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Plus other benefits — $30 Gamers Club Unlocked.
Set within huge open-world environments, Metal Gear Solid V: The Phantom Pain is brought to vivid life with realistic weather patterns and day/night cycles. Players can adapt their tactics to match the changing environment, creating an intuitive and non-linear gameplay experience. Plus, a host of acclaimed Metal Gear Solid troops return with advanced features, including expanded CQC (Close-Quarter Combat) skills, vastly improved enemy AI, online elements that complement the single-player campaign, and an all-new version of Metal Gear Solid Online, a competitive multiplayer mode, included within the main game.
Metal Gear Solid V: The Phantom Pain offers all-new features like:
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BEAVER CITY, Nebraska -- Richard I. Taylor, 62, died Wednesday (June 8, 2011) at his home after a yearlong battle with cancer.
He was born June 25, 1948, in Norton, Kansas to Cecil and Helen (Perkins) Taylor. He grew up in the Precept, Nebraska area and graduated from Beaver City High School with the class of 1966. Following graduation, he attended the University of Nebraska School of Technical Agriculture in Curtis, Nebraska where he received an associate's degree.
He married Donna Hanes in 1972, and to this union four children were born. In 1974, they moved to Alma, Nebraska where he worked as a mechanic and helped on the family farm. The family returned to the Precept area in the late 1970s.
He began his 22 year career with the United States Postal Service in 1984. After retirement, he continued to farm with his son, Mike, in the Precept area.
He was a member of Faith Community Church, former Post Commander of the VFW, and a member of the American Legion Post No. 28. He also belonged to Rural Letter Carriers Association.
He was preceded in death by his parents; granddaughter, Abigail Reiser; two nephews, Brad Holmes and Anthony Grothen; and special friend, Mary Jo Dutton.
Survivors include his son, Michael and wife, Jodi Taylor of Beaver City; daughters, Lisa and husband, Larry Reiser of Sidney, Nebraska, Angie and husband, Kyle Woodring of Beaver City, and Natalie and husband, Cody Linner of Norton, Kansas; brother, Elvin and wife, Joyce Taylor of Syracuse, Nebraska; sisters, Joyce and husband, Clair Holmes of Hershey, Nebraska, Dorothy and husband, Gene Beck of Knoxville, Tennessee, Arlene and husband, Jim Cross of North Platte, Nebraska, and Leta and husband, Dennis Grothen of Hastings, Nebraska; eight grandchildren; and good friend, Nancy Long of Arapahoe, Nebraska.
Funeral services are Monday, 10 a.m., at Faith Community Church in Beaver City with the Rev. Dwain Fowler officiating. Burial with military honors will follow at Precept Cemetery in rural Beaver City.
Viewing and visitation is Saturday, 9 a.m. to 8 p.m., and Sunday, 1-8 p.m., at Wenburg Funeral Home in Beaver City, and prior to services Monday at the church.
Condolences or personal reflections may be left at www.wenburgfuneralhome.com.
Wenburg Funeral Home is in charge of the arrangements.


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Top 5 Yielding Hold-Rated Stocks: NKA, GOOD, QRE, CRT, UAN
While plenty of high-yield opportunities exist, investors must always consider the safety of their dividend and the total return potential of their investment. It is not uncommon for a struggling company to suspend high-yielding dividends and subsequently result in precipitous share price declines.
TheStreet Ratings' stock rating model views dividends favorably, but not so much that other factors are disregarded. Our model gauges the relationship between risk and reward in several ways, including: the pricing drawdown as compared to potential profit volatility, i.e. how much one is willing to risk in order to earn profits?; the level of acceptable volatility for highly performing stocks; the current valuation as compared to projected earnings growth; and the financial strength of the underlying company as compared to its stock's valuation as compared to its stock's performance.
These and many more derived observations are then combined, ranked, weighted, and scenario-tested to create a more complete analysis. The result is a systematic and disciplined method of selecting stocks. As always, stock ratings should not be treated as gospel — rather, use them as a starting point for your own research.
The following pages contain our analysis of 5 stocks with substantial yields, that ultimately, we have rated "Hold."
Niska Gas Storage PartnersDividend Yield: 9.50% Niska Gas Storage Partners (NYSE: NKA) shares currently have a dividend yield of 9.50%. Niska Gas Storage Partners LLC owns and operates natural gas storage assets in North America. The company has a P/E ratio of 105.00. The average volume for Niska Gas Storage Partners has been 66,300 shares per day over the past 30 days. Niska Gas Storage Partners has a market cap of $507.0 million and is part of the utilities industry. Shares are up 34.9% year to date as of the close of trading on Thursday. TheStreet Ratings rates Niska Gas Storage Partners as a hold. The company's strengths can be seen in multiple areas, such as its revenue growth, impressive record of earnings per share growth and compelling growth in net income. However, as a counter to these strengths, we find that the company has favored debt over equity in the management of its balance sheet. Highlights from the ratings report include:
- NKA's very impressive revenue growth greatly exceeded the industry average of 6.5%. Since the same quarter one year prior, revenues leaped by 193.4%. Growth in the company's revenue appears to have helped boost the earnings per share.
- NISKA GAS STORAGE PARTNERS reported significant earnings per share improvement in the most recent quarter compared to the same quarter a year ago. The company has demonstrated a pattern of positive earnings per share growth over the past year. We feel that this trend should continue. This trend suggests that the performance of the business is improving. During the past fiscal year, NISKA GAS STORAGE PARTNERS continued to lose money by earning -$0.63 versus -$2.38 in the prior year. This year, the market expects an improvement in earnings ($1.00 versus -$0.63).
- Compared to where it was a year ago today, the stock is now trading at a higher level, reflecting both the market's overall trend during that period and the fact that the company's earnings growth has been robust. We feel that the combination of its price rise over the last year and its current price-to-earnings ratio relative to its industry tend to reduce its upside potential.
- The company's current return on equity greatly increased when compared to its ROE from the same quarter one year prior. This is a signal of significant strength within the corporation. Compared to other companies in the Oil, Gas & Consumable Fuels industry and the overall market, NISKA GAS STORAGE PARTNERS's return on equity significantly trails that of both the industry average and the S&P 500.
- The debt-to-equity ratio of 1.13 is relatively high when compared with the industry average, suggesting a need for better debt level management. To add to this, NKA has a quick ratio of 0.52, this demonstrates the lack of ability of the company to cover short-term liquidity needs.
- You can view the full Niska Gas Storage Partners Ratings Report.
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Champagne Jelly with Golden Raspberries and Mint
Scott Crawford
Standard Foods, Raleigh, NC
Steven Greene
Herons at the Umstead Hotel and Spa, Cary, NC
Scott Crawford and Steven Greene served this jelly as an hors d'oeuvre at their Beard House dinner, but we think it makes for a refreshing and celebratory dessert. If you can't find golden raspberries, substitute red.
Yield: 8 to 10 servings
In a medium sauce pot, combine the Champagne, water, sugar, salt, and mint sprig. Let simmer for 5 minutes, until the liquid has reduced by about 1/4 cup.
While the liquid simmers, place the gelatin sheets in a large bowl and cover with cold water. Let soak for 3 minutes, until soft. Take the sheets out of the water and add to the pot. Stir the liquid until the sheets have completely dissolved.
Pour the mixture into a 9 x 13-inch pan lined with plastic wrap, or divide the mixture among 8 small bowls. (Each bowl should hold 1/2 cup of liquid.) Place the pan or bowls in the refrigerator and let set overnight.
If using a pan, unmold the jelly by placing the pan upside down on a cutting board. The jelly should come out in one piece. Peel back the plastic wrap and cut the jelly into 10 squares.
Prior to serving, whisk together the crème fraiche and honey in a small mixing bowl. Top each bowl or square of jelly with a dollop of the sweetened crème fraiche, a mint leaf, and a few raspberries.
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Green World is the marriage of the entrepreneurship and academic achievement of a team of high-caliber executive staff, who blends the art of compatibility of nutritional herbs into high-tech of mass production.
Because the products of Green World make great contributions to human health, they obtain honors continuously from domestic and foreign authoritative academies. These honors are attributable to the wide use of Chinese medical theories in China and foreign countries. In practice, Green World always seeks perfection. The company implements standard operation flows strictly and obey the operation practices of GAP (Good Agricultural Practice), GEP (Good Extracting Practice), GMP (Good Manufacturing Practice), GLP (Good Laboratory Practice), GCP (Good Clinical Practice), and GSP (Good Supplying Practice). At the same time, it requires its 200 suppliers and cooperation partners to comply with the above practices strictly.
Green World has one rapidly developing cosmetic production line. The recipe, package and overall effect of the cosmetics make Green World cosmetics become the most popular cosmetic brand in China. The biggest advantage of its cosmetics is the use of natural herbal essences which are harmless to the skin. The company spends several years researching, developing and testing the products and can guarantee their quality. Moreover, the development of products is finished by experienced marketing staffs and experts in this field. The research and recipe of Green World cosmetics are of leading technologies. Before new products come to markets, they are examined by clinical tests and consumers. Their credibility is recorded in documents. The products will care your skin gently and their effects and quality are guaranteed. The company conducts strict tests such as dermatosis test, allergenic test, eye test and anti-acne test before, during and after cosmetic production. The company also produces skin care products, hair care products, cosmetics, detergents, sanitary pantyliner and napkins with herbal essences which can care female health in an all-round way.
Because of the pursuance of high quality, Green World products enjoy a high reputation all over the world. Green World is gaining popularity in South Asian, African, European and domestic markets. It has dozens of branch companies overseas and founds large international marketing networks. The marketed products consist of five categories including health products, beautifying products, personal care products, household articles and medical equipment, which include more than 1,000 products. The impressive performance greatly encourages the company to expand markets of other countries. And Green World has got ready to exploit international market in an all-round way.
Green World is converting scientific achievement into productivity. The Company is academically supported by Bioengineering Research Center, Microorganism Research Center, Tumor Research Center, AIDS Research Center, Nutrition Research Center and Chinese Medicine Research Center.
Supported by a strong scientific research team of more than 100 scientists, agriculturists, doctors of traditional Chinese medicine, botanists, and experts, and sufficiently funded, those centers are developing rapidly and make continuous achievements, especially in the aspects of malignant tumors and immunity system. The company brings good news to people suffering malignant tumors and immunity problems.
Green World products are gaining popularity and reputation in Eurasian, Southern and Eastern Asian, Africa and domestic markets. The sales companies established by Green World Group are in charge of exploiting markets of high quality products. At present, Green World has more than 100 agents and retail stores and has a sales team of more than 3,000 people. The sales companies are specially used for managing high quality products marketing and product distribution. Green World has established hundreds of large super markets and shops. Their professional and efficient management win good reputation from wide consumers, so do their products. The flagship products are spirulina and pine pollen products which occupy greatest market shares among those in the same industry.


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I decided not to renew my art website last year. It was not longer serving a purpose. However, I do still have an affinity for the egg carvings I had there so I have decided to create a blog post where they can continue to live.
I have been teaching printmaking for the last five months now. Recently though we took a run at reduction printing. Reduction printing is a multicoloured print where all colours are made from the same plate. In our case I suggested white, the colour of the paper, and then two colours on that, giving the appearance of a three-colour print, kind of. So how does this work?
Basically, there are two steps. First you carve away, we worked in lino, everything you want to be white, or the first colour. The trick with reduction printing is that the second colour goes ON TOP of the first colour. That means that your second colour needs to be either opaque or darker than the first. I did a raven. Honestly, if I had known this was going to work so well I would have chosen a cooler image.
Once you have a run of prints made, generally you will lose some of the original prints during the registration process, which we will cover later. I suggested to the students that we might get 50% total in the end. So if you want 10 good prints, then print 20 of your first colour.
The next bit is to carve away everything you want to keep from the first colour. Whatever is carved away here will not get inked and printed onto the previous prints. This whole process was mapped out prior to starting so once here there shouldn't be too much mystery as to what is being carved away.
The hardest thing in this was figuring out how to do the registration. Registration is putting a print down on the newly cut plate so they line up perfectly. If your print is laid down on the plate even 1mm off it will show as the two images will be skewed from each other. This was the most stressful part of this. Although I am sure that the solution to this is on the internet, I really wanted to solve this problem myself (isn't that half the fun?!?!?!). After a few ideas I came up with our eventual solution. Our lino plates are 6X8 and our paper is 8X10 to fit our 8X10 display frames. I took a piece of mat board, close to 8X10 and measured 1" from the top and 1" from one side. I laid the lino on those two lines and traced around the lino block. Then I cut away the mat board and the lino fit into the hole I cut. I then used double-sided tape and adhered the lino and the mat board to a larger mat board. The purpose of this is to stop any sliding while running it through the printing press (we use a hand cranked small press on a table top). It is important that the corner of the cut mat board and the lino are both 90 degrees and equal to each other. The other bits don't matter for printing. Once these three parts are adhered to each other I could ink the plate and lay the paper down in that 90 degree corner and as long as the top of the paper stayed in line with the top of the mat board and the side of the paper lined with the mat board running down then when I do the second colour they should match up.
Once I had the second cutting of the lino done I did a print of it.
Then I was ready to print on the previously printed sheets.
Sorry I don't have any process photos to share. It was pretty hairy during the printing sessions and I honestly wasn't sure any of this was going to work so I didn't document the process at all.
I'm teaching Printmaking this semester and have been enjoying the learning curve that comes with teaching a new course. I am focusing on four types of printmaking: relief, intaglio, planography, stencil. Under the stencil category I had the students choose some kind of image that would lend itself to this type of printmaking. Technically this may not fall under the traditional definition of a print, in the sense that you can recreate the image again and again. This would be more of a monoprint style, although you may be able to use your stencil more than once. I haven't tried that yet.
When I created a prototype for the students to see I used airbrush frisket. It produced some interesting and unforeseen results. The effect is cool in that it creates a lunar feel.
With the students we used Mask It, which worked really well. I made another t-shirt today and want to share the process so you can make these as well.
Step 1 – choose and image and transfer it onto the Mask It using a pencil or marker. Avoid fine image lines as the bleach will sometimes migrate under the stencil and blotch out your detail. I now know that's what happened with my first attempt.
Step 2 – transfer the image onto the t-shirt (100% cotton works well, this shirts change quickly thicker ones take more time. I had a student use 50% cotton 50% modai (?) and it worked really well), or whatever you are using. I had two students use pillow cases! Make sure to mask off any areas you do not want to bleach. In both examples I enclosed the piece inside of a circle. You can easily do the reverse and have the bleach "splatter" out as well.
Step 3 – the bleaching. I recommend using gloves here and opening a window. Some people are really sensitive to bleach or even allergic. I use an old bug spray bottle (CLEARLY MARKED THAT IT'S NOT BUG SPRAY). Some people will use a normal spray bottle, but I like things refined so a small spray is more to my liking. This step is where the magic happens. Spray your piece and then lay some paper towel over the image to soak up the bleach so it does not migrate under the stencil. This is key to keeping your image sharp. For this shirt I just let the bleach sit on the shirt for 4-6 minutes between sprays. I probably sprayed it 4 or 5 times. The students lack the patience for this so they would spray, paper towel, repeat until they were happy with the amount of bleaching. This worked well also, but time gives the bleach the ability to eat the colour more than "more bleach" does.
Step 4 – remove the stencil. This part is important also because you want to make sure there is no bleach left on your stencil or it will transfer to the shirt, discolouring whatever it touches. Once the stencil is removed it's time to pull out the hair dryer to dry the shirt fully before the final step. I helped my girlfriend make a shirt and was so excited for her that I went to step 5 too early and it ruined the shirt. Let the hair dryer do its thing on your shirt for a few minutes. I actually tucked the hair dryer into my shirt and let it blow for five minutes or so and then turned it to blow on the other half of the image. You will see the image changing colour as you go. Once the whole image is the same colour, or dryness, it's time for the next step.
Step 5 – the home stretch. Put it in the dryer for 30 minutes. Once the shirt is dry enough that when you put it in the actual dryer it won't bleach other areas of the shirt (this is what I did to the gf's shirt😦 ). There are tiny bleach crystals that form on the shirt and tossing it in the dryer will knock those off. Once the buzzer goes on the dryer, voila!!! you have a new custom t-shirt to add to your collection of awesome t's.
Here is a student's piece. This style is easier in the sense that you do not need to quarantine the rest of the shirt off! You can also get a neat effect with the splatter dots that randomly show up.
Droplets fall
on soaked deck
with autumn leaves
Wow, it has been a long time since I have posted anything. Of course, a lot has been created since then. Off the top of my head, I created a bunch of pieces for an art show I co-curated this previous March called "The Art of Paper" where the pieces in the show had to be made of/from paper. Here is one of my favourites, a piece called "The Sacred Within". It is paper cut approximately 36″x50″.
I have also written five classical guitar pieces, small pieces. You can see those here.
In August I had a piece in the Terrace Art Gallery's summer member show. The piece I entered is called "We Give OURSELVES Permission to Kill You" and came from this realisation that we are the ones that say it is okay to kill other people. It is an altered book.
Thanks for reading. Keep on letting out the artist you are into this world. We need you to be YOU.
Here is a great article by Melissa Dinwiddie on how she prices her art. If you are selling your work, then this is a must read.
A few months ago I started sharing snapshots of works in progress on social media. Not long afterwards, someone I know on Facebook asked if my work was for sale, because she wanted to buy a particular piece I was working on.
It gets better: turns out she was interested not just in purchasing the canvas-in-process; she also wanted me to create a second, "sister canvas" to go with it.
Just from posting my process pics on Facebook, I had a buyer for not one, but two paintings! Great!
The only problem? Now I was going to have to come up with a price…
I am convinced that pricing is always the hardest thing I do as an artist. How the heck do we decide what to charge? Pricing just feels like a big, black void, and one with a lot of pressure: charge too much, and they'll run away; charge too little, and you're shooting yourself in the foot.
Ultimately, this spontaneous Facebook commission made me determined to set an entire pricing structure for my work, rather than just grabbing a number out of the air every time I create a new piece. Here are some of the "ground rules" I followed, and some tips that I hope will help you confidently set pricing for your own art.
1) Remember: your pricing gets to change.
If, like my story above, you've got a client waiting to hear back about a price, know that as you become more established, you'll be able to command higher prices. You may even raise your prices on your very next sale.
In other words, whatever you charge this one client is not set in stone, so don't stress too much about it. Keep in mind, though, that it's always a better business move to raise your prices than to lower them, so leave yourself some room for growth.
2) Never undercharge.
That said, leaving no room for growth is not actually most artists' problem — most of us have the opposite issue: charging too little. Once I brought art to be juried into a show, and was horrified that one of my fellow artists was charging less for her work than it had cost her to frame it!
Needless to say, this is a big no-no. Always make sure your pricing covers your actual costs (canvas, paint, framing, shipping if applicable — unless you're going to charge a separate, additional amount for shipping/packaging).
You also want to take into consideration how much time you put into creating your work. Emerging artists may not be able to command high enough prices to pay themselves fantastically for their actual time spent, but that's definitely the goal for the long term!
If you're lucky enough to work fast and loose, you can get away with charging less, because each piece just doesn't take long to produce. However, if your style is very detail-oriented and meticulous, what another artist could sell happily for $500 might mean you'd be earning pennies per hour, which is not sustainable. Your choice, then, is to grit your teeth and charge a lot more, and/or to figure out how to offer less-expensive work (smaller and/or looser originals, prints, etc.)
Not sure if you're undercharging? As I wrote in this post on 5 Pricing Lessons Learned the Hard Way, I have a practically foolproof gauge: resentment. If I notice myself feeling resentment about a sale, it's a good bet I need to raise my price!
On the other hand, if my prices don't make me feel at least a little uncomfortable that I'm charging too much, I'm probably undercharging!
Your mileage may vary with this: start to pay attention to whether you tend to undervalue or overvalue your work, and adjust accordingly.
3) Be clear and consistent.
Of course your goal is to be paid well for your time, but the truth is, some of your pieces probably take a lot longer to create than others.
You know how much work went into each piece, but customers don't know (and don't usually care) how long a piece took you to create. Charging by the hour is likely to result in a lot of confusion as potential customers look at two pieces of the same size and wonder why piece A is so much more expensive than piece B.
Customers who are confused do not buy, which is why I'm a believer in clarity and consistency.
Size-Based Pricing
If you're a painter, one way to ensure you're clear and consistent is by using size-based pricing — either by the square inch (h x w) or by the linear inch (h + w). This makes your pricing easy for potential clients to understand, and it prevents you from charging more for pieces you're particularly fond of, which makes your pricing seem random and confusing (and remember, customers who are confused do not buy).
With size-based pricing, you simply need to determine your current multiplier (the number you multiply by the canvas size) in order to immediately know the price for any given piece (okay, possibly with the help of a calculator…) .
If you create in a lot of different sizes, you may find linear inch pricing more sensible than square inch pricing. Why? When you charge by the square inch, the price difference between a small painting and a larger one can become astronomical.
Here, for example, is square inch pricing, using a multiplier of 2.5 (ie, $2.50 per square inch):
4×4 inches = 16 square inches x 2.5 = $40
8×8 inches = 64 square inches x 2.5 = $160
16×16 inches = 256 square inches x 2.5 = $640
24×24 inches = 576 square inches x 2.5 = $1,440
32×32 inches = 1,024 square inches x 2.5 = $2,560
I don't know about you, but $40 seems awfully small price for a painting by someone who commands $2,560 for a 32×32 canvas.
Here are the same canvas sizes using linear inch pricing, using a multiplier of 20 (ie, $20.00 per linear inch) — as you can see, the difference in price feels a lot less out-of whack:
4+4 inches = 8 linear inches x 20 = $160
8+8 inches = 16 linear inches x 20 = $320
16+16 inches = 32 linear inches x 20 = $640
24+24 inches = 48 linear inches x 20 = $960
32+32 inches = 64 linear inches x 20 = $1,280
Neither of these pricing methods is "right" or "wrong," but once you determine your method and your multiplier, charging by size can be a very helpful way to eliminate the guesswork, and feel confident about your pricing.
Different Pricing for Different Media?
One possible modifier to your size-based pricing structure is the media you paint with. If you only paint watercolors, or only paint oils, there's no problem, but if you paint both on canvas and on paper, as I do, it gets a little tricky.
For whatever reason, paintings on paper tend to sell for less than paintings on canvas — even though they require framing, which is an added expense. In my case, if I were to pay to have a piece framed, my costs become much higher for a work on paper than for a canvas painting! What's an artist to do?
I don't have a final answer to this question, except to refer you to the item below…
4) Do your research.
It can be useful to look around at what other artists are charging for their work: artists in your local area, and especially artists at a similar stage in their careers.
What are people charging for framed works on paper? For unframed works on paper? For stretched canvases?
The challenge here, though, is that what other people charge is likely to be all over the map. So when you do your research, be sure to take into consideration how you want to brand yourself: do you pride yourself on making "art for everyone," at "everyman" prices? Or do you want to make your mark as a high-end, premium-pricing artist?
When artist Matt LeBlanc was deciding what to price, he looked at what kinds of art were available in his area and noticed the low-end and high-end of the market were rather saturated. The mid-range, though, didn't have a lot of competition, so that's the price range he decided to set on his paintings — at the time of this writing, Matt has work for sale from $50 to $900.
This kind of research worked well for Matt: he went from selling no art, to being featured on HGTV, and being one of the hottest selling artists in his area.
5) State your price, then shut up.
My most expensive moment as an artist was several years ago, when a couple flew out to California from Philadelphia to meet with me about commissioning a ketubah for their anniversary.
I'd already told them my price range, which at the time was something like "from $1,500 to $5,000″ (mistake #1: never put an upper limit on your pricing!), and when they told me what they were looking for, I realized it was going to be one of the most time-intensive pieces I'd ever made.
In other words, this was a top-of-the pricing scale commission.
However, I'd never yet commanded $5,000 for a piece, and I was afraid this number, which felt so big to me, would scare them off! So when it came time to give them an estimate, I hemmed and hawed, and said something like, "Well, what you're looking for is at the top of my price range."
Then, instead of keeping my mouth shut and seeing how they responded, I stupidly barreled ahead to say, "…but if $5,000 is too much for your budget, I can always scale back the design to make it less expensive."
The husband said, "$3,000, $4,000, $5,000 — it's all the same to me. But I'm a middle-of-the-road kind of guy, so let's go with the middle price — $4,000."
Yep — because I couldn't just state my price and shut up, I lost a thousand dollars in a heartbeat. (And "scaling back the design" is a myth. It never happens!) Lesson learned.
This one is important, so I'll say it again: state your price, then shut up. Period. Do not explain, do not apologize.
(I've done that too — gotten defensive about my pricing — and oh, the pain! Now I've learned to say, "If you like my work, this is the price. If you don't want to pay that, you don't have to buy it.")
If you're sending an email to a potential customer, "state your price and shut up" might look something like:
"For this painting, the price is $X [plus shipping/packaging, if you're charging for shipping separately]."
"I charge $Y per linear inch, and this painting is 24×30, which is 54 linear inches, so the price is $(Yx54)."
"If you'd like to purchase it, just let me know and I'll send you a link to a payment page where you can pay either with a credit card or your PayPal account [or whatever payment method you use]. Once I receive your payment and shipping address, I'll ship your painting to you via [shipping service]."
[Be sure to indicate when you'll ship — a day? a week? does the painting need to cure first? does it need to be varnished first?]"
Summing Up
The really challenging thing about pricing is that there are no hard and fast rules. Everything depends on you, your work, where you live, where you are in your career — there are so many variables it can drive us nutty!
The tips I've shared here have helped me get more confident with my own pricing. I won't lie to you, pricing my work is still really, really hard, but hopefully these ground rules will help light your path as you negotiate this trickiest of areas for artists.
Good luck, and let me know how it goes!
Melissa Dinwiddie is an artist, writer, performer, and creativity instigator, on a mission to empower people to feed their creative hungers. She coaches and consults with individuals and groups, and leads creativity workshops and retreats in inspiring locations around the world as well as online. Get a FREE mini-poster of Melissa's Keys to Creative Flow and her Imperfectionist Manifesto at Living A Creative Life, MelissaDinwiddie.com.
I completed a portrait painting of Ramana Maharishi yesterday. I've been learning a technique that makes portrait painting, in this style, much easier than anything else I've tried. I have never considered myself a person who can paint people, but the responses I got from my painting of Palden Gyatso had me rethinking how I see myself in that regard. I've since taken on portrait painting and have done three or four of them.
Ramana Maharishi is a unique and important individual for people who practice spirituality. I won't go into a long diatribe about it here as I assume if you are interested in him, then you will seek further for yourself, but I do want to add this quote from wikipedia. "He radiated a silent power which stilled the minds of those who came to him and occasionally gave them a direct experience of his state. In later years, he became more willing to speak and respond to questions, though he always insisted that the silence he emanated was his purest teaching and that his verbal teachings were only for those who could not understand his silence."
Wet red leaves
fall to frozen
white earth
These leaves
were severed
Not allowed to run
the race of life
only to fall
like parents'
tears left
in grief
So I've been a Professional Coach for a couple years now and not ironically, I guess, have been hired by a number of artists to support the expansion of their art and life.
The most profound experience I've had through working with these amazing creators is how their art changes as a result of connecting in a clearer way to their essence; the most fundamental reflection of their being, their light, their true nature. It shows up in their paintings as their "voice". Some call it style, but I'm not sure that captures it because you can work in different styles and yet be creating through your essence. It's an expression deeper than the style or medium chosen.
I watched Katy Perry's "Part of Me" movie last night and I got even more clarity on this process. My analogy is a tube between your deepest self and your medium (canvas, paper, instrument, etc). The clearer the tube the clearer the true expression of your essence. Then I started realising that we are all at different levels of clarity within our own "tubes". So even when an artist paints and the result isn't their clearest expression, it may just be perfect for someone else who is at that exact level of clarity in relationship to their own essence. I now wonder if that's part of what happens when an artist is unhappy with their work, but others are blown away by it. If the negative self talk is not involved, then maybe that artist just knows that their tube had some translucence to it instead of transparency?
If you are an artist and looking to clear the tube between your deepest self and your medium I'd be honoured to work with you. This is open to the artist working in their home studio who never shows their work to the established artist making a living through their work.
Make 2013 the year of you. Make it the greatest year of your life. You won't get it back, and you can only run this calendar once my friends.


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- Chesley B. (Sully) Sullenberger, III: "Making a Difference: Stories of Vision and Courage from America's Leaders" – One of the most captivating American heroes of this century explores what it takes to lead and inspire. ( May 29)
- The Midtown Men – They took Broadway by storm in "Jersey Boys," and now they're together again in a one-of-a-kind concert experience celebrating the music that defined the 60s! ( May 30)
- Dr. Eben Alexander: "Proof of Heaven: A Neurosurgeon's Journey to the Afterlife" – Hear about Dr. Alexander's own miraculous medical recovery, and how it influenced his belief in the existence of the soul after death. ( June 5)
- An Evening with Audra McDonald – The Tony and GRAMMY Award winner and her trio will charm the audience with her trademark mix of show tunes and contemporary numbers. ( June 8)
- Polyglot Theatre's "TANGLE" – Part visual arts installation, part playground, part dance party – and all chaos! TANGLE is a fun and interactive elastic-weaving event created by children and their families. ( June 13 – 16)
- Pink Martini – Hip, sophisticated, quirky and totally fab, take a rollicking around-the-world musical adventure with this stylish 12-piece orchestra and vocalist: Pink Martini! (June 20)
- SUMMER CONCERT! Steve Martin and the Steep Canyon Rangers featuring Edie Brickell – An evening of fast-picking banjo playing and witty banter as Steve Martin and The Steep Canyon Rangers return to Midland! ( July 26)
MATRIX:MIDLAND Festival 2013 Lineup Announced
MIDLAND, Mich., March 20, 2013 /PRNewswire-USNewswire/ --MATRIX:MIDLAND at Midland Center for the Arts has announced the lineup for its 35th annual MATRIX:MIDLAND Festival, featuring world-class performers, musicians and professional speakers. This year's festival runs from May 29, through June 20. Tickets go on sale at noon on Monday, April 15, 2013 . Information and ticket prices are available online at mcfta.org or by calling the Ticket Office at 800-523-7649. Always an exhilarating and eclectic array of entertainment, this year's MATRIX:MIDLAND Festival includes: an aviation hero; music that defined a decade (the 60s!); insights learned through a miraculous medical recovery; the charms of a Tony® and GRAMMY® Award winner; a play space where kids take charge; and a hip and rollicking around-the-world concert. Plus, a special Summer Concert in July!MATRIX:MIDLAND Festival 2013 – AT A GLANCE:
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Dodgers Press Releases
Fourth Annual LGBT Night June 3 at Dodger Stadium
The Dodgers today announced the fourth annual LGBT Night at Dodger Stadium Friday, June 3 (vs. ATL, 7:10 p.m.). A special event ticket package that includes a game ticket for June 3 and an exclusive Dodger LGBT Night Tank Top (image attached) is available for purchase now exclusively by visiting www.dodgers.com/LGBT.
Dodger Partner ampm Will Now Offer Dodger Dogs In Los Angeles-Area Stores
The Los Angeles Dodgers today announced that longtime-partner ampm will now add the legendary Farmer John Dodger Dogs to its offerings at participating Los Angeles area ampm convenience stores. They will initially be offered to consumers at the price of two dogs for $3.
Dodgers' Statement On Josh Ravin
The Los Angeles Dodgers today issued the following statement regarding the suspension of right-handed pitcher Josh Ravin:
First-Place Dodgers Take On San Diego Tomorrow Through Sunday
The Dodgers conclude their second homestand of the season with a three-game series against the San Diego Padres tomorrow, April 29 (RHP Cesar Vargas vs. LHP Alex Wood), Saturday, April 30 (RHP Colin Rea vs. RHP Ross Stripling) and Sunday, May 1 (LHP Drew Pomeranz vs. LHP Clayton Kershaw). Tomorrow's contest against San Diego takes place at 7:10 p.m. with auto gates opening at 4:40 p.m. and stadium gates opening at 5:10 p.m., Saturday's game time is 6:10 p.m. with auto gates opening at 3:40 p.m. and stadium gates at 4:10 p.m. The final game of the series against the Padres Sunday takes place at 1:10 p.m. with auto gates opening at 10:40 a.m. and stadium gates at 11:10 a.m. Tickets for games tomorrow through Sunday are available and can be purchased by calling 866-DODGERS or by visiting www.dodgers.com/tickets.
Dodger Broadcasters Rick Monday & Charley Steiner Sign Multi-Year Deals
The popular Dodgers' radio broadcast combination of Rick Monday and Charley Steiner have signed new multi-year agreements it was announced today by the organization.
Dodgers Reinstate Carl Crawford
The Los Angeles Dodgers today reinstated outfielder Carl Crawford from the 15-day disabled list (lower back soreness) and optioned right-handed pitcher Zach Lee to Triple-A Oklahoma City.
Dodgers Reinstate Louis Coleman
The Los Angeles Dodgers today reinstated right-handed pitcher Louis Coleman from the Bereavement List and optioned left-handed pitcher Luis Avilan to Triple-A Oklahoma City.
Dodgers To Raise Funds For Earthquake Relief Tuesday
Kenta Maeda along with teammates Yasmani Grandal and Yasiel Puig, Dodger manager Dave Roberts and Hall of Famer Jaime Jarrín will sign autographs for donations in the left-field plaza Tuesday in an effort to raise funds that will go toward earthquake relief in Japan and Ecuador. Both countries recently suffered devastating earthquakes, causing massive damage and loss of life. Auto gates open at 4:40 p.m. Tuesday, stadium gates open at 5:10 p.m. and fans are encouraged to arrive early. The players will sign autographs from approximately 5:30 p.m. to 6:00 p.m.
Dodgers and Univision Los Angeles Announce Three-Year Partnership
The Dodgers and Univision Los Angeles today announced a three-year partnership that will make Univision Radio KTNQ 1020 AM the Spanish-language flagship station of the Dodgers' radio network through the 2018 season. Hall of Fame broadcaster and "the Spanish Voice of the Dodgers" Jaime Jarrín returns to the broadcast booth for his 58th season alongside son Jorge Jarrín, who joins Jaime in the booth for the second season on Univision Radio KTNQ 1020 AM. The Jarríns are the only father-son broadcasting team in MLB Spanish-language radio.


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Saturday, Oct 25, 2014 7:30 PM PDT (7:00 PM Doors)
- Saturday, Oct 25, 2014 10:30 PM PDT
ELECTRIC OWL, Vancouver, BC
19 years and over
Timbre Concerts proudly presents EMA.
Please note this is an early show: Doors 7:00pm, Show 7:30pm, End 10:30pm.
For more info on Timbre Concerts and their upcoming concerts visit www.timbreconcerts.com.
Please note: This event is 19 and over. Any Ticketholder unable to present valid photo identification indicating that they are at least 19 years of age will not be admitted to this event, and will not be eligible for a refund.


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Death Before Decaf
Jen Mussari
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If you find yourself shouting "Give me espresso or give me death!" at the barista, you may have an addiction, but you also need this shirt.
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SkylarkNZ Sep 28, 2012 1:47 AM
in response to ffredburger
When I purchased my 27" iMac in May 2011 it worked flawlessly with my DLINK 604T modem router which also supports a Dell desktop PC, an HP laptop, a 2010 iMac 21", a 2006 iMac 20", and 2 12" Powerbooks, an iPad2 and a Playstation 3. However after about 3 months, my 27" iMac started to drop its connection, all the others continued to work perfectly. I lived with the problem for a few months by switching airport off and then back on, whence it would work for a few hours before losing connection again. I visited this thread and tried all the solutions suggested with varying degrees of success, but all eventually resulting with dropped connections again. I then installed a Netcomm repeater alongside the DLINK and the problem disappeared and I presumed the problem must have been the DLINK. About 3 months later the problem returned and I still have it. Whenever the connection drops now I just switch to the DLINK and then back to the Netcomm when the connection fails again. I also discovered that if I switch to an alternate user account the connection returns, even without switching routers or reseting airport. This suggests to me that the problem is not hardware but software related. Apple are obviously aware of the problem but are confounded by it and can offer no solutions. Next I will try JohnPan's solution when I have time, but I suspect it will be a temporary solution like all the previous so called "solutions". My 27" iMac is the only one running Snow Leopard, all the other Macs are running Leopard or Tiger, and the PCs are running either Vista or Windows 7. I will be interested to see if JohnPan's solution works for anyone on a long term basis.
StickySadness Sep 28, 2012 5:45 AM
in response to ffredburger
Lol nvm i have no idea why it was working then.
all i know is have 200 days left on warranty, after they play grab *** for a few weeks i really hope i get a new laptop.
Pc has never looked so good
2500 dollars is too much for this nonsense
cohensisters Oct 1, 2012 4:57 AM
in response to ffredburger
It is awful a disgrace. It is the 3rd computer I am buying and I am done with it. I am going back to PC. Since apple doesn't care for what they create, besides fancy design. Typical superficial approach. Instead of getting the basis right they are keen on developing new things without being able to supply the basics. Please if anybody has figured out how to keep the airport connection going please let me know. Right now it is a nightmare.
laurenmay1 Oct 1, 2012 9:52 AM
in response to cohensisters
Look back at my posts.
They will replace your MBP. Call Customer Service.
Do not spend one more minute agonizing over this.
gusgrave Oct 9, 2012 12:15 PM
in response to ffredburger
Just throwing it out there, is there any of you who are experiencing connection problems with your routers (not dropping connections) who have modified your region settings?
I just started using MonoDevelop to learn C# and experienced some strange output errors when automatically formatting units, it did not work.
I have been using a "temporary" workaround that has become a more permanent solution for me, using a separate location and static IP to be able to connect to the router. However, after experienceing the issues with MonoDevelop, I checked my settings:
System Preferences -> Language & Text -> Formats
For some reason, my "Region" was set to Custom. This was apperently causing issues finding some symbols and so forth. I remembered that I had seen some points in the Logs indicating that I was at location X and had countrycode X1 instead of correct country code while trying to connect over WiFi.
So, I set my Region to Sweden (since this is where I live) and hit OK. The MonoDevelop issues dissapered lika a bottle of vodka on a friday night. To my big, BIG, suprise, I fired up the airport using the "Automatic" location when I got hope, just out of curiosity and guess what? Stable WiFi connection using the same ISP and router as over the last 4 years... No strange log messages.
So, is there anyone else experiensing issues with strange X1-X5 codes in their logs that cannot connect to their routers following this forum? I am very cuorious to se if this works for anyone else.
amandepp Oct 12, 2012 10:30 PM
in response to ffredburger
back again!
I found something doing which my wireless has been stable lately.
I have been posting for a while so you know I have tried all solutions.
Hopefully this one is not yet noticed, correct me if I am wrong.
I changed the password so I had to update in Keychain access. In the login list and for the airport, under the "Access control" tab, I chose "allow all applications". It only hd, Network for me.
Please check if this helps you too.
gusgrave Oct 14, 2012 11:49 PM
in response to gusgrave
Almost a week has gone by, still connecting without issues. My MBP wakes from sleep and connects, restarts and connects.
I would have never considered this minor detail to affect how I connect to my router, but its hard to argue with the results.
// Gus
SkylarkNZ Oct 18, 2012 7:35 PM
in response to gusgrave
Thanks for the tip gusgrave. I've been solid for 5 days now
gusgrave Oct 19, 2012 12:11 AM
in response to SkylarkNZ
That's really nice to hear! Happy for you!
I just assumed that the formatting settings of language, time and date did not affect the choice of physical region for use, but obviosly I was way off... I just changed decimal sign from the Swedish "," to "." since I do most of my work in English and the way dates and time are presented to the user (YYMMDD).
This obviously screwed up a lot of things that I did not realize, among other things, the compiling and execution of system settings dependent code. Now, Excel no longer considers my values as numbers and AWK no longer calculates correct decimals. So, I fixed the WiFi, but I have a lot of search-and-replace "." with "," to do.
// Gus
jimmccaul Oct 27, 2012 4:04 AM
in response to ffredburger
Just spent 10 minutes with Chris in the Buchanan Street apple store in Glasgow, Scotland.
wifi problem fixed! there was a trojan on my macboof pro which altered the DNS and blocked my access to webpages by redirecting all the time.
So far (40 mins) has not recurred! Recommend dropping in to store therefore!
choddo Oct 27, 2012 5:35 AM
in response to jimmccaul
That's a very different problem than most people are having where the actual wifi connection is failing, not just access to sites being disrupted.
Landing Gear Nov 7, 2012 4:34 PM
in response to ffredburger
Finally (cross my fingers) found a solution which most of you won't like!
I've been loitering around this forum to find an answer to my internet problems but NOTHING worked more than 24 hours.
The only thing that has worked for me was to GET A NEW ROUTER. I've been downloading huge files and uploading a lot while watching youtube videos without any problems for the last 3 days.
I had the Time Capsule that's kinda old.
One weird thing is the internet problem only effectes my rMBP. I have 13" MBP, 3 iPads, 2 iPhones, 2 wireless printers, Apple TV and occasional wireless guests and none of them have had this issue.
- Landing Gear
corymelanson Nov 8, 2012 5:31 PM
in response to Landing Gear
I am having similar issues with my MBP. I randomly lost connection earlier today and have been unable to reconnect. I am currently connected to the same network via my iPad (where I am actually posting this from), but my wifi on my MBP is prompting me unable to connect (with an exclamation point in the status bar).
I don't know whether it is because the router is equipped only with a WEP password and needs to be upgraded to a WPA or if another problem lies...
If I'm able to connect from my iPad and iPhone, I should not have any issue with my laptop. I have even tried manually entering the info from my iPad wifi settings to my network settings on my MBP and still no luck. I have checked my firewall and other security settings on my laptop and everything seems to be correct.
Please someone offer a solution that does not involve purchasing a new router.
md152 Nov 12, 2012 10:57 PM
in response to corymelanson
Like everyone else here, I'm also having wifi issues. My macbook air is 2 months old and from the very start has always lost connection pretty often. Up until last week it would always get right back on after a minute or so.
Now, it will not work at all on the network at my university, which is also my place of employment. It works everwhere else that I have tried. Nobody else (at least 20 people) that I have asked have had a single problem getting on the network at the university including some with macbooks.
I have called several times about this and each time have been told that it is most likely a problem with the network, not with the computer? How can this be? They sent me a proram that is susposed to help them see what is going on when I am unable to get on the computer.
This is so frustrating. If I can't get on at the University my computer is pretty much worthless. Since it is so new, what do you think my chances of apple replacing parts until this problem is solved is? If they will not, how much would it be to repalce all of the wifi hardware?
Any suggestions? The other thing is I'm about to lose my free apple care so I am faced with spending a bunch of money to extend it.
Any tips would be greatly appreciated. Thanks.
ekremers Nov 12, 2012 11:19 PM
in response to md152
Is there anyone else at your university who is experiencing the same problems with a Macbook? Did you ever experience the problem on any other network? (it usually doesn't appear until you have used the network a few times, i don't know why) First I guess you should establish that it's really not a problem specific to the university network, but that it's a problem with your macbook. Once you've confirmed that, take it back to the store where you bought it and demand they fix the issue. You can also try going directly to an authorized service center instead of the apple store. (https://locate.apple.com/)


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I'm going to enjoy some of this goodness tonight!
Bialetti Mukka Express
Printable View
I'm going to enjoy some of this goodness tonight!
Bialetti Mukka Express
So...let me get this straight. It steams the milk with the water that's making the coffee too. And then the two mix when you pour it?
If that's correct, neat!
Oh boy Cappuccino at your place?
I had a regular mocha type pot made excellent coffee.
hmm, might have to go fire up the espresso machine now.
I use a Moka pot, but in the American style. I use very good light to medium roast coffee with as coarse a grind as my grinder can make. I don't fill the coffee reservoir, or tamp the coffee down. Because there is so little pressure, tamping is
not important here.
It works quite well.
Looks like a nice toy. I have one of the classic Moka Express and it makes a nice cup of coffee.
Hmm. I have never used or had coffee from one of these. I will be interested to see the reports.
My parents gave me their mukka express when they couldn't figure out how to use it without leaking. Basically they just didn't tighten it enough, as I have run it maybe 15 times without a leak.
But, after those 15 tries, I've given up on it. I started with preground espresso, then got my own burr grinder and started using fresh roasted beans. Tried light roast, then medium, then dark. Every SINGLE time the results were basically the same: a hazy, murky drink with little body. I just wasn't impressed. I tried different amounts of water in the bottom and different amounts of milk. I loosely filled and tried packing tight the coffee holder. I finally gave up.
I'll be curious how yours turns out!
I don't understand. Why would you want to sully up your coffee with things like milk?
Coffee is good with milk and without milk. Really depends on the coffee and the mood I'm in.
Either way, Coffee ice cream is the best flavor of ice cream.....don't care what anyone else says.
The only time I put milk in is if I am making a latte or capp at home. For my drip and French press, I like my coffee the way I like my women: hot, strong and black.
coffee stout + half n half topped with cheese whiz and a ******* ass.
j/k :p
Is it made by Gateway? :p
Looks like fun, KT!
very nice.
I`m stuck at work with nothing but Folgers to drink.
Only thing wrong with percs is that they're slow, this isn't.
Frankly, espresso evolved in an age where coffee had lost most of it's flavor by the time it got to Europe. We don't have that problem anymore, so there is no need to burn the crap out of it.
Opened a lovely bag of Ethiopian this morning, never had an Ethiopian with a nutty quality to the taste before.


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Amarillo resident Jay Evans recently returned home from the Summer National Senior Games in Louisville, Ky., with two gold medals for his performance in table tennis.
Evans, 90, won titles in doubles and singles in the 85 to 90 age bracket in the tournament held June 22-28. Evans qualified for the national event by winning the Oklahoma state tournament in Tulsa. Texas no longer has a qualifier. This was the eighth time he competed in the National Senior Games, which take place every two years.
Evans, who has been playing table tennis since 1941, was pleased with the experience.
"It was a great trip and the facility in Louisville is something else," Evans said. "They did a great job putting it on."
- Globe-News Staff
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Simply Alpa © 2015. firstname.lastname@example.com
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IN the very earliest colonial times there were no secondary or preparatory schools in the modern sense. All boys had to be fitted for college by private tutors; that is, almost entirely by their local pastors. Our public schools have gone through three distinct stages: --
No very early preparatory schools.
(a) Grammar Schools. The first schools in New England were rather closely modeled after those of old England, and their chief business was to hold the gains of civilization and prevent the pioneer colonists from lapsing into barbarism, "that learning may not be buried in the grave of our fathers." In 1647 Massachusetts provided for the appointment of a master to teach reading, writing, and arithmetic (the "writing schools") in every township of fifty families, and for the master of a grammar school in which youth might be fitted for college, in every township of one hundred families. The master's salary might be paid by the parents of the children attending school or drawn from the township treasury, as the local authorities should determine. The "three R's" were taught in the writing school, and the Greek and Latin for college entrance in the grammar school, which was thus distinctly preparatory to college, and attended principally by those who were preparing for a professional or governmental career. There was also an early distinction between reading schools and writing schools, the latter teaching writing and reckoning. In 1672, Connecticut provided for a grammar school in every county. New Hampshire adopted the Massachusetts plan, and Maryland passed a somewhat similar act in 1723. The Collegiate School in New York City, Boston Latin School, Roxbury Latin School, Hopkins Grammar Schools of
Early grammar schools.


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tations serve to expand and clarify interpretations of that document as well as to initiate and signal changes in the nation's more embracive (lowercase c) constitution. Given the judiciary's long-standing claim "to say what the law is" 45 there is wisdom in Woodrow Wilson's observation that the Supreme Court constitutes "a kind of Constitutional Convention in continuous session" 46 and in Mason and Stevenson's claim that "one could memorize the written document word for word," but that, without knowledge of the judicial gloss on the Constitution, "still know little or nothing of its meaning." 47
Scholars increasingly recognize that the judiciary is not the sole expositor of the written Constitution, and the courts certainly have no monopoly over influencing and interpreting the nation's lowercase c constitution. Consistent with the representative character of American government and the Constitution's emphasis on elections, although theirs may not always be the final word, the elected branches are responsible for initiating many such changes. These branches initiate such changes via presidential orders and directives as well as congressional legislation. 48
Except perhaps in introductory American government textbooks, discussions of lawmaking, of judicial review, and of constitutional amendment generally proceed independently, and each is certainly complicated enough to be so treated. In treating these processes in that fashion, however, the elusive relationships among these processes, and their overall impact on change, may be slighted. Accordingly, in the pages that follow this author will examine each of these mechanisms as an engine of constitutional change, compare their relative merits and demerits, examine how these findings bear on existing theories of constitutional change, and ascertain what, if any, implications these findings have on the adequacy of the current formal process of constitutional amendment and the desirability of pursuing changes through this or through alternate routes.