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When I told an artist I planned to interview him in his Philadelphia studio, he immediately started a three-day renovation of the space so it would be tidy, professional, and well organized. He repainted the walls and cement floor, organized the bookshelves, re-hung the paintings on the wall, cleaned the windows, tossed out bags of trash, boxed up props, and wiped down all the furniture. I told him it wasn't necessary to do all that work, but he explained that I had given him an excuse to stop painting and spend time organizing a better work environment.
Most artists are like my friend in Philadelphia. They just don't get around to organizing and cleaning their studios even though they recognize those activities can help them operate more efficiently and creatively in the space. The only time they really plan the work space is when they have the opportunity to build a new structure or convert a room previously used as a bedroom, garage, or recreation room.
My visit to Philadelphia was followed by studio interviews with an artist who worked in a converted root cellar, a woman painting on a piece of plywood laid on a spare bed, and a guy operating in an attic he shared with pigeons. I then went home and completed a painting in the basement space of my home, which is filled with cat boxes, cleaning supplies, back issues of American Artist, and wrapped dahlia bulbs. Not surprisingly, I started thinking about putting together a magazine that might help me and many other artists by featuring better storage units, color-corrected lighting, durable furniture, adequate ventilation, and better organization of work spaces.
I'm now in the process of putting together that special newsstand magazine, and I am soliciting information about artists who have taken the time to resolve some of the challenges we all face. If you have a good idea to pass along about storing wet paintings, keeping sheets of white paper clean, shelving still life props, buying a well-made easel, installing color-corrected lighting, evacuating solvent-laden air, hosting a model, providing space for students, or displaying finished paintings I would like to hear from you. If you have visited a studio that is worth bringing to the attention of other artists, I would also like to hear about those spaces. I look forward to hearing about the studio you are currently using or the one you dream of occupying.
I don't know if this is what you are looking for, but I think a major part of what makes a studio work is its energy and how it makes you feel when you are working in the space. For me, It's not just a matter of space and lighting, but a frame of mind. For example, I'm a really home body and my house and how it is decorated, arranged and lived in is all very important to me. The heart of the house is in the center, which includes the great room, kitchen, dining room and office, and is where I spend most of my time and where I feel most connected. At the front of the house is an extra bedroom I have used at various times as a workout room, as a craft room, as a studio and, yes, even as an extra bedroom. The problem was, I never felt good in the room because I felt separated from the rest of the house. I have a side jewelry business, and the feeling was so strong that I ended up putting all my supplies on a cart that I rolled into the kitchen whenever I needed to string some beads. Likewise, once I setup my art studio in the dining room, I was able to start painting. I know this sounds very new age, but it really did make a difference for me. I guess, metaphorically, I felt centered and in a place I felt free to create. I never used the dining room to eat in anyway.
I have a wall in my studio that I keep foam core sheets with drawings attached, the foam core sheets are attached to the wall with binder clips and nails so that i can lift them off to work on and rearrange them. I got the idea from Costa Vavagiakis, he has an amazing studio here in Brooklyn.
Hello, Stephen.
My studio is a very small room on the 2nd floor of our house. So, storage space is a bit of a problem for me. I put two layers of shelves into my closet in the studio and store my books, magazines and dry supplies there. I store oil paints and mediums under my easel in an open small box, so they occupy one spot. It makes it easy to clean around those. I also put the carpet leftovers upside down to cover some of my good carpet under the easel and around it. It really helps me to keep paint from falling on my good white carpet!
I also have my "office" space, which is a black table with a laptop, scanner, colored pencil boxes and a layered shelf for the documents. I even use the space under my table, having books and magazines I often use underneath it. As you see, I have to be organized to deal with such limited space. But I like my big window and the amount of light I get coming into my room.
In my studio, there is only one window (which I make sure is clean) and lots of walls where I just tape random scraps of whatever I find in my drawers onto. Tape is amazing in the fact that nothing is permanent and you have to keep moving things around until you like it. That's when you find a more permanent situation. Shelves are key, I need a lot more than I have and things just end up piling and the floor becomes abandoned and so you can no longer walk on the actual floor. In my other studio I make sure I keep everything clean and open, there are so many windows and lights that it makes it easy to keep a light mood and remember to put things away.
I don't paint that often (I hope to remedy that in the near furture), but I have a few ideas to store wet pictures. If they are small you can get stackable COOKIE racks that fit 10"x 16" for only $11.00 for a set of three. If you need larger and more capacity there are the Commercial baking racks (www.zesco.com/products.cfm) for $545.00 but has 12 spaces 25" x 26" and is on wheels. For singular paintings, you can hang paintings on fishing line from a beam.
Hope this helps.
Funny you should ask... This has been my obsession for the past several months, as I'm in the process of building an art studio in our back yard behind our house. If you're interested you can see the project from its conception on my blog at this link. www.jenniferyoung.com/.../index.php
Since this is a blog format what you'll see is the most recent post first (which deals with my research on full spectrum lighting.) But scrolling back to prior pages will reveal all of the concerns I've been laboring over up to now from the "ideal" to the "real".
I'm at the point where I am getting down to the wire, doing finishing work, painting the walls, etc. and then I can move in and concern myself with furnishing and atmosphere. Can't tell you how much I look forward to that!
here is a quick shot of the wall, way better than my lame description...
Great article - looking forward to read more stories.... I suffer from studio envy - but like most artist I am lucky to have some space set aside for my work.
I found that garage sales and flea markets can sometime turn up some great accessories for the studio. I found a KOPYKAKE projector for $10 and drawing desk chair for $5
My wet side of the studio has a sink (but no toilet)- the dry side is for my drawing table and dry media.
... hope to read more
We converted our 16'x16' living room, at the front of the house, into my studio. We installed french doors on the two open doorways. We use the family room as our living room, and I have a good-sized, light-filled space that I can shut the cats out of.
Have a husband so interested in your activity in the art world that he makes room for you to operate. Every time I would be gone for fwo weeks at a time he would have another room added on to our home with adequate windows. I now have a 3-room studio. He's been gone for 6 years, but what a legacy!
NEW STUDIO ADVICE...If you are wondering how and where to build a studio and you're a homeowner, look at your existing buildings to see where you could put an addition. My studio is an addition to our existing carport. We cut down the cost and effort by extended the carport 24' giving me a 480 sq.ft. studio.
For studio workspace, I love my folding plastic banquet tables. The 6 ft. tables are very sturdy and easy to clean. Also I can fold them in half to 3' for storage. I have extras that I use when I'm doing framing or having classes, then I can tuck them away when I don't need them.
My lighting is a combination of fluorescents and track lighting which seem to give a good balance of warm & cool.
North light windows are great! As is cross-ventilating windows.
Walls...I invested in a hanging system by Walker Display which utilizes picture molding. No nail holes and I can rearrange easily.
Last bit of advice...spend as much as you can on insulation. My studio is better insulated than my house! Even a brand new studio won't be appealing if you aren't comfortable.
Even on a tight budget, I have my dream studio!
I have to chime in again to say thanks for this topic and please keep the great ideas coming, especially in terms of art/frame and art supply storage!!
Along those lines, here's a link to something my husband and I devised for me to use as a mini taboret and paint caddy:
p.s. Lumppy, can you tell me where to find the stackable cookie trays?
well, my studio is a fourth bedroom in my home. i've added some high shelves to keep solvents and dangerous items up off the floor for safety, i have a 2 year old. we took off the closet doors and added more shelves where i store supplies, canvas, etc. i've also got a credenza, work table, drawing table, bookshelf, and desk all crammed in there too. not to mention all the easels i use.
while my studio is consistently messy, i do spend time organizing my materials and supplies so i can work efficiently. one of my best purchases to date was a craftsman tool chest, it was a birthday gift from my husband. i noticed in a photo of another artists studio of her small tool chest and thought what a great idea. i ended up buying a craftsman tool chest/work station and love it.
it's on wheels so i can move it around, has a MDF work surface that lifts to reveal sectioned storage, little storage areas around the edges that hold everything from erasers to paint tubes that i am using. it has this great 'hole' that is to hold a drill, a tapered drinking glass fits in it perfect to hold brushes. across the back are holes for screwdrivers and other tools that hold my small painting knives, scissors and such so they are right in reach. it's got peg holes and hooks on the sides which i hang tape, tube wringers, blow dryer and towels. and it has a small outlet strip so i have attached a light to it to illuminate the work surface.
the five varying depth drawers down the front have allowed me to organize all my paints and studio tools. no more bins piled full of paint tubes, everything is laid out in an organized manner.
beats every artist taboret i've looked at hands down. i've even sat at it and used it to paint small works. i couldn't live without it.
My studio is usually a mess but it really does suit me well. I can be found hunkered down there and away from the world with all my tools handy. Neighbours pop in bring their own mug and have a chat, if I am not in 'the throes' as they call it. I don't even see them if things are working well.
It is an old kitchen in a downstairs apartment, no longer useable for that. It has a wonderful large window that opens at ground level and a west exposure, not great for painting light but great for warming my soul and resting my eyes. Beside that I have a large flat topped drafting table I made from an older one I salvaged, a small magazine stand from the fifties to pile the most needed items on and around and I have a large 'A' framed easel I also made and revamped to hold a number of paintings of various sizes along with rolled canvas, papers etc.
I occassionally try to tidy it but then I cannot find a thing so mostly I sort through once in awhile reorganise files with due dates and off I go again.
I took the cupboard doors along with the median off one set of below counter cabinets and that gives me three nice shelves for flat files.
I have a formerly very battered,ferrel tom cat (now retired to indoor living) who is supervisor and general mouse and ant control. We both enjoy the visitors at the window which include many birds, neighbouring cats and the occassional rabbits, once a fox even.
I have radio and music that I can pipe in from stations I find on the Computer and that feeds my soul. Revello is a great movement to use for painting ocean!!
We have a wood furnace so my husband (I forget to feed it most times) tromps through with armloads of wood, dirty, snowy boots, out with the ash bucket and offers his comments (wanted or not) as he passes by. I am setting up another room where people can view my work and not really get too close to what is forming at that moment.
I teach classes as well but for those now I usually end up moving upstairs to my kitchen proper where there is more room, a table that is expandable, the temperature is more moderate and tea to share.
I am a scrounger and when I see something roadside waiting for garnage clean-up, I have been known to screech to a halt and scarf whatever caught my eye and bring it home and add it to my workroom, much to my husband's dismay.
I am not sure if this is what you are looking for but I am enjoying this thread. Thanks.
Wow, just have to chime in as I sat at my computer and read this blog post while taking a break from straightening up my studio! A rare occurrence: I only do it when it becomes hard to move around in there.
My studio is just a small room in my house intended as a bedroom but grabbed by me for a studio because of its North facing windows. Space is at a premium, I fitted the shallow built in closet with shelves to hold my still-life props and canvases line the walls six or seven deep. Frames have to live in the attic. I have several small tables of different heights crammed in the corner where the light is best, each covered with one or two different still-life set-ups. My easel is placed in the opposite corner, and because of this I am unable to step way back and get a good look at the work on the easel. To make up for this deficiency I have installed several mirrors in that corner so that I can turn my head and get a different perspective of the work in progress: I find that immensely helpful!
Studio location is also an interesting topic: because I have three children, I find that having my studio here in the home is best...I can throw in a load of laundry and then head upstairs to paint, come down for a break and start defrosting a chicken for dinner etc. When the boys were teeny I would even be able to get in a little painting during nap times, because all I had to do was tiptoe across the hall to my special place! A room of one's own is a beautiful thing for a painter mother. One thing, I do need to have two locks on my studio door! One of my sons has special needs and whenever I forget to double lock the door he breaks in and eats my edible still-life props! I am known for my paintings of pastries and candy and my son knows this and does not care how stale that doughnut is as long as it is covered with sugary icing! ;-) A rather unusual studio hazard I suspect.
Great idea - I can't wait to get the magazine. Steve's request for ideas inspired a quick blog entry. Click the link to see photos and descriptions of some of the things we're doing in the studio here.
PS - Hey David . . . good to see you on here!
Best - Jonathan
After working in a studio space of "clutter and constant re-organization" because mixed media, watercolor, jewelry, assemblage and altered books were part of my life, I found myself doing less and less art. The space was literally and figuratively always in a state of flux! I spent more time trying to find a space for things or looking for that tool for the texture I needed for a particulary background, that I just gave up. The spare 12x18 bedroom needed help as did I as an artist. I needed a space to work, think, create and teach.
A year ago it happened with an organizational plan and design that created organized storage, true color lighting, office space, work stations for 3, speakers for music and even a gallery wall. I love coming in my studio now and being creative. I even have a pillow on the floor for my shitzu, Sabrina.
I will be more than happy to send you some photos of what now works for me in my studio.
HI Steve - great idea to devote some magazine space to this topic! After spending the summer painting in a garage, I appreciate the importance of a cozy and organized studio space. More than anything, my studio needs to feel like home - it needs to be a room that I would be comfortable hanging out in even when I'm not painting. Some of the things that work well for me:
- Vertical file organizers/sorters to store wet panels. They're cheap at the office supply store, and great way to let paintings dry without taking up too much space. (See my blog post here for a photo of them in my studio, down near the bottom - slpeterson.blogspot.com/.../my-latest-studio.html)
- Installed shelving on the walls to dsiplay larger wet paintings as they dry. I use the premade shelves that they sell everywhere for displaying photo frames.
- Color corrected flourescent bulbs. I know that there are a lot of expensive lighting systems that are advertised to artists, but it's easy and cheap to go to Home Depot and buy a generic fixture and bulbs. They sell a range of color temperatures, and I think I pay about $8 per bulb - I use 4200K bulbs, thought I know a lot of artists prefer 5000K.
I painted the walls in my studio a grey-green color that displays paintings well, and doesn't bounce distracting color onto my paintings while I'm working. I hang framed, finished paintings in the studio before they head out to galleries - keeps the place looking professional, and displays my work well when people stop by.
I use what would have been the living room in our house as my studio - it's right next to the front door. The key to making the space work for me is organizing everything in the built in cabinets and drawers. They're all melamine with laminate tops so easy to keep clean. The small cart I had made on wheels rolls next to my drafting table when I'm working on larger paintings. But it's the light and view that keeps me inspired on a daily basis, and I'm not stuck off in the back of the house by myself.
My studio is housed in two connected 20 ft. diameter geotensic domes manufactured by Shelter Systems. They are light on the land, can be heated or air conditioned, and put up in less than an hour. Mine have been in continuous use since 2003. The translucent skin lets light flood the interior of the structures, and I have become addicted to it. I can't imagine working in a hard box now. I use one of the "yurt domes" for painting, the other for sculpture
I use a spare room in our house as my studio. It faces northeast and has a wall with three long, narrow windows.
I spent some time working on getting the lighting right. I put compact fluorescent (CFL) bulbs in the ceiling fan, using "flood light" style shielded bulbs to direct the light downward -- less glare all over. I picked CFL bulbs that have a color temperature of about 5000k. That gives out a cool bluish light -- resembling daylight -- rather than an amber light. I also use an Ott-Lite lamp that clamps onto the easel and has a flexible neck.
Things I like in the studio -- art books on hand in the bookshelves and my paintings on the walls. The furniture is mostly second-hand and shabby, and overall I have a feeling the place is too cluttered. I'm planning to get rid of the overstuffed loveseat that blocks part of the windows. I also need a table to have beside my easel. Right now, I'm using a low coffee table to rest my supplies on. You can see a photo at my blog - miriampaintings.blogspot.com
Great! My studio? Three meters X one meter table centered in the middle of the room with light coming from three directions that I can control - on the one side against the wall in containers and boxes drawings and various art equipment. Against the other walls - surrounded by 30 plus paintings - some in completed stage and some glaring at me accusingly. The table is a holy mess and I have knack of quickly clearing it up before starting a work or continuing with something standing on my table easel. Sometimes I feel like painting and at other times I paint myself into the feeling. I paint…
I have just rented a Studio for myself, (7' by 30') and need lots of help and suggestions, especially with lighting.
I am looking forward to your magizine.
Hello Stephen,
with response to your recent post on studios I like to bring your attention to this book which shows a variety of Aussie painter's studios. A fascinating read.
See also the exhibitions website which shows some of the images from the book
thanks for the posts
Best Regards
Marika Hahn
The studio I built took 3 years to complete. And when I say we built it, I mean we did all the work, not hire out contractors but poured the cement, framed & drove the nails, electrical, dry wall and finish work included. Plans were drawn up before hand and changed along the way. The bottom half of the building is a garage and brew house. I needed a place to store the Model "A" and brew beer. Being the former head brewer and owner of a Brewery, my friends are certain that I need a place to continue practicing "the brewers art". But the 2nd floor is where I paint, draw and work on glass. It is a personal space where I practice my art.
My studio is accessed through an outside stairway to a small deck, which leads you through a set of French doors as you enter. The floor right inside the door is large 16 x 16 tile that simulates stone. A place for wet, muddy or snowy shoes that seen to be the norm here in Iowa. The walls are an off white I mixed together as the regular white was too bright and the off white was too dull. The floors are ¾ inch oak that we set, sanded & sealed as I didn't think the simulated oak flooring would stand up to studio wear & tear. And besides it looks so phony. There is no plastic feeling up here.
There are 3 skylights on the north steeply pitched ceiling, which provide the soft northern light I paint by. The middle one is vented so that I'm able to remove any fumes from solvents if needed. There is also a large opening west window so that a natural draft can either go from west to east or up through the middle sky light as a chimney would. I don't like to use the artificial light as the feeling I get from the north light is very soothing and allows me to forget about the outside world and get into the zone.
Inside along the wall I have picked up large shelf units at the local Goodwill Store. These are custom built over size units that hold large sheets of matt board along with all my paper supplies. I store my still life props in an old dresser in which I removed the drawers and replaced them with shelves. The props for the most part also come from Goodwill. These used items take me to the place in the set up I'm painting. Some from the past, some from far away places I can only dream about.
When I paint at night I use a reflector with a day light compact florescent bulb. This simulates the north light far better than any bulb I've ever purchased. The ceiling of the studio has 4 outlets on the ceiling with dedicated switches so at the flip of a switch the light can be changed.
There is a Diaz that rolls under the stained glass bench, which allows the models to work up off the floor. I built my easel from scrap oak left over from the construction of the brewery. Most of the furniture in the studio I made or modified for studio use. Not bad for a 16 x 28 room above the garage/brew house.
For me to paint it has to feel right. There are other objects from my past that I fiddle with before setting down and putting the brush to canvass. Some days I get upset as I wasted time with them when I should have been working on a painting. But those objects will always be around to distract me, never leaving this space of my own.
I have photos of the construction and as it is being used. If you would like to see them, let me know.
Way too many kids...LOL...I'm an art teacher....what I wish wasn't in my studio....tables...If I had my way all the tables and chairs would go and be replaced by horses and easels.
When kids use the table they work only with their hands, not their whole arm, their work ends up looking stiff....every hear anyone say they can't even draw a straight line, bet they wouldn't have that problem if they weren't sitting with their arm glued to the table.
I don't have the luxury of a separate room as a studio. But, we do have a room we use for our piano, our violins etc. We usually refer to this room as "The Music Room" Since most of the music making takes place at one end of the room and we have a futon, used as a guest bed from time to time, in the other end. I sqeezed in an old desk that I use for my watercolor painting. For my pastel painting, I have made use of the walk way in the room and the futon. Old sheets are covering the futon to keep it clean and then trays of pastels go on foamcore boards on the futon. That gave me just a little room for two plastic chest of drawers for other materials. On top of this is a French Easel, folded up as a table top easel (still available to take with me outdoors.) A couple daylight type lamps and my "studio" was complete. What is a studio? The space you HAVE, used in as CREATIVE a way as you can!
My studio is a converted guest bedroom that has north facing windows. My husband and I removed the closet doors and built two shelves from across the top for prop storage and smaller nature and art related books. Then we installed shelving down the left and right sides of the closet that is out of view for storage of canvases and art papers, etc. One of the things I find most handy for storing papers and small drawings is a rolling six drawer scrapbooking bin - the shelves are individual 12"x12" storage boxes that come out. I purchased it for half price using a coupon at our local craft store. Along the back wall of the closet I placed four metal file rolling carts that I picked up for free at work. They were originally intended to hold hanging files and have a shelf on the bottom and a lid that closes. With the lids open on two of them I can storage smaller canvases and sketchbooks, etc. Above the rolling file bins I mounted a large bulletin board. I use this to pin up inspirational things or sometimes a drawing or two. I have two drafting tables and a wood computer hutch and two floor to ceiling metal locking storage cabinets. I keep my photographic equipment and art reference books in one and all my paints and supplies in the other. My larger drafting table is situated in front of a large window facing north. I have a folding table that stores behind my computer hutch. I have several easels and the folding table comes in handy when I need to use my tabletop easel. I have two nice file cabinets for paperwork etc. that also have drawers specifically designed to hold CDS. I keep my reference photos stored on CDs in these. I use Ott natural lighting for when I am working at night or late evening. I have one lamp that clamps onto my drafting table and another that is free standing. I also use a large clamp mounted lamp that has a magnifier light - I use this for painting miniatures or when I need to do close detail work. I have various art storage containers for various supplies in addition to the above mentioned cabinets. My studio is also used for my music - I play guitar and didgeridoo so I keep my musical instruments in there too. I sometimes take a break from painting and play guitar for awhile. I have always had to "make do" with using the kitchen table for art and never had a room specifically dedicated to art, so this room is my favorite room in the house. I am surrounded by art and nature in my studio and anything else that contributes to my creative work.
Tried to send you photos of the cart I mentioned, but got "invalid domain" error. Is there another email address or way to get these photos to you other than snail mail?
I have two adjoining store fronts on Main St. which house my frameshop, and my studio which is in my retail gallery and open to the public. My oil painting easel is set up near the front windows which offer great light and is viewed by the public as they walk by. I also have drapes across the front windows which I can pull to ensure some privacy as needed when I don't care to be in the public eye. In the rear of my studio/gallery I have a model room which doubles as my photography studio where I shoot my art, and paint/draw from life. I also have a watercolor studio in an upper loft which doubles as a storage area. In the rear of the adjoining building I have a custom frame shop which is open to the public and serves to frame my own art. The front of this building is a print gallery and has art supplies which is handy.
This arrangement has been a long time in coming however. I started out like most everybody else in a spare room and or basement. I have even had an old travel trailer converted to a studio when I was on the road at one time.
Being in a retail/public environement wasn't originally by design however but grew as a natural extension of my having some framing equipment and a desire to show/sell my art. Adding the art supplies is handy for myself and students when I teach classes in my studio/gallery. At times it all seems a bit much but it is comfortable and the retail revenue is nice when art sales are slow.
I have had a home based illustration business since 1992 where I set up one of the bedrooms (a 10' x 12' room) into a studio. My work surface is made from high grade, 3/4" plywood that has been varnished and is 30" deep which runs along three walls; there is shelving that runs under this work surface for storage. My two Macs, scanners, printers, are all networked; current client files are stored in acrylic baskets screwed to the wall and a four-drawer file cabinet for current year's clients is also in the studio. Wall cabinets were installed on two walls for storing computer related items with track lighting installed underneath them. The closet doors were removed and shelves installed for storing art supplies, and my art table resides there along with a flexible artist lamp. I stripped my childhood chest of drawers, painted a Tuscan mural on it and this is where my oil and acrylic paints, brushes and mediums are stored. My artwork is hung on whatever wall space is left. As you might imagine, it can get a bit cramped if I'm working on illustration projects and painting projects simultaneously but, this is my sanctuary and my most favorite place on the planet. A six foot bookcase holds art related reference books and magazines. My studio has a very large south facing window with blinds for adjusting the light where I watch nature come and go in my back yard. A large, heavy duty aluminum easel is also set up but if I'm creating paintings larger than 36" x 48", I take these projects to the dining/family room for as long as I need to work there; propping the canvas on empty boxes and protecting the tile floor with old sheets. Having no children helps with having the flexibility as to where I need to paint. Cleaning up the studio happens about once a month depending on how many client projects I have because I need to be organized! One of the best things I did for my business was to hire a CPA as I guess I'm too right-brained and was never any good in math. QuickBooks is a must for anyone in business.
My "studio" is my coffee table. I sit on the floor.
Hi Steve. My husband & I are both oil painters, and for 29 years we painted together in a space that was way too small for two painters, and impossible to use for teaching. Last year, we finally built a studio where I can teach. It is a small barn-like structure with north facing skylights, so the light is perfect! Everything is the studio is moveable, so that I can rearrange set-ups easily. My husband made 2 adjustable still life tables that are on wheels, one with a slide-in, changeable backdrop. He built a "shadow box" wall unit, for doing portrait/figure painting, which is also on wheels. The model stand is on wheels, too. He built storage shelves along one side, which holds some still life props, casts and pigments. The entire studio is painted a warm, neutral gray, and I try to keep the walls clear so that I have plain backgrounds (no distractions). The space allows me to set up 4-5 still life set-ups for students to choose from, when I teach. I am new to your forum, so I am not sure about how to upload photos, but if you go to my blog: www.brushwork.blogspot.com, and scroll down to the October 9, 2008 post, you can see photos of the studio space and set up. Thanks.
When my wife and I looked for our first home last spring, I wanted something with extra living space that I can convert into my own art studio/office. Today we have that home. My studio occupies a second living room space in the basement. I find it not too big, and not too small, but just right. I divided the room into two halves. One side of the room is the creative side with two floor easels, a drawing table, small antique cabinet for storage, antique table for pastels. The other side is my office space with a desk and three bookshelves.
here's a link to go with my comment a ways back... not arranged like this anymore, but you can see the craftsman tool chest if you scroll down (although it's not this clean anymore).
my direct e-mail address is firstname.lastname@example.com
I got your tweet, and thought I'd put my 2 cents in. This is a great subject and one critical to every artist, as you know.
I've had many studios over the years. The worst was none at all, seconded by the top of a washer and dryer. I'm currently moving studios. So designing my new space is something at the forefront of my mind. The sooner it's done, the sooner I can get back to painting.
Most recently, I've been renting a studio space in an historic plaza in Ajo, Arizona. It's 350 sq. feet, with wonderful light. I've been thrilled, as it's the best I've had in years. However, it's been strictly temporary. At the whim of the landlord. The whole plaza is going to be renovated and there's no telling when I'll be booted out. In addition, there's barely any electricity (it's jerry rigged), and the bathroom is at the bottom of a very steep flight of stairs, when it's open. When it's closed, I'm SOL.
To digress a bit. I picked up a book by Eric Rudd a year or so ago. The Art Studio/Loft Manual was an eye opening read. I decided then and there, that the only way to have the security of a permanent studio space would be to own it. My husband and I started looking. We are working on a project about US Route 89, which runs from Mexico to Canada. (If you're interested, it's <http//us89society.org>). Anyway, our parameters for looking were anywhere on or close to US 89 from Utah south. (North is too cold).
What I wanted at first was a big warehouse we could convert to live/work space. We looked at a few places. Decided at this stage of the game, it would be too much to take on, too much time away from work, and too expensive. So then we looked at houses. North of Salt Lake, Salt Lake, the small towns going south of Salt Lake. Flagstaff, the Verde Valley. It's not so easy to find something workable in our price range. I wanted at least 500 sq. ft. for my studio. Jim needs space for his office (he's a landscape photographer).
We finally found it! A tiny 1 bedroom, 1 bathroom house in Oracle, AZ, north of Tucson, just off Hwy 77, which is historic Route 89. The house itself is quite quirky. But...it has 4 garages! The largest is an end to end oversized 2 car garage, finished inside, with a 10' high ceiling. This is becoming my space. It's about 500 sq. ft., with an additional 100 sq. ft. room with a sink and enclosed toilet.
We had a handyman take out the garage door. Went to a recycled building supplies place and found 2 glass doors and a window. Finished the concrete floor with epoxy paint. Painted the walls. We're now constructing painting storage space. There is a 12' long set of cabinets left over from the previous owner. We're going to put a platform of plywood on it, with spacers every 2 feet. A bit hard to describe, since we're designing as we go. What I like is that the paintings will be up high and won't take up floor space. Did something similar in my Ajo studio and it worked out well.
The actual process of making a studio work is always challenging. This one is long, so I envision one half for printmaking, bookmaking, and mixed media. The other half will be for painting. I suspect there will be months of arranging and rearranging the space until it works well for me. But it's mine!
My blog has a few shots of the studio space under construction. Also if you scroll down further, you can see the Ajo studio before moving in, being used, and being dismantled.
Hope this is useful for you.
Barbara Cowlin
Visit my blog "At last...making art full-time"
Online gallery: barbaracowlin.visualserver.com
Buy my paintings: bcowlin.boundlessgallery.com
My most prized possession in my studio is my Rembrandt Graphic Arts Elephant press. It's a dream come true to actually own a piece of machinery of that caliber.
My husband had the roof raised over the garage & back porch to create my studio space. It has a high ceiling and large windows on all three sides. It's light, airy and spacious and provides me with plenty of room to pursue my printmaking passion. Now that I'm retired, I plan on spending as much time as I can in that great space.
It is so important to have a dedicated space in which to seek your creative muse. Robert Motherwell once said, "I feel most real to myself in the studio." and I wholeheartedly agree. You are no longer a daughter, wife, mother or teacher but an artist responding to life.
When I had a painting studio in a room about 7' x 9', with a door and fairly high double window, I found a great solution to managing the canvasses I produced.
On three walls I put up shelving using pairs of 6-foot long vertical metal tracks, 2 - 3 feet apart horizontally, depending on the wall space and size of work I planned to store. The supports were set in about 5" on each side from the planned size of the shelf. Then I had a carpenter rip some boards to produce shelves 5" deep, cut to lengths that would provide boards that extended 4-5" beyond each side of the matching supports. Half round moulding or similar was attached to one side of the boards, to keep the work from sliding off. The carpenter also made small depressions under each board near the moulding to accomodate the tips of the 5" metal brackets that supported the shelves. My shelves were polyurethaned, but could be painted or left as is.
I found that I could easily store 50 or more canvasses 1" or so thick of different sizes up[ to 30 x 40, with 3 canvases per shelf and two to three
shelves horizontally on each section. It's a simple matter to adjust the shelving, and very easy
to access any canvas or change which canvasses face out (or in). And the work is protected by being off the floor and not handled frequently.
I now have another studio but find these shelves terrific for holding VSH and DVD tapes and miscellaneous small items.
I just submitted a post regarding shelving for an 8' x 9' painting space. n.b.'s 09 comment about setting up her easel diagonally to maximize viewing distance resonated. I found that using a reducing glass (a reverse magnifying glass, available in art supply stores) iin addition meant that I didn't have to drag the work out to a larger space to properly see the overall composition and impact of the piece.
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This hat features the styling of a fitted cap, with the convenience and flexibility of adjustable hats through an expandable rear of the hat that contours to fit your head exactly. Showcases an embroidered 3D team logo on cotton twill. Mascot on rear of hat. 100% Wool. Designed for 6-13 year olds and adults with small heads.
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The Most Shocking Steroid Busts In The History Of Sports
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The level of competition in professional sports affects players in different ways…some positively and others negatively. For those looking to take the easy way out and improve their performance, using steroids seems like the logical thing to do.
However, many of these athletes do not consider the long term health effects and the potential damage it can do to their legacy.
Regardless of whether you believe athletes should be able to use performance enhancing drugs or not, one must recognize the fact that is not tolerated in the world of sports and those who decide to take that route must be held accountable for their actions.
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Ideagen Plc wins BTG contract for integrated electronic document management system
Posted: February 26, 2014 Sponsored Content|
Ideagen Plc, a leading supplier of compliance based information management, is pleased to announce it has been awarded a contract with BTG, a growing international specialist healthcare company focused on acute care, cancer and vascular diseases.
(PRWEB UK) 26 February 2014
Ideagen's contract with BTG is to implement a global integrated electronic document management and learning management system using Ideagen's Workbench Enterprise software. The hosted system will provide a web-based on-demand platform to manage the life-cycle and storage of quality documents, as well as supporting training of 800 BTG staff.
Ideagen will also provide a range of services to BTG: Implementation Services to ensure successful project delivery; round the clock Customer Support Services aligning with BTG's global operations; and specialist Validation Services assisting BTG with system testing and documentation ahead of full system validation by the appropriate regulatory organisations.
David Hornsby, Ideagen Chief Executive comments, "I am delighted that BTG has selected Ideagen for this significant global project. We look forward to working alongside the BTG team to implement the hosted and fully integrated Workbench Enterprise as well as learning management system as quickly as possible."
"This exciting news from our Governance Risk & Compliance (GRC) team comes alongside a number of recent significant wins in the NHS. Healthcare remains an important global market for Ideagen and we will continue to invest in healthcare-specific product development and complementary technology acquisitions to support our healthcare customers."
More information on Ideagen's Workbench Enterprise solution can be found on the company's website.
Ideagen Plc is an eGRC software development business specialising in information management solutions for organisations that operate within industries that are subject to high regulatory standards. As authors of an excellent portfolio of software products, the Group provides complete content lifecycle solutions that enable organisations to meet their regulatory and quality compliance standards, helping them to reduce costs and improve efficiency.
Ideagen solutions encompass compliance management software tools and professional services. The software tools include supply chain performance and internal auditing, risk management, document control and change management, CAPA, process mapping and analysis, all of which are designed to provide efficient management and improved performance. Ideagen's customers benefit from customised training services offered by Ideagen consultants who have more than two decades of experience in working within the global regulatory landscape.
The Group has shown excellent growth, both organically and through strategic acquisitions, and is listed on The London Stock Exchange AIM market (Ticker: IDEA.LN).
For more information, organisations can contact Dominika Jankowska at dom.jankowska(at)ideagenplc(dot)com.
For the original version on PRWeb visit: http://uk.prweb.com/releases/2014/02/prweb11615101.htm


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Parties, Team Building, Fundraisers
Cajun Canvas is the perfect place to hold a group activity. We provide all of the supplies, you follow simple instruction to complete A Painting By You!
No experience is necessary; it is a perfect event that everyone can participate in.
We take care of the details so that your time here is fun and relaxing. Painting is a great stress reliever, and students will come away with a sense of accomplishment.
- Parties
- Church Groups
- Adult Birthday Party
- Social Groups
- Get together with Moms, Groups, friends, or coworkers
- Team Building
- FUNdraisers
How it works…
- Before the event, we partner with you to work out all of The Details.
- On the day of your event, your group will arrive at the appointed time and will get prepared to paint.
- Everyone starts with a blank canvas. The artist will give simple instructions that the students follow to complete a painting, which is theirs to keep.
- We can tailor the event to your needs. Refreshments can be enjoyed, announcements can be made, awards can be presented, etc. We are very flexible.
The Details…
- Choose the type of event from the list below.
- A private event will have choice of painting for the group to receive instructions on.
- The painting portion of the event lasts approximately 3 hours. The entire event can last up to 4 hours.
- Decide what you want to include during the event, and when you would like it executed. ex. Speech, Presentations, Announcements, Awards, Toasts, etc.
- You are welcome to bring in your own food and beverages.
You are also welcome to bring in wine, beer, and any non-alcoholic beverages to enjoy during your event, no liquor please.
For private events, we can set up our tables to accommodate your refreshments.
- We can currently accommodate up to 50 people.
- Current Group and Private Party Rates are available by calling or sending us an email.
704-504-5224 / email@example.com
- Reserving, and arranging the details of your event is just a phone call away.
Types of Events
Having a party at CAJUN CANVAS is a unique way for any group of people to relax and share in a common experience. Painting is fun and calming, it seems to help enhance communication. It is interesting to see how others in the class approach the process of creating and finishing their art work. So whatever the group of people you are getting together, for whatever occasion, we are here to make your party stress free and fun, so you can enjoy it.
Team Building Sessions
We will work with you to tailor your time at CAJUN CANVAS to best suit your needs. We currently have two different types of team building sessions available to choose from.
- Straight Paint-Everyone is equipped with a complete painting set-up and starts with a blank canvas. The artist is at the head of the class giving step-by-step instructions designed for all skill levels. At the end of the class each student will have a completed painting to take home. This event is calming and relaxing. Painters can put their own personal twist on their paintings. It encourages individual expression.
- Random Canvas Swap Painting Each student is equipped with a complete painting set-up. Instruction begins, and everyone paints on the canvas in front of them… every 5-15 minutes participants will switch seats at random with another painter, picking up where the previous person left off. Painters will take home the painting they finished on. This event will challenge the participants to pick up mid project, consider someone else's work, evaluate how to proceed and continue towards a finished piece. Will they put their own spin on the piece, or will they continue with the vision and direction of the previous person?
Cajun Canvas is happy to support your school, group, or organization. Let us help you hold a fundraiser. Whether you have an idea to propose or you would like us to make a suggestion, we can help. If you hold a fundraising party at our studio, Cajun Canvas would donate a portion of the proceeds from the party to your organization. You could bring in additional items to hold a silent auction during the party. If someone in your organization knows a local celebrity, we can arrange a time for them to come into Cajun Canvas and complete a painting that can be auctioned off during your event. We are flexible and are here to help. Contact us today with your ideas.
Team Building Testimonials
When I looked for a team building exercise this year, I wanted an activity that was fun, relieved employee stress, and strengthened our team bond. I found out about Cajun Canvas through an advertisement. In preparation for the event, I selected 10 paintings that were available to paint during the class and each week the team would vote on their favorite painting until we had our top selection. It was not until the day of the event that the team realized they were going to actually paint the picture they had selected. Immediately, this was somewhat intimidating since nobody classified themselves as an artist. However, Karen did a wonderful job leading the class and reassured everyone they would have a masterpiece. She was also very helpful and accommodating in the planning. The event was a huge success for my team.
Frances Manning
"This was a great activity and Karen is a fantastic teacher! I enjoyed this more than any other team-building activity I've ever done. Not only do you discover that you actually CAN paint the picture, but it truly takes your mind away from anything else. What a fun way to relieve stress!"
Becky Huffman
"It was a wonderful experience. Once you started, everyone there was working together but focused on creating their own personal masterpiece. The amazing thing, everyone did."
Wade Brown
"This is one of the best team building events that I have been a part of. Even if you don't know how to paint, Karen walks you through every step and within a couple of hours I painted a picture that I could actually hang on my wall. That's saying a lot for me! The class made you forget about the stress of everyday life and just focus on the moment. An award was to be given at the end of the class for the best painting, but everyone was so proud of themselves, it was decided no award was necessary, everyone was a winner and received a first place ribbon."
Debbie McRary


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It struck me there was an interesting link between the points I've been making about institutional corruption, and an argument about the way gov't blocks innovation. So here is a remix of the first to make the point of the second.
Presentations by Lawrence Lessig on a range of subjects from Free Culture to corruption [with Net Neutrality, privacy, cyberlaw, copyright and Democratic politics inbetween].


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Adamis' specialty pharmaceuticals division, Adamis Labs, is currently developing products in the respiratory and allergy markets. This division's focus is to create low cost therapeutic alternatives to existing treatments. Adamis will pursue 505(b)(2) regulatory approval filings whenever possible in order to minimize costs and shorten the time to market.
Recently, Adamis fully acquired and exclusively licensed 3M Company's (NYSE:MMM) Taper Dry Powder Inhaler (DPI) technology under development for the treatment of asthma and chronic obstructive pulmonary disease (COPD). As a part of the agreement, Adamis will obtain worldwide rights to use this platform technology in all indications in the dry powder inhalation field. The unique design uses proprietary 3M technology to store active pharmaceutical ingredient (API) on a microstructured carrier tape. 3M will supply the drug delivery tape for the platform to Adamis under a separate supply agreement. ADMP's first product with this new technology will be the APC-5000 which will be designed to compete with other dry powder inhalers such as GlaxoSmithKline's (GSK) Advair Diskus® for the treatment of asthma and chronic obstructive pulmonary disease (COPD).


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Yes (10 Votes)
No (3 Votes)
4 or more weeks early (1 Votes)
3 weeks early (0 Votes)
2 weeks early (1 Votes)
1 week early (3 Votes)
On time (within a week) (3 Votes)
1 week late (1 Votes)
2 weeks late (0 Votes)
3 weeks late (0 Votes)
4 or more weeks late (3 Votes)
hi to everybody great forum great people ,happy to join the clubLast Post By: strudinox Today, 07:19 AM
I recently unintentionally bought a WRX after going in wanting an STI. Test drove a couple of STIs, fantastic cars, shame they dont have the new engine.Last Post By: strudinox Today, 07:18 AM
Whats up everybody? Just wanted to officially say hello to everyone on this forum. Just picked up my first Subaru, I've been wanting one ever sinceLast Post By: Germz to Japz Today, 07:19 AM
Anyone installed cobb access port v.3 in their 2015-2016 WRX. Just wanted to know how the results were on a bone stock WRX. Planning on purchasing myLast Post By: Germz to Japz Today, 07:14 AM
Steve Torrence claims Top Fuel win at 36th Annual Mopar Mile-High NHRA Nationals in Denver
Despite eight-time NHRA Top Fuel champion Tony
Hello all,
I've lurked around ClubWRX for a year or so and finally decided that I have had enough with the flamebois over at spazioc.
Hi guys i put together a hybrid ej207/205 a few weeks ago but noticed a noiseonly when cold and given a slight rev you get a piston slap noise or knock.Last Post By: BBchevy Today, 07:48 AM
hey everyone, i'm new to the wrx world and just got a 2016 wrx(and i love it!). i see there are basically no parts made or fitted to my car yet but iLast Post By: anthonyjoneswrx Today, 06:19 AM
I couldn't find anyone with a similar issue, so...
WOT Accelerating, my boost in 1st and 2nd gear is about 15psi. But 3rd and 4th gear its only
First off, this is my first post on the forum, so hello all!
I did some searching and couldn't find much relevant info on my situation.
Hey guys this may be a dumb question but I got my 16 WRX about a week ago and love the car so far. My question is this, is it safe to boost the FA20 atLast Post By: SD_GR Yesterday, 08:39 PM
Was browsing around for our WRX H-Beam Connecting Rods options: CX, Megan, KW...(which seem to be more various than struts/shocks) and found these:Last Post By: chevyate Yesterday, 07:52 PM
Almost new wheels and tires off of my 2016 WRX. They were on my car less than a week. I accept PayPal and would be willing to ship. I'm in the Dallas/FortLast Post By: Neverenuff Today, 07:01 AM
Seeking trunk swap for sti
Located in Vegas but I'm willing to travel $
Pm or text seven02 826 0031
I'll send pic of car
Looking to make a full size spare. I need the charcoal grey 17" factory wheel that was an option on the 2009 WRX sedan.
The wheels
Looking for a set of 2013 2014 or 2015 factory leather seats. Preferable from and back but just the front would do as well.Last Post By: jfwaugh Yesterday, 02:55 PM
Hi, I am selling my beloved Subaru WRX STI 2008. This sell is due to other projects and a need of cash so no trade in will be accepted.
2006 Impreza 2.5i 131K miles 5 speed sedan. All major maintenance done within the last 20K (timing belt, clutch, gaskets, plugs/wires). Asking $4800Last Post By: zdiver Yesterday, 11:30 AM


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- Attorney General Brad D. Schimel
- Fighting Crime
- Victim Assistance
- Consumer Protection
- Media Center
- About Department of Justice
- Topical Index
This Google™ translation feature is provided for informational purposes only.
The Office of the Attorney General is unable to guarantee the accuracy of this translation and is therefore not liable for any inaccurate information resulting from the translation application tool.
Please consult with a translator for accuracy if you are relying on the translation or are using this site for official business.Contact the Department of Justice
MADISON — Attorney General J.B. VanHollen has announced that his office has obtained a judgment against Tinedale Farms Partnership, LLP, of Wrightstown, requiring it to pay $50,000 in forfeitures, mandatory court costs, surcharges, and attorneys' fees for violations of its Wisconsin Pollutant Discharge Elimination System (WPDES) permit.
According to the complaint, on May 28, 2010, Tinedale Farms allowed silage leachate to run off of a production area into a navigable tributary of Apple Creek. The leachate runoff was not an allowable discharge under Tinedale Farms' WPDES permit. Tinedale Farms failed to provide the Wisconsin Department of Natural Resources (DNR) verbal notification of the incident within 24 hours or written notification within five days. Failure to notify the DNR of a discharge is a violation of Tinedale Farms' WPDES permit.
In addition, Tinedale Farms failed to: perform weekly visual inspections of the feed storage bunkers and a ditch leading to the navigable tributary, submit plans and specifications for permanent feed storage runoff controls in a timely manner, complete construction of the permanent controls in a timely manner, and install maximum operating level markers in its previously constructed manure storage pits in a timely manner, all of which are violations of Tinedale Farms' WPDES permit.
Assistant Attorneys General Bradley J. Motl and Cynthia R. Hirsch represented the State.
Copies of the Civil Complaint, Judgment, and the Stipulation and Order for Judgment are available at the following links:


text:
Rugby Union 2013 Thread
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April 5 2013, 11:40 AM
Rear Admiral
Location: Australia
Re: Rugby Union 2013 Thread
^ It's faster and more importantly you can whore it out its surfaces to advertisers for extra cash.
Brumbies drew with the Kings in what was probably their second worst performance under White. Instead of a 80 min performance they only put in about 20 mins and the Kings really dominated for the rest of the game.
They have really come off the boil in the last few weeks and the easy blame would be that it has been since Mogg has been out, but that only really could account for the waning attack, it doesn't excuse poor defence and forward runners going in too upright. Hopefully Jake White will crack some skulls in training next week because it isn't going to get easier with them going on the road. I'm sure the Highlanders will look at this game and really believe they can get their first win of the year.
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HP IDOL OnDemand Entity Extraction API
IDOL OnDemand by HP offers an array of data processing APIs for format conversion, image analysis, indexing, search, and textual analysis. Preview capabilities exist to view how many of these RESTful APIs behave in action. The Entity Extraction API scans an inputted text file and extracts words that match the entity type criteria. These could be people, names, places, company names, phone numbers, URL, credit card numbers, and more. The API returns as list of the content matching the entity types, and also specifies where they were found within the document.
API Key
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TORONTO - Adam Lind wasn't in the Blue Jays' starting lineup on Friday for a second consecutive night due to a sore back.
"It feels good. Just going to be cautious," said Lind. "There's no real reason to push it right now but I'll definitely play again before the season ends."
Lind was available to pinch hit and to play first base should late-game strategy require it. He didn't want to start, experience pain and then have to remove himself from the game.
The 30-year-old, who's battled back problems for a number of seasons, is proud that he was able to avoid the disabled list this season.
"Ultimately, probably, my number one goal over numbers or statistics or anything of that nature," said Lind. "I've only missed, if you include yesterday and today, four games out of 162 that I was unavailable for so I consider that a very good accomplishment."
As for a Saturday start against the Rays, "You know, get out onto the field one more time," said Lind. "I know we've got one of their big lefties throwing on Sunday so I may not be in there anyways. I really want to finish this season on the playing field."
Lind attributes his ability to stay healthy this year to an improved off-season training regimen, which includes yoga. He'll be back at it later this fall.
"Same thing," he said. "Just rest first and then I'll get back into it."
The Blogger: Scott MacArthur covers the Blue Jays for TSN Radio 1050. In addition to reading his baseball blogs online, you can hear him on TSN Radio 1050 throughout the year.
Scott MacArthur follows the Jays every day, so you should follow him! Follow twitter.com/TSNScottyMac to get updates on the Blue Jays!
Blue Jays Headlines
Blue Jays Statistics
Blue Jays Roster
Blue Jays Transactions
Blue Jays Injuries
Leafs Lunch is joined by TSN Leafs Reporter Mark Masters.
Scott MacArthur sits down one-on-one with Toronto Blue Jays closer Casey Janssen.
Scott MacArthur is joined by Drew Hutchison for a special one-on-one interview.
Blue Jays Report with Scott MacArthur Podcast RSS Feed
Blue Jays Report with Scott MacArthur Podcast Archive


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Anthony Di Fiore, Chair SAC 4.102, Mailcode C3200 78712 • 512-471-4206
Fred Valdez on KEYE-TV Morning News
Posted: December 21, 2012
Professor Fred Valdez was on the KEYE-TV Morning Show with Fred Cantu on Friday, December 21. He talked about the hoopla surrounding "the end of the world" in the Mayan calendar. He says the Mayan calendar is a 5,000 year cycle that is simply starting over.
Click here for the full video (the segment starts just after the 4 minute mark).


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Friday, May 30, 2014
A group of youngsters from the Belin Memorial United Methodist Church Creative Learning Center got a lesson in patriotism Friday and their efforts brought smiles and a tear or two from members of VFW Post 10420.
The vets and youngsters joined forces to place American flags on the graves of veterans buried in Belins cemetery in advance of Mondays official Memorial Day holiday.
Fridays event started with the pledge of allegiance by the youngsters, followed by the singing of God Bless America.
The 4-year-olds then crossed the parking lot for a brief ceremony, where Post Commander Paul Roberts told the dozens gathered at the cemetery entrance that Memorial Day is more than a three-day weekend.
Its more than the start of summer. Its a day to remember veterans, some who gave their lives, others who lived to tell the story, Roberts said.
He then nodded and post members passed out handfuls of flags to the youngsters, who raced through the cemetery to find the flag holders that marked the graves of veterans.
South Strand News is pleased to offer readers the enhanced ability to comment on stories. We expect our readers to engage in lively, yet civil discourse. We do not edit user submitted statements and we cannot promise that readers will not occasionally find offensive or inaccurate comments posted in the comments area. Responsibility for the statements posted lies with the person submitting the comment, not South Strand News.
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Assessment services provided for imported commodities
Under Official Letter 913/CV-TCHQ of the General Department of Customs (GDC), if a business makes the declaration of the lower transaction value than the one authorised customs agencies have, these agencies will provide assessment services for customs declaration and import duty payment for imported commodities applied with from 50% of import duties upwards so that the importer will not have to wait for 15 days after customs clearance..
If an authorised customs agency wants to refuse the declared transaction value of the importer, the agency will have to promptly define the taxable value for imported commodities and require the importer to make the full payment of import duties applied to imported commodities.
If the business importer has already paid import duties for its imported commodities, the authorised customs agency will only next make customs clearance procedures and others.
Category: Legal


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Gear Review
Penny Bowman
- Gender: Female
- Familiarity: I've used it several times
For months I've been searching both stores and online for a pair of fleece pants that I could wear around the house or walking the dog on a cold day. My problem was that every time I found a pair they either had pockets that don't give you a slimmer look or the rise was too low.
FINALLY, I found the Horny Toad/Morning After Pant. After looking at the reviews however I found that some people wrote in that after they were washed they weren't as soft. I immediately picked up the phone and spoke with one of the Gear Guru's who was extremely helpful. He explained that you should wash them in cold water and either hang and air dry or tumble with no heat because fleece is made of plastic (safe) material. Who knew? Anyways, I LOVE the warmth and softness of these pants and have washed them according to the instructions and they are perfect!!
Thank you Back Country. Your pants are amazing, the shipping was prompt and your customer service is excellent!
View More Details on Toad & Co. Morning After Pant - Women's


text: No recent wiki edits to this page. OverviewBefore the outbreak, Jimmy Gibbs Jr. was the most famous stock car racer in the sport, winning the Super Cup four times. A living legend in the South, his status has been compared to that of Elvis. Jimmy Gibbs Jr. (deceased)Sadly, Jimmy Gibbs fell victim to the "Green Flu" zombie plague outbreak while in Savannah, Georgia. His stock car, however, came to great use when the survivors of Left 4 Dead 2 made their escape from the Infected-ridden mall they had found themselves in. At random occurrences, the now Infected Jimmy Gibbs Jr. can appear as a common infected to attack the survivors. He has the the same attributes as a normal infected, but has special attributes such as a higher stamina and the ability to blind the player with motor oil. (similar to the Mudmen in Swamp Fever) However he is not coded to gib or be dismembered. Coach displays reluctance in shooting his hero when he appears and Ellis shows utter despair.


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Cars > thos96's Garage > "The Beast"
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1987 Ford Mustang GT (The Beast)
Last updated Jun 19, 2007
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- comment
- forward car
- add to coolbox
This is a one owner car
5.0 engine
3.08:1 rear axle
5 speed tranny
normal factory GT stuff
Factory Options
air conditioning
AM/FM/cassette stereo
DSS short block with Crane 2030 cam
early GT40 cast iron heads
GT40 intake
MCA highflow H-pipe & mufflers
H&R springs with Koni shocks
rear panhard bar
rear wheel discs
changed to 3.55:1 rear axle
changed to 16 inch wheels
Hurst shifter
JBA shorty headers
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Cars > thos96's Garage > "The Beast"


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Top Seller! - Get 3 for $99
Looks as crisp and neat at the end of the day as it did when you first put it on. A special process keeps these shirts virtually wrinkle-free and eliminates shrinking and fading. Single-needle construction, button-through sleeve placket, front placket. Extra-durable buttons. 100% Cotton. Machine wash. Imported. Exact sleeve length. CLICK ON SWATCHES BELOW TO SEE COLOR CHANGE
Additional Sizes:
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Wonderful addition to the wardrobe
By Jim
from Raleigh, NC
About Me Career, Casual
Comments about Jos. A. Bank Traveler Tailored Fit Spread Collar Check Dress Shirt:
Perfect fit, fine tailoring, wears extremely well and resistant to normal wrinkling. Now have 15 and counting....recommended highly.
Bottom Line Yes, I would recommend this to a friend
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(1 of 2 customers found this review helpful)
Buttons are higher, too high.
By NTH
from TN
About Me Career, Classic
The buttons are very high, much higher than on the button down collar dress shirts. Not sure why. It makes the shirt very uncomfortable to wear without a tie. Feels like the collar is too small, like it is choking you.
Bottom Line No, I would not recommend this to a friend
Don't judge a book by it's cover.
By Jim the runner
from torranc, ca
About Me Career, Trendy
Shirt is fitted well and has a good look.
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Award Requirements
All Urology Care Foundation Residency Research Award recipients must adhere to the following requirements:
Failure to adhere to these requirements and/or provide appropriate documentation may result in a delay in payments or termination of the award. Unless approved by the Institution and the Urology Care Foundation, failure to complete the duration of the research period may result in repayment of funds to the Urology Care Foundation.
Scholars are required to send the Urology Care Foundation copies of articles published regarding AUA Urology Care Foundation-funded research. Any publication arising from work supported by the Urology Care Foundation Residency Research Award Program should include acknowledgment of Urology Care Foundation support. Such acknowledgement should read:
"This work was supported in part by the Urology Care Foundation Residency Research Award."
Institutional Accountability Report
During the award period, at the request of the Urology Care Foundation, the Institutional Grant Administrator must submit an Institutional Accountability Report to the AUA Office of Research. This report re-affirms that the institution is adhering to all terms of the Program Announcement and Institution Agreement Form, especially the provisions of institution support and level of effort requirements. Continued funding is contingent upon receipt of a satisfactory report. A final Institutional Accountability Report should be included in the Final Progress Report package, which is due within 30 days of the end of the research training period.
AUA and Urology Care Foundation Research-Related Activities
Each year, the AUA and the Urology Care Foundation coordinate several events designed to advance urologic research and provide educational venues, especially for young investigators. Attendance at the Urology Care Foundation Research Honors Awards Program and the AUA Research Forum/Grantwriting Workshop, both held at the AUA Annual Meeting, is required for all investigators funded by the Urology Care Foundation. In addition, depending on eligibility or relevance of the topic to the awardee's research, the Early-Career Investigators Workshop, Summer Research Conference, Basic Sciences Symposium, and Urologic Oncology Symposium may also required. Unless prior approval is given, failure to attend an event may disqualify the awardee from receiving a Urology Care Foundation award or payments. Travel awards or other means of travel support may be available for many events.


text:
Previously,Scott SummersandLoganof theUncanny X-Menhad a disagreement of large proportions concerningthe next generation of mutants, they had what one would call, aSchism. The Schism still lurks amongst them, but, a newgenesis dawns on the kind of people you would usuallyfear andhate. Since then, Scott and Logan have gone their separate ways, operating in different factions while keeping in mind what the two of them wanted most. They've been through wars, they've had their trials and tribulations, but now? The Children of The X-Men are taking matters into their own hands.
The Young X-Men #7
New Beginnings, Finale – Coming of Age.
Rated M.
Page 1/
Panel 1/ Scene change. From below view, David's jet is slowly hovering above the woods. A large Sentinel looms over the jet, with its right hand raised and a black, empty hole opened up within its palm.
CPT: Symkarian airspace.
Panel 2/ Cut to inside the jet's cockpit, David and Julian are both in deep-sleep. Julian's slightly dribbling, his legs scattered wonkily on his seat, his metal arms are not attached. David's at the controller's seat, his head tilted back.
CPT: David Alleyne. Prodigy. Psychomimicry.
CPT: Julian Keller. Hellion. Telekinetic.
Panel 3/ Cut to the back of the cock-pit. A medium-sized, rectangular-shaped, metal cabinet. Two Adamantium claws have punctured through it, tearing around the cabinet in the form of a circle.
VOICE: (It has already begun).
Panel 4/ Laura, now clothed in a floral summer dress, busts her way out of the cabinet. Both her hands are protruding with twin adamantium claws.
CPT: Laura Kinney. X-23. Not supposed to be here.
LAURA: Julian!Prodigy!
Panel 5/ Cut to Julian, still sleeping and dribbling. Murmuring something. Laura runs towards his side.
JULIAN: But…X…we can still…we can still work things…we can still…
Panel 6/ Cut to outside the jet. Elevated side-view. A large, black, beam shoots straight out of the Sentinel's right palm, towards the jet. Making contact.
Page 2/
Panel 1/ Scene change. Cut back to the Strike Team's jet. Inside the jet's cockpit. Hope's worn a black jet-pack while holding onto an assault rifle. Cessily's standing next to Hisako, as is Sofia. Santo's still looking out the window.
CPT: Strike Team.
CPT: 27 Feet above Symkaria. Mission commencing.
HISAKO: And we're here. Sofia, I'm gonna need to you to land this thing, like, right underneath where we're above.
SOFIA: Alright.
Panel 2/ Close up on Hisako.
CPT: Hisako Ichiki. Armor. Leader.
Panel 3/ The jet begins to slowly land on clear ground, Hisako crouches down for a moment.
HISAKO: I can see some houses up ahead, we'll check this area out first. Santo, you're coming with me. I think we'll need to recon.
Panel 4/ Close up on a confused Cessily.
CPT: Cessily Kincaid. Mercury.
CESSILY: (In five minutes time she's going to tell me that she hit her head on the way here. I know it. Hisako's never this…sure of herself).
Panel 5/ The jet's landed safely on the ground, attachable stairs are rolled out, of which, Hisako and Santo walk down. Hisako's infront.
SANTO: So, enlight'n me, what the heck does "recon" even mean?
HISAKO: Don't ask me, I copied it from someone!
HISAKO: I just--I just needed someone who wouldn't pressure me about all this "leadership" stuff.
Panel 6/ "Camera" focus on a now alert Santo.
CPT: Santo Vaccarro. Rockslide.
SANTO: …Oh. Well, uh…I'm all yours.
Page 3/
Panel 1/ Medium close up on Santo and Hisako, they begin to walk through the deserted terrain. Former trees have been knocked down by something.
SANTO: Is this 'cause of what I told ya?
HISAKO: Kinda. You think I didn't hear about Noriko's trip to Colorado? What she said to Ms Moonstar? Leading the New X-Men was driving her insane.
HISAKO: And I don't blame her.
Panel 2/ Angled topographic view. The two of them are still walking.
HISAKO: I remember the day the X-Men found Hope. I joined Noriko, and the rest of you. I admired her. How determined she was to take down those Purifier guys.
Panel 3/ Further zoom-out.
HISAKO: I felt a little hurt after the attack at the Institute. I don't know why, but I did. Our--your--friends, were all killed. Murdered.
SANTO: Yeah…don't remind me.
Panel 4/ Technological perspective. Sentinel's point-of-view. It's already targeted and locked onto Hisako and Santo, whom are already far away from the jet. Captions next to the two read "TARGET CODENAME: Unknown. Mutant" Next to Santo, a secondary caption reads "Threat level…extremely high." The secondary caption next to Hisako reads "Threat level…medium.".
HISAKO: Sorry. But, I'm a little scared about all this. Not that I'm trying to shift the blame on anyone, but leaders in the X-Verse have an ominous reputation of letting lots of people…die under their watch.
Panel 5/ "Camera" focus on a concerned Hisako, loosing slight concentration and unknowingly "armouring down". Santo is not visible.
HISAKO: I don't want anyone to die.
HISAKO: I just wouldn't know how to live with--
Panel 6/ Angled topographic view of where both Hisako and Santo are positioned. The Sentinel fires a narrow beam, aimed at Santo.
Page 4/
Panel 1/ Large shot. The Sentinel still looms over. A large combination of a smoke, dust and debris cloud is now present.
CPT: Strike Team casualties: 1.
Panel 2/ Cut to Hisako. At the centre of the extremely thick cloud. "Armored up", shielding her head with both arms above. Looking to the side of her in fear.
HISAKO: I knew it…
Panel 3/ Scene change. Cut to the Strike Team's jet. Inside the cockpit. Cessily's sitting down near the entrance, Hope's reading a book. Still prepped. Sofia seems to have received a call of some sort through a device attached to her ear.
FROM DEVICE: Mercury *FRISH* Wind-Girl *FRISH* Hope…is *FRISH*one there?!
Panel 4/ "Camera" focus on Cessily, she acknowledges the call.
SOFIA: Hisako?
FD: *FRISH*I need *FRISH* cause something *FRISH*HELP ME!--*
Panel 5/ Same shot. Cessily's now nowhere to be seen.
SOFIA: Dammit.
HOPE: Reception's gone and so has Mercury.
Panel 6/ Cut to Mercury. Sifting through the terrain as fast she can.
CESSILY: Santo Vaccarro…
CESSILY: You colossalidiot.
Page 5/
Panel 1/ Cut to where Hisako was. She's turned around, still "armored up" slightly backing away from the Sentinel. The dust cloud's still up, but it has dissipated greatly.
HISAKO: (Come on, Santo. You have to pull through).
Panel 2/ Medium close-up on Hisako. All of a sudden, a strong gust of wind sweeps the dust cloud away from the immediate area, Hisako clearly visible. She shields her face.
HISAKO: What the--!?
SOFIA: Stepping into unknown territory with hardly any back-up is a costly move to make. Take note.
Panel 3/ Medium close-up on the Sentinel. Cessily, having morphed her entire body into that of a large sword, swathes her way passed its neck.
SOFIA: Help has arrived.
CESSILY: Where's Santo?
Panel 4/ Cut to a surprised Hisako, looking down, pointing towards a rubble of stationary rock. Sofia flies down towards her, Cessily follows.
HISAKO: Well, um, he's kind of over there. But just bear with me.
SOFIA: Oh God…is he--is he dead?
CESSILY: No, during your absence we discovered a few things, he can reform. But that's supposed to have already happened.
HOPE: Heads up. We haven't damaged it enough.
Panel 5/ From behind view (Hisako). The Sentinel, having fell down, begins to get up, reattaching its head in the process. The girls watch in shock.
CESSILY: Hisako.
HISAKO: What?
CESSILY: They weren't able to do that last time.
SOFIA: You've encountered these Sentinels before?
CESSILY AND HISAKO: Yeah.
CESSILY: So what do we do now, oh fearless leader? We're sitting ducks.
HISAKO: No, we're not. You need to stop worrying so much.
Panel 6/ The Sentinel's fully stood up and intact, Cessily and Hisako continue to bicker. Sofia hovers up, Hisako prepares her gun.
CESSILY: None of this would have happened if you'd let us come with you. Now we're jeopardized and Santo's in a fix.
HISAKO: Do you possess latent telepathy?
CESSILY: Obviously not.
HISAKO: Exac-
VOICE: Hey, tin-head.
Panel 7/ Both Hisako and Cessily look up in shock and awe. A large shadow covers the area.
HISAKO: Cessily Kincaid…eat your heart out.
Page 6/
Panel 1/ Splash. Santo's stood behind the Sentinel. He's the same size as the Sentinel, almost bigger, having grown 7 times his former height, amalgamated with different types of rock from the terrain around him. The area in which he's stood at looks as if it's been dug up. Aggressively punched its head off.
SANTO: S'been a long time since one of your kind's done that to me. It hurt a lot the last time and it hurt way much more this time…and you did it in front of Hisako! Low blow, dude…
SANTO: That p*ssed me off, but like a good friend of mine likes to say…
Panel 1/ Cut to Hisako, Cessily and Hope. Both Cessily and Hope are slightly shocked, Hisako's arms are crossed, smirking, while looking up at Santo.
CESSILY: Did…did you know he could do that?
HISAKO: As a matter of fact, I was one of the first to witness the big lug do that. But you can thank me later, Cess'.
HISAKO: And Hope, see if you can absorb his powers in this…state, we'll need it.
HOPE: Right. But so much for stealth, how are we supposed to search for casualties when one of us sticks out like a sore thumb? It's only a matter of milliseconds before another Sentinel flies our way.
Panel 2/ Hisako walks forward, over to Santo. Sofia's high up in the sky, up to Santo's eye-level. Looking into the horizon, where a large storm is seen arising.
HISAKO: That's the point. I told you guys before that we weren't the only ones here, we got the Avengers trying to get to bottom of this, too.
HOPE: And you're expecting them to save us if the going gets tough?
Panel 3/ Hisako pauses, turning her head to the left, sarcastically replying to Hope.
HISAKO: Funny question. Last time I checked, weren't you with them?
Panel 4/ Cut to a concerned Sofia, still looking on. Santo watches the girls below in confusion.
CESSILY: Hope, don't--don't listen to her. Just what has gotten into you, Hisako?
HISAKO: Nothing.
SWOP: Something is happening. Something is…wrong with this environment. The air…the wind…it feels unnatural.
Panel 5/ Side view. She stretches out her right arm, trying to grab at something.
SWOP: While being "Wind Dancer" I felt all sorts of weird vibes due to the direction of the wind, never once did I feel this.
Panel 6/ Close up on her eyes, wide open. Her iris reflects the upcoming dark clouds.
SWOP: There's a storm on the horizon.
Page 8/
Panel 1/ Cut to the Control Centre. Evening.
MEGAN: This place gives me the chills. How can we be the only ones here?
BEN: No-Girl's already shown us that there are, in fact, "people" here, but they're in hiding. Probably watching us until the time's right.
BEN: So be alert.
Panel 2/ Inside an area of the Control Centre. The Intel Team are standing inside what seems be a mass elevator.
BEN: We've already made it this far, so expect the absolute worst. But I hear you, Pixie, having a bunch of Mutant kids just walk their way into the most integral part of an "ethnic cleansing" doesn't exactly bode well.
MEGAN: So we should go.
BEN: No, we stay until David gets the information he needs.
Panel 3/ "Camera" focus on Victor.
VICTOR: Speaking of which, has anyone even heard from David? His jet's comlink has been off line for an-
Panel 4/ The lift violently begins to shake. The lights turn red, everyone stumbles about.
VOICE: Children, you must leave this place. Immediately. Allowing yourselves to further this endeavour of yours will end fatally. I am aware of that.
VOICE: Turn back, please, before it is too late.
Panel 5/ "Camera" focus on No-Girl.
MEGAN: OMG. What's she doing here?
Panel 6/ A red, holographic projection of Wanda appears before the team, right on the centre of the lift. It stops shaking. They look at her in awe.
WANDA: The masterminds behind this scheme know no end to their destruction. They will stop at nothing to see Symkaria fall, and that'll include your demise for stepping in their way, if need be.
WANDA: Please, you must--what on--
Page 8/
Panel 1/ The projection suddenly disappears. The elevator returns to normal.
BEN: They're here…The Avengers are here.
Panel 2/ "Camera" focus on Megan, she looks up at No-Girl, her jar begins to glow.
MEGAN: No-Girl ? Tidy.
BEN: Was that you, Martha?
MEGAN: Yeah, she totally cut the connection between the Scarlet Witch's brain and her mutant--yeah. She got rid of it. And Captain America's with her too, grim town.
BEN: Team, when we get to the top, it's a hit and run situation. We can't allow them to stall this mission.
Page 9/
Panel 1/ Scene change. Angled topographic view. Ravaged streets of Symkaria. There are no Sentinels in the vicinity. David, Julian and Laura are cautiously walking ahead.
BEN: ...Never thought i'd live to say it, but it's us against the Avengers.
JULIAN: But I just don't get it. Why?
LAURA: It was not my intention for you to get anything, just know that I am here and I am not leaving until these people are free from oppression.
JULIAN: …What?
JULIAN: I get that the Academy's closed and all, for reasons you just won't tell me--but still, you weren't invited to this mission.
Panel 2/ "Camera" focus on David, who's checking a small electronic device.
LAURA: Julian, in the past I would have some difficulty deciphering statements like that…but I think you are trying to protect me. Correct?
JULIAN: X, that's not what I'm talking about.
LAURA: I think they call this "denial". Thank you, Julian. But you know me well enough, I do not need protection.
Panel 3/ David's device's screen shows an interface, three white dots are blinking on the screen representing the three of them, several other red dots are scattered around the grid's area.
LAURA: Am I not the one who just saved both you and David from that Sentinel's deadly task?
JULIAN: Yeah yeah yeah. That's not the point.
Panel 4/ The device's screen now shows two large green dots homing in on the three's current location.
Panel 5/ Close up on David's face, he places on his yellow translucent shades.
DAVID: (Uh oh…)
VOICE: Hello, "X-Men".
Page 10/
Panel 1/ Splash. Two distinguishable heroes appear before them, both shouldering the 'Avengers' sign on their shoulders. The first one, a man armoured in black and grey tech gear, laser gun-like automations attached to each arm, the second, a Caucasian woman wearing a red and blue outfit.
WAR MACHINE: A word, if you'd be so kind.
CPT: War Machine.
CPT: Captain Marvel.
CPT: The Avengers.
To be continued…


text:
Charity cuts lead to A&E queues at University Hospital of North Staffordshire
Posted: November 09, 2012|
PEOPLE are crowding out North Staffordshire's overstretched A&E department after recession-hit charities have been forced to turn them away.
They have started to use the University Hospital of North Staffordshire unit as a last resort even though it is already missing Government targets to treat patients quickly enough.
The worrying trend has been revealed by the area's GPs who have been given new powers under NHS reforms to commission and monitor hospital care.
Now the doctors have been urged to use their budgets to restore cuts in the voluntary sector so the charities can re-open services for sick and needy people.
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North Staffordshire doctors ordered to stay open all week to help hospital's A&E
Family doctors leading North Staffordshire Clinical Commissioning Group (CCG) estimate that Government austerity measures have slashed the income of the voluntary organisations by a 30 percent locally.
That has forced them to close services and as a result, people who rely on them are now seeking hospital care.
The GPs say the cuts are also hitting the more deprived areas hardest, resulting in far more people needing to be admitted as emergencies.
Audley GP Dr Richard Page, CCG emergency care director, said: "Austerity measures have led to service closures and a 30 percent reduction in voluntary sector budgets locally.
"In such circumstances, A&E is often the route of least resistance – and patients have told us they get a guarantee they will be seen if they attend the unit.
"There is also evidence that people living in areas of socio-economic deprivation have higher rates of emergency admissions after adjusting out other risk factors. In fact GP practices serving the most deprived populations have hospital admission rates between 60 and 90 percent higher than those serving the least deprived populations."
The added pressure on A&E comes as it is seeing record numbers of patients.
The knock-on effects have seen the hospital fined for keeping patients waiting, beds having to be re-opened to cope, the trust reporting a £16 million overspend and executives warning of a major shake-up of services.
Advice agencies say cuts in social care have seen people turn to the voluntary which has also seen budgets reduced.
Simon Harris, chief executive of Stoke-on-Trent Citizens' Advice Bureau, said: "People turn to places they know will always be open and, as we know find A&E as a last resort.
"The GP commissioners deserve credit for identifying the problem – now they could use their new budgets to help solve it.
"Being treated at A&E helps people's immediate needs but it is other agencies including the voluntary bodies which resolve their underlying problems."


text:
Key Facts: Women and HIV/AIDS
Women comprise a growing share of new cases of AIDS in the United States. In 1986, women only represented 7% of new cases of AIDS. By 1999 that share had risen to nearly one quarter. Not only do women represent an increasing share of persons with AIDS, today they represent 30 percent of new HIV infections. Women of color, particularly African Americans, have been hardest hit among women.
This report provides an overview of the impact of the HIV/AIDS epidemic on women. It draws from recent data and research on the epidemiology of HIV/AIDS among women, including data on cases and mortality; health services use and coverage; and attitudinal data from several recent national surveys. Key Facts presents current snapshots and trends over time, and examines the impact of the epidemic on women generally, as well as the disproportionate impact on minority women.
This report and a related fact sheet on Women and HIV/AIDS were developed for a Capitol Hill Briefing on Women and HIV/AIDS. For more information on the Foundation's briefing series, see the Capitol Hill Briefing Series on HIV/AIDS page of our web site.
Report (.pdf)
also of interest
- Women and Health Care in the Early Years of the ACA: Key Findings from the 2013 Kaiser Women's Health Survey
- Women's Health Quiz: Health Coverage and the Affordable Care Act
- Coverage of Preventive Services for Adults in Medicaid
- Putting Men's Health Care Disparities On The Map: Access and Utilization Highlights


text:
Unique & Rustic Furniture
Serving the area for over 25 years with a commitment to service and value. I appreciate your interest and look forward to earning your business.
As a skilled professional, I use only the finest tools and materials to make the vision of your furniture piece become reality. Once I have built your furniture, it will be in your family for years to come.
Be it a kitchen table,bedroom set, living
All types of styles & sizes as per your request.


text:
Subpart 380.4: Waste Disposal
(Statutory authority : Environmental Conservation Law, arts. 1, 3, 17, 19, 27, 29, 37)
- 380-4.1 General Disposal Requirements.
- 380-4.2 Disposal by release into sanitary sewerage.
- 380-4.3 Disposal of specific wastes.
- 380-4.4 Compliance with environmental and health protection regulations.
§380-4.1 General Disposal Requirements.
(a) No person shall dispose of radioactive material subject to this Part, except by:
(1) Transfer to an authorized recipient pursuant to 10 NYCRR Part 16, 12 NYCRR Part 38, Article 175 of the New York City Health Code, or 10 CFR Part 20 [see section 380-1.6 of this Part]; or
(2) Decay in storage, where the storage is authorized by and in conformance with relevant requirements of state and federal law; or
(3) Disposal or discharge to the environment in accordance with this Part; or
(4) Disposal at a land disposal facility permitted pursuant to Part 383 of this Title, licensed by an agreement state or the U.S. Nuclear Regulatory Commission, or operated by the U.S. Department of Energy.
(b) There shall be no land disposal of radioactive material subject to this Part except as authorized pursuant to this Part and any other applicable provisions of this Title.
§380-4.2 Disposal by release into sanitary sewerage.
(a) Licensed material may be released into sanitary sewerage if each of the following conditions is satisfied:
(1) The material is:
(i) Readily soluble in water; or
(ii) Biological material that is readily dispersible in water; and
(2) The quantity of licensed or other radioactive material released into the sewer in 1 month divided by the average monthly volume of water released into the sewer does not exceed the concentration listed in Table III of Subpart 380-11 of this Part; and
(3) If more than one radionuclide is released, the following conditions must also be satisfied:
(i) The fraction of the limit in Table III of Subpart 380-11 of this Part represented by discharges into sanitary sewerage shall be determined by dividing the actual monthly average concentration of each radionuclide released into the sewer by the concentration of that radionuclide listed in Table III of Subpart 380-11 of this Part; and
(ii) The sum of the fractions for each radionuclide required by paragraph (a)(3)(i) of this section does not exceed unity; and
(4) The total quantity of licensed and other radioactive material released into the sanitary sewerage system in a year does not exceed 5 curies (185 GBq) of hydrogen-3, 1 curie (37 GBq) of carbon-14, and 1 curie (37 GBq) of all other radioactive materials combined.
(b) Excreta from individuals undergoing medical diagnosis or therapy with radioactive material is not subject to the limitations contained in paragraph (a) of this section.
(c) The department may impose additional restrictions on the release of licensed material into sanitary sewerage in order to minimize or avoid adverse environmental impacts if:
(1) the material is found to precipitate in the sewage treatment plant sludge; or
(2) the sludge is incinerated, and the material is found to concentrate in the ash.
§380-4.3 Disposal of specific wastes.
(a) The following licensed material may be disposed of without regard to its radioactivity, but must be disposed of in accordance with any other applicable provisions of the ECL:
(1) 0.05 microcurie (1.85 kBq), or less, of hydrogen-3 or carbon-14 per gram of medium used for liquid scintillation counting; and
(2) 0.05 microcurie (1.85 kBq), or less, of hydrogen-3 or carbon-14 per gram of animal tissue, averaged over the weight of the entire animal.
(b) Tissue disposed of under paragraph (a) of this section shall not be disposed of in a manner that would permit its use either as food for humans or as animal feed.
(c) Records shall be maintained in accordance with section 380-8.5 of this Part.
§380-4.4 Compliance with environmental and health protection regulations.
Nothing in this subpart relieves any person subject to this Part from complying with other applicable Federal, State, and local regulations governing any other toxic or hazardous properties of materials that may be disposed of under this subpart.


text:
Luke Menel @ The Marr's Bar, Worcs
12th November 2011. Luke was playing support to his Dad for the night and hadn't planned to play, but due to cancellation of the original support, Luke very graciously stepped in. Luke is a star in the making and it was a delight to see first solo performance.
Right Click and select View Image to see the full size image.
All photos © 1998-2015 Barbie.
You are free to use these photos for all non-commercial purposes, using a Creative Commons by Attribution Non-Commercial License. If you wish to use any photo in commercial works, please please contact me to discuss commercial licensing.


text:
Samsung Plans To Appeal $119-Million Judgment In Apple Patent Case
Professor Mark Lemley weighs in on the aftermath of the verdict handed down in the latest patent litigation between Apple and Samsung for The Los Angeles Times.
Samsung is apparently not content with having escaped its latest patent trial with a verdict that only requires it to pay a fraction of the damages that Apple had requested.
An attorney for Samsung said in a statement that the company plans to ask that the $119 million in damages that jurors ordered the company pay be reduced to $0. Zip. Nada.
"It's nominally a win for Apple, but it's a lot less than they asked for and a lot less than they won last time," said Mark Lemley, a Stanford Law School professor. "It is entirely possible they spent more in money and time than they have gotten back from this trial. The real question is whether they can use the verdict to get an injunction; that could be more valuable to them."


text:
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Belly Banter Holidays and Celebrations: A fun, fashionable, yet affordable collection in which each sticker symbolize the spirit of the holiday. 'Love Bug" (Valentines Day), "Up All Night" (Happy New Years), "Thankful (Thanksgiving) are a few highlights of this collection. Great for making holiday onesies!