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Eric Fishman, MD speaks with CEO, Glen Tullman, of Allscripts, about Allscripts terminology/phrases, his thoughts on the Stimulus as well as the future of the company. Allscripts is extremely well positioned in the industry to take advantage of new technology (i.e. iPad) and is excited to see what will happen in the HIT industry within the next three years.
Category: Featured, HIMSS10, Tradeshows
Date: March 8, 2010
Views:13,164 views
Dr. Eric Fishman: This is Dr. Eric Fishman for EHRtv and once again, we have the pleasure of speaking with Glen Tullman, Chief Executive Officer of Allscripts. We're here at HIMSS10 in Atlanta, Georgia. Glen, thank you once again for taking your time.
Glen Tullman: Good morning.
Dr. Eric Fishman: A lot has happened in this industry since we've spoken most recently. Tell us what is most interesting at HIMSS today.
Glen Tullman: Well, this is a very exciting show. You know, we're at the beginning of the fastest transformation of an industry in the history of the United States and you're feeling that at the HIMSS show today. We talked about this as the year of the electronic health record and really, what we're seeing is a dramatic level or interest from physicians, from organizations and from the entire industry and we're feeling that today. We see the traffic at the booth, not right now because it's closed, but generally, we're feeling that energy behind health care transformation.
Dr. Eric Fishman: I've passed by this booth a couple of times in the last couple days. It's hard to get into it sometimes.
Glen Tullman: Well, that's a good thing. That's a good thing.
Dr. Eric Fishman: I understand that. Now, you have a couple new phrases or maybe one comes from ACE, Connect to Health. If I could ask you the difference between connect to health and connect to health care. I understand that those are different concepts.
Glen Tullman: Sure, well, what we're really talking about when we say connect to health is the President's vision that he set out was a vision of a connected system of health. What that really meant is we were going to connect all these physicians, all the caregivers, all the different providers that make up health care. And the idea was when you connect them and when you provide our physicians, what we think of as the best physicians in the world, with the right information that instead of doing health care which is after the fact, you can actually start to preventably manage health and take care of people. So we have a system of health that occasionally responds to health care needs as opposed to a system that is totally responsive. It's the difference between being responsive and pro-active. And what we all hope for is a system that's much more pro-active.
Dr. Eric Fishman: And that's the connect to health?
Glen Tullman: That's right.
Dr. Eric Fishman: And it's wonderful. Most recently, just the last couple days, you've come up with a pithy statement, "Go". Maybe you could explain that a little bit.
Glen Tullman: Well, I've been working in health care for more than 10 years and we've been getting ready and ready and ready for this transformation and more recently, we saw the table being set and it was set by incentives, it was set my meaningful use standards, and so it's kind of ready, set, now's the time to go. And again I talk about that energy. We see it happening, we see great clients making the decision with and without the federal incentives to drive forward, to automate health care. When we talk about automating health care and getting physicians electronic health records that's really the first step in health care automation because what we're doing is we're equipping them with the tools to deliver the information they need to deliver better care. It's kind of that old phrase, information at your fingertips. That's what we're delivering because we think if we give our physicians, the best physicians in the world, the right information at the right time, and that is when they're patient facing, then what you're going to see is not only higher quality but lower costs. They're going to not do extra tests, they're going to prevent medication errors, so safer health care and generally, deliver better care.
Dr. Eric Fishman: In order, Glen to have that immediate availability, information is being put into the cloud. I've been hearing about cloud computing all day long. Tell us where Allscripts fits into that. I would guess that you (inaudible).
Glen Tullman: Well, if you look at Allscripts as a company, you know we have about a third of our revenues that are tied to software as a service and that's kind of information in a cloud. But we need to be a little careful. What we're really focused on is delivering physicians what they want when they need it. So sometimes that's an iphone, and they want their information right on an iphone or a Blackberry or a Windows mobile device. They may want it on the new Apple Tablet and we're going to have it on there. Others want it in a client server environment and some want it from the cloud which makes it accessible anywhere. So the technology is less important. People are making way too much of the technology. When you're using your cell phone, you're not concerned what kind of switching network AT & T or Verizon has, all you want to do is when you turn it on it works. What physicians want is easy to install, intuitive to use, make it work. In fact, in a lot of cases, when physicians talk about software as a service, what they really mean is monthly billing.
Dr. Eric Fishman: Right. That can be done, financing of a client but that's a very, very different concept.
Glen Tullman: Exactly. So what I can assure is that Allscripts is going to have what physicians want when they need it and the technology will handle that. But we are big in software as a service, we're big in hosted applications, we're big in client server and of course we have the best partners in the world, Microsoft and Intel and Cisco and the like all helping to deliver these services and of course Del Pereau.
Dr. Eric Fishman: All great companies. The last number I'd heard you talking about big was 160,000 physicians using your products.
Glen Tullman: That's currently where we are, but it's not just 160,000 physicians. It's 160, 000 physicians, it's 800 hospitals, it's 8,000 extended care facilities, and that translates into almost 100 million electronic prescriptions written and 500 million revenue cycle management payment transactions. So again, our reach is expanding and that's that idea of connected health care, right? Connecting all the parts of healthcare together, because if you look at a recent agreement we had with North Shore Long Island Jewish, not only did they say, we're going to automate 1,200 of our employee physicians, they said, we're going to also connect 7,000 of our affiliated physicians. We're going to tie them into the emergency departments at 13 hospitals, we're going to tie that into the largest home care network on Long Island and in New York and when you put that all together, it makes for connected health care which is better for patients. And that's what we're all after.
Dr. Eric Fishman: Now, you brought up Apple, they've got the Ipad. Tell me, if you will what type of traction that's going to have. Do you expect your physicians to be using it in the near future?
Glen Tullman: Well, again if you look at our physician base, we came out first with the iphone, and what we found out was about a third of our physicians were really excited about it and two thirds said, we use Blackberry, we use Windows mobile. So we developed our applications on Windows mobile and Blackberry.
Dr. Eric Fishman: And have those been released now?
Glen Tullman: Yes, they have and then along comes Droid and some say I have Droid. Now a smaller penetration but they want that. There are a sub segment of the population that's going to use the IPAD. We're going to accommodate them. We're absolutely going to be available on it and the IPAD development is actually easier because if you've already done it on the IPhone, by and large you have the core of that application to now begin development on the broader functionality that's available there.
Dr. Eric Fishman: Glen, you're obviously very close to Washington. I have a couple of questions on that. First, we'll start with stimulus funding. You mentioned meaningful use and I'm sure you have a very big footprint in that arena. Tell us about your relationship there.
Glen Tullman: Well, from that perspective, we're watching very closely what's happening with the final piece of meaningful use and how it's being defined. We've obviously submitted public comments and we're hopeful that those are taken account of because generally, we think this legislation is very healthy for health care IT. The good news is it's locked in, the funding is there so it's not a part of the general reform debate going on now.
Dr. Eric Fishman: We'll talk about that in a moment.
Glen Tullman: But the good news is that's not touched. So now we're just talking about how we define it. We're very focused on making sure smaller physician groups are taken care of, we'd like to see pediatricians included, they've been excluded. We'd like to make sure that physicians who are employed by hospitals get the right kind of coverage and reporting and frankly we'd like to see more automation. We'd like to see the legislation push for more interoperability. Force vendors to connect with each other because again, what we should have is a system where you throw information to another system and you catch and it looks like your own information. So we're actually pushing the envelope to say, force the industry to do more because if you're investing $40 billion we want to make sure the tax payers get value for the money they're investing.
Dr. Eric Fishman: I was speaking to Chuck Jaffee the other day from HL7. He indicated that many European countries are far ahead in that. So it doesn't seem like a technological hurdle, it just has to get accomplished.
Glen Tullman: It really does. I mean, this is not a technology question. This is a question of leadership in health care. And what we see is, we see the future of health care at a lot of our top leading customers. They're making it happen today. You know, Bill Spooner who last night was honored as the Chime HIM CIO of the year is a great example of leadership. He was honored for that. He's one of our leading electronic health record providers at Sharp in San Diego and their patients get better health care because of that technology but it took leadership to make that happen.
Dr. Eric Fishman: Now, let's talk about the other things that are going on Washington and healthcare if you can give an opinion on that.
Glen Tullman: Well, look, it's a very challenging situation right now. Health care reform is really not about quality, unfortunately, and it's not about cost. This is about payment and about coverage. And I think we've seen a lot of jousting back and forth. Today, the President is releasing a letter to Congress that tries to bridge some kind of compromise that talks about a public option being eliminated. That was a big lightening rod for Republicans, talks about more incorporation of health care IT, more incorporation of auditing capability, so I think it's a bridge proposal that I hope will allow us to move forward without reconciliation. You know, that said, reconciliation has been used a number to times by both parties and we'll see what happens, but we're hopeful that we can reach some kind of compromise and move forward. Now, the fact of the matter is 90 percent of the American public agrees with, number one, the fact that we should have no pre-existing condition. Whether you're a Republican or a Democrat, people agree with that. And secondarily, people seem to agree with broad coverage for all Americans. I mean, in America, everyone should get basic health care. That's a general agreement whether you're a Republican or Democrat.
Dr. Eric Fishman: Just to accomplish it.
Glen Tullman: Question then becomes how do you deliver it, how do you pay for it, and again, some very sticky items that relate to competition, public option and the like. So I'm hopeful that we'll see some progress today but hopeful would be the best description I could --
Dr. Eric Fishman: We'll all be watching. And finally, let's just talk about the next year in health IT and with Allscripts in particular. What do you see, what do you envision?
Glen Tullman: Well, we're very excited about the year ahead. I mean, we think the entire industry is going to grow dramatically. We've talked about the fact that you're taken $40 billion injecting it in a $4 billion industry and 70 percent of that comes within three years. So when you look at that and you start to do the math, it means that everyone in the industry is going to benefit. Not just the electronic health record providers, the connectivity providers. We already see dramatic increases in employment in the industry and you've talked about that I know, but the reality is this is a place where the stimulus is working. Better health care, we're going to have more automated health care, we're creating employment, long-term investment. So from that perspective, we think the future is bright for Allscripts and now is the time to go.
Dr. Eric Fishman: I've heard that expression. Glen, always a pleasure.
Glen Tullman: Great, thanks very much
Dr. Eric Fishman: This is Dr. Eric Fishman. We've been speaking with Glen Tullman. Chief Executive Officer of Allscripts. Thank you.
The language needs to change form Physician centric care to Patient centric care! What Health Care Providers… need is
Please initiate a change in your language to include the New Health Care PROVIDERS the NP's
Nurse Practitioners will be delivering the care of the future.
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Date Revised:
A Road Less Rocky: Supporting Carers of People with Dementia
This research report found that only 51% of carers questioned said that they were given an opportunity to talk separately about their needs and how much care they felt able to provide.
56% of carers questioned said that they had not received information about managing the medication of those they cared for. More than half (52%) of carers said that they had been given no information on how to cope with incontinence.
Information gaps at critical points in a carer's journey
The report found that there were a number of critical points along a carer's journey where they would most value information and support. These critical points include:
When dementia is diagnosed.
When the carer takes on an 'active' caring role.
When the capacity of the person with dementia declines.
When the carer needs emotional support and/or a break from caring.
When the person with dementia loses their mobility.
When the person with dementia has other health problems.
When the carer has to cope with behavioural problems.
When the carer's own circumstances change.
When the person with dementia becomes incontinent.
When decisions about residential care and end of life care have to be made.
A Road Less Rocky: Making the Road Less Rocky for Carers, A Guide on how to Support Carers of People with Dementia
We have designed a toolkit around the ten critical points on a carer's journey. The toolkit is useful for anyone who works with or treats patients with dementia and is therefore likely to come into contact with carers.
Although the terminology and legislation referred to in this toolkit applies to England the standards and rationale are applicable across the whole of the UK.
Further information
A Road Less Rocky: Making the Road Less Rocky for Carers, A Guide on how to Support Carers of People with Dementia
Carers Road Map: A Guide for Carers of People with Dementia
See our Carers Road Map Guide for Carers of People with Dementia (PDF,552KB)
This is a guide to help you through your caring experience and provide practical advice and information if you support someone with dementia.
Some of the information in the guide may be useful to you early on, when the person you care for is first diagnosed with dementia, and some at a later stage. You may also find it useful to dip into at different times.
Next update due: April 2019

subset: commoncrawl


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Why Velvet's claim of protecting forests should be flushed away
Comments have been flooding onto Velvet's Facebook page, admonishing the company for using pulp from vital parts of the Great Northern Forest in their toilet paper. Customers are appalled that spectacular and important forests are being wiped away for luxury loo roll.
Velvet has been forced to post a statement, claiming there's nothing wrong with the way their toilet paper is made. But as the evidence shows this isn't the case, so it's worth going through the statement to see what's really going on.
Greenpeace recently released a report that suggests Velvet is sourcing fibre from unsustainable sources. This is simply not true.
It is true. Essity, the company that makes Velvet, sources wood pulp from a number of suppliers which are driving the destruction of the Great Northern Forest in Sweden, Russia and Finland. For instance, our research suggests Essity buys pulp from mills in Finland supplied by Metsähallius, a state-owned logging company clearing some of the last old-growth forest outside protected areas, including habitats of endangered species. It also sources pulp from a company in Russia involved in the destruction of intact forests in an area earmarked for formal protection. There's a lot more detail in the report we published recently.
We make Velvet toilet paper using a mix of both virgin fibre and recycled paper. It's important that we use some virgin fibre to ensure the toilet paper is strong yet soft.
We're not suggesting virgin fibre shouldn't be used, but that it comes from responsible sources rather than from companies logging critical forests important for wildlife and Indigenous People's livelihoods. Although of course, using 100% recycled paper would be even better.
100% of the virgin fibre that we use comes from either FSC or PEFC certified or controlled areas in Sweden and the rest of the world. That means all of the fibre used in Velvet toilet paper comes from areas where there is strict guidance in place on upholding and safeguarding principles on biodiversity and forest conservation. These are the highest industry standards in the world.
When properly implemented, FSC (Forest Stewardship Council) forest management standards are the best guarantee that wood and timber have been harvested responsibly. However, like anything, the FSC isn't perfect and this is one example.Velvet's products are certified 'FSC Mix': this means that for products made only of virgin fibre, at least 30% has to come from FSC-certified forests sources, the rest can come from what are known as 'controlled' sources.These controlled sources are deemed to be at low risk of environmental damage, but in this case it doesn't stop logging companies from destroying forests that have been identified as important for people and wildlife.
Greenpeace are members of a forum that includes the FSC, Velvet and several other paper manufacturers where we come together to explore opportunities to strengthen the sustainability of the industry. These talks continue.
We're always open to discussing solutions, but if those talks don't lead to action then we need to hold companies to account. Essity is the second-largest tissue company in the world and needs to show leadership in tackling these problems – unfortunately, it's moving far too slowly to save these critical forests.
Far from resting on our laurels, Velvet also works on initiatives such as our Three Trees Promise through which we recently planted our 10 millionth extra new tree.
Planting trees in Brazil is not going to protect forests from being logged in Sweden, Russia and elsewhere.
In short, if you use Velvet toilet paper you can be absolutely sure that the paper used to make it comes from suppliers that meet these strict requirements at every step.
The requirements aren't strict enough, so Essity – and Velvet – need to promise not to use pulp sourced from critical parts of the Great Northern Forest. Sign the petition and tell Velvet what they need to do.
Article Tagged as: Featured, Forests, Great Northern Forest, essity, great northern forest, toilet paper, velvet


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Thank you for your interest in our products. Due to these Underwear are handmade & the worker's holiday. So the delivery will be in end of March. We also have a complete set of quality inspection procedures before shipment. You just Pay $31.99 to buy it now. After the holiday we will restore the original price $63.98.We sincerely apologize for the inconvenience caused.
- Comfortable for daily use
- Perfect for Fitness (Running, Climbing, Dancing)
- Perfect for Yoga and Gym
- Perfect for Relaxing
- Machine Washable
- Quick Dry
- Dryer friendly (medium heat, air dry is recommended)
- Breathable Spandex/Polyester Blend
*Scroll down for details.


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- Description
The Hyundai HY9000LEk-LPG is a single phase, open frame dual fuel LPG/petrol generator which produces an impressive 6.6kW (Max). Powered by a 15hp Hyundai IC425 engine, the HY9000LEk-LPG is designed for heavy duty work and is more than suitable for use on construction sites and industrial environments. The LPG conversion also means this generator is ideal for outdoor events, catering vans and areas where petrol is sometimes restricted.
With a large 22L petrol fuel tank, the HY9000LEk-LPG is able to run for up to 15 hours before refuelling is required depending on the load applied (Petrol). This is a massive convenience for users who require the machine to perform for hours at a time during the working day.
The wheelbarrow frame in which the generator is housed in enables one user to easily transport this 85kg unit, with the large wheels designed specifically to make moving the generator from one location to another an easy task.
One of the standout features of this dual fuel generator is the digital display panel which provides important information on the performance of the generator, including the voltage output, Hertz and hour usage.
As with other petrol generators in the Hyundai Power Equipment range, the HY9000LEk-LPG benefits from the option of recoil pull and electric start functions, leaving the user in control of how they wish to operate the generator.
- Specification
Manufacturer Hyundai Engine Capacity (cc) 420.00 Sockets 2 x 115V/16A, 1 x 230V/16A Battery Type 12/14 (v/Ah) Max. Engine Speed (rpm) 3000.00 Fuel Tank Capacity (l) 22.00 Warranty 3 Year Alternator Type A6L Continuous Power (kW) 6.00 Frequency (Hz) 50.00 Max. Power (kW) 6.60 Current (A) 28.7 (maximum) / 26 (continuous) Dimensions (mm) 770 x 560 x 565 Voltage (V) 115/230 Noise (dB @ 7m) 72.00 Noise (dBA @ 1m) 96.00 Fueled/Driven by Unleaded Petrol/LPG Starting Method Recoil/Electric
- Delivery
We provide FREE SHIPPING to mainland UK. Pricing for extended shipping areas like Northern Ireland, the Scottish Highlands and outlying Islands (Outer Hebrides, Channel Islands, Isle of Man, Scilly Isles, etc) can be found on the map below.
For full shipping and delivery terms and conditions, please click here.NB. Carriage is also chargeable on all parts and items under £100 in value, and our sales team may contact you for after a sales order has been made if additional carriage surcharges need to be applied.
- Reviews
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Tuesday, July 5, 2011
Review: Tefal Preference Non-Stick Frying Pan With Lid
The frying pan is from the Preference - Tefal's induction compatible cookware range. The 26cm pan has a glass lid and the knob on the lid has a very useful steam vent which can be turned either on or off.
Tefal's renowned Thermospot is a very useful way of ensuring the pan is at the right temperature, to ensure food is cooked perfectly. This is a built in heat indicator which tells you when the pan is at the perfect cooking temperature. Cold: The Thermo-Spot pattern is visible in the dark red spot. The spot turns solid red when the pan is perfectly preheated and ready to cook. Now the heat can be reduced to maintain the temperature which then prevents overheating of the pan.
Tefal's Preference range offers even heat distribution without hotspots. Also, this range has a new Pro-metal Pro non-stick coating with a lifetime guarantee and metal utensils can be used.
In the pan I cooked: Penne with Spinach, Creme Fraiche, Smoked Salmon and Tomatoes and a Pesto Pan Chicken. Both of the recipes cooked superbly, neither stuck to the pan and only a minimum of oil needs to be used. The pan is also deep enough to comfortably hold enough Bolognese Sauce to feed a family of four.
A hard wearing enamel exterior, Bakelite Stay Cool Handle and the pan can be put in the oven up to 180c. It's always useful to start dishes off on the hob and then use the same pan for oven cooking to save using even more pans.
Thank you Tefal and Catherine.
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It's very quick to buy a new set of leisure batteries. It takes a lot longer to wire them all up!
After much consideration I plumped for four sealed lead acid batteries from Wharf House chandlery at Braunston Bottom Lock. First we winded in the main entrance to Braunston Marina, then tied up alongside a boat being fitted out outside the chandlers.
I suppose I could have just lugged the new batteries on board, and then swapped them for the old ones at my leisure, but I wanted to get it done straight away. I therefore spent the next hour not shorting anything out (but getting slightly alarmed at the beefy spark when I connected one of the cables to the right place!) It's a good job I was still at the chandlers, as I discovered that the threaded posts (next to the conventional posts requiring a clamp) were of a different pitch to the threaded posts on the clamp fittings. I got about half way through explaining what the problem was when Mrs Wharf House handed me four bags of nuts and washers. Apparently they are supplied with the batteries but not everyone wants them - well, I did!
At last everything was connected up. I changed the DIP switch setting for battery type on the Sterling alternator controller; I also changed the setting on the solar panel controller. I don't want the sealed lead acid batteries charging at more than 14.1V. Turning the battery isolator key I was relieved to see that the lights on the 12V distribution panel came on. Everything seems to be OK.
I reversed to the first marina entrance and winded; then we cracked on to Hillmorton and beyond (after a brief stop for water at the Stop House). Earlier, as we'd gone the other way to the chandlers, I'd spotted Steve and Maggie's boat Albert just back from where we were. When I'd finished the battery installation Albert had gone; but we passed them again at the bottom of Hillmorton Locks. I called out a quick "hello" and ascertained that we were both heading for approximately the same place this evening.
The next incident of note occurred at Newbold. As we approached Bridge 50 we became aware of a very loud engine noise. Much louder than a boat. And then we saw it: just taking off was an air ambulance.
45 minutes before Stretton Stop I saw Albert tied up, so I pulled in behind. Steve and Maggie invited us on board for a glass of wine (that slipped down a treat - thanks!) and a chat. We had not knowingly met before. We had, in fact, unknowingly met the previous evening as we walked down to Butcher's Bridge: Steve was taking a photo of the dramatic sky and we exchanged a few words. It was good to meet you two, and thanks for inviting us on your lovely boat (and for showing me the wonderful engine!)
Bearing in mind the weather forecast for tomorrow - more wind and rain - we pulled pins and headed for Stretton Stop, tying up in the almost dark about half a mile beyond*. We have a lunch date with friends in Bedworth; it would be nice to get there not too dripping wet.
Back to the batteries again: Martin left a couple of comments on yesterday's post with links to the excellent SmartGauge site. What I found particularly useful was the best way to connect four leisure batteries I have seen. Tomorrow I must slightly rewire what took me so long to do this morning! (My method was close, but can be improved upon.)
* I'm not sure we'll get much sleep tonight. There is a ledge below water level against which the hull is being constantly thrown by the wind. Oh, and there's a busy railway line on the offside. I don't mind the trains, but I know from past experience that being jolted every few seconds is not conducive to eight hours of shut-eye.
Batteries replaced and recycled - It's the time of the year when temperatures begin to drop and batteries struggle. As I reported on our recent Autumn Cruise, our stater battery failed as w...
1 hour ago


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A Weekend in Lisbon Part 1 - Sintra
My short weekend in Lisbon meant I couldn't give Sintra the full attention it deserves. I had half a day so only enough time for one of it's many major attractions.
Of all the grand sights to see I chose Quinta da Regaleira - a romantic mansion nestled on an outrageous estate that includes a well, lakes, grottoes and gorgeous gardens. From my research, I understood that this is a pretty touristy spot so best to get there early and there are short bus rides available to get there from Sintra Train Station or it is a short but steep walk up to it. We opted for one of the silly Tuk Tuks - 5 euros per person to anywhere in Sintra - touristy services like this means you get a mini tour in the area so the driver was able to give us some history and facts about all the other main attractions that we drove by.
The grottoes were my favourite part of the estate! So many hidden tunnels and caves, all adding to the magical romance of the place. Prepare for lots of walking as there is so much to explore!
Lunch was at a restaurant in the main area of Sintra called Bacalhau Na Vila - a restaurant specialising in Bacalhau, a Portuguese speciality of salted cod. A must try if you are ever in Portugal, you'll find it everywhere! I doubt I would have ever stumbled upon this place had I not found it online first! It's location is not accurate on google maps so use its location on its tripadvisor instead.


text: KIRKUS REVIEW The denizens of Mr Venezi's Pets & Stuff return for another hilarious mystery. Sasspants the guinea pig solved the mystery of the missing sandwiches in Hamster and Cheese (2010); now she's doomed to be thought a detective even though she has replaced the final "G" on her cage label. Hamisher the koala (actually hamster; Mr. Venezi is nearsighted and clueless, though not neglectful) loves being a sidekick, and he comes up with so many fake mysteries that Sasspants doesn't believe him when he has a real one. The mice are going missing one by one, and everyone's sure it's a ghost. Sasspants takes the case to get Hamisher off her back so she can get back to reading her much-loved books. Venable's second adventure does not disappoint. The celebutante chinchillas—er, camels—(one of whom has a pet mouse, "Mr. Sparkles," à la Paris Hilton's chihuahua) and the bubble-headed goldfish will inspire giggles. The deadpan expressions of Yue's pudgy animals colored by Hi Fi Design supply many of the laughs. A gem—please, tell us we'll be seeing more of Sasspants! (Graphic fiction. 6-11) Pub Date: Nov. 1st, 2010ISBN: 978-0-7613-5480-2Page count: 48ppPublisher: Graphic UniverseReview Posted Online: Sept. 15th, 2010Kirkus Reviews Issue: Oct. 1st, 2010


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Frequently Asked Questions
How will we pay for Phase 1 of the Sewer Project?
Property owners will finance the cost to construct Phase 1 of the Sewer Project through a loan from the State Revolving Fund. Payments will be made over 30 years on the property taxes with a low interest rate of 1%.
When will the assessment amount appear on my taxes?
Property tax assessments for infrastructure costs to construct Phase 1 will appear on the December 2018 property tax installment. Property owners that have escrow accounts may want to start putting away their monthly estimated assessment charge in a separate account so when their December taxes are due, they will have enough to cover the new fees. It might be wise for property owners to consult with their escrow companies to find out how to add the additional monies to their accounts to cover the increase. If property owners choose to finance their private property connection costs through a separate optional assessment that will be offered, that cost will appear on property tax billing statements as soon as the property is connected and using the sewer system. The monthly maintenance fee will also be placed on the property taxes once the property is connected to the sewer system.
If I sell my property, is the balance for the sewer connection to be paid in full, or will the new home buyer assume the balance?
The assessment on an owner's property taxes will be pro-rated and transferred to the new buyer after the property is sold. It rides with the land.
Will the amount that I am assessed ever increase?
Once the assessment amount is approved, it can never be higher than what appears on the printed Assessment District ballot. However, the assessed amount may be lowered as the project continues to receive grants and other sources of funding.
Will Phase 2 and 3 have to pay for Phase 1?
Property owners in Phases 2 and 3 currently will pay only for those portions of Phase 1 from which they will derive benefit. They will be assessed at a later date any remaining amount, once their Phases are designed. Property owners in Phase 1 will only be assessed once for infrastructure costs. In 2017, the Board of Directors unanimously approved merging Phases 2 and 3 to make one additional assessment vote for these phases. This move will help control costs.
Please view the cost breakdown below.
Commercial property owners can call 1(844) YV-Sewer or email email@example.com to obtain individual assessment costs.
Will properties owned by government entities such as the Town of YV or the school district incur an assessment also?
How and when did property owners vote to form the Assessment District?
On May 13, 2015, property owners approved forming Assessment District 2014-1 by mail-in ballot to finance the cost to construct Phase 1 of the Sewer Project. There will be subsequent assessment district formations by vote at a later date to secure funding to construct Phases 2 and 3.
How is HDWD working to save money on the project?
Hi-Desert Water District has explored multiple funding options to provide the best possible project at the lowest possible cost for our customers.
HDWD has secured millions of dollars in federal, state and local grants in addition to debt forgiveness and low interest loans to help finance the project as cost-effectively as possible.
Funding sources include:
U.S. Bureau of Reclamation Grant – HDWD has a $20 million allocation from the U.S. Bureau of Reclamation and as the District receives the monies it will be deducted from the annual assessment.
State Revolving Fund – HDWD secured a loan from the State Water Resources Control Board State Revolving Fund by securing a low interest rate of 1%. This low interest rate dramatically reduces payments and financing costs.
Community Development Block Grants – HDWD is applying for these grants to help support a low-income assistance program.
Other Resources – HDWD is working to identify sources of funding that would support a low income assistance program.
Is a wastewater collection and treatment system necessary?
We need a wastewater collection and treatment system to protect groundwater quality, and comply with a State mandate prohibiting discharge from septic tanks in our area.
Septic system discharge has been slowly degrading local water quality for decades. Nitrates and other contaminants from septic system discharge are currently reaching groundwater.
In 2011, the California Regional Water Quality Control Board passed a resolution that will prohibit discharge from septic tanks in parts of Yucca Valley starting with Phase One on May 19, 2016 June 30, 2021, with Phases Two and Three to follow on May 19, 2019 and 2022 2025, respectively. If residents continue to discharge, they may be fined up to $5,000 daily by the State Board. This project is a comprehensive solution that will ensure compliance and protect groundwater quality at the lowest possible cost, while giving HDWD customers access to a reliable and affordable sewer system.
How will it protect groundwater quality?
Septic system discharge leaves behind nitrates and other contaminants that are absorbed into the soil and eventually reach the water that is stored naturally underground in our aquifer. These contaminants degrade the quality of our aquifer over time. Hi-Desert Water District relies on groundwater from the aquifer to deliver clean, safe drinking water to your home.
This project would replace septic systems and their negative environmental impacts on water quality with a sewer system that collects wastewater and delivers it to a treatment plant, where it will be processed and treated until it is clean enough to be recharged into the aquifer without compromising water quality.
What are the State's Septic Discharge Prohibitions?
According to its revised Basin Plan amendment, the Colorado River Basin Regional Water Quality Control Board has extended the prohibition dates in the Town of Yucca Valley to June 30, 2021 for Phase 1, and for Phase 2 and 3 December 31, 2025. This means that, as of those dates, property owners within the corresponding phases will have to cease discharging from their septic systems.
What happens if I don't comply?
The Regional Board's Enforcement Staff will "implement prompt, consistent, fair, and progressive enforcement" to bring anyone who fails to stop discharging into compliance. Non-compliance letters, Cleanup and Abatement Orders, Cease and Desist Orders, Civil Liability Complaints, and fines of up to $5,000 per day can be used against individual property owners.
The prohibitions will take effect whether or not the Wastewater Reclamation Project moves forward. If the project does not move ahead, property owners would be required to comply with the mandate individually or face enforcement actions.
HDWD is attempting to create a community-wide solution.
Why not just treat the water at the wells that produce the water before serving it to customers? Isn't that easier?
The Regional Water Quality Control Board requires us to protect the groundwater supply, not just treat water before delivering it. Because treating the water at the wells would not address the potentially irreversible contamination of the groundwater supply, this method will not solve our problem, and the Regional Board will not allow it.
Collection System & Facility
How many months after the Assessment District approval, will construction start on the new sewer lines and plant?
Construction will start approximately 14 months after the approval of the Assessment District.
Will the treatment facility smell?
Modern wastewater treatment facilities use a number of technologies that effectively minimize odors. HDWD's new facility would utilize these advancements, resulting in very few odor problems.
What will happen to the water after it is treated?
It will be returned to our groundwater supply through on-site recharge ponds, and will be extracted at a later date through a production well.
Are the roads going to be repaved during Phase 1, after the sewer line is installed?
All roads with existing pavement in Phase 1 will be repaved after the sewer line has been installed.
Who will be responsible for the installation of individual private property connections?
Property owners will be responsible to install the private property connection (the connection from the home to the main sewer pipes). A notification to begin the connection process will be sent to property owners six months prior to having to connect their properties.
Will I have to connect my house to the sewer?
All customers within the phase boundaries will be required to connect to the sewer system when it becomes available. Property owners will have a choice for hiring a contractor and connecting their properties to the sewer mains that are installed within the streets. Each owner will also have a choice of financing these costs.
Connections to the sewer system will begin once construction of the Wastewater Treatment and Reclamation Facility is completed. It is scheduled to be completed sometime after May 2019.
How long will my sewer service be disconnected during this process?
In most cases, your current septic system would be left in service until the new connection is ready. It often takes only a single day to install a collection line that runs from a home or business to the property line, and to abandon the septic system on site.
The efficiency of the process means that a typical home or business would only be out of service for 15-30 minutes.
What are the requirements of installing the private property connection?
The Town of Yucca Valley's Building Department is currently working on developing the permit and inspection requirements.
Can I install my own private property connection?
If applying for the State's Expanded Use Loan to finance costs for the private property connection, property owners may not be eligible if unlicensed contractors complete the work. Property owners must also check with the Town of Yucca Valley for its requirements..
Can the cost of hooking up to the sewer be financed or must owners pay cash?
The cost of hooking up to the sewer is separate from the assessment cost. This cost may be financed. Property owners will be able to finance their private sewer connection, and have it reflected on their property taxes over 30 years.
How do I apply to finance my private property connection costs?
HDWD will notify property owners six months prior to installing their private property connection to apply for a low interest Expanded Use Loan and provide further details about the process.


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The Non Surgical Procedures We Offer
BOTOX® Cosmetic is a simple, non-surgical treatment able to temporarily improve the appearance of moderate to severe... Read More
Sun exposure, acne or just getting older can leave your skin tone uneven, wrinkled, spotted or scarred. If you want... Read More
For many women and even some men, dermal fillers have become an integral part of their skin care regimen. Thes... Read More
Dermaroller (also called a skin roller or micro needle) is a small hand-held rolling device that has multiple ro... Read More
Approximately 1% of the population is affected by significant excessive sweating (hyperhidrosis), usually affect... Read More
When we think about the signs of aging most of us think first about our faces. However, one of the earliest signs of... Read More
Sclerotherapy, spider vein treatment is the oldest, yet most common, treatment for spider veins and reticular ve... Read More


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Giilinea Bio Organic Anti-Aging Gel 3,38 oz
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Refined combination of natural active principles. For the treatment of tired areas of face and neck. Daily use helps effectively against early skin-ageing. Can also be used as moisturizer after Sun bathing. Contains freshly hand-harvested Aloe Vera, hyaluronic-acid, cold-pressed natural oils and many other high quality natural ingredients.
Ingredients: Water, Aloe Vera Gel*, Olive Oil*,Hyaluronic Acid, Alga, Wheat Germ Oil*, Apricot Seed Oill*, Sweet Almond Oil*, Lavender Oil*, Natrium
* from certified organic farming
Giilinea Bio Organic Deodorant Sensitive 2,5 oz
Giilinea Bio Organic Hand Cream 1,01oz
Giilinea Bio Organic Skin Protection Cream 1,69 oz
Essential Eye Treatment 1,01 oz


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Weight Loss Programs
Our Philosophy
Weight Gain and Habits
Let's face it. Weight loss isn't easy.
As human beings, we are "programmed" to gain weight, not to lose it. Any program, even ours, isn't going to change that.
While Dr Edman feels that medications, in general, should be used only when absolutely necessary, his experience in helping people to lose weight has shown him the great value in certain medications for weight loss. The true challenge is how to use them properly. What every patient who struggles with weight needs to do is to change his or her lifestyle choices that has led to excessive weight gain. These lifestyle choices have become habits. Remember the Doobie Brothers album title - "What Were Once Vices Are Now Habits"? Overeating, under-exercising, and living stressful lives were once just vices. But now they are firmly fixed in our brains as habits. Research into habits has shown it takes three to six months to make or break a habit. Smoking cessation is a great example of this. Once smokers have stopped for over three months, they are more than twice as likely to become ex-smokers when compared to those who have quit for less than three months.
Breaking Habits to Lose Weight
We designed and administer our weight loss programs with this "habit" principle in mind. Our goals for you are not only to lose the desired weight, but also to change your habits so that you don't ever need to struggle with weight loss again. It is truly important to us that you never come back for weight loss.
With that said, we also recognize that there are "life changes" causing weight gain that have nothing to do with bad habits. These are almost always hormonal changes. While both men and women experience a generalized decrease in hormone levels as they age, women can be particularly challenged by the rapid swings in hormone levels around menopause. Fortunately, Dr Edman's expertise in hormone replacement provides an important "back up plan" whenever he suspects that hormone disturbances may be contributing to weight gain.
Weight loss is a team effort
Weight loss is a collaboration between the client and the provider. We must both approach this as a potential win. It is good for us if you are successful and great for you, BUT both of us must put in the effort to "get you there".


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The need for speed
I offered to shoot the local park run a couple of weekends back and the core take away from doing that was the speed of writing the the photos to the card. When the race starts you need to snap away at ten to the dozen. Obviously it's a good idea not to shoot in RAW (which i'd forgotten to turn off). The best quality JPG will be fine. That aside it got me thinking. How to best get the best throughput on the camera?
I shoot with a Canon 5D III. So, what's the throughput on that?
There are two slots available; SD Card and CompactFlash. If both are full then it writes to the slowest card first. Go figure. I'm sure there's a reason but eludes me.
The SD slot will never write faster than 133x. The CompactFlash (CF) slot can use the UDMA7 protocol, whereas the SD slot cannot use the equivalent (UHS – for Ultra High Speed).
Okay, so if i'm shooting fast then leave the SD slot alone.
First - let's try this out in real life.
- Empty 8Gb SDHC card in
- Format the card
- Change the image type to Highest Quality JPG
- Put camera on High Speed Continuous
- Put the lens on manual so it's not focussing
- Hold done the button and see how many shots it takes
My old SDHC card managed 16 images in fifteen seconds. Obviously this doesn't equate to 4*16 images in a minute as it was still emptying the buffer after the fifteen second had ended.
My 30mb/s card managed 20 images in fifteen seconds.
I'll borrow a fast CF card and see how fast that is in comparison.


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Your responsibilities and rights
Your responsibilities
During the first 5 days of any exclusion, you are responsible for ensuring that your child is not found in a public place during school hours.
If a child is excluded for 6 days or more, you are responsible for ensuring the child attends the alternative education provided.
Your rights
You may wish to contact the school and ask to discuss the situation. The school may hold a reintegration meeting with you at the end of any fixed-term exclusion, but you are not legally required to attend this meeting if you do not wish to do so.
If the exclusion is for 5 days or less in a term you have the right to make written representations.
If the exclusion is for more than 5 days in a term, you have the right to ask to meet with the Discipline Committee.
If the exclusion is for more than 15 days in a term, or permanent, then you should be invited to a meeting of the Discipline Committee.
Any written evidence and information included in the Discipline Committee should be sent to all parties at least 5 days in advance of the meeting. You are also entitled to send to the Discipline Committee a written statement or any other evidence you wish to present.


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What it is
Lotus Wei Infinite Love Mist is an instantly calming mist with a beautiful scent consisting of exquisite rose, red mandarin and honey that magnifies gentleness, compassion, softness and receptivity.
- Experience unconditional love for yourself & others; attract love and affection, enhanced magnetism, attractiveness and charisma
- Dissolves irritation, being hard on yourself, hard heart, feeling attacked, resentment, anger, jealousy, codependency, giving away all your energy to others and forgetting your own needs, past trauma, breaking through old patterns
Key Ingredients
- Hong Kong Orchid - self-love & appreciation, feeling attractive, being yourself
- Wild Fireweed - dissolves old bad memories, heals wounds of the heart, forgiveness
- Pink Magnolia - feeling whole, complete; taking time to care for yourself
- Orange Hawkweed - self-sufficiency, clarity in relationships, unconditional love
- Pink Lotus - wisdom, insight, spiritual understanding
- Pink Tourmaline essence - kindness and gentleness toward oneself
How to Use
Mist Lotus Wei Infinite Love Mist above and around your face and shoulders.
UK Standard: £3.95
FREE for orders over £15
Fully tracked with SMS/email updates. Usually 2 - 4 working days to any UK address including Channel Islands and Isle of Man. Allow up to 7 working days for delivery.
UK Next Day: £6.95
Fully tracked with 2 hour ETA and SMS/email updates. Delivery the following working day for orders placed before 1pm any working day. UK Islands, Highlands and remote areas may require 2 working days.
Europe: £3.95
FREE for orders over £15
Fully tracked for orders over £100. Usually 4-9 working days. Allow up to 14 working days for delivery.
International: £3.95
FREE for orders over £15
Standard delivery only. Usually 7-14 working days. Allow up to 21 working days for delivery. Customs duties and local sales taxes are the sole responsibility of the customer.
Every effort is made to provide you with accurate ingredients however, the product manufacturer may change ingredients without our knowledge. Always read the ingredient label on the actual package before using this product. If you have severe sensitivities or allergies, always contact the manufacturer directly to confirm the latest ingredients. We cannot be held responsible for the accuracy of ingredient or nutritional information we provide nor liable for any adverse reactions caused by the products we sell. We are constantly in the process of updating ingredient information. If you have any queries relating to any ingredients, please Contact Us and we'll be happy to help.
Purified water (Aqua), Essential oils of *Citrus deliciosa (Red Mandarin), *Pelargonium roseum (Rose Geranium), Monarda fistulosa (Monarda), Cymbopogon citrates (Lemongrass), Rosa damascena (Rose absolute), Rosa damascena (Rose Wax), and Apies millifera (Beeswax Absolute), and hand-collected flower essences of Bauhinia blakeana (Hong Kong Orchid), Epilobium augustifolium (Fireweed), Magnolia liliflora (Pink Magnolia), Hieracium aurantiacum (Hawkweed), Nelumbo nucifera (Lotus) and gem essence of Pink Tourmaline.
Lotus Wei Infinite Love Mist:
- Formula: 100% natural. Vegan. Free from parabens, petrochemicals, phthalates, artificial fragrances.
- Origin: Made in USA.
- Packaging: Recyclable glass bottle with spray applicator.
- Shelf Life: Use within 12 months of opening.
- Animal Rights: Not tested on animals. Cruelty free.
Lotus Wei - Discover the Brand »
At Lotus Wei, they believe that one of the simplest ways to ignite "transformative action for the benefit of all" is by using flower essences - pure, natural elixirs with the power to shift your mood and physiology. They believe it because they've felt it, seen it, researched it, and observed it for over 13 years. The word "wei" has two meanings. The first is "transformative action" and the second is "for the benefit of all".
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© 2002-2019 Naturisimo | Organic Cosmetics | Organic Skin Care | Organic Make Up | Organic Beauty Products.


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At Atrium, you'll find luxury for less in North Durham! See our beautiful newly renovated kitchens with stainless steel appliances, microwave and more! Come in now for a tour!
Apply Online Now!
Welcome to Atrium, where you'll find the style, comfort and amenities you're looking for! You'll love our bright, spacious one and two bedroom floor plans, with features such as newly renovated kitchens with stainless steel appliances, washers/dryers, fireplaces, Palladian windows, vaulted ceilings and built-in bookshelves. You'll enjoy working out in our fitness center, then relaxing with a dip in the sparkling pool. Shopping and dining are close at hand, with Northgate Mall and North Point Commons nearby. You'll have easy access to downtown Durham, North Carolina and Research Triangle Park via I-85 and US 70, and Duke University, NCCU and Durham Regional Hospital are just minutes away. Come home to luxury for less in North Durham!
To see our student options, visit our floor plans page, select "Apply Online Now" and choose "Yes! I'm a student".
"I appreciate the hard work and dedication of the staff . They have always been kind and courteous and exhibited the utmost professionalism."
– J.S. & K.S., Resident for three years
At GSC knowledgeable, friendly relocation specialists are available to answer your questions and help in your apartment search. Learn more about our Relocation Specialists and how they can assist you.


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Thermal Imaging
Thermal Imaging
Thermographic services to help identify areas of weakness
MSAFE can carry out thermal imaging on a complete range of buildings including dwellings and non-dwellings and this service can be used in conjunction with Air Tightness Testing to help identify air leakage paths.
Thermal Imaging can also be used to satisfy the Building Regulations Approved Document L2A requirement for Continuity of Thermal Insulation where:
"the building fabric should be constructed so that there are no reasonably avoidable thermal bridges in the insulation layers caused by gaps within the various elements, at the joints between elements and at the edges of elements such as those around window and door openings" - Section 3.3 Approved Document L2A 2013
MSAFE Thermal Imaging finds thermal insulation defects and provides a quality assurance that the insulation is reasonably continuous over the whole building envelope.
MSAFE undertake work nationwide however we have a strong presence providing Thermal Imaging & Air Leakage Testing in Dorset, Hampshire, Wiltshire, Gloucestershire, Somerset, Devon, Cornwall, Berkshire, Oxfordshire and London.
To arrange a competitive fee proposal please contact MSAFE on 0333 8000 700 or fill in your details using the form and we'll call you back.


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What are you worshipping today?
Art heals. I truly believe that statement to be true. And among all forms of art, my favorite is music. Music transcends our inability to communicate our deepest emotions and it enables us to give meaning to the most various experiences in our lives. Music has been my refuge in a way. It's my secret place when everything around me crumbles. It helps me keep myself together when I need to, it protects me from talking to people when I don't want to, and most of all, it helps me express some of my most intimate thoughts, desires, and feelings. Throughout my life my most treasured memories have always had a soundtrack. Songs that reminded me of specific moments either because they were playing then or because their lyrics or melody just fit. And among all these memories is the first time I went to church.
I remember the small building, the rugged walls, the smells of wood from the benches, and the songs! I remember not understanding how those words that conveyed intimacy, love, and relationship could be applied to God since, to me, God was that authoritarian father figure who sits on a throne watching all of us down here. But boy, did I feel it! As each old-fashioned melody was played and each puzzling yet delightful word was sung, whatever was inside of my heart started to boil up and ended up being translated into tears. While for me as a shy cerebral 10-year-old those tears made no sense, I couldn't help but realize that whatever I was feeling meant a genuine encounter with God himself. I didn't fully understand why worship meant so much, but I knew I was being grasped by something greater than me and all I could do was surrender.
Of course, after the service I pretended nothing happened, but I suspect my eyes denounced me. Had I known then what I know now, instead of hiding I'd have encouraged everybody to give themselves freely to those melodies and lyrics that talked about a God who owned it all yet chose to clothe Himself in humility in order to become approachable to me and to you. Those old songs talked about a God that lived, felt, and is like me so that I could live, feel, and be like Him. And while worship means a hundred different things beyond music and lyrics, to me it still means what it meant on that first visit—a genuine and transformational encounter with God with practical implications that overflow from our hearts to how to interact with ourselves, our families, our communities, and ultimately, our world.
NT Wright says we become like what we worship. Now the question isn't whether we worship something or someone, the question is what have we been worshiping? And I suppose the answer is easy, and probably somewhat painful. All we have to do to figure it out is take a good look at ourselves. Who we are tells us about who or what we worship and awareness of any need for change is the first step for actual and effective change. Brothers and sisters, as the new year begins, let us take this opportunity and the sense of renewed hope to give ourselves as a living sacrifice to the One who gave it all for us. That is indeed a resolution worth having. Happy 2018 and may our worship be intentional and wholesome!
Lici is a graduate student from Brazil. She is essentially an extrovert who's really bad at small talk. She serves at Skyline and loves all things blue, tasty and insightful.
If you missed this week's sermon, check it out here.


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Our NAMM order is in! And after a terrific 2009 we're replenishing our 2010 inventory from Korg, Marshall and Vox. A shipment of new Korg tuners and metronomes is on its way, as well as another shipment of the incredibly popular Korg SP-250 digital pianos. If you want to be on our waiting list for one of these $699 gems, which includes the stand, music holder and piano-style foot switch, please call.
In addition to Korg products, we'll be receiving some exciting new products from Vox. One of our favorites is the Vox Amplug Cabinet. Instead of using headphones with your Vox Amplug, create a portable mini amplifier! For under $50!
For those you who love the classic sound of Vox AC15 and Vox AC30 guitar amplifiers- and who doesn't? - we'll have the brand new Vox AC15VR and Vox AC30VR "Valve Reactor" versions of the classic amps. All Vox. All Vox AC tone. But at half the price!
And we haven't forgotten our acoustic guitar players and singer-songwriters. The brand new Vox AGA70, a 70W, two channel acoustic guitar amp, featuring a tube pre-amp, will be here in February. With two true channels for guitar and mic, phantom power, anti-feedback, chorus and reverb FX, stereo inputs for backing tracks, and a built-in DI. Whew! That's a lot of amplifier for the Avalon Music price of under $400.00!
Last but certainly not least are the Marshall amplifiers we have coming for all you tone monsters out there. The Class 5 tube screamer and the MA50C all tube combo amp are Marshall tone at its finest. Both at very affordable prices.
But the big surprise is the new line of modeling amps from Marshall, and we have our order in when they are released in February! These amps combine digital technology with tube power and incredibly duplicate the tone and dynamic response of 16 Marshall amplifiers and effects, including the historic 1959, 1974, JCM800 2203, DSL100, JVM410H and JMP-1. Plus there is on-board effects. With the JMD Foot Controller you'll have configurations that include 6 "stomp boxes," 28 preset channels of amplifier and FX, as well as FX Loop and Tap Tempo, all at your feet.
Click on the products photographs to get to the product website.
2010 is starting off with great things at Avalon Music - thanks to our very good and very creative friends at Korg, Vox and Marshall!


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Wardrobe malfunctions on the red carpet are nothing new these days, but Dolly Parton was the victim of one such event back in 1978 when her gown split up in the front just before she was to be crowned the CMA Awards Entertainer of the Year.
"I remember thinking, 'This is such a beautiful dress, but the fabric is so delicate!" she recalled, according to People. "I thought, 'Man, as tight as I wear my clothes…' — and I was a little hefty then anyway! — I thought, 'I hope this all holds together!'
"When they called my name," Parton continued, "I felt something creeping up my stomach, and I thought, 'Oh My God — my dress is coming apart!' And I thought, 'What am I gonna do?'"
Kenny Rogers' then-wife Marianne came to her rescue. Marianne was wearing a fur stole, which Parton borrowed and she bravely opened up to the crowd about her wardrobe malfunction.
"I had this dress made in case I won, and about five minutes ago, I was hoping I wouldn't win because I busted the front out of it! My daddy says that's what I got for putting 50 pounds of mud in a five-pound bag!" she said at the time.
At the 2016 CMA Awards, Parton was awarded the Lifetime Achievement Award and the association honoured the event with a special tribute that featured artists such as Jennifer Nettles and Carrie Underwood.
Parton is a member of the Country Music Hall of Fame and she is a nine-time CMA Award winner.


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Fred Cray, Dissolve @Janet Borden
By Loring Knoblauch / In Galleries / October 4, 2017
JTF (just the facts): A total of 15 photographic works, framed in white and unmatted, and hung against white walls in the main gallery space. All of the works are archival ink prints, made in 2017. The show includes 14 single image works and 1 grid of 36 prints. The single images are sized either 14×9 or 28×18 inches (or reverse), and all of the prints are unique (a few have additions of small swatches of fabric). The prints in the grid are each sized 7×5 inches and are also unique. A limited edition self-published artist book is available from the gallery. (Installation shots below.)
Comments/Context: Few artists have rejected the inherent reproducibility of photography more consistently than Fred Cray. Throughout his career, he has restlessly experimented with approaches designed to deliberately break down the medium's mechanistic nature, from darkroom manipulations and multiple exposures to punching holes in his prints and adding collage elements. His various (and often mysterious) forays into process have inevitably led to unique pictures, where the native precision of photography wrestles with the hand of the artist.
Cray continues this innovative exploration of the edges of the medium in his newest works. Starting with a range of fairly standard photographic imagery (sunsets, landscapes, portraits, nudes etc.), he has printed the images on paper that repels the ink. So instead of resolving into pictures with crisp edges and sharp details, the ink piles up into wet pools that blossom into abstraction. The aesthetic is something akin to watercolor paint with just a bit too much water, where droplets alternately expand and dissolve into fluid and uncontrolled washes of color. Coming from a starting point of photography, the images seem to be breaking down, their rigidity collapsing into ephemeral essences.
The best of the works in this show embrace the uncertainty created by the unconventional process, allowing the chance dispersion of the ink to bring something unexpected to the underlying subject. A black and white image of the Empire State Building melts away, as if the famous spire was engulfed in swirling black smoke. A night scene in a quiet Los Angeles neighborhood takes on an anxious film noir mood as the dark sky wanders across the rooflines. And a melancholy female nude becomes a gestural color study, where the details are softened into fleeting impressions.
When Cray lets the process run a bit wilder, the results fully decompose. A Brooklyn sunset disappears into intermingled layers of pink, green, and orange. An airplane in the sky becomes a tiny smear against a tactile wash of creamy white. And what looks to be a beach scene with palm trees completely falls apart, becoming splotches of bright color and gentle watery conflict. The German photographer Joachim Schulz has used a similar process to turn images of Dutch floral still lifes into explosions of expressive color, the pools bleeding together into swirls of intense energy.
In the end, Cray's core impulse seems far removed from some sort of neo-Pictorialism – he's not trying to fawningly emulate the look of painting, but instead trying to forcefully deconstruct photography. Such a process doesn't always yield compelling results, given its reliance of uncontrolled chance, but when the inks move beyond blur into slippery distortion, the images often find an element of magic. Held right at the tipping point of representation and abstraction, Cray's dissolved photographs allude to more amorphous and nuanced realities, revealing that there can be much more to a photograph than its obvious clarity.
Collector's POV: The works in this show are priced as follows. The 14×9 prints are $3200 each, the 28×18 prints are $7000 each, and the grid is $6500. Cray's work has very little secondary market history, so gallery retail remains the best option for those collectors interested in following up.
Collector Daily October 4th, 2017
Nighthawknyc.com two part article on work and books
Chronogram Magazine Cover Image (October, 2017) and Article by Zan Strumfeld
NY Times Alex Vadukul Article
January 21, 2014
Collector Daily:
Fred Cray, Unique Photographs @Janet Borden
Fred Cray, Unique Photographs @Janet Borden
By Loring Knoblauch / In Galleries / January 21, 2014
JTF (just the facts): A total of 77 color photographs, framed in black and unmatted, and hung against white walls in the main gallery space. All of the works are archival inkjet prints, made in 2013 and 2014. 42 of the works are sized 4×6 (or reverse) and have money, lottery tickets, or other photographs hidden inside the frame; there is also one set of 20 prints, also each sized 6×4. The other 11 prints are sized 35×24 (or reverse). All of the works are unique. The show also includes two artist books in a vitrine, Unique Photographs andChanging of the Guard, in editions of 200, both from 2013.
Comments/Context: Last summer, I was poking around in the 2nd floor bookshop at MoMA, and I pulled down Thomas Demand's Executive for a closer look. As I flipped through the pages, something fluttered to the floor; I thought it was a response card from the publisher, but on closer examination, it turned out to be one of Fred Cray's unique photographs. In contrast to the perfect sterility of the Demand images, it was a picture of a guy with no shirt in an overstuffed messy office, perhaps taken from a TV, with two holes punched in it, and a stamp and number on the back (see last install shot). Here was another artist interrupting Demand (in the confines of a hallowed museum no less), subtly commenting on the work in the book with a photograph of his own, bringing guerrilla intervention and artistic serendipity back to photography. I thought it was incredibly smart.
As it turns out, Fred Cray has been leaving/hiding his photographs all over the place for years now, some 10000 unique prints deposited all over the globe, so clearly, I'm not the only one to have experienced this unexpected moment of intimate visual conversation. This show brings together a broad sampler of Cray's unique photographs, both in the handy small size (perfect for surreptitious delivery) and in a larger size that is more visually striking, as well as a pair of artist books that document the ongoing project.
In an age when we are drowning in seemingly endless photographic reproduction, Cray is using digital technology to make unique objects; it's almost a contrarian position to take in such an environment. And the "how" of his work seems almost intentionally opaque – are the works multiple exposures, or layers of sandwiched images, or copies and tweaks? But as I wandered amid these works for a while, the process fell away – it doesn't much matter how he has achieved his original effects. The experience is altogether hand crafted and painterly, with architectural silhouettes and towering trees tinted with washes of color, dotted with what might have been sun glare but could just as easily be filtered circular abstractions, coming together in a kind of hallucinogenic fog, where colors and forms dissolve into an ethereal set of echoes. They're like a scene caught in your peripheral vision, a hazy transitory glance or a blurred memory.
Many of the smaller prints have been punched with physical holes – large, small, snowflake shaped, breaking up the image and reminding us of their physical presence. They also allow us to see "through" the print (almost an inside photography joke), in this case, to the hidden snippets of metallic lottery tickets or etched green dollar bills framed behind the artworks and another layer of surprise and opportunity for the lucky buyer. Another set of works documents the bearded face of a guard at the Met, overlaid with a dizzying variety of visual interventions and puns. There is an intellectual rigor here being applied to photography, a thoughtful testing of limits and recombinations.
While it may sound simplistic, what I like best about these unique works by Fred Cray is that they don't look like anything we've seen before. His trees are at once bold and transitory, physical and impermanent, his buildings combining angularity and evanescence, hard edges and fluttering diffusion. His pictures are a reminder that digital doesn't have to mean machined to perfection and drained of meaning. And by placing his works out in the bustle of life, he's telling us that there is still a place for daring experimentation sized for individual discovery in this art world. These works succeed both as innovative photographs and as clever acts of intrusion, infringement, and commentary, and I for one, am now keeping my eyes peeled for more unpredictable Fred Cray ideas hiding in plain sight, waiting to be found.
Collector's POV: The works in this show are priced as follows. The larger 35×24 prints are $5500 each, while the smaller 6×4 individual prints are available for $150 each; the set of 20 small prints is priced at $3000. The artist books are $100 each. Cray's work has very little secondary market history, so gallery retail remains the best option for those collectors interested in following up.
Miwa Susuda for Photobookstore UK Blog Fall,
"Unique Photographs"
As photography evolves into another generation, the fate of our visual experience is thrown across the sprawl of the digital environment. The "uniqueness" of the contemporary photograph is not inherent, and more than ever the sum of it's parts must grow in new ways in order to survive. Instead of offering a simple alternative to the now banal questions of what makes something original, Fred Cray's first publicly released artist book offers a revised method: natural selection.
"Unique Photographs" adds dimension to ideas of chance in photography. Cray's work gains substance from serendipitous interactions with people who discover his prints left at varying locations including New York, across the United States, Europe, Asia, Australia and South Africa. His work breeds discovery as he individualizes the images (and for that matter he individualizes the book with holes and unique photographs as inserts) by randomly punching holes in different spots, digitally altering, stamping, and/or numbering by hand (as if specimens set loose into the wild.) As a type of epilogue at the end of the book Cray shares the email correspondences and reactions he receives from those who accidentally find the prints. I am struck by the urge of those who discover his pieces to look up his name on Google and to actually send him their messages, a seemingly laborious gesture too often trumped by impracticality in this high speed age of our digital society. However, this project has been successfully (and delightfully) realized because of people's pure curiosity and desire to reach out to others. Cray's gesture offers us a chance to carefully look, and, moreover, he gives us a possibility to connect with people beyond immediate time and place: a sense that we are moving forward but not at the expense of expectation or technological grind.
With an interdisciplinary educational background in literature and painting, Cray has become a multi-faceted artist and has a particular sensitivity to narrative elements in art movements of the 1960s and 70s. He respects Joseph Beuys' environment based works as well as the theories formed by Fluxus groups especially for their participation within a public setting. However, Cray's attempts are intentionally apolitical unlike the aims of Fluxus members. He molds the current development of our digital culture to his advantage. Cray is hopeful in his attempts of connecting people (to each other and to himself) through his unorthodox process. By creating threads of connection with his photography, Cray presents himself articulately as a visual poet rather than an aggressive protagonist.
As a native Japanese, I can't help comparing his project with "Lemon", one of the masterpieces in modern Japanese literature and written by Motojiro Kajii in 1925. In this story, a lemon is placed on the pile of the books at the large bookstore in Tokyo. For Kajii, a bookstore was symbol of an overwhelming amount of information and on the other hand the decline and fear of the intellectual life. The lemon represents an actual object and an awaking for a fresh new mental life. I see this story as empathetic and insightful regarding hope and chance in a way not dissimilar to Cray's project. After "Lemon" was published, I heard that the popularity quickly rose among many readers, they also left lemons at the bookstores, and it was a small trouble and an innocent act. I wonder [hope?] if the popularity of Cray's "Unique Photographs" will induce the same kind of phenomena, and give us a joyful and genuine encounter with the other people.
November 30, 2010
Cincinnati CityBeat
Art: A Look at Life through Photography at Phyllis Weston Gallery
Matt Morris
Inspired by the Art of Caring: A Look at Life through Photography is the current exhibition at Phyllis Weston Gallery, guest curated by Cynthia Goodman. The entire first floor of the gallery is given over to an impressive roster of internationally famed photographers, including Tina Barney, Lee Friedlander, William Wegman and many others. These photographs record images of human existence playing out against large-scale, elemental events like hurricanes, forest fires and our own inevitable mortality.
Robert Polidori's giant print of a devastated living room in the aftermath of Katrina initially flickers with the grandeur of a Baroque history painting before wilting into a reality in which hurricane survivors were left with next to nothing. Fred Cray has two enigmatic collaged images that outshine many of the other big names that he joins in the exhibition. Cray's "Untitled (You Could Have Done More)" embeds a gowned figure into a lush flower garden like a dream sequence.
January 1, 2006
From New Media, Old Media
Wendy Hui Kyong Chun and Thomas Keenan
With the rise of digital culture and the Interned, desire no longer tries to escape its interiority but celebrates and consumes it. In his Travel Diaries (1999-2000) Fred Cray creates a mediascape out of found images from film, photography, the Internet and animation that are rendered in filmstrip format arranged to form pages in a book. The journey that is recorded in these diaries is not physical but virtual, a journey from one medium to the next and in between that refuses to be a photography of exteriority. The omission in these diaries is the self, usually the key point of a diary entry. They are his counterpoint to a series of self-portraits that a number of critics have compared to spirit photographs. Rather than try and show his intimate interior self as so many photographers have done, Cray wears make-up and exotic hairstyles. Using a long exposure, Cray deliberately moves while the shutter is open to create a blurred, moving image that he further enhances with the use of color. Cray's diaries and self-portraits reveal that there is no one home but the ghost, which is not to say that he is insane but that the endless repetition of visual selves leads to an indifference, a loss of difference, that can end in the loss of the self. The ubiquitous surveillance cameras of today's society in no way seek to prevent crime or other breaches of social norms, nor do they claim any moralizing effect on the individual. The video record of the abduction of the toddle James Bulger from a Liverpool shopping center was, in retrospect, a simply well-publicized example of the indifference of contemporary surveillance to the individual.
December 16, 2005
The Chicago Tribune
Fred Camper
Four layers of superimposed images float dreamily atop each other in Fred Cray's untitled photographs at Schneider; sensually lush with a variety of objects and rich colors. The juxtapositions usually don't make obvious points, and the ambiguity creates multiple meanings--as do the printed texts Cray adds to the bottom, which he compares to movie subtitles.
Each of Cray's pieces create visual labyrinths bursting with suggestions, and it's through these that the viewer wanders.
A little girl whose image Cray found online stands at the center of a piece subtitled"insanity runs in the family; it practically gallops." Around her are 15 greenish faces, taken from a video of chanting monks by Marina Abramovic. The monks could be the girl's relatives, arrayed around her to express the way each of us is determined by our families. There are also fragments of a city at night, including a large pointing arrow, evoking choices and chance.
Two other works offer meditations on death. The words "you could have done more" are accompanied by two layers of flowers and a woman with her back to us, creating a funereal mood. The words could function either as a reproach to the deceased for an incomplete life, or the deceased's reproach to the survivors, perhaps for inadequate medical care, The flowers form variegated layers that the figure seems to be entering as if burying itself. An additional faint shadow is Cray himself. He made this piece shortly after his father died. Another that features his father's face was taken at the funeral home just after his death. Two layers of pale blue video images of movies his dad liked surround the warm colors of his face and pillow. A subtitle "so where do we start" again can be taken several ways, and contrasting colors add visual ambiguity.
December 6, 2005
Newcity Chicago Magazine
Michael Weinstein
Combining postmodern sophistication with near terrifying psychological intensity, Fred Cray roams the world with his 35mm camera shooting quadruple exposures in color that mount one scene upon the next to create images with complex and piercing meaning. Although Cray's photographs are garishly lit, they are haunted by death and loss, as if their surface is a veneer over an abyss of sorrow. In his image entitled "you could have done more" the translucent figure of a girl with her back to the lens has been absorbed in a dense thicket of bushes bursting with a profusion of flowers that have penetrated her ectoplasmic form. Less a ghost than a vanishing body, the girl is the icon of Cray's series, expressing his deep belief that existence means failure.
October 31, 2003
The Chicago Tribune
Alan Gartner
One of Fred Cray's color photographs at the Schneider Gallery is a ghostly self-portrait made by using along exposure time to record him stepping in and out of the picture. It
Is the only image on view that can be explained so simply.
The rest of the exhibition is devoted to what the photographer calls "Compilations." These pictures build on his "travel diaries" of two years ago to present all at one time a number of the varied impressions received when visiting other cultures. They are collages made both in and out of the camera.
First, Cray runs each roll of film four times through his Nikon, allowing chance to produce layered images. Then one is selected and blown up and used as a backdrop for a horizontal strip of multiple exposures that sometimes harmonize with and sometimes provide discords within the larger image.
The photographer not only includes contemporary sights but also scenes from films and segments of paintings, so any one of his pieces may shift backward and forward in time, propelled by actual and invented vignettes of radically different character.
The results "explain" nothing about the cities Cray has visited. They are more internalized dreamscapes. Thus the viewer looks in vain for logic or even faithful topological reportage. The thrill here comes from straight photography achieving the poetic disjunctions and disorientation of a sleep state.
February 7, 2003
The New York Times
Art Guide
FRED CRAY, ''Travel Diaries,'' Janet Borden, 560 Broadway, at Prince Street, (212) 431-0166 (through Feb. 15). While traveling, Mr. Cray exposes rolls of film in his camera multiple times, producing prints that layer street scenes, buildings, pedestrians, cartoons, pornographic movies, movie subtitles, newspaper headlines and other mostly mundane sights. He pastes these pictures into grids, producing stream-of-consciousness fields of visual information, models, perhaps, of random memory (Johnson).
December 19, 2001
Newcity Chicago Magazine
Michael Weinstein
Fred Cray's ambitious photo-collages--arranged in grids of quadruple exposures of tourist shots from cities around the world--strike the eye with sparkling compounded density filled with bursts of multiple fragmented impressions and meanings ranging from
the mundane through the bizarre. On a purely visual level Cray's works are lush and confectionery, mixing color with black and white images to highlight brightness through contrasting effects. Conceptually, the works are "travel diaries," recording the pell-mell
of impressions crowding each other out in quick succession that greet visitors to an unfamiliar city. Although the sites of Cray's adventures are famous places like Paris or London, don't expect any nostalgic moments, iconic visions or rhyme or reason from him; Cray is a rare animal, a postmodern impressionist who decomposes illusionary space to bring us closer to the luxuriant chaos of primal perception.
February 13, 2001
Village Voice
Vince Aletti
Cray's latest work picks up from his last show of multilayered travel shots. Here, he's isolated and blown up one of those image sandwiches--each a meld of four separate pictures, at least one appropriated from the TV screen, painting or other media--and slathered it in wax. The resulting objects, with their pumped-up sense of hectic simultaneity and milky drips, are delicately colored, kind of trippy, and not just sublimely suggestive.
February 2, 2001
The New York Times
Art Guide
FRED CRAY, Richard Anderson, 453 West 17th Street, (212) 463-0970 (through Feb. 10). On a recent trip to Europe, Mr. Cray ran rolls of film through his camera four times, producing densely layered multiple exposures of people, buildings, artworks and commercial signs. For this show, he enlarged selected frames and coated them with wax, creating flickering, obscurely complicated images that are like elusive dreams or fading memories (Johnson).
May 30, 2000
Village Voice
Vince Aletti
Cray's black and white filmstrip collages pin down a media-drive stream of consciousness most viewers will recognize as not far from their own. By running the same film through his camera several times, he makes "travel diaries" that capture image-bank overload in layer upon layer and row upon row of half-seen pictures. Cartoons, snapshots, sitcoms, paintings, self-portraits, statuary, fireworks, porn--- everything is grist for Cray's voracious visual appetite. Because no image is without an overlay or a shadow, each piece suggests a flickering screen--a fascinating simultaneity that is almost more than you can stand
February 29, 2000
Village Voice
Vince Aletti
Fred Cray's vividly colored photos of his shaved head are less self-portraits than erasures. Before posing against a painted background, he paints himself to either blend into his setting or jump out from it, then exposes the film for two minutes. When Cray exits the frame before the time is up, he leaves the merest trace of an image; when he moves, the camera records a shimmering blur. Bill Jacobson, Uta Barth, and other conjurers of the ephemeral come to mind, but Cray's use of hot Fauvist hues gives his work a more painterly cast, and his work sticks in the mind like an afterimage of a flash.
February 25, 2000
New York Times
Art In Review
Roberta Smith
Richard Anderson
453 West 17th Street
Fred Cray, a Philadelphia artist who is having his first solo show in New York, operates in the triangle between painting, performance art and photography. He does not have the territory to himself, but his work stands out.
Mr. Cray makes what might be called Technicolor spirit photographs, lush, gaudy ethereal self-portraits. His process begins with making up his face (and shaved head) in colors that range from dark to light to bright, after which he stands in front of a wall, also painted a strong color. He then opens the camera for a two-minute exposure, moving his head or changing his expression or even ducking out entirely.
The blurry results are beautiful, unexpectedly painterly and emotionally suggestive. Each presents a creature of indeterminate age, sex and race, and of varying corporeality, who is, according to the colors and degree of definition, masked, submerged, ghostlike or fading into (or emerging from) the ether of memory.
January 1, 2000
Back in Time: A Note on Fred Cray's Self-portraits- Catalog essay
Andy Grundberg
For much of the last 25 years, artists using photography as their medium have been at pains to demonstrate how much camera images have made the physical world seem distant and second-hand. Postmodernist artists of the 1980s, in particular, were adamant in their conviction that photographs constitute a kind of simulated, second-class experience, one not merely colored by media images but entirely constituted by them. Their response to this condition--a dilemma, really, because it was a closed system, a box with no exit--was to make pictures that reflected back on the status of pictures as cultural reflections. Artists such as Sherrie Levine, Richard Prince, and Cindy Sherman chose this approach, while others, including JoAnn Callis, Eileen Cowin, Nic Nicosia, and Sandy Skoglund presented camera reality as a stage set to remind us how artificial and arbitrary lens images can be.
The challenge since has been to reconstitute photographic images as genuine articles of genuine experience. Surprisingly, given our fascination with entering a new and presumably digital millennium, this challenge has taken artists back to the nineteenth century, to explore the fascinations that inhere to the earliest forms and techniques of the medium's invention. Shadow pictures made without the aid or any camera, long exposures, bad or no lenses, handmade chemistry and coated metal plates--these are some of the techniques of the first truly 21st century photographers, among whom we can count Fred Cray.
Cray uses modern equipment and materials to produce effects that superficially could be considered antique. Like the daguerreotypists, whose plates lacked the photo-chemical sensitivity we now take for granted. Cray builds his exposures over time. Most of his pictures encapsulate a span of two minutes, during which interval the subject might blink, move, or even take a walk. The result is a series of spectral, translucent portraits that have the psychological immanence of the very first photographs. In addition, the artist uses himself as a model and subject, which further adds to the primal, authentic quality of his images. As with a daguerreotype, one feels the shock of a real presence before one's eyes, but a presence that has been preserved only by indicating its potential absence.
When Cray began taking self-portraits in the early 1990's he worked with black and white film, recording for the stationary camera performances in which he appeared to burst into flame or to have been burnt to a sooty crisp. Paradoxically, however, these images seem more of our time than the color self-portraits he began in 1998. The color we see is a result of Cray having applied paint both to himself and to his backgrounds, and it serves to unhinge the human image from its conventional realistic supports. Instead of documentary effects Cray produces the equivalent of 19th century spirit photographs.
As naïve as it seems today, spirit photography in the late 19th century was no joke. Thousands of Americans believed that the camera could replicate the appearance of relatives long since departed, and the trickery employed to produce this effect was no deterrent to the belief that spirit and flesh were not opposites buts sides of a flexible mobius strip that could be played back through the camera like a film loop, While Cray be more interested in the emotional and psychological intervals he can produce through his manipulation of color, movement, and expression, he cannot be unaware that intimations of his own mortality pervade the entire series.
Cray's work raises the postmodern lenticular stakes in a way that can remind on of Adam Fuss's photograms of babies and snakes, or of Christopher Bucklow's "solar portraits" made up of thousands of individual circles of light. Like these artists' camera-less pictures, Cray's photographs attest to photography's presence not only in a world of images but also in a world of transcendence that is attained by material means. And to the extent that we can read these images as the abstract residue of their maker's unimpeachable physical existence, their beauty becomes irresistible.


text:
My work is an observation of the parallels between photography and theater. In both we enter a black space and an image appears. What is seen is at once, simply, itself and what it seems to be.
In the past, the work focused entirely on the performer in the spotlight. In this series of photographs entitled STAGE, I focused my attention away from the performer and onto the stage about to be inhabited, or once inhabited, by the performer. Although still and empty, the stage is filled with expectation and, perhaps, dread as lights dim and a curtain begins to rise. Or, after a performance, with nothing left but the physical space and the memory of what occurred there. As such, the images can conjure emptiness and occupied space, equally silent and animated.
Rhona Bitner investigates how the spectacle and experience of performance and theater is represented in a two-dimensional photograph. Currently she is working on a project imaging the legacy of American music. Her work has been exhibited in the United States, France, Switzerland, Greece and Spain. It is represented in the public collections of The Whitney Museum of American Art, The Art Institute of Chicago and the Maison Européenne de la Photographie, Paris, France, among others and has been reviewed widely in publications including Artforum, The New York Times, ArtPress and Beaux Arts. She divides her time between New York and Paris. In 2010 she is a fellow at the Marie Walsh Sharpe Art Foundation Space Program in Brooklyn, NY. website.


text:
Oil Pastel
Oil Pastel
Materials and Techniques for Today's Artist
By Kenneth Leslie
Finally back in print for a new generation of artists, Ken Leslie's Oil Pastel is the definitive instructional resource on this wonderfully rich and versatile medium.
Vibrant and portable, oil pastels are ideal for making quick sketches, producing stunning finished works, and make a great auxiliary tool for artists working primarily in other media. Boasting an astonishing array of color, value, and texture, oil pastels can be layered, scraped, washed, blended, and scumbled to achieve a seemingly endless variety of effects ranging from delicate lines to gooey, impasto crusts.
Easily the most comprehensive oil pastel technique book available, Ken Leslie's Oil Pastel: Materials and Techniques for Today's Artist will teach you everything you need to know to create striking work that is authentically yours. Skipping over the flashy tricks and gimmicks that palely imitate true artistic skill, Ken dives headlong into a lively and engaging discussion of every aspect of the medium.
With over 40 years' experience as a beloved teacher and collaborator, it's no wonder that every page of this book is jam-packed with substance and detail! Meticulous step-by-step demonstrations that accompany the sections on technique will show you how to use your pastels to achieve nearly any effect you desire. Ken can even teach you how to get a bright yellow to cover black! You will also have the chance to explore experimental approaches to oil pastel painting including, mixed media, 3-D constructions, unusual paper shapes, working with molten pastels, and much more.
Perfect for all skill levels, Oil Pastel's thorough overview of color theory and basic painting techniques will help beginners get off to a strong start while advanced readers will surely delight in learning to make custom homemade pastels and new handling techniques. Ken Leslie's exciting and supportive writing style will have you paging through this book time and time again for tips, reminders, and lessons you missed the first time around! With color images of technical demonstrations, comparisons, examples of the author's work, as well as the work of over 40 other artists,Oil Pastel: Materials and Techniques for Today's Artist truly has something for everyone.
About the Author
Ken Leslie is Professor of Fine Arts at the Visual Arts Center of Johnson State College in Vermont, where he has taught painting and drawing since 1984 in the BFA and MFA degree programs. He has received numerous honors for his work, including visual artist fellowships from the National Endowment for the Arts, the Vermont Arts Council, the American-Scandinavian Foundation and the Vermont Community Foundation. He lives in Vermont with his wife Ruby, a nationally recognized weaver.
ISBN: 9781626542051 (Hardcover)
ISBN: 9781626541658 (Paperback)
ISBN: 9781626542594 (Spiral)