A client recently came to me with a print book proposal. She wants to create a notebook for American soldiers deployed abroad. She came to me for advice, perhaps some design work, and connections to commercial printers. I thought several aspects of the job might interest readers of this blog.
My client's goal is to produce a notebook in which service personnel can write notes and collect various kinds of memorabilia. It will have a Wire-O binding, a pocket on the back inside cover, and an elastic closure surrounding the book and allowing users to secure any inserts so they don't fall out.
How might you approach this information, if you are producing a similar print book?
A pocket added to the front or back cover of the book will allow readers to collect related materials, whether articles or photos. However, you need to consider the shape of the pocket (4" horizontal—for instance–attached at the bottom and outside edge, or a diagonal or curved pocket, or a vertical pocket).
You will also need to consider whether to include a "build" for the pocket. This is a thickening of the pocket by adding extra paper all around the edge of the pocket in order to allow for the insertion of more papers, photos, and such. Keep in mind that a build pocket can be crushed more easily than a flat pocket. In addition, you should expect to pay extra (up to $500) for the die for such a pocket. That said, ask your book printer about using a pre-existing die, if you're flexible as to the dimensions of the pocket.
I had initially suggested synthetic paper to my client, since it is so durable and tear resistant. I thought the service men and women would appreciate a notebook that would accept rough treatment. Synthetic paper accepts abuse. You can even put it under water. However, when I learned that my client wanted the service personnel to be able to write in the book, I changed my views. Instead I suggested a thick, matte coated sheet and a thicker than usual cover stock.
How might you approach paper selection, if you are doing a similar project?
If you plan to write on the paper stock, consider an uncoated sheet. A matte coated stock would be a good second choice. Writing on a gloss sheet is inconvenient at best. The ink smears off if you don't press down hard enough to break through the paper coating. Dull coated stock is very smooth as well. If you want to write on paper, it really needs a bit of "tooth" or texture.
Paper thickness is a consideration if you want a durable product. Assuming that most (or at least many) paperback books use 10 pt. cover stock, you might want to specify 12 pt. instead (or thicker). If you're used to specifying 60# or 70# text and you want a thicker sheet for the book pages, consider 80# or even 100# text. Keep in mind, though, that the thicker sheet will yield a larger and heavier book. On the Internet, research the thickness of your chosen paper (PPI, or pages per inch) when you have determined the page count of your book. This will tell you exactly how thick your book will be. If your custom printing vendor will be mailing the book, its weight may be an issue.
If you have any doubts at all, have the book printer request a paper dummy from the paper merchant. You will see immediately how much the print book will weigh, how thick it will be, and how the cover and text pages will feel if you specify a thicker paper stock.
My client has produced a prototype of the book in Photoshop. I am a bit concerned, and I have suggested that the text pages be recreated in InDesign. The collages that comprise the visual imagery of the book will be fine, since they can be placed in picture boxes in an InDesign book file. The resolution of the photo collages will be acceptable as long as they are 300 dpi. The text within the images should be fine as well, for two reasons. The text is part of a collage and hence artistic in nature. It is also large type, and at 300 dpi it should not show any pixellation.
That said, text for the non-image areas of the book would be better prepared in InDesign, since the type will then render at the highest resolution of the commercial printer's imagesetter or platesetter.
Create images in a bitmap editor like Photoshop, and do your page design with page-composition software. It is possible to do single page documents in Photoshop, or even Illustrator, but for multi-page documents in which text needs to be crisp and precise, InDesign is the preferred software package.
If you have collages in your book incorporating text and images, do these in Photoshop. Use the vector type layers for the text to maintain its high resolution. Do keep in mind, though, that the file may need to be flattened (all the layers merged into the background layer) before rasterizing the file for the book printer's imagesetter or platesetter.
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Custom Printing: What Is a RIP and What Does It Do?
I think it's fair to say that a RIP is one of the more important elements of a successful commercial printer's prepress workflow. A RIP translates the arcs and curves of PostScript code into a matrix of dots that can be printed by the custom printing vendor's platesetter or imagesetter. It is a universal translator, a Rosetta Stone for printers. It can print the pages you compose in InDesign or Quark, or if your files are not created appropriately, the RIP can choke and not print your work.
The fonts and graphics in your page composition software are composed of Bezier curves. These are mathematically defined arcs that will be of the highest resolution possible when printed by the target imaging device. A 600 dpi laser printer will print the text at 600 dpi, while a 2400 dpi platesetter will print the same file at this higher resolution.
The imaging device (laser printer, imagesetter, or platesetter), however, does not understand PostScript code. Therefore, the "vector" code of lines and arcs must be rendered into a fixed pattern of dots on a grid, a "raster" image. A Raster Image Processor, or RIP for short, does exactly this.
RIPs come in a variety of flavors. Some are dedicated hardware devices that come with the imagesetter or platesetter.
Other RIPS are firmware, built into the printer's circuits (a laser printer might have such a RIP).
In some cases you might not have a RIP at all. Instead, you might rely on a printer driver to allow the originating application to communicate with the destination printing device. This may be fine, but if you are producing complex documents, you will probably need a RIP, and if you just want added functionality, you may also want a RIP.
A RIP can collect and process a group of print jobs (known as a "queue") and batch process these files while freeing up your computer to do other creative work. Offloading this task will keep your computer from slowing down while you do page composition and also keep your printer from slowing down or ruining your print job with artifacts or banding. (That is, when a computer must switch between two complex processes–printing and page composition–quality and speed will suffer in both cases.) A RIP takes the load off the computer.
A RIP can handle imposition (placement of pages on a press sheet so that the sheet will have all the pages in the correct order when it has been folded and trimmed).
A RIP can handle trapping (the adjustment of design elements to create a slight overlap where items of different colors touch one another, so that if the job is printed slightly out of register, there won't be white lines between the colors).
A RIP can handle color separations (breaking a 4-color image into separate cyan, magenta, yellow, and black printing plates) and halftone screening (simulating different shades of a color with screens made up of grids of larger or smaller halftone dots).
Large files slow down a RIP. Therefore, simplify files where possible. Do not leave elements on the pasteboard (area around a page). Also, crop images in the photo editing program rather than the page composition software (Photoshop rather than InDesign). A portion of an image hidden by an InDesign picture box will still add to the size of the file and therefore lengthen the RIP's processing time. Also avoid nesting one file in another (an EPS in another EPS, for instance).
Keep in mind that not all RIPs are created equal. A PostScript Level 3 RIP will do more than a Level 2 RIP. Your file may need capabilities not built into your commercial printer's RIP. So ask your custom printing vendor about his RIP level and its compatibility with your design software.
Corrupt files or fonts will stop a RIP in its tracks. If you get error messages, you may need to rebuild the file, save it under a different name, or replace fonts that have become corrupted.
To avoid both RIP compatibility issues and corrupted graphics or fonts (or problems with overly complex graphics), a good rule of thumb is that if the job cannot be printed on your laser printer, it won't RIP properly on your custom printing vendor's equipment. So test the document before you upload it to your commercial printer's FTP site.
InDesign and most other page composition software packages will include a limited array of preflight tools. Dedicated preflight applications will have even more preflight capabilities. Get in the habit of checking your files before submitting them to your custom printing supplier.
Before you use TrueType fonts, make sure your printer can handle them. In addition, don't mix Type 1 and True Type fonts in a single document.
Distill your PDF files with Adobe Acrobat Distiller, not PDFWriter.
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I recently solicited bids for 3,000 copies of a 600-page casebound print book. The estimates I received ranged widely from about $12,500 to $22,500.
I had specified the text paper as Finch Opaque because I like the sheet's whiteness, brightness, and opacity. Also, in prior years this hardcover print book had been produced on Finch, and I wanted to maintain the year-to-year consistency.
One book printer provided an extremely attractive price, about $1,500 less than the vendor that had produced the prior year's version of my client's casebound book.
To make sure the price was accurate, I carefully compared the book printer's specifications to those I had submitted for the estimate. Everything matched except for the paper specification. This printer had substituted another press sheet without disclosing the name of the paper. However, the PPI specification (435 in this case) clearly indicated that the paper was not Finch (otherwise, it would have been 426 PPI).
In comparing the prices of one book printer to the other (I was down to two printers at this point), I could not make an "apples to apples" comparison due to the differences in the paper. As you can see by the numbers, Husky is very close to Finch, but Finch is a brighter sheet as well as a slightly thicker sheet. Since I thought my client (and my client's subscribers) would see a difference in the final printed book, I asked the vendor with the lower price to bid the book on Finch.
I was surprised when the pricing jumped more than $9,000. The book printer acknowledged that Finch is an exceptional sheet and yet not their house paper stock. Therefore, this custom printing vendor would need to buy the paper for my client, and there would be a minimum order, hence the $9,000+ upcharge.
My next step was to approach the book printer that had produced the prior year's version of my client's casebound book. I asked if there would be a price savings if the print book were produced on Husky.
When I received the updated pricing from the vendor that had produced the prior year's book, I was surprised. The cost would be exactly the same if the book were printed on either Finch or Husky.
This is what I can infer from the information provided by both book printers.
The prior year's printer, which had initially bid the book on Finch, buys Finch paper as a house sheet. That is, the printer keeps a ready supply of this stock for the greater percentage of its jobs. Therefore with its economy of scale, the printer can negotiate superior pricing for Finch paper.
The low-bid vendor, which had bid the book on Husky, buys Husky as a house sheet. It is of a slightly lower quality than Finch based on the specifications, and this explains the lower price.
The prior year's vendor came up with the same price for Husky as for Finch because it would have needed to buy the Husky paper stock for my client (individually, with a minimum order) just as the other printer would have done for the Finch stock. This actually raised the price of the custom-ordered Husky above that of the superior house sheet, Finch.
Don't assume all printers have bid on the same specifications. Read all bids carefully and ask questions if you find a discrepancy between your specs and their printer's specs.
If you do not need a specific press sheet, ask about the printer's "house sheet." Or ask about paper substitutions if the final price seems high.
Don't assume that all printers use the same house sheet.
When in doubt, request paper samples (both printed and unprinted) and a paper dummy (to show the overall look and thickness of the book).
When you're a print buyer, nothing is better than a book printer willing to step up and make things right when a job goes South.
I received an email from a print brokering client recently. I was attending a baby shower when I read the dreaded words: "The lamination on the initial 50 sample copies is coming up off the cover stock, and the job must be reprinted." I had visions of depleting my retirement savings to make things right as I called my client. The job was a large one, a photo book (professional quality photos of flowers) with a press run of 1,000 copies.
It seemed that the dull film laminate was not properly adhering to the hinge score (the vertical fold that runs parallel to the spine), causing intermittent air pockets between the lamination film and the cover stock, and peeling up off the edges of the book as well. To make matters worse, the book was a very small format (6" x 6"), and the cover had a heavy coverage black background. So the flaw was more obvious than it might otherwise have been. It was bad enough, in fact, to render the book unsalable. After all, this was an art book. It had to be perfect to justify its sales price.
I discussed possible solutions with the printer. Then I discussed them with my client. The first option was to tear off the covers, reprint them, and rebind the book with the new covers. Unfortunately, in most cases this necessitates retrimming the book, which makes the book smaller. For a photo book such as my client's, the balance of white space and images was crucial to the design. My client refused the option of a cover replacement and requested a complete reprint and rebinding at the expense of the book printer.
Before I asked the book printer to reprint the entire press run at his expense, I drafted a detailed email describing the problem and explaining why the client would not be satisfied with a replacement of the covers and a retrimming of the book, thus making it smaller. I supplemented my written information with a number of photos illustrating the problems.
The book printer took responsibility for the inadequate dull film lamination, and proposed a solution. He would carefully tear off the covers (a hand-work operation that would be done to all 1,000 copies). New covers would be printed, and the book printer would perfect bind these to the coverless book blocks. The book printer would then trim only the covers, and not the text. If the client was not satisfied with an initial 50 samples, the printer would reprint the entire book. I worked out a schedule with the printer. My client accepted the proposal and waited to see the results.
The custom printing vendor reprinted 1,000 covers and sent them out to be dull film laminated. Then he sent the book blocks out to be perfect bound to the covers. To give my client a few options, the printer produced a deep hinge score in a few covers with his folding equipment prior to sending them to be perfect bound to the book blocks. He also had the perfect binder produce a sample with a shallow hinge score, and one with no score at all. Then the book printer sent my client samples of the three binding options for her to review.
To complete the job, the printer trimmed the cover right up to the text pages without trimming into the text pages themselves (as would normally be the case). To the credit of the printer, this reflects very precise trimming. Instead of using his three-knife trimming equipment to simultaneously effect a face trim, head trim, and foot trim (i.e., all but the bind edge), he used a single-knife guillotine cutter. He cut each side individually in three passes for each book.
Of course, compared to the time it would have taken to bind new covers and trim them on a three-knife trimmer, the procedure actually took a huge amount of time. Although it was not hand work, it still had to be done slowly and precisely to avoid damaging (cutting into) the text pages of my client's book.
Therefore, I went back to my client to devise a mutually acceptable schedule. She needed books fast. She had numerous preliminary book sales and nothing to send her clients. However, she didn't need all 1,000 books at once. In fact, she agreed to accept an initial shipment of 100 books. This would fulfill the first orders. It would also give the printer a reasonable amount of time to continue binding the balance of books. I didn't want the book printer to rush or risk making mistakes. I only wanted a steady stream of books coming from the printer to my client, as she needed them.
My client pointed out that the dull film laminate seemed darker than in the original press run. I looked closely and realized that the film appeared darker because it had been bonded to the black paper stock of the cover far more securely than in the first run. This was a high-quality film lamination job. My client was very pleased.
The covers extended a barely perceptible amount over the text pages of the book. To me it actually looked intentional, although I presumed that this had been done to avoid trimming the book block text pages. My client was very happy. So I asked the printer to proceed, and we negotiated a schedule for rebinding the balance of the books.
I made one final request. I asked the printer to pack the books more carefully than usual since a few copies of the original press run had been damaged in transit.
The printer raised an interesting point. Very heavy ink coverage (i.e., rich black builds) will continue to give off gas for a number of days as the ink dries. If the lamination has not been applied with enough heat or pressure, that gas will look for the weakest point to escape, such as a hinge score or trim edge of the book.
What Really Happened, and What Can We Learn from This?
I'm not sure anyone knows exactly why this happened. I've yet to work with a printer over a number of years without a major problem occurring. The ones I continue to work with are those who correct the problems that arise. Printing is not a commodity. It is an art and a craft with multiple processes that can and often do go wrong.
In the case of this book, the dull film laminate material may have been faulty. Or perhaps its application. The small size of the book may have contributed to the cover coating bubbling up when scored and perfect bound. And the heavy ink coverage may have given off gas as it dried, forcing the laminate to lift off the paper stock. Unfortunately this was not caught before the books had been sent out to the client. Or maybe it even occurred during the shipping of the books to the client (if the gas escaping from the heavy coverage ink had caused the problem during the drying process).
But the bottom line was that the book printer made the job right, and the client was far more than satisfied. Not only has she already sold books to clients pleased to see her beautiful photographs, but she also has many friends who want to produce books of their own. I'll bet you already know where I'm taking the custom printing work.
In addition to my print brokering, design, and writing work, I install movie "standees" and signage. This side work gives me a unique view of a number of printing processes, up close. It lets me see first hand exactly how a number of promotional items have been designed, printed, and assembled.
One Sheets Are Printed on Both the Front and Back of the Poster.
The next time you go to the movies, pay attention to the multitude of light boxes lining the walls, displaying movie posters for all the new releases.
Among these large format printing posters are "one sheets." One sheets possess a number of intriguing qualities, foremost of which is their two-sided nature. On the front is the image of the poster, and on the back is the exact same image (text and photography) printed backwards ("wrong reading" in commercial printer's language).
Why Print on Both Sides?
One sheets are installed in a light box. In some respects they are similar to the back-lit films (Duratrans) that you may see in light boxes in subway stations or at the airport. The back-lighting makes colors in the one sheets appear more brilliant than posters merely hung on a wall. The double-sided commercial printing actually gives more of an impression of depth and dimensionality as the light travels through the gloss paper stock.
More than anything, this double sidedness attests to the precision of offset custom printing. That a huge printing press can align an image on the front of a press sheet exactly with the reverse-reading image on the back of the press sheet, while maintaining color that matches on both images, reflects the skill of the pressman, the close register a press can hold, and the consistency of color that can be achieved on press.
These Posters Are Not Always the Same Over Time.
If you pay close attention, you may see changes over time in a movie poster. Not always, but sometimes. The first posters may be swapped out with others providing new promotional information about the upcoming theater release. These changes may be subtle, maybe a small addition, but they reflect the ongoing nature of movie advertising as a dialogue between the moviegoer and the studio. The goal is to pique the interest of the viewer while providing the most up-to-date information on the new movie release. In some cases, a series of almost identical posters introduced over time may be the answer.
The Posters Are Always Vertical.
The lightboxes into which these double-sided posters must be clamped are always vertical. (A sheet of glass covers the lights, and clamps on the top, bottom, and sides hold the one sheet flat. Then another sheet of glass in a frame covers the posters.) Therefore, the large format printing posters must always be designed in the same "landscape," as opposed to "portrait," orientation.
The Posters Are Always Rolled.
In the past, movie posters like one sheets used to come to theaters folded with one vertical fold and three horizontal folds. Now they always come rolled. Therefore, you cannot see any creases when the posters have been installed in the light boxes.
The Dimensions of the One Sheets Are Always 27" x 40" or 27" x 41".
These posters are consistent from theater to theater because the light boxes are uniform, giving equal prominence to all of the movie posters lined up side by side.
Movie Studios Provide a Larger Poster for Major Productions.
However, there is another version of the movie poster called the Bus Stop/Shelter. This fits in a backlit display case as well, or you may see it outside in an actual bus stop enclosure. Like the one sheet, the bus stop poster is presented in a vertical format. It may or may not be double sided. Usually measuring 45" x 70", the bus stop series gives more prominence to a particular movie than does a one-sheet. The large format poster is usually printed on a thicker coated stock or vinyl-like material, and like one sheets these are shipped by the commercial printer to the studios or theaters rolled rather than folded.
The Studios Control the Posters.
Like "standees," movie posters (both bus stops and one sheets) are advertisements. The movie studios control all uses of these images very tightly, making sure that all exposure to these promotional items will foster their marketing goals.
Therefore, if you ask for these large format printing posters after their useful life, most movie theaters will turn you down. The posters are owned by the movie studios and must either be returned to the studios after use or destroyed.
In this way they are similar to the printing plates from which a limited number of offset art prints have been produced or a mold used to create only a few plaster sculptures.
In all of these cases, the value of the image or item lies in its scarcity. And in the case of the movie posters, the value lies in its controlled presentation to those groups of people the movie studios consider prime prospects for potential ticket sales.
How Does All of This Relate to Your Design or Print Buying Work?
What can we learn from these large format printing posters, beyond their individual aesthetics and their pull toward the diversion and imaginative nature of movies?
They may not be high art, but as advertisements these posters are powerful. I make it a point to study the overall design, color, and typography of all movie posters that hook me. Then I can apply what I learn to my own design work. In addition, you can learn a lot about promotional work and advertising in general by studying the standees and signage in a movie theater.
You may get a deeper appreciation for both the precision a printing press can achieve and the need for precision in preparing art files when you see how one sheets have been printed on both sides of the paper in perfect register.
Traditional offset lithography depends on the fact that oil and water repel each other. The image area of a traditional lithographic plate attracts the oily ink and repels the dampening solution (water and alcohol), while the non-image area attracts water and repels the oily ink. When the commercial printer achieves the correct ink/water balance, the press can accurately print type and images from the planographic (flat surfaced) printing plates.
It wastes a huge amount of water.
It takes a lot of makeready time for the commercial printer to achieve the ink/water balance, so paper waste is high.
The custom printing vendor's dampening solution contains VOCs (volatile organic compounds such as alcohol) that are hazardous to the environment.
Waterless printing, originally patented by 3M in the '60s as "Driography," is based not on chemistry but on the physical properties of the plate coating, the plate surface, and the ink. In contrast, offset lithography distinguishes between image area and non-image area based on the mutually exclusive chemical properties of oil and water.
Unlike the flat plates of offset lithography, waterless plates are intaglio in nature (they have recessed image areas) once the silicon has been removed. This allows waterless presses to carry and deposit a greater volume of ink than traditional offset presses (a stiffer, thicker, and more viscous ink with a higher tack, since no water is involved). And the ability to print a greater volume of thicker ink yields a larger color spectrum than can be achieved with traditional offset lithography.
Where Can You Find Waterless Presses?
Waterless lithography has been around since the 1960s, but it is not a pervasive technology. Direct Imaging presses are waterless. These would include the Heidelberg Quickmaster DI (as well as Presstek's, Screen's, and KBA's direct imaging presses).
In addition, some presses are hybrids. These can be used for offset lithography and waterless printing, but they must include a special cooling apparatus, in which hollow tubing carries water through rollers in the ink train to maintain a constant ink temperature. Otherwise, the thicker ink would cause friction in the ink rollers and press plates, raising the overall ink temperature and compromising its viscosity.
The process allows for higher halftone screen rulings since the ink is stiffer, tackier, and more viscous than offset press ink. This yields better halftone dot reproduction and hence better image definition.
The higher screen rulings allow commercial printers to achieve increased print contrast and a wider color range while eliminating the halftone rosette patterns of traditional offset lithography.
A waterless press will hold a tonal range from a .5 percent halftone dot to a 95.5 percent halftone dot. This greater tonal range provides more mid-tone and shadow detail than traditional offset lithography.
Waterless printing produces less dot gain (spreading of the ink on the paper), so there is greater image detail, particularly in shadows and midtones. Reduced dot gain also allows the custom printing vendor to use a thicker ink film, which yields brighter colors.
The thicker, tackier ink allows for exceptional ink holdout on a multitude of coated and uncoated printing stocks (i.e., the ink sits up on the surface of the press sheet).
Since the commercial printer does not need to maintain a stable ink/water balance, he can reduce paper waste and improve the efficiency of the custom printing job. The commercial printer can also hold more consistent color throughout the press run once he has achieved optimal color on press.
Eliminating the dampening solution also eliminates the paper stretch that results from wet paper. The higher dimensional stability of the paper affords the custom printing vendor better control over color register on press.
The environmental benefits include the elimination of water waste, reduced paper waste, and the elimination of hazardous chemicals.
We are inundated with PDFs today. Almost every application you own can create a Portable Document Format file, from OpenOffice to Microsoft Word to Adobe Acrobat. But if you are a graphic designer, how do you know that the PDF you are creating for your commercial printer is appropriate for the target offset or digital printing technology? How do you know your job won't go horribly wrong?
What Is PDF/X, and How Does It Differ from PDF?
Those PDF files you can distill from standard office applications can include a multitude of options (including such features as hyperlinks or dynamic forms) that don't pertain to custom printing. In the case of digital and offset printing, you actually need fewer rather than more features. You need to limit your options to ensure accurate results.
Enter PDF/X. PDF/X is a subset of standard PDF that addresses such graphics exchange issues as "output intent" (the conditions for the final custom printing device), color management, definition of the printable area including trim and bleed specifications, and "active content" issues (essentially the exclusion of rich media such as audio and video, and interactive features such as comments and forms).
Here are some of the options explained one at a time. A book could be written about this information, so consider this just a starting point for discussion with your commercial printer.
Printing Conditions: This includes color and ink data targets, one of which might be "CGATS TR 001 SWOP," which refers to a specific collection of "Specifications for Web Offset Publications" (SWOP). These standards addresses such custom printing issues as color separation, screen angles, total area coverage of ink, undercolor removal, gray component replacement, color and ink data targets, and proofing processes, to name just a few. In short, these variables address how your final job will look and with what technology it will be printed.
Color Management: This specification focuses on the color space of the print job, including whether it is CMYK and whether it includes spot color information. Data on the ICC profiles (i.e., the color profiles for the custom printing job) can be addressed as well, along with any information on calibrated (color managed) RGB elements (in most cases, of course, your offset job will be CMYK and/or a spot color rather than RGB).
Definition of the Printable Area: This specification includes information on the "Media Box, Trim Box, Art Box, and Bleed Box." All of these pertain to the job size and format and whether and how the ink will bleed off the page.
Active Content: PDF/X will omit the following from your print-ready files: embedded audio and video, signatures, interactive forms and comments, and other PDF features that are appropriate for the exchange of inter-office documents or forms but that don't pertain to offset and digital custom printing.
issues such as whether the PDF can reference graphics outside the PDF (usually, the PDF includes all fonts and graphics, but some of the alternative PDF/X formats allow printer replacement of graphics).
In most cases, you will probably only distill PDF files for print as PDF/X-1a compliant. You will probably also limit the color space in your job to only CMYK plus spot color. And you will probably embed all fonts.
It is essential that you discuss the various PDF options (PDF/X-1a, PDF/X-3, and such) with your commercial printer to make sure you set up your PDF document correctly. Different printers use different PDF workflows for various kinds of work (offset printing vs. digital printing vs. packaging printing). Finding a trusted and knowledgeable prepress operator within your custom printing vendor's shop can save you stress and disappointment. In addition, your commercial printer can preflight your files to ensure that they are PDF/X compliant.
Many people ask me what the difference is between the PDF they submit to their printer and the PDF proof they see if they request only a screen proof (virtual proof).
The difference between your PDF and the proof is that the proof has passed through the printer's RIP (raster image processor) and has been converted from the curves and arcs of PostScript into a bitmapped format understandable by the platesetter.
To ensure accuracy, when you review a PDF proof from your commercial printer, you will need to check any logos you have placed in the file as well as any special type characters (such as the trademark symbol ™ and copyright symbol). You will also need to confirm that there was no reflow of copy (i.e., none of the type has moved from column to column or from page to page).
I'm brokering the print production for a perfect bound book with a unique cover. It has images and type on both the outside and inside covers, as well as French flaps. Therefore, the design and production of the cover reflects a number of concerns for both graphic artists and production managers.
In addition to the process colors—cyan, magenta, yellow, and black—the cover designer has used a match gold ink for the perfect-bound cover. Process color builds can simulate a lot of different colors, but they cannot simulate metallics. The closest 4-color custom printing can come is a yellowish brown. Gold ink actually includes flecks of metal in the liquid suspension of ink, and it is this metal that gives the ink its sheen.
Since nothing can be printed over the gold ink, other than the film lamination, the cover designer will need to add an extra Photoshop spot color channel with knock outs and standard trapping for anything that would touch the gold ink.
It is my understanding that the cover designer has created the art file in Photoshop rather than InDesign. Therefore, he will distill the Photoshop file as a press-quality PDF prior to uploading it to the book printer. Although the more recent versions of Photoshop can preserve the high resolution of vector type layers (allowing the platesetting software to determine the final resolution of the type during the rasterization process), the book printer may ask the designer to flatten the Photoshop file (merge the various layers, including the type layer) to avoid choking the RIP (overpowering the software that turns the PostScript curves and arcs of the type into a matrix of dots for the platesetter). All images will need to be 300 dpi or higher, and small type may suffer slightly compared to type produced in InDesign.
Gold ink needs to shine to be considered gold and not brown or yellow. I had initially suggested a dull film laminate as a cover coating to distinguish the print book from its peers (fewer books seem to have dull coating than gloss, and any difference stands out on bookstore shelves).
Nevertheless, I was advised by the book printer to choose a gloss film laminate instead of a dull laminate, since the dull coating would subdue the gold ink and rob it of its sheen. Point taken, and a good lesson.
The print book will have French Flaps, also known as a "double gatefold" cover. The 3.5" flaps will fold inward and give the impression of a dust jacket on a hardcover book. They will also add 3.5" of space in front of each interior cover for author photos and promotional text.
Paper grain direction will be parallel to the spine. That is, the direction of the majority of fibers in the cover paper (which are similar in appearance to grains of rice) will match the vertical backbone of the book. This will allow the pages to easily open and lie flat without becoming wavy. Were the grain to lie perpendicular to the direction of the spine, the print book would be harder to open, and the paper might be wavy or rippled.
No custom printing operation is perfect. Acceptable tolerance for cover printing, folding, and trimming is plus or minus 1/16" from side to side (1/8" total) and plus or minus 1/8" up and down (1/4" total). Therefore, while designing the book, the graphic artist must not position any graphic element too close to the trim margins or the fold of the spine, or imprecise folding and trimming could cut off either type or another element of the cover art.
Unlike many covers, in the case of this particular book, the inside front and back covers will be printed as well as the outside front and back covers. The important point is that no ink or coating is allowed on the backbone area (the inside spine of the book between the front and back interior covers). This is because the glue used to bind the print book and attach the cover to the gathered signatures must adhere to the fibers in the backbone area, and ink or a coating would lessen the strength of the glue bond, leading to the pages either falling out or being easily pulled out of the binding glue. To be safe, the book printer also requests 3/16" of clearance on either side of the interior backbone for any ink or coating.
Fortunately the book printer has provided a cover template based on the number of pages and the particular text paper chosen for this book. Using the thickness of the text stock (in this case 55# Sebago Antique Text, which is 360 ppi, or pages per inch), the book printer has calculated a spine thickness of 1.11" (400 pages at 360 ppi). The template the printer has drawn includes the precise size of the spine and front and back covers, as well as notations of bleeds and the permitted live area for type. A cover template like this is invaluable, offering the designer a roadmap of sorts, showing exactly where to place design elements and where to avoid placing them.
A close friend recently gave me a book called Disrupting the Future. Written by Joseph W. Webb, Ph.D., and Richard M. Romano, this book proposes ways commercial printers can continue to be relevant as ink on paper becomes only one of many channels for communication.
The book discusses a shift in focus from offset printing and binding as an end in themselves to custom printing as a medium for communication. The vehicles for this communication will expand from offset lithography to include variable data digital printing, digital large-format printing, web to print, PURLs, and social media.
To stay relevant, commercial printers will need to become consultants and brokers as well as custom printing vendors. They will become experts in the various media and will understand how clients can leverage these options to improve their ROI (return on investment). If these commercial printers have in-house offset or digital equipment to provide the printed products their clients need, so much the better. If not, they will outsource and coordinate this work. They will become trusted advisors, helping clients devise and execute the strategies to grow their businesses.
Disrupting the Future addresses the shift in a number of relationships people have with media of all kinds. These include Permanence, Portability, ROI, Intent, Cross Media, Reference Point, Media Selection, Personalization, and Direct Response. Let's discuss them individually, and consider how offset and digital custom printing can still be relevant.
Permanence: Webb and Romano distinguish between the past, in which a marketer or vendor printed information (let's say a directory or catalog) and then delivered some copies and stored the rest for future distribution. The information was located in a warehouse or other storage facility. Now information is immediately accessible online. That said, according to the trade journals I have read, there is still a direct correlation between increased consumer purchasing activity and distribution of print catalogs. Apparently, more people buy when they have access to both a print catalog and a website rather than just a website.
Portability: People used to take a printed product with them (such as a catalog). They could read it in the subway on the way to work. Now they want to connect on multiple devices, according to Disrupting the Future. Actually, this can include a print catalog, as well as information on a tablet or a smart phone. The issue is less about the medium and more about the ability of a marketer to carry a message in a consistent way across the various media. Will the reader see a consistent presentation of the brand in the print catalog, on the smartphone, on the tablet, at home on the desktop computer, or on the digital large-format printing of an inkjet bus wrap?
ROI: Webb and Romano note that in the past it was possible to easily match the cost of the printed information to the revenue it generated. However, today's multi-channel marketing initiatives and information dissemination don't always show a clear connection between cost and return on investment. For instance, using a Twitter feed and a website landing page along with a print catalog may increase sales dramatically when compared to an Internet-only, or print-only, approach. However, the incremental sales amount due to the social media component can't always be easily determined.
Intent: Now marketers "lure" prospective clients. In the past they "nudged" them. People are inundated with information. They have learned to tune it out. They want to be informed, not pushed to buy. They want your information to be immediately available for them to reach out and grab.
Cross Media: Disrupting the Future notes that successful messages (persuasive or informative) are now "parallel" rather than "serial." In the past, a firm would mail a print catalog so many times a year, and then roll out a print advertising campaign. Now the product information is simultaneously available through multiple media: on kiosks and printed signage when the prospective client visits a mall, online when he or she clicks through an Internet advertisement, or in print when he or she reads a catalog. To be relevant, all these parallel media must deliver a congruent message and consistent information. As Webb and Romano note, success hinges on creating an effective and congruent marketing strategy.
Media Selection: Now a marketer will saturate the media with information from which potential buyers can "pull" what is relevant to them individually. In the past, marketers tightly controlled images, ads, and information. For a marketer to omit a channel (for example, to only advertise online and not provide a print catalog) can actually detract from sales.
Personalization: Disrupting the Future notes that marketers in the past would segment a potential client base, sending specific information to targeted groups based on demographic information. This information was often outdated or useless to a certain number of recipients. Now, by combining the Internet with variable data printing, marketers can provide information that is current and pertinent to each prospective client. A potential buyer can receive a print catalog that has been personalized to his or her tastes and interests, and the information delivered online can match his or her prior Internet searches.
Direct Response: Webb and Romano distinguish between "groundswell" and "targeted from above." Sales prospects now reach out for, absorb, and respond to information and promotions based on their knowledge and interests in an organic, grassroots manner. As Disrupting the Future makes clear, people no longer tolerate being "herded to specific locations or actions" by an overarching authority.


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text:
Q: Histogram plots in R I have a data set like
     x = c(1,1,1, 1, 1, 2, 2, 3, 3,4, 4, 4, 5, 5, 5,5, 5,5)

I would like to create a histogram of density of this data , which I want there is no space between bars, also I want to create a subplot inside thsi plot just for 1 and 2 values of the vector x.
How can I do this in R?
     hist(x, freq = FALSE, border = "gray", xlab ="", ylab="", col = "white", breaks = 10,
     ylim=c(0, 5))

A: Edited to reply OP's request
You can try the following:
library(TeachingDemos)

x <- c(1,1,1,1,1,2,2,3,3,4,4,4,5,5,5,5,5,5)

hist(x, freq = FALSE, border = "gray", xlab ="", ylab="", col = 'white', breaks = 0.5:5.5, ylim=c(0,5))

subplot(hist(x[x < 3], freq = FALSE, xlab ="", ylab="", main="", breaks = 0.5:2.5), 2, 4)

redpajama_set_name: RedPajamaStackExchange


Welcome to Stella Learning Center!
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Some individuals need more help than others. For that reason, we use behavior analysis tactics derived from the principles of behavior. The SLC staff makes use of intensive instruction to address academic and socially significant issues that individuals and families encounter..
Systematic Analysis is a structured program that is the basis of our curricula. We define it as the science in which the principles of the analysis of behavior are applied systematically to improve socially significant behavior, and in which experimentation is used to identify the variables responsible for change in behavior.


text:
Q: What sets System.Security.Principal.Identity.IsAuthenticated after Session timeout? I am currently adding an action filter to handle session timeout in our site:
[AttributeUsage(AttributeTargets.Class | AttributeTargets.Method, Inherited = true, AllowMultiple = false)]
public class SsoExpireFilterAttribute : ActionFilterAttribute
{
    public override void OnActionExecuting(ActionExecutingContext filterContext)
    {
        if(!(filterContext.Controller.GetType() == typeof(HomeController)
            && filterContext.ActionDescriptor.ActionName == MVC.Home.ActionNames.Index))
        {
            if(filterContext.ActionDescriptor.ActionName != MVC.Home.ActionNames.TimeoutRedirect.ToLower())
            {
                if (!Thread.CurrentPrincipal.Identity.IsAuthenticated)
                {
                    if (filterContext.HttpContext.Request.IsAjaxRequest())
                        filterContext.Result = new JsonResult { Data = "_Logon_" };
                    else
                        filterContext.Result = new RedirectToRouteResult(
                            new RouteValueDictionary
                        {
                            {"Controller", "Home"},
                            {"Action", "TimeoutRedirect"}
                        });
                }
            }
        }

        base.OnActionExecuting(filterContext);
    }
}

I am expecting the IsAuthenticated flag on Principal.Identity to be false following timeout, however it is remaining true when it is hit in the action filter. (I know the session has timed out as I have put a break point on the Session_End in Global.asax and this is hit first).
The authentication for our site is handled by a company standard "Single Sign On" dll, so I'm guessing that this is setting a separate authentication timeout, does this sound likely?
Any help is appreciated.

A: I think you want to replace Thread.CurrentPrincipal.Identity.IsAuthenticated with HttpContext.User.Identity
I think what your doing with Thread.CurrentPrincipal is asking if the User that is actively Serving the Web Application on your server is authenticated. What you want to do is ask if the User is authenticated.

A: Session and authentication cookie are different things. You can have user which is still authenticated but has expired session. look at this post: asp.net cookies, authentication and session timeouts

A: Possibly a bit of a cop out, but after consulting with other teams in the business I am going to follow the model of other sites that use the corporate "Single Sign On" dll and use a Session.KeepAlive method so I'll have no need for this action filter.


This past Monday, the third day of National Park Week, I was among dozens who showed up at 6:30am for an early morning workout at Meridian Hill Park (part of Rock Creek Park). Groggy and not fully awake, I ran the hills around the park and found myself questioning why I forced myself up and out of bed so early just to dodge raindrops and completely exhaust my muscles.
But then it hit me, there is no better way to start the day than being completely surrounded by the history, nature, and culture this park shares and preserves.
Running up the stairs, I thought about all the other people who have taken the same route over the years.
We're so fortunate to have places like Meridian Hill Park where we can enjoy ourselves, relax, exercise, and reflect on the past.
Moving on to Earth Day, I was waiting on the bus and mentally scrolling through my never-ending to-do list when suddenly the digital screen on the bus shelter caught my eye. The letters P A R K appeared over an image of Little Rock Central High School National Historic Site.
Even with the hustle and bustle of my morning commute, this image made me stop and think.
What would it have felt like to attend a segregated school?
How would I react if I boarded the bus and whites were in the front and blacks were in the back?
Would I have played an active role in the Civil Rights Movement?
While I hope to visit Little Rock Central High School someday, the truth is that it represents so much more than a physical place to me. It tells our shared story, our struggles as a nation, and the progress we've made and are still working toward. To me, parks invite us to see moments and experiences from multiple perspectives and for that, I am grateful. Thanks to parks, I am constantly growing and constantly being challenged.
Now it's your turn. Why are you grateful for parks? I invite you to share your story at FindYourPark.com!


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text:
Fire Wind
Yvan Yauri
Publisher: Ugly Duckling Presse
SKU #: E03F
Description Links & Reviews Videos/Images Author Bio
Poetry. Latino/Latina Studies. Bilingual Edition. Translated from the Spanish by Nicholas Rattner and Marta del Pozo. FIRE WIND is a translation of Peruvian poet Yván Yauri's Viento de fuego, his second book of poems and the first of his work to appear in English. Yauri's poetics stem from the tradition of the Latin American avant-garde, and he maintains his activism in the ranks of the contemporary Marxist-Trotskyites.
"With their full pedal wawa, their panting physicality, and a reference field that incorporates just about everything, Yauri's poems track cosmic interactions with earthly particularities. FIRE WIND takes on Empire and routine with a streetfighting swagger. The poems are roiling with lifeforce."—Forrest Gander
about the translators:
Nicholas Rattner lives in Shutesbury, Massachusetts.
Marta del Pozo (Avilés, Spain, 1980) is a Ph.D. candidate in Peninsular Literature at the University of Massachusetts-Amherst. She has published articles on the relationships of science and literature, the occult, and avant-gardism in academic and cultural journals. Her book of poetry La memoria del pez received the Accesit for Best Young Poet Prize from the Fundación Jorge Guillen (Spain). She lives in Amherst, Massachusetts.
Brandon Holmquest @ Asymptote
Elizabeth Cantwell @ Bookslut
Dan Rosenberg @ The Kenyon Review
Yván Yauri was born in 1963 in the small city of Quillabamba ("Plain of the Moon" in Quechua) in the Cusco region of Peru. In 1984 he moved to Europe, residing mainly in Spain where he worked as a street vendor until 1997. Back in Peru, he participated actively in the popular movement that brought about the end of the Fujimori regime (2000). Since then he has directed several magazine and radio programs, events, and cultural groups in the cities of Cusco and Lima, and has participated as a founding member in the Writer's Guild of Peru. His books are: Rastro (1998), Viento de fuego (2007), Reapertura del sumario (2007), and Saga errante (2009). His poetry pays tribute to the Latin American avant-garde of the last century, César Vallejo being the decisive influence. He currently lives in the Wanchaq district in the city of Cusco.
Author City: Cusco PER

redpajama_set_name: RedPajamaCommonCrawl


text:
About Sultan Delights
Create My Box
Create My Wedding Favours
Build Your Own Box of 50 Pieces of Real Turkish Delight, for Yourself or as a Gift. Select from 10 Varieties Available and Send Directly to the Lucky Recipient! Begin by Clicking the Button Above…
Box of turkish delight
So, What is Turkish Delight?
Turkish delight or lokum is a popular dessert sweet throughout Europe, especially in Greece, the Balkans, and, of course, Turkey. Its English name is no misnomer. Turks make and consume lots of lokum, and it's a popular gift, a sign of hospitality. It is a family of confections based on a combination of starch and sugar. Premium varieties consist largely of pistachios, hazelnuts or walnuts bound by the mixture; traditional varieties are often flavoured with rosewater. The confection is often packaged and eaten in small cubes dusted with icing sugar, or powdered cream of tartar to prevent clinging. Other popular flavours include Cinnamon, Clove, Ginger, Almond & Coconut, Strawberry, Mint, and of course, Original.
Outside of countries where Turkish Delight is a ubiquitous treat, many people first encounter it via The Lion, The Witch, and the Wardrobe, the first installment of C.S. Lewis's beloved Narnia books (or via the 1988 TV miniseries, or the 2005 movie). In the book, Edmund is tempted by Turkish Delight into an alliance with the White Witch, who has brought eternal winter to Narnia. When Edmund first meets the witch, she asks him, "What would you like best to eat?" He doesn't even hesitate.
The History of Turkish Delight.
Turkish Delight (Lokum) has an illustrious past. It is an ancient sweet, dating back some 230 years, and was the idea of a confectioner from Kastamonu, high in the Anatolia mountains. He came to Istanbul in 1776. The Sultan, at the time, was very keen on his creation, and his Royal acceptance made it most fashionable. Today, some 230 years later, this institution still produces the best Lokum in the World, and you can enjoy that taste, right here at Sultan Delights, we really hope you agree!
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Today's Text: Isaiah 57:15 For this is what the high and lofty One says— he who lives forever, whose name is holy: "I live in a high and holy place, but also with him who is contrite and lowly in spirit, to revive the spirit of the lowly and to revive the heart of the contrite.
Have you ever read something from God's Sacred Word and have it so overwhelm you that you struggle to find words to express what is happening in your heart? That's me right now. So all I can do is tell you about it and let the Holy Spirit do the same for you as He needs to.
I sat down at my desk and opened my Bible to Isaiah 57 to continue my study of this prophetic book. I got into my devotional vehicle (ask me about this if you don't know what I mean) and I started my morning journey at verse 14 where I had parked on Friday.
And it will be said: "Build up, build up, prepare the road! Remove the obstacles out of the way of my people." For this is what the high and lofty One says— he who lives forever, whose name is holy: "I live in a high and holy place, but also with him who is contrite and lowly in spirit, to revive the spirit of the lowly and to revive the heart of the contrite.
I slammed on the brakes. I put the car into reverse. I backed all the way up to verse seven.
There it was. I thought I had seen it when I had traveled that way before. My pride is an obstacle to the work of the Lord in my life. I have been pursuing a high and lofty hill in opposition to the One who is High and Lofty.
I spent a few moments considering the ways I continue to offer sacrifices to the god of self-fulfillment.
I put the car back in drive and moved forward again to verse fifteen. I slammed on the brakes again.
God lives in a high and holy place, not on a hill. Holy means set apart. I can't reach Him. No matter how hard I try or how high I climb, I can't get to His place.
Carefully I took my foot off the brake and proceeded.
From His high and lofty place the High and Holy One has come down to me! I could not get to Him by going up to a high and lofty place, but He would come to me if I would go down to a place of humility. The lower into the dust of contriteness I go the more accessible I become to the High and Holy One.
I think I will park here for a while and enjoy His presence.
Jer 29: 13-14 says, "You will seek Me and find Me when you search with all your heart, and I will be found by you." I'm studing a book by Francis Frangipane called "And I will be found by you". This verse is on the cover. I'm finding it very eye-opening and right along the road you are driving on!


text:
Home › No information (x) › No information (x) › No information (x)
1st amendment under siege
Magnific, Roc
Prisoners' writings, American -- Unknown, Unknown. Department of Correction
"1st Amendment Under Siege" Recently last year (May,2016) Arkansas Department of Correction Czarina Wendy Kelly issued a rather fastidious policy that cited newspaper clippings would be banned from prisoner mail, classifying them as (wait for it - with bated breath) "contraband"!? According [ineligible] to ADC (Ay, Carumba! Arkansas Department of Corruption) policy, they are... concerned about drug smuggling but said vitiated policy does not affect newspapers sent directly...
American prisons and free-world staff not ready for second wave of COVID
Magnitic, Roc
"American Prisons and Free-World Staff Not Ready for Second Wave of Covid" "When written in Chinese, the word "crisis" is composed of two characters. One represents danger, and the other represents opportunity." Never before have many would have thought such a [crisis?] as the Covid-19 pandemic would wreck havoc upon all parts of American life. But when it comes to prisons, a lot of the free-world staff (e.g. - guards, medical staff) as well as the residents of t...
Black Lives Matter: Are they ignoring Blacks in prison?
"Black Lives Matter: Are They Ignoring Blacks In Prison?" Ever since its origin in 2013, the Black Lives Matter movement has… repeatedly stressed it was founded on the idea that Blacks were ad libitum being targeted as well as being murdered by police for being Black indiscriminately. As a Black man who has experienced police paramilitary tactics while (WWB) in the wee hours of the morning, of which such was used to obtain a... search warrant (with affidavit) whereas police lied in their...
Censorship in Michigan prisons
Hamilton, Lacino
Prisoners writings, American -- Unknown, Unknown. Department of Correction
Eensorship In Michigan Prisons By: Uacino Hamilton Today, another book was rejected. The fifth time in the past two weeks this has happened. All because the book wasn't sent from an "approved vendor." To the uninformed public such a requirement may appear on its face reasonable, the Michigan department of Corrections should control where information prisoners are receiving is coming from, and what that information is. But in practice, its a form of censorship. A policy that pro...
Egyptian days for one gallimaufry enterprise
Egyptian Days for One Gallimaufry Enterprise If you operate an enterprise built upon desiring and getting the gold of Tolash (e.g., ill-gotten wealth will do no one good) that's not worth a tinker's damn, you will be a business many consider "ne touchez pas, nole me tangere" (e.g., one not to be touched). This is what's facing the Kakistrecratic Arkansas Department of Correction as it finds itself stricken with one gey case of "blue flu" and increasing inmat...
From public enemy to enemy of the state
Holbrook, Robert Saleem
Page 1 of 4 From Public Enemy To Enemy of The State by Robert Saleem Holbrook When I was a child I used to often walk past the old Eastern State Penitentiary on Fairmount Avenue in North Philadelphia and stare in awe at its high walls and ramparts seemingly towering into the sky believing naivety that the old prison was an ancient castle from the days of knights and kings. There were times myself and other kids my age used to try and scale the walls to get a glimpse of what was inside, how ir...
Interview of Lacino Hamilton by the opening statement (2)
INTERVIEW OF LACINO HAMILTON BY THE OPENING STATEMENT OS: What is the first thing you want people to know about living in prison? LACINO: That prison is an emotional and psychological torture that is far worse than any torture to the body, by design. Days and weeks and months and years of being told up is down and right is left, punished for not acquiescing, for not showing extreme deference, influences the oven/vhelming majority of imprisoned men and women to give up or give in, and become mer...
Is the American deus ex machina in trouble?
"Is the American Deus Ex Machina in Trouble?" For years billions of taxpayer... dollars have been spent building state and federal human warehouses to "combat crime and protect John and Jane Q. Public from crime." Many politicians have been elected because of advocating "get tough on crime: build more prisons - it'll mean more jobs and security for concerned citizens." Furthermore: "Let's punish repeat offenders by increasing existing or let's...
Knowing where we have been in order to know where we are going: From protest to politics
Atrium Press July 6, 2017 KNOWING WHERE WE HAVE BEEN IN ORDER TO KNOW WHERE WE ARE GOING: FROM PROTEST TO POLITICS By Lacino Hamilton As activists fighting for racial equality encounter crises similar to crises activists experienced in the 1950s, 60s and 70s, being aware of those similarities can provide a framework for questioning today's activism. That awareness can catalyze desperately needed new approaches when inevitable problems of reaction, cooptation, insufficient knowledge and changin...
One of my best friends is a serial killer
Whetzel, Stephen
One of My Best Friends Is a Serial Killer by Stephen Whetzel One of my best friends is a serial killer. Perhaps given his court-mandated and state-supported retirement plan, a 129-year prison sentence, I should refer to him as an ex-serial killer. Although he has not committed murder since his incarceration, the State of Indiana recently convicted him of 21 previously unsolved murder. His DNA matched a sample founcl on a corpse discovered thirteen years earlier. The media had touted the gru...
Prison cats cry for help
Anonymous Cat Lover
Prison Cats Cry for Help Shaky is a black-and-white cat with no eyes and two broken hind legs. He has difficulty walking and constantly trembles. He lives on the yard of a maximum security prison. There are more than 100 feral cats living within the fences of Kirkland Correctional Institution, a state-run prison in Columbia, South Carolina. These animals have committed no crimes, but they are punished every day. People kick them, throw rocks at them, dash them with steaming hot coffee, spit o...
Program of Neocolonialism taking place in America today
I need some help. I'm all over the place. PROGRAM OF NEOCOLONIALISM TAKING PLACE IN AMERICA TODAY As prisoners in Michigan and throughout the country begin the grueling process of breathing life back into the prison movement, a process through which prisoners have been slowly moving for the past several years, of utmost importance is a cogent analysis of the situation in which prisoners find themselves. Through this process the larger movement for social justice can review and reassess t...
Street organizations. Todays challenge, tomorrows hope
Street Organizations. Today's Challenge, Tomorrow's Hope Friday, 03 June 2016 By Lacino Hamilton [Image Description: photo of graffiti in Birmingham, Alabama] Graffiti for the Crips, a street organization, lines train tracks in Birmingham, Alabama, in a photo taken on November 29, 2007. "Gangs" are arguably one of the most dominant and effective organizing mechanisms of urban youth today, though virtually no one will acknowledge this. The "common wisdom" abou...
The focus of this essay concerns the devaluation of human life
Pinson, Jeremy
Author: Jeremy Pinson Date: 8-21-14 Essay No. 2 The focus of this essay concerns the devaluation of human life in a prison setting. Human beings have a penchant for division, creating endless us versus them scenarios in the mind to justify any conduct or decision that would be otherwise unacceptable. In the United States the demonization of "the criminals" is longstanding. But we forget that criminals are human beings too. Human beings who broke the law but also who still feel pain,...
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text:
Brahmacharini Devi Temple
0542-2437004 f
Panchganga Ghat, Ghasi Tola, Varanasi, Uttar Pradesh 221001
More Temples
Dedicated to
Deity Posture
A combination of ancient and Modern style
About Brahmacharini Devi Temple
Brahmacharini Devi is one of the nine Durga avatars, worshiped during Navratri.
Brahmacharini Devi
Brahmacharini Devi is a form of the goddess Parvati also known as Tapascharini and Uma. As Goddess Parvati is a manifestation of Goddess Shakti who was born as a daughter of Raja Daksha. She is portrayed as a beautiful young woman, holding a kamandal in her left hand and rudraksha mala in her right hand, seen wearing a white saree. It signifies her simplicity and divine nature.
This form Goddess Parvati is worshiped in an unmarried form. According to a story, Goddess Sati wanted to marry Lord Shiva who was a recluse (popularly known as Vairagi). To convince Lord Shiva, she practiced immense tapas for 5000 years.
She let herself depend on fruits and leaves to live life. Living as a Brahmacharini, she left everything behind and started tapas for years without desisting. looking at her sincere practice, Lord Shiva, impressed by the devotion of this form of Goddess Parvati, agreed to marry her after thousands of years.
Since then this form of Goddess Parvati is being worshiped by unmarried girls to get. One can achieve peace and happiness for a lifetime by worshiping this form of Goddess Parvati. It is believed to be auspicious to offer milk, butter, honey, and sugar to Goddess Brahmacharini Devi.
Architecture of Brahmacharini Devi Temple
How to reach Brahmacharini Devi Temple?
By Train: Trains are always a better option. these days Varanasi junction is keeping the way all good. Brahmacharini Devi temple is just 5km away from Varanasi junction.
By Air: Book your tickets to the Gorakhpur airport, which is few km away from the temple. as Varanasi airport is well connected to other city Airports.
By Bus: One can travel directly to the temple. various local and private bus services are available for visiting Varanasi.
Brahmacharini Devi Temple Timings
06.00AM to 01.30PM and 04.00PM to 11.00PM
Brahmacharini Devi Temple Images
Brahmacharini Devi Temple on Map
Temple Videos
More Temples to Explore


Becky Soria's figural paintings evoke universal symbols. Inspired by Paleolithic iconography and with a background in the biological sciences, Soria beautifully portrays the bodies of women and animals. She is concerned with intense emotions, bodily states, and peak experiences – love, fierce pain, despair, ecstasy, and discomfiture.
In her Jung Center exhibition, Women and Her Symbols, Soria ponders whether the female taps into the same or a potentially different collective unconscious than her male counterpart. She also raises the question of whether the archetypal symbols of the collective unconscious undergo mutation or variation. Soria presents the evolutionary possibility of a collective unconscious struggling to evolve itself in a deconstructive technological epoch.
Following the opening reception, the exhibit will be on display through May 31.


As SMAS Ltd is a Registered Member of the Safety Schemes in Procurement (SSIP) Forum, your SMAS Worksafe certificate should be recognised by most other SSIP member schemes – meaning that you should not have to complete further full Health & Safety assessment questionnaires for most of the SSIP member schemes whilst your certificate remains valid.
SSAIB is a leading Certification Body offering a wide range of schemes for providers of electronic security, fire systems and guarding services in the UK. Our aim is to promote high standards within these sectors and to provide recognition for those who achieve them.
Committed to continually supporting our partners, the Genetec Channel Partner Program acknowledges outstanding performance, experience and loyalty as a security solution provider. Advantages include in-depth product training and certification, valuable sales and marketing resources, and so much more. With an accredited certification, Genetec's loyal Elite Partners will stand out amongst the rest as being the most skilled in the field when selling Genetec's full suite of IP solutions.
With the capacity to offer real solutions in today's demanding technology environment the Integriti security management system sets new standards for Access control, Security and Automation.


The Glade of Dreams is in trouble once again! During a 100-year nap, the nightmares multiplied and spread, creating new monsters even more terrifying than before! These creatures are the stuff of legend… Dragons, giant toads, sea monsters, and other evil villains. With the help of Murfy, Rayman and Globox awake and must now help fight these nightmares and save the Teensies!
Four-Player Co-op: Once again you and 3 friends can save the Glade of Dreams in online or offline co-op. Jump in and jump out at any time during the 80+ levels of gameplay!
3D Boss Battles: The bosses have a big advantage over Rayman's gang… an extra dimension! Dragons and other epic creatures can attack from all angles, so you'll have to be on top of your game to defeat them.
Rayman Rocks: See if you have what it takes to be a Platforming Hero – jump to the beat of a drum, punch to the bass line, even zip-line during a guitar sustain. Timing and rhythm are the key to completing these maps set to music.
New Online Challenge Mode: Connect with your friends through a variety of challenges that will test your skill and speed. Check the leaderboards to see where you rank around the world.
Save more than 40% with this special holiday bundle, which includes three award-winning games. The artist-friendly UbiArt Framework game engine allows artists to easily develop games using their living concept art. Each of these games is built with UbiArt engine and known for its unique hand-drawn art style, creating a new world of fantasy as these art pieces come to life.
Rayman Origins – Fight loony characters and experience humorous gameplay, visuals, and sounds in this critically acclaimed game.
Valiant Hearts: The Great War – Experience the stories of war and solve the puzzle by playing different characters whose destinies are intertwined in this comic book art–style game.
Child of Light – Battle the forces of darkness in search of the sun, moon, and stars. Find your way home while exploring a world of oil-painted canvas.
© 2013 Ubisoft Entertainment. All Rights Reserved. Rayman, the character of Rayman, Ubisoft, and the Ubisoft logo are trademarks of Ubisoft Entertainment in the US and/or other countries.


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Industry DX
Med-U
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Kara Gavin
More Medical Students Are Disclosing Their Disabilities, and Schools Are Responding, Study Finds
Increased disability diversity and accommodation among future physicians could improve patient care, researchers say.
The percentage of medical students who told their schools that they have a disability has risen sharply in recent years, a new study shows.
Medical schools have made changes, called accommodations, for nearly all medical students who disclosed the fact that they have a condition that qualifies as a disability, the study also found. For instance, schools adjusted testing times or the length of patient care training.
The reasons behind the increase in medical students' disability disclosures aren't clear, according to authors of the new research letter in JAMA.
And even with the increase, students with disabilities still represent less than 5% of all future physicians, even when the disability is defined as a physical, sensory, learning, psychological or chronic health condition.
Having more medical students with all categories of disabilities could improve the diversity of the physician workforce, reduce stigma and stereotypes about people with disabilities, and inform the care of patients, the researchers say.
SEE ALSO: How Medical Schools Can Better Support Students with Disabilities
Charting the rise
Lisa Meeks, Ph.D., M.A., of the University of Michigan and her colleagues surveyed medical schools in 2016, and again in late 2018 and early 2019.
The second survey came after a major report by the Association of American Medical Colleges, or AAMC, giving medical schools a framework to reduce barriers facing aspiring physicians with disabilities.
In just three years, the percentage of students with disabilities rose from 2.7% to 4.6% at the 64 medical schools that responded to the survey in both years.
This 69% relative rise was mainly due to growth in the percentage of students who disclosed a psychological disability or a chronic health condition. Psychological disabilities included anxiety, depression and eating disorders.
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Meeks notes that the reasons for the rise still need further study and may include many factors.
"A constellation of events has likely contributed to the increase in disclosure," says Meeks, an assistant professor of family medicine at the U-M Medical School and member of the U-M Institute for Healthcare Policy and Innovation. "This may include increased awareness of the availability of accommodations, an increase in the number of students who have received accommodations throughout their education and are comfortable with their identities as a person with a disability, the creation of educational resources by AAMC and the diligent efforts of medical education programs to improve accessibility."
Accommodating disability
All the schools that responded to the 2019 survey said they had provided formal accommodations for students related to academic testing. Three-quarters provided accommodations such as note takers and adjustments to tests of students' clinical skills.
One-third of schools said they had modified their clinical procedures for students. The researchers also note that all students still must complete the required clinical competencies to graduate, but that accommodations allow them to do so through an alternative, equally safe approach.
"A constellation of events has likely contributed to the increase in disclosure."
Lisa Meeks, Ph.D., M.A.
Meeks and her colleagues, including senior author Bonnielin K. Swenor, Ph.D., M.P.H., of the Johns Hopkins University's Wilmer Eye Institute, note that their results aren't necessarily representative of all medical schools, because of lower participation in the survey by schools in the south and the study's focus on allopathic schools.
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However, the schools that participated represent more than 41,000 medical students in 2018.
"Doctors with disabilities have a valuable perspective that can uniquely drive scientific innovation and improve patient care," says Swenor. "While our results signal a promising increase in representation of persons with disabilities in medicine, further work is needed to determine if representation translates to inclusion, which is critical to achieving diversity in medicine."
The new study comes at a time of increased attention to the issue of disability and health among medical trainees.
"The AAMC is committed to working with leaders at the nation's medical schools and teaching hospitals to shape the culture, establishing accountability and allocating necessary resources to enhance access and inclusion for individuals with disabilities," said Geoffrey Young, Ph.D., senior director of student affairs and programs at the AAMC.
"The 2018 report, Accessibility, Inclusion, and Action in Medical Education: Lived Experiences of Learners and Physicians With Disabilities, served as the first comprehensive examination of the experiences of medical learners with disabilities and gave a voice to medical students, residents and physicians with physical, psychological, sensory, learning or chronic health disabilities," he says. "Since the publication of this report, we have begun collecting data on the percentage of students who self-identify as having a disability and whether they requested and received accommodations. We are using this data to provide enhanced support to students."
Meeks' own institution has made a commitment to accommodating admitted students with disabilities.
SEE ALSO: 'A Seat at the Table': Why U-M's Medical School Wants More Students with Disabilities
"At Michigan, we are committed to a more inclusive learning environment in the fullest sense of the word," says Rajesh Mangrulkar, M.D., the associate dean for medical student education at the U-M Medical School. "The crucial, ongoing research that Dr. Meeks and her team are doing show that we are beginning to move the needle on understanding the lived experience for our medical students who have both apparent and non-apparent disabilities. And while we are making progress, far more work is required for us to build the culture for these students to thrive and develop; all for the betterment of their future patients."
"Students with disabilities who have been admitted to medical school have already shown academic excellence to a significant enough extent to make them attractive candidates for admission," adds Steven Gay, M.D., M.S., assistant dean for admissions at the U-M Medical School. "A better understanding of their needs and potential accommodations they may require works to not only to insure their success, but to insure better healthcare to all of the diverse populations we hope to serve."
The authors are already conducting further research that will go beyond documenting the current rates of disability disclosure and accommodation. They're seeking to better understand issues such as the career trajectories and experiences of medical students with disabilities, and the potential benefit to patients of having a doctor who has a disability.
In addition to Meeks and Swenor, the paper's authors include Ben Case, M.P.H., and Melissa Plegue, M.A., of U-M, and Kurt Herzer, M.D., Ph.D., M.Sc., of Johns Hopkins.
Paper cited: "Change in Prevalence of Disabilities and Accommodation Practices Among US Medical Schools, 2016 vs 2019," JAMA. DOI: 10.1001/jama.2019.15372
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text:
Provider Backbone Bridging Combined with Ethernet VPN (PBB-EVPN)
RFC - Proposed Standard (September 2015; No errata)
Was draft-ietf-l2vpn-pbb-evpn (individual in rtg area)
draft-sajassi-l2vpn-pbb-evpn
SECDIR Last Call Review (of -09): Has Issues
RTGDIR Early Review (of -09): Ready
GENART Last Call Review (of -09): Ready with Nits
Submitted to IESG for Publication
Giles Heron
Shepherd write-up
Show (last changed 2014-12-01)
Alvaro Retana
IESG note
This document passed WG last call in the L2VPN working group and is being advanced as AD sponsored because that WG has now been closed.
lizho.jin@gmail.com
IANA review state
Version Changed - Review Needed
IANA action state
No IANA Actions
Email authors IPR 1 References Referenced by Nits
Internet Engineering Task Force (IETF)                   A. Sajassi, Ed.
Request for Comments: 7623                                      S. Salam
Category: Standards Track                                          Cisco
ISSN: 2070-1721                                                 N. Bitar
A. Isaac
W. Henderickx
This document discusses how Ethernet Provider Backbone Bridging (PBB)
can be combined with Ethernet VPN (EVPN) in order to reduce the
number of BGP MAC Advertisement routes by aggregating Customer/Client
MAC (C-MAC) addresses via Provider Backbone MAC (B-MAC) address,
provide client MAC address mobility using C-MAC aggregation, confine
the scope of C-MAC learning to only active flows, offer per-site
policies, and avoid C-MAC address flushing on topology changes.  The
combined solution is referred to as PBB-EVPN.
This is an Internet Standards Track document.
Internet Engineering Steering Group (IESG).  Further information on
Internet Standards is available in Section 2 of RFC 5741.
Sajassi, et al.              Standards Track                    [Page 1]
RFC 7623                        PBB-EVPN                  September 2015
3. Requirements ....................................................4
3.1. MAC Advertisement Route Scalability ........................5
3.2. C-MAC Mobility Independent of B-MAC Advertisements .........5
3.3. C-MAC Address Learning and Confinement .....................5
3.4. Per-Site Policy Support ....................................6
3.5. No C-MAC Address Flushing for All-Active Multihoming .......6
4. Solution Overview ...............................................6
5. BGP Encoding ....................................................7
5.1. Ethernet Auto-Discovery Route ..............................7
5.2. MAC/IP Advertisement Route .................................7
5.3. Inclusive Multicast Ethernet Tag Route .....................8
5.4. Ethernet Segment Route .....................................8
5.5. ESI Label Extended Community ...............................8
5.6. ES-Import Route Target .....................................9
5.7. MAC Mobility Extended Community ............................9
5.8. Default Gateway Extended Community .........................9
6. Operation .......................................................9
6.1. MAC Address Distribution over Core .........................9
6.2. Device Multihoming .........................................9
6.2.1. Flow-Based Load-Balancing ...........................9
6.2.1.1. PE B-MAC Address Assignment ...............10
6.2.1.2. Automating B-MAC Address Assignment .......11
6.2.1.3. Split Horizon and Designated
Forwarder Election ........................12
6.2.2. Load-Balancing based on I-SID ......................12
6.2.2.3. Handling Failure Scenarios ................13


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Hope for the Methodists
By BTL Staff|2005-11-17T09:00:00-05:00November 17th, 2005|Opinions|
Dear BTL,
In last week's BTL, a reader named Magic wrote a letter decrying that pastor Beth Stroud was defrocked for being a lesbian and calling the leadership of the United Methodist Church a group of bigots. I am a longtime member of the denomination and feel Magic's claim is simplistic and shortsighted.
Yes, the Methodists have policies that bar gay pastors and bar commitment ceremonies (as do many other denominations) but support for such policies is falling. The conference that determines policies had only 54 percent of its delegates approve the underlying doctrine when it met in 2004, significantly down from the same vote at the 2000 meeting. There is hope.
In addition, there are some local churches that specifically welcome LGBT members, including Central United Methodist beside Comerica Park and First United Methodist in Northville. Beth Stroud continues to serve as a lay pastor in her congregation in spite of church policies because that particular church loves all of her. There is hope.
The top court of the church, which confirmed the order against Beth Stroud, also reinstated a pastor in Virginia who had been forced on leave after refusing membership to a gay man. At the same time the court was ruling against us, the Council of Bishops was meeting and quickly put out a pastoral letter affirming that LGBT people are indeed welcome as members. The news report said the bishops were "of one mind" in affirming our place at the table, even if we cannot yet sit at the head of the table. There is hope.
Now that Magic has labeled these same bishops as bigots, what next? Do we gain anything by such a declaration? Does it help our cause? Does such name-calling make it more likely they will turn to us with open arms? Or does it simply allow Magic to say, "I may be gay, but they're a bunch of bigots and I'll never have to deal with them again?" Not everything the United Methodist Church – or any church – says is against us.
We as a community have been burned by the church enough times that it is understandable to give up and do our best to ignore the church or sit back and call them all bigots. But I see a problem. The LGBT community has grown so far away from the church that we no longer speak the same language. We can't explain ourselves in their terms. We throw out the whole church message rather than saying what tiny pieces are hurtful and wrong.
There was a time when I wrote my own letter to the denomination newspaper declaring many church leaders to be bigots. I'm thankful now that it was never printed.


text:
Galina Fjodorowna Romanowa (Romankovo, Dnepropetrovsk, Ucrania, URSS; 1918 - Prisión de Plötzensee, Alemania;  3 de noviembre de 1944) fue una médico ucraniana prisionera del régimen nazi que organizó un grupo de resistencia desde el interior de los campos de concentración nazis de la región de Oranienburg, al norte de Berlín durante la Segunda Guerra Mundial.

Biografía
Galina Fjodorowna Romanowa nació en el poblado de Romankovo en la región de Dnepropetrovsk, Ucrania, su padre fue un herrero que fue asesinado por la NKVD en 1937.  Estudió medicina en la Universidad de Dnepropetrovsk y solo alcanzó a terminar la licenciatura cuando su región fue asolada por la ocupación alemana en el principio de 1942.  Fue tomada prisionera y deportada al Campo de concentración de Sachsenhausen en la región de Oranienburg,  se salvó de la primera selección en ese campo y pasó como médico rotativo en uno de los campos de trabajos forzados satélites de Wildau para prisioneros soviéticos, dando asistencia médica en los hospitales de trabajos ayudada por medio de auxiliares, uno de ellos se llamaba Alexei Kalinitchenko.
Un químico y exiliado soviético llamado Konstantin Konstantinowitsch Shadkewitsch que organizaba la resistencia rusa en los campos de trabajo, le presentó a Georg Groscurth, médico de la Universidad de Berlín que pertenecía secretamente a la Europ%C3%A4ische Union que mantenían contacto con los aliados.

Galina Romanowa organizó una suerte de resistencia entre sus contactos en dichos campos, proporcionando comunicaciones entre los miembros de la Unión Europea de nacionalidad francesa y belga. Los contactos eran simulados bajo el pretexto de consultas médicas. Georg Groscurth fue arrestado por la Gestapo, el 4 de septiembre de 1943 y cometió delación forzada bajo apremio tortura develando sus actividades.

A pesar de todo no fue obstáculo para que Romanowa  no pudiera encontrar un contacto con miembros de la Cruz Roja Internacional sueca, donde preparó un mensaje para ser entregado a los aliados bajo el mismo pretexto.

Finalmente Galina Romanowa y Alexei Kalinitchenko fueron descubiertos el 6 de octubre de 1943, justo cuando el mensaje estaba preparado y fueron sometidos a duros interrogatorios donde su ayudante Kalinitchenko falleció a raíz de las torturas. Tanto Galina Romanowa como Konstantin Shadkewitsch fueron enviados a prisión, Galina Romanowa fue enviada a la prisión de Plötzensee y Shadkewitsch a Brandeburgo siendo condenados a muerte el 27 de abril de 1944, siendo ejecutados el 3 de noviembre y el 30 de octubre de ese año respectivamente, Galina Romanowa murió a los 26 años.

Referencias

Médicas
Mujeres en la Segunda Guerra Mundial
Miembros de la Resistencia alemana
Víctimas de la justicia nazi
Ejecutados de Alemania

redpajama_set_name: RedPajamaWikipedia


The shops on the Disney Dream were open during our Christening Cruise – Media Preview Cruise. The shopping, while still located near the Walt Disney Theatre, has been expanded.
For the Christening Cruise, the only merchandise to be found were two free items, the 1 page program from the Ceremony, and champagne glasses given out at the Sail Away Party. The Maiden Voyage on January 26, 2011 will have a variety of limited edition merchandise.
The stores had Disney Dream Inaugural Merchandise. 2011 will be a year of Inaugural Year cruises.
help needed. When we arrived home, our brand new Inaugural Voages Disney Dream mug was cracked. How can I purchase a replacement?
I love all the info about the new ship…keep it coming! I can't wait until we sail on the DVC Members Cruise in September!!
I love the bag with the rope handles. We are going on the July 24th cruise and we are so excited! I don't know how we will make it until then. Thanks for all the wonderful info, keep it coming.
We sail on March 13th and I'm so excited! I've already seen so many things my husband will be buying for me.
I'll certainly be picking up an inaugural year T-shirt during our cruise in May.
Did I see chocolate truffles mmmm!
We sail February 6th!! I check daily to see these fabulous pictures. We get more and more excited every day.
WOW thanks for posting those pictures. My wife and I are "shopping" through these pics for our March 27th sailing.
Tell me more! Show me more!!!! My cruise is may 22, 2010. I just can't wait any longer!!! And this is going to be my first cruise ever!!! I think I picked the best ship for my 1st!!