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Ed Feser's central thesis in this piece up at TCS Daily—that Hayek's thought may provide the best basis for a "fusionist" coalition between libertarians and conservatives, but remains in tension with tenets cherished by both—actually seems plausible enough on the whole. You'd be forgiven for not noticing, though, as over the course of a very long essay, Feser manages to say something badly wrong about once per paragraph. Let's look at a representative sample.
If [libertarians] allow that [using recreational drugs, watching pornography, engaging in extramarital sex, and so forth] might nevertheless be morally wrong, the conservative can in principle endorse the libertarian program. [….] But as it stands, this particular defense of fusionism is superficial. (I say this as someone who used to endorse it.) For one thing, some influential arguments for libertarianism do not simply imply that behaviors of the sort mentioned ought to be made legal, while allowing the possibility that they are immoral. For example, libertarians who ground their position in moral contractarianism hold that we can be morally obliged to follow only those rules that would be agreed to by all rationally self-interested persons. But not all such persons would agree to rules against drug use, pornography, extramarital sex, etc. It follows, on this view, that such things cannot be regarded even as immoral, much less made illegal. Hence some (though not necessarily all) libertarians motivated by this sort of moral theory are not satisfied merely to legalize the behaviors in question; they want a society in which the traditional moral objections to those behaviors are, while legally tolerated, considered no more respectable or worthy of attention than arguments for creationism or racial segregation. Obviously, conservatives cannot endorse such a program for consigning their views to a cultural ghetto.
As a minor point, one might perfectly coherently be a contractualist about political justice without being a contractualist tout court. Think of Political Liberalism, say, where a bargaining position is used to work up principles to regulate the coercive "basic structure" of society but doesn't purport to give the content of a comprehensive ethics.
The truly weird thing about this passage, though, is why Feser should imagine it's relevant for a political fusionism at all whether libertarians "allow that such behaviors might nevertheless be morally wrong." If you and I are agreed on the principle of a free press, then whether we further agree that "Howl" is a good poem or Faulkner superior to Hemingway is wholly beside the point. If someone suggested that we could not band together in support of the political principle unless I were willing to "allow" that The Sun Also Rises might be better than Absalom, Absalom after all, we would both, I think, be entitled to give that person a very queer look.
The closest thing we get to a hint of an explanation here is the suggestion that (some?) libertarians have "a program for consigning [traditionalist] views to a cultural ghetto." But… what program? Certainly not any libertarian political program, which would have no part in zoning cultural ghettos. If the thought is that some libertarians might, above and beyond their political activism, try to persuade others not to frown on homosexual relations or heterodox religions, well, certainly they might. But what does that have to do with the price of eggs? Traditionalists will presumably try to persuade people of the opposite, but Feser doesn't seem to have a symmetrical concern about whether the views of the more permissive-minded libertarians will be ghettoized, and indeed, one price of libertianism is the risk that some of one's cherished cultural preferences will turn out not to be widely held. In any event, one of the perks of state neutrality on this front is that we need not speak in the singular of a "cultural ghetto," as though norms didn't often vary from locality to locality or identity group to identity group within the same political system. There are certainly at least a few reasons to think the contraction of the state could work in favor of the reassertion of more conservative norms, but if Feser wants guarantees, they tend to be hard to come by in the cultural realm.
A long passage follows on natural law theories of rights, Locke's in particular. Jon Rowe has already got a long and able response to this section, which I'll happily outsource to him.
Next we get a pair of paragraphs about whether the idea that "virtue should be freely chosen" counts in favor of traditionalists' forswearing the use of state power to enforce their value sets. Feser allows there's something to this, but wonders "whether one's choice should be an inordinately difficult one to make":
Hence conservatives' worries about the highly sexualized character of contemporary popular culture, especially youth culture. It is hardly possible for very many freely to choose virtue when the surrounding culture denies that it is virtue at all, and heaps ridicule on those who dare to disagree.
Insofar as this is an argument about children and character formation, the shift from a monopoly public school system to one of parent-controlled education vouchers would do a good deal to make this moot. But note also that the way the argument above is structured, the case for intervention to preserve "virtuous" choice gains strength in direct proportion to the pervasiveness of the objectionable content—which is to say, in proportion with the number of Americans who find it either acceptable or positively appealing. The more popular the "unvirtuous" material is, the stronger the case for prohibiting it, since it is supposed to be an argument against inundation, not mere existence. Whatever these unspecified "legal means" might be, then, they would need to authorize a form of cultural planning that would be at some remove from, and empowered to gainsay, the preferences of majorities of citizens. This is an odd road to be walking for someone who's about to invoke Hayek.
And speaking of Hayek:
As it happens, Hayek rejected both the "conservative" and "libertarian" labels; he preferred to call himself a "Burkean Whig." But then, Burke was the father of modern conservatism, and the Whigs were the classical liberal ancestors of contemporary libertarians. So while there are certainly versions of conservatism and libertarianism Hayek would not have endorsed, his own self-description seems to indicate a commitment to fusionism of a sort.
I've dealt with this sort of silliness before, but very quickly: In the midst of a long essay explaining why he rejects the substance of the conservative view, Hayek puzzles over what he should call himself. He notes that people have recently started using the term "libertarian" to describe views like his own, but he decides that it "carries too much the flavor of a manufactured term." His meaning is so clear in the text that the summary "Hayek rejected both… labels"—when in one case it is literally just "the label" he rejects—is either deliberately disingenuous or almost unfathomably obtuse.
We pass through less objectionable stuff on Hayek's general argument for tradition, though even here there's a tendency to paint him as the "panglossian" about evolved institutions his critics have sometimes charged him with being. Hayek's objection was to the wholesale attempts to transform such institutions, redesigning them rationally from the ground up, that he associated with "constructivist rationalism." He was perfectly happy with the "internal" or "immanent" kind of departures from tradition he associated with "critical rationalism," and never suggested we should simply accept our cultural patrimony blindly, as-is. This is, indeed, one of the ways he distinguishes himself from conservatives in the aforementioned essay. In any event, we next get this rather stunning assertion:
At the same time, there is nothing in his system of thought that entails the decriminalization of so-called "victimless crimes" like drug use and prostitution.
One is forced to wonder: Has the editor of The Cambridge Companion to Hayek ever actually read any Hayek? Because it is not terribly hard to find passages such as this one, from The Constitution of Liberty:
[W]here private practices cannot affect anybody but the voluntary adult actors, the mere dislike of what is being done by others, or even the knowledge that others harm themselves by what they do, provides no legitimate ground for coercion.
We have seen that the opportunities of learning about new possibilities that the growth of civilization constantly offers provide one of the main arguments for freedom; it would therefore make nonsense of the whole case for freedom if, because of the envy of others or because of their dislike of anything that disturbs their ingrained habits of thought, we should be restrained from pursuing certain activities. While there is clearly a case for enforcing rules of conduct in public places, the bare fact that an action is disliked by some of those who learn about it cannot be a sufficient ground for prohibiting it.
Generally speaking, this means that the morality of action within the private sphere is not a proper object for coercive control by the state.
Granted, he does not come right out and say: "Nobody ought to go to jail for smoking a doobie." But it is hard to read that as other than a condemnation of "victimless crimes" that flows directly from his general view that human progress is typically best achieved by allowing broad latitude for individuals or small groups to experiment within a neutral framework—a principle that applies no less to Millian "experiments in living" than to entrepreneurship.
In fairness, Feser is not alone in reading Hayek as holding a highly formal view of liberty that entail few or no concrete liberties provided rules are general, abstract, and universally applicable. But as John Gray has explained, this impression falls away on a closer reading. Hayek always speaks of general rules of conduct whose aim is to "prevent unjust action," defined as "the infringement of the protected domain of one's fellow men." His 1973 essay on liberalism makes clear how much, like Kant, he understands quite a number of specific liberties to be entailed by his general principle:
The idea of specially guaranteeing certain fundamental rights, such as 'liberty, property, security and resistance to oppression', and, more specifically, such freedoms as those of opinion, of speech, of assembly, of the press, which make their appearance first in the course of the American revolution, is, however, only an application of the general liberal principle to certain rights which were thought to be particularly important and, being confined to enumerated rights, does not go as far as the general principle. That they are merely particular applications of the general principle appears from the fact that none of these basic rights is treated as an absolute right, but that they all extend only so far as they are not limited by general laws. Yet, since according to the most general liberal principle all coercive action of government is to be limited to the enforcement of such general rules, all the basic rights listed in any of the catalogues or bills of protected rights, and many others never embodied in such documents, would be secured by a single clause stating that general principle. As is true of economic freedom, all the other freedoms would be secured if the activities of the individuals could not be limited by specific prohibitions (or the requirement of specific permissions) but only by general rules equally applicable to all.
There is probably some wiggle room here, as (again) Hayek never does directly address these issues. (Though in a footnote to the passage from Constitution cited above, he does offer the example of legislation barring homosexual acts as the type of thing he means to exclude.) But to suggest that there is "nothing" in his thought that can perfectly naturally be read as yielding this conclusion is only to admit that one has not looked very hard.
ADDENDUM: Feser replies in the comments below; on the off chance you haven't utterly ODed on this topic by the time you've slogged through all of this stuff so far, I'll try to put up a reply tomorrow.


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Professional to determine what LEED credits may be achievable with your building

subset: commoncrawl


text:
The Templar LegacyLarge Print - 2006
From Library Staff
CRRL_MegRaymond Jan 27, 2016
If the treasures from the ancient Order of the Knights Templar could be found, history could essentially be reversed.
From the critics
Community Activity
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Book 1 of 12 in the Cotton Malone Series
First book of Mr. Berry I've read. Lots of details into history and Templars. Used google maps to look at the locations detailed in the book. Moving on to his The Amber Room.
really great read, not too much violence and just enough plot and characterization to be interesting...
Another fun read. I did not enjoy this as much as "The Amber Room" or the "The Third Secret", but it was still good. This one seemed to have tomalley people, especially the historical figures, to keep track of.
First appearance of the Cotton Malone. Not a bad character. A little more believable in an adventure story unlike Dan Brown's Professor Landon. Yet in this story the seneschal and antagonist were the characters I thought were most interesting by far each having the most to lose or gain something. I like Berry's style of breaking up the thought bubbles each character was going through during the shooting/chasing scenes compared to Dan Brown. In the end, the great device is interesting and has great conclusion.
I liked this book & yes, it did remind me of Dan Brown. I thought it was a little long but I liked the way everything came together in the end. I like the character Cotton Malone.
Excellent adventure novel. Steve Berry knows how to blend action with hitorical fiction.
The Templar Legacy is the first of Steve Berry's Cotton Malone novels and tells of the hunt for lost Templar treasure. The Templar's were wiped out in 14th century France but their vast wealth was never recovered. Malone and an expanding team search to uncover clues while two opposing factions within the secret modern-day Templars battle for control of the lost knowledge- The Great Devise. The novel is entertaining and fast paced with good historical research. There's a similarity to Dan Brown in this novel but without the non-sequiturs.
This was a good book. I was interested enough to read through it fairly quickly and liked the plot. The Templar's appear in a number of books and it is always interesting to me to see how each author changes the tales and creates new endings. I liked the surprises throughout the book that kept the pace moving and introduced new characters. I did think the big mystery was a little typical though I liked that the Templar power was ascribed to something other than pure wealth.
Overall a solid read. So far this author has not disappointed and each book I read seems to be an improvement over the last. I will definitely continue reading his work.
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Archived posting to the Leica Users Group, 2008/12/13[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]
Bob, If I can buy a black lens for my black M for 900 EUR, and a chrome lens (identical condition etc.) for 890 EUR, I will take the latter. Why am I dismissive of the "look" issue? Because when I show someone a picture, they do not care a hoot whether the lens and body color matched. All they care about is the picture. Nathan Nathan Wajsman Alicante, Spain http://www.frozenlight.eu http://www.greatpix.eu http://www.nathanfoto.com Books: http://www.blurb.com/bookstore/search?search=wajsman&x=0&y=0 PICTURE OF THE WEEK: http://www.fotocycle.dk/paws Blog: http://www.fotocycle.dk/blog On Dec 13, 2008, at 8:49 PM, Bob W wrote: > These things are a matter of opinion, of course, but I don't > understand that > attitude. While price and condition are obviously important, and > different > people will prioritise different things, I'm surprised that in a > visual > medium like photography people would be so dismissive of how their > camera > looks - especially where it concerns Leica Ms, which are famously well > designed and good-looking. The pandas lack visual harmony and in my > opinion > are ugly. Other things being more or less equal, why would one > choose ugly? > > Bob > >> -----Original Message----- >> From: firstname.lastname@example.com >> [mailto:email@example.com] On >> Behalf Of Nathan Wajsman >> Sent: 13 December 2008 18:40 >> To: Leica Users Group >> Subject: Re: [Leica] FYI: Black paintM9 >> >> My new M8 will soon be a panda since the 50mm Summilux I >> bought for it >> is chrome and the M8 is black. What do I care? Nada! Until someone >> convinces me that picture quality is affected by this >> nonsense, I will >> go by condition and price when making my purchase decisions. >> >> Nathan >> >> Nathan Wajsman >> Alicante, Spain >> http://www.frozenlight.eu >> http://www.greatpix.eu >> http://www.nathanfoto.com >> >> Books: http://www.blurb.com/bookstore/search?search=wajsman&x=0&y=0 >> PICTURE OF THE WEEK: http://www.fotocycle.dk/paws >> Blog: http://www.fotocycle.dk/blog > > > _______________________________________________ > Leica Users Group. > See http://leica-users.org/mailman/listinfo/lug for more information


text:
A large comet or meteorite that is thought to have hit the Earth 65 million years ago apparently caused a nearly worldwide fire that may have caused the extinction of the dinosaurs and most other life, according to new findings by University of Chicago chemists.
The unexpected findings indicate that ``nuclear winter,`` the atmosphere- choking aftermath of a nuclear war, would be far worse than anyone previously expected, said Edward Anders, who headed the research team. Other chemists on the team are Wendy Wolbach and Roy Lewis.


text:
Contact: Mary
Margaret Colliver
Ky. (Jan. 16, 2004) -- Thomas
Clark, noted Kentucky historian, was presented
with the American Historical Association Award
for Scholarly Distinction. The award was presented
by the association's president, James McPherson,
Friday at the organization's annual meeting in
Washington, D.C., according to the Lexington
who received his master's degree in history
from UK in 1929, served as a professor and department
chair in the UK Department of History. He has written
numerous books, including The Emerging South; Pills,
Petticoats, and Plows: The Southern County
Store; The Greening of the South; The
Southern Country Editor; Kentucky: Land of Contrast;
and A History of Kentucky.


text:
Originally posted on The Football Fan Spot | Last updated 12/6/12
Last week: 19 (+4) Record: 5-7 Net points per drive: -0.42 (24th) DVOA: -7.1% (22nd) Weighted DVOA: -1.3% (17th) Studs LT Cordy Glenn: Did not allow a pressured on 21 pass block snaps, run blocked for 7 yards on 2 attempts LG Andy Levitre: Did not allow a pressured on 21 pass block snaps, run blocked for 32 yards on 4 attempts FS Jairus Byrd: Did not allow a catch on 1 attempt, 1 interception, 2 solo tackle, 1 stop, 1 quarterback hurry on 1 blitz DT Alex Harrington: 2 sacks on 14 pass rush snaps, 1 batted pass, 2 solo tackles, 3 stops LE Mario Williams: 1 sack and 4 quarterback hurries on 44 pass rush snaps, 1 batted pass, 1 solo tackle, 2 stops DT Kyle Williams: 1 quarterback hit and 4 quarterback hurries on 42 pass rush snaps, 1 solo tackle, 1 assist, 1 missed tackle Duds RT Chris Hairston: Allowed 2 quarterback hurries on 19 pass block snaps, 1 penalty, run blocked for 11 yards on 2 attempts C Eric Wood: Allowed 1 quarterback hurry on 21 pass block snaps, run blocked for 59 yards on 15 attempts LOLB Bryan Scott: Allowed 4 catches for 63 yards on 7 attempts, 2 solo tackles, 1 missed tackle
PLAYERS: Mario Williams, Bryan Scott
TEAMS: Buffalo Bills
TEAMS: Buffalo Bills
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text:
Democrats make their picks for November ballot
Updated 7:27 pm, Sunday, July 28, 2013
NEWTOWN -- Although local Democrats do not have a candidate to challenge two-term Republican First Selectman Pat Llodra, the party is offering a familiar face for the Board of Selectman and a mix of incumbents and newcomers for other boards and commissions.
About 50 Democrats participated in a caucus Tuesday night to pick the slate of candidates for the coming election.
Incumbent Selectman James Gaston will be running for re-election, and Lisa Romano, the Democratic challenger for the 106th District race won in a squeaker election by Republican Mitch Bolinsky, was endorsed for a seat on the Legislative Council in District 2. Prior to winning his seat, Bolinsky was a member of the Legislative Council.
The Independent Party has not yet specified what candidates it will be putting forth and for what boards and commissions. That party has until the end of August to arrange a caucus.
The remaining Democratic slate is:
Board of Finance: Michael Portnoy and Michael Kelly.
Board of Education for a four-year term: Michelle Ku and Laura Main.
Board of Education, two-year term: Anna Wiedermann.
Legislative Council District 1: incumbent Paul Lundquist, and Thomas Dwyer and Ross Carley
District 2: incumbent Daniel Honan and Eric Paradis.
District 3: incumbent Daniel Amaral, and Jane Bojnowski and Nancy Juliano.
Planning and Zoning Commission: Donald Mitchell.
Zoning Board of Appeals: incumbent Alan Clavette.
Zoning Board of Appeals Alternate: incumbents Herb Rosenthal and Rudolph Pozek.
Police Commission: incumbent Andrew Sachs.
Edmond Town Hall Board of Managers: incumbent Mary Fellows.
Town clerk: Anne Lobosco Benore.


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I read that he only appeared in three episodes and the taping for the show ended in March. Anyone who watched the show, how many eps aired and do you remember when/if he was eliminiated?Originally Posted by Rockytop Chick;3669572;
I read that he only appeared in three episodes and the taping for the show ended in March. Anyone who watched the show, how many eps aired and do you remember when/if he was eliminiated?Originally Posted by Rockytop Chick;3669572;
Originally Posted by Allie;3669598;
there have been 3 episodes, and he was not elimiated yet
That's insane, I've never heard of VH1 taking such a drastic step as far as the show goes. So I Love Money 3 will seriously not air? That's huge. I hope that they move Tool Academy to the 9 PM Sunday slot, or they could move up My Antonio.
"Congratulations, you just peaked. It's all downhill from here, honey"-Noah from TDI
"If you're one of the 46 uninsured Americans..."-Billy Mays
According to the article he was sending the guy nasty text messages while he was in Mexico taping for the show! They have shown 2 epi's and the next or 3rd was set to air here on Sun. morn. at 10:00 a.m. I am not sure when it was to be finished but it clearly states that he was a finalist at the time and was still taping.Originally Posted by Rockytop Chick;3669572;
Ah, thank you. So the article meant he was in three eps, (which is all that aired) and not that he was eliminated then and there were more on.Originally Posted by Rockytop Chick;3669696;
I wish I could remember what article that said he was eliminated closer to the end. I remember something about a foreign destination???
Arg. It is not fun getting old.
Fox News is reporting that he was "a contestant and finalist".
It's been all over the local news 24/7 about this murder.Originally Posted by Trista;3669731;
Not surprising that they would pull this.
He's a suspect in a murder investigation. I think VH 1 would probably take a lot of flack if they kept airing it.
Last edited by norealityhere; 08-19-2009 at 08:56 PM.
To Thine Own Self Be True
I know the Megan show finished taping quite awhile ago. The "I Love Money 3" is/was taping in Mexico (he appeared on that show too). I am guessing when they are talking of "still taping" they are referring to ILM3. I know ILM4 is taping right after 3. It gets confusing because Ryan (before all this happened) was bragging on how far he got on ILM3.
Here is the Super Trailer that still works:
Megan Wants A Millionaire The Supertrailer! | vh1realitycheck.com
I am very bummed that ILM3 won't be shown. That is my favorite VH1 show.
This is all bizarre. But if he got very far in the show, possibly even won, I don't think it'd be right to keep airing episodes with him in it, glamorizing him.
.. Better not have any negative effect on Entertainer's show. Sigh.
I would simply tape ILM4 without any of the Megan Wants a Millionare contestants, wrap it up as quick as possible, and air it as ILM3. Which is probably likely what they'll do if anything.
You've been Philiminated.
I've never watched this show, but I'm watching JVM and she says there are repots the two may have been married? (Ryan and Jasmine) Has anyone heard that?
RIP....Kevin 11-29-09


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Shirley Jones
About Shirley Jones
There are at least two artists with this name: 1. Shirley Jones is a Philly Soul artist, best known as a member of The Jones Girls. 2. Shirley Jones is, perhaps, best known for her role on the Partridge Family on television, but her screen roles in "Carousel," and "Oklahoma" introduced her as the perfect lead for two of the most popular screen adaptations of these two Rodgers and Hammerstein musicals. Her voice and onscreen persona made her a favorite of both Richard Rodgers and Oscar Hammerstein, who had selected her for their movie versions of these two classic musical comedies. Read more about Shirley Jones on Last.fm.
Bio taken from Last.fmIs this bio wrong? Tell us about it.
david_m and 1 more
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text:
Located on Columbia road 61 in the Free Hope community.
Survey - May 8, 2009 by Debbra Szymanski
Contributed on 5/13/09 by debbraszymanski
Email This Contributor
Record #: 193296
On this site you can upload gravestone photos, locate ancestors and perform genealogy research. If you have a relative buried in Arkansas, we encourage you to upload a digital image using our Submit a Photo page. Contributing to this genealogy archive helps family historians and genealogy researchers locate their relatives and complete their family tree.
Submitted: 5/13/09 • Approved: 5/14/09 • Last Updated: 8/14/12 • R193296-G0-S3


text:
tag:blogger.com,1999:blog-24746874.post3516364430812859135..comments2017-05-01T06:13:34.103-04:00Comments on Bitter Leaf Fan Page: A White Sports CoatMF37http://email@example.com:blogger.com,1999:blog-24746874.post-8194894827149425732008-03-11T16:11:00.000-04:002008-03-11T16:11:00.000-04:00Wow. I agree 100%. This is a management problem....Wow. I agree 100%. This is a management problem. Let's not be dumping on a classy guy like Mats Sundin. He didn't sign himself or anybody else to a NTC, and he didn't sign Blake or acquire Raycroft and Bell.

Bang on. Excellent analysis.Juniorhttp://firstname.lastname@example.com:blogger.com,1999:blog-24746874.post-43236633422249394732008-03-03T13:46:00.000-05:002008-03-03T13:46:00.000-05:00Leafer - As you concluded, there is still an optio...Leafer - As you concluded, there is still an option to trade Kubina this summer. If you and I have a difference of opinion here, the difference is about 15 games worth...

That said, this year's draft is supposeldy the deepest in 10 years. The window to trade Kubina doesn't open until after the draft has happened. If the Leafs were going to get picks or assets that could be turned MF37https://email@example.com:blogger.com,1999:blog-24746874.post-10345332918208731542008-03-03T11:46:00.000-05:002008-03-03T11:46:00.000-05:00Explain to me why it would be benificial to trade ...Explain to me why it would be benificial to trade Pavel Kubina now, and why we should be upset that he didnt waive.

The guy is not overpriced considering his age, accomplishments, experience and size. Think about the market when the contract was signed, and players like Souray, Hamerlik, Johnsson, were all signed to larger term contracts for more money. Kubina has outperformed all the LEAFERhttps://firstname.lastname@example.com:blogger.com,1999:blog-24746874.post-90828175050439178902008-02-29T13:55:00.000-05:002008-02-29T13:55:00.000-05:00Paul Maurice is auditioning for his next coaching ...Paul Maurice is auditioning for his next coaching gig. It doesn't hurt his cause by getting a terrible hockey team to play some good hockey down the stretch dispite the fact that the games mean nothing. I don't think someone in his position can afford to encourage his team to tank it. Right now he isn't thinking about the team, only himeself and who can blame email@example.com:blogger.com,1999:blog-24746874.post-84231410461671467192008-02-28T15:34:00.000-05:002008-02-28T15:34:00.000-05:00hebsie99: Get off Sundin's back!! It's not his f...hebsie99: Get off Sundin's back!! It's not his fault that Leaf management has been incompetent for over a decade. It's not his fault that JFJ gave out those ridiculous contracts to Kubina, McCabe, and Blake, made horrible, devastating trades (Raycroft), and was unable to properly evaluate talent (he was apparently going to resign Belak for another year). Yes, Sundin could have made a Paul email@example.com:blogger.com,1999:blog-24746874.post-73894884723398548202008-02-28T14:19:00.000-05:002008-02-28T14:19:00.000-05:00Part of me thinks Maurice is trying to save his sk...Part of me thinks Maurice is trying to save his skin and is going to do everything possible to win games - even if that means risking Toskala's groin.

But maybe he just doesn't like back-up goalies. He started Raycroft almost 70 games last year and we all know how that worked out...MF37https://email@example.com:blogger.com,1999:blog-24746874.post-8172945443521616162008-02-28T10:41:00.000-05:002008-02-28T10:41:00.000-05:00Why does Maurice keep playing Toskala so much when...Why does Maurice keep playing Toskala so much when it lessens our chances of getting a better pick? I understand honour code and playing to your best but does he have to start every game? If there is any chance of someone trading for Raycroft as a back-up (hey JFJ might get a job somwhere else and want him, he did win a Leaf record 37 games)better to play him a little without pressure and see email@example.com


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Just back from lunch with the Sierra Wireless people behind the Voq, which Jack mentions below. I got a first play with the new phone, which will go on sale at an as-yet-unspecified point in the first half of next year.
First impressions: it's a nice smartphone, light years ahead of the Orange SPV I've moaned about recently. For a start it uses a 200MHz Intel PXA262 processor with stacked flash memory which means that - combined with a much-improved and adapted version of Microsoft's Smartphone software - the experience is much more snappy. There are some nice features Sierra Wireless has added on top of the OS, too, including a very fast and easy way to file and retrieve information locally, and from the web/network.
The most obvious hardware feature is its fold-out keyboard: a QUERTY effort divided by a big, solid hinge. It's reasonably fast to peck out a message - certainly, much better than an alphanumeric keypad or even the SPV's fabric keyboard - although don't expect to be touch-typing. But the device is also light - lighter than the SPV? - if slightly taller, and around the same thickness.
The phone will be aimed squarely at business users; although it will play games and do fancy/irritating ringtones, the most important features will be pretty pragmatic; support for standard BigFirm email systems including Microsoft Exchange and Lotus Notes, for one.
Price info: top end of the SmartPhone scale, less than a PDA, which places it in the £200 - £300 bracket by my guessing.


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Having problems with your Fuji Finepix S9600 Digital Camera ?
Can i use lithium plus 2900mAh rechargeable batteries instead of maxell 2700 mAh rechargeable ones?
Answers :
Absolutely. The higher number just indicates that the batteries will last longer.
Repair Help & Product Troubleshooting for Fuji Finepix S9600 Digital Camera
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Can i use lithium plus 2900mAh rechargeable batteries instead of maxell 2700 mAh rechargeable ones?
Absolutely. The higher number just indicates that the batteries will last longer. ... Fuji Finepix S9600 Digital Camera
Battery problem Kodak z712 uses different types of batteries and the one supplied with camera are non-rechargeable lithium type that die down soon. Camera specifications say one can use rechargeable lithium-ion, Klic-8000. Now while replacement klic-8000 are cheaply and abudantly available, is this appropriate to use them in this model? Some say the can leave the camera damaged. I need a solution because I am not getting the original kodak klic8000 in my city.
Hi,For my Z712 I'm using since one year CRV3 li-ion rechargeable.No problems until now, few THOUSANDS of photos.I've buy it from ebay.co.uk .Regards. ... Kodak EasyShare Z712 Digital Camera
Batteries... If a camera comes with AA just regular old batteries, can you switch them for the lithium rechargeable ones or will it not work ?
Hey Fish stix,\015\012 AA batteries all have the same output no matter what type they are so AA lithium rechargeable batteries should work fine in your camera, and probably better. I hope this helps!\015\0 ... Digital Cameras
SD600, the camera time resets everytime i turn it on. i read the manual and found out that there is rechargeable lithium battery built into the camera to save such setting. does any one know what type built in battery for SD600 and where i can buy them? i am hoping to replace it myself without going to the repair shop for $109.
There's a little battery in the camera under where the tripod mount is. Make sure your camera is out of warranty before attempting any repairs. Opening the case will void your warranty. Do this at your own risk. \015\012\015\0121) Remove a ... Canon PowerShot SD600 Digital Camera
EasyShare Z712IS Purchased this camera in Aug. I love it but I can't seem to keep a charged battery in it. I bought some 2X rechargeable NI-MH batteries. Maybe they are not the right ones for the camera. Since the battery that came with the camera went dead I have tried these and they only last for about 6 - 10 pictures before needing recharging. What kind of a battery is the best performer for this camera that is rechargeable?
The camera will work with any brand of lithium but only the KLIC 8000 battery will work as a rechargeable \015\012\015\012please look at your getting started guide and check page 1, there's an illustration of the 3 types of batts that wil ... Kodak EasyShare Z612 Digital Camera
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... Canon PowerShot A710 IS Digital Camera
I have had the Nikon D40 for about 4 years. It has performed wonderfully and I love it. Just recently, the battery suddenly died (in one hour it went from 3 bars to one) and after several failed attempts to charge it, the camera would not allow me to take photos due to the battery needing recharging (flashing one bar). I ordered a new Nikon battery and put it in the charger when it arrived today. It registered that it was charging and after over an hour said it was completely charged. When
Cscolantoni: I have the same problem. I called APS, a Nikon approved repair company and they are going to test it. They said it was very rare and thought it was an internal problem ... Nikon D40 Digital Camera with G-II 18-55mm Lens
When I take pictures with my M517, my battery will only give me one to two pictures before the battery is gone. I have used new rechargeable batteries. And also have recharged the batteries and and still the battery charge will not hold.
Your problem may be due to corrosion on the\015\012battery contacts inside the camera\015\012which can prevent the full power of the batteries from flowing into the\015\012camera. Try this free fix before you do anything else: remove the\015\012batte ... HP Photosmart M517 Digital Camera
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Try not useing recargeables ... Canon PowerShot A480 Digital Camera
When I turn the power on, it beeps and says "turn the power off and on again" plus it shows a battery in the upper lefthand corner. When I turn it off and on, I get the same message. I can view stored pictures but can't take pictures. I have charged the batteries and it makes no difference. Since I have been using and recharging the same batteries since I got the camera, could it just be that I need new rechargeable batteries? I bought the camera in 2004 and love it. Is there any hope for this c
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Lithium batteries do go back. Try a new battery or two. ... Pentax Optio 30 Digital Camera
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... Sony Cyber-shot DSC-T70 Digital Camera
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... HP Photosmart M517 Digital Camera
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... HP PhotoSmart M627 Digital Camera
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Hi! I took several shots yesterday and went to upload the pix on my computer today and when I connected the camera to my computer the battery was at 100%. Then the camera completely shut off. I tried turning it back on with no result. I recharged the battery with the same result. I figured my battery must be dead ( yet only 1 year old) and purchased a new one. I fully charged that one and plugged my camera in again and the same thing happened! What could this be caused from? No damage has ever
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This problem is usually caused b y a failed battery ... Nikon Coolpix 5700 Digital Camera
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It may not support some batteries, try using a different company batteries ... Canon PowerShot S2 IS Digital Camera
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... Digital Cameras
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Fixing a Lens Error on a Digital Camera\012\012This has to be THE most common failure mode for a digital camer ... Canon PowerShot A460 Digital Camera
One of four rechargable AA batteries have burst...
The ideal way to get it out would be to make a small hole on the battery and drain out the powder inside. A small screw driver should help you do this. You can then compress the AA container by pushing the edges towards the center and take it out. ... Canon PowerShot S3 IS Digital Camera


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Character and Costume Design by Aaron Diaz
Character design is paramount to pretty much any kind of animation & comic. Most animated series or films & comics have things in them, and some of those things are characters, and those characters better be well-designed. Design allows the artist to communicate essential information to the reader about a character, and a good design allows for versatility independent of minor details. I'll probably write a more specific post later about the mechanics of character design, but for now I'm just compiling a list of my personal favorite comic character designs. All of the one I list exhibit all of the key essential design elements:
Here are my favorite designs from the world of comics:
The crotchety protagonist from Warren Ellis' spectacular cyberpunk series Transmetropolitan was designed by Darick Robertson. It's a masterful exercise in simplicity; Spider's outfit is mostly black, bisected by a "band" of light tone created by his exposed torso. He's a bit of a looming figure, but it's broken up nicely by the odd glasses, which are really the most distinct element of the character. They're not only instantly recognizable, but the unusual pairing of shapes suggests a facial expression (specifically the raising of an eyebrow). This is a great twist on the iconic nature of sunglasses, which are traditionally associated with the hiding of expression.
You can pretty much know it's him from any angle, and even from silhouette, Robertson generally maintains the sunglasses as visible. Clarity of design and the striking shapes makes Spider Jerusalem a visually memorable character.
Designed by the king of superhero comics, Jack Kirby, Thor succeeds in suggesting historical and mythological elements without being bound to them stylistically. Aside from the hammer, there's very little that's literally Norse about the details of Thor's outfit, but Kirby gets the point across effectively and stylishly. Wrapped boots, the suggested armor circles and the feathered helmet are there to add to the theme of a near-invincible god, rather than hit us over the head with the premise.
All the primary shapes and colors emphasize Thor's power and build: his exposed arms and wrist bands emphasize his musculature, and the pointed shoulders and raised cape accentuate his already broad frame. Even the shape of the hair hugs the outline of the head to suggest both a powerful and royal feel.
I'm counting these guys as one design, as one really doesn't work without the other. The beauty of Calvin & Hobbes is that they contrast so well, and their design tell us not only about themselves but about each other. Calvin's diminutive, his scruffed hair and dropped face suggests a child at odds with authority, but only through his own chaos and not through direct malevolence. Hobbes towers over Calvin, and often hunches a bit to see him, emphasizing that he is often humoring Calvin's speeches. One thing I especially like about Hobbes is that although he's very cartoony, he still moves and acts like a cat. His body coils and stretches, and his fur will often stand on end in appropriate fashion. It's nice to see a character that isn't just "generic talking animal #357."
You didn't think I wouldn't have a robot, did you? T.O.E., the mysterious sometimes-protagonist from Evan Dahm's Overside stories, is a good example of a character design that isn't tied to a specific costume. There's definitely a color theme and general silhouette requirements (purple and white are dominant, with either a cape, poncho or coat), but it's T.O.E.'s distinctive head that gives him away. His face is a television screen that, in each panel, displays a different image from vintage film or television (despite existing in a completely different universe). It's an unusual flourish that is never explained, which is all the better.
This character reeks mystery, and everything about the design emphasizes that: the head is a simple, recognizable shape, the colors are always subdued and T.O.E. can somehow eat and smoke a cigarette with only a glass screen. When we see T.O.E. we immediately want to know what he's thinking. It's a character that draws us into the mystery of Dahm's stories.
Edward and Alphonse Elric, the beleaguered protagonists from the manga Fullmetal Alchemist, are a wonderful exercise in shape and silhouette dynamics. Al, the giant suit of armor, plays against visual type and generally behaves very timidly, while Ed is the diminutive hothead. The designs are largely about shape contrasts; despite having some spikes and a mean looking head, Al's body shape is bulbous, almost like a baby or toddler, hinting at his childlike nature. The shapes created by Ed's red coat and unusual cutoff jacket make him look shorter than he is, and there are some subtle sharp edges created that suggest his prickly personality.
The designs also tell us about the history of the characters, specifically the premise of the show. Al actually has no body, his soul bound to this suit after their accident. Ed too has a prosthetic arm and leg, which are sometimes (but not always) hidden by his outfit. They're tough kids with a rough history, and it comes through perfectly. Also I'd be lying if I said Edward's prosthetics weren't a partial inspiration for my own protagonist.
Ugly as sin and built like a bag of hammers, Popeye's visuals communicate so much about his character. His head looks like it was caved in, perpetually in a facial expression of mild annoyance. His limbs look as if they were squashed, emphasizing a scrappy, combative personality, and the second highest contrast area directs us to his bulbous arms, clearly indicating this is a character who does most of his thinking with his fists. Popeye is one of the best examples of design going beyond just what the characters are wearing and into how the characters are physically built.
Mike Mignola is one of my favorite comic artists in general, and nowhere is his solid art sense more evident than in the design of Hellboy. There are some strong, simple shapes going on here, both in the massive stone right hand and in the two "circles" on his head (which are actually shaved down horns). The big, clear shapes make it possible for the little shapes (like the details of the belt and coat) to be very flexible, meaning Hellboy doesn't really need a set "costume" for us to know it's Hellboy.
Mignola avoids the traditional "heroic broad shoulders" design elements for Hellboy, instead pushing the posture and build of a working class man. Fighting monsters is just his job, and there's a tired look in his expression and in the downward sloping shapes created by his coat and body. He's a tough, stoic character, and everything about the design conveys this. If you didn't know any better, you'd think the guy was carved out of rock.
Tank Girl, brainchild of Gorillaz co-creator Jamie Hewlett, is a special case in a couple ways. For starters, she's sadly one of the only dynamically designed female characters in mainstream comics, but also she seemingly breaks some of the rules I put forth at the beginning. Where are the clear shapes, colors and lines? They're actually there, but they're produced by the chaos of the details. I mentioned earlier that we don't really need to know the details of what's on Hellboy's belt, just so long as it's there and there's stuff on it. This concept is taken to its extreme with Tank Girl, who is generally decked out in all sorts of military and punk-themed paraphernalia. The designs are anything but generic, and despite what should be clutter in the hands of any other creator, it holds together. Why?
There's a method to the madness. There are repeating elements like the helment, her hairstyle (within a range), the types of shapes created by the gear and clothing. Similar to T.O.E. earlier, certain types of clothing "fit" the design, while others don't. It also helps that outside of the clothing, Hewlett designed Tank Girl's body and face to resemble a real specific person and not "generic comic book lady." If you've seen his work on Gorillaz you'll know that he does a good job of swapping out costumes on characters without ever losing the iconic "feel" of those characters. You can always tell it's Tank Girl.
It's also not just style for its own sake. Tank Girl's appearance tells us a lot about the character: crude, chaotic, but pragmatic in her own right. This also sets the theme very well for the tone of the comic itself. An absolutely ingenious design that would be a mess in the hands of a lesser artist.
French comic legend Mobeius' comic Arzach has always been near and dear to my heart. Although many in the US may not know it directly, we've seen its legacy, being the partial inspiration for such great works as Nausicaa and Panzer Dragoon. Arzach, like Tank Girl, isn't tied to a specific outfit but rather a style of outfit, the most iconic two elements being his unusually pointy hat and his "stone pterodactyl" steed. However, unlike the intentional chaos of Hewlett's design, every element of Arzach's outfit is carefully chosen: he is a warrior and traveler, and carries with him only items of absolute necessity (aside from the ceremonial trinkets).
Arzach never speaks a word in the series (in fact, it's virtually wordless), flying across a dreamlike landscape in his surreal, partially symbolic adventures. Not only does everything about the design convey "weary traveler," but it also hints at a culture and world we'll never fully know. His tunics are always wide, emphasizing his broad shoulders, and he is covered from head to toe in hand-stitched garb and gear, reminiscent of both Mesoamerican fashion and Natives of the American West. With his pterodactyl, he symbolizes a striking, dreamlike freedom that we want to follow, but the weapons on his person also suggest a warlike past. He is the Odysseus archetype, forever wandering, but also conquering his foes through wits. Arzach is the ultimate visual oneironaut.
Moon Boy is a naked monkey that rides a dinosaur.I've come to realize, however, that "character design" is itself a fairly massive subject. So now, true believers, we're going to talk about outfits and costumes, which are often a pivotal part of a character's design.
Clothing can convey quite a bit of conscious and unconscious information to the reader, but it should never be doing 100% of the legwork. Body language, shape and overall behavior all come into play when building a character, and the trick is to figure out what clothing can do that these other elements can't. To get started, it's important to ask some basic questions about your character before jumping into costume design.
How often does this character appear? Is it a main character or a side one? Primary characters have more complex needs than side characters, which is to say that the more information you have about your character, the more that can be conveyed in their appearance. Additionally, the more frequent the character appears, the more versatile the design needs to be.
If it's a side character that only ever appears in one setting, for example, you need only design the outfit to fit in that environment. If they are a main character, though, chances are you'll need the outfit to mesh with more than one setting.
Is your character recognizable without any clothes on? Body types, especially those of the main cast, should be distinctive even without the help of any outfits. The naked form is the foundation of all character design. Before you start dressing your body, make sure it's a body worth dressing.
Once you've sufficiently answered these questions, it's time to jump into the actual design phase!
Every character, no matter how complex, should be designed around an overal unique visual shape. This theme should not repeat in any other character. This shape should be readable enough that if you were to shrink all your characters into a super-simplified cartoony state, they should still be distinguishable. Character designs follow a hierarchy: you grab the reader's attention with the most essential information and then invite them to investigate the details. If important elements of your design are only evident in the details, then it needs to be reworked. If your character is not completely distinguishable in silhouette, it needs to be reworked. Detail should always radiate from the core theme.
Kim and Vonnie stay distinct in a few ways.
The primary difference in shape between the above two characters is one of curves versus triangles. Vonnie is very angular, and her clothing's angles mimic the scaffolding of an art deco building to emphasize her height and posture. Kim's outfit makes her look shorter, but jaunty. There are a lot of soft curves going on there to make her seem younger and more innocent.
What does your character do? In what way would their clothing reasonably convey how they spend their time? This is an easy question if it's a uniformed occupation, but it certainly doesn't stop there. A more bookish or socially inept character is often prone to mismatched clothing, while a person of a very high social status is often wearing clothing that is physically less practical than those of the working class.
How does your character move? What are their default postures and body language? A good outfit should accentuate the body movements that you deem most important. If a character stoops and hunches a lot, their clothes can augment that behavior. For example, Kim is frequently hunched over, so I tend to dress her with a hood that's shaped to go with poor posture, as well as a repeating "arch" shape to suggest this basic form.
How much does the character wish to communicate with their clothing? Not everyone wears their personality on their sleeve, nor is everyone especially fashion-conscious. Nothing's worse than having a cast where everyone is immaculately dressed and overdesigned. A more outgoing character might be more aware of their appearance, while a more introverted one may be less concerned. To add another layer, a character may dress a certain way to disguise something they don't want to show to others, just as someone might act overconfidently to hide their insecurities. You can tell your audience a lot about your character through what that character chooses to display to others.
Core shapes and patterns should repeat on the outfit. The entire design should exhibit some bilateral cohesion, which is to say if you were to cut the character in half horizontally or vertically, each part should look like it belongs to the other.
As mentioned, Kim has a lot of solid colors and arch shapes which are broken up by fabric and metal seams, with very few sharp edges.
Vonnie, on the other hand, is structured almost like a building, with vertical lines and triangles that take the shape of supporting beams on the surface of her outfit. Her triangles and broad horizontal planes repeat throughout her outfit, including her glasses.
This extends to multiple costumes worn by the same character. Even if a particular character changes clothes, the core shapes should still be evident. Scott Pilgrim is a good example of this. Most of the cast change clothes frequently, but in each scene it's generally easy to recognize the characters by the "type" of clothing they choose. The details change, but the essential shapes do not.
Different colors can imply different moods. "Winter" colors like cooler blues and purples can suggest an introspective or reserved personality, while warmer colors like yellow or red can imply a more energetic attitude. If your character only ever interacts in one type of setting, you only have to worry about how those colors will fit in one environmental color palette. If, however, your character needs to mesh well with more than one environment (as is usually the case with protagonists), you have to make sure your character's colors will fit with multiple settings.
Also, don't be fooled by superhero comics: it's generally bad form to have two dominant colors in a single costume. My personal rule of thumb is to have no more than one prime color in an outfit design, followed by a secondary and then supporting colors.
In the case of Kim's outfit in Dark Science, the primary color is black, with the secondary being off-white. These are then supported by the muted blue and silver accents that appear in both her prosthetics and clothing. Color and value contrast is very important, especially for a main character, which is why Kim's basic palette can be reduced to black and white without losing any essential information.
Vonnie's outfit is more colorful, but less contrasted as a whole. Green dominates and is blocked in by a secondary, warmer black. Green is the complementary color of red, and so her clothes naturally bring attention to her hair and reddish skin tone, inherently highlighting more sexual elements than Kim (whose black outfit essentially matches her hair). White is also present, but it's only a supporting color here.
Above all else, keep it simple. Comic characters are not pin-ups or other illustrations; you have to draw them over and over again, from various angles. If you pile on too much detail, you'll wear yourself out slogging through all the bits every time you have to draw them.
If you follow all these rules, good costume design should create this basic pattern when presented to a reader:
If you stick to these basic guidelines, you'll never fail. Next up on character design: bodies and faces!Figure drawing is a pivotal tool to any artist, but being able to effectively render humans and creatures is only part of the equation. Even if your draftsmanship is solid, you won't get far if your designs are uninteresting. Effective and dynamic figures are the cornerstone of having compelling characters in pretty much any comic.
The focus of art in general is to generate a particular response out of your audience; the mechanics of what you literally create are often secondary to this goal. Something can be abstract or literal, but the point in both cases is the effect is has on the viewer/listener/reader; the creation itself is a means to an end. In comics, authenticity and realism are not defined by what you are actually drawing, but rather how your drawings are viewed by your reader. In the context of a visual narrative, a simplistic drawing can be "more real" than a more realistically rendered one if that simplistic drawing evokes a more authentic response. A stickman can be a more convincing character than a photorealistic painting; it all depends on how that stickman is conveyed.
When you design your characters, you have an opportunity to both communicate information about them, as well as provide a conduit through which information about other characters and even environments can be shown. Their appearances can augment the actions in the narrative, or even take the place of regular action.
When designing characters for comics, then, it's not universally important to faithfully recreate how people look in real life or even caricature real life. This may sound contentious at first glance. After all, isn't a big part of cartooning exaggerating elements of real life? Certainly, but that's only half of the equation when it comes to visual narratives. A regular caricature is mostly about emphasizing what's visually obvious, and while that's still present in comics and animation, on top of that there's often the need to convey information about the character. Even if you're basing a design on a real person, what you choose to emphasize can determine how the audience views that character. Again, what part of "reality" (in this case people's appearances) you select to share can profoundly change how those characters are perceived.
While they can be very similar, a fundamental difference between the needs of comic design versus animation design is the presence of literal motion.
In animation you can give your character a nervous tick, a particular walking pattern, or any other number of facial and other motion cues to add flavor and depth to a character. However, with the static images of comics, this approach is limited. As such, more pressure is placed upon the designs themselves because they're the primary visual resource the reader has for gaining information about the character. Luckily, there's a plethora of tools at our disposal for doing just that. The shape, size and position of a figure can be designed in such a way that it implies motion. Upturned brows and lips can suggest someone who is frequently bemused, an exaggerated posture can give the impression of a certain type of gait, and so on. And since the reader's eye can dwell on a comic panel indefinitely (at least in theory), there's more freedom to employ subtler facial and body elements to add to a character's flavor.
Silhouettes and overall shape are the first pieces of information to reach the reader, and because of this they will always dominate any character's design. If your silhouette isn't doing its job, the rest won't matter. Starting with a simple, clear shape and working backwards is a good rule of thumb. And while this is naturally easier with monsters and other fantastical creatures, it applies just as much to regular people.
People are not divided into skinny/fat/muscular. While these body states do obviously exist, each of these will still differ from person to person. For example, there's not a single "athletic" body type, but dozens (as this amazing photo series shows). Don't fall into the trap of old superhero comics where everyone looks like a bunch of clones wearing different costumes. People's builds, postures, hands, feet and musculatures are extremely diverse, going far beyond simple factors like age, height and weight.
Your character's motions can inform you quite a bit on how you could design their form. If a character often stoops or shuffles, you can warp his or her spine and posture to bring attention to that sort of behavior. In general, you want the figure to emphasize and accentuate the type of body language indicative of that person. This is really important. In animation, there's a little less of a required connection between body language and design because you can literally show motion, but with comics being a static medium, you have to imply a lot of motion without showing it. Naturally, if your character has a very wide range of motion, your design should reflect that too. Main characters aren't usually designed around a single posture, for example, but side ones often are. In the end, this is all a tool to efficiently communicate information about a character to the audience.
Even more so than with the body, you should be able to reduce each character's head to a fairly recognizable shape. This is the foundation for developing a good head silhouette, which is vital because the focus of a page is often on peoples' faces; recognition should be established on a subconscious level with little to no effort on the part of the reader.
If the reader can't immediately and clearly distinguish who is who without using details, the designs are bad. Also note: using hair alone to distinguish heads is cheating. Similar to the superhero body problem, don't fall into the crappy anime trap of having identical heads that are only distinguishable by their wacky hair. Obviously hair is a component of character design, but to rely exclusively on it is taking a shortcut that only ends in sloppy composition and no variety.
Similar to the Naked Test (which we'll talk more about shortly), you should be able to immediately distinguish all your character's heads without any adornments or hair. Shave 'em down and compare.
Ears, eyebrows, skulls, eyes, eyelids, noses, cheekbones, nostrils, hairlines, necks- these are all elements that will vary from person to person. Don't be afraid to go beyond normal human proportions. Exaggerating or simplifying to the point of even being a stickman is perfectly fine, so long as it suits what you're trying to do.
What types of facial expressions and body language do your characters exhibit? Main characters generally require more of a range than side characters, while less three-dimensional characters can be designed to fit only a handful of expressions.
A lot of character information can be shown to the audience this way. Showing rather than telling your readers means you're playing to the medium's strengths.
Once you've designed your figures, we move on to the Naked Test. When developing a cast or even just a couple of characters, they should always be instantly recognizable without the aid of clothing. Even if their clothes have some key distinguishing elements to them (which they probably should), the bodies themselves are the foundation, and if the foundation is too generic, then you're left with a flat design that can't be corrected by adding stuff on top. All the basics should be present at this level: distinguishable silhouettes, unique body types and proportions, and unique facial shapes should all be there to tell your character's story.
Figure drawing isn't easy. Because we're hard-wired to distinguish even the tiniest variance in human appearance, there's a lot of pressure to get figures right compared to other subjects. As such, it's easy to play it safe with conservative designs that don't strain our draw-muscles, but it's important to push past that. Effective and compelling character design is a skill that's indispensable for cartooning of every kind.


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Dark Knight Rises Blu-Ray Commercial; Jonah Nolan Plays Dumb on Hard-to-Misinterpret Ending
$1.075 billion box-office and generally positive reception, it's time for The Dark Knight Rises to squeeze the last ounce of dollar from the wallet – the home-video release perfectly timed for Christmas. Here's a trailer for the Blu-Ray:
This shopper can, and will, wait. I'll grab the DVD set for my two year-old Batman-crazy nephew. Warner Brothers already claimed ground for a second Dark Knight Trilogy Blu-Ray set for next year. The same set that generated those "Extended Cut" rumors. Never bought into that one, but rumor-mill says Christopher Nolan might buckle down to record commentary tracks. Only way I can imagine WB justifying playing us fans like whores with a second set, months after the first.
Meanwhile, the question of the ending was posed to co-writer (and li'l brother of helmer Nolan) Jonah by IGN Movies. Specifically if Alfred seeing Bruce and Selina was real.
The seeds planted by the brothers Nolan, and common sense, leaves an answer impossible to refute. Bruce is alive. For some unexplainable reason there are those who insist Alfred hallucinated seeing his surrogate son and his advisory-turned-lover/wife. We're not talking about the legit ambiguity of Nolan's Inception, Total Recall or Blade Runner.
That logic aside, Nolan ain't yapping either way. He points to experiences on Memento. Guess I can't blame him. He doesn't want to tell those people they're idiots. Being vague sells more copies, even if its staring you in the face like it did Michael Caine in those closing moments.


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Colonel Richard Kemp, who was the commander of British Forces in Afghanistan, was in Israel during its war against Hamas in 2014, and analyzes whether Israel's military is ethical, evil, or somewhere in between.
Colonel Richard Kemp, who was the commander of British Forces in Afghanistan, was in Israel during its war against Hamas in 2014, and analyzes whether Israel's military is ethical, evil, or somewhere in between.
(3) tova, March 22, 2016 6:34 PM
It never ceases to amaze me how people accuse Israeli efforts to defend herself, yet scream the loudest when their own concerns, safety or hopes are threatened! They cry as loudly as the rest of us over sabotaged work, unfair treatment, neighbor harassment, and will certainly hire an attorney when needed. Let them judge Israel AFTER their own families are injured by enemy fire. Hypocrits.
(1) Anonymous, December 15, 2015 2:34 AM
Gaza war sad statistics
The number of Jews who died because of the "tunnels" before the war was (I believe) zero. The number of Jews who died (never mind wounded, crippled for life and PTSD scarred) during the war against the tunnels was (I believe) 71. Tx Bibi for your "humane" war.
The video at the beginning showing all the Arab nations attacking Israel is inaccurate in 2015. Do they want to destroy Israel? Yes. BUT are they doing anything about it? No. Why is that? Acccording to all the Golda Meir and Bibi quotes, the Arabs won't stop fighting Israel until the Mideast becomes one big love-in. Oh, sorry, I forgot it's a sin to criticize the Prime Minister(s) of Israel.
Daniel, December 15, 2015 2:49 PM
sad statistics above
Sorry but your comment above is nonsense. The intelligence information discovered that had the Israelis not gone in to Gaza when they did, the planned atrocities that were being prepared via use of the tunnels would have been catastrophic.
And the arabs will only stop their killing, and their teaching of hatred when they have achieved their dream of destroying Israel and all the Jews in the world, which of course is never.
A Zionist, December 15, 2015 4:50 PM
Anti-Israel rhetorical nonsense
Notice: Israel haters are unable to provide any evidence to support their perverse view. 6 million Israeli Jews are supposed to believe "Anonymous" whose only reference is " "I believe"!
Arabs began murdering Jews in 1920. In 1929, Haj Amin al-Husseini, a NAZI supporter invented the al-Aksa libel leading to the murder of Jews In hebron, Jerusalem and Safed. Arab riots continued between 1936-39. Between 1941-45 Husseini was a guest of Hitler in Berlin where he met Himmler and Eichmann and planned the extermination of Jews in the Middle East. In 1947, the Secretary General of the Arab League promised "a war of extermination and a momentous massacre." One day following Israel's independence, 7 Arab countries invaded and attacked the nascent Jewish State. 600,000 Jews defended against millions of Arabs and yet, the Arabs lost and were humiliated by the second-class "dhimmi" jews. Many of the 600,000 Jews were Holocaust survivors; Israel lost 1% of its population.
The final paragraph is utter nonsense written by someone devoid of any knowledge of the Middle East. 6 million Israeli Jews are not going to listen the illiterate rants of Anonymous.


text: suc_idn_idn2135 idn2135 idn suc yes Sermon, "Three Steps to Confidence" Newman, I. DeQuincey (Isaiah DeQuincey), 1911-1985 Newman, I. DeQuincey (Isaiah DeQuincey), 1911-1985--Sermons Sermons, American--20th century Sermons, American--African American authors Sermons--South Carolina Bible--Liturgical use--20th century Bible--Quotations Bible--Sermons Bible. Luke Confidence--Religious aspects--Christianity Faith Patience--Religious aspects--Christianity Trust--Religious aspects--Christianity Jesus Christ--Miracles Two pages of a handwritten sermon titled "Three Steps to Confidence" that emphasizes the importance of understanding, acceptance, trust in God, and willingness to live by faith. The sermon quotes the Biblical text Luke 13:11-12 which describes Jesus Christ healing a woman with an eighteen year malady. The Civil Rights Digital Library received support from a National Leadership Grant for Libraries awarded to the University of Georgia by the Institute of Museum and Library Services for the aggregation and enhancement of partner metadata. Local identification number: pnsuuuu South Carolina Political Collections University of South Carolina. Library. Digital Collections Isaiah DeQuincey Newman Collection (University of South Carolina. Library. Digital Collections eng Text http://digital.tcl.sc.edu/u?/idn,2135 image/jpg Manuscripts Folder: Newman, Sermons, n.d., f.3, Isaiah DeQuincey Newman Papers, South Carolina Political Collections, The University of South Carolina Libraries Forms part of online collection: Isaiah De Quincey Newman (1911-1985) Papers, 1929-2003. n.d. 2008 Digital image copyright 2008, The University of South Carolina. All rights reserved. For more information contact South Carolina Political Collections, USC, Columbia, SC 29208.


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(Make This My Local Chapter)
We focus on networking and connecting with others, leveraging and learning about technology, learning new skills and finding jobs, finding mentors and interns, and gaining access to support and information.
Nelly Yusupova, featured as a woman on the IT fast track by the Wall Street Journal, is the CTO of Webgrrls International and has been a leader of the women's movement online since 1999. Nelly is also the founder of Digitalwoman.com. She is a technical specialist, and an Internet, Web 2.0 and Social Media and marketing expert and consultant. Nelly writes about the tools and services of tech industry and how to incorporate them into our personal and professional lives and is a speaker and presenter at the industries major events.
In December 2004, Nelly assumed the reins of leadership for the New York City Webgrrls. The NYC Webgrrls chapter is the first and largest chapter of Webgrrls International. Webgrrls International is a networking organization of professional women in or interested in technology and The Webgrrls International mission is to help women succeed in an increasingly technical workplace and world through networking, exchanging job and business leads, and learning new skills. Webgrrls international has chapters across the country (USA) and around the world throughout Canada, Europe, Asia, Australia, and New Zealand.
Digitalwoman.com is an Internet consulting practice helping small and mid-sized companies get online, manage their brands, and leverage the Power of Internet to realize their strategic online goals.
Prior to joining Webgrrls International full-time, Nelly was a programmer and Web developer with PaineWebber responsible for upgrading and maintaining their brokerage applications.
Nelly earned a Bachelor's degree in Computer Science from Queens College of the City University of New York. Her programming skill set includes: PHP, MySQL, Java, ASP, JSP, Oracle, Perl/CGI, HTML, CSS, JavaScript, Unix scripting, UNIX/Linux.
In addition to the Wall Street Journal accolades, Nelly has been a featured tech expert in INC Magazine and has appeared as a guest expert on the NBC Today Show. Nelly has also been featured in Fast Company Magazine, NewsDay.com, O'Reilly, SmartMoney SmallBiz and has been a featured guest on TechRepublic, Women's Radio and BlogWorld Radio.
Nelly Yusupova resides in New York City.
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Controversial Kemi Olunloyo has dragged Nollywood actress and singer, Dayo Amusa for saying she needs brain evaluation following her comment about Jide Kosoko.
Alabamauncut is the Hotspot for gossip on Nigerian Movies, Video, News Entertainment, Events, Lifestyle, Fashion, Beauty, Inspiration !
13 Jun 2016
This Nollywood Prostitute: Kemi Olunloyo Blasts Actress Dayo Amusa
1 comment:
Everyone is entitled to there opinion, miss Kemi was doing just that. I'm disappointed to observe that this so called people in the acting business don't know what it takes to be in the limelight. If u have skeletons in your cupboard please don't raise unfounded opinions because The journalists and bloggers who are sure of their info will crucify u on media.ReplyDelete
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Police are appealing for witnesses after seven light bollards that line the driveway at The Barony Castle Hotel were knocked over and smashed. causing around £5,000 worth of electrical damage. The incident happened between 10pm on April 25and 3am on April 26.
Local officers are now urging anyone who remembers seeing suspicious activity around the hotel to contact police on 101 or, alternatively, the charity Crimestoppers on 0800 555 111.


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Music Go Music
0 Shouts - 469,560 Scrobbles
Music Go Music have the simple syrup of pop extravagance running through their veins. These arena-sized songs are composed with such savage efficiency that you find yourself humming along before two bars have gone by. They are as assured and crafted as ABBA and ELO's best songs of '76, yet Music Go Music sounds fresh. They've exploded the formulas from the inside out, sounding like a hundred others and no one else. "Light of Love" is a true celebration of pop music's potential - laying a thin sheen of magic over the world around it, and making the tedious bits of the human experience a little less so.Read More...
Thirty years ago these songs would have been recorded by coke-fueled session musicians and millionaire producers in Nassau or Stockholm for $5000 a day. They would have been performed in huge arenas and played in every mall as the soundtrack to the prom queen's shopping spree. It was music made by the few for the very, very many. Thirty years on, it could only be re-imagined by a band whose members came of age playing music in the tradition of those that ended up killing it off: the punkers. Now that punk's branches sag heavy with the crass kudzu of of x-treme ubiquity (Hot Topic, wallet chains, totally-in-your-face Mountain Dew commercials), its old nemesis has become the new underdog. This time it's leaner, wiser, and has been distilled down to an essence of the bloated dinosaur that it grew into the last time around. There are no wasted notes, no fat, no filler. "Light of Love" plays like the first three tracks of a future Greatest Hits album.
"Speak to me, darling, in hushed tones. Tell me your heart's true desire" sings Gala Bell on the title track, equal parts Debby Harry, Karen Carpenter, and Kate Bush. Maybe it's the wonderfully layered vocals, maybe the rich synth textures, maybe their impossibly uplifting nature, but there is something immediately familiar about these songs. At first listen, we're inexorably drawn into their sphere. For at least a moment, we are surrounded by the halo of their refracted energy - we can bask in the light of love. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
Top SongsTotal plays on Last.fm over the last 6 months
- Light Of Love - 79,552 plays
- Warm In The Shadows - 62,014 plays
- Reach Out - 40,105 plays
- Thousand Crazy Nights - 39,322 plays
- I Walk Alone - 43,973 plays
- Explorers Of The Heart - 38,300 plays
- Just Me - 35,762 plays
- Love, Violent Love - 28,290 plays
- Goodbye, Everybody - 17,791 plays
- Warm in The Shadow (Villa Remix) - 9,541 plays


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Articles Funny
When Envy Rears its Ugly Head
Jealousy comes in different forms. It may be for a male or a female, or for something else that someone might have and you do not. So, we all are feeling jealous at least once, but these people captur
by Amanda 981 0


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Most commercial and residential irrigation systems are "in ground" systems, this means that everything is buried in the ground. With the pipes, sprinklers, emitters (sub-surface dripperline), and irrigation valves being hidden, it makes for a cleaner, more presentable landscape without garden hoses or other sprinklers having to be moved around manually.
Sprinkler systems are divided into zones. A zone is a single irrigation valve and a group of sprinklers or drip tubing/emitters that are connected by pvc and/or polyetheyne pipes. Each zone has a solenoid valve on it that is controlled by an irrigation controller or timer. The irrigation controller sends a 24volt signal to the solenoide valve to turn on at a specific time and keep it on for a programmed amount of time.
New "Smart Controllers" are capable of adjusting the watering time and/or watering day in response to current environmental or soil moisture conditions. The smart controller determines current conditions by means of historic weather data for the local area, a soil moisture sensors, rain sensor, on or off-site weather stations, or a combination of these.
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Jennifer Lawrence meets Jack Nicholson
Probably the best OMG moment of the Oscars.
She won Best Actress, fell up the stairs to the stage, rocked the press room, flipped someone off, hugged Hathaway and had Bruce Willis fix her dress. But the best moment of Jennifer Lawrence's action-packed Oscar evening was probably meeting Jack Nicholson.


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Melrose man arrested for attacking, stealing from elderly woman in downtown Waltham
Waltham police have arrested a Melrose man for allegedly violently attacking a 73-year-old women and taking her purse in December, according to a statement from the department.
Police say that Jameson Morelli, 23, attacked the senior citizen on Dec. 20 near 880 Moody St. and tried to take her purse. When the woman struggled, Morelli allegedly threw her to the ground violently, leaving her with serious injuries that required her to be taken to the hospital, police said.
Waltham police also suspect Morelli as the culprit in at least two other violent purse snatchings in downtown Waltham recently, as well as in other communities, though they did not specify which ones.
"Due to the violent nature of the attacks, and the injuries suffered by elderly citizens, we dedicated a number of patrol officers and detectives to handle these cases," said Waltham Police Chief Keith MacPherson.
Morelli was arrested Tuesday for unarmed robbery on a person over 60 and assault and battery on a person over 60. Waltham police are seeking additional charges related to the other two incidents.
Morelli was arraigned Wednesday, and will be held without bail until Feb. 6, police said.
Waltham police also arrested nine people in recent weeks for various unarmed robberies not thought to be related to the purse snatchings. The arrests came after a spike in unarmed robberies in the neighborhood just east of Moody Street. The robberies typically happened at night over the past month and a half, police said. One victim was attacked from behind by three men on Oak Street and was left with serious head injuries, police said.
Watertown police have also arrested a suspect in an alleged attempted purse snatching in the Watertown Stop and Shop Parking lot last month, but authorities said they do not think it is related to Morelli or the Waltham robberies.
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