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Brand: Sukkhi Product Type: Scarf Jewellery SKU: 58016SNGLDPD1450 Colour: Multi Material: Silk Plating: Gold Plated Stone Used: NA Design: CAD/CAM Dimension: L: 82cm Weight: 20 gms Dispatch TAT: 1 Day Sukkhi offers a full statutory warranty covering manufacturing and material defects for genuine branded Sukkhi products purchased from Sukkhi own stores (including Online) or authorized Sukkhi retailers for a period of 6 months from the date of purchase. The terms of the warranty may vary between markets and regions. The warranty only covers damage that in the opinion of Sukkhi or an authorized Sukkhi retailer is not caused by accident or inappropriate use, ordinary wear and tear, modification, attempted repair, negligence or by failure to follow Sukkhi€™s special product Care Advice. Every item found to be defective under this warranty may be, at the discretion of Sukkhi or an authorized Sukkhi retailer: 1. Replaced by an identical piece, if available: 2. Substituted with a piece of comparable value; or 3. Repaired depending on the degree of damage to the warranted product as well as on the feasibility and the availability of replacement parts. The damaged product should be sent by post or courier. This warranty service is provided free of charge. Please retain the purchase or delivery receipt, or order id (in case of online), the gift receipt or the certificate of authenticity in case you have a warranty claim. The receipt or the certificate serves as proof of purchase and authenticity for products purchased and as evidence of entitlement to this warranty. These warranty conditions apply if there are no specific warranty conditions granted for specific products. Sukkhi reserves the right to amend or adapt these warranty conditions with implications for the future at its discretion at any time. This warranty does not affect your statutory rights.


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Stephen Trumbo
Professor (Ph.D., University of North Carolina, Chapel Hill) firstname.lastname@example.com ResearchGate [1] Google Scholar [2]
Research Projects
Carrion Ecology
Carrion-frequenting beetles come to carcasses at particular stages of decomposition (ecological succession) attracted by cues from microbes (semiochemicals). We are investigating whether the successional pattern can be explained by the changing profile of microbially-derived cues and whether the presence of microbes enhances or inhibits the use of carrion by invertebrate scavengers. We are intrigued by the roles of two sulfur-based compounds that have received limited study to date: methyl thiocyanate, which helps burying beetles find a fresh carcass, and methyl thiolacetate, which enhances the attractiveness of dimethyl trisulfide for beetles seeking a carcass in active decay.
Juvenile hormone
Juvenile hormone (JH) has numerous physiological and behavioral effects in larval and adult insects. In burying beetles, high levels of JH are correlated with periods of intense parental activity. Manipulation of JH levels, however, seems to have minimal effects on care-giving. In collaboration with Dr. Claudia Rauter (University of Nebraska-Omaha), we are broadening the study of JH to include JH effects on metabolic rates, which are known to vary predictably during the parental cycle.
Microbiology of carcass preparation
Burying beetles are thought to control the decomposition of a small carcass by burying, removing hair or feathers, rounding, and applying antimicrobial anal and oral secretions. These secretions, however, are loaded with their own particular microbial community that will proliferate once on the carcass. Working with Dr. Paula Philbrick (UConn-Waterbury) we are investigating how burying beetles manipulate the microbial community to their advantage.
Parental care
Biparental care is increasingly viewed as a conflict. On the other hand, there is much attention to how cooperation can evolve among individuals in groups, particularly in the social insects. We feel that it will be instructive to view these two situations from a common perspective: biparental care as a potentially cooperative effort of two unrelated individuals in which both individuals benefit from greater group productivity (more offspring) while attempting to minimize costs by manipulating the partner to provide more care. As in social insects, specialization may promote stable groups because a deserted individual will not be able to perform nonspecialist tasks as efficiently as its partner.
Nicrophorus pustulatus as a parasitoid of snakes
N. pustulatus has been an enigmatic species of burying beetle because it was never found breeding on a small carcass. Drs. Gabriel Blouin-Demers and Patrick Weatherhead (University of Illinois-Urbana) found N. pustulatus adults and larvae in the nests of the black rat snake (Elaphe obsoleta). Working in our lab, Garrison Smith (M.S., University of Arizona) determined that this species is well adapted to exploiting reptile eggs using many of the same behaviors that congeners use when exploiting carcasses (see September, 2009 issue of Natural History). The closest phylogenetic relatives of N. pustulatus (determined by Derek Sikes, University of Alaska-Fairbanks Museum) have not been studied so it is unknown whether additional nicrophorine species act as parasitoids of reptiles. The different sets of volatile cues that bring N. pustulatus to snake eggs rather than to a small carcass for breeding are not yet known, but are essential to understanding this dramatic host shift.
Charabidze, D., Trumbo, S.T., Grzywacz, A., Costa, J.T., Benbow, M.E., Barton, P.S. & Matuszewski, S, 2021. Convergence of social strategies in carrion breeding insects. "Bioscience" 71: 1028-1037. https://doi.org/10.1093/biosci/biab068
Trumbo, S.T. 2021. Beetle parents manipulate information broadcast from bacteria in a rotting corpse. The Conversation January 26, 2021. https://theconversation.com/beetle-parents-manipulate-information-broadcast-from-bacteria-in-a-rotting-corpse-151447
Trumbo, S.T. & Klassen, J. 2020. Editorial overview: hidden players: microbes reshape the insect niche. Current Opinion in Insect Science 39: vi-ix. https://doi.org/10.1016/j.cois.2020.05.008
Trumbo, S.T. 2019. The physiology of insect families: A door to the study of social evolution. Advances in Insect Physiology 56: 203-250. download: https://authors.elsevier.com/b/1Z41BErzK7yJs https://doi.org/10.1016/bs.aiip.2019.02.002.
Machado, G. & Trumbo, S.T. 2018. Parental care. In: Insect Behavior: From Mechanisms to Ecological and Evolutionary Consequences (eds., Cordoba-Aguilar, A., Gonzalez-Tokman, D. & Gonzalez-Santoyo, I.), pp. 203-218. Oxford University Press, Oxford. https://doi.org/10.1093/oso/9780198797500.003.0014
Trumbo, S.T. 2018. Juvenile hormone and parental care in insects: implications for the role of juvenile hormone in the evolution of sociality. Current Opinion in Insect Science 28:13-18. https://doi.org/10.1016/j.cois.2018.04.001.
Trumbo, S.T. 2013. Maternal care, iteroparity and the evolution of social behavior: a critique of the semelparity hypothesis. Evolutionary Biology 40:613-626. DOI: 10.1007/s11692-013-9237-4.
Trumbo, S.T. 2012. Patterns of parental care in invertebrates. In: The Evolution of Parental Care (eds., Royle, N.J., Smiseth, P.T., Kölliker, M), pp.81-100. Oxford University Press, Oxford.
Trumbo, S.T. 2007. Can the challenge hypothesis be applied to insects? Hormones and Behavior 51: 281-285.
Trumbo, S.T. 2002. Hormonal regulation of parental behavior in insects. In: Hormones, Brain and Behavior, Volume 3 (eds., Pfaff, D.W., Arnold, A.P., Etgen, A.M., Fahrbach, S.E., Moss, R.L., Rubin, R.R.), pp. 115-139. Academic Press, New York.
Trumbo, S.T. 1999. Using integrative biology to explore constraints on evolution. Trends in Ecology & Evolution 14: 5-6.
Trumbo, S.T. 1997. Juvenile hormone-mediated reproduction in burying beetles: from behavior to physiology. Archives of Insect Biochemistry and Physiology 35: 479-490.
Trumbo, S.T. 1996. Parental care in invertebrates. Advances in the Study of Behavior 25: 3-51.
Trumbo, S.T. 2023. Moving the corpse to hide the evidence: horizontal as well as vertical movement is important when burying beetles cache a carcass. "Journal of Insect Behavior" (in press). https://doi.org/10.1007/s10905-023-09816-9
Trumbo, S.T. 2022. Why do males stay in biparental burying beetles? "Behaviour" 159: 1301-1318. https://doi.org/10.1163/1568539X-bja10182
Trumbo, S.T. & Newton, A.F. 2022. Microbial volatiles and succession of beetles on small carrion. "Ecological Entomology" 47: 759-769. https://doi.org/10.1111/een.13160).
Trumbo, S.T. 2022. Contrasting sex roles in two species with stable biparental care. "Ethology" 128: 622-631. https://doi.org/10.1111/eth.13322
Trumbo, S.T. & Sikes, D.S. 2021. Resource concealment and the evolution of parental care in burying beetles. "Journal of Zoology"
315:175-182. https://doi.org/10.1111/jzo.12916
Trumbo, S.T., Philbrick, P.K.B., Stokl, J. & Steiger, S. 2021. Burying beetles adaptively manipulate information broadcast from a microbial community. The American Naturalist 197: 366-378. https://doi.org/10.1086/712602
Trumbo, S.T. & Dicapua, J.A. III. 2021. A synergism between dimethyl trisulfide and methyl thiolacetate in attracting carrion-frequenting beetles demonstrated by use of a chemically-supplemented minimal trap. Chemoecology 31:79-87. https://doi.org/10.1007/s00049-020-00330-4
Trumbo, S.T. & Steiger, S. 2020. Finding a fresh carcass: Bacterially-derived volatiles and burying beetle search success. Chemoecology 30: 287-296. https://doi.org/10.1007/s00049-020-00318-0
Capodeanu-Nagler, A., Madlen, A.P., Trumbo, S.T., Vogel, H., Eggert, A.-K., Sakaluk, S.K. & Steiger, S. 2018. Offspring dependence on parental care and the role of parental transfer of oral fluids in burying beetles. Frontiers in Zoology 15: 33. https://doi.org/10.1186/s12983-018-0278-5.
Trumbo, S.T. 2017. Feeding upon and preserving a carcass: the function of prehatch parental care in a burying beetle. Animal Behaviour 130:241-249. https://doi.org/10.1016/j.anbehav.2017.07.001.
Trumbo, S.T., Sikes, D.S. & Philbrick, P.K.B. 2016. Parental care and competition with microbes in carrion beetles: a study of ecological adaptation. Animal Behaviour 118: 47-54. https://doi.org/10.1016/j.anbehav.2016.06.001
Sikes, D.S., Trumbo, S.T. & Peck, S.B. 2016. Cryptic diversity in the New World burying beetle fauna: Nicrophorus hebes Kirby, 1837; new status as a resurrected name (Coleoptera: Silphidae: Nicrophorinae). Arthropod Systematics and Phylogeny 74:299-309.
Trumbo, S.T. 2016. Carcass age and reproductive costs for Nicrophorus orbicollis. Environmental Entomology 45: 1178-1183. https://doi.org/10.1093/ee/nvw114
Trumbo, S.T. 2016. The fate of mouse carcasses in a northern woodland. Ecological Entomology 41: 737-740. https://doi.org/10.1111/een.12341
Trumbo, S.T. & Xhihani, E. 2015. Mass-size relationships, starvation and recovery in an engorging feeder. Physiological Entomology 40: 257-263. https://doi.org/10.1111/phen.12110
Trumbo, S.T. & Xhihani, E. 2015. Influences of parental care and food deprivation on regulation of body mass in a burying beetle. Ethology 121: 985-993. https://doi.org/10.1111/eth.12413
Trumbo, S.T. and Rauter, C.M. 2014. Juvenile hormone, metabolic rate, body mass and longevity costs in parenting burying beetles. Animal Behaviour 92: 203-211. https://doi.org/10.1016/j.anbehav.2014.04.004.
Trumbo, S.T. 2012. Contest behavior and other reproductive efforts in aging breeders: a test of residual reproductive value and state-dependent models. Behavioral Ecology and Sociobiology 66: 1511-1518. https://doi.org/10.1007/s00265-012-1406-4.
Trumbo, S.T. 2009. Age-related reproductive performance in the parental burying beetle, Nicrophorus orbicollis. Behavioral Ecology 20: 951-956.
Trumbo, S.T. 2009. Naturalist at Large: From Gravedigger to Assassin. Natural History September 24-25.
Sikes, D.S., Vamosi, S.M., Trumbo, S.T., Ricketts, M. and Venables, C. 2008. Molecular systematics and biogeography of Nicrophorus in part - the investigator species group (Coleoptera: Silphidae) using mixture model MCMC. Molecular Phylogenetics and Evolution 48: 646-666.
Trumbo, S.T. & Robinson, G.E. 2008. Social and nonsocial stimuli and juvenile hormone titer in a male burying beetle, Nicrophorus orbicollis. Journal of Insect Physiology 54: 630-635.
Smith, G., Trumbo, S.T., Sikes, D.S., Scott, M.P. & Smith, R.L. 2007. Host shift by the burying beetle, Nicrophorus pustulatus, a parasitoid of snake eggs. Journal of Evolutionary Biology 20: 2389-2399.
Trumbo, S.T. 2007. Defending young biparentally: female risk-taking with and without a male in the burying beetle, Nicrophorus pustulatus. Behavioral Ecology and Sociobiology 61: 1717-1723.
Trumbo, S.T. & Valletta, R.C. 2007. The costs of confronting infanticidal intruders in a burying beetle. Ethology 113: 386-393.
Sikes, D.S., Madge, R.B. & Trumbo, S.T. 2006. Revision of Nicrophorus in part: new species and inferred phylogeny of the nepalensis-group based on evidence from morphology and mitochondrial DNA (Coleoptera: Silphidae: Nicrophorinae). Invertebrate Systematics 20: 305-366.
Trumbo, S.T. 2006. Infanticide, sexual selection and task specialization in a biparental burying beetle. Animal Behaviour 72: 1159-1167.
Suzuki, S., Nagano, M. & Trumbo, S.T. 2005. Intrasexual competition and mating behavior in Ptomascopus morio (Coleoptera: Silphidae: Nicrophorinae). Journal of Insect Behavior 18: 233-242.
Trumbo, S.T. & Robinson, G.E. 2004. Nutrition, hormones and life history in burying beetles. Journal of Insect Physiology 50: 383-391.
Trumbo, S.T. & Bloch, P.L. 2002. Competition between Nicrophorus orbicollis and Nicrophorus defodiens: resource locating efficiency and temporal partitioning. Northeastern Naturalist 9: 13-26.
Trumbo, S.T., Kon, M. & Sikes, D.S. 2001. The reproductive biology of Ptomascopus morio, a brood parasite of Nicrophorus . Journal of Zoology, London 255: 543-560.
Scott. M.P., Trumbo, S.T., Neese, P.A., Bailey, W.D. & Roe, R.M. 2001. Changes in biosynthesis and degradation of juvenile hormone during breeding by burying beetles: a reproductive or social role? Journal of Insect Physiology 47: 295-302.
Trumbo, S.T. & Bloch, P.L. 2000. Habitat fragmentation and burying beetle (Coleoptera: Silphidae) communities. Journal of Insect Conservation 4: 245-252 .
Trumbo, S.T. & Sikes, D.S. 2000. Sexual selection and leg morphology in Nicrophorus orbicollis and Ptomascopus morio. Entomological Science 3: 585-590.
Trumbo, S.T. & Thomas, S. 1998. Burying beetles of the Apostle Islands, Wisconsin: species diversity, population density and body size. Great Lakes Entomologist 31: 85-95.
Trumbo, S.T., Huang, Z-Y. & Robinson, G.E. 1997. Division of labor between undertaker specialists and other middle-age honey bees. Behavioral Ecology and Sociobiology 41: 151-163.
Trumbo, S.T. & Robinson, G.E. 1997. Learning and task interference by undertaking specialists in honey bee colonies. Ethology 103: 966-975.
Trumbo, S.T., Borst, D.W. & Robinson, G.E. 1995. Rapid elevation of JH titre during behavioural assessment of the breeding resource by the burying beetle Nicrophorus orbicollis. Journal of Insect Physiology 41: 535-543.
Trumbo, S.T. & Fernandez, A.G. 1995. Regulation of brood size by male parents and cues employed to assess resource size by burying beetles. Ethology Ecology & Evolution 7: 313-322.
Trumbo, S.T. 1995. Nesting failure in burying beetles and the origin of communal associations. Evolutionary Ecology 9: 125-130.
Trumbo, S.T. & Fiore, A.J. 1994. Interspecific competition and the evolution of communal breeding in burying beetles. American Midland Naturalist 131: 169-174.
Trumbo, S.T. 1994. Interspecific competition, brood parasitism, and the evolution of biparental cooperation in burying beetles. Oikos 69: 241-249.
Trumbo, S.T. & Eggert, A.-K. 1994. Beyond monogamy: territory quality influences sexual advertisement in male burying beetles. Animal Behaviour 48: 1043-1047.
Trumbo, S.T. & Wilson, D.S. 1993. Brood discrimination, nestmate discrimination and determinants of social behavior in facultatively quasisocial beetles (Nicrophorus spp.). Behavioral Ecology 4: 332-339.
Trumbo, S.T. 1992. Monogamy to communal breeding: exploitation of a broad resource base in burying beetles (Silphidae: Nicrophorus). Ecological Entomology 17: 289-297.
Trumbo, S.T. 1991. Reproductive benefits and the duration of paternal care in a biparental burying beetle, Necrophorus orbicollis. Behaviour 117: 82-105.
Trumbo, S.T. & Fiore, A.J. 1991. A genetic marker for investigating paternity and maternity in the burying beetle Nicrophorus orbicollis (Coleoptera: Silphidae) . Journal of the New York Entomological Society 99: 637-642.
Trumbo, S.T. 1990. Interference competition among burying beetles (Silphidae, Nicrophorus). Ecological Entomology 15: 347-355.
Trumbo, S.T. 1990. Reproductive benefits of infanticide in a biparental burying beetle, Nicrophorus orbicollis. Behavioral Ecology and Sociobiology 27: 269-273.
Trumbo, S.T. 1990. Reproductive success, phenology and biogeography of burying beetles (Silphidae, Nicrophorus). American Midland Naturalist 124: 1-11.
Trumbo, S.T. 1990. Regulation of brood size in a burying beetle, Nicrophorus tomentosus (Silphidae). Journal of Insect Behavior 3: 491-500.
Trumbo, S.T., Smith, G., Sikes, D.S. 2005. Number vs. body size of offspring in biparental burying beetles. In: Learning the Skills of Research: Animal Behavior Exercises in the Laboratory and Field (eds., Jakob, E.M. & Hodge, M.). Compact Disc. Sinauer, New York (2nd edition, 2009).
Trumbo, S.T. 2000. Introducing students to the genetic information age. The American Biology Teacher 62: 259-261.
Trumbo, S.T. 1996. The role of conflict in breeding systems: burying beetles as experimental organisms. The American Biology Teacher 58: 118-121.
Images of burying beetles
All images of beetles on this webpage may be used for noncommercial educational purposes. Click on thumbnail for higher resolution image.
Video of burying beetles
From Our Lab: Video from our lab may be used for noncommercial educational purposes.
Burying beetles preparing a mouse carcass https://www.youtube.com/watch?v=klpnnUENbxA
Parental care and brood reduction in Nicrophorus orbicollis http://www.youtube.com/watch?v=yRarHKpOf_8
Nicrophorus pustulatus exploiting a snake egg http://www.youtube.com/watch?v=Zy2vxstcWiQ
Infanticidal takeover of a carcass http://www.youtube.com/watch?v=CQ9fFslNx_E&NR=1
Other Video:
National Geographic Wild https://www.youtube.com/watch?v=Y9iZvsClC10
Theatrical view of burying beetles http://www.youtube.com/watch?v=enazNu0YgPs
National Geographic view of burying beetles http://www.youtube.com/watch?v=CUOPx1q5bjk
American Burying Beetle - Saint Louis Zoo http://www.youtube.com/watch?v=H75rJGLaSNk
Tracking the American Burying Beetle - Saint Louis Zoo http://www.youtube.com/watch?v=cPJRu-celQ0
Time lapse video of the burial https://www.youtube.com/watch?v=vwcvYEqxfEg
Websites & Links
Sikes, D. S., S. T. Trumbo, S. B. Peck. 1999. Nicrophorus Central https://web.archive.org/web/20050310225611/http://collections2.eeb.uconn.edu/nicroweb/nicrophorus.htm A website developed by Derek Sikes for all things nicrophorine
Sikes, D. S., S. T. Trumbo, S. B. Peck. 2005. Silphidae node on the Tree of Life http://tolweb.org/tree?group=Silphidae Created by Derek Sikes
BugGuide of Nicrophorus Iowa State University Entomology
Hoback, W.W., Snethen, D.G., Brust, M.L. http://www.lopers.net/student_org/NebraskaInverts/cbeetles/Genera/nicrophorus/home.htm
Carrion Beetles of Nebraska developed at the University of Nebraska at Kearney
Contact Information
Office: Waterbury 307 / TLS 83
Voice: (203) 236-9878
Fax: (203) 236-9805
E-mail: firstname.lastname@example.com
Mailing address (1):
Department of EEB
99 E. Main St.
Waterbury, CT 06702
Mailing address (2):
Department of EEB
75 N. Eagleville Road, U-3043
Storrs, CT 06269

subset: commoncrawl


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Just Download – Udaipur Super App from Google Play Store and Apple IOS and check bus timings from Udaipur to nearest towns and city.
Hello Udaipur Super App team delivers from Rs 19 depends on distance and products.
You can order items multi restaurants and up to 3 places our rider covers per order. First is full delivery charge and others half priced delivery cost
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Yes – its 100% free download. Download Hello Udaipur Super App for Free in Google Play Store and IOS
Yes, We often run offers and offers are always send via push notification, So download our App.


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Here is our last but certainly not least collection on the sneak peeks.
Two fun Winter Joy Kits
Cold Hands Warm Heart Banner Class Kit
Winter Joy Card Kit
Includes one already pieced card,
and enough goodies to create
5 more cards for a total of 6
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Winter Joy Combo Sticker
The Gift of Giving Cardstock Sticker
Winter Whimsy Cardstock Sticker
Winter Joy 12" Adhesive Chipboard
Winter Joy iCandy Dimensionals 3D Cardstock Stickers
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Winter Joy iCandy Brads
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What do you think of Winter Joy???
Leave a comment on today's post telling us your thoughts about this vibrant line
and you might be one of the first to own it!!!
That's all for our CHA Summer Release.
Look for the winners of the new collection on July 31.


text:
Plot No. 55/56, Gut No. 17,
Gevrai Tanda, Aurangabad,
Plot No. 55/56, Gut No. 17,
Gevrai Tanda, Aurangabad,
Email Id
Quick Form
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Our company has emerged as one of the most illustrious Air Cooled Chiller Exporters and Suppliers in Gandhi Nagar. If you're looking to buy these chillers for your facility, you won't find a more reliable company than us. We are already supplying these units to many firmly established organizations in the country. Contact us immediately to place your order.
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CSS used with client-side or server-side scripting.
This technique relates to:
When some aspect of the default presentation of a Web page does not meet a Success Criterion, it is possible to meet that requirement using the "Alternate Version" clause in the conformance requirements (Conformance Requirement 1). For some requirements, invoking a style switcher via a link or control on the page that can adjust the presentation so that all aspects of the page conform at the level claimed allows authors to avoid having to provide multiple versions of the same information.
The objective of this technique is to demonstrate how CSS can be used in combination with scripting to provide conforming alternate versions of a Web page. In this technique, an author provides alternative views of the content by providing controls that adjust the CSS that is used to control the visual presentation of content. Controls provided within the Web page allow users to select or modify the presentation in a way that meets the success criterion at the level claimed. This makes it possible for different visual presentations to be selected by users in situations such as the following:
the user may not be able to adjust browser or operating system settings, due to a lack of familiarity or rights
the text is provided in a manner that does not respond to browser or operating system settings (such as text within an image)
the default presentation of the content does not include sufficient contrast for some users
For this technique to be used successfully, three things must be true.
The link or control on the original page must itself meet the success criteria to be met via the alternate presentation. For example, if a style switcher is used to provide increased font sizes and the control is presented using a small font, users may not be able to activate the control and view the alternate presentation.
The new page must contain all the same information and functionality as the original page.
The new page must conform to all of the Success Criteria for the desired level of conformance. For example, an alternate stylesheet can not be used to meet one requirement if it causes a different requirement to no longer conform.
When using a style switcher, it is important to consider the following challenges and limitations:
The number and type of changes that a user can make is limited to the scope of the controls provided by the author of the Web page. A variety of presentation and preferences should be provided in order to address the needs of as wide an audience as possible. However, it is also important for authors to consider interactions between preferences and the complexity for users that might result from providing large numbers of options to users.
Maintaining the user's preference from one page to the next may be achieved by storing a cookie on the user's machine (see Resources section for more information) or by including their preferences in a profile saved on the Web server by passing a query string parameter, or by other means.
This example is of a page that provides links to change text and background colors for the page via JavaScript. The links should only be inserted if JavaScript is supported by and available on the user's system. Otherwise, selecting the links will not result in the desired changes. This can be achieved by using script to insert the links themselves (which means that the links would only be present when scripting is supported and available).
The following code shows the JavaScript-dependent color-change links and a snippet of other content in the Web page, the associated style sheet rules, and the JavaScript that changes the style sheet in use when a color-change link is selected.
The example applies only to the current page view. In a production environment, it would be advisable to save this preference in a cookie or server-side user profile, so that users would only have to make the selection once per site.
The XHTML components:
Example Code:
In  section:
<link href="main.css" rel="stylesheet" type="text/css" />
<link id="currentCSS" href="defaultColors.css" rel="stylesheet" type="text/css" />
In  section:

Change colors:

dark blue on white

yellow on black

black on pale yellow

black on white

Reset to default

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The CSS components:
Example Code:
In main.css:
body{ font-family: Geneva, Arial, Helvetica, sans-serif; margin: 2em; }
#mainbody {
padding: 1em;
#colorswitch {
float: right;
width: 12em;
border: 1px #000066 solid;
padding:0 1em 1em 1em; margin:0;
#colorswitch p {
In defaultColors.css:
body, p {
h1, h2, h3 {
In altColors1.css:
body, h1, h2, h3, p, a {
In altColors2.css:
body, h1, h2, h3, p, a {
In altColors3.css:
body, h1, h2, h3, p, a {
In altColors4.css:
body, h1, h2, h3, p, a {
The JavaScript components:
Example Code:
function changeColors (newCSS)
document.getElementById('currentCSS').href = newCSS;
A working example of this code, Using a JavaScript control to apply a different external CSS file, is available.
This example can be used for simple changes to a section of content and may be less practical for complex sites or pages. The example uses a client-side JavaScript to change the class name to visually present the user's color selection (from a defined set of options) as a background for highlighting specific content.
Note: The following code includes JavaScript calls within the XHTML code to aid understanding of the technique. However, the author is encouraged to use current best practice for including JavaScript (see resources for more information about Unobtrusive JavaScript and progressive enhancement).
The XHTML components:
Example Code:

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The CSS components:
Example Code:
body { color:#000000; background-color:#FFFFFF; }
.hghltLightYellow { color: #000000; background-color: #FFFF99; font-style:oblique; }
.hghltBrightYellow { color: #000000; background-color: #FFFF00; font-style:oblique; }
.hghltLightBlue { color: #000000; background-color: #33FFFF; font-style:oblique; }
.hghltBrightBlue { color: #FFFFFF; background-color: #0000FF; font-style:oblique; }
.hghltLightRed { color: #000000; background-color: #FF6266; font-style:oblique; }
.hghltDrkRed { color: #FFFFFF; background-color: #993300; font-style:oblique; }
.inlinePara {display:inline; }
.inline {display: inline; margin-left:0px; padding-left:0px; line-height:3em; }
.inline li { display:inline; }
.inline li a {padding: 0.5em 1em; border: 2px solid #000000; }
The JavaScript components:
Example Code:
function changeColor(hghltColor)
// collects table data cells into an array
var els = document.getElementsByTagName('td');
// for each item in the array, look for a class name starting with "hghlt"
// if found, change the class value to the current selection
// note that this script assumes the 'td' class attribute is only used for highlighting
for (var i=0; i<els.length; i++)
if (els[i].className.indexOf("hghlt") == 0) { els[i].className = hghltColor; }
A working example of this code, Using a client-side JavaScript to change a CSS property, is available.
This simple example uses PHP $_GET to assign one of two available external style sheets. Similar functionality could be achieved using a variety of PHP features. The example applies only to the current page view. In a production environment, it would be advisable to save this preference in a cookie or server-side user profile, so that users would only have to make the selection once per site.
The following code is PHP, but a similar approach would work with a variety of server-side technologies.
The PHP and XHTML components:
Example Code:
At the beginning of the PHP page:
$thestyle = $_GET['set'];
if ($thestyle == "style1")
$thestyle = "style2";
$thestyle = "style1";
In the  section:
<link rel="stylesheet" type="text/css" media="screen" href="<?php echo($thestyle);?>.css" >
In  section:
if ($thestyle == "style1") {
echo "Switch to Style Sheet Two";
else {
echo "Switch to Style Sheet One";

Conference report

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The CSS components:
Example Code:
In style1.css:
body, p { color:#000000; background-color:#FFFFFF; }
h1, h2, h3 {color:#990000; background-color:#FFFFFF; }
In style2.css:
body, h1, h2, h3, p, a { color:#FFFF00; background-color:#000000; }
A working example of this code, Using PHP $_GET to apply a different external CSS file, is available.
The example below uses two files
a Java Server Page (JSP) with the form and the the form processing code, and
an include file with functions used by the previous page and in other pages use the same style.
The server-side code outputs a normal link element for the stylesheet that the user chooses and link elements with "alternate stylesheet" for the other styles. The code can thus be used as a fallback for the client-side code in the second example.
The JSP page with the form:
Example Code:
<%@ page language="java" contentType="text/html; charset=UTF-8" pageEncoding="UTF-8"
%><%@include file="_jsp/styleswitch.jsp"%><?xml version="1.0" encoding="UTF-8"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"

<meta content="text/html; charset=utf-8" http-equiv="Content-Type" />
<title>Change Style</title>
String fStyle = "";
String styleName = "style";
String defaultStyle = "default";
Cookie[] cookies = request.getCookies();
// get style from post request parameters
if (request.getMethod().equals("POST") && request.getParameter("styleSelect") != null) {
fStyle = request.getParameter("styleSelect");
// code that validates user input (security) not shown
if (fStyle.equals("nostyle")) { // user prefers no author style
} else { // user requests author style
storeStylePreferenceCookie(request, response, fStyle);
} else if (request.getMethod().equals("GET")) {
// GET request; get style from cookie; else default style links
// get style from cookie
if (cookies != null) {
// get style from cookies
fStyle = getStyleFromCookies(cookies);
if ( !fStyle.equals("NULL_STYLE") ) { // user requests author style
} else { // no cookie for style; process request for style preference
// default style links
} else { // GET request without cookies: default styles
}//end else cookies

<form action="_styleSwitch.jsp" method="post" id="styleswitchform" name="styleswitchform">

Select style:
<select id="styleSelect" name="styleSelect">
<option value="default">Default (shades of green)</option>
<option value="wonb">White on black</option>
<option value="bonw">Black on white</option>
<input type="submit" value="Change Style" />
The styleswitcher.jsp file included in the previous file:
Example Code:
<%@ page language="java" contentType="text/html; charset=UTF-8" pageEncoding="UTF-8"%>
* Get the links (link elements) to the CSS files based on cookies, ...
private String getStyleLinks(HttpServletRequest request) {
String styleLinks = "";
Cookie[] cookies = request.getCookies();
String defaultStyle = "default";
String tempStyle = "";
// GET request; get style from cookie; else default style links
// get style from cookie
if (cookies != null) {
// get style from cookies
tempStyle = getStyleFromCookies(cookies);
if ( tempStyle.equals("NULL_STYLE") ) {
// no cookie for style; process request for style preference
// default style links
styleLinks = createStyleLinks(defaultStyle).toString();
} else { // user requests author style
styleLinks = createStyleLinks(tempStyle).toString();
} else { // GET request without cookies: default styles
styleLinks = createStyleLinks(defaultStyle).toString();
}//end else cookies
return styleLinks;
* Get style cookie from request
private String getStyleFromCookies( Cookie[] cookies ) {
String fStyle = "NULL_STYLE";
for (int i = 0; i < cookies.length; i++) {
Cookie cookie = cookies[i];
String name = cookie.getName();
if ( name.equals("style") ) {
fStyle = cookie.getValue();
// code that validates cookie value (security) not shown
return fStyle;
* Store the style preference in a persistent cookie
private void storeStylePreferenceCookie(HttpServletRequest request,
HttpServletResponse response, String theStyle) {
final int ONE_YEAR = 60 * 60 * 24 * 365;
Cookie styleCookie = new Cookie("style", theStyle);
* Create the link elements for the stylesheets
private StringBuffer createStyleLinks(String prefStyle) {
StringBuffer theStyleLinks = new StringBuffer();
//two-dimensional array with identifiers (adding '.css' gives the name of the CSS file)
// and strings for the title attribute of the link element
// the identifiers must correspond to the in the "value" attributes in the "option"
// elements in the style switcher form
String [] [] styles = {
{ "default", "Default style"},
{ "wonb", "White on black"},
{ "bonw", "Black on white"}
// loop over 2dim array: if styles[i][1] matches prefStyle,
// output as normal, else as alternate stylesheet
for (int i = 0; i < styles.length; i++) {
if ( styles[i][0].equals(prefStyle) ) { // output pref stylesheet as normal stylesheet
theStyleLinks.append("<link rel=\"stylesheet\" href=\"_css/").append(styles[i][0])
.append(".css\" title=\"").append(styles[i][1]).append("\" type=\"text/css\" />").append("\n");
} else { // output other stylesheets as alternate stylesheets
theStyleLinks.append("<link rel=\"alternate stylesheet\" href=\"_css/")
.append(styles[i][0]).append(".css\" title=\"").append(styles[i][1])
.append("\" type=\"text/css\" />").append("\n");
} // end for loop
return theStyleLinks;
Other JSP pages can use this code by means of the following include and scriptlet code:
Example Code:
<%@include file="_jsp/styleswitch.jsp"%><% out.println(getStyleLinks(request)); %>
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For example, "Your browser is not configured to accept cookies. On this site, cookies are required in order to apply your selected changes across all of the pages of the site. To find out how to enable cookies on your computer, visit How to Enable Cookies. Note that this may require administrative rights for the computer you are using. Without cookie support, your settings will not persist to include other pages on this site. We are endeavoring to provide this functionality without relying on your computer's capability. In the meantime, you will be able to select the change for each page that you visit."
Current best practice for implementing JavaScript in an HTML or XHTML page is to use it in a way that separates the behavior of content from its structure and presentation. The terms 'Progressive Enhancement' and 'Unobtrusive JavaScript' are often used to describe scripts that enhance or improve the functionality of a page, yet transform gracefully so that content continues to function even when JavaScript is not supported.
Here are some suggested starting points for more information:
Check that the Web page contains controls that allow users to select alternate presentations.
Check that the control changes the presentation.
Verify that the resulting page is a conforming alternate version for the original page.
All of the above checks are true.
If this is a sufficient technique for a success criterion, failing this test procedure does not necessarily mean that the success criterion has not been satisfied in some other way, only that this technique has not been successfully implemented and can not be used to claim conformance.
Techniques are informative—that means they are not required. The basis for determining conformance to WCAG 2.0 is the success criteria from the


text:
Wednesday, June 4, 2008
54 comments | Post a Comment
What does the sign on the cake sya? I can't read it.
-cassi.su - June 5, 2008 at 2:07 PM
I'm afraid I can't read the card, either, but I think it's just the name of the bakery.
- June 5, 2008 at 6:14 PM
- Tora said...
brilliant - June 6, 2008 at 5:29 AM
- Unknown said...
That looks like a divorce cake. I heard those are starting to become popular.
- July 19, 2008 at 3:15 PM
- Eva Whitley said...
I know of a mystery convention that this cake would be perfect for. Maybe that's what it was made for?
- July 20, 2008 at 2:34 PM
I believe the sign says "Dean Phillipps" probably a name of a bakery.
- July 21, 2008 at 11:01 PM
What an awesome cake. The only problem I have with it is that I'd hate to actually cut into it and ruin it. It's too pretty to eat!
- July 23, 2008 at 5:38 AM
- kmjrose said...
Maybe he didn't show, so, hey, why waste a perfectly good cake?
It could be a new genre of cakes--save the day cakes. - July 23, 2008 at 8:00 AM
- Bunche (pop culture ronin) said...
There's a very thin line between harsh and brilliant.
- July 23, 2008 at 5:24 PM
- LeeshaJoy said...
I'm not convinced that this is meant to be a real cake as opposed to a piece of gallery art.
- July 23, 2008 at 11:04 PM
- RJ said...
I'm impressed at how the bride doll has none of the blood of the groom doll on her. Now that's professional!
- July 24, 2008 at 1:57 AM
This cake was Shanna Moakler's cake when she had her divorce party to celebrate her split from Travis Barker. I recognize it because it was in all the tabloids.
- July 24, 2008 at 4:25 PM
- Turtle said...
fantastic! this would have worked well for hubbys and my gothic graveyard 13 year wedding renewal!
- July 25, 2008 at 11:25 AM
Oh wow! That is good!
I love that cake.
I bet everyone enjoyed that cake.
But I would have a hard time cutting into it as it is too beautiful to cut into. - July 25, 2008 at 11:37 AM
- badfae said...
Ha! I like this one, and it's actually very well-made. I agree with the commenters who say it'd be a shame to cut into it and ruin it, though.
- July 25, 2008 at 1:39 PM
- Ticia said...
That is awesome!
- July 25, 2008 at 9:56 PM
- James said...
Eek! Don't show my wife!
Fantastic execution. - July 26, 2008 at 12:08 PM
- Carrie K said...
I must have that cake - if I'm ever stupid enough to get married again.
- July 26, 2008 at 7:10 PM
- Tanguero Rubio said...
Shanna Moakler's Divorce Party Cake
http://13gb.com/media.php?media_id=2161 - July 29, 2008 at 3:46 PM
RJ: she was framed!
- July 31, 2008 at 4:30 PM
- Clementine said...
Your site is genius! This cake and the steak cake are my two favorites. Thanks for writing such a fun blog.
- July 31, 2008 at 7:57 PM
- Corrine said...
my five year old just saw this cake and said "i want this cake".... not sure what about it, i am hoping the pink!
lovee your site - August 1, 2008 at 10:52 PM
*sings* "I'll put him on the wedding list ... I'll get him and I will not miss ..."
- August 3, 2008 at 12:43 PM
- Snoopsincharge said...
hahaha, I especially love the blood stained dents in the tiers where the groom fell down!
Genius! - August 5, 2008 at 5:07 PM
I want one of these for my divorce party!!!
- August 5, 2008 at 5:21 PM
It's pretty clear the bride did not appreciate the groom's taste in sock color.
- August 8, 2008 at 10:35 AM
- bendygirl said...
Oh my God, I wish I'd thought of this for my divorce party 10 years ago. It's so funny, I think I coughed up a lung!!
- August 11, 2008 at 11:30 AM
This isn't really a wreck. It's very well executed. While it may be a little creepy, the humor is not lost and the cake does look good. Props to the baker.
- August 13, 2008 at 2:29 AM
- Sunrunner said...
I like the dents the groom made while he fell off the cake!
- August 13, 2008 at 4:59 PM
It's so awesome that she didn't get any blood on her dress! Haha!
- August 15, 2008 at 7:39 PM
The dents from where the groom hit the tiers as he fell are perfection.
- August 16, 2008 at 11:23 AM
Dude. He didn't fall. He was pushed.
- August 17, 2008 at 10:29 AM
Hah! Look at it this way. MArriages are a traditional occasion for a party. But how many marriages last any more? Not too many! I think it would be far better to have a small, nondescript wedding and save up the hot stuff and big party for the DIVORCE PARTY.
- August 18, 2008 at 1:09 AM
made by Jean Philippe Patisserie in Las Vegas: http://forums.egullet.org/index.php?showtopic=59798
- August 18, 2008 at 5:38 PM
well a divorce cake 'splains a lot: like the fact it is being served in the bed of his truck.
i regret the picture taker did not pan back to take it all in: fishing gear, gun rack, beer keg. - August 25, 2008 at 12:09 PM
- Etiquette Bitch said...
funny. i want to know the story behind this one. made me guffaw!
- September 2, 2008 at 8:09 PM
This cake ROCKS!
Just you WAIT until the CSI cakes start rolling in, lady. :) - September 4, 2008 at 6:13 AM
- Wendee said...
OMG that is seriously the funniest cake I have ever seen. ever.
- September 5, 2008 at 6:50 PM
- Mr. and Mrs. Benona said...
Thats a Jean Philippe cake. They have a location in the Bellagio Hotel and Casino in Las Vegas. Their cakes go for thousands and thousands of dollars.
I host tea parties for a living, and I met the head chef from Jean Philippe. Its this french guy, nice and humble but his wife is crazy. - September 12, 2008 at 11:38 AM
I think that's the cake that was the cake that Travis Barker's wife had made for her divorce party after their divorce was finalized. I think I saw her posing with it in some magazines.
- September 28, 2008 at 10:47 AM
- christine said...
i for some strange reason find this hilarious!
- October 17, 2008 at 3:14 PM
- Anon said...
the cake is making me laugh, it's just so funny!
thank you for the funny post.
~Kaysie - October 24, 2008 at 5:57 PM
- XMalice said...
I saw this cake elsewhere in an article about the growing popularity of divorce cakes. To be honest, it inspired me to have a zombie themed cake topper at my 5 year anniversary next year (we didn't have a wedding or a wedding cake, so we're doing a big anniversary party). We're huge horror enthusiasts, so the cake will be quite disturbing.
- November 1, 2008 at 10:05 PM
- Ellie Green said...
Is it bad that the first thing I thought was, "where is the weapon?"
- November 16, 2008 at 1:23 PM
- gillis said...
the first thing i thought when i read the comments was how funny it is that several people commented on the 'great execution' of the cake. come on, great 'execution', murder cake? that is funny!
- January 4, 2009 at 10:06 PM
C'mon, there's an obvious title for this one: "The Corpse Groom".
- March 6, 2009 at 2:05 PM
- Unknown said...
I know that logo! It's from Jean Phillipe Patisserie at the Bellagio Hotel in Las Vegas! You can see the little "JP" on the card, and I'm willing to bet that card is made out of white chocolate. Jean Phillipe makes some absolutely gorgeous cakes. You would love his work, Jen.
Sara B. (not Douglas) =) - July 28, 2009 at 7:14 PM
I'm pretty sure that the card sys 'DEAN PHILLIPE'
- December 2, 2009 at 1:38 PM
- Angela said...
I don't know. I'll always associate anti-wedding cakes with the Anti-Valentine's Day Ball they used to throw at my college. $10each for singles. $50 for couples. And they served a massive black wedding cake.
- December 2, 2009 at 2:31 PM
- lisagems said...
I just love the divots in the side of the cake where the 'groom' hit on the way down.
- February 2, 2010 at 12:53 PM
OMG. That is BRILLIANT. I wish I had one of those when I got divorced!
- February 26, 2010 at 8:21 PM
- Cupcakes Lady said...
Ive heard of divorce cakes, but a tiered divorce cake..thats overkill! xx
- October 7, 2010 at 3:05 PM
That WILL be my wedding cake! haha
- February 11, 2011 at 4:10 PM
- Unknown said...
The details on this cake are exquisite...all of the way down to Travis Barker's mohawk!!! (the groom) - February 19, 2011 at 3:37 PM
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Ruby Red is a glitter nail powder dip. Each nail dip color is a 1oz jar of nail dipping powder that allows for approximately 25 manicures. Nail dipping powder is great for natural nails or nails with tips.
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- Apply one coat of step 1 primer.
- Apply one coat of step 2 base and then dip your nail into the nail dipping powder. Repeat for each finger on a hand. Brush off the excess powder. Apply one coat of step 2 base and dip each nail into the nail dip again, brushing off the excess powder in between dips. You want to do dip your nails into the dipping powder a total of three times.
- After brushing off the nail dip powder on the last nail dip, use step 3 activator on each nail.
- File and shape your nails, ensuring they are smooth.
- The last step is to use step 4 top on each nail. Allow it to dry and apply one more coat to finish your nail dip manicure.
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text:
Synonamess Botch on the gallows. Image courtesy of Harley Jessup.
When you watch TWICE UPON A TIME, the very first name that appears in the opening credits is: Art Director: Harley Jessup. Just who is Harley Jessup and how did he get the job of art directing one of the most ambitious animated films in recent years? And why was there a huge model of a train trestle in his living room at one point during production? Curious minds needed to know. To find out, I decided to get in touch with Harley and to ask him a couple of questions about a silly little film that he worked on over 20 years ago. The thing is, Harley's a busy man. He's currently a production designer at, oh, some little upstart company you might've heard of called... Pixar. He's been there since 1996, having joined the incredibly talented crew in Emeryville, CA, to work on MONSTER'S, INC. He just recently wrapped up work on Pixar's latest feature, RATATOUILLE.
Harley's bio is very impressive:
Harley grew up in California's San Joaquin Valley and the Bay Area. He earned a BFA in graphic design from Oregon State University in 1976 and an MFA in design from Stanford in 1978.
Harley began his career at Korty Films, designing The Adventures of Thelma Thumb for Sesame Street, which served as a training platform for his work as production designer on TWICE UPON A TIME (more on how he got this job later). Afterwards, he went on to Lucasfilm to work as art director on several live action projects before joining Industrial light and Magic in 1986. As a visual effects art director at ILM, Harley earned an Academy Award for his work on INNERSPACE and an Academy Award nomination for HOOK. Harley's other projects at ILM include THE HUNT FOR RED OCTOBER, GHOSTBUSTERS II and FIRE IN THE SKY. From 1990 to 1994 he served as creative director of the ILM art department. In 1994, Harley left ILM to serve as production designer for Disney's animated feature JAMES AND THE GIANT PEACH.
Besides his work in film design, Harley has written and illustrated three children's books, What's Alice Up To? (1997) and Grandma Summer (2000), both published by Viking Children's Books and Welcome to Monstropolis (2001) based on Pixar's Monsters, Inc. For Viking, he also illustrated the books, Just Enough (1999) and Flower Girl (2002).
Harley currently lives in Marin County, California, with his wife and three children.
After going through his bio, I found myself stunned by just how much he's done in the entertainment industry. I mean, c'mon -- he's won an Oscar! So, I was a little hesitant in conducting an interview with Oscar-winner Harley Jessup. Just a little nervous and a bit worried in taking up too much of his time. But honestly, I found Harley to be very gracious, open and extremely courteous. He was more than willing to take the time to answer my questions about his work on TWICE UPON A TIME. Even more so, he sent me some photos of him during production of the film, along with some model sheets and a storyboard frame that he did for TWICE! I was ecstatic.
I am extremely pleased to present to you my interview with HARLEY JESSUP:
Ward: So, I'd like to know your thoughts and feelings about making TWICE UPON A TIME. What was it like to work on this small, obscure animated film during the early 80's?
Harley: It was my first job and it's the reason I'm working in animation. I'd just finished up at Stanford and John Korty was looking for designers that he could train to work in his cut-out animation technique. I love John's approach to design and I really felt like I was in the perfect place. The TWICE UPON A TIME crew was young and the atmosphere was really fun. We were putting in very long hours, but it felt like we were working on something really special and new. John had a great feeling for hiring wonderful animators and artists and I feel lucky to have been a part of that group.
I'm curious, how did you find out about Korty Films? Or did Korty find you?
I met John at the Stanford Design Conference in 1978. He did an amazing presentation of his cut-out films that just dazzled me. Later that day I got to show my work as part of a showcase for the design graduate students. John's former wife Buelah was there and she introduced me to John the next day. That was in July and I fretted for a month before I had the nerve to call and ask for an interview.
The Cosmic Clock. Image courtesy of Harley Jessup.
I understand that if someone wanted the job at Korty Films that they had to do a test before they were hired. What was that like for you?
The day I came into Korty Films to interview, I showed my portfolio and a short animated film I had done as part of my project at school. John then took me up to the art room on the second floor. That room was so appealing to me, it had once been a child's nursery and the fireplace was surrounded by these great nursery rhyme tiles. Next to the fireplace, there was a rack of shelves with boxes that overflowed with bright colored yarn and scraps of the watercolor-dyed fabric that John used to make his animated films. In the next room he showed me how to work a Lyon Lamb video recorder that was rigged up to a camera stand. This was the first video playback machine I'd ever seen and I think John pioneered that idea for animation. It seems simple now, but it was amazing then to be able to do a test and not have to send it to the lab.
Anyway, John asked me to cut-out a couple characters and a small set of heads, arms and legs and test them with the video recorder. He left me up there at noon and when it was closing time at 6:00, I was still up there. I hadn't expected to stay beyond the morning interview and it was one of the coolest and most intense days of my life! John seemed to like the tests and he asked me to come back and do more the next day. At the end of the second day producer, Bill Couturie asked me if I wanted to help with visual development on an animated feature John was writing and maybe do some Sesame Street animated spots. He offered me $250 a week and I said, "Yes, of course! I still feel amazed at my luck.
How long were you on the production? Were you in on it at the beginning?
I started in 1978, so I guess I worked on the film for 3 1/2 years. John had already begun developing the feature idea with Gary Guitterez. Zenji Funabashi and I helped by doing character and background concept art while we were working on Sesame Street animated spots. In 1979 we did a three minute trailer for TWICE UPON A TIME that John showed to George Lucas at the Korty Films Christmas party. On the basis of that trailer, we got the go-ahead to do the film. We started full production in 1980, I think.
Scuzz at his typewriter. Image courtesy of Harley Jessup.
Did you have to change your artistic vision throughout the production of the film? Or was it pretty much in place at the onset? Did you work with any of the animators about character designs, layouts, sets, etc? With Korty himself?
We tried to stay true to the original style that John Korty had developed in his wonderful short films. I worked closely with John as he was developing the characters. I would make prototype cut-outs and model sheets from his design concepts. Brian Narelle did the concepts for the armadillo character named Ratatooie. Carl Willat and I worked a lot together on Botch and Skuzzbopper, but the original concept for the characters came from John. Carl added touches like the Nixon/Agnew tattoo on Botch's stomach.
For the sequences that I was designing myself -- the cosmic clock and most of the Murk sequences for example -- I would do the layouts on small storyboard panels, then the background artists would blow the designs up onto big 28"X 40" sheets of vellum using an old Lucigraph machine. We'd create the cut-out backgrounds on large light tables in the attic art room at Korty's. With the animators, we'd set up those backgrounds on the big glass-layered camera stands. Some backgrounds were over 7 feet long!
That's amazing. Seven feet long and there were, what, usually about 60 people in Korty's house at the time? How hard was it to work in an environment like that? Working with a crew in an old house in Mill Valley, away from LA, in a completely original animation technique either gave everyone a great sense of pride and collaboration, or you were all at each others' throats!
It was really fun actually. I liked and respected all the artists and animators - John had put together this amazingly talented, young crew, it's hard to describe exactly, but the overall feeling was great. During the main part of production we were working in hilariously tight quarters. Pat Maloney's desk was built over the old bathtub in what had been the second floor bathroom, eventually they turned even that bathroom into another camera room. The main art room was now in the attic space and we talked as we worked over our light tables. John Korty had a little sound recording booth up there with a great stereo and we played records all day long. I played the soundtrack to OKLAHOMA at least four times a day and I offer this late apology to everybody that must have hated that! There was a place under the fabric racks in the attic where someone was usually sleeping.
Harley: "Zenji Funabashi and me in the second floor art room while we were working on the early trailer for TWICE UPON A TIME." Image courtesy of Harley Jessup.
Describe to me the typical day for Harley Jessup, art director, during production of TWICE UPON A TIME. What specifics did your job entail?
Arriving at the studio at 9:00 I'd spend the morning working on layouts, setting up a background in one of the camera rooms or cutting out special character parts that an animator might need. At 10:30 or so we'd watch 35mm film dailies projected in the living room/office downstairs. The shots would usually be approved on the first take, but sometimes there would be a problem with a light going out or some part of the background popping off and we would need to reshoot.
Later co-director Chuck Swenson might informally pitch his latest storyboards and we would immediately get started on the design of the sequence. Sequence directors Henry Selick and Carl Willat would usually do the boards for their sequences as well as the animation. There was a tight schedule for the camera rooms and set-ups were constantly changing. At some point during the day I'd check in with background artists, Heather Selick, Heidi Holman and Cheryl Kapach.
During production, I'd often come back after dinner and keep going, finally leaving the animators to work through the night. When I was waiting to change a camera set-up at night, I'd work on the design layouts for the next day. Then we'd start all over again in the morning.
Scuzzbopper, writer of nightmares, at his typewriter. Image courtesy of Harley Jessup.
How do feel about the Lumage process? Was it difficult to work with? If so, would you have done anything different to make it easier for you and the animators?
I love the Lumage process. The cut-outs look so beautiful when they are strongly backlit. It was always a challenge to create light areas as a background for the action. When the backgrounds became too dark, the front light would make the cut-outs look coarse and the edges would start to show. The pure, stained glass quality of backlit cut-outs is wonderful and I'd get worried when the action called for filling in the background behind the characters. Many of the early Sesame Street spots were done against a completely white background and it's a beautiful look.
I had a chance to find some of them and you're right, they're beautiful! (See previous post.)
Korty films had already produced one year of Thelma Thumb episodes by the time I arrived. Dave Hilberman designed the first year of Thelma Thumb (I think I'm getting this right) and I remember being bowled over by the gorgeously designed layouts he'd done. I had no idea that he'd been one of the founders of UPA!
My favorite in the collection you show on your website is the photographer spot that John Korty animated himself for Sesame Street. All of John's animation has a strongly designed quality that I was always trying to emulate. Heather Selick designed the great spot called "What's Inside the Street?" Brian Narelle wrote and directed the episode of Thelma Thumb about the car race. The "Pride Day" spot is one of three shorts that John let me write, design and animate myself. It was done after TWICE UPON A TIME when the studio was scaling down.
Would it be safe to say that you guys were cutting your teeth with the Lumage process through those Sesame Street shorts?
Yes, Sesame Street was great training for TWICE UPON A TIME. There's a lot I still admire about the Sesame Street work, especially the design and animation that John did himself.
Did you learn anything new about yourself as an artist and/or animator during the making of the film?
Yes, I learned that I could be an art director and that I love working in a studio with other artists. In school I 'd assumed, I'd be a graphic designer or children's book illustrator working by myself. I also learned a lot about color just working at a light table with backlit colored papers and theatrical lighting gels all day long.
The Trestle Shot. Click on image to view larger.
I understand that you helped out with this is incredible shot of a train trestle in the beginning of TWICE. (I think it's one of the best in the movie, if you ask me.) Did you have a hand in the design of the trestle itself?
That shot, introducing Botch and the Murkworks, was my first experience with miniatures and motion control. Carl Willat came up with the idea to fly the camera under a 3D train trestle model like a bird moving toward the vultures' roost. We cut the trestle scaffolding out of corrugated cardboard and painted it black along with a cut-out style train engine and coal car mounted on a model train track. I think it blends pretty well with the 2D multiplane background in the same style. There was no room at the studio to build the 15 foot long trestle model, so I volunteered my apartment. After 5 weeks with this huge black train trestle in my living room I began to regret this a little, but the shot turned out beautifully and I think it is one of the coolest images in the film. David Fincher was only 19 and he operated the motion control camera that we rented at an effects studio in Richmond. Carl was the first to point out that we should listen to this brilliant kid and David wound up being the effects supervisor for the film.
A young David Fincher with the train model. Image courtesy of Harley Jessup.
When creating the world of TWICE, especially Botch's Murkworks, what were your sources for inspiration? Were there any artists or illustrators (or films) that Korty had you look up to help you get started?
John screened a whole series of films that he thought might be great inspiration. We watched many of John Hubley's films and I especially loved WINDY DAY. We looked at several Caroline Leaf films including THE STREET and other Canadian Film Board movies. Finally, John showed a 35 mm print of YELLOW SUBMARINE and I'd never seen anything so boldly great in its design. All the films had in common a very loose improvisational style that John loved.
For the Murkworks I looked at books about old European factories and train stations. John Korty gave me a great book of Victorian engravings of gears and all kinds of mechanical parts and we used these as background elements. John Baker photographed wonderful cycles of pistons and train engine mechanisms that we put the in the backgrounds too. Piranesi engravings were a big inspiration for the castle designs.
Pan shot of Murkworks. Photoshopped from several screengrabs.
I'm a big fan of art direction and design. What was it about animation design that made you decide to do that instead of being a graphic designer or children's book illustrator?
Actually I steered away from animation after TWICE UPON A TIME. Even though it's the reason I'm working in animation now, when it was finished, I vowed to never work on another animated feature. It was just way too hard and I didn't want to risk so much time on another project that might not see the light of day. You've got to remember that 1982 was a real low point for animation, no one wanted to go see it and I don't blame them, the few animated features released at that time were pretty weak. But I love the endless possibilities of animation design, the opportunity to work in a studio environment with other artists on films that kids like. Eventually I came back to it after working on live action films at Lucasfilm and Industrial Light and Magic.
You mention earlier that you and the crew felt like you all were working on something "really special and new." I can't imagine how everyone felt when it didn't do so well in the theaters. There were test screenings of the film in Portland, Oregon, that you attended with Heidi Holman and Carl Willat. What was the overall reaction from audiences there?
Well it didn't get shown in very many theaters. As a test, I think, It was distributed in the Pacific Northwest. Carl Willat, Heidi Holman, Ann Zimmerman (my future wife) and I drove up to Oregon and we went to six screenings at different theaters in Portland, Salem and Corvallis. The audience reaction was very good, but the theaters were only half-filled. Korty Films sponsored our trip and we took notes and brought back pictures of the theaters, newspaper articles and marketing stuff. We were, of course, disappointed when it didn't get a wide release, but at the same time I understand. It's such a quirky film and audiences were not very interested in animation at that time.
Okay, I've got to ask you this. Whenever TWICE is brought up in conversation or online, there's always an issue regarding two different (some say three) versions of the film that were released: the uncut theatrical and HBO version, and the more family-friendly laserdisc version released in 1991. I understand that Korty was extremely unhappy with the uncut PG version that was released, citing that families wouldn't sit in a theatre with cartoon characters cussing. Which is the official version? Some say that the uncut version was the "official" version, but after reading about the making of the film in Taylor's article in Animation Blast, it seems like the addition of foul language was mostly a side thought, with producer Bill Couturie letting it slide in, without Korty's knowledge. Do you know what really happened?
The version with profanity is not John Korty's style at all and I think John and Bill Couturie strongly disagreed about this. In fact, John was so upset by the swearing in the first reel, he had that reel reprinted and sent directly to the theaters in the northwest. Many theaters didn't bother to switch to the new (but original) clean reel and we saw a few offended families walk out. I prefer the version without swearing and farting, just because those jokes seem too easy, but I've heard that lot's of people love the "uncensored" version and I'm just happy that they like the film in any form.
Do you still keep and in contact with any of the crew?
Yes! I see John Korty every once in a while. Carl Willat, Henry & Heather Selick are still close friends. (I got the chance to work with Henry again on JAMES AND THE GIANT PEACH.) I exchange letters with Zenji Funabashi who lives in Japan and I keep in touch with George Evelyn, Brian Narelle and Ninfa Ortiz who all still live in the bay area.
Harley with Cheryl Kapach. If anyone has any information on her, please let us know. Image courtesy of Harley Jessup.
Is there anyone you haven't seen in awhile but would love to find?
I'd love to find out about my friend Cheryl Kapach. She had a serious illness that she would never talk about. Toward the end of production on TWICE UPON A TIME Cheryl could barely walk, but she hid that problem by climbing the steps to the third floor art room before anyone had arrived in the morning and leaving after most people had gone in the evening. She would often ask the production assistants to get her a sandwich at lunch and to do other favors for her. She had a princess-like quality that was funny and charming and she made you feel flattered that she was asking you to fetch something. Anyway, the day she completed her last background, Cheryl left and never came back. When the film was finished she called me to say she couldn't come to the crew screening and asked if I would bring her a video tape to watch. I took it to her house, but she didn't come to the door and I just left it there. Anyway I haven't heard from her since. I've heard speculation that she died, but I don't think anyone from the crew knows for sure. Maybe we can find out through your article! I half expect to run into her at a fancy screening on the arm of some billionaire.
I also want to say hi to Peggy Okeya Yamamoto, she's a really talented animator and great friend from Korty Films days.
Do you think that the Lumage process would be worth the effort if someone tried to do it today? Could it be done somehow in computers? Or would that defeat the purpose of using actual light?
Obviously I'm a huge fan of CG animation and I do think a similar look could be created without some of the difficult aspects of the Lumage process. There's a slightly tragic quality to all straight-ahead animation techniques like cut-outs or stop motion where you have to start over when a light blows or a camera jams. Days or weeks of a carefully created animation performance can be lost and that tension is terrible.
It's interesting to look at the TV series, South Park; it's closely related to Korty's cut-out style, but without the backlit glow. In fact there is an episode of The Adventures of Thelma Thumb that we did for Sesame Street that looks like it might have even influenced the look of South Park, maybe I'm imagining things, but the the cut-out style kids in little knit caps look so similar. Comparing the two, you can kind of see how the backlit quality of the cut-outs could get lost when the layers are composited in the computer.
Flora Fauna at the Dungeon door. Image courtesy of Harley Jessup.
I think that the Lumage glow could be somehow replicated in After Effects, given the right amount of effort and time. I hope that maybe through these interviews that we've inspired some ambitious animators out there to experiment in a style similar to the Lumage technique. It's a wonderful look -- warm and inviting. Any last thoughts?
After TWICE UPON A TIME failed to get a wide release in theaters, I was really discouraged. Animation was at a low ebb then and after a few more Sesame Street spots, John Korty decided to shut down the little studio in Mill Valley. I think of TWICE UPON A TIME as a noble experiment. Parts of it make me cringe, but there are other parts that make me feel incredibly proud and lucky to have been a part of that film
You should absolutely feel proud of that film! I don't know if you've noticed, but there's been quite a response in the comments to my first post on TWICE, as well as the mentions on Drawn! and Cartoon Brew. People are wanting to see this film again, after having great memories of it as a kid. I'm hoping that all this new garnered attention will give Warner Bros a chance to see that yes, there is an audience for TWICE UPON A TIME. And you know -- the kids who saw it in the early 80's now have kids themselves, creating a whole new generation just waiting to enjoy this film. I sat watching TWICE with my kids recently and they love it.
One last question: I see that you've illustrated a couple of children's books. (I'm a sucker for 'em.) My daughter loves "Flower Girl." How hard is it to find the time to work on side projects like illustrating books when you're working in the animation industry? Do you find that having an animation background helps or hinders your book projects?
Thank you! It's always difficult to find the time, but my children's book projects are a good contrast to the major collaboration involved in designing an animated feature. When I'm working on a children's book the collaboration is on a much smaller scale. There's just me, the editor and the art director.
In my children's books, I'm always drawing on my experiences in animation design. On "Flower Girl" I was trying my version of the 101 DALMATIONS technique of loosely painted color behind black Xerox lines on a clear cel overlay.
You know, I was actually thinking that when I first picked up the book and thumbed through it. I would guess that it's a fun style to work in. Okay, last question -- I promise! RATATOUILLE has finally been released. What's next for you?
RATATOUILLE has been a great experience for me and now I'm working on the design of a short film here at Pixar. I wish I could say more!
I wish you could too! But I understand that you can't. Whatever it is, I'm sure it'll look fantastic. Thanks so much for taking the time to answer my questions, Harley. Hopefully, one day, TWICE UPON A TIME will be released on DVD for a whole new audience to enjoy.
Thanks Ward, it's been really nice just to think about TWICE UPON A TIME again. Thanks especially for your great questions and for being interested in such a nutty movie the first place!
Harley was kind enough to pass along some images that he did for the production of the film. First image is a character pose sheet for the villian, Synonamess Botch:
Next is the Fairy Godmother, or FGM, for short. She's probably my favorite character in the film:
Next, is a storyboard pan shot of the Cosmic Clock interior, also drawn by Harley:
I was able to reconstruct this pan by Photoshopping several screengrabs from the film:
Here are more screengrabs from the film:
Hey! How'd that get in? Botch accidentally slips in a 50's cheesecake image while talking with Mum and Ralph.
Hey look, that's Henry Selick as one of the Rushers of Din.
I want to give out big BIG thank yous to Taylor Jessen and Harley Jessup for taking the time to answer all my questions about TWICE UPON A TIME. Let's hope that these posts will put this small but innovative film on the proverbial map, enticing Warner Bros to release it on DVD some day. It truly deserves it. Thanks again, Taylor and Harley!
To view the images that Harley submitted for this interview in a nice Flickr photoset, click HERE.


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Note: If for any reason your team is unable to (or chooses not to) join this campaign, you may still get points for this Item by volunteering at least two hours of your time with any relief organization providing relief to any community that has been impacted by COVID-19. SUBMIT PROOF YOU HAVE DONE THIS.
The COVID-19 virus may be tiny, but it hit the world hard. Now, it's our turn to use this tiny Hunt to fight back and make a big impact! Because if this last year has taught us anything, it's that we are all connected — and we're not okay until we're all okay. From the bottom of our hearts, thank you.
All donations to Vibha are tax deductible. Vibha is a charitable trust registered under section 80G of the Income Tax Act of India. In the US, Vibha is a 501(c)(3) organization, registered in the USA in the State of New Jersey. Vibha's Tax ID is 22-3122761.
As of May 15, 2021,
$800K disbursed for COVID relief
$650k - Partnered with Texas Instruments and Govt. of Karnataka to set up a 100-bed modular hospital in Bengaluru
1100 oxygen concentrators procured. First batch distributed to Ambedkarnagar (UP), Meerut (UP), Srungavarapukota (AP), Beed (Maharashtra), Bengaluru (Karnataka), Beawar (Rajasthan)
25k PPE kits, 240k masks and 180k gloves procured
Vaccination clinics in planning
Find more details about our work here
About Vibha
Vibha's vision is to ensure every underprivileged attains quality education. Vibha educates, enables and empowers, individuals who wish to make a positive impact on the lives of underprivileged children. Since our inception in 1991, Vibha has supported more than 250 projects in India and 10 projects in the US. As a result, Vibha has been able to reach out to and provide opportunities for over 2.3 million underprivileged children. Currently, Vibha supports 15 projects in India and 3 projects in the US.
All donations to Vibha are tax deductible. Vibha is a 501(c)(3) organization, registered in the USA in the State of New Jersey. Vibha's Tax ID is 22-3122761.
Thank You Donors
Kendra Pulsifer-Griep | $10 |
David Harris | $20 |
Chris Harris | $15 |
Jennifer Harris | $30 |
Rachel Rupnow | $10 |
Amanda Coleman | $10 |
Nanette van der Linde | $10 |
Gina Sanders | $10 |


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Cool New Muscle Car Postage Stamps Feature Iconic Autos
You may think of the U.S. Postal Service as a dusty and outmoded institution, and we wouldn't argue with you, but it seems the good ol' USPS is still doing something right. Just check out its latest batch of cool Forever Stamps featuring classic Muscle Cars.
Iconic automobiles including the 1966 Pontiac GTO, the 1967 Shelby GT-500, the 1969 Dodge Charger Daytona, the 1970 Plymouth Hemi 'Cuda, and the 1970 Chevelle SS are all represented in this awesome stamp set.
We know stamp collecting isn't exactly the coolest hobby in the world, but we can't wait to get our hands on these beauties. And lick them.