text:
Phil: So, now that you are done gloating about the election and your predictions (yes, dear readers, he kicked my butt, and I paid him his dollar on statewide TV), do you expect that your new leaders will be willing to reach across the aisle and work with Gov. Paul LePage?
Ethan: My dear friend, that answer resides almost exclusively in the Blaine House. Democrats clearly were willing to work with the Republicans last session, helping to pass five super-majority budgets. I see no reason for that to change.
Phil: All true, my good man. Yet, while you are rightly glowing from your triumphant return to power, elections have consequences. You won the Legislature by assailing Republicans for voting for these very same bipartisan "super-majority" budgets you claim as proof your party can work collaboratively. I'm not sure Republicans are ready to trust you.
Ethan: We won the Legislature by not being obstructionist. We may not have liked all that we voted for, but we chose governing over intransigence. We chose "better" over "perfect." That is a sign of leadership. The question now on everyone's mind is whether LePage will be able to do the same. Will he be like President Bill Clinton in 1994, when he lost both branches of government to the opposing party, and reach across the aisle to develop compromise policy?
Phil: Or he could act like President Barack Obama did after the self-described "shellacking" he took in the 2010 mid-term elections: Use the pulpit to simply draw the new democratic leadership into a debate of ideas to be adjudicated in the next election.
Ethan: Great, a two-year debate of "ideas" focused on winning an election as opposed to working to actually help Maine people. Did you take this from House Speaker John Boehner's playbook of governing?
Phil: Are you listening? I just suggested that LePage could choose to act like your president who ignored the midterm elections and decided to stick to his liberal dogma and won.
Ethan: OK, OK. Neither of us wants what America had the last two years to occur in Maine (whomever we blame). Here's my advice to Democratic leadership, don't react. Don't wait for the governor's ideas. From the budget to the environment to economic investment, put your ideas into legislation and drive it to the governor's desk with as much bipartisanship as the Legislature can muster. If the governor chooses to engage in the process, that's great. If he doesn't, and he simply chooses the veto pen, fight for the override. You were elected based on your values; don't shy from them.
Phil: Good advice. Yet as we both know from our time as senators that overriding vetoes is rare. So, working with legislative Republicans and the governor is the best way to make this legislative session successful. House Speaker Mark Eves, D-North Berwick, declared that reducing energy and health-care costs are the path to a stronger Maine economy. I agree with him, and they are issues the governor wants solved, too.
Ethan: But, as we also know from the last session, the governor is not always willing to engage until the final product crosses his desk. Of the 20-plus bills the governor vetoed last session, he gave no indication ahead of time that he had a problem with the bill. My sense is that it is much more incumbent upon on the governor to be willing to engage than the other way around. I mean Senate President-elect Justin Alfond, D-Portland, has called his office twice already to set up a meeting and has received no response.
Phil: If I were governor (that image probably gave you heart palpitations), my leadership move would be to invite new legislative leaders to the Blaine House for a summit. At said summit, I would acknowledge that the election requires each of us to take the most challenging issues and fix them now. I would say that I'm prepared to join them in hopes that we can come out of this time together with a framework to move Maine into a better future.
Ethan: Nice gesture but not much humility. The electorate didn't simply say fix our problems. They rejected the fixes your party put in place over the last two years. If I am one of the Democratic leaders, I am going to be looking for you to give a little in regard to your policies. So, Gov. Harriman, where are you willing to give? Just like Republicans nationally who are finally accepting that the wealthy are going to have pay more if we want to strengthen our fiscal house, where are you willing to accept a little Democratic philosophy in that Republican soup you're cooking?
Phil: Seems like Maine Care eligibility is the one to focus on as a demonstration of my goodwill. I'm going to work with Democrats to find a way to meet top needs. And let's always remember, Sen. Strimling, that the transition to new leaders in December will be done without a single shot being fired, nor an act of violence, something that continues to make America one of the greatest experiences of democracy in the history of the world. We are indeed privileged to live here.
Ethan: Well, maybe you didn't hear any shots on Election Day, but I sure did…


text:
John Hume was born in Haddington in 1854 to William Hume (1823 – 1893) and Margaret Veitch (c1827-1878). William was a coachsmith at St Laurence, Braehead. John also took on the same trade and was noted in the Census on 2 April 1871 as an apprentice coachsmith. John's siblings were Agnes, Elizabeth Craig, George, William and Alison (Alice).
Queen Victoria had fallen in love with the idea of having a personal piper after visiting the Marquess of Breadalbane in 1842, and had organised it by 1843. The piper had to play under her bedroom window for 15 minutes every morning, and whenever else Her Majesty fancied a tune, as well as at a variety of State Occasions.
Family legend has it that the man in the photo was a Piper to Queen Victoria, but he is not listed as such on the Official Website of the British Monarchy, although he may have been one of twelve pipers called upon to play round the table after State Banquets. The other problem I have is that the back of the photo is marked "James" not "John", but there is no James in the family. I'm wondering if it has been mis-labelled.
Any snippets of information regarding the Mystery Piper, his uniform, regiment or the Hume family from Haddington would be much appreciated.
Read more Sepia Saturday posts – lots of interesting photos and stories

subset: commoncrawl


text:
O'Fallon, IL SCHOOL
Coming soon to serve the O'Fallon, IL Community!
We are not actively accepting or soliciting enrollments as we are working through the build out and licensing process.
We are currently now hiring highly motivated directors and teachers to join the LMLC Team. If you are interested, please see our employment page for a complete list of our openings.
We are dedicated to bringing the LMLC Experience to O'Fallon, IL. Our center provides both an educational and affordable developmental experience.
Once licensed LMLC will be conveniently located at 1050 Eastgate Dr., O'Fallon IL.
Special Classes Included: Once licensed we will provide Yoga, Sign language, Spanish for children over age 2 1/2 years
Special Rates
Once licensed, we will proudly acknowledge the following organizations as our affinity businesses and offer a special 5% discount off of tuition to employees of these companies:
- Fulltime EMS, Fire Response, and Law Enforcement personnel
- United States Armed forces current Active, Reserve, Guard
+ Tour
Come visit us!
Schedule a tour and see for your self what the Little Minds Learning Center experience is all about! Our Center Director and teaching team would love provide a personal tour and answer all your questions.
Schedule Your Tour


text:
There is nothing worse than realising that you forgot something. When my eyes started to go bad around age 12, I often forgot my glasses which I hadn't yet registered as a need. It wasn't long till I felt naked without them. I have felt the same about my Casio Calculator watches and later, even about my mobile phone. But Mina, Return to Mysterious Island's stalwart heroine faces much bigger challenges as she is shipwrecked with barely her skin on a less than friendly island in the Pacific Ocean.
Starving, alone and about to face many, many challenges, Mina is in a precarious state that balances on the edge of survival and a creeping sense of horror as she discovers more about the island made famous by Jules Verne.
If you are stuck, check out Tetraedge's excellent walkthrough.


text:
Anatoly Chistousov
Fr. Anatoly Chistousov (in world Anatoly Ivanovich Chistousov, born 1953, Kirov — killed February 14, 1996, village Old Achkhoy, Chechnya) was a priest of Russian Orthodox Church, a rector of Michael Archangel church of city of Grozny, martyred in Chechnya.
Life in world
Father Anatoly Chistousov (full name is Anatoly Ivanovich Chistousov) was born in Kirov in 1953. He graduated a military college of navigators of the Air Forces and pedagogical institute (in absentia). In the eighties the XX-th century he served as the officer-tutor in one of military colleges of the city of Stavropol. In 1990 he became a parishener of a church of the Elevation of the Holy Cross in Stavropol just returned to believers after a few decades of Communism.
In 1993 he retired from of the army. The major of a reseve.
On March 18, 1994 by Metropolitan Gedeon (Dokukin) he was ordained a deacon.
On March, 20, 1994 he was ordained a priest. Before the ordination the metropolitan asked him: "And if you will be sent where it is restlessly, where it is dangerous, will you go?" He answered: "Where you will bless, Vladyko, there and I will go. No terrestrial circumstances are terrible for me"
The serving in Chechnya
On March 21, 1994 he was appointed to help protopriest Peter Netsvetayev, the dean of orthodox churches of the Chechen Republic. Receiving the appointment Father Anatoly at once departed to Grozny, where in that time it had been very dangerous.
Father Anatoly at once acquired the love of parisheners of Michael Archangel church and inhabitants of the city of Grozny. Implicitly he executed obediences appointed by the dean, visited parishes for fulfilling church services, served reverentially, aspired as soon as possible to learn services.
In December 1994 in Grozny large-scale war operation began. The temple appeared in epicentre of fights; one of the first shells desroyed the second floor of the church house, some shells got to the temple. But divine services proceeded already in the church cellar. Father Anatoly in the cassock went fearlessly among bullets and shells to soldiers, to the remaining inhabitants hiding in cellars of houses in the city, confessed, partaked, baptized. His cassock was shot through by bullets in several places, but he again and again went to those who waited for him.
Soon after the beginning of war operations protopriest Peter Netsvetayev left the flared city and his flock. Without puzzling, Fr. Anatoly, still the beginning priest, headed the parish. The city was in fire, bullets whished, terrible explosions of aviabombs sowed destructions, but Fr. Anatoly continued to stay with his flock. He helped both Russians and Chechens as he could, shared the last that he had. Under his management the temple in baptistery, the only remained premises of the church house, has been arranged. Services in the new arranged temple were made constantly.
Since March, 15th, 1995 he was appointed the rector of Michael Archangel church in Grozny and the dean of orthodox churches in Chechnya.
Captivity and death
On January 29th, 1996, during the First Chechen war, he together with together with archpriest Sergius Zhigulin from External Church Relations Department were going to meet with Brigadier General Akhmed Zakayev to conduct negotiations about liberation from chechen captivity of a soldier of the Federal Forces, however they were captured by the armed group under Doku Makhayev's command themselves and were placed in a concentration camp of so-called «Department of state security of the Chechen republic Ichkeria». Under tortures fr. Anatoly did not stipulated himself and not renounced belief and, as a result, has been shot by them.
He was martyred in February 14th, 1996.
On april 29, 2000 Federal Security Service of the Russia passed to metr. Kyrill of Smolensk, Chairman of the External Church Relations Department of the Moscow Patriarchate, a selection of the documents testifying to destiny of the priest of Michael Archangel church Anatoly Chistousov, abducted by the Chechen terrorists on January, 29th, 1996. During the period, when a destiny of fr. Anatoly remained unknown, the Church hierarchy undertook attempts of liberating the abducted priest, as well as and other clergymen and the children of Church captivated in the Chechnya. Sometimes prisoners finally found freedom, in others, to a regret, they was executed by gangsters and reposed in settlements of rightenous.
Remains of father Anatoly were exhumated just in July, 2003 in mountains near Old Achkhoy. Now he has been buried on the Stavropol cemetry.
- The biography on Stavropol diosese's web-site
- Life of the priest Anatoly Chistousov
- Священник Анатолий Чистоусов принял мученическую кончину в чеченском плену
- The Cross on the tomb of fr. Anatoly Chistousov
- Документальный фильм «Миротворцы» В.Носков


text:
Tour bus overturns on N.J. highway, 19 hurt
Last Updated 3:42 p.m. ET
WAYNE, N.J. A tour bus from Canada carrying about 60 people bound for a New York City overturned on a highway exit ramp in northern New Jersey early Saturday, slid down an embankment and landed on its side, injuring 19 passengers, authorities said.
The driver, who suffered a gash in his arm, told state police that he was cut off by another vehicle, though it was not immediately clear whether that caused the crash around 7:30 a.m. on eastbound Interstate 80 in Wayne, New Jersey.
Some windows burst during the crash and their frames pinned three people, but they were quickly freed and taken to hospitals with the other victims. The bus had been chartered by a church group.
Eight of the injured passengers were admitted in critical condition, hospital spokeswoman Liz Asani told The Record of Woodland Park. Further details on their injuries were not disclosed. The rest of the injured, including two young children, were being treated for minor injuries at two other hospitals.
State police have said none of their injuries are considered life-threatening.
"It was terrifying," Norma Cumberbatch, 66, of Toronto, told The Star-Ledger of Newark. Cumberbatch, who was travelling with her 68-year-old sister, Marjorie, said she struggled to free her legs from fallen luggage and other debris before trying to find her sister.
"I just took my leg out and then said, 'Where's my sister? I want my sister.'"
Marjorie Cumberbatch said she heard "thump, thump, thump. Then I looked up and I saw people over me screaming and crying."
Passengers who were unhurt were put on another bus and continued their journey, authorities said.
The coach bus was from Toronto-based AVM Max 2000 Charter Services Inc., The Record reported. A woman who answered the phone at the company's office told the newspaper the bus was full but declined to give more information. The phone there then rang unanswered Saturday afternoon, and the company did not respond to an email Saturday.
The accident backed up traffic in the area for hours while law enforcement officials and emergency services vehicles attended to the scene. Several highways connect there, and the area is known locally as the "spaghetti bowl," according to The Record.


text:
Property Details
Downtown VW
806 1177 HORNBY Street, Vancouver West, British Columbia, V6Z 2E9, Ca
London Place- Spectactular view to English Bay from the 8th floor, completely renovated 1 b/r & den.The den could be a compact 2nd b/r. Feat. 9' ceilings. This building was origionally built as a office commercail building in 1982 & then converted to strata condos in 1995. Some of the features of this gorgeous suite is forced air heat, high end Maytag Appliances, Grohe faucets in the kitchen and bathroom shower. Beautiful laminate flooring, top of the line Hunter blinds to keep the heat out & light in. Comes with 2 lockers and 1 parking. Free laundry on every floor. Common rooftop hot tub w/amazing view to the city & English Bay & also gym on top floor. Common room main floor w/pool table & flat screen. All meas. approx
Dishwasher, Disposal - Waste, Garage Door Opener, Refrigerator, Stove, Windows - Thermo
Bike Room, Elevator, Exercise Centre, Recreation Center, Sauna/Steam Room, Shared Laundry
Listing Provided By
RE/MAX Real Estate Services
Copyright and Disclaimer
The data relating to real estate on this web site comes in part from the MLS Reciprocity program of the Real Estate Board of Greater Vancouver. Real estate listings held by participating real estate firms are marked with the MLSR logo and detailed information about the listing includes the name of the listing agent. This representation is based in whole or part on data generated by the Real Estate Board of Greater Vancouver which assumes no responsibility for its accuracy. The materials contained on this page may not be reproduced without the express written consent of the Real Estate Board of Greater Vancouver. Copyright 2019 by the Real Estate Board of Greater Vancouver, Fraser Valley Real Estate Board, Chilliwack and District Real Estate Board, BC Northern Real Estate Board, and Kootenay Real Estate Board. All Rights Reserved.
- Adam Knight
- 604-916-9940
- 604-916-9940
- firstname.lastname@example.com
- VPG Realty
- #159 - 1233 Lynn Valley Road
- North Vancouver , BC


text:
Discover Great Mystery Books & Giveaways add book
Showing 1 - 1 of 1 Books
The Case of the Love Spell: A Hillcrest Witch Mystery
byAmorette Anderson
Series: Hillcrest Witch Cozy Mystery (#0)
Published: 15 Sep 2018
Is magic real? That is what Penny has to ask herself, when an ancient books reveals her destiny as a witch... When an elderly woman in Penny's small town dies, it's up to her to figure out who the killer is! This is a full length cozy mystery. ... more info
Showing 1 - 1 of 1 Books


text:
Suborder: Haplorrhini
Infraorder: Simiiformes
Superfamily: Cercopithecoidea
Family: Cercopithecidae
Subfamily: Cercopithecinae
Genus: Mandrillus
Species: M. leucophaeus, M. sphinx
Other names: M. leucophaeus: Papio leucophaeus,
drill; drill (Danish, Dutch, French, German, Spanish, Swedish); Drilli
(Finnish); drillo (Italian); dril (Spanish); M. sphinx: Papio sphinx,
mandrill; mandrill (Danish, French, German, Swedish); mandril (Dutch);
mandrillit (Finnish); mandrillo (Italian); mandril (Spanish).
There are two monotypic species in the genus Mandrillus, the mandrill (M.
sphinx) and the drill (M. leucophaeus), each with no subspecies
(Groves 2005). For clarity, they will each be referred to here by their
scientific names as opposed to their common names.
Members of the genus Mandrillus are large-bodied primates that are
instantly recognizable. M. sphinx have thick dark gray pelage, banded
in black and reddish-yellow, while M. leucophaeus are greenish gray or
brown overall with a whitish belly (Groves 2001; Ankel-Simons 2007). M.
sphinx have an orange beard, while M. leucophaeus have a white
beard (Groves 2001). The hairless face however, holds the most profound
differences between the species. The face of M. sphinx is immediately
recognizable, featuring an elongated snout with swollen blue ridges on top (4 or
5) and red nose and lips (Groves 2001; Ankel-Simons 2007). Female M.
sphinx have far more subdued coloration in the face than do males, but can
range from black to bright pink (Cousins 1984; Setchell et al. 2006). M.
leucophaeus differ in their facial coloration, which is more subdued than
in M. sphinx. Their lower lip is red, but the rest of the face is
entirely shiny black, with smooth swollen ridges on the top of the elongated
snout (Hill 1955; Groves 2001). There is a ruff of white hair around the face
in M. leucophaeus (Cousins 1984). Male M. leucophaeus have
red and blue colored anogenital regions, while male M. sphinx have
strikingly multi-colored (red, pink, blue, scarlet, and purple) anogenital areas
(Ankel-Simons 2007). All sexes and species of Mandrillus have pale pink
ischial callosities (Ankel-Simons 2007). Individuals of the genus
Mandrillus possess a glandular patch of skin (surrounded by bristly
hairs) used in olfactory communication on their chests which is more pronounced
and developed in dominant adult males (Hill 1970; Feistner 1991; Setchell & Dixson 2001a). In addition, adult
male M. sphinx have 4.5 cm (1.8 in) long canines on average, compared
to 1.0 cm in females (Leigh et al. 2005; 2008).
Overall, body shape and size are similar in the two species of the genus
(Grubb 1973). M. leucophaeus on average weigh about 32.3 kg (71.2 lb)
(M) and 11.7 kg (25.8 lb) (F) and M. sphinx weigh on average 31.6-33.0
kg (69.7-72.8 lb) (M) and 12.0-12.9 kg (26.5-28.4 lb) (F) (reviewed in Smith
& Jungers 1997; Jolly 2007; Marty et al. in press; Joanna Setchell pers. comm.). One M. sphinx female had a head and
body length of 56.0 cm (22.0 in), while a M. leucophaeus female had a
head and body length of 66.0 cm (26.0 in) (Napier 1981). Adult male mandrills
(M. sphinx) weigh over three times what females weigh, indicating
marked sexual dimorphism by body weight, the greatest dimorphism among the
primates (Setchell et al. 2001; Leigh et al. 2008). M. leucophaeus are
also highly sexually dimorphic (Elton & Morgan 2006).
Mandrillus spend a significant of their time on the ground and are
predominantly terrestrial, mainly using the forest floor. Even then, they spend
more time arboreally than baboons and may feed at all forest levels, including
the canopy (Hoshino et al. 1984; Harrison 1988; Gonzalez-Kirchner & de la
Maza 1996; Ankel-Simons 2007; Leigh et al. 2008). Time spent in trees however,
is usually in levels nearer to the ground (Sabater Pí 1972).
Terrestrially, they move through digitigrade quadrupedalism, and terrestrial and
arboreal progressions are usually slow (Sabater Pí 1972; Ankel-Simons
2007). Other forms of arboreal locomotion are lateral jumps (Sabater Pí
In captivity, members of the genus Mandrillus have lived into their
late thirties to forty years old (Weigl 2005). Under semi-free-ranging
conditions at the Centre International de Recherce Médicales, Franceville
(CIRMF), Gabon, males usually live for around 14 years, while females live at
least 25 years (Setchell et al. 2005).
The ranges of M. sphinx and M. leucophaeus are incompletely
known, but span the region between southern Congo and eastern Nigeria, separated
by the Sanaga River in Cameroon, with M. leucophaeus north of this
barrier and M. sphinx south of it (Harrison 1988).
M. leucophaeus is found in Cameroon, Nigeria, and Equatorial Guinea.
However, its distribution in Equatorial Guinea is limited to Bioko Island,
located in the Gulf of Guinea. The range is discontinuous, with the range on
the mainland divided into a minimum of 11 areas, and the Bioko Island
populations divided into at least two populations, occupying most of the
southern part of the island (Gonzalez-Kirchner & de la Maza 1996; Gadsby
& Jenkins 1997-1998; Oates & Butynski 2008a). They are present in the
west and southwest of Cameroon (as far south as the Sanaga River) as well as
limited to southeastern Nigeria (as far west as the Cross River) (Oates &
Butynski 2008a). Their distribution in the interior is limited by savannah
(Harrison 1988). M. leucophaeus might occur in Gabon, but evidence is
unclear and is likely erroneous (Harrison 1988; Blom et al. 1992).
M. sphinx occur just south of the M. leucophaeus
distribution, in Cameroon, Republic of Congo (not DRC), mainland Equatorial
Guinea, and Gabon (Oates & Butynski 2008b). As one moves south from the
Sanaga River, M. sphinx range in Equatorial Guinea, Gabon, and the
Republic of Congo as far south as the Congo River, but not east of it (Oates
& Butynski 2008b). In the east, M. sphinx are limited in Gabon by
the Ivindo and Ogooue Rivers, in Cameroon by the Dja River, and in the southeast
of their distribution by savannah (Oates & Butynski 2008b).
M. sphinx inhabits mainly tropical rain forests (including
semi-deciduous lowland rainforest, closed-canopy lowland moist forest, and other
primary and secondary rainforests often with very dense vegetation) and
forest-savannah mosaic forests (never moving far into pure savannah), but also
Marantaceae and rocky forest, as well as gallery forest within savannah areas,
riparian forests, agricultural areas and even inundated forests and stream beds
(Sabater Pí 1972; Hoshino et al. 1984; Hoshino 1985; Lahm 1986; Harrison
1988; Rogers et al. 1996; Tutin et al. 1997a; Matthews et al. 1998; Abernethy et
al. 2002; Astaras et al. 2008). They sometimes also cross grassy areas within
their forested habitats (Harrison 1988). M. leucophaeus are found in
coastal forest, lowland forest, premontane forest, submontane forest, montane
forest, and montane savannah, and as high as 2000 meters (6561.7 feet) above sea
level (Wild et al. 2005; Astaras et al. 2008).
At the Lopé Reserve, Gabon, a habitat of M. sphinx, there are
two dry seasons (one between December and February and one between June and
September) with a total annual rainfall of 150.9 cm (59.4 in) (Abernethy et al.
2002). Temperatures are relatively constant year-round, usually ranging between
20 and 33°C (68 and 91.4°F) (Abernethy et al. 2002). At the Korup
National Park (KNP), Cameroon, a habitat of M. leucophaeus, average
rainfall is over 500 cm (196.9 in), with a wet season between May and October
and a dry season between December and February. Similar to the Lopé
Reserve, temperatures are relatively constant throughout the year, with average
highs around 30.6°C (87.1°F) (Astaras et al. 2008).
In many ways, the often dense habitats of the genus Mandrillus have
made research difficult, and as a result, little is known about certain aspects
of their ecology and behavior (Hoshino et al. 1984; Jolly 2007).
M. leucophaeus and M. sphinx have similar omnivorous diets
(Rogers et al. 1996; Astaras et al. 2008). Mainland M. leucophaeus have been seen to
consume seeds, fruits, insects, green leaves, and mushrooms, while Bioko Island
M. leucophaeus eat fruits (58%), insects (25%) other vegetation
including leaves, stems marrows (16%), and other invertebrates such as snails
(1%) (Gonzalez-Kirchner & de la Maza 1996; Astaras et al. 2008). M.
sphinx consume mostly plant matter, including predominantly fruit, but also
leaves, lianas, bark, stems, fibers, animal foods, mushrooms, soils and other
foods (Jouventin 1975; Hoshino 1985; Lahm 1986; Rogers et al. 1996). Over one hundred species of
plant are consumed in all. Animal foods include predominantly invertebrates
(ants, beetles, termites, crickets, spiders, snails and scorpions), as well as
birds and eggs and the occasional vertebrate (including tortoises, frogs,
porcupines, rats and shrews) (Hoshino 1985; Lahm 1986). For example,
Lopé Reserve, Gabon, M. sphinx ate fruit (50.7%), seeds (26.0%),
leaves (8.2%), pith (6.8%), flowers (2.7%), animal foods (4.1%) and other foods
(1.4%) (Tutin et al. 1997a). There is evidence of probable M. sphinx
predation on larger animals as well, including a juvenile bay duiker
(Cephalophus dorsalis), a small antelope (Kudo & Mitani 1985).
There is some seasonal variation in the diet of M. sphinx. In
Cameroon, fruit is the predominant food for the entire year, but between April
and July is less available, and the proportions of other foods (such as leaves)
in the diet increases (Hoshino 1985).
M. sphinx spend the night in trees, each night sleeping at a
different site (Hoshino 1985). The species is diurnal, with activity starting
in the morning, and lasting until the evening, when suitable sleeping trees are
found and ascended (Jouventin 1975). In captivity, M. sphinx spend
their days feeding (66%), moving (7%), stationary (12%) and in social activities
(6%) (Chang et al. 1999).
Ranging information is limited and based on few observations. No annual data
is available about ranging, but estimated daily paths of M. sphinx
include 2.5-15.0 kilometers (1.6-9.3 miles) per day (one all-day follow at 8
kilometers (5.0 miles)) and estimates of home ranges are between 5 km² (1.9 mi²)
and a very large 28 km² (10.8 mi²) (very rough estimates put the value as high
as 50 km²(19.3 mi²)) (Jouventin 1975; Hoshino et al. 1984; Hoshino 1985;
reviewed in Harrison 1988). To illustrate how variable and incomplete knowledge
of ranging is, one horde (more than 600 individuals) of M. sphinx moved
only 150 m (492.1 ft) on a single day, while on another it moved 3 km (1.9 mi)
(Rogers et al. 1996). The home range of M. leucophaeus is unknown
(Astaras et al. 2008).
M. sphinx can be sympatric with a number of other non-human
primates. For example, in Gabon, they are sympatric with a number of guenons
(Cercopithecus spp.),
talapoins (Miopithecus talopoin),
mangabeys (Cercocebus spp.),
colobus monkeys (Colobus satanas),
as well as apes (Pan troglodytes &
Gorilla gorilla) (Harrison 1988; Tutin et al. 1997a).
Leopards (Panthera pardus) are known predators of M. sphinx and
crowned eagles (Stephanoaetus coronatus) and various snakes probably also take
the species (Jouventin 1975; Harrison 1988; Henschel et al. 2005).
Content last modified: October 14, 2009
Written by Kurt Gron. Reviewed by Joanna Setchell.
Cite this page as:Gron KJ. 2009 October 14. Primate Factsheets: Drill (Mandrillus) Taxonomy, Morphology, & Ecology . <http://pin.primate.wisc.edu/factsheets/entry/drill>. Accessed 2020 July 6.
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text:
Texts Rasterization Exposures
First published in July, 2007
Microsoft, Apple, Adobe, and FontFocus
Joel Spolsky in his article Font smoothing, anti-aliasing, and sub-pixel rendering [1] compares Microsoft and Apple ways of text rendering and explains why windows people don't like Safari. Text in Safari looks too blurry and that must be why. I want to go further and sum up my experience and observations about it. I'm not an expert in digital typography, but I have something to say. At least, some ideas may be useful for the GNU/Linux community.
Jeff Atwood in his blog post Font Rendering: Respecting the Pixel Grid [5] says:
My short answer is while Microsoft uses their aggressive hinting there will be no higher than 100 DPI resolutions, period. With the Microsoft approach there is simply no way to break this vicious circle.
Jeff doesn't like Apple way of text rendering. I don't like it either. But may be Apples' mission is namely to aspire to those glorious days of 200 DPI? Well, my bar it higher, it's 300 DPI. I think 200 is not enough to completely discard text hinting. However, in this article I'll make an attempt to unmask the Apple way too. The article may look long and boring for you, but I feel I need to carefully analyze the situation in circumstantial details.
To make it more intriguing I'll leap ahead and show you a few examples.
Looks blurry? But consider the text size. And consider the fact it remain perfectly readable, smooth and clean at the same time. And at the same time, the letter-forms are fairly preserved (typeface Arial).
OK, how about this one?
Looks heavy? No problemo, we can make it lighter.
And two more samples:
It's the Georgia font. Note that the letter-form appearance is perfectly preserved in both cases; just the last one was intentionally made slightly heavier.
But it was only a body show; the main message of this article is. No more horizontal pixel grid! Really! From now on the horizontal grid is 1/256 of a pixel! You can shift the text horizontally by any fractional value, while the visual appearance does not change a whit! This little detail means a lot. How about this:
Sounds impossible? OK, one more sample.
Look at it carefully, do you see something strange? Each line has a 1/10th pixel shift, so that, in the run of 30 lines it gradually (gradually!) accumulates 3 extra pixels. I'm sure you know how it would look snapped to the horizontal pixel grid, don't you?
OK, just in case: sample_arial_1tenth_int.png.
The amazing thing is there is no rocket science! Nothing to patent! All information is publicly available and/or deducible from what we see. You only need to use a bit of your engineering intuition plus common sense. So, it goes. You can download an application with full sources in the end of the article and play with it, but not now, please. Now be patient to read rather a long story.
I'll start with a tough statement. Microsoft played a dirty trick on the world. Windows XP way of text rendering has zero taste and zero engineering culture. Their text looks sharp and eye catching but wrong.
Just a simple test. Suppose you have a single line of text printed with Times New Roman at a high resolution (say, exactly 1000 DPI). This line occupies exactly 87% of some given distance (say, 5 inches) on paper. Then, we want to see a strictly proportional picture at a low-resolution, say, exactly 100 DPI, so that, our 5 inches would map to exactly 500 pixels. Is there a simple way in Windows to display this text so that, it would occupy exactly 87% of our 500-pixel distance? No way! It's clearly seen in the following snapshots. They are from Windows XP → Display Properties → Settings → Advanced → General → DPI Setting → Custom Setting.
They sacrificed the engineering honor in favor of money, which resulted in zero technical progress during many years. They use too aggressive font hinting. Microsoft hinting not only distorts the letter-forms, but accumulates a huge error along the text line. As the result the fonts are not freely scalable; they only seem to be scalable but they are not. This fact affects the computer monitor industry. Can you imagine Microsoft Windows XP on a 600 DPI display? Say, 8000x6000 pixels? I can't and not only because of invisible pixel icons, but mostly because of poor text scaling. When you change DPI in the display settings, some dialogs in some software will inevitably be displayed incorrectly. So, where is the motivation?
You can argue that the software designers have to consider different font sizes. I would agree with it, except for one little detail. Designing 100% correct dialogs is extremely tedious. Free scaling is much better in Windows Vista, but the situation already exists now and it will be a long way to go to fix it. In other words, we can't freely resize the dialog forms.
A while ago I worked for Johnson&Johnson (Hello Dimitris Agrafiotis and the others!) and I had to design some complex dialogs using the .Net WinForms. By default any static or edit-box text was set something like Tahoma, 10pt. But I all the time had to worry about some "extra space" in the end of the text line, because when changing the resolution it sometimes didn't fit the given width and used text wrapping. In these cases the forms became totally unusable. So, if you take care of the proportional scaling, you have to design your forms in a very ugly way, keeping a lot of empty space just in case. The other way is to take a hammer, and nail the text size to pixels. Namely, set something like Tahoma 14px. It means a lot. It means that your software cannot be used at high resolutions. No matter how well Windows Vista supports text scaling: the bad thing already happened. There is a lot of software that relies on a fixed resolution, which prevents the manufacturers from developing higher resolution displays. There is simply no motivation! Do not blame me, do not blame many other software developers and designers. Blame Microsoft for their brutal text hinting, which results in unpredictable overlapping between text and other graphic elements.
Yes, in Windows Vista, with WPF everything becomes freely scalable.
That's the good news. The bad news is it's still impossible to use
high resolutions. The problems are clearly described by Long Zheng and Jim Mathies:
In Microsoft Word, as a WISIWIG system, it is mandatory to preserve the accurate layout at any resolution. It means the layout must be freely scalable, and it is scalable. But let me undertake a simple investigation. Below there is a text as it looks in Microsoft Word Office 2003. There's no necessity to read it, just take a general impression.
And compare it with how it looks in the Adobe Acrobat Reader:
You can see the difference better if you download these pictures and switch between them with some slideshow program. I use nice and free Irfanview. Text in Adobe Acrobat looks much more consistent and very close to what you have on a printer. Text in MS Word looks sharper, but ugly in general. Why? Because of lousy kerning; it looks like they simply discard kerning at low resolutions (96 DPI is very low). Snapping the glyphs to pixels eventually results in some randomly distributed white spaces that look ugly. There's only one way to make it look better use horizontal sub-pixel positioning. It's the law of nature, closely connected to the Nyquist-Shannon theorem (in the Russian science community it's called Kotelnikov-Shannon theorem), which says:
In our case the signal bandwidth is about the sampling frequency. Practically it means that you cannot properly display a bunch of vertical lines, sharp and with the equal intervals at the same time, unless the intervals are multiples of a pixel. Whether the distance between the lines will vary, or some lines will look blurry. There is no other choice, period.
Pierre Arnaud demonstrated it more clearly:
Assume that you output a glyph for the letter "i" which is exactly 2.4 pixel wide. If you grid-fit it using the hinter, you'd probably get a 2 pixel wide shape. Assume that a space measure 4 pixels. Now, imagine you display "iiiiiiiiii" (ten times the "i" glyph). This would produce a word which occupies 20 pixels on screen, yet the typographic position should move by 24 pixels. You end up adding 4 pixels to the following space, which doubles its size. This will look strange on the screen. Worse, if the "i" glyph measures 2.6 pixels, and the hinter decides to grid-fit it to occupy 3 pixels, you'll occupy 30 pixels on screen whereas the typographic position only advanced by 26 pixels. This time, you get a -4 pixel error which completely eats away the space. Another approach would be to position the "i" glyphs by rounding their typographic position, which would lead us to use the following x coordinates in the 2.4 pixel wide case: x = 0 ----> 0 error = 0 width=2 x = 2.4 --> 2 error = -0.4 width=3 x = 4.8 --> 5 error = +0.2 width=2 x = 7.2 --> 7 error = -0.2 width=3 x = 9.6 --> 10 error = +0.4 width=2 The result is ugly : .*.*..*.*..* ............ .*.*..*.*..* .*.*..*.*..* .*.*..*.*..* .*.*..*.*..* You get the idea... The "i" glyphs appear at irregular intervals.
Yes, they do. They do appear at irregular intervals in MS Word.
So, Microsoft does not allow for sub-pixel positioning, while Adobe does. It means that the same glyphs at different positions may produce different pixel result. It is clearly seen with the word "institutions", marked with the red rectangles in the snapshots above.
Take a look at Adobe's glyphs i, n, s, t. There are at least two versions of them in different positions. And this is why text in Adobe looks more consistent, but more blurry.
Now, if you type the very same word institutions in WordPad, the result will be different and it does look much better. So, why in MS Word it looks worse? Only because of the visible inaccuracy in positioning. Function TextOut(), that is probably used in WordPad does not care about it, but MS Word has to. I'm not sure, but probably the MS Word developers calculate the glyph advance at a high resolution for unhinted glyphs. With the public Win32 API the only way to do that is to call GetGlyphOutline() with a heavily zoomed affine matrix, so that, the resulting glyph would fit 1024x1024 box or something like that. Otherwise the advance value will be inaccurate since it is measured in integral pixels. The direct use of it produces exactly the same result as in TextOut(). It looks good, but accumulates a significant error along the text line (more than the whole symbol position within only one word!).
In the dialog boxes they think it is fair to ignore preserving the text width. Why? Because otherwise the captions, menus, dialogs, and so on, wouldn't looks so pretty! They would have the very same problem with randomly distributed kerning, which would be bad for business. So, nice looking and sharp text in the dialogs is good for business, but it accumulates huge inaccuracy in the text width, which makes it impossible to change the dialog size, which makes software vendors rely on 96 DPI. So, it goes, we have a circulus vitiosus. Eventually it turned into a big profanation.
From the fair engineering point of view there must be some reasonable trade-off between the sharpness and functionality. The problem is Microsoft concentrated on the glamorous look but completely sacrificed the functionality. The paradox is at 300 DPI or more you don't need any hinting at all and any text becomes freely scalable (after 600 DPI you can do without anti-aliasing). But you can't use your software at 300 DPI because it's designed for at most 100 DPI! This is the price the world pays for this glamorous look. The price is too high, just incredibly high.
However, even 5 (five!) years ago it was technically possible to have freely scalable forms and dialogs. All we needed is allow for a certain degree of blurriness, very subtle, not like in Mac OS X. Like in Adobe's products. Windows people do not like Safari for too blurry output. I partially agree with them, except for blind refusing any other ways of rendering but Windows. This fanboyism is reckless. It is equivalent to saying I don't care about the resolution, I just want to have my 96 DPI for ever, with the Windows-style text, and so, I vote for stopping the progress. Is that clever?
I'm not advocating Apple because I do not like Apple rendering either. To me it really looks too blurry. It looks like they use some kind of a strange auto-hinting that blurs horizontal strokes, but does not offer any advantages. In fact, their hinting looks lousy. It especially looks bad with the sans-serif group of fonts, as if they intentionally shifted sharp text by 0.2 0.5 pixel. This is really why windows people do not like Safari. But at the same time many of them happily use the Adobe Acrobat Reader and do not buzz. It's because the text looks appropriate there (I'm not saying it's perfect, I'm saying it's appropriate to windows fans). And it remains freely scalable! just load any document and gradually zoom it in/out. The text layout remains fully consistent and has proper kerning at the same time. So, yes, I would vote for the Adobe way of rendering, because their trade-off seems to be very close to the optimum.
Jeff Atwood definitely votes [5] for strict snapping to the pixel grid. My opinion is different. I do respect the pixel grid, but only in the Y-direction. In the X direction the sub-pixel positioning must be allowed. In this case we can reasonably sacrifice some sharpness (very gently!), but obtain freedom.
The irony is that Microsoft already uses sub-pixel positioning in glyph hinting! There is even more irony because it is clearly seen on Jeff's pages with the font he uses.
Look at it carefully word common marked with red above, letter m.
Then, with simple programmatic manipulations, I converted the colors into a
3-x grayscale bitmap:
And then, I alpha-blended it in RGB, interpreting the channels as
individual gray pixels. I did that 12 times with 1 gray-pixel offset, which
eventually gives us the 1/3rd pixel offset in RGB. See what happened:
It namely means sub-pixel positioning. You can easily make sure it does in the run of 12 lines it accumulates 4 extra pixels, keeping perfectly even and smooth boundary. Well, the lines are slightly different, but you have to closely stare into the picture to notice it (I have 100% clear vision without glasses.) Trust me it's a very low price for the freedom of accurate sub-pixel positioning! So, it goes. It's quite possible. Why didn't you use sub-pixel positioning, dear Microsoft? Give us an answer. No answer.
Another big question is about the definition Microsoft ClearType Font Collection. Why do they call it ClearType Font Collection? So, the ClearType-ness is heavily bound to the typefaces? Again, it sounds like a heavily customized ad-hoc solution, so, not every font can be successfully used with ClearType. Below I'm going to show you that with the FreeType auto-hinter it's very possible to find a fair, general, and font-independent solution. All you need is the vector glyph outlines. Nothing else.
Jeff also mentions the FontFocus white paper [4]. Respectively, I have to disagree with it.
They align the stems to pixels and ignore vertical hinting. You see, symbols T, W, C and g are significantly out of focus. Besides, W looks heavier.
To me it looks sloppy. It's supposed to be Times New Roman. Does it look so? No, it looks like a simple bitmap font. So, what's the point? Isn't it better just to accurately encode it as a number of real B&W pixel-maps? What's the point of anti-aliasing if we afford to discard the letter-forms? Besides, it looks like the text has blots, as if you wrote it with ink on a soft napkin: most of the time the strokes are good, but sometimes they smear. Anyways, the problem remains the same: whether you discard the accurate text layout, or have inconsistent kerning.
I want to mention Safari again. I can't state it for sure, but it looks like Mac OS people do not use sub-pixel kerning either, which practically means the very same problem I'm blaming Microsoft for. With the Safari way it would be very possible to have more accurate positioning while preserving accurate layouts. But it looks like they also rigidly snap symbols to pixels, no matter how blurry they look. So, what is their mission? To render blurry text only in order to make people buy higher resolution displays?! It's an unfair game!
Below you will see how to achieve a pretty looking and accurate result with relatively simple manipulations. I did that with the FreeType library [10] and Win32 API GetGlyphOutline(). In other words, this rendering can be used in both, Linux and Windows, and of course, Mac OS, where FreeType perfectly compiles. I also figured out that the FreeType "auto-hinter" works pretty well in my way of using it (I do not like its result under the normal conditions). But first I want to talk about the situation in the Linux world.
The Windows way of text rendering is bad, the Linux way is much worse. In all Linux systems I've seen they use FreeType [10] by David Turner, Robert Wilhelm, and Werner Lemberg. It is a great library, really, but the way of using it is not so good. A typical screenshot of Linux looks like this:
The full screenshot is here: linux_screenshot01.png
The apparent problem is very visible dirty blots in the round corners introduced by anti-aliasing. In general, we can say that the oblique strokes look heavier than the stems, which gives you an impression of dirt. You can argue that the FreeType and Linux can use a similar to ClearType RGB sub-pixel rendering, but to me it doesn't look any better.
Look at W, v and y the problem is essentially the same; these symbols look dirty.
It's possible to improve the corners with gamma correction when rendering, but still, it's impossible to achieve perfect consistency.
Gamma correction works like this:
As you can see, the round anti-aliased corners look much better with gamma=2.0. Gamma correction is a separate and non-trivial topic and if you wish you can find comprehensive information in the Charles Poynton's Gamma GAQ [6].
In our case it's not about those signal-response curves in the electronic circuits, but mostly about the specific of the human vision. The visual response is approximately proportional to the square root of the physical luminosity. In other words, if there are two white pixels on black, and one of them emits exactly two times more photons per second, it won't look two times brighter. It will be about 1.4 times brighter. You can easily check it:
On the right there are two pixels and we can credibly say that they emit two times more photons pre second than the pixel on the left. However they do not look two times brighter. Four pixels will look about two times brighter, not two.
Skipping all other explanations, we can say that there are two major RGB color spaces: perceptually uniform, which is called sRGB, and physically uniform. In the latest, the physical luminosity is proportional to the value, unlike sRGB, where the perceptual response is proportional to the value. Often the physically uniform space is called just linear RGB. When using anti-aliasing, the color compositing must be done in the linear space, but before displaying you have to convert the resulting image to sRGB. However, very often it's ignored and anti-aliasing is calculated directly in sRGB. In many cases it produces quite appropriate result, but it becomes critical for text rendering. It also can be clearly demonstrated in Microsoft Word. The thing is they use some trick for the text selection, something like trivial color inversion, instead of re-drawing the whole text. And so, if the normal text is rendered with the correct gamma, the selected one has the inverse gamma. With regular, grayscale anti-aliasing, the selected text looks dirty; with ClearType it also becomes very color fringy:
So, in Windows there is proper gamma correction (but not for the selected text!), in Linux they often (always?) ignore it. With FreeType it is easy to apply gamma to the grayscale anti-aliasing mask that the rasterizer produces. But it will work in the very same way like in Windows: inverting the colors will invert the gamma. It's practically useless because gamma must be applied to each color component separately when blending (which, in turn, is equivalent to working in the linear RGB space). Gamma correction for the grayscale mask works well only if you draw black text on white background. In this case you can use value about 2. But when drawing white text on black, you have to inverse the gamma, that is, use value about 0.5. The problem is you do not know in advance the background and text colors; the text can be drawn with a gradient over an image. So, the grayscale gamma correction doesn't work, but the full-color gamma may be expensive and tricky. The problem is linear RGB requires more than 8 bit per channel, otherwise you will inevitably have color loses. For the text it's tolerable, but you don't have the right to require it for the entire desktop! And working in the loss-less linear RGB requires 16 bits per channel, which is still unaffordable luxury.
The situation is even worse. You can apply gamma=2 to the Linux screenshot in Irfanview (Image/Enhance colors ) and look at the text. Please try to ignore the fact that the pictograms look too "whitish", concentrate only on the text.
Do you like it? I still don't. When I was working on text rendering in AGG, I though that proper gamma correction should solve all the problems. Nothing of the kind! No matter how well it works, some elements look thicker, some others thinner than the vertical and horizontal ones. It's especially visible with the sans-serif group of fonts, and especially, when the strokes are strongly aligned to pixels. The problem is TrueType hinting for small glyphs was designed specifically for a regular, aliased B&W rasterizer! The use of anti-aliasing of any kind is inappropriate, while most Linux people do namely that. The picture below is the result of anti-aliased rasterization with both, FreeType and Win32 GetGlyphOutline().
The text looks lousy and it is very similar to what we have in Linux in most cases. It's impossible to fix the situation with any kind of gamma correction. For example, the best I could achieve is use gamma=1.5. It still looks bad:
By the way, you must have noticed that after certain size the text abruptly becomes heavy. This is namely what happens in Windows. If you turn off the ClearType feature for a while, it will be clearly seen (the text size is not exactly preserved).
So, you got the idea. To make it more convincing, we can zoom in the vector data returned by WinAPI GetGlyphOutline() and see what happens.
This is how the patented aggressive hinting works for the nominal size of 13 pixels. This is why the strokes in k look so fragile, almost invisible. In Times New Roman Italic it's even worse; the slash in z completely disappears. This distortion does not affect the regular aliased rasterizer, but the one FreeType uses is sensitive to these things. It directly computes pixel coverage values, so, it fairly produces zero coverage at the slash of z when processing this zero-area degeneracy. So, it turns out it does not make sense to interpret the TrueType hinting byte code (not to mention you have to buy a license for that). Anti-aliasing is good, but it must not be a thing-in-itself. Anyway, I would prefer to see regular, aliased text, rather than anti-aliased, with inadequately used hints.
In FreeType-2 David Turner introduced the auto-hinting mechanism. It works fairly well, but still, the direct use of it produces a far from the perfection result. Look at the result of rendering Verdana font with gamma=1.5:
Compare with the unhinted version:
The unhinted version definitely looks more consistent, but too blurry. There are three major differences.
The auto-hinter works better with fancier typefaces, like Times New Roman, but still has the very same positioning problems.
Leaping ahead I'll show you one more sample.
It really IS possible to find a reasonable solution. But first of all, you have to agree that there is no way to use any kind of hinting for absolutely exact text layout representation with any zoom factor, period. Only unhinted text, with its natural blurriness. However, we can improve it and we have something to sacrifice. Namely, we can afford some inaccuracy in the vertical positioning and the text height. After all, the TrueType hinting works in the very same way: the lines of text with, say, 12, and 13 pixels nominal heights have exactly the same pixel heights, but still look differently.
So, in short words, for the nice looking text with accurate horizontal positioning we need the following.
Slight gamma correction may improve the result, but it's not mandatory. The text looks good enough even in direct sRGB, which means there are no potential problems when using inverse color schemes.
You can easily achieve a nice result with FreeType and its auto-hinter. It means that you don't have to worry about licensing the native TrueType hinting. With Win32 GetGlyphOutline() it is more tricky, but still possible.
You can find the comprehensive guide how to use the RGB sub-pixel rendering on Steve Gibson's pages, Sub-Pixel Font Rendering Technology [2]. I also tried to use it with the 64-level anti-aliased bitmaps that WinAPI GetGlyphOutline() can produce: Maxim Shemanarev, Inside ClearType in Windows Longhorn [3]. You can download a simple application for Windows with sources here: http://antigrain.com/stuff/lcd_font.zip.
I also wrote a simple, "quick and dirty" pixel renderer for AGG that can be found in the demo examples below. The code is unsafe and rather slow. It's OK for the demo application, but don't use it in a real project, in particular because it uses a temporary buffer for at most 2048 pixels in the stack.
Basically, all we need is the per-channel alpha. In this file, agg_pixfmt_rgb24_lcd.h. I also perform additional blurring Steve Gibson describes. It's performed on demand, but obviously can be pre-computed and used with a cache mechanism. In this case it will work much faster, at least, not slower than the regular alpha-blend.
To debug the per-channel blending I used a modified ZoomIn program [9] by Brian Friesen. I added decoding of the color triplets at all multiple-of-three zoom ratios. You can download the executable: http://antigrain.com/stuff/ZoomInLcd.zip, but since year 2005 I lost the modified sources. It's easy to do, anyway. You can compare the zoomed results of regular, grayscale and RGB-sub-pixel renderings:
To keep vertical hinting but discard horizontal we simply cheat the hinter. We stretch the symbols horizontally so that, the hinter would have to work with high accuracy in the X direction. The only problem is the AGG font engine for FreeType uses the inaccurate advance value, considering hinting. Technically, the hinter should calculate accurate advances for heavily stretched glyphs, but for some reason it does not. So, to use with exact, unhinted advances I had to modify it. The modified version is in the demo example. After the glyph outline is acquired we use an affine transformer to shrink it back. Basically, that's all we need. The kerning table has accurate enough values.
So, I want to ask David Turner, maybe it makes sense to add an option to his auto-hinter that would modify the Y-direction only, completely discarding the X coordinates. It even can be a special, 1-D hinter that is supposed to be much simpler than the existing one. As you will see, the text with the RGB-sub-pixel blending looks pretty much like in the Adobe Acrobat Reader, at least to me it does look much better than in a typical modern Linux system. I do believe it will promote Linux systems and advantage their popularity.
In Windows, the use of their API is significantly trickier. Function GetGlyphOutline() returns the advance value in integral pixels, which is too inaccurate. Stretching doesn't help. There are also functions like GetCharABCWidthsFloat(), but they are useless because they calculate the values for the hinted glyphs and despite the fact they formally contain floating point values, they actually remain integers. So, I couldn't find a simple way of getting accurate advances. I ended up with using two fonts simultaneously, one for nominal height of 1024 pixels, and the other for the given size, with hinting and a stretched affine matrix. I admit, I could miss something, but I have no idea how to do that more correctly. In the Microsoft Word they may use some undocumented functions, which would be totally unfair from the competition point of view. I'm not sure of course, but the situation makes me think Microsoft intentionally does not provide a good enough API for WISIWIG page making tools. It's a typical monopoly approach that results in progress stagnation.
It's even worse than that. The patented hinter does not work with a stretched matrix! At least, I couldn't find any scaling coefficient that would correctly process the glyphs. Only scaling 1:1 works correctly, but it results in the very same problem that dictates the use of a B&W aliased rasterizer:
Looks like crap, doesn't it? Any other scaling ratio results in heavily distorted glyphs, like this one (Times New Roman Italic, 16-x horizontal stretching):
Or, even like this (Arial, 100-x horizontal stretching nice leaking, huh? But unreadable.)
Needless to say that the FreeType auto-hinter works just fine with any stretch ratio.
It looks like Microsoft API is a huge set of ill-considered random ad-hoc solutions, with no engineering culture and no any common idea behind. Typically you can use Microsoft software only in one rigidly straightforward way. Step to the left or step to the right and you fail. I admit it might be good for business, but it's unfair. It prevents others from fair competition and stops the progress. The anti-monopoly committee should take into account namely this situation instead of ridiculous requirements to remove the Media Player or Internet Explorer from Windows.
So, eventually I found out that value 16 is the least evil; it works in most cases, but still fails on Times New Roman Italic.
So, here it is, the Windows application with sources that uses FreeType:
The one uses Win32 API:
The FreeType version requires the following font files to be found in the current directory: arial.ttf, ariali.ttf, georgia.ttf, georgiai.ttf, tahoma.ttf, times.ttf, timesi.ttf, verdana.ttf, verdanai.ttf. You can find them in the Windows/Fonts directory.
If you want to compile it you download AGG v2.4 or v2.5, and unzip the files somewhere like agg-2.4/research/win32/trutype_lcd/*.*. For the FreeType version you also need to build the FreeType itself and probably adjust the settings in the project.
It also can be built for Linux/X11 or another system if you write a Makefile, similar to the ones used in the AGG examples.
The text with the FreeType and WinAPI versions look differently because of different hinting algorithms.
You see a lot of controls here. First, you can switch between the fonts and control Kerning, Hinting, Grayscale/Sub-pixel rendering and see the inverse image (white on black).
The Font Scale slider just uses this ratio to gradually change the size. You see, with hinting, the lines are snapped to pixels, but the text width still changes absolutely gradually. You can see it better changing Interval. Without hinting the appearance of the layout is exactly preserved at any scale, but the text looks blurry. Snapping the lines vertically is the most reasonable trade-off between the sharpness and general appearance of the layout. It's just surprising how much the vertical hinting improves the quality at the same time preserving the letter-form appearance.
The Interval, Width, and Faux Italic sliders are obvious and do not require explanations. It's apparent to people skilled in the art that they are just trivial affine transformations. I only want to mention that Faux Italic works slightly differently in the Grayscale and RGB-Sub-pixel modes, simply because I'm too lazy to calculate it properly with arctangents. It's trivial and immaterial, anyway.
The feature I'm especially proud of is Faux Bold that works like this:
There is also a simple trick. AGG has conv_contour tool that allows you to calculate an equidistant polygon to the given one. But the direct use of it produces a very blurry result that also considerably changes the letter-form appearance (it might me good for glow and shadow effects, though):
It's easy to avoid the blurriness, if we stretch the glyphs vertically, say 100 or 1000 times, calculate the equidistant polygon and shrink them again. So, eventually the Y coordinates change very little; and it's practically invisible. The text remains sharp. In the demo there's a pipeline class faux_weight. Once again, it's amazing how many extra capabilities free horizontal scaling gives you. And it's amazing how vertical snapping improves the result.
One more example: (I love this freedom)
It's the very same Georgia font, just programmatically transformed. Perfectly readable, sharp and smooth at the same time (well, I agree that it requires custom kerning).
Or, the very same with "Tahoma":
Slider Gamma controls per-component gamma correction. Theoretically, you have to apply the "Direct Gamma" to the source colors, and then, after the scene is drawn, apply the "Inverse Gamma". But since the text in these examples is always black or white, the first operation does not make any difference.
Slider Primary Weight controls the energy distribution exactly as on Steve Gibson's page: http://www.grc.com/freeandclear.htm. It's good enough to control only the primary weight and calculate the other ones accordingly. Increasing the primary weight you can make the text sharper, but more color fringy. Values up to 0.5 are reasonable; above 0.5 the color halos become too visible. To me, Windows ClearType with the default settings looks too color fringy as well.
The demo applications are slow. Partially because of a lot of vector operations performed on-the-fly, but especially because WinAPI GetGlyphOutline() is ridiculously slow. However, it can be as fast as any kind of hardware accelerated text output. But first, you have to agree that it's extremely difficult, almost impossible to accelerate arbitrarily transformed text keeping hinting, accurate layout and perfect RGB-sub-pixel quality at the same time. Arbitrary namely means arbitrary, including perspective and any non-linear transformations.
Most of the times we have to deal with regular horizontal text, even using East Asian languages. And most of the times the glyphs have equal nominal size. It means that some caching mechanism is a must here. The RGB-sub-pixel gray mask takes 3 times more space, but at the same time it allows for 1/3rd pixel positioning. It works fairly well in most practical cases. Only for hypothetical luxury rendering you can use two grayscale masks per glyph, which gives you the 1/6th pixel accuracy. Even pure software alpha-blending works fast enough; about 2-4 microseconds per glyph on modern Intel or PPC processors. With video hardware acceleration it may work much faster if you upload the textures. The only problem is the hardware must allow for using per-channel alpha blending, which, as I heard, is possible. At least, David Brown mentions about it in his presentation [8]. But I couldn't find more information about it (how to return a 6-channel output from the pixel shader) and I'd highly appreciate if you give me some references.


text:
From Manufacturer's Label:
Oreganol P73 Juice of Wild Oregano is the aromatic essence of wild oregano. It is produced by a special process using only wild mountain-grown oregano. Rich in oxygenated compounds, this oregano juice has been used for thousands of years and contains substances entirely unique when compared to those found in oregano oil. Oregano P73 Juice of Wild Oregano is free of all chemicals, solvents, and additives.


text:
Recently, I discovered something I should have discovered a long time ago - how to hide a class' private members.
All of you should know this (you are experts ):
Then I implement the methods in the Implementation class. All makes sence. Pointer sizes depend on the architecture and do not depend on what they point to, that's obvious (how else would void* exist?)Code:class Implementation; //Forward declaration of the implementation class Interface { public: //yodda yodda, public, private, protected methods Implementation* ptr; };
I often want to hide the implementation as far as possible, but I understand that this implementation moves the members into the Heap -- that is obviously a slowdown.
On the other hand, it prevents the user (of the class) from creating additional methods that give him access to the members. But they can always do the same with the pointer can't they? For instance, they can make it point to NULL!
So, when is it useful to do this and when isn't it? Logically, on proprietary/closed-source libraries this is probably used, or are there other methods?
Thanks, Jorl17


text:
"The #1 Pak-Rat player in the world!"
iStage an Intervention is the second episode of the second season of iCarly and the 27th episode overall.
Spencer finds an arcade game called Pak-Rat at the junkyard and becomes addicted playing it. He also obtains a job making a labradoodle sculpture (for a wealthy doctor who is an important figure in the Seattle Art Community), which he completely neglects in favor of playing Pak-Rat.
To get Spencer to stop playing the game, Carly finds Sasha Striker, a champion Pak-Rat player who disappeared at the age of sixteen, after winning the title of best Pak-Rat player ever with the highest score. Spencer beats her, but they are attracted to each other and share a kiss before she leaves, and (with the help of Carly, Sam and Freddie) Spencer builds the sculpture, which is a success.
At the very end of the episode, Carly gets addicted to Pak-Rat, and plays all night.
Carly, Sam, and Freddie keep getting chain letter e-mails from Gibby that are said to bring bad luck, and when Freddie deletes it instead of forwarding it, he supposedly suffers "bad luck."
At the end of the episode, Sam gets a text message invite from a hot senior named Gary Wolf, a guy that every girl in the school wants to go out with, after telling Carly she made all the bad things happen to Freddie (apart from a spider on his face). Carly goes to tell Freddie about the bad luck, but it turns out he saw Sam loosening bolts on his bike. Freddie got revenge on Sam by sending her the text message that looked like it came from Gary Wolf. Freddie looks like he is about to tell Carly something before she goes, but he loses confidence and goes back inside.
- Pak-Rat is a spoof of Pac-Man.
- In this episode, Freddie is not fooled by Consuela's Revenge. This suggests that he's not as gullible as iTwins would have you otherwise believe.
- This is arguably the first Creddie episode, or the first to show that Carly seems to have early emerging feelings for Freddie during the second season, even though they would not date until a year later. Carly and Freddie have a quiet scene at the end when they talk outside their apartments, while a slow song plays, and they both seem flirty. Freddie also almost asks her something, but loses his nerve.
- When you look at the game Spencer's playing the rat keeps going the same way and the cats stay in their block, apart from when he was playing Sasha Striker.
- When Spencer is playing the game he says "A little bang bang to the chitty chitty." This is a reference to the film Chitty Chitty Bang Bang.
- It is noteworthy that Jonathan Goldstein, the director of this episode and iEnrage Gibby, played Walter Nichols on Drake & Josh.
- At the beginning of the episode, just before they shut down, Carly and Sam sing the same song played by the band in the episode, iAm Your Biggest Fan.
- Webflix is a spoof of Netflix.
- A character named "Consuela" was heard on a Spanish TV soap opera on Dan Schneider's other show, Kenan & Kel and Beck's maid on Victorious and Angie's guardian angel on George Lopez.
- This is the first time a bunch of reporters and nerds from a network come to the Shays' apartment. One of them is desperate for a girlfriend.
- At the end of the episode when Spencer sees Carly sleeping on the Pak-Rat machine, he is barefoot, but when he picks her up to bring her upstairs he is wearing slippers.
- The following things happen to Freddie:
- A spider crawls on his face.
- A red sock turns his white clothing pink in the washing machine.
- His laptop shorts out.
- His bike falls apart.
- His lunch gets run over by a bus.
- This episode was the first time Freddie tricked Sam, but it may have resulted in Sam finding out the truth, and that it was Freddie.
- It is unknown which iCarly fan found Sasha Striker.
- The Video Game Channel is likely a spoof of G4 TV.
- This is the second time Spencer broke a world record, the first was in iWant a World Record.
- In the iCarly segment in the second half of this episode, the mentionings of a survival knife, and the picture of a pregnant man were cut out in the UK.
- In the scene where Freddie comes to Carly's apartment to borrow Carly's tennis racket, he leaves the front door wide open as he enters. But as Spencer turns away from the Pak-Rat machine to say to them "Another ten thousand points, another extra rat....." the front door is closed, then immediately afterwards it is wide open again.
- When the rich doctor first comes to the apartment and finds Spencer has not completed the sculpture as promised, he asks Spencer "What is that on your face?" then Carly removes the object and holds it up with her left hand saying "It's smoked salmon", then there is a cut to the rich doctor who says "What is wrong with you?", then there is a cut back to Spencer and Carly, but now Carly is holding up the smoked salmon with her right hand.
- Just as Sasha Striker is about to enter the Shays' apartment, Carly runs across the living room and unplugs the Pak-Rat machine - the machine stops making sounds, but the lights on top remain lit.
Freddie: [picks up plastic bag] What's this?
Spencer: Bag of dog hair.
Freddie: Whoa! [drops bag]
Carly: Where'd you get a bag of dog hair?
Spencer: I stopped by that pet grooming place down the street.
Carly: Shampoodles?
Sam: My mom told me I couldn't leave the house unless I clean out my room, so I locked the door, snuck out the window, and took a bus here....Got any meat?
Sam: Gary Wolf is so gorgeous.
Carly: Why does he have to be a senior? A hot, hot senior?
Rich doctor: What's that on your face?
Carly: [Pulls something from Spencer's face] It's smoked salmon.
Spencer: I did what you said I shaved, I took a shower, I mailed that movie back to Webflix, I-
[The elevator opens to reveal Sasha Striker]
Spencer: Who's the girl in the sexy purple tank top?
Sam: Her name is Sasha.
Freddie: Sasha Striker.
Spencer: Wuh!?
Carly: The #1 Pak-Rat player in the world!
Sam: Are you guys gonna make out or play some Pak Rat?
[Sam grabs the microphone from the announcer's hand]
Sam: Stop watching the video game channel, you big bunch of losers! You're wasting your lives! Get a job! Kiss a girl! Do something! [gives back the microphone] No offense.
Sasha: Nice game.
Spencer: Thanks. Back atcha.
Spencer: I would love to. [sees Carly, Sam, and Freddie looking at him] But, this is all I can give you right now. [kisses Sasha]
Sasha: [steps on the elevator] Call me.
Spencer: We'll see.
Sam: Oh, man. I got another of those chain letter e-mails from Gibby.
Carly: Well, you better forward it, or you'll have all kinds of bad luck, just like Freddie did.
Sam: Freddie didn't have any bad luck.
Carly: What are you talking about?
Sam: I did all that stuff.
Carly: What? Wait. His bike falling apart?
Sam: I loosened some bolts.
Carly: His laptop smoking?
Sam: Shorted out the battery.
Carly: The pink shorts?
Sam: One red sock in his washing machine.
Carly: Okay, what about the spider on his face?
Sam: That was just lucky.
Freddie: Hey.
Carly: Hi. I gotta tell you something.
Freddie: You're gonna tell me that there was no bad luck? That Sam did all that stuff to me?
Carly: How'd you know?
Freddie: Well, I didn't know when it was my pink shorts and my laptop, but I saw her loosening the bolts on my bike.
Carly: But I thought your bike fell apart while you were riding it.
Freddie: Nope, I just pretended on that one.
Carly: So you're not gonna try to get her back?
Freddie: You mean, do something devious, like sending a fake text message that looked like it came from Gary Wolf, telling her to meet him at the Crown Ridge Mall?
Carly: I didn't know you could be so bad.
Carly: Oh! I Can't (4x)
Sam: Oh, I'll Get it!
Freddie: Just be Careful!
[Sam Knocks Out Freddie in the Face]
Sam: I Got It.
Related iCarly.com blog posts
Spencer's blog: You know what I forgot? To write a blog.
Photo Gallery
See photos for this episode here.


text: Big booty porn star Sheila Marie is equal parts beauty and brains! She studied Chemistry in college, and paid her bills as a fetish model. After this Latina babe graduated, life experience showing off her killer curves and an insatiable sex drive made it easy for her to transition to hardcore scenes. When she's not filming, she indulges her geeky side with unique hobbies like studying the Egyptian Book of the Dead, and reading up on Material Sciences. Sheila says her best feature is her flexibility, a skill she works on all the time because it makes spreading her legs to take her costars' big dicks feel so much better.


text:
For projects to be effective and to keep useful information, it is important to conduct evaluations of personnel and have an up to date perspective on the current status of the processes and team of your company. This way, the work strategies implemented in the team will be set in context and meet the team's needs.
The personnel and performance evaluation looking at both projects and work teams creates a feedback process that is necessary to detect elements that:
- Are failing and need correction
- Are working and should be kept
- Are working but could be improved
- Are not working and should be eliminated or replaced
In this course, you will learn to carry out an effective personnel and performance evaluation within your team, something that should be done at least twice a year and at least once in shorter projects, as it is a tool that allows:
- Gathering of information about the team status
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- Implementing changes necessary to improve quality and results
- Updating necessary information including the goals and objectives
- Touching up work tools to meet the current needs of the project and the team
- Implementing the necessary changes that need to be made considering the needs of the projects and the work teams.
It is normal often times for paperwork on projects to be left blank, in other words, it is whittled down to just the brass tacks of experience while conceptually there is no elaboration of any theoretical or methodological information at all, letting a great deal of valuable information produced during the team's day to day experience go to waste. The performance evaluation is also a means of:
- Recording the opinion, experience, perceptions and proposals of the team.
- Gathering and documenting valuable information that emerges out of the team's experience.
- Improving knowledge on the operation and roles of the team, and identifying what aspects stand to be improved.
- Prompting communication in the team and knowing about its operation and performance.


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text:
Hey all!!!
Happy Labor Day Weekend!!
I am away at the lake as we speak---unable to load up some pics-sorry!!
I will be home tomorrow and I will post some pics-promise!!!
And we can talk more about TOP DESIGNER!!! Yeah baby!!!
My class is first-you will love it-I promise!
And tonight is the BAD GIRLS KIT REVEAL!!! You will love the September kit
so go ahead and subscribe now-I happen to know what might be in future kits too,
so I say go for it-you will love everything Wendy has up her sleeves in the months to come!!
Be back soon! xoxo CAri
Sunday, August 31, 2008
Friday, August 22, 2008
Happy Friday!!
Ahh...I just got back from having a Birthday sleepover for Jack at the lake. He invited a few of his friends and we entertained! They had a blast-they fished, went tubbing, we took them out for dinner on the boat, they swam and sat by the fire both nights with smores a plenty!! Jack loved it! And so did his friends! I am beat! LOL!
And I am glad to be home again!
My class went well last night-we had fun and the girls loved the minibook!
We are headed out to see the Allman Brothers tonight-can't wait!
I have a baby shower to attend on Sunday for my dear friend Holly! She is having a girl so I can't wait to shop for baby girl clothes-that is the best!
And then we plan to attend the NYS Fair on Monday-the boys LOVE the fair! The food is the best part!!
Over at Bad Girls-we are starting the Next Top Designer contest in September-it will be so fun! So many participated last year and the classes were well received! They loved them! And the competition was fierce! I look forward to this contest-it will be so fun! My class is the first one to kick it off!
I also wanted to mention-the wide ribbons I use are made by May Arts-aren't they awesome? I love that ribbon-it is my favorite-incase you didn't know-LOL!
OK-I will leave you with some fun photos from the lake. Hope everyone has a fabulous day! Check out crazy Bryan jumping off the dock!
xoxo Cari
Monday, August 18, 2008
I don't want summer to end!
I can't believe it's half way through August already!!! Where did the Summer go?
I always get sad this time of year because the kids go back to school. I love having them home with a nice leisurely schedule and fun days of doing whatever we want. School seems to last forever through the year and they don't do mornings well...
I have been trying to catch up on work since I got home from the Cape-it was a lovely week away-we had a blast! I have a class coming up and other projects due for various things so I need to get going!
Oh-and we are going to see the Allman Brothers at the fair Friday night! YAY! I love seeing them in concert-it is always a great show! And it will be outdoors-even better!
I will have to put them on my play list!
I am posting a couple of projects I've been working on for the past couple of weeks-mostly Prima since I had to make a few for their booth and pics of my upcoming minibook class. Those are my newest projects as of lately! And I am awaiting my box from Wendy!
I'll be posting more often once the kids are gone to school-I promise!
Thanks for checking in-xoxo


text:
Child Therapist
Janet Edgette, Psy.D.
Clinical Psychologist
In 19341 - Nearby to Brookhaven.
I see children from the age of four years and up, many of whom are referred for behavioral and emotional difficulties such as frequent and long-lasting tantrums, poor emotional regulation, defiance, physical aggression toward parents or siblings, and/or high degrees of anxiety. In these situations I meet with the child and his or her parent(s), so that I can see the interactions and better discern whether this is a strictly behavioral or a developmental problem. Treatment options may include parent coaching, family counseling, individual counseling (for older kids), referral for psychological or neurological testing, and referral to a developmental pediatrician, among others.
Child Therapist
Colleen Fitzpatrick, MSW, LCSW, CH, Counselor
In 08033 - Nearby to Brookhaven.
Does your child struggle with challenges in terms of communication, emotion or behaviors? Are you feeling frustrated with these issues and feel coaching may improve your relationship with your child? I utilize music , art and play therapy to help your child explore feelings and develop new coping skills. I believe in a collaborative approach, where I assist the entire family in building upon strengths.
Child Therapist
Valerie Anne Davis, Mrs
AD Specialst Life Coach Behavior Modification Counselor LLC
In 19151 - Nearby to Brookhaven.
I provide Coaching or Counseling to children who are struggling. I analyze and ask questions to determine their needs by means of assessment. This enables me to determine how to proceed by way of Coaching or Behavior Modification. Sessions are tailor made for the individual client in mind. I can be reached at 267-970-7615. email email@example.com
Child Therapist
Walter Matweychuk, Ph.D.
Licensed Psychologist
In 19102 - Nearby to Brookhaven.
I do not treat young children because for many problems it is best to teach parents skills for effectively responding to their children's emotional and behavioral needs. I teach what is called Parent Effectiveness Training Skills. This involves helping parents reinforce behaviors in children they wish would occur with greater consistency. Train the parent!
Child Therapist
Kevin Fleming Ph.D.
Coach/Change Agent/Consultant
At Home or Private Discreet Intensives
Many times, child therapists overdo the family system in their quest to seek effective solutions for emotional, learning or behavioral concerns with young children. And many times doctors overpathologize issues that shouldn't be medicated necessarily. This leaves parents wondering what is the best route for their child? Introducing brainwave optimization technology. A fast, effective, natural, and less expensive way to allow your child's brain to make the optimizing changes it desires to make---on its own! Without any external force, opinion, medication, diagnostic, etc. Contact email@example.com or 877-606-6161.
Child Therapist
Jay Jemail, Ph.D.
Licensed Psychologist
In 19807 - Nearby to Brookhaven.
Dr. Jemail has worked with children and families for over 35 years. She has expertise in diagnostic work of learning differences, depression, anxiety, trauma, OCD, autism spectrum disorders, coping with parental separation and divorce, attachment disorders, peer issues, cutting and self mutilation and behavioral problems including aggression, stealing, biting, and bullying. Her work with children involves family work. She has expertise in neuropsychological testing and provides second opinions to parents and school districts in DE and PA. She will do school observations and provide consultations in the school as needed.
Child Therapist
Eugene Devers, D.Min, ACSW, AAMFT, LCSW
Licensed Clinical Social Worker & Marriage &Family Therapist
In 19115 - Nearby to Brookhaven.
Children are exhilarating and exhausting and we each write our own parenting manual following our trials and errors. Whatever the problem with your child- medical, developmental, learning, or behavioral - it shapes and affects your entire family. I work with families to help each member increase their mindfulness of how their actions influence the behaviors of their child. I also help parents/guardians create new ways of supporting and insuring that the needs of all family members are satisfied. I invite you to visit me at www.PhillyFamilyLifeCounseling.com and to allow me to join you as you write your parenting manual.
Child Therapist
Jennifer Bullock, M.Ed, M.L.S.P., LPC
Licensed Profesional Counselor
In 19102 - Nearby to Brookhaven.
In our current over-scheduled, over-pressured world, families are confronting problems they have little capacity to do anything about. We can tend to cope by getting stuck in a narrow range of behaviors and responses even if they are not helpful. A child who has learned to have temper tantrums when she is angry, and her parents who have learned to punish or pamper her, are stuck in maladaptive, non-growthful environments—'a bad play'. It's like playing the same part in the same play on the same stage day after day. A key component in this play is often our children's behavioral, emotional and leaning difficulties that are so disruptive or dysfunctional - all we want to do is stop it. As pare....
Child Therapist
Vivian Good, LPC, MA, MS, ACS
Licensed Professional Counselor, Accredited Clinical Supervisor
In 19087 - Nearby to Brookhaven.
Children communicate in many ways. I use therapeutic play, art and music to support children's self worth and to encourage secure attachments with nurturing care givers. I provide a safe, trusting holding space for each child's unique identity, and also support families in negotiating the sometimes terrifying shoals of parenting so that all family members feel respected and loved.
You have found the top therapists in Brookhaven, PA who specialize in helping children.
Thank you for visiting our Pennsylvania page of licensed child psychologists and child therapists in Brookhaven, Pennsylvania who are trained and experienced in helping children and youth. Working with children requires a different skillset from other types of therapy and here you will find therapists who are skilled, patient and experienced. Please note that while all therapists here work with children, not all may be a registered psychologist. You can easily verify this on each profile. Reach out to a child therapist or child psychologist in Brookhaven today, our contact forms are "open" 24/7.
Brookhaven is located in Delaware County, Pennsylvania. It has a land area of 1.70 square miles and a water area of 0.00 square miles.  The population of Brookhaven is 8,078 people with 3,419 households and a median annual income of $65,130. .
Therapy Affordability Meter for Brookhaven, PA
Generally Affordable
Therapists in Brookhaven are often within budget with some potential challenges for longer term commitments. Your mental health and well being are a top priority. If accessibility is a concern, ask your counselor about sliding scale fees or inquire about accepted insurance plans. Low cost counseling and affordable therapy are also sometimes offered by listed city and university level clinics, check with your local Brookhaven public health department.