A call to action by those who cared. And not just here, but a world-wide outpouring of solidarity, resolve, and acts of kindness that went above and beyond the expected. The Red Chasuble of Father Mesa, a Roman Catholic priest who volunteered in St. Paul's Chapel across from the site of the World Trade Center and upon which rests patches of the volunteers who responded to the call to help:
And there was a sudden, pressing need to tell those we loved how much we loved them, to remind ourselves how fortunate we are in this wonderful country.
God bless those who died.
And God bless America.
Take a minute and remember.


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Two years ago, Bremont was commissioned to produce a unique global timer chronometer for the military C-17 Globemaster crew around the world in 2010 and it's been acknowledged as one of the more intricate and complicated military watches of its kind.
Design features of the Bremont C-17 include the etched globe on the dial and a Roto-Click bezel that enables the user to work out the global time zones using the International Civil Aviation Organisation (ICAO) airfield identifiers.
Each identifier represents a C-17 landing location in all 24 time zones. The watch itself can show UTC or 'Zulu' time through its adjustable 24-hour hand.
Now the 'Globemaster' watch has been released as the Bremont World Timer (ALT1-WT) as the first global timer watch for use by pilots and travellers the world over.
The new Trip-Tick case with Roto-click bezel and the highly finished dial has been precisely over-engineered to Bremont's exacting standards.
The World Timer Collection
These new photographs show the full collection for the first time, complete with the black and blue versions, which closely resemble the look of the Bremont C-17 'Globemaster' watches launched for the military last year.
The steel case has a hardness and scratch resistance of 2000 Vickers.
The internal bezel, which is operated by the crown at 8 o'clock, uses a mechanism developed by Bremont that allows the user to turn the bezel with a satisfying 'click' for each minute turned.
The Bremont World Timer will be available in these three dial variations, Blue, Black and White. The watch will be priced at US$5,695.
The sapphire crystal covering the dial has nine layers of anti-reflective treatment thus reducing light reflections on the crystal face by up to 95%.
This treatment also makes the watch as scratch resistant as the sapphire crystal to which it has been applied.
The (COSC) certified BE-54AE movement is finished at Bremont's ateliers in the UK and Switzerland, and once wound, will use the movement of the wearer to keep its mainspring fully wound.
The decorated movement can be seen through a sapphire exhibition crystal case back. The watch comes complete with a leather travel wallet, hand-made in England. There's also a strap changing tool and an extra NATO military nylon strap along with the watch's COSC certification.
About Bremont
Bremont is a British luxury watch brand co-founded by brothers Nick and Giles English in 2002. In 2008 Bremont was made the "Best British Emerging Luxury Brand" by Walpole, and last year won "Watch Brand of 2011" at the UK Jewellery Awards. The brand remains true to its original principles of durability, legibility and precision.
Bremont is launching its magnificent Victory watch in the UK this week, and they have recently moved to elegant new premises in Mayfair, so things are going from strength to strength for the brand.
Movement: Modified calibre 13 1/4" BE-54AE automatic chronometer, 25 jewels, Glucydur balance, Anachron balance spring, Nivaflex 1 mainspring, 28,800bph, 42 hour power reserve. Bremont moulded and decorated skeletised rotor
Functions: Hour/minute/second, date at 3H, chronograph small counters with seconds, 30 minutes and 12 hours, 24 hour UTC hand and World Time Zone function
Case: Hardened stainless steel Bremont Trip-Tick® construction with scratch resistant PVD treated case barrel. Case diameter 43.00mm, lug width 22.00mm, case thickness 16.00mm
Case back: Stainless steel with integrated flat crystal, 5 stainless steel screws with polished heads
Bezel: Internally rotating bi-directional bezel with global time zones operated by crown at 8H with Bremont Roto-Click® technology
Dial: Metal dial with various ground colours. Coated nickel hands withSuperLumiNova® C1 luminous coating
Water resistant: 100m


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Marlon Wayans is doing double-time. On the road most of March and April, the comedy actor and third of five Wayans brothers -- he's wedged in between Dwayne and Keenan Ivory, and Damon and Shawn -- has not only been previewing his mid-April horror movie spoof "A Haunted House 2" in markets stretching from San Francisco, Dallas, New Orleans, Minneapolis and New York; he's been doing a Q&A sessions with fans that often times feels like a stand-up act.
The comedy routine certainly isn't by accident. After all, Wayans is in the running for the coveted role of Richard Pryor in an upcoming biopic about the famed funnyman. Until then, it's his resolve to be as outrageous as he can be on the big-screen with his "Haunted House" sequel, mocking such horror movie hits as "The Possession" and "The Conjuring." The latter especially takes a beating from Wayans, given that he has an outrageous sex scene with a creepy-looking doll that's a dead-ringer for the menacing "Conjuring" plaything Annabelle.
Wayans, 41, recently called me to talk about the film, which opens Friday, why he gets serious with his preview audiences, and he even takes a shot at embattled Indianapolis Colts owner Jim Irsay.
Tim Lammers: Congratulations on "A Haunted House 2." I know it's parody, but did you have to get permission from Warner Bros. to use the likeness of the doll?
Marlon Wayans: Nah, you don't need to get permission. We knew as long at the doll didn't look exactly like the doll in "The Conjuring," the laws of parody would allow us to do that. We had to change her name, too, so instead of Annabelle, it's Abigail. Plus, I think our doll is a little cuter.
TL: Plus you reveal a little bit more with your doll. The dress stayed on her in "The Conjuring."
MW: I loved the stuff I did with Abigail, how she turned into the crazy girl that you date. It was a pretty fun spin.
TL: There are horror films ripe for parody coming out all the time. How many different versions of the script are there before you settle on one, or is it an evolving process?
MW: It's an evolving thing. You pick one, and we talk about the story line and beat out the ideas before you start writing it down on the page. We had a pretty good idea once we saw "The Conjuring" and "The Amityville Horror," "The Possession" and "Insidious" that we knew where were going.
TL: Plus you leave plenty of room from improvisation.
MW: That's how it happened with the doll scene. It was completely improv. I just looked at it and went, "Hmmm," and everybody on the set went, "Noooo." So I just went there. We didn't write the scene for it. We take it to weird places.
TL: I love how at the Q&A you brought up what people might perceive as failure. But I'm impressed with the way you've handled it. You noted how you shouldn't hold grudges and how missed opportunities aren't bad things, necessarily, but things that led to more opportunities. That's some really important stuff for people to hear.
MW: Thank you -- because I honestly do believe it. If something doesn't happen it doesn't happen for a reason. If one door closes, a thousand others open up. You can look at it as a loss or as an opportunity, and to me it's always an opportunity. You don't let anything beat you down, you let it build you up. You don't place blame, you accept blame and you grow. I don't say, "This person did this and that," I say to myself, "OK, how can I get better? How do I prevent this from happening again? What things can I create that can't be taken from me and I can't be written out of?" I try to grab onto the positive and leave the negative behind.
TL: You've also had some of would-be moments, like when Tim Burton cast you as Robin for what would have been his third "Batman" film, but it all fell apart when Joel Schumacher took over the franchise.
MW: I'm the guy who always would have been a huge star (laughs). I've always been a step away and something else happens . Some would think that anyway, and I just go, "You know, it just gives me more time to prepare for what's to come." I think I'm growing and maturing, and as a man, I'm able to articulate things a lot better. I came in as a child and I get the business and I get the industry, I got my emotions intact and learned a skill set. I know how to write and produce, and I know how to edit and put together a film.
There's so much that I've learned that's going to help me in the first 25 years that I've learned, that's going to really propel me that's going to propel me to the next 25 years and allow me to sustain a certain level. It's not about success, it's when I have failures and going back and assessing them. You have to go back and look at them as failures, but steps backward to regain momentum and take a huge leap forward. I believe in alchemy. I read (Paulo Coelho's) "The Alchemist" and I think it's a wonderful book, and the reality of success is that there's no destination called "success." Success is just a road that you travel on, and as long as you walk on it every day, you are being successful. I've been blessed being successful and taking care of my family while doing what I love. I can't ask God for nothing better than what I have.
TL: Besides, success at a very young age can be a very destructive thing.
MW: I would have done so much crack (had I been successful when I was younger). I would have been the Jim Irsay of moviemakers (laughs). I'm glad it didn't happen. Thinking of success now, I'm an adult man in his 40s and I still look young. I think I understand success and the responsibilities that come along with it. I'm much more prepped the level of stardom that is destined for me, whatever that means. I'm not saying, "I'm going to be the biggest star in the world!" I just mean that whatever level of success I attain, I'm going to be prepared for it.
TL: Is there a chance that success will include playing Richard Pryor?
MW: I filmed a great Richard Pryor screen test -- if it materializes, great. I've been doing stand-up for three and a-half years preparing for it. If it happens I'll embrace it and work my a-- off.
Tim Lammers is a nationally syndicated movie reporter and author of the ebook "Direct Conversations: The Animated Films of Tim Burton."


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The hearing was highly charged from the outset. It was an unusual second confirmation hearing, forced by news reports about the allegations, which had been ignored by the committee in its first review of Thomas. Carried live by major television networks all over the world, the hearings brought sexual harrassment issues out into the open as never before.
Early in her testimony, she introduced not just the start of the harrassment, but the difficulty she experienced in speaking about it:
After approximately 3 months of working there, he asked me to go out socially with him. What happened next and telling the world about it are the two most difficult things, experiences of my life. It is only after a great deal of agonizing consideration and a number of sleepless nights that I am able to talk of these unpleasant matters to anyone but my close friends.Speaking about the issue came up again at the end of her opening statement as well:
It would have been more comfortable to remain silent. It took no initiative to inform anyone. I took no initiative to inform anyone. But when I was asked by a representative of this committee to report my experience I felt that I had to tell the truth. I could not keep silent.
Anita Hill's statement and testimony brought a new women's topic out in the open and put it on the table, with lasting impact. NPR notes that EEOC sexual harrassment cases climbed in the years following the hearing, and that more women ran for and were elected to the Senate than ever, prompted by the frank discussion of a common but underground problem:
Before the hearings, women didn't talk about their harassment experiences. Often, they were embarrassed and blamed themselves, says Ruth Mandel, director of the Eagleton Institute of Politics' Center for American Women and Politics. There "was a beast out there," Mandel says. "But it was invisible and it hadn't been named." According to University of Colorado Law Professor Melissa Hart, "the hearings certainly brought this issue into the public eye, and people started being willing to say, 'This happened to me.'"The backlash against her began almost immediately. Thomas called the testimony and the hearing a "high-tech lynching for uppity blacks who in any way deign to think for themselves," and the committee chair, then-Senator Joe Biden, chose not to call witnesses to appear who might corroborate Hill's account. Here's what you can learn from this famous statement:
- Difficult topics make the most powerful content: As I note in my essay on finding your voice as a speaker, you'll have especially compelling and riveting content if you can bring yourself to speak about the topics you find most difficult to discuss. This testimony proves that tenet. Hill's testimony riveted television viewers and spurred intense debate and discussion, particularly because sexual harrassment is so often not discussed publicly--something on which harrassers rely.
- Sharing your difficulty in speaking can be important to your credibility, especially for women: While I often coach nervous speakers to avoid sharing their nervousness with the audience, in this case, Hill needed to establish her credibility and her motive in coming forward, in order to connect with not only the committee, but the audience watching on television. Mentioning that she did not seek to testify but was asked to do so, that she found it difficult and painful, and that she had not even informed anyone officially all helped answer questions that would otherwise have immediately been raised. Even with these points made, the backlash against her accusations was swift and angry in many quarters.
- Simple language is best to convey complex issues: Hill is a learned and accomplished attorney, but this testimony is notable in the simplicity of its language--a quality that helped her frame the issue and the episodes she wanted to describe clearly, leaving no room for confusion.


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Place an ad online
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Click on Maske Auction Service ad for sale bills and listings of
auctions and goods.
Public Auction
Saturday December 15, 2012
AMERICAN LEGION HOME, 110 W. Court St., Mason
City, Ill.
OPEN HOUSE: Friday, December 14, 2012
From the James Sexton Estate
Old Iron Toys including Train & a Horse; 30 Banks
including Cars, Trucks, Central Illinois Bank of Mason City; Marbles;
Bullet Pencils; 7 pcs. Occupied Japan; Coins including 13 Silver
Dollars, Wheat & Indian Head Pennies, Kennedy ½ Dollars, 1935 Silver
Certificate, 1858 Flying Eagle Penny, 1841 Liberty Dime, 1873 Seated
Liberty Dime, 1897V Nickel, 40 Lots of Foreign Coins; 5 Old Bracelets;
22 Cal. Starting Pistol.
TOOLS: Delta 10"
Table Saw and 4" Belt, 6" Disc Combination Sander, 4" Belt Sander, Bench
Grinder; Hand Power Tools including Milwaukee Sawzall, ½" Elec. Drills,
B&D 18V Cordless Drill Set, Skill 2 ½" Belt Sander; Large Selection of
Wrenches and Hand Tools: Tap & Die Sets, Socket Sets, Planes, Pipe and C
Clamps, 24" Ridged Pipe Wrench, Elec. Tester, Log Chains, Wizard Diamond
Router for Stained Glass Work, Router w/Bits, Small Sand Blaster,
McCulloch Gas Trimmer, Electric Cords, Hardware, Electric Wire, Pipe
Fittings, Bolt Storage Cabinet, Lawn & Garden Tools, PVC Pipe, Lumber
(Some Hardwood), 63 Drawer Parts Cabinet w/Contents, Warm Morning
Cataletic Heater, 2 Burner Propane Fish Fryer, Workmate, Miller 225V
Welder w/Helmut & Rods, Ceytaline Torch Set, Jack Stands, 10 Gal. Roof
Cement, Appliance Cart and More.
Small Old Oak Cabinet; 4 Drawer File Cabinet,
Computer Desk, Upper Kitchen Cabinet w/Glass Doors.
OWNER: Dorothy Sexton
GUNS: Remington
Wingmaster Mod 870, 16 Ga. Pump; Charles Daly 12 Ga. Pump, Vent Rib
SN.2103963; Ranger Mod. 103-2 22 Cal. Rifle Bolt Action w/Clip; Benelli
12 Ga. Pump w/Vent Rib SN V155626; Tristar Viper 12 Ga Auto w/Vent Rib;
Ruger Air Magnum Pellet Rifle w/4x32 Scope; Marlin Glenfield Model 60 22
Cal Auto Rifle SN20594863.
OWNER: Bill "Casey" Jones
Toy Tractors and
Implements. This is the IH Portion of a 30 year Collection, Approx. 300
pcs. Consisting of 200 Tractors, Combines, 10 Semis, Wagons, Sprayers,
Other Specialty and Hard to Find Pieces.
50 Lots of Coins; Sofa; Small Oak Table, Leaded Glass Lamp; Small Oak
China Cabinet w/Curved Glass Front; 44x64 Wood Dining Table w(2) 12"
Leaves, 6 Chairs (2) Captains; Small Oak Entertainment Center; (2)
Recliners; Old Oak Wall Telephone; 4 Pc. Bedroom Suite w/Queen Bed, 5
Drawer Chest, Night Stand, Dresser w/Mirror; Dining Set with Wood 44x65"
Table, 6 Chairs (2) Captain, w/Cane Backs; 48x76" Hutch w/Beveled Glass
Doors and Glass Shelves; Small Wash Stand; Love Seat w/Floral Pattern;
Glider/Rocker w/Matching Foot Stool; Small Drop-Leaf Table w/Drawer; Old
Electric Singer Sewing Machine; Oak Round Front Dresser w/Wishbone
Mirror; Several Old Oak Rocking Chairs, need TLC; Metal Bed; 2 Small
Chest of Drawers; Old Tricycle; Glassware; VCR/DVD Player; and much
Cash or Check w/Proper ID Not Responsible For Accidents Lunch Served
Mason City, Ill.
Office Ph. 217-482-5351
RON KNOLLENBERG, Auctioneer
(Ill. License # 440000160)
Cell 217-341-1219
MATT SWANSON, Auctioneer
(Ill. License # 041000157)
AUCTIONEER'S NOTE: Only
a partial listing, if you like coins, IH tractors, guns, or tools, you
can do your Christmas shopping here. Hope to see you at the OPEN HOUSE
FRIDAY, DECEMBER 14 from 5 to 7 P.M. or AUCTION DAY, SATURDAY DECEMBER
15 at 10:00 A.M. Remember there are a lot of items that would make good
gifts. Your attendance is always appreciated. Happy Holidays.
Ron and Matt
Send a link to a friend
Last Auction of the Season
Sunday December 16, 2012
Logan County Fairgrounds
1408 Short
11th St Lincoln IL
Two households will be sold at this auction
Lots of clean items
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Listen free for 30 days
A Day in the Life of a Minimalist
At age 30, Joshua Fields Millburn left his six-figure career, ditched most of his material possessions, and started focusing on life's most important aspects. Once he embraced his newfound minimalist lifestyle, he never looked back.
Suffice it to say, everything has changed in Millburn's life in the last three years. After his mother died in October 2009 and his marriage ended a month later, he began questioning everything in his life: his material possessions, his career, his goals, his health, his relationships, his path in life. Soon he discovered minimalism.
In the three years since the author adopted a minimalist lifestyle, he has written more than 300 essays about minimalism and intentional living. He has written about his journey, his failures, his lessons, and everything he has learned during his transformation.
A Day in the Life of a Minimalist is a collection of his best, most important individual writings - rethought and edited specifically for this collection. This book contains 50 essays about living a meaningful life with less stuff, including "The Short Guide to Getting Rid of Your Crap", "The Commodification of Love", "Letting Go of Shitty Relationships", and the title essay. Collectively, these essays are purposefully organized into nine sections - lifestyle, goals, experiments, clutter, relationships, changes, philosophy, consumer culture, and work - covering a variety of topics, viewpoints, and arguments within those themes.
Also included are a special forward written by Colin Wright (the man who introduced Millburn to minimalism) and an introduction by Joshua Fields Millburn, as well as two unpublished essays that can't be found anywhere else: "What If Everyone Was a Minimalist?" and "Work-Life Balance".
These essays were written to encourage listeners to think critically about the excess in their lives, and ultimately, to take action towards living more intentionally. This collection is short enough to be read in a few sittings, or it can be digested slowly, listening to one essay a day for nearly two months, applying its principals each day to your own life.
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Reviews - Please select the tabs below to change the source of reviews.
- Ms. S. Smith
- 01-04-13
Good book but annoying narrator
I would have given this book five stars for content, but the narrator is extemely annoying (too slow and a bit pretentious), and I might have to stop listening and buy the book instead - although that wouldn't be very helpful in reducing the clutter!
2 people found this helpful
- gw
- 13-06-16
After recently being introduced to The Minimalists, Joshua Fields Millburn & Ryan Nicodemus, I was hoping this book would be helpful and inspiring. What I found instead, at least in this audio version, was a narrator. Mr. Simon Whistler, with a sleepy English voice that has made this version boring and tiring to listen to. While I'm sure this book would be a good read, the "voice" is uninspiring, and I focus more on Mr. Whistler than on the subject.
1 person found this helpful
- Wayne
- 23-10-15
Good info...
But quite repetitive and the narrator is mind-numbing. Good, practical information on scaling down and honing a life geared toward passion instead of living for the grind.


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There will be lots of hacking, some talks, good food, and, of course, fun!
There will be lots of hacking, some talks, good food, and, of course, fun!
Not to be confused with [http://www.hac.org.uk/html/about-the-hac/hac-clubs-societies/boston-association/?PHPSESSID=9ed42c54191317cd20 HAC Boston].
Revision as of 18:27, 6 December 2011
The Haskell Hackathon is an international, grassroots collaborative coding festival with a simple focus: build and improve Haskell libraries, tools, and infrastructure.
Hac Boston will be held January 20 to 22, 2012 in Cambridge, Massachusetts, at the Massachusetts Institute of Technology. It is open to all — you do not have to be a Haskell guru to attend. All you need is a basic knowledge of Haskell, a willingness to learn, and a project you're excited to help with (or a project of your own to work on).
There will be lots of hacking, some talks, good food, and, of course, fun!
Not to be confused with HAC Boston.
If you will be attending, please register. Registration is free, and open to everyone. If you like, you can also list yourself as an attendee. Then you might want to visit
- the projects page.
- the IRC channel: #haskell-hacboston (freenode)
- the mailing list: firstname.lastname@example.com
Hac Boston 2012 is sponsored by Capital IQ, an active user of functional programming!
Dates and times
The hackathon will run from January 20 to 22, 2012, at the following times:
|Jan 20
|14:30 to 22:00
|Jan 21
|09:00 to 22:00
|Jan 22
|09:00 to 17:00
There will probably be some talks Saturday afternoon.
Although the hackathon won't officially kick off until 2:30pm on Friday, you are welcome to arrive Thursday evening or Friday morning if it makes for easier travel. If enough people are around and interested, we can arrange pre-hackathon activities.
Before you arrive
- Pick out a couple of projects to work on and familiarise yourself with them, or bring your own project(s) to work on. See the projects page for a list of projects people plan to work on. If you plan to work on your own project, be sure to list it on the projects page and set up a public repository if you don't already have one, so that other people can help hack on your project.
- Install an up to date Haskell toolchain: at least ghc and cabal-install. If you don't already have these installed (or need to install from scratch on the laptop you're bringing), the easiest way is probably to install the Haskell Platform.
If you'd be interested in giving a short (15-20 minute) talk, put your name and the subject of your talk on the talks page. There will be a projector and whiteboard available.
We have a Google map regarding transportation and places to stay, and another with points of interest around Cambridge.
More information about the hackathon location will be forthcoming.
Getting to the Boston area
See also Wikitravel.
By air
Logan International Airport (BOS) is the closest major airport. From BOS you can take the Silver Line SL1 bus to Boston South Station.
T. F. Green Airport (PVD) in Providence is another option, with a (infrequent) rail connection to Boston South Station.
By train
Amtrak serves Boston South Station, station code BOS. Service from cities in the Northeast is available on both the Northeast Regional train and the marginally faster Acela Express. These trains also stop at Boston Back Bay (BBY). South Station is the better choice if taking transit to MIT, but Back Bay is closer for walking.
From certain points in Massachusetts and Rhode Island, you can take MBTA commuter rail, which arrives at South Station or North Station.
By bus
Boston is served by many bus companies. From New York City, reasonable and cheap options include Megabus, BoltBus, Fung Wah, and Lucky Star.
Getting to MIT
By human power
Cambridge is a very walkable city. It is feasible to walk to MIT from many points in Cambridge, Boston, and Brookline. Cambridge is also very bikeable, but maybe not in January.
By public transit
MIT is close to Kendall Station on the Red Line subway. The Red Line connects to Boston South Station (and its rail and bus terminals) and the rest of the MBTA rapid transit network. MIT is also served by MBTA buses. Google Maps can plan rail and bus trips.
TODO: Add map and walking directions from Kendall, once location is finalized.
By car
TODO: someone who drives to MIT should add information on routes and parking. Talk to Keegan and we can put markers on the map for parking.
We're still actively investigating what kinds of bulk deals we can get on hotels in the area.
There are a number of nearby hotels suggested on the MIT web site. Boston has several hostels as well.
There may also be some local residents willing to accommodate a few attendees. See the attendees page for more info.
The organizers of Hac Boston are:
- Edward Kmett (ekmett)
- Edward Yang (ezyang)
For any questions or emergencies, you can always call Edward Kmett at +1 857 244 1001.


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or email email@example.com.
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A Coat of Arms or Family Crest has long been a symbol of a family's identity and values. Originally used to identify warriors dressed in armor, each knight chose symbols and colors to represent his family or clan. These family crests or coats of arms have been passed down throughout generations.
However, most of us are not directly connected with these ancestors, or the symbols of yesteryear are not representative of who our family is today. With Makeyourcoatofarms.com, you can make your own personal family crest based on the values and principles important to you now and for years to come.


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Google will not set up its massive (and fun) booth at Mobile World Congress this year, according to a spokesperson from Google France (translation). Instead, Google will reportedly dispatch an Android support team to assist partners at various locations throughout the conference.
CNET has contacted Google for a statement and will update this article with any new information.
As one of the top destination spots over the last two years, Google's MWC booth has included a smoothie bar, ice cream sandwiches, and plenty of games. Let's not forget the giant, twisting slide that takes pictures of those daring enough to go down, or that winding river of Android smartphones and tablets.
With this apparent shift, Google will become the latest company to scale back on booth presence for tech conferences. The growing trend seems to be standalone events for bigger players such as Samsung, HTC, and Apple. Google I/O is but a few months away and it, too, includes a sprawling layout of interactive games and goodies for attendees. Maybe there's just not enough that's new to justify the spending.
Google's MWC booth an Android wonderland (photos)See all photos
Luckily, if Google employees will help staff partner booths, there's no reason for the company to stop distributing the highly sought-after Android collectible pins as in years past. Last year saw 86 pins that attendees had to collect from disparate booths, including LG, Motorola, and Intel.
•readingNo massive Google presence at Mobile World Congress
•Feb 20Former phone stars of Mobile World Congress (pictures)
•Feb 12A guide to all the Nokia Lumia Windows phones (pictures)
•Sep 12Budget-friendly Nokia Lumia 520 comes to AT&T
•Jun 4Samsung Galaxy Fame is a small phone let down by a poor screen


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I am Discovering Materials 11th Cycle
"I am Discovering Materials" is a biannual event organized by Center of Advanced materials, Qatar University and targets high- school students, young researchers and inventors. It has been running for 11 cycles.
The event will provide an excellent opportunity for young inventors and researchers to meet scientific figures from wide multinational companies in Qatar. The first 2 days are an exhibition where young researchers will discuss their innovative ideas and new products in a public forum.
Over the last day, scientific figures will present a seminar discussing the latest scientific research results.
The event will consist of a mixture of short presentations in different scientific topic include:
- Smart Sensors
- Polymers
- Concrete
- Dye-sensitized solar cell
- Food packaging
- Biodegradable materials
Date: 3rd May - 5th May, 2016
Time: 9:00 am to 1:00 pm
Price: Free
Participant groups' posters in "Poster in my Pocket"
We are delighted to announce that AL-Bairaq offers students the option of extra exposure of their posters via the new Poster in my Pocket app! This app is available FREE from the iTunes App store and Google Play Android store. As a student you can share your research with the event attendees and the rest of the world. For more information visit:
Event Partners:


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ULS Journal Publications
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ISSN 2166-7403 (online)
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ISSN 2159-2411 (print) 2158-8724 (online)
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ISSN 2153-5914 (online)
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ISSN 2167-8677 (online)
Dentistry 3000 publishes papers of excellence, wide interest, and broad significance in all aspects of dentistry. The emphasis of the journal is on full research papers of any length required for concise presentation and discussion of the data. Areas of interest include the molecular basis of human oral and craniofacial disease, craniofacial development, craniofacial regeneration, technology development, translational dental research, the impact of oral health on overall health, and epidemiological studies.
ISSN 2325-3290 (online)
The journal is multidisciplinary, international, multi-paradigmatic, and multicultural in scope, accepting manuscripts from any scholars and practitioners interested in the dialogic nature of teaching and learning in formal institutional and informal settings.
ISSN 2159-242X (print) 2158-8708 (online)
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ISSN 2156-7808 (online)
The Études Ricoeuriennes Ricoeur Studies (ERRS) is an electronic, open access, peer-reviewed academic journal devoted to the study of the work of Paul Ricoeur. ERSS is an interdisciplinary journal in scope that encourages critical and constructive interpretations, applications and extension of Ricoeur's vast oeuvre.
ISSN 2153-9669 (print) 2153-9677 (online)
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ISSN 2471-965X (online)
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ISSN 2472-5889 (online)
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The International Journal of Medical Students (IJMS) is a peer-reviewed open-access journal created to share the scientific production and experiences of medical students worldwide. Our objective is to be the primary diffusion platform for medical students, using standards that follow the process of scientific publication.
ISSN 1945-2020 (online)
The International Journal of Telerehabilitation (IJT) is a biannual journal dedicated to advancing telerehabilitation by disseminating information about current research and practices.
Japanese Language and Literature provides a scholarly forum for the American Association of Teachers of Japanese (AATJ) members and the larger academic world in the area of Japanese literature, Japanese linguistics, teaching Japanese as a second or foreign language, and Japanese culture. Two issues are published each year.
2641-3450 (online) 0741-9481 (print)
JCYCW is the official journal of the Association for Child and Youth Care Practice (ACYCP) whose mission is to engage practitioners in building the child and youth care profession through collaborative partnerships, promoting innovative training and education, shaping public policy and informing developmental practice through research and scholarship.
ISSN 1936-6280 (print) 2155-1162 (online)
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ISSN 2324-7878 (online)
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ISSN 2164-7976 (online)
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ISSN 1932-1821 (print) 1932-1996 (online)
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ISSN 2332-7863 (online)
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Contributing to public policy argument by translating knowledge produced during academic competition into widely accessible, peer-reviewed scholarship.


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Phil's Favorite Blended Scotches
Of all the genres of whisky in the world, by far the most famous and most recognizable on a global scale is blended Scotches. For many years, iconic brands like Dewar's, Grant's, and Johnnie Walker have ruled Scotch sales. In my sophomoric years as an avid whisky drinker, I must confess that I looked down upon blended Scotch whiskies, thinking that there was no way they could provide the same amount of enjoyment as single malts. But, I have come to learn with time that I was just a petulant youngster. Even though blends are immensely popular, it does not mean that there are not some brilliant blends out there. For the purposes of this list, blended malt Scotches are included as well. Here are the nominees for my favorite blended/blended malt Scotches.
Name: Compass Box Great King Street
Style: Blend
Age: No Age Statement
Proof: 86 (43% abv)
Price: $45-50/750ml
Notes: This is the flagship whisky from Compass Box, one of the fastest growing blended whisky-makers in Scotland. It is a viscous, oily presentation of whisky, with rich flavors of vanilla, potpourri, and toasted bread. There are some gentle hints of freshly cut peat and sawdust that set the whisky out to be a fantastic dram. Although this is a little harder to find and a little pricier than many other flagship blends, it is well worth it. This is one tasty whisky.
Name: Compass Box "The Peat Monster"
Style: Blended Malt
Age: No Age Statement
Proof: 92 (46% abv)
Price: $50-60/750ml
Notes: This whisky belies its name somewhat, in that it is not at all a monster of peat. Of course there is peat involved, but it is a balanced whisky with oak, vanilla, and salted caramels to balance out the medicinal, peaty, and smoky notes. There is no question that this a whisky for peat-lovers, but its balanced and refined, a trait that I suspect comes from using peated whiskies from all over Scotland, not just from Islay. This whisky is readily available in most liquor stores. Definitely worth the try if you enjoy peated malt whisky.
Name: Compass Box "The Spice Tree"
Style: Blended Malt
Age: No Age Statement
Proof: 92 (46% abv)
Price: $50-60/750ml
Notes: The edition of this whisky I am referring to is the resurrected edition currently on shelves, not the original Spice Tree that created a stir with the SWSA. This whisky is mostly comprised of Highland malt whiskies that are blended together and finished in custom-made barrels comprised of both French and American oak. The result is a unique whisky with spiced and herbal notes, with soft rolling smoke and caramelized peppers. Like "The Peat Monster," this whisky is readily available and a great addition to any Scotch-lovers cabinet.
Name: Famous Grouse 18 Year-Old
Style: Blended Malt
Age: 18 Years
Proof: 86 (43% abv)
Price: $70-80/750ml
Notes: This blended malt whisky is comprised primarily of Speyside and Highland whiskies aged in ex-Sherry butts. This elicits brilliant dessert whisky flavors of spiced tea cake, sherry, warm buttered bread, and toasted pecans. There is some nice ginger spice notes to balance the whisky out and add complexity. Tragically, this whisky was discontinued a few years ago, most likely because of dwindling stocks. However, if you are able to find a second-hand bottle at a price you can afford, this seductive whisky is worth the buy.
Name: Johnnie Walker Platinum Label
Style: Blend
Age: 18 Years
Proof: 80 (40% abv)
Price: $100-125/750ml
Notes: This recent addition to the Johnnie Walker lineup really got my attention the first time I tried it, and recent drams have proved worthy as well. This aged blend delivers great balance with notes of toffee, hazelnuts, and peaches-in-cream. All these flavors are wrapped up in a wonderful wafting of gentle smoke that coats the whisky from start to finish. In my opinion, this is the best assembly of whiskies in the Johnnie Walker lineup. It is available in most higher end liquor stores, although it does come at a cost…


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The Creative Composite
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[♫ piano music ♫] [Adobe TV presents] [The Complete Picture with Julieanne Kost] Hi, and welcome. My name's Julieanne Kost, and in today's episode of The Complete Picture, we're going to create the composite that you see onscreen. Now, one of the things I'll just say before I start making the composite is before I actually start working on these digital images with many components from not only different locations but also from different periods in time, before I start just throwing together images, I do typically start with some kind of idea of what it is that I'm going to do. And it's not necessarily that I have a fully formed image in mind, but I do actually have a concept that I am trying to communicate. So in this case, what you're looking at is the result--I was reading a book, and I came across a word that I didn't know, and the word was called "isostasy" and that's actually what I ended up naming the piece. Isostasy is a word that's used by geologists to describe how icebergs of various heights--how they float in the sea where a certain fraction is visible but the other fraction is always betraying the hidden portion underneath. So what I wanted to do is create an image based on that concept and also kind of based on the concept of isolation. So you can see here that--for example, I started with this field. And let's actually go into grid mode, so I'll tap the G key. I started with the field, and I started with this image because I thought an image broken up in thirds would be a good place to start because it could kind of show something above the surface and something below the surface. And in this field, because it's taken after the grass was cut, to me it seemed very isolated because there's just a huge distance between you and this grove of trees, and it would appear to be difficult to get there. So let's just do this. Let's go ahead, and we'll start with this image, and I'm just going to right mouse-click and say edit in, and I'm going to say edit in Photoshop® CS5. Now I could have opened this as a smart object, which is what I'm going to do in the future, but for right now I'm actually just going to the image size dialog box-- I just used the keyboard shortcut there, but it was under image and then image size-- because I'm going to make this one quite a bit smaller just for the demo purpose because I want this to move forward kind of quickly. So let's just make it 6 x 6 at 300 pixels per inch. Okay. Great. So let's go ahead and grab this second image right here, and again I'm going to right mouse-click and say edit in. But this time, because I don't know how large I want the image to be, I am going to open it as a smart object. That way I have the opportunity to resize the image as many times as I want to without actually losing any quality. So, that opens as a smart object. I know it's a smart object because right down here in the lower right-hand corner of my layers thumbnail, I've got this little icon, and that tells me it is a smart object. For those of you who aren't familiar with smart objects, you can see if I transform this down really small, and then later I change my mind and I want to transform it larger, you can see that I'm not losing any image quality. If I hadn't made that a smart object and I transformed it down and then made it really big it would look terrible. So I want to combine those two images, so what I'm going to do is I'm just going to show you another window menu. You can see that under the arrange, there is an area to tile--or a command to tile and a command to consolidate the tabs. And I've created or I've assigned custom keyboard shortcuts to that, because I like to go back and forth really quickly between tiling my images, where I can see all of my images, because then I can drag and drop them together. And then, I go back from there to consolidate tabs. All right? So, command SHIFT+T will tile. I grab my move tool by tapping the V key, drag and drop this in here, and we can go ahead and close that file without saving it, because we don't actually need it open. Well, that came in way too big. So we'll use free transform, command or control T. Do you notice--it is so big that the handles, the transformation handles, are like way outside my image area? So there's a keyboard shortcut. And I don't know if you're aware of the one, but under the view menu, if you use command or control 0, that will fit onscreen. That's what the normal keyboard shortcut is. It also works, however--command or control 0--when you're in free transform to show the free transform bounding box. So, awesome. We will now just make this smaller, and I also want to flip it. So I'm going to use my right mouse button to flip this horizontally, and scoot this over. It's still too big. Hold down the SHIFT key there. And one of the nice features in Photoshop® is even though I'm in free transform, I can come over here to my opacity, and I can actually decrease my opacity so that I can see through this layer. Because--for example, I want this layer to actually kind of be aligned on that same line as the base. I want to make sure there's a gap between them, because I want to get that feeling of isolation, of distance between the foreground and the background or in this case, what's going to end up being underneath versus on top. So what I'm going to do is--this center point right here? If I place this like right over here, when I rotate now look. It's rotating around that point, so that I can accurately see when these two lines are parallel. So I'm just going to scoot it to about there. And I think I've actually got it a little too small, so let's just make that a little bit bigger. And then tap the ENTER key or the RETURN key to apply that transformation. Again, because it's a smart object, I can go ahead and transform this as many times as I want. So if I think I'm a little bit off, we just go back to free transform, make a little adjustment, don't lose any image quality. All right. So it's not really merging very well, so what am I going to do? I'm going to change the blend mode to multiply. And what that's going to do is basically it's going to look at the two layers, and it's going to take the darker content from either layer. So, basically the image--more often than not--I want to say all the time, almost, gets darker, and anything that's white actually disappears, which is why the sky is gone. But I also need to do some masking. So let's go to our masks panel. Click on our mask icon. Grab our paintbrush, which I did by just tapping the B key, and now I need to make sure that I'm painting with black, right? Because look at my mask over here. My mask is white. And wherever the mask is white, I can see that image of the landscape with the trees. So if I paint with black in the mask, it's going to hide--it's not going to delete-- it's just going to hide the information that I don't want. So you can see here my foreground and background colors. I want to actually exchange them, which is this icon right here, the double-headed arrow, or I can just tap the X key, and that will exchange them. And let's see what my opacity is. Okay, it's all the way down to 20 percent. Let's set it way up to--like--you know--100 percent or something. And I'm going to do that by just dragging my opacity slider. All right. Got my brush. Got black as my foreground color. Opacity set at 100 percent. Nice, soft-edge brush here, and I'm simply going to remove any of the area that I don't want. Okay, now this is way too hard of an edged area here, so now I will tap the 4 key, and that takes the opacity down to 40 percent. So then I can kind of soften the way that that disappears over there. All right. Excellent. So I like that. I like that there's a distance between that foreground or that orange part and the background. So now I need to actually go and get something to put in that red or orange area. And what I want to put there is I want to put some tree limbs, because-- because of the irony there, right? They should be roots, right? So there's these trees up here--right--that we have. And somehow they need to be kind of locked down into that bottom area. But because this is about isolation and abandonment, I want there to be a disconnect. So I'm going to choose something that looks like it should make sense, but it can't. And so by choose the tree branches--they should be going up into the sky, but instead, they're down under. So there's no way these tree branches can ever really reach this mound of trees here. At least, that is what I was thinking in my head. So let's go to Lightroom, and we'll grab the trees. I don't know how big I want the trees, so I'm definitely going to open them as a smart object. Okay, and now I will go ahead and use that keyboard shortcut, command, SHIFT, T. Use the move tool. Scoot over. Close that file because I don't need it anymore. And now we'll free-transform this, command 0 or control 0 in Windows, of course, and let's rotate this around. Let's move it over here. Now I'm not sure exactly how I want it to look. So I'll go ahead and hit the return key for now to apply that transformation, but let's hide it for a minute. Go grab our marquee tool, we can make this a little bit bigger here. And we'll just kind of marquee off--we'll select this bottom area. And then we'll make this visible, and we'll add our mask. Right? So the great thing is that if I unlink--you can see right now if I use the move tool, the mask and the photo are going to move together. But I don't want that. I want to be able to move the photo underneath the mask. But I don't want that. I want the photo to move underneath the mask, so I'll just unlink it, and then we'll click on the photo, and we can move this around. All I need to do is find where I want it positioned. I think that looks good. Excellent. And then I'm going to change the blend mode to multiply. And we get that really cool overlay of all of the black branches, and the white just disappears, because that's what happens in the multiply blend mode. If I wanted to soften the mask a little bit, because right now it's a really hard-edged mask, I can do so. And I can do it in Photoshop® CS4 or 5 by using this feather slider, which is completely nondestructive. Which means I can add a feather and change my mask-- so actually if we option or Alt-click on the mask you'll see what I mean. See, here it is without. See how sharp-edged this mask is. When I add the feather here--it's totally non-destructive--I can save this file, I can come back next week, next month, and change my mind if I want to. So I love that feature. All right. Let's go get another image, because I need to put the clouds in now. All right. So we'll grab this one. Right mouse-click. This I'm pretty sure I'm going to make smaller. So it's going to come in, and I'm going to transform it down, so I'm not going to open it as a smart object. I'm just going to commit on this one, because the one thing--using a smart object does tend to make your files a little bit larger. So if I don't have to, I don't always use them. Okay. So, command SHIFT+T will tile my images again. Use the move tool. Scoot it over there, and then close that image; don't need to save it. See how big it came in? So let's just command T for free transform and command 0 again. You'll notice that these shortcuts--I mean--I use them over and over again, like day after day, and so they become kind of like second nature. You know--that's very typical. I don't think anyone knows all the keyboard shortcuts in Photoshop®. You just will know the ones that you use all the time. All right. So we just transform that down. Let's go ahead and zoom in a little bit so we can see it a little bit larger. Add our mask. And again, I add the mask from the masks panel. You can always add it from the bottom of the layers panel, if you want to, but I like adding from here. Get my paintbrush. What are we set at--40 percent? No. Let's tap the 0 key, or we could just use the slider here in order to set that to 100 percent. Black is my foreground color. Black is going to hide the information. So let's just get rid of all of this. And then I'm going to go ahead and lower the opacity. so maybe set it to like 5--well, I tap the 5 key and that sets it to 50 percent. So then I can just kind of slowly make a little bit better of a transition here. Now, when I'm doing this kind of compositing, I'm not really worried about all the colors, because I can always change those later. What's more important to me right now are the concepts, right? So, even though I'm not really liking the colors, I'm going to leave it. We're going to wait and fix that in a minute. All right. Let's go ahead and--I kind of like that set to normal. That might look good, but I want to darken it down a bit. So I'm going to go to my adjustments panel. Now, the adjustments panel has an icon down here in the lower right-hand corner that will actually clip the adjustment layer, because I want to add a curves adjustment layer, and I only want it to affect the clouds. I don't want it to affect all the layers underneath. So, clicking it--right now it's on. If I click it again, it's off. This will make it clip, and you'll see what I mean in a second when I click on the curves adjustment layer. See how it's clipped? So how this is only affecting the clouds? It doesn't affect anything else. So that actually looks really good. I'm going to leave it like that. Perfect. All right. Let's go get another image. Now, this image. I just wanted to show you both of these. I'll tap the N key--that's survey mode in Lightroom, so we can see them both. So this is a teabag that I unfolded and kind of stretched out and then scanned. So you can get textures from anything. They don't always have to be scanned. All the textures that I work with in my images are mine, that I have either photographed or scanned. I don't actually purchase them, but that's just because I feel like since I sell my work through a gallery in fine art, I want them all to be unique to me. Okay, so this image on the right, basically I made out of this image. So this is part of that teabag. And this is the one that I want to open, so we'll just edit this in Photoshop®. I think this is really big. I'm pretty sure this is a really big image, so when I open it in Photoshop®, I'm just going to edit the original. I'm not going to worry about bringing it in as a smart object because I just know it's going to be huge. So. There we go. We're just moving that over again like we have with all those other layers, and close it. Sure enough. Look at how big that came in. Oh, it also came in clipped. So that's good. It's a good example because I need to tell you what to do if something comes in clipped. See how it's only being displayed in the sky? I don't want that. So I can go to the layer menu, and I can say release clipping mask, and it will just release that texture so that it's no longer part of that clipping mask. All right. It's huge, so command T to free transform the layer, and then we're going to need to do a command 0--ooh. Look how big that is. And I don't even care if I'm stretching it out or anything. I'm just going to make this kind of fit to that size there. Because, after all it's just a texture, so it really doesn't matter. All right. And I didn't make it a smart object because I'm sure that I want it this big. If I thought maybe--you know--I wanted to make it bigger later, but I don't. Okay. So let's see that really large. Now whenever I add a texture like this to an image, I'm doing it to kind of pull together all the elements, and I'm also doing it--well, I'm setting it to soft light mode, because-- Right here, soft light, you're barely going to see the texture. but it's kind of nice that it's--I don't know. It brings a consistency across all of the separate elements and kind of makes them look as if they're blended more together. All right. So now let's work on the color because now at this point I've kind of got all my elements in there, and the color is driving me crazy. So, what am I going to do? There's a few things I can do. If I just wanted to get rid of the color, I could use a black and white adjustment layer and kind of mask off. In fact, let's start with that. Let's mask off this area. I'm going to select it, right? So that--well, I shouldn't really say I'm going to mask it off. This is the area that I'm going to select, and then when I convert or I add my black and white adjustment layer by clicking on it in the adjustments panel, it's only going to affect this area. But I have to be careful. I almost blew it. See down here? It would have clipped it. I need to release that so that now, this time, when I add my black and white adjustment layer, it does not put it into a clipping group. So now this black and white adjustment layer is adjusting the top. Too much, though. Right? So that's okay. All we need to do is just decrease the opacity there. Kind of bring back a little bit of the warmth, but not too much of it. The thing is is that I'd really like to kind of punch up the blue in the sky, so let's go--umm, I'm going to add another layer. And it's kind of a different type of layer. It's just a fill layer. And the reason that I'm adding it from the menu here is because when I go to the new fill layer and we go to solid color or gradient or pattern, if we choose it from the menu it allows this dialog box to come up. And then I can come down here and change it to color. All right? So when it's in color mode, it's like a color overlay as opposed to a solid color. So we'll go ahead and click OK. And, you know what? I added a fill layer, and that was actually the wrong thing. I didn't want to add that. So let's just go back. Know that you can add a fill layer, but you can also add a gradient. The gradient is actually the one I want, because I don't want just one solid color. I want it to gradate from one color to the next. So we click OK. And now we can go and we can choose and you can start to see what these would look like as we overlay them. See how it's like a color wash as opposed to a solid color. So I have one here that I made that I love the blue, and I really like the gold area here, but it's this red area that's terrible. But I don't really care. I mean--I could go in here and I could edit it. Right? By clicking anywhere here on the gradient you actually get the gradient editor. But I'm okay with using this, because the blue, to me, is just perfect. So I'll click okay. And now what I'll do is I'll use the mask on that adjustment layer, and I'll grab my paintbrush. I know that I want this area down here to be completely masked, so I'll set my brush to 100 percent. Just paint that out. And then I'll set my brush to like 50 percent by tapping the 5 key, and I'll just paint out some of that yellow here that we've got. And if I decide--you know--that's the way I like the blue and the yellow, but it's just a little bit too much, don't forget you can always change the opacity on that layer and just bring that down a bit. All right. Great. So, here's the thing. I've got the clouds. They're looking a little too nice for me, actually, because what I wanted was--I wanted them to be looking like tired and worn and covered with--kind of--scratches and decay so that when you look up into the sky the view would be kind of vague and ambiguous. Right now it's too pretty for my sense of abandonment and isolation that I wanted with this image. So let's go grab another image here. And that's just going to be this one right here of these--kind of--it's like this bubbly surface, and we'll edit this in Photoshop®. I could just use command E as well to do that if I wanted to. And we'll need to bring this over as well. And we'll close that. And here we are. It's huge. This time, though, before I start resizing it, I'm actually going to change the blend mode because I know that I'm not going to want it at 100 percent here. So what I'll go ahead and do is maybe set it to overlay. Okay, that's really strong, but don't forget we can always change our opacity here. So let's bring the opacity down. See, I just like this kind of dirty feel right in here, this worn look and kind of corroded look. And now we'll go ahead and free transform it. Again, command 0 so that we can get that. And I don't really care for the corrosion to be down here; I just really want it in the sky area. Maybe I want a little bit of separation. So a little bit of separation here. Just like we had the separation between the trees here and the ground. Hit Enter, Return. And I like that. But something else that I don't really like? Let's go back down here for a minute. With the landscape image, I'm just going to use my little quick select here, and I'm going to add a curves adjustment layer. I do want it to be clipped, because I only want it to affect the landscape. I don't want it to be affecting the background. And I'm just going to go into Curves with it nice and clipped, and I'm going to add some contrast in there. I can see if I can't bring out just a little bit more contrast in the tree area. So let's see what that did. So that was before and after. So I like that except for the hard edge. But that's easy. We just go to the masks panel and just increase the feather until we can't see that hard edge when I go back and forth. Okay. So that just kind of separated it a little bit more for me. And then the last thing I did, if we return back to Lightroom for one more time, is I used this image right here just for the texture. So we'll edit just as a regular photo. And when this comes in, it's--I'm not going to use nearly all of this. So I'm just going to grab my marquee tool, and I think--I don't know-- somewhere interesting. I kind of like this textured area maybe right over here. And so you know what? I'll grab a little bit more than that. The reason being is that when I go to Image and then go to crop here, what I'm going to do is--let's zoom in. I want to straighten this a little bit. So let's just do a free transform. Now it won't let me do it because I'm on the background, but if you hold down the option key and you simply double-click the background, it turns the background into a layer and it does it without bringing up that dialog box, so of course that would be the ALT key on Windows. Now we can just free transform this, and if I wanted to, I could use-- it's command quote mark here. That will just bring up my grid. So that should make it easier if I want to straighten these. So again I'll hold down the command key here, which would be the control key, of course, on Windows--you guys know that, I'm sure. And I was just trying to straighten it out a little bit. So let's get those lines straight right there. And let's get those lines--I'm looking at like these lines straight right here. Okay. Great. And then we can go ahead and crop this down again because this is really all that I want. I just want this kind of texture, this kind of--you know, it's almost like it's going to be rain, so it's kind of like this corroded rain look. All right. So we'll just bring that over. And I don't need that. A lot of times when I'm doing these composites, when I'm adding elements like that, I will try to do as much as I can in the original file so that when I drag the piece into the composite, I don't have to do a lot of work because that just takes up more history states. So I try to do everything I can before I close that other file. All right. We'll bring up layer 4 all the way to the top here so we can see it. Transform it, maybe right down in there. Hit enter or return, and again probably the best thing would be one of the overlays. That's a little bit too contrasty, so maybe soft light, and if I wanted to we could just bring that down to like 50 percent by tapping the 5 key. All right. And the last thing I'll do here--because I really want more of a separation. I need a separation between the lower third and the rest of the file. And I also want to put some dark edges on this. So, at the very top of my layers panel, I'll click on the topmost layer, and I'll add a layer. And I'm just going to fill it with anything. It doesn't matter what you fill it with. Because then what I'm going to do is go to my effects panel, and I'm going to add an inner glow. And this inner glow is not going to be set to screen. It's going to be set to normal, and I'm going to make it black. And I'm going to start increasing the size, so you can see how this is adding an edge. And of course if I wanted to use this over and over again, or if I wanted to make this a default, I can do that in Photoshop® CS5, or I can go up here to styles and I could add this as a new style, and we could name it, and there it appears. But I know you're thinking that I'm crazy, because it's got the white fill in it, but all we have to do to get rid of that is to go to the blending options and then decrease the fill opacity. So now all I have is this dark edge, and in fact, I would probably go and add this as a style as well, if I was going to use it again. Okay. So that's great. So now I have my dark edges, and now, really, all I need to do is do the one more line across there, so let's go ahead and add just a new blank layer. I'll get my brush. And I'm going to use control option, because in CS5, if you use control option, if you drag left to right, you can see that I can get a bigger or smaller brush. If I drag up and down, I actually get a hard or soft-edge brush. Let's see. On Windows that would be a SHIFT+ALT drag left and right to either decrease or increase the brush size, and if you SHIFT+ALT drag up and down, that would decrease or increase the brush hardness. Okay. So let's get this smaller--way, way, way smaller. That might still be too much, but that's okay. Oh! I'm also painting with it only at 50 percent, so let's bring that up to 100. Maybe a little smaller. There. I switched to my left bracket. Okay. So I like it, but it needs a blur. So we just quickly go to filter, to blur, and then Gaussian blur. I'm pretty sure that I'm going to make a decision here--like, maybe 15. If I wasn't sure how much I wanted to blur it, I might have made this a smart object first, because that would have made it a nondestructive blur. But I kind of like that. And then we'll just change the opacity of that layer down a little bit. Ohhh, that's too much. How about right about there? All right. So now if I tap the F key, that takes me to full-screen mode, and if I tap it one more time, there is our final image. My name is Julieanne Kost. Thank you for joining me for this episode of The Complete Picture. I hope you enjoyed making this composite, and I hope that you'll join me again next time. [♫ piano music ♫] [Adobe TV Productions]
Video Details
Duration: 24 minutes and 42 seconds
Language: English
License: All rights reserved
Genre: None
Views: 123
Posted by: adobetv on Oct 7, 2010
Somewhere between the decisive moment and moving pictures lies the world of digital compositing - where multiple images captured at different times layer together to create a whole that is greater than the sum of its parts. In this episode Julieanne Kost will demonstrate how to transform concepts and ideas into images by mastering the tools used in compositing.
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New Season - Shorts
Route One have the UK's best range of Skateboard products across Skateboard decks, Skateboard trucks, Skateboard wheels and everything inbetween. With brands such as RIPNDIP, Enjoi, Girl, Polar, Spitfire Wheels, Independent Trucks and many more.
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SFU Faculty Members and Research Interests
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To watch this transparent cube build a ceramic bowl must be like watching magic. The nozzle shoots clay out, designing sculptures layer by layer, until the finished object is ready to be fired in a kiln.
Below you can see some of the creations made from the powder clay mixing with water in the printer's tubes. If ever the movie Ghost is remade and updated with 21st century technology, Patrick Swayze and Demi Moore's replacements should be straddling one of these 3D ceramic printers instead. Now there's a film I'd pay money to watch. [Unfold via Designboom]


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Picnic pie
Nutrition and extra info
- Freezable
Nutrition: per serving
- kcal631
- fat44g
- saturates18g
- carbs35g
- sugars6g
- fibre2g
- protein26g
- salt3.39g
- butter, for greasing
Butter is a dairy product made from separating whole milk or cream into fat and…
- 2 x 500g blocks puff pastry
- 350g sausagemeat or skinned sausages (pork & apple variety works well)
- 2 apples, peeled, cored and grated
Grown in temperate regions, apples are one of the most widely cultivated tree fruits. There are…
- 2 onions, grated
Onions are endlessly versatile and an essential ingredient in countless recipes. Native to Asia…
- 2 tbsp thyme leaves
- 16 thick slices cooked ham, fat trimmed from edge
- 4 tbsp Dijon mustard
- 2 eggs, beaten to glaze
The ultimate convenience food, eggs are powerhouses of nutrition packed with protein and a…
Heat oven to 190C/170C fan/gas 5. Butter 2 x 20cm springform tins or deep, loose-based tart tins. Cut one-third of the pastry off each block. Roll out the smaller pieces of pastry, then cut a circle from each to make the top of the pie – use a tin base as a template. Roll out two-thirds of the pastry from each block and line the tins, leaving a good amount of excess hanging over the edge.
Mix the sausagemeat with the apples, onions and thyme, and divide into 4 portions. Line each pie with 4 slices of ham and spread 1 tbsp mustard over the ham in each pie. Add a quarter of the sausagemeat to each pie and press down to level it. Add another layer of ham and mustard to each, then the rest of the sausagemeat and level off the tops.
Put the pastry lids on top and brush with beaten egg. Fold the excess pastry over and press gently. Trim off any wodgy bits to make the lid look as attractive as possible. Brush again with beaten egg and cut a steam hole in the centre. Bake for 50 mins or until a skewer pushed in through the steam hole comes out very hot. Cool in the tin for 15 mins, then release the sides of the tin and cool completely on a rack (still on the bases). Serve cold, cut into wedges with pickles and salad. Or slide off the base and wrap tightly in foil, then cling film and freeze.
Recipe Tip
Make it spicyUse merguez, or sausages containing chilli, as part of the sausagemeat mix. Use sliced cooked chicken in place of the ham, replace the apple with chopped dried apricots and leave out the mustard.
Recipe Tip
Foolproof freezingFreeze the pies already cooked and cooled, and the pastry will hold well. Defrosting the pie takes about 6 hours in total. To check if the pie is ready to eat, push a knife into the centre; it should come out cold but not freezing and the pie shouldn't feel solid. If it's a hot day, it's safer to defrost the pie in the fridge overnight.


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