text:
Fstoppers Interviews Photographer Victoria Will, Creator of Captivating 'Moving Portraits'
by Isaac Alvarez
Fstoppers Original
Even if you've never heard of Victoria Will, you probably have seen her awesome moving portraits of celebrities. These captivating images give a new take on celebrity portraits. Some might say they are simply amazing, but others might give a different opinion. We sat down with Victoria to give you this exclusive interview and discussed the inspiration behind these images.
Victoria began her career at the New York Post, where she was a staff photographer and focused on a journalistic style. She always took interest in photography and was always assigned to be the "family photographer" for her family, which includes three brothers. Even though she loves reading and writing, her dyslexia makes it more of a task than she sometimes has the heart for. Photography, on the other hand, came as a passion and was one of the things she adored growing up. After a mandatory class in college, she fell in love. After college, she went to London to take on an internship for a newspaper. At that time, she was exploring what she loved doing and didn't know how to use that new set of skills for a career. Then, she took a leap of faith and decided to be a full-time photographer. But, there was another challenge she had to face: deciding what area of photography she wanted to excel in.
Photojournalism work is what Victoria wanted to do. Embarking on her newfound career, she then traveled to New York and got several newspaper jobs. After getting her feet wet and sharpening her skills, Victoria landed a paid internship at the New York Post doing what she loves. Working there brought her many things, from dealing with uncomfortable situations to finding new ways to photograph interesting compositions. Little by little while, she then started getting feature assignments. Those led her to photographing celebrities. Transitioning from the New York Post to photographing for wire services (as Associated Press) led her to photographing not only celebrities, but CEOs and famous musicians as well. After that, the rest is history.
Origin of Moving Portraits
One might wonder where she got the inspiration for such a unique project. Moving Portraits was a direct result of several things, but it was first a reaction to her tintype project. Victoria has done tintype portraits twice at the Sundance Film Festival, and she loved doing it. But after Sundance, which was very high intensity and fast-paced, Victoria had to come up with something new. She felt like she had two options: do an ongoing set of tintype photos every year at Sundance or step back and reevaluate what she was doing. She decided that they needed to see something fresh; they needed something new and exciting. She asked herself: "What's the opposite of tintype?" She contemplated numerous things, such as doing Polaroids or printing on chrome. But, none of those inspired Victoria, and she wanted to change the feel. She then started thinking about new technology and how amazing the cameras we have nowadays are, which sparked her interest. Victoria started looking at GIFs and began wondering how she could combine them with her amazing portraiture. She realized that no one has approached portraits this way before, and thus, the idea began to grow as she sought to create something unique and different.
It is definitely an evolution. It started with the idea and it was built up from there.
Aside from creating beautiful and amazing portraiture, Victoria's typical day starts early with her 10 month-old son, which involves a lot of baby prep. If you have kids, you know what I'm talking about. She also has two French Bulldogs that are part of the family, so they get walked after enjoying time with her son. What's fascinating is that a photographer that shoots celebrities and that has clients such as Levi's, Sony, Vogue, and Esquire has no set schedule. Some days, might be at the studio, and some days, might be doing invoices. But she said something about creativity that stuck with me:
I do think it's important to protect creativity and time. You can't say: 'I'm going to be creative at 3pm.' That doesn't work.
Can creativity be protected? Victoria believes in honoring the creative mind. When you feel creativity is flowing, you should take that time to create and let the artistic nature flow within you. Yes, sometimes we do get in a creative rut in which we can't think of anything; nonetheless, we have to continue to practice to constantly get that drive.
It also inspires me that Victoria loves photographing humans and what makes us human. She doesn't draw a line when it comes to photographing assignments or personal work. She photographs whatever flows in her creative blood. She draws her inspiration from movies, tv shows, and even simple romantic moments like people kissing at the park while walking their dogs — one can definitely tell that creativity flows in her inner self. Victoria also has a list of awesome photographers that inspire her creativity, such as Irving Penn, Larry Sultan, Robert Maxwell and Dan Winters.
Victoria also touched base on technique and the advice she gives to fellow photographers looking to better their craft. She notes that first and foremost, you can't get lost in the gear (always wanting the best camera, lens, lighting equipment, etc.). What's going to resonate is the connection with the subject. Her advice is to remember no matter what work you're doing, the essence is that photographs have to be interesting and captivating. The essence of the portrait has to be there. Focus on the portrait itself and the rest will fall into place. Keep doing what you're doing, and have confidence in yourself. Believe in yourself; if it feels right for you, keep doing it.
Check out more of Victoria's work on her website and Instagram.
Isaac Alvarez is a Los Angeles-based photographer. His work is a reflection of contemporary/cinematic. While his images are often on the edge of any situation, photographing the situation is not nearly as interesting as photographing the edges of human emotions.
isaacalvarez.com
More from Isaac Alvarez
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Photographer Steve Brown Recreates 'The Last Supper' Using Star Wars Characters
Camera Shop Spotlight: Are Brick and Mortar Stores Still Relevant? Spoiler Alert: Yes
How to Be a Professional Photographer in a Small Town
How to Start a Part-Time Career in Photography
Russell James - February 16, 2016
So what is the difference between what Victoria does, and what Lindsey Adler does with Cinemagraphs?
Isaac Alvarez Russell James - February 16, 2016 [Edited]
They both have their own take on Cinemagraphs.
Russell James Isaac Alvarez - February 16, 2016
I guess i just don't agree with her statement that " no one has approached portraits this way before" when cinemagraphs have been around for quite a while.
Isaac Alvarez Russell James - February 16, 2016
It's an interesting take on celebrity portraits. I've seen it done on fashion but not celebrity. But yes I agree this has been done before in the past and it's referred to as GIFs. Lindsey Adler has some great take on this as well.
Mr Hogwallop - February 17, 2016
it looks like a technique that you'd see in a kiosk in the mall .
Austin Burke - February 17, 2016
I've always wondered, how are these shot, is it done through shooting video or stills, and if stills doesn't the camera need to shoot at a fast enough FPS to achieve this style?
Mr Hogwallop Austin Burke - February 18, 2016
Google how to make cinemagraph
Austin Burke Mr Hogwallop - February 18, 2016
I've seen people do it with stills and with video, I wonder how Victoria did these, would of love to see some behind the scene images.
Charles Gaudreault - February 21, 2016
the most impressive about all that is the quality of the gif, the dark tones and contrast must help but is there liek a very good technique to save those gif with very good quality :S
Isaac Alvarez Charles Gaudreault - February 22, 2016
I believe you just have to make a high res GIF's on photoshop. You can youtube some tutorials on those. I found some that Joel Grimes did as well.


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"Portraits for Pixels" 2012: Raising funds and awareness at the intersection of Photography and Philanthropy in aid of the cause to Stop Violence Against Women
Posted on August 2, 2012 by regina
2 August 2012: The Pixel Project, the global volunteer-led online non-profit organisation working to end Violence Against Women (VAW), is proud to present the "Portraits for Pixels" 2012 campaign. This campaign, which runs from 1 August to 23 September 2012, is a collaboration between The Pixel Project and photographers worldwide to raise US$10,000 or more for The Pixel Project's Celebrity Male Role Model Pixel Reveal campaign. Registration is open to photographers from 3 June to 16 September 2012.
The Pixel Reveal campaign aims to raise US$1 million for the USA's National Coalition Against Domestic Violence and various anti-Violence Against Women nonprofits by getting a global audience to donate US$1 per pixel to reveal a million-pixel mystery portrait collage of four celebrity male role models taken by award-winning international photographer, Jillian Edelstein (www.jillianedelstein.co.uk). The distinguished line-up includes a Nobel Laureate, a Pulitzer Prize Winner and superstar Environmentalist.
During the campaign, participating photographers will raise funds by holding special "Portrait for Pixels" charity portrait sessions. They will set the price of the sessions and donate a minimum of US$10 per portrait session towards the Pixel Reveal campaign. However, individual photographers or groups of photographers may choose to increase the portion of the proceeds that they donate. With the minimum donation set at US$10 per portrait session, not only can photographers cover their expenses for the "Portraits for Pixels" sessions, but they may also be able to earn some extra income for themselves or opt to donate the extra proceeds towards their local anti-VAW non-profit organisation.
Participating photographers will also benefit from the awareness-raising component of the campaign which includes highlighting their best work through individual photographer profiles. They are also encouraged to submit a selection of the most striking portraits taken during the campaign to be showcased in a virtual photo gallery post-campaign.
This year, in addition to upcoming events in Washington D.C. and the Houston area of Texas, photographers in Malaysia will also be taking part. The renowned Kuala Lumpur-based celebrity and portrait photographer Kid Chan's studio will be holding special fundraising Portraits For Pixels portrait sessions on 11 – 12 August 2012. Also participating is Bloom Workshops which nurtures budding female Malaysian photographers through their women's workshop which is to empower and inspire female photographers in various aspects of photography. Bloom Workshops will donate part of the proceeds from their upcoming portrait photography workshop (31 August – 2 September 2012) to the campaign.
Regina Yau, Founder and President of The Pixel Project, said: "With world-class portrait photography at the heart of the Celebrity Male Role Model Pixel Reveal campaign, 'Portraits for Pixels' is a natural fit as a supporting fundraiser for that campaign. There is nothing more powerful than seeing others around us stand up to say NO to violence against women, be it in person, on video or, in this case, in a photograph. We had a promising test-run last year with 6 photographers participating and it is our hope that this visually oriented campaign will continue to grow and inspire the photography community to share their considerable talents in benefit of the battle to end violence against women."
About The Pixel Project (www.thepixelproject.net)
The Pixel Project is a volunteer-led nonprofit organisation whose mission is to raise awareness, funds and volunteer power for the cause to end violence against women through innovative, powerful viral campaigns across various online and virtual channels including social media. Their first project is to turbo-charge global awareness about VAW using social media while raising US$1 million for the U.S.A.'s National Coalition Against Domestic Violence and other anti-Violence Against Women nonprofits by getting a global audience to collectively unveil a million-pixel mystery collage of Celebrity Male Role Models at US$1 per pixel.
For further information, please contact The Pixel Project team at info@thepixelproject.net
This entry was posted in Activism 101, Announcement, Blog, Campaign Update and tagged Bloom Workshop, Kid Chan, Portraits for Pixels, The Pixel Project by regina. Bookmark the permalink.
#GLOBAL: @UN report - An average of 137 women across the world are killed by a partner or family member every day… https://t.co/XMpwPjmatX about 45 minutes ago from TweetDeck ReplyRetweetFavorite
Award-winning Fantasy author Kiran Millwood Hargrave talks about women+girls in her books and the Fantasy genre, ra… https://t.co/GuEn0mozJY about 1 hour ago from TweetDeck ReplyRetweetFavorite

redpajama_set_name: RedPajamaCommonCrawl


Strategies for thriving in your career!
Stress puts us into a constant paradox. If you extend yourself as much as possible to achieve maximum success, you are at risk for health issues and burnout. If you don't extend yourself you will have an unfulfilling life and will be stuck scraping the bottom of the barrel. I discussed this at length in a previous post (link to post). The solution to this paradox is simple to learn but not easy to master. You must learn to expand your comfort zone slowly without risking a complete burnout.
I will return to Jane Darrell, the sales representative from my previous post. Jane has been with a software company for three years. Most of her work involves repeat customers to ensure that they renew their annual subscriptions. Jane finds this boring and the pay leaves a lot to be desired. She envies her colleagues who sell to new customers and earn sizeable sales commissions. Jane knows that they make a lot of calls directly to potential clients and frequently meet with high level decision makers. She knows that this is her only path to get ahead in her company, but sales calls frighten Jane and she feels stress thinking about this type of transition. What should Jane do? And more importantly, what should you do if you are in this dilemma yourself?
First you must determine the exact skills that you need to master to make the desired change to your career. You made need a sales training course, a course in specific sales technology and some social skills training. Pick one of these skills to start with. I will use the sales training course as an example. Now you will break this skill down into small manageable steps. Start by researching available course types. There are books, audio programs, video courses and live seminars. All of these come in a variety of lengths and price ranges. The research itself is a small step towards actually enrolling in a course. If you work for a large company, enlist the HR department to see if the company offers free or subsides courses. Make a list of the available courses and narrow it down to five that you are both interested in and are within your budget. This is what I will call your short list. If you have made it this far, congratulations! You are on your way to changing your life one step at a time. Now, choose the one course from your short list and sign up. If this is a book, order it online or reserve it at your local library (many people overlook the ability to order books at their library, this is a great way to access most books for free). If it is an audio program, either purchase it or again try your library. Online video courses are generally simple to enroll in, and live programs usually offer comprehensive customer support.
Now that you have signed up or ordered the training product, schedule a time for it on your calendar (this won't be necessary for the live events as the scheduling is built in). This one step is often overlooked and frequently leads to failure. You need to set aside time to allow your new resolution to take effect. Make a commitment to a one hour session at least one time a week. Once you have set on a time, and you have the book/audio/video program available, you are ready to take the next step. Now you can start to read, listen or watch the program. Most programs that you take to learn a new skill will come with "homework." These are exercises that allow you to practice and solidify your new skill so that it becomes comfortable and natural. You will use the time that you have established both to learn the new skill as well as to practice the requisite exercises. Once you have completed this product to your satisfaction, revisit your short list. Determine if you still desire to pursue additional training in this area, or if you feel ready to move on to another skill set. Remember you can take things as slowly as you want.
When you are ready to move on to the next set of skills simply follow the same five steps. Research, short list, commitment, schedule and follow through. By breaking down the initial overwhelming goals of taking sales training, learning new sales technologies and working on social skills, into manageable little steps; you will dramatically improve your chances for success. This methodology is not limited to any particular situation and can be readily applied to most areas of self improvement. Studies have shown that the simple act of breaking down a large goal into small steps increases the success rate by as much as 50%. It is worth your time and effort to map out the steps you will need to take to get to where you want.
Tell me about something you want to accomplish that you could apply the small steps methodology to. I love to hear from you.
Get your copy of "The Ultimate Survival Guide for the Stressful Job" absolutely free!


Why did this all seem so abnormal to him?
The first thing he saw were all the students busy with the school festival preparations. It was a lively and bustling atmosphere.
There were no traces anywhere to be found of the fierce battle from last night. All the holes left in the ground and everything else had completely vanished.
The ground had returned to its original state, with not a single blemish to be found. At the very least, the students didnt notice anything wrong.
This ability to wipe all traces seemed almost on par with turning back time.
If it wasnt for the fact that he personally experienced it, he never would have imagined what had happened here last night. Seeing how everything was normal at school, with all the students ignorant of what had happened, he almost felt as if last night had been nothing more than a dream.
Of course his expression didn't betray his thoughts.
Seiji arrived at his shoe locker and opened it.
A huge pile of envelopes tumbled out from his locker.
Seiji was rendered speechless by this situation.
Although he somewhat expected it, seeing this "explosion of love letters" that he had only seen before in anime and manga still gave him an impact!
"Theyve been accumulating for so many days, so its only natural thered be this many." Mikas eyes were cold and distant.
"Oh my, Harano-kun is so popular." Kaede smiled faintly. "I can almost feel the passion emanating from those love letters~"
Seiji couldnt find any words to answer them with.
It wouldnt be easy to take all those letters with him He should have brought his backpack. There werent any classes during the school festival, which was why he hadnt brought his backpack. That was a mistake.
He was still lacking in experience. Just what was he supposed to do?
Lets just not take them and leave them in the locker until later. In the end, that was the idea Seiji came up with.
Having decided to leave the letters, he changed his shoes, stuffed all the letters back into the locker, and closed it again.
Kaede left after saying, "If you get tired from playing around at the school festival, youre welcome to rest in the infirmary at any time."
Seiji and Mika walked together to class and discovered a wild Chiaki standing outside the room. She was chuckling while holding her hand over her mouth.
Seiji and Mika were mystified at this.
"Ah Seigo!" Chiaki saw the two of them and waved. "Youve finally come to school again! Its been so long!"
"Its been so long the hell, its only been a few days. What are you chuckling about?" Seiji asked.
"I just feel like its so interesting Hehe" Chiaki continued laughing as she pointed inside the classroom.
Just what could be inside?
Seiji and Mika walked to the classroom door and peered inside.
The preparations were already complete.
Most of the tables and chairs had been moved to the back of the classroom and stacked up to make space. The remaining tables had been put together with "Honey Candy Girl" tablecloths on top, making them seem like lunch tables. They were also outfitted with stylish borrowed chairs to make the seem like a real caf.
Anime posters were plastered on the walls, and anime accessories were also everywhere to be seen. Character figurines were placed in appropriate locations, and some character balloons and ribbons were hanging from the ceiling to help give this place the atmosphere of a cosplay caf.
The blackboard and the area at the front of the classroom was cut off from the other areas with plastic and was turned into a temporary kitchen where they would prepare the food.
While this wasnt a perfect caf by any means, Seiji felt that it was good enough already. There didnt seem to be any obvious problems that he could find.
The students acting as the servers were all wearing cosplay uniforms. All these uniforms and everything else related to the anime "Honey Candy Girl" had either been borrowed from the Divine Taste confectionery shop or through its connection to Peach-sensei.
The student servers and cooks as well as some students from other classes were all attentively listening to a beautiful blue-haired girl wearing a cardigan and a lace miniskirt.
Seijis sealed memories of a dark history resurfaced as he looked at that figure!
"He was asked by the confectionery store's owner to oversee our cultural festival caf's progress, and to tell us everything we needed to know But the way I see it, his main goal was to meet you again." Chiaki couldnt stop laughing as she explained the 'girl's' presence. "The reason why hes dressed like that is because his own class is doing a crossdressing coffee shopall the boys are dressed like girls, and the girls are dressed like boys. The moment he arrived at class this morning, he was pressed into changing his clothes and applying some makeup, so he could only come over here looking like this."
"Everyone in our class... none of our classmates know about his real gender! And as for all the boys reactions Haha, its so funny!"
The tomboy was unable to talk anymore as she broke out into yet another fit of laughter and had to cover her mouth.
Seiji and Mika couldnt find any words to say.
"Dont look at me; dont talk to me."
Id like some peace and quiet.
Seijis cheeks kept twitching non-stop.
Why did he see this sight again?
Why did he see this girl that he never wanted to see again?
Did I jinx myself today? Did I come to the wrong school!?
Yep, everything here was fake. Just a hallucination.
The real school and classroom were somewhere else. Yep, that was how it was.
I should turn around and leave now to seek the truth of the world.
But right before he was able to take any steps, the beautiful girl seemed to detect something as she turned around and looked in his direction.
When her light blue eyes spied his figure, her eyes widened slightly as her red lips pursed open and smiled dazzlingly.
"Harano-senpai!" Hoshi Amami (in female clothing) called out in delight.
The students that were originally listening to him speak all turned their heads in unison and saw Seiji and his friends.
"You finally healed, did you Magic-devouring Dragon?"
"Hes still so handsome! No, wait hes more handsome than before?"
"That cute young female junior knew him after all."
"She didnt actually come here for him, did she Damn it"
Seiji suddenly felt numerous gazes fall upon him, each one containing a different emotion.
Hoshi daintily walked in front of him and smiled while looking into Seijis face. "Its great to see you again," he chirped happily.
There was no problem with this perfectly ordinary sentence.
But the feelings contained within those words and how he said it was certain to make everyone misunderstand!
"As expected! This junior has feelings for Harano-san!"
"When did Harano-san attract such a beautiful female student?"
"So he liked them young"
"Hooking up with such a cute middle school girl. Damn, I'm so jealous whoops, I meant disgusted!"
The spectating students were gossiping among themselves.
Mika was stunned by the crossdressing boys alluring beauty and fell into a daze.
Seiji heard the clear sounds of Chiaki doing her best to suppress her laughter and failing.
He really wanted to escape from everything right now his current expression was one of having given up on the world.
"Senpai, whats the matter? You dont look so good." Hoshi noticed that his senpais expression seemed somehwat abnormal and was concerned.
"Oh its nothing," Seiji responded vacantly, his eyes hollow. "I heard that your aunt, the store owner, made you come here Thanks for your hard work, Junior."
"Its nothingIm delighted to have a reason to come meet Senpai," Hoshi said while smiling widely.
This caused another ruckus among the students.
Seiji felt incredibly drained of energy.
"As long as youre happy... you should finish your main work here first."
"Yep, Senpai, chat with you later!"
Hoshi daintily walked back towards the other students again.
Seiji was unable to take the stares of all the other students that didnt know the truth of the matter. His eyes became hollow and distant as he entered a meditative state.
This was the beginning of Seijis school festival.


text:
Oasmia Pharmaceutical Makes Key Hires; Strengthens Organizational Structure Entering Commercial Phase
Uppsala, February 2, 2016 — Oasmia Pharmaceutical AB (NASDAQ: OASM), a developer of a new generation of drugs within human and veterinary oncology, today announced that the Company has strengthened the team with Dr. Ulf Jungnelius M.D. as Senior Medical Advisor, to bolster the clinical research and development capabilities of the Company's suite of both commercialized and next generation oncology products. Dr. Jungnelius possesses a strong background in oncology clinical research and development with key leading roles at a number of major oncology pharmaceutical companies including Eli Lilly, Pfizer, Celgene and others.
In order to meet future challenges and ensure continued market growth, the Company's executive management team will now consist of Executive Chairman Julian Aleksov, Chief Executive Officer Mikael Asp, Executive Vice President Anders Blom, and Chief Operating Officer Amir Tatarevic. The group is also tasked with identifying a new Chief Financial Officer to replace current CFO Anders Lundin, who is resigning effective March 31, 2016 to pursue other opportunities.
"The executive leadership team remains committed to establishing an international network of sales and distribution personnel, further introducing Oasmia to both patients and medical professionals seeking drug delivery solutions for a number of oncology applications," said Julian Aleksov, Executive Chairman of Oasmia. "We are thrilled to add Dr. Ulf Jungnelius M.D., an individual with a very strong therapeutic area expertise and who has been a key driver in taking oncology blockbusters to regulatory approval and commercial success, to the Oasmia Pharmaceutical team."
Oasmia Pharmaceutical AB develops new generations of drugs in the field of human and veterinary oncology. The company's product development aims to create and manufacture novel nanoparticle formulations and drug-delivery systems based on well-established cytostatics which, in comparison with current alternatives, show improved properties, reduced side-effects, and expanded applications. The company's product development is based on its proprietary in-house research and company patents. Oasmia is listed on NASDAQ Capital Markets (OASM.US), NASDAQ Stockholm (OASM.ST) and Frankfurt Stock Exchange (OMAX.GR, ISIN SE0000722365).
oasmia-makes-key-hires


text:
namespace Microsoft.Azure.Management.RecoveryServices.SiteRecovery.Models
{
    using Newtonsoft.Json;
    using System.Linq;

    /// <summary>
    /// Fabric provider specific settings.
    /// </summary>
    [Newtonsoft.Json.JsonObject("Azure")]
    public partial class AzureFabricCreationInput : FabricSpecificCreationInput
    {
        /// <summary>
        /// Initializes a new instance of the AzureFabricCreationInput class.
        /// </summary>
        public AzureFabricCreationInput()
        {
            CustomInit();
        }

        /// <summary>
        /// Initializes a new instance of the AzureFabricCreationInput class.
        /// </summary>
        /// <param name="location">The Location.</param>
        public AzureFabricCreationInput(string location = default(string))
        {
            Location = location;
            CustomInit();
        }

        /// <summary>
        /// An initialization method that performs custom operations like setting defaults
        /// </summary>
        partial void CustomInit();

        /// <summary>
        /// Gets or sets the Location.
        /// </summary>
        [JsonProperty(PropertyName = "location")]
        public string Location { get; set; }

    }
}

redpajama_set_name: RedPajamaGithub


Make an Oversized Frame for a Fraction of the Price!
I am all about oversized art and prints. Hanging a large scale photo is one of the fastest ways to transform the feel of a space, but depending on how you do it, it can also be a pretty expensive way as well. I love that more and more sites are selling reasonable large scale prints (and you can't beat the price of printing out a photo as an engineer print). But when you need a large scale frame, it can sometimes cost more than the print itself, which is always so frustrating to me (especially when I just want the most plain and simple frame possible). It's just wood, you guys, not solid gold. Anyway, the process is even more expensive when you need a custom size that isn't readily available and have to have it made. So I thought I would show you a way to make large scale frames at a fraction of the price, and it can be whatever size you want! No saw required either! Elsie has an awesome giant photo of Jane Birkin that she wanted to hang in her dining room, so I volunteered to make her a custom frame to show you how it's done.
First you'll need to determine how big the inside edge of your frame should be. I usually like to measure the print or photo and then make the width and height measurements 1" smaller so I know there won't be any gaps between the frame and print. You can see in the photo above that I cut the vertical height boards to be the exact height that I wanted and then cut the horizontal width boards to be the exact width plus 6" to account for the two 3" boards that meet up with each end. So, if I wanted the inside frame to be 30" tall and 40" wide, I would cut two 30" boards for the height and two 46" boards for the width. My boards were 3" wide, so if you have a 4" wide board you would have to add 8", etc. Since you should know exactly what length of boards you need, you can have them cut the wood for you at the home improvement store, thus escaping the need for a saw. But you can also use a jig saw (like I keep telling you to get!) or chop saw if you have access to one of those.
Drill the corner braces onto the back of each corner to hold the frame together.
If you have any gaps between the boards that you aren't happy about, you can quickly fill the gaps with caulk or wood filler to make your frame appear seamless.
Once the filler is dry, use your spray paint to paint or stain your wood and attach as many sawtooth hangers as needed to hang your frame from.
Use small nails or flat thumbtacks to attach your print to the wall, and then hang your frame over the mounted print. You could also mount your print to foam core first, and then tack the board onto the back of the frame with small nails and hang it as one unit. The only downside with that is you can sort of see the two layers when viewed directly from the side. Attaching the print to the wall makes it appear a little more seamless from the side.
Yes! I was wondering the same thing as Payton! Super inspired by this oversized, black and white, vintagey feel! And the black and white gallery wall Elsie has going on in her new home! Where do you find all these gorgeous prints?!
Love this! A frame that size would cost an arm and a leg somewhere like Hobby Lobby or a frame shop, especially since they'd include heavy glass. With the print tacked to the wall too, I feel like it would be super easy to change out with the seasons or something!
This is great! I also hate how expensive frames are. And heavy. This is a great solution!
It's not the highest quality but you can get larger prints on the cheap!
That looks awesome … especially against that amazing wall paper!
Wouldn't you want to subtract 3″ from each vertical board though? Instead of adding it?
Such a cute project! I think I would be afraid to put such a large scale photo of someone so close up, but it looks amazing, esp with that wallpaper!
This post is just what I needed! I have walls that are dying for large prints but I do not want to break the bank to do it. I will try this for sure!
I'm in love with the table underneath the picture frame, where is it from??
Also I made one of these frames around christmas time but had the brackets in the front, stained it dark and had chicken wire in the back so I could hang christmas cards on it, super cute and if I can make it anyone can. Loved your tutorial.
How easy this is, wonderful idea!
This is such a great solution and totally a "why didn't I think of that??" Thanks!!!
I've been meaning to do this for a while – anyone know how high of resolution the image needs to be to print that size? Is 300dpi good enough?
This looks so easy and cute! I could totally pull this off!
Yes, I want to know the same!
You make this look so easy! I will have to try this out myself. I've done pretty well with frames from the dollar store or on sale at Michael's- but this is great because you can completely customize the size and look.
I love this. I have been meaning to get my wedding photos framed, but they are so expensive. This is perfect, thank you!
Thank you for sharing this tip ! It's a great idea !
Thank you guys! I have this beautiful but terrifying piece of art that I bought from a senior at my school, and getting a frame for it would have cost about 1000 bucks, now I know and can make my own!
why not just attach the photo to the frame?
Did I miss how to attach the print to the frame?


Four of which are shearlings.
�5 each, collection from TA4 area. Or post, I suppose, for cost, but have no idea what that would be.
I'll get my multi-coloured coat.
Are you on Ravelry etc? Worth a post?
Please forgive my ignorance, but what is the state or condition of what is offered for sale?
Is it skins that one could place on a floor in front of a fireplace? For what? Looking at? Rolling around upon semi naked or......fully clothed?
If these are skins that can be got down and "in contact with", I would like a few, maybe 4?
Would they need treating in any way before they could be used as ornaments or floor coverings?
Are you far from Bristol?
fleece usually means wool that has been sheared to collect it leaving sheepy with it's skin for further use and the wool ready for processing before making into felt or knitting wool or yarn for weaving into cloth.
the things you describe are usually called sheep skins as you mentioned which is a flayed skin with the wool on taken after sheepy is dead( and before it is cutlets and legs shoulders etc ) then the leather part is cured, wool on for use as rugs ,coats etc.
im sure chez will clarify but whole fleece are usually sold rolled up strait off the sheep ie no leather, unwashed and uncarded.
I keep reading the title as FS being sweary rather than an offer. As in FS, there's a ridiculous amount of fleece in this cupboard.
Shouldn't it be 16 Jacobs' fleeces anyway? Unless they've been sequentially shorn from one sheep.
Thank you for clarifying dpack.
Might have raised an eyebrow in a Christmas stocking on opening?
Hi SG, yes, dpack is correct, these are the sheep's wool, sheared off and rolled in to balls, unwashed and uncarded.
They're actually my Mama's - I would anticipate her having sheepskin rugs available later in the year, after the lambs go to slaughter. They come out at about forty or fifty quid I think. However, I know Rob does something similar.
If they are "dealt with", as in fit and ready to be laid upon floor, maybe in front of a log fire, with a bottle and 2 glasses of chilled bubbly to hand, and rolled about upon, I would have a few?
Crikey, okay. I will ask her what she has. It may be a case of waiting til they go to slaughter.
See how good I am being - I'm not even considering getting any wool/yarn/fleece.
Not because I have enough wool to last a lifetime, I hasten to add. I've been downsizing the stash!
I reckon that I have less than a kg of carding and about 500g of knitting yarn.


In the year 1897, the de Dion Tricycle dominated this sport; on the other side of the flip, the two-wheelers set its own stage for a unique form of racing.
In the year 1903, the Motorcycle Racing took place in North America along with the formation of the Federation of American Motorcyclists in the New York City.
Different types of races take place in different surfaces including concrete for motorsport, asphalt or tarmac for motorsport, athletics, cycling, grass surface for horses, amateur, motorsport, cross country running, dirt surface for almost all types of racing, sand surface is best suits to horse, camel, greyhound dogs, rally raid, and lot more.
In the year 1897, the de Dion Tricycle dominated this sport; on the other side of the flip, the two-wheelers set its own stage for a unique form of racing. In the year 1904, the Federation International Motorcyclist created a unique group named to be an international cup. It consists of five nations such as Austria, Denmark, France, Germany, and Britain. In the year 1905 at Dourdan, the first international cup took place. On the other side of the coin, the race for Tourist Trophy became the most famous one of all the European motorcycle races. In the year 1907, the first Tourist Trophy took place on the Isle of Man.
In the year 1903, the Motorcycle Racing took place in North America along with the formation of the Federation of American Motorcyclists in the New York City. In the year 1937, the three hundred and twenty-kilometer race has been leading the US race and it has been held on the same road circuit which is used for the twenty-four hour Daytona auto race. Grand Prix racing a unique racing held especially for the motorcycles started in the United States after the auto racing resumed after the World War One. There are different forms of automobile racing such as road racing, trials, speedway, drag racing, and ice racing etc.
The Road races are the one which is held in the closed courses which can be the public roads also. In the year 1949, the motorcycle road racing world championship took place. When these races held the machines were divided into several classes which are totally based on the engine displacement. Both the local clubs and the organizations had their own international road race meetings.
Motocross is a type of cross-country race which consists of many laps over a closed course on the rough natural terrain. In the year 1950, this racing was introduced in Great Britain along with it had become a popular sport. In the year 1960, the demonstration of the race took in the year 1960 and the scheduled motocross events held in the year 1970.
Speedway racing is also known as the motorcycle racing which is held on a track usually oval and flat. Initially, it was originated in the year in 1920 in Australia. It became more popular in the year 1930 in Europe. The tracks are measured about three hundred and twenty meters and it has surfaced of cinders, grass or sand. Both the local and the international competition were held in the Europe, Australia and New Zealand. The world championships were started from the year 1937 under the control of Federation International Motorcyclist.
The Grand Prix Racing is the most important one and it was initially started in the year 1863. About more than fifteen events are held yearly in the countries globally. Later it became a more popular one from the year 1950. Here, the world championships for the drivers and the manufacturers were established.
The Tourist Trophy Races the most demanding one in England and at the same time, it attracted many riders from all over the European continent and England. The race has been run in the several divisions which are determined by the racer experience and the cycle size. On the other side of the flip, the sidecar races have been also held.
The motorcycle races were held in the year 1907 and they have been providing grounds for the unique ideas. The motorcycles were produced along with the two strokes and four-stroke cycle engines. Most of them air cooled and the engines are limited to the displacement of about 1800 cc. There is a list of classifications such as child bikes, trail bikes, road bikes, touring bikes including the racing bikes. The racing bikes are also known to be the superbikes and they have more than nine hundred cc and hence creating a unique aerodynamic profile. The entire frame is often made up of steel and it is an integration of the tubes and the sheets. Generally, the wheels are made up of aluminum or steel rims. Whereas some cast wheels, graphite, composite and the magnesium parts are also used. The gyroscopic effect is nothing but applied to the motorcycle and it is rotated at the higher speed and at the same time it also improves the stability. The other important factors applied here are the inertia and the steering geometry. The coil springs support the front wheel suspension and the shock absorbers are used in the rear wheel springs. Here are tires are the smaller one and it is concerned to the center of gravity without any loss of traction.
Torkelson Motorsports is a racing track located in the Tomah, Wisconsin. Motorcycle racing is an amazing sport which is practiced by both the professionals and beginners on the roads, tracks, and natural terrain etc. This sport well coincides with the development of the automobile sports. These are some types of race track surfaces where most of the automobile and other animal racings take place. But among them, dirt surface is the best race track where the auto racing is usually performed. The reason is that it is quiet safer as it prevents severe damages.


text:
Beloved Ballroom: Small Events Will Go On, Admin Be Damned!
March 9, 2014 by Connor Ryan
Events with less than 75 people will continue to be held in Rex Hall on Arthur Avenue — a popular ballroom space at 603 187th Street, used by students for concerts and dances — until a proper occupancy certificate can be obtained in April or May, students and the ballroom's operator have said.
"As you may have heard by now we are lacking some legal paperwork, but it is on its way," said a post on the ballroom's Facebook page. "If all goes according to plan, The Ballroom will be fully functioning and legal by late April/May. For now we can host smaller events of 75 people or less. If you would like to host an event please let us know, it will help us out, and we can help you organize it!"
A week after Fordham Daily exclusively reported that administrators had discovered "the ballroom" didn't have the occupancy certificate required by city officials and events were shut down as a result, students have bound together in outrage.
The most visible representations of such frustration may be found on Facebook, and in a column, printed last week in The Fordham Ram where the question is pointedly asked: "Is the role Fordham wants to play in the surrounding neighborhood, where so many of its students reside, that of ignorance or, worse, downright victimization?"
Students were quick to blame Fordham Security for threatening to shut down events in the ballroom, but John Carroll, vice president of Safety and Security, reassured Fordham Security has made no such threat.
Frank Franz, the ballroom's operator, decided to cancel large events beginning last week most likely in fear of facing legal action by city officials (who were made aware of the situation by Fordham admin). Events with 75 people or less do not require such an occupancy certificate, according to city regulations.
"We obviously can't allow our students to run programs in any spaces the city has not inspected or permitted," an administrative source told me last week.
Filed Under: Rose Hill
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text:
Jan Tichy
Jan Tichy (Czech, b. 1974) works at the intersection of video, sculpture, architecture, sound and photography; many of his works combine these elements. Using video projection as a time-based source of light, Tichy creates physical and psychic spaces in which he explores themes of concealment, obscurity, and the seen and unseen. Tichy's use of photography in his work, tempered by his strictly formal and minimalist visual language, results in installations in which the narrative is open to interpretation.
Born in Prague, Jan Tichy moved to Israel in the mid 1990s. After studying Political Science at The Hebrew University of Jerusalem, Tichy studied photography at Musrara School of Photography in Jerusalem and Advanced Studies in Art at Bezalel Academy in Tel Aviv. In 2007 he moved to Chicago where he earned MFA degree from the School of the Art Institute of Chicago. He has had one-person exhibitions at the Museum of Contemporary Art, Chicago, the Center for Contemporary Art-Tel Aviv, the Herzliya Museum of Contemporary Art and the Spertus Museum, Chicago. Over the past three years his work has been included in exhibitions in Barcelona, Berlin, Frankfurt, Helsinki, Paris, Prague, Stockholm, Venice, Jerusalem, Tel Aviv, New York, Portland and Washington, D.C. Tichy's work is included in the collections of the Museum of Modern Art, New York; The Israel Museum, Jerusalem; Magasin 3 Stockholm Kunsthall; MoBY - Museum of Contemporary Art, Bat Yam and Spertus Museum, Chicago.
Politics of Light New York October 10 – December 14, 2013
Installations Chicago October 9, 2009 – January 9, 2010
Light3 September 2014
Studio International
Jan Tichy - Light3 - Review July 2014
Jan Tichy - Politics of Light - Review January 2014
ArtReview
Jan Tichy - Politics of Light December 2013
Revisiting Power: The Aesthetics of Public Policy December 2013
Jan Tichy - Gordon Gallery 2 - Cabrini Green August 2012
The lights go out on Cabrini-Green May 2011
With lights, poems, teens say goodbye to Cabrini April 2011
Cabrini-Green to Exit With Poetry and Lights March 2011
Night Watchman May 2010
by James Trainor
ArtSlant
The Slant on Jan Tichy March 2010
by Abraham Ritchie
Jan Tichy January 2010
by Susan Snodgrass
aroundcenter, Chicago Cultural Center February 1 - April 27, 2014
Richard Gray Gallery is pleased to announce an opening reception on Tuesday, February 18, of Jan Tichy's Chicago Cultural Center exhibition aroundcenter. The reception will also be celebrating the release of Tichy's new book, Chicago Projections, published by U.S. Equities Realty and the Museum of Contemporary Photography.
View More | Chicago Cultural Center
Politics of Light, 196 Stanton Street Saturday, December 14, 2013
"His ephemeral use of raw light and sound lifts one above the polarity of good versus evil, public versus private, privileged versus destitute, and focuses our senses on the necessary ambiguity, the edges of our liminal existence, tuning us in to the peripheral."
-- Huffington Post
Please join us in celebrating the final day of Politics of Light with a salon, mimosas, and a site-specific dance and sound performance.
The salon will feature an engaging conversation between artist Jan Tichy and No Longer Empty Chief Curator, Manon Slome as they lead a tour of the exhibition. Tickets are available for purchase and will include complementary mimosas and an opportunity to meet the artist.
Following the salon, Mike Brown, David Cieri, Nora Fox, and Patra Jongjitirat will perform "It Begins with No End" which lies at the intersection of dance, music and the architecture of light. Inspired by Jan Tichy's Installation No. 18, the piece is an exploration of translation and how various creative forms evoke equivalent or complementary qualities within the other.
Mimosas & Salon Talk: Artist Jan Tichy and Manon Slome
Saturday, December 14 at 2:30pm
Purchase tickets here (Please note, there is a guest capacity of 25 people for this event)
It Begins with No End
Saturday, December 14 at 4pm
Free admission and open to the public
Please no late admittance
All events will take place at 196 Stanton St (at Attorney) in the Lower East Side.
This exhibition is presented by No Longer Empty and Richard Gray Gallery.
Panel Discussion for 'Politics of Light', 196 Stanton Street, NY November 9, 2013
Please join Richard Gray Gallery and No Longer Empty for Jan Tichy's panel discussion with the artist, Nicola Trezzi, US Editor of Flash Art International, and Mabel O. Wilson, Cultural Historian Professor of Architecture at Columbia University Graduate School of Architecture, Planning and Preservation.
The discussion is free and open to the public, and the exhibition is on view at 196 Stanton Street, NY through December 14. Please RSVP for the discussion at rsvp@nolongerempty.org.
Politics of Light, 196 Stanton Street October 10 - December 14, 2013
Richard Gray Gallery and No Longer Empty are pleased to announce Politics of Light, an exhibition of installation, video and site-specific work by Jan Tichy. The exhibition is located at 196 Stanton Street on the Lower East Side of Manhattan. This will be the artist's first exhibition in New York and his second exhibition with Richard Gray. An opening reception will be held October 10 from 6:00-8:00pm, the public is welcome. Tichy will discuss his work with Nicola Trezzi (U.S. editor of Flash Art) and Mabel Wilson (Professor of Architecture, Columbia University) on November 9th at 5pm.
Politics of Light is a moody paean to light and shadow, to the ebbs and flows of what light reveals and what darkness hides. Tichy's installations are a fluid integration of diverse media incorporating animation, film, photography, and sculpture, all invested with the presence of mechanical light – be it a projector or a TV monitor – fulfilling light's role of enabling vision.
Tichy has created a site-specific installation around the physical conditions of the raw, main commercial space at 196 Stanton Street. Installation No. 18 will debut in the exhibition and joins Tichy's impressive list of major site-specific installations including Installation No. 16 (Ando) in the Ando Gallery at the Art Institute of Chicago (2013) and Installation No. 14 (Austin) at the Wadsworth Atheneum Museum of Art (2012).
Installation No. 6 (tubes) and 1391 will also be shown in Politics of Light. In 1391, Tichy created an architectural paper model of a secret military base located in Israel close to the Israeli-Palestine border. Not visible on any map and erased from aerial photographs, its existence not officially acknowledged, it is often referred to as Israel's Guantánamo. Video installations in the exhibition include 100 Raw, Pictures, and Recess, a single vantage exposure of a public school playground over many hours that reveals a rather chilling view of the range of human emotions exhibited by children at play.
Moving Image New York March 7-10, 2013
Richard Gray Gallery presents Jan Tichy's Bats, 2002-2007 at Moving Image New York, the contemporary video art fair. The fair coincides with the Armory and ADAA art fairs and runs from March 7-10, 2013. Located at the Waterfront Tunnel in the Chelsea District, Moving Image is dedicated to single-channel projects, video sculptures, and large digital installations. Tichy's Bats is one of only four installations invited by the Moving Image Curatorial Advisory Committee to be exhibited at this year's fair.
Featured on ARTMargins Online January 12, 2013
Jan Tichy has been featured on ARTMargins Online in a profile piece by Susan Snodgrass, titled "Jan Tichy: Light Source".
Installation no. 16 (Ando), Art Institute of Chicago January 8 - April 7, 2013
Richard Gray Gallery is pleased to announce Jan Tichy's site-specific Installation no. 16 (Ando) currently on view at the Art Institute of Chicago. The artwork is installed in Japanese architect Tadao Ando's eponymous Ando Gallery, created for his first American commission in 1992. Composed of numerous visual 'movements', Tichy's single video projection runs on a continuous 23-minute loop and utilizes time-based light projections. Installed in one of museum's darkest galleries, Installation no. 16 (Ando) exists in perpetual motion as light appears and disappears, engaging and responding to Ando's architecture as well as the surrounding exhibition of contemporary Japanese fashion Material Translations: Japanese Fashions at the School of the Art Institute of Chicago.
1979:1 — 2012:21: Jan Tichy Works with the MoCP Collection October 12 - December 23, 2012
This fall, MoCP presents 1979:1 — 2012:21: Jan Tichy Works with the MoCP Collection, with an opening reception on Thursday, October 11 from 5-7pm. For a one-year period, Jan Tichy is collaborating with the Museum of Contemporary Photography to organize a museum-wide exhibition based on the museum's collection of more than 12,000 images and objects. The exhibition opening in October will serve as the first stage of this project, and specifically focus on the public's access to the museum's online digital archives.
View More | MoCP
Marc Swanson and Jan Tichy
Artist Talk with Marc Swanson and Jan Tichy September 21, 2012
Please join us at the Chicago gallery on Friday afternoon, September 21 at 2pm for an Artist Talk featuring Marc Swanson and Jan Tichy, coinciding with the exhibition opening of Muse: Exploring Inspiration. This artist talk serves as part of the public programming for Gallery Weekend Chicago, and the exhibition will be on view from September 21 through December 1, 2012.
Skyscraper: Art and Architecture Against Gravity, Museum of Contemporary Art Chicago June 30 – September 23, 2012
This exhibition includes contemporary works of art focusing on architectural forms and structures, specifically concentrating on the skyscraper. Many different forms of art focusing on this concept are included within this exhibition, including sculpture, film, painting, and photography. Also included is Jan Tichy's Installation No. 3, featured in the image above.
Jan Tichy: MATRIX, The Wadsworth Atheneum April 5 – August 5, 2012
MATRIX, a changing exhibition of contemporary art, was initially funded in 1974 as an experimental pilot project with a grant from the National Endowment for the Arts. Since its first exhibition in January 1975, MATRIX has shown more than one thousand works of art by more than 160 artists. For many distinguished artists, including Richard Tuttle, Neil Jenney, Jon Borofsky, Daniel Buren, Sylvia Plimack Mangold, Nancy Spero, Louise Lawler, Barbara Kruger, Gerhard Richter, Lorna Simpson, Carrie Mae Weems, and Glenn Ligon, their MATRIX show at the Wadsworth Atheneum was their first one-person museum exhibition in the United States.
From its inception, MATRIX has been a forum for art that is challenging, current and sometimes controversial. Through clear explanation and thoughtful engagement with the viewer, MATRIX exhibitions call into question preconceptions about art and increase understanding of its possibilities.
Jan Tichy awarded 2010 Nathan Gottesdiener Prize
The Nathan Gottesdiener Foundation Israeli Art Prize, Israel's most important private prize for the arts has been awarded annually to an Israeli artist under the age of 40 since 1995.
White Light/Black Light January 28 - April 3
Wood Street Galleries
Jan Tichy leads community art project to "light" the last high-rise at Cabrini-Green
Chicago March 28 - April 24, 2011
Beginning on the evening of March 28, the last high-rise building at the Cabrini-Green housing projects (1230 N. Burling St., Chicago) will be lit up in the form of 134 LED lights, one for each apartment in the building. The light installation will be visible in the evenings during the four-week demolition period. As the building is razed, the lights will be demolished along with the building.


text:
Why Wayne Rooney could learn a lot from laid-back Usain Bolt
A lecturer at Salford University has claimed that Usain Bolt's world-record performances are down to the fact that he is so laid back.
Sports expert Paul Comfort said: "If you watch him (Bolt) running he is very relaxed.
"He looks like he's enjoying himself, unlike some of the sprinters who have veins bulging in the neck and head."
Which makes you wonder just how good Wayne Rooney would be if he didn't have a constant snarl on his face every time something goes wrong for Manchester United.
Rooney should have been sent off at Burnley for the malicious challenge that saw him take Tyrone Mears out at the hip.
He was saved only because referee Alan Wiley bottled it.
If Rooney had a permanent smile on his face he'd probably get locked up and Sir Alex Ferguson wouldn't take too kindly to any of his players being game for a laugh when they were losing.
But does anyone buy into this claim that the United striker wouldn't be the same player if he wasn't walking the thin line between love and hate?
Now Cristiano Ronaldo has departed, United need Rooney at his best more than ever – and there have already been signs this season that he will step up to the plate.
But he could easily have been spending the next three games sat in the stand.
Bolt professes to be a United fan. He once helped Ronaldo improve his speed.
Maybe he can return to Carrington to give Rooney a lesson on how to play through the red mist.
Football Opinion


text:
Home Palestine On their day of release, Israel places Palestinian prisoners in administrative detention
On their day of release, Israel places Palestinian prisoners in administrative detention
Israeli occupation authorities are placing Palestinian prisoners in administrative detention on the last day of their formal sentence, reported human rights group B'Tselem.
As the group explains in their latest briefing, Israeli occupation authorities use two procedures to imprison Palestinians from the West Bank: "criminal and administrative".
In the former, a Palestinian is indicted in a military court based on "usually scant" evidence – often limited to a "confession" extracted under duress or torture. A common outcome is a plea deal between prosecution and defence, approved by the military judge.
Meanwhile, "in the administrative track", the senior Israeli military commander for the West Bank will sign an arrest order "based on evidence that is kept from the detainee, as are the grounds for the arrest". Without the evidence ever being revealed, the detainee has "no chance to refute it".
At the end of August 2019, B'Tselem reported, "Israel was holding 413 Palestinian residents of the West Bank in administrative detention".
The "major difference" between the two forms of detention "is the date of release", the human rights group explained.
Whereas "in the criminal track, defendants are given a finite sentence to serve, after which they can expect to leave", administrative detention "can be extended indefinitely – even on the very day of the scheduled release – leaving detainees in a state of uncertainty".
Furthermore, in cases researched and documented in B'Tselem's new briefing, the Israeli military "erased this one difference by imposing administrative detention on prisoners who had just finished serving the sentences imposed on them by the military court".
"The prisoners were notified of their transfer to administrative detention just prior to their release, when they were already preparing to reunite with their families," B'Tselem stated.
"The result is unbearable uncertainty and stress for the prisoners and their families, which projects on other prisoners who also fear they will not be released when they finish serving their terms."
B'Tselem added that "the military courts cooperate with this conduct", confirming "the role of the military courts as one of the occupation's most destructive mechanisms, which is yet another long arm of Israel's control over the Palestinians."
Source: middleeastmonitor.com
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We were commissioned to study the causes and behaviours that contribute to incidents at the Platform-Train Interface (PTI), in context of a number of high profile PTI-related incidents in the last decade. By applying our expertise in understanding human factors in transport research alongside our technical knowledge, we provided insight to inform Network Rail's approach and communications to help prevent future incidents.
Our remit was to explore all aspects of incidents at the PTI, and provide advice and recommendations to minimise accidents occurring in the future.
From a human behavioural perspective we needed to fully understand what people do at the PTI, why they behave that way and how likely their actions would contribute to an incident. On site studies needed to focus on the physical features of platforms and train stations and their role in incidents.
We used a combination of research methods to explore interaction at the PTI. To observe how passengers behave our team visited train stations and viewed CCTV footage. We audited train stations to examine the PTI and identify if and how particular characteristics contributed to incidents.
Through focus groups and surveys we engaged with passengers and stakeholders to understand their perceptions and opinions of the risks at the PTI and their attitude towards these risks.
We provided Network Rail with a ranked proposal of recommended methods to reduce the risk of PTI-related incidents.
To help target efforts to reduce PTI risk, we segmented our research to identify specific passenger groups that were more vulnerable or likely to be involved in a PTI-related incident.
Our work formed the insight for communications material produced by Network Rail to help staff and passengers understand the risks at the PTI and how to avoid unnecessary accidents.


text:
Q: Delphi XE2 - DFM stream is randomly empty or corrupted while read function callback is called I'm creating a package in which a custom image list reads and writes its content inside a DFM file.
The code I wrote works globally well in all compilers between XE7 and 10.3 Rio. However I have a strange issue in XE2. With this particular compiler, I sometimes receives an empty stream content while the DFM is read, and sometimes a corrupted content.
My custom image list is built above a standard TImageList. I register my read callback this way:
procedure TMyImageList.DefineProperties(pFiler: TFiler);
    function DoWritePictures: Boolean;
    begin
        if (Assigned(pFiler.Ancestor)) then
            Result := not (pFiler.Ancestor is TMyImageList)
        else
            Result := Count > 0;
    end;
begin
    inherited DefineProperties(pFiler);

    // register the properties that will load and save the pictures binary data in DFM files
    pFiler.DefineBinaryProperty('Pictures', ReadPictures, WritePictures, DoWritePictures);
end;

Here is the ReadPictures function:
procedure TMyImageList.ReadPictures(pStream: TStream);
begin
    LoadPictureListFromStream(m_pPictures, pStream);
end;

Here is the LoadPictureListFromStream function:
procedure TMyImageList.LoadPictureListFromStream(pList: IWPictureList; pStream: TStream);
var
    {$if CompilerVersion <= 23}
        pImgNameBytes: Pointer;
        pData:         Pointer;
    {$else}
        imgNameBytes:  TBytes;
    {$ifend}

    count, i:      Integer;
    color:         Cardinal;
    imgClassName:  string;
    pMemStr:       TMemoryStream;
    size:          Int64;
    pItem:         IWPictureItem;
    pGraphicClass: TGraphicClass;
    pGraphic:      TGraphic;
begin
    // read the list count
    pStream.ReadBuffer(count, SizeOf(count));

    // is list empty?
    if (count <= 0) then
        Exit;

    pMemStr := TMemoryStream.Create;

    // enable the code below to log the received stream content
    {$ifdef _DEBUG}
        size := pStream.Position;
        pStream.Position := 0;
        pMemStr.CopyFrom(pStream, pStream.Size);
        pMemStr.Position := 0;
        pMemStr.SaveToFile('__DfmStreamContent.bin');
        pMemStr.Clear;
        pStream.Position := size;
    {$endif}

    try
        for i := 0 to count - 1 do
        begin
            pItem := IWPictureItem.Create;

            try
                // read the next size
                pStream.ReadBuffer(size, SizeOf(size));

                // read the image type from stream
                if (size > 0) then
                begin
                    {$if CompilerVersion <= 23}
                        pImgNameBytes := nil;

                        try
                            GetMem(pImgNameBytes, size + 1);
                            pStream.ReadBuffer(pImgNameBytes^, size);
                            pData           := Pointer(NativeUInt(pImgNameBytes) + NativeUInt(size));
                            (PByte(pData))^ := 0;
                            imgClassName    := UTF8ToString(pImgNameBytes);
                        finally
                            if (Assigned(pImgNameBytes)) then
                                FreeMem(pImgNameBytes);
                        end;
                    {$else}
                        SetLength(imgNameBytes, size);
                        pStream.Read(imgNameBytes, size);
                        imgClassName := TEncoding.UTF8.GetString(imgNameBytes);
                    {$ifend}
                end;

                // read the next size
                pStream.ReadBuffer(size, SizeOf(size));

                // read the image from stream
                if (size > 0) then
                begin
                    // read the image in a temporary memory stream
                    pMemStr.CopyFrom(pStream, size);
                    pMemStr.Position := 0;

                    // get the graphic class to create
                    if (imgClassName = 'TWSVGGraphic') then
                        pGraphicClass := TWSVGGraphic
                    else
                    begin
                        TWLogHelper.LogToCompiler('Internal error - unknown graphic class - '
                                + imgClassName + ' - name - ' + Name);
                        pGraphicClass := nil;
                    end;

                    // found it?
                    if (Assigned(pGraphicClass)) then
                    begin
                        pGraphic := nil;

                        try
                            // create a matching graphic to receive the image data
                            pGraphic := pGraphicClass.Create;
                            pGraphic.LoadFromStream(pMemStr);
                            pItem.m_pPicture.Assign(pGraphic);
                        finally
                            pGraphic.Free;
                        end;
                    end;

                    pMemStr.Clear;
                end;

                // read the next size
                pStream.ReadBuffer(size, SizeOf(size));

                // read the color key from stream
                if (size > 0) then
                begin
                    Assert(size = SizeOf(color));
                    pStream.ReadBuffer(color, size);

                    // get the color key
                    pItem.m_ColorKey := TWColor.Create((color shr 16) and $FF,
                                                       (color shr 8)  and $FF,
                                                        color         and $FF,
                                                       (color shr 24) and $FF);
                end;

                // add item to list
                pList.Add(pItem);
            except
                pItem.Free;
                raise;
            end;
        end;
    finally
        pMemStr.Free;
    end;
end;

Here is the WritePictures function:
procedure TMyImageList.WritePictures(pStream: TStream);
begin
    SavePictureListToStream(m_pPictures, pStream);
end;

And finally, here is the SavePictureListToStream function:
procedure TMyImageList.SavePictureListToStream(pList: IWPictureList; pStream: TStream);
var
    count, i:     Integer;
    color:        Cardinal;
    imgClassName: string;
    imgNameBytes: TBytes;
    pMemStr:      TMemoryStream;
    size:         Int64;
begin
    // write the list count
    count := pList.Count;
    pStream.WriteBuffer(count, SizeOf(count));

    if (count = 0) then
        Exit;

    pMemStr := TMemoryStream.Create;

    try
        for i := 0 to count - 1 do
        begin
            // a picture should always be assigned in the list so this should never happen
            if (not Assigned(pList[i].m_pPicture.Graphic)) then
            begin
                TWLogHelper.LogToCompiler('Internal error - picture list is corrupted - ' + Name);

                // write empty size to prevent to corrupt the stream
                size := 0;
                pStream.WriteBuffer(size, SizeOf(size));
                pStream.WriteBuffer(size, SizeOf(size));
            end
            else
            begin
                // save the image type in the stream
                imgClassName := pList[i].m_pPicture.Graphic.ClassName;
                imgNameBytes := TEncoding.UTF8.GetBytes(imgClassName);
                size         := Length(imgNameBytes);
                pStream.WriteBuffer(size, SizeOf(size));
                pStream.Write(imgNameBytes, size);

                // save the image in the stream
                pList[i].m_pPicture.Graphic.SaveToStream(pMemStr);
                size := pMemStr.Size;
                pStream.WriteBuffer(size, SizeOf(size));
                pStream.CopyFrom(pMemStr, 0);
                pMemStr.Clear;
            end;

            // build the key color to save
            color := (pList[i].m_ColorKey.GetBlue          +
                     (pList[i].m_ColorKey.GetGreen shl 8)  +
                     (pList[i].m_ColorKey.GetRed   shl 16) +
                     (pList[i].m_ColorKey.GetAlpha shl 24));

            // save the key color in the stream
            size := SizeOf(color);
            pStream.WriteBuffer(size,  SizeOf(size));
            pStream.WriteBuffer(color, size);
        end;
    finally
        pMemStr.Free;
    end;
end;

When the issue occurs, the content get in imgClassName become incoherent, or sometimes the image count read on the LoadPictureListFromStream() function first line is equals to 0.
Writing the DFM stream content in a file, I also noticed that only the class name value is corrupted, other data seems OK.
This issue happens randomly, sometimes all works fine, especially if I start the app in runtime time without previously opening the form in design time, but it may also happen whereas I just open the form in design time, without changing nor saving nothing. On the other hand, this issue happen only with XE2. I never noticed it on any other compiler.
As I'm a c++ developer writing a Delphi code, and as I needed to adapt a part of the code to be able to compile it under XE2 (see the {$if CompilerVersion <= 23} statements), I probably doing something very bad with the memory, but I cannot figure out what exactly.
Can someone analyse this code and point me what is(are) my mistake(s)?

A: In your SavePictureListToStream() method, the statement
pStream.Write(imgNameBytes, size);

does not work the way you expect in XE2 and earlier. TStream did not gain support for reading/writing TBytes arrays until XE3. As such, the above statement ends up writing to the memory address where the imgNameBytes variable itself is declared on the stack, not to the address where the variable is pointing to, where the array is allocated on the heap.
For XE2 and earlier, you need to use this statement instead:
pStream.WriteBuffer(PByte(imgNameBytes)^, size);

What you have in your LoadPictureListFromStream() method is technically OK, but your UTF-8 handling is more complicated then it needs to be. TEncoding exists in XE2, as it was first introduced in D2009. But even in older versions, you can and should use a dynamic array instead of GetMem() to simplify your memory management and keep it consistent across multiple versions, eg:
{$if CompilerVersion < 18.5}
type
  TBytes = array of byte;
{$ifend}

var
  imgNameBytes: TBytes;
  ...
begin
  ...
  // read the next size
  pStream.ReadBuffer(size, SizeOf(size));
  // read the image type from stream
  if (size > 0) then
  begin
    SetLength(imgNameBytes, size{$if CompilerVersion < 20}+1{$ifend});
    pStream.ReadBuffer(PByte(imgNameBytes)^, size);
    {$if CompilerVersion < 20}
    imgNameBytes[High(imgNameBytes)] := $0;
    imgClassName := UTF8ToString(PAnsiChar(pImgNameBytes));
    {$else}
    imgClassName := TEncoding.UTF8.GetString(imgNameBytes);
    {$ifend}
  end;
  ...
end;

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text:
Latest By
Space Tech
Virtual Person
"Conspiracy theories are big because they're comforting. Any conspiracy is infinitely less multiplex than the real deal, which is multiplex to the point of being unknowable."
Trimagniscope
A device that produced a usable cross-sectional image of any part of an object.
Mysterious artifacts are found, including a book that is too damaged to open. Is it possible to read the pages?
The image on the Trimagniscope tube was an enlarged view of one of the pocket-size books found on the body, which Dancheckker had shown them on their first day in Houston three weeks before. The book itself was enclosed in the scanner module of the machine, on the far side of the room. The scope was adjusted to generate a view that followed the change in density along the boundary layer of the selected page, producing an image of the lower section of the book only; it was as if the upper part had been removed, like a cut deck of cards. Because of the age and condition of the book, however, the characters on the page thus exposed tended to be of poor quality and in some cases were incomplete. The next step would be to scan the image optically with TV cameras and feed the encoded pictures in the Navcomms computer complex. The raw input would then be processed by pattern recognition techniques and statistical techniques to produce a second, enhanced copy with many of the missing character fragments restored.
From Inherit the Stars, by James P. Hogan.
Published by Del Rey in 1977
Additional resources -
The Trimagniscope could be adjusted to allow for pages that were not flat; a set of images could be combined to allow a view of the surface of an uneven page.
Thanks to Andrew Byro for suggesting this item.
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Yes, you need a travel adapter (plug adapter) for a trip from Canada to Greenland. In Greenland, people are using different plugs and electrical outlets that are not compatible with plugs from Canada!
Which types of power outlets are used in Greenland?
Greenland uses power outlets of type C, E, F and K. Electrical outlets of type A and B, which are common in Canada, are not in use in Greenland.


text:
Aspergillus flavus exploits maize kernels using an "orphan" secondary metabolite cluster
Ludovica Antiga, Sonia Roberta La Starza, Cecilia Miccoli, Simone D'angeli, Valeria Scala, Marco Zaccaria, Xiaomei Shu, Gregory Obrian, Marzia Beccaccioli, Gary A. Payne, Massimo Reverberi
Center for BioTechnology Genomics
Aspergillus flavus is a saprophytic cosmopolitan fungus, capable of infecting crops both pre-and post-harvest and exploiting different secondary metabolites, including aflatoxins. Aflatoxins are known carcinogens to animals and humans, but display no clear effect in host plants such as maize. In a previous study, we mined the genome of A. flavus to identify secondary metabolite clusters putatively involving the pathogenesis process in maize. We now focus on cluster 32, encoding for fungal effectors such as salicylate hydroxylase (SalOH), and necrosis-and ethylene-inducing proteins (npp1 domain protein) whose expression is triggered upon kernel contact. In order to understand the role of this genetic cluster in maize kernel infection, mutants of A. flavus, impaired or enhanced in specific functions (e.g., cluster 32 overexpression), were studied for their ability to cause disease. Within this frame, we conducted histological and histochemical experiments to verify the expression of specific genes within the cluster (e.g., SalOH, npp1), the production of salicylate, and the presence of its dehydroxylated form. Results suggest that the initial phase of fungal infection (2 days) of the living tissues of maize kernels (e.g., aleuron) coincides with a significant increase of fungal effectors such as SalOH and Npp1 that appear to be instrumental in eluding host defences and colonising the starch-enriched tissues, and therefore suggest a role of cluster 32 to the onset of infection.
Aspergillus flavus
Effectors
Maize kernel
Npp1
Salicylate hydroxylase
Fingerprint Dive into the research topics of 'Aspergillus flavus exploits maize kernels using an "orphan" secondary metabolite cluster'. Together they form a unique fingerprint.
Aflatoxins Engineering & Materials Science
Aspergillus Chemical Compounds
Aspergillus flavus Medicine & Life Sciences
Orphaned Children Medicine & Life Sciences
Metabolites Chemical Compounds
Zea mays Medicine & Life Sciences
salicylate 1-monooxygenase Chemical Compounds
Proteins Engineering & Materials Science
Antiga, L., La Starza, S. R., Miccoli, C., D'angeli, S., Scala, V., Zaccaria, M., Shu, X., Obrian, G., Beccaccioli, M., Payne, G. A., & Reverberi, M. (2020). Aspergillus flavus exploits maize kernels using an "orphan" secondary metabolite cluster. International journal of molecular sciences, 21(21), 1-17. [8213]. https://doi.org/10.3390/ijms21218213
Antiga, Ludovica ; La Starza, Sonia Roberta ; Miccoli, Cecilia ; D'angeli, Simone ; Scala, Valeria ; Zaccaria, Marco ; Shu, Xiaomei ; Obrian, Gregory ; Beccaccioli, Marzia ; Payne, Gary A. ; Reverberi, Massimo. / Aspergillus flavus exploits maize kernels using an "orphan" secondary metabolite cluster. In: International journal of molecular sciences. 2020 ; Vol. 21, No. 21. pp. 1-17.
@article{d0b8cb2c3c7a486a8f832048c634fc74,
title = "Aspergillus flavus exploits maize kernels using an "orphan" secondary metabolite cluster",
abstract = "Aspergillus flavus is a saprophytic cosmopolitan fungus, capable of infecting crops both pre-and post-harvest and exploiting different secondary metabolites, including aflatoxins. Aflatoxins are known carcinogens to animals and humans, but display no clear effect in host plants such as maize. In a previous study, we mined the genome of A. flavus to identify secondary metabolite clusters putatively involving the pathogenesis process in maize. We now focus on cluster 32, encoding for fungal effectors such as salicylate hydroxylase (SalOH), and necrosis-and ethylene-inducing proteins (npp1 domain protein) whose expression is triggered upon kernel contact. In order to understand the role of this genetic cluster in maize kernel infection, mutants of A. flavus, impaired or enhanced in specific functions (e.g., cluster 32 overexpression), were studied for their ability to cause disease. Within this frame, we conducted histological and histochemical experiments to verify the expression of specific genes within the cluster (e.g., SalOH, npp1), the production of salicylate, and the presence of its dehydroxylated form. Results suggest that the initial phase of fungal infection (2 days) of the living tissues of maize kernels (e.g., aleuron) coincides with a significant increase of fungal effectors such as SalOH and Npp1 that appear to be instrumental in eluding host defences and colonising the starch-enriched tissues, and therefore suggest a role of cluster 32 to the onset of infection.",
keywords = "Aspergillus flavus, Effectors, Histology, Maize kernel, Npp1, Quercetin, Salicylate hydroxylase",
author = "Ludovica Antiga and {La Starza}, {Sonia Roberta} and Cecilia Miccoli and Simone D{\textquoteright}angeli and Valeria Scala and Marco Zaccaria and Xiaomei Shu and Gregory Obrian and Marzia Beccaccioli and Payne, {Gary A.} and Massimo Reverberi",
note = "Publisher Copyright: {\textcopyright} 2020 by the authors. Licensee MDPI, Basel, Switzerland. Copyright: Copyright 2020 Elsevier B.V., All rights reserved.",
doi = "10.3390/ijms21218213",
journal = "International Journal of Molecular Sciences",
Antiga, L, La Starza, SR, Miccoli, C, D'angeli, S, Scala, V, Zaccaria, M, Shu, X, Obrian, G, Beccaccioli, M, Payne, GA & Reverberi, M 2020, 'Aspergillus flavus exploits maize kernels using an "orphan" secondary metabolite cluster', International journal of molecular sciences, vol. 21, no. 21, 8213, pp. 1-17. https://doi.org/10.3390/ijms21218213
Aspergillus flavus exploits maize kernels using an "orphan" secondary metabolite cluster. / Antiga, Ludovica; La Starza, Sonia Roberta; Miccoli, Cecilia; D'angeli, Simone; Scala, Valeria; Zaccaria, Marco; Shu, Xiaomei; Obrian, Gregory; Beccaccioli, Marzia; Payne, Gary A.; Reverberi, Massimo.
In: International journal of molecular sciences, Vol. 21, No. 21, 8213, 01.11.2020, p. 1-17.
T1 - Aspergillus flavus exploits maize kernels using an "orphan" secondary metabolite cluster
AU - Antiga, Ludovica
AU - La Starza, Sonia Roberta
AU - Miccoli, Cecilia
AU - D'angeli, Simone
AU - Scala, Valeria
AU - Zaccaria, Marco
AU - Shu, Xiaomei
AU - Obrian, Gregory
AU - Beccaccioli, Marzia
AU - Payne, Gary A.
AU - Reverberi, Massimo
N1 - Publisher Copyright: © 2020 by the authors. Licensee MDPI, Basel, Switzerland. Copyright: Copyright 2020 Elsevier B.V., All rights reserved.
N2 - Aspergillus flavus is a saprophytic cosmopolitan fungus, capable of infecting crops both pre-and post-harvest and exploiting different secondary metabolites, including aflatoxins. Aflatoxins are known carcinogens to animals and humans, but display no clear effect in host plants such as maize. In a previous study, we mined the genome of A. flavus to identify secondary metabolite clusters putatively involving the pathogenesis process in maize. We now focus on cluster 32, encoding for fungal effectors such as salicylate hydroxylase (SalOH), and necrosis-and ethylene-inducing proteins (npp1 domain protein) whose expression is triggered upon kernel contact. In order to understand the role of this genetic cluster in maize kernel infection, mutants of A. flavus, impaired or enhanced in specific functions (e.g., cluster 32 overexpression), were studied for their ability to cause disease. Within this frame, we conducted histological and histochemical experiments to verify the expression of specific genes within the cluster (e.g., SalOH, npp1), the production of salicylate, and the presence of its dehydroxylated form. Results suggest that the initial phase of fungal infection (2 days) of the living tissues of maize kernels (e.g., aleuron) coincides with a significant increase of fungal effectors such as SalOH and Npp1 that appear to be instrumental in eluding host defences and colonising the starch-enriched tissues, and therefore suggest a role of cluster 32 to the onset of infection.
AB - Aspergillus flavus is a saprophytic cosmopolitan fungus, capable of infecting crops both pre-and post-harvest and exploiting different secondary metabolites, including aflatoxins. Aflatoxins are known carcinogens to animals and humans, but display no clear effect in host plants such as maize. In a previous study, we mined the genome of A. flavus to identify secondary metabolite clusters putatively involving the pathogenesis process in maize. We now focus on cluster 32, encoding for fungal effectors such as salicylate hydroxylase (SalOH), and necrosis-and ethylene-inducing proteins (npp1 domain protein) whose expression is triggered upon kernel contact. In order to understand the role of this genetic cluster in maize kernel infection, mutants of A. flavus, impaired or enhanced in specific functions (e.g., cluster 32 overexpression), were studied for their ability to cause disease. Within this frame, we conducted histological and histochemical experiments to verify the expression of specific genes within the cluster (e.g., SalOH, npp1), the production of salicylate, and the presence of its dehydroxylated form. Results suggest that the initial phase of fungal infection (2 days) of the living tissues of maize kernels (e.g., aleuron) coincides with a significant increase of fungal effectors such as SalOH and Npp1 that appear to be instrumental in eluding host defences and colonising the starch-enriched tissues, and therefore suggest a role of cluster 32 to the onset of infection.
KW - Aspergillus flavus
KW - Effectors
KW - Histology
KW - Maize kernel
KW - Npp1
KW - Quercetin
KW - Salicylate hydroxylase
U2 - 10.3390/ijms21218213
DO - 10.3390/ijms21218213
JO - International Journal of Molecular Sciences
JF - International Journal of Molecular Sciences
M1 - 8213
Antiga L, La Starza SR, Miccoli C, D'angeli S, Scala V, Zaccaria M et al. Aspergillus flavus exploits maize kernels using an "orphan" secondary metabolite cluster. International journal of molecular sciences. 2020 Nov 1;21(21):1-17. 8213. https://doi.org/10.3390/ijms21218213


The University has two tutoring centers on campus that provide free assistance to currently enrolled students. The centers are located in Bierce Library and The Polsky Building.
Tutoring services are open and available the second week through the final instructional week of the fall and spring semesters. Tutoring services are unavailable the first week and exam week of each semester and are closed during breaks and holidays. Please call or stop in the Tutoring Center for summer hours.
Bierce Math Lab (Room 69) is open from 10 a.m. to 7 p.m. Monday through Thursday, and from 10 a.m. to 1 p.m. on Friday. Call 330-972-5214 with your questions. No appointments are needed.
Bierce Writing Commons (room 68) offers assistance in the writing process for both undergraduate and graduate students in any discipline. Bierce Writing Commons is open from 10 a.m. to 7 p.m. Monday through Thursday and from 10 a.m. to 1 p.m. on Friday. Please call for an appointment during the hours the lab is open (330-972-6548).
Tutorial Services, located just outside Bierce Writing Lab, offers subject tutoring in a wide variety of disciplines, with an emphasis on General Education courses. Tutorial Services is open from 10 a.m. to 6 p.m. Monday to Thursday and from 10 a.m. to 1 p.m. on Friday. Please call 330-972-6552 during lab hours to set up an appointment. Tutoring in math classes (up through Differential Equations) is available without an appointment.
Learning Assistants Program: Specific sections of many courses include a trained Learning Assistant, who holds regular study sessions for students. The Learning Assistant Program provides assistance in the classroom throughout the semester, with professors and learning assistants working as a team encourage student success.
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Where to park: the North Campus Parking Deck and the East Campus Parking Deck are good choices.
Polsky Math Lab offers faculty and peer tutors who can provide one-on-one help in courses ranging from basic math through calculus. Polsky Math Lab also offers tutors in biology, chemistry, and physics.
Polsky Writing Lab has faculty and peer tutors who can help both undergraduate and graduate students strengthen their writing skills in writing assignments from any discipline.
The College Reading and Study Skills Lab can help strengthen study skills and develop test-taking strategies.
Polsky Tutoring also can provide help with basic computer skills, including Microsoft Office and Springboard.
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Appointments are strongly encouraged, but walk-ins are available on a first-come basis.
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Where to park: Polsky (or West Campus) Deck is a good choice, as is the Polsky surface lot.


Swim on over for great discounts on Dolphin Friends Party Supplies! We offer an ocean-sized selection of Dolphin Friends Party Supplies, as well as same-day order processing and zippy shipping. This delightful pattern features friendly dolphins, curious sea turtles, and colorful island fish, all on a stunning coral reef background. Get your party bubbling with Solid Color Decorations in your favorite tropical colors, and add lots of exciting extras, from brilliant foil balloons to snuggly plush characters. Ocean-themed parties are a favorite among boys and girls of all ages, so order your Dolphin Friends Party Supplies, and get FREE shipping on qualifying orders!


Sometimes I'll brew flavored K-Cups at the 6oz setting to get more of the flavor. Since many flavored K-Cups are light roasts (Van Houtte and Gloria Jeans especially), it makes for a stronger brew as well.
I chose the 6oz setting for Van Houtte Butterscotch, but I think it would have been just as good or better at 8oz. It had lots of flavor! Alas, I wasn't able to brew another cup to try at the 8oz setting since I only had one–'twas a gift.
I had this one with cream, no sugar (surprise, surprise). The aftertaste was actually the best part. You can really taste the butterscotch!
I highly recommend this K-Cup for those who enjoy flavored coffee. It's one of the most flavorful I've tasted so far.
How long do you thing van houtte white chocolate mint coffee will beout of stock?


text:
Suchodilsk (; ) ist eine kleine Stadt in der Oblast Luhansk im Osten der Ukraine mit etwa 20.800 Einwohnern (2016), die administrativ zur Stadtgemeinde von Krasnodon gehört.

Im Jahr 1914 entstand aufgrund der vorhandenen Kohlevorkommen und dem Bau einer Bahnstation das Dorf Werchnje-Duwanne (ukrainisch ), dass 1972 den Namen Suchodilsk sowie den Status einer Stadt erhielt.

Seit Sommer 2014 ist die Stadt im Verlauf des Ukrainekrieges durch Separatisten der Volksrepublik Lugansk besetzt.

Geographie
Die Stadt liegt im östlichen Donezbecken etwa 40 km südöstlich vom Oblastzentrum Luhansk.
Die Stadt Krasnodon liegt 3 km südlich von Suchodilsk und ist über die Fernstraße M 04 zu erreichen.
Suchodilsk hat eine Ausdehnung von Norden nach Süden von 3 km Länge und von Osten nach Westen von 4,3 km.

Bevölkerungsentwicklung

Quelle:

Weblinks

Einzelnachweise

Ort in der Oblast Luhansk
Krasnodon

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Springtown FD, La Junta FD, Poolville FD, Lifecare EMS, and several law enforcement are on scene of a major accident on W Highway 199 at Gilliland Road just west of Springtown. Requesting launch of two CareFlite helicopters to the scene. Engine 48 reports two cars involved with major damage. Highway 199 is closed – choose another route.


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