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Prima::Drawable - 2-D graphic interface
if ( $object-> isa('Prima::Drawable')) { $object-> begin_paint; $object-> color( cl::Black); $object-> line( 100, 100, 200, 200); $object-> ellipse( 100, 100, 200, 200); $object-> end_paint; }
Prima::Drawable is a descendant of Prima::Component. It provides access to the object-bound graphic context and canvas through its methods and properties. The Prima::Drawable descendants Prima::Widget, Prima::Image, Prima::DeviceBitmap and Prima::Printer are backed by system-dependent routines that allow drawing and painting on the system objects.
Prima::Drawable, as well as its ancestors Prima::Component and Prima::Object, is never used directly, because Prima::Drawable class by itself provides only the interface. It provides a three-state object access - when drawing and painting is enabled, when these are disabled, and the information acquisition state. By default, the object is created in paint-disabled state. To switch to the enabled state, begin_paint() method is used. Once in the enabled state, the object drawing and painting methods apply to the object-bound canvas. To return to the disabled state, end_paint() method is called. The information state can be managed by using begin_paint_info() and end_paint_info() methods pair. An object cannot be triggered from the information state to the enabled state ( and vice versa ) directly. These states differ on how do they apply to a graphic context and a canvas.
The graphic context is the set of variables, that control how exactly graphic primitives are rendered. The variable examples are color, font, line width, etc. Another term used here is 'canvas' - the graphic area of a certain extent, bound to the object, where the drawing and painting methods are applied to.
In all three states a graphic context is allowed to be modified, but in different ways. In the disabled state the graphic context values form a template values; when a object enters the information or the enabled state, the values are preserved, but when the object is back to the disabled state, the graphic context is restored to the values last assigned before entering new state. The code example below illustrates the idea:
$d = Prima::Drawable-> create; $d-> lineWidth( 5); $d-> begin_paint_info; # lineWidth is 5 here $d-> lineWidth( 1); # lineWidth is 1 $d-> end_paint_info; # lineWidth is 5 again
( Note: ::region
, ::clipRect
and ::translate
properties are exceptions. They can not be used in the disabled state; their values are neither recorded nor used as a template).
That is, in disabled state any Drawable maintains only the graphic context. To draw on a canvas, the object must enter the enabled state by calling begin_paint(). This function can be unsuccessful, because the object binds with system resources during this stage, and might fail. Only after the enabled state is entered, the canvas is accessible:
$d = Prima::Image-> create( width => 100, height => 100); if ( $d-> begin_paint) { $d-> color( cl::Black); $d-> bar( 0, 0, $d-> size); $d-> color( cl::White); $d-> fill_ellipse( $d-> width / 2, $d-> height / 2, 30, 30); $d-> end_paint; } else { die "can't draw on image:$@"; }
Different objects are mapped to different types of canvases - Prima::Image canvas pertains its content after end_paint(), Prima::Widget maps it to a screen area, which content is of more transitory nature, etc.
The information state is as same as the enabled state, but the changes to a canvas are not visible. Its sole purpose is to read, not to write information. Because begin_paint() requires some amount of system resources, there is a chance that a resource request can fail, for any reason. The begin_paint_info() requires some resources as well, but usually much less, and therefore if only information is desired, it is usually faster and cheaper to obtain it inside the information state. A notable example is get_text_width() method, that returns the length of a text string in pixels. It works in both enabled and information states, but code
$d = Prima::Image-> create( width => 10000, height => 10000); $d-> begin_paint; $x = $d-> get_text_width('A'); $d-> end_paint;
is much more 'expensive' than
$d = Prima::Image-> create( width => 10000, height => 10000); $d-> begin_paint_info; $x = $d-> get_text_width('A'); $d-> end_paint_info;
for the obvious reasons.
It must be noted that some information methods like get_text_width() work even under the disabled state; the object is switched to the information state implicitly if it is necessary.
Graphic context and canvas operations rely completely on a system implementation. The internal canvas color representation is therefore system-specific, and usually could not be described in standard definitions. Often the only information available about color space is its color depth.
Therefore, all color manipulations, including dithering and antialiasing are subject to system implementation, and can not be controlled from perl code. When a property is set in the object disabled state, it is recorded verbatim; color properties are no exception. After the object switched to the enabled state, a color value is transformed to a system color representation, which might be different from Prima's. For example, if a display color depth is 15 bits, 5 bits for every component, then white color value 0xffffff is mapped to
that equals to 0xf8f8f8, not 0xffffff ( See Prima::gp-problems for inevident graphic issues discussion ).
The Prima::Drawable color format is RRGGBB, with each component resolution of 8 bit, thus allowing 2^24 color combinations. If the device color space depth is different, the color is truncated or expanded automatically. In case the device color depth is small, dithering algorithms might apply.
Note: not only color properties, but all graphic context properties allow all possible values in the disabled state, which transformed into system-allowed values in the enabled and the information states. This feature can be used to test if a graphic device is capable of performing certain operations ( for example, if it supports raster operations - the printers usually do not ). Example:
$d-> begin_paint; $d-> rop( rop::Or); if ( $d-> rop != rop::Or) { # this assertion is always false without ... # begin_paint/end_paint brackets } $d-> end_paint;
There are ( at least ) two color properties on each drawable - ::color
and ::backColor
. The values they operate are integers in the discussed above RRGGBB format, however, the toolkit defines some mnemonic color constants:
cl::Black cl::Blue cl::Green cl::Cyan cl::Red cl::Magenta cl::Brown cl::LightGray cl::DarkGray cl::LightBlue cl::LightGreen cl::LightCyan cl::LightRed cl::LightMagenta cl::Yellow cl::White cl::Gray
As stated before, it is not unlikely that if a device color depth is small, the primitives plotted in particular colors will be drawn with dithered or incorrect colors. This usually happens on paletted displays, with 256 or less colors.
There exists two methods that facilitate the correct color representation. The first way is to get as much information as possible about the device. The methods get_nearest_color() and get_physical_palette() provide possibility to avoid mixed colors drawing by obtaining indirect information about solid colors, supported by a device. Another method is to use ::palette
property. It works by inserting the colors into the system palette, so if an application knows the colors it needs beforehand, it can employ this method - however this might result in system palette flash when a window focus toggles.
Both of these methods are applicable both with drawing routines and image output. An image desired to output with least distortion is advised to export its palette to an output device, because images usually are not subject to automatic dithering algorithms. Prima::ImageViewer module employs this scheme.
Prima offers primitive gradient services to draw gradually changing colors. A gradient is requested by setting of at least two colors and optionally a set of cubic spline points that, when, projected, generate the transition curve between the colors.
The example below fills a rectangle with a gradient calculated between a background color and its pre-lighted variant.
$canvas-> gradient_bar( $left, $bottom, $right, $top, { palette => [ $self->prelight_color($back_color), $back_color ], });
Here are keys understood in the gradient request:
Each color is a cl::
value. The gradient is calculated as polyline where each its vertex corresponds to a certain blend between two neighbouring colors in the palette. F.ex. the simplest palette going from cl::White
to cl::Black
over a polyline 0..1
(default), produces pure white color at the start and pure black color at the end, filling all available shades of gray in between, and changing monotonically.
Set of 2-integer polyline vertexes where the first integer is a coordinate (x, y, or whatever required by the drawing primitive) between 0 and 1, and the second is the color blend value between 0 and 1.
Default: ((0,0),(1,1))
Serving same purpose as poly
but vertexes are projected first to a cubic spline using render_spline and current value of splinePrecision
. The resulting polyline is treated as poly
Only used in gradient_bar, to set gradient direction.
See also: gradient_bar, gradient_realize3d .
A special case of put_image
is taken where the object to be drawn is a monochrome DeviceBitmap object. This object doesn't possess the color palette, and is by definition a bitmap, where there are only two values present, 0s and 1s. When it is drawn, 0s are drawn with the color value of the target canvas color
property, and 1s with backColor
This means that the following code
$bitmap-> color(0); $bitmap-> line(0,0,100,100); $target-> color(cl::Green); $target-> put_image(0,0,$bitmap);
produces a green line on $target
When using monochrome bitmaps for logical operations, note that target colors should not be explicit 0 and 0xffffff, nor cl::Black
and cl::White
, but cl::Clear
and cl::Set
instead. The reason is that on paletted displays, system palette may not necessarily contain the white color under palette index (2^ScreenDepth-1). cl::Set
thus signals that the value should be "all ones", no matter what color it represents, because it will be used for logical operations.
Prima maintains its own font naming convention, that usually does not conform to system's. Since its goal is interoperability, it might be so that some system fonts would not be accessible from within the toolkit.
Prima::Drawable provides property ::font
, that accepts/returns a hash, that represents the state of a font in the object-bound graphic context. The font hash keys that are acceptable on set-call are:
The font name string. If there is no such font, a default font name is used. To select default font, a 'Default' string can be passed with the same result ( unless the system has a font named 'Default', of course).
An integer value from 1 to MAX_INT. Specifies the desired extent of a font glyph between descent and ascent lines in pixels.
An integer value from 1 to MAX_INT. Specifies the desired extent of a font glyph between descent and internal leading lines in points. The relation between size
and height
height - internal_leading size = --------------------------- * 72.27 resolution
That differs from some other system representations: Win32, for example, rounds 72.27 constant to 72.
A integer value from 0 to MAX_INT. If greater than 0, specifies the desired extent of a font glyph width in pixels. If 0, sets the default ( designed ) width corresponding to the font size or height.
A combination of fs::
( font style ) constants. The constants hight
fs::Normal fs::Bold fs::Thin fs::Italic fs::Underlined fs::StruckOut fs::Outline
and can be OR-ed together to express the font style. fs::Normal equals to 0 and usually never used. If some styles are not supported by a system-dependent font subsystem, they are ignored.
A one of three constants:
fp::Default fp::Fixed fp::Variable
fp::Default specifies no interest about font pitch selection. fp::Fixed is set when a monospaced (all glyphs are of same width) font is desired. fp::Variable pitch specifies a font with different glyph widths. This key is of the highest priority; all other keys may be altered for the consistency of the pitch key.
A counter-clockwise rotation angle - 0 is default, 90 is pi/2, 180 is pi, etc. If a font could not be rotated, it is usually substituted to the one that can.
A string value, one of the strings returned by Prima::Application::font_encodings
. Selects desired font encoding; if empty, picks the first matched encoding, preferably the locale set up by the user.
The encodings provided by different systems are different; in addition, the only encodings are recognizable by the system, that are represented by at least one font in the system.
Unix systems and the toolkit PostScript interface usually provide the following encodings:
iso8859-1 iso8859-2 ... other iso8859 ... fontspecific
Win32 returns the literal strings like
Western Baltic Cyrillic Hebrew Symbol
A hash that ::font
returns, is a tied hash, whose keys are also available as separate properties. For example,
$x = $d-> font-> {style};
is equivalent to
$x = $d-> font-> style;
While the latter gives nothing but the arguable coding convenience, its usage in set-call is much more usable:
$d-> font-> style( fs::Bold);
instead of
my %temp = %{$d-> font}; $temp{ style} = fs::Bold; $d-> font( \%temp);
The properties of a font tied hash are also accessible through set() call, like in Prima::Object:
$d-> font-> style( fs::Bold); $d-> font-> width( 10);
is adequate to
$d-> font-> set( style => fs::Bold, width => 10, );
When get-called, ::font
property returns a hash where more entries than the described above can be found. These keys are read-only, their values are discarded if passed to ::font
in a set-call.
In order to query the full list of fonts available to a graphic device, a ::fonts
method is used. This method is not present in Prima::Drawable namespace; it can be found in two built-in class instances, Prima::Application
and Prima::Printer
returns metrics for the fonts available to a screen device, while Prima::Printer::fonts
( or its substitute Prima::PS::Printer ) returns fonts for the printing device. The result of this method is an array of font metrics, fully analogous to these returned by Prima::Drawable::font
A string with font family name. The family is a secondary string key, used for distinguishing between fonts with same name but of different vendors ( for example, Adobe Courier and Microsoft Courier).
A boolean; true if the font is vector ( e.g. can be scaled with no quality loss ), false otherwise. The false value does not show if the font can be scaled at all - the behavior is system-dependent. Win32 can scale all non-vector fonts; X11 only the fonts specified as the scalable.
Number of pixels between a glyph baseline and descent line.
Number of pixels between a glyph baseline and descent line.
Number of pixels between ascent and internal leading lines. Negative if the ascent line is below the internal leading line.
Number of pixels between ascent and external leading lines. Negative if the ascent line is above the external leading line.
A font designed weight. Can be one of
fw::UltraLight fw::ExtraLight fw::Light fw::SemiLight fw::Medium fw::SemiBold fw::Bold fw::ExtraBold fw::UltraBold
Maximal extent of a glyph in pixels. Equals to width in monospaced fonts.
Designed horizontal font resolution in dpi.
Designed vertical font resolution in dpi.
Index of the first glyph present in a font.
Index of the last glyph present in a font.
Index of the default character used to divide words. In a typical western language font it is 32, ASCII space character.
Index of a glyph that is drawn instead of nonexistent glyph if its index is passed to the text drawing routines.
Besides these characteristics, every font glyph has an ABC-metric, the three integer values that describe horizontal extents of a glyph's black part relative to the glyph extent:
A and C are negative, if a glyphs 'hangs' over it neighbors, as shown in picture on the left. A and C values are positive, if a glyph contains empty space in front or behind the neighbor glyphs, like in picture on the right. As can be seen, B is the width of a glyph's black part.
ABC metrics returned by the get_font_abc() method.
Corresponding vertical metrics, called in Prima DEF
metrics, are returned by the get_font_def() method.
A drawable has two raster operation properties: ::rop
and ::rop2
. These define how the graphic primitives are plotted. ::rop
deals with the foreground color drawing, and ::rop2
with the background.
The toolkit defines the following operations:
Usually, however, graphic devices support only a small part of the above set, limiting ::rop
to the most important operations: Copy, And, Or, Xor, NoOp. ::rop2
is usually even more restricted, supports only Copy and NoOp.
The raster operations apply to all graphic primitives except SetPixel.
Note for layering: using layered images and device bitmaps with put_image
and stretch_image
can only use rop::SrcCopy
and rop::SrcOver
raster operations on OS-provided surfaces.
Additionally, Prima implements extra features for compositing on images outside the begin_paint/end_paint brackets. It supports the following 12 Porter-Duff operators:
and set of constants to apply a constant source and destination alpha to override the existing alpha channel, if any:
rop::SrcAlpha rop::SrcAlphaShift rop::DstAlpha rop::DstAlphaShift
To override the alpha channel(s) combine the rop constant using this formula:
$rop = rop::XXX | rop::SrcAlpha | ( $src_alpha << rop::SrcAlphaShift ) | rop::DstAlpha | ( $src_alpha << rop::DstAlphaShift )
Also, function rop::blend($alpha)
creates a rop constant for simple blending of two images by the following formula:
$dst = ( $src * $alpha + $dst * ( 255 - $alpha ) ) / 255
In addition to that, rop::AlphaCopy
operation is available for accessing alpha bits only. When used, the source image is treated as alpha mask, and therefore it has to be grayscale. It can be used to apply the alpha bits independently, without need to construct an Icon object.
The Prima toolkit employs a geometrical XY grid, where X ascends rightwards and Y ascends upwards. There, the (0,0) location is the bottom-left pixel of a canvas.
All graphic primitives use inclusive-inclusive boundaries. For example,
$d-> bar( 0, 0, 1, 1);
plots a bar that covers 4 pixels: (0,0), (0,1), (1,0) and (1,1).
The coordinate origin can be shifted using ::translate
property, that translates the (0,0) point to the given offset. Calls to ::translate
, ::clipRect
and ::region
always use the 'physical' (0,0) point, whereas the plotting methods use the transformation result, the 'logical' (0,0) point.
As noted before, these three properties can not be used in when an object is in its disabled state.
Reflects background color in the graphic context. All drawing routines that use non-solid or transparent fill or line patterns use this property value.
Reflects foreground color in the graphic context. All drawing routines use this property value.
Selects the clipping rectangle corresponding to the physical canvas origin. On get-call, returns the extent of the clipping area, if it is not rectangular, or the clipping rectangle otherwise. The code
$d-> clipRect( 1, 1, 2, 2); $d-> bar( 0, 0, 1, 1);
thus affects only one pixel at (1,1).
Set-call discards the previous ::region
Note: ::clipRect
can not be used while the object is in the paint-disabled state, its context is neither recorded nor used as a template ( see "Graphic context and canvas").
Affects filling style of complex polygonal shapes filled by fillpoly
. If 1, the filled shape contains no holes; otherwise, holes are present where the shape edges cross.
Default value: false
Selects 8x8 fill pattern that affects primitives that plot filled shapes: bar(), fill_chord(), fill_ellipse(), fillpoly(), fill_sector(), floodfill().
Accepts either a fp::
constant or a reference to an array of 8 integers, each representing 8 bits of each line in a pattern, where the first integer is the topmost pattern line, and the bit 0x80 is the leftmost pixel in the line.
There are some predefined patterns, that can be referred via fp::
( the actual patterns are hardcoded in primguts.c ) The default pattern is fp::Solid.
An example below shows encoding of fp::Parquet pattern:
# 76543210 84218421 Hex 0 $ $ $ 51 1 $ $ 22 2 $ $ $ 15 3 $ $ 88 4 $ $ $ 45 5 $ $ 22 6 $ $ $ 54 7 $ $ 88 $d-> fillPattern([ 0x51, 0x22, 0x15, 0x88, 0x45, 0x22, 0x54, 0x88 ]);
On a get-call always returns an array, never a fp::
Manages font context. FONT hash acceptable values are name
, height
, size
, width
, style
and pitch
$d-> font-> size( 10); $d-> font-> name( 'Courier'); $d-> font-> set( style => $x-> font-> style | fs::Bold, width => 22 );
See "Fonts" for the detailed descriptions.
Applies to text_out(), get_text_width(), get_text_box(), get_font_abc(), get_font_def().
Selects a line ending cap for plotting primitives. VALUE can be one of
constants. le::Round is the default value.
Selects a line joining style for polygons. VALUE can be one of
constants. lj::Round is the default value.
Selects a line pattern for plotting primitives. PATTERN is either a predefined lp::
constant, or a string where each even byte is a length of a dash, and each odd byte is a length of a gap.
The predefined constants are:
Not all systems are capable of accepting user-defined line patterns, and in such situation the lp::
constants are mapped to the system-defined patterns. In Win9x, for example, lp::DashDotDot is much different from its string definition therefore.
Default value is lp::Solid.
Selects a line width for plotting primitives. If a VALUE is 0, then a 'cosmetic' pen is used - the thinnest possible line that a device can plot. If a VALUE is greater than 0, then a 'geometric' pen is used - the line width is set in device units. There is a subtle difference between VALUE 0 and 1 in a way the lines are joined.
Default value is 0.
Selects solid colors in a system palette, as many as possible. PALETTE is an array of integer triplets, where each is R, G and B component. The call
$d-> palette([128, 240, 240]);
selects a gray-cyan color, for example.
The return value from get-call is the content of the previous set-call, not the actual colors that were copied to the system palette.
Selects a clipping region applied to all drawing and painting routines. The OBJECT is either undef, then the clip region is erased ( no clip ), or a Prima::Image object with a bit depth of 1. The bit mask of OBJECT is applied to the system clipping region. If the OBJECT is smaller than the drawable, its exterior is assigned to clipped area as well. Discards the previous ::clipRect
value; successive get-calls to ::clipRect
return the boundaries of the region.
Note: ::region
can not be used while the object is in the paint-disabled state, its context is neither recorded nor used as a template ( see "Graphic context and canvas").
A read-only property. Returns horizontal and vertical device resolution in dpi.
Selects raster operation that applies to foreground color plotting routines.
See also: ::rop2
, "Raster operations".
Selects raster operation that applies to background color plotting routines.
See also: ::rop
, "Raster operations".
Selects number of steps to use for each spline segment in spline
and fill_spline
calls. In other words, determines smoothness of a curve. Minimum accepted value, 1, produces straight lines; maximum value is not present, though it is hardly practical to set it higher than the output device resolution.
Default value: 24
If FLAG is 1, then text_out() fills the text background area with ::backColor
property value before drawing the text. Default value is 0, when text_out() plots text only.
See get_text_box().
If FLAG is 1, then text_out() plots text on a given Y coordinate correspondent to font baseline. If FLAG is 0, a Y coordinate is mapped to font descent line. Default is 0.
Translates the origin point by X_OFFSET and Y_OFFSET. Does not affect ::clipRect
and ::region
. Not cumulative, so the call sequence
$d-> translate( 5, 5); $d-> translate( 15, 15);
is equivalent to
$d-> translate( 15, 15);
Note: ::translate
can not be used while the object is in the paint-disabled state, its context is neither recorded nor used as a template ( see "Graphic context and canvas").
Selects the height of a canvas.
Selects the extent of a canvas.
Selects the width of a canvas.
Fills rectangle in the alpha channel, filled with ALPHA value (0-255) within (X1,Y1) - (X2,Y2) extents. Can be called without parameters, in this case fills all canvas area.
Has only effect on layered surfaces.
Plots an arc with center in X, Y and DIAMETER_X and DIAMETER_Y axis from START_ANGLE to END_ANGLE.
Context used: color, backColor, lineEnd, linePattern, lineWidth, rop, rop2
Draws a filled rectangle within (X1,Y1) - (X2,Y2) extents.
Context used: color, backColor, fillPattern, rop, rop2
Draws a set of filled rectangles. RECTS is an array of integer quartets in format (X1,Y1,X2,Y2).
Context used: color, backColor, fillPattern, rop, rop2
Plots an arc with center in X, Y and DIAMETER_X and DIAMETER_Y axis from START_ANGLE to END_ANGLE and connects its ends with a straight line.
Context used: color, backColor, lineEnd, linePattern, lineWidth, rop, rop2
Draws rectangle filled with pure background color within (X1,Y1) - (X2,Y2) extents. Can be called without parameters, in this case fills all canvas area.
Context used: backColor, rop2
Draws several lines of text one under another with respect to align and break rules, specified in FLAGS and TAB_INDENT tab character expansion.
is a convenience wrapper around text_wrap
for drawing the wrapped text, and also provides the tilde ( ~ )- character underlining support.
The FLAGS is a combination of the following constants:
dt::Left - text is aligned to the left boundary dt::Right - text is aligned to the right boundary dt::Center - text is aligned horizontally in center dt::Top - text is aligned to the upper boundary dt::Bottom - text is aligned to the lower boundary dt::VCenter - text is aligned vertically in center dt::DrawMnemonic - tilde-escapement and underlining is used dt::DrawSingleChar - sets tw::BreakSingle option to Prima::Drawable::text_wrap call dt::NewLineBreak - sets tw::NewLineBreak option to Prima::Drawable::text_wrap call dt::SpaceBreak - sets tw::SpaceBreak option to Prima::Drawable::text_wrap call dt::WordBreak - sets tw::WordBreak option to Prima::Drawable::text_wrap call dt::ExpandTabs - performs tab character ( \t ) expansion dt::DrawPartial - draws the last line, if it is visible partially dt::UseExternalLeading - text lines positioned vertically with respect to the font external leading dt::UseClip - assign ::clipRect property to the boundary rectangle dt::QueryLinesDrawn - calculates and returns number of lines drawn ( contrary to dt::QueryHeight ) dt::QueryHeight - if set, calculates and returns vertical extension of the lines drawn dt::NoWordWrap - performs no word wrapping by the width of the boundaries dt::WordWrap - performs word wrapping by the width of the boundaries dt::BidiText - use bidirectional formatting, if available dt::Default - dt::NewLineBreak|dt::WordBreak|dt::ExpandTabs| dt::UseExternalLeading
Context used: color, backColor, font, rop, textOpaque, textOutBaseline
Plots an ellipse with center in X, Y and DIAMETER_X and DIAMETER_Y axis.
Context used: color, backColor, linePattern, lineWidth, rop, rop2
Fills a chord outline with center in X, Y and DIAMETER_X and DIAMETER_Y axis from START_ANGLE to END_ANGLE (see chord()).
Context used: color, backColor, fillPattern, rop, rop2
Fills an elliptical outline with center in X, Y and DIAMETER_X and DIAMETER_Y axis.
Context used: color, backColor, fillPattern, rop, rop2
Fills a polygonal area defined by POLYGON set of points. POLYGON must present an array of integer pair in (X,Y) format. Example:
$d-> fillpoly([ 0, 0, 15, 20, 30, 0]); # triangle
Context used: color, backColor, fillPattern, rop, rop2, fillWinding
Returns success flag; if failed, $@
contains the error.
See also: polyline().
Fills a sector outline with center in X, Y and DIAMETER_X and DIAMETER_Y axis from START_ANGLE to END_ANGLE (see sector()).
Context used: color, backColor, fillPattern, rop, rop2
Fills a polygonal area defined by a curve, projected by applying cubic spline interpolation to POLYGON set of points. Number of vertices between each polygon equals to current value of splinePrecision
property. POLYGON must present an array of integer pair in (X,Y) format. Example:
$d-> fill_spline([ 0, 0, 15, 20, 30, 0]);
Context used: color, backColor, fillPattern, rop, rop2, splinePrecision
Returns success flag; if failed, $@
contains the error.
See also: spline, splinePrecision, render_spline
Fills an area of the canvas in current fill context. The area is assumed to be bounded as specified by the SINGLEBORDER parameter. SINGLEBORDER can be 0 or 1.
SINGLEBORDER = 0: The fill area is bounded by the color specified by the COLOR parameter.
SINGLEBORDER = 1: The fill area is defined by the color that is specified by COLOR. Filling continues outward in all directions as long as the color is encountered. This style is useful for filling areas with multicolored boundaries.
Context used: color, backColor, fillPattern, rop, rop2
Draws a filled rectangle within (X1,Y1) - (X2,Y2) extents using a gradient (see Gradients).
Context used: splinePrecision, fillPattern, rop, rop2
Draws a filled ellipse with center in (X,Y) and diameters (DIAM_X,DIAM_Y) using a gradient (see Gradients).
Context used: splinePrecision, fillPattern, rop, rop2
Returns an array consisting of integer pairs, where the first one is a color value, and the second is the breadth of the color strip. gradient_bar uses this information to draw a gradient fill, where each color strip is drawn with its own color. Can be used for implementing other gradient-aware primitives (see examples/f_fill.pl )
Context used: splinePrecision
Plots a straight line from (X1,Y1) to (X2,Y2).
Context used: color, backColor, linePattern, lineWidth, rop, rop2
LINES is an array of integer quartets in format (X1,Y1,X2,Y2). lines() plots a straight line per quartet.
Context used: color, backColor, linePattern, lineWidth, rop, rop2
Returns success flag; if failed, $@
contains the error.
::pixel is a property - on set-call it changes the pixel value at (X,Y) to COLOR, on get-call ( without COLOR ) it does return a pixel value at (X,Y).
No context is used.
Draws a polygonal area defined by POLYGON set of points. POLYGON must present an array of integer pair in (X,Y) format.
Context used: color, backColor, linePattern, lineWidth, lineJoin, lineEnd, rop, rop2
Returns success flag; if failed, $@
contains the error.
See also: fillpoly().
Draws an OBJECT at coordinates (X,Y). OBJECT must be Prima::Image, Prima::Icon or Prima::DeviceBitmap. If ROP raster operation is specified, it is used. Otherwise, value of ::rop
property is used.
Returns success flag; if failed, $@
contains the error.
Context used: rop; color and backColor for a monochrome DeviceBitmap
Copies a OBJECT from a source rectangle into a destination rectangle, stretching or compressing the OBJECT to fit the dimensions of the destination rectangle, if necessary. The source rectangle starts at (X_FROM,Y_FROM), and is SRC_WIDTH pixels wide and SRC_HEIGHT pixels tall. The destination rectangle starts at (X,Y), and is abs(DEST_WIDTH) pixels wide and abs(DEST_HEIGHT) pixels tall. If DEST_WIDTH or DEST_HEIGHT are negative, a mirroring by respective axis is performed.
OBJECT must be Prima::Image, Prima::Icon or Prima::DeviceBitmap.
No context is used, except color and backColor for a monochrome DeviceBitmap
Returns success flag; if failed, $@
contains the error.
Draws 3d-shaded rectangle in boundaries X1,Y1 - X2,Y2 with WIDTH line width and LIGHT_COLOR and DARK_COLOR colors. If BACK_COLOR is specified, paints an inferior rectangle with it, otherwise the inferior rectangle is not touched.
Context used: rop; color and backColor for a monochrome DeviceBitmap
Draws a marquee rectangle in boundaries X1,Y1 - X2,Y2 with WIDTH line width.
No context is used.
Plots a rectangle with (X1,Y1) - (X2,Y2) extents.
Context used: color, backColor, linePattern, lineWidth, rop, rop2
Plots an arc with center in X, Y and DIAMETER_X and DIAMETER_Y axis from START_ANGLE to END_ANGLE and connects its ends and (X,Y) with two straight lines.
Context used: color, backColor, lineEnd, linePattern, lineWidth, rop, rop2
Draws a cubic spline defined by set of POLYGON points. Number of vertices between each polygon equals to current value of splinePrecision
property. POLYGON must present an array of integer pair in (X,Y) format.
Context used: color, backColor, linePattern, lineWidth, lineEnd, rop, rop2
Returns success flag; if failed, $@
contains the error.
See also: fill_spline, splinePrecision, render_spline.
Copies a OBJECT into a destination rectangle, stretching or compressing the OBJECT to fit the dimensions of the destination rectangle, if necessary. If DEST_WIDTH or DEST_HEIGHT are negative, a mirroring is performed. The destination rectangle starts at (X,Y) and is DEST_WIDTH pixels wide and DEST_HEIGHT pixels tall.
If ROP raster operation is specified, it is used. Otherwise, value of ::rop
property is used.
OBJECT must be Prima::Image, Prima::Icon or Prima::DeviceBitmap.
Returns success flag; if failed, $@
contains the error.
Context used: rop
Draws TEXT string at (X,Y).
Returns success flag; if failed, $@
contains the error.
Context used: color, backColor, font, rop, textOpaque, textOutBaseline
Enters the enabled ( active paint ) state, returns success flag; if failed, $@
contains the error. Once the object is in enabled state, painting and drawing methods can perform write operations on a canvas.
See also: end_paint
, begin_paint_info
, "Graphic context and canvas"
Enters the information state, returns success flag; if failed, $@
contains the error. The object information state is same as enabled state ( see begin_paint
), except painting and drawing methods do not change the object canvas.
See also: end_paint_info
, begin_paint
, "Graphic context and canvas"
Exits the enabled state and returns the object to a disabled state.
See also: begin_paint
, "Graphic context and canvas"
Exits the information state and returns the object to a disabled state.
See also: begin_paint_info
, "Graphic context and canvas"
Performs merging of two font hashes, SOURCE and DEST. Returns the merge result. If PICK is true, matches the result with a system font repository.
Called implicitly by ::font
on set-call, allowing the following example to work:
$d-> font-> set( size => 10); $d-> font-> set( style => fs::Bold);
In the example, the hash 'style => fs::Bold' does not overwrite the previous font context ( 'size => 10' ) but gets added to it ( by font_match()), providing the resulting font with both font properties set.
Member of Prima::Application
and Prima::Printer
, does not present in Prima::Drawable
Returns an array of font metric hashes for a given font FAMILY and ENCODING. Every hash has full set of elements described in "Fonts".
If called without parameters, returns an array of same hashes where each hash represents a member of font family from every system font set. It this special case, each font hash contains additional encodings
entry, which points to an array of encodings available for the font.
If called with FAMILY parameter set but no ENCODING is set, enumerates all combinations of fonts with all available encodings.
If called with FAMILY set to an empty string, but ENCODING specified, returns only fonts that can be displayed with the encoding.
print sort map {"$_->{name}\n"} @{$::application-> fonts};
Returns device color depth. 1 is for black-and-white monochrome, 24 for true color, etc.
Returns ABC font metrics for the given range, starting at FIRST_CHAR and ending with LAST_CHAR. If parameters are -1, the default range ( 0 and 255 ) is assumed. UNICODE boolean flag is responsible of representation of characters in 127-255 range. If 0, the default, encoding-dependent characters are assumed. If 1, the U007F-U00FF glyphs from Latin-1 set are used.
The result is an integer array reference, where every character glyph is referred by three integers, each triplet containing A, B and C values.
For detailed explanation of ABC meaning, see "Font ABC metrics";
Context used: font
Same as get_font_abc
, but for vertical mertics. Is expensive on bitmap fonts, because to find out the correct values Prima has to render glyphs on bitmaps and scan for black and white pixels.
Vector fonts are not subject to this, and the call is as effective as get_font_abc
Returns array of integer pairs denoting unicode indices of glyphs covered by the currently selected font. Each pair is the first and the last index of a contiguous range.
Context used: font
Returns a nearest possible solid color in representation of object-bound graphic device. Always returns same color if the device bit depth is equal or greater than 24.
Returns paint state value on of ps:: constants - ps::Disabled
if the object is in the disabled state, ps::Enabled
for the enabled state, ps::Information
for the information state.
For brevity, mb::Disabled is equal to 0 so this allows for simple boolean testing whether one can get/set graphical properties on an object.
See "Graphic context and canvas" for more.
Returns an anonymous array of integers, in (R,G,B) format, every color entry described by three values, in range 0 - 255.
The physical palette array is non-empty only on paletted graphic devices, the true color devices return an empty array.
The physical palette reflects the solid colors currently available to all programs in the system. The information is volatile if the system palette can change colors, since any other application may change the system colors at any moment.
Returns TEXT string width if it would be drawn using currently selected font.
If ADD_OVERHANG is 1, the first character's absolute A value and the last character's absolute C value are added to the string if they are negative.
See more on ABC values at "Font ABC metrics".
Context used: font
Returns TEXT string extensions if it would be drawn using currently selected font.
The result is an anonymous array of 5 points ( 5 integer pairs in (X,Y) format). These 5 points are offsets for the following string extents, given the string is plotted at (0,0):
1: start of string at ascent line ( top left )
2: start of string at descent line ( bottom left )
3: end of string at ascent line ( top right )
4: end of string at descent line ( bottom right )
5: concatenation point
The concatenation point coordinates (XC,YC) are coordinated passed to consequent text_out() call so the conjoint string would plot as if it was a part of TEXT. Depending on the value of the textOutBaseline
property, the concatenation point is located either on the baseline or on the descent line.
Context used: font, textOutBaseline
Renders cubic spline from set of VERTICES to a polyline with given precision. The method can be called as static, i.e. with no object initialized. PRECISION integer, if not given, is read from splinePrecision
property if the method was called on an alive object; in case of static call, default value 24 is used.
The method is internally used by spline
and fill_spline
, and is provided for cases when these are insufficient.
Breaks TEXT string in chunks that would fit into WIDTH pixels wide box.
The break algorithm and its result are governed by OPTIONS integer value which is a combination of tw::
Use 'hot key' semantics, when a character preceded by ~ has special meaning - it gets underlined. If this bit is set, the first tilde character used as an escapement is not calculated, and never appeared in the result apart from the escaped character.
In addition to tw::CalcMnemonic, removes '~' character from the resulting chunks.
If set, calculates a tab ('\t') character as TAB_INDENT times space characters.
If set, expands tab ('\t') character as TAB_INDENT times space characters.
Defines procedure behavior when the text cannot be fit in WIDTH, does not affect anything otherwise.
If set, returns an empty array. If unset, returns a text broken by minimum number of characters per chunk. In the latter case, the width of the resulting text blocks will exceed WIDTH.
Forces new chunk after a newline character ('\n') is met. If UTF8 text is passed, unicode line break characters 0x2028
and 0x2029
produce same effect as the newline character.
Forces new chunk after a space character (' ') or a tab character ('\t') are met.
Defines the result of text_wrap() function.
If set, the array consists of integer pairs, each consists of a text offset within TEXT and a its length.
If unset, the resulting array consists from text chunks.
Equals to 0, is a mnemonic to an unset tw::ReturnChunks.
If unset, the TEXT breaks as soon as the chunk width exceeds WIDTH. If set, tries to keep words in TEXT so they do not appear in two chunks, e.g. breaks TEXT by words, not by characters.
If set, text_wrap
proceeds until the first line is wrapped, either by width or ( if specified ) by break characters. Returns length of the resulting line. Used for efficiency when the reverse function to get_text_width
is needed.
If OPTIONS has tw::CalcMnemonic or tw::CollapseTilde bits set, then the last scalar in the array result is a special hash reference. The hash contains extra information regarding the 'hot key' underline position - it is assumed that '~' - escapement denotes an underlined character. The hash contains the following keys:
Chunk index that contains the escaped character. Set to undef if no ~ - escapement was found. The other hash information is not relevant in this case.
Horizontal offset of a beginning of the line that underlines the escaped character.
Horizontal offset of an end of the line that underlines the escaped character.
The escaped character.
Context used: font
Dmitry Karasik, <firstname.lastname@example.com>.


text:
It's the hottest "hot topic" in America at the moment, so it was inevitable that the ladies of "The View" would take up the subject of Lance Armstrong and his interview with Oprah Winfrey.
Tuesday on the ABC mid-morning talk show, the co-hosts framed the national conversation about the interview around a couple of key questions — and, in the process, gave kudos to Oprah for getting the interview everybody wanted.
"I just want to say one thing — good for Oprah!" declared Barbara Walters (sounding magnanimous, even though we all know she'd have given her right arm to get the Armstrong interview first). "She got an interview that everyone wanted," said Walters, who then read some of statements Oprah made about the interview Tuesday morning on "CBS This Morning."
"Now she said 'he didn't come clean in the manner I expected' and then she said 'I was satisfied by the answers'," Walters said, after Whoopi Goldberg raised the subject during the "Hot Topics" segment on "The View." "But what ever it is, the question is: He cost a lot of people money [and] he cost a lot of people their chance of achievement on their own. Is the fact that he also did so much for cancer, does that mitigate against this?"
The topic of conversation, of course, is the two-and-a-half hour interview Winfrey conducted with Armstrong Monday in Austin, Texas, that will air in two parts on Oprah's OWN cable channel — Thursday night (Jan. 17) at 9/8c (running 90 minutes), and Friday night (Jan. 18), also at 9/8c (60 minutes). In the interview, Armstrong is expected to tell all about his use of performance-enhancing drugs during his career as a world champion bicycle champion. The admission will reverse years of interviews and public statements in which Armstrong repeatedly denied he used the performance-enhancers.
"I don't know," said Goldberg. "I feel like what he did for cancer he did for cancer. [It] has nothing to do with [the doping scandal]. They are two separate things."
"I think karma's a 'b'," said Sheri Shepherd, tastefully refraining from uttering the full b-word on TV. "When anyone accused Lance Armstrong of doping, he came at them very harsh [and] very critically. [Now] those same people that you came down hard on are coming back at you. They want their money!"
We assume Oprah asked Lance all about the ramifications of his admission — financial and otherwise — in their interview.
What else did the "View" ladies say about Armstrong? Watch the clip above to find out.

subset: commoncrawl


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Product Description:TIFOSI™ WISP™ POLARIZED :: Whether you're hitting the road or cruising the beach, you want shades that suit your style. The Tifosi™ Wisp™ Polarized sunglass performs as good as it looks. Change out lenses to match today's play. Get less distortion and more fun with shatterproof polycarbonate lenses and sharp peripheral vision plus 100% protection from harmful UVA/UVB rays, bugs, rocks or whatever comes your way. Remove and replace lenses quick and easy. Adjust the rubber nose pad and temple for ideal comfort. Excellent ventilation keeps air moving and prevents fogging. A great fit for women. Features & Benefits:
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Comments about Tifosi Wisp Polarized Sunglasses: I hadn't been able to try on any newer styles of Tifosi sunglasses but was very satisfied with an old pair of Envy sunglasses I used for running for about a decade. When I lost a nose piece from it and couldn't find a replacement, I ordered this style along with the Seek, thinking one of the two would be suitable for an average female face. The Seek fit and looked fine while the Wisp is appropriately named for a youth or a small, elfin faced woman. I returned it.
Displaying review 1 Your Help Is HereShop with confidence knowing your team of Fit Experts is waiting to answer all your questions. You can always find your perfect product and your perfect fit. Your Road Runner Sports Fit Experts will make sure you get exactly what you want and have tons of fun in the process! Give us a call, chat, or email! Call 800-743-3206 to
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Confronted with orbiting junk again, NASA ordered the astronauts aboard the linked space station and shuttle Discovery to move out of the way of a piece of debris Sunday.
TV News LIES
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There is blood on your hands!
1/2 the Story = 1 Complete Lie.
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All Posts Tagged Tag: 'chocolate frogs'
Swiss Chocolate Frogs
I'm having trouble forgiving American chocolate makers for not taking chocolate to the sensory peaks I have experienced in Switzerland. Yes, I know most cows in the US don't get to eat wildflowers all day in Alpine splendor. I also know we don't have the …
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Kyle Lewis Purdom will celebrate his 4th birthday Aug. 7, 2012. He is the son of Kevin and Amy Purdom of Bradfordsville. Grandparents are Porter and Gloria Bright and Tony and Charlotte Purdom, all of Bradfordsville. He has one brother, Wesley.
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After ablative laser resurfacing, your skin might stay red or pink for up to several months. However, once the treatment area begins to heal, you'll notice an immediate difference in your skin quality and appearance. The effects can last for years.
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Formed in 1680 to manage British fur-trade interests in North America, Canada's Hudson's Bay hbc.t 2.5365853658536586% Hudson's Bay Co. Canada: Toronto CAD10.51 0.26 2.5365853658536586% /Date(1490888616000-0500)/ Volume (Delayed 15m) : 174764 P/E Ratio N/A Market Cap 1867826801.30005 Dividend Yield 1.9029495718363463% Rev. per Employee N/A More quote details and news » has a rich history on which to draw. Originally housed in forts near the bay, the retailer's outposts have been selling one of its customer favorites—tricolor blankets—for two centuries. Investors don't have nearly the same loyalty.
Local investors are understandably skeptical about Hudson's Bay and other Canadian retailers. Department-store giant T. Eaton & Co. went public in 1998, only to file for "creditor protection" 15 months later. The real-estate machinations of Hudson's Bay's previous owner, the late Jerry Zucker—who sold its profitable credit-card operation to fund his purchase and then allowed its stores and management to deteriorate—left a bad taste. The most recent owner is from a prominent real-estate family in the U.S., which tends to raise investors' suspicions.
So it wasn't too surprising that when Hudson's Bay came public last month at 17 Canadian dollars ($17.27), the shares already were marked down by 15% from the original asking price of C$20. The stock (ticker: HBC.Canada) quickly settled afterward at C$16.75. Kathleen Wong, an analyst at Toronto-based Veritas, doesn't think that's cheap enough and has a C$12 target price.
That seems too negative, based on Hudson's Bay's recent successes.
Courtesy of Hudson's Bay Company
The retailer entered a new era in 2007 when a private-equity partnership bought it for C$1.1 billion. The partners' fund was spearheaded by Richard A. Baker, whose father, Robert, owns one of the biggest shopping-mall developers in the world and serves as chief executive of the fund.
The department-store company they created today generates about C$4 billion in annual revenue, gathered from operating about 25 million square feet of store space under three banners—the Hudson's Bay Company (also known as The Bay), with 90 Canadian stores; Home Outfitters, a bed and bath superstore with 69 locations in Canada; and U.S.-based Lord & Taylor and its 48 stores, which the firm purchased in 2006.
The younger Baker, who now heads the retailer, also can use Lord & Taylor as a guide. On a recent tour of the chain's famous Fifth Avenue flagship in Manhattan, he explained that Lord & Taylor has expanded its portfolio of designer brands and upgraded its technology to track everything from women's shoes to men's fashion to help drive sales. Despite a lot of initial skepticism from rivals, Lord & Taylor sales have grown to $210 per square foot in 2011, up 20% from $175 per square foot in fiscal 2009 (Lord & Taylor figures are in U.S. dollars). Adjusting for the roughly $20 million negative effect of Hurricane Sandy, Lord & Taylor's same-store sales would have jumped 3.7% in November.
"Rather than dealing in real estate and pricing his way out, Baker repositioned Lord & Taylor in New York, working with the brands to create a whole new retail environment," says Vince Camuto, a fashion designer for shoes and clothes.
Baker is trying to get similar momentum from Hudson's Bay. He hired Bonnie Brooks, a former merchandising chief at Canada's higher-end Holt Renfrew chain to restore the Bay's fashion sense and replaced management. It's refurbishing anchor stores and working more closely with important brands like Michael Kors and Burberry.
"We have world-class management people in every chair, the right vendor mix, and capital expenditure necessary to raise our sales per square foot," Baker says. The new executive team has a 14.6% equity stake.
What's intriguing is that the bar isn't set too high for Hudson's Bay to succeed. "We're not trying to invent anything new like J.C. Penney jcp 0.9016393442622951% J.C. Penney Co. Inc. U.S.: NYSE USD6.155 0.055 0.9016393442622951% /Date(1490889527940-0500)/ Volume (Delayed 15m) : 3705642 P/E Ratio N/A Market Cap 1882575797.59417 Dividend Yield N/A Rev. per Employee 118368 More quote details and news » (JCP)," says Michael Culhane, chief financial officer of Hudson's Bay. At major department stores, sales average $240 per square foot, but Hudson's Bay's averages a measly $137 a square foot. The Canadian chain's three-to-five-year goal is $178 a square foot. "It's about using the existing space more productively," says Culhane.
The far-flung regional outposts remain the biggest worry to specialists like John Andrew, real-estate professor at Queen's University, in Kingston, Ontario. "Nobody goes to the centers in Kingston and Ottawa," he says. "You almost can't believe they're in the same franchise" as the more urbane stores in Montreal and Toronto, he says. Baker insists significant changes are being made at these stores.
It's also facing new competition from Target TGT 0.4442429737080689% Target Corp. U.S.: NYSE USD55.395 0.245 0.4442429737080689% /Date(1490889528167-0500)/ Volume (Delayed 15m) : 1195394 P/E Ratio 11.677966101694915 Market Cap 30480026420.0973 Dividend Yield 4.354136429608127% Rev. per Employee 215155 More quote details and news » (TGT) and Nordstrom JWN 0.587979094076655% Nordstrom Inc. U.S.: NYSE USD46.19 0.27 0.587979094076655% /Date(1490889527008-0500)/ Volume (Delayed 15m) : 423600 P/E Ratio 22.701092353525322 Market Cap 7661797519.19373 Dividend Yield 3.237095363079615% Rev. per Employee 203545 More quote details and news » (JWN).
At C$16.75, Hudson's Bay is valued at 6.9 times enterprise value—market value plus net debt—divided by management's 2013 estimate of C$451 million in earnings before interest, taxes, depreciation, and amortization. That's near the top end of the roughly five to seven times that comparable retailers get. But for each 5% annual gain in revenue per square foot, annual cash flows are estimated to grow by 10%. Based on the 6.9 multiple, with net debt unchanged, the stock would be worth more than C$20. The company has also instituted a C36 cent dividend, for a yield of 2.2%.
Baker does have a real-estate card to play. He could create a real-estate investment trust that would cash in on the structure's recent popularity. Just a couple weeks ago, Loblaw l.t 1.0899283920766298% Loblaw Cos. Ltd. U.S.: OTC USD54.351 0.586 1.0899283920766298% /Date(1490393999000-0500)/ Volume (Delayed 15m) : 90 P/E Ratio 30.044776119402986 Market Cap 21666731190.113 Dividend Yield 1.4600650507695756% Rev. per Employee 179536 More quote details and news » (L.Canada), the big Canadian grocery chain, announced it would create a REIT in 2013, sending its shares 24% higher. Baker concedes his interest but says it's years away if it does occur. Hudson's Bay stock could be worth as much as an extra $8 a share, by Wong's reckoning, if it followed the Loblaws model.
That's a nice kicker for shareholders, but we'd prefer to see some fundamental gains at the northern outposts first.
E-mail: firstname.lastname@example.com


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Teaching & Learning with Monarch Butterflies |Burlington, ON
July 19 & 20, 2016
Royal Botanical Gardens, Burlington, ON
About This Workshop
The Monarch Teacher Network of Canada is thrilled to partner with the Royal Botanical Gardens and the Halton Catholic District School Board to bring our flagship workshop, Teaching & Learning with Monarch Butterflies, to the beautiful Royal Botanical Gardens in Burlington, ON. Royal Botanical Gardens (RBG) is the largest botanical garden in Canada, a National Historic Site, and registered charitable organization with a mandate to bring together people, plants and nature.
Location: Royal Botanical Gardens Centre
680 Plains Rd. W, Burlington, ON L7T 4H4
The two-day registration fee is $140 + HST, and includes:
- Hands-on instruction, guidance and support from our expert teacher network
- Comprehensive teacher's guide with curriculum-linked learning activities
- Materials and additional teaching resources to bring Monarchs into your classroom/teaching environment
- Snacks and a light lunch on both workshop days
Click here to see a sample workshop schedule
To register, please click here.
Thank you to our Local Sponsors!


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Have you ever gone to Disneyland and seen all the families that go in matching homemade t-shirts and mickey ears? We were so that family this summer, except with a twist! Substitute the matching homemade t-shirts for printable temporary tattoos.
My brother designed this image special for our trip, isn't it so cute?
Creating your own temporary tattoos is made easy using your home printer and Silhouette's tattoo paper. I printed my brother's design on my home printer, then cut it out on the silhouette. It applies to your skin the same way as temporary tattoos that you buy at the store, and it washes off easily with soap and water. Now you can make personalized skin art for any vacation, birthday party, summer camps or holiday fun!
This month's Silhouette promotion is on the specialty media sheets (magnetic sheets, printable temporary tattoo paper, printable cotton canvas, etc). Today through October 24th you can get in on the following deals:
I have never seen the specialty media packets this cheap before! You can choose from a bundle:


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A hash value is a long string of characters that represents your account. This provides security for the data due to the hash values being randomly generated. They are a one-way trip: the original data can't be recreated or decrypted from the hash value. This is all encrypted for additional safety.
If you wish to contact someone for support, please consult either your invitation email or the "Support" section in your Universal Health Record as each medical facility may request that you contact them differently with questions about your information.


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We have all gone BANANAS over this new take on a nautical wedding. Seen through the lens of Jonathan Hanson for Readyluck, we're loving the classic wedding mixed with the perfect blend of seafaring deets to make it more than worthy of it's waterside locale. Something totally new for this water-loving blogger to obsess over.
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Release Date: 2012 | Tracklist
LudditeStereo (4)At its hollow core, Coexist is an album about two people who seemingly no longer can....EoinMcKenzie (2)Becoming more understated and quiet doesn't help The xx this time around....Grant Thomas (3)Minimizing the minimal....GiantMan (4.5)The XX take on the club scene and make it their own....
Robbie Byrne (2.5)Copy and paste formula fails to enthral as much as its predecessor....Andru Okenuf (2.5)Though the XX have become better and more well-rounded musicians, they've lost much of t...
Album Rating: 4.0Came out a while ago but whatever "Angels": http://www.youtube.com/watch?v=_nW5AF0m9Zw "Missing": http://www.youtube.com/watch?v=S-tXTjaP99Y "Unfold": http://www.youtube.com/watch?v=2O89SBU4ZRs
Digging: BUCK-TICK - Darker Than Darkness (Style 93)
album was terrible
Album Rating: 4.0Nope Took about 6 or 7 listens to click though
Eh, that's just it for me Like, if it doesn't click on the first listen (a lot of albums don't unless they are extremely catchy), then i'll just give it like a 2.5 or 2 Happened to me with this album, but I suppose I might give it another listen here shortly
Album Rating: 3.5This album is awesome. Great review. I'd pos this if I could find the button...
Thought this was crap
Digging: Heather B. - Takin' Mine
Album Rating: 4.5I completely agree with this review.
Isn't this one of those overhyped NME bands
Digging: bansheebeat - Techo Deluxe
Album Rating: 4.0 | Sound OffOne of my favorite albums of last year. "Missing" is fucking spectacular.
Album Rating: 2.5no trebor incorrect
Album Rating: 3.5 | Sound OffYeah, it took a good few listens for it to click with me, too.
Album Rating: 4.0I probably wouldn't have given this so many chances had I not felt there was something more to get. I probably would have rated a 2 based off my first three listens but even then I kinda saw what they were getting at here
must've stayed up all night thinking of that summary lol
Digging: Stolas - Stolas
Album Rating: 4.0I'm awful at summaries
oh btw i always wondered, how do you pronounce this bands name?
Album Rating: 4.0I thought it was "the ecks ecks"
Album Rating: 3.5They should put a sticker: "headphones required" on this album. Just not the same in any other environment.
yeah fish thats wat i thought just checking lol
Album Rating: 4.0I had so much to say about this so apologies if the review is a bit wordy. Was a pain to write
yeaaaa this was a sophomore slump. incredibly boring compared to the debut.
Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


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By PR Newswire | Article Rating: |
November 28, 2012 02:35 AM EST | Reads: |
485 |
PARIS, November 28, 2012 /PRNewswire/ --
The Supervisory Board of Publicis Groupe [EURONEXT Paris: FR0000130577] chaired by Elisabeth Badinter met on November 27, 2012. The Board examined the Groupe's third quarter numbers (revenues were already published) as well as October financial statements and found them satisfactory. The Board noted the work underway for the closing of the year 2012, and that the 2013 budget was still a work in progress.
The Supervisory Board also decided to submit to the Extraordinary General Assembly of shareholders, which will take place in the first half of 2013, a proposal to modify the bylaws, in order to reduce the duration of the mandates of members of the Supervisory Board to four years. Shareholders will additionally be consulted regarding the remuneration of the principal directors, as previously done, to everyone's satisfaction, regarding the deferred compensation of the CEO and Chair of the Management Board. The Groupe's dividend policy will evolve progressively in order to gradually raise over the coming years the pay-out ratio to a level closer to the industry average of roughly 35%, with due regard to investment programs and the economic and social situation.
Finally, the Board wished to express its unanimous and enthusiastic thanks to Jack Klues, who has decided to end his service to the Groupe at the end of 2012, placing his mandates as a member of the Management Board and Chief Executive Officer of VivaKi at the disposal of the Supervisory Board. The Board accepted with regret his request to retire, and thanked him for his strong commitment and contribution to the Groupe's success. Elisabeth Badinter spoke warmly of Mr. Klues' personal and professional qualities and his unsparing efforts to make the media and digital transformation of Publicis Groupe a complete success.
Mr. Klues' departure from the Management Board will take effect on December 31, 2012. However, at the request of Maurice Lévy, Mr. Klues will remain within the Groupe for the first half of 2013 in order to help the transition of the re-organization of VivaKi and position it as a business unit open to the market, as was announced in early November.
"Jack has been a driving force ever since he joined our Groupe, and we're all familiar with his success," said Maurice Lévy, Chairman and CEO of Publicis Groupe. "I've been able to build a relationship of trust and friendship with Jack, and together we have worked closely to develop VivaKi. Thanks to Jack's vision of our profession and his tireless work, Publicis Groupe's media offering and digital production have risen to the highest ranks in the world. For 35 consecutive years, he has met multiple challenges and contributed to many successes - first with Leo Burnett, then with Bcom3 and within Publicis Groupe - and I am grateful to Jack for his contribution to the transformation of our Groupe. I'd like to extend to him my warmest thanks. He's leaving us an operation that is extremely well-organized, with effective tools and very talented management teams."
About Publicis Groupe
Publicis Groupe [Euronext Paris FR0000130577, part of the CAC 40 index] is the third largest communications group in the world, offering the full range of services and skills: digital (Digitas, Razorfish, Rosetta, VivaKi), traditional advertising (BBH, Leo Burnett, Publicis Worldwide, Saatchi & Saatchi), public affairs and events (MSLGROUP), media buying (Starcom MediaVest Group and ZenithOptimedia) and specialized communication with PHCG (Publicis Healthcare Communications Group). Present in 104 countries, the Groupe employs 56,000 professionals.
http://www.publicisgroupe.com | Twitter:@PublicisGroupe | Facebook: http://www.facebook.com/publicisgroupe
Viva la Difference !
Publicis Groupe
Peggy Nahmany
Corporate Communication
Martine Hue
Investor Relations
Stéphanie Atellian
Investor Relations
SOURCE Publicis Groupe
Published November 28, 2012 Reads 485
Copyright © 2012 SYS-CON Media, Inc. — All Rights Reserved.
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Alessio d'Arielli
I am in everything you see in my pictures, I am color, I am light, I am shadows, I am.
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Thank goodness they are all really good friends, otherwise this would make for a REALLY awkward commercial, right? It looks like actors George Clooney and Cindy Crawford along with their significant others Stacy Kiebler and Randy Gerber are trying to send out the message for us to drink responsibly before the unthinkable happens, meaning everyone ends up in bed with each other, LOL.
In a new commercial for Casamigos Tequila, things get really awkward and that's just the beginning of it. Take a look at our video below and let us know what you think.


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Top Definition
Someone who can't make or keep their own friends for very long, and therefore rely on taking friends from the only people they know and making connections with them before taking out the person who introduced them in the first place.
When your cousin/sibling becomes a friend sponge and soaks up your friends like they've known each other for years when you only introduced them at that party last Saturday.
by theduckie13
January 11, 2010
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Electrical Engineer ( Fresher)
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urgent hiring for fresher sal- 10k to 12k location- Rudrapur
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Category Archives: Devotions
The Value of Blessed Candles
Blessed Candles are sacramentals. This means that Holy Church by her prayers and blessings makes them sacred articles, which, when used with respect and great faith, bestow countless blessings and graces on all.
On February second, which we call Candlemas, the Church blesses wax candles in a most solemn ceremony. On this day, we honor the Divine Child Jesus as a Light to illumine the Gen¬tiles. At the blessing, on this day, the priest pronounces five beautiful prayers. In the first prayer, he ad¬dresses Almighty God as follows: "0 holy Lord, Father Almighty, Eternal God, we humbly beseech Thee that Thou wouldst vouchsafe to bless and to sanctify these candles for the service of men, and for the health of bodies and souls, be they on land or water, and wouldst hear from Thy holy heaven, from the Throne of Thy Majesty, the voice of this Thy people, who desire reverently to bear them in their hands and to praise Thee in song: and wouldst- show mercy to all that call upon Thee."
In this blessing, the effects of the blessed candles are briefly stated. The other prayers continue to explain these effects.
If, during the year, the priest is asked to bless candles, he uses the fol¬lowing prayer: "0 Lord Jesus Christ, Son of the Living God, we implore Thee to bless these candles, and through the power of the holy Cross, to bestow upon them Thy heavenly benediction, who has given them to mankind to dispel darkness and may they, through the sign of the holy Cross, obtain such blessing that wherever they may be lighted or wherever they be placed the powers of darkness may vanish, trembling and affrighted, with all their aids and accomplices, and be driven from these dwellings, and never again dare disquiet or molest them that serve Thee, Almighty God."
The above proves to us what rich blessings we derive through the merits of Jesus Christ when we use the blessed candles in a spirit of faith. When we do not make frequent use of blessed candles we lose precious graces.
When and why we should use Blessed Candles
Holy Church prescribes blessed candles to be used at every Holy Mass—in conferring all the Sacraments—in public processions—at Benediction of the Most Blessed Sacrament—in all solemn functions and around the dead.
The Faithful should make use of them
1. In times of sickness or plague.
2. When storms are raging, on land or sea.
3. In seasons of drought or excessive rains.
4. Every day, at least for a short period, to ask God's protection in the home and on members of the family.
5. To prevent discord, hatred and ill-will.
6. In times of doubt, distress and anxiety.
7. When a child is born.
8. When in danger from fire or flood.
9. In times of persecution.
10. Burning constantly at the bed¬side of the dying.
11. For the relief of the Souls in Purgatory.
Vincent Taylor, O.S.B.
Abbot Nullius of
Belmont Abbey.
Story of the Miraculous Medal
The Medal of the Immaculate Conception — popularly known as the Miraculous Medal — was designed by the Blessed Virgin herself! No wonder, then that it wins such extraordinary graces for those who wear it and pray for Mary's intercession and help.
The First Apparition
The story begins on the night of July 18-19, 1830. A child (perhaps her guardian angel) awakened Sister (now Saint) Catherine Labouré, a novice in the community of the Daughters of Charity in Paris, and summoned her to the chapel. There she met with the Virgin Mary and spoke with her for several hours. During the conversation Mary said to her, "My child, I am going to give you a mission."
The Second Apparition
Mary gave her this mission in a vision during evening meditation on November 27, 1830. She saw Mary standing on what seemed to be half a globe and holding a golden globe in her hands as if offering it to heaven. On the globe was the word "France," and our Lady explained that the globe represented the whole world, but especially France. The times were difficult in France then, especially for the poor who were unemployed and often refugees from the many wars of the time. France was first to experience many of those troubles which ultimately reached many other parts of the world and are even present today. Streaming from rings on Mary's fingers as she held the globe were many rays of light. Mary explained that the rays symbolize the graces she obtains for those who ask for them. However, some of the gems on the rings were dark, and Mary explained that the rays and graces were available but did not come because no one had asked for them.
The Third Apparition and the Miraculous Medal
The vision then changed to show our Lady standing on a globe with her arms now outstretched and with the dazzling rays of light still streaming from her fingers. Framing the figure was an inscription: O Mary, conceived without sin, pray for us who have recourse to thee.
The Meaning of the Front Side of the Miraculous Medal
Mary is standing upon a globe, crushing the head of a serpent beneath her foot. She stands upon the globe, as the Queen of Heaven and Earth. Her feet crush the serpent to proclaim Satan and all his followers are helpless before her (Gn 3:15). The year of 1830 on the Miraculous Medal is the year the Blessed Mother gave the design of the Miraculous Medal to Saint Catherine Labouré. The reference to Mary conceived without sin supports the dogma of the Immaculate Conception of Mary—not to be confused with the virgin birth of Jesus, and referring to Mary's sinlessness, "full of grace" and "blessed among women" (Luke 1:28)—that was proclaimed 24 years later in 1854.
The vision turned and showed the design of the reverse side of the medal. Twelve stars encircled a large "M" from which arose a cross. Below are two hearts with flames arising from them. One heart is encircled in thorns and the other is pierced by a sword.
The Meaning of the Back Side of the Miraculous Medal
The twelve stars can refer to the Apostles, who represent the entire Church as it surrounds Mary. They also recall the vision of Saint John, writer of the Book of Revelation (12:1), in which "a great sign appeared in heaven, a woman clothed with the sun, and the moon under her feet, and on her head a crown of 12 stars." The cross can symbolize Christ and our redemption, with the bar under the cross a sign of the earth. The "M" stands for Mary, and the interleaving of her initial and the cross shows Mary's close involvement with Jesus and our world. In this we see Mary's part in our salvation and her role as mother of the Church. The two hearts represent the love of Jesus and Mary for us. (See also Lk 2:35).
Then Mary spoke to Catherine: "Have a medal struck upon this model. Those who wear it will receive great graces, especially if they wear it around the neck." Catherine explained the entire series of apparitions to her confessor, and she worked through him to carry out Mary's instructions. She did not reveal that she received the Medal until soon before her death 47 years later.
With approval of the Church, the first Medals were made in 1832 and were distributed in Paris. Almost immediately the blessings that Mary had promised began to shower down on those who wore her Medal. The devotion spread like wildfire. Marvels of grace and health, peace and prosperity, following in its wake. Before long people were calling it the "Miraculous" Medal. And in 1836, a Canonical inquiry undertaken at Paris declared the apparitions to be genuine.
There is no superstition, nothing of magic, connected with the Miraculous Medal. The Miraculous Medal is not a "good-luck charm". Rather, it is a great testimony to faith and the power of trusting prayer. Its greatest miracles are those of patience, forgiveness, repentance, and faith. God uses a Medal, not as a sacrament, but as an agent, an instrument, in bringing to pass certain marvelous results. "The weak things of this earth hath God chosen to confound the strong."


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75gmck25 |
If you replace all the common wear items it will take a lot of the "wander" out of the steering. You can adjust the steering box to take out a little of the play, but don't get carried away. If you get it too tight it will start to bind. There is an adjusting screw with a lock nut on it, right on top of the steering box. I would also replace the drag link (or inner tie rod), and possibly both outer tie rods. However, the side with the longer outer tie rod is quite expensive because you can't just replace the ends. There should also be a steering stabilizer (looks like a shock) that runs from left to right and connects to the steering. Bruce |
Exempt | so.. I did buy the blazer and it is a 80 not 83... so yeah whoever said it looked older was right. Fun ride, will be better once I replace the steering box though. No cracks on the frame or crack fixes from what I can tell and everything seems to be running good for now. |
joe_padavano | Sorry, but that is not correct. The NP205 was used in the 1-ton trucks through the 1991 model year (in the old body style trucks). They were used with ALL transmissions, including the 4L80E in the 1991 model year only (now THAT'S a rare combination, since it was only used in the crewcabs and possibly 3/4 ton Suburbans). |
Exempt | There is very little rust on it.. non that is causing holes a such. I probably will get the under side sprayed with something or at least painted nicely. |
gearheadslife |
sorry no such thing as one of those rust free.. good luck with it.. if it is rust free and your gonna mud in it.. I'd coat the underside good |
Exempt | It's pretty much rust free and the tranny isn't the original it was the 700r4 that they replaced. The lift is a 6' spring lift. I'm paying 2k + a 03 kawasaki 800 classic bike for it(2500-3k value). |
gearheadslife |
bring a magnet, these rust.. if they had the 6.2ls when they build these.. |
kso |
Blazers make a nice beater. They are too wide, too heavy and too made-for-the-street to keep up with the Jeeps, but are a wonderful way to get into four-wheeling. Oh, and your milage will always suck bad. On the plus side, they are built like a tank...the frame under that thing is 3x the strength of a Wagoneer. If the steering box is ever breaking away as noted above, that's a weak point but an aftermarket bracket fixes it. The steering drag link is designed in line with the leaf spring...it takes a lot of lift before you get problems there so you're probably OK. If the steering isn't working right, it's likely something else. Blazers are nice handling trucks even with the short wheelbase, but all the front end parts incl. ball joints need to be in good condition. As for the steering box, those will normally go a long long ways and not need rebuilding so don't automatically be changing it. Be sure you know what the problem is before throwing money at it. Umm, on second thought, that lift does look a little excessive...maybe you're on your own there... The truck in the photo does not look like an '83...it has the old-style pre-80 front fenders. If it has a TH350, that would be the right trans for the era. Be happy, 'cause the early 700R4s are NOT reliable and you don't want one. Better to be without the overdrive, and have it work, "850hp" claims aside. Also if it's an earlier model it will have something like 3.73 gears with a Dana 44 front end...all good, never mind the mpg. '80s trucks used 10-bolt fronts with 2.73 (!) gears, way too tall for a 4x4 and didn't help the milage anyway. But...don't go jumping off of things with that Dana, it'll bend in the middle, one area it gives to the 10-bolt. You can truss it underneath with an aftermarket kit. If the 208 transfer case has been replaced with a gear-driven one (205), that's interesting and good, but unless you're some serious stuff, the 208 is enough. Old Blazers are their whole own thing. If you get it for a good price (don't go paying too much now) it'll be a blast. |
Exempt |
Oh yes I forgot the case was upgraded to a gear driven case. The transmission was built for a hotrod car my boss made a long while back... sold it to his son and he ended up getting the transmission completely rebuilt just before blowing the cars engine up.. it end up in the k5 and he sold that to one of my co workers who blew the engine up. My boss told him that the engine was upgraded because he'd just bought it from a guy who said it was upgraded aswell... turns out it was a lie when they got into the engine after it exploded so my boss bought him a new engine got everything mechined bored and a valve job of some kind... I'll get more details on it soon but the truck did drive decent side from the steering was loose(I'll check if it had the steering correction thing) but I plan to buy new steering box to get it driving somewhat better I guess. |
75gmck25 |
If its a TH350 then its probably not the original transmission. By '83 they had started using the 700R4 overdrive transmission. This means you also need to also look at the transfer case to see what you have. The most likely model is the New Process NP208, which is a medium duty chain driven case. The best would be the gear driven NP205, but this would be uncommon even as a swap. They were only used on older trucks, and often only with a 4 speed manual. The chain driven full time NP203 is also a possibility, but it was also only stock on older trucks. You may want to look at this link to see the differences Tucson Off-Road Forum • View topic - Transfercase Identification----CHEVY TECH . Based on the lift I would also try driving it over some rough bumps to see how bad the bump steer is. They should have installed a dropped pitman arm (like this one Offroad Design - Steering Correction) to keep the steering lined up with the axle, but some folks skip that step. It can make it very hard to keep on the road when you hit bumps. Another place to check is where the steering box is bolted to the frame. With big tires this is a high stress area and the frame may begin to crack. You can weld on or bolt in a reinforcement for the frame (like this one ORD Chevy GM Steering Box Brace and Bolt-in Frame Repair). These trucks are relatively cheap to keep up because they are built like a tank, and most of the drivetrain parts are identical to what was used on cars. You can almost always find parts in the junkyard, or at a reasonable price from an auto parts store. Their weak point is body rust, especially the lower sections of the cab and fenders. If you run it hard you are also going to break things, but that's also the case with a newer truck. Bruce |
Exempt |
Some questions about a 83 K5 Blazer. I've been thinking about buying/trading for a K5 blazer and I don't really know a whole lot about 4x4s. What would be some of the stuff I'd really need to look for on this thing to make sure it's got a good strong frame/suspension and stuff. The engine was completely rebuilt/mechined less then 400 miles ago, it's just a 350 with a upgrade comp cam and it's been bored out(I don't know much more about it). The tranny is a 350 turbo that was completely rebuilt aswell as upgraded with stuff I've no clue wth he was saying..lol...He said it'd hold up to around 850hp (The guy who told me this stuff is very trust worthy so it's no fib, he knows alot about the engine/tranny in the k5 but little about the rest). |


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Steven D. and Lisa A. Knutson to Norse Land Farm LLC.
Rhonda M. Bramblett to Troy M. Bramblett.
Delbert Burke, Donald Gaines, Sue Gaines and Kirby Burke to Tim and Stacy Hudnall, $149,475.20.
First Farmers Bank & Trust Co. to the City of Owenton, Kentucky, adjoining Kelly Court, $1.
Jack and Susan Carr to Jack and Susan Carr.
Steven W. and Karen M. Aulbach to William N. and Deborah G. Abbott, tract 31, Avary Woods Farm Division, $42,000.
Dolores Lawson to Ward Douglas Hensley, lot 37 and 38, Eagle Creek Subdivision, $15,000.
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I'm using 6.07 on Lion.
I'm trying to add an extra input to a jit.expr but its not having it.
The value in the inspector will change (to three) but there is no extra input. Tried it by adjusting values in the inspector, sending message or using attrui.
Is this a bug or am I misunderstanding what 'input' does?
****Edit**** just discovered @inputs 3 works, if there is no attrui connected.
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Fresh And Easy Coupons Printable
Fresh and Easy Coupons Printable 2013
2x Points Fresh And Easy Free Printable Coupon ( July-20-2014 )
Print and present coupon to receive 2x points coupon at Fresh and Easy Grocery stores. See coupon page for more details.
Weekly Fresh And Easy Free Printable Coupon ( Must Sign Up )
View Fresh & Easy Weekly Ads for savings, coupons, discounts, promotions, offers.
Fresh and Easy is a great grocery market in USA. Fresh and Easy, as its name, provide fresh products in easy way to buy. Well, experiencing the competition with other grocery markets, Fresh and Easy grows to be fabulous one stop shopping place for foods. They have principal to be a warm neighbor for everyone instead of a clumsy food store. The warm services and high quality-affordable foods become their priority in daily services.
To satisfy your hunger of receiving the best service, Fresh and Easy provides plenty best deals. As a good neighbor, Fresh and Easy presents some printable coupons for the offers. Fresh and Easy Coupons cover some challenging discounts and deals such as 10%-50% off for particular purchase, buy one get one free for selected products, and many more. You will not get disappointed with those discounts since the foods sold are wholesome and delicious. Moreover, the offers are always updated for your joy and satisfaction.
Taking reflection of customers' demands, Fresh and Easy spreads those coupons in some official websites. If you want to get some, please do not afraid to go to those websites. Find any other offers from Fresh and Easy neighborhood grocery market. Find the best wholesome and affordable foods there. Enjoy shopping and be healthy!


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Hanners Sledding Print (11x26)
$25.00 +Shipping Quantity in Basket:
Oh my goodness, look at Hanners go down that dang ol' hill on a dang ol' lunch tray, tryin' not to spill her dang ol' beer! Don't that look like just about the most fun a dude or lady could be having on a snowy night. Warning: drunken sledding WILL get you arrested (by polar bears).
Print Info: 26" x 11", printed on super-high quality semi-gloss photo paper. Printed here at TopatoCo using our own in-house, giclée printing process, for the best quality prints commercially available on Earth. CLICK HERE FOR SHIPPING INFO, INVENTORY LEVEL MEANINGS, SIZE CHARTS, and OTHER VARIOUS FACTS |
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Sometimes, Shepley's correspondents reported back to him that they had been promoted. This was especially true of officers Shepley had served with in the 12th Maine Infantry Regiment.
Surgeon James H. Thompson of the 12th Maine wrote about his promotion to Surgeon of Volunteers and his assignment at the Point Lookout, Maryland, prisoner of war camp, where he was chief medical officer.
Thompson wrote that the camp held "only" 8,000 prisoners -- 1,000 having recently been exchanged for Union soldiers being held prisoner.
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Invaluable cannot guarantee the accuracy of translations through Google Translate and disclaims any responsibility for inaccurate translations.
Lot 278: OHIO LOG CABIN.
Gentleman's Auction: Sporting, Taxidermy & More
by Garth's Auctioneers & Appraisers
November 1, 2013
Delaware, OH, USA
Live Auction
American, 19th century. Originally constructed in northeast Ohio. Traditional log and chink construction with typical stone-ended chimney, interior featuring one room with sleeping loft above and walk-out basement below. Raised on a masonry foundation. Approximately 13'w. 13'l.
Please note: buyer must remove cabin from existing location within 30 days of sale. Buyer is responsible for filling-in land where cabin currently sits.
Condition Report:
Located in Gallipolis, Ohio.
We provide condition information when it is requested by a potential bidder, as a part of our dedication to excellent customer service. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, repairs, restorations or the effects of aging. Garth's Auctions shall have no responsibility for any error or omission regarding an item's condition. We encourage you to call or email with any questions. We also encourage you to come see us and preview the auction in-person. Thank you for your business.


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To the editor:
I would like to share a thought with my neighbors in Brunswick County. When you buy a car, it comes with many options to choose from, but one thing is not an option. It's that lever on the left side of the steering column, called a "turn signal."
Its use is required
by law in all states. It is not only a law, it is a safety issue, as well as a common courtesy. It really doesn't take much effort to push or pull that lever, and it does not matter if you are on U.S. 17, in a parking lot or turning into your driveway.
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Driver killed as two cars collide in Benniworth
- 1 November 2013
- From the section Lincolnshire
A motorist has been killed in a collision with another vehicle in Lincolnshire.
The crash between a Fiat Punto and a VW Passat happened on the B1225 at Benniworth at about 13:00 GMT. The driver of the Passat died at the scene.
A male passenger, 73, in the Punto was seriously injuries and was airlifted to hospital in Nottingham.
The 21-year-old female driver of the Punto has been treated for minor injuries.


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Armed man shot by police officer inside San Diego movie theater 10news.com 6:45 PM, Jan 12, 2013 9:46 PM, Jan 12, 2013 national Share Article Previous Next KGTV Copyright 2013 Scripps Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed. An armed man was shot by police in a San Diego movie theater. KGTV Copyright 2013 Scripps Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed. Show Caption Hide Caption Previous Next SAN DIEGO - A San Diego police officer shot and critically injured a man inside a movie theater in Carmel Mountain Ranch, north of San Diego. Officer David Stafford said police went to Reading Cinemas Carmel Mountain 12 in the 11000 block of Carmel Mountain Road in response to a domestic violence call Saturday afternoon. Stafford said the roughly 3:50 p.m. shooting occurred inside a theater. The officer was not hurt. According to a dispatcher with the San Diego Fire-Rescue Department, one person with a gunshot wound was transported to Palomar Medical Center. There is no word on the person's condition. U-T San Diego reports that witnesses were evacuated from the theater. The incident started as a domestic dispute between a man and his girlfriend shortly before 2 p.m. at a nearby Marie Callender's restaurant. The man -- who police say had a gun -- threatened witnesses who tried to interfere in the dispute. Witnesses then called police. The suspect was later located inside the movie theater, where he was confronted by police. Police said he was initially cooperative and put his hands up. However, according to police, he dropped his hand down and appeared to reach for the gun in his lap, prompting an officer to fire at least one shot. It was unclear where the man was hit. "We were in the movie theater, and the lights turned on and… two cops came through with their guns," said one movie theater patron. "Apparently the person they were looking for was in the theater and then gunshots started." Another added, "We all got on the floor and then started heading for the exits." Nick Anastasopoulos, who owns the Athens Market Café near the theater, told 10News, "Each of the movie theaters was closed down one by one. I was told that the screen was shut and the lights were turned on… Uniformed police officers with shotguns went into the theater looking for someone." No other injuries were reported. The suspect's girlfriend was unharmed. The theater remains closed Saturday evening while police conduct their investigation. There is no word on when it will reopen. Share Article A Share A A A Share Article