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As some tools behave differently, you may prefer to read the instructions for MSPaint in Windows XP or MSPaint in Windows Vista.or MS Paint for Windows7.
There are better programs than MS Paint, but it's the only one that comes with your operating system—it's free and you don't have to locate and download it. Having such a small number of tools and capabilities, it's easy to learn and a little perseverance will quickly make you an expert in its use.
If you would like to work in Paint while you follow these instructions, do remember that you can resize your browserA Browser is the program you use to visit sites on the Internet. Internet Explorer (IE) may be the browser that you use, but there are many others, such as Firefox, Opera, Google Chrome, K-Meleon and Blackbird.
You can have as many browsers as you like, and run more than one at the same time. window. Just hover your cursor over a side edge of the browser window until a double-headed arrow appears, press your left mouse button and drag left or right until the window is a suitable size.
You can then grab the browser window by the title bar and drag it to the position that you want it in. You can do this with almost any window on your computer.
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Skip the contents table and go straight to work.
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attributes menu
bigger or closer view
border thickness of shapes
change size of flower
color eraser won't work
color palette
color picker
color the flower
copy picture from web page
copying parts of a drawing
cursor position
curve tool
delete with a selection tool
delete working files
drawing flowers
drawing stars and other shapes
drawing with a cutout
eraser tool
erasing a color with the flood tool
fill bucket
filled circles and squares
filled shape with a border
flip or rotate
flood tool won't work
flower picture
flower template
formats for saving graphics
freehand selection
hollow shapes
image menu
invert colors
line tool
make copies of the flower menus
pencil tool
pictures in emails
polygon drawing
rectangular selection tool
removing a template
saving your work
selection tools
shapes tool
spray tool
status bar
stretch and skew
swapping colors
text toolbar
thumbnail view
when the flood tool won't work
why just 256 colors?
working over a template
zoom tool
This is the window that you see when you open Paint.
I like to use a big drawing area, probably because I'm a messy worker! Yours may be just a small square. It makes no difference to the operation of the program.
The dashed rectangle in this picture shows that a selection has been made. When you first open the window it is quite blank.
If, however, your Paint window doesn't have colors along the bottom and a double line of grey squares (with various small symbols on them) down the left side as this one does, click View on the menu bar at the top of the window and tick the items shown here.
Text Toolbar, which is dimmed in this picture, only becomes available when you're working with text.
The items Zoom and View Bitmap offer different views of your work. The Zoom tool is dealt with under its own heading. View Bitmap gives you a full-screen view. (On my computer it usually causes Paint to crash, but I suppose every machine has its little ways.)
Four of the Paint menus—File, Edit, View and Help—are common to almost all Windows programs. Some of the commands available, though, are specific to this program.
Menus that are special to Windows Paint are Image and Colors.
The menu of greatest interest is the Image Menu, which I'll discuss as soon as we've looked at the different areas of the Paint window.
All the little grey boxes down the left are called the tools and together they make the toolbox.
The individual tools will each be explained separately further down.
Under the toolbox is a small area where you see different options according to which tool you're using.
It may show line thickness, spray can density, size and shape of the paintbrush or whether a shape is to be filled or hollow. Some tools have no options, and when any of these tools is active—selected or in use—the area below the toolbox remains blank.
In this picture, with the selection tool active, you have a choice between paste opaque and paste transparent (selected, as you can tell by the dark background).
When you have white as your background color—the color selected by the right mouse button—and have chosen paste transparent, anything you select from a picture with a white background can be pasted without a rectangle of white surrounding it.
If the item you want to select is sitting on a background of a color other than white, clicking your right button on that color will make it possible for you to select the item without its background.
Under the main window is the color palette. The two squares set apart from the rest at the left end of the palette show the active colors; the colors presently in use.
When you click on a color in the palette with the left mouse button, that color will be the primary or foreground color, here shown as pink.
The color you click on with the right mouse button will be the secondary or background color, here shown as white.
These terms are the same in all the graphics programs I've used—programs including painting and drawing programs as well as small programs with a single function, such as recoloring.
Right at the bottom of the Paint window is the Status Bar. It gives information according to what you're doing.
If it can't think of anything pertinent to say, it has the "For Help" message, its variation on "Yes, Dear".
Help can also be invoked by pressing the F1 key at any time. This is true of most Windows programs.
To the right of the help message is the cursor position (here shown as 131,95). The 131 refers to the distance in pixels away from the left margin and the 95 the distance in pixels down from the top margin. This pair of numbers changes as you move the mouse around the window with no buttons pressed. As soon as you press either button the number "sticks" and remains the same until you release the button.
The last part of the status bar tells you the size in pixels of the thing you're drawing or the selection you've made (here shown as 121x94). The 121 refers to the width of the shape or selection and the 94 to its height.
table of contents Return to introduction of menus
Flip/Rotate lets you turn things upside down or sideways. You can only turn through 90 degrees, 180 and 270. Fancier programs let you rotate more finely.
Stretch/Skew lets you make things bigger, smaller or pushed sideways. Bitmaps greatly enlarged look pretty rough, so step carefully.
It's worth drawing a shape, selecting it and then investigating the effects of stretching and skewing. When you select the shape to be skewed or enlarged, make the selection area big enough for the changed shape to fit. Otherwise, Paint loses part of the picture.
Invert colors attempts to change the colors of a selection to their opposites. Just how accurately it does this depends on the colors available, as can be seen here, where the right half of the picture is a copy of the left but has had its colors inverted.
The letters beside the different items are keys you can press instead of going through the menu. Unless you're going to use this program every day, it's not a good idea to bother learning them because they clash with Word keys that you'd use more often, like (in Word) Ctrl + e means "Centre" and Ctrl + r means "Right".
Furthermore, if a menu is open you'll get no response to these keys beyond a warning "ding".
The usual Windows keys: Ctrl+s to save, Ctrl+z to undo, Ctrl+c to copy, Ctrl+x to cut and Ctrl+v to paste also work in Paint.
If you click on Attributes you can change the size of the drawing area.
You can also click either inches or centimetres as your preferred measurement. This, however, will only tell you the size of your drawing area. Cursor position and the dimensions of drawn objects will still be shown on the status bar in pixels.
There is also an option to work in black and white.
Working in black and white is a thankless task. Many of the tools become meaningless. Leave black and white for experts or masochists.
The button representing a selected tool will appear to be depressed.
Return to Toolbox table of contents
Give yourself a bigger, closer view.
The little magnifying glass changes your view of a drawing. If you want to change some tiny thing that's really hard to see, click on the magnifying glass. It can be called the zoom tool or the view tool.
As soon as you click on it, numbers appear under the toolbox. They are 1x, 2x, 6x and 8x.
If you click on one of the magnifications, you'll get a bigger view, but you can't be sure which part of the picture you'll zoom in on. Therefore it's better to click on the picture.
However, when you are zoomed in, two further options become available on the View Menu. These are Show Grid and Thumbnail.
While you are working in a zoomed view, Thumbnail will give you a small window in which you can observe the results of changes as you make them. The Thumbnail window can be placed wherever you find it convenient, and it can be resized by dragging the sides or the corners.
Once you have it sized and positioned to your liking, it will follow as you move tools around the zoomed window.
Unfortunately, once you return to normal view the Thumbnail window is often lost and will have to be invoked again when next you zoom in.
Show Grid becomes available on the View menu only when you are working in a window zoomed in to 8x. Each pixel (short for "picture cell") of color can be seen individually. This is useful if you are trying to make a very precise selection or place one or two pixels of color in a precise location.
Here a selection is being made, and you can see that both its starting location (40 pixels from the left and 21 pixels from the top) and size (30 pixels wide and 14 pixels high) are reflected in the numbers in the status bar.
Changing the Zoom
If, while you are zoomed in, you click the magnifying glass again and click on the picture you can choose a view of 2x, 6x or 8x.
You can also go into the View menu and choose Custom.
The choice you make here will affect the working of the zoom tool until you visit this option box again. That is, if you choose 800%, the next time you click the zoom tool on part of your picture(while in normal view) the view will change to 8x.
This picture shows that I've chosen the paintbrush.
The palette says I'll be painting with black, unless I use the right button for drawing, in which case I'll paint with white, which won't really do me a lot of good.
I can change either color by clicking the appropriate button on the color I want it to use.
Under the tools and above the palette are a lot of different shapes with which I can choose to paint.
The one I've chosen (it shows as an oblique white line on a blue oblong) will give a thick line when I drag in one direction and a skinny one in the other direction, so you get a sort of calligraphy pen effect.
It's also useful for painting right up close to something.
This is the curve tool. It's hard to learn, but you can have a lot of fun with it.
You choose a line thickness from under the toolbox, and you choose a color to draw with. I've used different thicknesses and different colors.
Drag a straight line, then click somewhere near it. Move your cursor and click again, or drag and click.
You only get two clicks per curve. If you don't like what happens you hold Ctrl and tap z and it'll go away.
The flower petal shapes are made differently. Imagine a triangle and click each of its points. You don't drag a line first. You have to practice for about a hundred years before you have the faintest idea which way up the shape will be. You might find it easier to get all organised and draw a grid to guide you and then rub it out later.
Here we have the eraser, a clever little gadget.
When you press the left button, it rubs out everything you drag over.
When you press the right button it changes anything the color of the left button to the color of the right button.
Say you have a blue line and you change your mind and wish it were green.
This is very handy if you need to draw guidelines to help get a picture the way you want it. You draw the guidelines in a color you don't like much and won't use in the drawing.
When you've done your drawing, you put the nasty guideline color onto your left button and white (assuming that white is the color of your background) onto your right button and drag over the guidelines.
Your picture remains, but the guidelines disappear.
The squares under the toolbox show you the sizes of eraser from which you can choose.
This is the color picker. If you're working on a drawing, particularly if you're "zoomed in", and you want to use one of the colors that's nearby in the part you're working on, instead of going down to choose the color from the palette you click on the color picker and then on the color in the drawing.
This is the fill color bucket tool. It's also called the flood tool. You use it to fill a shape with a color of your choice.
The shape must have absolutely no holes in it, or the color will leak out and go into places where you don't want it. If that were to happen, you'd hold down Control and press z.
Then zoom in and find the place where color leaks through. It can be just one pixel. It's most likely to happen if you've pasted a piece of clip art and are coloring it in.
Apart from filling shapes, this can be used as a sort of eraser. Say you've been scribbling away and you've left bits of blue all over the place. Flood the drawing area with blue, then with white, and all the bits and scraps of blue should vanish.
If you had some blue things that you wanted, though, they'd vanish too. Another job for good old Ctrl+z.
Sometimes you try to use this tool to change a color in an existing picture and nothing happens.
After you've done the virus check, rung the repair man, worried about your brain function, etc, etc, you should zoom in and have a close look at the area you're trying to color. What you'll see is not one color, but two, several or many colors mixed together. This applies particularly to photographs, but also happens with some clip art. Colors are "smoothed" to make them look more natural; skin tones, for instance.
There's also a process called dithering. This happens when a picture needs more colors than are available to it. For instance, the 16 Windows colors include no soft pink. If you change 256 colors to 16, some programs will try to match pink by mixing red and white pixels. It works well, but it makes the fill bucket impossible to use.
The only ways to deal with this situation are to use the color picker to select one color at a time and use the color eraser on each in turn, or else to paint over the troublesome area.
A close view of actual dithering
This tool makes straight lines. You can drag freehand to make a line in any direction, or you can hold down the shift key and the line will be constrained to exactly vertical, exactly horizontal, or exactly 45 degrees.
The line thickness is chosen from the box under the toolbox.
Line thickness is inherited by all four Shape tools. That is, if you have chosen a Line thickness of 3 pixels, any rectangle, rounded rectangle, ellipse or polygon will have an outline thickness of 3 pixels.
The pencil draws freehand. It's very, very hard to learn to use. When you can write your name with the pencil you should rush out and buy a lot of balloons and otherwise congratulate yourself.
The pencil is always set at a width of one pixel. In zoom-in view, it's very useful for changing the color of single pixels or small groups thereof.
This group of tools is used for drawing shapes. Three of them, the rectangle, ellipse and rounded rectangle, respond similarly to your holding the shift key. This constrains them to drawing either a circle or a square—with or without rounded corners. The polygon tool responds somewhat differently, in that it attempts to keep its lines exactly vertical, exactly horizontal, or exactly at 45 degrees.
To draw a polygon, such as a star, a triangle or an odd-shaped quadrilateral, drag to make the first line, then click where you want subsequent lines to end. When you double click, a line will be drawn from the end of the last existing line to the beginning of the line that you dragged to begin.
Below the toolbox there are three representations of how you might like your polygon drawn. The top one is hollow; just an outline. The middle one is filled and has a border. The bottom one is a solid block of color without any border.
These polygons were drawn with the middle choice, which means "filled shape with a border".
The thickness of the outline of rectangles, ellipses and polygons is governed by the last choice you made for line thickness. If your border is too thick or too thin, click the line tool, choose the line thickness that you want, then click your shape tool again.
Remember, if the one you started was wrong, Ctrl+z will undo it.
These shapes have been drawn as hollow; they're just an outline. The background color is used if you drag with the right button. The foreground color is used if you drag with the left.
These are filled shapes. Which color is used as the fill and which as the border depends on the button you're holding as you drag. With the left button the background color is used as the fill.
If you are using the third choice—a filled shape without a border—the color used will be that on the left mouse button.
The spray can delivers individual pixels of color in a spray pattern.
Below the toolbox are three choices for width and density.
The dots are much closer together if you choose the small option.
This tool is one of the easiest to use and a good one to start with. Choose the wide spray, as shown selected here, and just drag all over the drawing area.
Change colors often. You'll find that it's much easier to draw some sort of recognisable shape—or even write your name—with this tool than with the pencil or brush. Spray one color over another, or try building up more color in one area than in another.
Now we have the selection tools. The one on the right is the one you'll almost always use. It selects a rectangular area. The star shaped one is more tricky.
You use this tool when you want to move something to a different part of the drawing.
You also use it if you want two or more copies of the same thing.
A third thing you can use it for is to draw or write with a small part of your painting.
Last, you can use it to delete an area. The selection tools in this program work particularly well and without fuss. Don't tell the program writers, or they'll think of a way to make them less handy!
You drag across the thing or area you want to copy. The usual way is to start at the top left and drag to bottom right. This makes a dashed rectangle around the area. Now you can let go and put your cursor anywhere inside the selected area. If you click anywhere else, the selection will be cancelled.
Press with your left button and drag the selection to where you want it. If you press with your right button you'll get a menu instead. The menu seems to be mostly about doing things in a longer way, so use the left button.
There are two things to think about when you're moving a selection. The first is your background color. This doesn't mean the color that's the background of your picture.
It means the color that's on your right mouse button.
If it's say, a horrible dirty green, the place from which you moved the selection will assume that color, which is not likely to be what you want. Therefore, make sure that your right button color is the same color as the background of your picture.
The other consideration is transparency. You may want to move the selection just as it is; a rectangular shape with a fair bit of white in it. On the other hand, you may want only what you've drawn, in which case you'll want the white to be transparent.This little pair of icons, which appear conveniently when you click on the selection tool, control transparency. With the bottom icon highlighted, as shown here, your selection will be transparent. With the top icon highlighted, the whole rectangular area will come along, no matter what colors are in it.
N.B. "Transparency" here refers only to what happens while you're working in Paint. As far as I know, Paint will not save with a transparent color. If you need to make a gif where the background shows through, you need to open your finished work in another program, such as IrfanView.
OK. That was about moving your selection. Now we'll use the same tool to make a copy.
Select the area as before, by dragging from top left to bottom right. Let go and place your cursor inside the dashed rectangle. Check that transparency is set the way you want it. Hold down the Ctrl key. Drag the selection to the place where you want the copy. Click. You can move it to lots of different places. Each time you click you'll leave a copy.
Drawing with a part of your picture takes some practice. Select an area, move or copy it to where you want to begin, hold down the shift key and start dragging. How it works out depends on speed and direction. If you drag quickly, you get the image repeated randomly but recognisably. If you drag more slowly you get a splodgy result. This may or may not be what you want.
The word "splodging" has now been added to the dictionary!
You'll only need to use this tool if you want to copy something that's in an awkward position. If two things are close together, so that you can't draw a straight line between them, you use this tool. You use it to make a freehand selection around the thing you're selecting. Drag as though you were drawing around the shape with a pencil, until you have the whole thing outlined. As soon as you release the mouse button the selection will have been made, so if you let go too soon you'll need to start again.
When the selection appears, it looks as though a rectangular area has been selected. When you move or copy the selection, though, you'll find that only the part you outlined has been selected.
To delete something with a selection tool, select it and press the delete key.
You can also delete things by drawing white squares or circles over them, or, if they're in solid blocks of color, by clicking the fill tool on them when it's loaded with white.
Now text. Text is tricky. Always save before you start adding text, so that if you run out of undo levels you can exit without saving and have your picture as it was before you started the text.
When you click the large A that represents the text tool and draw a text area on your page, a little font bar should pop up. If it doesn't, click the View menu and click Text Toolbar.
You use this toolbar just as you would in a word processor, choosing font, size, and special things like Bold or Italic. There's an icon at the right hand end that I don't understand. It doesn't have a tool tip and it isn't mentioned in help. Perhaps it's an emergency exit; a "break glass in case of fire" sort of thing.
To make your initial text box, you can click or drag; it doesn't matter. If, while you're typing text, you realise that the box is too small, you can put your cursor over one of the "handles" (black blocks) and drag it wider or taller or both. When you have all of your text in the box, adjust the size of the box, because it doesn't contract to fit the text when you paste. Be very careful that you do have the double-ended size adjustment arrow before you press a mouse button, or you may paste the text before you mean to. Sometimes the text box refuses to have its size reduced. I haven't worked out what causes this to happen.
It is possible to move a text box before pasting. You have to hover your cursor exactly over the dashed line until a normal-looking arrow appears. Press the left mouse button and drag the text box to a new position.
If you want some padding in front of the text you have to use spaces.
Before you click outside the text box—thus pasting the text into the picture—check your transparency icons. You may want the text pasted on a rectangular background so that it stands out from the rest of the picture. If so, have the top icon highlighted. If you want the text without a background, choose the lower icon.
If I were adding text to a picture in Paint, I'd have spare space on my drawing area, and I'd type my text there, make a block of color to fit it nicely if I wanted a colored background, paste the text onto the background and then paste the whole thing where I wanted it in the picture. It's too awkward doing it straight into position; too many things can go wrong.
By the way, if I wanted it on a white background, I'd make the background some other color until I had the box in position, and then I'd use the fill tool and/or the color eraser to make it white.
Well, that's it, as far as I can think. Just for fun, here's a template and directions for drawing a flower. Copy the picture, paste it into Paint, and see how you go. (If it appeals to you.)
These directions will put you on the road to making something like this—or, probably, something much more interesting and creative. The results may not have the smooth finish you'd achieve in a top flight graphics program, but hey! Paint is free, you can produce something of your own in jig time, and you'll become familiar with many of the tools along the way.
To do this exercise without hassles, you'll need a really big drawing window.
You'll also be wise to save often. Once you've saved your workspace you only need to hold down the Ctrl key and tap "s" to save as you work.
Ctrl+s will save in just about any Windows program. Using it often is a good habit to get into.
As soon as you open Paint, before you do anything else—except perhaps changing the size of your work area—go to the File menu and choose Save As.
In the dialogue box that appears, click the drop-down arrow at the end of the Save as type place.
Click the item "256 Color Bitmap".
Type a name for the file. Click Save.
As you are being returned to the Paint window, you'll get this warning: "Saving into this format may cause some loss of color information.
Do you want to continue?"
I prefer to work in 16 colors wherever possible, because the file size of a 16 color bmp is smaller than that of a 256 color bmp, and because 16 and 256 color cutouts paste successfully into files of different formats.
If disk space is not an issue with you, then you'll prefer the wider color choice of 256.
If they're finally to be saved as gifs, size doesn't matter, since the gifs of this sort of work are tiny in byte size. What does matter is to be sure to save the workspace as a 256 (or 16) color bitmap before you begin drawing.
On the left is an 8x view of a corner of something I started before I thought to save as 256 colors. When I saved it as a gif after I'd made blocks of color, Paint dithered most of the colors. The dithering isn't obvious in normal view, but if I'd tried to do any sort of color changing I'd've been just a little frustrated.
You can use this method to copy any picture from any web page. However, some pictures are protected and can't be copied. That's because the artists don't want their work freely distributed. Such pictures may have taken great skill and hours of work to produce.
If a web site has a notice requesting that you don't copy images, always heed it.
Right click on the picture.
Choose Save Picture As.
Make sure that the picture is being saved in a place of your choice, then accept the offered name. The default name for this picture is flower_template.gif.
Later, when you're ready, open Paint and open workspace.gif.
Check that you have white as your background (right button) color.
Click Edit on the menu bar, choose Paste From and navigate to the place where you've saved flower_template.gif.
Make sure that you drop down the Files of Type list and choose either All Picture Files or Graphics Interchange Format, otherwise the saved gif may not be shown.
Click flower_template.gif and click the Open button.
When you're returned to the Paint window, there will be a dashed selection rectangle around flower_template.gif. If you'd like to move it to a different position, put your cursor anywhere inside the dashed rectangle and drag the picture.
Click anywhere outside the picture to paste it.
Save your work.
N.B. It's important that you work on a copy of the template, pasted in this way.
Choose a strong color—but not red or black.
Click the curved line tool.
Set line width to the second thickness.
Click the centre of the circle.
Click where line 1 crosses the circle.
Click where line 2 crosses the circle. The first petal should appear.
Click the curved line tool to paste the petal.
Click the centre of the circle.
Click where line 2 crosses the circle.
Click where line 3 crosses the circle. The second petal should appear.
Click the curved line tool to paste the second petal.
Continue around the circle, following the pattern of centre, 1,2, paste, centre, 2, 3, paste, centre, 3, 4, paste, until you are back to line 1 and have an eight petalled flower.
Make sure that you have white as your background color.
That is, click your right mouse button on white in the color palette.
Click your left mouse button on black.
Click on the eraser tool.
Pressing your right mouse button, drag over every black line or curve.
Now click your left button on red in the color palette.
Pressing your right mouse button, drag over every red number.
(If you have clicked on red in the palette and find that the color eraser doesn't work, it means that the red is not exactly the same as the red in your palette. If this happens, click on the Color Picker tool and click with it on the red of one of the numbers. Now the color eraser should work for you.)
Click your left mouse button on the color you'd like your flower to be.
It can be the color that you used to make the outline, or it can be a different color.
Click on the fill bucket tool.
Click inside one of the petals.
Click inside each petal until all are filled.
Click on the line tool and then on the third thickness in the box below the tools.
Choose foreground and background colors that are different from the colors already in the picture.
Click on the circle/ellipse tool.
Click on the filled shape below the tools.
In an empty part of your drawing window, hold the shift key while you draw a filled circle.
Make several of these circles until you're happy with the size.
With your right mouse button, click on white in the color palette.
Click on the rectangular selection tool.
Click on the transparent selection icon.
Draw a selection rectangle around the circle you want to use as the centre of your flower.
Drag the circle onto the centre of your flower.
When you're satisfied with the position, click an empty part of your drawing window.
With white as your background color, and with the transparency icon selected,
draw a selection rectangle around your flower.
Press and hold the Ctrl key.
Drag a copy of you flower to an empty part of the drawing window.
Click to paste, then continue dragging until you have another copy.
Click each time you want to paste a copy.
Draw a selection rectangle around one copy of the flower.
On the View menu, choose Stretch and Skew.
In the dialogue box that appears, change 100 to 50 in both the horizontal and vertical slots.
Click OK.
After you shrink a flower, zoom in and check for gaps in the outline. Use the pencil tool to fill any such gaps.
The resultant size change here is rather dramatic. Select another copy of your flower, go through the same procedure, using different numbers. Try the effects of the Skew dialogue as well.
You can, of course, change the Stretch numbers to something greater than 100, although the resulting picture may look rather rough. It's always a good idea to experiment so that you know what can and can't be done.
When you have several copies in different sizes, click on the fill bucket tool, choose a color and click on parts of one of your flowers.
If you want to arrange differently colored flowers into a bunch, and if you want white flowers amongst them, fill the soon to be white flowers with color until after the arrangement is made, to stop the colors behind from showing through. Once they are in their permanent position, flood them with white.
You'll eventually want to save some of the finished flowers without the huge work area you've been using.
You'll need to use the Copy To procedure for each cut-out.
Draw a selection rectangle around a part that you want to save. It may be one flower or a group.
Click on the Edit menu.
Click on Copy To
In the dialogue box, the format offered in the Files of type place should be 16 Color Bitmap (bmp) If any other format is shown, change it.
Type a name, flower01, flower_bunch01, posy, whatever.
Click the Save button.
Usually, no formats other than bmp are offered for cutouts. Even if they are offered, they will not be saved correctly, so stick with bmp at this stage. A table illustrating this problem is on the Screenshots page under the heading The Incorrect Gif and Jpg Save in Paint.
Select further parts of your picture and save them in the same way, varying the names.
It's quite useful to save a set of pictures as flower01, flower02 and so on, or as flower_red, flower_pink, etc.
When you've finished cutting and saving, close Paint. Windows will now ask whether you want to save changes to workspace.gif. It doesn't matter whether you do or not. Next time you use the workspace you'll need to start by clearing away previous drawing anyway.
If you're planning to use your flowers in a printed document, they're fine as they are.
However, if you want to use them in Outlook Express stationery or in a web page, they should be resaved in gif format.
If you have a shortcut to Paint on your desktop, drag the file and drop it on the Paint icon. Paint will open with the picture loaded.
Otherwise, open Paint, click File > Open and navigate to the file. Click it and click Open.
With the cut-out open, again click the File menu and choose Save As.
The dialogue box that comes up this time offers more formats than the previous one.
Click the drop down and choose the gif format.
This format keeps lines sharp, and the colors won't bleed, as they do in the jpg format—but see note below
You now have a collection from which you can assemble a picture at any time.
To preserve the flowers for repeated uses, you don't use File > Open.
You open a workspace and then retrieve the picture or pictures that you want to use by clicking the Edit menu and choosing Paste From.
Make an arrangement that pleases you, then use the Copy To procedure to save it.
Remember that if you've put a picture at the back and suddenly wish it were at the front, you have only to use Paste From to get a fresh copy to paste on top. Be certain that you have transparency turned on and white on your right button before you do this, of course.
With further experimentation you'll make various kinds and colors of leaves, berries, twigs and vines. Always cut out and save things that particularly please you. Soon you'll be making bright corners for emails or printed letters—and they'll be your own unique work, rather than "Everybody's seen it " clip art.
If you've saved a number of your pictures in the gif format, go to the folder in which they and the original cutouts have been saved. Go up to the View menu and click on Details.
Now look down the Size column and compare the file size of the gifs with those of the original bmp files.
If you decide, having looked at the file sizes, that you'd prefer to get rid of the bmps, hold the Ctrl key while you click on each of the bmp files—but not workspace.bmp. Let go of Ctrl and hit Delete. Then click yes in the confirmation box.
Go back to the View menu and turn off Details by clicking on the display of your choice—Large Icons, Small Icons or List.
If you ever include pictures in emails, make sure that they are in either gif or jpg format. Obliging a friend to download huge bmp files isn't a good idea; it will cost them time and probably money.
For complex pictures like photographs or pictures with subtle shading, jpg is the correct format to use.
If the picture has hard, clean lines the jpg format will spoil it. Many cartoons, especially those with speech balloons, need to be in gif format, as do labelled diagrams.
This topic is discussed at some length in the articles Sometimes JPG is the Wrong Choice and Screenshots. For tips about preparing a picture to send by email, see Sending Photos in Email
Once you've mastered some of these techniques, you'll probably want to try a better program—one that offers more choices. Links to some free stuff are listed on my Free Graphics Programs page.
For other graphics helps and tutorials on this site, a guide can be found here.
Questions or comments? I'd love to hear from you. My email address is here.
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I do love a good limited edition collection and I'm really loving streetwear brand Boxfresh's new '25' capsule in particular. The collection of twelve pieces feature the 'QUARTER' graphic on oversized longer length tees, footwear, jackets, shirts with extended tails and sweats using super heavy weight fabrics.
I need that black shirt - it's super chic! Happy anniversary Boxfresh - here's to the next QUARTER!

subset: commoncrawl


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Scribes set to chime in
The semi-final version of the Bisons' 2009 Season Preview Show is set to air on Sunday at 5 p.m. (WWKB-AM 1520). A dynamic and well versed panel will join me on the program. Each will share their thoughts on who could end up in Buffalo and provide a broader scope of who's waiting in the wings to join the Bisons' clubhouse.
The final of our five shows will be broadcast from Coca-Cola Field on April 5 as the 2009 Bisons arrive for the first time. If you've missed any of our three Season Preview Shows: CLICK HERE!
Here's who is on and how to read their work before the show;
Mike Harrington of the Buffalo News has covered the Bisons for over 20 years and has been privy to the franchise's most significant moments. He'll share his thoughts on the impact of the Mets affiliation and the things that could lay ahead for the new affiliate.
Toby Hyde orchestrates one of the most detailed blogs Mets fans have to follow the minor league action throughout the season. Part of the SportsNet New York network (SNY), the site features daily recaps from every US based minor league affiliate and has a very impressive library of Mets MiLB player biographies.
Adam Rubin has been on the Mets beat for the New York Daily News since 2003 and also contributes to Baseball America. Rubin's work is featured in the B.A. Prospect Handbook again this year and he will provide valuable background on why each player is ranked in system and who is on the fringes of making the Mets or becoming a Bisons player when he joins us from Port St. Lucie.
~ Ben Wagner


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As this goes to press, it's not yet clear whether House Republicans will force the federal government into a shutdown as part of their misguided efforts to delay the further implementation of health care reform. The GOP's tea party caucus has shown such an utter fixation with the cause that it's difficult to envision them abandoning it without inflicting considerable pain on the American people — at least enough to cause party moderates to rise up in protest.
For these opponents, the term "Obamacare" has become such an unthinking pejorative — akin to "communist" or "illegal immigrant" for many in the same circle — that they seem ready to blame it for every imaginable ill that can befall a human being. It is all too easy to forget that, at its heart, Obamacare is merely an effort to expand health insurance coverage for more Americans whether through mandates or subsidies.
What's especially frustrating about this showdown is that health care reform's antagonists — and even average, everyday Americans who have been made fearful of the law by the constant caterwauling by conservatives — can see Obamacare in action, successfully, a short distance from Capital Hill. Here in Maryland, Oct. 1 has been viewed not as some fearful inevitability but a moment of opportunity embraced by political leaders as well as by doctors, hospitals and other health care professionals — and many employers, too.
This is the date that anyone can sign up for coverage through a health insurance exchange. That's it. Your employer doesn't provide you with coverage? Self-employed and looking for better coverage? Here's a list of policies and providers with prices; choose the one that fits your needs by Dec. 18 for coverage that begins Jan. 1. For many people, it's really about as simple as that. Tens of thousands of low-income households will also become eligible for Medicaid coverage for the first time; many more will qualify for subsidies. Most Marylanders won't have to bother at all as they are either covered by employer plans or by Medicare.
In Maryland, the biggest challenge has been in reaching out to the estimated 800,000 uninsured and educating them about the Maryland Health Connection and how to go about signing up for coverage. Whether that effort has been successful won't be known for weeks. Enrollment is expected to be light initially but to grow in November and December when the public is no longer distracted by the hubbub in Congress.
There is much misinformation to overcome, a lot of it generated by partisan opposition that has purposely twisted all information regarding health changes and Obamacare to put them in the worst possible light. The reality is proving quite different. Maryland's health insurance costs under Obamacare have proven lower than expected. For those who are projected to pay more for insurance under the law, it's inevitably because they are getting more than they do today, often lower deductibles and more comprehensive coverage.
Maryland's efforts are paying off, in large part because the state wasn't actively working to sabotage the concept from before the start. Nor did state officials look to score blatantly partisan Democratic points either — by, for instance, passing a law to penalize employers who force workers into part-time status to avoid the insurance mandate. Health Secretary Dr. Joshua M. Sharfstein and others determined early on that it was better to take a wait-and-see approach than to assume well-meaning employers will act so flagrantly against the interests of their own workers.
It's also perhaps unfortunate that President Barack Obama has chosen to return the shrill anti-Obamacare volleys with some heavy-handed salvos himself. In his appearance last week at Prince George's Community College in Largo to promote the marketplaces, he used terms like "crazy" and "hot air" to describe the opposition. Better to simply show them wrong — by pointing to the millions of Americans who stand to gain decent, affordable health care insurance for themselves and their loved ones who are no longer encumbered by pre-existing medical conditions or other roadblocks to private coverage.
Maryland is proving that instead of actively working against Obamacare, diligent efforts to work within the system pay off — with some of the lowest insurance rates in the nation. There is no train wreck coming down the tracks in the Free State but an opportunity that begins today for more insurance coverage, a healthier populace and maybe even a modest application of brakes on the nation's rising health care costs. That House Republicans would work so self-destructively to prevent such public benefits from going forward defies belief, yet the ridiculous drama in Washington continues, shutdown or no.


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Do you have a fault with your Viessmann Boiler in Broughton?
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Hey Bookworms! I thought since I haven't done the best with monthly reviews… I think I've maybe done one this year? I thought a seasonal wrap-up may make more sense until I figure out my next steps with blogging, writing, working, and traveling. I like sharing what I've read because it gives me a chance to look back on how my reading habits have grown change, how I've been called to read what I've read. So let's get started!
Spring Wrap-Up: Books That Have Bloomed with Me this Spring
Now before I start, I want to clarify what I count as spring, because even though most go off a calendar. I think it goes more off of the climate of where you live, so for me (since I've lived in Vegas all my life) it starts in March and ends in May. These books will begin with books I began in March and the last one I finished in May which was a total of 19 books! I am slightly proud because I just realized that is how many I read in 3 months! Yay me!
1. Truthwitch by Susan Dennard
My first audiobook of the season. I loved the friendship, and the essence behind the magic, but the world and what gave everyone their magic or who had what power tended to lose my attention a bit. I didn't know if it was worth the hype it got entirely as the way I fell in and out some parts did seem a little erratic. I don't know if I will be continuing it, but overall I gave this book a 3 out of 5 stars.
2. The Great Hunt by Wendy Higgins
This book was exactly what I needed when I was in a slump. It kept my attention the whole time and I liked getting to know each of these characters. I loved knowing the royalty, but not knowing when the sequel came out it made me give it a 4 out of 5 stars. I definitely recommend this book to anyone in a reading slump that likes an adventurous tale.
3. The Wolf Boy is Mine Vol. 4 by Yoko Nogiri
Oh my godI loved this series! It is my new favorite Manga for sure it is gorgeous artwork and for me a relatable series at least with the main love interest. I just finished this series and I already want to read it again! 5 out of 5 stars honestly I'd give it a 10 out of 5 if it was possible.
4. Front Lines by Michael Grant
This was definitely an amazing going back in time seeing what would've changed if girls were allowed to fight in WWII. It also shows you what bravery looks like and that it isn't always a simple thing.
5. Bloodhound by Tamora Pierce
A reread to finish a series and I loved it as much as I did the first time. Tamora Pierce was one of my first examples of what a strong female should be, and Beka is no exception to that rule. Her books were also the first to show me love is love and to show that the LGBT is not something should ashamed or hidden.
6. We are Okay by Nina LaCour
This book is written beyond goregously, it made me feel every emotion written. I really don't have much to say besides READ IT! 5 out of 5 stars!!
7. Mastiff by Tamora Pierce
Without spoiling all I have to say is damn this was an unexpected heartwrenching plot twists. My heart definitely was broken I am still healing over this… 5 out of 5 stars though!
8. Wildflower by Drew Barrymore
As a lover of her movies I adored getting to know more about her life. If you're listening to the audio book, be careful because there are times she gets loud at times. The only thing that I didn't really love is that it was sporadic, I know it fits her personality it wasn't my favorite as a reader. 4 out of 5 stars.
9. Masquerade by Melissa De La Cruz
Another comfort reread it was good to see more of the powers emerging as well as the flashbacks 4 out of 5 stars.
10. Saga Vol 7 by Brian K. Vaughan (Writer), Fiona Staples (Artist)
Really amazing the plot twist at the end though!!! I need volume 8! 4 out of 5 stars!
11. A Mad, Wicked Folly by Sharon Biggs Waller
I loved this because it definitely introduced me to a period that isn't touched much on in fiction. The period of the suffragette. I definitely recommend if you love historical fiction. 4 out of 5 stars.
12. The Time of My Life by Cecelia Ahern
Another reread that I read as a pick me up. I love her books that use magical realism it makes you think outside of the box or even makes you take a step back to look at your own life. 4 out of 5 stars.
13. The Host by Stephenie Meyer
Another reread and one of my favorite love stories and one I can definitely relate to. Whenever I feel reluctant to believe in love this is definitely one I turn to.
14. Talking as Fast as I Can by Lauren Graham
I listened to this on the plane ride back from Vancouver. Her story for me was very inspiring her persistence and what she worked for until she made it is inspiring to any artist. The behind the scenes of Gilmore Girls was also a fun glimpse as well.
15. Up in Flames by Abbi Glines
I know I don't like to call things guilty pleasures, and these books aren't exactly guilty pleasures. They are however simple reads that don't require too much thought especially as I get older. It also bothers me that these books have to end in a pregnancy. I believe in the New Adult Genre, but I also like when it shows safe sex showing the couples pursuing finding other paths as well. I know not every one thinks like me, so I hope I'm not offending anyone by being honest. Anywho this was a 3 out of 5 stars for me.
16. Rebel by Amy Tintera
I liked this book, but it didn't meet what I loved in the first book. There was an overdone cliche near the end that I've read in 2 books this year, but this book did twist it to an unexpected way, so it did save it. This was a 3 out of 5 stars.
17. Until Friday Night by Abbi Glines
Again same feelings as the previous Abbi Glines book, but I did like some of the topics this touched. 3 out of 5 stars.
18. Revolution by Jennifer Donnelly
I really love this book and how it's not only about healing, but grieving and trying to change the world whether it's for someone close to you or others. This is a great coming of age book that I adore and I recommend it to everyone. This one is also what got me back into historical fiction. 5 out of 5 stars!
19. Just Listen by Sarah Dessen
Rereading this took me back to high school and how I would just devour contemporary. Sarah Dessen let me know back then that you could come back from whatever broke you. Her books were often ones that kept me going. It was nice to reread and see how far I've come.
Well bookworms I'm finally done with this post. I've been working on and off on this today for a few hours. What books kept you company this spring? What ones kept a mark on you? Did you reread old favorites? What do you wish to see more of in a genre? Have you read any of these? Let me know in the comments, let's chat! I hope you have a wonderful week, and Happy Reading!


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Super news for Heroes alum Dania Ramirez: She married director John Beverly Amos Land over the weekend, US Magazine reports.
Get the latest pilot season scoop
The wedding took place at the Hard Rock Hotel in the Dominican Republic on Saturday. "It was magical," Ramirez tweeted about her nuptials.
The 33-year-old actress, who portrayed Maya on the NBC superhero series, is also known for her roles in the films American Reunion and Premium Rush and on HBO's Entourage. She'll next appear in Marc Cherry's Lifetime drama Devious Maids, which premieres this summer.


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As everyone from politicians to parents of slain children search for answers in the Colorado shooting, many observers say the high-profile event is just the latest example of both the progress and problems in dealing with violent, media-driven events.
We live in a society driven by increasingly sophisticated and powerful information technology that allows us to know details about everything virtually immediately, says UCLA assistant professor and psychiatrist Dr. Reef Karim, adding, "and this has a good and a bad side."
Cell phone video clips from the Aurora movie theater provided a nearly instantaneous real-time window into events as they unfolded. Television coverage has blanketed everything from Monday's court appearance by shooting suspect James Holmes to the personal stories of the victims and survivors.
Comfort in response to the shootings in Colorado
The positive side of such immediate, up-close contact, he says, "is that we collectively can respond as a society, we can send money and relief and bring people in to help because we can relate right away."
The downside, he says, "is that we are seeing it all through the lens it is being presented to us in." This means we are being drawn through the event according to the biases and prejudices of the technology and the people behind it.
"By and large," he points out, "these media are driven by ratings and the need to attract the largest audience," not educate or uplift them.
We have shifted from a cool medium that provides some distance to the "hottest possible," says Bernard Luskin, president-elect of the media psychology division of the American Psychological Association in Washington. "This means we are right in the midst of events now," he says.
But as technology progresses, he says he sees little progress in the ability to respond and handle the deeper implications of violence.
"The information is geared towards the needs of the people delivering the information rather than the deep, emotional needs for empathy and sympathy that the victims of real violence require," he says.
At the same time, there has been marginal progress in certain areas, points out Dr. Karim.
Compare the coverage of the victims in the Colorado and Arizona shootings to the focus of the coverage in the Penn State scandal.
In the case of Penn State football coach Joe Paterno, who was found to have ignored warnings about child sexual abuse, he says, "we are very uncomfortable with the details of those victims' lives. It's one of the last taboos with a significant stigma attached to it, and we don't want to know the details of its impact or what actually happened."
As a result, he points out how much the coverage was geared toward the penalties imposed on the university and the impact they will have on the school and its football team. Innocent bystanders, such as Penn State students, in the scandal may suffer, he notes, "but they are not the real victims in that case."
But the sort of psychological insight that can be provided in a swiftly moving media environment is limited, says Mindy Utay, a former lawyer who is now a psychotherapist and blogger for the Huffington Post.
"Unfortunately," she says via e-mail, "pop-psychology has given most Americans a superficial and often inaccurate idea of human emotions and motivations."
She says Americans in general are much more sympathetic to the idea of mental illness than they were even a decade ago – especially now that mood disorders such as depression, postpartum depression and bipolar disorder are "out of the closet" – but they tend to view violence in simplistic terms.
"The shooter was bullied [Columbine] or the shooter flunked out of his Ph.D. program and felt like a loser [Aurora]. There's a lot of pop-psychology input that shapes how Americans view violence – and much of it is misguided," she adds.
Greater understanding does not mean all victims are equal, points out San Diego psychiatrist Dr. David Reiss, who specializes in borderline personality disorders. Even in the cases where the genuine suffering of victims is highlighted, mainstream media focus on what will drive ratings.
"The more mundane suffering of genuine victims of everyday violence will not get the same kind of coverage that the homeless man whose face was cannibalized in Florida did," he notes. Proliferating media also give individuals the opportunity to find their own level of response, he points out, which can be both good and bad.
You can locate like-minded people to help in a terrible situation, he says, "or you can find a group of people to support your worst emotions and go deep into the dark side."


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A Scot to Jeanne d'Arc
Dark Lily without blame,
Not upon us the shame,
Whose sires were to the Auld Alliance true,
They, by the Maiden's side,
Victorious fought and died,
One stood by thee that fiery torment through,
Till the White Dove from thy pure lips had passed,
And thou wert with thine own Saint Catherine at the last.
Once only didst thou see
In artist's imagery,
Thine own face painted, and that precious thing
Was in an Archer's hand
From the leal Northern land.
Alas, what price would not thy people bring
To win that portrait of the ruinous
Gulf of devouring years that hide the Maid from us!
Born of a lowly line,
Noteless as once was thine,
One of that name I would were kin to me,
Who, in the Scottish Guard
Won this for his reward,
To fight for France, and memory of thee:
Not upon us, dark Lily without blame,
Not on the North may fall the shadow of that shame.
On France and England both
The shame of broken troth,
Of coward hate and treason black must be;
If England slew thee, France
Sent not one word, one lance,
One coin to rescue or to ransom thee.
And still thy Church unto the Maid denies
The halo and the palms, the Beatific prize.
But yet thy people calls
Within the rescued walls
Of Orleans; and makes its prayer to thee;
What though the Church have chidden
These orisons forbidden,
Yet art thou with this earth's immortal Three,
With him in Athens that of hemlock died,
And with thy Master dear whom the world crucified.


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00iCon wrote:What about vice versa? ERS attacks Su01.
Though I agree it is so minor only someone whining about losing too many games would pick up on it. If it takes no effort though it should be fixed.
It was my first time playing this map and the legend is poorly worded.
I could really give a flying truck if the mapmaker chooses to fix this or not because I don't intend to play it again, but perhaps he should make things clearer for future players playing it for the first time.


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Kurt Nimmo
September 25, 2010
The editors of the Economist have declared constitutionalists mentally ill. "Indeed, there is something infantile in the belief of the constitution-worshipers that the complex political arguments of today can be settled by simple fidelity to a document written in the 18th century," the editors wrote on September 23. "When history is turned into scripture and men into deities, truth is the victim."
|Following the Constitution is infantile behavior, according to two publications produced by the Rothschilds, the CFR, and the CIA.
The Economist is owned by members of the Rothschild banking family of England. It is run by the Economist Group, a known CIA front.
According to the Economist, the framers were aristocrats who "did not believe that poor men, or any women, let alone slaves, should have the vote." The Constitution does not address the "hard questions thrown up by modern politics," namely should gays be allowed to marry?
The Economist argument against the Constitution is the same one used by liberal academics. The document is antiquated, the product of a bygone era. The founders were afraid of "democracy taking hold," so they crafted a document designed to exclude the common people and preserve their aristocratic position.
Globalists love democracy. It is an easy enough task to fool the people, especially these days with 24-7 media and satellite television. It is a relatively simple matter to have the benighted masses vote away their natural rights under some cooked up false pretense. "Democracy is not freedom. Democracy is two wolves and a lamb voting on what to eat for lunch. Freedom comes from the recognition of certain rights which may not be taken, not even by a 99% vote," wrote Marvin Simkin. Liberty is a well-armed lamb contesting the vote.
Soon after the Economist article appeared, the establishment publication Foreign Policy posted an article slamming the idea that we should follow the Constitution. Joshua Keating writes that he suspects "most Americans don't realize quite how old the Constitution is by world standards," that is to say globalist standards. In order to make his point, Keating cites an article published in the Onion, a popular satire publication.
- A d v e r t i s e m e n t
- {openx:49}
Foreign Policy was established by the Carnegie Endowment for International Peace, a think tank created by the "internationalist" Andrew Carnegie, who took his advice from Elihu Root, who worked to make the Council On Foreign Relations possible.
As Carroll Quigley noted in Tragedy and Hope: A History of the World in Our Time, the CFR, modeled on the British Round Table Group, "penetrated deeply into university life, the press, and… foreign policy," and peddled its globalist influence through five American newspapers, including the Washington Post and the New York Times. "The CFR is the American Branch of a society which originated in England, and which believes that national boundaries should be obliterated, and a one-world rule established," Quigley explains.
In 2008, Foreign Policy was bought by the Washington Post Company. The Washington Post is the crown jewel of the CIA's Operation Mockingbird. Wall Street lawyer Frank Wisner, who ran the Office of Special Projects — later to become part of the CIA — recruited Philip Graham, the publisher of the Washington Post, to run Operation Mockingbird and subvert the free press in the United States.
The CFR wants "to bring about the surrender of the sovereignty of the national independence of the United States," Admiral Chester Ward, a former member of the CFR, warned. In order to realize their one-world government scheme, the CFR and the ruling elite must undermine the sovereignty of the United States.
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It must also undermine and subvert the Tea Party movement and the popular move to restore the constitutional foundation of the country.
The twin articles appearing in the Economist — at the behest of Rothschild and the City of London banking elite — and Foreign Policy — controlled by the Council On Foreign Relations — are designed to make constitutionalists appear to be not only infantile idealists who idolize an archaic document that the globalists argue has no relevance in our modern era of gay marriage, but also as dangerous people who suffer from mental illness.
Kurt Nimmo edits Infowars.com. He is the author of Another Day in the Empire: Life In Neoconservative America.
The Emergency Election Sale is now live! Get 30% to 60% off our most popular products today!


text:
205 Jesse Hill Jr. Drive SEAtlanta, GA 30334Local (404) 656-2800Toll Free: (800) 311-3627 (GA)Fax: (404) 651-8737Email: email@example.com
It is an easy three-step process.
Step One: Type in the course you need (for example 9th grade Literature)
Step Two: Type in your zip code. You will then see a list of the online course providers in Georgia who have the course you selected. Their program names have been linked, so click on the program provider's name to access their site for registration information.
Step Three: Utilize the provider's website to register the student in the selected online course.
All Georgia school children grades 3-12 are eligible to enroll in online courses as long as the course is: a) academically appropriate; b) logistically "doable;" and c) keeps the student on track for an on-time graduation.
Per Georgia legislation established July 2012, commonly referred to as Senate Bill 289, student, parents and school districts now have the option to enroll students to maximize online learning opportunities. Senate Bill 289 does not mandate or require an online course for graduation. Students attending public schools (including charter schools) are provided this option at no cost (if taken as part of their regular school day). Non-public students also have the option to take online courses as part of their school day. Additional tuition fees may apply if a course is taken outside of the regular school day. Eligible participating students, both public and non-public, should contact course providers directly to determine course availability and registration information.
The Georgia Online Clearinghouse provides students and parent with information and access to high-quality academic and career-oriented courses, aligned to state and national standards, through a variety of online providers. For more information about what makes up a quality online course, click on the following link provided by iNACOL (International Association for K-12 Online Learning)http://www.inacol.org/research/nationalstandards/iNACOL_CourseStandards_2011.pdf
If you are a student athlete and plan on taking an online course, please be sure to check with your online course provider to ensure the online course is NCAA approved. Each online provider should have NCAA information posted on their site. For more information about NCAA eligibility, please check the following link: http://www.ncaa.org/wps/wcm/connect/public/ncaa/eligibility/index.html
Carol Moore
Manager of Instructional Technology
©2019 Georgia Department of Education
MyGaDOE | Terms of Use | Human Trafficking Notice | Accessibility Notice | Content Management Login | Job Openings


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$88.00 CAD $110.00 CAD save 20%
- A screen-printed cotton t-shirt in black with ribbed collar. A large orange and purple graphic is featured on the back of the shirt, and duel Cav Empt script logos are featured on the front shoulders.
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S M L XL 1/2 Chest 52 54 56 58 Length 66 68 70 72 Sleeve 12 13 14 15
- Machine wash 30°. Do not bleach. Do not tumble dry. Iron low.
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The House today will consider an amendment that would require presidential candidates to prove their citizenship before their names can appear on an Arizona ballot.
The amendment, which Rep. Judy Burges said she will offer on the floor during the debate of a bill that deals with elections, is expected to be identical to a bill the Republican from Skull Valley sponsored earlier this year.
That bill, H2441, was approved by the House Government Committee, which Burges chairs, but was never heard on the House floor. It would have required presidential candidates to submit affidavits swearing they are qualified for the position and to attach a birth certificate. If the secretary of state has reason to believe a candidate does not meet the qualifications, he or she would be prohibited from placing the candidate's name on the ballot.
Burges said she will offer the language of H2441 as an amendment to S1024, which is sponsored by Sen. Jack Harper, a Surprise Republican. Both Harper and Burges represent Legislative District 4, which covers the far northwest reaches of the Valley and portions of Yavapai County.
Burges originally planned to offer the amendment April 8, but Harper's bill was retained on the House Committee of the Whole calendar.
The amendment, along with Burges' original bill, has been derided by critics as a phenomenon of the "birther" movement, a pejorative term for those who do not believe President Barack Obama is a natural-born citizen of the United States. They contend he was born on foreign soil and that a Hawaii birth certificate his campaign produced in 2008 is not legitimate.
Burges has said the bill is not aimed solely at Obama, but the debate over his citizenship highlighted the fact that states have no ability to determine if candidates qualify for the ballot. Right now, the Federal Elections Commission certifies presidential candidates, which includes verifying they are at least 35 years of age and are natural-born citizens, as required by the U.S. Constitution.
Harper, who supports the amendment, said there is "ample evidence" Obama was born in Hawaii. However, states lack a mechanism to verify the eligibility of candidates independently of the federal government.
"We're going to check and balance them every chance we get," Harper said.
House Assistant Minority Leader Kyrsten Sinema, a Phoenix Democrat, said it would be "ridiculous" to make Arizona's secretary of state an arbiter of who can or cannot run for president.
"I think that's a lot of hubris," she said. "I think it's also pretty offensive."
The House is scheduled to take up the bill and the amendment when it convenes its floor session at 1:30 today.


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Texan breaks records with humongous catch in Gulf
SAN ANTONIO - A South Texas man reeled in the largest red snapper ever recorded off the Texas coast.
Joey Beaver, of Victoria, bagged a 40-inch, 38.75 pound red snapper about five miles off the coast of Port O'Connor, a small fishing community between Corpus Christi and Galveston, in the Gulf of Mexico on June 1.
"I thought it was a shark or something the way it was pulling," said Beaver, 28. "When I got it on the boat after about 20 minutes, it was crazy, everybody on the boat was going nuts."
Beaver's catch beat two state records for red snapper, including the State Rod and Reel Record and the Water Body Record, according to the Texas Parks and Wildlife Department. The previous record was held by Jack Brumby, who in 1998 caught a 38.13 pound red snapper.
"At first, I didn't think it was big enough" to beat the record, said Beaver, who used squid as bait and a Penn reel. "I think my wife is more happy about it than I am."
He has been fishing since he was 4. Beaver was with his father-in-law and captain, Russel Cady; brother-in-law, Johnmichael Caraway; and Cady's friends Jason Jones and Darren Drake, he told the Victoria Advocate.
The group fished for another hour after he reeled in the huge fish and then headed to the Fishing Center, which has the official state scales for the region, he said.
"A big group of people came around the boat and were taking pictures," he said.
Beaver said one filet fed his family of four and his friend's family of four and he still has another filet in the freezer.
Red snapper is one of the most valuable fish in the gulf and wild-caught whole red snapper currently sells for $10.99 per pound at Central Market in San Antonio. Beaver's record catch could have sold for $426, based on these figures.
The world record for red snapper, weighing 50 lbs. and 4 oz., was caught in the Gulf of Mexico off the Lousiana coast by Doc Kennedy in 1996, according to the International Game Fish Association.
Twitter: @KoltenParker


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- This set contains 30cm Stirfry and 30cm Kadai
- Totally TOXIN-FREE product
- US FDA & European Food Safety Standards Authority approved coating (from Chemours USA)
- GUARANTEED No PFOA | No Cadmium | No Nickel | No Arsenic | No Lead
- The world's best-coated cookware with LIFETIME WARRANTY
- PATENTED Hi-Low food release system - food will glide super smoothly
- Food will not stick: 100% Guarantee
- Heavy-gauge, hard-anodized construction makes it twice as hard as stainless-steel for an outstanding durability
- 'Stay Cool' riveted phenolic handle for added strength and safety
- Oven safe up to 180-degree C/ 350-degree F and is dishwasher safe
- Compatible with all cooktops, including induction
Customer Reviews
Unique circle surface, coupled with exceptional non-stick means, your cookware will provide a lifetime of performance
Global standard for non-stick: Food won't stick-GUARANTEED!
TOTAL Food Release System: Features world's first and exclusive food release technology called the 'TOTAL FOOD RELEASE SYSTEM'.
Heavy gauge, hard anodized construction: Makes it twice as hard as stainless-steel for an outstanding durability. The frypan heats quickly and spreads heat evenly with its 0.5mm thick stainless-steel base with 1mm aluminium core which helps in reducing hot spots that can burn food, as a result, your cookware will continue to provide an exceptional non-stick cooking experience whereas the tawa comes with an exceptional 6mm thickness which makes it the thickest hard anodized plus non-stick tawa.
Hi-low grooves: This cookware vessel features its unique raised circles that are in a high-low pattern of concentric circles which reduce abrasion by protecting the low area from damage. This allows the major low area of your non-stick vessel to stay protected and the minor high area to be exposed to bear the wrath of your metal utensil.
Heat resistant riveted phenolic handles of Skillet: For added strength and safety that won't heat up even after prolonged use on the cooktop.
Heat resistant stainless-steel handles of Tawa:
Riveted for strength and safety.
Oven and dishwasher safe: Frypan's heavy gauge, hard-anodized surface and phenolic handles, allow you to put your dish directthe ly into oven from your stove top, as it is oven safe to 180-degree C/ 350-degree F and is dishwasher safe. The tawa is not dishwasher safe.
Suitable cooktops: Compatible with all cooktops, including induction with an exception of Tawa
100% Safe: Origins range uses coatings from Chemours (USA) that are eco-friendly and 100% PFOA free, 100% Lead free and 100% Cadmium free. These coatings are formulated and quality tested to resist peeling or chipping. In case the cookware is misused (overheated or scratched with sharp utensils) and the non-stick coatings are accidentally eaten, there is no danger. These particles are harmless, non-toxic and inert. If eaten, they pass directly through the body and are not absorbed. The USA FDA has stated that accidental consumption of non-stick particles poses no health threat. This quality of the coatings makes the food completely non-reactive and safe for healthier cooking.
Manufactured with pride by Meyer, the global leader in cookware since 1951 All Circulon cookware, which is made of aluminium or stainless steel, is manufactured in-house at Meyer factories located in Thailand, China, Italy and USA. In addition to manufacturing cookware, we also manufacture over 90 percent of the materials used to make the cookware including corrugated materials used for packaging. Meyer Thailand factory, with more than 1 million square feet of manufacturing space, plus an additional 300,000 square feet for the rolling mill, is one of the largest cookware factory in the world. It produces about 150,000 pans per day. Combined, Meyer factories (Thailand + China + Italy + USA) produce more than 45 million pans annually.
Learn more
Additional Information
|Item Code
|Country of Origin
|Hard Anodized Aluminium
|Yes, Superior Non-stick coating from Chemours (USA)
|Limited Lifetime Warranty
|Suitable Cooktops
|Gas , Electric & Induction
|Product Measurements
|Stir Fry
Diameter: 30 cm
Dimensions (L X B X H): 54.61 cm X 33.97 cm X 13.65 cm
Capacity (Volume): 4.31 Litres
Base Thickness: 4.5mm
Diameter: 30 cm
Dimensions (L X B X H): 36.2 x 34.61 x 10.8 CM
|Item Shape
|Lid Type
|Handle Type
|Riveted phenolic handles
|Product Finish
|Interior: Chemours (USA)
Exterior: Chemours (USA)
|Serving Size
|4 and above people
|In-Box Contents
|1N Stir Fry,1N Kadai, Interchangeable glass lid and Use & Care Instructions, Warranty card
Q: What is hard anodized construction?
A: Hard-anodized aluminium means aluminium that has been specially processed to offer you twice the hardness and durability of stainless steel. To improve, ease and enhance the ever-expanding cooking experiences, Origins introduced ultra-durable hard-anodized aluminium pots and pans with 100% safe non-stick coating to provide you with professional-quality kitchen performance.
Q: What kind of coating has been used?
A: A healthy body holds a healthy soul & mind. The non-stick interior surface uses less or almost no oil to prepare nourishing and nutritious meals for your family every day. Origins uses the interior coating and the outer coating both from Chemours (USA).
Q: How durable is the coating?
A: Origins cookware is extremely strong and is made to last you decades. A coating so durable and long lasting that you will experience delightful meals always. Now you can close your eyes and easily boil, fry and bake without worrying about your cookware going bad.
Q: Is it safe/healthy?
A: Yes. Origins products are completely safe for everyday use. The non-stick coatings are certified by USA FDA. You need not worry about any reaction while cooking different food types. We want our customers to use the safest products for cooking meals for their family and kids. Subjected to the toughest testing conditions, Origins products are completely safe for usage. They are eco-friendly and 100% PFOA free, 100% lead-free and 100% cadmium free
Q: What is the thickness of cookware?
A: When it comes to even cooking and maintaining regular heating without hot spots around your pan it's the thickness of your pan that matters most. Our range has an optimum thickness of 2.5mm to 3mm for best results.
Q: Is it induction safe?
A: Yes the frypan is Induction suitable whereas the tawa is not suitable for induction.
Q: Is it dishwasher safe?
A: Frypan is dishwasher safe. The tawa is not dishwasher safe.
Q: What does the TOTAL food release system mean?
A: TOTAL food release system means that Origins cookware is throned with one of the best non-stick systems. Be assured that this is one of the most efficient and long-lasting nonstick cooking surfaces in the world. An exclusive food release technology with raised circles on the cookware surface that help to reduce abrasion and increase your cookware's life.
Q: What are hi-low grooves?
A: Origins wants you to experience the best of healthy cooking. A cooking surface so good that you can cook in almost no oil. Food won't stick or burn even when you are cooking for prolonged periods. Circulon turned cookware's flat, ordinary cooking surface into a series of raised concentric circles. This is hi-low grooves.
Q: Will the food stick in the grooves?
A: We want our customers to experience cooking with a delight. No, the food will never stick to the grooves on the surface. Our cookware is adorned with the best TOTAL non-stick release coating from Chemours(USA) and has special hi-low grooves to ensure healthy cooking.
Q: How to clean this cookware/how to use this cookware for a better performance?
A: Origins products are super-easy to clean and maintain post-usage. Forget the old hassle of scrubbing your cookware to make it shine. Maintaining your cookware cannot be easier than this. Protect the cooking surface and condition it by rubbing a thin coat of vegetable oil over the cooking surface when using it for the first time. Clean your pan with a mild, soft soap and a soft cloth or sponge. Rinse the pan with lukewarm, not hot, water.
Q: What is the cookware body made of?
A: Origins cookware is twice as strong as stainless steel when it comes to durability. It is made up of the best-quality aluminium to offer you optimal performance and great heat-distribution. This means that food will cook evenly and food won't burn. The heavy gauge aluminium body of your cookware will make sure that the cookware you buy lasts for decades. Maximum durability and extremely tough, they have gone through the toughest testing conditions before reaching you.
Q: What are the handles made out of, are they durable?
A: Yes, the handles are extremely durable and stable. Designed for your comfort and ease of use, these handles are specially crafted for high durability. Our frypan handles are designed in-house and made of a phenolic surface to provide the best grip for your hands while cooking whereas the tawa has cast stainless-steel riveted handles for maximum strength.
Q: What is the warranty/ terms and conditions?
A: Origins range offers a Limited Lifetime warranty from the date of purchase to be free from any defects and damage caused by using the product under normal household use.
Q: Is it oven safe?
A: Yes. rpan upto 180 degree celsius and tawa upto 240 degree celsius.
Q: What do you mean by PFOA free, lead-free and cadmium free?
A: Per-fluoro-octanoic acid (PFOA), supposedly a carcinogenic chemical when heated and other dangerous heavy metals like lead and cadmium that can flake off during cooking can seep in meals and react when you use low quality, and cheap non-stick cookware. Your family and your health is completely safe when using any products sold on our website. All products sold by us are 100% PFOA free, 100% Cadmium-free, 100% Lead-free.
Q: Can I make my own set?
A: Yes, you can easily make your own sets on our website. Now, ensure you can style your kitchen in the same shade and colour by opting for cookware sets.
Q: Is it metal utensil safe?
A: Origins range of cookware has been put through the toughest testing condition to ensure that your cookware will offer you an optimal performance. Due to hard anodized body construction, it is compatible with a metal utensil as well.
Q: Can it develop hot spots?
A: No, you will never experience any hot spots. You will experience the best of even heat distribution and browning of food without any burns on the cookware surface.


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The Scottish mafia in Vancouver has a new member, and new Designated Player Kenny Miller already feels like he's among family.
Whitecaps FC unveiled the Scottish international on Monday at BC Place. He joins fellow Scots Barry Robson, head coach Martin Rennie, and assistant coach Paul Ritchie. And although assistant coach Carl Robinson is Welsh, he's an old teammate of Miller's from their time at Wolverhampton Wanderers FC in the early 2000's.
"There's a few friendly faces out here already," Miller said. "I've played with both Carl Robinson and Paul Ritchie at some stage in my career. And obviously Barry Robson making the step a few months before me was always going to make it easier to settle."
- Scotland's national team captain
- Tied for sixth overall in total goals scored in all of Europe during the 2010-11 season with 26 goals
- Including 21 goals in 18 games with the Rangers - more than a goal a game
- From 2009 to 2011 scored 56 goals in 108 matches in all competitions
- In total, scored 187 goals in 547 career club matches - more than one goal every three matches
- One of only five post WWII players to have played for both Old Firm giants Rangers and Celtic
- Won Scottish Premier League, Scottish FA Cup, and Scottish League Cup with Rangers and Celtic
- Arrived in Vancouver on Sunday, July 15, and will join his teammates in today's training session
Settling in easily – and quickly – with Whitecaps FC is vital for Miller, 32. The squad has defended well this season, but they have struggled at times to find the back of the net. The 'Caps have scored the fewest goals of any of the teams currently in a playoff position. The hope is Miller can address that issue.
"We've been one of the better teams in MLS for that statistic – I think we've got more clean sheets than anyone in this league," Rennie said during the press conference. "But we aren't scoring quite as many goals as we would like. We want to be more proactive with what we're doing going forward, and when the opportunity came forward to sign Kenny Miller, we really were excited to do it and jumped at the chance."
Miller has amassed 187 goals in 547 club matches, primarily in the Scottish Premier League and England's top-two tiers, so far in his career. It remains to be seen if his success in Europe will translate to North America. But Miller says the opportunity to join an MLS team was one he couldn't pass up.
"I've talked about it a lot with my agent and my family over the last few years," Miller said. "It's something I've definitely wanted to do at some point in my career and what a fantastic opportunity to come to a great city, a fantastic club who are having a really good season and are sitting in a fantastic position."
Whitecaps FC are currently in fourth place in the Western Conference. They next host the LA Galaxy on Wednesday (7 p.m. PT, TSN2, MLS LIVE), but Rennie says Miller likely won't figure in the match.
"Hopefully, I can get in the team soon and play my part," Miller said. "And hopefully, we can push us on and secure a playoff spot, which would be a fantastic achievement for the club."
Martin MacMahon covers Vancouver Whitecaps FC for MLSsoccer.com.


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Mizzou Softball: Marston and Thomas Selected in NFP Draft
NASHVILLE, TN - Mizzou softball seniors Jenna Marston and Chelsea Thomas were selected 19th and 20th overall in the National Pro Fastpitch College Draft, held at Ford Theatre inside the Country Music Hall of Fame and Museum on Monday. A catcher and former shortstop for Mizzou, Marston was picked by the Chicago Bandits. The two-time All-America pitcher Thomas was selected immediately after to the USSSA Pride.
Thomas has pitched to a 12-1 record in her final Tiger season and currently stands with 99 career victories at Mizzou. The school's all-time strikeouts leader has amassed 1,048 in her career. Thomas has been an integral member of Mizzou's last three Women's College World Series squads (2009, 2010, 2011). Before helping the Tigers embark on their inaugural Southeastern Conference campaign, she was a two-time Big 12 Pitcher of the Year in 2011 and 2012.
Marston has played multiple positions in the Tiger uniform and has performed at an all-conference level, starring at shortstop to start her Mizzou career on the 2010 and 2011 WCWS squads. She transitioned to catcher for her junior season and has caught for Thomas and the Tigers' pitching staff since. Marston currently ranks second in school history with 171 career runs scored, as well 10th all-time at Mizzou with 194 hits. She earned CoSIDA First Team Academic All-America recognition in 2012.


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On a podcast recommended to me (I'm not sure whether it's called "Sports Nutrition" or "Endurance Planet") Ben Greenfield talked about inflammation, advanced glycation end-products (AGEs) and carbohydrates (especially sugar). He claims (IIRC) that simple carbohydrates will lead to increased creation of AGEs, which leads to increased inflammation.
I wanted to learn more about that, so I read the Wikipedia article about it, but didn't see any mention of that connection. (The Wikipedia page says AGEs may be formed inside the body through "normal metabolism and aging".) Is there evidence of a connection between sugar intake, AGEs and inflammation?