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Terry Hearn banks the Burghfield Common at 47lb 14oz
After an obsession lasting a full year, carp angling legend Terry Hearn this week finally banked a fish he believes is 'the highlight' of his illustrious career.
Weighing in at a massive 47lb 14oz, the 'Burghfield Common' was tempted by the 37-year-old Surrey rod after a painstaking campaign at the notoriously difficult 94-acre CEMEX Angling-owned Burghfield Lake near Reading.
The fact that the giant has only been caught on five previous occasions in the last 12 years is testament to the challenge facing those who decide to pit their wits against it. And in a typical display of determination, Terry left no stone unturned in his pursuit of the remarkable fish.
Hours spent walking and cycling round the banks of the Berkshire pit, looking for its most sought-after inhabitant played a crucial part in Terry's quest, as he explained.
"I found the big common for the first time in 10 months after arriving at the lake on Tuesday, so I set up in a swim 150yds down the bank," he said.
After baiting a spot just 10ft from the bank with a handful of Dynamite Baits Marine Halibut pellets, chopped Red Fish boilies and Frenzied Tiger Nuts, Terry then positioned a double tiger nut hookbait over the top.
Two 20lb-plus fish graced his net on the first day, but he had to wait until Saturday morning before he received a take which, although he didn't realise it at first, saw him connected to the carp of his dreams.
"It was a really explosive fight under the rod-tip, and I actually had the fish in the net within a minute. When I went to scoop it up though, the fish was so long it actually came out of the net. It was then that I knew it was the big common. A few minutes later I had it beat, and it was a moment I'll never forget when I pulled back the mesh and saw it laying there," said Terry, who used a size 4 Drennan Continental Boilie hook tied to a 25lb coated braid hooklink.
Never one to rest on his laurels, Terry has already started planning his future campaigns: "I've had a few walks around a couple of quiet big pits which hold big carp and the Drennan Cup is also something I've thought about having a stab at. This would be the ideal year to do it.
"Depending how my winter fishing for species like perch, barbel and dace goes, I may well give it a serious go." Terry Hearn has a carping CV most anglers could only dream of, catching countless 40lb-plus carp and six over the magical 50lb barrier.
Here's a few of the highlights:
Bazil: 45lb 6oz, Yateley North Lake.
Mary: 55lb 13oz, Wraysbury.
Two Tone: 50lb 13oz, Conningbrook.
Black Mirror: 48lb, 'The Mere'.
Fat Lady: 51lb, St Ives Lagoon.
Heather the Leather: 48lb 2oz, Yateley Car Park Lake.
Sid: 51lb 8oz, Dinton.
Black Eye: 50lb 1oz Chad Lakes.


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text:
payment gateway
luxury beauty brand
RETINOCOLLAGEN C is an exclusive concentrate of marine origin that combines the properties of Vitamin C and retinol to enhance the cell renewal, stimulate the collagen synthesis and strengthen the antioxidant protection of the skin. After continued use, fine lines and wrinkles are smoothed. Skin regains its radiance.
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Apply morning and evening to a perfectly cleansed face and neck. Suitable for all skin types.
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Disclaimer: All products sold on Zabiva are brand new. We tend to provide accurate information, yet certain information may vary as actual information on the product may differ from the content available on our website. So when you are doubtful, we advise you to read the details mentioned on the product before using or consuming the product. If you require further information on the product we recommend you to directly contact the manufacturer. All the content provided at Zabiva is for informational purpose only and is not intended to diagnose or treat problems. The skin care products are not to cure, and while buying skin care products, customers are advised to check the suitability of the product with their skin type before using the product. We suggest you to consult from the perfect guide before utilizing the product. Hair care treatment products are not intended to entirely diagnose, treat or prevent hair related problems. Zabiva.com undertakes no responsibility for incorrectness of the product. Buy ordering from Zabiva.com, buyers have confirmed to have read this disclaimer.


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Street: Diputació
Completely remodeled and modern apartment of 73m2 and two bedrooms with a nice and big balcony located in Barcelona's city centre.
The Modern Centre B apartment is situated in a classic building in the emblematic quarter of L'Eixample. Both the building and the apartment have been recently redone, so they are all in a very good condition. It is ideal for small groups or for families that wish to stay somewhere near the city centre but without the crows and the hustle and bustle of Barcelona's city centre.
The living-room is very luminous and it is equipped with a large double sofa-bed, two single armchairs and a flat-screen TV. It also has access to a wonderful exterior balcony that makes it a very luminous and warm space. It also has completely free Wifi connection.
The kitchen/dining-room is also quite luminous and it has all the necessary appliances and kitchen utensils so you can cook like you were in your own house: fridge, oven, microwave, coffee maker, glass-ceramic hob, kettle and toaster. The dining-room is equipped with a modern round wooden table for 6 people. The apartment also has iron, iron board and washing machine.
The Modern Centre B has two double bedrooms and two complete bathrooms.
One of the bedrooms has two single beds of 90cmx190cm and it also has access to the exterior balcony, which makes it very luminous and bright. It has a large wardrobe and an en-suite bathroom totally equipped, with a large bathtub, sink and WC.
The other bedroom also has two single beds of 90cmx190cm, but it is an interior room, so it is quieter than the exterior one.
The second bathroom has a shower tray, a sink and a WC. Linen and towels are provided.
The apartment Modern Centre B enjoys an exceptional location, as it is situated in the heart of the quarter of L'Eixample, which will make you enjoy a safe and quiet environment just at a 10 minute walking distance from the city centre, that is Plaça Universitat, Plaça Catalunya, Les Rambles, Passeig de Gràcia, etc. It is also close (15 minutes walking distance) to other points of interest, like Plaça Espanya, where you will be able to find the popular mall Les Arenes, the Fira de Barcelona, the MNAC (Catalonia's National Art Museum), the Montjuïc Fountains, etc. The apartment has also very good connections with the rest of the city, as you can find many bus lines that stop nearby and that will take you wherever it is that you wish to go in a few minutes. The nearest metro station is Plaça Universitat (L1). Near the apartment there are many supermarkets, shops, bars and restaurants.
A very recommendable apartment both for its amazing location, quiet and central at the same time, and for its excellent condition.
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Receiving testimonials from our clients is fundamental and we are glad to have reviews of their short stay in an apartment in Barcelona.
Those reviews reveal a positive impression our clients have of the apartments, which seem to meet their expectations in terms of location and comfort. Our clients generally describe their vacation as a pleasant and fulfilling experience.
The feedbacks also help us to detect any possible problems that are then resolved as quickly as possible with the apartment owner. Moreover, we are also pleased to receive reviews on Barcelona in general, of your most and least favourite spots and sites, and whether you have enjoyed your overall stay here.
Many thaks for your opinions !!


text:
Lettering (1st attempt)
My first attempt at hand drawn lettering
My first attempt at lettering.
Started out a ittle rough. But all in all, I'm happy wtih the way it turned out in the end for my first shot at it!
This was fun. There will be more of these!


text:
Ah...the first week.
We started school last week. We are busy next week so I thought I would try it out.
The kids were crazy! No structure. No organization. PJ's in the afternoon and TV on when it shouldn't have been. It was not a good week.
I was snappy. I was cranky. I was overwhelmed.
This was our first week after a summer of fun. Lazy. Busy.
You would think after 9 years of homeschooling I would remember that the dreaded first week will not be the glowing turnout that I had hoped.
All of our books lined up in neat rows. Curriculum in order and pencils sharpened.
We need to give ourselves some slack. It will not be like this all year. We hope. Things will settle down and we will find our groove that we left back in the spring. We will find our groove. We always do.
The kids will learn. We will again sit and have a coffee without getting it spilled onto our lap. We will have other thoughts other than school and helping them succeed. We will grow. They will grow. They always do.
Yes, this post is jumbled. It is the first week after all.


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Poulsbo RV Everett
Featured Business
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"Been bringing all our yard vehicles here for service for the past 20 + years good service would..."
Review for Poulsbo RV Everett
Timothy S. on 07/19/2011
Timothy said there were a few reasons he rated 4 overall. He had trouble with the television tracking and it turned out there was a glitch with the people that provided the service, but that had nothing to do with this business. The technician basically asked questions Timothy had asked himself, and kind of pushed it along, so they were helpful, and he wasn't dissatisfied, but nothing technical was done. There was a little misunderstanding between employees as to who was going to do some work, which caused a small delay, and they recommended a roof repair he didn't think was necessary. His service advisor told him a 15 point inspection was done but didn't say what it was, and then came out with a roof repair recommendation for some cracks. He thought it was a little too much for the cracks they'd repair, and when he saw a sign adverting a special on roof repair, he thought they were pushing roof repairs. Timothy always has work done right away when it's needed no matter where he's located. Last year he had a sailboat repair done in Mexico. There was also a 5 minute delay with the slide after they'd run a cycle, but they told him that was normal because it got hot. He spoke with them about a new Tiffin but they couldn't agree on trade-in value. He was happy with most of his experience, everybody was good, they got it out that day, and he would return.
Category: Service
Review Created: 07/19/2011


text:
Laura Wilson,: The Alkaline 5 Diet: Lose Weight, Heal Your Health Problems and Feel Amazing
Harness the power of alkaline foods and eat five meals a day to lose weight, get glowing skin, heal your health problems, and feel fantastic! This incredibly easy-to-follow diet allows you to eat five meals a day without restricting calories, and create the best health you've ever had! Written by ultra-marathoner and health coach Laura Wilson, who has used these principles to turn her own health around, this plant-based diet is grounded in solid science. Simple, satisfying, sustainable, super healthy, and systematized, The Alkaline 5 Diet utilizes the healing power of alkaline foods, providing you with all the nutrients you need. It will give you: * consistent and easy fat loss - no more yo-yo dieting! * healing of health issues and reversal of disease * greatly increased energy throughout the day * better mental clarity * natural beauty - great skin, hair, eyes, and nails * improved athletic performance and endurance A diet that you can follow for 21 days or 21 years, The Alkaline 5 Diet makes it possible to eat big, delicious meals and get into the best health and shape of your life. You really can have it all!
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text:
|Publication number
|Publication type
|Application number
|Publication date
|Oct 12, 1993
|Filing date
|Sep 14, 1990
|Priority date
|Sep 14, 1990
|Fee status
|Also published as
|Publication number
|Richard L. Rylander
|Original Assignee
|Minnesota Mining And Manufacturing Company
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (24), Non-Patent Citations (4), Referenced by (28), Classifications (9), Legal Events (5)
|External Links: USPTO, USPTO Assignment, Espacenet
Threshold(x,y)=Comb(Row.sub.-- fn(A.sub.x * x+A.sub.y * y), Col.sub.-- fn(B.sub.x * x+B.sub.y * y))
"Threshold(x,y)=Ecc*para(A.sub.x *x+A.sub.y *y)+para(B.sub.x *x+B.sub.y *y)",
"Threshold(x,y)=Ecc*tri(A.sub.x *x+A.sub.y *y) +tri(B.sub.x *x+B.sub.y *y)",
1. Field of Invention
This invention relates to a general halftone generation method in digital image systems. A type of algorithm is used which is capable of generating conventional halftone screen patterns as well as novel patterns which can have performance advantages.
2. Background of the Art
Algorithms are needed which can provide a means of simulating a continuous tone image containing a range of gray shades from black to white, or color separation containing a range of densities of some appropriate colorant. The practical implementation of such an algorithm must rely on a dot pattern defined within a fundamental halftone cell or "glyph" which is a relatively small rectangular array of points.
In the art of printing, half-tone systems have long been used to represent pictorial subjects where tone graduation is important. This was and frequently still is accomplished by the use of a photomechanical system in which a fine cross-hatch screen covers the pictorial image during exposure at a suitable stage in the photographic process leading to the printing plate. By this means the image is divided up into a multitude of regularly spaced very small (subliminal) dots whose size varies with the image density being reproduced. With the use of full color printing of subjects, three or four printing plates, one for each of the separate primary color images have to be prepared. The use of identical half-tone screens for each of these color separations can result in undesirable interactive visual effects including very pronounced and objectionable Moire patterns when the several successive print impressions are made. These Moire effects can be reduced to imperceptible levels by crossing the screen directions with one another. In the practice of the art it has long been known that a suitable set of screen angles for four color printing is 45�, 0�, +15�, and -15� (See reference to this art in Chapter 13 of "Principles of Color Reproduction", by J. A. G. Yule, John Wiley & Sons Inc. N.Y., 1967).
In the conventional half-tone system, the original continuous tone picture is represented in the print by regularly spaced high density dots of ink. The dots are sufficiently closely spaced that the unaided human eye cannot distinguish them. The changing size of the dots give the impression of changing tone, and by suitable control of the process the original tones can be reproduced faithfully. With full color originals, suitable control of the process of making the individual half-tone color separations can give faithful reproductions in full color. These photomechanical processes are slow and painstaking, particularly when high quality results requiring considerable manual correction and human judgment are involved.
The transmission of images over telegraph wires based on a process of photoelectric raster scanning was introduced early in the twentieth century. It was also applied to transmitting color images (U.S. Pat. Nos. 2,185,806; 3,413,706). The application of this technique to half-tone plate making by Hardy and others (U.S. Pat. Nos. 2,136,340; 3,190,185; 2,294,644) heralded an era of faster and more automatic plate making and correction. Methods were developed for scanning colored originals (U.S. Pat. Nos. 2,165,168; 2,253,086; 2,571,322) and treating the readings and output by analog devices to produce color separations suitable for color printing plate making with a considerable saving in time.
The combination of these two techniques for the making of color half-tone images was found to suffer from interactive visual effects including the Moire pattern problem known earlier to photomechanical plate makers. Wurzburg (U.S. Pat. No. 2,185,139) made color half-tone separations by the photoelectric raster scanning devices to give different equivalent screen angles for the different colors. Screen angle choice was based on the photomechanical art already existing.
In the photoelectric raster scanning systems, conversion of analogue scanning signals to digital form was found to facilitate manipulation of the signals by computing circuits, as in the electronic formation of half-tone dot patterns (U.S. Pat. No. 3,629,496). Such methods gave color originals suffering from interactive visual effect such as Moire patterns in the resulting prints. Patterns of dots of equal size but with separation distances depending on density in the original were found to reduce the Moire patterns (U.S. Pat. Nos. 3,197,558; 3,580,995) because of the absence of repeating patterns of dots. Direction simulation of the use in color work of four contact screens at different screen angles has been achieved by computing techniques coupled with four different dot generators (U.S. Pat. No. 3,911,480). Choice of the angles used is based on earlier experience with contact screens.
A different approach has been taken to the problems presented by photoelectric scanning methods. This involves the representation of a variable size half-tone dot by a matrix of smaller dots whose number in the matrix is varied to provide half-tone dot size changes and therefore density changes. (U.S. Pat. Nos. 3,604,486; 4,439,789). No change of size or optical density of these smaller dots is involved. Only their presence or absence is considered. This system therefore lends itself to the use of digital signals and their attendant high speed computing means. Enhanced tonal reproduction has been achieved by using a variable pixel area (the area assigned to a single matrix unit) in such matrix systems (U.S. Pat. No. 4,084,259).
In four color printing the separations have been represented by matrix pixels in which the distribution of dots for the same density is varied from one separation to another. This is said to reduce Moire effects (U.S. Pat. No. 3,922,484). This technique of Moire reduction has been expanded by randomizing the distribution of dots in the pixel matrix (U.S. Pat. No. 4,468,706) building on earlier monochrome work (U.S. Pat. No. 3,629,496).
The randomized pixel matrix method of reducing Moire effects has been approached in a separate manner often termed "ordered dither". The raster scan identifies signals corresponding to all the dot positions in the pixel matrix but the presence or absence of a dot in the reproduction is determined by a predetermined matrix of threshold values--one for each dot position in the pixel matrix (U.S. Pat. Nos. 4,193,096; 4,342,051; 4,496,987).
As was reported above, U.S. Pat. Nos. 2,185,139 and 3,911,480 describe raster scan methods to reduce Moire effects which generate half-tone screen dots with different screen angles for the different color separations. This method has been enhanced in U.S. Pat. No. 4,419,690. A variation to this method has been taught in U.S. Pat. No. 4,443,060 wherein quadratic raster meshes of adjacent dots are expanded to contracted in their two diagonal directions. Different expansions/contractions are used for the different color separations.
The non-patent literature contains considerable detailed discussion of the application of raster scanning to half-tone image production. The following papers are representative: "Half-tone method with Edge Enhancement and Moire Suppression", P. G. Roetling, JOSA 66, 985 (1976). In this method, detail corresponding to the spatial frequency of the half-tone screens is suppressed. "Random Nucleated Halftone Screen," J. P. Allebach, PS & E 22.89 (1978). These screens suppress Moire effects by the introduction of random elements.
"An Optimum Algorithm for half-tone Generation for Displays and Hard Copies," T. M. Holladay, Proc. Soc. for Information Display, 21., 185 (1980). This describes electronically produced screens with different screen angles.
"A New Evaluation Method of Image Quality of Digital Halftone Images Obtained by Ordered Dither Method", K. Kinoshita et al., J. Imaging Technology, 10.181 (1984).
U.S. Pat. No. 4,758,886 approaches the problem of Moire fringes in color half-tone images from the standpoint that the mathematical functions describing the half-tone patterns for the individual separations should be orthogonal with one another. These appears to have been no earlier disclosure of such an approach and none of the mathematical investigations in the literature suggest such an approach.
The patent describes a method of designing screen functions for raster-scan generated sets of image comprising two or more color separation images, which sets of generated images have reduced Moire patterns or are free from Moire pattern problems. The method does not use the equivalent of different screen angles for the separations nor is the technique of ordered diether used. The half-tone dot matrixes in a given separation are disposed at a single uniform pitch not at variable pitch as taught in some of the known art.
The invention offers a method of general halftone generation using an algorithm which is capable of generating conventional halftone screen patterns as well as novel patterns which may have performance advantages in some situations. Halftone patterns are made up of "rows" and "columns" of dots where traditional patterns keep the rows and columns perpendicular to one another and with equal spatial dot densities ("dots per unit length") along the corresponding directions. The algorithm in this invention is based on direct modification of the "x" and "y" frequency components of halftone dot patterns, is very flexible in allowing independent adjustment of the row and column directions and while these angles are still restricted to those with rational tangents they need not be perpendicular, and also allows unequal densities along those directions. The halftone dot centers of this invention do not necessarily have to be located at the intersections of integral numbers of pixels.
This algorithm provides a means of simulating a continuous tone image containing a range of gray shades from black to white, or a color separation containing a range of densities of some appropriate colorant on a printing engine capable of only bilevel control of density at discrete points in a Cartesian grid that is typically addressed by scanning in a raster fashion. The heart of the process begins with the given coordinates of any addressable point on the page, calculates a threshold gray value that is compared to the desired local image value to determine whether that particular point should be "on" (by placing a full-density mark on the page at that location) or "off". Which points (spots) are "on" and which are "off" is determined by the function that assigns a "threshold" value (the shade at which a pixel changes from "off" to "on") based on a pixels "x" and "y" coordinates.
The algorithm used in this invention provides a basis for halftone dot generation in a variety of styles using a fairly simple function which could be adapted to implementation in several Raster Image Processor (RIP) architectures. While capable of generating several halftone patterns currently used in the art, an advantage of this invention is the ability to produce new halftone patterns which have improved performance.
The algorithm in this invention is very flexible in allowing independent adjustment of the row and column directions (which need not be perpendicular), and unequal densities along those directions. As one particular special case, the algorithm allows implementation of the halftone patterns described in the 3M patent: "Optimal Color Halftone Patterns for Raster-scan Images" (U.S. Pat. No. 4,758,886). The algorithm in this invention also contains a parameter to set the "eccentricity" of dots to produce patterns with "elliptical" dots that will "link" or "chain" along one direction (row or column) before the other to minimize the "optical jump" in midtone shades.
This invention offers an algorithm technique and is capable of implementation into standard PostScript-compatible printers, without the need for specialized halftone generation hardware.
FIGS. 1a, 1c, 2a, 3a, 4a, 4c, 5a, and 5c show fundamental half-tone cells used in multicolor printing.
FIGS. 1b, 1d, 2b, 3b, 4b, 4d, 5b, and 5d show arrays of fundamental half-tone cells used in multicolor printing.
FIGS. 6a-c show dot patterns demonstrating the effect of the Ecc parameter.
FIGS. 7a-c show dot patterns having the same row and column patterns and Ecc parameter of FIG. 6, but having different dot shapes.
FIGS. 8a-b show dot patterns having the same row and column patterns of FIG. 6, but having different dot shapes.
Pixel: An abbreviation for "Picture-Element". A photographic image is continuous spatially and tonally. Once "digitized" the image is quantized tonally into discrete gray levels, and spatially into discrete "pixels". A "pixel" is related only to the sampling of the original image, it does not necessarily have any fixed relationship to "Dots" or "Spots" or "Points" in a printer or display device.
Point: A mathematical construct. A "point" is simply a location in space (in a two-dimensional plane here since we are talking about images) described by a pair of coordinates. Printer "resolution" is typically specified in "dpi" (dots per inch), but this number is really just the addressability of the printer (i.e., the "Points per inch" in the x and y directions the printer can address). True printer resolution depends not only on its addressability, but on the size of printed dots placed at those addressable points in an image.
Spot: A "point" that has been turned "on" or "imaged" by printing a small black disk (typically) at the "point" coordinates on a page. A printer's addressability might be specified in "spots per inch", but its true resolution is more properly given in "resolvable spots per inch" (which might be considerably less if the imaged "spot" size (diameter) is much greater that the addressability (distance to the next addressable "point").
Dot: A "Halftone Dot: made up of a multiplicity of "points" or "spots". The "dot" is not a fixed size or number of spots/points but changes as a function of gray shade to be simulated.
Halftone Cell: An array of points that is used to control the geometric arrangement and relative numbers of "on" ("black") and "off" ("white") "spots" in a halftone image. A halftone cell can be thought of as a small, usually square matrix of threshold values that are compared to some local pixel shade to determine which "spots" within the "cell" are "on" and which are "off" for a particular shade representation. For a "cell" made up of n�n "elements" (or "spots" or "Points"), there will be n2 +1 shades that may be represented (from "black"=all spots on, to "white"=all spots off, inclusive).
Glyph: A full halftone pattern would then consist of n2 +1 bitmap representations of the cell with an individual representation called a "glyph". The "glyphs" increase the speed of the halftoning process by precomputing the patterns of "on" and "off" spots within a "cell" for all possible shades.
Depending on the final scale of the halftone image and the number of pixels in its digitized representation, individual pixels may correspond to entire "glyphs" or multiple glyphs, or each glyph may be subdivided so that only a portion of an appropriate glyph for the local pixel shade is used in that region of the image bitmap.
In any case, the portions of subdivided glyphs, or combinations of multiple glyphs are arranged so that the underlying threshold values correspond to a uniform edge-to-edge tiling of the original halftone cell over the entire image area.
A desired algorithm provides a means of simulating a continuous tone image containing a range of gray shades from black to white, or a color separation containing a range of densities of some appropriate colorant on a printing engine capable of only bilevel control of density at discrete points in a Cartesian grid that is typically addressed by scanning in a raster fashion. The heart of the process is a "threshold equation" that, given the coordinates of any addressable point on the page, calculates a threshold gray value that is compared to the desired local image value to determine whether that particular point should be "on" (by placing a full-density mark on the page at that location) or "off".
The end result of this invention is an algorithm capable of generating patterns better suited to the nature of raster-scan devices, and flexible enough to allow optimizing the patterns for particular printers or specific images. While capable of reproducing halftone screens currently used in the art, this algorithm is not limited to patterns that rely on simple rotation of conventional screens. The algorithm of the present invention can be used in many various raster scanned or laser addressed imaging systems to improve image quality. The image information is first accessed, either from stored information or direct reading from a reader. The accessed information is then reviewed by the algorithm so that improved image pattern data is obtained. This improved image pattern data is then used to drive a printing engine, e.g., a laser printer, laser imager (for full color silver halide images as in U.S. Pat. No. 4,619,892), e-beam images, etc. Either developable (e.g., latent silver halide or latent electrostatic) images may be generated or actual direct visible images (leuco dye bleach, dye bleach, direct print out) may be created.
The invention is a process for automatically generating halftone dot images, or "glyphs", which are particular arrangements of white and black spots in a square n�n array of bilevel spots, simulating various intermediate shades. Which pixels are "on" and which are "off" for a particular shade is determined by the function that assigns a "threshold" value based on spots x and y coordinates.
The particular threshold equation described here produces a final bilevel, halftone image made up of an array of "dots" (clusters of "on" or black points) of varying size as in a conventional halftone process, but with a unique and very flexible means of controlling the orientation and spacing of the "rows" and "columns" of dots making up the image. The great variety of halftone dot patterns that may be generated by this equation has particular application in color printing where the various halftone color separations are reproduced with a mixture of patterns in an effort to minimize moire effects and color changes due to registration errors in the printing process.
A practical implementation of this algorithm relies on a dot pattern defined within a fundamental halftone cell or "family of glyphs" which is a relatively small rectangular array of points addressable by a raster scan printing engine (e.g., a laser scanner, ink jet printer, thermal printer, or other printer or imaging device that forms an image by controlling the densities of discrete points in a Cartesian grid). The threshold equation is used to assign a gray value to each addressable point in the fundamental halftone cell and a full set of glyphs for a particular pattern is created by finding all the "on" points within the cell for varying levels of gray.
The threshold equation produces patterns that have multiple dots per cell arranged in "rows" and "columns" oriented and spaced to form a proper continuation of the pattern as a half-tone image is formed by tiling appropriate glyphs edge-to-edge.
A typical halftone fundamental cell will be a small square array of addressable points where the "x" and "y" coordinates of the points within the cell are scaled so that the cell itself extends from -1 to 1 in both the "x" and "y" directions.
The points within the fundamental cell are ranked to determine the order in which spots at those locations change from "off" to "on" as shade values vary from white to black according to their "x" and "y" coordinates through the threshold equation:
Threshold(x,y)=Comb(Row.sub.-- fn(A.sub.x *x+A.sub.y *y),Col.sub.-- fn(B.sub.x *x+B.sub.y *y))
The "Comb()" function is some rule for combining the inner "Row-- fn()" and "Col-- fn()" functions such as summation, multiplication, or comparison (taking the maximum or minimum of the two). The "Row-- fn()" and "Col-- fn()" functions are periodic functions with period [-1,1] matching that of the fundamental halftone cell. The arguments to the "Row-- fn()" and "Col-- fn()" functions, (Ax *x+Ay *y) and (Bx *x+By *y), respectively, determine how the "rows" and "columns" of halftone dots are arranged within the cell.
The basic geometry of the "Threshold (x, y)" equation applied to raster points within the fundamental halftone cell is a sinusoidal modulation of threshold values along "rows" and "columns" that are defined in terms of their spatial frequency components in the x and y directions. For example, if the parameters Bx and By are both zero, there will be only a "row-wise" modulation of threshold values producing halftone patterns that shade by means of parallel lines of varying thickness.
The slope of the lines will be given by Ax /Ay with a path from x=-1 to x=1 (holding y=0) intersecting Ax halftone pattern lines, and a path from y=-1 to y=1 (holding x=0) intersecting Ay halftone pattern lines. In FIG. 1 below, the shade value is a 50% gray; half of the addressable points within the halftone cell are "on" (black) and half are "off" (white). In the fundamental halftone cell of 1a), Ax =2, Ay =1, Bx =0, By =0. In the fundamental halftone cell of 1c), Ax =3, Ay =2, Bx =0, By =0.
Similar patterns may be produced by setting Ax and Ay equal to zero, varying just Bx and By (patterns with only "columns"), or by keeping Ax =Bx and Ay =By ("rows" and "columns" coincident).
More interesting patterns are those that have intersecting "rows" and "columns" producing separated dots within the halftone cell. In this case, the number of dots per cell is given by:
dots per cell=|A.sub.x *B.sub.y -A.sub.y *B.sub.x |
For example, in FIGS. 2a and 2b, the fundamental halftone cell is Ax =3, Ay =1, Bx =1, By =-2.
The dots per cell for this example is 7 (6 "inside" the cell and one at the corners). The same equation holds for all cases though in the previous "row-only" or "column-only" line patterns the result will always be zero "dots per cell" as there are no separated "dots".
The basic threshold equation is very flexible allowing completely new and unique dot patterns to be generated. It can also be used to simulate prior art halftone patterns by imposing certain restrictions on the relationships of the parameters Ax, Ay, Bx, and By. For example, the halftone screens described in U.S. Pat. No. 4,084,183 (approximating a traditional halftone screen where the rows and columns of dots have the same dot density, are perpendicular, but are rotated with respect to the Cartesian grid of addressable points by an angle with a rational tangent) may be produced by restricting Ax =By and Ay =-Bx (or equivalently, Ax =-By and Ay =Bx). This restriction forces the slope of the rows to be the negative reciprocal of the column slope (ensuring orthogonality), and results in the same dot density along the rows and along the columns, as in FIGS. 3a) and 3b):
In FIG. 3, the fundamental halftone cell is Ax =-2, Ay =1, Bx =1, By =2.
Two advantages this method has over that shown in U.S. Pat. No. 4,084,183 is that the fundamental halftone cell can be made larger (containing more addressable points, thus allowing more shades of gray to be simulated) while maintaining the same effective dot pitch or density since cells with multiple dots are produced, and the fact that the centers of gravity of neighboring dots do not necessarily have to be separated by integral numbers of "rise" and "run" addressable points (an added degree of freedom in these "conventional" patterns).
Another prior art class of halftone patterns is that described in U.S. Pat. No. 4,758,886. Here the emphasis is on mixtures of halftone patterns for color printing that are spatially decoupled through various combinations of spatial frequencies within the dot patterns rather than relying on the more traditional method of screens rotated at specific angles. Halftone patterns for various colors may be placed at the same angle (in particular 0� which is particularly well suited to raster scan devices), but with different dot spatial densities in the x and y directions to vary the dot overlap between colors and minimize sensitivity to color-to-color registration. These patterns may be produced by this threshold equation by setting Ay =0 and Bx =0 so that the rows and columns of dots are strictly horizontal (along the x axis) and vertical (along the y axis).
As shown in FIG. 4, the fundamental halftone cells of 4a) and 4b) are Ax =1, Ay =0, Bx =0, By =2 and Ax =3, Ay =0, Bx =0, By =2, respectively.
An alternate pattern described in U.S. Pat. No. 4,084,183 produces a familiar "checkerboard" dot arrangement, but with different frequencies in the x and y directions. These patterns are produced by restricting Ax =Bx and Ay =By (or equivalently, Ax =-Bx and Ay =By). Here in FIG. 5, the slope of the rows of dots is always the negative of the column slope.
In FIG. 5a the fundamental halftone cell is Ax =1, Ay =2, Bx =1, By =-2.
In FIG. 5c) the fundamental halftone cell is Ax =3, Ay =2, Bx =3, By =-2.
The glyph tiling process that generates a full halftone image need not necessarily assign a complete glyph (full fundamental halftone cell) to each pixel (discrete sample of a continuous tone image). Depending on the resolution (number of discrete pixel samples) of the continuous tone image, the mapping of halftone glyphs to the final bilevel image may require multiple glyphs per pixel, or if enough continuous tone image pixels are available, the glyphs themselves may be subdivided for a multiple pixel per glyph mapping.
A typical halftone fundamental cell will be a small square array of addressable points where the x and y coordinates of the points within the cell are scaled so that the cell itself extends from -1 to 1 in both the x and y directions. The points within the fundamental cell are ranked to determine the order in which spots at those locations change from "off" to "on" as shade values vary from white to black according to their "x" and "y" coordinates through the threshold equation:
Threshold(x,y)=Comb(Row.sub.-- fn(A.sub.x *x+A.sub.y *y),Col.sub.-- fn(B.sub.x *x+B.sub.y *y))
The "Comb()" function is some rule for combining the inner "Row-- fn()" and "Col-- fn()" functions such as summation, multiplication, or comparison (taking the maximum or minimum of the two). The "Row-- fn()" and "Col-- fn()" functions are periodic functions with period [-1,1] matching that of the fundamental halftone cell. The arguments to the "Row-- fn()" and "Col-- fn()" functions, (Ax *x+Ay *y) and (Bx *x+By *y), respectively, determine how the "rows" and "columns" of halftone dots are arranged within the cell. An example threshold function using the well-known cosine function is:
Threshold(x,y)=Ecc*cos (π*(A.sub.x *x+A.sub.y *y))+cos (π*(B.sub.x *x+B.sub.y *y))
where the arguments to the cosine functions have been scaled by π to make the function's period match the [-1,1] cell size.
The "Ax " and "Ay " parameters determine the "x" and "y" spatial frequency components (respectively) of the "rows" of halftone dots, and the "Bx " and "By " parameters determine the "x" and "y" spatial frequency components (respectively) of the "columns" of halftone dots (spatial frequencies here being given in terms of "cycles per cell").
The combining function in this case is simple summation with the "Ecc" scale factor determining the influence of the "Row-- fn()" contribution relative to the "Col-- fn()". "Ecc" is normally equal to 1.0, but if set to a value slightly greater or less that 1.0, the dot shapes will be distorted, causing a "linking" or "chaining" of the dots along the "row" or "column" direction for midtone shades, minimizing the "optical jump" that is sometimes seen as an abrupt change in density at the 50% dot where the transition from separated "dots" to separated "holes" occurs.
The threshold equation requires a periodic function similar to the well known cosine function, but with a fundamental period from -1 to 1 (matching the range of coordinates within the fundamental halftone cell).
The cosine function itself with a period of 2π (which can be taken as the interval [-π, π]) could be used if its arguments are scaled by a multiplication by π, but a preferred implementation uses a simple quadratic function, "para(x)" which approximates the cisine function and has a natural fundamental period in the interval [-1, 1]. This is much easier to calculate in practice and can be defined as a splicing of simple parabolic sections as: ##EQU1##
Once the periodic "para(x)" function has been defined, the threshold equation can be given by:
Threshold(x,y)=Ecc*para(A.sub.x *x+A.sub.y *y)+para(B.sub.x *x+B.sub.y *y)
The parameter "Ecc" controls the eccentricity of dots ("Ecc" not equal to 1.0 generates elliptical dots), the parameters Ax and Ay control the slope (given by Ax /Ay since the "A" and "B" parameters are in units of reciprocal length ["cycles per cell"]) and spacing of "rows" of dots (there will be Ax "rows" of dots in the x interval [-1,1], and Ay "rows" of dots in the y interval [-1,1]), and the parameters Bx and By similarly control the slope and spacing of "columns" of dots. The "Ecc" parameter is a real number (usually close to 1.0), but the parameters Ax, Ay, Bx and By must be integers for proper matching of the dot patterns from glyph to glyph. This restricts the effective angles of the "rows" and "columns" to those with rational tangents, but they need not bear any special relationship to the actual number of addressable points within the fundamental halftone cell. More importantly, the "rows" and "columns" need not be perpendicular to one another and they need not have the same spatial frequency.
Threshold(x,y)=Ecc*para(A.sub.x *x+A.sub.y *y)+para(B.sub.x *x+B.sub.y *y)
with the "Ecc" parameter set equal to 1.0 produces halftone patterns where the dots progress from small circular or elliptical disks (depending on the relative x and y spatial frequency components) in the highlight shades to parallelograms with all four vertices touching neighboring dots at the 50% gray midtone to small circular or elliptical holes in the dark shadow tones. Changing "Ecc" to values different from 1.0 will slightly distort the dot shapes causing the midtone dots to join or chain in the "row" (if Ecc>1.0) or "column" (if Ecc<1.0) direction. The following examples in FIG. 6 all use the same pattern parameters:
A.sub.x =3,A.sub.y =1,B.sub.x =1,B.sub.y =-2.
In 6a) Ecc is 1.0, in 6b) Ecc is 1.25, and in 6c) Ecc is 0.75.
Another way to modify the dot shape is to replace the "para(x)" function in the threshold equation by another periodic function. The "tri(x)" function defined below produces dots that maintain a parallelogram shape from bright highlight to dark shadow tones and still exhibit the "Ecc" controlled distortion that allows chaining along rows or columns. ##EQU2##
Redefining the threshold function as:
Threshold(x,y)=Ecc*tri(A.sub.x *x+A.sub.y *y)+tri(B.sub.x *x+B.sub.y *y)
the previous dot patterns become those of FIG. 7a), b) and c), with corresponding value of Ecc is 6a) and 7a), 6b) and 7b), and 6c) and 7c).
Yet another method to change the shapes of halftone dots is to modify the threshold equation so that instead of taking the sum of the "row" and "column" "tri(x)" functions we compare the two terms and take their maximum or minimum. This leads to dot patterns that have a intaglio-like appearance where the parallelogram shaped dots do not join at their vertices in the midtones, but are oriented so that they are separated by parallel lines of varying thickness.
Redefining the threshold equation as
Threshold(x,y)=Maximum(tri(A.sub.x *x+A.sub.y *y),tri(B.sub.x *x+B.sub.y *y))
with the same Ax, Ay, Bx, and By, parameters as before produces the patterns of FIG. 8a):
Or, by taking Threshold(x,y)=Minimum(tri(Ax *x+Ay *y), tri(Bx *x+By *y)) we obtain the pattern of FIG. 8b):
PostScript™ is an accepted industry standard page description language capable of integrating text, line art, and (continuous tone, sampled) images in a single document. Depending on the characteristics of the particular printer, continuous tone image data is typically converted to a halftone representation for hardcopy output. The PostScript™ halftone mechanism is flexible enough to allow this halftone pattern generation algorithm to be implemented in a standard PostScript™ printer (e.g., the Apple LaserWriter, Linotype Linotronic Lasersetter, etc.) without hardware modifications. Through appropriate choice of the parameters Ax, Ay, Bx, and By, the printed output of halftone images can be greatly improved, particularly in the case of color images.
______________________________________The "para(x)" and "tri(x)" functions can be defined in PostScriptby /para{0.007 add abs 2 div dup truncate sub 2 mul 1 exch sub absdup 0.5 lt { dup mul 0.25 sub }{ 1 sub dup mul 0.25 exch sub } ifelse} def/tri{0.007 add abs 2 div dup truncate sub 2 mul 1 exch sub abs0.5 mul 0.25 sub} def______________________________________
These functions expect the argument "x" to be the top element on the operand stack and return the appropriate function value, "para(x)" or "tri(x)", in its place.
Note that in both cases an additive offset (0.007 in these examples, but could be any small number) is used to remove the absolute symmetry of the functions. Since the halftone patterns produced have multiple dots per cell, the slight asymmetry helps avoid redundant threshold values and promotes more homogeneous growth among the dots in a halftone cell.
The PostScript halftone cell is defined as having its center at the origin of an x,y coordinate system with corners at �1 in x and y. Since the cell dimensions match the periodicity of the "para(x)" and "tri(x)" functions, these offsets will not otherwise affect the final halftone pattern appearance.
______________________________________The original function "Threshold (x,y)" is defined in PostScript by/threshold{2 copy mul 0 lt {0.001}{-0.001} ifelse 3 1 roll0.003 add exch 2 copy Ax mul exch Ay mul add para Ecc mul3 1 roll Bx mul exch By mul add para add} def______________________________________
The "threshold" function expects the x and y arguments to be the top two elements on the operand stack (which are removed in the calculation) and returns a single threshold value as the top element. An additive offset of 0.001 is added to or subtracted from the threshold value computed depending on whether the original x and y arguments represented a point in an even or odd quadrant of the coordinate plane and an additional additive offset of 0.003 is applied to the y argument only (again, to intentionally reduce symmetry and promote more homogeneous dots within the multiple dot per cell pattern). The "para" function in the above example is simply replaced by "tri" to alter the dot shape as described earlier. The parameters Ax, Ay, Bx, By, and Ecc are PostScript variables which are set to the desired values by (for example):
One other parameter must be set and that is the "pitch" of the fundamental halftone cell (cells per linear inch in the printer device space). The effective halftone pattern pitch, since this algorithm produces patterns with multiple dots per cell, will be the product of this "cell pitch" with the square root of the number of dots per cell (given by |Ax*By-Ay*Bx|). The dots per cell for the above example parameter values is seven. If the cell pitch is set to 30 per inch (for example) with
the effective halftone pitch will be 30*√7≈79.3725. After setting the parameters to their desired value, a halftone screen is "set" with the PostScript statement:
The second parameter "0" refers to the rotation angle of the fundamental halftone cell. Since the orientations of the rows and columns of dots are specified within the fundamental halftone cell, no rotation of the cell itself is required.
The intaglio-like dot patterns (where the parallelogram shaped dots do not join at their vertices in the midtones, but are separated by parallel lines of varying thickness) may be produced by modifying the threshold function to take the maximum of the row and column "tri(x)" functions:
______________________________________/threshold {2 copy mul 0 lt {0.001}{-0.001} ifelse 3 1 roll0.003 add exch 2 copy Ax mul exch Ay mul add tri3 1 roll Bx mul exch By mul add tri2 copy lt {pop}{exch pop} ifelse add} def______________________________________
Since the dots do not join at their vertices at middle gray shades for these patterns, there is no need for the eccentricity parameter "Ecc". The above threshold function produces patterns with "black" ("on") dots separated by "white" ("off") lines. The reverse effect (white dots separated by black lines) can be produced by taking the minimum rather than the maximum of the row and column "tri(x)" functions:
______________________________________/threshold {2 copy mul 0 lt {0.001}{-0.001} ifelse 3 1 roll0.003 add exch 2 copy Ax mul exch Ay mul add tri3 1 roll Bx mul exch By mul add tri2 copy gt {pop}{exch pop} ifelse add} def______________________________________
The only change here being a final "greater than" ("gt") test rather than "less than" ("lt").
In all cases, if a fixed pattern is desired (i.e., for monochrome printing where only one halftone pattern is required), the variables Ax, Ay, etc. in the threshold function definitions may be replaced by literal numeric constants.
The use within a Matchprint™ proof made from separation negatives exposed on a Linotype Linotronic 300 R Lasersetter at a resolution of 2540 dpi. The cell pitch for all colors was 2540/48=52.9167 (48�48 pixel halftone cell) with a "cell angle" of 0�.
The black separation used Ax =2, Ay =2, Bx =2, By =-2 (a basic 45� pattern). The dots per cell (from |Ax By -Ay Bx |) is 8 giving an effective pitch of 52.9167�√8≠149.67 (close to a standard 150 line screen).
The cyan separation used Ax =1, Ay =3, Bx =-3, By =-1 (a "skewed" pattern with non-perpendicular "rows" and "columns" of dots. SEE top halftone pattern on PAGE 9 of DIAC RI 24.) The dots per cell is 8 giving the same effective pitch of about 149.67.
The magenta pattern is the mirror image of the cyan with Ax =-1, Ay =3, Bx =3, By =-1. Again dots/cell=8 with the same 149.67 effective pitch.
The yellow pattern used Ax =0, Ay =3, Bx =3, By =0 (a basic 0� pattern). The dots per cell in this case is 9 giving a slightly different effective pitch of 52.9167�√9=158.75 (but the appearance of the color texture or rosette is primarily determined by the more visible black, cyan, and magenta dot patterns).
The image produced from this data exhibits an unconventional rosette, but its appearance is not objectionable and the overall 45� texture orientation helps reduce its visibility. An added feature of these patterns is a reduced sensitivity to registration errors among the various separations (a fundamental claim in the cited U.S. Pat. No. 4,758,886).
The primary advantage of this halftone pattern generation algorithm is the ability to independently specify the orientation of and dot frequencies along "rows" and "columns" of halftone dots within a simple, non-rotated square cell of addressable raster points. The algorithm does not require the number of dots to be related to the size (in addressable raster points) of the fundamental cell. While patterns based on relatively small cells may appear less noisy if the dot frequency bears some specific harmonic relationship to the addressable points per cell, patterns with many points per dot can be generated without restrictions. This flexibility allows selection of halftone screens for color printing to be made from a much broader range of patterns. Screens may be chosen to optimize performance with specific hardware as well as improve characteristics such as insensitivity to color-to-color registration errors.
The fact that the patterns are defined within a square, non-rotated fundamental cell can greatly simplify the hardware required to implement the algorithm in a halftone RIP (Raster Image Processor).
The fact that the patterns have multiple dots per cell is an advantage when printing a large range of gray shades on a relatively low resolution printer. For example: setting Ax =2, Ay =2, Bx =2, and By =-2 with a cell pitch of 30/inch will produce the same effective dot density as a pattern using Ax =1, Ay =1, Bx =1, and By =-1 with a cell pitch of 60/inch, but with four times as many shades since this depends on the number of addressable points in the fundamental halftone cell which has four times the area when the cell pitch is halved. The penalty for this added dynamic range is a small increase in noise (since all the dots within the cell cannot be identical for all shades of gray). The offsets used in the examples of a PostScript implementation of the algorithm are important in intentionally reducing the symmetry of the threshold matrix, introducing a dither mechanism among the dots in a cell to promote their homogeneous growth.
The fact that the algorithm is easily implemented on unmodified PostScript printers gives it immediate application in improving the output from a large number of existing printers.
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|Aug 30, 2007
|3M Innovative Properties Company
|Display unit and methods of displaying an image
|Mar 16, 2000
|Aug 31, 2010
|Megadot Systems Limited
|Halftone patterns
|Jun 14, 1996
|Oct 16, 2002
|Minnesota Mining And Manufacturing Company
|Display unit and methods of displaying an image
|Jun 14, 1996
|Sep 17, 2008
|Minnesota Mining And Manufacturing Company
|Display unit and methods of displaying an image
|U.S. Classification
|358/465, 358/3.13, 358/3.2
|International Classification
|Cooperative Classification
|European Classification
|Sep 14, 1990
Owner name: MINNESOTA MINING & MANUFACTURING COMPANY, SAINT PA
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST.;ASSIGNOR:RYLANDER, RICHARD L.;REEL/FRAME:005440/0844
Effective date: 19900913
|Sep 6, 1994
|Certificate of correction
|Mar 31, 1997
|Fee payment
Year of fee payment: 4
|Mar 29, 2001
|Fee payment
Year of fee payment: 8
|Apr 12, 2005
|Fee payment
Year of fee payment: 12


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Sync .com &.mobi
I have a .com & a .mobi, both pretty much the same in appearance. The problem is that currently when i create a post/content on one (say the .com), I then have to copy manually tohave it also appear on the .mobi
Does anyone know of a way to sync the 2 so that if I create content on one site, it will automatically appear on the other?
I considered multisite, but somehow I dont think that will accomplish this.
Any thoughts here?
- The topic 'Sync .com &.mobi' is closed to new replies.


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<< Back to Results | Currently Viewing - MLS Number: 107516 A (Active)
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Contact Information
For more information about this listing, please use the contact information listed below.
Kenzie Meister
Indian Creek Realty
310 S 7th St.
Suite #6
Fairbury IL 61739
Listing Tools
Listing Details
MLS Number: 107516
List Price: $54,900
Street #: 401
Dir: W
Street Name: Hack
Unit #:
City: Cullom
State: IL
Zip Code: 60929
Other City:
Area: 7
County: Livingston
School District: Tri Point
Elementary School: Tri-Point Kempton
Middle School: Tri-Point Piper City
High School: Tri-Point
Apx Lot Size: 100 x 160
Apx Acres: 0.37
Zoning: Residential
Waterfront: None
Flood Plain: No
Tax ID #: 18-23-380-008, 18-23-380-009
Taxes: 1754.54
Tax Year: 2016
Rooms: 5
Bedrooms: 2
Full Baths: 1
Baths No Tub:
Baths-Partial: 0
Total Baths: 1
# Levels: 1
Year Built: 1956
Built Prior to 1978: Yes
# Fireplaces:
Sewer: Septic
SqFt Lvl1 Above Grade: 996
SqFt Lvl2 Above Grade:
SqFt Lvl3 Above Grade:
Ttl SqFt Above Grade: 996
SqFt Fin Below Grade:
SqFt Unfin Below Grade:
Ttl SqFt Below Grade: 996
Ttl SqFt Fin Unfin: 1992
Room 1 Name: Kitchen/Dining Combo
Room 1 Dimensions: 13'2" x 16'9"
Room 1 Flooring: Vinyl
Room 1 Window Treatments: No
Room 2 Name: Bathroom
Room 2 Dimensions: 9'7" x 6'4"
Room 2 Flooring: Vinyl
Room 2 Window Treatments: No
Room 3 Name: Bedroom 1
Room 3 Dimensions: 11'2" x 13'1"
Room 3 Flooring: Carpet
Room 3 Window Treatments: No
Room 4 Name: Bedroom 2
Room 4 Dimensions: 14'7" x 11'11"
Room 4 Flooring: Carpet
Room 4 Window Treatments: No
Room 5 Name: Living Room
Room 5 Dimensions: 11'10" x 20'5"
Room 5 Flooring: Carpet
Room 5 Window Treatments: No
Room 6 Name:
Room 6 Dimensions:
Room 6 Flooring:
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Room 7 Dimensions:
Room 7 Flooring:
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Room 10 Dimensions:
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Style: 1 Story
Exterior: Aluminum
Basement: Full
Heat: Gas
Cooling: Central
Water: Community
Garage: Detached, Opener, 2 Car, Other-See Remarks
Appliances: Dishwasher, Refrigerator, Dryer, Range, Washer
Features: Ceiling Fans, Satellite Dish, Smoke Alarm, Carbon Monoxide Detectors
Public Remarks: Move-in ready! This charming 2 bedroom, 1 bath home offers 996 square feet with a detached 2 car garage and extra lot in Cullom. Major kitchen renovation, bathroom updates, and new carpet all within the last ten years. Full unfinished basement provides room for storage and utilities. A short distance to the downtown area and schools, this home is in the heart of a small, caring community and its extra lot allows for a great yard space. This house just needs a few finishing touches and someone to call it home!


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When at California's San Mateo Gymnastics, Erin Macadaeg estimates she trained anywhere from 35-40 hours per week. Competing as an "elite gymnast," there was no other way. It was the status quo and led to Macadaeg's placement on the 2014 Level 10 Junior Olympic National Team.
Now a freshman at LSU, NCAA rules cut Macadaeg's training time in half. It mandates the LSU gymnastics program can only practice for 20 hours per week.
What's Macadaeg doing with her free time?
Watching movies.
"I'm pretty sure in theaters right now, we've seen all of them," adds classmate and roommate Myia Hambrick. The two live in an apartment with fellow freshman Kylie Moran.
"We actually get along very well," Macadaeg said. "We haven't fought — yet. We share everything, go grocery shopping together practically do everything together. The three of us work together so well."
Hambrick got to campus this summer, so she tried to impart the little she knew about the program to her two roommates. The rest was gleaned through experience, aided by the already-growing chemistry among the trio.
"It's interesting to be able to figure things out together," Hambrick said. "Since we're not at home, none of us feel like we're being 'mothered' by anyone. If we were living with someone older, maybe sometimes that would happen."
Cast in prominent roles back in the gym, Hambrick and Macadaeg have given the No. 3 Tigers a youthful boost during their torrid 2015 season, though it didn't come without some growing pains.
Hambrick, coached by her mother, Laurie, at West Georgia Gymnastics, laughed as she recalled club meets with hardly 150 spectators and an individualized atmosphere.
Transitioning to a raucous Pete Maravich Assembly Center, now consistently filled with more than 10,000 fans, nerves set in. Hambrick competed the all-around in her first collegiate meet against Iowa, stumbling to a 38.300 after falling during her last two routines on beam and floor.
"I think everyone knows I was a little bit nervous in the beginning," Hambrick laughed. "It's a little nerve-wracking at first, but I think after the first or second time I was in the PMAC … I started learning how to play to the crowd and not feel so overwhelmed. I've gotten past the whole newness of it."
Since the falls, Hambrick bounces in and out of the all-around lineup alongside seniors Rheagan Courville and Jessie Jordan, though her performance in the win against Minnesota was evidence of her progression.
Hambrick either set or tied a career high on all four events against the Golden Gophers, posting a 39.575 — the Southeastern Conference's highest all-around score for a true freshman in 2015.
"She makes things in her head bigger than they are sometimes," coach D-D Breaux said. "We're trying to get her mental approach to what she's doing as focused as her physical approach. Because physically, she's a total package."
Macadaeg, performing mostly as a beam specialist, averages a 9.781 on the event and set a career high with a 9.950 against Georgia on Feb. 6.
Though she was adamant Macadaeg could do more, Breaux said the contributions the 4-foot-9 newcomer gives on beam are exactly what the team needs — not that it came as a shock.
"She's, like myself — very, very hard working," Hambrick said. "Everyone in the gym can see her beam is flawless every single day, so none of us were really surprised she could do that week after week."


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Okay, California Pacific Airlines ready again
FAA-certified, but start dates out of Carlsbad airport uncertain (psst, April)
Ken Harrison 8:30 a.m., Nov. 18
On the evening of April 15, San Diego Jack Murphy Stadium will officially enter the video age, when the brand new, instant-replay, full-color Diamond Vision scoreboard blazes to life as part of the Padres home opener against the San Francisco Giants.
Owned and operated by the Padres organization, this $6.5 million technological wonder will buzz and blink and flash and light up Mission Valley like an alien spacecraft hovering over the right field bleachers, It reportedly can do everything to entertain and inform the fan but pour Miller Lite. shell peanuts, and spout Colemanisms. In addition to replays of action on the field, the big board will serve up such visual goodies as sports quizzes, baseball bloopers and highlights from around the league, live updates on crucial games in other cities, no-hitters in progress, record-breaking performances, and, unfortunately, the commercials. But the board"s biggest attraction will be the instant replays. Finally the fans in the. stands can double their baseball pleasure by actually being there in the ball yard while not missing out on the exciting replays and revealing closeups we have all grown accustomed to seeing on home TV.
Naturally, you'd expect that fans would be treated to the same cold and critical eye which television has brought to the living room, right? A shot o fthe check swing that, in replay, turns out to be a full swing and a strike; the tag at second that the tape shows was just a tad late. Another look at those tough, bang-bang plays -- the good stuff, right? Wrong. "As far as controversial stuff, we won't even go near it," says Mark Guglielmo, a former Channel 39 sports producer newly hired by the Padres as scoreboard supervisor. It will be Guglielmo's job to decide what appears on the 900-square-foot Diamond Vision board, and he's already been given his orders: no rhubarbs, no close plays, no arguments with the umps, no questionable calls, no "incidents" at all. "Primarily great plays, that's what we'll show," Guglielmo says. From his command post in the control booth near the press box, Guglielmo will scan the the monitors fed from his three video cameras and make what he describes as "judgment calls" about even marginally controversial plays. "Say we're playing the Dodgers, for example, and Steve Sax boots one. I don't think you'd show that. "Especially if he's coming up the next inning. All that does is incite the guy,or embarrass him. Or if somebody on the opposing team hits a home run, I don't think we'll show that." Mike Marshall hammers one into the nose-bleed seats, You call this controversy? And what are the Padres afraid will happen if the fans are shown a replay of a very tight call on a pickoff at first? Riots? Overturned Winnebagos ablaze on Friars Road?
"San Diego fans aren't as avid as some others," Guiglielmo says carefully, "but even so, you can't leave the umpires open to a lot of second guessing, Say there was a close play, and the umpire was wrong. and the opposing manager says, 'Hey, on the scoreboard it "'as clearly proven that he was out, and you called him safe: What do you do there?" Guiglielmo already knows the answer: you don't even touch it. "Besides," he adds, "a lot of camera angles aren't that conclusive. I've seen replays where from ·one camera angle the guy was safe, and you look at it from a different camera angle, he's out."
In defense of what would appear to be censorship, Guglielmo points to a memo on his desk from the National League office, which lists the league's "guidelines" for use of instant replay screens. (With the addition of the Padres, a total of nineteen major league clubs now have such screens.) The memo, signed by league president Charles S. Feeney, reads in part, "The board should not be used to show controversial plays that are the result of an umpire's decision. This could embarrass both the umpire and a manager or player who is arguing a call. Close calls can be interpreted either way by partial fans and such showing could be the cause of disorderly conduct by the fans toward the umpires. Replays showing balls imd strikes shall not be used." Guglielmo says the memo is a statement of National League policy, and that the Padres are bound by it under penalty of fine. However, a spokeswoman at the National League office in New York City hedged when asked to confirm the threat of fines for replay infractions, and said that the league's clubs were "not really', formally bound to follow Feeney's decree. The rules, she said, were "just common sense, really, to protect the umpires.'
John Kibler doesn't sound like a person who needs protecting. Kibler, from Oceanside, is about to start his twenty-first year as a National League umpire. He has a terse, give- 'em-hell style of speaking, and a traditionalist's viewpoint of the game. "All our problems with this replay stuff started in Atlanta four or five years ago," he recalls. "They showed a call up on the screen and the whole crew walked off the field. We finally came ack but we warned 'em that if it happened again, we'd walk off the field again. After this, we spoke to Mr. Feeney about it through our [umpires'] association. He said if it happens, report it directly' to him, and he'd take care of it." Though he declines to specify which clubs, Kibler says that over the years he has reported two" baseball clubs for replay offenses. "One of ' em was showin' balls and strikes!" he says incredulously. "Whether they ever got fined, I don't know."
So no controversial or even mildIy controversial calls will be replayed on the giant screen. Will it at least now and then to whip the the fans into a bit of a frenzy? Could the hometown faithful be pumped up by the great, Orwellian video cheerleader in the sky? "We talked about that," says scoreboard supervisor Guglielmo, "but I don't think we're going to use it to hype the·crowd. I don't know if that even works .... The board is not there to overwhelm the game, just to supplement and add to it." And, a cynic could suggest, to tranquilize it.
--Bil Owens


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Very few businesses come across as glamorous as the one of fashion which has provided us with some of the world's biggest celebrities. However, many people are not exactly aware of what the fashion world is really like and very few people know how it all started.
The first thing you should know is that it was Charles Frederick Worth who first established modeling as a profession back in 1853, after he asked his wife to model the clothes he had designed himself. His idea really took off and soon models became a new profession in Paris, where there were literally hundreds of fashion designers and fashion houses.
Back then, since this new profession was extremely new, the women who ended up working as models didn't have any specific measurement requirements and fashion houses would pick women that were many different sizes in order to be able to showcase the variety of their fashion designs.
However, those women never became celebrities and they were merely used in private showcasings. In fact, it wasn't until the 1960s that the fashion industry started using female models regularly thanks to the creation of the first modeling agencies all over Europe.
But London was known as the best city for models because their modeling agencies were more organized and their approach to modeling was move innovative than anywhere else. In fact, it was in the English capital where some models first became famous such as Joanna Lumley, Twiggy and Penelope Tree who started the fascination with models and with the fashion industry in general.
Fast-forward to one decade later and modeling agencies had become pretty much what they are these days. Models were required to have certain measurements and the industry started looking for them elsewhere, like in Scandinavia because their models were blonde and had extremely long legs and in Brazil because they believed the women there were more exotic-looking.
But it wasn't until the 1980s when modeling became a proper job to some people who were finally able to take it as a full-time profession. Something else that happened during that decade is that models would get jobs all over the world which meant they would have to fly out to other countries in order to work and appear where they was demand for them.
However, the decade when the modeling world became everything it is today was the 1990s. But what exactly changed this? Some people believe it was partly thanks to a quote given by one of the runway models from back then, the beautiful Eva Evangelista who, talking to Vogue magazine, famously said that models didn't wake up for less than $10,000 a day.
But she wasn't the only model who soon became famous in the whole world and who fell into the supermodel tag that was so used back in the 1990s. Other extremely popular and loved supermodels from that era were Naomi Campbell, Cindy Crawford and Claudia Schiffer, all of which signed huge contracts to work for some of the world's most important brands and fashion houses and who, of course, took part in the most spectacular fashion shows in every possible country in the world.
Then, during the 2000s, after the pop industry took over the fashion world thanks to singers like Britney Spears and Christina Aguilera, the world of runway modeling became a mixture of fashion and pop. In fact, one of the most popular runway events of the year became the Victoria's Secret Fashion Show were hugely popular and beautiful models such as Gisele Bundchen and Adriana Lima would walk down the runway displaying the gorgeous designs created by this lingerie company while pop acts such as the iconic and legendary Spice Girls (who reunited for the show) and Justin Timberlake performed some of their biggest hits.
However, the world of catwalk modeling isn't all about the glamor. Many people, those who have never worked in the industry, can't even imagine what goes on behind the scenes and what a complicated and hard job it is. For istance, some models who get low pay turn to cheap phone sex jobs, just to make end meet
It's obvious to everyone that catwalk models are extremely beautiful and have insanely gorgeous bodies, but to achieve that level of general beauty many of them must stick to healthy diets and exercising. Also, only they are aware of how exhausting sitting for hours on end to get their make-up and hair done can be.
Another thing many people don't take into consideration is that professional models are constantly flying in order to appear in the fashion shows of some of the major fashion markets such as New York, London, Milan and Paris, which means that they barely spend any time at home and, as a consequence, they rarely get the chance to be with their families which means their job becomes their priority.
Also, once they get to a fashion show they spend hours getting ready and they must learn to get changed extremely quickly since they display a few different looks during each show and the changes must be done as fast as possible in order to make sure that the show runs as smoothly as possible.
Everyone knows that the biggest supermodels in the world get paid large amounts of money thanks to their beauty and many people find this unfair. However, we all must keep in mind that all of these supermodels sacrifice many things in order to make it as far as possible in the fashion industry and that isn't something everyone would be willing to do, not even to earn as much money as supermodels do, which is why they must be respected because, at the end of the day, they all are hard workers.


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Every year, the online salon Edge.org invites leading scientists, philosophers, artists, entrepreneurs, and intellectuals to answer a brief, open-ended question—usually no longer than 7 or 8 words. The answers it receives are often profound and surprising. In 2013, the Edge Foundation asked: "What should we be worried about?" The Chinese eugenics program, responded one contributor. The failure of genomics to solve mental illness, said another. The lack of neural data privacy. The implications of synthetic biology.
What's neuroscientist and behavioral biologist Robert Sapolsky worried about? How hard it is for us to believe we have no free will.
Sapolsky, like many thinkers we've featured here, doesn't wonder whether human beings are capable of making wholly free and independent choices. We are highly complex biological machines, he says, and every move we make—from ordering goat curry at dinner, scratching an itch, or choosing whom to marry—is the result of an intricate cascade of genetic, cellular, historical, cultural, and personal factors.
But it's really, really hard to feel that way. And when we forget, argues Sapolsky, we tend to praise and damn people for behaviors they haven't in any real sense chosen.
You wouldn't expect a microscopic parasite to have much to do with such an existential issue. Yet the protozoa Toxoplasma gondii is one of the most fascinating examples Sapolsky gives to poke a hole in our concept of self-determination. His lab has been studying the effects of Toxoplasma on rat behavior for years. The parasite reproduces sexually in cats and uses rats as carriers. According to Sapolsky's research, the cysts formed by the parasite in a rat's brain are more concentrated in the amygdala, a structure associated with emotional states—including both anxiety and attraction. The Sapolsky lab has also published findings showing that a Toxoplasma infection changes brain activity in pathways associated with the normal defensive response, dampening anxiety; at the same time, it stimulates activity in pathways associated with sexual arousal, heightening attraction. As a result, infected rats lose their instinctive fear of cats, and even become drawn to the smell of their urine.
In humans, the same protozoa causes a disease known as toxoplasmosis, which can lead to retinal damage, brain damage, and death. You've probably heard that toxoplasmosis can be passed from cats to humans (and from mother to fetus, the reason pregnant women aren't supposed to clean litterboxes).
What does all this have to do with free will?
Current estimates hold that up to 2 or 3 billion people worldwide may be silent carriers of the parasite, which resides in brain and muscle cells permanently after the first infection. And as Sapolsky writes, "If someone is infected with the protozoan parasite Toxoplasma gondii, they are likely to become subtly more impulsive." For example, a Czech study found people whose behavior put them at increased risk of being in a traffic accident (pedestrians who prematurely entered a crosswalk, or drivers who caused a crash) were more likely to be infected with Toxoplasma than a random sampling of the Czech population.
This quiet guest, then—like the DNA we inherit, our childhood experiences, the written and unwritten rules we learn, our accumulated memories and our physical bodies—seems to add its subtle influence to the choices we only feel are freely made. All our supposedly free decisions are at least influenced by—and perhaps even totally determined by—numerous factors over which we have no control. Try to remember that. It'll keep Robert Sapolsky a little less worried.
See Robert Sapolsky talk live at Being Human 2013


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San Antonio Pottery
December 9th & 10th 2017
Kiln Opening 5:00pm
Tour de Clay Studio Hours
Saturday: 9AM-8PM
Sunday: 11AM–4PM
(Regular normal hours are 11-5:30 Tuesday - Friday
Saturday 12-4 and closed on Sunday)
Pottery Classes Available
Tuesdays, Wednesdays & Saturdays
Pottery Family Friendly Pottery Experience at the
San Antonio Pottery
The ever popular Tuesday Evening, Wednesday Morning, & Saturday Morning 6 week sessions return in September. All levels welcomed. Cost is $195. includes 2.5 hours of instruction per week for 6 week session, 25 lbs.of clay, glazes,firings & additional bonus studio time each each. Returning students receive 10% discount.
Single 2 hour classes are also available with advance reservation. $40. for 1 student, $75. for 2 students.
Call 352-588-4228, for details.
Click Here to View Full Schedule
No prior art experience is necessary, just an adventurous spirit and a willingness to have fun and get a little messy.
Reservations are required as Space is limited.
San Antonio Pottery, 11903 Curley Rd., San Antonio FL. email@example.com.
The Pottery will be closed during the month of August.
San Antonio Pottery - San Antonio, Florida
Jack Boyle - Potter, Est. 1977
Custom orders accepted
Tours available
Visit San Antonio, Florida home of the San Antonio Rattlesnake Festival
San Antonio Pottery, Copyright © 2012 , All Rights Reserved.


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Safaris in Tanzania, Adventure Travel in East Africa, Introduction to Tanzania, Tanzania Safaris in Africa, Tanzania Tours in East Africa, Luxury Tours in Tanzania, Lodge Safaris in Tanzania, Budget Tours in Kenya, Tanzania Luxury Safaris, Mt Kilimanjaro Climbing, Zanzibar Beach Tours, Cultural Tours in Africa, Arusha Tours, Bird Watching Safaris in Tanzania, Ecotourism Safaris, Africa Wildlife Tours , Mt Kilimanjaro Hiking
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The country is situated just south of the Equator bordering the Indian Ocean and is 930,704 sq. km. in area. Of this, inland waters cover 53,000-sq. km. and 247,537-sq. km. is devoted to the protection of wildlife. Most of the land area of the country falls within the central plateau region, although the most distinctive feature is the Great Rift Valley with its associated series of lakes from Nyasa in the south, to Tanganyika in the west and Victoria in the north. Volcanic activity is common throughout the Rift Valley area. The coastline comprises long tropical beaches and the major offshore islands of Zanzibar, Mafia and Pemba. The population presently occupying Tanzania is about 30,3 million. Approximately 3,2 people per square kilometre.
If the cultural and historical aspects of Tanzania are what hold your interest, there is no better place to start than the capital, Dar es Salaam, which means 'haven of peace' in Arabic. A whole tapestry of history is played out in the architecture and streets of this city with fantastic mosques, traditional and busy Indian bazaars. For an insight into present lifestyles, which still follow a tradition as old as Africa itself, visit the Kariakoo Market where every variety of vegetable, fish and livestock is on sale, along with a fascinating range of traditional medicines and spices. An even better window is the Nyumba ya Sanaa, a local handicraft centre where you can buy anything in the line of painting, pottery, carvings or batlik fabric designs.
Just north of Dar es Salaam is the former capital of the country, Bagamayo. The name is said to be derived from the cry of slaves brought here for sale and transport, and means 'Here I lay down my heart'. The sombre history of this once great city is evidenced by the remnants of the slave trade - shackle rings, cell-like stone pits in which the slaves were kept and the rare examples of freedom certificates.
On a more optimistic note, this was also the starting point for many of history's most famous explorers. David Livingstone is especially well remembered here in the museum collection at the Catholic Mission, but Burton and Speke also passed through this city and Stanley's own house still stands here as a monument to those great adventurers.
The climate is warm and humid in coastal regions with temperatures ranging between 24-28 degrees centigrade. October to mid-March is the hottest period and June to September, the coolest. The rainy season is from mid-March to the end of June.
Tanzania boasts in having Mount Kilimanjaro which is Africa's highest peak. The coastline is 800km where islands are lush with palm fringed white beaches washed by the turquoise water on the Indian Ocean. Tanzania contains three of Africa's best-known lakes—Victoria in the north, Tanganyika in the west, and Nyasa in the south. The island of Zanzibar is separated from the mainland by a 22-mile channel. The Great Rift Valley also passes through Tanzania. The country has reknowed national parks in the world especially the Serengeti National Park which was named together with the Maasai Mara game reserve as the new 7th wonder of the world with its wildebeest migrations. The annual migration into Kenya (in a continuous search of water and pasture) of more than 1.5 million wildebeest and hundreds of thousands of zebra and gazelle is triggered by the rains and usually starts in May, at the end of the wet season. Called the Great Migration, this constitutes the most breathtaking event in the animal kingdom ever known to humans. As the dry season intensifies, the herds drift out towards the west, one group to the north (to Lake Victoria, where there is permanent water), the other northeast heading for the permanent waters of the northern rivers and the Mara. The immigration instinct is so strong that animals die in the rivers as they dive from the banks into the raging waters to be dispatched by crocodiles. The survivors concentrate in Kenya's Maasai Mara National Reserve until the grazing there is exhausted, when they turn south along the eastern and final stage of the migration route. The migration coincides with the breeding season, which causes fights among the males. The best months to visit to witness this great migration are December to February and May to July.
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|Copyright © 2015 Victoria Safaris Limited. All Rights Reserved. Email: firstname.lastname@example.com Email: firstname.lastname@example.com Last Updated 2nd January 2015


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Nov. 22, 1963 President John F. Kennedy is assassinated. Generally considered a friend of labor, Kennedy a year earlier had issued Executive Order 10988, which authorized unionization and a limited form of collective bargaining rights for most federal workers (excluding the Department of Defense). Many states followed the example set by Kennedy.
~ Union Communication Services
Teamsters Local 992 News Release


text: First let me say, I'm sorry but I just can't make up my mind on what to do. Please give me your opinion on what you would do in my shoes. I have the Moto Droid. I love the phone but I'm having problems with it. People are complaining that there is such a shrill whistle like sound that they can't even talk to me. I don't hear it at all. I just did a exchange through my warranty but now people are complaining this new Droid is doing the same thing. I can't pinpoint why it is doing it as it is in my house but I'm not near any appliance and they aren't even on not even the tv when this happens so I think it is the phone. But what are the odds of two doing the same thing??!! Then I was using the Droid as my mp3 player but hated that every time a reminder, email, text and of course phone calls come through it interrupts the song. Of course I want phone calls but wish I could shut off the others while listening to mp3's. So I didn't like the Ipod Touch or Zune so I got an Archos 5 32GB with Android on it. Love the device but it has froze up on me a few times. Also it is about $450 with dock and 3 yr warranty. Works great as an mp3 player but expensive and being 5 inches not real pocketable. So I think what about returning the Archos 5 (I only have like 3 more days to return it) and get the Droid X nice size screen but still pocketable and I can get it for $199. But then we go back to the interruptions while listening to mp3's and it is hard to use as gps and a mp3 player at the same time. So I know don't always like to answer questions like this but I really need help deciding. I don't want to miss out on the Droid X if that is my best option nor do I want a $450 Archos that I might not use that often because isn't not really pocketable. Please tell me what your opinion is. Do I keep the Archos 5 and my Droid? Do I return the Archos 5 and move to the Droid X? Or even move to the Droid X and look for another mp3 player? Thanks, Nancy


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Volunteers from Conroe First Presbyterian Church have dedicated their time to packing Care & Share Meals for Seniors and Buddy Pack Meals for Elementary School Children for the past three years. During their monthly visits to the Montgomery … [Read more...]
Volunteers – The Food Bank couldn't do it without them!
February 24, 2014 By LCTXO Staff
Filed Under: Local Events Tagged With: Buddy Pack Meals, Care & Share Meals, Montgomery County Food Bank, volunteers