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- Congressman Al Lawson and CAFS students at the Farmer's Roundtable event.
- Harambee Festival - Learning about insects.
- Dr. Mbuya explaining the importance of water quality and the impacts of contamination.
- Goat meat cooking demonstration conducted by Cooperative Extension.
- CAFS Living Learning Students(LLC) students inspecting bee colonies.
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Course Descriptions
ABE 1010-Introduction to Biological Systems Engineering (BSE)-2 Credits--An introduction of mathematical and engineering concepts utilized in food and agricultural systems design. The course includes exercises in problem solving and standard engineering computing techniques.
ABE 2001 L-Introduction to Computer Applications-3 Credits-ABE 1010 and MAC 2311 or permission-This laboratory course provides hands-on experience with computer application packages for development of problem solving and design skills. The course covers the use of spreadsheets, Matlab and Mathcad for problem solving, data analysis, numerical methods and statistics, and the use of SolidWorks and/or AutoCad software packages for engineering systems design.
ABE 3013-Introduction to Design Analysis-3 Credits-ABE 2001L and MAC 2312 or permission-Introduction to modeling of mass and energy balances and rate equations. Statistical analysis of experimental data, curve fitting and presentation of experimentally derived data.
ABE 3014L-Process Modeling for Bio and Agr Systems Engineers-3 Credits-ABE 3013-In this course, students will use modeling techniques to study different biological systems. The course is a lab Format with focus on separation science, reactor kinetics and mass transfer. Emphasis will be placed on the development of basic understanding for defining and Evaluation interrelationships of parameters in Biological Systems. this course is the second in a part two series
ABE 3212C-Natural Resources Conservation Engineering-4 Credits-SWS 3022 and CWR 3201 or permission-Natural resources utilization and engineering; hydrology, plant-water-air-soil relationships, soil erosion, erosion best management practices , GIS (geographic information systems), channel flow, pipe flow, irrigation and drainage.
ABE 3613C-Heat and Mass Transfer in Biological and Food Engineering-3 Credits-ABE 2001L; EML 3100 and MAP 2302-Transport phenomena, steady and unsteady state heat conduction, radiation. Free and forced convection, mass transfer, psychometrics, thermodynamics of biological processes
ABE 3650-Engineering Properties of Biological Materials-3 Credits-BSC 101 and PHY 2049 or permission-Physical properties important to the design of harvesting, storage, and processing systems for agricultural crops; principles and techniques for measurement of properties including frictional effects, particle size, strength, moisture content, specific heat, and thermal conductivity.
ABE 4030-Instruments for Agricultural and Biological Systems-3 Credits-EEL 3003 and MAC 3313-Overview of modern instrumentation techniques in agricultural and biological engineering systems. Emphasis is on laboratory use of the equipment. Topics include performance characteristics of instruments, analog signal conditioning, transducer theory and applications, and digital systems for data acquisition control
ABE 4042-Senior Capstone Design I-2 Credits-ABE 2001L, MAP 2302, MAS 3105, ABE 3013, Senior Standing and FE Application-Capstone design experience. The first of two senior design courses, this course prepares students to complete a real-world design problem, which culminates in Senior Design II (ABE 4043). This first course emphasizes design concepts of engineering problems including identification of problem and problem objectives, specifications, prior art, modeling and analysis. In addition, the students will have oral and written exercises in engineering ethics, safety and quality control, national and international standards, project management, and designing for sustainability. A written and orally presented design proposal for the selected team project is required. Students must be within 32 credits of completion of the BASE degree.
ABE 4043-Senior Capstone Design II-2 Credits-ABE 4042-Second semester continuation of the capstones design experiences, is the completion of the team project assigned in ABE 4042. A design notebook, weekly reports, a safety and quality assessment, sustainability analysis, final report and oral presentation are required. Student teams are also required to submit the final design to one of the design competitions of the American Society of Agricultural and Biological Engineers (ASABE).
ABE 4224-Non-Point Source Pollution-3 Credits-ABE 2001L and CWR 4101 or permission-Introduction to the chemical and physical processes involved in contaminant transport. Watershed modeling applications to characterize watersheds, identify contaminant sources, and evaluate alternatives for contaminant control.
ABE 4232-Water Management System Design-3 Credits-ABE 3212C or permission-To acquaint the student with the science and design of drainage, irrigation, rural water supply and rural sanitation systems. There will be an integration of economic, environmental, and social considerations into the various design projects.
ABE 4612-Environmental Modifications and Controls-3 Credits-EML 3100 and CWR 3201 or permission-Fundamentals of heat and mass transfer, psychometrics and solar radiation, and their interactions with animals and plants in controlled environments. Application of fundamental principles to the design of animal and plant production structures and other intensively managed biological systems.
ABE 4651-Biomass Conversion Processes for Energy and Chemicals-3 Credits-CHM 1045, BSC 1011-There are a variety of physical and biological processes available for converting plants and other biomass resources into energy, industrial chemicals, and foods. The design is accomplished through fusing concepts from biochemistry, microbiology, and plant biology with the concepts and methods of engineering. There are four components of this course: plants as biochemical resources, heat and mass transfer, enzyme catalysis, and fermentation kinetics. Each component concludes with a case study that demonstrates how the scientific concepts and methods are used to design a biomass conversion process.
ABE 4661-Biochemical Engineering-3 Credits-MCB 3010, MAP 2301, ABE 4812 and EML 3100-Use of microorganisms and enzymes for the production of chemical feedstock, therapeutic proteins, antibiotics and other fermentation productions. Topics include kinetics and energetic of microbial metabolism, design and analysis of reactors for microbial growth and enzyme catalyzed reactions, and consideration of scale-up, mass transfer, and sterilization during reactor design.
ABE 4701-Agricultural Waste Management Engineering-3 Credits- BSC 1011, CHM 1045, or Permission. -Sources and descriptions of wastes from livestock, food processing, and domestic refuse. Waste is characterized by physical, biological, microbiological and chemical properties. Details practices of collections, storage, treatment (aerobic and anaerobic), and utilization/disposal. The environmental effects of land application, and other disposal practices is included.
ABE 4812-Food and Bioprocessing Engineering-3 Credits-ABE 3013, ABE 3612C, CWR 3201-An analysis of the most common unit operations utilized in the processing of food products. The principles of heat and mass transfer associated with processing operations will be used in defining process systems for drying, refrigeration, etc.


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There is a place for alarmism when threats to civil liberties are concerned. Too much worry about our freedoms is better than too little, particularly in the face of a government shrouded in wartime secrecy after the Sept. 11 attacks.
But there is also a place, a decade later, for sober reflection. By historic standards, the domestic legal response to 9/11 gave rise to civil liberties tremors, not earthquakes. And even those changes were largely a result of reordered law enforcement priorities rather than fundamental shifts in the law.
Consider the USA Patriot Act, which was short for this Orwellian mouthful: Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism Act of 2001. The law, more than 300 pages long, sailed through Congress seven weeks after the attacks with scant dissent. It quickly became a sort of shorthand for government abuse and overreaching.
The Patriot Act undeniably expanded the government's surveillance powers and the scope of some criminal laws. But this was, in truth, tinkering at the margins and nothing compared with the responses of other developed democracies, where preventive detention and limitations on subversive speech became commonplace.
"In comparative perspective, the Patriot Act appears mundane and mild," Kent Roach, a law professor at the University of Toronto, writes in a new book, "The 9/11 Effect: Comparative Counter-Terrorism."
The story is different as one moves beyond domestic criminal law. Detentions at Guantánamo Bay, extraordinary renditions and brutal interrogations all tested the limits of the appropriate exercise of government power in wartime. The American government held people without charge for almost a decade, engaged in torture as that term is understood in international law, and sent people abroad for questioning to countries known to engage in what everyone must agree is torture.
But criminal law itself changed surprisingly little in the wake of the attacks. What did change was how law enforcement conceived its mission.
Almost immediately after the attacks, Attorney General John D. Ashcroft announced "a new paradigm." Preventing terrorist acts, he said, was now more important than punishing crimes after the fact. There were echoes here of "Minority Report," the 1956 Philip K. Dick story (and 2002 movie) that depicted a world in which the police catch criminals before they can act, based on their thoughts rather than their actions.
The new paradigm encouraged the arrests of people thought to be dangerous for, as Mr. Ashcroft put it, "spitting on the sidewalk," or for immigration offenses, or as material witnesses. It increased surveillance of religious and dissident groups. It ramped up the use of a law barring even benign support for organizations said to engage in terrorism, putting pressure on activities long thought to be protected by the First Amendment. And it inserted informants into Muslim communities, giving rise to a culture of suspicion and charges of entrapment.
The number of people directly affected by these changes was, in the greater scheme of things, small. The indirect chilling effect on free speech, association rights and religious freedom was impossible to measure. But by the standards of the Alien and Sedition Acts of 1798, the Palmer raids of 1920, the internment of Japanese-Americans during World War II and the McCarthy era, the contraction of domestic civil liberties in the last decade was minor.
Arrest Early, Charge Broadly
As they generally have in the past, the courts acquiesced in the government's efforts to combat terrorism. True, the Supreme Court placed some limits on the executive branch's ability to hold prisoners at Guantánamo Bay. But decisions in criminal and immigration cases tell a different story.
"The courts have been failing terribly," said Susan N. Herman, the president of the American Civil Liberties Union and the author of "Taking Liberties: The War on Terror and the Erosion of American Democracy," which will be published in October.
The Supreme Court, she said, routinely refuses to hear cases in which lower courts uphold the government's position in cases involving national security. "They're not interested in civil liberties challenges," she said of the justices. "They're only interested when the government loses."
The goal of stopping terrorism before it happens caused federal law enforcement officials to make early arrests and then to rely on charges that required little proof of concrete conduct. Prosecutors often charged defendants accused of involvement in terrorism with conspiracy or "material support" of groups said to engage in terrorism.
Those laws were already in place, said Robert M. Chesney, a law professor at the University of Texas. "The difference is," he said, "they just weren't being used."
After the Sept. 11 attacks, things changed. In just the first five years, prosecutors charged more than 100 people with providing material support to terrorist groups. That support often took tangible form, like providing weapons, and it generally seemed directly linked to the advancement of violent ends.
But some prosecutions were based on sending money to groups that engaged in both humanitarian work and violence. And last year, in Holder v. Humanitarian Law Project, the Supreme Court ruled that it could also be a serious felony merely to urge terrorist groups to use peaceful means to resolve disputes. Such speech, the court said, amounted to material support and could be made criminal notwithstanding the protections of the First Amendment.
Chief Justice John G. Roberts Jr., writing for the majority, stressed that the material-support law applied only to speech directed by or coordinated with terrorist groups. People "may say anything they wish on any topic" without running afoul of the law, the chief justice said, so long as they are speaking independently.
Aggressive use of material support and similar laws, critics responded, chipped away at two principles that had been thought settled for about half a century. One was that mere membership in a subversive organization cannot be made a crime. The other is that the abstract advocacy of even the violent overthrow of the government must be tolerated under the First Amendment.
The Humanitarian Law Project decision "is akin to the kind of criminalization in the McCarthy era of speech and guilt by association," said David D. Cole, a law professor at Georgetown who represented the challengers in the Humanitarian Law Project case as a lawyer with the Center for Constitutional Rights.
A second law already on the books, this one allowing the arrest and detention of material witnesses — people said to have evidence of others' crimes — was misused, critics say, as a shadow preventive detention regime. Instead of using the law to make sure people with information about the wrongdoing of others would turn up to testify, these critics said, prosecutors used the law to hold people themselves suspected of links to terrorism.
Guilty Until Proven Innocent
Laws concerning immigration offenses were also used to detain people suspected of terrorism, according to a 2003 report from the Justice Department's inspector general. The report said that the usual presumptions of the legal system were turned upside down after the attacks. People detained on immigration charges were considered guilty until proven innocent and were often held for months in harsh conditions after they were ordered released.
In decisions in 2009 and May of this year, the Supreme Court blocked two lawsuits seeking to hold Mr. Ashcroft accountable for what the plaintiffs said were abuses in the use of the material-witness and immigration laws.
"It should come as no surprise," Justice Anthony M. Kennedy wrote for a five-justice majority in one of them, "that a legitimate policy directing law enforcement to arrest and detain individuals because of their suspected link to the attacks should produce a disparate, incidental impact on Arab Muslims, even though the purpose of the policy was to target neither Arabs nor Muslims."
In the decade since the attacks, the government also became notably more aggressive in the use of informants and sting operations, sowing distrust in some parts of Muslim communities. In one such operation, an imam in Albany was ensnared in a fictitious plot involving shoulder-launched missiles and the assassination of a Pakistani diplomat in New York.
Defending the 15-year sentence meted out to the imam, Yassin M. Aref, prosecutors said the new paradigm of prevention justified the tactics. "The Federal Bureau of Investigation has an obligation to use all available investigative tools," prosecutors wrote in a 2007 appeals court brief, "including a sting operation, to remove those ready and willing to help terrorists from our streets."
Protections 'Seriously Diluted'
Not all new tactics in combating terrorism in the United States were based on existing laws. "In electronic surveillance, you did have a big change," said John C. Yoo, a law professor at the University of California, Berkeley, who became known for his aggressive legal advice and expansive view of executive power as a Justice Department official in the Bush administration.
In 2002, for instance, a special federal appeals court, the United States Foreign Intelligence Surveillance Court of Review, granted the Justice Department broad new powers to use wiretaps obtained for intelligence operations in criminal cases. "This revolutionizes our ability to investigate terrorists and prosecute terrorist acts," Mr. Ashcroft said at the time.
After revelations concerning the warrantless wiretapping of international communications, Congress largely endorsed the program. Those legal changes, joined with striking advances in technology, have allowed the government broad ability to gather information.
"The Fourth Amendment has been seriously diluted," said Professor Herman, who teaches at Brooklyn Law School. She added that she was struck by "the amount of surveillance that's been unleashed with less and less judicial review and less and less individualized suspicion."
Both the Bush and Obama administrations have been criticized by liberals as employing excessive secrecy and, in particular, for invoking the state secrets privilege to shut down civil litigation challenging things like rendition and surveillance programs. By international standards, though, the public has learned a great deal about secret government activities.
"That so many of the abuses committed by the executive in the wake of 9/11 have come to light is another sign of American exceptionalism," Professor Roach wrote, "as manifested by the activities of a free press that is unrestrained by official secrets acts found in most other democracies."
Opinions vary about whether efforts to fight terrorism in the United States have inflicted collateral damage on political dissent, religious liberty and the freedom of association.
"If you look at it historically," said Professor Yoo, "you might say, 'I can't believe we're at war,' when you see how much speech is going on. Civil liberties are far more protected than what we've seen in past wars."
Professor Cole was less sanguine.
"Since 9/11, the criminal law has expanded, ensnaring as 'terrorists' people who have done no more than provide humanitarian aid to needy families, while privacy and political freedoms have contracted, especially for those in Muslim communities," he said. "On the one hand, the past 10 years have shown that criminal law can be used effectively to fight terrorism; on the other, it has also demonstrated that the demand for prevention can all too quickly lead to the abuse of innocents."

subset: commoncrawl


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Friday has been proclaimed Black Turtleneck Friday as an homage to Steve Jobs, timed to coincide with the launch of the iPhone 4S. I've washed my black turtleneck and am wearing it as I test the 4S.
Silly, perhaps, but it's my way, our way, a way, to acknowledge our appreciation and respect.
I'm not the only one who feels we've lost a singular presence in our world. Jobs' visage graces the covers of nearly every major national periodical — Time, Newsweek, Bloomberg Business Week, Fortune, The Economist, The New Yorker, Rolling Stone, even People, somewhat ironic considered how guarded Jobs was about his personal life. I can't remember the last time a non-politician or non-performer garnered such widespread regard from the news and business press.
U.S. & World
But the world has a short attention span. Jobs is venerated today, but fickle history will be the final judge of Jobs' memory.
Even Jobs' rivals are honoring his memory. Earlier this week, ASUS introduced its first ultrabook, the impressive looking and performing Zenbook. Before his product presentation, however, ASUS chairman Jonney Shih paid his respect to Jobs and his family with a moment of silence and a respective bow.
And Samsung, currently locked in a legal death struggle with Apple over patents and intellectual property suits that threaten Samsung's entire Android business, delayed its latest smartphone introduction for a week out of respect.
Jobs even managed to unit divisive Washington. Laudatory quotes came from all ends of the political spectrum, including an unusually heartfelt presidential eulogy.
But hagiography is hard. After all, human beings are imperfect. Even the most accomplished suffer from some breach of moral turpitude we gloss over out or respect for the recently deceased.
As a result, no matter how beloved or respected someone is, there is someone who ain't so impressed.
Where Jobs is concerned, the blogosphere is clogged with naysayers. He sent a lot of manufacturing jobs to sweatshops factories in China. He never "invented" anything - he was just a good salesman and media manipulator. He turned Apple into the Big Brother he once railed against. He ignored his first child. He was a mean-spirited tyrant behind the scenes. He wasn't the philanthropist Bill Gates is. Or he's not God.
No, he wasn't. But how much do character hiccups detract from a person's accomplishments and our celebration of same?
For instance, one of the business leaders Jobs often has been compared to is Henry Ford, who is remembered as the man who remade the world by making cars cheap enough for everyone to buy.
But Ford was perhaps the most virulent and active anti-Semite who ever wiggled his prejudiced behind into a leather office chair. As a result, my parents (and many Jews) refused to ever buy a Ford automobile.
Do I ignore Ford's Jew-hating? Obviously not. But, as Hyman Roth logically pointed it out in The Godfather: Part II, "it had nothing to do (phlegm!) with business!"
Or, as Sir Frank Crisp advised:
"Scan not a friend with microscopic glass;
You know his faults, then let his foibles pass."
I acknowledge Steve Jobs was not the second-coming of Jesus Christ. But he changed the way we regard and use technology in a way no one has since Thomas Edison. Or maybe since one other guy who history — and us — seems to have forgotten.
David Sarnoff.
History: The Final Judge
David who?
David Sarnoff ran RCA for 52 years (1919-1970) — do you even remember RCA? Sarnoff was the real king — or more precisely, the general — of all media and consumer electronics through most of the 20th century.
In many ways, Sarnoff was Jobs and Rupert Murdoch combined. Under Sarnoff, RCA became the leading promoter and seller of both radios and televisions and, later, VCRs, plus owned the RCA Records (Caruso's and Elvis' label) NBC radio and TV networks and what later became ABC. During Sarnoff's tenure, RCA was unchallenged as the nation's top technology and media company.
But few recognize Sarnoff's name today. Perhaps Jobs will one day share his historical fate.
But that's one day. Right now, the whole digital world mourns the loss not only of the man but his unfulfilled potential. For instance, we still await perhaps Jobs' final industry disrupting product: the Apple HDTV.
Meanwhile, I will thank Steve Jobs by the simple act of donning a black turtleneck as I play with my new iPhone 4S.


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Microsoft Project 2013 - Level 1 LoanNew
The skills and knowledge acquired in this course are sufficient for the learner to be able to use Microsoft Project 2013 to create a new project, enter and work with tasks and resources, create a schedule, and print effective project information.
Anyone who wants to know more about the functionality of Microsoft Project 2013.
This course assumes little or no knowledge of Microsoft Project 2013. However, it would be beneficial to have a general understanding of personal computers and the Windows operating system environment. Some knowledge of working with files and folders on a computer are necessary.
Getting to Know Project 2013
- How Project 2013 Works
- Starting Project In Windows 8
- Understanding The Project Start Screen
- The Project 2013 Screen
- Project Operations
- Using The Ribbon
- Showing And Collapsing The Ribbon
- Understanding The Backstage
- The Project Work Area
- Working With Views
- Working With Split Screens
- Understanding Sheet Views
- Working With Tables
- Gantt Chart View
- Working With Gantt Charts
- Understanding The QAT
- Working With The QAT
- Working With Project Files
- Exiting From Project 2013
Project Management
- Tasks And Resources
- The Importance Of Planning
- Understanding The Gantt Chart
- Computers And Project Management
Creating a New Project
- Steps In Creating A Project
- Understanding Your Project
- Creating A New Project File
- Calendar Options
- Changing Calendar Options
- Working With Calendars
- Modifying The Standard Calendar
- Entering Public Holidays
- Creating A New Calendar
- Setting Up Project Information
- Entering File Properties
Creating Tasks
- Understanding Tasks
- Understanding Scheduling Icons
- Our Case Study Tasks
- Reviewing The Project
- Entering Tasks
- Creating Summary Tasks
- Assignment – Creating Summary Tasks
- Working In A Sheet View
- Working With Summary Tasks
- Working With Task Views
- Examining Task Information
- Understanding Task Durations
- Entering Task Durations
- Checking Progress
- Entering Milestones
- Understanding Task Dependencies
- Creating Dependencies Automatically
- Creating Dependencies In Task Entry
- Creating Dependencies In Task Information
- Creating Dependencies In A Sheet View
- Fine Tuning A Schedule Using Dependencies
- Auto Scheduling Tasks
- Critical Path And Project Slack
- Viewing The Critical Path
- Examining Task Slack
- Understanding Lag Time
- Entering Lag Time
- Understanding Lead Time
- Entering Lead Time
Resourcing a Project
- Understanding Resources
- Entering Work Resources
- Entering Material Resources
- Entering Cost Resources
- Assigning Calendars To Resources
- Understanding Resource Availability
- Adjusting Resource Availability
- Changing The Unit Display
Resourcing Concepts
- Resource Assignment Calculations
- Task Types And Work Effort
- Creating A Simple Assignment
- Working With Fixed Unit Tasks
- Working With Fixed Duration Tasks
- Making Multiple Assignments
- Adding Additional Resources
- Adding More Of The Same Resource
- More Resources In Multiple Assignments
- Understanding Effort Driven Scheduling
- Working With Non Effort Driven Tasks
- Working With Effort Driven Tasks
- Resource Assignment Summary
Assigning Resources
- Simple Resource Assignments
- Assigning Part Time Resources
- Understanding Work Contouring
- Specifying Resource Usage
- Contouring Work Hours
- Assigning Specific Work Times
- Work Times For Multiple Assignments
- Problem Assignments
- Assigning Resources In Task Information
- Assigning Resources In A Sheet
- Assigning Resources You Do Not Have
- The Case Study Resources
Printing and Reporting
- Printing A Gantt Chart
- Printing Sheet Views
- Printing Tasks For Resources
- Printing Resources For Tasks
At the completion of this course you should be able to:
- start Microsoft Project and identify how it works
- explain some of the key concepts associated with project management
- create a new project file in Microsoft Project
- enter tasks into a project file
- create relationships between tasks in a project
- add resources, including labour, materialsa, and equipment, to a project
- understand and use resource assignment calculations
- assign resources to tasks using a number of different methods
- print various aspects of a project
Watsonia workbook with 100 topics. Files for the exercises are provided on a CD or can be downloaded here
Approximately 10 hours
- Microsoft Office Online
- Microsoft Project 2013 - Level 2
- Microsoft Project 2013 - Level 3
- Microsoft Project 2016 - Level 1
- Microsoft Project 2016 - Level 2
- Microsoft Project 2016 - Level 3
- Office 365, Office Online and OneDrive: An introduction
Booking / availability


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Bluestone is a great place for generations to get together for fun and relaxation.
We recent held a competition with Gransnet with a weekend short break as a prize. Read the winner's guest blog post about her and her grandchildren's free range stay.
"I won a weekend at Bluestone National Park Resort in a Gransnet competition.
When I won the prize I expected DD might say "Oh, Mummy", rather disparagingly. But no, "When are we going?" was the prompt reaction.
We went for the first weekend of February half-term. We travelled there on "Frightful Friday" which was difficult, (we being DD, GS1 (8), GS2 (6), and GD (3) and me) so it was lovely to be welcomed very pleasantly at the entrance and congratulated on my win.
The resort is about six years old and built on farmland. At the centre of the village are stone-terraced cottages for guests and shops, restaurants and a pub are scattered around a large area.
There are about 300 dwellings (lodges, cottages and apartments) all spread out. We were in a two-bedroom "upside down" lodge.
The two bedrooms downstairs both had en-suites - a wet room in one and a bath in the other. The boys shared the double bed and GD stayed in our room in a very large cot bed that came as standard. Upstairs the large living area was clean and well appointed.
The three areas did not impinge on one another and the kitchen was so well equipped. I saw a dishwasher and was relieved to discover that the "welcome pack" contained three eco-friendly tablets! It is all very green.
The lodge was self catering and it was a joy to use the kitchen. The beds were comfortable and the linen (all provided) was lovely.
On the Saturday I had a two-hour session in the spa. I didn't opt for treatments, but used the two different heat saunas, two different steam rooms, the ice room and the salt room, the jacuzzis and the experiential showers. Bliss.
Meanwhile the others were in the activity centre doing sky walks and playing indoors. It was a 12-minute walk there, which gives an indication of the size of the site.
The site is car free after unloading, apart from electric buggies.
The children had a bike ride and then we went off to the Blue Lagoon.
It had waves, three exciting slides, and a lazy river, and was a super place for under-fives. The sandy beach area had water just 20cm deep, which was surrounded by lots of wet sand to make castles with or just be messy with and enjoy!
On the Sunday tree climbing and messy play ensued (there are exciting activities for older children and adults too) and another visit to the pool. On Monday I came home after breakfast, but the family stayed and had another time indoors at the activity centre as one's stay can be enjoyed until 3.00pm.
It was all superb and I'm booking for next year's February half-term. It's a very suitable holiday destination for a family group.
We were blessed with dry (and sunny) weather for our days there, but as one can be indoors it does not really matter. A splendid safe environment for bike rides, walks in forests and by streams. All in all five stars."
Categories:Family, Activities
Free range fun and relexation couldn't get any better for the Griffiths family from Abergavenny who won a luxury short break family holiday here at Bluestone in spectacular Pembrokeshire.


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Recent Posts
Tuesday, August 31, 2010
Punch Buggy!!
Posted by Unknown
In an attempt to expose you guys to as much fun, imaginative junk as you can possibly stand, I would like to share some images that I came across from a couple of my favorite designers.
This is the "Bokja Bug" and it was created by Hoda Baroudi and Maria Hibri of Bokja Design. These wildly talented designers have taken an iconic Volkwagen Beetle and covered it entirely in a patchwork of handmade vintage fabrics from the Middle East, tapestries, and car stickers. It was on display at Spazio Rossana Orlandi during Milan Design Week 2010.
The 'Bojka Bug' was auctioned off on Ebay this past April with all proceeds going to
benefit the children of Haiti.
Photos courtesy Designboom
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Friday, August 27, 2010
Girl Friday: Big Thinkin'
Posted by Unknown
I don't know about you, but I do some of my best "big thinkin'" when I'm preforming tasks like ironing a load of vintage tablecloths or painting a vintage find. The topic of most of my "big thinkin'" recently has been how I'm going to re-finish my master bath walls and how, using my original direction of Chinoiserie wallpaper, am I going to make them my own. My original thought was to just flat-out copy the design of vintage Chinoiserie wallpapers, and then I remembered a couple of pages I had pulled out of some shelter magazines last year.
Those pages and two of my most favorite "big thinkin'" spots - my garden and my bathtub - gave me my direction. I have found that given enough alone-time in either place, I emerge a new woman - a new woman with a million ideas! The ideas range from ones of global significance, like how to solve all of the world's problems, to ideas with very little global significance, like how to re-decorate every inch of my house. Below are examples of some of the latter:
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Labels: "master bathroom", "paint treatment", "Pink", blooms, DIY, hydrangea, peony · 8 comments
Wednesday, August 25, 2010
Slightly More Intelligent Than Dryer Lint
Posted by Unknown
Deep into the renovation of my master bath I realized that the world is made up two types of people: (1) Those who have undertaken a timely and not-altogether-necessary remodeling project all by their lonesome and (2) those who are sane.
Super-extra-crispy-crazy has become the order of the days that have made up the last 2 months that have surrounded this remodel. So much so, that I'm beginning to question my intelligence and judgement and have come to the conclusion that I'm only slightly more intelligent than dryer lint.
However, on a more positive note, and I don't want to brag or anything, but Home Depot loves me.
And I mean loves me!
So, without further ado, I'd like to share some photos of the progress that has been made in my master bath remodel. I'm hoping to have photos of the hand painted Chinoiserie design up tomorrow or Friday - so, stop by and check 'em out!
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Labels: "hand painted", "Home Depot", "master bathroom", "paint treatments", "Pink", "red", "redo", black, Chinoiserie, DIY, remodeling · 6 comments
Wednesday, August 4, 2010
Want It Wednesdays: Saffron Nice
Posted by Unknown
Photos courtesy 1stdibs, Installations Antiques, ebay.com, Essential Oils and Animation Art, Nelda's Vintage Clothing, ArtFire
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About Lodging Tax
Background & Purpose
The Lodging Tax is a 2% tax that is added to a visitors stay in any Teton County hotel, motel or rental property. It was voted in by residents of Teton County in November, 2010. The tax will reappear on the ballot in November, 2018. Dubbed the "Tax you don't pay," this money is collected from visitors. The Jackson Hole Travel and Tourism Joint Powers board is responsible for allocating 60% of the collected funds. Teton County and Town government are responsible for the remaining 40% of funds collected.
Budget Breakdown
View details regarding the budget of Lodging / Tax.
Events Funded
Thanks to the money collected from the lodging tax, many community and tourism related events have been partially funded through the Travel and Tourism Board.
Governing Documents
Discover documents and resources regarding the work of Lodging / Tax in Teton County.
How to Seek Funding
View and better understand how to seek funding in the form of grants and more.
Annual Report
The Jackson Hole Travel & Tourism board produces an annual report to illustrate how the lodging tax funds are spent. The report outlines the 60% allocation managed by the JHTTB and the 40% that is managed and spent by the town and county.


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I understand the complaints. I'm a new listener and am hooked. I'm hearing a lot of stuff I haven't heard in a long time, or never heard before.
You may have seen my post requesting Golden Earring. Now there is a band that should be used in the same sentence as The Stones, The Who, Led Zeppelin. They have been around a long time... and are still going strong. We just don't know it hear in the USA because of the ignorance of FM radio.
Well, SiriusXM answered my requests. They have played a couple on Deep Tracks (Candy's Going Bad and *gasp!* Jangalene!) I am blown away and as a result, shall be a subscriber for life. Also saw 'Daddy Buy Me a Girl' was played on another station!
All these years I have been waiting to hear more than just Radar Love and Twilight Zone (both classics... ). These guys have so much to offer. If SiriusXM continues to play their stuff, you are in for a refreshing treat.
As you can see, I have no complaints.


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Edit: Unfortunately, the images originally included in this post are gone, because of hosting problems in late 2009. My apologies.
It took me a long time, but I finally managed to get a default Ubuntu 8.04 system to boot in under a minute on a 1Ghz Pentium III, with an accelerated desktop and all the frills.
Generally speaking, my Ubuntu systems are among the slowest I tolerate. I installed the full 8.04 suite this time because I wanted to playtest VICE 2.0 against Hardy, which works fine as you can see. After that, it was a long and arduous wrestling match to get a sparse 2.6.26 kernel in place, as well as the packaged Nvidia driver. But as you can see, it works.
Really the only "tweaks" in place there are the customized kernel — a spitting image of my regular Crux kernels, with hardware allowances of course — and the 96xx proprietary driver from Nvidia, compiled fresh from the installation script. Nothing yet in place from my world-famous Hardy tweak collection. 🙄
My only suggestions right now: If you do try this stunt, don't disable inotify or dnotify, since it makes HAL go crazy (pun intended). Since removing HAL will play havoc with the entire Gnome confabulation, it might be easier timewise to just compile those features, rather than play games with Ubuntu's dependencies. 😯
A minute, of course, is still a sluggish toad compared to an Openbox Crux system on this machine, which goes from 0 to 60 in 14 seconds for me (in this case, 0 to 60 is Grub to desktop 😉 ) and I don't have to play games with dependencies.
I think when I have another 20 minutes or so to spare (like tonight, after work), I'll add a few more little tweaks and see what bootchart says when it's all said and done. It's an interesting experiment, even if it's so far behind what I usually use that I wouldn't ever consider it.
Edit: After a few of the applicable tweaks I know were in place, bootchart put the start timeat 24 seconds, at least to gdm and X.
Of course, it's another 30 seconds (sometimes more) before gdm and the rest of Gnome gets itself up and working. And it seems that inotify/dnotify also screws with readahead and a few other processes, so I think for Ubuntu systems it's probably a good idea to keep it in your kernel.
After that though, Ubuntu can, and probably is, just as fast as most other Linux system when the guts are stripped. Gnome will probably never be a winner in my book, but at least you can carve away at its innards and make it something usable. 😈


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- This is a manufacturer direct item. This item ships today.
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Football Men's Cincinnati Bengals Black Sideline Circuit Performance Sweatshirt
Manufacturer Direct Item
Show your love for the team with this Sideline Circuit performance sweatshirt from ! It features authentic team graphics and colors, along with Therma-FIT fabric technology to keep you warm when the weather gets chilly! 1. Material: 100% Polyester; 2. Therma-FIT technology provides warmth with lightweight, breathable material; 3. Front pouch pocket; 4. Screen print graphics; 5. Crew neck; 6. Long sleeve; 7. Screen print graphics; 8. Pullover; 9. Machine wash, tumble dry low; 10. Officially licensed; 11. Imported; 12. Brand: .
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Available ebook formats: epub mobi pdf lrf pdb txt html
P.D.Blake is a forty-something writer from East Yorkshire in England. During the day he is a mild mannered software developer. At night, under the cloak of darkness and occasionally under the influence of copious amounts of alcohol, he writes.
What he writes is mainly fantasy, sometimes humorous, sometimes not, sometimes short, sometimes long. He has been writing on and off for a number of years, ever since he bought a manual typewriter back in the late eighties, progressing through an Amstrad PCW to the wonderful world of Windows PCs.
When not writing he can be found in the veg plot, growing his own and brewing his own to go with it, or just talking to his chickens.


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Is it possible with Hitfilm 4 to create title cards like in these trailers for Metal Gear Solid V: The Phantom Pain?
Express or Pro? Either way, yes, but in Express you'll need the Starter Pack add-on for 3D text and the atmospheric light pack if you don't want to have to create your own flares.
I have Express, and can't get the packs at this time. I found a free Light Flare graphic that I could get. Is it hard to animate the flare for the text?
Nope. It's more or less moving the flare from A to B.
Is it possible to animate the flares created with Hitfilm to flicker?
Yes. You can either hand-animate the opacity of any drawn/custom flares you add, or use the Ficker effect in the Hitfilm Starter Pack add-on.
I have a question about the Boris 3D objects plugin I can buy for Hitfilm 4 Express.
I would like to use 3D text for the logo of my website and I would like to make the text rotate and come together like in the first 10 seconds of this tutorial on Youtube. Can this be done with Boris 3D objects, or the 3d extrusions from the starter pack?
Yes, and yes.
3D Extrusion from the Starter Pack can extrude single colored text and have it reflect an environment map.
Boris 3D text is much more advanced in how you can color and texture text. Compare the Boris add on for Express to things like Blufftitler or NewBlue Titler Pro--or even to the cost of adding Boris to Vegas, Avid or AE and you'll see the Boris add on for HF4E is a bargain.
Can I make the individual letters rotate individually like in the tutorial? I'm also planning on applying metal textures to the text. My primary editor is Corel VideoStudio Ultimate which comes with Boris Graffiti, but I couldn't get the text to work right.
You should be able to. That might be the "Type on text" effect.
Does the Boris 3D objects come with the title studio, or just the type on text, and extruded text?
if it doesn't come with the title studio, does the type on text allow for different animations for each letter like in this video for title studio?
Can I animate each letter individually with different settings?
Probably using the "Type on Text" effect.
Boris for HF4 doesn't have Title Studio, but Title Studio really just combines everything from the rest of the 3D objects effects into a single interface.
Agreed. That tutorial just shows a standard type on effect animation. In that example, each letter has the same animation done in random order. Animation being a letter rotation and fade in for reveal.
@SolidSnake2003 Here is some more info for your research. BCC does not allow for manual animation of each letter individually. Type on text does have limitations. The animations it can do are limited to each letter performed in succession. Letter animation goes left to right, right to left or in random order. You can also adjust the amount of overlap between each letter. All the way from each letter being separate and finishing animation before the next letter to a 100% overlap where all letters move at the same time. As stated animations are letter based so you cannot animate two separate lines in Type on text as whole lines. To do that you would need two separate layers. One for each line and doing the same animation on each line.
Here are the values you can change for letter animation in Hitfilm 4 BCC Type on text. Of course this can be combined with whole layer/effect transformations. You have a good amount of control and can get animations that are more than what one might think of as a "type on" effect.
Does the Type on Text and extruded text have the title container like in the title studio? If so does it show the individual letters with their keyframes?
Basically no to everything. The BCC effects are just effects in Hitfilm or other apps. No separate timeline container within Type on text. All text is atomic in BCC effects. No distinction to letters, words, lines, paragraph. It is all just a blob of letters to the effect.
NewBlue Titler Pro is like the BCC Title studio in that it has its own timeline which is a container for possibly multiple text objects. Actually Titler Pro existed long before BCC Title studio so one should say studio is like TP.
Does the type on effect, or the extruded text have a jitter effect?
Extruded Text does.
If I added a texture to it, will it animate with it? I ask this cause on BorisFX.com's page for this say that textures don't animate with letter transformations.
Would a multi color gradient work?
Define "work"?
If you mean, can I have a color gradient on text then yes. Simply select the source layer as the texture source and apply a gradient before the BCC text effect.
Text textures in the Hitfilm/OFX BCC variant only support the current layer as the source for texture. You cannot point to any other layer.
If you mean "work" as in do gradients behave differently with the jitter property relative to normal textures then no. They behave the same.
Have you looked at https://panzoid.com/ ?
Basically drag and drop text, effects, camera moves, add music, export, slap on the front of your YouTube videos, upload.
Basically does what people have been doing with Blender Intro Templates for a while, but is even easier.
Or, find a Blender template you like and just change the text to your channel name - although you'll need to change the music as everyone making templates for download just rips 10 seconds from the middle of popular tunes and hopes YouTube won't notice, which in many cases they haven't, but...one day will.
@NormanPCN - Yes I meant a gradient to be used like a texture. I thought that maybe there would be some style presets that included gradients like in Graffiti.
So I don't get to load textures as layers in a composite to use them as textures? Just wanting to make sure I understand what you meant in your post.
@Palacono - I never heard of Panzoid, or Blender templates. Thanks for the suggestion.
Would I be able to try out a demo of these plugins? Can I try the Hitfilm 4 Pro edition without losing Express?
You can have Pro and Express installed at the same time. They will not conflict. The demo/trial for Pro does not have third party licensed features active. They are only active after purchase. This includes BCC and Mocha. At least that has been the case in the past.
Alright thanks for answering my question about the trial.
To make sure I understand about how textures work. I can only have one texture for the text right? I have to have the texture as the layer then add BCC filters to it.
Yes, one texture for each instance of the BCC effect. To be specific you can have a unique texture for the front, back, side and bevel of the text. Only one texture per each material property (front, etc).
In BCC a texture either comes from a file on disk or the source layer of the text effect.
BCC provides many texture files on disk, accessed via their menu to mimic common materials. You can copy your own texture file(s) to that folder and they will show up on that menu in the controls panel.
For a dynamic texture, even a video stream, you put the text effect on the layer that has the "texture" and select "source" for the layer option. Since BCC in Hitfilm(OpenFX?) only supports "source" for the layer you cannot have different layers provide different textures for the front, back, side and bevel. You could have "front" be the source layer and the sides, etc, use a texture from disk.
So I can load a different texture for the front if I so choose. I'm planning on adding the BCC effects to a plane black plane for each text layer.


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Where the Air Goes
As you breathe air in through your nose or mouth, it goes past the epiglottis and into the trachea. It continues down the trachea through your vocal cords in the larynx until it reaches the bronchi. From the bronchi, air passes into each lung. The air then follows narrower and narrower bronchioles until it reaches the alveoli.
Within each air sac, the oxygen concentration is high, so oxygen passes or diffuses across the alveolar membrane into the pulmonary capillary. At the beginning of the pulmonary capillary, the hemoglobin in the red blood cells has carbon dioxide bound to it and very little oxygen (Figure 2). The oxygen binds to hemoglobin and the carbon dioxide is released. Carbon dioxide is also released from sodium bicarbonate dissolved in the blood of the pulmonary capillary. The concentration of carbon dioxide is high in the pulmonary capillary, so carbon dioxide leaves the blood and passes across the alveolar membrane into the air sac. This exchange of gases occurs rapidly (fractions of a second). The carbon dioxide then leaves the alveolus when you exhale and the oxygen-enriched blood returns to the heart. Thus, the purpose of breathing is to keep the oxygen concentration high and the carbon dioxide concentration low in the alveoli so this gas exchange can occur!
Figure 2


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- 92-1-a034459
- Item
- [ca. 1964 - 1967]
Part of Virginia Kehoe fonds
Image depicts a totem pole carved by Doug Cranmer featuring a mosquito at the top. The pole stands in front of a small building, possibly a carving shed. This pole stood in Deep Cove, BC before being moved to the Glenbow Museum in Calgary, Alberta. Views of this pole can be seen in items a034459 - a034467.


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Islands have a habit of coming up with distinctive species due to their isolation from mainland creatures of the same kind.
The St Kilda Wren is typical of this phenomenon of natural selection as are the unique birds and animals found on the Galapagos, Madagascar and other islands all over the world.
The Skomer Vole is another example, first identified as different by the Cardiff naturalist Robert Drane F.L.S. during a visit to the island in 1897 by the Cardiff Naturalists' Society.
An acute observer, he first drew attention to the unusual size of the Skomer vole, reporting that, having meticulously measured the little rodent, he could not make its teeth agree with those of the English bank vole measured by the naturalist Lydekker two years earlier. Even the smallest Skomer vole's teeth were larger than those of the bank vole, he discovered, and also commented on its difference from the mainland common field-vole. Sometimes referred to as the red-backed mouse, the Skomer Vole was the object of considerable scientific interest after Drane's observations, and another naturalist named Barrett-Hamilton accorded it specific rank in 1903 after studying specimens caught by Dr Y. H. Mills of Haverfordwest. Barrett-Hamilton stated in 1914: "It is clear that to Drane belongs the honour of discovering this species," but it was not until later that it was classified as a hitherto undescribed vole. It is an interesting fact that the vole is peculiar to Skomer while Skokholm, only a short distance away, has only the man-introduced house mouse and Ramsey, on the other side of St Brides Bay, has shrews and typical common bank-voles. A typical bank vole in appearance, but much larger, the Skomer Vole has a short, blunt head, small ears and eyes, a tail about half the length of its head and body, and a charactertistically reddish tinge to the rich fur along its back. Its large skull has certain structural peculiarities not present in its common mainland cousin. Organised parties visiting Skomer are fortunate enough to be able to see and sometimes handle the unique vole, as the island wardens know exactly where they can be found. A striking characteristic is their tameness and lack of aggression when caught, a gentle nature they do not always show to their fellows. The wardens on Skomer carefully monitor the voles, for they are vulnerable to predators, although there are no ground predators like rats or foxes, stoats, weasels or mink. The short-eared owls are very partial to voles, in fact they are their staple diet and their raison d'etre on the island, but buzzards also eat them and the peregrine falcon will occasionally take one if it presents itself, although they prefer larger avian prey. Trapping exercises over the years have indicated the population of voles on Skomer at between 17,000 and 27,000, with around 140 per acre in the more densely populated areas, so the Skomer Vole seems to be thriving.


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Paul George steps up as Pacers take Game 1 vs. Hawks
- Indiana Pacers beat Atlanta Hawks 107-90 Sunday in Game 1 of first-round playoff series
- Paul George had 23 points%2C 11 rebounds%2C 12 assists in second career triple-double for Indiana
- All five Pacers starters scored in double figures to overcome solid shooting by Hawks
INDIANAPOLIS — Uncle Reggie Miller didn't do it. Neither did Jermaine O'Neal. Ron Artest? Uh-uh.
Mark Jackson was the only Indiana Pacer to record a triple-double in the playoffs in franchise history.
That changed Sunday afternoon when Paul George removed any doubt that had crept into the minds of many about the state of the Pacers and whether he could get a jolt back into his 22-year-old legs to carry them in the playoffs.
George returned to All-Star form not only with his scoring, but also with his rebounding, passing and defending.
The third-year swingman joined Jackson in the record books by recording a triple-double in the Pacers' 107-90 Game 1 playoff victory over the Atlanta Hawks at Bankers Life Fieldhouse.
George finished with 23 points, 12 assists and 11 rebounds in 44 minutes.
Game 2 of the best-of-seven series is 7:30 p.m. ET Wednesday at the fieldhouse.
"It's a big deal for Paul," Pacers coach Frank Vogel said. "I'm happy for him, I'm happy for this community and this franchise that we have an up-and-coming player like Paul George."
George hadn't been the same player the past two weeks who had some around the league drooling over him earlier in the season.
His shot wasn't falling. He wasn't defending at a high level. He acknowledged that his legs were tired and his mind was fatigued. That's not surprising because he's counted on to defend the opposing team's best perimeter player and be the primary scoring option on the wing offensively.
George closed the regular season 17-of-60 (28.3%) from the field, including 6-of-28 (21.4%) on three-pointers.
But fatigue could no longer be an excuse, not when every game in the series matters, and definitely not after he hadn't played in a game for a week.
George didn't overhaul his game-day or practice-day routines to get ready for the playoffs. He just spent more time resting on off days. More time getting massages. More time eating healthy. And more time in the cold tub.
"I've said for this playoff run I'm leaving everything on the floor," George said. "I know what is expected of me now. I want the pressure. I'll do whatever it takes."
George was back playing with the confidence he had during the team's successful road trip against the Western Conference three weeks ago.
In the final seconds of the first half, he drove to the basket, scored, was sent to the floor on a foul by Hawks center Johan Petro, then flexed his muscles like he suddenly had Dwight Howard's physique.
Then there was the time where George got Josh Smith leaning one way, zipped the ball to his left hand, drove to the basket and put up a left-handed layup high off the glass.
George looked over at the Hawks bench and grinned as he strutted down court.
George was only 3-of-13 from the field, but didn't let the poor shooting percentage get him down.
Instead of settling for jumpers, George attacked the basket and attempted a career-high 18 free throws, making 17 of them.
"I was just telling myself, 'Keep attacking,' " George said. "My mindset is (on the) next play. I just told myself to try to get to the free throw line, stay in attack mode."
In a game where the Pacers lived up to their marketing slogan of "Blue Collar," it was only fitting that George got his triple-double when he dove on the ground for an offensive rebound to keep a possession alive. David West ended up with a three-point play to stop a Hawks' run where they had trimmed the Pacers' lead from 16 down to nine.
"He was all over the place tonight. That's who Paul George is," Vogel said. "He doesn't make the All-Star team because he's averaging 28 (points) a game like (Kevin) Durant or Carmelo (Anthony), but because he's one of the most complete players in the game."
It just happened that George impacted the game in the scoring, rebounding, defending and assists department for the Pacers.
And that's why they have a 1-0 lead over the Hawks in the series.
Mike Wells covers the NBA for The Indianapolis Star, a Gannett affiliate. Follow Mike on Twitter @MikeWellsNBA.


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A BBC source has said the search for Matt Smith's replacement is underway and an announcement could be made before the filming of the Christmas special begins filming in July. The source also mentioned that show runners have not ruled out a female Doctor.
The 12th Doctor will be chosen by Steven Moffat, Danny Cohen, Ben Stephenson, Andy Pryor, Brian Minchin and Danny Cohen, head of BBC television.
The new series is expected to begin filming this fall.


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It was a warm day in Ithaca, NY. Just warm enough to wear shorts and not be too cold. I had just picked up my bus ticket and baggage tag for my trip home to Buffalo. I was visiting my best friend for the weekend. I filled out all the necessary information on my baggage tag and went to give it to the bus driver. Then, out of the corner of my eye, I saw the most unbe- lievable looking girl I'd ever seen. She was tall, blond, very well-endowed, and dressed in the SHORTEST skirt I'd ever seen in my life. No stockings underneath or anything!
We exchanged smiles as I handed my luggage over to the driver. I gave my friend a good-bye hug and got on the bus and sat down. It began to fill up quickly and the only seat left was the one next to me. A deep, sexy, female voice asked me if the seat was taken. I looked up, and there was the girl I saw while checking my luggage! I silently cleared my throat and, in my radio voice (I'm a Broadcasting major) said, "No, have a seat." She smiled and said "Thanks, I will." She had only one bag with her and as she reached to put it in the baggage compartment above our heads, her skirt raised so far up that I could see the bottom of her delicious pussy.
She wasn't even wearing panties! My teeth almost dropped onto the floor! She put the bag up there and sat down. She introduced herself, "Hi, I'm Tiffany. What's your name?" I smiled and said, "I'm (I had to think) Tom. Are you from Ithaca?" "No, I'm from Buffalo. You?" was her reply. I was amazed that she was from Buffalo. That meant that she would be sitting with me the entire four hour ride there. I told her of my place of origin and she made a comment on the coinci- dence. The bus got ready to leave. The driver closed the door, made the usual pre-departure announcements, and we were off. As we left the station, the driver turned on the air conditioning. It took a few minutes to get back to where we were sitting but when it did, I started to get cold. Tiffany did also.
I could see the goose bumps forming on her perfectly shaped, tan thighs. After a while it got a little too cold for comfort. She asked me, "Are you cold?" To which I responded, "kind of." She said, "I've got an idea" and with that, got up and reached into her bag (again revealing her sumptuous snatch) and got out a somewhat large blanket. She said, "Do you wanna share this blanket?" It didn't sound like anything promising, but I replied in the af- firmative. She draped the blanket over our legs and we rode on. I was a little disappointed because I now could no longer get a glimpse of those incredible legs of hers. But there was a plus to all this. She wouldn't be able to see my hard-on. She also brought down a magazine with the blan- ket which she promptly started reading. Realizing that she didn't want to talk any longer, I put on the headphones to the Walkman that sat in my lap. When the tape was over, I took it out and wanted to get another one. I glanced over at Tiffany. She was asleep with the magazine in her lap. Anyway, I reached under the blanket to get my next tape from my back pack and inadvertently ran my hand down the side of her leg.
Her skin was so smooth and the perfume she was wearing was making me horny. As I rummaged through my back pack for the tape I wanted, I felt her leg move up against my arm. I then put the tape in my right hand and ran my left hand back up her leg. She seemed to like it because she moved her leg up and down until I did it again. I moved my hand in a sort of circular motion on her knee and then moved up to her thigh. I stayed on the outside at first, then I moved to the front of it. I stayed there for awhile and then I began to feel adventurous. I casually moved my hand towards the inner part of her thigh about at the knee. I massaged that area two or three times and moved back a bit farther. I repeated this pattern until I was at about the middle of her thigh. I was getting very horny and my cock was extremely hard. Her legs were not completely together, but not far enough apart that I could try to massage her pussy.
I decided to "test the water" and I moved my hand farther back until I was almost at the junction of her legs. She then rectified the situation of the lack of space between her legs by spreading them and slouching down in the seat. I couldn't be- lieve it. I moved my hand to her pussy. It was very warm. I gently ran my hand around the surface of it to sort of tease her a bit. She started rocking her hips a little which was a defi- nite sign that she wanted more. I began to put some more pres- sure on her pussy and it was clear she was aroused because I could feel her wetness. I moved up and down her outer lips and up to her clit. I started playing with her clit lightly at first, then increasing my speed and force.
She started to breathe more heavily now and she was moving her hips against my hand. By this time I was hard as a rock and I moved my hand down from her clit and put my finger inside her hole. She loved that, especially when I put two fingers in there! She began to moan softly and she moved her hand to reach under my shorts and grab my rock-hard cock! I then turned my hand so that I could finger- fuck her and massage her swollen clit at the same time. She moved her pussy back and forth faster now to move with my rhythm.
She grabbed me harder and started jerking me off. Finally, things got real hot, I turned to her and said, "Don't you think we should go somewhere more private so we can do all kinds of NASTY things to each other?"
As I said this I moved my hand even harder and faster. She could only nod yes and moan in response. I slowed down, then stopped. We got up and left the blan- ket, walkman, and magazine on the seats and headed for the bath- room. On the way back, I started to wonder if anyone would hear us. However, I remembered that the engine was back there also, so that probably wouldn't be a problem. We got in there and locked the door. I sat her up on the sink and we started kissing deeply. I started massaging her thighs with both hands this time and she began to moan in excitement. I whipped out my member (which by this time was hard enough to cut diamonds!) and moved it towards her.
She then said, "No. Wait. I want you to fuck me but first I want you to eat me. I wanna have my first orgasm in your mouth!" I then proceeded to remove her top and her big, beautiful tits popped out. She wasn't even wearing a bra (like that was a big surprise). I stopped thinking about the issue of her dress- ing style and set to my task. I moved her hips forward onto the sink and got on my knees. I put my mouth up to her inviting tuna taco and blew on it. She liked that very much. I did that for a minute or so.
Then I started licking the insides of her thighs and stopped right before I got to the intended target. I did this a few times and it drove her absolutely nuts! I finally started licking her cunt itself. She was one of those women who doesn't even have an odor except for the baby powder that she must have used when she showered. So, upon discovering that she had no alarming scent, I dove right in there. The sudden change from almost no licking to what I was doing now made her twitch and moan loudly. I flicked her clit with my tongue and stopped occasionally to catch my breath. I then took her clit into my mouth and sucked on it. I could tell by her hips bucking that she was gonna come! I didn't want her to just yet, so I turned my attention to her hole! I put my tongue in there and moved my head back and forth so that I could literally fuck her with my tongue. When I felt that now familiar bucking of her hips and her grabbing of her tits and screaming, I stopped.
I faked that I was out of breath so that I could get my hand in position. After seeing that she had calmed down, I took my middle finger and stuck it in her hole and started sucking on her clit at the same time using my teeth. I did it hard and fast. She started screaming again and she was gonna come! I thought of stopping again, but I was so horny for this girl that I wanted her to spill her female juices of love all over my face. And that's exactly what she did! I licked and swallowed until I got every last drop. After I got to my feet and started massaging her tits, she grabbed my cock and said, "FUCK ME!" Boy, what a neat idea! Why didn't I think of that? I told her that since she was holding on to my rod, she could put it in. I grabbed her by the waist and, as soon as my cock was in posi- tion, thrusted up inside her. The combination of the action while we were in our seats, the recent adventure of the tongue, and the anticipation of fucking her brains out was almost too much for me. I moved back and forth at a good speed which made her squirm and scream with ecstasy! She leaned back and grabbed onto these two handles next to the mirror. When she did this, I bent over and, while fucking her, started sucking on her jugs. She was wet, wild, and willing! Speaking of wetness, I could feel my hot cream welling up getting ready to explode.
I didn't want to come yet. I wanted to save it for the very last wave of sex. However, she didn't want to save it, she started gyrating and almost hollering! I could feel her orgasm come out in one large tidal wave. The warmth of her juices surrounded my red-hot meat slab. I slowed down a little to allow her to calm down. She looked at me and licked her lips. She said, "OK stud, your turn, sit down!" I climbed out of my shorts and sat down on the toilet. Then, she stepped out of her skirt and knelt down in front of me. My cock was standing straight up. She took it in her left hand and started massaging my nuts with her right hand. As she did this, she started licking the length of my cock and darting her tongue back and forth on the head. It was driving me absolutely crazy! Then she took it all in her mouth with one swift movement. She started sucking on it like it was a straw, desperately trying to get the juice out of it. I was going absolutely wild.
This girl could probably suck a golf ball through 20 feet of garden hose! Finally, I could feel myself about to come. I didn't want to just yet, but her talented mouth on my wankie was not about to let me hold it back. I started fucking her mouth like it was her pussy and shot my load into it. She was so happy that she made me come all over the inside of her mouth, that she started to moan real loud and greedily swallow and suck. After I lubricated her mouth with my hot cream, she stood up and I grabbed her by the waist and, making her straddle the toilet seat and my legs, positioned her box right over my pole. When she was properly placed, I grabbed her ass cheeks and pulled them towards me to wrap that cunt of hers right around my dick! She began grinding and moaning and I grabbed her hips and grinded her faster. I was so hot for her, that I didn't care how fast we went, as long as we kept on fucking. Her pussy felt so good around my cock. It was so soft and satiny inside and it was rubbing on all the right places on me. She stuck her chest out and I started sucking on her tits again. It didn't take very long before she started howling and exploded into yet another orgasm.
I was close behind her with my jet spray of sex juice! We slowed down and let the motion of the bus control our move- ments while we relaxed. Then I kissed her deeply and said, "It's not over yet Tiffany, it's time for the grand finale. Stand up." As she stood up, I leaned forward and started eating her snatch for about 30 seconds just to get her going again. Then I stood up, turned her around and had her put her hands on the toilet seat. I rubbed her ass first with my hand, then with my cock. After a few minutes of this, I stuck it in her pussy. Then after a minute, I put one hand on her clit, and one hand on her tit. She grabbed her other tit and started screaming and slapping her ass against my thighs. She couldn't control her- self. I asked her if she liked being fucked that way. She could only respond "Oooooooooooooh yeeeeeeeeeeeah!" The sexual pleas- ure from my fucking her, rubbing her clit, and having both her tits played with at the same time, made her start to cum continu- ously.
I could also feel my hot jism begin to boil. I knew I was gonna cum any minute. It was gonna be the best orgasm yet. I wanted hers to be too. As I could feel myself start to cum, I started fucking her faster, rubbing her clit harder, and kneading her tit more force- fully. She did her tit more forcefully too. Well, this did exactly what I wanted it to do. In fact, we both exploded into such an orgasm, that it left us shouting at the top of our lungs for at least a minute. That may not seem like a long time, but when you're doing it, it does.
We were screaming so loud that I'm sure the entire bus could hear us, but neither of us cared. When we finished, we did some "afterplay" to gradually bring us down from that "high" we were on from all that wondrous copu- lation. We got dressed, opened the door to the bathroom, and walked back to our seats. As we were walking back, a guy looked up and me, smiled, and gave me the old "thumbs up" routine. Obviously, he heard us. The bus pulled in to Buffalo. We got off the bus and got our luggage and went inside the bus station.
As we waited for our rides to pick us up, we exchanged addresses and phone numbers. She asked me if I wanted to get together sometime soon. I said, "You bet! I've got an in-ground pool and my parents are going out of town next month." She smiled and licked her lips. My ride arrived and we said goodbye.written by godiggity


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U.S. Trade Court Asks Some Interesting Questions in Latest Apple-Samsung Case
That Apple and Samsung will get to face off in another courtroom is hardly interesting news.
What's interesting about Monday's International Trade Commission ruling are the questions the trade body is asking of the two tech giants, and, really, of the industry.
In agreeing to review the administrative judge's ruling in the case, the ITC is asking the bigger questions here, including when, if at all, a product should be banned if the patents it is accused of infringing are related to an industry standard. Also, what exactly does that commitment to license patents on a FRAND (fair, reasonable and non-discriminatory) basis really mean?
"Does the mere existence of a FRAND undertaking with respect to a particular patent
preclude issuance of an exclusion order based on infringement of that patent?" the trade body asked in a statement (PDF) on Monday. "Where a patent owner has offered to license a patent to an accused infringer, what framework should be used for determining whether the offer complies with a FRAND undertaking? How would a rejection of the offer by an accused infringer influence the analysis, if at all?"
Those are some mighty important questions.
The ITC, of course, will weigh the issue of whether Apple's products actually infringe on the Samsung patents. The initial determination by the administrative law judge found that they did not.
The move comes as other courts are also trying to settle questions related to industry standard patents. In a case pitting Google's Motorola unit against Microsoft, a Seattle federal judge is hearing testimony that could help establish what exactly constitutes fair and reasonable settlement terms.
The question was also due to come up in an Apple-Motorola case, though that matter stopped just short of reaching trial.


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Jerome Thia-Jpdoor Ventilated Pivot Door
At Design Interviews
Interview with Jerome Thia : Frank Scott: What is the main principle, idea and inspiration behind your design?. Jerome Thia : Jalousie window concept .Frank Scott: What has been your main focus in designing this work? Especially what did you want to achieve?. Jerome Thia : To design a door that will brings convenience to the users, and at the same time to fulfill their requirements which is to keep the space ventilated and bright enough. .Frank Scott: What are your future plans for this award winning design?. Jerome Thia : Whether or not the design going to win an award, i'm planning to promote the idea of this ventilated pivot door design and explore further on potential improvement on design or material .Frank Scott: How long did it take you to design this particular concept?. Jerome Thia : It took me about a week plus .Frank Scott: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration?. Jerome Thia : At first the owners were agreed to go for typical door design for their main door but I suggested them to go for something different instead and i'm glad that they are excited to see the actual design like i do. .Frank Scott: Is your design being produced or used by another company, or do you plan to sell or lease the production rights or do you intent to produce your work yourself?. Jerome Thia : This door was designed for one of my client and i'm more than happy to know if anyone else would agree with my design. Other than that, I haven't got any plan to sell or lease the production rights at the moment. .Frank Scott: What made you design this particular type of work?. Jerome Thia : This idea just came into my mind before the owner deciding to go for typical door design .Frank Scott: Who is the target customer for his design?. Jerome Thia : I've never thought of which customer category to target on. It is suitable for residential owners but it does suit well with retail shop as well, it depends on concept design of the atmosphere applied .Frank Scott: What sets this design apart from other similar or resembling concepts?. Jerome Thia : This design is more convenient and safer as users only require to rotate the wooden panels and serving the same purpose. .Frank Scott: How did you come up with the name for this design? What does it mean?. Jerome Thia : I kept it simple, JPDoor. Jalousie Pivot Door .Frank Scott: Which design tools did you use when you were working on this project?. Jerome Thia : Google Sketcup & 3d Max with Vray .Frank Scott: What is the most unique aspect of your design?. Jerome Thia : It allows ventilation flow & clear vision without having the pivot to swing aside. .Frank Scott: Who did you collaborate with for this design? Did you work with people with technical / specialized skills?. Jerome Thia : I seek for advises from contractors for better technical solution and my partner helped to improve the design. .Frank Scott: What is the role of technology in this particular design?. Jerome Thia : There is no technology involved in JPDoor. All assembles in a traditional way like typical jalousie window concept. .Frank Scott: Is your design influenced by data or analytical research in any way? What kind of research did you conduct for making this design?. Jerome Thia : This rough idea came into my mind when I was suggesting owner to have a different door design instead. And I went through some tropical house design to support my idea. .Frank Scott: What are some of the challenges you faced during the design/realization of your concept?. Jerome Thia : This door design is really heavy and the only concern that worried me was the floor hinged to support the heavy load. .Frank Scott: How did you decide to submit your design to an international design competition?. Jerome Thia : I never knew about this competition until I saw a friend of mine posted his winning deisgn in Facebook. It took me quite some time to think about joining as the fees is expensive after conversion to me. .
Jerome Thia-Jpdoor Ventilated Pivot Door Images:
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Further tributes have been paid to popular Devizes Hockey Club player Charlie Sherman after he died in a bike crash.
Mr Sherman, 22, was riding his Aprilia motorcycle in Bath Road out of Devizes on his way to work in Trowbridge at about 7.40am last Thursday.
After going over Prison Bridge his motorcycle collided with a Faresaver single decker bus travelling in the opposite direction.
Efforts to stabilise him by a Wiltshire Air Ambulance paramedic and paramedics from South Western Ambulance Service were unsuccessful and he was pronounced dead at the scene. The bus driver and passengers were uninjured.
The young engineer died two days before his 23rd birthday.
Floral tributes have been left at Prison Bridge this week.
He had recently moved out of the family home in High Street, Rowde, where his parents Nick and Anna, and brother Rory, 18, live, to live in Hillier Road, Devizes.
His dad said his son was an exceptional person. He said: "He was a lad who packed more into his 23 years than most do in a lifetime. He managed to do what he wanted to do in that time. He was never down, he was always cheerful and happy.
"He always took the lead on things and he was just one in a million.
"He was a star and was one of those people who took to adults and kids alike. He was exceptional, truly individual and slightly eccentric."
Charlie joined Devizes Hockey Club as a junior and returned after university, playing as a defender in the first team, as did his brother Rory.
Coach Ollie Smith said: "Charlie has been an integral part of the first team. Last year we won the league and got promoted and he was a massive part of that. He would play every week and really enjoyed his hockey.
"He was willing to learn and that attitude summed him up. He worked extremely hard and had fun. He always gave one hundred per cent and was loved by everyone in the team and the club. We are in shock and disbelief and we can't quite get our heads around it."
He worked as an engineer for DTR VMS Limited at the White Horse Business Park, Trowbridge, and before that the company was based at Bumpers Farm, Chippenham.
The firm's human resources manager Sian Widdicombe said: "Charlie was intelligent, pleasant, friendly, very hard working and fun. He's a great loss.
"He was a very talented engineer who was never afraid to show initiative and leadership and enjoyed really good working relationships with employees and suppliers. He will be hugely missed, he was such a nice guy."
Mr Sherman and his brother were involved in Rowde Youth Club and getting a skate park in the village.
Jan Barber, who jointly runs the youth club, said: "Charlie was very instrumental in helping with the skate park.
"He was an absolutely inspirational lad and he will be sorely missed. He had a ready smile, was cheerful, had an easy going nature and was a personable guy.
" It's so sad that someone so young with so much in front of him has gone."
He was a pupil at Lavington School in Market Lavington and deputy headteacher Gary Ford said: "I taught Charlie maths and he loved the problem solving side of things and was really enthusiastic.
"He never gave up in his perseverance and determination to succeed in solving a problem. He was always very bubbly and happy and he took an interest in other people."
His funeral service is on Friday, August 1, at St Matthew's Church, Rowde, at 10.45am.
Sgt Barrie Card, of Wiltshire Police, is appealing for witnesses to the collision to call him on 101.


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December 26, 2008
Illustrator and HTML
Or can it?
DISCLAIMER: This post is incredibly geeky. In addition, this post does not - in any way whatsoever - make the argument that Illustrator should be used to publish HTML web content instead of dedicated tools such as Dreamweaver, or even via hand-coding. It is presented purely as informational, and who knows, maybe you'll pick up some good info in the process. To balance all the "geekiness" within, this post also tells a wonderful story about a young and ambitious product manager (played by the part of yours truly). I can think of maybe one or two people at the most, who are still at Adobe, who are even aware of this (the functionality, and the story).
Let's turn the clock back to the year 2001. I had been hired as a product manager for Adobe Illustrator, and web design was the hot topic. Illustrator 9 had just shipped and, its other (viable transparency printing and crashing) issues aside, featured the first steps in the direction of web design. Support for a dedicated RGB mode and Pixel Preview were born, as well as the Save for Web feature. The web features were my responsibility and I had identified Symbols and Slicing as the two major "web features" that were to be added to Illustrator 10.
(Ancillary note: The ATG team at Adobe (Advanced Technology Group) saw the Symbols feature and instantly envisioned a tool to take advantage of it, and so was born the Symbol Sprayer and its "Symbolism" tools. It was on the golf course one morning (we used to play a quick 9 before coming into the office) that Ted Alspach and I joked about how much fun it might be to name all the Symbolism tools with words that started with the letter "s". By that afternoon, we had them all named: Sprayer, Shifter, Scruncher, Sizer, Spinner, Stainer, Screener, and Styler. Yeah, we got A LOT of work done that day).
*In application development terms, "expensive" doesn't mean "a lot of money". Rather, expensive refers to the amount of development or programming time and number of resources or engineers such a feature would require.
Still, I knew what web designers were asking for, and as such, continued to fight for some way to bring a more robust web experience into Illustrator. Just doing simple web slices as images wasn't going to "cut" it for me (get it? slices? cut? oh, never mind...). The developer working in the slices feature at the time was Matt Foster, and we had many discussions about how we could get the most out of the slices feature. The first thing we came up with was a way to let ImageReady and Illustrator work more closely together. If Illustrator wouldn't get rollovers, at least let us find a way to bring ImageReady into the picture, and we came up with the following. If you placed an ImageReady file that already had slices and rollovers in it, we would pass that through on output. Which meant that a user could create art with rollovers in ImageReady, place the resulting PSD into Illustrator, and upon export to HTML via the Save for Web feature, the rollovers would work. Unless something happened to that code, that functionality should still be there today.
That was fine and nice, but as a young and ambitious (naive?) product manager, I wanted more. I knew that web designers wanted to design a website where a slice of a table might be a video clip, a flash animation, or some other image or text that may be fed in via a script. Until then, a designer would simply design a graphic placeholder, that a coder would eventually replace with real code in the resulting HTML file. But what if a person could add that code right in Illustrator? Wouldn't that allow a developer to email a few lines of code to a designer, who would then plug that code in? In that way, a designer would be able to get a real preview in their web browser, instead of a placeholder. And what about if all a user wanted was real live HTML text? Text that could show up in a search, or be copied from the browser window? Wouldn't that be possible as well?
And so was born the idea for a new type of slice - the "HTML Text" slice. It was so ingenious (we thought at the time), that I actually filed for a patent at the time (sadly, I never got the patent as it was too difficult for me to prove that my idea was unique enough).
Before we understand how to use the HTML slice, we need to learn a few of the basics about slices in Illustrator. There are two ways to apply a slice in Illustrator - you can either use the Slice tool (a dumb slice), or you can apply a slice to an object as an attribute by selecting an object and choosing Object > Slice > Make (a smart slice). Dumb slices just mark off a region on your artboard. But smart slices know the content contained within the slice. A smart slice moves and resizes itself when the object within it moves and changes in size. A smart slice also knows when its contents are text point text or area text objects.
A slice is really a cell in an HTML table (see this post to learn how to turn slices into CSS DIVs), and as such, the overall table must be rectangular. So when you create a slice, Illustrator may need to create additional slices to create an overall rectangle. Slices that you create (either smart or dumb ones) are referred to as User slices. Slices that Illustrator creates are referred to as Auto slices, or "linked" slices, as they are linked to the slices that you create and update accordingly to fill up the overall table.
There are three types of slices that you can define in Illustrator:
- IMAGE SLICE: This is the default setting for every slice that you define in Illustrator. It simply means that the area enclosed in the slice will be rasterized as an image.
- NO IMAGE SLICE: This setting uses the slice to define the size of the table cell, but allows you to define whatever you want to appear within that cell. When you choose this setting, you'll get an empty field where you can punch in whatever code you want. In this way, you are able to call a movie clip, a flash file, or anything else. The Text is HTML button allows you to tell Illustrator that you want your text to appear as HTML code (not as actual text). NOTE: It appears there's a bug here, at least in CS4, because it seems the button does nothing.
- HTML TEXT SLICE: If you select a type object in Illustrator and you turn it into a slice, using the Object > Slice > Make command, you can choose HTML Text as a slice type. This feature automatically takes the text that's in your slice and makes it HTML text. In other words, if on your Illustrator artboard, you code some HTML, this setting will turn that HTML code into live HTML text. The feature is even smart enough to detect the type of text in the slice. It will automatically sense if type is set to bold or italic, and it will even sense font size. My patent idea that I filed was that we created a real function that would allow a designer to design as normal, and that the code would look at the design and automatically convert to HTML code.
You can change a slice's type in one of two ways. On the artboard in Illustrator, select the slice with the Slice Select tool and choose Object > Slice > Slice Options. Alternatively (and the way I prefer to do it), choose File > Save for Web & Devices, and then double click on any slice with the Slice Select tool. When you're done editing your slices, you can click the Done button to return to your document.
So there you have it. It's possible to get real HTML text out of Illustrator, with hyperlinks and all. Would you WANT to do it? Well, today, there are plenty of tools that do it oh-so-much better. As I said, it's geeky to the max, but I do hope you've enjoyed the ride.
11 comments:
- Rene said...
Like most web designers, design tools that create javascript rollovers and HTML output are soooo outdated. Since using CSS image replacement techniques, we have never looked back -- thank God!
What would be really useful in Fireworks or Illustrator is the ability to create a 1) "navigation area", where 2) you could create buttons/symbols for each menu item with different states like hover and visited (the later already possible in Fireworks).
But instead of creating an html output with a bunch of js and css @%$&%# (there is no nice way to say it!), it would output a sprite image (ie. all menu items and all their states in one image).
Outputting HTML from design tools is becoming increasingly useless, unless you are only producing pure HTML sites. This is because most of the sites being commercially produced today are content management systems -- and consequently you don't necessarily have full control over the HTML output.
In short, I would rather have a program that helps us create the kind of image outputs we use everyday when creating sites that uses modern CSS and web standards compliant techniques. Stay out of code creation, please!
And I haven't even started on the other disadvantages or using HTML output from design software: web standards, accessibility and SEO. Oh, and the whole slicing thing needs to be dramatically changed and updated too.
p.s. Sorry for coming out strong. Something I feel really strong about :)
- nini said...
Interesting. Thanks for sharing. Much easier to do in a "real" html-editor though.
- Gary Spedding, Ph.D. said...
I was searching through Calendar Scripts/Templates for Illustrator and found your reply(on a Forum) regarding the Script (nicely hidden) in Illustrator for calendars. It creates a nice (one page - one month) image with the current day noted on it. But I found the script file and at one point could get it to appear with instructions in Illustrator (I had to drag out the frame to expand which made it too big to print). I also made a copy of the script and made a .txt file.
That will not, however, enable me to use the script in an active (user interactive) way to generate a 2009 calendar.
Perhaps you could enlighten me and other on how best to use this script (and the other "hidden" script goodies) in Illustrator. Would make for a nice topic to post about here on your site I think.
Cheers and thanks for any help here,
- Unknown said...
Rene - you're preaching to the choir. My post had a disclaimer at the top. What you're asking for, in the way of buttons that contain multiple states, does exist today in the way of Flex skins. Illustrator CS4 even has automated templates in place for skinning Flex user interface elements -- not just buttons, but also sliders, and more. However, I still do believe that applications need to become smarter, and help designers create functional content (not just pretty pictures). Adobe Flash Catalyst has started movement in that direction. Even standard integration between Illustrator and Flash is functional. In other words, it's getting better.
Nini - I agree. This wasn't meant to portray AI as a replacement for real tools. It was a fun exercise, and allowed me to tell a personal story in the process.
- Gary Spedding, Ph.D. said...
More on scripting and Calendars at Illustrator World including a discussion on issues with the Ai script. Posted today 12/28 under my name: http://www.illustratorworld.com/forum/viewtopic.php?t=2038
Nice Tutorial :D
Thank You,
Biju Subhash
- nous said...
I think there is a place for something like this myself. There is a lot of hacking involved here, but if you want to show a client a mockup of a site, with live HTML type rather than unrealistic bitmap type, then this could be useful. There should be a function for exporting styles (in ai and indesign) directly as CSS. You can hack this by saving as an epub in Indesign (google it). The result is type that is styled the way you want it without fiddling with CSS values (a few adjustments have to be made). If you are a designer (and not doing any code), why have a coder spend time converting your typography to CSS: and not getting it right.
Anyone want to help me build a plugin (or script) that does all of this: ie. saves sprites from slices, saves type styling as CSS.
- ibeamcarver said...
For Gary, take a look at Nathaniel's calendar scripts:
This is an interesting and excellent article. Thanks for sharing the nice post.
- Unknown said...
I realize I am a year behind here but just discovered this text to HTML trick. Anyway I am trying to make it work and am able to do exactly as you say but once I bring my html file in Dreamweaver the text doesn't show up I just get an empty table. What am I missing?
Thanks for the help.
- esaruoho said...
Hi, first of all, thanks for your tutorial. I've gotten as far as making a text-object with Illustrator CS4, I've pasted in the Flash Embed code, and have clicked Slice -Make and then select Slice Options -> HTML Text. CS4 still shows the text if I Save for Web as a transparent GIF. What am I missing? Does CS4 still have this HTML Text feature and how should I go about making it work, it would really save me some time as I'm trying to keep everything inside Illustrator CS4 for now..


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A runaway reindeer broke free from Santa Claus at a Colorado mall Thursday while the Big Man was inside visiting with children.
KYSL in Summit County reports that the reindeer escape happened outside the La Riva Mall in Dillon.
While Santa was inside listening to children's Christmas wish lists, the reindeer jumped over its enclosure, leading police officers on a healthy jog through town.
The reindeer was located on the other side of a nearby reservoir. The Summit County sheriff's office brought in another reindeer to lure the runaway and get it back into a trailer.
To Read More Click Here…
Source: Lompoc Record


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Star Micronics Launches the DK-AirCashHardware, Picture Gallery Tuesday, 23. July 2013
EDISON, NJ — (Marketwired) — 07/23/13 — Expanding the field for mobile point of sale solutions, Star Micronics is excited to introduce its DK-AirCash accessory for enabling secure cash payments in mPOS. Traditionally, cash drawers are controlled manually (key operated) or by a wired connection to a PC or through a wired connection to a printer. The DK-AirCash enables the control of the cash drawer either directly through an Ethernet or Bluetooth connection. Star-s DK-AirCash makes "wireless" operation of an existing hard-wired cash drawer possible.
The DK-AirCash connects through the cash drawer-s drawer kick port. This effectively enables you to upgrade the existing cash drawer-s interface from a 24v printer connection to an Ethernet or Bluetooth connection.
Once physically connected, simply integrate the StarIO SDK (software development kit) into your application or download a Star driver to start using DK-AirCash. By allowing secure control of your cash drawer wirelessly, you now have flexibility to configure the store layout without restriction due to wiring or other traditional infrastructure limitations.
Available in Ethernet and Bluetooth models, Star-s DK-AirCash is a cost effective way to upgrade your cash drawer-s compatibility for mPOS. Join the mPOS revolution with Star-s DK-AirCash!
To learn more about Star Micronics and their products, visit .
Star Micronics America, Inc. is a subsidiary of Star Micronics Company Ltd., the second-largest small printer manufacturer world-wide. Star Micronics also manufactures audio components, high-precision machine tools, and precision parts. Star Micronics Company Ltd. is ranked as one of the Top 50 "Most Stable" Japanese companies on the Japanese Nikkei. For more information, visit or call 800-782-7636.
Henry Shen
Star Micronics America, Inc.
(732) 623-5500 x 580
Lori Clapper
SkyRocket Group, Inc.
(814) 833-2373 x 105


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6 Servings
3 tablespoons olive oil
2 large garlic cloves, minced
2 tablespoons chopped fresh rosemary or 2 teaspoons dried
2 tablespoons chopped fresh chives
2 tablespoons apple cider vinegar
1/3 cup pure maple syrup
¼ cup spicy brown mustard (such as Gulden's)
6 skinless boneless chicken breast halves
Fresh rosemary sprigs (optional)
Heat 2 tablespoons oil in heavy, large skillet over medium heat. Add garlic; sauté 30 seconds. Add chopped herbs and vinegar; cook 30 seconds. Pour into bowl; cool. Whisk in syrup and mustard. Place chicken in glass baking dish. Pour marinade over and turn to coat. Sprinkle with pepper.
Cover; chill at least 1 hour or overnight.
Heat 1 tablespoon oil in heavy, large nonstick skillet over medium-high heat. Remove chicken from marinade. Sprinkle with salt and pepper. Add to skillet and sauté 2 minutes per side. Reduce heat to medium. Continue cooking until chicken is cooked through and brown, about 2 minutes per side. Transfer to platter.
Garnish with rosemary, if desired.