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Monday, December 15, 2008
Eyes 3: Eyes and how versatile they can be (if you let them)
There are different cliques of animators and cartoonists, each of who have learned a handful of eye shapes and expressions. There are Disney eyes, Cal Arts eyes, Prime Time eyes, Anime eyes, Deviant-Art eyes etc. There are imitation-Spumco eyes.
Each of these sets of eye expressions is extremely limiting. They don't allow for spontaneous invention. Artists memorize their handful of expressions from the style they like and for the rest of their careers can only express symbols of the simplest emotions - using the same symbols and flat emotions that have been beaten to death for years. What fun or creativity is there in that?
As Frank and Ollie say, cartoon acting can't compete on the same level as live action acting:
this last sentence seems like a big contradiction to me. "we must concentrate on acting" - after admitting that cartoons lacks "the subtle shadow patterns...."
Disney took 30 years or so to create a few approved Disney expressions, always weighing them against whether they are appealing (their type of appealing) or not. This severely restricted the range of their acting - in my opinion.
While I agree with Frank and Ollie that we can't compete directly with realistic subtle live action acting, we can more than make up for it with cartoon license if we think liberally.
Having to do limited animation for most of my career, while really wanting to do lush full animation, has made me make practical choices in what to focus on.
In this series of layout poses from "Stimpy's First Fart", a lot of the body poses are held so I could concentrate on the facial expressions. If I was stuck with a handful of eye expressions off a model sheet to work from, I would be completely handicapped in trying to get any specific subtle emotions out of my characters. Because I admire lots of different drawing styles and I absorb techniques and shapes from many different schools of thought, I can draw from a larger pallette of expressions than you will find in most cartoons. I am not afraid to make up shapes on the spot as needed - and then never use them again.
I don't actually memorize a thousand expressions and then summon them up for the appropriate emotions taking place in the stories. I don't think about what eye and mouth shapes to use at all - for the most part. Instead, I act out the scene as I go and draw what I'm feeling. The shapes of the eyes change and bend almost without my conscious control. Somehow my pencil just knows the shapes that will convey the emotions I'm feeling. It isn't random weirdness just to be weird - it's all in context of the story.
The eyes and pupils will grow, shrink, change shape - whatever it takes to tell the ever changing emotions of the characters. The poses that come easiest are the ones generally with the most appeal. Now and then there is a particularly hard subtle emotion to capture, and I have to analyze what my own facial muscles are doing - and those poses tend to come out less appealing - even ugly. I would rather they all be appealing but worry more about the whole scene in its continuity.
Ren is actually a lot cuter in these scenes than Stimpy. Stimpy is experiencing ugly emotions and he is not used to them. He is usually happy. On the few occasions that he doesn't feel blissfully and idiotically happy, he has a hard time releasing his new unfamiliar emotions. They hurt him and I feel him struggling them to contain themselves, but they burst through against his will.
In general I want the overall effect of a scene - even if it is intense and theoretically ugly - to be cute - to be making fun of ugliness. This is different than just being ugly for the sake of it. There are many actually unappealing drawings in Ren and Stimpy and I cringe whenever I see them - but it's never my intention. To me, even gross can be appealing - as in Basil Wolverton's drawings.
Some of Stimpy's uglier expressions on these sheets appear in countless cartoons on Nickelodeon and Cartoon Network and have become stock expressions just like the ones I rebel against that come from other house styles.
The important thing to me is not to memorize stock shapes and expressions, but to be able to summon up any shape imaginable that suits the emotional idea I need to convey. This means I have to be a fan of many many styles and many other mediums, so that I am not bound by a small handful of animation shortcuts and visual cliches.
The other trick is to able to wrap unfamiliar shapes around your characters' constructions so that the expressions don't just float on a 2 dimensional plane in front of the head shape. Not always easy! That's why "solid Drawing" is the most important fundamental tool we have.
57 comments:
- Gudrød said...
Every time you mention animators must work from a stock model sheet for expressions for every future script, instead of relying on the animator to interpret the emotions in the character, I am flabbergasted. My knowledge, based on 'common-sense based' hypothesis, was 'Model Sheets' conveyed the character's design and proportions, not as blueprint for the character's emotions the animator dare not stray! (!!!!)
When you state, '...the eyes and pupils will grow, shrink, change shape', it seems like common sense to me.
I ask rhetorically: how did animation practices evolve to a point where a sense of emotion on the character is distilled to only a handful, effectively discouraging diverse, new emotions based on any future scene or storyline new scripts may deliver?
Am I interpreting this incorrectly?
- Lluis Sanchez said...
Yeah!! I showed "Stimpys First Fart" to a painter friend of mine who's older and pretty pompous and he freaked out!!! he's a big fan of classical music, he was blown away, I think because he thought cartoons are just dumb and useless.
I think this episode has a quality I have never seen anywher else ever again, the emotions of Stimpy are awsome!
- Paul B said...
this are the pages?
- Adam T said...
Don't animators keep a small vanity mirror nearby to make faces in?
- David Germain said...
In shows made with symbol-flash, this type of thing is even worse. No model chart for eyes or any other body part is necessary. They're all there within the symbol. Some studios do encourage animators to draw new symbols when they need to but for the most part they settle for the symbols that are already there so that someone in a suit won't shout the dreaded words "off model".
Complex facial expressions is the most hampered by this medium. I've managed to do what I could, but none of it is nearly as expressive as I'd like it to be.
- PCUnfunny said...
Don't animators keep a small vanity mirror nearby to make faces in?"
They do. Disney animators referenced live action alot but they ultimately drew the "Disney POV", everything lacking a sign of personality and sticking to ridgid principles.
- Ryan Cole said...
Huh. I didn't know Disney eyes were different from Cal arts eyes.
- John A said...
I always loved the acting in this cartoon, it really pushed the envelope as far as emotional range and acting ability waas concerned. Those Stimpy's look like they were inspired by Kurtzman and Davis' MAD stuff, the kind of thing that NO ONE else ever EVEN TRIES to animate.
- Tanya said...
Heh, deviantART eyes...I've probably seen tons of those and not even realized it.
I really appreciate this post...I think departing from the memorization of typical stock expressions is the way to go. I can feel so much more emotion in those layout poses (and in the actual episode from what I can remember) than in many other cartoons.
On another note, I haven't been able to remember the title of that episode, so thanks for including "Stimpy's First Fart." It was one of my very favorite episodes as a little kid. :)
- Caleb said...
Ren & Stimpy (the ones you worked on) never feels like limited animation because of all of the fresh (not recycled) drawings. There's always some nuance of emotion or just good drawings to keep it interesting. It works great for the story when a character's eyes can go from beady to puppy dog in an instant. Even the backgrounds in "Stimpy's First Fart" are amazing compared to Scooby or another limited show. I hate it when a modern show does an R & S cut to gross close-up shot, but the drawing isn't that great so they rely on the sound effect to be funny.
- HemlockMan said...
Some years ago I was reading a graphic novel that wasn't particularly good, but it wasn't bad, either. And this specific graphic novel allowed me to understand that there are things in literature that only a graphic novel can do. The things I was seeing and reading just couldn't be done effectively with merely prose.
Similarly, there are things that a cartoon can do that just can't be done with live action. I mean, besides the wacky obvious.
An aside to the whole big-eyes theory: One thing that floored me years ago was something that I saw Ren do in an early episode of Ren & Stimpy. He puckered up his mouth and did a condescending parody of pity. It was hilarious. I'd never seen a cartoon character do that. And the animator certainly didn't need big eyes to accomplish this pretty darned funny snippet.
- Elana Pritchard said...
Good post. Draw like a taoist...
- Putty CAD said...
My daughter loved this episode, she was glued to her seat! Even without the glue I'm sure she would have stayed there! ;) It was doubly funny for me watching her face as she saw Stimpy going through his emotional scenes. :D
- Jonathan Harris said...
God yes, I loved this scene so much, I instantly felt it had a different flavour to everything else I'd seen, even in Ren and Stimpy itself. I love it when you post your model sheets, John, it's always interesting to see these things broken down and in their rawest forms.
- PCUnfunny said...
Notice on Deviant Art you'll find pretty much perfect copies of all sorts of anime characters but search Bugs or Daffy and it's never even remotely close.
- Mitch K said...
That scene is my favorite R&S scene.
- Pete Emslie said...
Hi John,
First of all, I want to state for the record that I think the flurry of posts you've made in the last few weeks regarding drawing principles are just great. The practical information you've been presenting here recently on your blog will be of huge benefit to students of cartooning and animation, assuming they make an honest attempt to apply this newfound knowledge of solid drawing, etc.in their own art.
However, I must admit that I do take some exception to your denigration of the way these principles have, in your opinion, not been properly applied to Disney's own animation and character design. For example, you seem to imply that the compilation of eye expressions presented in the image reproduced here from "Disney Animation - The Illusion of Life" are accepted by the Disney animators to be the final word in expressions to be shown in the eyes of Disney characters. Frankly I don't agree with that assessment, as I believe that the treatment shown in this image is simply meant to indicate how the eyes are affected by all of the forces acting upon them from all sides by the surrounding flesh and muscles, resulting in a wide variety of "shapes" determined by the ratio of exposed white space to pupil, etc. The best of the Disney animators are quite capable of creating an infinite variety of eye expressions based on this sound principle and do so on a regular basis in their animation. I really don't buy your claim that they do not.
Are these Disney character eye "shapes" as unique as those that you create in your animation of Ren and Stimpy, like the examples presented here? No they are not, but that's because your intent is to abstract completely in your interpretation of reality, whereas the Disney approach has always been to caricature that reality, yet without resorting to the type of extreme abstraction of design that you yourself favour.
I say this not to criticize your approach, John, but merely to point out that different artists will have deliberately different intentions in their approach to analysis and application of their observations from life. (Just take the differing approaches to caricature that you and I take, for instance).The Disney approach is completely valid and is right for them, whereas to believe that they should adopt your own artistic approach or that of anybody else is just unfair. Whether you like what they do or not is certainly your privilege, but to accuse them of never straying from a set of formulaic expressions is being overly dismissive of them I think. The Disney artists understand well how the flesh and muscles of the face impact the shape and movement of the features themselves. So do you, but you choose to portray it in a far more abstract way, that's all.
- Alain-Christian said...
Stimpy's Son / Stimpy's First Fart is actually my favorite episode. It looked pretty high budget to me at the time I watched it. I probably have it on R&S DVD somewhere. Now would probably be the time to watch it again.
Jon, I've been meaning to ask, what do you have against cartoons that are more story driven like Akira or Futurama?
The impression I get when I read your blog is that nobody should make a cartoon unless it's funny. That's like telling Picasso he's painting the wrong way.
And when I read the comments I feel like I'm surrounded by your Yes Men and everybody's just agreeing with you for the sake of agreeing with you.
Of course I could be getting the wrong impression here so please help me out with this.
Woo, thanks for the reminder to watch "Stimpy's First Fart" this Christmas season! I showed it to a class of Japanese Highschoolers a couple years ago -- their minds were blown!
- El Chongo said...
Thats one of my favorite R&S scenes. It was shocking when i first saw it cause it had such real emotion for a cartoon especially cause Stimpy actully gets angry. The Ren drawing in the first sheet where hes nudging stimpy is the the most appealing by itself i dont know the design and expression just instantly makes you happy for some reason
- Isaac said...
- This comment has been removed by the author.
- Deniseletter said...
"Stimpy's First Fart" is a good parody-satire of motherhood .It was beautifully made in everything, colors,environment,intensity,appealing that's why is one of my favorite R and S episodes.Many thanks John again for this lessons!!This is an open book so I'll continue the reading...
- JohnK said...
Hi Pete,
I always enjoy your detailed comments. I partly agree with you and partly disagree, for example:
"but that's because your intent is to abstract completely in your interpretation of reality, whereas the Disney approach has always been to caricature that reality,"
I would say the complete opposite. Disney's acting is completely unrealistic and abstract; mine moves in and out of reality but expresses a much wider and more subtle range of emotions - but not as wide s real life or good live action actors.
I've done numerous posts showing examples of Disney expressions, which to me are merely squashing one side of the face while stretching the other. This shows an basic understanding of facial mechanics, but no understanding of a human's soul. All the characters make the same expressions. Prove me wrong and do a post on your blog that shows some unique one of a kind expressions that express an actual individual emotion tailored to an individual character. Put that damned doorknob up.
The only one I can think of is Medusa in The Rescuers. Kahl invented a bunch of new mouth shapes and a couple of eye shapes for this character. This was long after Walt was gone, so maybe he figured he was finally allowed to experiment a bit. The character still moved like many Disney characters before - flailing her arms all over the place like Ludwig Von Drake and a million other characters, but yes there was some invention for once in a Disney character's acting.I'd like to say Sher Khan has a bit of invention, but it is full of formula as well. It's just drawn amazingly solid.
Unfortunately Medusa's triangular mouth shapes and ragged teeth have now become standard Cal Arts property and you see them on tons of characters that they aren't suited for.
I understand why die-hard fans of Disney love Disney - it moves beautifully, has pretty colors is designed with appealing balance etc. but these elements don't automatically make everything they do perfect. Pretty and detailed and careful has nothing whatsoever to do with acting. Zero.
I can put tons of visual evidence up on a hundred blog posts that show that fact, but trying to convince Disney disciples is like trying to use evidence against Jehovah's Witnesses that come knocking at your door who believe the lion will lay down with the lamb. No amount of evidence will change their beliefs.
Seriously, put up a bunch of expressions from Disney cartoons on your blog and explain the mechanics of them, and what complex individual emotions they convey.
Then I'll have something visual to answer you with.
- PCUnfunny said...
"is like trying to use evidence against Jehovah's Witnesses that come knocking at your door who believe the lion will lay down with the lamb."
As a former JW, that made me laugh. xD
- Pete Emslie said...
Hi John,
Unfortunately I don't have whatever software is required to obtain screen grabs from the films, but I suspect that whatever examples I would point out would not convince you regardless. Interestingly, I was going to mention Medusa specifically, as well as some really nice moments from "101 Dalmatians" featuring Roger and Anita that I feel contain expressions that really communicate specific ideas. I'd also direct your attention to Edgar the butler in "The Aristocats" listening in to Madame making out her will with her lawyer. But I doubt you'll be convinced by any of these examples.
Something that occurs to me, however, that may explain what it is that you feel is lacking in Disney animation is the different approach to acting in general. If one goes back to the early shorts from both Disney and Warners, it seems to me that each studio was influenced by the popular screen comedians of the day, only very different ones. It is common knowledge that Walt himself loved Chaplin, and you can see how several of the 30's Mickey cartoons were even pretty direct satires of Chaplin, Harold Lloyd and Buster Keaton films. Like the early silent comedies, Disney's shorts were comprised of purely visual gags and often portrayed Mickey, Donald or Goofy in conflict with nature and inanimate objects imbued with anthropomorphic human traits. The overall approach was one of sheer visual whimsy, sometimes trying to create pathos in a typical Chaplin manner. To fully appreciate these cartoons, I guess one has to buy into that basic concept, which I'm not sure that you do.
I can understand and appreciate why you prefer the Warners cartoons, John, but there is a completely different comedic sensibility behind them. Again, I feel that the Warners guys were highly influenced by the comedians of the day, only their tastes ran more towards The Marx Brothers, not Chaplin. The Marx comedies were short on pathos and big on madcap, anarchic visual and verbal humour. One can see how Bugs Bunny was to Groucho what Mickey was to Chaplin. It's interesting to note that in the Warners cartoons, verbal wisecracks and puns are just as much a part of the formula as are the wild and wacky visual gags. In contrast, the humour in the Disney shorts was purely visual, not verbal. While Mickey, Donald and Goofy had distinct amusing voices, they never said anything funny. The dialogue in the shorts was only there to help flesh out their characters through Mickey's nervous stammering or Donald's bouts of quacking rage. They never cracked jokes or indulged in wordplay, as did the Looney Tunes gang.
Another approach to acting that is found in the Warners cartoons, I suspect is a further influence by the studio's own live action product. I know that you love what you call "specific" acting, and the actors you cite as your favourites tend to be such Warners' stalwarts as Humphrey Bogart, Peter Lorre and Sidney Greenstreet, all highly individual actors with rich, nuanced character traits. Again, in contrast, what you probably are rebelling against in the features of Disney are the perceived lack of such traits in their characters. But Disney was not influenced by those same types of gritty films or actors that you prefer.
If you look at the canon of animated features made during Walt's lifetime, all but one of them are full-fledged musicals. The one exception would be "101 Dalmatians", which has 3 songs but is really not a musical per se, as two of those songs are compositions sung by Roger the songwriter in his course of developing them as any composer would, while the third is a short jingle heard in a TV commercial. There are no musical production numbers in this film. Interestingly, I feel that "101 Dalmatians" is as close to emulating conventional live action acting as Disney ever got. In fact, I find it refreshing that the two humans and their dogs meet and marry in the first sequence of the film, allowing the animators a chance to explore the domestic married life for once, instead of just the dewy romance that leads up to it as in their fairy tales. Personally, I find the acting in this film very satisfying and realistic.
Going back to the other Disney features, though, the fact that they are all musicals has great bearing on the type of acting found within. For the record, I am a big fan of screen musicals and I feel about Fred Astaire, Gene Kelly, Leslie Caron etc. the same way you do about Bogie, Bacall, Lorre, Kirk, et al. But the type of acting in musicals is inherently very stagey and theatrical compared to that found in gritty crime dramas. It has to be, as there is an overall air of artifice that surrounds the movie musical, which is an absolute necessity in my opinion. (Sadly, this is why so many of today's jaded young moviegoers can't understand their appeal, as they can't come to terms with characters suddenly breaking into song.) Again, one has to buy into that more theatrical style of acting found in the Disney features in order to fully appreciate them. I suspect that your own stated preference for actors found in film noir dramas is what prevents you from appreciating the delights to be found in the more stagey Disney films. As for me, I like both Disney and Warners cartoons - I just accept and appreciate their distinct differences, that's all.
- chrisallison said...
AWESOME! Thanks John! I've been watching for an eye post for a while. These Ren and Stimpy sheets are inspirational!
- Mr. Semaj said...
I'm more in agreement with Pete's analysis.
John, I try to make a case for outsiders who disagree with you that you're not as anti-Disney as many of your pre-blog interviews suggest. However, some of your critiques are on the border of undermining the many accomplishments Disney has already made for animation, and by trying to discredit their legacy is doing more harm than help to animation in general.
- JohnK said...
Hi Pete
that's an awful long explanation to agree with me that Disney's acting is generic. (The men in 101 Dalmations act exactly like the dogs do - they even have the exact same construction)
As far as musicals go, I love the same ones you do. When you say young people don't understand when the actors break into song, I would respond with I don't understand why the singers and dancers break into acting, which for the most part (just like animators) they aren't very good at. Judy Garland is an exception.
The worst thing about old musicals is the filler - the cheesy stories and bad acting - just like Disney cartoons.
Never have I said Warner Bros. is the be all and end all of cartoon acting. They are better than Disney for sure, but they just scratched the surface. There is a lot more work to do - especially if we want to compare ourselves to professional actors or comedians.
- JohnK said...
Mr. Semaj:
"by trying to discredit their legacy is doing more harm than help to animation in general."
I'm not trying to discredit their legacy, just trying to analyze it. What they do well I compliment, what someone else does better I point it out.
I invite you (as I did Pete) to make your point with pictures, not just theories and vague knee-jerk reactions.
What is really harming animation is that there is no new generation that cares about learning to draw with discipline and fundamentals at all.
- Bill said...
What are Devianart eyes? Are they cheap attempts at anime eyes?
- Annie-Mae said...
John, Love the storyboard of that Ren and Stimpy ep. That is possibly the thing that clicked in my head about great expressions. There is true acting in that whole scene and it makes me excited every time I see it. It's a real treat to see the rough sketches of the full thing. Thanks alot.
- PCUnfunny said...
"However, some of your critiques are on the border of undermining the many accomplishments Disney has already made for animation, and by trying to discredit their legacy is doing more harm than help to animation in general."
From my POV, John is one of the few people that prasies Disney for the right thing, technical achievements. The humanity is another story, Disney never really had it all, especially not in the feature films.
- Hans Flagon said...
re: model sheets
You are confusing theoretical idealism, with a much less idealistic reality.
Model sheets used to be used for proportion mainly, but as animation became more limited, and shipped out of the country, there became less variation from the model sheet. This was the sixties through eighties.
In the seventies through 90s, as more controlling and managing forces in the production of animation came from outside of animation, those with more of an eye on trademark and licensing than expression, it started to become enforced law, that one should not veer from the trademark design model sheet.
And hiring the rote work out of the country away from the creative only made this worse. If a scene did not look like the licensed happy meal toy, cereal and vitamin plugging spokes cartoon, the work was went back or thrown away, that is, practically not paid for. So commercial animation increasingly became a job of tracing the approved drawings over and over, rather than introducing life and expression.
There are exceptions, but it is somewhat true that model sheets became more of a bind than an aid for several reasons. Getting to that nadir included many overlapping factors, that had positive and negative points, but the negative won out in the long run generally, until pools of revolt bubbled up here and there as an attempt to improve things.
Xerox saved labor AND made the work a bit more lively in some cases by being closer to an animators pencils, but it was mainly a production short cut that led to other short cuts. You make the model sheet complicated enough to look good on a notebook or lunchbox, it becomes more difficult to animate, in a situation where continuously fewer drawings are being used.
Great post, again!
If you're interested I just partially scanned in some 1970 Bugs Bunny comic books. I'm sure you've seen them before, but in case you want some more examples of terrible comics:
- Pete Emslie said...
John said: "The men in 101 Dalmations act exactly like the dogs do - they even have the exact same construction"
That's quite clearly the intent - to draw a direct parallel between the dogs and their human pets. Remember, that's what is set up specifically in the opening sequence of Pongo observing all of the females out walking their dogs, in that they are really one and the same in their physical design. Pongo and Roger are each other's counterparts.
This is carried on in a similar fashion through the Twilight Bark sequence, where the old farm hound who delivers the message to the Colonel is obviously a doggie stand-in for his unseen farmer owner, and of course you know that the Colonel has to be the sheepdog equivalent of the old retired military gent who lives in that country manor. C'mon, John, it's a clever and delightful concept! Fact is, I actually use that clip of the Colonel, the horse Captain, and Sgt. Tibbs the cat in my lessons on anthropomorphism, as it's a terrific example of how Disney does not merely create cartoon animals, but creates animal versions of distinctive human "types" that are familiar to us either through personal experience or movie archetypes.
- JohnK said...
"That's quite clearly the intent - to draw a direct parallel between the dogs and their human pets."
Well they had the same intent for the previous 20 years. Maybe they finally figured they needed a written excuse for reusing the same designs for everybody.
- MasterK said...
Interesting to see Ben 10 Alien Force up there (not especially appealing but not particularly objectionable either) I was hoping you would say more about modern cartoons since I watch CN a lot and they have some good shows a lot. One of them is called The Marvelous Misadventures of Flapjack, and although you may not like everything, they go off model a LOT. watch an episode like "Lead 'Em And Weap" (theres a site where you can find it: cartoonnetwork.com/video) and you will see some very off model poses and animation. what you think of the characters may be another thing, but I urge you to give it a chance, especially that episode, just for the animation
- Pete Emslie said...
You know, John, just like Ren and Stimpy's pal, Mr. Horse is obviously the lookalike equine counterpart to a certain cantankerous ol' cartoonist! :)
- JohnK said...
You're probably right, Pete but notice that the rest of the characters don't have the same design and the same expressions.
The lion is not going to lie down with the lamb, no matter how much you wish it would.
- Pete Emslie said...
"The lion is not going to lie down with the lamb, no matter how much you wish it would."
I would hope that he wouldn't, as I'm afraid that their offspring might resemble the manimals pics that you just posted at the tail end of your latest entry on appeal!
But seriously, John, I know that you and I will never be in agreement on the topic of classic Disney features character design. But hopefully our debating the issue will at least give the usual suspects on here something to chew on and come to their own considered opinions on the matter. I'm sure you'd agree with me on the benefit of that at least, ya' rascal! :)
- Mr. Semaj said...
From my POV, John is one of the few people that praises Disney for the right thing, technical achievements. The humanity is another story, Disney never really had it all, especially not in the feature films.
So you're just saying "Disney lacks humanity" because John said it first.
I invite you (as I did Pete) to make your point with pictures, not just theories and vague knee-jerk reactions.
I would, because I have screencap equipment, except my current schedule won't allow it.
What I will say for now is check out any Donald Duck or Goofy cartoon. Specifically, "No Sail" has an actual interaction between Donald and Goofy, and Donald himself has a lot of great reactions that doesn't have to do with annoying vermin. "Donald's Tire Trouble" has a hilarious ending, if you can survive the first five minutes. "Motor Mania" involves Goofy's split persona as a pedestrian and a motorist. "Donald's Diary" has a lot of crazy stuff going on, too.
Just so you know, I didn't bring this up to be mean. There's nothing seriously wrong with Disney having their own "house" style if they made GOOD films and had the skills to back themselves up (as you've emphasized more than once).
- JohnK said...
Yeah I agree Pete, but I thought we were arguing about the acting, not the character design.
I've said all along that Disney at its best has pleasing character design. It's just very limited because they re-use the same ones over and over again and don't let them make expressions.
- Pete Emslie said...
Frankly, John, I believe that the Disney approach to character design is tied in directly to the resulting acting and expressions. Like I said before, it's a different style of acting than you like, as it's very theatrical like what you would observe in actors performing on stage. If you believe otherwise, then I'm going to extend to you this challenge. How about taking a Disney character that is personally appealing to you and drawing a medium close-up of that character with an example of what you refer to as a "specific" expression, with the character reacting to something in a distinctive way. I doubt that you'd be able to do it, but I'd love to see you prove me wrong.
In the meantime, here is a link to a Youtube clip of Edgar from "The Aristocats" that I have always found hugely entertaining, with an incredibly pliable, expressive face and body language. I'll bet a lot of other people have enjoyed this too, and when it comes right down to it, isn't that really all that matters? I think so.
- JohnK said...
Thanks Pete, that clip just solidifies my point.
That's from the ugliest period of Disney animation where every character design looks old - even the kittens.
All the "acting" is just a recycling of stock actions the animators have drawn a million times. They aren't even thinking about it anymore, just doing it by rote.
I can't believe even you would think the Aristocats is remotely appealing!
It's like spending a weekend at an old folks' home.
- Deniseletter said...
Relating the vid Edgar from "The Aristocats" I like it when you get into the drama is entertaining despite you know is a repetitive Disney style (think I understand the meaning)so I assume as one of many ways to do a scene like that.
But I recognize in classical Disney films including this vid I have the sensation the characters move like in slow camera,like if they were under the water,maybe because the overlapping action and how the did the timing I dunno and this could affect the acting.The funny old man with the stick reminds me the other old man in Atlantis.
- PCUnfunny said...
"So you're just saying "Disney lacks humanity" because John said it first."
I am going restrain my anger right now and calmly say just look at any Disney feature, which I have seen most of them, and read the ILLUSION OF LIFE. The latter I suggest even more. Look at all the drawings that were taken from the cartoons, there is no acting in a single drawing. All you see is the character being squashed and streched. Also look at the pictures of live action actors used for their feature films and how bland the drawings are by comparison. This isn't some secret, Disney just never understood humanity and generally failed to translate to animated film.
- PCUnfunny said...
Those kitties all look like miny shere khans ! Yuck !
- Iritscen said...
It's like spending a weekend at an old folks' home.
I think that with "old folks" as appealing as that man with the cane, I would enjoy spending some time at their "home"! Old folks don't get enough love in films for kids (here's hoping that "Up" does something for the good fight).
- PCUnfunny said...
"(here's hoping that "Up" does something for the good fight)."
UP looks like WALL-E 2, a student film that should be 8 minutes but ends up being 90. I could be wrong but I doubt it.
- PCUnfunny said...
"I think that with "old folks" as appealing as that man with the cane, I would enjoy spending some time at their "home"!"
I have talked to many old folks at Wal-Mart, employee or customer. They are alot more interesting then that pure stock acting old guy.
- John A said...
There's a lot of entertaining business to be found in Disney's features, but I'd be really hard pressed to find any in the Aristocats. The old people's scene that Peter linked is a great example of everything that I hate about Bluth's movies: he confuses action with acting and he seems to guage the success of a scene with the amount of things moving around in it. Scenes like these just leave me feeling anxious,like I'm being filibustered with a flurry of drawings. Nice drawings? Sure, but I can't watch a scene like this without a voice in the back of my head saying "can we get on with it already?" None of this stuff really advances the plot in any significant way and once it's over it's quickly forgotten.
- Pete Emslie said...
I offer up my reasoned (if wordy) arguments not with the hopes of converting any of you over to my love of classic Disney, but merely to present a counter-point to John's own rather dismissive views of Disney animation as it relates to his theories on acting. I would hope that some of the regular readers would at least give these debates some genuine thought and come up with a considered opinion of their own instead of continuing to blindly and unquestioningly follow their leader. Yeah, I'm looking at you, PC, and if you were to put as much effort into working to improve your own drawing skills as you do parroting John's words, maybe you might actually get good someday.
I still believe that these posts that John has written on construction and appeal are a very worthy read, but his own approach to design and handling of the features of the characters work well for him, but they'd be a poor fit for something like the Disney house style. That just has to be understood to be appreciated. Anyway, that's my last word on the subject. Thanks for listening...
- JohnK said...
That's the first time I ever heard anyone refer to the Aristocrats as classic Disney, but other than that I agree with you Pete. - Wholeheartedly.
The people who have such strong opinions ought to back them up with some skills of their own. As you do, but so many others have not even tried.
Even though there are so many blogs by professional animators giving away free tips and lessons.
I'm waiting for the youngsters to take advantage of all this gold that guys like you and me would have killed for when we were trying to learn to draw.
- Mr. Semaj said...
I am going restrain my anger right now and calmly say just look at any Disney feature, which I have seen most of them, and read the ILLUSION OF LIFE. The latter I suggest even more. Look at all the drawings that were taken from the cartoons, there is no acting in a single drawing. All you see is the character being squashed and streched. Also look at the pictures of live action actors used for their feature films and how bland the drawings are by comparison. This isn't some secret, Disney just never understood humanity and generally failed to translate to animated film.
I have read The Illusion of Life twice, and have seen every Disney film made up to the time of the book's publication.
The fact that you insist Disney's films never had humanity, and that they had no acting beyond squash and stretch shows not only have you yourself never read the book, or even seen a fair number of Disney films, let-alone more than once to make any such statements, but that you are still not speaking on your own terms.
- Stephen Worth said...
When I was production manager on Cool World, our assisting department was as green as the grass and needed some coaching. I brought in Dale Oliver, Frank Thomas's assistant to speak to them, hoping he would encourage them to flip their inbetweens and give them solid advice on how to follow through on the animator's intent for a scene.
The first thing he said was, "Here's the way you draw a hand..." For the next hour and a half, he recited most of the Disney formulas on how to draw various parts of the body. It was very disappointing. Dale was a great guy, but I don't think he ever worked outside of Disney. I guess it's hard to think outside the box when you are so firmly planted inside it.
- Guy said...
Mr. Semaj: Oh, sure, Disney had "humanity". Cave paintings had humanity. Vastly more so, in fact: they're completely pure. Whereas with Disney your type is thrilled by a character who's angry. In a way that's vaguely like real people who're angry! Your bunch seems to be enthralled by any character that doesn't seem like it came from Mars.
Likewise, Disney had "acting". A completely primitive form of acting that we should have left in the dust decades ago. It's only because almost everything made since then is a cruder version of their work that Disney's films look any more advanced to you than live action films of the time do.
Though, I suppose I'm just another person to be thrown onto the pile of people who just parrot what John K. says. And like he said, there's no way to win against what is basically religious dogma.
- fandumb said...
I loved that scene, John, and the way you animated it was very expressive and emotional, but I've got to owe it to Billy West's performance. I could really hear the hurt and desperation when Stimpy said 'Gosh darn it, Ren! IS THAT ALL YOU CAN THINK OFF? Stinky's out there! Lost! Alone!' The animation in the episode is really good, and I thought that in this particular scene, Billy gave an emotionally powerful performance you wouldn't normally find in a cartoon.


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Hackage Stats: The Past Year
It's been a while since I've crunched the Hackage / Cabal logs. Here's an update, covering March 2010 – Feb 2011.
By March 2011, there were 2894 packages on Hackage. There were 2.02 million "cabal installs" in the 12 months to March 2011 (doubling the download rate of the previous year). There have been just shy of 4 million total "cabal installs" total, since Hackage went live. By 2011, Hackage was averaging over 200k downloads a month, more than double the same period a year ago.
Hackage continues to grow very quickly, averaging 18 package releases a day in March 2011, compared with 12 a day a year ago.
The Long Tail
The long tail of package popularity is visible on the log/log scale of downloads versus package rank, where the top 10% of packages, get 80% of the downloads
The top 15 libraries in 2010 were:
- parsec (30.3k downloads)
- HTTP (27.1k)
- network (26.8k)
- mtl (26.1k)
- binary (23.9k)
- zlib (23.5k)
- transformers (20.7k)
- utf8-string (19.7k)
- QuickCheck (19.4k)
- Cabal (17.5k)
- text (16.6k)
- haskell-src-exts (15.2k)
- deepseq (15k)
- regex-base (14.5k)
- hslogger (14k)
The top 15 apps in 2010
- cabal-install (25.9k downloads
- haddock (12.5k)
- xmonad (10.4k)
- cpphs (10.4k)
- happy (9.7k)
- alex (8.3k)
- pandoc (6.8k)
- darcs (6.4k)
- snap (5.5k)
- hlint (5k)
- leksah (4.5k)
- happstack (4k)
- xmobar (3.9k)
- yesod (3.1k)
- cabal2arch (2.6k)
Some noticeable changes: the 3 core web frameworks are way up in the list.
- xml is the most popular xml library (12k) vs HaXml (7.6k), hexpat (4.3k), hxt (3.1k).
- For graphics, cairo is the clear winner (12.5k), gtk (8k), wxcore (3k)
- vector is the most popular arrays library (10k)
- cereal is closing in on binary (9.7k)
- attoparsec is climbing (8.3k)
- HDBC remains the most popular datbase layer (6.5k)
The yearly totals for each package are available here.
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subset: commoncrawl


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Respect comes in many forms; some types have to be earned, while other forms should automatically be given out of courtesy. It means showing consideration of another person's feelings, ideas, standards, needs, preferences, uniqueness, peculiarities, and their property. Respect means you acknowledge the person, take them seriously, and are honest with them.
While everyone wants to be respected, what comes through online may not feel as if that respect is being received or given. There are a several reasons this may be happening, and there are things you can do to have a more consistent, respectful online experience.
If you don't feel respected online, here are a few questions to consider:
Are you kind? Let's face it; it's hard to respect a jerk. You can provide (and receive) honest feedback, criticism, disagree, or stick to your views while still being kind and respectful.
It's rude to expose information about someone - including pictures and videos — without their permission. The only way you'll know what they want kept private is to ask them; and the only way for them to know what you want private is to tell them. Unfortunately, shockingly few people ever ask about boundaries until information has been overshared and a problem arises. Take a few minutes to find out how to respect friend's boundaries, and explain how they can respect yours. Ask that any offending, or exposing information be taken down - and return the courtesy.


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Bipolar Disorder Support Group
Bipolar disorder is not just a single disorder, but a category of mood disorders marked by periods of abnormally high energy and euphoria, often accompanied by bouts of clinical depression. This is the place to talk about your experience with bipolar disorder, learn from others' experiences, and find support.
4 Online
Crisis line
How do I find the number for a crisis line in my area?
for the national line 1-800-suicide
they can connect you with local resources and/or local crisis lines.
they can connect you with local resources and/or local crisis lines.
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U.S. Congressman Pledges To Push For ICC Indictment Of Belarusian President Lukashenka
16 ноября 2011, 14:02
The chairman of the U.S. Helsinki Commission has pledged to call on the Obama administration to push for the indictment of hard-line Belarusian President Alyaksandr Lukashenka by the International Criminal Court (ICC).
While the chances of an indictment are unlikely, the pledge by Representative Chris Smith (Republican, New Jersey) was a clear sign that U.S. lawmakers have not forgotten the egregious human rights situation in the country ruled by the man some dub "Europe's last dictator."
At a Helsinki Commission hearing that focused on Minsk's continuing crackdown on political opposition and civil society, Smith said he would send a letter to members of the Obama administration and the UN Security Council asking them to push for the indictment.
In an interview with RFE/RL, he later said, "When you commit atrocities for 17 years, as [Lukashenka] has done, the time has come."
"[Although] Belarus is not a signatory to the ICC, to the Rome Statute -- and nor are we, frankly -- we've done this before, and we did it with [President Omar al-] Bashir in Sudan. It will take a lot of work, but we need to begin that effort now to get the [UN] Security Council to make a special referral to begin that process," he said.
"I'm sure China and Russia will object, but that's worth the fight, because this man commits atrocities on a daily basis against his own people," Smith added.
The congressman made his pledge following the testimony of former Belarusian presidential candidate Ales Mikhalevich, who is in Washington for the first time since his release from a detention center in Minsk on February 19.
Mikhalevich was one of seven opposition candidates and more than 600 people arrested during the regime's violent crackdown on protesters following Lukashenka's disputed reelection in December 2010. The official reaction to demonstrations drew widespread international condemnation and a coordinated sanctions program by Brussels and Washington.
The financial and travel restrictions were accompanied by a boost in funding for the country's beleaguered civil society, journalists, and activists.
As the one-year anniversary of the election approaches, watchdogs say the jailing and harassment of human rights defenders and protesters continues, while the independent media and judiciary face intense, often institutionalized, pressure.
Mikhalevich says he had to sign agreement on collaborating with the Belarusian state security forces, which are still called the KGB, in order to secure his release. He has since been granted political asylum in the Czech Republic.
Ahead of meetings with State Department officials and Washington-based NGOs, he told U.S. lawmakers that supporting Belarusian civil society -- and not holding out hope that Lukashenka will reform -- is the only way to effect change.
"I'm absolutely sure that Lukashenka is ready to defend his power by all possible means. Unfortunately, we can compare Lukashenka with [former Libyan leader Muammar] Qaddafi. So I urge the United States, the European Union, and the international community not to trust another game of liberalization badly played by the regime," he said.
"Cooperate only with independent civil society in Belarus: nongovernmental organizations, both unregistered and registered, independent newspapers and media, and democratic activists."
Analysts say Lukashenka has long employed the tactic of pledging to loosen to grip on the country in exchange for a reprieve from sanctions -- a tactic that has worked in the past.
Observers say he has also sought to capitalize on rifts between the United States and the EU, as well as between neighboring Russia and the West, to inhibit united action against his regime.
After testifying, Mikhalevich told RFE/RL that he hoped the United States would more fully take on the role of "bad cop" if the EU, which borders Belarus and relies on it as a transit country for gas from Russia, hesitates to do so.
"I'm absolutely sure than in order to succeed, the international community should have both the good cop and bad cop. Someone should play the role of the bad cop, and unfortunately, the European Union would not play this role. So I hope that the United States will be ready to do it," Mikhalevich said.
Mikhalevich also offered a harrowing account of what he called "constant mental and physical torture" during his two months in custody, including being "stripped naked and forced to assume various positions."
"Our legs were pulled apart with ropes and we could feel our ligaments tear," Mikhalevich said in his prepared remarks.
Smith appeared visibly moved by account.
"Rather than calling them the KGB, it ought to be called the KGB 'P' for 'perverts.' Masked men who strip other men naked, and women, presumably, as well -- those are acts of perversion that should not go unnoticed by the international community," said the Congressman.
In July, the U.S. House of Representatives approved a bill sponsored by Smith that would strengthen existing sanctions against Minsk. It is awaiting consideration in the Senate.
Smith told RFE/RL that Western attention on the situation in Belarus had been "obscured" to some extent by the events of the Arab Spring, and especially by the global economic downturn.
He said that pushing for ICC action would be a sign that human rights are not "taking a back seat."
"I've been very much involved for years in the special [UN-backed] court that [U.S. prosecutor] David Crane oversaw for Sierra Leone, and what I learned from that, and from the Rwandan court, and of course from the Yugoslav court, which held [Slobodan] Milosevic and [Ratko] Mladic and [Radovan] Karadzic to account, is that these thugs are frightened by the fact that they may be held to account. And Lukashenka will fear it, I believe, if we make a very serious effort to hold him to account at the International Criminal Court," said Smith.
Mikhalevich told RFE/RL that he thinks the chances of ICC action against Lukashenka are slim, but that the prospect of such a move could help pressure the regime to release its political prisoners.
"I think that definitely, it's very difficult to organize any [such] political process unless thousands of people are being killed, but still, it's necessary to do all attempts," he said.
"And you never know how this regime will develop -- and how many victims we will have next year."


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Every minute of Every day, you and I and the rest of the Internati produce data, big data in some kind of Internet colony. We email or blog or even a Facebook post or a 140 character tweet. Being genealogists we search databases and post trees with their connections and images like the 1940 US Census pages that hold our family members. And every day we post more data to the Internet. That is what the picture shows.
The pace of Big Data is increasing too.
Who backs up the Internet? Who archives the web? The "Wayback Machine" seems to record our civilization's record so this work may last as long as Babylon's cuneiform or Egypts hieroglyphs. Or will it? I know the Library of Congress is wrestling with Archival Issues of Digital works.
What is the disaster recovery plan of a sun spot interference or another magnetic burst? Books will survive and be immediately available but what about digital works? How do we backup all of this data exlposion?


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I dont write a lot of monthly columns. There is enough material to keep me busy with more objective analyses.
But recent events have moved me to offer a few personal words that come from some personal discussions and personal experiences. I refer to the saga that is the Animas City Theatre, formerly the Abbey Theatre.
In my job, and after almost 18 years in this often-insular community, I am required to maintain objectivity in my position as Arts & Entertainment editor. Because Durango is a small town, many of the people I write about are friends or friendly acquaintances. Sometimes, writing about them may jeopardize relationships if the story isnt in their favor.
I have been involved with the Abbey since Tom Bartels revived the venue in the late 1990s. Paul Fidanque invested heavily in upgrading the technology in the theater during his tenure as owner before reselling the business to Brad and Erica Merlino.
Next was Chuck Kuehn, who purchased the Abbey with Doug Sitter in 2009 and bought him out a little more than a year later. I have been friends with Kuehn since I moved to Durango in 1995 and was happy to hear hed taken over. Since then, however, hes had run-ins with his fellow tenants in the building, most notably Michele and Chris Redding, the owners of Cuckoos who are now the newest tenants of the space. Of course, Ive also called the Reddings friends since about 1997, so it has been a tough situation, to say the least, to write about how their battle in and out of court has unfolded in the public eye.
On a personal level, theres nothing unique about my situation. In any other capacity, it would be the topic of barroom debate is the change of ownership a good thing or bad for the music and film community? Thats a matter of opinion that remains to be seen and will probably never be decided for certain. But professionally, I must be willing to sacrifice a friendship if it means the story is told objectively and factually. Not by taking sides; its just that I have to record and report whats said by who about whom and try to keep it even.
In re-reading my own recent article on the new Animas City Theatre (March 19), I stand behind every fact in the story, but few would read the article and not see Kuehn as portrayed in a negative light. Thats not a personal injection on my part, but rather the collective representation of the opinions of those involved and interviewed. I omitted much of the back-and-forth arguments between Kuehn and the Reddings because most of those matters were decided in court.
I am happy and excited to see what the Reddings have in store because I know them to be generous, community-minded people. And for all who share that optimism, there are surely many more who have been happy with the way things have been. Ill leave those debates to the barroom barristers and do my best to stay out of the fray without burning too many bridges.


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This great site, right across from Deering Wildflower Acres Park, will be home to one of Belmark's signature communities. You will enjoy great home plans, quality construction and the care that comes from a longtime, respected local home building company.
This weekend marks the Grand Opening of Belmark Homes Harvest Hills community in Marysville. When asked about the community, Brett Bunn, listing agent states "Our new community in Marysville has multiple home sites on greenbelt lots, with fully landscaped yards, 9' ceilings and is located the Lake Stevens school district." Floor plans range in this community from 4-5 bedrooms, and 2.75 bathrooms, 1,958 square feet all the way to 2,851.
Welcoming Interiors
Beautiful 5" prefinished engineered hardwood flooring at entry, kitchens, kitchen nooks and powder rooms (powder rooms with showers will have vinyl flooring) (remaining main floor will not have hardwood). Stain resistant carpet, 6-pound carpet pad and 'French Tuck' at stairs. No-wax vinyl flooring at main floor bath with showers, 2nd floor main bath,
master bath and laundry rooms. Gas fireplace, black trimmed glass face and ceramic tile surround (optional blower is available for an additional fee). Vaulted and or 9' ceilings on main floor only, 2nd floor is 8' ceilings. White 2 panel interior doors and white painted mill work. 2 ¼" white millwork package. Windows are finished wrapped with drywall not wood. Round satin nickel door hardware. Privacy locksets at Master bedroom and all bathrooms only (master bathroom door excluded). White wire shelving in all closets (master has a section of double shelving), pantries &above washer/dryer location. Hard surface locations are specific per plan, please be sure to review your plan. Phone/cable (2 port) at family room and bonus rooms. Phone (1 port) outlet at kitchen. Cable only at all secondary bedrooms
The Belmark Difference
Belmark Homes is one of the Northwest's preeminent creators of new homes and neighborhoods. Founded in 1975 and located in Marysville, Washington; Belmark has made a big impact throughout the northern part of the Puget Sound market. Belmark provides a fully integrated management team who has the experience to follow a community from raw land to finished homes. When it comes to customer service, Belmark Homes prides itself on professionalism. You will be greeted and served by a well-trained and well supported agent. You will be carefully guided through the entire process. You will be given a personal and detailed walkthrough when your home is completed. Our mission is to create friendships for life and have Belmark known as a leader in the homebuilding industry, as well as a company with a reputation for customer appreciation and 100% satisfaction.
Find out more about this community at:


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At The Tri Shop you will find top brands and great value on the best triathlon clothing, wetsuits, gear, nutrition and more, quickly and easily! We are proud to offer the very best products from top brands including; 2XU, Zoot, TYR, Blue Seventy, Catlike, Clif, Continental, GU, Fuel Belt, Garmin, Giro, Hammer Nutrition, HED, K-Swiss, Orca, De Soto, Louis Garneau, Polar, Sidi, Shimano, Zipp, Sugoi, Timex, XLab, Vittoria, Skins, Hoka One One and much more!


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AJB Interiors
Coopers of Ilkley Ltd.
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B brown builders
B Brown Builders offer a professional, polite and most of all an affordable building service to all aspects of the trade weather the job be big or small, we are proud members of the guild of master craftsmen and take the highest pride in all our works
Jonathan Berney Consultant Surveyors and Valuers
The practice of Jonathan Berney Consultant Surveyors and Valuers can trace its roots back to 1955 when Henry Berney first opened his doors at: 87 Regent Street, London W1, trading as Henry Berney & Co, Chartered Surveyors, specialising in the Motor Trade and Leisure Industries.
NK Joinery
I offer: - domestic joinery service in Calderdale, West Yorkshire - indoors and outdoors bespoke joinery - friendly service - free quotes - can make new or repair old - odd shapes and sizes can be made to measure - use of natural and local materials wherever possible - transparent pricing Call me now on 07515516399 or e-mail firstname.lastname@example.com for a quote.
RAC Maintenance & Electrical Solutions
RAC Maintenance & Electrical Solutions are NICEIC approved contractors. We can provide everything form a replacement bulb to complete rewire
Green Hammer Handyman
Self Employed Handyman/Builder All aspects of work undertaken to high standards. From general repairs & maintenance to full renovations. Painting and decoration Wallpaper Tilling Walls and fences Carpentry Gardening Decking Laminate flooring Plumbing and small electrics Concrete Slabs And More!
Beaver Furniture Cabinet Makers
Beaver Furniture is a small family run company making bespoke furniture of exceptional character and quality using traditional methods and the finest English oak. Our ingrained values and commitment to providing the finest quality handmade furniture and an outstanding product, and individual service to our customers have been the corner stones of our business since it was established in 1960. We design, manufacture and sell, domestic oak furniture for every room in the home from letter racks and lamps, occasional tables to bedroom furniture to dining tables and chairs. Every piece of furniture is handmade, on our premises, at Beaver Lodge, near Thirsk in North Yorkshire, by our team of skilled craftsmen. Our unique selling point is the hand-carved "beaver" trademark found on every piece of furniture.
Calderbrook Woodworking Machinery Ltd
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Garcia has been head of the minerals services for several years
Gabe Garcia has been named manager of the Bureau of Land Management's Bakersfield Field Office.He has served as the assistant field manager for the Bakersfield Field Office Minerals Division since September 2007.
"Gabe has a proven track record working with diverse interests," said Este Stifel, BLM Central California District manager. "He will be a tremendous asset as we work through the varied issues facing the field office from oil and gas, to recreation, to Conservation Lands."
As manager of the Minerals Division, he had responsibility for the Oil and Gas, Mining, Geology, Hazardous Materials and Geographic Information Systems programs.
The Bakersfield Field Office manages 600,000 acres of public surface in eight counties in Central California (Kern, Kings, Tulare, Fresno, Madera, Ventura, San Luis Obispo, and Santa Barbara) and approximately 47 million acres of subsurface minerals throughout the state.
"In my career with BLM, I've found many aspects of my job gratifying," Garcia said. "The most gratifying has been establishing and maintaining strong partnerships with other agencies, organizations and industry to manage important public land resources and provide excellent service to the public."He holds a bachelor's degree in biology from Chico State University and a master's degree in business administration from National University. He has worked for BLM since 2002, previously working as a biologist, an oil and gas inspector and a surface specialist.


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14K White Gold Nalani Ring with 1.27 Carats (total weight) of Diamonds Including a 0.75 Carat I-SI2 Round Center Diamond.
This ring is available in Size 7. If you wish to order a different size, please indicate the size in the "Ring Size" field during the checkout process. Some sizes may require additional delivery time and may result in a higher price.
The Hawaiian word for the Heavens. The Nalani Collection draws its inspiration from the wonders of the night sky. The intricate design represents the Infinite Heavens and the continuous flow of Life and Love.
Item #: 41836
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Toll free: 1-800-260-3912 ext. 1 Contact Us Na Hoku ©, Inc. Customer Service 3049 Ualena Street, 12th Floor Honolulu, HI 96819-1942
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Toll free: 1-800-260-3912 ext. 1 Contact Us
Na Hoku ©, Inc. Customer Service 3049 Ualena Street, 12th Floor Honolulu, HI 96819-1942
Our incomparable collection of the finest Hawaiian and Island Lifestyle jewelry is recognized in Hawaii and throughout the world for our exquisite island-inspired designs. From our Original Hawaiian Slipper (Flip Flop) Pendant, our Wave Pendant Collection, our Waterfall Pendant Collection, our elegant Palm Tree Jewelry Collection, to our latest Koa Wood Inlay Jewelry designs, and exclusive Na Hoku Koa Wood Watches. We also feature our Traditional Hawaiian Jewelry, our popular Plumeria Jewelry Collection, our exquisite collection of pearl jewelry, and the timeless Na Hoku Diamond Solitaire Engagement Ring and Bridal Ring Collections. We feature the exclusive collections made by Kabana, Le Vian, Effy, and Bellarri. Na Hoku earrings, bracelets, pendants, necklaces, and rings capture the essence of the Hawaiian and Island Lifestyle, and is unmatched in quality and craftsmanship. We invite you to visit us online or in our fine jewelry stores located across the continental U.S. and throughout Hawaii.


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St. Mark's High School seniors Jenna Wolff, Carly Alexander and Joey Giannaras recently signed letters of intent to continue their athletic careers in college.
St. Mark's High School seniors Jenna Wolff, Carly Alexander and Joey Giannaras recently signed letters of intent to continue their athletic careers in college.
Wolff will be a member of the women's basketball team at Alvernia University, a Catholic university in Reading, Pa.
Alexander signed with the University of Delaware/Thomas Jefferson rowing program. Alexander was a member of the Saint Mark's Rowing Club before it disbanded and has also rowed for Wilmington Youth Rowing Association.
Giannaras was signed as one of the top five recruits to play on the Lynchburg University Division III lacrosse team.
The three Spartan seniors sat down with the Hockessin Community News to discuss their decisions to continue their stellar athletic careers.
Q Why did you choose this college to further your playing career?
A WOLFF The coach was really friendly and they focus on defense. That's what we focused on here at St. Mark's. But, I didn't just choose Alvernia for basketball. I chose it because of their five-year, master's occupational therapy program.
A ALEXANDER I'm in the same boat as Jena. I picked the school because their conjoined program with Thomas Jefferson is really hard to get into. I felt really privileged to get into it [to study occupational therapy]. From an athletic standpoint, I guess just being able to go to a DI school is crazy. I knew I wanted to row wherever I went. And it's kind of cool because they row out of the same boathouse that I already row out of [off the Christina River in Wilmington]. The team is very big and I've never been part of a huge rowing team before; their program is pretty awesome for the women.
A GIANNARAS The coach was very friendly and he focused on helping out the community and stuff like that. And he makes the team feel more like a family, not just a team. Then, I always knew I wanted to go to a smaller school, not a Division I school, because I just felt I would fit in there better. I guess you could say it was really a perfect fit. I'm looking to study something around mathematics – finance or accounting.
Q How did St. Mark's prepare you in the classroom and on the field?
A WOLFF I've definitely been challenged here academically, especially math and science. A lot of the teachers help. On the sport side, I've had great coaches in the four years that I've been here and they definitely made me become a better athlete.
A ALEXANDER Academically, you can phase up in classes and there are more opportunities here. There are tons of clubs to get involved in. Also, they had crew, so I wouldn't have even been doing the sport that I do if it weren't for St. Mark's. They got me started. I row at WYRA now.
A GIANNARAS St. Mark's really prepared me in the classroom as well as on the field. They instilled a great work ethic in me. I guess that carried over into my play on the field and working as a team for one goal.
Q What was one of the highlights of your playing career for the Spartans?
A WOLFF The last game of our regular season this year against Caesar Rodney I had a game high of 26 points and six 3-pointers, which was the most I've ever had in one game.
A ALEXANDER We went last year to Head of the Charles in Boston and that's the biggest race in the world. People come from all over and there are about 70 boats in our event. We got 15th and top 20 is considered the best of the best. It was pretty awesome Last year in general we were a really fast team and it was really fun being that team that people feared.
A GIANNARAS When I was a sophomore, we were in the first round of the playoffs and we went into overtime. I scored the winning goal against DMA [Delaware Military Academy].


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Ten of the Dumbledore and Voldemort 1st Class stamps (issued in the Magical Realms set from March 2011) are featured in an illustrated pack that explores the cast of Heroes and Villains from the films. This is a must for all Harry Potter fans and a great way to mark the conclusion of this incredible series of movies. Code AP354
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Figure 2
This is a listing of Menu selections under each of the above Menu Items. The Menu selections may or may not be active on the specific screen that you are on.
File Menu: (Now that you have the program open, and you do not want to work on the current file, you can...)
- Open - an existing file, and close the currently opened file
- Open in New Window - open an file in a new window
- Import As New Tree - Import a file into a new tree (Family File)
- Merge - Merge information from another file into the currently open file
- Close - Close the existing File
- Export - Export the existing file
- Backup - Back Up your Existing File
- Restore - Restore a file from an existing Back Up File (one created by #7 above)
- Privatize File - Family Tree Maker allows you to assure the privacy of others (as well as your own) by designating certain facts as private. This prevents this information from being imported/exported, printed, copied, or published on the Internet (more details in the Help Menu)
- Go Offline - Will allow you to work Off Line from the Internet
- Exit - Close the Existing File and Close the Family Tree Maker program
Edit Menu: (basic editing, depending on the screen you are on) - Details to follow
- Undo
- Redo
- Cut
- Paste
- Delete
- Select All
- Insert Symbol
- Edit Person
- Find Duplicate Person
- Find Individual
- Find and Replace
- Manage Facts
- Manage Sources
- Manage Repositories
View Menu: Another way to navigate what you want to look at. They do the same of the Buttons at the top of the screen. Details to follow
- Back
- Forward
- Plan
- People
- Places
- Media
- Sources
- Publish
- Web Search
Tools Menu:
- Date Calculator - Helps you calculate the date of an event, the amount of time between events, or the age of a person.
- Relationship Calculator - Shows how two people from the tree file are related.
- Soundex Calculator - Displays the Soundex code for a name.
- Resolve All Place Names - Helps you find the correct spelling for a place in your tree file.
- Compact File - Reduces the memory size of the tree file while fixing possible database errors.
- Convert Names - Changes the surnames in the tree file to either mixed case (capitalize the first letter of the name) or upper case.
- User Information - Lets you enter your personal information so it can be included on charts and reports.
- Plugins - Lists the applications that work with Family Tree maker to extend its functionality. All of the installed plugins are listed in the Manage Plugins dialog box. For information about installing plugins and how they work, see the documentation that comes with the plugin.
- Options - Opens Family Tree Maker's system settings.
Help Menu: (F1 Key)
- Help for Family Tree Maker - Built in Help program
- Online Help Center - Access to Technical Support and the Knowledge Base Website
- Training Tutorials - The Family Tree Maker website will open and let you run various Online Tutorials on the use of the program.
- Register Family Tree Maker - Ancestry.com offers registered users of Family Tree Maker the following special benefits: the powerful Family Tree Maker Web Search feature and the ability to merge Ancestry.com records into your tree; access to dynamic maps; discounts on future versions of Family Tree Maker; and notifications of updates.
- Activate Ancestry Subscription - If you are already a member of Ancestry.com or if a free membership came with your Family Tree Maker purchase, you can activate your subscription within the software. Once you've activated your account, you can use the Web Search feature to merge Ancestry.com records into your tree.
- Check for Update - Ability to check to see if there are any updates to this version of Family Tree Maker.
- About Family Tree Maker - Will provide the current Product Version of the program. [ Family Tree Maker 2009, Version 188.8.131.52 is the current version ]. Information from this screen is important when seeking help from the various Message Boards and Email lists that address the Family Tree Maker program.
Getting Started Guide
The Getting Started Guide can also be viewed as a PDF on your computer. If you chose to include the guide when you installed Family Tree Maker 2009, follow the steps below to find and read the guide. If you didn't install the guide on your computer, you can find it on the CD-ROM.
- Double-click the My Computer icon on the desktop.
- Double-click the icon labeled C: (the default location for installing programs).
- Double-click the Program Files folder.
- Double-click the Family Tree Maker 2009 folder (or the folder you chose to install the software in, if different).
- Double-click the Manuals folder.
- Double-click the Getting Started Guide (Guide.pdf).
If you are not able to view the PDF version of the manual, you will need to install Acrobat Reader, which is available for free download from the Adobe website <www.adobe.com>.
This is a link to the Getting Started Guide for Famliy Tree Maker 2009


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See Ellsworth ME Sheriffs and search free public sheriff records. Sheriffs are law enforcement officers which enforce laws and keep public order. Sheriffs are usually elected by their regional counties.
Hancock County Sheriff's Office 50 State Street Ellsworth ME 04605 207-667-7575
Penobscot County Sheriff 85 Hammond Street Bangor ME 04401 20.9 miles from Ellsworth 207-947-4585
Waldo County Sheriff's Office 6 Public Safety Way Belfast ME 04915 29.0 miles from Ellsworth 207-338-6786
Knox County Sheriff's Office 327 Park Street Rockland ME 04841 46.2 miles from Ellsworth 207-594-0429
Washington County Sheriff's Office 83 Court Street Machias ME 04654 51.0 miles from Ellsworth 207-255-4422
Piscataquis County Sheriff's Office 52 Court Street Dover-Foxcroft ME 04426 55.2 miles from Ellsworth 207-564-3304
A sheriff is an elected law enforcement official for a county. Sheriffs usually have policing jurisdiction over unincorporated areas of the county, though in some states, sheriffs have jurisdiction throughout the state.
In many locations, the sheriff also runs the county jail.
The sheriff keeps records on criminal arrests, incidents reported to the sheriff, traffic collision reports, and other records. Many of these records are available to the public.


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MiH Jeans is getting personal with its biggest fans, thanks to the addition of their new bespoke hand monogramming service. Teaming up with artisan embroiderers Hawthorne & Heaney, the brand is giving customers the opportunity to add up to three initials in a range of colors and fonts to their favorite MiH denim. To celebrate, MiH threw a bash in NYC hosted by Blair Eadie of Atlantic-Pacific, in which they invited a slew of fashion insiders to partake in some monogram fun while nibbling on macroons. Check out some of the snaps from last night's party below, then enter the sweepstakes for a chance to win a pair of your very own monogramed jeans! ph: Jakub Studios
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Equity & Equity Derivatives We are registered with NSE, BSE and MCX–SX for
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Cash and futures & options segment at all the three exchanges.
Commodity Derivatives We offer trading via multiple exchanges in wide range
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An umbrella of innovative products has been launched in the Commodity segment which
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Man goes into seizures from swallowing 'rock' cocaine during arrest, after officers first took him for questioning rather than to hospital
When a Bradenton Police SWAT team stormed into his home to serve a search warrant for drugs last week, Stanley Jean started eating his cocaine stash.
That police knew Jean had eaten both rock and powder cocaine is not in dispute.
Many of the SWAT and narcotics officers who searched the home indicated in their reports that they saw white powder and crumbs in his mouth and on his lips. Several diligently tried to remove the cocaine from his mouth.
But instead of taking Jean to the hospital, officers took the 29-year-old to the police department and started questioning him. Several hours into the interview, Jean collapsed and started convulsing. Detectives called paramedics. Police have declined to release a video of the interview to the Herald-Tribune.
Jean's heart stopped at the hospital, his family says, but doctors were able to resuscitate him. He spent three days in intensive care. His doctor told his girlfriend that Jean is lucky to be alive.
He was discharged from the hospital on Wednesday, and immediately arrested and taken to jail.
Bradenton police say Jean declined an offer of medical aid and appeared coherent, up until the time he lost consciousness and began having seizures.
Under existing policies, Bradenton's police officers are not required to take a suspect to the hospital even if they know he has ingested a lot of drugs.
"I don't think we have a policy that specifically outlines that," said department spokesman Capt. Warren Merriman. "He seemed fine to the officers, and they asked him that. The officers thought they got all the rock out of his mouth at the scene."
Now, Jean's family wants the department held accountable for not providing medical aid to someone they knew needed help.
"When he got to the hospital, he was not responding. They had to shock him to bring him back," Jean's girlfriend, Chiquita Martin, said Tuesday. "The drugs made his whole body swell up. He can't talk right or walk. This wouldn't have have happened if they took him to the hospital right away."
Civil rights advocates and police-practice experts say Bradenton Police violated both Jean's constitutional rights and common sense.
Walter Zalisko, a retired police chief and undersheriff with more than 35 years of experience in law enforcement, says Bradenton Police shirked their "duty" to render aid to Jean.
On the morning of March 8, Bradenton Police detectives Eric Williams and Robert Cubas conducted a "trash pull" at 1535 18th St. East.
According to their reports, neighbors in the area had complained that drugs were being sold from the home.
Jean has been arrested for cocaine before. Court records show an extensive arrest history, including more than a half-dozen cocaine arrests, as well as charges for marijuana possession.
The detectives found small bags in the trash containing marijuana residue and a suspicious white powder.
Police officers surveilled the home twice, and saw several suspected drug buys — visits lasting around a minute or less.
Officers returned March 15 and served a search warrant, announcing their intent by parking an armored car known as a Bearcat in the driveway.
Several detectives reported seeing Jean consuming some of his drugs:
•�Detective Shannon Seymour noticed Jean trying to swallow something as he was pulled from the home.
"I could see several small white chalk like crumbs on Mr. Jean's lips, which appeared to be rock cocaine," Seymour wrote. "I then asked Mr. Jean repeatedly to spit out whatever he had in his mouth. Eventually Mr. Jean spit out a piece of rock cocaine and indicated that he did not swallow any more."
•�Detective Eric Williams wrote that another officer had seen Jean spit a white substance into the bathroom sink. Williams found powder and rock cocaine in the home, along with marijuana. Jean acknowledged that the cocaine was his. "After a few minutes, Mr. Jean spit out a piece of suspected rock cocaine," Williams wrote.
•�Detective Dennis French reported hearing a commotion in the front yard, after SWAT officers pulled Jean from the home. Jean was laying on his stomach, several officers were surrounding him, ordering the man to "spit it out." "I then heard that one of the officers did recover rock cocaine from the subject's mouth," French wrote.
After Jean was taken to the station, it was Detective Cubas who conducted the interview. Jean fell out of the chair at some point during that discussion. Cubas and other officers gave him a few sips of water.
"Suddenly, Stanley Jean began to shake and bounce the front of his face off the ground," Cubas wrote. "This caused a laceration on his mouth and he began to bleed onto the carpet of the interview room."
The officers held his head, to prevent further injury. Jean began vomiting. "Suddenly, he spit a piece of rock cocaine from his mouth," Cubas wrote.
Detective Seymour wrote that Jean appeared to be having problems breathing. Paramedics arrived and took Jean to Manatee Memorial Hospital, where doctors pumped his stomach.
"If you read the reports, it states they seized two bottles of rock cocaine, which were placed into evidence, from pumping his stomach," Capt. Merriman said. "He must have swallowed a lot of rock."
The ACLU has taken action against law enforcement agencies when an inmate's medical needs are ignored, said Michael Barfield, chairman of the legal panel of the American Civil Liberties Union.
"There are standards — we are not talking about cosmetic dental work — serious medical need is something that can present itself to a lay person," Barfield said. "Here, this should have been clear to any reasonable person that medical attention was warranted."
Zalisko, the police-practice expert and retired chief, does not fault Bradenton Police for lacking a policy that would have addressed a situation like Jean's.
"It's difficult for police to have a policy on every situation, but common sense for any cop says if you ingest a good amount of cocaine, you're gonna OD," Zalisko said. "They had a duty to provide first aid. It's not like he swallowed a small diamond, and they can sit and wait until it passes."
Jean does not recall much of his arrest.
He denies selling drugs from the house, which he said belongs to the mother of one of his children.
But he acknowledged eating cocaine.
"I was scared. I don't know what happened," he said. "I swallowed a little cocaine I had on me, and then five or six of them jumped on me, stepping on my neck."
Jean believes he lost consciousness for other reasons.
"They was using unnecessary force," he said. "I don't think that little bit of cocaine had me in there."