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Glossary of Printing Techniques
1. DAUMIER'S PRINTINGS
To see a video on the process of lithography, go to YOUTUBE
Lithographic process
The process of lithography involves several steps: First, the drawing is executed onto a lithographic stone. Then, one to three copies are printed on silky white paper or on ivory paper. These prints are called "avant la lettre" ("before the letter", before text, or artist's proof). These were the ones most sought after by Daumier's friends and collectors. If the proof was satisfactory, the "lettre" was added: the caption, the title, the number of the print etc.
Printing, paper qualities
A series was then printed on thick white paper. These proofs were called "sur blanc" and were sold either individually or bound together as an album for collectors and subscribers. Passeron, in his 1968 exhibition in Blois, France, estimates that approximately 50 prints on sur blanc (wove paper) were carefully printed separately to appear apart from the newsprint as special editions or single collectors' copies. The sur blanc is usually of a far better quality than newsprint. On very rare occasion, the printer used China paper. These extremely delicate prints were beautifully executed in very small numbers. Nearly all of them were mounted on wove paper to give the thin China paper a better support. All of these prints are considered very rare.
Newspaper print
After these preliminary prints, the stone was used to print the 2-3'000 copies for the newspaper edition. For more exact information on the quantities sold, please consult the newsprint section of this website, where information about the CHARIVARI is covered.
Test proofs, Copyright, Censor
Once the censorship system was introduced, the "avant la lettre" print was replaced by two or three copies on fine paper ("papier mince"), the so-called "test proofs". One of them was sent to the copyright office, another one to the censor (once the text had been added), and the third one remained with the printer. The censor usually approved or disapproved of the text within the same day (by writing "oui" or "non" on the proof) , after which the printer gave his approval in handwriting and filed it (for later reference in case he had to prove that it had passed the censor). Each approved lithograph was then registered individually in log-books, with a registration number, date of deposition, title and, if available, name of publisher and artist. Only then the printing process could begin. (Pierre Cabanne, Vilo 1999).
We are showing various proofs, avant la lettre prints, and prints with handwritten captions by Daumier or the texter in the DAUMIER REGISTER ©, the digital Daumier work catalogue on the Internet:
• Prints avant la lettre with handwritten caption, for example: DR1285
• Prints with approval by the censor, for example: DR3634
• Prints signed and dated by the printer, for example: DR3613
In general it may be assumed that the majority of Daumier's prints were executed as follows:
Topics and captions
According to research by AdhĂ©mar, the topics to be treated in the day's print were usually suggested to Daumier by an editorial board which met in the morning to discuss the political situation of the day. They agreed on the theme to be illustrated by the artists. We know that in the case of Daumier, Vernier and Gavarni this procedure was more or less strictly adhered to, while Cham on the other hand was responsible himself for the artistic ideas as well as for the captions of the lithographs he supplied to the paper. Unlike Cham, who wrote his own texts, Daumier almost never supplied the caption himself. This work was usually done by the writers in Aubert's printing shop. We have indication about one of these journalists, Albert Wolf, who received 5 francs for each text, however we also found lower salaries paid to other writers. Other important text writers were the journalists Biais, Cler and Jaime. In the DAUMIER REGISTER © we show photographs of various proofs, avant la lettre prints, and prints with handwritten captions by Daumier or the caption writer.
It sometimes happened that several artists supplied similar lithographs on the same political theme. The editor in chief would then decide which print was to be published. The ones not used were set aside for publication at a later date. This explains why some early numbers on lithographic stones appeared months later, sometimes in a different context.
Lithographic stones
The stones were delivered to the artist on a weekly basis. The artist then made his drawings onto the stone and numbered the stones (most of them) for reference purposes. Unfortunately, the numbering of the stones was sometimes inconsistent. It does however allow us in most cases to understand around which date a drawing was made, independently of its actual publication date, and to what series it might initially have belonged to. Once the stones were used, the drawing was erased and the stone could be used again.
Text editing
Once the a stone was selected for publication, a few trials proofs (sur blanc) were made and forwarded to the text editors (like Jaime, Biais, Albert Cler etc). These journalist would sometimes write the text on the front or back page or add a handwritten note on a piece of paper, which would be attached to the print. Sometimes the artists were able to do their own correction of the prints and a correspondence emanated between editor and artist, showing crossed out first proposals, counterproposals and correction.
Once the text was agreed upon, two or three trial proof copies with text were printed (sur blanc), and at least two were sent to the censor for approval.(except before 1835 and between 1848 and 1852). The printer would sign a copy stating that the print is conform. The censor's office was staffed with civil servants, who in case of doubt had get approval by their head of department at the ministry of the interior. Some of these rare prints can be seen in the DAUMIER REGISTER ©, the digital Daumier work catalogue on the Internet. If the censor did not agree with the caption, the print was sent back and the editor was allowed to change the text and re-submit the print. If the print was rejected, it was (irregularly) filed by the censor in a register. However most of these prints have been destroyed.
Legal depot
Once a print was accepted, a copy of it was entered in the "depot legal" and each approved lithograph was registered with a number, deposition date, title, name of the publisher and artist. During the period of the Second Empire, when censorship did not exist, the prints were immediately printed on newspaper sheets, which already held the Government's tax stamp.
Above two images courtesy of GreatCaricatures.com
The format of the Charivari usually consisted of four pages: The front page showed a political essay by one of the paper's editors. The second page covered local topics. The third page was always reserved for the caricature, and once the format was increased, the text from the first page was continued on the lower third of the third page. The last page was either fully or partially used for advertisement.
The initial subscription price for the Charivari amounted to 72 francs per year for subscribers in the Paris area, while ten years later the price had dropped to 60 francs. It took many years until the paper was finally available in grocers shops, in the beginning one could only subscribe to it or read it in public reading rooms. The readers came mainly from the middle class bourgeoisie.
We can estimate that about half a percent to one percent of Daumier prints have been censored. One must also remember that after the text had been rejected by the censor, the printer had the right, to change it in such a way that no infringement would take place. The print would thus appear with an "adjusted" text, acceptable to the regime.
The entire period of censorship can be divided into various sections:
It is often assumed that the stamps (timbre Royal) visible on prints by Daumier are censorship approval stamps. It should be remembered however that the censorship question of a print had already been cleared before it's publication. The censor had previously seen and rejected or approved the print. In both cases the prints were registered at the depot legal for future reference.
Stamp tax
Papers containing political lithographs or engravings were subject to a stamp tax. This implied that the paper had to be printed on stamped, government approved paper ONLY. (art 6-13). Some of these stamps periodically even showed the value of the stamp. One can understand this also as some kind of censorship, since the government would tax each edition, thus knowing the exact numbers of issues distributed by the publishing house. Apart from this tax the editor had to supply a high bond BEFORE he was allowed to start publishing. The bond served as a guarantee and was confiscated by the Government in case of infringements and non compliance.
Over the period of changing forms of Government the "Timbre Royal" was renamed "Timbre National" and later abolished when a new tax on advertisement appeared.
Daumier's colleagues
These artists worked during Daumier's time at Aubert publishing company:
J.A. Baric
E. de Beaumont
Bertall (A d'Arnoux)
Cham ( Amédée de Noé)
Gustave Doré
Draner (J.Renard)
Gavarni (S.H.G. Chevalier)
Gill ( A.G. de Guines)
Grandville ( J.I.I.GĂ©rare
White (P.Hadol)
Leeroy (V.A.Morland)
Radonensberg (J.Radon)
Stop (P.G.B.L. Morel-Retz)
C. Vernier
Print by HADOL (Charivari of January 2, 1867): Daumier and his colleagues at the Charivari. The title of the caricature is "Carte de Visite du Charivari". Daumier is in the first row, second from left.
The draft is drawn directly to the polished, or grained, flat surface of a lithographic stone, (in the beginning on Bavarian limestone) with a greasy crayon or sharp feather and ink. It is then chemically fixed with a weak solution of acid and gum Arabic. In printing, the stone is flooded with water, which is absorbed everywhere except where repelled by the greasy ink. Oil-based printer's ink is then rolled on the stone, which in turn is repelled by the water soaked areas and accepted only by the drawing. A piece of paper is laid on the stone and it is run through the press with light pressure. The final print shows neither a raised nor embossed quality but lies entirely on the surface of the paper. The design may be divided among several stones, properly registered, to produce through multiple printings a lithograph in more than one color.
A transfer lithograph (French: "autographie") uses the same technique, but the design is drawn on specially prepared transfer paper with a lithographic crayon and is later mechanically transferred to the stone.
A zincography is the same as a lithograph, but using a zinc plate instead of a stone.
Here is an example of a lithographic stone:
This stone is part of a private collection in Switzerland. The previous owner was Z. Bruck. The stone is registered by L. Delteil under Nr 3247. It was used for print in "Le Boulevard" in 1862, and for the special edition of "Souvenirs d'Artistes", a large size sheet with sur blanc prints.
The size of this lithographic stone is 27,7 x 33 cm x 3,5 cm.
For more information on "Lithography" watch this interesting short video on Printmaking Processes
See here an old photograph of chromolithographic printing machines
FIRMIN GILLOT (Brou 1820-Paris 1872) received his patent for "zincography" on March 21,1850. To honor the significance of this inventor, the former rue de la Grotte in Paris was named after Firmin Gillot in 1951 by Pierre de Gaulle.
The common name used for this process was "Gillotage" or "Paniconography". This new system made it possible to engrave any type of drawing, text included, on a zinc plate by use of a fatty ink. An acid was then added to the parts not covered by ink. The resulting zinc relief could be used almost infinitely.
This procedure practically represents the basis of modern photogravure, which started to be successful around the same time. Obviously, the production costs were reduced considerably with this new process. About 270 prints by Daumier were produced in this method. They appeared mainly in the Journal Amusant ( 1864-66) and in the Charivari ( 1870-1872).
It is quite important to make a distinction between the "original" lithographs, drawn from the soft stone, and the "gillotage" produced by Gillot, Marchandeau, Yves et Barret, and Lefman. Some of the prints have been signed by their printers accordingly:
Daumier never drew on a zinc plate, but on a lithographic stone. From the stone, a lithographic proof was produced. Usually a handwritten text was added on a separate piece of paper for the printer.
Once the text was approved, the cliché for the zincography was composed. Finally the zincography or gillotage was produced.
The difference in quality between a lithograph and a gillotage can be quite amazing: DR 3925 by Daumier is here shown as a lithographic proof sample
and in the following picture as a gillotage
In most zincographies the printers placed their marks onto the print (see picture). However where this is missing, it can sometimes be difficult to distinguish between lithograph or zincography. When looking at our example given above, the distinction becomes apparent: a lithography will always be more clear and direct, while a gillotage loses the half tones and details supplied by the stone lithography.
With the development of photolito, the perception changed entirely and a new chapter in printing took its course……
DAUMIER disliked wood-engraving. As practiced during his lifetime, it was frankly and simply a reproductive process: the artist drew on a wood block: skilled technicians, by cutting away with exquisite care a thin layer of wood around and between the penciled lines, put the drawing into relief, so that it could be printed.
Woodblock Print
The concept of an artist using wood-engraving as a creative medium, and cutting the block with his own hands, did not come into general practice until years later. Theodore de Banville tells in his Souvenirs (Paris, 1883) of this hatred of Daumier's for wood-engraving: "He said that he was tired and bored with drawing on wood, and wanted to have nothing more to do with it, that the lithographic crayon alone followed his thoughts, while the lead pencil was stubborn and wouldn't obey him; that finally he had come to look with horror upon this kind of drawing, where nine times out of ten one is betrayed and dishonored by the engraver."
Drawing on woodblock Print
Yet some of Daumier's finest drawings were made on wood. They now exist in no other form than impressions taken from the engraved block, so that we are forced to consider the vignettes as originals, once removed from Daumier. We regret, with Daumier, the inefficiency of wood-engraving as a reproductive process. But it was the only way by which drawings could be printed together with type until photo-engraving was perfected at the end of the century.
The vastly superior process of lithography required a different kind of press than that used for type, and thus books illustrated with lithographs were much more expensive to produce than those which contained wood-engravings. Towards the end of his life Daumier became much interested in a crude form of photo-engraving, Gillotype, and seemed to revel in the camera's precision, for the illustrations so reproduced are among the most freely drawn of his mature style.
Were Daumier working today, undoubtedly his drawings would be reproduced by the perfected photomechanical process used for reproducing newspaper caricatures, and they would be appreciated as drawings, not as photo-engravings. In the same way the illustrations which he made for books were appreciated in their day as drawings, and not as wood-engravings. That is how Baudelaire looked at them. In his "Curiosites esthétiques" (Paris, Calmann-Levy, 1928) he wrote: "Daumier scattered his talent in a thousand directions. Commissioned to illustrate a rather poor medico-poetic publication, the "Némésis médicale" [by François Fabre, Paris 1840], he made some superb drawings".
In all, Daumier did about a thousand illustrations on wood; most of them appeared, usually with the work of other artists, in little pocketsize essays with titles containing the words "Physiology" or "Physiognomy," and which to judge from their number, must have been very popular in the 1840s.
They were serio-comical studies, documentary in a sense, of Parisian types, customs and manners; among the subjects treated we find Parisian cafes, school boys, rich men, lawyers, doctors, musicians, poets, tailors, money-lenders, old maids, hunters and lovers. The most ambitious illustrated book of the period, "Les Français peints par eux-memes", is virtually but a col-lection of similar booklets, published in 422 installments, and forming eight volumes, which were brought to nine by the supplementary "Le Prisme". It is attractive to see in this type of illustrated book, with its emphasis on people and their activities, the forerunner of the picture magazine, which has taken so important a place in modern journalism; and it will not be overlooked that in 1843 the magazine "L'Illustration" was founded.
Yet interesting as these publications are to the social historian, the majority have but slight literary or artistic value, and would be forgotten were it not for the fact that some of them were illustrated by Gavarni, Daumier, Grandville (that almost forgotten artist, admired - so the rumor goes -by Walt Disney) and a host of lesser names. (Beaumont Newhall Source: Parnassus, Vol. 10, No. 5, Oct., 1938, pp. 12-13; 32).
To see a video on the process of wood engravings go to
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Picked up one at a time during a series of years and individually of such comparatively slight importance that few have justified more than the merest passing mention in the BULLETIN, there has gradually been brought together in the Print Room a little group of books illustrated with woodcuts by Daumier that is not without its very real interest for such people as take the nineteenth-century woodcuts seriously as works of art. As a medium for book illustration, the woodcut after having held the floor in the fifteenth century and rivaled engraving in the sixteenth, declined almost to obscurity in the seventeenth and eighteenth, but came back once more into its own in the nineteenth century. Adapting itself so easily to caricature, the century in France is marked by the drawings upon wood of such notable delineators of life and manners as Grandville, Victor Adam, Traviès, Emy, Gavarni, Monnier, and one of the greatest of all illustrators and caricaturists, Honoré Daumier.
It is surprising that so few of the many who have recorded the works of Daumier have given much space to his woodcuts, all being concerned for the most part with his paintings or with the lithographs which appeared in the two Paris dailies, La Caricature and Le Charivari, by which he earned his daily bread. Yet in the medium of the woodcut Daumier was surely at his best. Dropping for the moment the political ferment of the day with its attending choleric attack upon some high dignitary of the law or, at Philipon's request, upon Louis-Philippe himself, Daumier took his material from life about him in the Paris streets and suburbs. Intimate and friendly, for all the touch of malice behind them, the little vignettes decorating the pages of Les Français peints par eux-mêmes, Museum Parisien, La Grande Ville, Némésis Medicale, and Le Prisme (1840-1842) have a spontaneity and freedom that must necessarily have been lost in the daily grinding out of the famed lithographs. Their greatness lies in something more than such attributions of quality as good drawing, technique, brilliancy, and other phrases of print description. Finding drama in the most casual goings and comings of the people about him, Daumier, drawing his social caricatures with an uncompromising hand, shows an amazing, almost psychic penetration into the very soul of the many layers of society of the time. Caustic, satirical, with startling directness he seems so easily to catch the spirit of each of his types. The complacent, wealthy bourgeois, stuffy city official, and unctuous bill-collector are just that-nothing more. He depicts the struggles of the lower classes for existence and with each other with an unsurpassed eloquence.
Daumier has put his finger upon all the bathos and pathos in ordinary living.
Ineffably amusing is the cut from Le Monde Illustré of the family walking through the Egyptian galleries of a museum and, as all three gaze up at a wall-relief depicting a row of animal-headed deities the wife exclaiming, "No, the Egyptians were not beautiful."
Through a series of incidents created by Daumier and afterwards used to illustrate Paul de Kock's La Grande Ville, one can follow the daily life of the bourgeois Parisian from his rising in the morning, his toilet, his way to business or morning promenade, the pause at noon in the garden of the Palais Royal to set his watch by the report from the little cannon, through his afternoon amusements in the Champs Elysées and Bois de Boulogne, to the evening at the theatre and his retiring. In sharp contrast to this smug, well-fed middle class, there are in the same volume the lodging-house inmates at four sous the night. The drawing of the shabby little man sitting on his mattress, back against the wall and smoking his clay pipe, his hat and slippers on the floor beside him while all around him sleep the other "guests," is nothing short of masterly! Riimann in his catalogue sentimentally speaks of these illustrations as the "Sunshine and Rain in Life." In the Némésis Medicale, Daumier helps the author, François Fabre, to take a fling at the whole medical profession from the worthy M. D.'s and sages-femmes to the charlatans on their soapboxes. He depicts crowds swarming into the gates of an Orthopedic Institute, the gruesome ravages of a cholera-morbus epidemic, and the strutting father having the strangely shaped head of his infant prodigy examined by a phrenologist. Will he tell the fond parent that it is not an indication of genius as he has supposed but probably criminal tendencies? And so Daumier goes on through his astounding medley of types.
Sympathetically, almost tenderly it seems at times, he produces with amazingly simple treatment his powerful studies of physiognomies. With what whimsicality he has drawn the two street musicians in Le Monde Illustré or the poet writing in bed in his attic or the groups of art-lovers in the galleries and auction rooms.
Although of the last century, Daumier cannot be held to his period. Not only did he exert a powerful influence upon his contemporaries and immediate followers, for example, Millet and Delacroix, but he continues to be a fertile source of inspiration. He is too great to be anything but eternal and universal. The illustrations of these little books have as much appeal as though they were done by one of our present-day cartoonists.
Take the drawing for Le Bourgeois Campagnard by Frédéric Soulie-the little man in carpet slippers, rake in hand, looking over his spectacles, could easily be one of the droves of commuters in New Jersey or Westchester measuring the sprouts in his own garden against those in his neighbors'. If one replaces the topper by a felt or straw hat in another illustration, one has a man of the twentieth century sitting with his wife on the ridge of a hill gazing out upon rolling fields and turning over in his mind-even as you and I-whether or not life in the country would be as peaceful as this one afternoon of an excursion from town.
Historically these little vignettes are of an importance that is out of all proportion to their size, as can be seen by any one who has looked into the origins of the contemporary revival of the woodcut in France. The modern movement owes its impulse to Lepère, probably, more than to any other one or many men, and as has been pointed out, he found much of the inspiration for his technical innovations in the woodcuts, which Daumier designed in the late thirties of the last century.
It is even believed by a few who are acquainted with the material that nothing done on the wood since the days of DĂĽrer and Holbein is of greater merit, or possessed of stronger lasting qualities. That such an opinion should be possible only goes again to show that the nineteenth century still remains the least known of all centuries in the world of prints.
(The Woodcuts of Daumier. Author: Margaret H. Daniels. Source: The Metropolitan Museum of Art Bulletin, Vol. 21, No. 1 (Jan., 1926), pp. 16-19. Published by: The Metropolitan Museum of Art, New York)
The Museum of Modern Art in New York gives an excellent introduction to printing techniques.Click here to see the short slide show. (opens in a new window)
Three Major Print-Making Processes
Intaglio - The process of incising a design beneath the surface of hard metal or stone. Plates are inked only in the etched depressions on the plates and then the plate surface is wiped clean. The ink is then transferred onto the paper through an etching press. The printing is done with a plate bearing an image in intaglio and includes all metal-plate etching and engraving processes. The reverse of this process is known as relief printing.
Planographic - The process to print impressions from a smooth surface rather than from creating incised or relief areas on the plate. The term was devised to describe lithography.
Relief - All printing processes in which the non-printing areas of the block or plate are carved, engraved, or etched away. Inks are applied onto the protected surface and transferred onto the paper. The reverse process is known as intaglio printing.
Common Print-Making Technologies
Aquatint - Printing technique capable of producing unlimited tonal gradations to re-create the broad flat tints of ink wash or watercolor drawings by etching microscopic crackles and pits into the image on a master plate, typically made of copper or zinc. The majority of Spanish artist Goya's (1746-1828) graphic works were done using this technique.
Blind - Printing using an un-inked plate to produce the subtle embossed texture of a white-on-white image, highlighted by the shadow of the relief image on the un-inked paper. This technique is used in many Japanese prints.
Collagraph - Printing technique in which proofs are pulled from a block on which the artwork or design is built up like a collage, creating a relief.
Drypoint - Printing technique of intaglio, engraving in which a hard, steel needle incises lines on a metal plate, creating a burr that yields a characteristically soft and velvety line in the final print.
Engraving - Printing technique in which an intaglio image is produced by cutting a metal plate or box directly with a sharp engraving tool. The incised lines are inked and printed with heavy pressure.
Etching - Printing technique in which a metal plate is first covered with an acid-resistant material, then worked with an etching needle to create an intaglio image. The exposed met-al is eaten away in an acid bath, creating depressed lines that are later inked for printing. This technique was thought re-, have been developed by Daniel Hopfer (1493-1536). Etching surpassed engraving as the most popular graphic art during the active years of Rembrandt and Hercules Segher in the 17th century, and it remains one of the most versatile and subtle printing techniques today.
Iris or Giclée - A computerized reproduction technique in which the image and topology are generated from a digital file and printed by a special ink let printer, using ink, acrylic or oil paints. Giclée printing offers one of the highest degree of accuracy and richness of color available in any reproduction techniques.
Linocut is printed from linoleum, usually backed with wood for reinforcement. The printed surface has less texture than in a woodcut because of the supple nature of linoleum. The material takes all types of lines, but is most suited to large designs with contrasting tints.
Lithography - Printing technique using a planographic process in which prints are pulled on a special press from a flat stone or metal surface that has been chemically sensitized so that- ink sticks only to the design areas, and is repelled by the non-image areas. Lithography was invented in 1798 in Solnhofen, Germany by Alois Senefelder. The early history of lithography is dominated by great French artists such as Daumier and Delacroix, and later by Degas, Toulouse-Lautrec, Picasso, Braque and MirĂł.
Mezzotint - (mezzo= half ; tinta= tone), a reverse engraving process used on a copper or steel plate to produce illustrations in relief with effects of light and shadow. The surface of a master plate is roughened with a tool called a rocker so that if inked, it will print solid black. The areas to be white or gray in the print are rubbed down so as nor to take ink. It was widely used in the 18th and 19th centuries to reproduce portraits and other paintings, but became obsolete with the introduction of photo-engraving.
Monotype - One-of-a-kind print made by painting on a sheet of metal or glass and transferring the still-wet painting to a sheet of paper by hand or with an etching press. If enough paint remains on the master plate, additional prints can be made, however, the reprint will have substantial variations from the original Image. Monotype printing is not a multiple-replica process since each print is unique.
Offset Lithography - A special photo-mechanical technique in which the image to be printed is transferred to the negative plates and printed onto papers. Offset lithography is very well adapted to color printing.
Serigraphy (Silkscreen) - A printing technique that makes use of a squeegee to force ink directly on to a piece of paper or canvas through a stencil creating an image on a screen of silk or other fine fabric with an impermeable substance. Serigraphy differs from most other printing in that its color areas are paint films rather than printing-ink stains.
Woodcut - Printing technique in which the printing surface has been carved from a block of wood. The traditional wood block is seasoned hardwood such as apple, beech, or sycamore. A modern trend, however, is to use more inexpensive and easily attainable soft woods such as pine. Woodcut is one of the oldest forms of printing. It was first used by the Chinese in the 12th century and later in Europe toward the end of the 14th century.
In the picture you can see a wood block, belonging to a private collection in Switzerland. It is a drawing by Daumier entitled "Au buffet de l'Exposition des Beaux-Arts: Amour de l'Art et de la Côtelette" of June 20, 1868, for « Le Monde Illustré ».
Wood Engraving is made from the end-grain surface of blocks. This surface has no grain and can afford great precision and detail.
Common Art Print Terms
Acid-free Paper or Canvas - Paper or canvas treated to neutralize its natural acidity in order to protect fine are: and photographic prints from discoloration and deterioration.
Canvas Transfer - Art reproduction on canvas which is created by a process such as serigraphy, photomechanical, or giclee printing. Some processes can even recreate the texture, brush strokes, and aged appearance of the original work of art.
Color-variant Suite - A set of identical prints in different color schemes.
Impression - Fine art made by any printing or stamping process.
Limited Edition - Set of identical prints numbered in succession and signed by the artist. The total number of prints is fixed or "limited" by the artist who supervises the printing him(her)self. All additional prints have been destroyed.
Monoprint - One-of-a-kind print conceived by the artist and printed by or under the artist's supervision.
Montage (Collage) - An artwork comprising of portions of various existing images such as from photographs or prints, and arranged so that they join, overlap, or blend to create a new image.
Multiple Originals - A set of identical fine prints in which the artist personally conceived the image, created the master plates, and executed or supervised the entire printing process. Example: etching.
Multiple Reproductions - A set of identical fine prints reproducing the image of an original artwork created by a non-printing process. Example: serigraph of an oil on canvas.
Open Edition - A series of prints or objects in an art edition that has an unlimited number of copies. Original print - One-of-a-kind print in which the artist personally conceived the image, created the master plates, and executed the entire printing process.
Provenance - Record of ownership for a work of art, ideally from the time it- left the artist's studio to its present location, thus creating an unbroken ownership history.
Remarque - Small sketch in the margin of an art print or additional enhancements by the artist on some or all of the final prints within an edition.
Restrike - Additional prints made from a master plate, block, lithographic stone, etc. after the original edition has been exhausted.
Print Types
Proofs are prints authorized by the artist in addition to the limited signed and numbered edition. The total size of an art edition consists of the signed and numbered prints plus all outstanding proofs. If a set of proofs consists of more than one print, numbers are inscribed to indicate the number of the prints within the total number of the particular type of proof, (e,g., AP 5/20 means the fifth print in a set of 20 identical. prints authorized as artist's proofs). Proofs are generally signed by the artist as validation of the prints.
Artist's proof - Print intended for the artist's personal use. It is a common practice to reserve approximately ten percent of an edition as artist's proofs, although this figure can be higher. The artist's proof is sometimes referred to by its French name, Ă©preuve d'artiste (abbreviated E.A.). Artist's proofs can be distinguished by the abbreviation AP or E.A., commonly on the lower left corner of the work.
Cancellation proof - Final print made once an edition series has been finished to show that the plate has been marred/mutilated by the artist, and will never be used again to make more prints of the edition.
Hors Commerce Proof - Print identical to the edition print intended to be used as samples to show to dealers and galleries. Hors Commerce (abbreviated H.C.) proofs may or may not be signed by the artist.
Printer's proof - Print retained by the printer as a reference. Artists often sign these prints as a gesture of appreciation.
Trial proof - Pre-cursor to a limited edition series, these initial prints are pulled so that the artist may examine, refine, and perfect the prints to the desired final state. Trial proofs are generally not signed.
Common Abbreviations used in Art
2nd ed - Second edition: prints of the same image as the original edition but altered in some way (as in change of color, paper, or printing process).
2nd st. - Second state. prints of proofs which contain significant changes from the original print.
AP - Artist's proof.
Del - (Latin, deleavit) He (she) drew it. Generally inscribed next to the artist's signature.
E.A. - (French, Ă©preuve d'artiste) An artist's proof.
Exe or Imp - (Latin, excudit) He (she) executed it. The meaning is synonymous with (Latin, impressit) he(she) printed it.
H.C. - (French, hors commerce) Prints from an edition intended to be used as samples to show to dealers and galleries.
Inc. or Sculp - (Latin, incidit) He(she) cut it. The meaning is synonymous with (Latin, impressit) he(she) carved it. These abbreviations refer to the individuals who engraved the master plate.
Inv, or Invent - (Latin, invenit) He(she) designed it. Generally inscribed next to the artist's signature.
Lith. or Lithe - "Lithographed By". Usually follows the name of the printer of the lithograph.
Pinx. - (Latin, pinxit) He(she) painted it. Generally inscribed next to the artist's signature.
PP - Printer's proof .
TP - Trial proof.
Photographic Terms
Albumen - The most popular photographic print f~rom 1855 to 1890. Albumen positive prints are made on paper coated with frothy egg white and salt solution and sensitized with silver nitrate solution. The print is then finalized by exposure to sunlight through a negative.
Carbon Print - The first permanent photographic printing process used between 1866 to 1890. Made in three different tones: black, purple-brown, sepia. It is made by using 3 layers of stable pigment in registration on top of each other and requires a minimum of 12 hours to create a single print. Carbon prints are highly sought after and rare.
Cibachrome - A positive print process known for its sharpness, rich color saturation, and permanence. Unless interpositives are made, these prints are made from slides and transparencies, never from color negatives.
Daguerreotype - The first practical photo process invented in 1838 in which an image was formed on a copper plate coated with highly polished silver. Following exposure, the image is developed in mercury vapor, resulting in a unique image on metal that cannot be used as a negative for replication.
Dye Transfer - A high-quality color photographic printing technique involving the transfer of dyes from three separately prepared images onto a single sheet of paper in exact registration. Though costly, this process produces prints with sharp registration, rich color saturation and great longevity.
Evercolor Pigment Transfer - developed by Evercolor using four layers of separate color transfer, cyan, magenta, yellow, and black, in registration to create prints. This very costly process creates very realistic and sharp images which attain three dimensional quality when displayed. Prints done in this process are highly sought after and rare.
Fujicolor Print - Developed by Fuji Film of Japan, Fujicolor prints have the best color gamut and extreme longevity. It was developed originally for 1 hour processing. When used with the light jet printer, this process achieves amazing color saturation, contrast control and extreme sharpness.
Photogravure (Gravure) - Started around 1879, a print process using copper plates. The plate is sometimes chrome plated to insure sharpness and continuous tones throughout the edition. This is a very complex and exacting photo process which produces great longevity.
Photomontage - A composite image made by joining together portions (or all) of more than one photograph to synthesize a unique image.
Plate - Usually a glass or metal sheer coated with light-sensitive emulsion that: is intended to receive the image through the aperture of the lens of a camera when inserted into the camera.
Platinum Print (Platinotype) - A print formed by exposing a negative in contact with payer that has been sensitised with iron salts and a platinum compound. This process is highly prized for its unique cones, high color saturation, exceptional details and beautiful papers. It is a highly permanent and costly process.
Silver Gelatine - A high-quality, black-and-white photographic printing technique in which a natural protein is used as a transparent medium to hold light-sensitive silver halide crystals in suspension, binding them to the printing paper or film, yet allowing for penetration of processing solutions. Made famous by photographers like Weston and Adams, these prints require incredible skill to achieve the rich black and white contrasts while maintaining the subtle grey tones and amazing details throughout the image. Popular from 1920s to present.
Other Terms
Holograph - Holograph comes from the Greek words "holo", meaning whole and "graph", meaning message. The combination means "the whole message" which is exactly what the holograph gives the viewer. A Holograph is a "reflective holograph" requiring only an ordinary uncoated light bulb on one side of the film plate to become a magical window displaying three dimensional visions of objects. These objects shift position and perspective exactly as they would if they were really there, where they only appear to be.
(Glossary of fine art terminology: With kind permission of HERNDON FINE ART, Albuquerque, New Mexico)
For more information on "printing technology" go to WIKIPEDIA
6. Daumier Ă la BNF
Glossaire par Monique Moulène
La technique lithographique
Image multipliable obtenue par tirage à partir d'un support gravé ou dessiné, tel qu'une planche de bois, une plaque de métal, ou une pierre lithographique. Cette matrice, encrée et passée sous une presse, s'imprime sur une feuille de papier ou sur un autre support. Le terme s'applique à toutes les techniques : bois, taille-douce, lithographie.
Procédé inventé entre 1796 et 1798 par l'allemand Aloys Senefelder (1771-1834). Après la gravure en relief ou en creux, la lithographie est une technique d'impression à plat (ou planographique). Elle est fondée sur la répulsion naturelle de l'eau face à un corps gras. Sur une pierre calcaire polie et plus ou moins grainée, on dessine à la plume ou au crayon. Le gras de l'encre ou du crayon est fixé sur le support grâce à un apprêt chimique de sa surface à l'aide d'une solution acidulée et de gomme arabique. Sous la presse à imprimer l'encre grasse d'imprimerie est acceptée face à la trace grasse du dessin et rejetée partout ailleurs où la pierre est seulement mouillée.À la place de la pierre, le support peut être une plaque de zinc. Le résultat obtenu est alors une zincographie.
Gillotage ou panicographie
Procédé de photogravure créé en 1850 par Firmin Gillot (1820-1872). À partir d'un dessin au trait réalisé sur une pierre lithographique, dont le cliché est reporté sur une plaque de zinc mordue à l'acide et encrée à plusieurs reprises, il permet d'obtenir une matrice utilisable en typographie, en même temps que le texte. À ses débuts, ce procédé, d'un usage délicat, est seulement utilisé pour la reproduction de dessins ou gravures au trait. Il sera amélioré par Charles Gillot, fils du précédent, pour être appliqué à tous les dessins en utilisant des effets de trame.
270 estampes de Daumier ont été produites selon cette méthode, publiées essentiellement dans Le Journal amusant (1864-1866) et Le Charivari (1870-1872).
La description de l'épreuve
Exemplaire imprimé à partir d'une matrice. Des épreuves peuvent être réalisées tout au long du travail. Elles portent différents qualificatifs :– épreuve d'état : tirée en cours de travail, elle permet au graveur d'apporter des corrections ;– épreuve avant la lettre ou avant-lettre : ne comportant que la figure, avant toute inscription écrite sur ou sous l'estampe ;– épreuve avec lettre ; – épreuve annotée : comportant des annotations manuscrites. Le tirage des épreuves est effectué sur différents supports en fonction de leur destination.
Différents papiers peuvent être utilisés pour le tirage d'une estampe en fonction de l'effet escompté.Le processus de tirage des estampes de Daumier comporte plusieurs étapes.Les épreuves d'essai :– 1er état avant la lettre : les premiers tirages sont effectués à 1, 2 ou 3 exemplaires sur un papier blanc, assez fort, avant la lettre, à titre d'essai. Une épreuve est donnée au journaliste chargé de rédiger la légende ;– 2e état avec la lettre : tirées à 1, 2 ou exceptionnellement 3 exemplaires sur papier mince, ces épreuves sont destinées à la correction éventuelle de la légende, au certificat de tirage (on parle d'épreuve certifiée conforme au tirage ou d'épreuve en certificat de tirage) et au visa de la censure. Les épreuves définitives. Si la censure a donné son accord, on procède au tirage définitif sous deux formes :– les épreuves sur blanc, épreuves de qualité, tirées à un petit nombre d'exemplaires (20 à 150 épreuves selon les sujets), parfois réunies en albums pour des souscripteurs ou des collectionneurs, sont rares (surtout après 1860) ;– les épreuves destinées à la publication dans les journaux (tirées à 2 000 ou 3 000 exemplaires) ; on parle par exemple d'épreuves du Charivari ou d'épreuves en Charivari.
Une étape dans le tirage d'une estampe avant une modification. Chaque correction apportée, même minime, fait passer l'estampe d'un état à un autre, numéroté 1er état, 2e état, etc.
Dans l'œuvre de Daumier, il s'agit d'épreuves coloriées. Les couleurs, à base de blanc d'œuf et de gomme arabique, ne sont pas apposées par Daumier, mais par des coloristes selon un modèle de coloris qui leur sert de guide. On doit à Édouard Bouvenne plusieurs modèles de coloris pour le coloriage de lithographies de Daumier.
Inscriptions imprimées en marge de l'estampe, à l'exclusion de la signature ou du monogramme de l'artiste et de toute information manuscrite. Il peut s'agir d'un titre, d'une explication, d'une date, d'une devise, d'une dédicace ou du nom de ceux qui ont participé à la réalisation de l'estampe.Les participations des auteurs sont présentées de manière codée :– «sc » ou « sculp» (= sculpsit) désigne le graveur en taille-douce ou sur bois ;– «fec. » ou « fecit » désigne l'auteur de la gravure ;– «lith. » ou « lithogr. » désigne le lithographe ou l'imprimeur-lithographe ;– «del. » (= delineavit) désigne l'auteur du dessin qui a servi de modèle pour la gravure, mais aussi le lithographe ;– «inv. » (= invenit) désigne l'auteur de la composition gravée, peintre ou dessinateur ;– «pinx » (= pinxit) désigne le peintre, auteur de la composition modèle de l'estampe ;– «imp. » ou « impr. » ou « impr. lith. » désigne l'imprimeur, souvent suivi de l'adresse ;– «exc. » (= excudit) désigne l'éditeur. Au XIXe siècle on trouvera plutôt «Ed. …» ou «Maison …» ;– «procédé…» désigne un procédé photomécanique.La lettre chez Daumier comporte en général le nom de l'imprimeur et de l'éditeur, le titre de la série au-dessus du motif ainsi que le numéro, la légende de la pièce, souvent assez longue, qui sert de titre d'usage. Les principaux imprimeurs des lithographies de Daumier sont, dans l'ordre chronologique : Ratier, Delaporte, Delaunois, Becquet, Bénard, Junca, Aubert, Bertauts, Trinocq, Destouches, Walter. Par le nombre de pierres imprimées, Aubert l'emporte largement pour la première moitié de la carrière de Daumier (avant 1851) et Destouches pour la seconde.
Texte, écrit ou gravé, pour donner un titre et éventuellement expliquer le sens du motif.Les légendes des œuvres de Daumier, en général assez longues, sont rédigées par des journalistes comme Jaime, Biais, Huart, par Philipon ou, plus rarement, par Daumier lui-même.
Signature et monogramme
Outre les signatures des différents participants désignés par les termes latins dans la lettre, on trouve couramment, dans le motif, la signature de l'artiste lui-même ou son monogramme composé généralement de ses initiales.Daumier a utilisé plusieurs signatures et monogrammes (le plus souvent «h. D»). Il a aussi utilisé le pseudonyme «Rogelin», pour une caricature de Louis-Philippe, en forme de poire, en 1832
La diffusion des estampes
Rétablie par un décret de Napoléon en 1810, la censure sera supprimée (1819, 1824, 1828, 1830, 1848) et rétablie (1820, 1827, 1830, 9 septembre 1833, 1852) alternativement durant le XIXe siècle, jusqu'à son abolition, en 1881, par la loi qui établit la liberté complète de la presse. Avant publication donc, une épreuve d'essai avec la lettre était présentée à la censure qui donnait sa réponse dans la journée. Si l'approbation était donnée, par la seule mention « oui », l'imprimeur reportait à la main l'autorisation et enregistrait la pièce. Le tirage pouvait alors commencer pour publication.
Dépôt légal
En vertu de la loi sur le dépôt légal, un ou plusieurs exemplaires de tout imprimé mis publiquement en vente ou en distribution doit être déposé à la Bibliothèque nationale. Cette disposition s'applique à l'estampe depuis 1632. Les pièces déposées sont donc enregistrées à la date du dépôt et conservées au Cabinet des estampes, devenu depuis département des Estampes et de la Photographie, de manière inaliénable comme l'atteste l'estampille apposée sur chaque pièce.
Catalogue raisonné
Liste complète des œuvres d'un artiste, décrites précisément, numérotées. Ces catalogues servent de référence pour l'étude de l'œuvre. Une première esquisse de catalogue raisonné des œuvres de Daumier est réalisée par Arsène Alexandre dès 1888. D'autres viennent ensuite pour l'œuvre lithographique : par Champfleury en 1878, puis Loys Delteil en 1906 avec des rééditions en 1926 et 1969, enfin par Dieter et Lilian Noack sur un support électronique en 2004. Le catalogue raisonné des gravures sur bois a été établi par Eugène Bouvy en 1933 ; le catalogue des dessins et peintures par Karl Eric Maison.
Catalogue descriptif des œuvres d'un artiste au sein d'une collection. L'œuvre de Daumier est décrit, en particulier, dans l'Inventaire du fonds français après 1800, t. V, rédigé par Jean Adhémar, conservateur au Cabinet des estampes de la Bibliothèque nationale, en 1949.
7. Daumier Print Connoisseurship - A Guide to a New Guide
Harris Schrank, a Daumier collector from New York and frequent user of the Daumier Register has written an excellent "users guide" about our internet catalogue raisonné intended to make life easier for fellow collectors. We are copying it here below without adding anything. The guide speaks for itself and we can only hope that this attractive "manual" will catch the attention of many collectors. Congratulations on an exceptional work!
Daumier Print Connoisseurship - A Guide to a New Guide
The prints of Honoré Daumier have long been admired and sought after by art lovers. His lithographs of 19th Century French political and social life are wonderful examples of great draftsmanship, and they're funny, fascinating and instructive as well. Print collectors are often surprised to learn that many of Daumier's 4000 or so original lithographs can be bought at relatively modest prices, perhaps a few hundred dollars or less, although some of the more sought-after images can cost thousands. But as in all areas of fine print collecting, it's essential - and fun - to learn about the prints before investing in them. Now a new facility is available to help Daumier lovers become Daumier connoisseurs: The Daumier Register
The Daumier Register is the result of years of study and scholarship undertaken by Lilian and Dieter Noack. The Noacks have created a massive catalogue of the Daumier lithographs - called the Daumier Register - which is available free, online (just hit Daumier Register on your search engine). You need only register with your email address and a code to have access to this valuable catalogue raisonné.
How the Daumier Register Works
To demonstrate how the Register can help you find out about a particular Daumier print, let's take just one example. Here's the print:
There are many ways to find it in the Register. Perhaps the easiest is simply to search for the series, which in this case is Les Saltimbanques, shown at the top of the lithograph. Under this series the Register shows us the picture of three lithographs (there were three in this series), and we can immediately turn to the picture of our print. We see that the Daumier Register (DR) number for this print is 620. Now let's look at some of the categories of information we're given for this (and every) print.
Technical Details
The technical details are straightforward - we see the size of the image (8.9 x 10.31 inches), and that it's a lithograph. If the size of the print you're considering, or have, is different from this size, your print may not be an original.
Publication Details
Here we see that the print was published in the journal Caricature (and the dates are shown), and also in the journal Charivari. In the main body of the website these journals are described at length.
State Details:
This section describes the various states (changes made in the lithographic stone where at least one impression was printed) there are for this print. Before the DR it was thought that there were 4 states, but the Noacks discovered a fifth (where a new address was added in the letters section). The first state is described as very rare - it's before any letters. Our impression pictured corresponds to the DR state two (of 5); it has letters below the image, but it's before an address at the lower right. In this state it was published in Charivari, and also some sur blanc impressions were made (with no newsprint on the reverse); ours is a sur blanc impression. As explained in the DR website, the sur blanc impressions were made in limited numbers, for collectors.
Collections Details
This shows the collections which the Noacks have reviewed which have this print. In this case about two dozen institutions, and some private collectors are named! In each case the state of the print, the type of paper used, and in some cases even the provenance of each impression is given. For example, two impressions were found in the Museum of Fine Arts in Boston, one in the second state on wove paper (probably resembling ours), and another in the third state on newsprint (with newspaper print on the back of the print); and the provenance of each is the Babcock collection.
Here's where the DR is astonishing - it gives background details on each print, enabling the viewer to appreciate what's going on. In this case each of the characters in the puppet show is identified - the writer Victor Hugo, the musician Berlioz, and three others; and their relationship to Daumier is discussed (e.g., Daumier had a strained relationship with Hugo, etc.). Even the hats of the characters are named and discussed, so the viewer can get a better sense of what Daumier was portraying.
Here the DR does us another great favor, by translating the text at the bottom of the lithograph. This is not as easy as it appears, for 19th Century French had lots of idioms and special references unfamiliar to us today. In the case of our print, the translation is: Here you see the great celebrities of literary, musical, and artistic France. They are 36 feet tall - measured below sea level.
I've mentioned the importance of the catalogue raisonné in some of my other guides on fine print collecting - a good catalogue can be an extraordinary aid in assessing the authenticity, state, rarity, and aesthetic and social context of a print. In the case of Daumier, we now have in the Daumier Register an invaluable tool to help the collector understand Daumier lithographs. And in addition to the information given on each print, the Register also references the extensive Daumier website which explains in depth various aspects of Daumier's life, the political and social context of France, how Daumier prints were made, published and marketed, and how to make sure a Daumier lithograph is indeed authentic. The DR and its complementary website are a great step forward in Daumier scholarship, and all Daumier enthusiasts - including prospective Daumier collectors - can thank the Noacks for their splendid efforts.
Thank you Harris for this great help!
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text:
Sweet beautiful sad lovely rapturous heavenly shoe gazing god, Elliott Smith.
"I'm so sick and tired of trying to change your mind, when it's so easy to disconnect mine, high times, high times, yeah I feel fine."
There's reasons this guy is missed and loved so much. That soft, sincere voice, the abundant flow of quotable lines, and something else, harder to describe, which sets him apart. Smith left us too soon, but his work remains one of those things that makes life more enjoyable.
Elliott Smith
"High Times" (mp3)
from "New Moon"
(Kill Rock Stars)
Need more!

subset: commoncrawl


text:
Consultant Details
Eaton, Ms. Donna
Speciality: Thoracic Surgery
Secretary: Aisling Whyte
Clinic Times: Every Wednesday and Friday
Telephone: 087 118 0155
Fax: 01 514 3777
Email: email@example.com
Professional Profile
Prior to taking up her Thoracic and Lung Transplant Consultant post in Ireland Ms Donna Eaton trained in internationally recognised specialist thoracic units in the UK (including The Royal Bromptom & Harefield Trusts and Heartlands Hospitals). She was awarded an International Fellowship in Advanced Thoracic Resection and Lung Transplantation at Toronto General Hospital in 2011. On her return she completed a further Minimally Invasive Fellowship at Heartlands Hospital, the largest tertiary referral unit for Thoracic Surgery in the UK. Donna has extensive experience in minimally invasive surgery including thoracoscopic (VATS) and robotic surgery (RATS). She uses minimally invasive technologies for a wide variety of lung cancer resection, mediastinal surgery and specialist thoracic procedures.
Since taking up practice in Ireland in 2013, she has expanded the range of minimally invasive surgery techniques offered to patient in the Republic. She was the first surgeon in Ireland routinely offering thoracic robotic surgery and offers a number of specialist procedures which had previously not been offered within Ireland. Donna's specialist surgical interests include surgical interventions for cardiac arrhythmias, both atrial fibrillation (AF) and life threatening ventricular arrhythmia (prolonged QT and ventricular tachycardias) and thoracoscopic ligation of the left atrial appendage (this reduces the risk of stroke in patients with AF). She has a specialist interest in emphysema surgery, performing lung volume reduction procedures, including minimally invasive surgery (both thoracoscopic and robotic) and endobronchial valve replacement. She was recently appointed the Head of Thoracic Surgery Department at the Mater Misericordiae University Hospital and is the lead for Robotic Thoracic Surgery in the unit.
Donna completed her research and was awarded a PhD in Molecular and Cellular Biology from Kings College London, she published a number of high impact peer reviewed articles during her research and continues an active research and publication portfolio. Her current research interests include extensive pleural decortication for mesothelioma and lung volume reduction. As one of the few surgeons internationally offering specialist denervation techniques she has published on her experience and been invited to present Internationally at the Asian Cardiology Symposium in Singapore later this year.
Special Interests
Specialist interests/research interests include minimally invasive surgery (Thorascopic and Robotics), lung cancer surgery for both curative lung resection and symptom control.


text:
Going along with today's release date announcement, Alvion has shared a third promo video for Malicious. This one has just a bit of story and setting information before the combat begins.
But this barely looks like a downloadable title.
Man, I hope this will come over here. I'd gladly buy it.
this is a psn game!0.o, i will get it if its going to be release in Europe


text:
Originally published March 22, 2013 at 12:01 PM | Page modified March 25, 2013 at 5:55 AM
Build LLC designs Bellevue contemporary that stands alone
Living in the lone contemporary in a new development filled with Craftsman homes bothers the homeowners not one bit. They love their home and the lot it sits on.
Pacific NW associate editor
IF YOU ARE invited to Jay and Larissa Massena's for dinner, you will have no trouble picking out their place. On their Bellevue street, one of these things is not anything at all like the others.
Theirs is the lone little contemporary at the end of a line of cobblestoned Craftsman boxes. As if to say, "I'm over here!" its cherry-red wing wall reaches for the sidewalk like an eager handshake.
The Massenas, in a unique turn of events, were the first to buy and build in Parkland Estates, a new development originally for modern homes. The economy and local codes, however, foiled those plans, and covenants were loosened.
But that doesn't bother the Massenas. "We joke that we look like the neighborhood rec center," Jay says over the rat-a-tat-tat of nail guns in a neighborhood rising so fast you'd think it was yeast-raised. They consider themselves to be lucky, living in their perfect home on the perfect lot.
Credit, however, goes more to (home)work than luck, and their choice of the team at Build Llc. to both design and build their 2,400-square-foot home with three bedrooms and 2 ½ baths. "We really did due diligence to find the right architect and builder," Jay says. "For starters, I have a background in software, and if a firm's website was not functional, that mattered. But, in everything we chose, we wanted to reduce risk. We ended up on budget, and we had our whole contingency fund left."
The Massenas had not intended to build at all. For years they rented in Fremont and searched for an affordable Seattle contemporary. Larissa commuted to Microsoft.
"We realized that if we were going to get what we wanted we were going to have to build," Jay says. "We like Bellevue. We have easy access to everywhere."
Then there was the matter of the lot. "We looked for about three years," Larissa says. "We were very patient, and we were rewarded."
Design began in January 2011. The Massenas moved in May 2012. The couple documented the entire process at www.massenamodern.com: "We recently made a classic mistake that cost us a bucket of money, and if we can help you avoid the same awful blunder, it will take a little bit of the sting out of it. Now we realize this isn't about world peace or saving lives... it's far bigger than that: Choosing The Right White."
The white paint is now right, and the Messanas are seated in their living room, a place awash in light and color (thanks to Jay's interior-design choices and an art degree from Cornish College of the Arts). It sits cantilevered to the woods, the back of the home a window to the wildlife there.
With due diligence came requirements: "The house had to be approachable and warm," Jay says. "It had to be efficient in size, and it had to take into account how we use energy. The house had to be low-maintenance."
Now that their home is complete (with landscape design by Darwin Webb, small grasses, delicate birches, wispy bamboo, fat gabion walls) the Massenas have this advice: "Describe to the architect how you live, not what kind of house you want. That's like describing to the surgeon how to do your surgery.
"The way to preprogram your project for success is to choose good people. This is not a $5 million house. It's not a modern house in Seattle. It's a family home."
Rebecca Teagarden writes about architecture and design for Pacific NW magazine. Benjamin Benschneider is the magazine staff photographer.


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Assalamu'alaikum !! ^^Heyyoo !!
Based on the tittle, "Model Wannabe"
Yaa, I ever really wanted to be a model..
Since childhood, I've tried to join any competition, but then, not really..
But now, I STILL WANNA BE A MODEL ! haha XD
Fashion model, runway model, magazine, yaa any kind of that ;p
|Me, posing XD
After a very very very long time..
Finally I can walk like a model in a real "time" haha
The event hasn't yet held, but it will, insyaAllah :D
H-5 to the day..
It's held by HSCI with "HSC Model Hunt" in 1st Anniversarry of HSCI..
|25 of semi-finalists
|10 of finalists
And I get more education about model, about how to walk and behave in the runway,
we teached by Hesty :)
I really enthusiastic when I first knew about this event.. However, I can walk on the runway and wear some nice clothes by some famous designer.. Such as Hannie Hananto and Najua Yanti .. :)
I really have "another" experience from the first and the process to the final..
and the final come closer, 5 days again..
I wish we all can show the very best of us..
WIsh us luck ! ;)
This is some photos of us :D
8 of finalist + Hesty


text:
For the last 15 years or so I have been writing down the movies I hear about, read about or see reviewed and think to myself "I'd like to watch that".
Currently there are 219 movies on that list.
I have decided the time has come to start at the beginning and watch them all. So I decided to write about the experience.
I think there will be a few hurdles. Namely time to watch movies and children being about the house wanting to watch TV themselves. We have two TVs but the kids like to watch with me so I will be trying to get through a few of these after they've gone to bed.
Another problem is that I thought some of these movies were interesting up to 15 years ago. I have changed a lot in 15 years as have my experiences. For example I didn't have children 15 years ago so I could watch the nightly news without crying, not anymore. So I tend to choose jollier things to watch now than I used to. No sad French films for me thanks.
I have always loved action films so a few are sure to be pretty trashy low brow too. Yay! My favourite. (I'm serious action is my favourite.)
I had thought to look up all the random names I've written down on imdb but I think it will be more interesting watching them knowing as little as possible.
My movie list started as a piece of paper on my fridge but now has it's own book that I am constantly adding to (which is both exciting and depressing because I hardly ever end up watching them… until now!).
Well, tonight I'll be watching Intacto which is second on my list as I can't find a copy of Kaante with English subtitles. I think Intacto is in Spanish but maybe French. I hope it's not in French because I'll probably cry.


text:
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- Contract Management
- Document Management
- Email Management
- Legal Case Management
- Task Management
- Time Tracking
- Trust Accounting
- Billing Management
- Calendar Management
- Case Notes
- Client Management
- Communication Tracking
- Conflict Management
- Corporations
- Court Management
- Discovery Management
- Docket Management
- Document Management
- Expense Tracking
- Government
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- Records Management
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DPS Software Reviews
A very flexible system
Likely Extremely
Comments: What we liked most about DPS Outlook Office- the case management system from DPS- was the ability to amend templates fairly easily without needing a team of technical staff. You don't have to be particularly technical in order to do this and you don't have to keep clicking through screens to amend the product. The Outlook integration which links emails to files automatically was another big plus of the system.
An exciting company and product
Comments: DPS are an exciting company. They're always re-inventing themselves and trying to push their case management software with ideas. More importantly, they listen to their clients and discuss potential ideas with them. DPS will consider your particular business and what modules of their software fit with you.
A very good Personal Injury case management software
Likely Extremely
Comments: The case management software is really easy to use. We can drag and drop emails straight into files which are easily accessible within Microsoft Outlook. As PI solicitors, we are also very pleased about the system's integration to the MOJ portal.
Vendor Response
by DPS Software on November 02, 2016
Thank you very much.
Excellent System
Likely Extremely
Pros: Ease of use
Cons: Not as much functionality as the Citrix based system but can see its only a question of time
Overall: Spitfire's ease of use and speed make it one of the more attractive CMS' I have ever used. Even in zones where wifi is poor the speed of it left me very impressed. The functionality and level of detail provided also left me very impressed. I cannot recommend it enough.
Razor sharp technical support for the Outlook-integrated CMS
Comments: DPS`s after-sale service is very good. They really do what they say on the tin. The transition to DPS was a revolutionary change for us.
Vendor Response
by DPS Software on November 02, 2016
Thank you kindly.


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Gay Rep. David Cicilline won re-election to Congress on Tuesday from Rhode Island.
Cicilline, a former two-term mayor of Providence, should have had a relatively easy race for a second term in office in a district where Democrats outnumber Republicans by a 3 to 1 margin, according to most political observers in Rhode Island.
But the openly gay Democratic congressman became the target of intense criticism by both Republicans and many Democrats last year when news surfaced that he allegedly concealed a $110 million or greater budget deficit for Providence during his last year as mayor.
Earlier this year, Cicilline apologized for a remark he made while campaigning for his first term in the House in 2010 that Providence's finances were in "excellent" shape, saying his choice of words was not accurate.
Anthony Gemma, his challenger in the Democratic primary, raised the Providence fiscal issue as a major part of his campaign. However, Cicilline won the primary with 60 percent of the vote, leading some to believe that voters might not hold the Providence budget shortfall against Cicilline, who argued that it was due mostly to the national recession and a large cutback in city funding by the state government.
Doherty, however, raised the issue in the general election campaign, saying Cicilline's handling of the city's fiscal issues raised serious questions about his character and credibility.
Ray Sullivan, campaign director for Marriage Equality Rhode Island, a statewide group advocating for a same-sex marriage law before the state legislature, said that while Doherty expressed opposition to same-sex marriage, neither he nor his campaign raised same-sex marriage or other LGBT issues to attack Cicilline.
Cicilline is a strong supporter of marriage equality and is a co-sponsor of a House bill to repeal the anti-gay Defense of Marriage Act. He's also a co-sponsor of all other LGBT supportive bills pending in Congress, including the Employment Non-Discrimination Act, or ENDA.
Sullivan and others supporting Cicilline said Doherty, while steering clear of gay rights issues, unleashed a barrage of negative TV ads attacking Cicilline on non-LGBT issues. One accused Cicilline of having ties to a child molester and murderer whom Cicilline represented in court more than 20 years ago when he worked as a defense lawyer.
"What do a child molester, a murder and a violent attacker all have in common? Defense attorney David Cicilline," said the narrator of the ad, which was paid for by the National Republican Congressional Campaign Committee.
The Democratic Congressional Campaign Committee said the ad represented the worst form of "gutter politics." Other Cicilline supporters denounced the ad for seeking to link Cicilline to the acts of criminals that lawyers have a duty to represent in court under the nation's criminal justice system.
Six months ago, prior to the Democratic primary, polls showed Cicilline trailing Doherty by more than 10 points, but by early October Cicilline made what some called a remarkable recovery, gaining a six point lead over Doherty. But following the attack ads by Doherty in October, Cicilline's lead narrowed to just one point less than a week before the election in what most pollsters called a statistical tie.
Former President Bill Clinton was among a long list of prominent Democrats who endorsed Cicilline. The Providence Journal, which endorsed Cicilline two years ago, endorsed Doherty this time.


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TWIN Terry and Jerry Lynn
Homecoming 2Jan-2Feb 2013
david lusk gallery, memphis
About the artist
Terry Lynn was born in Memphis TN and grew up in Arlington. He began showing his paintings at Gestine Art gallery on Beale street. He enrolled in architectural technology before studying for a BFA at the University of Memphis, where he received a BFA. Terry collaborates on art with his twin brother Jerry under the signature "Twin". His twin and he have shown in many solo and group exhibitions and have been collected worldwide.
Terry Lynn has used sculpture, painting and installations to explore the complexity between art and life. "I'm interested in the land, figure, place, and time. " Art is life, and life is art," Terry's art challenges traditional beliefs through his artistic choices.
Terry honed his labor extensive approach as a teenager while working as a laborer with his brick mason grandfather. He developed a painterly stroke from working with his father painting and remolding homes. " I learned the value of hard work and a work ethic at a very young age ....I spent hours practicing and improving my craft ...I remember listening to families stories of how things use to be." Inspired by those narratives and personal revelations he creates work that evoke and challenge the viewers memories and emotional response.


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Friday, December 14, 2007
Is Fat Discrimination Real?
I mentioned that when I got up past about 250 pounds, I felt I was treated differently. Strangers were not as friendly. People didn't strike up as many conversations with me. Men didn't hold the door for me as often. I felt I was not taken as seriously when I was 278 pounds.
I'd like to take a little informal poll. What do you think? Are you treated differently at different weights? Some folks said no. They said that people treat them the same at every weight, and they still get friendly smiles and doors held for them just as much as when they were lighter. It was offered that perhaps the difference is not in how strangers perceive US, but how we perceive OURSELVES. When we are fat, do we withdraw? Not smile as much? Maybe look at the floor instead of into people's eyes, or EXPECT to be treated differently and so we are? Or are we treated differently just because of our weight? What has been your experience? I'd love to hear your experience and thoughts in the comments section.
Personally, I felt that at a higher weight I still tried to make eye contact with people but strangers were more likely to look away. As a thin person, people smiled and said hi as I passed. As a fat person, often I look at their faces to say hello and they are looking the other way. Is it because our mothers taught us not to stare? Are they not looking because I am so fat that they might stare? Hmmm. I don't know. I do know this. I have been taking my toddler to Storytime at the library once a week for over a year now. All this time, most of the same parents and kids come each week. I have tried to be friendly. Even when it was utterly painful for me to sit down on the floor with my child, I smiled and said hi. But no one ever really seemed to want to chat. I saw other moms getting to know each other but for some reason I felt left out. For a year I have thought, I would like to make some friends at story time. Why do I feel ignored? I was definitely, by far, the fattest mom in the room every week. I missed the last 2 weeks. This week I showed up. I have lost 37 pounds from when I started going. And today, I sat down and not one, but TWO mothers started chatting me up, talking about our kids. And at the end of the storytime I had two new playmates for my child, with future plans to do things together. A coincidence? Why for a year... nothing... and now I am easily making friends? I didn't do anything differently. I am just not morbidly obese anymore.
All comments and insights welcome! What do you think? What's your experience?
12 comments:
have you ever missed before? i was just wondering if the fact that you were gone for two weeks and then back made some difference?
- December 14, 2007 at 1:48 PM
- tksheikh said...
I feel like people do treat you different. One year ago, I was close to 200 pounds and when I dropped 40 lbs, men and women started treating me much more different. I have been with the same guy for 5 years because he has been with me through thick and thin, but I do notice a difference with how other people treat me.
However, I do feel like the difference also comes from myself. Before, I was bothered with hanging out with my skinny friends, and now I kind of just dont care. Maybe the fact that my "I really dont give a F anymore" attitude shines out, more people are willing to get to know me.
ps-Thanks for your Mac-N-Cheese Recipe. It was a hit at my house!
- December 14, 2007 at 3:31 PM
- Heather said...
this is interesting because I have thought about this recently as I have lost weight. I was a psychology major so of course this intersts me and I would love to write a paper on this.
But yes, it is real. I was a skinny little thing most of my life and let me tell you, I got so much attention from guys. I loved it and had I know that I would become fat, I wold have enjoyed it more. Since becoming fat, I noticed that I got hit on a lot less, doors held open less, smiles less, guy friends of my boyfriend didnt talk to me as much or were less friendly, etc. Now, I am noticing that all these cute guys are looking at me and holding doors open, and I am getting that attention again. in one way its nice, but another its like, you didnt look at me when I was over 200 pounds!
I also think another variable needs to be added and that is self confidence. I think that attracts people and I know at 200 something pounds, I did not have much of it so I probably did not exude what I do now and people didnt pay attention to me. so its both really.
great post, I will have to write on this topic as well some time.
- December 14, 2007 at 4:11 PM
- Twix said...
My experience is sort of divided.
I still get lots of males interested in me even though I weigh over 300lbs. And what I mean in interested, is that they actually flirt. It amazes me how many guys are actually still interested. I know I have heard other women say this isn't true, that guys aren't around when you're fat. So I am not sure why it is true in my case. However with that said. I don't have nearly as much male attention as I did when I was say under 200. And as far as guys I don't have many experiences with them that they just want to be pals. And the few that I have had that experience with are pretty much still my friends, I can count those guys on one hand.
As for women I have had one main reaction and it didn't matter what weight I was. They either were intimidated by me or just plain hated me for whatever reason they thought was valid. When I was under 200 I didn't have as many in that catergory and now that I am over 300 I have plenty. I have had a rough go to get to know most women, mainly because they stear away from me.
So that leaves us with basic social experiences door holding, being polite, etc. For the most part I would say that things are relatively the same. I find that for the most part if I continually be consistent on how I treat others they treat me as well in kind. Older people seem more understanding. And younger folks 30 and under seem to be more rude.I get more stares now and I wish they wouldn't stare. But heck they stare for many more reasons now too. My husband is a skinny stick, so they stare at our differences. I have 5 kids, 3 of them are triplets. So they stare at that fact too. And now that my children are going into the preteen stage when we are out and about we look like a really big crowd. Lol, so they stare and count! When I am out by myself, which is rare,people pretty much leave me alone and I do likewise.
I'm not sure I answered your question or I answered in a way that makes sense and answered your question appropriately. Just throwing in my two cents, ;)
- December 17, 2007 at 3:40 AM
You have been awarded "The Willpower Award 2007" because you have been outstanding with your weight loss journey and blog throughout 2007!
I have enjoyed reading your blog and created this award to give to those who have inspired me in my own weight loss journey!
You can see and collect your award at
If you like you can display it on your blog that is entirely up to yourself.
In acceptance of this award I would be grateful if you would take time out to nominate FOUR other bloggers who you feel are most deserving of this award because of there sheer determination to get healthy during 2007!
May I take the opportunity to wish you continuous success for 2008 and Seasons Greetings for Christmas!
Kind Regards
Author of http://shutyourcakehole.wordpress.com/
Weight Loss blog in progress, regular blog can be found at http://moosegirl.wordpress.com/
- December 17, 2007 at 6:46 AM
- Ms Ingrid said...
I have gone through over 100 lbs and my experience with men so far. At 318 lbs no guy ever flirted with me, which I completely understand. At about 250 lbs quite a few guys started flirting and tried to ask me out. And now - at 212 lbs (BMI 28 - not obese, just "prone to health risks"), guys just stare at me and nobody, I mean NOBODY even tries to talk to me anymore. I would love to see someone at least ask me out for a coffee or something. How do you explain that?
Of course women treat me pretty much the same, nice and friendly.
- December 17, 2007 at 6:59 AM
People MOST CERTAINLY DO treat you differently at different weights. When I was 120-140-160... (many moons ago) there was a neverending stream of doors held open & friendly conversation. Now, at 200+ that is a rare occurance. I cannot speak for everyone, but in my case, it is not due to a lack of trying. I still TRY to make eye contact & I am very friendly, however, I have a hard time getting others to respond to me in any way, shape or form. It is a very painful thing for me, especially since I love to interact with people. Being this heavy causes people to shun you & it is hurtful.... I just try to "keep on truckin'" & not let it bother me. I am, as always, on a diet, but it should not matter if I am 100, 200 or 300 pounds on the outside, I am good on the inside & people don't even look.
- December 17, 2007 at 8:44 AM
- FatGirl said...
I'll tell you when I lose a bunch of weight and see how people treat me.
I do know that I get random offers of rides when I'm walking home or waiting for my fiance, but I think it's because I must look so pathetic that people feel bad for me. I don't know for sure.
If I feel or act different when I get thin I'll see how it goes, but I'm pretty sure it won't be a huge difference.. I'm pretty outgoing as it is.
- December 17, 2007 at 5:46 PM
I know I have been treated differently for having a weight problem in a whole heap of things, from medical treatment, to jobs to job interviews…
… the worse being trying to get help for having a mental health problem here in UK, I swear all the professionals where willing to look at was my FAT!
- December 18, 2007 at 12:24 PM
- honib1 said...
I totally agree the more weight I lose the better I am treated and I hate to say that but it is what I have seen so far..
- December 19, 2007 at 12:05 PM
- Teale said...
As someone who has never had a time in her life where she was thin, I can't really say. I've developed a certain personality that makes me stand out...I don't know that I have necessarily developed it because of my weight, but I digress. I'm outgoing, loud, funny, friendly, and confident around others. I don't feel like I'm usually ever snubbed because of my weight, nor do I feel like now that I'm almost 40 pounds less that I receive more positive attention. I'm the only one in control of my attitude, and if I'm confident, people are more likely to regard me positively than if I let my weight batter down my personality. I guess the bottom line for me is that I don't let others treat me differently because of my weight. If I feel like someone is snubbing me, I'll speak up about it, ask them if there's a problem... sometimes I think people are too quick to assume "oh, they didn't smile at me b/c I'm fat". I don't know, I'm kind of rambling here... lol
- December 19, 2007 at 2:19 PM
Let's say I'm waiting for the bus at the bus stop, and a thin girl is always waiting for the bus either a few feet ahead of me or behind me in relation to the street. The bus driver will ALWAYS stop in front of the thin girl, and then I have to walk over.
Also, when I was around 190, I got attention from guys, maybe not a ton, but some. I even had a bf (thin sized guy, and it lasted about a year). But as I started going in the 200's, I receive no attention. I'm actually at the point where if a guy holds a door for me I am taken aback a bit because it usually never happens.
I'm also pretty sure I got passed up for an internship because I ws fat. The girl who got it was in the same school and program as me, but I was graduating earlier than her and knew her a bit and had more experience. :(
- August 9, 2010 at 6:21 AM


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- Telecommunications – 26% Very Mature
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- Internet/e-Business – 16% Very Mature
- Education – 15% Very Mature
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BC Management's 9th Annual Business Continuity Management Study inquired on the level of program maturity. According to our study results, which industries ranked the highest in percent of respondents who noted "Very Mature" for BCM Program Maturity?
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March 2018


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From Friday the 19th of November Utrecht will be the stage of a six days conference on the Millennium Development Goals of the United Nations (UN). Youngsters of three continents (Africa, Asia and Europe) discuss with the Dutch society on the progress of these goals, and work together on designing the next steps in reaching these Millennium Goals.
World leaders, corporate executives and politicians converse on a regular basis on this subject. This dialogue, however, is rarely open to the general public. During the conference the dialogue will be open to everyone. We believe that the way in which today's youth is currently being involved in achieving the UN millennium goals is inadequate. Despite the fact that they are the next generation living in this world.
To get the youth informed we get them in touch with leading experts in the fields of the Millennium Goals. We will acquaint them with different organizations in order to facilitate starting their own contingency projects.
A bit of the programme
The opening ceremony will take place at 14.00h on Friday November 19th in the Ruppert building at the university campus 'De Uithof' in Utrecht. The ceremony will be opened by the millennium goals ambassador Christiaan Rebergen and the chief of the Kofi Annan Business School, Hein Roelofsema. Following there will be a presentation by Fairphone.org in which they will inform you where the parts of our mobile phones really come from. Additionally they will present to you the first fair-trade mobile phone. Later that afternoon Cordaid micro-credit, Oikokrediet, Day for Change and other parties will debate about microcredits.
Saturday the 20th of November is the 'International day of children rights' (UN) in which this subject will be the central theme of this day's programme. Among the organisations present are Plan Nederland, UNICEF and KidsRight. At 16.00h in the afternoon the AID debate will take place with Kathleen Ferrier (CDA), Sylvia Borren (EEN), David Sogge (researcher) and Elisabeth van der Steenhoven (WO=MEN) among others. Also, Frans Timmermans (PvdA), Vandana Shiva (Ecofeminist), Staffan Landin (Gapminder.org), Joep Lange (HIV scientist), Wim Leereveld (Access to Medicine) will contribute to the debate.
For more information on the programme, the locations and the schedule, please visit the website: http://www.mdgconference.org
The Organisers: AEGEE-Utrecht
This conference is organized by AEGEE-Utrecht, part of the European Student Association AEGEE-Europe. Their goal is to motivate the youth of today to cooperate on a pan-national level, across the borders, to work towards a better world. 1000 places will be open to the public and anyone, who is willing, can contribute by ideas, debates and actions. An intern programme is focused on the responsibility of today's youth in searching for sustainable solutions to world problems and conflicts. The seven youngsters responsible for organizing this event have already spent a year making this conference happen. Every participant and organisation taking part in this conference contributes for free. The conference is open and free for every visitor.
Millennium community Utrecht
The community of Utrecht has been a millennium community since 2007. In the department of civil affairs there's an exhibition on study trips to India and South Africa, which took place just before the conference. The community board made the town hall available for a social drink with Dutch development organisations and the international youth on Tuesday evening the 23rd of November.
For more information:


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Item description: This Camping Climbing product is by Black Diamond - Passive rock protection with three-point contact, wired stoppers are the classic solution for bottlenecks, shallow seams, and tapering cracks. 7075 aluminum alloy is durable yet has plenty of bite to stay put. Transverse taper increases surface-area contact to provide best placements in nonparallel cracks. Rounded corners allow easy removal. Anodized (colored) by size for quick identification.... Learn More
Manufacturer: Black Diamond
Keywords: Camping, Backpacking & Hiking
Category: Climbing
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Website design by Business Edge


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The thunderous sound of a herd of wild antelope, started by the approach of a lion cub learning to hunt, reached the young mans ears as he brushed away the screen of hanging plants barring his path. As he pushed further into the jungle, the sound of buzzing insects, chittering monkeys and cackling birds enveloped him, the world behind just a memory of pain and hurt, this new world a wonderland of new sights, smells, sounds. However, just as every rose has its thorn, the dangers of this world were quickly becoming apparent. His fingers slipped out to touch the silky underside of one of the giant rubber plant leaves that sheltered him from the fine spray of a falling rainbow.
Everything was new to him here. New colours, exciting in their vibrancy, new textures, where all was once smooth and cold. Now he had something with which to compare the machines and their stale beauty. They were nothing to this. This had a natural order and a life of its own.
The new world had too many surprises for him to relax though. His skin was scratched, clothes torn and dirty. He did not know how he would survive, but nevertheless felt that he had made the right decision in leaving. In escaping. Never before had he the freedom he had now, not even as a child. Behind was a world where life was strict and mapped. Here he could become his own person at last.


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About Us
"Your studio is truly a 5-star operation and I would recommend it to anyone. Your instructors are superb and your staff is a group of truly beautiful people."- Wendy M., Kirkland WA
Welcome to Alive & Shine Center, a fully equipped yoga studio, offering over 55 yoga and meditation classes a week, and yogic lifestyle workshops. We have served Seattle's Eastside communities as a family-owned and operated business for over 25 years, winning awards as the best yoga studio year after year. Yoga is an ancient, multi-faceted, self-healing modality bringing you inner and outer strength, flexibility, calmness and balance.
Our instructors are the highest trained teachers in the field, who make sure that your body is safe, and treated with respect. Our teachers are certified at the 500, 2,000 or 4,000-Hour level. Most teachers at other studios are only 200-Hour certified. We teach yoga for every body and stage of life and move at a pace that suits your preferences and needs.
We designed our classes to help you:
- Build strength and flexibility
- Develop more balance and stamina
- Feel younger and more alive
- Have abundant energy to shine
- Live a happier life
At Alive and Shine Center, we teach alignment-based yoga. This keeps you safe in the poses, while you open and strengthen your body, rejuvenate the spine, soothe your nervous system and focus your mind.
Enter tired. Leave inspired.
You will leave feeling energized and relaxed, better able to live your daily life.
We also offer Heartfull™ Meditation, a unique form of meditation with common-sense techniques for calming your mind, gathering your energy, and focusing on what really matters in life. We harness the mind's gifts of focus and imagination to help you cultivate a real connection to your heart.
At Alive and Shine Center you'll find:
- Ongoing yoga and meditation classes at different levels and themes to cater to all your needs.
- Over 55 classes every week – easily find options to fit your schedule.
- Our professional teachers are 500, 2,000, or 4,000-Hour certified. Most teachers at other studios are 200-Hour trained.
- Genuine yoga lineage where the owners are recognized experts in their field.
- That you feel like part of a family with our thriving and supportive community.
Alive & Shine Center also hosts the Purna Yoga College, a state-licensed, elite vocational school with 200, 500, 2,000 and 5,000-Hour certifications. We look forward to sharing our love for yoga and life with you! Give Alive & Shine Center a call today and come shine with us!
We are located in the Overlake area of Bellevue, just a few minutes from Microsoft and the Bridle Trails neighborhood.
"I particularly like the relaxed, non-competitive atmosphere, and the focus on mental, emotional, and spiritual growth, not just physical development." – John P., Bellevue WA
- Family Owned
- Certified Professionally Trained Teachers
- Consistently Voted Best Yoga Studio
- Committed to Making Your Life Better


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The Collaborative Book Review Project brings school classrooms from every province and territory in Canada together electronically to review a recent book. Their work in progress can be read on our Bulletin Board. Their final reviews will be published on this site as well as in CM magazine.
If you have any comments about the reviews you can email Harriet Zaidman the Collaborative Book Review Coordinator, by clicking on her name above. Remember, if you are using a browser (such as Netscape) to send mail, you may have to enter your email address in the Netscape Options\Preferences\Mail & News menu.
All books in the Collaborative Book Review Project are also evaluated by educational professionals for CM. Click here to see CM's reviewer guidelines so that classes can craft their reviews to meet the same criteria.
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Chaos Dawn
Tags : adventure, rpg, role playing
Chaos Dawn is a role playing adventure featuring a fun fighting system and a fully voiced storyline. The graphic arts of the game looks well on battles, but I can't say the same for other scenes. Probably they made them simple to make the file size smaller. (It is already large enough). The story of the game is great and the conversation between charachters are fun. On overall, it is a well made rpg adventure that is a must play for the lovers of the genre. Good luck & have fun!Play a random game
Thanks for your interest!


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After seeing customers turn to quality entree salads and monster burgers at fast feeders, casual dining chains are fighting back with take-out service. Sales are surging.
Technomic estimates take-out sales in full- service restaurants at about $14 billion in 2004, nearly 10% of total sales. That's nearly as big as No. 2 and 3 fast feeders Wendy's and Burger King Corp. combined. Within the past three years, take-out sales at full-service restaurants have grown about 8% per year, double the segment's growth.
With wait times rising and diners less willing to wait more than half an hour, its no surprise that one in three customers at tableservice restaurants have used curbside takeout.
Take-out has become so profitable that Outback Steakhouse, Applebee's and Chili's Bar &Grill have dedicated advertising promoting it. "Our sales-to-go have grown exponentially since we started marketing," says a Brinker International spokesman. Last year, take-out at its Chili's chain was about 9.5% of sales compared to 6.1% in 2001. Chili's was the first national chain to dedicate an entry, counter and parking for to-go customers.
Take-out accounts for 11% of Outback sales, according to Fulton Smith-Sykes, VP-marketing and advertising. In some markets that figure hits 25%. "Any place customers are taking food home we rate extremely high in customer satisfaction," she says of a recently completed consumer survey.
Casual dining segment leader Applebee's reported 9% of sales were from its Carside to Go service in 2004, a business that's doubled in the past two years. Interestingly, its busiest day for take-out was Valentine's Day, one of the toughest days to snag a reservation for dine-in.


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Realestate.com.au is Australia's #1 home for rental property, listing real estate for rent in Koppio, and other rental property listings by real estate agents in Koppio. If you're looking to rent a property in Koppio, we have house prices in Koppio. Realestate.com.au can help you find rentals open for inspection in Koppio, and houses to share in Koppio. If you're searching for Koppio property for sale or sold property in Koppio, we can help you with your real estate search.