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By ANNE D'INNOCENZIO
In this Friday, Feb. 15, 2013, photo, a sales staff member at Barney's New York uses an iPod Touch to help a customer make a purchase, in New York. Stores across the country are ditching the old-fashioned, clunky cash registers and instead having salespeople _ and shoppers themselves _ checkout on smartphones and tablet computers. (AP Photo/Bebeto Matthews)
NEW YORK (AP) — Ka-ching! The cash register may be on its final sale.
Stores across the country are ditching the old-fashioned, clunky machines and having salespeople — and even shoppers themselves — ring up sales on smartphones and tablet computers.
Barneys New York, a luxury retailer, this year plans to use iPads or iPod Touch devices for credit and debit card purchases in seven of its nearly two dozen regular-price stores. Urban Outfitters, a teen clothing chain, ordered its last traditional register last fall and plans to go completely mobile one day. And Wal-Mart, the world's largest retailer, is testing a "Scan & Go" app that lets customers scan their items as they shop.
"The traditional cash register is heading toward obsolescence," said Danielle Vitale, chief operating officer of Barneys New York.
That the cash register is getting the boot is no surprise. The writing has been on the wall for a long time for the iconic machine, which was created in the late 1800s. The register was essential in nearly every retail location by 1915, but it now seems outdated in a world in which smartphones and tablets increasingly are replacing everything from books to ATMs to cameras.
Stores like smartphones and tablets because they take up less floor space than registers and free up cashiers to help customers instead of being tethered to one spot. They also are cheaper: For instance, Apple Inc.'s iPads with accessories like credit card readers can cost a store $1,500, compared with $4,000 for a register. And Americans increasingly want the same speedy service in physical stores that they get from shopping online.
"Consumers want the retailer to bring the register to them," said Lori Schafer, executive adviser at SAS Institute Inc., which creates software for major retailers.
J.C. Penney, a mid-price department-store chain, said the response by customers has been great since it started rolling out iPod Touch devices late last year in its 1,100 stores. The goal is to have one in the hands of every salesperson by May. The company said that about a quarter of purchases at its stores nationwide now come from an iPod Touch.
On a recent Thursday afternoon at a Penney store in the Manhattan borough of New York City, Debbie Guastella, 55, marveled after a saleswoman rang up three shirts she was buying on an iPod Touch.
"I think it's great," said Guastella, who lives in Huntington, N.Y. "The faster the better."
It's been a long fall for the cash register, which innovated retail as we know it. The first register was invented following the Civil War by a little known saloon owner. Before then, most store owners were in the dark about whether or not they were making a profit, and many suffered since it was easy for sales clerks to steal from the cash drawer unnoticed. But by 1915, cash registers were ubiquitous in stores across the country, with more than 1.5 million sold by then.
More recently, stores have been looking for ways to modernize checkout. Since 2003, self-checkout areas that enable customers to scan and bag their own merchandise have become commonplace in grocery and other stores. But recently, there's been a push to go further.
As a result, companies that make traditional cash registers are racing to come up new solutions. NCR Corp., formerly known as the National Cash Register Co., was the first to manufacturer the cash register on a large scale.
Last year, the company that also makes ATMS, self-service checkout machines and airport check-in kiosks, launched a program that merges its software with the iPad. This allows store clerks to detach the iPad from the keyboard at the counter and use it as a mobile checkout device
"Retailers have more flexibility and more opportunities to change the shopping experience," said Mark Self, NCR's vice president of retail solutions marketing.
Stores themselves are also taking their cues from the success of Apple Inc. The nation's most profitable retailer moved to mobile checkout in its stores in 2006.
Take upscale handbag maker Coach, which is using iPod Touch devices at half of its 189 factory outlet stores. The company also is testing them in a handful of its 350 regular stores.
The move has enabled Coach to start slimming down its registers to the size of small podiums, leaving extra space that is equivalent to three days of product and a display table for the average store, said Francine Della Badia, Coach's executive vice president of merchandising.
Badia, who says the additional space will be used for new shoe salons and other purposes, said most importantly, the mobile devices allow store staff to build "a more intimate connection with the customer."
Some retailers have decided to go completely mobile. Urban Outfitters, which operates more than 400 stores under its namesake brand, Anthropologie and Free People, announced in late September that all sales eventually will be rung up on iPods and iPads on swivels located at counters. The company didn't give a timeframe for when it would go completely mobile.
Urban Outfitters had given iPod Touch devices to its sales staff two years ago and the move has been very well received by shoppers, said Calvin Hollinger, the company's chief information officer in his address to investors.
Nordstrom, an upscale department-store chain that's considered within the retail industry to be the gold standard in customer service, also plans to get rid of registers altogether.
The company handed out iPod Touch devices to its staff at its 117 department stores nationwide in 2011. And by late last year, it did the same for its 110 Nordstrom Rack stores that sell lower-priced merchandise. Nordstrom, which already has removed some of the registers at its Rack stores, said it aims to phase out registers by next year.
Colin Johnson, a Nordstrom spokeswoman, said it's too early to draw any conclusions on how mobile checkout has influenced buying, but the company is learning about which technologies work best.
"We see the future as essentially mobile," Johnson said. "We don't see departments in our store as being defined by a big clunky cash register."
Not every retailer is quick to ditch registers, though. After all, there are still logistics to figure out. For instance, no retailer yet is accepting cash payments on mobile devices. But if they start to do so, where will they put the cash that would normally go into a register?
Additionally, sales staff walking around stores armed with mobile devices could turn off shoppers who would prefer to be left alone in aisles. To remedy that, some retailers are training their salespeople on when to approach shoppers — and when not to.
For its part, Wal-Mart is putting checkout in the hands of the shoppers themselves.
The retailer is testing its "Scan & Go" app, which can be used on Apple devices such as iPads, in more than 200 of its more than 4,000 stores nationwide.
The app, which is aimed at reducing long checkout lines, requires that shoppers pay at self-checkout areas. So as it tests the app, Wal-Mart also is expanding the number of self-checkout areas in its stores.
"Our goal is to give choices to all of our customers however they want to shop," said Gibu Thomas, senior vice president of mobile and digital initiatives at Wal-Mart's global e-commerce division."


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To include active content, like scripts and executables, in the web server document directories is sometimes considered an insecure practice. If, because of some configuration mistake, the scripts are not executed but displayed as regular HTML documents, this may result in leakage of intellectual property or security information like passwords. Therefore many sysadmins will prefer setting up another directory structure for scripts that are accessible only through the PHP CGI, and therefore always interpreted and not displayed as such.
Also if the method for making sure the requests are not redirected, as described in the previous section, is not available, it is necessary to set up a script doc_root that is different from web document root.
You can set the PHP script document root by the configuration
directive doc_root in the
configuration file, or
you can set the environment variable
PHP_DOCUMENT_ROOT. If it is set, the CGI
version of PHP will always construct the file name to open with this
and the path information in the
request, so you can be sure no script is executed outside this
directory (except for user_dir
Another option usable here is user_dir. When user_dir is unset,
only thing controlling the opened file name is
. Opening a URL like http://my.host/~user/doc.php does not
result in opening a file under users home directory, but a file
called ~user/doc.php under
doc_root (yes, a directory name starting with a tilde
If user_dir is set to for example public_php, a request like http://my.host/~user/doc.php will open a file called doc.php under the directory named public_php under the home directory of the user. If the home of the user is /home/user, the file executed is /home/user/public_php/doc.php.
expansion happens regardless of
the doc_root
setting, so you can control
the document root and user directory access

subset: commoncrawl


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Interstate Garage Doors - Residential Garage Doors 92131 - 858-346-6255
Interstate Garage Doors is a leading garage door services firm that has been successfully operating in the San Diego, CA 92131 for more than a decade. Over the years of our operation, we have been trudging on the path of improvement while being extremely dedicated. Today, we have risen to be the top most garage door services company in Zip Code 92131, such that we have become the ultimate go-to firm for most of the residences and commercial owners.
Surely our position in the San Diego, CA area wasn't an effort of a single night; rather it has been due to the years of pure hard work of our professional workers. With an appreciable technological infrastructure, and proficiency, 100% customer satisfaction is all that we aim for.
Our professional team:
When an establishment rises, it is solely due to the efforts of the manpower that forms it. Right from the one at the topmost level to the technicians, the efforts put in by each individual has transformed Interstate Garage Doors into the company it is today. We do not believe in novices delivering quality work, rather we ensure that we hire skilled technicians with a good amount of experience and zeal to learn. We have a team of professionals who possess an appreciable extent of knowledge about the field work, and have excellent skills to resolve garage door issues in a timely manner.
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Some of our services in San Diego, CA 92131 are:
- Replacing cables
- Emergency services for 24/7
- Overhead door installation
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- Replacement of springs
- Configuring remotes
- Garage door replacement/repair services
- Decorative hardware installation
- Weather-stripping installation
- Sectional garage doors
- Set up or repair of safety sensors
- Replacement of worn-out weather seals
- Commercial steel door
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- Rusty component lubrication
- Follow-up of the full system on a regular basis
And many more.
Impressed by the services we offer? Want to know more about us? Then without further ado, avail our services in Zip Code 92131 by making a call on 858-346-6255!


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All the light fittings in this section will incorporate a single or small cluster of bulbs housed in a decorative diffuser or similar, suspended by a chain from the ceiling. They can range from quite simple to highly ornate lumiers and are ideal for lighting small enclosed areas such as lobbies, bathrooms, toilets, etc to being used in series to light passages, corridors or side rooms which do not lend themselves to larger more highly decorated chandeliers.
Need a hoist, bulbs, shades or crystal? Look in our Accessories Section.


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Increasing temperatures are upon us, and while most are happy to say a not-so-fond farewell to winter, spring and summer bring their own set of problems. Specifically: storm season. While cold snaps and blizzards are soon to be a thing of the past, your farm or ranch operation now faces the severe weather that comes with the spring. Are you ready? Here are some tips to help you keep your operation safe during storm season.
Each year, on average, 1,300 tornadoes are reported in the United States, and cause millions of dollars' worth of damage. With winds that can reach over 250 miles per hour and the potential to travel up to 50 miles, tornadoes have a destructive potential that often puts them in the headlines. In the face of such a huge force of nature, what do you do?
- DON'T remain in your tractor or vehicle. It may seem safer, but don't trust this false sense of security. In fact, get away from your vehicle—you don't want to be too close if it happens to tip over. Find a low-lying area, such as a ditch, and cover your head with your arms to protect yourself from flying debris.
- DON'T try to outrun a tornado with your vehicle. One of the biggest dangers presented by a tornado is its unpredictability; there are eyewitness accounts of the tornadoes jumping from location to location, or suddenly veering in a different direction.
- DO have a plan for which buildings on your property provide the most protection. Basements are best, of course, but if you're caught out during a tornado, a building with a strong inner structure, such as a barn, can be a safe haven. If you can, stay away from the outside walls of the building you take shelter in.
Of course, prevention is an even bigger factor. Pay attention to warning signs; most people in tornado-prone areas are familiar with the eerie, often greenish sky that warns of impending nasty weather. Keep an eye out for funnel clouds, and take shelter immediately if you hear sirens. The warning may end up being nothing—but you don't want to be caught out in the field if it isn't.
You would think that tornadoes would be the more dangerous of the two, but lightning is more common and therefore more dangerous. The air near a lightning strike can reach 50,000 degrees Fahrenheit—that's hotter than the surface of the sun. If you happen to be caught out during a lightning storm, some important safety rules apply.
- DON'T be the highest point. If you're in an open field, find a low spot away from potential conductors like trees, fences, and poles. If you feel your skin tingling or your hair starts to stand on end, the atmosphere is charged with electricity. Crouch down low, minimizing your contact with the ground, and place your hands on your knees with your head between them.
- DO stay in your vehicle. Unlike a situation with a tornado, a truck or tractor can provide better protection that lying exposed in a field.
Flash Flooding
Intensifying rainfall has caused nearly $75 billion in flood damage in the U.S. in the past three decades. Never underestimate the power of water! Floods can be sudden and powerful, giving you little time to prepare. If you are confronted with flash flooding, there are a few tips to keep in mind:
- DON'T attempt to drive through water over the road. You have no idea how deep it may be, and it only takes 6 inches of water to sweep a vehicle away.
- DO avoid low-lying areas in your fields or on your property. During a torrential downpour, all that water has to go somewhere. You don't want to be there when it arrives.
- DO have an evacuation plan in place for your livestock, should you need to move them to higher ground.
While some areas of the country are bracing themselves for wet weather, others are preparing for the arid conditions that lend themselves to fires. In 2021, wildfire season is expected to be between $70 billion and $90 billion in the U.S. with $45 billion to $55 billion of those damages to California alone. In addition, farms and ranches can be at risk of man-made fires if proper safety precautions aren't followed.
- DO install and regularly inspect smoke alarms, fire extinguishers, and sprinklers in both residences and farm buildings, on combines and tractors, and around mechanized equipment.
- DON'T provide a potential fire with fuel! Remove vegetation from within at least 30 feet of residences and farm buildings.
- DO have an evacuation plan in place for livestock. Moving them to a plowed or heavily-grazed field or pasture with water or shade can provide them with protection and comfort in the event of a fire.
- DON'T leave a fire unattended, and always comply with state or local regulations regarding open burning.
An Ounce of Prevention
Of course, the best case scenario is to avoid these dangerous situations in the first place. Do you know your watches and warnings? See the list below for a guide on what to watch out for during storm season.
- Severe Thunderstorm Watch: There's the potential for severe thunderstorms to develop. Be ready to act if a warning is issued.
- Severe Thunderstorm Warning: Severe weather indicates imminent danger to life and/or property – this includes potential for large hail, lightning, damaging winds, flash flooding and tornadoes.
- Tornado Watch: Weather conditions are capable of producing tornadoes.
- Tornado Warning: A tornado is sighted or indicated by radar. Seek shelter immediately.
- Flash Flood Watch: Conditions are favorable for flash flooding or flooding in the watch area. Be alert.
- Flash Flood Warning: A flash flood is imminent or occurring can take only a few minutes to develop.
- Fire Weather Watch: Conditions may result in either numerous fire starts or extreme fire behavior within the next 24 to 72 hours.
- Red Flag Warning: Fire conditions are ongoing or expected to occur within the next 24 hours.
Every season brings its challenges, and you don't need to go into storm season unprepared. And if you want to make sure your insurance can weather the storm, contact your local Farm Bureau agent for a SuperCheck®; he or she can help ensure that your insurance continues to offer the best coverage for your operation.


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Themistocles (Adamopoulo)
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The V. Rev. Dr. Themistocles Adamopoulo, born in Alexandria and raised in Melbourne, is an archimandrite in Freetown, Sierra Leone, within the Greek Orthodox Patriarchate of Alexandria and All Africa. His work is in mission and charity, using education as a means of bringing people out of poverty.
Eleftherius and Helen Adamopoulo were the parents of a Greek family who lived in Alexandria, Egypt. Eleftherius was an author, successful banker and had a double qualification in Chemistry; and Helen was a headmistress of a school. In 1945, Themistocles was born. Seeing developments that would have dire consequences for foreigners in Egypt, in 1956, Eleftherius and Helen immigrated with their family - including their son, Themistocles - to Melbourne, Australia. Themistocles, because of the social stigma of Greeks at the time, grew up wishing to fit into wider Australian society.
Due to the Adamopoulo's being Greeks from a non-Greek country, they were considered to be Greeks by Anglo-Celtic Australian society, and outsiders within the Greek community. As such, Eleftherius became a labourer, and Helen worked in factories. However, in a few years, Helen was recognised by Melbourne University, becoming a teacher at Presbyterian Ladies College, and Eleftherius was recognised by local industries, becoming an industrial chemist.
Early life
Themistocles went to high school at Williamstown High School, being gifted in academic areas, and getting a result good enough to win a scholarship to Melbourne University. He began a Bachelor of Commerce degree in 1964, and then formed a music group similar to the Beatles and the Rolling Stones known as The Flies. This caused a two-year deferment in his university studies while he pursued the music industry, including records, Top 10 songs, a fan club and supporting the Beatles on their Australian tour.
However, he decided that this was not to be a permanent occupation, and returned to university in a Bachelor of Arts course, studying philosophy, political science and history. His readings, and perspectives on human rights, social justice and minority groups, were formed during this period, and are acknowledged by himself to have affected the way he lives his religion today. At 22, he became a tutor at Melbourne University.
However, at the time, he held a strict athiestic view that he later recognised as contradictory. Themi attributes his conversion to anti-establishment ideas that happened in greater society, such as the opposition to the Vietnam War, and to Timothy Leary's influence in exploring counter-cultural concepts in spiritual terms. This anti-establishment focus was brought to bear on Nietzsche and Marx, and Themi was to look at various religions, looking for truths in them that could be useful in an ideal world. Undergoing a Christian mystical experience, Themi then accepted Christianity as the path to God.
He did not immediately go to the Greek Orthodox Church of his parents, but first held a belief in Christ while looking for the denomination that could best understand his experience. Through reading the Bible and the life of St Francis of Assisi, Themi began to sell his property, give to the poor, and resign from his tutorship in political science. Speaking to one or two Greek Orthodox priests in Melbourne, he asked about God and was told not to inquire into God. Finding this unsatisfactory, he then went to other churches, finding in the Presbyterian church interesting people willing to discuss God and accommodate his previous experiences, people who accepted and greatly respected him. However, he began to ask why he was born a Greek and baptised Orthodox, and looked again at Orthodoxy.
Pity for the state of the Orthodox Church in Melbourne in the early seventies led him to join the Church - there was no teaching of Christ, Sunday schools, youth groups or Bible study groups, but rather joining together as a common identity of Greeks. Themi felt sorry for these people, whom he had already learnt more about the Bible than. He was immediately accepted due to being Greek, and received permission to begin a Sunday school.
Return to the academic world
Themi, after beginning a Masters of Education, transferred to a Diploma of Education for teaching at technical schools to continue his new-found association and identification with the working class. He went on to teach at Richmond Technical School, Essendon Technical School and Preston Technical School, all in the heartlands of the working class. However, his unwavering and spoken commitment to Christ meant that he was transferred from school to school, finally resigning from Lalor High School due to frustration at the continued restriction of his freedom of speech.
After this, due to the lack of Orthodox seminaries at the time, he took up studies at a Catholic theological school. He was advised by Archbishop Stylianos, the then-new Greek Orthodox Archbishop of Australia, to study at Corpus Christi College, Melbourne. He then went on to study at Holy Cross, Massachusetts, beginning a Masters of Theological Studies and concurrently studying at Harvard Divinity School. After this, he undertook a Master of Theology at Princeton Divinity School, and completed a Ph.D. at Brown University with his thesis entitled Endurance, Greek and Early Christian: The Moral Transformation of the Greek Idea of Endurance, From the Homeric Battlefield to the Apostle Paul, explaining how endurance changed from the Greek philosophical concept of something that one could do on their own, to St Paul's transformation into endurance being something a gift of God in Christ.
Fr Themistocles, by this time a tonsured monk usually called 'Br Themi', returned to Australia and, in 1986, was one of the founding lecturers at St Andrew's Greek Orthodox Theological College, Sydney, Australia; he was also teaching at Macquarie University and University of Sydney.
After considerable time lecturing, Fr Themi began to wish to personally act out his theology, and due to his being born in Africa he decided to return there in 2000, utilising his academic ability at the Orthodox Patriarchal Ecclesiastical School "Archbishop Macarius III" in Nairobi, Kenya.
Ordained and elevated in Kenya to the rank of Archimandrite, he conducted liturgies and preached in various parishes in Kenya, but his primary focus is on teaching people in Kenya to earn a living on their own. With the blessing of Archbishop Makarios, Fr Themistocles established the Saint Clement of Alexandria Philanthropic Education Centre. Through the centre, he set up a school for unemployed women to learn tailoring and dressmaking in November 2001, then a computer school for unemployed youth in 2002; in September of that year, he then set up a pre-school and primary school for children in slum areas, giving them free education, food and clothing.
In January 2003, the Teachers' College was established. This grew into the Saint Clement of Alexandria Orthodox College of Africa, currently consisting of an education department and a business/information technology department, teaching for minimal cost to break the cycle of depression. Future plans include a nursing and pharmacy school; furthermore, serious negotiations are underway with the University of Thessalonica towards the creation of a Paediatric Medical School within the College. Fr Themistocles envisaged an Orthodox University of Africa.
Sierra Leone
In January 2008, with the blessing of His Beatitude Patriarch Theodoros of Alexandria and sponsored by the international charity 'Paradise Kids 4 Africa' (PK4A), Fr Themi moved from Kenya to Sierra Leone, where he involved himself in similar activities that he had initiated in Kenya. As of 2009, there are 9 building projects in progress, including a missionary residence and 3 places of worship (including the Cathedral of St Eleftherios), as well as providing many feeding programs for the hungry.
Negotiations with the government in March 2008 led to Fr Themi having responsibility for two schools, with a total of 3500 students and 90 staff; and in May, grants were received from two Greek missionary societies, the Orthodox Missionary Fraternity and the Missionary Alliance of St. Cosmas the Aetolian - one grant to build infrastructure for one of the schools, and the other to begin construction of a Teachers' College. Work began on the Teachers' College before the end of that month, and construction has begun on housing for the disabled and victims of the war.
- Bachelor of Arts (University of Melbourne)
- Diploma of Education
- Master of Theological Studies (Holy Cross Greek Orthodox School of Theology)
- Master of Theology (Princeton Divinity School)
- Doctor of Philosophy (Brown University). Thesis: "Endurance, Greek and Early Christian: The Moral Transformation of the Greek Idea of Endurance, From the Homeric Battlefield to the Apostle Paul".
- Doctor of Education (Monash University)
Tertiary lecturing
- University of Sydney, Sydney
- Macquarie University, Sydney
- St. Andrew's Greek Orthodox Theological College, Sydney
- Sub-Dean, Orthodox Patriarchal Ecclesiastical School "Archbishop Macarius III", Nairobi, Kenya.
External links
- St. Clement of Alexandria Philanthropic Educational Projects in Kenya website
- Paradise Kids 4 Africa website, where donations are possible.


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Throw Pillow made from 100% spun polyester poplin fabric, a stylish statement that will liven up any room. Individually cut and sewn by hand, each pillow features a double-sided print and is finished with a concealed zipper for ease of care. Sold with or without faux down pillow insert.
Sizes –
(16″ x 16″) (18″ x 18″) (20″ x 20″)


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This page provides you with all the information needed to secure a Albania Work visa from Nigeria. We have highlighted some of the most important information required such as Visa Eligibility, Required Documents, Visa Cost, Processing times, Embassy Details , Airports and the Application Forms in order for you to have a smooth process. Please take your time to read all the details, if you require further information how visa applications to other countries click here.
1. About Albania :
If you're interested in Travelling to Albania for other ulterior motives aside being a Work. Make sure you visit our Travel Destination Comparison page to see how Nigerians compares to Albania before you make your final decision.
2. How Nigerians Can Get a Work Visa to Albania :
In most cases, a citizen of Nigerians will be required to have a valid visa in order to travel out of the country, especially to places such as Albania . For instance, in order to get a Albania Work Visa (or any other type of Visas), you will be required to go through a series of visa application procedures. The first step is to check your eligibility for a Albania Work Visa, as well as gather the list of Documents required for a Albania Work Visa.
See below information on how a Nigerian can get a Albania Work Visa:
If you want to Travel to Albania as a Work, you must have a passport, must have applied to some of the schools and must have received an admission. The steps shown below will provide you all the information on how to Travel to Albania as a Work:
1. Getting a Nigerians Passport:
o Go to the passport office in your state
o Request for an official international passport
2. Applying for Admissions:
o Look up schools in a Albania City or University of Interest
o Look up their entry requirements and deadline
o Prepare for tests, write a statement of purpose, request references
o Apply for an admission following the entry requirements rules
3. Apply for Visa:
o Visa appointment – check if there is a Visa appointment required for the country
o Visa application filling – take your time out to fill out the Visa Application forms
4. Book your flight:
o Ensure you book a flight closer to the city which you intend to study.
3. Eligibility Requirements for Albania Work Visa in Nigerians :
Different countries often have different procedures and eligibility requirements for different types of visa applications (Study, Visit, Business or Work Visas). For instance, it is possible for you to be eligible for a Albania Transit Visa while being refused a Study, Work or Business visa based on same present condition. Below, we summarized some of the eligibility requirements for a Albania Work Visa.
Eligibility summary for a Albania Work Visa is as follows:
1. You must be a Nigerians or have a permanent residence status in the country which you currently reside. Your permanent residence must not have an expiry date
2. Other important eligibility requirements for a Albania Work Visa will be provided in our important information section
4. Documents Required for Albania Work Visa in Nigerians :
At Travel Lounge Nigeria we believe there is a general rule that governs the documents required for a Visa application. Before you consider applying for a Albania Work Visa (or any other Visa – in most cases), you will need to provide the following required information below.
The documents you typically need for a Albania Work Visa are:
1) Proof of Means of Financial Support Guide a. Your bank statements for the past four to six months
b. A bank draft in convertible currency
c. Pay stubs
d. An employment letter
e. Proof of assets or business
f. Tax reports, declarations or statements
g. A letter from the person or institution providing you with money
2) Passport Guide
a. The page that shows your birth date, country of origin, etc.; and
b. Any pages with stamps, visas or markings.
3) Proof of Financial Resource of Sponsor (if applicable) Guide
a. Sponsors bank statements for the past four to six months
b. A bank draft in convertible currency
c. Pay stubs
d. An employment letter
e. Proof of assets or business
f. Tax reports, declarations or statements
g. A letter from the person or institution providing you with money
4) Proof of Relationship (if applicable) Guide
a. Marriage certificate
b. Statutory Declaration of Common-Law Union
c. A birth certificate (If your child is inviting you)
d. An official document naming you as a parent (If your child is inviting you)
e. A copy of the inside back cover of the inviter's passport showing the inviter's parents, if applicable
5) Purpose / Evidence of Travel Plan
a. Your flight ticket departing the country (return ticket – reservation only until visa has been issued),
b. Your travel itinerary (e.g. places you will visit or stay, such as hotel booking)
c. Proof of a medical appointment. (where applicable)
d. Proof of employment e. Proof of relationships
6) Family Information
a. Children details
b. A birth certificate
c. An official document naming you as a parent
7) Invitation Letter Guide
a. You must provide a letter of invitation from the person inviting you to the country. The letter must be written by the host and should have specific information about the host and invitee. If this is for work, you must provide an employment letter. If this is for medical, you must provide letter from the hospital and medical doctor. If this is for spouse or finance reunion, you must provide a letter as described.
b. The letter should state the purpose and length of the visit, the nature of the relationship between you and the host, the contact information of the host, etc.
c. If you are being invited to conduct business in the country, a letter of invitation should be printed on the company's letterhead and include:
The host's full name, title and business contact information
A brief summary of the reason for the invitation, including details of the business or trade to be undertaken
The full names of all employees from your company who are being invited by your host
The intended duration and a detailed itinerary of the visit
A statement specifying who will be responsible for all travel-related expenses
8) Travel History Guide
a. You must provide information on your valid visa from the United States/United Kingdom/Canada as well as previous travel history. This can include copies of
b. Your previous passports and/or visas (used within the last 10 years to travel outside your country)
c. Entry and exit stamps
d. Study and/or work permits that indicate your duration outside of your country (if applicable)
e Expired or valid visas
f. Boarding passes
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text:
Saying that "even if you add up all this so-called evidence, it accounts for just over 0.5 percent of the total number of votes," a spokesman for Russian Prime Minister Vladimir Putin has told Agence France Presse that the results of last week's parliamentary elections will stand despite public protests over evidence of fraud.
Though Putin's United Russia party lost dozens of seats in Russia's parliament, it's widely suspected that it held on to control thanks to " ballot-stuffing and other significant violations at the polls."
Spokesman Dmitry Peskov's statement about the results followed an order from Russian President Dmitry Medvedev to investigate the allegations. And it follows demonstrations, as The Associated Press says, by "tens of thousands of Russians ... in Moscow and other cities on Saturday in the largest anti-government protest in the nation's post-Soviet history."
So it appears that Putin, who is viewed as being the real power broker in the Kremlin and who is looking to return to the presidency in next year's elections, is standing firm against any dissent.
On Morning Edition today, NPR's David Greene reported from Khabarovsk — seven time zones to the east of Moscow. He said there was a small "flash mob" in the city's square on Saturday. But even that gathering of just 100 or so students was a remarkable turn of events for a region and nation where such protests have been unheard of in recent years.
And what really struck him while he was there, David said, was a conversation he had with a woman who said she might join the protesters the next time they gather. She's never done such a thing before, but has grown weary of Putin and the corruption in government. "You hear complaints about Putin in Moscow," David said, but this was one of the first times he had heard such talk from someone so far away.'
Also:"Russian Billionaire Prokhorov To Challenge Putin In Presidential Election." ( Bloomberg News)
"Billionaire Mikhail Prokhorov said he'll run for president against Prime Minister Vladimir Putin in March elections after the biggest anti-government demonstrations in a decade emboldened Russia's opposition.
" 'This is the most important decision of my life,' the New Jersey Nets basketball team owner told reporters in Moscow."
Copyright 2020 NPR. To see more, visit https://www.npr.org.


text:
Thursday, July 28, 2011
The Zorn Palette
Hans Henrik Brummer, writing in the 1986 catalog on Zorn, said "basically his register was limited to black, white, earth yellows and vermilion; other pigments could be used if local accents were needed."
Several art teachers, such as Jeff Watts, use the "Zorn palette" (sometimes substituting cadmium red light for vermilion) as a teaching tool because it provides students with a finite range of color choices with a wide enough gamut to handle most figure paintings. The gray can appear as a blue in the context of the limited palette.
But recently some authorities have cast doubt on Zorn's use of the limited palette.
Bob Bahr of American Artist magazine states that the so-called Zorn palette "may be a very useful tool, but it is a mistake to attribute it to Anders Zorn." Bahr cites Birgitta Sandström, the museum director of the Zorn Collections in Mora, Sweden, who claims that she has "difficulty even comprehending the assumption that Zorn worked with the specialized palette associated with him" because of the fact that blue and green are found in some of his paintings, and because those colors were found among his studio effects.
She reports that "17 tubes of cobalt alone are represented among the 243 tubes of paint left by Zorn in his studio in Mora." Merit Laine, curator of prints and drawings at Stockholm's Nationalmuseum, "concurs that the notion of a Zorn palette is a bit of a misnomer."
I don't claim to be a Zorn expert, but speaking as a painter, I think these commentators are mistaken and have likely overstated the case. No one has suggested that Zorn exclusively used the ultra-limited palette. Obviously, many of his paintings (such as the one above) use a wider array of colors, including blue.
I believe there's also a logical problem with the evidence of the surviving paint tubes. They don't prove much. In my own case, the back of my paint drawer is crammed with dozens of colors. Some of them, such as Aubusson Green and Tuareg Blue, I purchased cheap and I never use; some I haven't touched in 20 years. Some are so expensive I hesitate to use them. Some have caps or labels that fell off and I don't know what they are. Some are so toxic that I avoid them like nuclear waste. Some are stuck to the bottom of the drawer in a pool of leaking linseed oil that turned to glue.
I often use limited palettes, but you would never guess it from looking in my paint drawer.
What evidence is there that Zorn used the famous four-color palette? First, many of his paintings appear to be painted within a narrow gamut that could have been painted from those colors.
Theoretically, one could paint such a picture from either a full palette or a limited palette. A chemical analysis would prove it for sure.
Many of Zorn's heroes, such as Frans Hals, Diego Velasquez, and James M Whistler, used limited palettes. Talk about limited palettes among artists of Zorn's day was commonplace.
There's also the testimony of fellow painters writing about Zorn's palette during Zorn's lifetime. For example, European-trained Birge Harrison (1854-1929), in his book "Landscape Painting" in 1909, says: "The expert cannot be bothered with useless pigments. He selects the few that are really essential and throws aside the rest as useless lumber. The distinguished Swedish artist, Zorn, uses but two colors—vermilion and yellow ochre; his two other pigments black and white, being the negation of color. With this palette, simple to the point of poverty, he nevertheless finds it possible to paint an immense variety of landscape and figure subjects."
Then there are the actual palettes that survive in the Zorn museums. This one may have a touch of cadmium yellow, or perhaps a dab of blue or green, but it's a small palette and a small box, and it seems to emphasize the main four colors.
Finally, there is the self portrait, which clearly shows the palette with the four colors: white, ochre, red, and black. Zorn was conscious of his own image. He was aware that he was an artist's artist even in his own day. He proudly showed off the four-color palette.
What the doubters need to understand is that a limited palette is not a sign of impoverishment, but rather of resourcefulness. As Brummer says, "limitation could, in fact, be an asset." Zorn's experiments with limited palettes were a part of his virtuosity, a token of his strength as a painter.
"Sweden's Sargent" on the American Artist website.
Anders Zorn complete works (website)
Anders Zorn on Wikipedia
Northern Light: Nordic Art at the Turn of the Century
Zorn: Paintings, Graphics, and Sculpture
Landscape Painting by Birge Harrison
Color and Light: A Guide for the Realist Painter
Thanks, Tim Adkins for the palette photo.
56 comments:
haha, I'm with you. The second I read that he had all those tubes of blue paint, I knew it. He still had them because he never used them.
Interesting article, Thank you! - July 28, 2011 at 11:16 AM
- Tom Hart said...
Great post and analysis, James. I'm with you and mimitabby on the fallacy of the "remaining tubes". The first thing I thought when I read there were "17 tubes of cobalt" was, yeah...and how many were empty or only partly full?
...It appears you've been looking in my paint drawer. How'd you do that? - July 28, 2011 at 12:00 PM
- Matt said...
Zorn palette is great! I use it all the time. Sometimes I use blue black instead of ivory black, which allows you to get the blues and greens.
- July 28, 2011 at 12:34 PM
- Darren said...
Despite Harrison's assertion, I was taught that the 'Zorn palette' referenced his flesh palette.
- July 28, 2011 at 1:29 PM
- Daroo said...
Great post and historical detective work-- I like using the Zorn palette (w/ cad red or cad scarlet) too and will continue to call it the Zorn palette. Even if he only used it only 1/2 the time he used it best, hence, the Zorn palette...
(I also like the James Perry Wilson limited palette -- which I learned about on GJ in an earlier post.)
BTW, I believe that the painting of the two girls is a watercolor
Bottom of the drawer colors: mars violet, terre vert, permanent green, zinc yellow, expensive purples, vermillion hue, and a bunch of other "hues" of questionable origin. - July 28, 2011 at 2:41 PM
- My Pen Name said...
I don't claim to be a Zorn expert, but speaking as a painter,
I think a huge part of the problem of art historians and critics is just that - they aren't painters.
I think they are as out touch with reality and in love with their theories as economists.
Some are so toxic that I avoid them like nuclear waste.
Which ones? - July 28, 2011 at 2:44 PM
- Marianne said...
I have seen an exhibition of many of Anders Zorn's painting in Copenhagen, and I saw many paintings with more colors than in the limited pallet he is know for. Many of his art works was done in a limit pallet, but defiantly not all of them.
- July 28, 2011 at 3:14 PM
- Unknown said...
I've always doubted Zorn's palette. love his paintings, but it sounds like the guy was a douche
- July 28, 2011 at 4:17 PM
- innisart said...
Odd Nerdrum is a big fan of Zorn. Currently in Norway is a show where the two artists have work hanging side by side ("The Kings of Painting: Zorn and Nerdrum"). Nerdrum's palette, based on the one associated with Zorn, consists of vermilion, yellow ochre, titanium white, and Mars black.
At a demo at the recent Weekend with the Masters in NYC, when Nerdrum introduced his palette to the class, they were skeptical that it was his standard palette. Everyone started pulling out Nerdrum's books and asking, "What about this blue shirt?", "How about the blue skies?", "The blue eyes?" etc., and to their shock, each time he told them it was Mars black + white.
It's all about about comparisons and relativity to surrounding colors. Black and yellow can make a good green, and black and white can make a good blue, when juxtaposed against more chromatic yellows and reds.
I would hate to think someone would try to decipher my standard palette from my paint drawers!
Great post. - July 28, 2011 at 4:17 PM
- kev ferrara said...
Great post Jim! Very well considered.
I think it would be great to do a test of the full gamut of colors possible from the Zorn palette... to see just how far the four pigments would stretch. What would the strongest Blue look like? The strongest Green or Yellow?
Certainly a "limited but sufficient" rainbow of colors would result... enough to make a "colorful picture" if played smartly. (And Zorn was as crafty as they come!)
P.S. I too would be interested in a list of pigments so toxic you won't use them. Are you talking cobalts and cadmiums? - July 28, 2011 at 5:07 PM
I've never heard of the "Zorn Pallette" until reading this post, but I've used it a lot, though not quite as expertly as he did - or as Odd Nerdrum. I was under the impression it predated Zorn. Red, yellow and black. Am I wrong? What about Rubens?
- July 28, 2011 at 11:01 PM
- Moish said...
James, unless this is a tradition through the ages, you may want to clean out that drawer. :)
- July 28, 2011 at 11:33 PM
- Chris Vosters said...
This site: http://michaellynnadams.com/zorn-palette/ offers a nice exercise that really shows the strength of the palette. It's even possible to mix blueish tones using the black.
- July 29, 2011 at 4:16 AM
I have some books on Zorn. They're in Swedish :( but the repros are excellent. It is obvious that he used limited palette. Sometimes Zorn would added viridian to the list.
Generally speaking, the curators and art historians lack the experience and practical knowledge serious painters and they should consult them when the need arises, like in this case. - July 29, 2011 at 9:27 AM
- Tom Hart said...
I, for one, don't find it very surprising that black (with white) yields a type of blue. When I first learned that different yellows plus black produces various greens, that was proof enough for me that "black" contains blue.
- July 29, 2011 at 9:46 AM
- Kasey Snow said...
Interesting write up. It is a relief to know that your paint drawer is in as much a state of disarray as my own. The solidified linseed oil in particular is reassuring that I am not doing something wrong...although in my case it happens to be old walnut oil. :)
- July 29, 2011 at 10:07 AM
- Daroo said...
Chris Vosters -- thanks for the link.
- July 29, 2011 at 10:41 AM
- Zanne said...
I've played around a little with the Zorn palette, substituting Cad Red Lt for Vermilion. You really can get a huge range of colors from it. The hard part for me was controlling the Cadmium Red. Its so much stronger tinting than the Ochre that its hard to keep it from overwhelming the whole palette.
Here is a neat video of a guy mixing a Zorn-type palette, but with Alizarin Crimson instead of Vermilion - July 29, 2011 at 10:59 AM
- Thomas Jefferson Kitts said...
I suspect the real truth lies between both extremes. Perhaps Zorn painted without any other color as many believe. But it seems more likely to me that he added touches of other pigments when they were completely and unavoidably needed. Touches. Sure, it would be interesting to see a complete chemical analysis of his work, but doing so would become something of a tangent since whether or not Zorn did or didn't limit himself to four colorants remains somewhat beside the point. What remains more salient is Zorn's skill in how he handled the colors he did use. Not necessarily nailing down which ones they actually were.
And I am a big Zorn fan. As well as Sorolla, Sargent, and Velasquez. All of whom noted for their limited palettes.
I've worked with the so-called "Zorn palette" and much can be accomplished with it. It will provide one form of harmony, but also requires an intense attention to creating a strong value structure, and relies a lot upon the gesture of the mark. It's not for the novice painter, if you ask me. It is best suited to the advanced painter who is looking for a new challenge. To do more with less.
Oh, and I might as throw in Edward Seago into this short list of painters too, if we are to discuss limited palettes, and what may be accomplished with them. Not that I am attempting to provide a definite list here...
Great blog, James. Always a pleasure to read. really good stuff.
Thomas Kitts
http://www.thomaskitts.blogspot.com - July 29, 2011 at 12:23 PM
- Tom Hart said...
First of all, I'd like to give a shout-out to Thomas Kitts' work. If you haven't already checked out his website, I encourage you to do so.
Thomas, I'm not sure if this is a quibble with the point you made about beginners and the Zorn palette or not. Maybe you were specifically referring to the Zorn palette. Personally, I think there's more to be learned about color mixing from a limited pallette, and my experience is that I learned much more - at least I learned more quicky, by working initially with a limited paletted - though admittedly it wasn't quite as limited as the Zorn palette. - July 29, 2011 at 1:15 PM
- Bill said...
The original "Zorn Palette" goes back to the cave painters, I think: red & yellow ochre, charcoal & white chalk.
It a good discipline to master (not to say I have) and works quite well for figures, but it's pretty limiting for landscapes. Adding Viridian to the mix opens up a bunch of possibilities there, you can make much more convincing sky colors.
Ditto on having a bunch of tubes I rarely use, but I do use a pretty wide range, although rarely more than 6 or 7 in one painting. - July 29, 2011 at 3:19 PM
- Thomas Jefferson Kitts said...
First, thank you Tom, for the shout out regarding my work. But like everyone else here, I am still striving to become a stronger painter.
I get your point, that a limited palette can be helpful for the beginner but not unless there is a skilled teacher working with the novice. A reduced palette might facilitate a keener perception of value relationships, and in fact, the modern atelier system somewhat follows that line of reasoning, but if a novice is to learn how to recognize and mix naturalistic color then having a full spectral range of hues at hand is helpful. (I generally start off teaching the complementary mixing system myself.)
Someone expressed earlier that to create a 'blue' using the Zorn palette that all one has to do is mix black and white together. If only it were so straight-forward as that. First, it takes the right kind of black (in Z's case I believe it was Ivory or bone black biased toward to cool, and not a red back such as Mars...) but more importantly, it takes an understanding of how to load a warm bias in the area around the cool passage in a plausible way to optically generate a sense of 'blueness' within the viewer's eye. An entirely different thing from copying nature. And an effect Zorn didn't invent. The cool/warm division is a painting effect which has been well understood all the way back to the 14th century, when painters had a very limited choice for cool hues and had to do it this way.
In the end it is important for the beginner to understand what happens to the temperature of a particular hue when they add white or black to it, limited palette or not. There is not only a shift in value, which they generally can perceive, but also a shift in temperature which may cause that passage to disassociate from the surrounding color, and often such subtleties are overlooked or uncontrolled by the novice. (Not judging here, just sayin'...)
So those are a few reasons -- and certainly not all -- why I might advocate the novice painter start out with a full range of (equally balanced) hues, and learn how to manage all of them at in their mixtures.
And Tom, I hope what I've written makes sense. If not, I apologize.
Thomas Kitts
http://www.thomaskitts.blogspot.com - July 29, 2011 at 5:16 PM
- Tom Hart said...
Thomas, Your explanation - especially the reminder about the importance of the interplay of adjacent colors - makes perfect sense. Thanks for the explanation.
- July 29, 2011 at 6:52 PM
- Michael Pieczonka said...
Interesting article James, and you make a strong case for the Zorn palette. It seems pretty obvious that he must have used a very limited palette for the majority of his subdued portraits, but I've often wondered if he did not have other options when he did his outdoor scenes around Dalarna. A few of these paintings have very vibrant greens within the foliage that I simply don't see how he could have achieved with yellow ochre and black. The more I hear people like J. Watts and S. Christensen talk with certainty of his limited palette, the more I wonder.
I also get your point about many artists having a slew of tubes in their studio at anytime that they may or may not have ever used, but doesn't it seem a little odd that someone would collect 17 tubes of one particular pigment and not have a use for it? It would be great if they could do some sort of pigment analysis of his paintings like you say. It would put the debate to rest for good!! - July 29, 2011 at 11:40 PM
- James Gurney said...
Thanks, everybody, these comments take the discussion miles forward. I haven't painted too much with the Zorn palette, so I don't have as much working knowledge or teaching knowledge of it as many of you do.
Like some of you, I have a hard time giving up viridian when I'm doing flesh tones and backgrounds. And I usually like my two-color limited palettes to have a warm and a cool.
Those "toxic tubes" are label-less lead whites and cadmium reds with holes in the shoulders of the tubes that leak out whenever you squeeze them. I don't wear gloves, so if I touch them, I get the stuff all over. I do use cadmium yellow, but try to avoid the lead.
Michael, I'm sure you're right on the landscapes and other paintings with a wider gamut. But you wouldn't have to add many colors to get his full range. Maybe a yellow and a blue and a green. I think some Zorn experts rightly object to people who say that Zorn ONLY used the "Zorn palette." - July 30, 2011 at 12:21 PM
- Thomas Jefferson Kitts said...
James, and anyone else stlll following this thread...
While I respect anyone who shows concern about the toxicity of our materials, sometimes the dangers we receive are a bit overstated. Sure, cinnabar, mercury, and arsenic, and the like -- all of which can appear in some of the more esoteric colorants, such as Zorn's Vermillion -- can be harmful to us by passing through the skin barrier. But lead (carbonate) is not that worrisome because it doesn't pass through the skin barrier. So as long as you or I aren't handling it in a powdered state without the proper protection, or eating a sandwich in the studio with it all over our hands, or brushing our teeth with it, we'll be fine painting with it. And lead white will do some remarkable things titanium and zinc cannot.
How much one chooses to do to prevent exposure to our paints is entirely up to each individual, but common sense and sensible research required to avoid falling prey to exaggerated fears. It is my understanding that in Germany (and perhaps other areas in Europe) one can no longer buy LW unless you can demonstrate you are a professional artist (whatever that means) which is ironic, since so much of our tradition comes from that part of the world.
Having said all that, I personally recommend anyone who paints with even the most benign materials arrange for a heavy metals test ever 5 or 10 years just to see if there is something to be concerned about. And only purchase properly labels paints that follow ASTM guidelines. Otherwise you have no idea what is under the cap.
Thomas Kitts
http://www.thomaskitts.blogspot.com - July 30, 2011 at 1:57 PM
- jeff said...
From my observation and what I've read about Sorolla he did not seem to use what one would consider a limited palette. It seems that he used a full the gambit of cadmium's
and up to about 15 colors when he worked out of the studio. His work sure does speak to the use of high chroma pigments.
As to the Zorn palette, it's interesting how this subject brings up so much emotion or very concrete opinions. One could easily say Zorn used Cobalt blue being that he had so many tubes of it in his studio. He did have 17 tubes of one color which seems odd to me that he did not intend to use it. Of course he might have been one of those who just bought in bulk. One never knows do one...
I've read that Ivory Black in Zorn's day was a lot bluer than it is today. Which would account for those nice greens and blues he painted. Who knows, it's an interesting subject but personally I like using a good range of high and low chroma hues. - July 31, 2011 at 12:11 AM
- Thomas Jefferson Kitts said...
Jeff, I stand corrected in my earlier statement that Sorolla used a limited palette. I appreciate your correction. For more info, check this link out:
A wonderful overview of Sorolla's use of color that is new to me.
I speculate as you have, that ivory black may have had a distinctly cooler cast than what we commonly see today, but couldn't say so with authority. However, I can say that the manufacturing of ivory black (a.k.a, bone black) in the past was a rather variable process and the color temperature and purity of the end product changed significantly, depending upon the bone and waste ivory used, and the temperatures reached to char them, and amount of oxygen and time introduced into the equation.
So if someone today is interested in experimenting (in theory) with the Zorn palette I'd recommend that they substitute the coldest black they could find for our modern Ivory black, if only to accentuate the blue and greens that can be mixed. I've used both and a cooler black definitely made a difference.
Thomas Kitts
http://www.thomaskitts.blogspot.com - July 31, 2011 at 11:32 AM
- My Pen Name said...
I've read that Ivory Black in Zorn's day was a lot bluer than it is today.
robert doak (brooklyn paint maker) makes a colbolt blue-black which is pretty good. He also makes authentic ivory black (made from discarded antique ivory, legal) - July 31, 2011 at 11:54 AM
- David Still said...
I'm not going to contribute much to the discussion, just give an observation. The painting of the actor Coquelin Cadet, third picture from the bottom in this post, is not at all that warm in the flesh, it is much more neutral - and it's delicious to look at.
- July 31, 2011 at 3:28 PM
- Tancredi Valeri said...
The following is from the auto-biography of Berta Wilhelmson, Carl Wilhelmson's wife. She studied under both Wilhelmson and Zorn in "Konstnärsförbundets målarskola," which was started in opposition to the Academy in Stockholm, and run along the principles of the Parisian ateliers libres. A small group of the foremost independent artists in Sweden at the time taught there: in addition to Wilhelmson and Zorn, Pär Hasselberg, Richard Bergh, Tegerström and Carl Larsson. Tuition was free, and the students only had to pay a small fee to help cover the studio rent and model fees. Men and women worked side by side from the model for the first time in Sweden.
"Zorn as a teacher would be worth a chapter in itself; he had his own ideas, even as a pedagogue. Overall, one might say that he - unlike Carl Wilhelmson, who tried to adapt to his students' individuality - tried to impose his own one the students. Zorn's flesh-palette consisted of five colors: black, white, light ochre, dark ochre and vermilion. Black and white were used to mix the cool tone needed to contrast the last three warm colors. Another one of his ideas was that the students were not allowed to draw first, but had to paint directly, which we thought was immensely difficult. As tools, we were to use a broad brush for the lights and another broad brush for the darks. The half-tones were brushed together with a third brush.
Zorn hated Cobalt blue." - August 5, 2011 at 5:22 PM
- Tancredi Valeri said...
According to that account, Zorn used two ochres, a light (yellow ochre) and a dark (brownish ochre). Also, B. Wilhelmson describes this as Zorn's flesh palette. In other words, it's possible that he used some other colors for his figures in landscapes - like a chromatic green.
- August 5, 2011 at 5:25 PM
- Tancredi Valeri said...
@ Matthew Innis: maybe Odd Nerdrum uses a limited palette now, but when I studied with him he used a much more extended palette, that included ultramarine violet, green umber as well as several yellows and reds..
- August 5, 2011 at 5:29 PM
- Thomas Jefferson Kitts said...
Tancredi, you raise some interesting points and I take your references at face value. It is correct that ochre (and all other earth colors) can come in a wide range of colors, enough to go from a reddish to greenish bias, and for both colorants to bear the same name would confuse anyone trying to clarify the matter.
Wouldn't be the first time either. Divining any material used by an artist from the past can quickly become a guessing game. For example, at different times in history, and geographical regions, "linen" has been used as a term for a woven cloth made from flax, northern flax (which is different from southern), cotton, burlap, and even hemp. So saying any particular artist preferred to use 'linen' over another fabric support isn't as informative as one might think today.
It is entirely conceivable that Zorn used several ochres ranging from the red to the green.
Thomas Kitts
http://www.thomaskitts.blogspot.com - August 5, 2011 at 11:16 PM
- Tancredi Valeri said...
- This comment has been removed by the author.
- August 6, 2011 at 5:41 PM
- Tancredi Valeri said...
Well, according to his student's account, he used one "light ochre" ("ljusockra") and one "dark ochre" ("mörkockra"). I interpret "light ochre" to be the same as what is today called "yellow ochre." I bought a tube of "mörkockra" at an art supplies store in Sweden, and it is a medium-value brown, similar to the tones in the hair, chest of the girl who is washing her self in this painting:
http://www.bukowskis.com/uploaded_images/0586/464 - August 6, 2011 at 5:42 PM
- Thomas Jefferson Kitts said...
Tancredi, unfortunately the link you posted gave a 'page not found error'. Can you try posting it again, or use another?
I'd love to know if there is (or was) a shift in hue between the light and dark ochres you specifically mention. There almost always is whenever a change of value is present. Such subtle hue-shifts become more salient when working with a limited palette, which is one of its inherent charms. It's very much like placing a series of closely-related but different grays next to each other. When there is so little primary or secondary hue present in a mixed color the distinction between various warms and cools appear more pronounced. Which describes Zorn exactly.
Can you offer more detail?
Thomas Kitts
http://www.thomaskitts.blogspot.com - August 6, 2011 at 6:00 PM
- Tancredi Valeri said...
Try this, Thomas:
http://www.bukowskis.com/auctions/562/85-anders-zorn-sondagsmorgon - August 8, 2011 at 1:04 PM
- Tancredi Valeri said...
or this: http://www.bukowskis.com/uploaded_images/0586/4646/IT213724_fullsize.jpg
- August 8, 2011 at 1:07 PM
- James Gurney said...
Tancredi, thanks for those links to the big files, and thanks EVERYBODY for all the helpful insights. This is why I love doing the blog. I learn just as much as you all do.
- August 9, 2011 at 12:11 PM
- Thomas Jefferson Kitts said...
I echo James' appreciation for the large Zorn file. If you have any more of them to share I'd appreciate it if you would either post links to them here, or send them to my email, which may be access at either my website or blog (found below).
The painting you linked to was not a Zorn I recognized -- nothing unusual about that -- but being able to look that closely at his edge work raised two questions for me I hope you can answer.
Do you know if Zorn used any calcite in his paint? There are edges which look rather translucent they make me wonder. We know that Velasquez worked calcite into his paint to expand the warm and cool range of his limited palette and that is one of the reasons many of V's thicker passages seem, well translucent. (And, some saponification of the oil film may be an additional contributing factor as well, but not enough to explain all of the transparency, or finely tuned cool/warm passages.)
And since you seem familiar and knowledgeable about Zorn's palette, do you know if was he had predominately used a lead white, or something else? He was painting during a time of transition, as it comes to whites and oil paints.
Your thoughts and links would be appreciated.
Thomas Kitts
http://www.thomaskitts.blogspot.com - August 10, 2011 at 6:18 PM
- Thomas Jefferson Kitts said...
I meant to say
"and that may be one of the reasons many of Z's thicker passages seem, well translucent."
and not...
"and that is one of the reasons many of V's thicker passages seem, well translucent."
My apologies if that confused anyone.
Thomas Kitts
http://www.thomaskitts.blogspot.com - August 10, 2011 at 6:20 PM
- Amylee (Paris) said...
So greaaat !!! I love the one with two girls !!!
- August 24, 2011 at 8:56 AM
- Emiliya Lane said...
The painting with the girls, called "The Misses Solomon" is a watercolor and still a pretty limited palette but include ultramarine and yellow. I just gave a class on a Zorn Palette and we painted in those 4 colors - It was sensational and eyes opening - I would never imagine that warm/cold constant placement will make gray appear so blue and ochre mixed with black appeared green - I'm going to paint in this palette for a while , but will definitely use some blue or green for accentes, exactly what Zorn used to do.
Love to all - Emiliya Lane - August 14, 2012 at 2:06 PM
- Marius said...
the art school i'm attending now has students always use the limited zorn palette before moving on to full color in any introductory painting class. i'm only just now learning the reason why.
- December 14, 2013 at 3:51 AM
- Thomas Jefferson Kitts said...
I am curious, Marius. In your own words, why? How did using the Zorn palette help you learn to paint?
- December 14, 2013 at 1:39 PM
- Unknown said...
Hey everybody! Does anyone know what kind of brushes zorn used ? the boar hair feels hard when you look at his works...
- August 20, 2015 at 4:19 PM
- Unknown said...
Hey everybody! Does anyone know what kind of brushes zorn used ? the boar hair feels hard when you look at his works...
- August 20, 2015 at 4:20 PM
- Thomas Jefferson Kitts said...
Tuomas, the media of oil is so plastic and malleable that your question is hard to answer.
While I have seen a lot of Zorn's paintings firsthand, I personally haven't researched what kind of brushes he may have preferred, but I suspect it was more than one kind. Besides, the strokes and surface quality of a painting can be affected by more than the choice of a brush. It can be impacted by how much oil, or medium is incorporated into the paint, what kind of oil is incorporated, meaning is it refined with alkaloids, or water-washed, is it sun-bleached, heat-bodied, sun-thickened, or even partially oxidized by being gently exposed to air over time? Is there calcite or aluminum stearate in the paint, is there a wide range of pigment particle sizes or are all the granules uniform? Is there a soft or hard resin incorporated into the paint? Is the white titanium on the palette titanium/zinc, or is it a flake white manufactured via the Dutch Stack Process? (Or more commonly, a lead white made by a different process altogether?)
In the end, there are so many variables involved that a definitive answer about what brush Zorn (may have) used is difficult to state. Unless he told us. Which I don't think he did. And that's assuming he used the same brushes (and materials) throughout his entire career, which few artists ever do.
Ironically, most of the paint manufactured today is more homogenized than the paints of even a century ago, and thus they contain less unique characteristics to exploit. Largely because uniformity in particle size, oil, and pigment to oil load is viewed as a desirable thing by the art materials industry. (In truth, a marketing issue convenient for them.) This is why there are so many modern mediums ironically being touted as the "secret sauce of 'Ye Olde Masteres". To offset this homogeneity.
So,you should consider what Zorn was able to accomplish may have as much, if not more, to do with the character of the paint he was using than what brush (or more likely, brushes) he held in his hand. And of course, let us not forget his incredible draftsmanship, design skills, and color sense.
The best approach is to explore all of these things I mention, plus more, and pay attention to what is happening as you do so. That way you will develop that voodoo that only you can do and we will be left scratching our heads in wonder...
Thomas Kitts
- August 20, 2015 at 7:57 PM
- Thomas Jefferson Kitts said...
And Tuomas, just to continue, and perhaps actually try to answer (or suggest a few answers) to your question...
I just spent a little time examining a hi-rez image of a painting by Zorn, one that affords extreme close up views of the surface. While this may be a small sample to examine, I'd guess Zorn likely used both stiff (hog hair?) and softer (Sable? Ox? Squirrel?) brusheswith in the same painting. But again there are many factors that contribute to how the paint goes down, and how it will appears after it has set or dried...
Did Zorn paint alla prima? (yes, for a lot of his passages and certainly for his finishing top work) Did Zorn paint into a 'couch', aka, a thin coat of oil rubbed over dried areas of a painting that helps integrate a new layer with the underlying one. (yes) Did Zorn often load his brush with multiple colors before pulling a finishing bravura brush stroke (yes). Did he scumble thin passages of paint as an underpainting and then lay thicker, oilier paint on top? (yes) Did Zorn load enough paint on a brush to transfer it to the wet surface without engaging the hair of that brush, essentially skating or kissing wet paint-to-paint, intentionally avoiding physical brush contact? (yes)
All of this can be done with mixture of stiff and soft brushes, rounds, brights, flats, filberts, eggberts, and things we may not even know about. And each brush will impart a different character.
As I said, oil is an amazing medium, capable of going in so many directions. That's why I love it so much myself.
Thomas Kitts
http://wwwthomaskitts.com - August 20, 2015 at 8:16 PM
- Unknown said...
I know the Zorn palette as the classical Renaissance palette,
employing the same four colors. I fail to see any difference, having put the classical palette, Yellow Ochre, Vermilion Rouge, Titanium White, and Black (Payne's Grey is a wonderful substitute for black and
can coax deep blue shades) to work, to produce limitless color results! Of course classical painters predates Sweden's Mr. Zorn! - July 28, 2017 at 11:49 AM
- Thomas Jefferson Kitts said...
Except that Titanium White didn't exist as an artist's color until 1921. And the black pigments available to the Renaissance painters did not have a blue bend, but rather leaned towards the warm. Bone, slate, and carbon black, mostly. And the lead white they did use (among a few others) also had a warm cast.
And then there are the inventoried tubes of chromium oxide green and cobalt blue which were found in Zorn's studio following his death. Quite a few of them.
In other words, the so-called "Zorn Palette" is a myth and a bit of a misdirection for anyone trying to recreate his method. It originates from a self portrait Zorn executed in oil holding up a hand palette that had the four colors people think he only used. Did he put a lot of cool hues in his mixtures? No. But did he use them when needed? Yes. Did he disabuse others of this myth? No.
Can you (or I) or anyone else recreate Zorn's full gamut with this mythical palette?
- July 28, 2017 at 2:18 PM
- Peter Bridgman said...
The classical drawing genre known as 'trois crayons' uses only three colours - black, white and sanguine (a rusty red.) Together with tan coloured paper this is the Zorn palette. See Rubens, Watteau, Boucher etc.
- February 23, 2018 at 6:13 AM
- Peter Bridgman said...
The classical drawing genre known as 'trois crayons' uses only three colours - black, white and sanguine (a rusty red.) Together with tan coloured paper this is the Zorn palette. See Rubens, Watteau, Boucher etc.
- February 23, 2018 at 6:13 AM
- James Murch said...
I think he probably did use blue - but it would have been very expensive.
No doubt he knew how Vine Black with a pinch of Alizerin Crimzon, in an isolated area such as in his painting, against a very bright, warm surrounding, would push that reddish grey to a violet. Without, I should add, any blue? Tricky to pull off though. - July 3, 2018 at 11:43 AM
- Tim T said...
Sorry, didnt read all the replies but I guarantee you the 4 color palette is untrue and seems his studio proves it. Lies die hard though.
- January 24, 2020 at 12:42 PM


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Gefräste Präzision spart Aufwand und Energie
C 42 U | CERN Fine mechanics research
When it comes to precision in milling of mechanical components for manufacturing prototypes and development processes, CERN, the European Organization for Nuclear Research, uses, among other tools, a 5 axis CNC high-power machining centre from Hermle.
Whenever it comes to international research on the basis of physics, the name CERN is mentioned automatically. This European Organisation for Nuclear Research is based in Meyrin in the Swiss Canton of Geneva and is a massive research facility with more than 3200 employees. With the help of so-called particle accelerators, the construction of matter is researched. Founded in 1954, CERN has 21 member states today. More than 11000 international guest scientists from more than 85 countries work on experiments at CERN every year – this means that there is a whole series of technical and administrative prerequisites that have to be fulfilled and maintained. The largest (at the moment) and best known particle accelerator is the Large Hadron Collider (LHC) which was taken into operation in the year 2008. The LHC is 27 km long and consists, viewed soberly, of a massive number of mechanical and electronic components. The special thing about the accelerator is its 9178 supra-conductive magnets with lengths of up to 15 m. These magnets are required to hold the particle stream on course before they are brought to collision during the experiments. There are four collision points in the LHC at which, with the help of massive detectors, the resulting substructure of particles is investigated during the collision.
After the first intensive LHC operational phase (2010 - 2013), there was a two-year long intensive period of maintenance. Besides numerous optimisations, this concerned mainly the 10700 electrical connections between the supra-conductive dipole and quadrupole magnets. These sustainable improvements made it possible for the LHC to go into "Restart" in April 2015.
For the maintenance and repair phases within the 26659 m long tunnel, a large number of components were newly developed and, consequently, manufactured in the high numbers required. The manufacturing process takes place under application of extremely high precision and quality standards developed within the "Engineering Department" of CERN, by the "Mechanical & Materials Engineering Group" (MME), with its 175 employees, who are responsible for this task. These are allocated to technical workshops, one of which is concerned with the manufacture of prototypes and samples as well as the development of machining processes.
One of the guidelines: Precision milling that can be encapsulated in processes
Said Atieh, Supervisor of "Mechanical and Materials Engineering" in the aforementioned "Engineering Department", said the following with regard to the tasks performed by his roughly 40 professional employees: "We are the internal service providers for the mechanics of CERN and this means that we are responsible for the manufacture of prototypes as well as for selecting and guiding the suppliers of mechanical components. Our researchers, who are also our customers, demand precision within µm tolerances, in order to avoid accumulative tolerances in the kilometer long particle accelerators and also in order to reduce the energy input. We are talking here about x-thousand to hundreds of thousands of mechanical components which have to work together and which we need at the times specified. This is only possible with the extensive support of external partners (suppliers), who must be accordingly capable and qualified. In order to have tight reins on all of the processes and, in doing so, to ensure reproducible quality, we use prototype manufacturing methods to develop technology and know-how based solutions that our industrial partners also often fall back on. For this reason we set out to achieve the highest machining precision from the very beginning and use the best machines available on the market, for example, precision milling CNC machining centres from Hermle." It was not easy for Said Atieh and his Group Leader, Francesco Bertinelli to find the most suitable machine. The 5 axis CNC high-power machining centre of type C 42 U from Maschinenfabrik Berthold Hermle AG, based in D-78559 Gosheim, proved itself at the end of the day to be by far the most precise machine and convincingly beat one after the other of the few potential competitors left, who had already been reduced to a small group using performance criteria. Said Atieh explained: "Anybody who wants to do research and development on such a high level must unify the individual components that have the greatest performance. The tender for the replacement acquisition planned at that time was for older precision milling machines capable of reproducible machining at milling tolerances within 2 to 5 µm. Hermle's performance in this area was clearly and consistently below the smallest tolerance value! This, together with the support, as well as the well-known and good service have convinced us to use Hermle machines for precision milling – a decision that we have not regretted up to today."
Demands: 2 to 5 µm; achieved: 0.5 µm
The 5 axis CNC high-power machining centre of type C 42 U installed in the CERN workshops are a standard machining centre with a main spindle for speeds of up to 18000 min-1 – equipped with the tool holding fixture HSK A63, a tool magazine with 42 receptacles, an NC swivelling rotary table with a diameter of 800 x 630 mm, electric heat compensation, tool measurement, tool breakage system, touch probe, ICS system with 40 bar and the Heidenhain control iTNC530 HSCI. The machine was supplemented with ex-works options, thus, standard options. Precision package I for the axes X, Y and Z, Precision package II for die axes A and C, and the 5 axis acceptance protocol for the test workpiece "Cube". This was manufactured in part with a precision of 0.2 µm; here, a machining precision of 0.5 µm revealed itself to be reproducible over longer periods of time. Finally, Said Atieh explained: "The Hermle machining centre C 42 U combines concept, exact work, power and reproducible machining precision in an ideal symbiosis, additionally supplemented with very good service. This is particularly important because prototypes often have to be manufactured very quickly; therefore, as in the production hall, high machine availability is also a demand here. Furthermore, it should be considered that our industrial partners also tend to make the same choice we have made – they often wish to have not only the process know-how from the MME of CERN but, in order to be sure, they often use exactly the same machine which is of great benefit for everyone involved."


text:
One caveat - I had an amazing interior design team that worked on the decor of the main rooms of the house (and created a masterplan for furniture placement for the entire house, selected many of the finishes throughout the house, and determined the paint scheme for all interior rooms). However, Julie and I put together her room ourselves - both for budget reasons, and because I wanted her room to be fairly low key. We slowly but surely selected the items for her room based on what she liked and how she wanted her room to look.
Although Julie and I have slowly but surely made progress on the room, and it has become more comfortable and serene, Julie asked for a bit of pattern as the feel in the room was very neutral and plain. It was actually quite a challenge to work with Julie's two requests - a spa-like color scheme that also has some vibrant pops of color and lively pattern.
It took me a long, long time to find a fabric that we both agreed upon, that had the right colors, and was youthful enough for a pre-teen room! But, I finally found some fabrics that work beautifully, and everything will be put in place next week. We had some pillows made, and the bench is being recovered. The fabrics are fun and vibrant and youthful, and provide the color and pattern that Julie wanted added to her room.
When all is in place next week, I will take some pictures for part II of the post.
2) Go to the 'liked' button and hover your mouse over it.
3) In the pop-up select 'Add to interest lists'. That should do it!
I tried to post this on facebook, but it only went out to 5% of the readers – they have tight control over fan pages at Facebook these days!
2011 books on my Christmas list:
Small art, perfect for special, one of a kind holiday gifts or hostess gifts!
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I know it sounds corny, but to me, fashion is a form of art. I've said that on here before, but that's strictly what I find it: it's not necessarily about simply looking "good" or "chic". The designers that inspire me don't focus on designing clothes just to be clothes; the looks they design are art! WEARABLE art, which is more fun than pretty paintings in a museum that you can't touch. My ignorance aside, it really bothers me when silly ideas like "Fashion Do's and Don't's" and "Fashion Police" are established, because that takes all the fun out of putting together an outfit. In my opinion, the most interesting fashion is the Anti-Fashion. No rules, no restrictions, no normalcy, no pleasing anyone. I really aim to try to come up with some type of character behind what I wear, be it an 80's prom queen or disturbed man elf, and I think I like how Belle put it best: Dissecting a story without having to say a word. You knew I couldn't go a post without mentioning her, the woman is a genius. It's not how cute an outfit is, it's what it seems to reflect: a personality, a story.
When I posted the pictures in which I'm wearing a doilie hat and doll lashes, a few people thought it was a little strange, as did some when I posted my inspiration collage of dead-looking people and scary faces. These pictures are interesting, they make me want to know more about the person wearing it and they draw me in.
I might only be less attracted to the entire "chic" deal because, as a younger person, I do gravitate more towards tackier clothes. That being said, I'm twelve! I have no one to impress and I'm not concerned about wearing something flattering to my body. I will dress as ugly and crazy as I want as long as I'm still young enough to get away with it. Suckerssss.


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Side Gathered Shirt
–>you'll also need elastic thread.
Don't be scared of it – it may be your new best friend! I love sewing with elastic thread – it just makes things more fun.
For posts about using elastic thread in your bobbin:
–Shirring (sewing with elastic bobbin thread) hints HERE and HERE
So, handwind your elastic thread on your bobbin. Also, you can change your needle to one for knits if you want.
Now, I made the side gathering first, and then altered the shirt to fit me. In hindsight, I wonder if I should have altered the shirt first and then gathered the side.
To gather the side, you are going to sew rainbows of loops. I drew a picture so you could see what I mean – there's a couple loops in the center, then 4 archs of loops surrounding it. I made it one continuous line of sewing:
It's several half-circles, all looped. I used a fabric marker to draw on my shirt the first row, but just eyeballed it after that. I'm not going to say this was easy – it's a bit tricky. It does get better as you work your way out from the middle, so stick with it. Try to hold your shirt flat as best you can and that will help.
Phew, done! Here is what my front looks like – not exactly like the original shirt, but pretty close. If my loops were uniform, it would have come out better, but loops are so hard to sew! Making tight turns is tough – a hint, you can't tell they're precise loops in the end, so I made a lot of mine triangles – sewed a little, put the needle down, pivoted, sewed a little, put the needle down, pivoted again.
Here is what the underneath side looks like – you can kind of see the loops if you look close:
Now, as mentioned in the this post with the shrinking shirring video, – you need to steam the elastic thread so it'll shrink and pull in on itself – – use your iron to squirt steam on it:
Now, time to alter the shirt to fit – – here's the size difference:
I started by turning it inside out and sewing on that dotted line, taking in several inches. After that I kept trying it on and taking in different spots – shoulders, more on the sides, etc. It was tricky and it's still not quite right. Kudos to all you who refashion giant tshirts – it's tricky!
Here's a side view of the shirring and refashion. The shirring looks pretty good – you can kind of see where I tweaked it to fit better by pulling it tighter across the chest and tacking it down – that's why there's a weird spot near the armpit:
For the neck and arms I ended up just cutting off the ribbing and leaving it as-it. I tried to hem it in a spot but it was really puckery, so I unpicked it and thought leaving it looked okay and just went with it.
It was also really big across the shoulder area in the back and it's pretty obvious where I took it in. I think next time I'll grab a shirt that's only a size or two bigger, instead of extremely big like this one (I wear a small and it was an XL):
But overall, I'm pretty happy with my first attempt – you'll have to let me know if you give this a try!!


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