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Open Source Design?June 20, 2005
As the open source philsophy continues to make sense to me, I wonder how I should be applying the same principles to my own work.
"Openness" isn't generally a concept you'll find as a driving force in graphic design. Which is interesting, as today a designer's output has parallels to the world of software, perhaps more than to the world of art.
A few decades ago, a designer's final product was almost exclusively a physical item, such as the pasted up art board, created manually using actual tape and rulers and paper and the like. The originals would (presumably, since I wasn't around then) be retained by the designer, for the sake of extra commission when it came time to revise or reprint.
In the last decade or so, the move to online publishing has made that artboard a digital item. Anyone still working in print will ultimately go on to create a physical final product, but those of us working with the web are creating purely digital work, from start to finish.
So when I see interesting articles on the adoption of open source in the world of software, as in Steven Garrity's The Catch-22 of Open Format Adoption series, I have to start thinking about my own creative output, and how open or closed it should end up being.
It's probably important to make a distinction here — when I say I'm considering openness, I'm not saying I want to see my work re-used by those who haven't paid to have it developed. So I'm concerned exclusively with the openness between myself and the client in question, not myself (or my client) and the general public. None of this should be seen as carte blanche to re-use work I (or any other creative studio) have done for a client.
That said, there are two major forms of output I produce, the original source material (in the form of PSD and AI files), and the coded HTML/CSS templates that I end up handing off to the client. In my contracts I outline that the final code becomes the possession of the client, to do with as they please. Though I make sure to grant myself limited promotional rights for the sake of displaying previous work — an important thing to ensure, make sure to do so if you aren't already.
This means they can take the HTML/CSS and apply it to the site I designed it for, in any way they see fit. By extension, this also means they can potentially modify or reuse the templates on other sites under their control, resell them to other companies, open them up for general use for the public, or whatever else they wish to do. Some designers will inherently bristle at this level of openness; I'm okay with it, for now.
What I'm left wondering, though, is what about the source files, the PSD and AI files themselves? Should I hang on to them for the sake of charging an extra commission the next time they need to change a graphic or two? Should I give them the same access to the source as they have to the front end code, so that they can do it themselves? And if I do, how much will the quality change once someone other than me is modifying my source?
By limiting the openness to final templates, I've (intentionally or not) added a bit of a barrier for re-use. The images need to be re-created in order to change them to something else; the quality will inevitably suffer for that. By providing the originals, I can ensure a higher level of quality when changes are being made.
It's a bit of a Catch-22. Either I give up my working copies to ensure quality remains high (and therefore lose my control over the re-use), or I hold on to them tightly and just accept that quality will suffer when the files are re-used. Some will argue that work for hire means all materials produced should be handed over to those who commission them, regardless. I'd agree, provided that's in the contract; if the contract says otherwise, then it's a moot point.
I've been writing about this issue rather inquisitively to consider the options, but I've long decided my take on this issue. I agree that work for hire should mean that those doing the hiring get the full results of the work. I believe it's in both mine and the client's best interests to make source available to them, if they so desire. I'm willing to give up small amounts of control to keep the relationship open, and I'm willing to place a bit more trust in their hands that they won't drastically mess up the design in the process.
What I've found, though, is that this opens up a whole series of time requirements. Naturally, offering my input along the way can do wonders to ensure the quality remains high. But where does that input start and end? Should I be giving Photoshop tips to help them recreate the graphics in question? Should I split up each individual GIF and JPG for a site into its own PSD, so they don't need to second-guess the image-slicing process? Should I be documenting and cleaning up my PSDs in order to make them easier to understand?
I've been discovering that the time I spend supporting the source is a not-insignificant factor. While I think those hiring my services deserve to have access to my work, I also prefer not to spend half my waking hours supporting that work when I could just do the updates myself in a fraction of the time.
So what's the actual solution here? I'm still not sure; I've been trying various things to make it worth the while of both myself and the client. It may be releasing the work as unsupported source, or it may be charging a nominal fee for giving them access to the source and some of my time to support it. I'm pretty sure there isn't a one-size-fits-all solution, at any rate. Some will need the extra support, while some clients will have design departments with Photoshop users who are probably more knowledgeable than I am when it comes to working with PSD files.
What do you do? How does it work for you?
I'm not a designer, but I have worked with Dave on websites, and I've done a lot of freelance writing and editing work.
I think the best way to approach this is through pricing: If the client wants the graphics source files, and you want to avoid the hassle of repeatedly making semi-trivial modifications to them, then ensure that your price includes any potential lost revenue from doing that. If they see an option where it's cheaper, but they don't get the source files, or more expensive and they do, they can then make a reasonable choice.
It also depends on how heavy your workload is. If you've got more work than you can handle and you're making a good living, it may be more pragmatic (as it seems to be for Dave) to let clients have the files to update graphics so that you can concentrate on frying the bigger (and more profitable) fish.
It does mean that they might do an amateurish job of making the updates, but I've certainly had to come to terms with that for written content, so designers may have to do the same for graphics too. And if they _really_ mess it up, they might come back to you for fix-up. :)
When you're talking about handing over things like PSD files and such, you're really talking about the materials and techniques of your trade, not the final delivered product. The problem comes in the release of how you did what you did IMHO.
Look at it from another perspective. When you hire a plumber, do you require him to leave all his tools so you can figure out how to tweak his work after he's gone? Of course not. You pay him to deliver a serviceable end product. If you want to learn to be a plumber so you can tweak his work or fix it yourself, you buy a book or go to trade school.
Hmmm. Assuming it was standard practice, I've been giving native files to those clients who've hired me for a custom template design. Reason being: I'm just providing a set of templates and a few sample pages, but my client will need to create other images to populate the whole site and keep my intended design… the one he/she paid for.
To facilitate things, some times I may even create 1-2 mini graphical templates for certain elements my client will need more often. I also provide a small guide where I document the use of the templates, and point to the graphical assets they'll need to use. I don't explain the assets or native files, or provide further support (that is: free of charge). But I do bill the client for the time I spend documenting the deliverables.
I believe this is the right thing to do when you are creating custom design for a client. If I were selling the same template to several clients for a smaller charge, then it would be a whole different deal.
What your posting makes me realize, though, is that I probably need to bake some additional language in my contracts to make sure my clients won't turn around and resell the templates and graphical assets to others. I would not be hapy with that.
Slightly besides the topic: is there a document for web designers which would specify the things that AIGA Standard Form of Agreement specifies for print designers for example?
I like the plumber analogy.
Reading everyones comments has been great insite for me.
I do feel layered files should be charged for, it's only right since they possibly can license or resell it. I think it may prove everyone happy providing the client with some sort of Style Guide and a handful of common (files) elements that are essential to the branding/look of the design, like static logos in various sizes, color guides, and even font recomendations/usage. Imagine the client trying to match that awesome purple you spent a whole day choosing and totally screwing something up. Like I said, Style Guide even if it's one page or twenty. Besides, that's all billable time.
Its a very deep and interesting question.
I'm still a student but my vision of this is the client is suppose to want a final product. He don't want the tools for make it. But it have some conditions for some products. Exemple: a designer make a logo for a company. Its normal to give the .EPS to put the logo in some places to identify the company. In the other way, if you make a design for print or Web, its a piece of art somewhere. A designer is suppose to do a unique work. This is why i think a designer would not give his source to the client because you give a unique work made by you. If the client want the sources to do something with your work, you can say no because you are the one to do a work like this.
In larger companies you need a variety of skill sets and personalities for a project. If you put your creative employees on a "grunt" job, they will become disenchanted with the job and go elsewhere. If you have all grunts then your product will suffer. You need a blend from grunt to genius.
Maybe the issue shouldn't be what you give your client, but maybe, just maybe, you need to hire a junior designer who won't mind doing the work you find an "annoyance".
Other than a logo or if the contract stipulates otherwise, it is my belief that you should retain all original source materials. This ensures continuing revenue and allows you to maintain the quality of future changes.
Well, personally I think it is important to maintain control of your work. Coming at this from a photographer's standpoint It is essential we retain copyrights on our material. This can turn into further sales in the future. As a freelancer photographer I can sell an image to publication X and turn around and sell the same image a week later to publications Y and Z. I can also sell outtakes from a shoot I did for a particular client. The client will always get only the finished product unless agreed upon otherwise, but I always retain copyright.
I think the same should go on the design side. You are the creative mind behind the CSS layout and the graphical elements on the site, so you should reap the benefit of being able to resale that as well. You have to remember you are in business to make money, just like your client. Now, if you go releasing all your PSD files to your clients you have the potential of them selling them to other clients as you stated rather than them referring them back to you for the extra sale.
Bottom line, you are in business to make money. You can't play Mr. Nice Guy all the time or you will not succeed for long.
It would be awesome if great designers were to share their designs as open-source ones. However, open-source is defined to be non-profit, and this contradicts the basic principle of designing for a living.
But of course, designing as a hobby could be converted to open-source. It would be nice though. I'm not exactly a designer and I'm not quite familiar with the rituals and techniques involved in this kind of publishing.
Caleb – thanks for making those points. I've thought about it in terms like that before, and ultimately I'm not sure that's the right mindset for me to take.
I find small change requests here and there to be an annoyance, I'm sure as much as clients do. When three graphics have to be modified slightly, all of a half hour's worth of work or less, and it takes me a week to get to them, neither of us is too happy.
Content Management Systems, for example, were developed precisely to reduce this reliance on the web designer. Instead of having to wait for them to schedule a minor copy update to their site, a client can now make those changes themselves.
Obviously the client demand is there for self-reliance, so I'd prefer not to create the same type of dependency on myself for the graphics. But everyone's opinion will vary.
Personally I stipulate in my contracts that the client gets the end product (whether it's print or web) to pretty much do whatever they want with it, but source files (such as native PSD and FLA files remain my property). I can clearly see arguments for both sides and I think I understand them. In my experience, however limited those mere 5 years may be, I've only had one situation where I was even asked for source files. It was for a Flash file. I didn't get the job because I said no unless he were willing to pay extra. But no love was lost and I still stand by my decision. But it's also crucial to note that my clients (so far) all are small businesses and individuals who frankly either don't have the time to update things themselves or they don't have anyone on staff (nor do they want to hire anyone) who can do the updating. And by updating I'm referring to the PSD files more than the content since that's easily solved with any good CMS solution. And it gets more complicated I think in the realm of print design.
It's a tough one, but I think that to charge for source files is appropriate. Part of this (and I used to have a good source for this argument, but I can't remember where the heck that is!) has to do with the fact that you're not JUST giving source files. Designers - be it web or print - go through a definite process to get to those source files. There's a definite value in that that shouldn't be given away easily.
There's more to it than that I think, but it fails to come to mind this Monday. :)
Dave, you should really get on the Society of Graphic Designers of Canada listserve (www.gdc.net has a signup page)… I've mentioned it to you before…
The general consensus is that the layered files are never given to the client… however, some designers have a clause in the contract where they get 50% of the original contract price if the client needs the files.
Rights to any work leading up to the final design never belong to the client, even without a contract, according to copyright law in most countries, I believe…
Dave, you should really get on the Society of Graphic Designers of Canada listserve (www.gdc.net has a signup page)… I've mentioned it to you before…
The general consensus is that the layered files are never given to the client… however, some designers have a clause in the contract where they get 50% of the original contract price if the client needs the files.
Rights to any work leading up to the final design never belong to the client, even without a contract, according to copyright law in most countries, I believe…
As someone who regularly contracts out website design (I'm more interested in the technical side of things) it's a very easy decision for me: I either get complete control over everything that was involved in creating the end result or we won't have a deal.
I'm paying for it, so I sure want the ability to change it myself.
(further anonymous, mildly flamebait, remarks deleted. -ds)
Cam C. – Rights are one thing, and the copyright law may allow for it. So I don't necessarily think anyone is wrong for holding onto their source.
But GDC consensus doesn't really change my view here. Approaching this from a more pragmatic sense, I'd rather not be handling all the little detail updates here and there. Maybe it's recurring revenue, but it's not really the kind I'd prefer to encourage. The updates have always been a nuisance to me, and I'm sure anyone who's been at the low end of the totem pole can relate. There's better work out there, than continuously changing text in graphics.
I held a talk session at reboot 7.0, here in Copenhagen, just the previous weekend. As far as I know they recorded it, but they haven't released any of friday's sessions yet.
I'll be sure to drop a comment here when they release it; until then, you can reach a transcript of it from my site: http://binarybonsai.com/archives/2005/06/10/open-source-design-talk-done/ (though the reboot wiki is really untrustworthy just now).
I generally give the client a working, coded version of the site or product, and hang on to the original assets (psd/ai). This ensures my involvement in future updates (which 99% of my clients already plan on anyway), and protects my techniques, styles, and tricks from a design aspect. I don't want some second-hire designer snooping around my files to see how I did something, or how I accomplished this certain look, thus eleminating the need to use me in the future for work. It's my bag of tricks, not everyone's.
I decide on a case by case basis. I try to look at how limited they are with updates.
Sometimes, providing sections of a psd or a large graphic that is used in the header will suffice.
I think that a lot of clients would not be happy knowing that they get something the cannot control, just as designers don't want to lose control.
So I try to meet in the middle, or make the site more editable, or something.
But like I said, I have no definite standard.
I'm in total agreement in regards to HTML & CSS files (how would you protect those anyhow?). Regarding images and their source files, we're very protective at Firewheel.
Deliverables typically include the final static GIFs, PNGs, or JPEGs, but nothing more.
Like you, we very often run into minor change requests. In situations like these, we are certainly willing to turn over certain portions of source AI or PSD files – however, these are rarely, if ever, turned over without some form of additional payment. Anywhere from 25-75 percent of the orginal cost is billed, depending on the project specifics, for the rights to AI files.
Obviously, the extra charges are in proportion to the actual work done and files delivered. While we may have delivered 30 static images to the client, if they would like AI files for 5 of those images, we simply bill them the additional for those specific source files (as opposed to a percentage of the entire tab).
Finally, it's important to include all of these considerations in the orginal contract. It's typically one of the earliest details we address… "Images will be delivered in PNG, GIF, or JPEG format… Original source files (AI, EPS, PSD, etc.) will require payment of an additional, mutually agreed upon, charge."
We let them know what this is going to be up front, so its not a shock should they want to add it on later. In the end, we certainly don't hold them for ransom, but we do treat them as a valuable commodity.
There is another aspect that I feel thus far has been missed. How reliant are those previous posters on open source in its various forms? For instance, various designers will often use a Mac platform. As we all know, the core of this platform is built from open resources, and many (some may say all) of its extended features are built on top of open resources. This is a clear example of just how open technology has eased and enriched the work that a designer does.
There is a distinct effect on time to market, as well as the quality of more feasable usability when efforts are time-tested in more scenarios. This is just the value that opening resources carry. The end effect is that worse ideas die off and better ideas gain traction through war-testing.
There is also the effect of ballooning the skill of the entire community, since the "harrowed" secrets of the trade are now openly displayed for learning and improvement.
I feel that this issue really relies on the long-term maturity of the design community in order to build itself in a fashion that is sustainable. Some of the habits that are commonplace in design are outright insanity. For instance, purchasing rights to a single stock image for use in a design for thousands of dollars. This is a habit that can at some point be a thing of the past, since Creative Commons or some other organization may build a large enough image directory for most needs. There is also the insanity of regularly spending $30-$80,000 in order to educate oneself to become a designer. As well as the assumption that one must work in small groups or individually - leading to greater surface-area risk to fluctuations in marketing spending by clients - not to mention far greater prevalance of offshoring - what an American designer was willing to do for $5000 two years ago, an Asian designer is willing to do for $50 today.
All of these pressures will force the hand of any industry, regardless of what its individuals may say or feel.
One can only guess that an industry will have to change with current requirements, and that resources of flexibility and organization be present.
If somone pays you to make a web site then that's what they get. They don't get the source as they did not pay for that they paid for the finished site.
2 different things and people need to understand that.
Oliver: "However, open-source is defined to be non-profit". No, it's not, Oliver.
Moreover, the title "open source" was specifically chosen to avoid that misconception, the previously used term having been "free software" (where what was meant by "free" was freedom of information not "no charge made").
The source code to the Linux kernel is published. Therefore, it is "free" - in the sense of its being freely available knowledge. However, Novell, for example, which uses that kernel in its products, is not "designed to be [a] non-profit" organization:
And if a company doesn't charge under any circumstances for its software -
- that still doesn't mean their activities are non-profit-making. It merely means they make their money from providing technical help. That's always been a big money spinner for IBM, for example.
Heck, what's the hang-up about profits, Oliver? Anyone would think there was something wrong with making a profit. There isn't. Everyone needs to make a living.
No, the issue is a different one. It's being able to know what the software on your machine is doing. How could you know that, even if you were a programmer, if you couldn't see the code? It's about being able to adapt software to suit your particular needs. And again, if you haven't got access to the code, how can you re-write it? It's about being able to share technical knowledge - as people in universities are used to doing in all fields (and don't forget, in this connection, that computing grew in the universities) - so that peer review is possible, so that improvement and development is easier.
In short, have a look at Eric Raymond's essays that I referenced above.
As to how any of this applies to Dave - frankly, I'm not sure. It's a different situation. Dave does discuss his techniques in great detail here, so he's not keeping his knowledge closed anyway. If benefits can accrue to the development of CSS coding from openness, then they've already been taking place, because of what's happening here.
One killer argument for open, layered (and sensibly named layers too!) .psd or .ai files is that it might prove invaluable furtheron in the workflow. I recently had the pleasure of working on the redesign of a rather large site and the designers handed me dozens of Photoshop files with literally hundreds of layers, organized into layer sets and all named acccording to a rather strict naming convention.
Now if I had to find a certain icon that I needed to cut out I would just type the name into Spotlight and it would find the layer for me.
If the had given me .jpegs I would have had to open 20 files just to find that particular icon.
I've done freelance web design and photography on a work-for-hire basis. I have no hesitation about giving the client the totality of the project when I've done what I was contracted to do. However they don't get exclusive rights, so I'm free to re-use or re-sell the materials later as I see fit.
If it's a web project they get the commented CSS, the HTML templates, the JPG/GIF images, and the layered PSDs. If it's a photo they get the original JPG or CRW (raw image) as it came from the camera. If I've retouched or manipulated the photos extensively they also get a flattened composites, and, if they want them, the layered PSDs.
Will they mess it up? Maybe. But they'd mess it up even more without the originals to draw from. Will they re-sell it? Probably not - they're running their business, not competing with me. Most of the photos are rather specialized anyway, and as a practical matter I can't really stop them.
I did struggle with this, and if such work was my sole source of income I might have struggled even more. But in the end I concluded that this is how I, as a knowledgeable and capable customer and client, would want to be treated. I insisted on these terms with my own wedding photographer and with the contractors we use at work. I'd be something of a hypocrite if I provided anything less. If my value to a client is primarily defined by how much I withold from them then I figure I'm doing something wrong.
When youa re getting paid to develop a site. You can go either ways.
- You apply what you know and start from scratch.
- You can see who others work eg CSS layout and try to copy and then apply it.
There are different levells of copying.
I guess javascript and css should not be full of dull copyright notices. Just let anyone use it. Why? Because it are all scripts that were based on others most of time or enhancements.
It is not a full customizable software package that just puts out a website.
Concerning digital art - that is personal - an original creative idea - so just copying that I do not agree. Only maybe studying it and make derrative work that have a new added orignal idea incorporated I can agree on. The javascripts and CSS I feel that they do not belong there. It should be there for everybody.
The same goes for open source like php - there is no copying code there except for these *.phps files which output source code. Of course database connections, all that can be filed under private and data to be secured do not fall under that category.
If people are not confident with using css they will not produce elegant css DOM javascript whatsoever. They will be limited to copying css or whatever and therefore not be commercial productive and just too slow. So why bother using copyright. The source code is a help for thousands. It is there to learn from - same goes for HTML. Of course CGI scripts are not viewable and others. But that is just a limit that is there.
I think it's really an issue of control. Who has the final say over a design? When you design a website, do you use flash or HTML? When you use HTML, do you create a fixed or liquid layout? Do you use absolute or relative font sizes? Does your design still work with CSS off? Images? Do you even care?
When you create a design for a client, is it your design to which they've purchased a license, or is it the client's design that you were paid to bring forth from the mists of creativity?
Every designer needs to think about how much control over their design they're willing to give up. It's a very personal decision, and while there probably isn't one right answer, I know I side with Dave on this. For anyone who doesn't understand why I've made that decision, you should probably spend some time thinking about whether a medium that is inherently open, interactive and distributed is the right outlet for your creative expression.
I totally agree with Chris (28). Source files are not the web site. Anything thats rendered in a browser the client can have. Anything else stays with me unless the client wants to pay double _and_ they sign to say they absolve me of any responsibility to chnage anything they break as a consequence of having the soource.
I come from an IT background: Windows, Databases etc. In designing database systems for clients I always provided complete access to the source so that should I not be available they are able to improve, update or correct the system. But in giving this I have always maintained that if the client or someone else appointed by the client breaks it I'm not going to fix someone else's mistakes.
I think for me this is the most discouraging aspect of allowing someone else to work on a design, whether it be 'creative' such as web design or more mundane such as database systems: I dread the thought of what someone with less skill could do to my work and would lose interest in the project if I was asked to fix what another person had broken.
I'm still just starting out in web design, but think that the idea of employing a junior for the minor updates would be the best for both client and designer. Perhaps one day I'll actually be in a position to need one. ;-)
I experienced several different situations.
Usually big firms pay me to have the whole source material, but I'm usually able to use it for self-promotion.
When I work for small companies, they only want the site online and the logo in vector format. If there's need for updates we sign a support agreement.
There's also some client in the middle for whom I provide guidelines for style and content and some piece of the source for common updates.
In my opinion, it's important to find an agreement before the job begins, in order to avoid future incomprehensions.
For me there is a difference between the psd that I use to generate the final website and the psd that I use to develop a website. One (assuming I ever went back and cleaned these things up) is a fairly un-exciting mockup that usually only resembles the final product structurally. The other is generally huge and is the canvas I use to test ideas and explore possibilities that lead up to the final product.
I tend to agree with Bryan (25) and when passing off a finished product I try to give them everything they may need to maintain it which in my mind includes source files. But they would be specific to the final version of the site and unlike handing over an original artboard I would maintain ownership.
I have developed an open source ActionScript framework called EnFlash ( http://www.asual.com/enflash/ ) it comes with a couple of rich graphic themes. They consist of pure FLA/SWF files that are distributed together with the software. This means that if one day a designer creates a custom theme for his hobby app/site, he can release his graphics/sources under a free license. It's a good choice for someone who's looking for recognition and experience exchange.
Since open source comes from the world of software I think that this movement will first affect the designers in that field. Think of a free Winamp skin that comes with the PSD file or a blog template where you can change the drop shadow or gradient parameters.
With all types of work sometimes it's a matter of business and sometimes it's a matter of pleasure. If you're willing to share the second one, this makes you a better man I think.
Quite Frankly, comming from the programming world, Brian's comment (25) makes the most logical sense.
There's no reason to withhold the client's ability to make future changes to their site - by doing so you're retaining a good chunk of value of the service you provided.
That plumber analogy up there was way off - unless your clients are asking you for your copy of photoshop - your psd file isn't a tool any more than a pipe is a plumbers tool!
How would you feel if the plumber used non-standard, self-designed fittings and pipe for the job - which no other plumber could work with in the future?
What kind of business ethics are those?
By all means pass on the implied "freedom" to the client through a price tag, (or conversely, a discount if they only want jpegs.) and retain the rights to use the images (or portions thereof) elsewhere.
But don't provide half a service - give the client what they're looking for in good faith and they'll no doubt treat you the same.
as Open Source here is referred as a philosophical choice and not only as a technical or commercial option I wonder how many of us is choosing Open Source software as a daily tool.
I'm mostly off-topic, but not completely I think.
I would like to know if you choose your software for making websites only for the technical virtues.
By example: someone else here prefer The Gimp (www.gimp.org) over Photoshop?
Sorry if I'm too much OT.
About the plumber analogy being way off. In a reasonable world, maybe that's true, but the other side of this is the house owner who calls the plumber, gets the work done, but then refuses to pay. What do you do then?
Personal experience: after working on a web project a few years ago – and getting quite far into it – the account manager requested that I send the psd files to the client. I complied, of course. A week later our company was fired from the project and the website popped up live in a slightly altered version (the colors had been changed) but basically everything our company had done – from info architecture to writing and my design and html coding – showed up on the new live site.
The client had taken the psd files (layers and all) and all the code off the development server and sent them over to another company who used them to "finish" the site.
We came close to a lawsuit before getting paid about a third what we were supposed to. I'm assuming the new company pocketed most of the budget for the site development, but who knows, they may have been scammed too.
I can't imagine that this is a lone case. Bottom line, if you hand over everything, then you risk winding up with nothing.
Now you can say that we should have picked our clients better. And that's probably true, but if nothing else, your source files are an important asset for your company.
I don't know. I've always thought that design was something that comes from the inner realms of the creator, and when someone replicates the design… they are just doing that one face value, and not linked to it like an artist. The reason why software can easily be open source is because it's a generic layer of functionalities. Of course you can add functions to it, but you can't do the same with design. Look at comment #31… even though it's flash, but still it's functional. Adding to a design changes the design itself. My 2 cents. Here is a link full of open source design links http://www.gataga.com/explore.php?q=%2B%22open%20source%22%2B%20design.
Hey there, first off - this is the first time I've commented on your blog, though I've been reading it for ages. You've been a great source of inspiration and information for me while forgoing university studies in web design :)
Now, for the question at hand…
I don't mind giving out the source files to my clients (the very few that I've had thus far) because it makes them feel in control, and it does give them the opportunity to make changes if they wish without having to come back to me.
(I'm totally agreeing with you on the annoyance part of minute editing for previous clients. o.O)
I generally base my desicion on *how* to hand over the source files by finding out how much they know about photoshop, how confident they are in being able to edit the full PSD, etc.
If they're a photoshop guru that just didn't have the ability to produce whatever they hired me for - I'll glady hand them over the photoshop file.
However, if they're a newer user, or someone who's only opened an Image Editing Program to add lime green text to their favourite photo… I go ahead and slice the image up myself, and then make seperate PSDs of the important parts for them to edit.
For instance, they would recieve header.psd so they could change their Header Text, button.psd to add new buttons, etc.
This makes editing much less intimidating for the end user, and gives them the ability to change the text/fonts/etc as much as they'd like without potentially wrecking the design.
In my opinion, if an inexperienced user wanted to edit something more extreme than just the header text/button text/whatever other small elements, they need to come back to me for it anyway.
It's an easy way to keep things simple for the simplistic users, and give the experienced clients the robust ability to totally change the design as they see fit. :)
It brings about a nice balance, anyway.
I try to maintain control of my source materials and here's why: I often reuse parts of my work, and it might cause trouble if one were to do work for two related clients and they had any idea that I had just re-used the work they paid me for for the other client, it could cause problems for me as far as billing goes. If the client owns the source materials too.
I always mention this, and I bill at a flat rate anyway, and my clients are mostly happy with what I provide, so it hasn't been a problem, especially if it means getting it to them faster, but I would rather not give them the source materials unless they explicitly ask for them.
Huge problem is that when ever you as a one-person freelancer try to make a kind of agreement on the work to be done. There is in Europe - I live there so I do not know for Canada or US or anywhere else. There is simply no standard contract available or even a kind of union to protect your rights. It seems that clients do not get by forehand a well written paper agreement which states all work that is to be done, the copyright on creative work and so on. I think the European Communnity where I live in should make work that our kind of work is protected by means of meaning full and workable contracts. Lots of people that work in the web design business do not know how to handle the business side of things. The client can benefit of these discrepancies. I guess the whole issue of open source design is also due to these kind of working conditions. I agree that a certain level of controll might be given to a client but it still a kind of guessing what is right and what not. It is time that the big guys try to make a global statement in US, Canada, Europe that clearly describes the do's and don'ts in this business.
For instance, an architect makes a design for a house. They have good contracts, why dont we …
> Should I be giving Photoshop
> tips to help them recreate the
> graphics in question? Should I
> split up each individual GIF
> and JPG for a site into its own
> PSD, so they don't need to
> second-guess the image-slicing
> process? Should I be documenting
> and cleaning up my PSDs in order
> to make them easier to
> understand?
I consider these practices to be minimum requirements for participating in a multi person user experience team in a production environment. Making your source files easier to understand is going to help YOU work more efficiently, not just your clients.
But more importantly, I think your attitude about openness is commendable and a prime example of how to accomplish the kind of collaboration necessary for the interdisciplinary design that is considered cutting edge these days. You can't have interdisciplinary design without collaboration. You can't have collaboration without openness.
Design is a dialogue between multiple parties. When "experts" try to command their clients onto the one true path (that always conveniently lines the expert's pockets every time) these self-same experts often find themselves in an adversarial relationship with their clients. Dialogue means listening well and speaking clearly. Keeping your source files intuitive is just another way of speaking clearly. Educating your clients in the ways and means of collaborating with you as a designer is only going to increase the chances of the success of the designs you create together.
Start thinking outside the browser and look towards integrated design strategies that cut across multiple media/channels/products, etc. and you will begin to understand the need for interdisciplary collaborative approaches based on open communication and mutual respect.
If you need to charge your clients more for this time well spent, lets hope your clients are mature enough to appreciate the effort you are putting into your relationship with them. If they don't, then perhaps they shouldn't be your clients.
One final thing to help you get there: more PSD files, less slicing. Also, attempt to minimize the number of required image files as much as possible for achieving a desired effect. CSS is typically much more reusable/extendable than binary image files.
I find it interesting that I seem to be in the minority amongst your commenters…
I am primarily a programmer, but with the web I have to either produce or sub out design work as well. My take is that anytime the firm is small-ish, I ask for the original PSD file, or it's a no go. I can't risk losing the ability to make minor changes if the freelancer decides to roll back into the corporate world or just decides to pursue a new line of work (I've seen both happen). It is virtually impossible to get an identical source file from delivered assets, the end client would see the difference and complain. I also check that I have a copy of the fonts used to produce the images. I personally think both are absolutely critical requirements for complex graphics like a webpage.
Having said that, at that point I will generally make copy changes in the source image (buttons etc) and have the original designer work on any necessary artwork if there are new graphical requirements (one example - a client had their 10th anniversary and wanted to modify the logo for that one year).
As a developer I have seen similar protections. I worked on the AWACS and we would only license compilers if the compiler source was put into escrow against the event of the vendor going out of business.
Maybe there needs to be a graphics escrow clause in your contracts :)
Open source web design exist and can be seen here: http://www.oswd.org/ . There is a good design once in a while.
I have always thought that the strongest part of the design community is the fact we share a lot of our best practices with others in the community. Which does resemble the open source community.


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We would like to thank the Lancaster County Community for once again supporting United Way of Lancaster County in our "Stuff the Bus" school supply drive. Special thanks to Frank Overcash for allowing the recreation departments in the county serve as drop off sites, to Heath Springs Dental Associates, who also served as a collection site, and to P&G Duracell for setting up a drop-off site for their employees.
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McPherson was also an outstanding all-around contributor in her second year with the Bulldogs. She placed first on the floor against Southern Connecticut and first on the beam and second on the floor against Rutgers. At the ECAC Championships, she posted Yale's highest all-around score (38.275) for a solid fourth-place finish. McPherson has two of the top four beam scores in school history (9.850 twice). In her rookie year, her consistent performance on the beam culminated in a first-place finish at the Ivy Classic, helping Yale win the championship.
Before coming to Yale, McPherson was the Level 10 Maryland state all-around champion and regional beam champion in 2001, as well as a Junior Olympic Nationals qualifier in 1999. She trained at Hill's Gymnastics and is a graduate of Good Council High School.


text: Wow your guests with this divine dessert complete with chocolate, cream and marshmallow flavors in a graham cracker crust. Just mix the included graham crust with butter and the chocolate filling (included) with cream cheese and whipped topping. A fast treat that's sure to be loved by all! Yields 8 servings (allergens: milk, soy, wheat)


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By Grant J. Anhalt, M.D. and Hossein Nousari, M.D.
Johns Hopkins University, School of Medicine
In February 1997, the FDA approved a new drug, mycophenolate mofetil (MFM, also known as Cellcept) with an approved indication for use in immunosuppression of patients that have received renal transplants, to prevent graft rejection. MFM is actually a new variant of a drug that has been studied for about 20 years. The active metabolite, Mycophenolic acid (MPA) had been used in the past for the treatment of severe recalcitrant psoriasis.
Although MPA was shown to be a useful drug, it was withdrawn due to a high incidence of side effects, primarily infections such as herpes zoster ("shingles") and gastrointestinal side effects such as nausea and stomach discomfort. MFM is the reformulated product that does not have these same drawbacks, and has better bioavailability than MFA.
This drug is commonly used in combination with cyclosporin and corticosteroids to prevent renal graft rejection. However, the role of MFM in immunologic-mediated skin diseases such as pemphigus and bullous pemphigoid seems to be promising. For example, its therapeutic profile and toxicities make it an attractive substitute for azathioprine (Imuran) in several circumstances.
For example, it could be useful in those patients who can not tolerate azathioprine due to nausea or hepatotoxic reactions, or in those patients who are at risk for azathioprine-induced toxicities due to deficiency of the enzyme thiopurine methyl transferase. The drug may have some advantages over azathioprine, in that it may be less mutagenic than azathioprine. That means that it may confer a lower risk of malignancies such as leukemia or lymphoma arising as a result of its use. This advantage is not proven, however, and it may be a very long time before this possible advantage can be substantiated. It is also not clear as yet whether it is actually as effective in practice as is azathioprine.
There are some early encouraging reports of its usefulness, referenced at the end of this article. Reports from Germany show that it is effective, when used in combination with Prednisone, in pemphigus vulgaris. Our own experience has shown that some patients who can not tolerate azathioprine (usually due to nausea or abnormal liver enzymes) will tolerate MFM. Several patients have shown a good response to the drug, but in a couple of others it is not yet clear how effective it will be in suppressing activity of the pemphigus. We have not observed any serious side effects from the drug as yet. MFM is always used in combination with Prednisone. There is some early experience that it can be used without Prednisone to control some cases of bullous pemphigoid, but pemphigoid is quite different from pemphigus. There is no reasonable expectation that MFM could be used as monotherapy (without concurrent use of Prednisone) in pemphigus vulgaris. It is however, important to recognize that MFM is an additional agent that now can be considered for use in control of pemphigus vulgaris. For those who are interested in more details, some technical data and references follow.
MFM is an ethylester of mycophenolic acid which is metabolized to the active drug mycophenolic acid (MPA). MPA is a product of several Penicillium species. This immunomodulatory drug selectively inhibits inosine monophosphate dehydrogenase (IMPDH) in the denovo pathway of purine synthesis. This enzyme converts inosine monophosphate to xanthine monophosphate, an intermediate metabolite in the synthesis of guanosine triphosphate. This drug is more active in its inhibition of the type II isoform of IMPDH, which is found mostly in lymphocytes, and thus inhibits purine synthesis with potent cytostatic effects on both T and B lymphocytes. Lymphocytes are quite susceptible to this drug effect, for they minimally utilize the hypoxanthine-guanine phosphoribosyl transferase salvage pathway for purine synthesis. Through these actions, MFM inhibits lymphocyte proliferation and antibody formation. This drug also inhibits leukocyte recruitment and glycosylation of lymphocyte glycoproteins involved in adhesion to endothelial cells. The drug is rapidly absorbed after oral administration, and antacids and cholestyramine may decrease its absorption. Around 5% of the drug is bound to albumin. It is nearly completely metabolized by glucuronyl transferase and over 90% of the drug is eliminated by the kidneys . The MFM glucuronide metabolite, which is increased in renal failure, increases MFM clearance by competing for its binding sites on albumin. MFM pharmacokinetics seems not to be affected by the concomitant administration of CsA.
The usual dose is one gm. every 12 hours. Potential side effects include nausea, stomach upset, vomiting, and diarrhea. There is no increase in nephrotoxicity, hepatotoxicity, hypertension, or neurotoxicity when MFM is used in conjunction with CsA and costicosteroids. Severe leukopenia (decrease in white cell count) has been reported in less than 3% of MFM-treated patients.
An increased incidence of lymphoproliferative diseases and lymphoma is reported with its use, as is some predisposition for infectious complications, but it is not established whether these are lower than those observed with the use of azathioprine.
Gomez E.C., Menendez L., Frost P. Efficacy of mycophenolic acid for the treatment of psoriasis. J Am Acad Derm.:531-537, 1979. Enk AH and Knop J. Treatment of pemphigus vulgaris with mycophenolate mofetil. Lancet: 350, No. 9076. Page 494, 1997. Beissert S., et al. Mycophenolate mofetil (MMF) in the treatment of bullous autoimmune skin disorders. Poster presentation # P-168A, American Academy of Dermatology Meeting, Orlando, Fla. March 1998. Silverman J.E., et al. Rediscovering mycophenolic acid: A review of its mechanisms, side effects, and potential uses. Journal of the American Academy of Dermatology. 37: 445- 449, 1997. Bohm M., Beissert S, Schwarz T et al. Bullous pemphigoid treated with mycophenolate mofetil. Lancet 349: 541, 1997. Disclosure: Dr. Anhalt and Dr. Nousari have no financial interest in the manufacturer of Cellcept or Roche Pharmaceuticals, and have received no compensation for its development or promotion.


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A new book by Dr. David Cunningham of the Hope College faculty explores Christian ethics in the context of contemporary life.
Cunningham, who is director of the college's CrossRoads Project and a professor of religion at Hope, has written the book "Christian Ethics: The End of the Law," published earlier this year by Routledge Taylor & Francis Group of London and New York.
The book is based on the premise that the historical and cultural impact of Christianity have been so great that understanding its beliefs, practices and worldviews is crucial to making sense of the world. Recognizing that contemporary students may have had varying degrees of exposure to the biblical and theological sources traditionally referenced in studying the topic, Cunningham draws on contemporary examples - from film, literature and music as well as everyday life - to introduce students to the field, relating each to the biblical context.
Topics covered include the nature of human action, the narratives and discourse of ethics, and the development of a virtue ethics approach in its Christian context. He also tackles key contemporary issues in Christian ethics such as the ethics of business and economics, politics, the environment, medicine and sex.
The book's subtitle is taken from Romans 10:4: "For Christ is the end of the law, that everyone who has faith may be justified."
Esther D. Reed, who is an associate professor of theological ethics at the University of Exeter in the United Kingdom, has called the book "One of the best introductions to Christian ethics available. An essential tool for all students who want to explore the connections between Christian understanding of God, worship, community life, the reading of Scripture, and moral formation."
Cunningham has published widely in the areas of Christian theology and ethics. His previous books include "Reading Is Believing: The Christian Faith through Literature and Film," "Faithful Persuasion: In Aid of a Rhetoric of Christian Theology" and "These Three Are One: The Practice of Trinitarian Theology." "Reading Is Believing" received a Gold Award for Religion in ForeWord Magazine's 2002 Book Awards.
He is also the author of the book "Friday, Saturday, Sunday: Literary Meditations on Suffering, Death, and New Life," a series of meditations for those experiencing sorrow and change.
Cunningham has been a member of the Hope faculty since 2003. He was previously on the faculty of Seabury-Western Theological Seminary and had also taught at the University of St. Thomas and at AustinCollege, and during 2002-03 held an Alexander von Humboldt Fellowship at the University of Freiburg in Germany. He holds a bachelor's degree in communication studies from NorthwesternUniversity; a bachelor's and master's degree in theology and religious studies from the University of Cambridge in England; and a doctorate in religion from Duke University.


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Eastern points
This Engaged Citizenship Common Experience Speaker Series at the University of Illinois Springfield is one you won't want to miss to learn more about countries bombarding the news lately, particularly North Korea and China. The key challenges and opportunities presented to the U.S. by the historic rise of Asia will be discussed by Robert M. Hathaway, director of the Asia Program at the Woodrow Wilson International Center for Scholars in Washington, D.C. Prior to this position, Hathaway served on the Foreign Affairs Committee of the U.S. House of Representatives and was a member of the history staff of the Central Intelligence Agency. The talk is sponsored by the World Affairs Council of Central Illinois. For parking directions and info visit
The United States and Asia
Tuesday, March 19, 7:30pm
UIS Brookens Auditorium


text:
Aaron Cox walks methodically along an abandoned railroad bed that runs through his wooded property in Newtown, rifle nestled under his arm, snow crunching underfoot as he scans the trees for movement.
The flick of a tail might indicate a squirrel has decided to venture out on this snowy morning, and if one does, it will - almost guaranteed - end up later in the day as squirrel pot pie, a family favorite. Even with a small target, Cox rarely misses.
"This is how I connect with God," Cox says, walking past towering oak and maple and cypress trees in the sparsely developed northern tip of town. "This is my version of going to church."
Cox's family has hunted these woods for three generations, providing much of the protein his family eats, and he has every intention of passing the tradition on to his 6-year-old daughter. Lydia occasionally accompanies him on hunts, and participates in a solemn ritual after a kill.
"Every deer that I've shot, she goes out with me and we sit down next to the deer, and we put our hands on it. And we thank the deer for food," Cox said. "She understands beginning to end where our food comes from, and that is very important."
But since the shootings at Sandy Hook Elementary, Cox, 39, worries about the trajectory of that tradition, about how his daughter will be perceived, about how he fits into the divisive debate over guns in his beloved town.
Cox feels stuck in the middle – a hunter whose support for the Second Amendment is authentic and deeply rooted, but who also wants to explore solutions that might reduce gun violence. Aiming for the middle, he says, will cost him friendships.
"This is probably the most awkward position ever to be put in," Cox said
"I have friends who are devout NRA members, who agree 100-percent with the NRA and believe that the Second Amendment gives everybody the right to own any firearm. Vice versa, I have friends here in town who believe that all firearms should be confiscated and destroyed. And I'm somewhere in the middle," he said. "I feel like there's people screaming on both sides of me who aren't willing to compromise on an issue that needs to be compromised on, because there's not a simple answer and we need to talk about it without screaming."
Cox understands the sensitivity over guns, in Newtown and beyond, since the shootings. Avielle Richman, one of the children killed, had gone to pre-school with Lydia, and played at princess-and-pirate parties at Cox's house. After Cox told his daughter that a bad man had shot people at Sandy Hook Elementary, her first words were: "Is Avielle OK?"
Cox opposes mandatory registration of firearms, seeing it as a potential precursor to confiscation. But he favors stricter background checks and he thinks a ban on 30-round ammunition magazines might slow down a mass shooter, who in a frenzied state, might need four or five seconds to swap out a smaller-capacity magazine.
"I think it would save lives," he said, before quickly adding: "And there's going to be a bunch of people upset that I said that. I will lose friends. I'm sure of it."
The squirrels are laying low as snow falls in Newtown, and Cox, brushing the flakes from his long hair and long beard, heads back to the house his grandparents built in 1934. He's lived there since he was 13, save a period of time he was hiking the Appalachian Trail.
In his living room, the head of large buck is mounted above the fireplace, and the stone mantle is covered with dozens of jars of pickled vegetables, all grown on the property. Other deer heads adorn the walls, along with the skins of red foxes. He knows some in town would find the scene squeamish, and he knows he's among a dwindling portion of the town that hunts.
His father, Gene, 70, recalls his high school years in Newtown, when he and his friends would drive to school with rifles and shotguns in the back seat to hunt with after school got out.
"Try that today and you end up in jail," Gene Cox said. "Different time, different people, different attitudes."
"Yeah, and you can't really be sad about it," Aaron Cox added. "Times are different."
But Aaron is sad, thinking the tragedy will blunt a heritage that has run through his property for 80 years.
"The horrible thing is it's something I hold so near and dear to my heart. It's something that's so much a part of my life that I want so badly to pass on to my daughter," he said. "But yet I know for a fact that if she went into school and she said 'oh, today I got to shoot my father's gun,' she'd go down to the principal's office because she used the word gun in school.
"And I get it, they're hyper-sensitive right now, but she's going to be ostracized because she enjoys shooting and it's not fair."
Still, Cox clings to a faith that out of the horror of the school shootings, something positive will emerge.
"The only way that you can get up every morning and get your daughter dressed and send her to school is the hope that something good comes out of Sandy Hook," he said. "Because if you don't have that hope, it's hard just to keep going."


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Israeli officials on Tuesday condemned remarks by the EU's foreign policy chief, which allegedly drew parallels between the shooting at a Jewish school in Toulouse and the situation of children in Gaza, AFP reports.
Speaking at an event for Palestinian youth refugees, Catherine Ashton paid tribute to children "who have been killed in all sorts of terrible circumstances."
"...the Belgian children having lost their lives in a terrible tragedy and when we think of what happened in Toulouse today, when we remember what happened in Norway a year ago, when we know what is happening in Syria, when we see what is happening in Gaza and in different parts of the world..." she said, according to reports in Haaretz.
Prime Minister Benjamin Netanyahu said he was incensed by "the parallel between the pinpoint slaughter of children ... and the Israeli military's defensive surgical strikes against terrorists who use children as live shields," the AP reports.
Israeli Foreign Minister Avigdor Lieberman joined the criticism, saying Ashton's comments "were not appropriate and he expressed the hope that she would re-examine and reverse them," his office said.
Ashton strongly denied that her comments drew any parallel between the Toulouse attack, which left four people dead at a Jewish school, and the situation in the impoverished Palestinian territory, saying her words had been "grossly distorted".
The EU has now issued a corrected version of Ashton's speech. The new transcript mentions the situation of children in both Gaza and the southern Israeli town of Sderot after the first version only mentioned the Palestinian territory, AFP reports.
"When we see what is happening in Gaza and Sderot, in different parts of the world -- we remember young people and children who lose their lives," the transcript reads.


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Sanborn Christian School
405 W. 2nd Street
Sanborn, IA 51248
Phone: 712-729-3288


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The geo-engineers just cannot win, it seems. First, scientists demonstrated that ambitious plans to cool the planet by dimming solar radiation could have unintended and unwelcome consequences.
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2 bedroom apartment - Lagoon view
The 2 bedroom apartment offers 2 separate bedrooms, lounge and dining room, fully equipped kitchen, office area, bathroom and balcony with ocean view.
83 m² + 24 m² terrace
Bedding configuration : 2 single beds + 1 king size bed + 1 double sofa bed.
*The rate includes wifi for free up to 250Mb per room per day. An additional access can be purchased at reception.
- 1 Single bed
- Non-smoking
- Air conditioned
- Laundry Facilities
- Microwave
- Telephone
- Iron/Ironing board
- Dishwasher
- Lift/Elevator Access
- Tea/Coffee Making
- Hairdryer
- Room Safe
- Kitchenette
- Bath
- Fridge - Fullsize
- Oven
- Linen and Towels Provided
Terms & Conditions
This hotel website discounted rate is applicable for online bookings only.
The entire stay will be debited on the same day of the booking,
You will receive an email to confirm your reservation. A copy of your receipt will be given on your arrival.
Internet bookings cannot be cancelled, amended or refunded due to the special rate being granted.
*The room rate includes WIFI for free up to 250MB per room per day. Additional wifi credit can be purchased at reception for an additional fee.
Internet bookings cannot be cancelled, modifiable or refunded due to the special rate being granted.


text:
Undercover work nets drug dealers
According to Baxley Police Chief James Godfrey, officers from the Baxley Police Department and the Appling County Sheriff's Office assisted officers from the Altamaha Drug Task Force and the G.B.I. in serving several arrest warrants on offenders who had sold illicit drugs to undercover agents.
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text:
Susan Granger's review of 'Begin Again'
Having experienced success with "Once" (2006), Irish writer/director John Carney does the same story twice, repeating the poignant formula of having two broken-hearted people bonding over music. This time, it's a sweet-but-insecure songwriter/singer, Greta (Keira Knightly), and a self-destructive, cash-strapped recording executive, Dan Mulligan (Mark Ruffalo).
Greta moved from London to Manhattan to be with her American boyfriend/songwriting partner, Dave Kohl (Adam Levine), who, almost overnight, catapults into a major recording artist and, subsequently, dumps her for another woman.
Disconsolately singing in a dingy bar one night at the urging of her busker friend Steve (James Corden), Greta is spotted by Dan, who has managed to alienate his business partner Saul (Yasiin Bey, aka Mos Def), ex-wife Miriam (Catherine Keener) and teenage daughter Violet (Hailee Steinfeld). Inspired by Greta's raw authenticity, Dan convinces her to collaborate with him on a demo album that's recorded, guerrilla-style, throughout New York, incorporating the ambient sounds of the city.
Problem is: she has no desire to be rich and famous; she just wants to share her music with the world.
As in "Once," these characters are caught between achieving their personal ambition and maintaining their professional integrity. There are the now-predictable scenes depicting Greta and Dan sharing playlists, singing impromptu and improvisational composing. The most imaginative sequence occurs when Dan first spies Greta singing solo and imagines a fully orchestrated arrangement around her.
While affable Ruffalo does rumpled authentically, Knightly seems far too sophisticated to pull off naivete. That's where the film falters. The press notes indicate that Knightly actually does the whispery singing but her lips don't quite sync up
with the sound, which was obviously recorded, not on the
mean streets, but in a studio with compositions by New
Radicals frontman Gregg Alexander.
Originally, the title was "Can a Song Save Your Life?" which would have been far more apt for Carney's tribute to the healing powers of music.
On the Granger Movie Gauge of 1 to 10, "Begin Again" is a bittersweet 6. "Once" again -- buy the soundtrack.


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REAL ESTATE- $old
Harry J. Taylor to David Abraham and Ruei-Jen Fan, 2.0 acres at 3645 Country Lane, Country View, $325,000.
Judith S. Fox, trustee, to William C. and Kathryn G. Marlatt, 3.070 acres at Keswick Estates, $550,000.
Southern Home Builders of Virginia to Herschel D. Strosberg and Jessica R. Wilk, 0.051 acres at 1116 Edmond Court, Waylands Grant, Crozet, $357,700.
Michael G. and Janice L. Smith to Thomas J. Chmiola, 5.01 acres at 4333 Watts Passage, $318,000.
Toro Vega Investment Corp. to Joachim and Betsy A. Funck, 8.84 acres at 2929 and 2930 Riggory Ridge Road, Riggory Ridge, $1,011,000.
Redlands LLC to Ronald D. and Frances D. Carter, 0.244 acres at 1220 Amber Ridge Road, Highlands at Mechum's River, gift.
Sandra M. Seal to Timothy R. Seal, 0.276 acres at 6128 Cling Lane, Crozet Crossing, $127,000.
Donna M. and William D. Davis to Joshua and Abigail Davis, 2.879 acres in White Hall Magisterial District, gift.
Craig Enterprises Inc. to Andrew H. and Shawna S. McCall, 3377 Moubry Lane, Forest Ridge, $300,921.
Irma Goldberg to Glenn Goldberg and Leslie Bryan, 3254 Gateway Circle, Gateway Village, Forest Lakes Townhouses, gift.
Tribal Properties LLC to NVR Inc., parcel in Abington Place, $427,800.
Shawn A. and Jennifer Johnson to Ned L. and Juliana C. Gallaway, 0.274 acres at 2159 Loring Circle, River Creek, Dunlora, $499,900.
CSX Transportation Inc. to Steven L. and Codie Peters, 2.17 acres, $10,000.
Daniel H. and Kimberly C. Gregg to Kimberly C. Gregg, 2906 Idlewood Drive, Woodbrook, gift.
Church Hill Development Co. to Cornelius Paraham, 0.062 acres at 372 Joliet Court, Westhall, Crozet, $235,045.
Aaron and Michelle Dumont to Shawn A. Johnson, 0.181 acres at 125 Deerwood Drive, Deerwood, $319,900.
Parkside at Charlottesville to James F. and Kathy Eve Scheimer, condominium unit at Parkside at Eagle's Landing, 142 Yellowstone Drive, $259,900.
Todd and Gudrun Reeder to Richard and Andrea Blayney, 0.405 acres at 3341 Braemar Court, Glenmore, Keswick, $650,000.
Suzanne and Edmund Madison Chitwood III to Mary Ann C. and William Hendrick Booz IV, 0.290 acres on State Route 738, 2874 Morgantown Road, $249,100.
Barbara A. and David P. Grogan Jr. to Patrick D. and Amy D. Pflaum,0.248 acres at 5044 Clearfields Court, Western Ridge, Crozet, $355,000.
Octopus Property LLC to Karla D. and Louis J. Herman III, unit in Riverbend condominiums, 310 Riverbend Drive, $177,859.
Cynthia D. Lockley to Liberty Homes Inc., 2.8 acres at 7536 Chestnut Grove Road, $50,000.
McFarland Group Inc. to Stephanie J. and Wayne T. Allen Jr., 2.126 acres at 1857 Beach Grove, Bentivar, $837,000.
Gregory O. and Maureen D. Block to David C. and Laurel Menser, 0.277 acres at 1675 Redington Lane, Fieldbrook, $340,000.
Townwood Investments LLC to Moises Loredo, Carol L. Alvarez, and Luis C. Flores-Ugalde, 1608 Townwood Court, Townwood, $190,500.
Jigar A. and Jesika J. Patel to Anju Grover, 0.046 acres at 4735 Blue Jay Way, Briarwood, $260,000.
Meadow Wood Inc. to Ronald J. Gilbert, trustee, condominim unit at Villas at Southern Ridge, $164,950.
Craig Enterprises Inc. to Gregory and Stephanie Topczewski, 0.174 acres at 1482 Gate Post Lane, Highlands at Mechum's River, $370,007.
Dean H. Dedes to Arnold and Jane Brown, 2.059 acres in Quail Hollow subdivision, $275,000.
Lorraine L. Williams to Bryan W. and Darlene M. Branch, 3.82 acres on State Route 664, 546 Fray's Mountain Road, Earlysville, gift.
Inglewood Square LLC to John Gable III, unit in Inglewood Square condominiums, 1910 Inglewood Drive East, $140,000.
Sycamore Creek LLC to James F. and Amanda H. Winecoff, 21.740 acres at 2131 Taylor's Gap Road, North Garden, $395,000.
Hauser Homes Inc. to Stephen J. and Mary English Garland, 0.053 acres at 1091 Haden Terrace, Ballard Field, Old Trail, Crozet, $247,000.
Dawn M. Stewart to Dawn S. and William R. Eadie III, 4638 Briarwood Drive, Briarwood, gift.
Celso U. and Teresita A. Tabilas to Djoanna Daisie and Juanita A. Tabilas, 0.230 acres at 515 Jester Lane, Camelot, $220,000.
Ronald J. Gilbert, trustee, to Jennifer L. Hardy, condominium unit at Villas at Southern Ridge, 751 Mountainwood Road, $174,000.
Scott J. Taylor to Julius and Etta Harmon Levin, 890 Charter Oaks Drive, Dunlora, $425,000.
Elaine R. Lorenzoni, trustee, to Peter D. Lorenzoni, 14.6 acres, gift.
Nancy S. Sloan to Edgar C. Lawson III, trustee, parcel at 982 Amber Ridge Road, Highlands at Mechum's River, gift.
Robert C. and Heather W. Umberger to Marc D. Breton and Emily C. Whipple, 0.223 acres at 1488 Shadow Oaks Place, Raintree, $354,900.
Charlesl N. Ammons to Tucker J. and Lori D. Rollins, 0.302 acres at 1327 Gristmill Drive, Mill Creek, $265,000.
Susan A. and W. James Copeland Jr. to Jacqueline S. Corcoran, 0.065 acres at 1065 SomerChase Court, Hollymead, $307,500.
Marian C. Pinkham to Equity Shelter LLC, 0.185 acres at 1424 Gate Post Lane, Highlands at Mechum's River, $443,968.
Karen L. Bjorn, trustee, to Amy Smith and Julie Rydlund, 0.516 acrs at 1215 Maple View Lane, Willow Lake, $315,000.
Meadow Wood Inc. to Anel Sefer, condominium unit in Villas at Southern Ridge, 1356 Villa Way, $188,000.
Sara E. Rugo and Jerry W. Thacker to Jackie and Austin Jamison, 1330 Peachtree Drive, Orchard Acres, Crozet, $199,900.
Brandon J. Gaetino and Katherine D. Szabo to Patrick Neil Wright, 0.087 acres at 4616 Heather Court, Briarwood, $196,000.
Rollin M. Stanton III to Michael J. Carmagnola, 9.035 acres on State Route 635, Samuel Miller Magisterial District, $250,000.
Thomas J. and Tracy C. Seeley to Wallace D. and Kimberlee A. Barrett-Johnson, 1.078 acres at 830 Carlyle Place, Foxchase, $1,000,000.
Southland Homes Inc. to Thomas J. and Tracy C. Seeley, 0.459 acres at 2507 Montgomery Ridge Road, Montgomery Ridge, $595,000.
Tien N. Ho and Jimmy V. Nguyen to Duong Bui, 0.323 acres at 1097 Foxvale Lane, Foxcroft, $335,000.
Barry and Patricia Klecan to Joseph C. and Susan F. Imbriaco, 0.243 acres at 137 Spring Mountain Road, Mill Creek, $233,000.
Harris Bank, trustee, to Suzanne G. and Donald E. Schinsing Jr., 1.709 acres at 839 Flordon Drive, Flordon, $792,500.
Anne l. Hunter to William J. and Kristie L. Bader, 4.027 acres at 131 Deerwood Drive, Indian Springs, $232,000.
Stephen D. and Amy K. Gawtry to William J. and Caroline S. Beisswanger, 0.251 acres at 2123 Loring Circle, Rivercreek of Dunlora, $650,000.
Graham A. , Emily, and G. Allen Randolph to Greenmont Farms RLLP, 21.026 acres at 2160 Plank Road, Montrose, $800,000.
James and Margaret Ann Christmas to Charles N. Ammons, 0.265 acres at 1104 Amber Ridge Road, Highlands at Mechum's River, $245,000.
RD Wade Builder Inc. to James L. and Karen S. Sniadecki, 0.253 acres at 1614 Grayrock Court, Grayrock, Crozet, $348,950.
Big Deal
Thomas J. and Tracy C. Seeley to Wallace D. and Kimberlee A. Barrett-Johnson, 1.078 acres at 830 Carlyle Place, Foxchase, $1,000,000.


text:
Read your visitors post so thought i'd stop by and visit.
My Kahrs, not necessarily in order of preference, but by acquisition date:
P380N/KP3833N (New 3/31/10).
KP9044NA (Used 10/06/2012, born June 2004) replaces K9. Added more recent Trijicon front Night Sight. Added 4" ported barrel.
KP4044A (New 08/16/2016. Added recent Trijicon Night Sights. Wanted the Black slide! Replaced the SS P40 with Mag-na-porting and XS Big Dots. Added 4" ported barrel
KP4544N (New 11/16/16) "BoomerII", replaces PM4544N "Franken-Boomer"** after its 6th return to factory.
2005 (ordered/born 08-2004) GMC Savana AWD Passenger Van - my "RV" - has 7 feet behind single rear seat for bed, hassock potty, & DC fridge. Great for snow and the beaches in FL. 31-gallon tank and 12-16 mpg. Has OnStar(unused last few years... have smartphone) and optional left passenger doors. Added Ultra Gauge to OBD plug for RPM, instantaneous mileage, and a bunch of other readouts.
To visitors: I'm a computer hobbyist(online shopper) with my computer located at our "breakfast nook" window where I can see all kinds of birds, as we are about 135 yards from Mill Cove on the south bank of the St. Johns River. I can see the river with cargo and cruise ships passing on the river. I've seen falcons land out front with still kicking doves and make a meal of them, the occasional eagle(s) fly by, lots of ospreys who sometimes land on the telephone pole out front to dine on their fresh fish, some I've found in my driveway, dropped by startled birds. There is the odd water fowl that comes visiting, too.
I've seen the occasional space shuttle on its way to orbit, when conditions are right... from my front yard.
The breakfast nook is now my "office", but I still need to start removing the carpeting and putting down bamboo "planks" in the foyer and dining room. I have like 11 boxes of those things stored in the TV/family room now.
Senior Member
KahrTalk 5K Member
Perpetual New Guy


text:
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Like this story? Please share!
Girl felt odd 'tingling' in her mouth. Dentists had to film what came out of it
Please like us to get more great stories like this
Brazilian 10-year-old gets infected with rare case of oral myiasis
April 16, 2017
Adriana Cardoso thought her daughter was joking when she claimed she felt like there were "something moving around" inside her gums. A few days later, mother and daughter found out it was no laughing matter, but a horrific oral condition that produced a shocking extraction.
The diagnosis from a flabbergasted Brazilian dentist? Oral myiasis, meaning an infection of fly larvae (maggots) inside the 10-year-old girl's gums, according to a March 2015 report from Medical Daily.
"There were 15 maggots in her mouth, so we videoed the removal for our records as it is a rare occurrence," a spokesman for the dental clinic said, according to Medical Daily. "We also wanted to show the girl's family what had happened and warn others."
Cardoso said daughter Ana had complained for a few days about the pain and the odd "tingling" sensation and decided a trip to the dentist was in order, according to a report by the Daily Mail.
"I know my daughter and she is not one to make up stories or lie, so eventually I took her to see a dentist," Cardoso explains in the Daily Mail account. "I couldn't believe it when they said she had a disease and then started pulling the maggots out."
The U.S. Centers for Disease Control and Prevention states that myiasis occurs usually in tropical and subtropical areas, noting that "people traveling with untreated and open wounds are more at risk for getting myiasis."
§ FusionTV via YouTube, Medical Daily, National Center for Biotechnological Information, Daily Mail, and CDC
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Health · January 29
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Health · May 24
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text:
Welcome to the Music Department
Visit our beautiful campus and tour our state-of-the-art music facilities. Email firstname.lastname@example.com to inquire.
View our calendar to see the full concert and recital schedule, check out ticket information, or hire one of our talented musicians for your special event!
UW Oshkosh Department of Music
800 Algoma Blvd.
Arts & Communication Center
Oshkosh, WI 54901


text:
We are conducting a quick poll to get a sense of how you, our readers, are thinking about sustainability. Your answers will help inform the design of the next sustainability and innovation survey we're planning in collaboration with knowledge partner The Boston Consulting Group, due out this June.
While we will be asking some of the same questions we ask each year to help us gauge what is changing in organizations, we'll also be diving in to some new material. Take the poll and vote!


text:
Nate Diezel - Interstate Trappin [Unsigned Hype[
"LAPINC, H.T.I.D. and Street Gang Present Nate Diezel Interstate Trappin, The official Music video Directed by: Lewis Farinella of WreckRoom Productions. Song is available on Itunes, Rhapsody, Sony Connect, Napster and all other music retail websites. Also check out The Miami Heat Mixtape available on Datpiff.com and in the streets!" [m]
Please click the "Report" button below if the video on this page is not working properly.
Comments will only be displayed by verified emails. No Spamming or Racism.


text:
£160 to wear a spider web? Maybe not.
These Powerlogic Olympic bib tights are the top tights in the range from Italian company Zero RH, and they're most notable for the unusual bib section that holds them in place.
The lower sections – both the black and the white panels – are made from what Zero RH call Icedry Gold 200 fabric, which is essentially a brush-backed nylon/elastane roubaix. It's warm, breathable and quick drying, like most, although the high price doesn't get you any windproof panels or double layers to provide extra protection from the cold.
The build quality is very good throughout. Most of the seams are flat stitched to minimise the possibility of chafing, the ankles come with high-end elasticated grippers, and you get excellent self-locking zips down there with reflective trim.
The anatomically shaped seatpad is decent quality too. It's not the most high tech offering from Cytech's Endurance range but the foam kept us comfy enough as we chalked up the big winter miles, and you get a decent amount of stretch in all directions. The surface fabric shifts moisture away from your body well and a central channel improves airflow to keep the atmosphere pleasant enough.
The most unusual feature of these tights is the "anallergic" (non-allergic) upper. Rather than standard roubaix or mesh straps over the shoulders, you get a harness-type arrangement with straps extending around the sides too. The straps are much narrower than normal, some sections very stretchy, some less so.
As with most other tights, there's no adjustment to bib-section sizing, but there's enough stretch here that we doubt you'll need any. This design works fine to hold everything in place comfortably and securely. I wouldn't say it's any better on those scores than a standard arrangement, though. I've never had any trouble with a traditional design. To me, it's just different rather than a step forward.
I've used these plenty over the past couple of months in all but the coldest weather. When the temperature has dropped below about 5°C I've put them to one side because I don't find them warm enough, and gone for longs with windproof panels instead – although you might have an internal thermostat that's set differently. They started to show signs of wear below the sit bones a bit earlier than I'd usually expect, and the white panels are no longer as white as they were but, that aside, they're still looking good.
The thing is, though, that these are expensive. They're well made tights with some good features, but they don't do anything in terms of their technical performance that would make us want to spend this kind of cash.
Well-made winter tights, but we're struggling with the price
If you're thinking of buying this product using a cashback deal why not use the road.cc Top Cashback page and get some top cashback while helping to support your favourite independent cycling website
road.cc test report
Make and model: Zero RH Powerlogic Olympic bib tights
Size tested: Large, black/white
Tell us what the product is for, and who it's aimed at. What do the manufacturers say about it? How does that compare to your own feelings about it?
Here's the manufacturer's write up:
Technical Features
• Pre-formed anatomic construction
• "Gradual fit technology-Anallergic" braces
• "Grip fit technology-Anallergic" leg bottom, on the
• Leg bottom Reflex zipper, with self-locking tab
• Variable tension appliqué work
• Ultra flat seams
Thanks to its incredible design details and combination of materials, this garment guarantees maximum warmth, breathability and elasticity. "Gradual fit" braces guarantee maximum freedom of movement. It's the ideal garment for dedicated cyclists who like riding all through the winter.
Did you enjoy using the product? Yes
Would you consider buying the product? No - you can get a similar performance much, much cheaper
Would you recommend the product to a friend? No - same reason as above
About the tester
Age: 40 Height: 190cm Weight: 74kg
I usually ride: My best bike is:
I've been riding for: Over 20 years I ride: Most days I would class myself as: Expert
I regularly do the following types of riding: time trialling, commuting, sportives, general fitness riding,
Mat has worked for loads of bike magazines over 20+ years, and been editor of 220 Triathlon and Cycling Plus. He's been road.cc technical editor for eight years, testing bikes, fettling the latest kit, and trying out the most up-to-the-minute clothing. We send him off around the world to get all the news from launches and shows too. He has won his category in Ironman UK 70.3 and finished on the podium in both marathons he has run. Mat is a Cambridge graduate who did a post-grad in magazine journalism, and he is a past winner of the Cycling Media Award for Specialist Online Writer.


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International broadcaster and social entertainer, Sierra Leonean David Vandy, has become the first recipient of the distinguished Sierra Leone Ambassador's Award at a dinner and dance marking his 50th birthday, in Maryland, USA last month.
The Sierra Leone Ambassador to the United States, Bockari Stevens who created the award, presented its maiden edition to Mr. Vandy. The ambassador praised Mr. Vandy as one of few people he had met who had gone to a great length in promoting Sierra Leone in every respect. He recalled as example the leading role Vandy played in the embassy's celebration of Sierra Leone's independence golden-jubilee last year, saying he was moved by the deep sense of duty and patriotism that Mr. Vandy demonstrated before and during the celebration, and to everything Sierra Leonean he is involved in.
The award plaque holds an engraved gold-colored Sierra Leone Coat of Arms symbol. On it the following words are inscribed:
in the field of Drama, Arts, Music and your invaluable
service to the Sierra Leonean Diaspora community in the
United States of America…
David Vandy now works for the Washington DC-based Voice of America radio as host of Africa Beat, a daily disc jockey musical that broadcast throughout Africa.
Some three hundred guests including representatives of Sierra Leone related organizations were in attendance. Voice of America's Day Break Africa host, James Butty, said David Vandy is a man of many talents whose experience has helped to enhance the standards of the international broadcaster.
David Vandy had worked for a number of radio/TV news outlets in Sierra Leone including the Sierra Leone Broadcasting Service before coming to the US. A former co-host of a music show on SLBS TV, Kumba Brewah, described Vandy as a uniquely talented man.
The USA-based Sierra Theatre Production, a drama group he helped established in the United States, performed a short skit titled: There's is a Hole in the Bucket. It is scripted from Harry Belafonte and Odetta's musical lyric of the same title. David Vandy is himself a seasoned and talented dramatist and playwright.
Three of Sierra Leone's celebrated women in the Washington DC metropolis, Mary Kamara, founder and CEO of Mary and Daughters Decorations; gospel musical superstar and founder of the Sierra Leone Association of Artists and Musicians, Giileh Kebbie Scholz, and former Sierra Leone national football (soccer) captain and track and field athlete, Ekundayo Williams-Bangura, were part of the group that organized the birthday dinner and dance.
By Aroun Rashid Deen
New York