text:
|Publication number
|Publication type
|Application number
|Publication date
|Jul 30, 1996
|Filing date
|Mar 1, 1995
|Priority date
|Apr 9, 1992
|Fee status
|Also published as
|Publication number
|Gerald S. Andris, John P. Gauci
|Original Assignee
|International Business Machines Corporation
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (9), Non-Patent Citations (2), Referenced by (24), Classifications (33), Legal Events (4)
|External Links: USPTO, USPTO Assignment, Espacenet
This application is a divisional of application Ser. No. 07/865,604, filed on Apr. 9, 1992, now abandoned.
1. Field of the Invention
The present invention generally relates to the manufacture of electrical circuits and more particularly to the manufacture of multi-layer ceramic interconnect structures.
2. General Description of Background
In the manufacture of multi-layer ceramic (MLC) interconnect structures conductive paste is injected through a nozzle into a screening mask. The mask extrudes a thick film conductive pattern onto a greensheet to form a circuit. The paste flows through holes in the surface of the mask to fill lines and other electrical structures in the mask and flows into perforations in the greensheet to provide electrical connections between layers of the MLC structure. At the same time, air flows out of the volume of the mask to make room for the paste. Some of the paste also flows back out onto the surface of the mask. This application is concerned with the interface between the nozzle and the mask as the paste flows from the nozzle.
Manufacture of multi-layer ceramic (MLC) interconnection structures is described in U.S. Pat. No. 4,245,273, to Feinberg et al., for PACKAGE FOR MOUNTING AND INTERCONNECTING A PLURALITY OF LARGE SCALE INTEGRATED SEMICONDUCTOR DEVICES, assigned to the assignee to the present invention, and hereby incorporated by reference. In these structures, a potentially differing interconnection pattern is formed on each of a multiplicity of layers of ceramic substrate. These intricate interconnection patterns include vias formed by perforating greensheet substrates and selectively filling the perforations with conductive paste to provide electrical continuity between the ceramic substrate layers of the MLC structure.
The respective greensheet substrates are then stacked and sintered under pressure and high temperature to form a unitary ceramic structure with many embedded interconnection lamina to provide electronic interconnection structures of high connection complexity. However, testing of each layer as it is formed requires a number of steps at least corresponding to the number of layers and an equal number of geometrical setups to allow testing by automated machinery. For this reason, it is common to optically inspect each layer as it is formed and to test only a portion of each layer for circuit continuity to some degree of confidence. Full electrical continuity is only tested a single time after the entire multi-layer ceramic (MLC) structure is assembled and sintered. This final test would be required even if the individual layers were fully tested individually, since the electrical connection patterns can be damaged by either the assembly or the sintering steps of the process.
Therefore, to achieve reasonably high manufacturing yields it is particularly necessary to form the individual layers by techniques which result in an extremely low incidence of defects. The conductive patterns must also be formed with high regularity and consistency to reduce susceptibility to the formation of defects during assembly and sintering.
The formation of the conductive patterns and filling of perforations to form vias in the individual substrate layers is done by assembling a stencil known as a mask on a greensheet substrate. The mask contains a plurality of channels for extruding the pattern onto the greensheet and filling the via perforations. Conductive paste is injected into the mask from the discharge end of a nozzle which is elongate across the width of the mask with the approximate same length as the width of the mask.
The mask directs the paste from the elongate nozzle to fill the via perforations and extrude the conductive paste circuit onto the greensheet as the nozzle is moved laterally to traverse the length of the mask. The nozzle may be traversed back and forth along the length of the mask in multiple passes as required. Then the nozzle and mask are separated from the greensheet leaving the conductive pattern on the greensheet. This process is commonly known as screening. Once a patterned greensheet layer is initially formed, other processing steps, such as drying, may also be employed to stabilize the pattern for assembly. Then the layers are assembled and, typically, sintered, as indicated above.
The use of a mask and the fineness of typical interconnection patterns and vias requires high paste pressure to be developed in the nozzle for the application of the conductive paste. At one time, the layer of conductive paste was typically applied by means of a Teflon™ squeegee. As conductive patterns increased in complexity, however, a squeegee was not able to develop sufficient pressures to reliably penetrate the masks with the conductive paste to form the desired interconnection patterns and to reliably fill the via perforations in the greensheets. Accordingly, it is presently deemed desirable to apply the conductive paste with a nozzle which confines the conductive paste against the mask and greensheet and allows full penetration of the mask and greensheet perforations. A description of a screen printing method for forming MLC structures using a nozzle is described in U.S. Pat. No. 4,808,435, to Cropp et al., assigned to the Assignee of the present invention and which is hereby incorporated by reference.
The cost of mask and nozzle maintenance including down time and replacement costs are critical to the economy of screening. The useful life of the masks and nozzles are measured by the number of passes the nozzle makes across the mask before the mask must be replaced. These measurements of mask and nozzle life are known in the art as pass factors.
High forces are applied by a mechanical spring, piston or other force transducer unit to the nozzle in the direction perpendicular to the plane of the mask (normal to the mask) in order to overcome the high pressure of injection of the paste and in order to confine the paste to maintain the paste pressure by insuring contact between the nozzle and the mask. Typically the normal force applied to the nozzle is preset at a fixed level to hold the nozzle against the mask for the highest expected working pressures. This results in relatively high nozzle forces against the mask. The force of the nozzle against the mask results in sliding friction forces as the nozzle traverses the mask during extrusion.
The normal and friction forces applied by the nozzle to the mask result in high stresses in the screening mask especially in the tabs which bridge between sections of the mask and across conductive lines in the pattern in order to hold the mask together. These stresses subject the mask to distortion and potential damage and contribute to broken tabs, dents and scoring of the mask. All these failure modes are fatal to the operation of the screening mask and the quality of the vias and circuit pattern produced. Also particles on the mask tend to wedge between the discharge end of the nozzle and the mask which dents and scores the mask and/or nozzle and places high loads on the tabs.
The masks are typically 2 to 3 mils thick and tabs are typically only about one mil thick and only slightly wider to avoid leaving opens in the mask separations across which they bridge. Efforts by those skilled in the art to prevent mask tabs from breaking have centered around increasing the physical size of the individual tabs and reducing the distance between tabs.
There has been some reduction in tab failures but the rate of premature mask failure due to tab breaking and other damage has not been acceptable.
The sliding friction results in wear of the mask, which is typically formed of a Molybdenum, Nickel or a Ni--Cu--Ni sandwiched sheet. The friction also causes wear of the nozzle and, for that reason, great effort has been expended to provide a nozzle surface which is resistant to abrasion. A nozzle formed of Tungsten Carbide is disclosed in SCREENING NOZZLE WITH NON-LINE CONTACT by R. C. Brilla et al. in IBM Technical Bulletin, Vol. 25, No. 6, November 1982, which is also incorporated by reference. An improved nozzle utilizing replaceable carbide rods for the nozzle surface is disclosed in co-pending application Ser. No. 07/631,540 CARBIDE ROD SCREENING NOZZLES by Andris et al. filed Dec. 21, 1990, incorporated herein by reference.
Where the mask has coarse features relative to the width of the contact surface between the nozzle and the mask, paste leaks around the contact surfaces of the nozzle at these features. This potential problem can be solved in the manner disclosed in U.S. Pat. No. 3,384,931, to Cochran et al., assigned to the assignee of the present invention and also incorporated by reference, by using a more complex stencil structure. That patent discloses a mask with features formed only on the side facing the greensheet, and with many tiny apertures in the opposite side facing the nozzle to allow penetration of the paste from the nozzle to the features and escape of air from the features. In that method, line contact between the elongate nozzle and the mask is preferred. Line contact allows a narrow pressure angle to be formed by essentially tangent contact between the nozzle and the mask in order to increase effective screening pressure. The viscosity of the conductive paste prevents high flow rates through the via perforations and through the pattern in the mask in order to maintain the pressure of the paste in the nozzle as the mask features are filled. The low viscosity of air allows the air to escape through the vias and mask features/pattern as the nozzle is dragged across the mask.
The more complex mask structure, however, makes it especially desirable that wear and scoring of the mask be minimized. To a certain degree, mask degradation is reduced by the line contact of the nozzle. However, as the nozzle itself becomes worn or otherwise degraded due to both friction with the mask and interaction with the conductive paste, the nozzle profile becomes more flat and the contact area becomes wide, increasing the tendency for scoring of the mask to occur.
The short useful life of the masks as well as the complexity thereof significantly increases the cost of the screening process and degrades the quality of the screened pattern. In addition, the substrate or carrier can become contaminated by metal shavings resulting from the scoring. Scoring also degrades the screening process since it degrades the tightness with which the nozzle fits against the mask, causing smearing of the paste as well as potential loss of pressure.
It is therefore an object of the present invention to improve throughput by reducing the need for nozzle rework to maintain nozzle profile.
It is another object of the invention to improve pattern quality and consistency of pattern quality in coating and/or extrusion processes, including reliable filling of via perforations in greensheets.
It is another object of the invention to reduce the risk of contamination of the greensheet with materials from the nozzle or mask.
It is a further object of the invention to increase pass factors and useful mask life.
It is yet another object of the invention to reduce premature scrapping of masks due to broken tabs and other mask damage due to wedging of particles and friction between the nozzle and the mask.
To achieve the above and other objects of the invention, applicants have developed a process for manufacturing multi-layer ceramic interconnect structures in which the nozzle is separated from the mask during extrusion of the conductive pattern on the greensheet and filling of via perforations in the greensheet while sufficiently confining the paste for maintaining the high pressures required by the process.
In accordance with another aspect of the invention a screening machine was developed in which the force applied to the nozzle in the direction perpendicular to the mask is dependent upon the setting of the pressure for the paste in the nozzle in order to maintain a clearance between the nozzle and the mask while maintaining the required paste pressures.
In accordance with a further aspect of the invention, a process for maintaining a clearance between a screening nozzle and a screening mask is provided, comprising the steps of applying a force to the screening nozzle in a direction perpendicular to a confronting surface of said screening mask, applying a pressure to a paste introduced through the nozzle into the mask and levitating a discharge end of the nozzle in relation to the surface of the screening mask by regulating said force applied to said screening nozzle relative to said pressure applied to said paste.
In accordance with another further aspect of the invention, a process for extruding a pattern of paste onto a substrate is provided, including the step of maintaining a clearance between a screening nozzle and a confronting surface of a screening mask, said clearance being sufficiently small to substantially contain a pressurized paste flowing through the nozzle and into the screening mask at the nozzle location for completely filling an intricate pattern in the mask for extruding said pattern onto the substrate and for filling perforations through the substrate to form vias.
In accordance with yet another aspect of the invention, a process is provided for controlling the clearance between a nozzle and a screening mask during extrusion of a pattern of paste onto a substrate, including the step of maintaining a predetermined relationship between a pressure applied to paste within said nozzle during extrusion of said pattern of paste onto said substrate and a force applied to said nozzle in a direction toward and approximately normal to said substrate such that, at an equilibrium, a predetermined clearance is maintained between said nozzle and a confronting surface of a screening mask overlaying said substrate.
In accordance with yet another aspect of the invention, a screening machine for depositing a thick film of paste in a pattern on a substrate for production of multi-layer ceramic interconnect structures, comprising a screen fixture with a surface for supporting the substrate in a predetermined position, a mask to provide a pattern for extruding paste onto a surface of the substrate, a mask frame for positioning the mask in relation to the substrate against the surface of the substrate, a paste nozzle for injecting paste into the mask for extruding the pattern of paste on the surface of the substrate, traverse means for moving the nozzle across the mask to inject paste into the entire mask, and adjustment means for maintaining a small clearance between the paste nozzle and the mask.
The foregoing and other objects, aspects and advantages will be better understood from the following detailed description of a preferred embodiment of the invention with reference to the drawings, in which:
FIG. 1 is a schematic diagram illustrating the proprietary screening process used without the invention of applicants;
FIG. 2 is a schematic perspective sectional view of a elongate opening in the mask for extruding a conductive trace line on the mask and showing the tabs bridging the opening to connect the mask sections;
FIG. 3 is a schematic diagram illustrating the process of the invention with the nozzle separated from the mask and means for applying a variable force dependent upon the paste pressure in the nozzle;
FIG. 4 is a schematic enlargement of the interface between the lips of the levitated nozzle and the mask schematically showing the forces applied to the bottom of the nozzle by the paste;
FIG. 5 is a graph indicating the relative normal force that must be applied to the nozzle to maintain a selected clearance in which each curve on the graph is dependent upon the paste pressure;
FIG. 6 illustrates the stacked greensheets within a container for applying pressure during the sintering process of the invention;
FIG. 7 illustrates the container of the greensheet stack moving through an oven section.
Referring now to the drawings, and more particularly to FIG. 1, there is shown schematically a proprietary screening process used without the invention of applicants. A high force is applied to nozzle 100 in a direction perpendicular to surface 108 of mask section 110 (i.e. normal to the mask), as indicated by arrow 102, to assure contact between rods 104, 106 of the nozzle and a confronting surface 108 of mask section 110 at contact lines 112, 114 respectively in order to contain pressurized conductive paste 116 in nozzle 100.
The pressure applied to the paste in the nozzle must be sufficient to completely fill gaps 118, 120 between mask section 110 and sections 124, 126 respectfully for extruding the desired pattern of paste on underlying planar substrate 128. The pressure must also be sufficient to fill perforations 130, 132 through substrate 128 to form conductive vias in the substrate.
The normal force applied to the nozzle is sufficient to overcome the force applied against the bottom of the nozzle between the contact points 112, 114 by the high pressure paste 116. The rods 104, 106 apply relatively high loads (not shown) perpendicularly against mask surface 108 at contact lines 112, 114 which results in high sliding frictional forces on the surface 108 of mask section 110 as the nozzle is made to relatively move along a path across the mask by appropriate drive means, indicated by arrow 134, to traverse the mask. The height of mask surface 108 may vary relative to the path 134 of the nozzle which causes variation in the normal force between the nozzle and mask surface and in the sliding frictional forces. These high forces result in wear and scoring of the mask and nozzle, can distort the mask, and can cause fatigue failures of the mask especially at the tabs 136, 138 between mask section 110 and mask sections 124, 126 respectively. Pattern quality suffers and early scrapping of the mask may result.
Occasionally, small particles such as particle 140, typically about one mil in size, tend to become wedged, as shown between the nozzle rods 104 and mask surface 108, which results in the application of extreme forces to the mask in the plane of mask section 110. These forces tend to fatigue and break tabs 136, 138 resulting in scrapping of the mask. Small particles wedged between the nozzle and mask may dent the mask and score the mask potentially causing a loss of paste pressure in the nozzle.
FIG. 2 illustrates a partial sectional view of a mask 150 showing two sections of a mask 152, 154 separated by an elongate opening 156 for producing a conductive trace line on a greensheet (not shown). Opening 156 is bridged by tabs 158, 160. The precise shapes of the side walls of the elongate opening and the tabs depends upon the materials and process used. The mask is typically 2 to 3 mils thick, and the tabs are typically 1 mil thick and only a few mils wide in order for paste to flow under the tabs so that the tabs do not result in opens in the conductive trace.
FIG. 3 illustrates screening machine 200 of the invention significant parts of which are schematically shown. Greensheet 202 is positioned on a mylar support layer 204 on a screen fixture 206 which is vertically movable to bring the greensheet into contact with mask 208 as shown. Mask 208 is a stationary stencil fixed to mask frame 210, 212 at mask surfaces 214, 216, preferably by bonding.
Pressurized conductive paste 220 flows down through nozzle 222 to the discharge end 224 of nozzle 222 into the volume between the nozzle and a confronting surface 225 of mask 208, and into the mask to extrude a conductive pattern (not shown) on greensheet 202 and to fill perforations (not shown) in greensheet 202 to form conductive vias through the greensheet. Motor 230 which is a servo control, stepper motor moves a shaft 232 against a spring load cell 234 to apply a force to nozzle 222. An output signal from load cell 234 is conducted via 236 to comparator 238. The force applied to the nozzle is set by adjusting control 240, which outputs a reference signal by means of connection 242. For example, by turning a dial (not shown) on control 240 to adjust a reference voltage on connection 242 which is thus applied to comparator 238. The force is set depending upon the pressure of the paste so that the force applied to the nozzle compensates for the force applied by the pressure of the paste between the mask and the nozzle when the clearance between the mask and nozzle is approximately 1 to 2 mils. That is, the force applied to the nozzle in the direction of the mask is set to be in equilibrium with the forces exerted on the nozzle by the paste pressure when the clearance between the mask and nozzle is in the range of approximately 1 to 2 mils. Therefore, the pressure of the paste is sufficient to levitate nozzle discharge end 224 above mask surface 225 with a clearance of 1 to 2 mils as nozzle 222 floats across the length of mask 208 in the direction shown by arrow 226. For example, if the clearance were to slightly increase beyond this range, paste pressure would be reduced and the force applied to the nozzle through the arrangement of motor 230, shaft 232 and load cell 234 would be sufficient to reduce the clearance until an equilibrium of forces was again reached within the desired clearance range and the paste pressure restored. Conversely, if the clearance were to slightly decrease, the paste pressure would increase and cause the nozzle to be raised until the desired clearance and equilibrium of forces was again reached.
In FIG. 4 the mechanism for maintaining stable levitation of nozzle 261 is illustrated in relation to a magnified view of the interface between nozzle lips 262, 264 of the invention and mask 268. The pressure of the paste flowing into nozzle 261 between lips 262, 264 at location 270 is set depending upon the mask and properties of the paste to minimize rejections. The pressure of the paste exerts hydraulic force on the interior and bottom of the nozzle lips 262, 264 as indicated for nozzle lip 264 by arrows 272 through 288. As indicated by the decreasing size of the arrows, the pressure and resulting forces decrease along the bottom of the lips between arrows 276 and 288 due to fluid flow effects depending on paste viscosity and clearance.
During application, the nozzle moves back and forth along the length of the mask. When the nozzle is moving in the direction indicated by arrow 290 a squeegee effect will cause the forces 276 to 286 to be higher and the forces at 292 to 294 to be lower than they would be without movement. When the nozzle moves in the direction opposite arrow 290 forces 292 to 294 will be higher.
When the clearance between nozzle lips 262, 264 and mask 268 decreases, due for example to irregularities in the mask, the flow between the nozzle lips and mask decreases. As a result the paste pressure along the bottom of the lips increases toward the level at 270 so that more force is applied to the bottom of the lip. As described above in relation to FIG. 3, load cell 234 reacts to the increased force causing motor 230 to activate for lifting nozzle lips 262, 264 to increase the clearance until the preset relative force corresponding to the desired clearance is achieved. Conversely, if the clearance increases then paste pressure against the bottom of the lip is correspondingly reduced, force decreases and the motor will activate to lower the nozzle. Thus, at equilibrium force conditions a stable clearance is maintained by maintaining a constant level of force between the motor and the nozzle.
The motor control system and nozzle configuration should be selected based on fluid flow and control system principles so that the force is maintained at a relatively constant level as the nozzle traverses the mask in order to prevent contact between the nozzle and the mask and prevent loss of paste pressure in the nozzle. Also, the clearance between the nozzle and mask should be approximately constant so that high quality patterns are consistently produced. However, some variation can not be avoided, for example, variation in force is required to activate the load cell.
Thus, the force applied by the nozzle to the mask, as described above in reference to FIG. 1, is eliminated, and therefore, the sliding friction force developed as the nozzle traverses the mask is also eliminated. The forces applied to the mask are limited to the pressure of the paste, and viscous shear forces applied parallel to the mask surface by the paste due to traversing the nozzle across the length of the mask. Thus, fatigue is reduced and scoring due to sliding contact is eliminated. Also, the occasional small particles (not shown) on the mask do not become wedged between the end of the nozzle and the mask because they tend to be smaller than the clearance between the mask and nozzle. Scoring, denting and breaking of tabs of the mask caused by such particle wedging is reduced. Nozzle 222 is automatically adjusted to follow small variations in the topography of the mask surface 225 due to the interactive control provided by load cell 234 and comparator 238. Because wear, scoring, denting and fatigue are reduced, less expensive materials and/or simpler manufacturing techniques may be used to produce the nozzle and mask. Slightly more paste 260 may remain unused on the surface of the mask, but improvements in pattern quality, nozzle life (or rework interval) and mask life more than compensate for the additional cost of paste.
Graph 330 in FIG. 5 illustrates the relationship between clearance 332 and load control settings 334 which are established empirically for each combination of mask pattern, nozzle configuration, paste viscosity and control system. These curves were established for the various paste pressures by injecting paste into the nozzle and varying the relative load on the nozzle while mechanically measuring the resulting clearance between the nozzle and mask. Clearance 332 is in inches listed along the vertical axis and control dial settings 334 which are listed along the horizontal axis of the graph 330 corresponding to output voltage signals for the selected control system which control the relative force or load applied to the nozzle by the motor. Curves 340, 342, 344, 346, 348 are provided for paste pressures of 50, 55, 60, 65, and 70 psi respectively. Using these curves, the control dial setting for the system can be determined which will maintain the desired clearance between the discharge end of the nozzle and the mask, which is preferably from 1 to 2 mils above the mask. For example, if paste pressure is 55 psi then according to curve 342 in order to maintain a clearance of 1 mil, the dial on the controller should be set to approximately 120.
FIGS. 6 and 7 illustrate the layering steps of the process of the invention. After the greensheet patterns are produced, the greensheets are positioned on a tray (not shown) and passed through hot air for drying the paste. Then the greensheets are arranged in stack 400 of FIG. 4, containing one or more greensheet layers. The stack is arranged within container 402 and inserted into oven 404 as shown in FIG. 5. Electric elements 406 in FIG. 5, positioned about oven 404, heat the oven, and the stack is sintered under the heat and pressure to produce a multi-layer ceramic interconnect structure.
Alternately, single-layer ceramic substrates may be produced by sintering a single layer under pressure and heat. Single-layer substrates may be produced with a different conductive pattern on each side of the substrate and with the patterns interconnected as required by vias. Such single-layer ceramic substrates may be utilized, for example, in a manner similar to circuit boards.
After a patterned greensheet layer is produced, the circuit pattern is tested and if necessary repaired in order to provide the highest possible yield for finished ceramic structures. Green lights on automatic test equipment (not shown) which use optical and partial electrical testing of the circuit indicate that no defects are detected. Circuits that receive green lights are accepted. Circuits, which do not receive a green light, are accepted if they pass a visual microscopic inspection. Circuits which do not pass the visual inspection are usually repaired by filling opens and/or by cutting shorts. Full electrical continuity is only tested after the multi-layer ceramic structure is assembled and sintered. Yield depends on this final full continuity test.
A machine of the invention was built and the process of the invention tested. Several test production runs were made using similar masks and multi-pass screening for comparing the machine and process of the invention with the current machine and process.
A production run of 439 greensheets using the non-contact process of the invention was compared with a production run of 635 greensheets using a contact process. The following table documents differences between the processes in green lights for automatic inspection of signal layers and for inspection for partial fills of vias.
As shown above, the number of partial fills of vias increases slightly for the process of the invention, but the change is not significant. More importantly, the percentage of patterned greensheets accepted based on green lights for automated tests increases by 2.0% by using the non-contact process of this invention. That is, the percentage of screening operations indicated to be successful by automated testing increases while the portion of the cost attributable to mask and nozzle wear is greatly decreased.
Another production run of 519 greensheets using the non-contact process of the invention was compared with another production run of 600 greensheets using a contact process. The following table documents differences between processes in acceptance by green lights for automatic inspection, acceptance by visual microscopic inspection, repairs of opens and shorts and final yield after full continuity testing.
As shown above, the percentage of patterned greensheets accepted based on green lights for automated tests increases by 1.8% and the percent of opens which required repair is reduced by 1.8% by using the non-contact process of this invention. The results of this test are favorable because opens are difficult to repair compared to shorts and not all opens are visible.
In both test comparisons total yield decreases slightly, but the change was not significant compared to cost savings expected due to extending mask life. These tests demonstrate that the process of the invention for improving mask life does not have other serious negative impacts on the production of the ceramic interconnect structures.
While the invention has been described in terms of a single preferred embodiment, those skilled in the art will recognize that the invention can be practiced with modification within the spirit and scope of the appended claims.
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|Sep 21, 2004
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|Oct 5, 2004
|Ttm Advanced Circuits, Inc.
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|Dec 20, 2001
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|Heated filling device
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|Aug 22, 2003
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|Fuji Machine Mfg. Co., Ltd.
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|Honeywell Advanced Circuits
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|Lee Bruce W.
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|U.S. Classification
|International Classification
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|European Classification
|Dec 29, 1999
|Fee payment
Year of fee payment: 4
|Feb 18, 2004
|Maintenance fee reminder mailed
|Jul 30, 2004
|Lapse for failure to pay maintenance fees
|Sep 28, 2004
|Expired due to failure to pay maintenance fee
Effective date: 20040730


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CHICAGO -- Despite a dropoff in donations to Second Harvest Food Banks, based here, Kraft Foods, along with retailers in 17 markets, will help feed the needy over the holiday season.
One reason for the shortage is that so much Center Store product is going to Central America for survivors of Hurricane Mitch, said Stacy Reineking, manager of media relations for Second Harvest. Industrywide efforts are under way to aid the United Nations World Food Programme, currently feeding 800,000 p

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Breast augmentation cup size
Candidate for a BA
See the below link on some suggestions on finding the most qualified Plastic Surgeon for
Any women desiring breast augmentation surgery is a candidate as long as there are no health problems present which would preclude her from having surgery. If the desired goal is to enhance or restore size and shape or to improve asymmetry, breast augmentation is a viable option. Breast augmentation can improve a body image, self-esteem, self-concept, and quality of life.
Ideal Candidates for Breast Augmentation
- Desire larger, shapelier breasts.
- Moderate degree of breast sag and smaller breasts, whose problem can be solved by enlargement.
- One breast that is noticeably smaller or is positioned differently than the other (asymmetry).
- Uneven chest wall or rib cage.
- Women requiring breast reconstruction following a mastectomy.
- Restore breast volume or shape following pregnancy, breast feeding and/or weight loss.
Learn more: http://drnichter.com/breast-augmentation/
Is it possible to change the shape of the breast and obtain fullness on top without increasing cup size?
You might also like...
Increasing Upper Pole Fullness
Yes, there are options to increase upper pole fullness without making your breasts too much bigger. A small implant placed under the muscle, or fat grafting to the upper pole, are both excellent options.
I recommend contacting your surgeon to discuss these options for you. Best of luck!
Implant options
There are many shapes and sizes of implant available, as well as different cohesivity or level of firmness. For my patients who want to fill out the upper pole of their breasts or reduce the look of deflation without significantly increasing the breast size, I recommend low and low plus projection implants. I recommend that you book a consultation with a board certified Plastic Surgeon to discuss your options. They will measure you, discuss your aesthetic goals and let you know what your options are.
Be sure to seek a board certified Plastic Surgeon.
All the best
Learn more: http://www.edelsteincosmetic.com
Fullness after breast lift
Learn more: https://www.itbecomesyou.com/breast-augmentation-louisville/
Breast size
All the best,
Learn more: http://torontosurgery.com/surgical/breast-augmentation-enlargement/
These answers are for educational purposes and should not be relied upon as a substitute for medical advice you may receive from your physician. If you have a medical emergency, please call 911. These answers do not constitute or initiate a patient/doctor relationship.


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The California Air Resources Board concludes its two-day monthly meeting, 8:30 a.m. at the Cal/EPA building on I Street, with a presentation on updates to the Low Carbon Fuel Standard. One of the centerpieces of the state's fight against global warming, the standard is being considered for re-adoption next year with a couple of amendments to its credit program.
Under the 2007 executive order by then-Gov. Arnold Schwarzenegger, fuel producers must reduce the "carbon intensity" of their products by 10 percent by 2020, taking into account the entire process – from growing corn for ethanol to shipping fuel to California.
The standard survived a legal challenge last month when the U.S. Supreme Court refused to hear a lawsuit brought by oil and out-of-state farm groups.
On Saturday, Assemblywoman Susan Bonilla, D-Concord, hosts a free soccer clinic for girls, led by players from the women's semi-professional team the California Storm, 10 a.m. at Arbolado Park in Walnut Creek. Assemblyman Rudy Salas, D-Bakersfield, will host a school supply drive, noon at the East Panama Road Rite Aid in Lamont.


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The Twilight Zone: Season 2 [The Definitive Edition] [5 Discs] [DVD]
- Release Date: 03/29/2005
Ratings & Reviews
Special Features
- Brand-new transfers -- Remastered from new high-definition film transfers using the original camera negatives and magnetic soundtracks
- Audio commentaries by Donna Douglas, Don Rickles, William Idelson, Bill Mumy, Cliff Robertson, Dennis Weaver, and Shelley Berman
- Excerpts of Marc Scott Zicree's interviews with Buzz Kulik, Douglas Heyes, Maxine Stuart, George Clayton Johnson, and Bob Serling
- Isolated music scores featuring the legendary Bernard Herrmann, Jerry Goldsmith, Fred Steiner, and more
- Twilight Zone radio shows
- Rod Serling promos for "Next Week's" shows
- Rare Rod Serling appearances: The Mike Wallace Interview, Tell It to Groucho, and The Jack Benny Show
- Complete script for "Twenty Two" with Rod Serling's handwritten notes
- Twilight Zone comic book
- And more
- Closed Captioned
Cast & Crew
- Rod Serling
Most Helpful ReviewsSee all reviews
Great showJanuary 7, 2017
I watch these shows over and over watching right now can't stop watching
I would recommend this to a friend
Amazing for the priceSeptember 3, 2016
For fans of old school thriller shows, this is a must have. This second seasons contains one of the best episodes in the whole series. The Howling Man introduces us to a person locked up in a monastery who, through the naivety of a gentlemen taking a walking tour who gets lost during a storm and winds up there, takes matters into his own hands concerning the howler. This episode, by itself is more than worth the $3.16 that I paid for the whole season dvds.
I would recommend this to a friend
Reviews Mentioning: Read all Reviews
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Rolls Royce Motor Cars, the UK-based manufacturer of luxury automobiles, sees India emerging as its most important market in the next five to 10 years, and is looking at using parent BMW's supplier network in India to source components.
The super-exclusive British marque, which sells cars on the basis of pre-determined quotas in low-volume markets, seems to have realised the potential of India, the second-fastest growing economy in the world. "We believe India will be the single most important market for Rolls Royce in the next 5-10 years," said Tom Purves, the chief executive of the company.
Mr Purves said the market for his cars is shifting from the West to the East with markets such as India and China contributing more to its growth. Rolls Royce cars are custom-made at its Goodwood factory in the UK, and the talk of sourcing components from a foreign country is a first for the carmaker.
"We're open-minded, and being within the BMW group network, we have access to all the purchasing power the group has and engineering opportunity that exists," Mr Purves said.


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My wife is being taken care of by Gentiva. They're close to our home, and the nurses that they send are in our city, which helps a lot, and very qualified. They do all they need to do including taking vitals, clean up, medicine set up, and lab work; basically everything she normally gets if she were in the hospital. They're doing just what we need. They get along very well with me, keep me informed, and take care of any lab work that has to be done when my wife is not in the hospital. I don't think I can ask for anything more. We've spoken to other healthcare agencies, and we've had some experiences with other agencies, but this is the best.
Gentiva Health Services San Jose, CA
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Reviews of Gentiva Health Services | San Jose, CA
May 11, 2016
I am a current client of this provider
May 06, 2015
I am a past client of this provider
This one was local for me, and there wasn't any specific reason why we chose Gentiva. It was our first time to use it in our area, and they were very good. The caregivers were perfect. I didn't have any problem with the scheduling or billing either.
July 12, 2013
I am a past client of this provider
We have been using Gentiva Home Healthcare off and on for about three years now. We used them for my husband and one time for me when I had a very bad fall. They came and took care of me. My doctor's office chose them for us. We said we needed home health care and they sent Gentiva Home Healthcare. What we had was a physical therapist, an occupational therapist, a nurse and a home health aide. All of these people were very knowledgeable in their profession. They were very caring and attentive. They really create a program around their patients/clients. They were also upbeat and happy which I think patients need to see - smiles and laughter. I can't say enough good about them. I would recommend them to others.
Features of Gentiva Health Services
Medicare (ratings last updated: 06/11/17)
- Overall:
- Medicare Provider Number: 557052
- Ownership Type: Private
- Date Certified: 08/02/1989
- Services offered: Nursing Care, Physical Therapy, Occupational Therapy, Speech Pathology, Medical Social, Home Health Aide
Quality of Service
Timeliness of providing service92.3%
Taught patient or caregivers about their drugs98.5%
Checked patient's risk of falling100%
Checked patient for depression97.6%
Checked for flu vaccination90.5%
Checked for pneumonia shot93.5%
Provided diabetes specific care including getting doctors orders, giving foot care, and teatching patients about foot care98.6%
How often patients had less pain moving around80.4%
How often home health patients had to be admitted to the hospital14.4%
How often patients receiving home health care needed urgent, unplanned care in the ER without being admitted10.8%
How often home health patients, who have had a recent hospital stay, had to be re-admitted to the hospitalSame As Expected
How often home health patients, who have had a recent hospital stay, received care in the hospital emergency room without being re-admitted to the hospitalWorse Than Expected
Patient Improvement
Walking or moving around72.5%
Getting in and out of bed67%
Wounds/healing after an operation93.4%
Medication compliance57.6%
About Gentiva Health Services
Gentiva Health Services is a home health agency serving San Jose, CA and the surrounding area. Gentiva Health Services offers around-the-clock medical and non-medical care in the home. Contact the agency for more details on services and rates.
Request Info


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Nem ran (called cha gio in the south) is a much-appreciated speciality, although it is very easy to prepare. Since long ago, nem ran has been a familiar dish on the menu at all households during the New Year's festivities, at family parties, and at receptions.
The stuffing of the nem ran is comprised of mince pork, sea crabs, eggs, minced Jew's ears, thin-top mushroom, dried onions, bean-sprouts, pepper, spiced salt, etc. The mixture is then rolled in flat rice cakes and fried in a pan until crispy.
Nem are eaten hot with a sauce that it is, at the same time, somewhat salty, sweet, acidic and scented (with the flavours of onion and pepper). Papaya and a few fresh scented vegetables are added.
By itself, the name "silky lean meat paste" evokes thoughts of the silky aspect of this speciality. Gio lua is made with lean pig meat, which is pounded with a pestle until it becomes a sticky paste. Fresh banana leaves are tied very tightly around the paste, and then it is well cooked. Goodgio lua has a fine white colour, is firm, and has a perfumed and sweetish taste.
Gio lua may be obtained anywhere in Vietnam, but the best gio lua is from Uoc Le Village (Hanoi), where the know-how for Gio lua is strictly kept so as to allow no secrets of the job to flow out from Uoc Le. Slices of Gio lua are slightly pink, moist, and sweet-smelling meat, fish sauce and banana leaf.
Pho, a typical dish of Hanoi people, has been existing for a long-time.
Pho is prepared not only in a sophisticated manner but also in the technique which is required to have sweet but pure bouillon, soft but not crashed noodle, soft and sweet-smelling meat.
Only in cold days, having a hot and sweet-smelling bowl ofPho to enjoy, would make you experience the complete flavor of the special dish ofHanoi.
Dishes made of soft noodle soup are diverse such as vermicelli and fried chopped meat, Bun Thang, vermicelli and sour crab soup, stewed vermicelli and boiled lean meat, etc. The popular dish is vermicelli and sour crab soup whilst Bun Thang is for con-noisseurs, unique and available in Hanoi only. A bowl of Bun Thang includes lean pork paste, thin fried egg, salted shredded shrimp, chicken, onion, shrimps paste, and a little Belostomatid essence. Especially, Bun Thangbouillon made from shrimps and meat must be very sweet and pure. Without enjoyingBun Thang when arriving to Hanoi, it somewhat seems to lack of a part of taste ofHanoi.
Snail dish is a popular but unique dish of Hanoi people. It is easy to order some dishes like snail steamed with ginger leaf, gingered snail, snail sauted with carambola, snail boiled with lemon leaf, snail steamed with Chinese herbs, and so on, in many small restaurants, restaurants, and even hotels.
However, vermicelli and snail sour soup is the most attractive to young ladies because of brittleness by snails, the slightly sour taste by snail soup, and hot by chilly boiled down, making even gorged people keep eating.
Every autumn, around September and October, when the cool north-westerly wind brings a cold dew, the sticky rice ears bend themselves into arches waiting for ripe grains because these rice grains are at their fullest and the rice-milk is already concentrated in the grains, predicting that the com season has arrived.
Better than any other person, the peasant knows when the rice ears are ripe enough to be reaped to begin making com. Com is made from green sticky rice that is harvested in blossom period, roasted in many times, crashed and sieved.
Com is a speciality; at the same time, it is very popular. One can enjoy com with tieuripe banana. When eating com, you must eat slowly and chew very deliberately in order to appreciate all the scents, tastes, and plasticity of the young rice.
Com is an ingredient also used in many specialities of Vietnam, including com xao(browned com), banh com (com cakes), che com (sweetened com soups), etc.
Com may be obtained anywhere in the North of Vietnam, but the tastiest com is processed in Vong Village, 5km from Hanoi, where com making has been a professional skill for many generations.
Cha ca La Vong is a unique specialty of Hanoi people, therefore one street in Hanoi was named as Cha Ca Street.
Cha ca is made from mud-fish, snake-headed fish, but the best one is Hemibagrus (Ca lang). Fish bone is left away to keep fish meat only, then seasoning, clipping by pieces of bamboo, and frying by coal heat. An oven of coal heat is needed when serving to keep Cha ca always hot. Cha cais served with roasted peanuts, dry pancakes, soft noodle soup, spice vegetables and shrimps paste with lemon and chilly.
The Cha ca La Vong Restaurant on No.14 Cha Ca Street is the "ancestor restaurant" of the dish.
Banh cuon is popular to Vietnamese as disk for breakfast. The cake preparing process includes grilled rice which is steamed and oil-spread to have sweet-smelling. Banh cuonis prepared available. Leaves of cake put on plate as the customers ask for the disk. The cake is called Banh cuonThanh Tri due to its origin is Thanh Tri Village of South Hanoi. Besides Banh cuon Thanh Tri, there is rolled rice pancake with the filling of the cake is made from minced pork mixed with Jew's ears and thin-top mushrooms. The cake, placed on plate, serve with salted shredded shring and fried dry onions. The customers immediately experience the disk as it is just finished and stilI very hot.
It is the sauce of the cake that fascinates the customers. The cake-makers have their own know-how, some of them prepare Banh cuon with Belostomatid essence to have sweet -smelling to attract to the customers.
Anyone who arrives in Lang Son Province could find it difficult to say no to Lon quaydish. Lon quay Lang Son is delicious for many reasons, however, the main specific taste of the dish comes from the unique flavor of a kind of leaf called "Mac mat" (meaning "sweet leaf"). The leaf is soaked with spices, fish sauce, glutamate, flavoring powder, then stuffed into clean pig belly and placed on reverted furnace. Pig is fried the spread with watery honey so as to make the skin turn golden and brittle, and pork is soft and sweet-smelling as finish.
All people who used to live in Hanoi are familiar with Banh tom Ho Tay Restaurant on the Thanh Nien (Young) Street. The cake preparing process includes wheat flour mixed with potato fibres, placing on shape with shrimps upper, then fried with oil. The cake is brittle, soft, sweet-smelling, and served with vegetable pickles and sweet and sour fish sauce for best taste.
Banh beo is a specialty and indispensable in Hue City.Banh beo is delicious with its core stuffed with small shrimps and sauce made from a mixture of fish sauce, sugar, garlic, chilly and fresh small shrimps, watery grease. Therefore, it offers customers with sweet, buttery and smelling flavors. Without delicious sauce, the cake would become worthless. When serving, it is required to use a tool called Que Cheo (bamboo folk) to pass through the cake, cut into pieces, prick and eat. Customers would be impressed forever with having Banh beo in a green garden while listening to Hue folk song coming from the Perfume River.
Preparing Bun bo gio heo is very skillful. Pig leg is clean-shaved, chopped into even slices with adequate bone, meat and skin, mixed with lean beefs, and soaked with salt, pepper, fish sauce, dry onion and spices.
Bun bo gio heo is proper with all appetites. Even diet people could enjoy the sweet-smelling of beef with less fat of pig leg so as not to be fed up with as serving. Bun bo gio heo is delicious anytime you have it. You could enjoy this specialty of the Central region on Hue City.
Anyone who used to experience the dish would never forget such simple cake made from grilled rice cake and Cray fish only.
The cake must be as thin as a leaf but flexible enough. Cray fish must be brittle and sweet. Serving with long jawed anchovy sauce.
Banh la cha tom does not as heavily smell as the majority of the other dishes but gentle, elegant and attractive to customers
Com hen has a sweet-smelling flavor of rice, onion, and grease, as well as strange tastes of sweet, buttery, salty, sour, bitter, and peppery-hot. You have to arrive to Hen river-islet in the Perfume River to have the original Com hen. However, you can find out the dish on some streets inHue City. It requires 15 different raw materials to prepare for the dish, including mussel, fried grease, watery grease, peanuts, white sesames, dry pancake, salted shredded meat, chilly sauce, banana flower, banana trunk, sour carambola, spice vegetables, peppermint, salad, etc.
Com hen is always attractive to many customers because it is tasty and, at the same time, economic to anybody.
Cao lau as a dish has its "own kingdom", therefore, customers are likely to be served with it only in Hoi An.
Cao lau noodles are carefully made from local new rice not stocked one. Water used to soak rice must be taken from wells in the Ba Le Village; noodles thus will be soft, enduring and flavored with special sweet-smelling. In addition, meat used to prepare for Cao lau must be loin or trotter.
Dry pancakes used must be thick and have much sesame. Greasy coconut quintessence and bitter green cabbage are also indispensable. The so-called genuine Cao lau Hoi An must satisfy all above requirements.
Coming to the Central region, you are offered with the service of Banh trang cuon thịt heo.
A big plate of fresh vegetables with a peppery-hot red chilly, a plate of boiled lean and fat meat, a bowl of fish sauce, and a plate of dry pancakes are displayed on the dining table. Customers have to serve themselves with all of the 10 substances mentioned above.
Banh trang cuon thịt heo is considered as not only a daily dish but also likely an artistic specialty of the Central citizens.
Similar to rice noodle and chicken or pork soup (Hu tieu),My Quang is a variety of Pho (rice noodle soup), because the noodles are made from rice and soused with soup as serving. The soup sauce, which is added, comes from a mixture of flavor from beef or pork bone, shrimps, crabs, chicken and duck. The noodles are yellow, somewhat distinct from Pho. However, the main reason for having this color is to be in hannony with the colors of shrimps and crabs.
The best My Quang is made from rice in Phu Chiem, shrimp in Cho Dai and spicy vegetables in Tra Que. As a strict selection of substances to prepare, My Quang has been dominant in almost all of culinary markets in the Central provinces and expanded to Ho Chi Minh City with a high qualification of a Quang Ngai's specialty.
A round plate of Xoi chien phong, placed next to a plate of buttery roasted chicken, is always attractive to anyone. A lump of sticky rice will become a plate of Xoi chien phong as big as a grape-fruit by talent chefs. In the past, Xoi chien phong was offered only in the Binh Duong Restaurant, Dong Nai Province. At present, you can taste the dish in star classified hotels in Ho Chi Minh City.
At present, Lau mam folk dish in the past hundred years - become a luxurious specialty in the South. Chau Doc fish sauce made from fresh-water fish, a kind of sweet- smelling and greasy fish, which must be as required to have a delicious Lau mam dish.
Substances to prepare for Lau mam, including fresh food-stuffs such as snake-head fish, "keo" fish, pork, peeled shrimps, eel, beef, and so on, accompanied with at least 10 kinds of vegetable, sometime amounting to 24 kinds of vegetable. They include water-lily, egg-plant, balsam-apple, straw mushroom, bean sprouts, chilly, etc.
When boiled, the flavors of the sauce, which is mixed with citronella, chilly, vegetables, fish, shrimp and meat, are very sweet-smelling. Lau mam roam is scoop out into bowls and served with soft noodle soup, simply but deliciously.
Goi buoi is available at the majority of famous restaurants in Ho Chi Minh City. The major substances to prepare for the dish include shaddocks mixed with fresh shrimps, pork, and dry cuttle-fish. The dish is originated in Miet Buoi, Bien Hoa City.
Goi buoi dish is especially flavored with slightly sour, sweet, peppery-hot and buttery tastes. It is also added with spice vegetable, white sesames, coconut and dry cuttle-fish. Therefore, the dish will be appeared on dining table as a fresh colorful picture and attractive to customers.
"Tai tuong" fish is classified as a kind of luxurious food-stuffs.
The fish is as white as chicken, delicious and sweet smelling but not crushed. There are two ways to prepare for the dish: Boiled down or bloating fried.
In bloating fried way, pour plenty of oil into pan, wait for the oil to boil before placing the fish in. In boiled oil, fish scabs would be raised up as porcupine's feathers. As serving, place the fish on to the plate, arrange boiled quail eggs around with, fried potato, fresh onion and tomato slices at the edge, season with chilly.
Finally, pour soup and sprinkle fried peanuts and crashed onion on to the fish. The dish is served with sour and sweet sauce of fish. Ca tai tuong chien xu is an unique and luxurious specialty in the South.
The Southern villagers in countryside areas usually have fried fish in the field. They use a bamboo piece to cross through the fish. Pitch the head side to ground, pile up rice straws at the wind-swept place to smoke fish.
As serving, use hand to remove the burned fish scabs. Fish will become as white as chicken. Place the hot fish on a lotus leaf, take up each piece of fish and dip it in peppery salt, squeeze with some lemon drops, roll in fig leaf or sesame young shoot to experience the dish. Bowl and chopsticks are not necessary. At home, the dish can be served with dry pancake, soft noodle soup and vegetables. Ca nuong trui is a dish that accompanies drinking. It is popular and exciting.
Fish, which used to prepare for the dish, can be catfish, anabas or snake-head fish. Necessary spices include dry garlic, fresh lemon, onion, chilly, sugar, glutamate, fish sauce, grease, and a spoon of pepper and wine.
Although Ca kho to is a popular dish in the South, it is also a cheap specialty. As serving, pick up fish to other bowl, boil the bowl of fish on a low fire and sprinkle some peppers to have sweet-smelling: Keep fire when serving, Ca kho to can be served with such boiled vegetables as shallot, white cabbage, spinach to dip in Ca kho to sauce. It is more convenient to serve it with pickles such as vinegary beet or green pineapple.
The Westerners, especially those in land-locked countries, usually appreciate the dish as soon as they firstly experience it.
At parties, a plate of bright red Cua rang muoi is usually acted as aperitif. Customers suddenly feel sweet-smelling of spices and delicious buttery flavor of crab at the same time. Highly qualified chefs in Vung Tau coastal area usually select brackish water crabs with much meat and liver-pancreas. A delicious crab dish also depends on the soup, added to frying crabs in pans, including star aniseed, cinnamon, cardamom.
The connoisseurs immediately experience the dish as it is still very hot, mixed with some lemon drops.


text: [#DiorRob] Yup, I've already blogged Dior Rob last week. The video blows my mind. Then I thought hold on a minute, I haven't blogged the stills. I mean anyone who is as obsessed with Robert Pattinson as me MUST SEE THE STILLS. My gift to you x Advertisements Share this:ShareTwitterFacebookPinterestTumblrLike this:Like Loading... Related


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Gimp Open source image-editing software you can get your teeth into
Gimp: Creative Gimp can do more with text than you might think, as our graphics guru Michael J Hammel demonstrates with his two beautiful assistants.
Our expert Michael J Hammel is a contributor to the Gimp project and the author of three books on the subject, including his latest, The Artist's Guide to Gimp Effects.
imp is first and foremost a tool for working with raster images. Most desktop users will prefer to work with Gimp when dealing with their digital photographs but might choose other tools like Inkscape or Scribus when working with text. But don't be fooled: Gimp does a great job with text effects, and in ways that most people might think can only be done with vector applications. This month I'm going to walk you through a little trick with text that my wife found in a design magazine. In that tutorial the process was handled using InDesign. InDesign, for those who don't use it, is a vector layout tool. It does clever things with text using boxes to align and block objects within the layout. This particular effect, which you can see in the cover image for this tutorial, turns out to be even easier in Gimp than described in the original InDesign tutorial. Projects like this have important periphery components beyond just the text. This design requires a source image that has sufficient colour and contrast. Without colour and contrast the shapes within the image won't be recognisable through the text. The project also requires a suitable font. The font needs to be thick and should not use any serifs. Serif fonts will make the final image appear cluttered, and in most cases won't allow as much detail from the source image to show through, even when bold versions of the serif font are used. It can also make it difficult to recognise the text from the image.
The goal of this project is to map an image on to text but keep the original image recognisable. Gimp's text features make the actual design something that can be done in a few minutes and with a limited set of steps. So before we dive into that, let's take a look at some of these periphery issues involved when working on similar designs.
Select a stock image To start the project, visit one of the many low-cost stock image sites and search for a human portrait. The picture we want needs to include two important features. The first is a solid coloured background. A cluttered background will make it harder to identify the subject of the image when we apply our text effect. The second important feature is a fair amount of colour contrast. An all-black image would work just fine, but would end up being nothing more than shadow-filled text. For this project I selected a woman in a black dress with enough skin tones to provide some colour contrast. We'll add to that contrast with a soft vignette a little later. When selecting stock images you should be aware of licensing issues. If the image is of inanimate objects, you're generally safe. If the image shows a recognisable face, then you'll need to make sure the publisher of the photo (whoever uploaded it) has obtained a model release from the subject of the image. Without the model release, you can't use the image in published work.
Last month In last month's column, author Michael J. Hammel talked about using 90 Linux Format October 2008
LXF110.tut_gimp 90
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Gimp Tutorial
design All three text samples are set to 18 pixels with -5 pixel line spacing and -2 pixel tracking.
The seated woman has a low contrast between background, skin and dress; the dancing woman is a much better image.
Fortunately, most stock image sites will either require the photographer to submit the model release or let you know if no model release is available.
Working with comps So you've scanned a few hundred images and found a few that might work. How can you tell how well they'll work? The answer comes from working with comps. A comp is a small version of a stock image that typically contains a watermark. Most of the stock image sites will allow you to download a comp or, if they don't explicitly offer them, will have large enough sample versions for viewing that you can download without paying for them. Comps are for experimenting. They're often too small to use in final projects and would be inappropriate considering the watermark. But they're useful for testing an idea. The testing for this project requires only that we use a smaller font size that what we'll use in the final project. I used comps of several images before selecting the final image of the woman in the black dress. If the comps are too small you can double the image size for the experiment even if that pixellates the image. This effect works best with thick, straight-edged fonts. Script fonts don't show the image very well, even when a bold face is
used. In this tutorial I'm using the bold version of the Tahoma font but any sans font, probably using the bold face, will suffice. The first Gimp-specific tip for this tutorial is related to the Text tool options. Select the Text tool and then open the Tool Options dialog (Dialogs > Tool Options). Just above the button labelled 'Text Along Path' there are three options. These options are for, top to bottom, Indent, Line Spacing and Tracking. We won't be using the indent option but we do want to use the other two. We want the value in Line Spacing made smaller (to negative values) so that the lines of text will be as close as possible without overlapping. Tracking sets the space between letters. This is similar to kerning but is not exactly identical. Again, the technical explanation is not important here. We just want to reduce this setting (also to negative numbers) to reduce the space between letters – the closer the better.
Quick tip Scan multiple stock photo archives, such as BigStockPhoto.com, iStockPhoto.com and Stock.xchng (www.sxc.hu).
Adding a vignette The first thing we want is to add a soft vignette. This will make the final image a little more colourful while keeping the woman's shape recognisable. To do this, we add a transparent layer above the main layer (Layer > New) and name this new layer Vignette. Select the Elliptical selection tool from the Toolbox and in the image window draw an oval selection around the girl. Feather the selection (Select > Feather) by 100 pixels. Choose a warm colour for the foreground colour by clicking on the foreground colour box in the Toolbox. I'm using RGB values of 231/127/35 for this tutorial. We now need to add a radial gradient inside the circle. Choose the Gradient tool from the Toolbox. In the Tool Options dialog (Dialogs > Tool Options) set the Gradient to 'FG To Transparent' and the Shape to 'Radial'. In the image, click and drag from the middle of the selection to just past the top of the selection. Set the vignette layer's mode to Multiply. At this point I add a little noise to the gradient for an artistic effect, but this step is optional. To add the noise, select Filters > Noise > HSV Noise and set the Holdness to 2, the Saturations to 255 and the Value to 255. The default setting for Hue (which
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Choose a warn colour for the vignette, to add some extra contrast to the final image – this really helps in the white areas of the source photograph.
Quick tip Vignettes are an easy way to add colour to highcontrast, lowcolour photos.
should be 3) should not be changed. Then apply this to the Vignette by clicking on the OK button. The noise will only be applied within the selection and only to coloured pixels – not transparent ones. You can clear the selection now (Select > None) and merge the Vignette and background layers (Image > Flatten Image).
Adding a text layer The crux of this tutorial is to use text as a mask over the image. To do this, start by resetting the default colours in the Toolbox (the small black and white boxes below and to the left of the larger black and white boxes). Then create a text layer filled with random words. Choose the Text tool from the Toolbox and click in the image. This will open up the Text Editor window. In this window, paste a large amount of text. So what text should you use? I first copied 1,500 words from the Lorum Ipsum generator into a 100-character-wide text terminal. I then used the Vi editor to remove all line breaks (Shift+J on each line, making one long line) and mapped the text to fit the window with line breaks (In Vi: G+Q+J). If this isn't long enough, join all the lines again, copy and past below it to extend the text. The select and copy this text into the Text Editor window. Using a 100-character-wide terminal allowed me to create text that would
Any noise you add to the vignette might not be visible in the finished image (this depends on the font thickness).
be wide enough to cover the image but still include line breaks which Gimp needs to block the text. Pasting the text will update the image window immediately. You can now close the Text Editor window. In the Tool Options dialog you're ready to set the font, size, line spacing and tracking as mentioned previously. Choose the font and size before changing the spacing and tracking. Remember I used Tahoma Bold, which you can find in the Corefonts project on SourceForge. You'll also want the text in black so you can see it in the image window. Set the line spacing to -5 and the tracking to -3. This is sufficient to push the letters up against each other horizontally and vertically without overlapping, at least for this specific font and size.
Getting the source images The source images from this tutorial were purchased from BigStockPhoto for $2 each. The image IDs are Pretty Dancing Woman (black dress): 1716725 (size: 1066 x 1600) Sunflower Girl: 2861058 (size: 900 x 900) Pixel amounts specified in the tutorial are based on these source image sizes. Cows do not require a model release.
Initially the text will not be aligned with the rest of the image, but we'll fix that with the Align Tool.
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The text layer is much larger than the canvas window (which has been zoomed out to show the text layer boundaries).
Keeping multiple versions of the text layer and masks lets you compare the masks and return to the version that looks best without having to recreate it later.
Now align the text layer with the Align tool (it looks like a box with arrows pointing away from all four sides). Click on the image window over the visible text. This adds the text layer to the set of layers to be aligned. Hold the Shift key down and click on the background layer (the woman in the dress) in the image window to add it to the layers to be aligned. Now the text layer and the background layer are included in the set of layers to be aligned. You can tell this is the case by looking for small black boxes at the corners of each layer that will be included in the alignment. In Layers dialog make sure the background layer is the active layer, and in the Tool Options dialog, set the 'Relative To:' menu to Active Layer. In the Tool Options dialog there are two sets of six buttons that look identical. The first set are for alignment (the
other set is for distribution, which we aren't concerned with here). Click on the horizontal and vertical alignment buttons, which each look like two arrows pointing to a central line, which is either horizontal or vertical. Now the text is aligned over the image. Resize the canvas to fit the text layer, zoom out and shrink-wrap the window (Ctrl+E) around the canvas.
This is the final image, except that you may want to adjust the position of the mask over the background image.
Create a mask layer
Quick tip Generate lots of random text using the free Lorum Ipsum generator: www.lipsum.com
Now we're ready to create our mask. We start this process by adding a White layer to the image (Layer > New, set Fill Type to White). Drag this layer into the Layers dialog below the background layer. At this point you should drag the text layer below the background layer too. Click on the Text layer in the Layers dialog to make it the active layer, then create a selection of the text (Layer > Text to Selection > Text to Selection) and invert the selection (Select > Invert). This provides a selection of everything except the text. Click on the White layer you just added to make it active. Create a copy from the selection (Edit > Copy) and then paste the copy (Edit > Paste). This creates a Floating Selection layer in the Layers dialog that must be converted to a new layer manually (Layer > New). What you've done here is to paste a white layer with the text stamped out of it over the source image. Where the text was stamped out, the source image shows. Turn off the visibility of the Text layer by clicking on the Eye icon to the left of the layer thumbnail in the Layers dialog. Click on the background layer in the Layers dialog to make it the active layer. Choose the Move tool from the Toolbox. Hold down the Shift key and click and drag in the image window to move the woman and vignette around under the mask. Moving the source image around under the mask may not be enough to get a good result – you may need to adjust the text layer font size, tracking or line spacing. You may even need to try a different font. If any of this becomes necessary, turn off the visibility of the mask layer first and then duplicate the Text layer. Duplication is necessary so you keep a copy of the last settings. Adjust the font settings in the text layer duplicate. Then repeat the selection, invert, copy and paste process to create a new mask. LXF
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Published on Jan 28, 2010
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Partners in Health Care: During a 47-year career in health care, Stephen Williams has been at the forefront of change
When Stephen A. Williams joined what today is Norton Healthcare Inc. 35 years ago, the company had about 4,000 workers at a handful of facilities across the state.
Today, the organization has more than 12,000 employees at about 140 facilities, including hospitals, urgent care facilities, primary care offices and specialty providers, placing it among the largest health care providers in the state.
Williams, who is being recognized this year as Business First's Partners in Health Care Pioneer, has worked in the health care industry for 47 years, including nearly 20 years as the president and CEO of Norton and its predecessor, Alliant Health System.
The size of health care organizations isn't the only change the Kentucky hospital industry veteran has seen during his career.
When Williams joined Norton, technologies such as MRIs, CT scanners and electronic medical records didn't exist. Today, they are critical parts of Norton's expansive health care system.
Over the years, Williams, president and CEO of Norton Healthcare, has accumulated a lot of knowledge and become a seasoned leader, both inside and outside his organization.
And he has become sort of the dean of the hospital community statewide, said Michael Rust, president of the Kentucky Hospital Association.
Rust said Williams is well-respected among hospital leaders across the state and has been active in the association and the industry.
"He is a great thinker," Rust said, adding that Williams has worked in policy development related to the state's Certificate of Need process and helped advocate for quality-improvement initiatives among KHA members.
Rust also noted that Williams has served on the board of the American Hospital Association, as chairman of the regional policy board for the AHA and is a past chairman of the board for the KHA.
"Steve is one of the smartest people I know," Rust said. "In terms of looking at a situation and an issue and looking at all sides of it, he is always listening."
Quality concerns
Williams noted that these days, many organizations stress the importance of measuring quality and customer satisfaction and making organizational changes that improve efficiency and operations.
This growing trend is even more prevalent in health care organizations as a result of changes called for in the federal Patient Protection and Affordable Care Act.
Last year, the act began linking health care reimbursements for Medicare patients to quality and performance measures.
For many health care organizations across the country, this fundamental change in the way they think about measuring and improving quality could be disruptive. But for Williams, it is a continuation of how he has been working since he joined Norton.
For many years, Williams said, he worked in executive-level positions at Alliant that focused on improving quality and efficiency across the organization — a quest on which his mentor, the late James Petersdorf, a former president of Norton, started Williams in the 1980s.
Now, with quality being discussed nationally as the answer to reining in rising costs and improving patient outcomes, Williams said he believes the industry finally is on the right track, though he acknowledges it will be difficult.
"The business of health care has gotten much more daunting," Williams said.
He added that he often describes the preparation process for the impending changes in the way hospitals are paid — including incentives for increasing quality measures overall for a population of patients in their care — as changing the engine of an airplane while it's in flight.
"But I think it's the right thing to do," Williams said.
Quality improvement for the right reason
That phrase, "it's the right thing to do," is one that Maria Hampton, chairwoman-elect of Norton's board of directors, has heard many times over the years.
Hampton said it's the way Williams often responds when faced with difficult but necessary decisions.
Hampton, vice president and senior branch executive of the Louisville branch of the Federal Reserve Bank of St. Louis, has served on the Norton board since the late 1980s, she said. During that time, she has become friends with Williams.
Thinking back, she said, she recalls talking with Williams about quality improvement when both were starting their careers. Hampton was a young banker, and Williams was a young health care executive working under Petersdorf and former Norton CEO Wade Mountz.
Hampton said she too was interested in quality improvement — a buzz phrase in the 1980s for finding ways to cut costs by improving efficiency. For her, it offered a way to improve her bank's bottom line.
"I was hanging around Steve in those days," Hampton said. "He'd say, 'We will always have a laser-like focus on quality because it's all about people's health.' Now, I find it interesting and purposeful that the government is going to pay based on that."
Sharing internal measures
Hampton added that it was a big step when Williams pushed Norton Healthcare to launch an online, public quality report in 2005.
Initially, the report included 223 indicators of clinical quality and patient safety. Also that year, the company began reporting its financial report on its Web site, including the company's balance sheet, statement of operations and changes in net assets, statement of cash flows and community service report.
At the time, Williams said it was part of the nonprofit organization's effort to be a good steward of the community assets it operates.
In 2011, Norton received the National Quality Healthcare Award from the National Quality Forum. It was the first Kentucky organization to receive the award, which recognizes an organization that achieves goals in quality improvement, performance measurement, transparency and accountability, care management and public reporting.
"When we started putting quality measures online, it was scary," Hampton said. "But you kept hearing (from Williams), 'it's the right thing to do.' That was very motivating."
A career marked by accomplishments
Williams credited Petersdorf and Mountz, who were the leaders of the Norton organization, when he joined the company in December 1977 and strong boards of directors with preparing him for the changes he has faced during his career.
Among the most notable changes for the company, which is Louisville's largest health care provider, was the 1998 purchase of four hospitals — Suburban, Audubon, Southwest and Spring View — from Columbia/HCA Healthcare Corp.
The purchase significantly increased the size and scope of the organization, which later was rebranded to Norton Healthcare from Alliant.
Spring View, in Lebanon, Ky., later was sold to LifePoint Hospitals Inc., but the three others became significant parts of the company's growing health care operations.
Audubon remains a strong hospital in the central part of Louisville, Williams said.
Southwest was closed by Norton in 2006, and Norton sold the property, but its licensed beds were relocated to create Norton Brownsboro Hospital in northeast Louisville.
And Suburban is undergoing a nearly $90 million expansion and renovation to become Norton Women's Hospital and Kosair Children's Hospital – St. Matthews.
Other significant recent changes under Williams' tenure include:
• The 2011 opening of the $26.4 million Norton Cancer Institute downtown;
• The 2012 opening of Kosair Children's Medical Center – Brownsboro, an outpatient care center and emergency department for pediatric patients;
• And a decision in 2009 to invest $100 million over 10 years to improve and expand neuroscience care.
Changes continue
Still, Williams said, he can't point to a time when there were more changes coming than now.
In addition to trying to meet the goals stemming from the health care reform legislation, the company is investing about $65 million in a systemwide health records system that is changing the way its staff and clinical workers document and store patient records.
The expected changes in reimbursements also have led Norton to discuss more clinical partnerships, affiliations or mergers with providers such as Clark Memorial Hospital and Scott Memorial Hospital, which now runs under a joint venture with LifePoint, a Brentwood, Tenn.-based hospital company.
The goal, Williams said, is to create a network that allows the company to treat patients more efficiently and serve more people across the region.
The theory, he said, is that by improving quality and sharing best practices, the overall cost of health care will decline — or at least will rise at a slower pace.
"The time has come," he said. "We don't have a choice. Left on its own trajectory, (health care costs) will break the economy."
Nevertheless, Williams said, "it's a great time. At the end of the day, we are going to be incentivized to do the right thing."


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Today, there are many people who work from home. There are freelancers whose entire career consists of working from home. The best way to ensure productivity while you are working from home is to turn off the "time wasters". Before you can do that, you must identify the things that are slowing you down.
Social Media
Social media can be tricky for freelancers. Writers and bloggers are often working on assignments that require them to write about the "hot topic" of the day. Social media, especially Twitter, has become the go-to for the latest news. The goal is to find the news as quickly as possible and then get off of social media so you can work.
Find a topic that seems noteworthy. Close the social media. Start doing research. You can go back to Facebook, Twitter, or other social media and browse after you are done working.
Checking Email
Email is the most common way for freelancers, and their clients, to connect. Many freelancers do not have a "work email". All their email comes to one address.
The best way to save time while checking email is to only open the emails that relate to work. Leave the rest closed until after your work is done. Are you waiting to see if the pitch you sent got accepted? That situation can compel people to check their email over and over again all day long. Don't waste your time doing that. Spend that time working on the assignments you already have.
Monitor your Breaks
People who work in retail, or at an office, take breaks. Workers tend to come back from a break a bit more refreshed and ready to work then they were before the break. Freelancers who work from home have to learn how to monitor their break times so they can get back to work quickly.
Set a timer on your smartphone for 15 or 20 minutes. Do something relaxing. Read a few pages of a book. Play a video game. Have a cup of coffee. When the timer goes off – it's time to get back to work! You will be more productive thanks to the refreshing little break you took.
Family Distractions
Freelancers who work from home often find that their spouse and/or children "forget" that they are actually at work. They can see you, right there, at home, and so they start making requests for your time.
The way to end this time waster is to make it clear when you are working. Hang a sign from your computer monitor, if that's what it takes! Respond to their requests after the work is done.
Image by Steve Garfield on Flickr.
Related Articles at Families.com:
* Staying on Track While Working from Home
* Setting a Schedule and Sticking to It: Part One
* Setting a Schedule and Sticking to It: Part Two


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The Tillamook map area crosses a broad, northeast-plunging structural arch in Tertiary volcanic and sedimentary strata that form the northern Oregon Coast Range (Figure 1). The core of the uplift consists of Eocene basalt and interbedded marine strata which were previously correlated with the Siletz River Volcanics of the central Oregon Coast Range (Wells and Peck, 1961). In this study, the Eocene volcanics have been divided into five units, and a distinction is made between the lower Eocene Siletz River Volcanics and the overlying Tillamook Volcanics of late middle Eocene age. Marine mudstone and sandstone are interbedded with all of the volcanic units and comprise most of the late Eocene to Miocene stratigraphic section which forms the flanks of the Coast Range uplift. Continental shelf and slope sequences predominate in the basins flanking the Coast Range uplift."
Geologic Map of the Tillamook Highlands, Northwest Oregon Coast Range (Tillamook, Nehalem, Enright, Timber, Fairdale, and Blaine15 minute Quadrangles)
by Ray E. Wells1, Parke D. Snavely, Jr1, N. S. MacLeod2, Michael M. Kelly3, and Michael J. Parker4 Open File Report 94-21 1994
ENR_GEO.PAT COLUMN ITEM NAME WIDTH OUTPUT TYPE N.DEC 1 AREA 4 12 F 3 5 PERIMETER 4 12 F 3 9 ENR_GEO# 4 5 B - 13 ENR_GEO-ID 4 5 B - 17 PTYPE 35 35 C - ENR_GEO.AAT COLUMN ITEM NAME WIDTH OUTPUT TYPE N.DEC 1 FNODE# 4 5 B - 5 TNODE# 4 5 B - 9 LPOLY# 4 5 B - 13 RPOLY# 4 5 B - 17 LENGTH 4 12 F 3 21 ENR_GEO# 4 5 B - 25 ENR_GEO-ID 4 5 B - 29 LTYPE 35 35 C - LTYPE 'contact, approx. located' 'contact, certain' 'contact, concealed' 'contact, inferred, queried' 'dike, Tib' 'dike, Tis' 'fault, approx. located' 'fault, certain' 'fault, concealed' 'fault, inferred, queried' 'map boundary, certain' 'thrust fault, certain'


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Caracalla Shop
Caracalla Shop
Are you looking for a daily newspaper, a magazine or a book? Or do you need a gift or souvenir for your friends? In the Caracalla Shop, located in the Caracalla Spa, you are guaranteed to find what you're looking for.
The shop offers an excellent variety of bikinis, tankinis and bathing suits (sizes 32-54, cup A-F); bathing shoes and bathrobes; men's shorts and bathing trunks (sizes 3-12, S-6XL). 'Everything in one place' is our motto, from paper hand- kerchiefs to fashionable bikinis, from books to fluffy bathrobes. You will also find
a wide range of top quality cosmetics in our spa featuring brands such as Sans Soucis, BIODROGA, FUTURESSE and Biomaris.
Our monthly promotion is also something not to be missed. Each month, one product is chosen from the shop and offered at a very special price. Having a
quick look around is always worthwhile!
By the way, gift vouchers for the Caracalla Spa and the Friedrichsbad are also available for purchase in the Caracalla Shop.
Caracalla Shop
Opening times
Monday - Sunday
9:00 am to 8:30 pm
(closed on 24./25. Dezember)
Here you will find our special closing times.
Forgot your towel?
Towels can be borrowed from the Caracalla Shop for a fee of €6 (plus €10 deposit).