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last night i had a major poetic overload while listening to franz ferdinand. what can i say, those sexy boys inspire me.
today was the first day back at school. almost had a mental breakdown at lunch when i saw jared. for some reason...i wanted him. right there. he looked so...hot. ugh. i'm sick in the head.
other then that, not that much went on. just normal stuff i guess. i was way hyper though. probably due to lack of sleep. or something.
~Me~001. What is your name? Rachel Bernth002. Spell your name backwards. htnreb lehcar003. Date of birth: January 21, 1988004. Male or female? female005. Astrological sign: scorpio006. Nicknames: none007. Occupation: student008. Height: 5'4"009. Weight: 125010. Hair color: red012. Where were you born? detroit013. Where do you reside now? riverview014. Age: 17015. Screen names: TragicRedemption016. E-mail address: firstname.lastname@example.com. What does your screen name stand for? i don't know. i just like it.018. What is your woohu user name? what now?019. What does your Blurty user name stand for? i don't have one021. Number of candles you blew out on your last birthday cake? i dunno. i don't get birthday cake022. Piercings? ears023. Tattoo's? not currently024. Shoe size: 9025. Righty or lefty? right026. Wearing: hoodie and sweatpants027. Hearing: my brother's video game028. Feeling: bored029. Eating/drinking: nothing-=Friends Stuff=-Which one of your friends is the....030. Craziest? um...kayla or dave pierce031. Loudest? kayla032. Nicest? michelle033. Bitchiest? me034. Life of the party? holly035. Jock? ew.036. Prep? ew again037. Rebel? jared038. Cutest? wtf. i dunno.039. Best friend of the same sex? ash i suppose040. Best friend of the opposite sex? dave pierce041. Most popular? none of us are popular042. Rudest? me again043. Most shy? steph044. Dumbest? kayla045. Smartest? ash046. Weirdest? holly047. Has the best hair? uhm...048. Best personality? pfff...049. Most talented? holly050. Most ghetto? ghetto...lol051. Most spoiled? me052. Drama queen? me053. Pain in the ass? me054. Funniest? ash055. Best advice giver? ash056. Druggie? jared057. Most likely to join a cult? probably jared058. Have you lost touch with a good friend recently? not recently, no059. Person you've been friends with the longest? lisa060. How many friends do you have on your buddy list? 96~*Love/Kissing/And Other Stuff*~061. Have you ever been in love? yes062. How many people have you told "I love you"? a lot063. How many people have you been in love with? 3065. Have you ever kissed someone of the same sex? yes067. What do you look for in a guy/girl? someone who makes me feel completely safe068. What's the first thing you notice about the opposite sex? eyes069. What type of guy/girl do you usually go for? skinny pale, dark hair, light eyes, good personality, fun, easy to talk to070. Do you have a bf/gf? nope071. If so where did you meet them? n/a072. What do you like most about your bf/gf? n/a073. Do you have a crush right now? yes074. If so who is it? -the boy-075. Do you believe in love at first sight? yes076. Do you remember your first love? yes077. Who is the first person you kissed thats not your mom or dad? tom078. Do you believe in fate? yes079. Do you believe in soul mates? yes080. If so do you believe you'll ever find yours? yes~*Family Stuff*~104. How many siblings do you have? 1105. What are your parents names? al and sharon106. What are your siblings names? brandon107. How many siblings does your mother have? 4108. How many siblings does your father have? 2109. Where are your parents from? downriver...ish110. Is your family close? on my mom's side yes, at home and on my dad's side, no111. Does your family get together for holidays? yes112. Do you have a drunk uncle? no113. Any medical problems run through your family? probably114. Dos someone in your family wear a toupee? no115. Do you have any nieces or nephews? no116. Are your parents divorced? no117. Do you have step parents? n/a118. Has your family ever disowned another member of your family? yes119. If so for what? being homosexual120. Did some of your family come to America from another country? probably--121. What song perfectly describes you/your life? um...122. What's the most embarrasing cd you own? n/a123. What's the best cd you own? taking back sunday - where you want to be124. What song do you absolutely hate? i dunno125. Do you sing in the shower? all the time126. What song reminds you of that special someone? i dunno@Favorites@152. Color: pink153. Food: i dunno154. Song: this song has been brought to you by a falling bomb - thursday155. Show: eh...156. Subject: english157. Band/singer: taking back sunday, him, the used, or thursday158. Animal: kitty159. Outfit: um...pass160. Radio station: 89x161. Movie: dirty dancing...the original162. Shoes: converse163. Cartoon: pass164. Actor: johnny depp165. Actress: julia roberts166. Potato chip: salt and vinegar167. Drink: cherry coke168. Alcholic drink: don't drink169. Holiday: n/a170. Perfume/cologne: eh...pass171. Pizza topping: pineapple172. Jello flavor: strawberry173. Lunch meat: ew174. Board game: scrabble175. Video game: tetris!176. Website: this one177. Book: there's quite a few178. Computer game: sims2179. Number: 462572457180. Cereal: anything with those fun marshmellows181. Comedian: dane cook 182. Dessert: moose tracks ice cream183. Disney character: belle184. Clothing store: i dunno185. Past time: writing186. Teacher: collins...or kremkus187. Childhood toy: i don't know188. Carnival/Amusement Park game/ride: the raptor and ceder point189. Candy bar: hershey190. Magazine: ym191. Salad dressing: italian192. Thing to do on the weekend: nothing. like always193. Hot drink: coffee194. Season: fall195. Sport to watch: ick196. Person to talk to online: -the boy- or ricky~*Your Bedroom/Sleeping Habits*~197. What color are your sheets? tie die198. What color are your bedroom walls? um...white199. Do you have posters on your wall? yes200. If so of what? blink 182, all american rejects, the used, ville valo, happy bunny, bsb (on my door that i'm too lazy to get rid of), clay aiken, polo jeans model...and a bunch of mag pics201. Do you have a tv in your bedroom? yes202. How many pillows are on your bed? 2203. What do you normally sleep in? panties204. Describe your favorite pair of pajamas: i don't wear them205. What size bed do you have? twin206. Do you have a waterbed/bunkbed/daybed.? no207. Do you have your own phone line in your bedroom? yes, but it's broken208. Do you listen to music while trying to fall asleep? no209. Describe the last nightmare you had: i was being chased by the guy who owned a walgreens and he was trying to stab me210. Do you sleep with stuffed animals? sometimes211. How many people can comfortably sleep in your bed? just me212. Do you sleep in any unusual positions? yup213. Do you have to share your bedroom with a sibling? no214. Do you snore? no215. How about drool? sometimes216. Do you have an alarm clock in your room? yes217. What color is the carpet in your room? beige218. What's under your bed? shoe boxes full of stuff. two flutes and a piccolo, music stand, backpack full of crap, boardgames~*This or That*~219. Coke/Pepsi: coke220. Doughnuts/bagels: doughnuts221. Day/night: night222. Wicked witch of the east/wicked witch of the west: west223. Heaven/hell: neither224. Make love/have sex: love246. Pink/red: pink247. Colored pictures/black and white photos: black and white248. Meat/vegetables: veggies249. Mexican food/chinese food: chinese250. Commercials/infomercials: none251. Scary movies/comedies: comedies252. Bikinis/one piece bathing suits: bikinis253. Sandals/tennis shoes: sandals254. Dogs/cats: cats255. Unicorns/fairies: fairies256. Water/land: water257. Sugar/spice: sugar258. Black/white: white259. Ribbons/bows: ribbons260. Chicken/beef: chicken261. Colored christmas lights/regular white christmas lights: colored262. Cars/trucks: cars263. Austin Powers/James Bond: austin264. Popcorn/pretzels: popcorn265. Hip/hop: hop266. Passionate kiss/peck: passionate267. WWE wrestling/real wrestling: none268. Back rub/foot massage: none269. Picture frames/photo albums: frames270. Pens/pencils: pencils~*What Is Your Opinion Of The Following*~271. Eminem: he's a smart guy272. Virgins: innocent273. God: nope274. The Osbournes: funny275. Reality TV: sometimes entertaining276. J.Lo: ass277. Religion: excuse278. Emo music: yay!279. Valentine's Day: love280. Christina Aguilera's comeback: hah...when was that?281. Homosexuals: love em'282. Abortion: not cool for me283. Inter-racial relationships: love is love284. Murder: icky285. Death: crappy286. Obesity: bad for your health287. Pre-marital sex: eh..not sure288. Terrorism: sutpid289. Pornography: ew290. Fortune tellers: interesting291. Threesomes: i dunno292. Prostitution: sad293. Politics: i'm a liberal294. Country music: stupid295. George W. Bush: dumbest man who ever lived296. Cloning: depends on what kind. if it could help people, go ahead.297. Britney's boobs: fake298. Gas prices in America: Too high~*Name Game*~What Do You Think Of When You Hear These Common Names?...299. Jack: sparrow300. Tiffany: okay301. Ben: affleck302. Maria: idk303. Jennifer: garner304. Who have you known the longest of your friends?: lisa305. Are you close to any family member?: no306. Who do you hang around the most?: ashley, kayla307. When have you cried the most: wtf does this have to do with names?308. What's the best feeling in the world?: love309. Worst Feeling? broken heart310. What time is it now?: 5:35 p.m
( do this pleaseCollapse )
last night i went over to brandon's (home-schooled guy who lives on my street) to watch napoleon dynamite with rachel n. and lisa. it was...interesting. he played guitar for us and i saw that he has BOTH of the used's cd's and i don't. i must fix this.
then i came home and got online for a bit and decided to go to bed. i tried the whole sleeping thing for awhile, but that wasn't working out, and i had a lot on my mind, so i wrote a letter to ricky on some of my pretty stationary...problem is...i don't have his address. duher. i'll have to get it from him, because he really needs to read what i wrote to him.
then i popped in the first harry potter video because there was nothing on t.v to watch and slowly drifted off to sleep...only to dream that...
my mom had adopted a small baby boy and i was going out with -the boy-. we were to go to saidie's together and lucy told me to buy him a cake. so i bought him a large cake (there was something written on it, but i don't remember what) and as i was waiting for him to pick me up, roger taylor called me and informed me that he was to take me to -the boy's- work to meet him there. reluctantly i go with the flow and roger comes to get me. we go to where -the boy- works and we head off to saidie's after he plays me a song on his guitar. we get to saidie's and i give him the cake. he says he likes it. then suddenly he is gone. and jared is there. so i start kissing jared. jared and i share a slow dance and then i go off and run into sara sunday. sara and i start searching for -the boy- and we end up in this dark hallway where we can't see anything. then i'm back home with my new adopted sibling, and then back to saidie's with -the boy-. the two of us ended up in a red room and he was about to kiss me when mr. haut appeared and told us to get out. then i woke up.
itneresting, yes?
here's some lyrics i just wrote. tell me what you think.Shoot Our Love AwayOh, I was worth it once,But after the bitter breakups ended,We're left without our hearts defended,Looking past your cold gray eyes,I can see the image of your purposeful lies,And you left me here with my gun to shoot,Pointed in your direction (you didn't even know),All I had to do was pull the trigger,Let you fall in a puddle of your own blood.But I couldn't.No, I wouldn't.Wouldn't let you fall because I still love you.Somehow, someway,Your heart speaks to me today.And I can't let you go.No, I can't let you go.And oh, I was beautiful once,But after sleepless nights without happy endings,My eyes turned to stone and sleep is pending,In the distance, it's foggy now,I can't see your face, I'm lost in silence.Shoot, shoot the gun, let me go now.I know you want to.Let me run, far away from hereYou know I want to.But you couldn't.No, you wouldn't.Wouldn't let me run because you still love me.Somehow, someway,My heart spoke to you today.And you can't let me go.No, you can't let me go.Oh, we were lovers once.But we never understood our passion,We hated our own love, hated our own hearts.We found the guns in the closet, pointed them and said,"If I can't have you, you can't have anyone else."But we couldn't,No we wouldn't,Wouldn't let us fall because we still had our love,Somehow, someway,Our hearts spoke to us today,And I can't let you go,No, you can't let me go.
so this is how my new year went. i watched the big ball drop on my small t.v in the comfort of my own bed in my comfy sweats. by myself. that was it. then i listened to taking back sunday and went to sleep. because i have no life.
so happy new year everyone. good wishes and all that shit.
um...i cleaned my room today. like not the normal just straightening up a bit, but the whole reorginize and vacuum thing. it's all clean now. so that's good i suppose.
so yeah. i just got imed by a random person who likes my poems. that's always fun.
somebody should take me out and make me all happy. that would be cool.


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subset: commoncrawl


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Contacts: Office of the Governor: Brian Coy, 804-225-4260, firstname.lastname@example.com | Virginia Economic Development Partnership: Suzanne Clark, (804) 545-5806, firstname.lastname@example.com | Atlantic Core Building Products, Ryan Smith, 757-351-1005, firstname.lastname@example.com
Governor McAuliffe Announces 50 New Jobs in the City of Chesapeake
~Atlantic Core Building Products to invest $3 million to establish manufacturing operation~
RICHMOND – Governor Terry McAuliffe announced today that Atlantic Core Building Products, a manufacturer of steel commercial construction materials, will invest $3 million to establish a manufacturing operation in the City of Chesapeake. Virginia successfully competed against North Carolina and South Carolina for the project, which will create 50 new jobs.
"We are proud to welcome another advanced manufacturing company to Virginia's roster as we focus on accelerating an industry that drives job creation," said Governor Terry McAuliffe. "With a top-notch workforce and close proximity to the Port of Virginia, the City of Chesapeake is an ideal home for Atlantic Core Building Products. We are looking forward to a successful partnership with the company as we continue to diversify and build the new Virginia economy."
"Atlantic Core Building Products joins nearly 6,000 manufacturing firms that operate in Virginia and generate more than $113 billion in direct annual economic output," said Secretary of Commerce and Trade Todd Haymore. "Chesapeake is a prime location to reach the company's expanding customer base and offers a talented and dedicated workforce, both of which will help fuel the company's success."
Atlantic Core Building Products is an innovative manufacturer of cold-formed steel framing, finishing, and polyvinyl chloride (PVC) accessories for commercial and residential buildings. At the company's new Chesapeake facility, Atlantic Core will produce the industry's most advanced stud and track systems including: AlphaSTUD™ Drywall Framing and patented CoreStud™ Structural Framing. In addition to metal products, Atlantic Core produces weather resistant vinyl (PVC) beads and trims for stucco, exterior insulation and finish systems (EIFS), and drywall finishing. Atlantic Core's products are used for installation in walls, ceilings, floors and roofs throughout the Eastern U.S., Caribbean and Latin America.
"We are excited to call Chesapeake our home," said Atlantic Core Building Products President Ryan Smith. "After considering several ports on the eastern seaboard, we found that Virginia has an excellent workforce, world-class port facilities, strong incentives and an easily accessible, strategic location. From our plant, we can service 40 percent of the U.S. construction market and our export customers in Latin America."
The Virginia Economic Development Partnershipwill support Atlantic Core Building Products' new job creation through its Virginia Jobs Investment Program (VJIP). VJIP provides consultative services and funding to companies creating new jobs or experiencing technological change to support employee training activities. As a business incentive supporting economic development, VJIP reduces the human resource costs of new and expanding companies. VJIP is state-funded, demonstrating Virginia's commitment to enhancing job opportunities for its citizens. The company will also receive benefits from the Port of Virginia Economic and Infrastructure Development Zone Grant Program, and is eligible to receive sales and use tax exemptions on manufacturing equipment.
"We are delighted that Atlantic Core Building has chosen to make us its newest site," said Chesapeake Mayor Alan Krasnoff. "Successfully competing against nearby states emphasizes the value of Virginia's pro-business climate and our port access, and adding 50 new positions to our manufacturing jobs roster underlines the importance of a skilled workforce that calls Chesapeake home."
"The Port of Virginia is pleased to welcome Atlantic Core Building Products to Virginia," said John F. Reinhart, CEO and Executive Director of the Port of Virginia."Through establishing its manufacturing operations in Chesapeake,Atlantic Coreis going to bring investment, jobs and new revenue to the Commonwealth and the region. Our port offers very diverse cargo handling capabilities and Newport News Marine Terminal is a good fit for handling the coiled steel Atlantic Core will import. We look forward to a long and productive relationship."
"I am honored to welcome Atlantic Core Building Products to Chesapeake and know they will find skilled employees here to make their endeavor a successful one," said Senator Lionell Spruill, Sr.
"On behalf of the residents of Chesapeake, I welcome Atlantic Core Building Products," said Delegate Jay Leftwich. "Chesapeake is one of the finest cities on the East Coast to conduct business and raise a family. With a well trained workforce, excellent schools and safe neighborhoods, I believe Atlantic Core and its employees will not only flourish but also strengthen the fabric of our community and economy. I look forward to the expansion of jobs Atlantic Core will bring and hope to tour their facility once it's up and running."


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Saturday, September 24, 2011
buro 247 | j. crew | vanessa jackman | zara | carolines mode | h&m
can't wait for cooler weather to cozy up in some warm knits ♥
i'm searching for a good bright one. this thakoon one looks perfect!
any other recommendations?
Posted by cross at 2:19 PM
Labels: inspiration
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Photo and painting created by Bertie Stroup Marah
Click on the below article link to obtain background information to this blog:
Bertie's book synopsis, "The story begins with Bertie recalling a day in 1942 when she was three years old and pees her pants to gain the attention of her mother, Bee. Bee had led her own tough life when her family fled from Oklahoma to New Mexico during the dust bowl and depression era. At age fifteen, Bee is seduced by an older man and becomes pregnant with her first child, Willie. The father of her child comes from a strict religious family, but refuses to marry her and abandons her and the baby.
Bee later met and married a handsome cowboy named Lee Hollan Tracy, who accepted her son as his own. Bee and Hollan have two more children, Jessie and Bertie. Hollan was a government trapper, which caused him to move his family from one trapping camp to another in remote areas of New Mexico. The children make the best of their isolated world by creating imaginative adventures. Unfortunately, the fairy tale marriage of Hollan and Bee ends when Bertie is four years old after Bee discovers her best girlfriend's silk pajamas in Hollan's bedroll. The distance, animosity, and subsequent divorce bring grief for Bertie and her brothers and sparse, bittersweet visits from their father.
Bee's second marriage to P.G. Anderson produced two daughters and more hardship as they drifted from one inferior shanty to another. For a brief time they gained reprieve from their desolation by staying at P.G.'s mother's farm in the Sacramento Mountains near Weed, New Mexico. On the farm they savored all facets of farm life until the family was forced to leave the mountains so P.G. and Bee could find work. The only home they could afford was an abandoned boxcar in Artesia, New Mexico. It was in Artesia, that P.G.'s drunken brother nearly killed Bertie's eight-year-old brother, Jessie with alcohol poisoning.
After unsuccessful employment, Bertie's family then returned to the mountains where they lived in a tent in a sawmill camp. There, she and her brothers enjoyed running free and playing in the forest. That is, until her parents turned to drinking for relief from their dire circumstances. As a result of the heavy drinking they were forced to move to Hot Springs, New Mexico for P.G. to receive treatment for a kidney disease brought on by alcohol.
There they lived in a tent on the Rio Grande River, catching fish to supplement their diet, and bathing in the hot springs because they had no running water or showering facilities. When they ran out of food and money, Bertie's mother went to work in a night club rolling dice in illegal gambling games. In return for cleaning house for an elderly couple the family was allowed to move into their garage. At seven, Bertie and her brothers helped care for their two younger sisters while their parents worked long hours and spent longer hours drinking at the bars. Their poverty resulted in humiliation for Bertie at school when her teacher made fun of her stringy hair and when she had only a dime to spend on a Christmas gift exchange. Desperate for food, Bertie describes the shame of becoming a "criminal" after stealing a candy bar from the local store. One night at work, Bertie's mother found a twenty dollar bill, which allowed the family to move to Albuquerque, where they stayed briefly with Bertie's grandparents. Their poverty was made more bearable by the family's love of music, singing, and dancing.
After moving back to the Sacramento Mountains, Bertie's stepfather found work at a remote sawmill camp and Bertie and her brothers boarded with a widow and her family in order to attend school. Mrs. Douglas, a school teacher, invited Bertie to live with her and she was introduced to a life unlike anything she had experienced in her nine years. Mrs. Douglas taught her manners, replaced her ragged clothes and bought toys for her. In spite of all this new life offered, Bertie missed her siblings and concern for her younger sisters' well being compelled her to go back to her family. Upon returning to the family she took on even more duties as caregiver while her parents continued to drink heavily and work long hours.
Life grew more turbulent as she and her siblings were exposed to bar fights, which usually spilled over to their home life. Through all of this, humor helped the children cope. Bertie describes in hilarious detail the home dances they attended and the mischief her brother, Jessie got into, including setting the house on fire.
During all this time, Bertie knew she was talented, but did not have the materials or encouragement to become an artist. In the fifth grade she won a prize for art and was convinced that her talent was her way to a better life. When her older brother Willie was offered an educational opportunity by one of his teachers their mother refused permission for him to leave home. After that Willie lost interest in school and left home at sixteen because he could not tolerate his parents constant drinking and fighting.
Bertie was eleven, and her brother Jessie thirteen, when the family left the mountains for the last time to move back to Artesia, New Mexico. This time though, Bertie and Jessie refused to go with them. Instead of forcing them to go, Bee left them to fend for themselves in a house without running water or electricity. After a couple of weeks Bertie agreed to go with the family, and a month later Jessie followed after their beloved dog, Sarge, was poisoned. Their poverty was not improved by their move to Artesia and their clothes invited ridicule.
The family then moved to the oilfields in northern New Mexico where they, once again, lived in a tent, but were close to relatives. Shortly after that move, Jessie, who had grown intolerant of P.G.'s drinking and abuse, went to live with his father, Hollan.
Although Bertie wanted to stay with her Grandma Counts, who instilled confidence in her, taught her to sew and encouraged her to become an artist, she realized that because of her parents' unruly life style and drinking, that her younger sisters still needed her stability.
At thirteen, Bertie enrolled in the eighth grade at the local school. She was determined to shed her earlier traumas and humiliations. In a period of four years Bertie made cheerleader, majorette, homecoming queen attendant, carnival queen, and even performed in class plays. Her sewing ability came in handy and she designed and made many of her school uniforms and clothes. Bertie continued to draw and paint with cheap paper and pastel crayons and was proud to show off her efforts. This was a happy time in her life in spite of her parents' drinking and violence.
Disappointment came when Bertie graduated from high school and realized she had no means to obtain formal art training. It would be years before she could overcome her despair and work to become an artist. With limited opportunity and to escape her turbulent life at home she married Larry Stroup and had two sons.
It was after a move to Western Colorado that Bertie's parents decided to change their chaotic lifestyle. After visiting them and witnessing the positive change in their lives, Bertie fell in love with Colorado and moved her family there as well.
Bertie worked to help support her family and continued to help her parents when they moved from one old house to another as part of P.G.'s ranch jobs. She continued her close relationship with her siblings and shares many funny antidotes of their lives together.
In addition to raising her sons, Bertie gradually started working at becoming an artist, joining artist groups and painting on her own. Unfortunately her marriage was steadily deteriorating.
In 1982, after a neck injury and with her marriage failing, Bertie, 43, began to suffer from severe clinical depression. Without the proper medication, and unable to fight the pain and despair of depression, she attempted suicide by shooting herself in the chest. A divine intervention from God allowed Bertie to survive and after receiving the correct medication for depression and recovering from the gunshot, Bertie made changes in her own life. She ended her bad marriage, quit the job she disliked, and started painting full time. Her paintings rapidly improved and so did her health, both physical and mental.
A year later she met and married Mike Marah and started realizing her dream of becoming a successful artist. Bertie has been published in magazines, conducted workshops, did solo shows, and was kept busy with gallery demands. A serious bout with breast cancer in 1993 could not throw her off course. She underwent chemotherapy and has been cancer free ever since.
In 1990 P.G. died of cancer. He faced death with a courage he had never shown in life. Her mother, Bee lived another ten years. Bertie took care of her mother at the end of her life. It broke her heart to watch this strong, determined woman reduced to one dependent on others for her every need.
Writing this book was painful for Bertie at times and although her family was uneducated, anti-social, neglectful alcoholics, deep down they had loving hearts and helped make her the person she is today. It is with pride that she tells their story."
She discussed her life now, "My life today is good. I force myself to replace bad thoughts with positive ones. I encourage everyone to do the best they can to be happy, forgive
themselves for making mistakes."
Her closing words, "I have always used humor to get through the tough times in life.
Laughter is the BEST medicine."
Contact Bertie via email, firstname.lastname@example.com, or through her website, www.bertiestroupmarah.com.


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Thursday was a big day for the Leicestershire Master Gardeners, when we got to show off our volunteers and their supported growers to our new Head of Organic Horticulture, Chris Collins, and they got to meet a former Blue Peter gardener, Head Gardener at Westminster Abbey and all round gardening celebrity.
When he joined Garden Organic back in June 2016, Chris heard much about our volunteers' achievements in getting Leicestershire growing and asked us to arrange a tour of some of the projects they are supporting, so that he could meet them in person. It was no mean feat to find a day that suited so many people, but luck was on our side, and the best day for everyone happened to coincide with a volunteer celebration event being run by the Waste Team at Leicestershire County Council and to which we were invited in the evening.
The day started at 10am in Loughborough, with the 3 Close Tenants 'Garden Gang' and as ever we were welcomed like old friends with mugs of tea and much laughter. Chair of the group, Josie Falconer, led us around this housing association estate, which has been transformed from a 'problem area' formerly known as Colditz, to a thriving community with its own kitchen garden, providing fresh fruit and veg for sale in the community flat. All around the estate we saw small gardens created by the residents, who take enormous pride in their home. Chris was shown the giant compost area, created by the probationers who come to the site once a week, as well as numerous raised beds still containing crops like kale and garlic, despite it being the depths of winter. We saw the cherry trees that residents have been harvesting to make jams and pies and the first flush of pink as their rhubarb emerges under someone's living room window. The Leicestershire Annie Elizabeth apple, planted in 2015, has been transferred from a pot to the ground and is flourishing, promising even more opportunities for pie sales in the future.
Our full account of the 3 Close Tenants' successes can be found by clicking here.
All too soon, we were on the road again, Chris talking animatedly about all he had seen, and headed for the Boulter Crescent Community Flat in Wigston. Here we met our Oadby & Wigston Master Gardeners, who have been a vital part of the creation of the new Incredible Edible Oadby & Wigston project (IEO&W). We were also joined by community inclusion officer Jane Morris, who powered the early creation of community growing spaces at Elizabeth Court and Boulter Crescent, and Dave Cliffe from Voluntary Action Leicestershire who has been central in establishing IEO&W. Boulter Crescent lunch club organisers Sheena and Pauline had prepared a delicious stew for us all, after which, Chris gave some impromptu advice for the residents on developing their growing space and promised to come back in the summer to see how they get on.
There was too little time for conversation about growing plans for the Kennedy House migrants' hostel, the railway station and South Leicestershire College's involvement in IEO&W before we were off again -to see the various sites around Wigston that already have food gardens. We saw upcycled tree planters provided by the Oadby & Wigston Borough Council, containing rosemary, kale, chard and thyme, the new beds behind the Wigston library, proudly tended by the staff, and local residents, and a brand new set of raised beds at Bennett Way council estate. Here, Chris gave more advice to a resident who leaned out of his kitchen window to ask what they could do about the local cats' interest in their new beds (netting being the key at this time of year and then enough planting to cover the bare earth once the spring arrives).
For more about our Oadby & Wigston activities click here, here and here.
Once again it was time to hop in the car, this time for the drive down to Great Oxendon in Harborough, where the Master Gardeners supporting the Waterloo Cottage Farm Community Garden were waiting for us. We were met by farm owner, Kirsty Clarke, who charmed Chris with her week old litter of piglets and young, hand-reared highland cow. It was a somewhat muddy walk across the farm to the garden site, where Master Gardeners Alex, Judy and Mark, joined by Master Composter Judy, showed us this wonderful garden with its neat veg beds, polytunnel and young orchard.
This project is a joint collaboration between the farm and Sustainable Harborough and you can find out more by clicking here.
Judy and Mark were presented with certificates by Chris, recognising the many hours they have put into the project. Having established this site in a little over 2 years, they now have their sights set on supporting a new project in Market Harborough too, creating a community garden on a care home site and supporting staff to grow with residents. They also plan to establish some intergenerational contact by bringing in local residents to grow on the site with the residents.
After a lengthy interview with the Harborough Mail and a photo shoot, the light was fading and so we obediently followed Kirsty into her downstairs wet-room to sluice off the mud from our wellies before the drive to County Hall for our evening volunteer celebration with the Master Composters, Love Food Hate Waste and Real Nappy Advisers. A quick change was in order, to avoid the embarrassment of appearing in mud spattered jeans in the Councillors' lounge.
The County Hall celebration was the perfect way to round off a wonderful day of showcasing our volunteers' achievements and treating them to a buffet and awards ceremony as more certificates were presented. WE were particularly proud that we have had to create a new series of certificates for 60+ hours and 100+ hours and that four of our volunteers have now clocked up more than 200 hours. It was a long and happy day and a much needed tonic amongst all the current economic and political gloom: a real reminder of all the unsung heroes quietly working away to improve their own small part of the world and share their knowledge, skills and passion for growing with others. Well done to everyone and here's looking forward to a re-run in the summer!


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CandyGran Goes Punk At 52
Been a long time since my last post! Well here I am looking daft! A really old great gran trying to look 17! Mutton dressed as lamb! I went clubbing that night and couldnt believe that so many guys thought I was OK! Tell me what you think!
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Turkey Railway Infrastructure and Rolling Stock Summit 2013
Turkey Railway Infrastructure & Rolling Stock Summit 2013 : The General Directorate of Turkish Railways (TCDD) plans to invest over 10 billion USD in the production of rolling stock and rail transport-related projects in the years of 2013 – 2015. A total amount of 45 billion USD are projected to be spent on high-speed lines, conventional lines, electrification and signalization, rolling stock and track renovations until 2023. RayHaber, RaillyNews and TeleferikHaber magazines of Ozen Technical Consultant Media Grup are media partner of the event.
Moreover, Liberalization of the Turkish Railway Transportation Law, passed on May 1, 2013 will permit public & private legal entities and firms to build their own railway infrastructure and operate them as well as manage trains on the national railway network.
Turkey Railway Infrastructure & Rolling Stock Summit will feature the most prominent industry leaders and government officials from across the region providing informative and inspiring discussions pertaining to region's current needs and their ambitious future. Turkey welcomes the international community to join this forum to discover new strategies and technologies that can assist in building a state-of-the-art railway infrastructure and modernization of the rolling stock fleet.
Point Hotel Taksim İstanbul
Start: 24/09/2013 08:15
Finish: 25/09/2012 18:00
Mr. Ali Güner Tekin
Department Head-Advisory Services
Republic of Turkey Prime Ministry – Privatization Administration
Mr. Nazım Bükülmez
Deputy Head of RPC (Research, Planning, Coordination) Department
Directorate General of Turkish State Railways (TCDD)
Mr. Mümin Kahveci
Deputy General Manager
IETT – Istanbul Transportation Authority
Mr. Juan Pablo Barahona
Area Director – MENA Market Development Department
Mr. Ernest Sultanov
Director For International Relations And Communications
JSC High-speed Rail Lines – Russian Railways
Mr. Pier Prina Mello
Regional Sales Executive Turkey, North Africa & C. Asia
Bombardier Transportation
Dr. Göktuğ Kara
Sector Manager
Transport Policy & Infrastructure Investments
Delegation Of The European Union To Turkey
Mr. Hans-Georg Werner
Member of the Management Board
CEO of Region East
DB Schenker Rail AG
Mr. Zhimin Liu
Senior Engineer
Changchun Railway Vehicles Company
Mr. Wesley Gilbert
Head of Marketing
TE Connectivity-Rail
Mr. Joao Rocha
Head of Product Management
TE Connectivity-Rail
Mr. Şemsi Ercan
Senior Consultant
Rayder (Association of Rail Transport Systems)
Mr. Hüseyin Özhan
Principal Banker
European Bank For Reconstruction And Development (EBRD)
Mr. Bruno Denis
Head Of Lending Operations In Turkey
European Investment Bank (EIB)
Ms. Emel Sakarya
Secretary General
Rayder (Association of Rail Transport Systems)
Mr. Gökhan Bayhan
General Director, Europe, Middle East and North Africa
General Electric Transportation
Mr. Paul Priestman
Mr. Felice Massaro
Vice President Business Development Southern Europe and Africa
Mr. Jean-François de Lantsheere
Deputy Managing Director
Mr. Chunhong Gao
GM of CSR Turkey Joint Venture Company
Professor Senior Engineer
CSR Zhuzhou Electric Locomotive Co.
Mr. Ali Osman Koyun
Department Head – Research & Development Tülomsaş
Mr. Niyazi Sarımaden
Medel Elektronik (Speaker Name is subject to final confimation)
Mr. Kenan Işık
Savronik A.Ş. (Speaker Name is subject to final confimation)
Taha Aydın
Mr. Eric Östlund
Chief Executive Officer
Polyamp AB
Mr. Francisco Javier Abajo
BD Executive
Mr. Iñigo Basañez
Head of Technical Dept. (Railway Systems)
Mr. Carlos Fernandez
Head of BD Elecnor-Deimos (Systems Area)
Mr. Levent Fidansoy
General Manager
Mr. Erhan Enbatan
Chairman of The Board of Directors
Mr. Sabahattin Eriş
General Manager
Mr. Sönmez Alev
Deputy General Manager
Name To Be Confirmed
Kayseri Ulaşım A.Ş.
Major Issues to be addressed at the 2013 event
– Updated 2013 Outlook and Market Trends
– Technology, Infrastructure and Rolling Stock
– Development
– Liberalization & Regulation of the Market
– Expansion Plans and Projects
– Finance Availability and Return on Investment
– Environmental and Sustainability Issues
– Modernization Railway Industry
– Evaluating Safety Need
– International Cooperation
– Localization of Railway Industry
"Both the content and service were good"
"Detailed research and there was effective communication of railway, energy conservation and safety. This was a successful summit."
Suzhou Metro Company
"A platform for information exchange, and discussion on latest technologies."
CNR Dalian Locomotive Research Institute Co. Ltd
"Very good. Keep up the good work."
Danfoss (Shanghai) Automatic Controls Co. Ltd.
Press here to for details (pdf file).
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We, Net Translation Services Limited, are in your disposal with our experienced translator team of 35 persons specialized in Rail Systems Terminology in English, German, Russian, French languages Please visit website: Nettercume.com.tr for our references.


text: Taylor Swift supports Hannah DeWitt and Autumn Daggett in their Democratic Campaign and plans to vote for them in the upcoming election. She strongly believes in their views on Civil Rights. As a Feminist, Taylor feels that it is important to define, establish, and defend equal political, economic, cultural, and social rights for women, and Ms. Daggett and Ms. DeWitt plan to work to protect these rights of women across America.


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I'd like the seat to be an inch lower just so I wouldn't hit my head on the door frame getting in. I guess I'm long in the torso. An inch is all I want.
I'd like the seat to be an inch lower just so I wouldn't hit my head on the door frame getting in. I guess I'm long in the torso. An inch is all I want.
I posted a roll call for Bellevue WA or whatever in its own post. Planted Technology is more than willing to fab up seat brackets and sell them with no strings attached. Im sure whoever lends them their vehicle for a day will get a free set in all honesty (usually how it works) if i lived in WA i would do it myself. So if you know someone with a mirage in WA have them go, or go yourself. It helps the comminty and honestly the more companies jumping on the mirage means more brand will too even renting or buying one just to make parts.... but they wont do so if there is no market..... we can start that market together.
Resurrecting this thread from the dead...
I've found that positioning the driver's seat so that I'm most comfortable results in the seat feeling about an inch too high. So I've been scouring the web for a solution.
I came across these seat lowering brackets designed for the Evo/Lancer, and I'm wondering if any of my fellow Mirage owners has the metal fabricating skills to make something similar for our application.
I wonder if those brackets would fit the Mirage as they are.
Welcome to MirageForum.com
Forums work best when information is shared.
And don't forget pictures.
Mitsubishi Is Not Dead Yet
Hatchbacks. I like hatchbacks. Can't stop thinking about them.
View my fuel log 2015 Mirage ES 1.2 manual: 49.5 mpg (US) ... 21.0 km/L ... 4.8 L/100 km ... 59.4 mpg (Imp)
Just saw this thread, and wanted to add my 2 cents*. (As they say in the states) I just sold one of my Civic VX hatchbacks. Love them, but they are soooo low to the ground, that my old, wearing out knees, don't like it when I ask them to pick me back up, out of the go kart level seats. I kinda liked the height of the Mirage seats that I test drove.
Coming back on this forum to bump this thread, I still have issues with the seat height, anybody tried making lower brackets?
View my fuel log 2014 Mirage ES 1.2 manual: 40.8 mpg (US) ... 17.4 km/L ... 5.8 L/100 km ... 49.0 mpg (Imp)
I have not tried making new brackets but I totally agree with the height being too high for me. I am considering getting new front seats so I can get them not only lower but to also get some decent bolstering on the sides of the seats.
View my fuel log 2015 Mirage ES 1.2 automatic: 42.5 mpg (US) ... 18.1 km/L ... 5.5 L/100 km ... 51.1 mpg (Imp)
Sadly i'm pretty sure it wouldnt be legal anymore, airbag related.
I just came back from the body-shop, for around 250 CAD he could get my seat lowered by 2 inches. I am pretty sure that doing custom rails wont be possible without hacking this part of the floor ;
View my fuel log 2014 Mirage ES 1.2 manual: 40.8 mpg (US) ... 17.4 km/L ... 5.8 L/100 km ... 49.0 mpg (Imp)


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Aunt Dawn and Uncle Carman and Cousins Jack and Caitlin spent Christmas Day with us. So did Travis's Great Great Aunt Elva and Great Great Uncle Tommy - T was so excited to wear his cowboy boots that Tommy got him. He looked too cute even if his little chubby legs wouldn't let us zip them!
It seems like after each nap, Travis came out in a new outfit. We had lots of Christmas clothes to get through in a short time frame!
One more post to go!!!


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Tuesday, June 2
miles travelled: 63
Other:Mileage when transmission gave up the ghost: 114, 865
Well Subie, who has been crankin' along through all we asked of her, gave out on us today. We made it out to US 101 and Port Angeles was on the horizon when the clutch started to slip. The final straw was going out to pass a car and she just didn't want to stay in fifth. We selected the Auto Services option on Garmina and she lead us to Transmission Plus. They have to order a clutch kit for the ol' girl and will not be able to work on it until tomorrow. So, we find ourselves in Shelton, WA. We are going to see what the local movie theater has to offer...we'll keep you posted.
Tuesday, June 2, 2009
Day 47: Puyallup WA to- Subie is in the infirmary
Posted by Kuzmerlain at 3:33 PM
Labels: busted transmission
1 comment:
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text:
Ted Donato was livid.
The Harvard coach thought his team had scored a short-handed goal with 39.3 seconds left in the third period against Union last Saturday at Messa Rink. The goal would have cut Union's lead to 3-2.
But the goal went to video review because Crimson forward Doug Rogers bumped Dutchmen goalie Corey Milan just as the puck was arriving at the net. The officials —referees Andy O'Brien and Eric Ernst and linesmen Richard Patry and Robert St. Lawrence — had a conference at center ice before going to the video. After reviewing the video, the officials determined that Rogers interfered with Milan before the puck went into the net. The goal was taken away, Rogers was penalized for goalie interference and Donato was ejected from the game for vociferously protesting the call.
Paul Stewart, director of officiating for ECAC Hockey, praised his officials on how they handled the play.
Dedicated to the University of North Dakota hockey. The team formerly known as the Fighting Sioux. "I would rather get a colonoscopy than cheer for NDSU in anything." - @goon48
Tuesday, November 18, 2008
See it isn't just the WCHA officials.
4 comments:
From what I read the proper call was made. The officials did what they were supposed to do and what it boils down to is a matter if opinion. Controversial calls are part of the game. I don't think a mistake was made. Am I missing something?ReplyDelete
Clown it falls under the controversial call department.ReplyDelete
Anything to rip on ECAC Hockey right?ReplyDelete
Sioux_15: This has nothing to do with ripping on the ECAC it is just showing that the WCHA isn't the only league that has controversial or in correct calls.ReplyDelete
I am not sure how you came to that conclusion?
We welcome thoughtful responses from our readers. Personal attacks against the readers and authors will not be tolerated. If you're here to troll, don't do it.


text:
Adobe illustrator cs4- P9
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Adobe illustrator cs4- P9
Adobe illustrator cs4- P9: Good designers have many tools at their disposal. Especially in an environment where most designers have other powerful graphics applications, it can be diffi cult to choose which one to use for a particular task. For example, a designer can apply soft drop shadows in Photoshop, Illustrator, and InDesign—is one application any better than the others for this?
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Nội dung Text: Adobe illustrator cs4- P9
- 214 CHAPTER 6: COLORING ARTWORK Controlling Color Management Settings You can access the color management settings by choosing Edit > Color Settings. This opens the Color Settings dialog box, and if you installed Adobe Illustrator as part of Creative Suite, an icon and a message at the top of the dialog box will indicate whether your settings are in sync with other Adobe Creative Suite components (Figure 6.63). Figure 6.63 The Color Settings dialog box informs you whether your color set- tings are in sync with other Creative Suite components. NOTE Selecting the Out of the box, Adobe has set all CS2, CS3, and now CS4 applications to Advanced Mode use the North America General Purpose 2 color setting. This is actually option in the Color Settings a generic "middle of the road" setting, meant to be used by those who are dialog box populates the cross-media designers, meaning those who often work with both RGB and Settings color with many additional color management CMYK documents. However, if you work specifically in the print field or settings. if you primarily work with video or the web, you might be better off using North America Prepress 2 or North America Web/Internet. If you aren't sure, leave it set to the default setting. Proofing Colors One of the most powerful functions of color management is the ability to simulate the viewing of your artwork on other devices. If you have the profile of another device, Illustrator can show you what your file will look
- VIEWING COLOR ON THE SCREEN 215 like when it's displayed (or printed) on that device. Don't worry about hunt- ing down device profiles either—your system already contains many useful ones. Let's take a closer look. Choose View > Proof Setup > Customize to open the Proof Setup dialog box. From the Device to Simulate pop-up menu, choose a profile. For example, you might use the Uncoated FOGRA29 profile to simulate what your art might look like when printed in a newspaper (Figure 6.64). Select the Preview check box to see your artwork change in appearance as you select different profiles. Figure 6.64 The Proof Setup dialog box gives you the ability to specify what kind of device you want to simulate when proofing your artwork on your screen. When your document is CMYK and you're choosing a CMYK profile, no color conversion occurs, and you can choose the Preserve CMYK Numbers option. Likewise, when viewing an RGB document and choosing an RGB profile, you can choose Preserve RGB Numbers. The option is obviously not available when proofing with a device profile that uses a different color model than the document (in such cases, a color conversion must take place, and there's no way to preserve the numbers). When proofing artwork on devices with smaller color gamuts, you must NOTE To actually also choose a rendering intent. The most commonly used method, Relative assign a different color Colorimetric, moves out-of-gamut colors to the closest possible color that profile to your document (instead of just proofing it on will print on the device. It also adjusts other colors so that colors appear to your screen), choose Edit > be accurate. The Absolute Colorimetric setting adjusts only out-of-gamut Assign Profile. colors and may result in posterization, where many shades of similar colors are used. The Perceptual method shifts colors so they appear correct rela- tive to each other, but it may not represent colors as being the most accu- rate match to the original values. The Saturation method enhances colors and makes them more vibrant and most suitable for business presentations where bright colors are more important than accurate colors.
- 216 CHAPTER 6: COLORING ARTWORK For an accurate onscreen representation of your artwork, you can choose to simulate paper color (avoiding the problem of viewing too bright of a white screen) and black ink (if you find the preview of black is too rich). Once you've specified your proof settings, you can quickly preview your artwork on your screen by choosing the View > Proof Colors setting. Previewing Contrast for Color Blindness Although it's certainly helpful to be able to proof colors onscreen as they might appear when output on different devices, it is also extremely helpful for designers to be able to visualize how other people may view their art and designs. For example, 7 percent of Americans are color blind (that's more than 10.5 million people). When creating artwork that will be used as pub- lic signage, how can a designer be sure that the art will be clearly visible to all—even those who don't see with the same range of color as they do? In the View > Proof Setup menu, you can choose to display the art on your screen as though it were being viewed by a color-blind person (Figure 6.65). Illustrator can simulate two types of color blindness, Protanopia and Deuteranopia (both variations of red-green color blindness). By ensuring a high enough level of contrast in your design, a larger audience will be able to understand and benefit from your art. Figure 6.65 Illustrator can simulate art as if it were being viewed by someone who is color-blind.
- VIEWING COLOR ON THE SCREEN 217 Understanding Book Color Although consistent color management settings will help ensure that your colors look the same in different software (Photoshop, Illustrator, InDesign, Acrobat, and so on), you may still experience colors that don't match up cor- rectly. This is usually something that happens when spot colors appear in your file, but the good news is that it's easy to fi x. The problem is that, by default, Photoshop displays spot colors using LAB values (which are bright, vibrant, and match their printed color better). The default setting for Illustrator and InDesign is to use CMYK values instead, which often results in muted colors, especially when compared to Photoshop. The thing is, both Illustrator and InDesign support the ability to use LAB values when displaying spot colors, so it's simply a matter of turning the feature on. Before you do that, however, you need to under- stand something called Book Color. Book Color is a setting that first appeared in Adobe CS2 components. You may notice that when double-clicking a spot color swatch to view its set- tings, you'll see that the color mode for the swatch is set to Book Color (Figure 6.66). Figure 6.66 A Pantone color swatch shows up in Illustrator as a Book Color. One of the reasons why designers use spot colors is simply because some colors aren't reproducible in CMYK. Bright blues, purples, greens, and oranges are perfect examples. Pantone delivers an entire Microsoft Excel spreadsheet to Adobe that lists each Pantone color, along with their LAB color equivalents. Obviously, the LAB color values match closer to the real color. However, many designers specify Pantone colors, even though they will be printing their file on a press in a four-color process. Pantone
- 218 CHAPTER 6: COLORING ARTWORK also delivers a Solid to Process library that specifies the CMYK values of Pantone colors. Obviously, the latter is far less accurate and results in color shifts. Since you now know that Photoshop uses LAB values to display spot colors on your screen and that Illustrator and InDesign use CMYK values for the same, you can begin to understand why spot colors viewed in Photoshop look different. So, what does all this have to do with Book Color? Ordinarily, you can define a color swatch in Illustrator using CMYK values or LAB values, but not both. But a Book Color is special and can contain both CMYK and LAB information within it. By definition, a Book Color swatch contains both the CMYK and LAB values specified by Pantone. The question is, how does Illustrator determine when to preview the colors using the LAB values instead of the CMYK ones? The answer is an odd one, only because of the name of the feature you need to use: Overprint Preview. If you choose View > Overprint Preview in Illustrator (or in InDesign or Acrobat, for that matter), the LAB values generate the onscreen preview. The regular preview settings use the CMYK values. In this way, you can preview the more vibrant LAB values on your screen, but if you ever decide later in your workflow to convert your Pantone color to CMYK, you'll get the exact CMYK values you expect (otherwise you'll get a LAB-to-CMYK version). Likewise, if you'd like more accurate colors when printing composite proofs from Illustrator, select the Simulate Overprint check box in the Print dialog box.
- 219 Chapter Seven Working with Live Effects So far, we've only scratched the surface with the kinds of effects Adobe Illustrator CS4 has to offer. Soft drop shadows (which we discussed in Chapter 5, "Organizing Your Drawing") are certainly cool, but they are only a small sampling of live effects in Illustrator, which include 3D effects, warp distor- tions, and a wide range of pixel-based Adobe Photoshop CS4 effects. As you read this chapter, remember that you can apply live effects to fills and strokes individually, as well as to objects, groups, and layers. You apply all live effects via the Effect menu or the Appearance panel, and once applied, they appear listed in the Appearance panel and can be edited or deleted at any time. Additionally, you can apply multiple live effects to a single target. It's also important to realize you can apply live effects to type without needing to convert to outlines. As you make changes to the text, the applied effect updates. The artwork featured throughout this chapter comes from Che McPherson (iStockPhoto; username: chemc).
- 220 CHAPTER 7: WORKING WITH LIVE EFFECTS COMBINING FEATURES AND EFFECTS New features aren't added haphazardly in Illustrator. Rather, each new feature is carefully thought out in regard to how it might interact with exist- ing features in Illustrator. One of the most powerful things you can do with live effects in Illustrator is apply several of them to a single object or, even better, use effects in combination with other features, such as transparency and blends (Figure 7.1). Figure 7.1 You don't have to be a high roller to see the benefits of combining features in Illustrator. This example uses the 3D effect with artwork mapping, transparency, and blends. When using Illustrator, you should always be asking yourself "what if" questions. For example, you know that you can apply transparency to objects in Illustrator, so what if you applied transparency to a 3D effect? Would you be able to see through the 3D object? (We'll discuss how to do just that in Chapter 11, "Exploring the World of 3D.") Experimenting in Illustrator is a great way to discover new techniques and creative ideas. The worst that can happen is you get something that doesn't look that great; the Undo function serves nicely at this point. Throughout this chapter, we ask "what if" questions and explore the ways that live effects integrate with other Illustrator features. These questions are answered with advice on how to get the most out of Illustrator. More importantly, the "what if" scenarios will open your eyes to the power of the Illustrator live effects. DECONSTRUCTING THE EFFECT MENU NOTE The effects are The Effect menu is basically split into four main sections. The section at listed in this chapter the very top contains two settings: Apply Last Effect and Last Effect. The in the order in which they former allows you to duplicate the last effect you applied, including all its appear in the Effect menu. settings; the latter opens the dialog box for the last effect you applied so you The 3D effect is covered in its entirety in Chapter 11. can choose different settings. The next section of the Effect menu is some- thing called Document Raster Effects Resolution, which we'll get to in a
- DECONSTRUCTING THE EFFECT MENU 221 moment. The remaining two sections are Illustrator Effects and Photoshop Effects; each section contains a collection of effects in those two categories. For the most part, Illustrator effects are Illustrator-specific features, whereas Photoshop effects are a collection of filters taken from Photoshop (see the sidebar "Illustrator Effects and Photoshop Effects" later in this chapter). Is It Vector, or Is It Raster? You already know that a live effect is simply an appearance that is added to an object, meaning the underlying vector object exists in your document in its original state. As you change the underlying object, the appearance updates to reflect that change. If you want to lock in an appearance, you need to choose Object > Expand Appearance to alter the actual vector paths, at which point the effect is no longer live and can't be edited. Some effects, such as Drop Shadow, are raster-based. Even though this effect appears grouped in the Illustrator Effects section, when the appear- ance is expanded, the drop shadow becomes a raster image (Figure 7.2). The same applies when you print a file, because all effects are expanded when they are sent to the printer (your file remains in an unexpanded state, however, allowing further editing). Figure 7.2 Many of the Stylize effects, including Drop Shadow, produce raster-based results, even though they are listed in the Illustrator Effects section of the Effect menu.
- 222 CHAPTER 7: WORKING WITH LIVE EFFECTS TIP Refer to The following features appear in the Illustrator Effects section of the Effect Chapter 15, "Prepress menu; these produce raster images when output or expanded: and Printing," for more information on what • 3D Extrude & Bevel and 3D Revolve, when raster images or gradients happens when you print are present in mapped artwork Illustrator files. • Rasterize • Stylize > Drop Shadow • Stylize > Feather • Stylize > Inner Glow • Stylize > Outer Glow Each of these is covered in detail later in this chapter and in Chapter 11. Massaging Pixels in Illustrator NOTE When you If it is true that some effects in Illustrator produce a rasterized result, who choose to save a file as determines the resolution of those rasters? When you work in Photoshop, EPS, all effects are expanded, you can't even create a new file without first defining its resolution. But with and any raster-based effects Illustrator, which is vector-based, you don't think much about resolution. So are rasterized. This means Illustrator EPS files can con- the question is, what determines the resolution of these raster-based effects? tain raster content and can't To find the answer, choose Effect > Document Raster Effects Settings. be scaled infinitely when The Document Raster Effects Settings dialog box is where you can specify placed in other applications. See Chapter 14, "Saving the resolution for raster-based effects. In fact, the dialog box offers all the and Exporting Files," for necessary settings for determining how raster-based effects eventually print information. (Figure 7.3). The Document Raster Effects Settings dialog box gives you seven options: • Color Model. Depending on the document's Color Model setting to which your file is set, you'll see either CMYK, Grayscale, and Bitmap or RGB, Grayscale, and Bitmap listed here. This is because a document cannot contain both CMYK and RGB elements. This setting can be extremely useful, because it allows you to change the color model of an object (even an image) as a live effect, which can always be edited. For example, you can turn a colored object into grayscale as an effect.
- DECONSTRUCTING THE EFFECT MENU 223 Figure 7.3 When using live effects, choosing the right settings in the Document Raster Effects Settings dialog box is key to achieving the best results from your files. • Resolution. This setting determines the resolution at which raster- based effects (both the Illustrator effects mentioned earlier and the Photoshop effects) are rendered. You can also specify this resolution setting in the Raster Effects pop-up menu (under Advanced) when you create a document using a new document profile. The default resolution setting in Illustrator is 300 ppi for print documents and 72 ppi for web, mobile, and video documents. The Resolution setting has a direct bear- ing on the performance of Illustrator, and just as in Photoshop, working at higher resolutions means more number crunching for your computer and more time for you to stare at your screen watching the progress bars slowly creep along. This is an extremely important setting and should not be overlooked. See the sidebar "Illustrator Effects and Photoshop Effects" later in this chapter for details on whether you need to change this setting before or after you create your file. • Background. You can choose whether the resulting raster has a trans- parent background or a white background. If your effect overlaps other objects, you probably want to use the Transparent setting (Figure 7.4 on the next page), although remember that the file still needs to be flat- tened (see Chapter 15 for more information on transparency flattening).
- 224 CHAPTER 7: WORKING WITH LIVE EFFECTS Figure 7.4 In this example, the artwork on the left used the White setting for Background, whereas the artwork on the right used the Transparent setting. • Anti-alias. You can define whether the raster image is antialiased. Antialiasing slightly blurs color boundaries to avoid the appearance of jagged edges. For more information on antialiasing, refer to Chapter 13, "Designing for Web and Mobile Design." • Create Clipping Mask. This setting creates a clipping mask around the area of a shape so you can have it blend into a background (raster images are always rectangular and may block out objects that appear behind them). This setting won't work well for objects that have Drop Shadow, Feather, and Glow effects applied, because clipping masks have hard edges. You don't need this setting if you specify the Transparent option for the background. • Add: x Around Object. This is a very important setting. When certain effects, such as Feather or Gaussian Blur, are applied, the resulting raster image has a soft edge. To ensure that this soft edge fades into the back- ground correctly, you must make the bounding box of the raster image larger than the actual object. If you don't, the fade stops abruptly, and you see a visible line where it ends. By default, Illustrator adds 36 points (.5 inch) of space around an object, but if you have a large blur setting, you may need to increase this amount (Figure 7.5). Figure 7.5 On the left is a circle with a 60-pixel Gaussian Blur effect applied. With the default of Add: .5 Space Around Object, the blur is visibly clipped. On the right, that same blur appears correctly with the Add: 1.5 Around Object setting.
- CONVERT TO SHAPE: CHANGING FOR THE BET TER 225 • Preserve spot colors. If your artwork contains spot colors and you want to prevent those from being converted to process colors, this set- ting instructs Illustrator to preserve those spot colors, employing over- printing where necessary. Refer to Chapter 15 for more information on overprinting. Any live effects you apply in your document will use the settings in the Document Raster Effects Settings dialog box, and you can't have different settings for different effects. Well, you can, sort of—just not in any way that Adobe intended, though. All live effects update when you make a change in the Document Raster Effects Settings dialog box, but once you expand a live effect, that object no longer updates when you change the settings. So if you need to use different settings for different objects, then apply an effect to one object, use the Object > Expand Appearance function to expand the effect, lock in the document raster effects settings for that effect, and finally apply a different setting to another object. Of course, once you expand an effect, you have no way to go back and perform edits on it. CONVERT TO SHAPE : CHANGING FOR THE BETTER The Convert to Shape effect takes the fill of your targeted selection and converts it to a rectangle, a rounded rectangle, or an ellipse. When you first see this effect, you might scratch your head thoughtfully and ask yourself, "Well, if I had wanted a rectangle, wouldn't I have drawn the shape that way in the first place?" This is a good question if your object has only one fill, but if you've added multiple fills, you will realize that you can apply the Convert to Shape effect on just one of them, which means you can have a single shape with fills that have different shapes. This effect is particularly useful for text objects and for groups and layers as well. Applying the Convert to Shape Effect To apply any of the three Convert to Shape effects, target the fill of an object, group, or layer, and choose Effect > Convert to Shape > Rectangle. Although you can choose between the Rectangle, Rounded Rectangle, and Ellipse options, it doesn't matter which one you choose because the ensuing
- 226 CHAPTER 7: WORKING WITH LIVE EFFECTS Shape Options dialog box allows you to easily switch between the three dif- ferent shapes via a pop-up menu at the top of the dialog box (Figure 7.6). Figure 7.6 It doesn't make a difference which shape you choose from the Convert to Shape submenu, because you get a chance to change your mind in the Shape Options dialog box. The Shape Options dialog box gives you two options for specifying the size of the targeted fill: • Absolute. The Absolute setting allows you to define a specific width and height for the fill shape, which can be completely different from the size of the object's actual path. • Relative. The Relative setting allows you to define a specific amount that is added to the object's actual size. For example, if the object's actual path is 4 x 4 inches and you use a relative setting with the Extra Width and Extra Height settings set to .5 inch, the shape effect produces a shape that is 4.5 x 4.5 inches. The Relative setting is useful when you want to create a shape that changes when the original object changes (see the following "What If…You Apply the Convert to Shape Effect to Text?" section). When you choose the Rounded Rectangle setting from the Shape pop-up menu, you can also specify a corner radius for the fill shape. What If…You Apply the Convert to Shape Effect to Text? A practical use for the Convert to Shape effect is to create a background for an object that dynamically adjusts itself as you change the object. A good example is when you want to create a button that has text inside it. Using
- CONVERT TO SHAPE: CHANGING FOR THE BET TER 227 the Convert to Shape effect, you can have Illustrator automatically resize the button as you change the text within it. Here are the steps required to create this dynamic shape: 1. Choose the Type tool, and click a blank area on the artboard to create a Point Type object. 2. Using your keyboard, type Dynamic. 3. Set your text to 12-point Myriad Roman. 4. Switch to the Selection tool, and select the Type object. 5. Open the Appearance panel, and from the panel menu, choose Add New Fill. 6. In the Appearance panel, drag the fill you just created so it appears listed beneath the characters in your Type object (Figure 7.7). Figure 7.7 Move the fill you created so it appears below the characters in the Type object. 7. With the new fill highlighted in the Appearance panel, choose a color from either the Control panel, the Color panel, or the Swatches panel. At this stage, you won't see the color change in your text, because the fill you are coloring appears beneath the characters in the Type object. 8. With the colored fill still highlighted in the Appearance panel, choose Effect > Convert to Shape > Rounded Rectangle. 9. In the Shape Options dialog box that appears, choose the Relative options, and specify 4 pt for Extra Width and 2 pt for Extra Height. 10. For the Corner Radius, specify a value of 2 pt, and click OK to apply the effect (Figure 7.8).
- 228 CHAPTER 7: WORKING WITH LIVE EFFECTS Figure 7.8 The second fill you created now acts like a background for the text. 11. Switch to the Type tool, and edit the text. You will notice that as you change the text, the colored background expands or contracts as necessary to match the text. TIP Visit http:// As always, a little bit of experimenting not only gets you more comfortable rwillustrator.blogspot with these kinds of effects but also helps you think of ways you can get your .com/2007/11/ask-mordy- work done faster and more efficiently (which is a good thing). rounding-some-corners.html for a tutorial on creating more complex autoresizing buttons. CROP M ARKS : CUT HERE, PLEASE When preparing custom art for a printer, you often need to indicate where the printer should trim the paper. Especially when you're printing several items on a single large sheet (sometimes referred to as ganging up), a printer needs to know how and where to cut the sheet of paper. Traditionally, designers create crop marks, a series of lines just outside the boundary of the artwork that indicate where the paper should be trimmed (Figure 7.9). NOTE The lines that Instead of drawing these lines manually, you can use the Crop Marks effect the Crop Marks effect to have Illustrator draw them automatically. To apply the effect, select an creates are .3 pt in weight object or a group, and choose Effect > Crop Marks. Illustrator automatically and are colored with the adds trim marks around the boundary of the artwork. Since Crop Marks Registration swatch so that the marks appear on each is a live effect, as you move or update your artwork, the trim marks update plate when the file is color accordingly. separated. In a real-world workflow (that's what this book is all about, isn't it?), apply- ing the Crop Marks effect to your actual artwork probably makes little sense, for a variety of reasons. Often, the trim area doesn't end exactly where the artwork does. For example, artwork may be centered on a larger sheet of paper, with white space intended to be around it. Alternatively, if artwork needs to print to the edge of the paper, you need to specify bleed, or extend the artwork beyond the boundary of the trim marks.
- DISTORT & TRANSFORM: TRANSFORMING YOUR DESIGN 229 Figure 7.9 Crop marks indi- cate where a printer should trim the sheet of paper after it has been printed. The solution is to draw a rectangle and apply the Crop Marks effect to the rectangle, not to your actual artwork. In this way, you can still make changes or adjustments to your artwork without moving the trim marks. In addition, as with any other effect, you can choose Object > Expand Appearance to convert the crop marks to editable artwork as needed. DISTORT & TR ANSFORM: TR ANSFORMING YOUR DESIGN Throughout your design process, you are constantly making changes to your artwork. Sometimes you need to alter paths by distorting them, and other times you need to transform them using functions such as Scale or Rotate. Illustrator features a variety of these functions as live effects, which makes it easy to perform tweaks or changes to these settings as necessary. Distortion Effects Illustrator features six different distortion effects, each providing a differ- ent type of look and feel. Distortion effects in particular are useful when applied to strokes or fills individually, and this is especially true when you're
- 230 CHAPTER 7: WORKING WITH LIVE EFFECTS building complex appearances that contain multiple fills and strokes. You can find each of the effects listed here by first choosing Effect > Distort & Transform and then choosing one of the distortion effects: • Free Distort. The Free Distort effect displays your art with a rectan- gular bounding box. You can drag any of the four corners to stretch or apply a distortion (Figure 7.10). This is useful if you want to add per- spective to make art appear as if it has a vanishing point, although the 3D Rotate effect offers similar functionality in that regard. Figure 7.10 The Free Distort effect lets you stretch artwork to apply perspective or distortion. • Pucker & Bloat. The Pucker & Bloat effect offers a slider that applies distortion to your objects by spiking paths. When you're looking for a really funky shape, this distortion effect probably fits the bill. • Roughen. The Roughen effect allows you to take straight paths and make them appear as if they just experienced an earthquake (Figure 7.11). The Roughen dialog box offers the ability to adjust size and detail; you can also specify whether you want the result to have smooth (rounded) or corner (straight) path segments. Figure 7.11 You can use the Roughen effect to create torn paper effects or simply to apply an uneven look to vector art.
- DISTORT & TRANSFORM: TRANSFORMING YOUR DESIGN 231 • Tweak. At first, the Tweak effect appears to be similar to the Pucker & Bloat distortion, but the Tweak effect adjusts control points in addition to anchor points on paths. The result is a path that is far less predictable. • Twist. The Twist effect allows you to twist art from its center using a specified angle. • Zig Zag. The Zig Zag effect is similar to the Roughen effect, but it creates methodical zigzag patterns on selected objects. Illustrator also has other distortion tools and effects. The Warp effect, covered later in this chapter, provides a way to stretch art using predefined warp styles. We covered other distortion features such as envelopes and the Liquify set of tools in Chapter 2, "Selecting and Editing Artwork." Transform Effect If you want to rotate or scale an object on your artboard, using the Transform effect is overkill. Rather, the Transform effect is useful when you want to apply transformations to parts of an object. For example, you might scale two different fills within the same object so they are different sizes. To do so, apply the Transform effect by choosing Effect > Distort & Transform > Transform. The Transform Effect dialog box is actually identical to the one that appears when you use the Transform Each function (which we covered in Chapter 2). However, the Transform Effect dialog box has one huge addition—the ability to specify copies (Figure 7.12). Figure 7.12 The Transform Effect dialog box mimics the Transform Each dialog box, and it includes the ability to set the number of copies you want transformed.
- 232 CHAPTER 7: WORKING WITH LIVE EFFECTS Transforming Objects with Effects Because we're on the topic of transformations, we'll discuss a few concepts you should be aware of when per- forming standard transformations on the artboard—specifically when scaling or rotating objects that have live effects applied to them. By default, when you scale an object on the artboard, Illustrator does not scale the values that you may have specified for any live effects applied to that object. For example, if you specify a 30-pixel Gaussian Blur effect and then scale that object 200 percent, the Gaussian Blur is still set to 30 pixels. If you're using one of the Illustrator live effects (see the sidebar "Illustrator Effects and Photoshop Effects" later in this chapter), you can choose to scale an object's live effect attributes. To do so, select the Scale Strokes & Effects setting, which you can find in the General panel of Preferences or by double-clicking the Scale tool in the Tools panel. It's also important to realize that the values of certain effects have limits. For example, you can't set a Gaussian Blur to anything greater than 250 pixels. Even if you have Scale Strokes & Effects selected, you can scale your artwork only up to the limit, at which point Illustrator just uses the maximum value it allows. If you need to scale objects to extremely large sizes (for creating signs or banners, for instance), you first have to expand the effect and then scale it as you would any object. Finally, the values that are specified in the dialog boxes of live effects are relative to the rulers of your docu- ment. In many cases, modifying your object may cause unexpected results. For example, say you apply a drop shadow to an object and specify an offset that sets the shadow down and to the right. If you rotate the object 180 degrees on your artboard (effectively turning it upside down), the drop shadow still displays at the lower right of the object. To get the correct appearance, you need to edit the drop shadow effect and set the offset so that the drop shadow now falls up and to the left, or even better, you can convert your artwork to a symbol before applying the transformation. Alternatively, you can expand the effect before you perform the rotation. This issue requires special attention from printers, who often compose files or create work and turn layouts for their presses. Drop shadows in Adobe InDesign CS4 suffer from the same symptoms. PATHS : DR AWING OUTSIDE THE LINES At some point, editing vector paths is something that just about every Illustrator user has to come to terms with. However, sometimes performing these edits makes sense as a live effect, which allows the paths to be updated easily. Specifically, three path functions—Offset Path, Outline Object, and Outline Stroke—are available as live effects. You can find all these effects by choosing Effect > Path and then selecting the required function.
- PATHFINDER: CREATING COMPLEX SHAPES 233 For the most part, these effects are useful when you apply them to Type TIP You can also use objects. The Outline Object effect is particularly useful for using text in a way the Outline Object that normally requires the text to be outlined into vector paths. In addition, effect to help add strokes to images. Refer to Chapter 12, the Offset Path effect can be helpful when you're trying to create type effects "Working with Images," for in tandem with the Pathfinder effects, as described in the next section (see details. "What If…You Combine Offset Path and Pathfinder Effects on a Group?"). PATHFINDER: CREATING COMPLEX SHAPES The Pathfinder effects are identical to those in the Pathfinder panel (covered in Chapter 2), only here they are applied as live effects. Before you question the reason for making these available as live effects, remember that you can apply live effects to groups and layers. Applying these effects to type objects may also prove useful. The following Pathfinder commands are available as live effects: Add, NOTE The Hard Mix Intersect, Exclude, Subtract, Minus Back, Divide, Trim, Merge, Crop, and Soft Mix com- Outline, Hard Mix, Soft Mix, and Trap. Refer to Chapter 2 for details mands, which combine the appearance of overlapping on each of these functions. colors, are available only as To apply any of the Pathfinder effects, make a selection, choose Effect > live effects. They are not avail- Pathfinder, and select the Pathfinder function you need. able through the Pathfinder panel. What If…You Combine Offset Path and Pathfinder Effects on a Group? A design may sometimes call for artwork to be outlined with a single line that encompasses all the objects. The Offset Path function is perfect for this, but the effect outlines each object that appears in the group, resulting in a mess of paths that overlap each other. If you were to expand the appearance of the overlapping paths, you might use the Pathfinder Unite or Add func- tion to create a single unified shape, but if you do, any change to the group will mean you'll have to repeat the steps all over again. This is where a Pathfinder live effect can be really helpful.
Giáo trình Thực hành thiết kế mẫu Adobe Illustrator CS4 dành cho người tự học: Phần 1 - Nxb. Giao thông vận tải
152 p | 294 | 155
Giáo trình Thực hành thiết kế mẫu Adobe Illustrator CS4 dành cho người tự học: Phần 2 - Nxb. Giao thông vận tải
136 p | 200 | 94
Adobe illustrator cs4- P1
30 p | 119 | 51
Adobe illustrator cs4- P2
30 p | 116 | 36
Adobe illustrator cs4- P3
30 p | 92 | 28
Adobe Illustrator CS4 Digital Classroom
323 p | 77 | 28
Adobe illustrator cs4- P4
30 p | 64 | 20
Adobe illustrator cs4- P6
30 p | 70 | 19
Adobe illustrator cs4- P5
30 p | 55 | 17
Adobe illustrator cs4- P10
30 p | 68 | 17
Adobe illustrator cs4- P11
30 p | 65 | 17
Adobe Illustrator CS4 bible phần 1
78 p | 51 | 16
Adobe illustrator cs4- P12
30 p | 66 | 16
Adobe illustrator cs4- P8
30 p | 73 | 16
Adobe illustrator cs4- P7
30 p | 80 | 16
Adobe illustrator cs4- P13
30 p | 72 | 15
Real World Adobe InDesign CS4- P9
30 p | 60 | 8


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On this, Friday before Holy Week – when our lives will get very busy (more busy…) what are the things which gladden your heart? Which give you strength and sustain you when the going gets tough? And, can you choose just five!?
Song: With Joy You Shall Draw Water
Discovered this joyful and gracefully inclusive version of the canticle from Isaiah 12 at Easter Vespers at the Church of Loretto (chapel at St. Mary's College, the women's school across from ND) and recently rediscovered. There's no "A" word though so it's a good alternative to the Benedictus (Zachariah's Canticle) when time is short for Lauds (Morning Prayer)--especially as till looking up this version I only remembered, and sang a few times, the Taize-like refrain.
Book: Just started a fun modern version of Northanger Abbey by mystery writer Val McDermid. I discovered it when I checked out a book and audio disc of the original for this term's homeschool literature class cause it's fun and relatively short. We started the term with Pride and Prejudice and are both relieved to have returned to Jane Austen and ditched the truly obnoxious Cathy and Heathcliff--validating my "once was plenty" approach versus "obsessively re-read" for Jane Eyre. The audio disc of Wuthering Heights which we tried out for a while used clever marketing in reminding people that it was Bella's favorite book in Twilight, and I was impressed with the doubly clever use/echo of the work in the gobble-worthy current partner Netflix,Vampire Diaries, of having the good vampire own an original copy by "Ellis Bell"!
Film: Bride and Prejudice, a marvelous modern India take on P and P which Nick enjoyed as a young adolescent without having even read the book. I am looking forward to watching it, along with the classic Colin Firth version, to practice compare-and-contrast and deepen our analysis of the work as we prepare for the oral exam I will give the maiden at term's end.
Poetry: Still enjoying Shakespeare for my personal listening pleasure while driving, inspired by the seven we listened to for fall literature course. Just finished off Cymbeline, which is a fun romp, and also has the moving "Fear No More the Heat of the Sun." Love the rich timbre of the mezzo performing this version--slightly gender bending since the original is sung by the princes in exile to the unknown sister they think is dead. Kind of a Holy Week foretaste, I guess.
Person: Since I'm seeing a homeschool theme emerge I think I will go with my dear daughter Katie--a tremendous joy since her arrival as #3 of my 4 gave me the privilege of raising a girl after losing Rachel, #1, way too young. I am really enjoying her company, and seeing her grow into a unique and fascinating young adult, as she learns from home while we both work from home. She's recently started requesting non-fiction reading trips to the library--yesterday's discovery was a down to earth ethics history/intro called Would You Kill the Fat Man? since it's main example is the classic trolley crash dilemma. And her present tofu kick for her weekly Friday night cooking assignment has led to some things which I appreciate for the earth/justice friendliness and Lenten appropriateness) and even her skeptical dad agrees are very tasty.
For more Friday Fives visit RevGals!


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Remodeling your home? We have a friendly, knowledgeable staff to help you with every part of your project. We offer a wide range of materials including mouldings, doors, windows, decorative pieces, building materials and hardware. Our Weehawken, Tallman and Hawthorne locations all have kitchen and bath showrooms and specialists to assist you. Whether you are a Do-It-Yourselfer or have hired a contractor, stop by one of our nine showrooms for ideas and product selection!
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Hi Syadie, I have just returned from our Cross Borneo - Orang-utan Expedition, and so many thoughts are swirling in my head I can hardly sleep. It was truly a challenging but wonderful trip, all I had hoped for and much more. I enjoyed being the only tourist everywhere but felt warm welcome in all communities. During the jungle part you have ever had a helping hand, an encouraging smile or joke for me and so I could manage the slippery and steep ways despite weak shaky knees. Thanks again for your patience with me when I am tired after a hard day and didn't help so much I maybe should. I enjoyed our conversation about nature, culture, history and religion in the evenings in jungle and during the days on boats. And I could feel you love your land, the nearly impenetrable jungle, the small and big animals and birds and the people we met. Thank you so much for all your help in planning, coordinating and dealing with my endless questions and needs. Thanks too for handling all the changed flight arrangements. Anyway, it was truly a life-changing experience, I learnt a lot about me and my energy and of course what it means to be middle in nowhere, in mud with leeches and pepper-ants but with friends at a small fire. You made an uncomfortable place on a river side to a homely camp. Also the Orangutan part in Tanjung Puting NP with the houseboat was great. Of course I enjoyed the huge number of free living Orangutans with their cute babies and the funny proboscis monkeys - but not least all the "luxury" to be clean, nowhere leeches, sitting on a dry boat deck on a soft mattress, getting coffee all the time. And I know I want to return again in the future. Well, you probably hear this all the time, but I did want to share a little with you. I cannot thank you enough for putting together such a life-altering and amazing journey for me!!! By the way: thanks from my husband for sending me back from this real survival-trip with no bigger injuries than leech bites 😉 I encourage everyone (who seems tough enough ;-)) to do with you this Crossborneo -it was just a fabulous trip! If there is anybody out there who wants to know something about this trip don´t hesitate to send me a mail: An alle "deutschschreiber": bei irgendwelchen Fragen zur Tour könnt ihr mich gern anmailen: email@example.com Next days I try to put some pictures on my website www.gopapua.de Good luck for you and your business, Sabine from Germany
Dear Syadie, I hope you are well and happy. I will be going to Indonesia very soon. We will visit the floating market and the orangutan park and we will film there. I have already contacted Jeffery, and we are working on the program. I have asked him that you work with us those days again. I guess he will contact you soon. It will be a pleasure to meet you again. See you soon.
Best regards Rocío
Hi Syadie! Thank you so much for all of your help during my visit in Banjarmasin and Loksado. You're full of energy, and gave me so much information about all of the sights; the floating market, the water buffalo, the plants and animals of Loksado, the history of the areas. You also went beyond the itinerary and took me to some other places that you thought I might like. Aside from that, you were really fun to be around and laugh with in the car and on the boats. You and Kamay even took me to an internet cafe after your obligated time with me, saying, "You have no friends in Indonesia, so we are now your friends." Fabulous! You really looked after me. You and Kamay were fantastic, and I hope to come back sooner than later. I told Wanto how great you were. Stay in touch, and as soon as I get my photos together I will post them. I'm having a problem though...my Facebook is suddenly showing in Chinese and I don't know how to fix it!
Best wishes, AmyFor more itineraries, please visit the sister website: www.borneo-ecoadventure.com


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Call for Entries for 2017 Australian Effie Awards Announced
The Communications Council, 1 year, 3 months ago
The Communications Council has today announced the 2017 Call for Entries for the Australian Effie Awards, with the closing date set for Thursday 20 April.
Running for the ninth consecutive year, the awards celebrate the effectiveness of creative communications, recognising campaigns that can demonstrate outstanding measurable results.
Following an annual review, three new categories will be introduced this year to award work in important and evolving areas, including:
• Marketing Solutions other than Communications - How the core solution to the marketing challenge helped a business to grow or overcome barriers using marketing levers other than communications e.g. product, pricing, distribution or innovation.
• Media-Led Idea - Media cannot exist without content, but this award is intended to recognise those cases that were led by the media thinking, and would not have been successful without the strategic media idea.
• Media Partnership Activation - Winners of this award will represent those advertisers and media partners that knew exactly where and how to connect with their audience via the assets of a media company.
The full list of 25 categories is as follows:
- Best State Campaign
- Beverages – Alcoholic & Non-Alcoholic
- Digitally Led Ideas
- Financial Services
- Food, Confectionery & Snacks
- Government
- Health and Well-being
- Insight & Strategic Thinking
- Long Term Effects
- Most Original Thinking
- Marketing Solutions other than Communications
- Media-Led Idea
- Media Partnership Activation
- New Product or Service
- Not For Profit & Cause Related Marketing
- Online Brands
- Other Consumer Goods
- Other Services
- PR-Led Campaign
- Retail/Etail
- Return on Investment
- Short Term Effects
- Small Budget
- Travel, Leisure & Media
- Use of Data
CEO, Tony Hale, said: "The Australian Effie Awards ceremony has become an important annual event for the marketing communications industry in Australia, providing both a showcase and a benchmark for excellence in the area that matters most to our clients – delivering results. The Australian Effies continues to evolve with the changing nature of marketing communications. We anticipate the three new categories will generate strong interest".
For the third year running, agencies are also invited to nominate clients for the Effective Advertiser of the Year Award, to celebrate those who champion effectiveness.
An extended and final deadline of Thursday 4th May 2017 is available for those unable to meet the initial entry deadline of Thursday 20th April, though a late fee will be incurred.
Round One Judging will take place online from 12-15th June, with finalists announced on 28th June. Round Two Judging is set for 31st July.
All Effie winners will be announced at an awards dinner and presentation in Sydney on Thursday the 31st of August.
As the peak industry body representing agencies in the marketing communications industry, The Communications Council has been promoting effectiveness for over 25 years through both the Australian Effie Awards and previously the AFA Effectiveness Awards. For further information about the Effie program and to enter visit www.effies.com.au.
Genre: PR , People , Strategy/Insight