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The Anthropocene defines Earth's most recent geologic time period as being human-influenced, or anthropogenic, based on overwhelming global evidence that atmospheric, geologic, hydrologic, biospheric and other earth system processes are now altered by humans. The word combines the root "anthropo", meaning "human" with the root "-cene", the standard suffix for "epoch" in geologic time. The Anthropocene is distinguished as a new period either after or within the Holocene, the current epoch, which began approximately 10,000 years ago (about 8000 BC) with the end of the last glacial period.
Origins of the term
Anthropocene is a new term, proposed in 2000 by Nobel Prize winning scientist Paul Crutzen. A similar term, Anthrocene, was coined by Andrew Revkin in his 1992 book Global Warming: Understanding the Forecast, but was not adopted by scientists. Crutzen noted that the term originated in 2000 at "a conference where someone said something about the Holocene. I suddenly thought this was wrong. The world has changed too much. So I said: 'No, we are in the Anthropocene.' I just made up the word on the spur of the moment. Everyone was shocked. But it seems to have stuck."[1]. Crutzen then proceeded to use the term in print in 2000[2]. In 2008, Zalasiewicz and colleagues published the first proposal for the formal adoption of the Anthropocene epoch by geologists, and this adoption is now pending [3].
Evidence for the Anthropocene
Geologic epochs are distinguished from one another based on geological observations, such as the composition of sediment layers and other tools of paleoclimatology. To justify the identification of a new Anthropocene epoch, it must therefore be demonstrated that evidence of anthropogenic global change is present at such a level that it can be distinguished using geologic indicators despite natural variability in these across the Holocene.
The most commonly cited and readily measured global change associated with humans is the rise of greenhouse gases, especially carbon dioxide and methane, around the beginning of the Industrial Revolution, together with the associated rise in global temperatures and sea level caused by this global warming. Other key indicators include massive global increases in soil erosion caused by land clearing and soil tillage for agriculture; massive deforestation; and massive extinctions of species caused by hunting and the widespread destruction of natural habitats.
When did the Anthropocene begin?
The originator of the Anthropocene terminology, Paul Crutzen, favors the beginning of the Industrial Revolution as the starting point for the Anthropocene. In a 2002 paper in the journal Nature he stated: "The Anthropocene could be said to have started in the late eighteenth century, when analyses of air trapped in polar ice showed the beginning of growing global concentrations of carbon dioxide and methane."[4]. Zalasiewicz et al. are in general agreement with Crutzen that the Anthropocene is best identified at the beginning of the Industrial Revolution, though they also propose the beginning of the nuclear era in the 1960s as a useful date, due to the global presence of radioactive isotopes in sediments at this time.
However, as yet, there is no official start date for the Anthropocene. Moreover, William Ruddiman proposes that globally significant human alteration of greenhouse gas concentrations and associated climate change, extensive land clearing and soil erosion, and mass species extinctions actually began approximately 8,000 years ago with the rise of farming and the global spread of human populations in the latter stages of the first Agricultural Revolution. For this reason, the Anthropocene might be considered to begin 8,000 years ago. On the other hand, this "Early Anthropocene" definition is difficult to differentiate from the Holocene epoch which began only 2,000 to 4,000 years earlier.
See also
- ^ Fred Pearce, F. 2007. With Speed and Violence. Page 21. ISBN: 0807085774.
- ^ Crutzen, P. J., and E. F. Stoermer. 2000. The "Anthropocene". ''Global Change Newsletter''. 41: 17-18.
- ^ Zalasiewicz, J., M. Williams, A. Smith, T. L. Barry, A. L. Coe, P. R. Bown, P. Brenchley, D. Cantrill, A. Gale, P. Gibbard, F. J. Gregory, M. W. Hounslow, A. C. Kerr, P. Pearson, R. Knox, J. Powell, C. Waters, J. Marshall, M. Oates, P. Rawson, and P. Stone. 2008. Are we now living in the Anthropocene? GSA Today 18:4-8.
- ^ Crutzen, P. J. 2002. Geology of mankind. Nature 415:23-23.
Further Reading
- Crutzen, P. J. 2002. Geology of mankind. Nature 415:23-23.
- Ruddiman, W. F. 2003. The anthropogenic greenhouse era began thousands of years ago. Climatic Change 61:261-293.
- Ruddiman, W. F. 2007. The early anthropogenic hypothesis: Challenges and responses. Reviews of Geophysics 45:RG4001.
- Ruddiman, W. E. 2005. Plows, Plagues, and Petroleum: How Humans Took Control of Climate. Princeton University Press. ISBN: 0691133980.
- De Vries, B. and J. Goudsblom. 2002. Mappae Mundi: Humans and their Habitats in a Long-term Socio-ecological Perspective: Myths, Maps and Models. Amsterdam University Press. ISBN: 9053566554.
- Zalasiewicz, J., M. Williams, A. Smith, T. L. Barry, A. L. Coe, P. R. Bown, P. Brenchley, D. Cantrill, A. Gale, P. Gibbard, F. J. Gregory, M. W. Hounslow, A. C. Kerr, P. Pearson, R. Knox, J. Powell, C. Waters, J. Marshall, M. Oates, P. Rawson, and P. Stone. 2008. Are we now living in the Anthropocene? GSA Today 18:4-8.
External links
- copy of IGBP "The Anthropocene. Article from Crutzen's website.
- Videos of a Radcliffe conference on "'Biodiversity in the Anthropocene'' March 10, 2006.
- Debate over the Early Anthropogenic Hypothesis. 5 December 5 2005.
- Berardelli, Phil. "Human-Driven Planet: Time to Make It Official?". ScienceNOW Daily News. 24 January 2008.


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Coghlan's Rectangular Mosquito Net - Double White
Get clean and guarded protection from insect bites while sleeping with the Coghlan's Rectangular Mosquito Net. Constructed with a double rectangular shape, this Mosquito Net from Coghlan's can snuggly fit into two cots and sleeping bags when you re about to turn in for the night. Sewn from fine mesh polyester, it gives a maximum defense against insect bites and the diseases that may result from it. Featuring six reinforced tie tabs along its corners and its sides, the Rectangular Mosquito Net can be suspended from the top by connecting ropes and poles to the tabs, giving you a nice sleep without being blanketed by the net. Its washable material is easy to clean so you won t be irritated by a smelly odor while resting. Now, you can enjoy a good night s sleep with the clean shelter of the Coghlan's Rectangular Mosquito Net.

subset: commoncrawl


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Moroccan Beaded Drum Shade
No longer available
Shimmering beads in a Moroccan tile motif bring intricate detail to an everyday shade.
Small: 12.75" diameter, 8.25" high
Medium: 14" diameter, 9.75" high
Large: 17.25" diameter, 11" high
Straight-sided shade is made of 100% cotton with hand-stitched beading.
Pair with any of our Mix & Match® lamp bases (sold separately).


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49th Annual Crosby Festival of the Arts
June 28, 2014
10:00 am - 7:00 pm
Presented By:
Northwest Ohio's Premier Fine Arts Festival
The Crosby Festival of the Arts features over 200 artists from all over the country in different mediums such as: jewelry, textiles, paint, photography, ceramics, wood, mixed media, glass, and more. Click here for more info.
2014 Artist Listing
Children 12 and under and Toledo Botanical Garden members free!
Adults $8. Buy your tickets in advance at any Andersons store for $7.
Parking Info
Free air-conditioned shuttles run continuously from the MEIJER parking lot located at 7240 W. Central Avenue to the Festival admissions gate. The shuttle runs 30 minutes prior to the Festival opening and 30 minutes after the Festival closes. The shuttle picks up and drops off next to the outdoor Lawn and Garden Department.
Our friendly neighbors and the Frank Dick Technology School next door offer parking for a nominal fee.
Handicap parking is available through the Garden's main entrance at 5403 Elmer Dr.
Visitor Amenities
Scooters are available for rent at the Festival admissions gate. You can also arrange to have a scooter brought to the handicap lot. Ask Joe at the handicap entrance.
There is a 5/3 Bank ATM in the Crosby Conference Center.


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Buffet Lamps & Lamp Sets
Buffet lamps may be short, but they are the perfect way to highlight a room's most important focal point. Our collection offers unique lighting designs that will add magnificence, style, and intricacy to any room in your home. Bring out your quirky, yet stylish side with one of our buffet lamps and we will ship it to you for free with a bulb so you can show off your new accessory to everyone in the neighborhood.


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Module: Recent Climate Change
This is a data-driven module designed to address key questions about the stability of the Earth's climate in the past and the factors that drive climate change. This information is essential for students who want to study current climate change using NASA data, and interprets this in a correct historical context
· Students will investigate how land surface and ocean surface temperatures have changed since 1840.
· This exercise asks students to consider two contrasting interpretations of climate change over the last 2,000 years.
· Both interpretations use a range of proxy data, but the Loehle data specifically excludes tree ring data. Investigate how the level of CO2 level in the atmosphere has changed over the last 50 years.
· Introduce students to the sun spot cycle and consider the relationship between sunspots and total solar irradiance.
· In this exercise students will investigate proxy (carbon 14 from tree rings) evidence for how solar irradiance has changed over the last 2,000 years and then the last 12,000 years.
· This exercise will introduce students to the role of orbital cycles in determining the amount of solar radiation that reaches the Earth's surface and investigate changes over the last 1,000 years.
· Introduce students to the important role of natural cycles in the oceans and atmosphere in determining global climate.
· To compare the estimated net climate forcing with measured changes in global temperature and consider the impact of volcanism on global temperature.
Context for use
This set of exercises focuses on more recent climate data and addresses questions such as:
· How has the land and ocean temperature record changed over the last 100 years?
· How has the land surface changed over the last 2000 years?
· How much carbon dioxide is in the atmosphere and how is this changing?
· Is the sun responsible for climate change?
· Is the sun responsible for recent climate change?
· What role do natural cycles play in recent climate change?
· What is the overall result of all factors that influence climate?
This module is based on real data, freely available online, but often difficult for inexperienced students to import and analyze. These data have been collected and presented in a format that allows students to make their own analyses and interpretations. Each exercise has two sections: The first a spreadsheet tab with original data; the second, a tab with graphs that students use to answer a set of related questions.
These original data are presented in the hope that students can be encouraged to make their own observations, formulate their own questions, construct their own plots, and reach their own conclusions about the nature of climate change. Faculty may decide to present students with the data first and use the graphs for later interpretation in class.
Links to the spreadsheet and PDF versions of the text are provided at the end of this module.
Activity description and teaching materials
Exercise One:
Global temperature since 1840
Aim: Students will investigate how land surface and ocean surface temperatures have changed since 1840.
Learning Outcome: Students will learn how to measure temperature anomalies, and use the data to identify periods of time when there were significant shifts in the rate of climate change. They will also observe how temperature trends from land and oceans match closely,
Added value: Students can use these data to discuss the differences between the CRU and GISS data sets.
Recent changes in global temperature
Open the spreadsheet attached to this module and click on the first tab. This is global temperature anomaly data from NASA, NCDC and CRU.
· Column A is the year
· Column B is global temperature as determined by the CRU
· Column C is global temperature as determined by GISS
· Column D is ocean temperature as determined UK CRU
· Column E is ocean temperature as determined by the NCDC
1. Look at the global curves and describe how global temperature has changed over the last 100 years.
2. Compare the GISS and CRU data. GISS and CRU use different methods to estimate global temperature, what are these and what difference can it make?
3. Compare the ocean and land datasets. Discuss any differences you see.
4. How fast was the climate warming from 1910 to 1945 and from 1965 to 2010?
5. Why is the warming from 1965 to 2010 probably not due to changes in solar activity?
6. Compare the 1998 values for temperature anomalies on land and in the oceans.
7. Why are these different?
8. What happened this year that made the world warm so suddenly?
Exercise Two:
The climate record of the last 2,000 years
Aim: This exercise asks students to consider two contrasting interpretations of climate change over the last 2,000 years. Both interpretations use a range of proxy data, but the Loehle data specifically excludes tree ring data.
Learning Outcome: Students will identify both the Medieval Warm Period (Anomaly) and Little Ice Age in both data sets, but recognize that the Medieval Warm Period is much more pronounced in the (more limited) data set from Loehle. Students will discuss the reason why these anomalies have become so important in the climate debate and the limitations of data sets that are more representative of the northern hemisphere.
Added Value: Students can consider the advantages, disadvantages and controversies related to tree ring data.
Temperature change over the last 2,000 years
These data are from two sources. Loehle excludes important tree ring data that has provided so much important information about past climate in other analyses and only includes other proxy sources such as corals, ice cores, lake sediments and stalactites. The second data set from Jones and Mann includes tree ring data. Both data sets have a strong northern hemisphere bias.
1. What does this graph represent?
2. What is the age range?
3. Why would anyone want to exclude data?
4. Can you observe the Medieval Warm Period (anomaly) in the data?
5. Can you observe the Little Ice Age in the data?
6. According to each analysis, was there any time over the previous 2,000 years when global temperatures were warmer than today?
7. According to each analysis, was there anytime over the previous 2,000 years when the temperature was rising so fast as over the last 50 years?
8. What is the temperature anomaly they measure?
9. Do both papers use the same base period for analysis?
Exercise Three:
CO2 in the atmosphere
Aim: Investigate how the level of CO2 level in the atmosphere has changed over the last 50 years
Learning Outcome: Students will observe that the rate at which CO2 has been added to the atmosphere has been increasing, and will discuss the impact of seasonal changes on the detail of these data.
Added value: Students could discuss how well greenhouse gases are mixed vertically and horizontally in the atmosphere, and compare this distribution with the distribution of water.
Changes in atmospheric carbon dioxide
These data are from the CO2 observatory on Mauna Loa in Hawaii.
1. What does this graph represent?
2. What is the age range?
3. Why does the graph show so annual cyclicity?
4. Calculate the rate at which CO2 is increasing.
5. Has this been constant over the previous 50 years?
6. Given a constant rate of CO2 production, what will the concentration in the atmosphere be by the years 2100 and 2150?
Exercise Four:
The role of the sun (part one)
Aim: Introduce students to the sun spot cycle and consider the relationship between sunspots and total solar irradiance.
Learning Outcome: Students will identify the 11-year sunspot cycle and natural variation in the intensity of sunspot numbers. They will identify the Dalton Minimum and relate sunspot minima to global temperature during the 20th Century.
Added value: Students can use the data to analyze how closely sunspots follow a consistent 11-year cycle.
Changes in the sun
This table lists sunspot data back to the year 1750 when systematic observations began.
1. What does this graph represent?
2. How many complete cycles have there been since records began.
3. What is the average time between sunspot maxima?
4. What year has the record for the largest number of sunspots?
5. What year has the record for the lowest number of sunspots?
6. Can you spot the Dalton minimum, a time when very cold winter and summer temperatures were recorded in the northern hemisphere?
7. What happened to sunspot intensity between 1940 and 1960?
8. What was happening to global temperature during this time?
9. What has happened to sunspot activity from 2000 to 2010?
10. What impact should this have on global temperature?
Exercise Five:
The role of the sun (part two)
Aim: In this exercise students will investigate proxy (carbon 14 from tree rings) evidence for how solar irradiance has changed over the last 2,000 years and then the last 12,000 years.
Learning Outcome: Students will discover that solar irradiance varies considerably over time. They will identify multiple minima over the last 2,000 years and how solar irradiance has increased considerably since the end of the Maunder Minimum. Students will also observe how solar irradiance is thought to have changed over the last 12,000 years; back as far as the beginning of the most recent interglacial period. Students will observe that the sun's elevated irradiance today is unusually high compared to the last 8,000 years
Added Value: Students can discuss how reliable proxy data are in the more distant past.
Changes in solar irradiance
These data are based on solar proxies (Carbon 14 from wood dated by dendrochronology) that estimate the level of total solar irradiance before the time that sunspots were observed directly.
1. Look at the first (upper) graph
a. What does the first graph represent?
b. What is the age range?
c. Is this data reliable over the full age range?
2. Over what period was sunspot activity the most intense?
a. Use data from module one to compare activity over this period with both global temperature and solar intensity due to Milankovitch cycles.
b. Discuss any relationships you discover, and determine what impact these should have had on global climate
c. What was the overall trend in solar intensity between 8,000 years ago and 3,000 years ago?
d. When was the last time the sun was as active as it is today?
e. What was the climate like at that time (use Module One).
3. How many prolonged minima with sunspot number lower than 10 can you recognize?
a. How long do these minima last?
b. What impact do they have on global climate?
c. Can you relate any of these periods to important moment in human history?
4. Look at the second (lower) graph
a. What does the graph represent?
b. What is the age range?
c. Is this data reliable over the full age range?
5. What is the general trend in sunspot number from 2,000 to 250 years ago?
a. To help with this exercise, take 20 sunspots as a base line and color everything above 20 and then below 20 with different colors
b. What happens to the frequency of solar minima?
c. Identify the Dalton, Maunder, Spörer, Wolf and Oort solar minima
6. Compare the number of sunspots estimated during the Medieval Warm Period with the number today.
a. If the sun were the only factor responsible for climate change what would we expect to see today?
b. If you take Milankovitch cycles into account, does this make any difference? (Also see following exercise).
Exercise Six:
The role of orbital cycles
Aim: This exercise will introduce students to the role of orbital cycles in determining the amount of solar radiation that reaches the Earth's surface and investigate changes over the last 1,000 years.
Learning Outcome: Students will observe how orbital cycles have controlled the amount of irradiance from the sun reaching the northern hemisphere over the last 140,000 years. Students will compare the reduction in radiation over the last 1,000 years and observe that there has been a steady decrease in radiation at 65°N of the equator.
Added value: Students can be asked to compare the change in irradiance from orbital cycles (~10 Wm-2) with changes from the 11 year solar cycle (1Wm-2 - 2 Wm-2) and discuss what impact this should have on the climate today in the absence of any other factor.
Changes in the Earth's Orbit (Milankovitch Cycles)
These data are calculated from knowledge of the regular changes in the Earth's obliquity (tilt), precession (wobble) and orbit (eccentricity) that impact the amount of solar irradiance reaching the top of the atmosphere at a latitude of 65°N of the equator.
1. What impact would Milankovitch cycles have had on the climate in the Northern Hemisphere during the Medieval Warm Period around 1,000 years ago?
2. What has been happening to the amount of solar insolation arriving at the top of the atmosphere since that time?
3. How would this affect global temperature?
Exercise Seven:
The role of the atmospheric and oceanic cycles
Aim: Introduce students to the important role of natural cycles in the oceans and atmosphere in determining global climate
Learning Outcome: Students will explore how natural variation in the PDO, NAO, ENSO and AMO can influence global climate. They will compare changes in global ocean temperature with the PDO and find some evidence of correlation. They will investigate the ENSO data, recognize ENSO events and determine their periodicity. They will compare data on the AMO with hurricane frequency and suggest reasons for their correlation. Finally they will contrast the poor periodicity of the NAO with the other cycles.
Added value: Students can consider how major excursions in the NAO, as happened during the winter of 2009-2010, are indicative of a systematic change in climate.
Changes in the atmosphere and oceans
These are data on the NAO, PDO, ENSO and AMO, a graph of global ocean temperature is included for reference along with diagrams to compare the PDO and ENSO and the frequency of Atlantic Hurricanes.
1. What does each graph represent?
2. What is the age range of each graph?
3. Now look at the PDO data from 1900 to 2010.
a. Describe what you observe.
b. How much variation is there?
c. Try using excel to fit a polynomial to these data
d. How long are the cycles you can observe?
e. When did the changes you observe occur?
f. How does the pattern of the PDO compare to changes in global temperature?
g. Discuss the significance of the PDO data between 1940-1950
4. Look at the ENSO data.
a. Describe what you observe.
b. Compare this with the PDO data.
5. Look at the period from 1980 to 2010 and describe the relationship over this period between the PDO and ENSO.
6. Locate the 1998 ENSO event.
a. How long did this last?
b. Now look at the temperature data.
c. How long did this ENSO event effect global and ocean temperature?
7. Look at the NAO data.
a. Describe what you observe?
b. Can you see any clear cyclicity or trend in this data?
8. Look at the AMO data
a. What is the wavelength of the cycle you observe?
b. Use the graph of Atlantic Hurricane frequency and determine
c. Which years had more than 4 major hurricanes?
d. Which years had fewer than 4 major hurricanes?
e. Is there any relationship between this observation and the frequency of intense hurricanes?
Exercise Eight:
Net Climate Forcing
Aim: To compare the estimated net climate forcing with measured changes in global temperature and consider the impact of volcanism on global temperature.
Learning Outcome: Students will observe the rapid increase in the rate of climate forcing due to human activity starting in the early 1960's and compare this with the much lower rate of natural forcing from 1900 to 1960. They will also consider the significant short-term drops in the rate of climate forcing and relate these to the impact of volcanic activity.
Added value: Students can measure and compare the length of time that major volcanic eruptions disrupt the background trend of climate forcing. They can relate the size of each eruption its impact on climate and discuss the likely impact of simultaneous multiple eruptions on global climate.
Net Radiative Forcing
This data is used to estimate the impact of all factors (the total net forcing) on climate.
9. What happened in 1883, 1980 and 1991 that caused major negative spikes in forcing of more than -1 Wm-2?
10. What is the most likely cause of positive forcing between 1920 and 1960?
11. How does the rate of forcing change after 1960?
12. What is the probable reason for this change?
13. If solar intensity increases, and more greenhouse gases are added to the atmosphere how will the net radiative forcing relative to 1880 change over the next 50 years?
Click here to download the Recent Climate Change Module as a PDF
Teaching notes
Open the spreadsheet (see below) and click on the tab for the first exercise. Each exercise has two tabs: one for the data and a second with some graphical analysis to help you with your answer these questions.
Click here to download the Spreadsheet (Microsoft Excel)
Click here to download the graphs only (PDF)
To be determined by the educator.
References and resources
1. National Climate Data Center
2. U.K. Climate Research Unit
3. NASA Goddard Institute of Space Studies
Funded by NASA Global Climate Change Education Grant NNXO9AL64G.
Return to the NCSE-NASA Interdisciplinary Climate Change Education Homepage


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Poolmaster Pro Action Water BBall Game
Item # 18658236
|Eligible for Free Shipping on Orders $39 or More! (see promotion details)
|Members of The League get 5% back when you spend $100! (see promotion details)
Product Details
The Poolmaster® Pro Action water basketball game delivers hours of fun for ages 8 and up! It features a strong frame, 3 separate foam bases for optimum stability, and a high-quality net that floats 23" above the water.
- Durable, lightweight frame
- 3 individual foam bases
- High-quality net
- Ball included
- Height: 23"
- Ages 8 and up
- One-year manufacturer's warranty against defects


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Blue Ribbon Recipe
Notes from the Test Kitchen:
The Crew and I just loved the moist, creaminess of this bread. If you love nuts as much as I do, feel free to load 'em on! So good.
The Crew and I just loved the moist, creaminess of this bread. If you love nuts as much as I do, feel free to load 'em on! So good.
- 1-8 oz
- package cream cheese, softened
- 1/2 c
- shortening
- 1 2/3 c
- granulated sugar
- 2
- eggs
- 2 1/4 c
- all-purpose flour
- 1 tsp
- salt
- 1 Tbsp
- baking powder
- 1 c
- milk
- 1/2 c
- chopped walnuts
- 2 Tbsp
- grated orange peel
- 1/4 c
- orange juice
Directions Step-By-Step
1Combine cream cheese and shortening, creaming well.
2Gradually add sugar, beating until light and fluffy.
3Add eggs, beating well after each addition.
4Combine flour, baking powder and salt; add to creamed mixture alternately with milk, beginning and ending with flour mixture. Mix well after each addition.
5Stir in walnuts and orange peel.
6Pour batter into 2 greased and floured 8-1/2 x 4-1/2 x 3 inch loaf pans.
7Bake at 375 degrees F for 55 minutes or until a wooden toothpick inserted into center comes out clean.
8Let cool in pan for 10 mintues. Then sprinkle orange juice over loaves. Remove to wire rack to finish cooling
About this Recipe
Course/Dish: Cakes, Sweet Breads
Main Ingredient: Flour
Regional Style: American
Collections: Member's Choice, Nuts for Baking, Favorite Breads
Other Tag: Quick & Easy


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The history of Royal Talens goes back to 1899. In that year, Marten Talens founded the "Dutch Factory for Paints, Lacquers, and Inks" based in Apeldoorn, Netherlands. Rembrandt Soft Pastels have since become one of the most popular artist pastels in the world.
We offer you the full range of Rembrandt colors in open stock. Rembrandt pastels are made from the purest pigments and mixed with the finest quality kaolin clay binder. No pigments containing heavy metals, such as cadmium, lead, and cobalt, are used in production which ensures that the pastels have no hard bits or sharp edges.
These pastels are harder in consistency than many soft pastels, allowing for more control and definition in your painting. Full sticks measure 2-3/4" long × 7/16" diameter (70 mm × 11 mm). They are paper wrapped, and are sold individually. Half sticks are available only in sets.
Gift Idea — Rembrandt Soft Pastels are available in a variety of attractively packaged sets, from economical half stick sets to the exquisitely packaged wooden box sets. See Rembrandt Soft Pastel Sets for pictures and more detailed specifications of these sets.
Color Chart Note — Use this color chart as an approximation of the real color. If exact color matching is necessary, use actual samples of the materials.
Minimum Order — Please order individual pastels (open stock) in a minimum of 6, so that we can efficiently package and ship your order. Your selection may be assorted to meet this requirement.
see also ...
® Rembrandt is a registered trademark.


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Classic Instruments Custom Gauge Clusters - Custom-Crafted ClustersWritten by on April 1, 2010 One-Off Gauge Clusters Made To Order By Classic Instruments
One of the reasons many of us build hot rods is akin to why painters, sculptors, and musicians ply the trade that they choose: personal expression. No two hot rods are the same due to that natural desire for us to add our own personal touches to our vehicles. Whether it's the paint scheme, interior design, wheels, or other more exotic modifications, every little detail of our cars is a well-thought-out extension of our own imagination.
And while the aftermarket industry has pretty well covered every aspect of what a car builder may desire when it comes to customization, there has been one area where there have been limitations in the past: instrumentation. Arguably, there are a myriad of companies today offering a number of different gauge and cluster designs, truly one-off instrument clusters have managed to elude most car builders-until now. Taking advantage of their R&D shop, the guys at Classic Instruments have stepped up to the plate to offer their experience at custom gauge building to Joe Hotrodder.
With everything from graphic design to an engineering department in place, Classic Instruments can truly offer a one-of-a-kind instrument cluster to those with even the most discerning taste. Whether it's a custom rework of a stock gauge cluster or a complete one-off, they can offer the experience, expertise, and knowledge that over 25 years in the gauge building business provides.
Take a look as we take you behind-the-scenes at the custom gauge shop at Classic Instruments and follow along as a '66 Chevy Bel Air cluster gets a custom face-lift.
A Case in Point: A Custom Cluster for a '66 Chevy.
More Photos From This Article View Slideshow
The first step in the custom build process begins when a Classic Instruments sales representative has initial contact with the potential customer. They talk about the process and discuss what the customer would like to have done. To give a firm quote the customer is asked to send the gauges they would like to have built into Classic Instruments. If custom dials are being built, Classic Instruments requests a rough sketch of what the customer is looking for as well as sample colors.Once the package is received from the customer, it is carefully recorded into a receiving log, photographed, and dated. Projects are time sensitive with the goal of completion on each project being 8-10 weeks from the approval of the quote.The customs sales department calls the customer once the project is sent in to discuss possible design options. Notes are taken on what the customer's ideas are for the final design and what they would like incorporated in the gauges, like high beam and turn indicators, pointer style, colors and graphic layout (nostalgic or custom). The sales representative also confirms what the gauges came out of, are going into, and what the engine and transmission in the project will be.Members from the design, build, and graphics team all gather to see what it will take to put the customer's ideas into reality. This is where the quote is created and the build process is mapped out. This is a brainstorming session where the initial engineering of the build is discussed.The customer is then called and the quote is presented along with the lead time for the project's completion. Basic paperwork and a customer file are completed and the initial deposit is taken. A customer card is created, which is assigned a time slot to ensure an expedited delivery.The project is assigned a numbered bin and is ready to begin its journey toward the build tables. The bins allow the team to keep everything relevant to the build with the project at all times.
The graphics department creates a proof and emails it to the customer. This gives the customer the opportunity to see the project prior to the final build and enables the team to make any minor graphical revisions that the customer may request.Now, engineering and designing of the internal operation for the gauges begins using a 3-D program for the build. This is where precision engineering and CAD drawings determine the fit and finish of the new modern movements into the original housings.Here, fabrication and machining of components for final assembly is being done. The CAD drawings are utilized to machine and cut out precision pieces for the final build.Closing in on the end of the project, final assembly takes place. This is where the communication, engineering, and design steps really pay off. The joint effort of the build team with the customer allows for seamless assembly.Once the gauge cluster is put together the pointers need to be mounted on the movements and calibrated. Here the unit is tested for accuracy. Throughout the process the proof that the customer approved stays with the project and at each stage the builders verify that the proof matches the build to ensure that the customer gets exactly what he/she want.Here's a gauge cluster from a '66 Chevy Bel Air that was sent in to the custom gauge department for a face-lift. The owner wanted to better improve his ability to monitor the mechanical aspects over what the stock dummy lights afforded.
New faceplates are cut to fit using the CNC method discussed earlier. Notice the gauge pods that will be mounted on either side of the speedo, replacing the stock fuel gauge and blank plate.Naturally, all-new internals are installed as part of the refurbishment process. Here, the new movements for the tach (left) and speedo (center) are installed as well as the new odometer counter.On the right side of the cluster where the blank plate used to be is a cluster consisting of fuel level, oil pressure, water temperature, and voltmeter gauges.This cluster will be completely electronic with functioning illumination replacing the stock dummy lights. Out the door, the cluster is ready to be installed and wired up to the existing harness and comes with all necessary senders.
Here's the new speedo faceplate for the '66. The red highlight was designed to match the exterior of the car and complement the original design.


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I have noticed that replies are not appearing consistently. Most recently a reply to you on a suggestion thread.
I enter it and it disappears.
Also I see an auto save feature pops up to save your text. It retrieved itself once so I could repost.
Nice feature.
Where do I access that content if something goes awry so as not to have to retype the post?
Thank you.


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The Power of Independent Thinking
Jose Yulo: Western Civilization & Thought
Recorded: Monday, July 7, 2014
Jose Yulo discusses the history of western civilization and ways of thinking about morality and economics.
For information on The Challenge of Liberty Summer Seminar, click here.
Experts: José Maria J. YuloType: Challenge of Liberty SeminarsIssues: Civil Liberties/ Human Rights, Culture/ Society, Democracy, Economic History and Development (International), Economic Policy, Economists, Fiscal Policy/Debt, Freedom, Political Ideology and Philosophy
Understanding Today's Economy: A Summer-Seminar Preview for Teens and Their Parents
Recorded: Thursday, May 20, 2010
– Monday, January 1, 1900
Part 1 |
Part 2
Part 3
Part 4
Part 5
Part 6
Part 1: Introductory Remarks by David Theroux
Part 2: Why Economics Matters more than Ever with Gregory Rehmke
Part 3: Healthcare Reform: a Principled Critique by Michael Winther
Experts: Anthony Gregory, Gregory Rehmke, Emily C. Skarbek, David J. Theroux, Michael Winther, José Maria J. YuloType: Independent Institute EventIssues: Free Market Economics, Political Ideology and Philosophy


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I dont know if you guys have seen this yet, but here's the site for the upgrade.
10D Firmware upgrade
Vance wrote:UPDATE!
Just checked my camera, and I already have it!!!
Canon's allowing user ugrading of firmware sure beats the heck out of having to send your camera in like with Oly and the E10/20. I never did send mine in for any firmware upgrades due to the horror stories I've heard from those that have. My E10 is still working fine
Vance wrote:Kinda nice when the manufacturers give you credit for having a brain.
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Bones Drawing Guide
Posted by bonesiii , Apr 06 2009 · 904 views
Coolified Artwork
Welcome to the Bones Drawing Guide, ready as promised. This entry is designed to rapidly teach the important basics about how to draw. The first rule is, don't assume you aren't capable of drawing!
The art for these lessons was drawn on paper and scanned; it also applies for drawing vector art in Powerpoint along the lines of my previous guides (1, 2). The text was originally handwritten but is also typed below each pagescan in case you can't read my handwriting, plus expanded on a little.
It is partly inspired by Bruce Mcintyre's "How to Draw", which is the text I learned to draw from, and I highly recommend. (Here's what the book looks like.) That book has tons of lessons and a system of important elements of drawing. So as not to plagiarize, and because I think his system is a bit incomplete, I've formed my own system that I think is more logical. But if you want a more complete collection of practice lessons, try to get your hands on that book or a similar such book.
A very important point he made is that everybody learns how to write, but contradictorily, we aren't properly taught how to draw. If you're one of those people who always utters the cliche "I can't draw/I have no talent/etc.", ask yourself, can you write? You might not have the talent to become a "writer", but you can put a pencil to paper and draw letters that form words. Why? Because you learned how -- and because that helps you communicate. Or same with typing.
Likewise, you might not have the talent to become a famous artist or the like, but you ARE capable of learning how to draw, so that you can communicate visual ideas. Or maybe you DO have the talent. You might not even know it yet.
To treat this entry as lessons, I recommend spending a day drawing your own stuff based on each rule, then spending a day on each column in the examples category. Both draw the same things I showed and draw your own, with emphasis on your own. Or you can just read it or treat it as reference; I've designed it to be easily referenced.
The main thing that you'll find lacking here is huge amounts of lessons -- this IS freeware after all.
To those that would say "I was already taught how to draw" -- well, there are many bad methods being taught out there in schools (for example, the wrongway cube method; see below), and there's a lot of different things that I've compressed all into one guide. This also has a Bionicle focus you might find helpful. Even if nothing in this is new to you, it may still be interesting.
Rules - the logically organized rules for drawing
A: 3D Shape
1: Outer Shape
2: Skeleton
3: Avoid Flat
B: Perspective
1: Angle
2: Floor
3: Size
4: Focus
5: Wrapping
6: Overlapping
7: Foreshortening
8: Vanishing Points
C: Texture
1: Lines
2: Spots
3: Nicks/Cracks
4: Scales
5: Bumps
6: Indentations
7: Letters
8: Gravity
D: Lighting
1: Radiance
2: Direction
3: Shading
4: Surface Shine
5: Cast Shadows
6: Multisources
7: Reflection
8: Metal Shading
9: Refraction
Examples - five pages of various examples
1: Wrongway/Rightway cubes and cylinders, foreshortening, and vanishing points.
2: Metallic shading, doughtnut foreshortening, etc.
3: Facial expressions/emotions on a simple Bionicle-esque face, and Human/Toa proportions.
4: More about vanishing points; parabolic fully accurate system, and skyscraper system.
5: Various stuff to close out the guide, especially 3D letters.
This section presumes that we're not dealing in abstract / heavily stylized art, but in realism. When you get into abstraction these rules can be bent or even ignored at will -- but it helps even there to know to draw in realism first so you know what to bend/ignore.
Section also presumes we're drawing the shapes with black lines, either on paper or on the computer, rather than a more photorealistic no-line edge system (as with paint or the computer equivalent). It's the easiest way to draw, though no-line systems are more realistic. For the most part the rules apply regardless of this, just wanted to be clear.
On paper, I recommend using something erasable (I prefer Papermate erasable black pens since you don't have to sharpen them unlike pencils). If you use pencil, try to get a real black pencil, not just the silvery gray school pencils, and sharpen it often, preferably with an electric pencil sharpener.
On the computer, obviously I would recommend using Powerpoint (see the previous guides as linked above) or another vector program, instead of bitmap/raster programs, because the lines can be edited much more easily with vectors.
Finally, I'm not dealing with color at all here. Just one bit of advice for coloring on paper -- I strongly recommending scanning your lineart WITHOUT color, then printing it, and coloring the printout. That way if your particular chosen method of coloring messes it up in your opinion, you can always try again. (And I'd recommend Prismacolor pencils for that.)
Aaand without further ado...
A: 3D Shape
1: Outer Shape
See in your mind the 3D outer shape, or a basic idea of it, before you begin drawing. Be able to rotate it in your mind. Think of drawing as a way to photograph your imagination -- you have a "camera" that lets you draw a picture of the 3D shape inside your head. NOTE that once you begin on paper sometimes you have adjust the 3D shape in your mind as you go as the pen does something different from what you planned, but you should still remember to form a(n updated) 3D shape to guide where your pen goes next.
2: Skeleton
Not all shapes have an inner structure, but keep the concept in mind. Organic (and biomechanical) creatures especially have a skeleton & muscles underneath that shows through. NOTE the bone structure of the "Tuskhop mouse" (ignoring that I ran out of room to make him as normalish as I wanted ) -- those are the same basic bone shapes, connection points, and angles that most mammals share.
3: Avoid Flat
Real objects are 3D. Keep that in mind as you draw "2D" art -- your paper is 2D, but it is merely a flat window into a 3D world. NOTE: avoid the "wrongway cube" technique that is sadly taught in many public schools (I speak from personal experience >_<) that has you draw a flat square and then magically have the rest of the cube appearing at a ridiculous angle behind it -- such a shape is NOT a cube. You CAN draw a house from the "flat" angle shown above, but the chances of your art "camera" actually aiming at a house from exactly that angle are slim, and it doesn't look realistic.
B: Perspective
1: Angle
Your "camera" points at the 3D shape you're drawing from an angle. Choose the angle you want.
Generally make sure that the angle is the same on all things in a single image. Exceptions are when you're close enough to things (or they're large enough) that the vanishing point system and the like is needed; see later rules on that.
Also Ojh and I ran into the situation when making our RPG of a false angle system built into it -- the chipset "ground" tiles are forced into a pure top view, yet you usually see the sides of charset people/objects. So the angle system we used there was to always go with the angle that best showed the object, so in the same area you could have somethings topview, some angled sideview, and some pure sideview.
Regardless, a big chunk of the artistry of an image is the angle you choose, so choose wisely.
2: Floor
Closer objects look "lower" on a floor.
3: Size
Farther = smaller (for two objects of the same size, and also for different parts of a close/big object).
4: Focus
Usually, farther objects/parts have less detail or texture density, and are drawn more lightly. Especially distant mountains due to atmospheric blueing.
5: Wrapping
Exceptions to the above Focus rule; curved textures look denser on the farther edges, where you're looking at the texture at a greater angle, like the tree bark, leaves, and wireframes above.
6: Overlapping
Multiple objects/parts overlapping can be tricky. Try imagining the lines of the shape behind (re: dotted lines). ALSO when drawing on paper, always start with the nearest overlapping objects first, then draw back (on computer generally do the opposite).
7: Foreshortening
At angles, circles (as in at the top of cylinders) become ovals, not circles with malformed thicknesses magically appearing. Slightly "football" shaped, too. And foreshortening applies to all shapes.
NOTE with the cube that ALL parts of it must be foreshortened. The only way you could realistically draw a perfect un-foreshortened square would be if your "camera angle" was directly perpendicular to the cubeface, and in that case, the thickness would NOT be visible, so all you would draw is a square.
Can't emphasize the cube thing enough, as you've probably had gradeschool art teachers that didn't know better. Try looking at an actual physical cube -- you'll see I'm right.
8: Vanishing Points
Most accurate way to foreshorten. Use especially for: 1) large objects, 2) closeup objects, 3) room interiors, 4) simple geometric shapes, 5) roads. NOTE especially that this applies to curved and complex objects, NOT just to rectangular ones, though it's usually harder to tell, hence the foreshortened circle inside a vanishing point grid.
You may want to skip down to the larger illustration on vanishing points in the Examples section, then come back up here, as it makes this much clearer.
C: Texture
1: Lines
Easiest way to create depth to objects, and applies to many real things, not just imaginary wireframes.
Examples to take note of: pipes/tubes (note the use of this for a Kanohi tube in the Examples section), rocklayers (note in the above example the thicker and thinner varying layers as in real sedimentarily laid-down rock and in volcanic rocks often), and the wood/bark. With the first two of these examples, the lines are perpendicular to the cylindrical direction of the shape, thus curve around it, but with the bark, the lines are parallel with the branches. Also try crisscrossing diagonals and more.
More examples: fur; notice how instead of using solid outlines on the two creatures above I made the outlines out of "//////" shapes for the rodentlike creature and interlocking curves for the horselike creature's mane. For things with wiry hair (like a mostly bald guy's forehead :-P) you would go and draw a solid outline and draw the wiry hairs coming off of it, but these things are rare.
Also stripes, wrinkles, and on biological creatures especially mammals, underlying structure that shows through the skin and fur such as ribs, other bones, and muscles.
2: Spots
Note the infected Hau to show you that spots don't necessarily have to be cheesy polkadots. :-P Be sure to foreshorten. Also note the two dots on the shirt on the right shoulder -- not only must they be foreshortened, but they must also be curved to wrap with the curve of the cloth there.
3: Nicks/Cracks
A specific line texture technique that adds age to things, especially metal, stone, wood, plastic etc., while also adding depth. Usually you want to make sure each nick is at a very different angle from the others, so it's not confused with parallel or perpendicular line texture. Also for curved objects (like the biomechanical leg shown above) make the nicks more common on the edges (wrap).
4: Scales
In some cases like reptiles or rooves. With scales like the reptile's above (or like fish scales), draw the "frontmost" scales first; the ones that overlap the others behind it.
5: Bumps
Convex lines point out from "center" of surface/angle. I put center in quotes because on the bumpy bone-forehead of the reptilian creature above, there isn't an exact circular center. So more properly you could say angling outward perpendicular from the surface. Note also the atom-like bumpy sphere, where the bumps are angling away from a true center.
6: Indentations
Yes, I know the numbering is wrong starting with this rule in the image above. I don't have time now to fix. Basically this is the opposite of bumps, using concave lines pointing in towards the "center." Note the sandy ground texture in the lowermost image above, and that the footprints use indentations inside bumps, basically.
7: Letters
They must foreshorten and curve around textures. This may very well be the most difficult part of realistic art (on paper), as your muscle memory constantly tries to lure you back into normal 2D writing mode. See the Examples section for much more illustrations of this.
8: Gravity
Weight distorts texture, depending on what it is. This rule corresponds to the following things in the above image: the candlewax drips, the footprint impressions and pushed-up-and-out sand around them, and the greater amount of grass at the base of the tree, and the slightly higher ground there. The ways this rule manifests abound.
D: Lighting
1: Radiance
Remember that light is radiating energy. It comes from a source, and whether that source is "onscreen" or off in the image your "camera" happens to "take", all lighting and shading and cast shadows and the like must take this into account.
The paper version above is confusing on this one, so lemme be clear:
With lamps and most similar artificial "terrestrial" light sources, the shadows and shading radiate away at many different angles, all radiating from the source. Even the two different sides of the shadow are at least a little angled differently from each other. Note especially the shadow of the lower-left cylinder in the image with the lamp. Also shadows of farther objects are often longer than closer objects (depending on height and yadda).
With sunlight, all the light is mostly from one direction at a time, since the sun is so far away (and is bigger than Earth by a ton).
2: Direction
The three balls above cannot possibly be in the same image because the light direction differs randomly (barring weird atmospheric bending effects :-P). Choose your lighting directions carefully. By default I usually go with light coming from the upper left corner if I don't wanna bother figuring out where a source is (for when I'm just drawing an object and not its background just to illustrate the object itself etc.).
3: Shading
Refers to darkened surfaces of objects, opposite the light sources. Note the gradient fading effect of the shading on curved objects; realistically there is no definite linebreak between light and dark on them, unlike cornered objects. Exceptions can include nighttime shading and especially outer space shading (and simple cartoon styles).
(For shading in .ppt I generally use layers of trans-black.)
4: Surface Shine
The opposite of shading; refers to lightened surfaces of objects, facing the light sources. On paper, 'tis the abscence of shading. On computer art such as .ppt, I generally use either layers of trans-white, or radial "shine" ovals (or both).
5: Cast Shadows
Refers to darkened area cast BY the object onto other objects, the floor, etc. Again, shading refers to the darkened areas of the object itself, which is not the same thing as shadows.
In direct sunlight, the edges of shadows are sharp edges; not blurred at all. Shadows cast by lamps generally begin with sharp edges but gradually fade into blurry edges the farther away from the object and lamp they get. Shadows in partial cloudy sunlight are extremely blurry.
6: Multisources
In cases of multiple sources of light, there are multiple shadows, and the shading/lighting on the objects themselves are blended between the multiple systems too. When two cast shadows overlap, they are twice as dark (or to put it another way, where they don't overlap, they are only half as dark). I recommend doing all the shading for a single light source first lightly, then doing all of it for the other, then adding extra darkness to the overlapped shadow areas.
NOTE that shadow edge blending is technically a case of tons of multisources -- one the original bright source's center, two all diffuse light reflecting off other nearby objects, walls, floor, through clouds, etc., and three the fact that close/large light sources have light coming from all over them, not just their point-centers.
Direct sunlight can be treated as a point-center-only light source, as can distant streetlamps or sports stadium floodlights, etc. But a household lamp that is near the object in question has light coming from a wide area, from the top of the lampshade to the bottom, and from the left side to the right. So essentially it's thousands of multisources, times a bazillion when you factor in reflected diffuse light.
7: Reflection
Reflected images get complex fast. Basically imagine a dotted line perpendicular to the mirroring surface -- the incoming angles of light with respect to this line equal the outgoing angles. Do this for every point on the mirror inside your imagination's 3D shape, and you can come to a habitual understanding of reflections. Also just try holding various shapes in front of a real mirror and observe the real world.
Explanations of the other text in the above cardscan:
The image at the top shows the reflection of the tall rectangular box shape in a mirror that's at an angle. If you go to a shoestore, they often have mirrors against benches in this exact position. Study those mirrors and note how wacky the reflection is compared to the real objects.
Or, to replicate that scene without going through the dotted line process for every point, you can follow three steps: 1) draw the exact flip of the original object in a mirror at a 45 degree angle to both the object and your "camera", 2) angle the mirror down, and angle the reflection down by the same distance. So the reflection is twice as angled as the mirror, and 3) Move your camera up, and angle the reflection so now you're more up than sideways. The ceiling will generally be partly visible.
There's another even easier way to do that image, which I'll get back to. First lemme explain it for a simple puddle.
With the cylinder above the puddle, notice two key things. 1) The upside-down base of the reflection is the base of the object, NOT the top of the puddle. Since the puddle begins a ways away, the reflection looks cut off. (Also I showed another cuttoff part of the reflection farther out where the ground rises out of the puddle again; so treat the reflection as if it's "behind" the outline of the ground; as if the ground is overlapping it.) 2) If you flip the image upside down, you're now looking "up" at the pillar in the water, instead of down at the original pillar. The top of the original pillar shows a foreshortened circle, but the top of the reflection does NOT.
So back to the angled mirror, another way to draw it (and the way I used incidentally) is to mentally or actually angle the paper so the mirror looks "flat" to you, like the puddle, and then just draw the upside-down-flipped version of everything. If you get good enough you will be able to do this totally mentally without tilting your paper at all.
Finally with the mountain lake scene, notice again the bases and the upside-down-flipped aspects. There are three different (basic) bases; the shore earth's base which is right on the edge of the lake, the bases of the trees, and the bases of the mountains.
The shore base actually curves and bends, and where the shore juts out to the left, you see what could be considered a fourth base for that portion of the shore. Also, since the shore curves/angles away from the water instead of being perpendicular to it, the reflection is thinner.
The tree base is the most complex. The tree trunks go into the earth higher up than the lake. So the reflection base is actually somewhere inside the dirt under the trees, not at the visible base of the trees themselves. So imagine that each tree is actually on top of a pillar of dirt inside the ground, and the base of the pillar is at water level (and that might very well be where the ground water level is). In addition to that, each tree's base is farther away, thus "higher" on the puddle's plane, so less likely to peek over the shore, much less the other trees. So the only trees you see in the reflection are the closest ones.
The mountains are the easiest -- they're so far away the horizon line acts like their reflection base. The deviance from that line is too slight to worry about. NOTE that the middle mountain's reflection is actually not done quite right; there should be far less of it visible since it's the farthest of the three mountains judging by overlap.
Now, look at that image upside-down (if you can manage that onscreen :-P) and look at the reflection. Doesn't it look as if you're looking up at the mountain scene through a hole in the ground? That's basically what you're doing.
8: Metal Shading
Metallic curved surfaces almost always have a bright edge on the farthest side from the light source (reflected light from the ground on their mirror-like surfaces, intensity depending on how reflective the metal is), more extreme contrast (gradient goes to pure white towards the light source and to pure black away from it before the bright-edge), and a leading edge darker area.
For flat metal, use many randomly spaced diagonal gradient lines. All on one surface are parallel, but lines on the next surface align differently. This isn't pure realism here, but pure realism often makes it harder to understand as metal at a glance.
Another technique for flat metal is to ripple and patchy-ify the lighting based on the slight ripples and bumps in the metal's surface, which I didn't happen to draw, but yeah.
9: Refraction
Even trickier than reflection. Usually water is all you need to worry about. It's another case where it's best to imagine the actual light rays. Also taking a college physics course would help. :-P
Note most extreme angle does not refect at all but reflects down off the air back into the water. That's basically what fiber optics takes advantage of incidentally.
There is a slight foreshortening of the whole shape, which gets more extreme the more extreme the angle of the "camera" is.
This section shows some of the most commonly important concepts in art (with a Bionicle focus). Each of these pages basically goes down columns then up to the next column etc.
To start this off, look at the wrongway cube that is sadly often taught in art schools. The two images below that show what that mangled shape would actually look like if you angled it different ways. It's NOT a cube -- it's a parallelogram prism.
Note that the first example under Rightway cube started out too short so I gave it a base. The three examples below that show actual cubes, and below that you see the only situation in which you should actually draw a perfect square that isn't foreshortened -- here you're looking directly at one of the cube's six faces, and thus you do NOT see the other faces at all.
Then there are some wireframe stacked cubes and such.
Back up to the topo' the next column, note the wrongway cylinder, which is actually a... diagonally squished pop can? :-P Then note the rightway, and the top view.
Third column shows some examples of foreshortening, under the vanishing point system.
First column starts with metallic lighting. There's another example of multisource lighting with a metallic cylinder -- notice the multiple bright lines in the cylinder's gradient. Then some random stuff.
Second column starts with a rounded cube. The shading is solid on the flat parts but a gradient on the curved. The doughnut and snakes show what happens when a tubelike shape is foreshortened. And the rattle cobra shows various snake features in one creature for the heck of it.
Third column shows various stuff, especially letters.
First column is devoted to facial expressions, on a simple Bionicle-esque face, and with VeggieTales faces.
At the top of the second column is a geometric basic idea of a Toa Metru ish face, and then all the parts shown seperately.
Below that is basic human/Toa proportions. Note that for humans the arms should be a little shorter; Toa arms tend to be longer. Basic idea is to use the head heighth as a measuring unit for the rest of the body.
Also some general tips: Try drawing real plastic Kanohi and Bionicle/LEGO pieces, as your eyes actually see them. Try sketching lightly first then adding detail. Also try molding from clay or Sculpy or the like, then drawing that shape.
Exact text (mostly), starting with the emotion column:
Simple Bionicle-esque example face to show emotion.
sad, angry
scared, grin
"that's weird", yawn, annoyed
coolguy grin
VeggieTales style emotes (satisfied/halfsmile, annoyed glare, "you're crazy" glare, super-scared, coolguy grin, insane, very annoyed, and singing uplook.
Example Toa-style head, using simple geometric shapes.
Human Proportions
NOTE: Average 0nly. Contrary to popular myth, Bionicle characters do not need to be in human proportions, as they're not related to humans and are biomechanical. However, Toa tend to be close; same with similar taller beings. Matoran (and human children, by the way) tend to be more like 4 to 6 times the head, etc. And even adult humans vary.
Total height of a proportionate humanoid is 8 times the head.
Legs in proportionate humanoid equal half the body height.
Arm length may vary in biomechanical/etc. beings.
These arms are longer than a human's by about half or 3/4 of a head; about average for a Toa.
(Human belly button at 3 times the head (down from top of head).)
This page shows the Parabolic 3 Vanishing Point System, and the Skyscraper 2 Vanishing Point System.
Note the lower left diagram, which shows that a fully accurate vanishing point system for all objects actually has 5 vanishing points; one for the distant horizon you're facing, two for left and right parts of horizon, and two for up and down.
Example: if you look down at a cube or up at a skyscraper, the verticle lines should actually be slightly bent towards the corresponding up/down point. The skyscraper's top here bends in towards the up vanishing point because you are looking up at it.
This applies for close/large objects. Small objects you're looking at from a distance don't necessarily need this.
The above typed text says what I handwrote on the pagescan, but says it better, so I won't bother typing the exact wording of the handwriting here, except that the random building is shaped like a rocket from top view thus I've dubbed it the "Rocket Hotel". Reasoning being to show off the "knife-edge" style that many modern skyscrapers now have, instead of all 90 degree corners.
And finally some various things to finish out this guide.
Topleft is a reminder to add "thicknesses" to things like Kanohi masks or windowsills, etc. Only paper actually has no (noteworthy) thickness. That's a randomly coolified Miru there.
Below that are four simple steps for drawing a plastic/metal/etc. 8-point star:
1) Draw a foreshortened "paper" square.
2) Divvy it up into four parts by cutting it in half with a line lengthwise and widthwise, and draw a verticle up from the center.
3) Draw a circle within the foreshortened square and halve its sections with lines (giving you eight radiating lines from the center of the circle, all foreshortened automatically), plus another smaller circle inside.
4) Draw the final lines between the points in question -- the center at the top of the verticle line, the outer tips of the star points where the eight radiating lines hit the outer circle, and the eight points on the inner circle exactly between the radiating eight lines. Voila.
Then there are various things on writing 3-dimensionally. Here's the text of all that:
ART. Practice this way of writing by making all your letters do these kinds of things for a while. Then add the boundaries.
Or try writing normally, then tilting the page and drawing what you just wrote.
Note the wrongway to tilt your letters; you can't just write at an angle, you must mutate the lines of the letters themselves.
Note that in the wrongway, the verticle parts of letters are parallel to the verticle edges of the foreshortened square, and the horizontal lines are angled so they're parallel to the angled "horizontal" edges of the foreshortened square.
Write on!
Notice how even the parts of the same letter bend down, not just each letter being lower than the other. Notice the oval as the foreshortened letter "o."
Avoiding wrong angles (in foreshortened writing) is tricky; may take a lot of practice.
Next to last is a bending serrated tube. Note the (|) shape at the point most parallel to the "camera", and the scrunching of the foreshortened bands at the parts most perpendicular to the "camera."
Finally, four common LEGO/Bionicle pieces.
A'ight, there's the guide. Comments/questions/yadda?
- 0


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Offering a subtle balance between relative elasticity for easier writing, and the resistance necessary for clear strokes, Brause Nibs are manufactured from cold rolled steel and pressed with tools specific to each model and nib size.
Bandzug Nib — The Bandzug Nib is square for creating rounded writing (Roman, Italic, and Gothic), and features an ink reservoir at the top. Unique for the sharpness of its angles and the precision of its upstrokes, the Bandzug creates incomparable Gothic letters.


text:
November 18, 2009
Anthony Dasher
Chase Vasser knows he's a lucky young man.
It was back in late September, Vasser's Georgia teammates were playing at Arkansas, and the freshman linebacker hopped on his scooter late that same evening for the quick ride back to his apartment at East Campus Village.
He never made it.
Vasser accidently wrecked his scooter, falling hard on the pavement in front of the Butts-Mehre Building, landing on his head and injuring his shoulder. The injuries caused the former Chestatee High standout to drop considerable weight, causing quite the setback to what he hoped would be a successful first-year campaign.
The Gainesville native spoke about the accident for the first time with UGASports.
"It was raining, it was late, it was misty and I was trying to get to ECV. I was on my scooter, I looked down for a minute and as I pulled out of the Butts-Mehre I looked up and I saw somebody sprint across and I just locked it in," Vasser said. "It throws me off, I hit my head first, my head goes back and I land on my shoulder. I don't remember anything else. I don't remember the next day."
Although he did not require hospitalization, Vasser was affected greatly by his injuries. His weight fell to 202 pounds.
"I hadn't weighed that since my junior year in high school," said Vasser, who now weighs 217. "But I'm slowly working back into it. I'm getting my shoulder stronger, I'm working my legs trying to build my strength up there, but it's taken me a while because I couldn't take pressure on the shoulder."
It wasn't until later that Vasser learned he was found after the accident by teammate Blake Sailors, whose father David Sailors is part of the medical staff for the football team.
"They just kept me in ice and Motrin to keep the pain away," said Vasser, who admitted facing his parents was just as painful as the accident itself.
"My dad was upset and my mom started getting really teary," he continued. "She lost one of her family members in a motorcycle accident. She was pretty upset. I know I'm very fortunate."
Jones says he's 50-50
Safety Reshad Jones said Wednesday night he's split as far as whether or not he will return to Georgia for his senior year or apply for the NFL draft.
"I'd say it's 50-50 right now," Jones said. "But until I get my grades back, I won't be able to make a solid decision."
Jones is scheduled to graduate in December.
He considered turning pro following last season before returning to Georgia for another year.
Battle not done with football
Defensive end Roderick Battle's college career came to an end when he tore an ACL in Week 3 against South Carolina, but the Atlanta senior is not ready to hang up his cleats for good.
Wednesday, Battle told UGASports that he will continue to work out and get himself ready for Georgia's annual Pro Day next March.
I haven't given up on football just yet," Battle said. "I'm going to give it a try and see how it goes."
Battle is one of 23 seniors who will be honored prior to Saturday's game against Kentucky.
Richt pleased with practice
Richt felt better about Wednesday's workout after a Tuesday practice that left him less than pleased.
"We weren't sharp Tuesday, just kind of going through the motions, but today we had a lot more energy," said Richt. "It was more physical out there and that's good because it's going to be a physical game."
With Kentucky quarterback Mike Hartline sidelined for the remainder of the regular season due to a knee injury, true freshman Morgan Newton is slated to start Saturday. Currently, the Wildcats rank 17th nationally in rushing offense, averaging 203.5 rushing yards per game.
"UK will run it, and even more so now that (Mike) Hartline is out," said Richt. "I think our defensive line has played extremely well against the run, the linebackers and safeties are doing what they're supposed to do and tackling better. We've done a good job this year against the run and on not giving up a lot of big runs. I've been encouraged, and I hope it continues."
GSR rates announced
Georgia student-athletes graduated at a rate of 75% for the latest NCAA Graduation Success Rate (GSR) survey period according to figures released Wednesday by the NCAA. That's up from 70% a year ago.
In the GSR four-year average rate, University of Georgia athletic teams improved in nine sports, dropped slightly in five, and remained the same in two according to the annual GSR Report released Wednesday.
The four-year average rate includes not only freshmen but transfers in and out of the institution. The current report tracks the freshman classes of 1999-2000-2001-2002.
Bulldog teams improved in five men's sports and declined in only two. Improvement was recorded in four women's sports, remained the same in two, and declined in three. Declines reported were all eight points or less.
Georgia football's four-year rate jumped from 48% to 57%, its highest since the GSR was developed in 2005.
"Certainly we are encouraged by the overall report and especially the improvement in many sports including a significant one in football," said athletic director Damon Evans. "But while we continue to improve, we are not where we want to be. I want to also remember the Academic Progress Rate (APR) since it is usually regarded as a more accurate indicator of what our varsity teams are doing at present rather than six or seven years back. Our recent APR scores have been very encouraging."
The APR is a point system based on scholarship athletes' eligibility and retention for a pre-determined time period. NCAA sports falling below the established point cutoff (925) are subject to penalties including scholarship reductions. Georgia has been above the cutoff in all sports.
This and that
Richt was asked about next year's battle for the starting quarterback position and said that Logan Gray, Aaron Murray and Zach Mettenberger would each be given "an equal opportunity" to win the job.
Wide receiver Israel Troupe wore a green non-contact jersey, but Richt the redshirt sophomore would definitely play against Kentucky. "He's just feeling a little under the weather," Richt said. "But he's fine. He'll be out there Saturday." Richt has not decided who will start in place of receiver A.J. Green, who will miss Saturday's contest with an AC sprain in his left shoulder. ...More... To continue reading this article you must be a member. Sign Up Now!
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text:
Well, technically a newer version of the Valcia map I've already made, but at any rate, here's a quick copy of the compass I've made for it:
What do you all think?
Well, technically a newer version of the Valcia map I've already made, but at any rate, here's a quick copy of the compass I've made for it:
What do you all think?
I think it's pretty cool, looks like something that would fit with HALO or Command & Conquer.
My Finished Maps | My Challenge Maps | Ghoraja Juun, my largely stagnated campaign setting.
Unless otherwise stated by me in the post, all work is licensed under a Creative Commons Attribution-Noncommercial 3.0 United States License.
Thanks. Yeah, the new map will definitely not fit into any traditional style - instead of a painting, it will be a giant slab of chiseled and engraved steel (done digitally, of course).
Cool ! - do post once done.
ViewingDale Map maker and VTT . Recent CG posts . Keyword Index . Intros Index . Member Locations . CWBP Place Index
Will do, definitely.
The only thing I'll need to figure out is what size to make it to share on here - the file in it's original size is 14,400 x 10,800 pixels (36" x 48" @ 300 dpi - to be printed & framed for my office), and that is waaay too big to share online. It'll have to be shrunk down; I just hope the quality won't be too degraded by it.
The compass in the OP, though, is at full size.
Chop it up into sections, fourths would probably do. Nice tech style.
If the radiance of a thousand suns was to burst at once into the sky, that would be like the splendor of the Mighty One...I am become Death, the Shatterer of worlds.
-J. Robert Oppenheimer (father of the atom bomb) alluding to The Bhagavad Gita (Chapter 11, Verse 32)
My Maps ~ My Brushes ~ My Tutorials ~ My Challenge Maps
Wow. Very superb, very elegant..
Duly repped!
I just posted the map! The compass' overall design is the same, but I went through and fleshed out more detail. Overall, I'd say the compass is more 'polished', not in a physical sense, but in a professional sense.
At any rate, here's the new map:


text:
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Oh, for a snow day... ...to watch Mr. Dressup. ...to spend an hour nagging Mom to go outside, spend 15 minutes bundling up, and then asking to come back in after five minutes of blowing snow on the cheeks. ...to eat mother-made Chef Boyardee, Campbell's Soup, Kraft Dinner, or peanut butter sandwiches on homemade bread for lunch. ...to whine of being completely bored after Sesame Street ended. ...to row with siblings over the Atari or record player, an argument over playing Asteroids and KISS Alive II at the same time. ...to ask your mother questions like Whats a bill? after the mailman trudges through the snow-covered driveway and puts a pile of envelopes in the box. ...to successful search for the hidden junkfood left over from Christmas and eat the works of it without being caught. ...to grimace at the theme from Edge Of Night. ...to go sliding in Murphys Field when the weather cleared in the afternoon, or to build elaborate systems of snow tunnels and forts. ...to be a kid again.
They don't know how lucky they are
Published on July 27, 2010
Recent comments
- longpond
- July 27, 2010 - 13:55
Oh my...thank you for the memories of enjoying being a kid in St John's in the 60's and 70's...


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So, I want to typeset some proof trees, i.e. trees of inference rules like those in natural deduction (see diagram below). Which are the best packages that you have found that allow you to do this, and which features do they have?
Peter Smith's very useful LaTeX for Logicians page offers suggestions both for downward branching proof-trees and natural deduction proofs in both Gentzen sequent-style (the tree-like style you seem to be after) and Fitch-style.
I've not used any of the alternatives for proof trees, as I use Fitch-style natural deduction proofs. But, I've found Smith a most reliable guide and for your desire he recommends as best of breed Sam Buss's
A quick example to produce your example tree would be:
I like
You can also typeset a derivation tree:
Another question I missed. I began to use Paul Taylor's proof trees macros for my doctoral dissertation, but it has a bug that occurs when you want to use it with labels. This led me to write my own proof trees macros, which worked well enough. I should probably publish them one of these days.
Since then I've used Buss's macros, which are as good as any, although the stack metaphor for writing proof trees is not as intuitive as the grouping-oriented one of Paul Taylor's. But this is a very slight complaint.
All packages I've seen have one problem: they use Tex's boxes to set subdervivations, which means that they leave far too much space for many derivations, because they can't see that one subderivation could sit "in the shadow" of another. Sometimes this looks odd, sometimes it means you can't set large derivations without reducing font size. With negative horizontal spce, one can fix this, but this is a workaround.
The Right Thing is not to use boxes but trees to calculate how far apart to position the conclusion of subderivations. This can be done without much difficulty in Metapost —I'm not sure about PGF— and implementing this in Luatex library is on my list of rainy day projects.
Though not originally designed for proof trees, the synttree package is very nice and easy for drawing trees.
Also check out this page on Tree Drawing in LaTeX.
I have been using Paul Taylor's proof-tree package combined with some macros I have written myself. I have used the package for typeset proofs in papers, slides, my MSc thesis, problem sets and solutions.
A simple example follows:


text:
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Meet your go-to scarf for the entire cool-weather season. This cozy-soft Knit Scarf has just the right width and length to drape, loop or tie without bulk. It's so comfy and wearable, you may have to have one in every color.
64" W x 7" H
Hand wash cold, only non-chlorine bleach when needed, lay flat to dry, cool iron as needed


text:
I recently purchased Fractal Terrains 3 and was saddened to learn it either could not preform to the standard I required...or I like the sufficient skill to use it properly....probably the later.
I have drawn a national map in paint for an online role playing game I participate in. I was hooping to redo it in Fractal Terrains so as to create a more detailed, cleaner, nicer looking map with some 3D properties (elevation and such) as well as be able to use the climate function included in the program, though thats not needed per se)
Using the flat map options I attempted to overlay the .png map and trace it with limited success.
What I would like is for a someone here with a degree of skill surpassing my own (not hard) to possibly take this map and clean it up, possibly redoing it in a program like FT3.
I'm no really on any sort of a time frame, so please contact me at your convenience, my email account is firstname.lastname@example.com. I may be able to provide access to the FT3 software, as well.
Attached is the map in question, thank you to anyone who is interested.


text:
Designed specifically for those who sketch in pen, this pad is well suited for detail work. Heavyweight natural white sketch paper accepts pencil, ballpoint, pen and ink, and pens such as Sakura Micron.
This acid-free paper features a smooth surface and is available in 50 sheet spiral-bound pads. The 5½" × 8½" size is bound on the short side in a landscape orientation. The 8½" × 11" size is bound on the long side in a portrait orientation. The 3½" × 5½" is bound on the short side with a portrait orientation.
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text:
33 U.S. Code § 1223 - Vessel operating requirements
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(a) In general
Subject to the requirements of section 1224 of this title, the Secretary—
(1) in any port or place under the jurisdiction of the United States, in the navigable waters of the United States, or in any area covered by an international agreement negotiated pursuant to section 1230 of this title, may construct, operate, maintain, improve, or expand vessel traffic services, consisting of measures for controlling or supervising vessel traffic or for protecting navigation and the marine environment and may include, but need not be limited to one or more of the following: reporting and operating requirements, surveillance and communications systems, routing systems, and fairways;
(2) shall require appropriate vessels which operate in an area of a vessel traffic service to utilize or comply with that service;
(3) may require vessels to install and use specified navigation equipment, communications equipment, electronic relative motion analyzer equipment, or any electronic or other device necessary to comply with a vessel traffic service or which is necessary in the interests of vessel safety: Provided, That the Secretary shall not require fishing vessels under 300 gross tons as measured under section 14502 of title 46, or an alternate tonnage measured under section 14302 of that title as prescribed by the Secretary under section 14104 of that title or recreational vessels 65 feet or less to possess or use the equipment or devices required by this subsection solely under the authority of this chapter;
(4) may control vessel traffic in areas subject to the jurisdiction of the United States which the Secretary determines to be hazardous, or under conditions of reduced visibility, adverse weather, vessel congestion, or other hazardous circumstances by—
(5) may require the receipt of prearrival messages from any vessel, destined for a port or place subject to the jurisdiction of the United States, in sufficient time to permit advance vessel traffic planning prior to port entry, which shall include any information which is not already a matter of record and which the Secretary determines necessary for the control of the vessel and the safety of the port or the marine environment; and
(6) may prohibit the use on vessels of electronic or other devices that interfere with communication and navigation equipment, except that such authority shall not apply to electronic or other devices certified to transmit in the maritime services by the Federal Communications Commission and used within the frequency bands 157.1875–157.4375 MHz and 161.7875–162.0375 MHz.
(b) Special powers
The Secretary may order any vessel, in a port or place subject to the jurisdiction of the United States or in the navigable waters of the United States, to operate or anchor in a manner he directs if—
(1) he has reasonable cause to believe such vessel does not comply with any regulation issued under this chapter or any other applicable law or treaty;
(2) he determines that such vessel does not satisfy the conditions for port entry set forth in section 1228 of this title; or
(c) Port access routes
(1) In order to provide safe access routes for the movement of vessel traffic proceeding to or from ports or places subject to the jurisdiction of the United States, and subject to the requirements of paragraph (3) hereof, the Secretary shall designate necessary fairways and traffic separation schemes for vessels operating in the territorial sea of the United States and in high seas approaches, outside the territorial sea, to such ports or places. Such a designation shall recognize, within the designated area, the paramount right of navigation over all other uses.
(2) No designation may be made by the Secretary pursuant to this subsection, if such a designation, as implemented, would deprive any person of the effective exercise of a right granted by a lease or permit executed or issued under other applicable provisions of law: Provided, That such right has become vested prior to the time of publication of the notice required by clause (A) of paragraph (3) hereof: Provided further, That the determination as to whether the designation would so deprive any such person shall be made by the Secretary, after consultation with the responsible official under whose authority the lease was executed or the permit issued.
(3) Prior to making a designation pursuant to paragraph (1) hereof, and in accordance with the requirements of section 1224 of this title, the Secretary shall—
(A) within six months after date of enactment of this Act (and may, from time to time thereafter), undertake a study of the potential traffic density and the need for safe access routes for vessels in any area for which fairways or traffic separation schemes are proposed or which may otherwise be considered and shall publish notice of such undertaking in the Federal Register;
(B) in consultation with the Secretary of State, the Secretary of the Interior, the Secretary of Commerce, the Secretary of the Army, and the Governors of affected States, as their responsibilities may require, take into account all other uses of the area under consideration (including, as appropriate, the exploration for, or exploitation of, oil, gas, or other mineral resources, the construction or operation of deepwater ports or other structures on or above the seabed or subsoil of the submerged lands or the Outer Continental Shelf of the United States, the establishment or operation of marine or estuarine sanctuaries, and activities involving recreational or commercial fishing); and
(4) In carrying out his responsibilities under paragraph (3), the Secretary shall proceed expeditiously to complete any study undertaken. Thereafter, he shall promptly issue a notice of proposed rule-making for the designation contemplated or shall have published in the Federal Register a notice that no designation is contemplated as a result of the study and the reason for such determination.
(5) In connection with a designation made pursuant to this subsection, the Secretary—
(A) shall issue reasonable rules and regulations governing the use of such designated areas, including the applicability of rules 9 and 10 of the International Regulations for Preventing Collisions at Sea, 1972, relating to narrow channels and traffic separation schemes, respectively, in waters where such regulations apply;
(B) to the extent that he finds reasonable and necessary to effectuate the purposes of the designation, make the use of designated fairways and traffic separation schemes mandatory for specific types and sizes of vessels, foreign and domestic, operating in the territorial sea of the United States and for specific types and sizes of vessels of the United States operating on the high seas beyond the territorial sea of the United States;
(C) may, from time to time, as necessary, adjust the location or limits of designated fairways or traffic separation schemes, in order to accommodate the needs of other uses which cannot be reasonably accommodated otherwise: Provided, That such an adjustment will not, in the judgement of the Secretary, unacceptably adversely affect the purpose for which the existing designation was made and the need for which continues; and
(D) shall, through appropriate channels,
(ii) take action to seek the cooperation of foreign States in making it mandatory for vessels under their control to use any fairway or traffic separation scheme designated pursuant to this subsection in any area of the high seas, to the same extent as required by the Secretary for vessels of the United States.
(d) Exception
Except pursuant to international treaty, convention, or agreement, to which the United States is a party, this chapter shall not apply to any foreign vessel that is not destined for, or departing from, a port or place subject to the jurisdiction of the United States and that is in—
(e) Cooperative agreements
(1) The Secretary may enter into cooperative agreements with public or private agencies, authorities, associations, institutions, corporations, organizations, or other persons to carry out the functions under subsection (a)(1) of this section.
(2) A nongovernmental entity may not under this subsection carry out an inherently governmental function.
(3) As used in this paragraph, the term "inherently governmental function" means any activity that is so intimately related to the public interest as to mandate performance by an officer or employee of the Federal Government, including an activity that requires either the exercise of discretion in applying the authority of the Government or the use of judgment in making a decision for the Government.
Source(Pub. L. 92–340, § 4, formerly title I, § 103,July 10, 1972, 86 Stat. 426; renumbered and amended Pub. L. 95–474, § 2,Oct. 17, 1978, 92 Stat. 1472; Pub. L. 101–380, title IV, § 4107(a),Aug. 18, 1990, 104 Stat. 514; Pub. L. 104–324, title VII, § 705,Oct. 19, 1996, 110 Stat. 3934; Pub. L. 108–293, title III, § 302,Aug. 9, 2004, 118 Stat. 1041; Pub. L. 109–241, title IX, § 901(d),July 11, 2006, 120 Stat. 564.)
References in Text
The date of enactment of this Act, referred to in subsec. (c)(3)(A), probably means the date of enactment of Pub. L. 95–474, which was approved Oct. 17, 1978.
The International Regulations for Preventing Collisions at Sea, 1972, referred to in subsec. (c)(5)(A), came into effect pursuant to the Convention on the International Regulations for Preventing Collisions at Sea, 1972. See International Regulations for Preventing Collisions at Sea, 1972 note under section 1602 of this title.
2006—Subsecs. (a)(6), (e). Pub. L. 109–241amended directory language of Pub. L. 108–293, § 302. See 2004 Amendment note below.
2004—Subsec. (a)(6). Pub. L. 108–293, § 302(1), as amended by Pub. L. 109–241, added par. (6).
Subsec. (e). Pub. L. 108–293, § 302(2), as amended by Pub. L. 109–241, which directed the addition of subsec. (e) at the end of subsec. (a) of this section, was executed by adding subsec. (e) at the end of this section.
1996—Subsec. (a)(3). Pub. L. 104–324inserted "as measured under section 14502 of title 46, or an alternate tonnage measured under section 14302 of that title as prescribed by the Secretary under section 14104 of that title" after "300 gross tons".
1990—Subsec. (a). Pub. L. 101–380, § 4107(a)(1), substituted "Secretary—" for "Secretary may—".
Subsec. (a)(1). Pub. L. 101–380, § 4107(a)(2), substituted "may construct, operate, maintain, improve, or expand" for "establish, operate, and maintain".
Subsec. (a)(2). Pub. L. 101–380, § 4107(a)(3), substituted "shall require appropriate" for "require".
Subsec. (a)(3). Pub. L. 101–380, § 4107(a)(4), inserted "may" before "require", which was executed by making the insertion before "require" the first place it appeared to reflect the probable intent of Congress.
Subsec. (a)(4). Pub. L. 101–380, § 4107(a)(5), inserted "may" before "control".
Subsec. (a)(5). Pub. L. 101–380, § 4107(a)(6), inserted "may" before "require".
1978—Pub. L. 95–474substituted provision relating to vessel operating requirements for provision relating to the investigatory powers of the Secretary, production of witnesses and documents, and fees and allowances for witnesses.
Effective Date of 2006 Amendment
Pub. L. 109–241, title IX, § 901(d),July 11, 2006, 120 Stat. 564, provided in part that the amendment made by section 901 (d) is effective Aug. 9, 2004.
Effective Date of 1990 Amendment
Amendment by Pub. L. 101–380applicable to incidents occurring after Aug. 18, 1990, see section 1020 ofPub. L. 101–380, set out as an Effective Date note under section 2701 of this title.
Notice of Arrival for Foreign Vessels on the Outer Continental Shelf
Pub. L. 112–213, title VII, § 704,Dec. 20, 2012, 126 Stat. 1580, provided that: "The regulations required under section 109(a) of the Security and Accountability For Every Port Act of 2006 [Pub. L. 109–347] (33 U.S.C. 1223 note) dealing with notice of arrival requirements for foreign vessels on the Outer Continental Shelf shall not apply to a vessel documented under section 12105 of title 46, United States Code, unless the vessel arrives from a foreign port or place."
Pub. L. 109–347, title I, § 109,Oct. 13, 2006, 120 Stat. 1893, provided that:
"(a) Notice of Arrival.—Not later than 180 days after the date of the enactment of this Act [Oct. 13, 2006], the Secretary of the department in which the Coast Guard is operating shall update and finalize the rulemaking on notice of arrival for foreign vessels on the Outer Continental Shelf.
"(b) Content of Regulations.—The regulations promulgated pursuant to subsection (a) shall be consistent with information required under the Notice of Arrival under section 160.206 of title 33, Code of Federal Regulations, as in effect on the date of the enactment of this Act [Oct. 13, 2006]."
Direction of Vessel Movement Study; Submittal of Report to Congress
Pub. L. 101–380, title IV, § 4107(b),Aug. 18, 1990, 104 Stat. 514, provided that:
"(1) Study.—The Secretary shall conduct a study—
"(A) of whether the Secretary should be given additional authority to direct the movement of vessels on navigable waters and should exercise such authority; and
"(B) to determine and prioritize the United States ports and channels that are in need of new, expanded, or improved vessel traffic service systems, by evaluating—
"(i) the nature, volume, and frequency of vessel traffic;
"(ii) the risks of collisions, spills, and damages associated with that traffic;
"(iii) the impact of installation, expansion, or improvement of a vessel traffic service system; and
"(iv) all other relevant costs and data.
"(2) Report.—Not later than 1 year after the date of the enactment of this Act [Aug. 18, 1990], the Secretary shall submit to the Congress a report on the results of the study conducted under paragraph (1) and recommendations for implementing the results of that study."
Territorial Sea of United States
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text:
Earth Day made me ponder. I recycle when I can, walk whenever possible, love farmers' markets, and limit myself to one(ish) burger per week. So how do I take this help-our-planet-from-going-extinct thing to the next level? Simply look around the house. From carpets to accessories to kids' toys, go green one room at a time.
The Eco-Friendly Home: Natural-Fiber Rugs and Keep It Natural: Wood- & Stone-Detailed Watches Boutiques opened Monday, April 22, at 11AM ET.
By Julia Ivins, Staff Writer
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