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Scott Dunlap's blog of trail running, ultrarunning, triathlon, and other life adventures. I enjoy the physical, emotional, and spiritual journey of outdoor events and the chance to meet cool people. This blog contains interviews, research, original fiction, new product ideas, and all things trail running.
Wednesday, March 25, 2009
What Does It Take to Win Gold In the 90 and Over Age Group at USATF Nationals?
A fun article on Leland here at the San Diego Times. He sounds like quite a character! I can only hope to be this active when I hit my 90's.
[props to Brian Sabin for pointing me to this]
5 comments:
And he's still winning gold medals at age 95!ReplyDelete
Heck, I wish I was that active in my 30's! I admire people like this and I aspire to be like them. MReplyDelete
Many senior athletes today are taking HGH in a homeopathic oral spray form because it's safe, gentle, and allows for higher performance levels.ReplyDelete
I hope to live past 60 let alone 90. Wow!!ReplyDelete
This is awesome! So inspirational!ReplyDelete
BTW, Scott, I hope to see you this wknd at the AR50! It's my first 50 miler, and your blog has given me inspiration to sign up and keep training.
I will be wearing a red sweatshirt with a shark on it before the race starts and will be surrounded by 2 doting parents ;)
I LIVE for comments! Please add your thoughts, let me know you stopped by, etc., and be thoughtful of others. Always best if you sign your name, of course.


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The pace of business today requires creativity, new ideas and new product innovations on an almost on-demand basis. Small and medium enterprises are often constrained by limited resources and struggle to quickly and affordably identify new market opportunities, solve business and technical problems and access partners and talent.
To solve this problem, a growing number of small and medium-sized companies are turning to open innovation and crowdsourcing as a way of leveling the playing field with large, global corporations boasting extensive in-house marketing, R&D and business development departments, without increasing fixed costs.
Open innovation is accelerating lean, startup ventures and kick-starting more established small and medium enterprises by distributing work to a large network of problem solvers, allowing them to pay only for success. Investing only in solutions is a highly efficient way to run a business and make limited budgets last longer and go further. Open innovation enables small and medium businesses to focus on their core capabilities while allowing them to find solutions to their biggest problems and bring products to market faster and more cost-effectively.
Recognizing the opportunities that open innovation presents, this slideshow features tips, identified by Dwayne Spradlin, CEO of InnoCentive, to help you take advantage of open innovation in 2012.
Top 10 Certifications for Landing a New IT Job Tech professionals identify the certifications that helped them land a new IT job.
Cloud Automation's Top Five Returns on Investment Automated tasks executed in cloud and hybrid-cloud environments can help companies maximize their ROI.
Ten Questions You Should Ask Your Data Backup Vendor Organizations should look closely at the strengths and weaknesses of deduplication technologies to choose a solution that best meets their needs.
Related Topics : Box.net, IT Management Automation, SharePoint, Facebook, T-Mobile
Enterprise social collaboration solutions are most successful when they contribute to business value and benefits that address company goals. ... More >>
Chosen carefully, collaboration tools will save time, cut costs and reduce complications associated with storing and retrieving documents throughout a company's operations. ... More >>
With the consumerization of AR, it appears the technology is finally within arm's reach for those savvy enterprises willing to reach out and grab it. ... More >>

subset: commoncrawl


text:
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before the download is completed, by left-mouse-clicking the "WMV Download"
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To begin a conventional download of the movie file, you may right-click on the link above, and select "Save Target As..." or the equivalent function specific to your browser type. You may then play the movie file directly from your local hard drive once the download is complete. (Downloads may run in the background while you do other work on your computer.) NOTE: All Free Reviews contain the entire contents of each training program, but are not suitable, or licensed, for training purposes.


text:
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Friday, January 31, 2014
10 comments:
I may have asked you before a couple of months ago but I'm not sure
Anyway, here goes
Are there pictures of Madonna wearing a coat made out of teddies ? A dress ? A hem ?
Am I imagining this ?
I would really like one or more of these pics
Do you have any ? It's for an important project
Am going to bookmark this, and come back to look
Thanks Pud
a coat made of teddy bears? not that i can recall.ReplyDelete
Enjoyed reading your blog. When are you next articles coming? Can't wait to read them all. Your write-up is an eye-opener on the awesome world of freelancing. I think I do have a unique skill set of collecting posters…it is more of a hobby. When I read your previous blog, I realized that I can make money with my hobby. So, I have begun selling copy prints of all the classic Hollywood posters that I possess through marketplaces such as buy Graphic Design, freelance jobs online. Thank you!ReplyDelete
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text:
Astronomy at the Harbor: Baltimore 5 – 11 PM, November 14-27, 2011
Rose Center For
Earth And Space
- American Museum of Natural History
- New York, NY
The signatures of the stars are being scribbled in light across the sphere of New York City's Hayden Planetarium. Every night for just 14 days, see an extraordinary outdoor exhibit that melds astronomy and art, projecting data scientists use to read the secrets of the universe across the outside of the American Museum of Natural History.
For decades, the Hayden Planetarium has taken audiences on tours of the universe. Tonight the show takes place on the outside. Green, animated waves of laser light pulse over Haydens exterior. Evoking heartbeats or brain waves, these brilliant undulations represent astronomical spectra captured by the Hubble Space Telescope.
Some of the observations depicted in this exhibit are of light that has traveled for billions of years across space. This unique art work explores the phenomenon of color in a new, conceptual way. It is a minimalist voyage not only back into time, but also to the boundaries of contemporary vision.
German artist Tim Otto Roth, known for his large public works that combine astrophysics and art, created "From the Distant Past." Captivated by the importance of color in deciphering astronomical questions, Roth sought to merge the scientific and visual arts with an exhibit that explores the ability of spectrographic data from far-distant galaxies to exactly describe a color, thus telling "a story about the oldest colors in the universe."
First shown in Venice, Italy, and then in Baltimore, Md., home of the Hubble Space Telescopes science program, "From the Distant Past" now takes its examination of color as both a scientific and sensory experience to the exterior walls of the Hayden Planetarium.
The exhibits jagged, heart monitor-like scrawls are astronomical spectra from the Hubble Telescope, created by breaking light from a cosmic object into a rainbow of colors and analyzing it for information. The data, produced by instruments called spectrographs, tells astronomers how hot an object is, how it moves, the elements it contains, and more.
- Amazing Space
Students of space science collect cosmic knowledge at HubbleSite's education-centric sister site.
- Star Light, Star Bright
Find out how color can be more than meets the eye.
- Hubble Deep Field Academy
Explore the world of distant galaxies, hidden in the HDF image.
- Telescopes From the Ground Up
Follow our sweeping history of the telescope from Galileo's first look at the stars to the work of modern observatories.
- The Hubble Space Telescope: Time Machine to the Galaxies (Star-Witness News)
- Hubbles Picture Book of the Universe (Star-Witness News)
- Light and Color (Myths vs. Realities)
- Galaxies (Myths vs. Realities)
- Core of Omega Centauri (Pictures and Facts)
- Omega Centauri (Fast Facts)
- American Museum of Natural History Exhibit
Hubble's Heartbeat On Hayden Sphere.
- WebbTelescope.org
Meet the Hubble Space Telescope's successor, designed to bring Hubble's clarity to the hidden, infrared-emitting regions of the universe.


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Taipei has been the de facto capital of the Republic of China, commonly known as Taiwan, since the Chinese Civil War in 1949, and the capital of Taiwan since Japanese rule that began in 1895. It is situated on the Danshui River, almost at the northern tip of the country, about 25 km southwest of Keelung, which is its port on the Pacific Ocean. Another coastal city, Danshui, is about 20 km northwest at the river's mouth on the Taiwan Strait.
See it:
http://www.webshots.com/search?query=Ta ... romeheader


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Deep-water foundations typically account for one-fifth of an offshore project's total cost. But the Carbon Trust, a government-funded, independent firm, hopes the designs will help cut foundation costs by at least 25%. This would improve the economics of wind farms far out at sea, including many of the areas being considered under the UK's Round 3 of bids for offshore site licences, which present more treacherous conditions than any UK wind developments to date.
Concept development
Over 100 engineering companies worldwide submitted ideas for lowering the cost of foundations for wind turbines in rough seas up to 60 metres deep and as far as 100 miles from shore. Each of the shortlisted designs now receive up to £100,000 for concept development, engineering analysis, commercial feasibility and technical assistance. The prize, worth a total £20 million, is for up to three winners to see their designs built in large-scale demonstration projects in 2010-12.
The designs have been assessed by a panel of judges, including international offshore wind developers SSE Renewables, Dong Energy, RWE Innogy, Iberdrola subsidiary Scottish Power Renewables and Statoil. The project is the first and largest phase of the Carbon Trust's £30 million Offshore Wind Accelerator programme to cut the cost of offshore wind farms.
The Carbon Trust says that to generate 25% of the UK's electricity from offshore wind by 2020 will require 6000 turbines at sea, at a cost of £75 billion. This is the country's biggest engineering challenge in the coming decade, says the trust's chief executive Tom Delay. "Without new thinking to cut costs many planned projects could remain on the drawing board, putting our carbon targets and energy security at risk."
According to the trust, there will be 15,000 or more offshore wind turbines globally by 2020, a market for foundations alone worth up to £2.5 billion a year.


text:
Improve Your Game With the Best Baseball and Softball Training Available in South LyonAt Baseball Lab, we provide the best foundation for any player's training. Our baseball and softball training programs offer a unique experience for our players to improve in any area. Our training involves the use of cutting-edge technology to provide our players real time video and data metrics so they train more efficiently than traditional private lessons. We use Right View Pro Software, as developed for MLB & Collegiate teams, so students see just what Pro players do during slow motion playback and breakdown of swings and pitching motions.
The Baseball Lab is the premier baseball and softball training facility of South Lyon MI. We specialize in providing players, parents, and coaches of the South Lyon area with the best methods possible to develop, train, and impress hitting, pitching and throwing fundamentals modeled after the motions and techniques of Major League Baseball players.
We utilize the most advanced baseball and softball technology in the South Lyon area to evaluate a player's current ability, demonstrate the results of training at Baseball Lab, and to capture every facet of a player's performance when facing live pitching or hitting.
At Baseball Lab in South Lyon, you will receive advanced individualized data and analytics - just like a professional player! And your first visit with us is free! Schedule your free Baseline Assessment Report after your first session!


text:
T Series Bhakti Sagar Rose Incense Cones 20Gm
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text:
By Sherri Ellington
Ten area nonprofits were the beneficiaries of the Barnesville-Lamar Community Foundation, which gave out 2012 grants at its first ever press conference at the United Bank conference room in the former FNB building.
Pictured are Barnesville-Lamar County Community Foundation grant recipient representatives (front row l-r) Octavia Jackson of Lamar County 4-H, Missy Kendrick of the Industrial Development Authority, Connie Hensler of the American Red Cross, Steve Mulder of Griffin Choral Arts; (back row l-r) Mark Stone of Barnesville First United Methodist Church, Phillip Bell of the Rotary Club, Rev. Jimmy Fambro of Hope Tree Ministries, Larry Collins of St. George's Episcopal School, John Votaw of Lamar Arts and foundation chairman Jeff Manley.
Community foundation boosts nonprofits
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This climate climate zone covers from about 44°N to 50°N latitude mostly east of the 100th meridian in North America. However, it can be found as far north as 54°N, and further west in the Canadian Prairie Provinces and below 40°N in the high Appalachians. In Europe this subtype reaches its most northerly latitude at nearly 61° N. Areas featuring this subtype of the continental climate have an average temperature in the warmest month below 22°C (22°F). Summer high temperatures in this zone typically average between 21-28°C (70-82°F) during the daytime and the average temperatures in the coldest month are generally far below the -3 °C (27°F) mark.
The Köppen Climate Classification subtype for this climate is "Dfb". (Warm Summer Continental Climate).
The average temperature for the year in Lidgerwood is 43.5°F (6.4°C). The warmest month, on average, is July with an average temperature of 72.6°F (22.6°C). The coolest month on average is January, with an average temperature of 11.6°F (-11.3°C).
The highest recorded temperature in Lidgerwood is 105.0°F (40.6°C), which was recorded in July. The lowest recorded temperature in Lidgerwood is -29.0°F (-33.9°C), which was recorded in January.
The average amount of precipitation for the year in Lidgerwood is 22.6" (574 mm). The month with the most precipitation on average is June with 3.8" (96.5 mm) of precipitation. The month with the least precipitation on average is February with an average of 0.6" (15.2 mm). There are an average of 90.0 days of precipitation, with the most precipitation occurring in June with 12.0 days and the least precipitation occurring in January with 5.0 days.
In Lidgerwood, there's an average of 44.0" of snow (0 cm). The month with the most snow is January, with 9.2" of snow (23.4 cm).


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US-born Australian artist, S. N. Makeham, lives in Perth, Australia with her husband. She has one son who still lives in Texas and is also an artist.
Mrs. Makeham received her AAS in Photographic Technology from Amarillo College, Amarillo, Texas in 1992.
After marrying her husband in 1998, she move from Amarillo, to Perth, Western Australia. Mrs. Makeham is active with her husband in several church and para-church ministries, as well as being a free-lance graphic artist and web designer. She also designs dolls and other fibre art projects
I learned most of what I know at my mother's knee. I grew up learning to paint from my mom, as well as other creative eneavours. As I was growing up, everyone KNEW that to give me a blank anything was like giving me a blank canvas.
As I grew older, I found myself gravitating more and more to the camera and less to the painting side of things. I still paint, but the photography has taken over. LOL!
With the addition of computer skills, digital art has become a passion as well.
I guess my style could be best described as diverse and eclectic.


text: A partial word is a sequence of symbols from a finite alphabet that may have some undefined positions, called holes that match every letter of the alphabet. Previously, Blanchet-Sadri, Mercas, Simmons, and Weissenstein completed the classification of binary patterns with respect to partial word avoidability. In this paper, we pose the problem of avoiding patterns in very partial words, that is, partial words very dense with holes. We define the concept of hole sparsity, a measure of the frequency of holes in a partial word. We also present two algorithms that can be used to show that a pattern is avoidable over an alphabet of a given size, allowing for partial words. Finally, we determine the minimum hole sparsity for all unary and some binary patterns in the context of trivial and nontrivial avoidability.


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Behind the Scenes of Yusho's Salmon Roe Takoyaki
Takoyaki is virtually synonymous with Osaka-style street food. Typically round bite-sized balls of pancake and octopus (hence tako) are cooked on a special pan with dozens of semicircles (hence yaki). With the popularity of izakayas on the rise, the appearance of takoyaki on menus has also become more prevalent. The snack has also been a mainstay at Logan Square's Yusho.
Given its pancake-style base, it's somewhat of a blank slate, meaning octopus can be swapped for pretty much anything. Yusho does just that, using salmon roe to elevate this modest street food to a memorably delicious one-bite wonder.
Check out the slideshow to see how they prepare one iteration of these balls of goodness.
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text:
As he and his student researchers study the innermost workings of DNA and RNA, Dr. Brent Krueger of the Hope College chemistry faculty is as interested in improving the methods they're using as in the subject itself.
As he and his student researchers study the innermost workings of DNA and RNA, Dr. Brent Krueger of the Hope College chemistry faculty is as interested in improving the methods they're using as in the subject itself.
It's a dual-focused approach that he's pursued since joining the college's faculty in 2001. His work recently received a major boost through a three-year, $385,000 grant from the "Research in Undergraduate Institutions" (RUI) program of the National Science Foundation (NSF) that will help support his on-going project into 2014.
Krueger's team is studying the functioning of biomolecules called Hairpin Ribozymes in processes involving DNA and RNA. They are most interested in better understanding how changes to the Hairpin Ribozyme's structure during such processes relate to the way that it functions.
There's just one problem. "There are not a lot of techniques to see how structures change," said Krueger, an associate professor of chemistry.
As a result, he and his students have been developing the tools themselves. For the past 10 years, Krueger and his group have been exploring how to adapt a widely-used, established technique called "fluorescence-detected resonance transfer" (FRET), bit by bit figuring out how to overcome some limitations in the method through a combination of experimentation in the lab and computer modeling.
"Our goal is to make FRET a better technique for us and other groups to use in research," he said. "Along the way, we've learned a lot of little details about things researchers should be cautious of as they do FRET experiments, and good rules they should follow to get more accurate results. We're to the point that in the three years of this grant that we should be using these new methods to learn some useful biology about the systems that we're looking at."
One way in which the grant will provide a major boost is by enabling the college to purchase a fluorescence microscope, a high-end, $100,000 instrument that Krueger said is not found at many liberal arts colleges but more typically at graduate-level institutions that emphasize research. "Having this instrument is going to allow us to do both the experimental part and the computer-modeling part of the research in our lab," he said.
Even acquisition of the microscope is designed as a learning experience: the team will be assembling the instrument from components across the coming school year, deliberately giving the students an opportunity to learn through that process as well. In addition, Krueger noted, the microscope will also ultimately prove useful in other laboratory work and coursework at the college.
Krueger's lab includes four to five students working full-time during the summers and a smaller number working part-time during the school year. Aspects of the project are also integrated into the curriculum of an on-going summer program through which high school teachers come to campus to learn molecular modeling techniques and develop related lessons for their classrooms.


text:
Letter to the Senate regarding the definition of homeless students in the Community Partnership to End Homelessness Act
September 18, 2008
Dear Senator:
On behalf of the National Education Association's (NEA) 3.2 million members, we urge you not to pass the Community Partnership to End Homelessness Act (S. 1518) without:
- Broadening the HUD definition of homelessness to be more closely aligned with the statutory definition used by the Department of Education, and
- Rejecting any arbitrary restrictions such as time limits or requirements for multiple moves.
Schools undertake considerable effort and expense to serve homeless children and youth. These endeavors are undercut by HUD's narrow definition of homelessness, and would continue to be undermined by the definition included in S. 1518.
The Department of Education definition of homelessness reflects the realities of family and youth homelessness. Public schools are the cornerstone of communities; no other entity has the same level of daily contact with children, youth, and families. Schools see the scope and the depth of housing problems in every community in the nation, and therefore are among the most accurate barometers of family and youth homelessness. Schools serve children whose families cannot get into shelters because they are full, or non-existent. Schools also serve children and youth who are excluded from shelters because of eligibility rules.
Homeless children and youth are at grave risk of educational failure and dropping out of school. Children who are moving from place to place - and are tired, hungry, sick, and traumatized - face significant barriers to academic success. Yet, the narrow definition in S. 1518 will undercut public school efforts to help these children. The definition will make it harder for schools and other agencies to work together and will prevent vulnerable children and youth from receiving the services they need to come to school ready and able to learn.
Schools across the country are seeing increases in homeless students due to foreclosures, natural disasters, and the downturn in the economy. We call on the Senate to broaden HUD's definition and more closely align it with the Department of Education - without arbitrary restrictions such as time limits or requirements for multiple moves - so that homeless children and youth can receive the services they need to come to school ready and able to learn.
Diane Shust, Director of Government Relations
Randall Moody, Manager of Federal Advocacy


text:
Swisher fire fatality not suspicious
SWISHER– The body of Daryl Dosch was found in a rural Swisher home that was the site of a fire, according to the Johnson County Sheriff's Department.
According to a release by Johnson County Sheriff Lonny Pulkrabek, the sheriff's department and the Jefferson/Monroe Fire Department responded June 25 to a report of a house fire that had occurred at 1663 Falcon Ave NW, rural Swisher. A witness had reportedly gone to the residence to check on the house and found a deceased individual in the residence. It appeared that a fire had taken place but that the fire had extinguished itself.
The sheriff's department is working with the Iowa State Fire Marshal's Office along with the Johnson County Medical Examiner on the investigation.
The victim was identified as Daryl Dosch, 71, of 1663 Falcon Ave. NW. The exact time of the fire and death are unknown. Dosch was last seen at 6 p.m. on June 24, and then discovered at 11 a.m. on June 25. According to the sheriff's department, the state fire marshal has determined a couch caught on fire in the house but extinguished itself. The cause of death has not been determined but an autopsy will be performed by the Iowa State Medical Examiner's Office working with the Johnson County Medical Examiner.
The fire and death are not considered suspicious.


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Flaring Red Dwarf Star
This is an artist's concept of a red dwarf star undergoing a powerful eruption, called a stellar flare. A hypothetical planet is in the foreground.
Flares are sudden eruptions of heated plasma that occur when the field lines of powerful magnetic fields in a star's atmosphere "reconnect," snapping like a rubber band and releasing vast amounts of energy equivalent to the power of 100 million atomic bombs exploding simultaneously.
Studying the light from 215,000 dwarfs collected in observations by NASA's Hubble Space Telescope, astronomers found 100 stellar flares popping off over the course of a week.
Artwork credit: NASA, ESA, and G. Bacon (STScI)
Science Credit: NASA, ESA, A. Kowalski (University of Washington), R. Osten and K. Sahu (STScI), and S. Hawley (University of Washington)


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"Silhouettes" - Digital Wallart - Bring harmony into your home by planting this beautiful branch on the wall.
This Digital Wall Art comes in 6 easy to apply
panels (each panel is 45cm wide x 265cm high).
This Wall Art can also be re-scaled or coloured to your exact specification. Contact Sales Team for further information.
Please Note: Please allow up to 14 working days for delivery.


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Turning Away
Turning Away
This listing is for an unmatted and unframed and borderless open edition print that is created from an original imagery taken by the artisan. Note: A 1/4" border can be added for matting upon special request.
There are 2 paper options and a variety of sizes available.
Luster Photo Paper - This fine art photograph is printed on professional acid-free lustre photographic paper, which has beautifully saturated colors, a subtle texture, and a slight sheen without being glossy. All prints are printed with archival inks that will resist fading for 100+ years.
Fine Art Giclee - This Fine Art Giclee is printed on professional acid-free and pH buffered 100% Cotton Rag Fine Art Paper with a bright, smooth finish and extremely high color gamut and black density. All prints are printed with archival inks that will resist fading for 100+ years.
Prints are shipped from Virginia are signed and titled on the back by the artisan.
Please note that the colors you see on your monitor may differ slightly from those of the print due to variations in monitor settings.
CUSTOM ORDERS are welcome if you need a print in a size that is not listed or if you have any other special requests. Please feel free to contact me.
Copyright Jennifer Gleason 2016. All photographic and reproduction rights reserved by the artisan.


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Apple acquires two startups that could boost Maps app
Apple's efforts to offer a mapping application that can equal or better Google's leading effort in the field will receive a talent boost, as the maker of iPhones and iPads has acquired two startups with technology that could be used for Apple Maps.
Apple purchased Toronto-based Locationary and New York-based HopStop, the company confirmed to news organizations Friday; calls seeking independent verification were not immediately returned. No purchase price was given, as Apple provided only its typical statement relating to small acquisitions, which reads, "Apple buys smaller technology companies from time to time, and we generally do not discuss our purpose or plans."
Apple replaced Google Maps as the default mapping application on its mobile devices with its own offering in an operating system refresh that coincided with the release of the iPhone 5 last fall. After consumers loudly complained about Apple Maps providing incorrect or incomplete results, CEO Tim Cook took the extraordinary step of apologizing directly to customers, saying "We are extremely sorry for the frustration this has caused our customers and we are doing everything we can to make Maps better."
One of Apple Maps' deficiencies in relation to Google Maps is information relating to public transportation, which is HopStop's specialty. The company's website and app helps users in more than 500 cities find the most efficient service to navigate a route, including walking, biking or transit, and claims to be the top-ranked transit app for Apple and Android devices. The nine-year-old company announced in April that it would begin offering social features that would use information from its mobile users to offer real-time transit information, similar to the social-mapping feature offered by Israeli startup Waze, which Google acquired last month for a reported price of more than $1 billion.
Locationary is a big-data startup, and founder and CEO Grant Ritchie wrote an opinion piece for TechCrunch in the wake of the Apple Maps fiasco last September identifying five changes Apple had to make in the way it aggregated data in order to fix the app. The company has developed an offering dubbed Saturn that ensures business profiles are consistent across platforms, a service that could also be used in Apple Maps to ensure that places detailed on maps have correct information.
Apple's stock price has taken a big hit since its CEO apologized for the failure of its mapping application, which was reportedly a factor in a management shake-up that included the dismissal of software chief Scott Forstall. Since hitting an all-time high of $705.07 on the day the iPhone 5 was released in the United States, shares in the world's most valuable technology company have declined more than 40 percent; Apple stock fell 1.6 percent Friday to close at $424.95.


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Tournaments / Re: 2014 Discraft Ace Race - Sept 14th at Swope Park« on: September 11, 2014, 11:26:53 AM »
Also, I noticed the start is 9am. Do we have to start that early with the flex start? I have something in the morning to do beforehand and not sure when I'd get done.


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About This Chevrolet
2019 Chevrolet Equinox
FWD 4dr LT w/1LT SUV
|New Title
|Model Code
|6 Spd Automatic
|Front Wheel Drive
|Exterior Color
|Stock #
|Full Factory Warranty
Vehicle OverviewPenske Chevrolet 3210 E. 96Th Street Indianapolis, IN 46240 LT trim. Smart Device Integration, WiFi Hotspot, Keyless Start, Back-Up Camera, Alloy Wheels, Turbo Charged, Onboard Communications System, iPod/MP3 Input, Satellite Radio, TheCarConnection.com's review says "Regardless of engine, the Equinox has a quiet, composed ride and its steering is light but accurate.". FUEL EFFICIENT 32 MPG Hwy/26 MPG City! Warranty 5 yrs/60k Miles - Drivetrain Warranty; CLICK NOW!
Back-Up Camera, Turbocharged, Satellite Radio, iPod/MP3 Input, Onboard Communications System, Aluminum Wheels, Keyless Start, Smart Device Integration, WiFi Hotspot. MP3 Player, Privacy Glass, Keyless Entry, Steering Wheel Controls, Child Safety Locks.
TheCarConnection.com explains "Regardless of engine, the Equinox has a quiet, composed ride and its steering is light but accurate.". Great Gas Mileage: 32 MPG Hwy.
THE PENSKE PROMISE - The value added customer experience that makes a difference to you. At every turn we are providing confidence in the ownership life-cycle of your vehicle. Whether you decide to purchase, own, or part with your vehicle, you can be assured that the Penske Promise has your best interest in mind. The Penske Promise. Only at Penske Chevrolet. Confidence with every turn. The value added customer experience that makes a difference to you. At every turn we are providing confidence.
Fuel economy calculations based on original manufacturer data for trim engine configuration. Please confirm the accuracy of the included equipment by calling us prior to purchase.
Financing Information
At Penske Chevrolet we offer financing options for both new and used vehicles. Contact us today and take advantage of our financing deals for many of the vehicles we have listed on ebay. We use several different lenders to get you the best financing package. Submit your application to www.penskeapproved.com Contact us before placing your bid if you have any financing questions or concerns. We can help you obtain the credit you deserve. At Penske Chevrolet, we are committed to helping you! Contact us today at 888-418-4775 for more information, or fill out our Online Credit Application to begin the pre-approval process today.
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Warranty InformationThis Vehicle is Covered by the Full Factory Warranty. Contact us for more information on the factory warranty.
If you are interested in one of our vehicles and have a question on available warranties, please contact us!
Contact Us at 888-418-4775
Shipping Information
WE DO NOT ACCEPT CASHIERS CHECKS THAT INCLUDE SHIPPING! All shipping charges are buyer's responsibility. We will help with shipping arrangements but will not be responsible in any way for claims arising from shipping damage! Licensed Carriers are generally insured for $3,000,000.00. We assume no responsibility for damages incurred after the vehicle leaves our location. All shipping arrangements are provided as a courtesy. We are not affiliated with any carrier. Any claims or other communication regarding shipment of vehicles will be between you and the shipper. The amount of time it takes for delivery is dependent on the carrier, but is generally 7-14 days from the date the vehicle is picked up from our facility until it is delivered to your destination. Verify with the shipper for an Estimate Time of Arrival to be sure.
Penske Indy
4140 E. 96th Street
Indianapolis, IN 46240
View Map & Get Directions
|9 a.m. - 9 p.m.
|9 a.m. - 6 p.m.
|9 a.m. - 9 p.m.
|9 a.m. - 9 p.m.
|9 a.m. - 6 p.m.
|9 a.m. - 6 p.m.
Features & Specifications*
- Engine, 1.5L Turbo DOHC 4-cylinder, SIDI, VVT (170 hp [127.0 kW] @ 5600 rpm, 203 lb-ft of torque [275.0 N-m] @ 2000 - 4000 rpm)
- Transmission, 6-speed automatic, electronically-controlled with overdrive includes Driver Shift Control
- Axle, 3.50 final drive ratio (FWD only.)
- GVWR, 4464 lbs. (2025 kg)
- Fuel, gasoline, E15
- Engine control, stop-start system
- Driver Shift Controls
- Front-wheel drive
- Suspension, front MacPherson strut
- Suspension, rear 4-link
- Brakes, 4-wheel antilock, 4-wheel disc 16" front and rear
- Brake, electronic parking
- Brake lining, high-performance, noise and dust performance
- Exhaust, single outlet
- Mechanical jack with tools
- Vehicle Name : Chevrolet Equinox
- Body Style : Sport Utility Vehicle
- Drivetrain : Front Wheel Drive
- EPA Classification : 2WD Sport Utility Vehicle
- Base Curb Weight (lbs) : 3325
- Dead Weight Hitch - Max Trailer Wt. (lbs) : 1500
- Dead Weight Hitch - Max Tongue Wt. (lbs) : 150
- Engine Order Code : LYX
- Engine Type : Turbocharged gas I4
- Displacement : 1.5L/92
- Fuel System : Direct Injection
- SAE Net Horsepower @ RPM : 170 @ 5600
- SAE Net Torque @ RPM : 203 @ 2000-4000
- Trans Order Code : MNH
- Trans Type : 6
- Trans Description Cont. : Automatic
- First Gear Ratio (:1) : 4.58
- Second Gear Ratio (:1) : 2.96
- Third Gear Ratio (:1) : 1.91
- Fourth Gear Ratio (:1) : 1.44
- Fifth Gear Ratio (:1) : 1.00
- Sixth Gear Ratio (:1) : 0.74
- Reverse Ratio (:1) : 2.94
- Final Drive Axle Ratio (:1) : 3.50
- Suspension Type - Front : MacPherson Strut
- Suspension Type - Rear : Multi-Link
- Shock Absorber Diameter - Front (mm) : N/A
- Shock Absorber Diameter - Rear (mm) : N/A
- Steering Type : Pwr
- Turning Diameter - Curb to Curb (ft) : 37.4
- Brake Type : Pwr
- Brake ABS System : 4-Wheel
- Disc - Front (Yes or ) : Yes
- Disc - Rear (Yes or ) : Yes
- Wheels, 17" (43.2 cm) aluminum
- Tires, P225/65R17 all-season blackwall (FWD only.)
- Wheel, spare, 16" (40.6 cm) steel
- Tire, compact spare, T135/70R16 blackwall
- Luggage carrier provisions, roof-mounted
- Trim, Bright lower window
- Active aero shutters
- Headlamps, high intensity discharge
- Headlamp control, automatic on and off with automatic delay
- Glass, acoustic, laminated windshield
- Glass, deep-tinted, rear
- Mirror caps, body-color
- Mirrors, outside heated power-adjustable, manual-folding
- Liftgate, rear manual
- Door handles, body-color
- Front Tire Order Code : 5CX
- Rear Tire Order Code : 5CX
- Spare Tire Order Code : RJA
- Front Tire Size : P225/65R17
- Rear Tire Size : P225/65R17
- Spare Tire Size : T135/70R16
- Front Wheel Material : Aluminum
- Rear Wheel Material : Aluminum
- Spare Wheel Material : Steel
- Wheelbase (in) : 107.30
- Length, Overall (in) : 183.10
- Width, Max w/o mirrors (in) : 72.60
- Height, Overall (in) : 65.40
- Track Width, Front (in) : 62.20
- Track Width, Rear (in) : 62.20
- Cargo Volume to Seat 1 (ft³) : 63.90
- Cargo Volume to Seat 2 (ft³) : 29.90
- Audio system, Chevrolet Infotainment 3 system, 7" diagonal color touchscreen, AM/FM stereo. Additional features for compatible phones include: Bluetooth audio streaming for 2 active devices, voice command pass-through to phone, Apple CarPlay and Android Auto capable.
- Audio system feature, 6-speaker system
- Noise control system, active noise cancellation
- SiriusXM Radio Enjoy a 3-month All Access trial subscription with over 150 channels including commercial-free music, plus sports, news and entertainment. Plus listening on the app and online is included, so you'll hear the best SiriusXM has to offer, anywhere life takes you. Welcome to the world of SiriusXM. (IMPORTANT: The SiriusXM radio trial package is not provided on vehicles that are ordered for Fleet Daily Rental ("FDR") use. If you decide to continue service after your trial, the subscription plan you choose will automatically renew thereafter and you will be charged according to your chosen payment method at then-current rates. Fees and taxes apply. To cancel you must call us at 1-866-635-2349. See our Customer Agreement for complete terms at www.siriusxm.com. All fees and programming subject to change.)
- Antenna, roof-mounted (Black.)
- Bluetooth for phone personal cell phone connectivity to vehicle audio system (Go to my.chevrolet.com/learn to find out which phones are compatible with the vehicle.)
- Chevrolet 4G LTE and available built-in Wi-Fi hotspot offers a fast and reliable Internet connection for up to 7 devices; includes data trial for 1 month or 3GB (whichever comes first) (Available Wi-Fi requires compatible mobile device, active OnStar service and data plan. Data plans provided by AT&T. Visit onstar.com for details and system limitations.)
- Seats, front bucket
- Seat adjuster, driver 8-way power with 2-way power lumbar
- Seat adjuster, 2-way power driver lumbar control
- Seat adjuster, front passenger 4-way manual
- Seat, rear split-folding with center armrest
- Head restraints, 2-way adjustable (up/down), front
- Seat release levers, 2nd row mechanical release levers in cargo area
- Floor mats, carpeted front
- Floor mats, carpeted rear
- Steering wheel, 3-spoke, deluxe
- Steering column, tilt and telescoping
- Steering wheel controls, audio, phone interface and driver information center controls
- Speedometer, miles/kilometers
- Display, driver instrument information enhanced, multi-color
- Window, power with driver Express-Up and Down
- Window, power with front passenger Express-Down
- Windows, power, rear with Express-Down
- Door locks, power with lock-out protection
- Keyless Open, includes extended range Remote Keyless Entry
- Keyless Start, push-button
- Cruise control, electronic with set and resume speed
- Theft-deterrent system, unauthorized entry
- Remote panic alarm
- Air conditioning, semi-automatic, single-zone
- Defogger, rear-window electric
- Power outlet, front auxiliary, 12-volt
- USB ports, 2, with auxiliary input jack, located in front center stack storage area
- USB charging-only ports, 2, located in the rear of the floor console
- Mirror, inside rearview manual day/night
- Sunglass storage, overhead
- Visors, driver and front passenger illuminated vanity mirrors, covered
- Assist handle, driver
- Assist handle, front passenger
- Assist handles, rear outboard
- Map pocket, driver seatback
- Map pocket, front passenger seatback
- Shift lever, urethane
- Power outlet, cargo area auxiliary, 12-volt
- Passenger Capacity : 5
- Passenger Volume (ft³) : 103.2
- Front Leg Room (in) : 40.90
- Front Shoulder Room (in) : 57.20
- Second Head Room (in) : 38.50
- Second Leg Room (in) : 39.90
- Second Shoulder Room (in) : 55.50
- Second Hip Room (in) : 51.70
- StabiliTrak, stability control system with traction control
- Daytime Running Lamps, separate cavity, LED
- Air bags, dual-stage, frontal, driver and right front passenger with Passenger Sensing System, thorax side-impact, seat mounted, driver and right front passenger, roof-rail, side front and rear outboard seating positions (Always use seat belts and child restraints. Children are safer when properly secured in a rear seat in the appropriate child restraint. See the Owner's Manual for more information.)
- OnStar and Chevrolet connected services capable (Fleet orders receive a 3-month trial. Visit onstar.com for coverage map, details and system limitations. Services vary by model.)
- Chevrolet Connected Access with 10 years of standard connectivity which enables services such as, Vehicle Diagnostics, Dealer Maintenance Notification, Chevrolet Smart Driver, Marketplace and more (Limitations apply. Not transferable. Standard connectivity available to original purchaser for ten years from the date of initial vehicle purchase for model year 2018 or newer Chevrolet vehicles. See onstar.com for details and further plan limitations. Connected Access does not include emergency or security services. Availability and additional services enabled by Connected Access are subject to change.)
- Rear Vision Camera
- Rear seat reminder
- Door locks, rear child security, manual
- Teen Driver configurable feature that lets you activate customizable vehicle settings associated with a key fob, to encourage safe driving behavior. It can limit certain vehicle features, and it prevents certain safety systems from being turned off. An in-vehicle report card gives you information on driving habits and helps you to continue to coach your new driver
- Tire Pressure Monitor, manual learn with Tire Fill alert (Does not apply to spare tire.)
- Horn, dual-note
- Tons/yr of CO2 Emissions @ 15K mi/year : 6.3
- EPA Greenhouse Gas Score : 6
- Fuel Economy Est-Combined (MPG) : 28
- EPA Fuel Economy Est - City (MPG) : 26
- EPA Fuel Economy Est - Hwy (MPG) : 32
- Wt Distributing Hitch - Max Trailer Wt. (lbs) : - TBD -
- Wt Distributing Hitch - Max Tongue Wt. (lbs) : - TBD -
- Clutch Size (in) : - TBD -
- Transfer Case Gear Ratio (:1), High : - TBD -
- Transfer Case Gear Ratio (:1), Low : - TBD -
- Cold Cranking Amps @ 0° F (Primary) : - TBD -
- Maximum Alternator Capacity (amps) : - TBD -
- Total Cooling System Capacity (qts) : - TBD -
- Stabilizer Bar Diameter - Front (in) : - TBD -
- Stabilizer Bar Diameter - Rear (in) : - TBD -
- Front Wheel Size (in) : 17 x - TBD -
- Rear Wheel Size (in) : 17 x - TBD -
- Steering Ratio (:1), Overall : - TBD -
- Lock to Lock Turns (Steering) : - TBD -
- Turning Diameter - Wall to Wall (ft) : - TBD -
- Front Brake Rotor Diam x Thickness (in) : - TBD -
- Rear Brake Rotor Diam x Thickness (in) : - TBD -
- Fuel Tank Capacity, Approx (gal) : 14.9
- Front Head Room (in) : 40.00
- Front Hip Room (in) : 54.20
- Min Ground Clearance (in) : - TBD -
- Rear Door Opening Height (in) : - TBD -
- Rear Door Opening Width (in) : - TBD -
- Cargo Area Length @ Floor to Seat 1 (in) : - TBD -
- Cargo Area Length @ Floor to Seat 2 (in) : - TBD -
- Cargo Area Width @ Beltline (in) : - TBD -
- Cargo Box Width @ Wheelhousings (in) : - TBD -
- Cargo Box (Area) Height (in) : - TBD -
- Liftover Height (in) : - TBD -
Advertised service loaners may not be immediately available for demonstration or delivery. See dealer to schedule an appointment.
All advertised prices exclude government fees and taxes, any finance charges, any dealer document processing charge, any electronic filing charge, and any emission testing charge.
All advertised prices expire at midnight on the day of posting.


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Ex Post Facto
No...ex post facto Law shall be passed.Article I, Section 9, Clause 3
As generally understood, a law that is ex post facto—literally, after the fact—is one that criminally punishes conduct that was lawful when it was done. It is an aspect of the fundamental maxim, nulla poena sine lege: there can be no punishment without law—in this case, without preexisting law. Despite the fact that the prohibition against such laws had worked its way into English law (as celebrated by Sir William Blackstone), Parliament had, nonetheless, claimed the right to enact ex post facto laws in the form of bills of attainder against unpopular groups and persons. In addition, prior to the Constitutional Convention, some states themselves had passed ex post facto laws. (The prohibition of ex post facto state laws is found in Article I, Section 10, Clause 1.)
Nevertheless, opposition to ex post facto laws was a bedrock principle among the Framers. In The Federalist No. 78, Alexander Hamilton noted that "the subjecting of men to punishment for things which, when they were done, were breaches of no law" is among "the favorite and most formidable instruments of tyranny." Thomas Jefferson noted in an 1813 letter to Isaac McPherson "the sentiment that ex post facto laws are against natural right."
In Philadelphia, the Framers debated the issue vigorously. Some thought an explicit ban on ex post facto laws an absolute necessity. Others, such as Oliver Ellsworth of Connecticut, echoed the natural law tradition and "contended that there was no lawyer, no civilian who would not say that ex post facto laws were void of themselves. It cannot then be necessary to prohibit them." James Wilson declared that the prohibition against ex post facto laws in the state constitutions had been ineffective and would be likewise "useless" in the national constitution. Hugh Williamson then pointed to North Carolina's prohibition of ex post facto laws. He acknowledged that the prohibition had been violated, but argued that "it has done good there & may do good here, because the Judges can take hold of it." The delegates then approved the clause, seven states to three.
Later, James Dickinson reported that, on examining Blackstone's Commentaries on the Laws of England, he found that "the terms 'ex post facto' related to criminal cases only; that they would not consequently restrain the states from retrospective laws in civil cases and that some further provision for this purpose would be requisite." After the Committee of Style had reported the ex post facto law clauses in their current form, George Mason of Virginia moved to strike the prohibition against ex post facto laws because the clause might apply to civil laws "and no Legislature ever did or can altogether avoid them in Civil cases." Elbridge Gerry seconded the motion because he wanted a clearer statement that prohibition did in fact apply to "Civil cases." Mason's motion was unanimously rejected.
The Court addressed the issue of the scope of the clause in one of its earliest constitutional decisions. Calder v. Bull, decided in 1798, involved a determination by the Connecticut legislature that a judicial decree should be set aside and a new trial held regarding a contested will. Without dissent, the Court held that the Connecticut legislature's action was not an ex post facto law forbidden under Article I, Section 10. Justice Samuel Chase defined ex post facto laws as:
1st. Every law that makes an action done before the passing of the law, and which was innocent when done, criminal; and punishes such action. 2d. Every law that aggravates a crime, or makes it greater than it was, when committed. 3d. Every law that changes the punishment, and inflicts a greater punishment, than the law annexed to the crime, when committed. 4th. Every law that alters the legal rules of evidence, and receives less, or different testimony, than the law required at the time of the commission of the offence, in order to convict the offender. All these, and similar laws, are manifestly unjust and oppressive.
Chase also made the point that, had the ex post facto law clauses barred all retroactive civil laws, the prohibition on the impairment of contracts by states (Article I, Section 10, Clause 1) and on uncompensated takings by the federal government (the Fifth Amendment's Takings Clause) would have been unnecessary.
Although some believe that the question of the scope of the Ex Post Facto Clause had not been squarely presented in Calder v. Bull, the Supreme Court adopted and upheld Justice Chase's position in Carpenter v. Pennsylvania (1855). Since that time, a few commentators and two Justices, William Johnson in Satterlee v. Matthewson (1829) and Clarence Thomas in Eastern Enterprises v. Apfel (1998), have voiced doubt over the accepted rule that the Ex Post Facto Clause applies only to criminal legislation. In Apfel, citing Justice Joseph Story, Thomas contended that the Ex Post Facto Clause, even more clearly than the Takings Clause, reflects the principle that retrospective laws are "generally unjust." He continued:
Since Calder v. Bull,...this Court has considered the Ex Post Facto Clause to apply only in the criminal context. I have never been convinced of the soundness of this limitation, which in Calder was principally justified because a contrary interpretation would render the Takings Clause unnecessary....In an appropriate case, therefore, I would be willing to reconsider Calder and its progeny to determine whether a retroactive civil law that passes muster under our current Takings Clause jurisprudence is nonetheless unconstitutional under the Ex Post Facto Clause.
The weight of precedent and scholarly opinion, however, supports Justice Chase's view.
While the Supreme Court has hewn to the position that the Ex Post Facto Clause prohibits criminal penalties only, it has also applied the clause in civil cases where criminal penalties are disguised as civil disabilities. As the Court has said, "it is the effect, not the form, of the law that determines whether it is ex post facto." Weaver v. Graham (1980).
When undertaking this inquiry, courts assess whether the ostensibly civil fine or penalty is penal in nature. As Justice Felix Frankfurter articulated the inquiry:
The mark of an ex post facto law is the imposition of what can fairly be designated punishment for past acts. The question in each case where unpleasant consequences are brought to bear upon an individual for prior conduct, is whether the legislative aim was to punish that individual for past activity, or whether the restriction of the individual comes about as a relevant incident to a regulation of a present situation, such as the proper qualifications for a profession. De Veau v. Braisted (1960).
The issue of what constitutes "punishment" involves other clauses of the Constitution as well. For example, recent interpretations of the Double Jeopardy Clause of the Fifth Amendment may have implications for the Ex Post Facto Clause. In United States v. Halper (1989), the Supreme Court said that if "civil proceedings...advance punitive as well as remedial goals," they do not constitute punishment that is prohibited under the Double Jeopardy Clause. In United States v. Ursery (1996), the Court found that confiscating the home of an individual convicted for growing marijuana was a "civil remedial sanction" rather than a civil penalty. On the other hand, the Court has found that an imposed forfeiture constitutes a punitive sanction under the Eighth Amendment's excessive fines clause. United States v. Bajakajian (1998).
Most recently, in Smith v. Doe (2003), the Court (by a 6–3 decision) rejected the claim that Alaska's sex offender registration and notification law constituted retroactive punishment forbidden by the Ex Post Facto Clause (of the analogue Article I, Section 10, Clause 1). The Court focused on the legislature's "intention" and applied the following analytical framework:
If the intention of the legislature was to impose punishment, that ends the inquiry. If, however, the intention was to enact a regulatory scheme that is civil and nonpunitive, we must further examine whether the statutory scheme is so punitive either in purpose or effect as to negate [the State's] intention to deem it civil. Because we ordinarily defer to the legislature's stated intent, only the clearest proof will suffice to override legislative intent and transform what has been denominated a civil remedy into a criminal penalty.
A possible problem with the Court's current interpretation of the Ex Post Facto Clause is the fact that many criminal laws could be rephrased as civil. As currently understood, the Ex Post Facto Clause thus guards against only the most severe use of the legislature's power to make laws retroactive. They do so effectively where personal liberty is at issue. But the clause is of little use to those who are aggrieved by most forms of retroactive civil legislation, which frequently affect property rights of one form or another.
The clause applies only to criminal statutes, not judicial decisions having a retroactive effect. Retroactive judicial decisions, however, can be challenged under the Due Process Clause. See Rogers v. Tennessee (2001). Retroactive procedural statutes that work to deny a defense, bar the practice of law, increase punishment, or increase the likelihood of conviction may violate the Ex Post Facto Clause. See Cummings v. Missouri (1867); Ex parte Garland (1867); Carmell v. Texas (2000). In Stogner v. California (2003), the Court struck down a California law that revived prosecutions for sexual abuse of children after the statute of limitations had expired.
A statutory increase in punishment is also an impermissible ex post facto law. Collins v. Youngblood (1990). The clause prohibits, for example, applying new sentencing guidelines to a defendant who committed the crime prior to their promulgation, Miller v. Florida (1987); or canceling early-release credits after they have been awarded, Lynce v. Mathis (1997); but not a retroactive decrease in the availability of parole hearings, California Department of Corrections v. Morales (1995); nor a change in the place of trial, Cook v. United States (1891); nor deportation, Mahler v. Eby (1924). The Court found no increase in punishment in a change of method of execution from hanging to electrocution, Malloy v. South Carolina (1915); or in imposing civil commitment on a sexual predator after sentence, Kansas v. Hendricks (1997).
- Daniel Troy
- Senior Vice President & General Counsel
- Corporate Executive Team
- GlaxoSmithKline


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South Africa's Fabulous National Parks
South Africa has 19 national parks of which the two featured in this gallery are the Kruger National Park and the Addo Elephant National Park.
First protected in 1898 and formally established in 1926, Kruger is South Africa's oldest and largest national park, which borders Zimbabwe and Mozambique. Spread over nearly 20,000 square kilometres in the provinces of Limpopo and Mpumalanga in northeastern South Africa, it extends 360 km from north to south and 65 km from east to west. Kruger is part of the Great Limpopo Transfrontier Park, a peace park linked to the Limpopo national park in Mozambique and the Gonarezhou National Park in Zimbabwe. Kruger National Park reports the presence of 147 mammal species, the most for any park in Africa, and include the Big Five -- African Elephant, Black Rhino, Cape Buffalo, Lion and Leopard. Kruger National Park also has 517 species of birds and 114 species of reptiles including 3,000 crocodiles. Entry to the park is through nine gates.
Addo Elephant National Park is South Africa's third largest national park and is located close to Port Elizabeth. Established in 1931, the park has 450 elephants, 400 Cape Buffalo, about 48 endangered black rhinos and a number of antelope species including impala, kudu, nyala and gazelle.


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Remember that Tree I threw up a while back?
I was surprised how much everyone seemed to REALLY liked it.
Well, that's a page from a new series I've started drawing called 'Hollows'. Course, even though the Trees will be one a big part of it, there HAS to be more to the story than some Humongous-Wind-swept-Trees- with-whole-Cities build inside the tree limbs, right?
Chris Ryal and I are kicking around some ideas on what this 'universe' might grow into. But meanwhile, I'm just using it as an excuse to go crazy with exploring thee Sam-Trees, (for lack of a better name.)
I had to dig that first main Tree page out so i'd remember what it looks like for this double page spread i'm starting now.
The cool part is nobody can tell me i can't draw trees suck, because they're straight out of my own HEAD, that's what cool about creator owned.
So here's he rough idea.. the empty space on the left is a tree in the foreground. I can't decide it i wanna make the city light and background dark, or visa versa. We'll see once i throw down some color..
Cities the small are pretty boring to do, but they really create a sense of SCALE don't they?
okay, some watercolor pencils helps a little..
Throw in some leaves, again.. to suggest a Tree this big, you can't literally draw every leaf, their too small. So my goal is .... trying to suggest a TON of little leaves.
Where's this guy come from? Sorry, forgot I've also got to get some alien pages off too. Keep jumping back and forth between pages. Hopefully Aliens and Giant Trees don't get all mixed up in the two books.
Here's a woman who appears in the Alien's book. She looks just like the same woman who i drew twenty years ago in the first Alien series i draw, hair up in the back, very Mucha influenced.
Let's start with the teddy bear. Trying to suggest fur, much like with the leaves on the other page. Funny how unless your a photo realistic artists, comics are about using symbolic lines, to suggest things, huh?
always breaks me heart a little, doing comics. Unless you paint every panel, even with a great colorist, something gets lost.
Back to this dude. I tried to add some vein-like texture to the head, but i'm doubt it'll even show up in print. Course sometimes if the artists paints every panel, THEY can screw it up, so sometimes the colorist bails you out. Gotta fix those sloppy back teeth on the mouth, eh?
Okay, back to a prettier face. The thing about a woman's face is... *when* to walk away. Dave Steven's always reminded me... 'Less is more' when inking women and children's faces.
Course i won't think 'less' is in my artistic vocabulary. My style is always pretty polarizing, isn't it? Fan's either Love it or Hate it. Not much in-between.
okay, wasting too much time on that lien head. Better move on.
But first let's dive back into that tree spread. Here's a hint, there a guy who flies in it, (hence the winged figure on the right!) These are naked malnourished trees... their hungry for ink and color, aren't they?
Here's another splashy excuse to throw a Tree into a panel. This one's a little different, i wanna actually blur it a bit,
diffused lighting, hopefully. all this blue city crap will get totally buried. But if i suggest some perspective, i can throw in some city lights to pop out.
hmm... pretty crude city, but it is done in markers. The goal here was to focus the eye on light spilling down, so too much detail will get lost anyways.
Still pretty rough, but that was the point here. The white light was pastels. They smudge a little, but that's fine.
i also added some water to the markers to let them bleed a little This book won't really be colored, so what you see is what you get. Sorta a cross between a black and white and color book.
Sorta a sepia toned book sometimes? we'll see how it shakes down.
wow, i need to get back to this Tree spread, don't i? Maybe next post. I can't believe how much time i wasted so far - but at least i grabbed a few photos along the way for the blog posts!


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The Ford 429-powered, bar-equipped Intermeccanica Murena is officially The Full-On Raddest Car Of All Time… but only 11 were made. Where could you possibly find one? How about two, plus 5 other seriously rad Intermeccanicas?
Yes, those lunatics over at Bring A Trailer have found a Southern California treasure trove of Intermeccanica goodness, all for sale, including:
• 1966 Vetta Ventura
• 1968 Intermecanicca Italia convertible
• 1969 Intermecanicca Murena, once owned by Elvis Presley
• 1970 Intermecanicca Murena Hell Project, once owned by Dean Martin and yours for just 25 grand
• 1970 Intermecanicca Italia convertible
• 1971 Intermecanicca Italia convertible
• 1974 Intermecanicca Indra 2+2
On top of that, the same collector has a bunch of other stuff that would normally star in our automotive dreams, had we not been ruined for all other vehicles by the thought of those Murenas. All we can say is: AIIIIEEEEEE!!!!
[Bring A Trailer]


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I am interested in prime numbers and cryptography. I am currently planning to build two computers that I will run 24/7 to crunch primes. My math skills are rusty and I am taking a self paced class to boost my skills. I enjoy surfing the internet and I have built my last four computers, its a lot easier than it sounds. Im really into cats I have 7 and they are all indoor cats. I enjoy mechanics and spend time drafting submarines.
Hi Golda;
Welcome to the forum.
In mathematics, you don't understand things. You just get used to them.
If it ain't broke, fix it until it is.
Always satisfy the Prime Directive of getting the right answer above all else.
hi Golda
Welcome to the forum!
Children are not defined by school ...........The Fonz
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Sometimes I deliberately make mistakes, just to test you! …………….Bob Bundy
Hi Golda,
Nice introduction.
Welcome to the forum!
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Cannabis THC Analysis
Cannabis THC Analysis by ANRESCO Laboratories Cannabis THC Analysis. The sample preparation process (weighing out sample, extracting, diluting, pipetting, etc. in order to get the sample ready to run on an instrument)Add to Cart Add to Lightbox Download
- Filename
- ANRESCO_CannabisIndustry 120.jpg
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- Ron Essex Photography 2017 2017
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Since then, the process has become a little easier, thanks to the R&D efforts of Digital Domain, Industrial Light & Magic, and other studios while crafting the effects for various films, as well as the progress made by fluid-simulation and DCC software vendors in recent years. Despite these advances, generating realistic CG water, even today, is far from smooth sailing. Several months ago, ILM, with assistance from Stanford University, unleashed new methods for simulating water, creating a 200-foot wave that capsized an 1100-foot 3D cruise ship in the remake Poseidon (see "Size Matters," April 2006).
More recently, visual effects facility Flash Film Works spearheaded what has become another high watermark in terms of CG fluid technology, with stormy ocean surfaces, including boat wakes, whitecaps, bow sprays, and enormous breaking waves featured throughout the film The Guardian. In The Guardian, directed by Andy Davis, the rough sea is more than just an effect; it is the main antagonist in the live-action movie about a team of US Coast Guard rescue swimmers and their daring missions.
"Disney's challenge to us was that we raise the bar for ocean FX even further than we had before," says William Mesa, founder of Flash Film Works and visual effects supervisor on the project. Mesa is used to getting his feet wet when it comes to digital water; his Flash Film Works has been creating CG water for the past six years in a number of films, including The Deep Blue Sea and Into the Blue. For The Guardian, Mesa was able to build on that experience while working with Davis, with whom he has teamed on all but one of the director's films.
"From the beginning, Davis wanted us to create storms and water footage by whatever means it was going to take to make the imagery look realistic, like the footage we had from the Coast Guard," Mesa says. Hoping that The Guardian will do for Coast Guard rescue swimmers what Top Gun did for Navy fighter pilots, the US Coast Guard lent the production its support, providing thousands of hours of film footage taken during actual rescues. "From all that footage, we had a fairly good idea of what the Bering Sea, where a lot of the movie takes place, was like under these pretty horrific conditions," Mesa adds.
A Storm Is Brewing
In the majority of scenes, however, it was up to the artists at Flash Film Works to ensure that the real water elements integrated seamlessly with the CG water surfaces. "I didn't want to go into a movie like this saying that we had to do all of this water using a CG methodology. I wanted to be able to composite many live elements together with CG elements and do a mix that was believable," says Mesa. "Even before we were doing the animatics, we were developing a way to mix elements together to make this water realistic."
Some of the "calmer" water scenes were filmed inside a water tank that could generate up to five-foot waves. The actors were filmed against a 150-foot bluescreen that wrapped around the back of the tank. The artists then extended the water to include a vast sea that would appear behind the actors in the film. "We also took that footage and stretched it to pull up some of the peak-point heights and dropped it down to the lower position," explains Mesa. "So when the actors were in the tank, we were able to make the water look higher and lower, generating larger swells than what were actually there."
Other scenes were shot within a dry environment, requiring all-CG water. This was especially true of the big, wide ocean shots.
In the past, Flash Film Works used procedural methods to accomplish most of its water work. "A lot of the way in which CG water is created requires an action/reaction method of how the water is manipulated, meaning if you want to create more wave heights, you can add more wind factor or lift the swell heights," says Mesa. "But the calculations in doing that and how the computer lays out the sea requires some procedure. It has some duplication of what it will be doing down the line. So, when you look at a computer-generated open ocean, it doesn't feel organic in what it is doing out there. When you look at real footage, the water is very different all over the place. You might have a large wave on the right of the frame and moments later a large wave on the left of the frame."
Flash Film Works spent more than a year in R&D before coming up with a method of hand-manipulating the water surfacing using a combination of proprietary tools and commercial software. "We mimicked the real water from the Coast Guard footage using, in simplistic terms, multiple projection maps," explains Mesa. With the reference footage as an underlay, the group created surfaces and controllable bump maps of sorts that were more like morph targets that the artists could control. This was done inside NewTek's LightWave software. As Mesa points out, on one surface alone the crew might have 50 different projection surfaces that were created either by CG methods or by using real-water surfacing (or element surfacing) that was projection-mapped onto the CG surface to create a particular water surface. On top of that, the group would create other projection map surfaces.
Next, the artists animated the digital surfaces atop the actual water surfaces so the CG would act and react identically to the water in the footage. "From that point, we were capable of controlling and animating those surfaces exactly the way we wanted to," Mesa says. "So if the director wanted a large wave to come up alongside the boat as the actor was leaning over and performing a particular task, we could control the water process so it would do all the exact things at the right time, especially in relation to the action and reaction of the boat."
Staying on Course
The boat depicted in several scenes was a mechanical rig that operated dry. It was not completely motion-controlled, but it was able to receive data and hit positions at specific points in time. "We could place the camera at a certain spot, and we knew that eight seconds later the boat would be at another position, so we could reposition the camera," Mesa says. This allowed the crew to lay out, in an almost crude way, large-scale camera moves, with the assurance that the boat would be in the proper positions at the proper times. The group then brought the encoded data back to its facility at Flash Film Works, where it began creating the digital water to coincide with both those camera moves and how the boat was operating mechanically.
The next big step for the team was making the water react to the boat. To do this, the artists used the encoded data with the camera moves and applied it to a detailed CG model of the boat, built in LightWave. The model, however, was not visible, as it was placed underneath the footage of the mechanical boat. Next, the artists built a CG rig that was virtually identical to the mechanical boat's rig so it could operate in the same manner. As a result, the crew could animate the CG boat to follow the exact movements of the mechanical vessel.
"It could be placed in our CG water so the CG water could react and be hit and deformed by the CG boat in the proper way," explains Mesa. "When you render out the water without the CG boat in it and put the footage of the [mechanical] rowboat back into the CG water, the rowboat looks like it is reacting to the CG water."
Stormy Seas
For the really rough water, Flash Film Works called on Mark Stasiuk, co-founder of Fusion CI Studios, who served as the fluid-simulation supervisor. Flash Film Works had been working with a current version of Next Limit Technologies' RealFlow and was encountering some problems generating particles in fine enough detail. Stasiuk, meanwhile, had been experimenting with an unreleased 64-bit, multi-threaded version of the software that was capable of handling a much higher particle state. "At the same time, we were working with a 64-bit version of LightWave that could also work in a much higher particle state," Mesa notes. "As a result, we developed a new method of being able to transfer RealFlow data into LightWave with our own scripting system so we could work in super-high particle rates that hadn't been achieved before."
Stasiuk, who performed similar work on Poseidon, has collaborated with a number of other effects studios on CG fluid projects. When he came aboard The Guardian, he brought along a number of optimization procedures, algorithms, simulation methods, and rendering ideas he had developed over the past few years that he could extend and/or customize as needed for this project (see "Go with the Flow," pg. 34). Yet, the fact that many of the shots had to achieve particular story elements posed a challenge for Stasiuk, just as it did for Mesa. "This requirement made for beautiful, meaningful visuals, but it also meant that we had to make the fluid elements behave within an existing, 'near-finaled' 3D environment," Stasiuk says.
To this end, Stasiuk devised a collision method using RealFlow 4 and particle dynamics that would react to the water surfacing methodology that Flash Films Works had created for the other rough seas in the film. "When we wanted a lot more particle dynamics to happen at a specific time and place, we could manipulate the water to make different movements," Mesa points out. "This was one of the big advantages to having our own method for doing water, as opposed to using a procedural method." In these 21 extra-turbulent shots, the artists manipulated the CG water surfacing to achieve greater or quicker movements so the particle dynamics would work faster and greater, depending on what was needed.
"Even though the particle dynamics were used only on 21 shots, they were some of the most difficult ones in the film," notes Mesa.
Wrangling Water
This technology allowed Mesa to order up complex, large-scale fluid elements consisting of millions of particles that precisely fit the director's requirements. It also resulted in rich, photorealistic fluid behaviors. In one scene, a boat is sinking and the actors are being pulled off the back by rescuers. In addition to the mechanical motion, the CG motion, and the CG water reaction generated by Flash Film Works, the crew also needed water displacement that would shoot out of the boat as well as waves that would bang against the sides of the boat. "A lot of water would be displaced coming off the boat as it began to submerge," notes Mesa. And that was done using Stasiuk's particle system.
In another exciting 18-second all-CG shot, a distressed cargo ship is tossed about during a storm as its load—cars and debris—is spilled into the sea. Again, the same water surfacing methodology from Flash Films Works, supplemented by Stasiuk's particle technology, was used to achieve the enormous splashes that flood the front of the ship. "The particle dynamics reacted to the boat in much the same way as the CG water surfacing interacted with the CG boat," Mesa notes.
In those shots and others, the artists still had to tackle the dynamics work in segments, despite the ability to generate super-high particle rates. In the cargo boat scene, the shot called for a giant splash to slam across the front of the boat, water to pour off the vessel, and waves to hit against the side as the ship teetered in the water. As a result, there were 15 to 20 different places on the boat where the artists had to deal with the dynamics. "We had five different particle dynamics for just that part and another four or five running across the bottom of the water, and four or five more for the water pouring off the boat itself—in addition to what is going on behind the boat," explains Mesa. "Behind the boat were big waves that were hitting the cargo. There were so many dynamic renders for that one shot because we had to combine a number of different dynamics together to create a specific wave splash just to get the particle count fine enough."
What this meant, says Mesa, is that each of those 15 to 20 dynamic locations had five rendered versions. The entire rendering for the fluid, mist, spray, and other passes were simulated over a day or so for most elements and rendered as self-shadowing particles over a few hours inside LightWave through an optimized pipeline. According to Stasiuk, the biggest hurdle the group faced was rendering the large quantities of data. Typical hypervoxel renders in LightWave were not meant for such large particle numbers; thus, the process was taking too long. Alternatively, the team opted for sprite-type rendering for the largest particle numbers.
In LightWave, though, that was not a straightforward process. "However, under the direction of Dan Novy and Jen Hachigian, we were able to use the Python scripting to develop a custom export of the data as LightWave partigon objects. This meant the fluid particles could be rendered as single polygons," says Stasiuk. "It was much faster than other alternatives, and it looked great."
To composite water elements and other imagery into the scenes, the group used Eyeon Software's Digital Fusion, utilizing the Z buffer space within the composite. This was due to all the 3D camera moves within the shots, which also had to conform in the composite. For tracking other shots, the group used Apple's Shake.
In Deep Water
And, like the water work in The Perfect Storm and Poseidon, the CG fluid simulation in this movie sets a new precedence of what can be done within the digital realm by opening different avenues for the creation of virtual water. "Anytime you are doing a procedural method, you need to think out the process—make calculations—and that utilizes computer power," says Mesa. With this method, all the computer had to do is render out the surfacing or positions the group told it to create, which results in a huge leap forward in actual speed, time, and changeability. And after the render, if the artists want to change something, the shot can be quickly re-rendered without the computer having to recalculate the whole process over again. Since the water was laid out in a morph-target fashion, the artists just animated it as they would any other animation.
"So many people were worried that we had to render out all this CG water. And, I remember back when we did The Deep Blue Sea; some shots took a week to render the water," says Mesa. "For this film, we rendered out the general surfacing in multiple layers, about five on average. We didn't try to render all the CG water with the lights reflecting on it. Things like that were rendered out separately and composited together. If we didn't like it, we could control it in the composite."
With a PhD in fluid mechanics, Mark Stasiuk, co-founder of Fusion CI Studios, along with producer/director partner, Lauren Millar, has worked with software developer Next Limit Technologies in its R&D efforts for the past three years while using the company's commercial RealFlow software in features and commercials. Most recently, Stasiuk assisted Flash Film Works in creating millions of particles that augmented the digital surfacing technique devised by Flash Film Works for generating turbulent water in The Guardian. In a Q&A with CGW chief editor Karen Moltenbrey, Stasiuk discusses the work he did for the film.
What was your task/role on the film?
I worked in-house with Flash Film Works as the fluid simulation supervisor. My main role was to supervise and teach a group of eight RealFlow artists to work with Dan Novy (the technical supervisor) on pipeline issues, to develop custom production tools, and to communicate with VFX supervisor William Mesa and various CG artists and compositors involved in shots requiring CG fluid effects.
Have you done similar work in the past?
I did similar work on Poseidon, working within CIS Hollywood, and have also consulted with several studios on CG fluid projects. For many of our clients, I have acted as an advisor for their workflow and pipeline, done troubleshooting, and provided fast turnaround custom scripts to accelerate their simulations or eliminate problems.
How did you apply that knowledge to The Guardian?
I came into this project with an accumulated library of optimization procedures, algorithms, simulation methods, and rendering ideas that I had already developed. I then extended many of those to a more advanced state, or customized them for this project's particular needs. I was also familiar with the issues that new RealFlow users face, so was able to find ways to get junior artists productive faster.
Is your specialty solely in fluid sim?
Really it's in general dynamics, including general particle FX, with fluid simulation being a special (and especially difficult) area of dynamics. We work on problems involving rigid bodies, soft bodies, dust, smoke, plasma, fire, explosions, etc., including interactions between these different things. In addition, we provide help with render pipelines related directly to the FX elements we create.
What can you provide that a VFX studio cannot do on its own?
Typically, small to midsize VFX studios can't easily maintain a high level of expertise in these kinds of effects over the long term; it's just not what they are focused on from day to day, so it becomes expensive and unwieldy. And, certainly, they have difficulty maintaining a highly specialized line of R&D. We bring along years of accumulated R&D, a rare ability to quickly perform robust, new R&D, plus strong, specialized support from Next Limit Technologies, with whom we have an exclusive collaborative relationship.
Exactly what does that R&D entail?
Our body of R&D includes everything from ways to make simulations run two or three times faster than they would otherwise, to stability methods, to custom force fields for achieving certain behaviors. In addition, we have the hardware and a group of artists who we've trained to get shots done fast. So we can quickly turn around complex effects with very little ramp-up time. Studios can struggle for months to get to the point where they are productive with complex fluid FX, whereas we can turn around useful iterations in a matter of weeks. It's just because that's what we're focused on and experienced with.
Why was this task specially challenging?
The Guardian was challenging for two reasons. First, a significant amount of R&D had to be done during production, just because of the timeline and the evolving needs of the production. Second, many of the scene elements were non-dynamic and strongly art-directed, because the shots needed to achieve very particular story elements.
Why couldn't you use out-of-the-box fluid technology?
For a minority of elements, we did just that. But for many of the elements, the needs were very particular and art-directed. Simulations generally do cool and realistic things, but sometimes that's not what the director needs. We needed extra control. Plus, for a number of effects, there just aren't pre-fab tools available in RealFlow—for example, there are none for generating realistic splashes around the intersection of any two polygonal objects. We also needed to keep the simulation times manageable and stable.
How did RealFlow enable you to accomplish your goals?
RealFlow is a relatively fast and stable dynamics solver with a lot of flexibility built into it now that the product incorporates scripting. It provided the foundation for us. The fact that the software provides a lot of potential for custom control via scripting within a well-developed UI makes it ideal for this kind of work. In addition, RealFlow's new 64-bit version allowed us to access massive amounts of RAM and, therefore, run much-larger-scale simulations.
Did you use any other software or hardware?
We used LightWave 9, and made use of both 32-bit and 64-bit AMD Opteron systems. The 64-bit systems had up to 16gb of RAM to deal with the large number of particles and polygons in the simulations.
Which features/functions did you use, and for what end?
We used a combination of the built-in tools (fluid particles, force fields, fully coupled fluid-object interaction) plus the Python scripting capability to do custom tasks, like tailor-made force fields.
How long did you work on this project?
Fusion's part in the project lasted about four months; the solution to the rendering issue was developed over just a few weeks early in the production work, which was early enough that it was really solved before we got into the peak of the simulation work.
Are there any other points about your work that are worth mentioning?
For me, a highlight of this work was that a relatively small group of talented VFX artists, without massive resources or months and months of pre-production R&D, could deliver advanced CG fluid effects. That speaks to the quality of the tools (RealFlow and LightWave), as well as to the skill of the artists involved and the support at critical moments from the software developers.
At any time did you have to dial back the effects?
One of our favorite custom simulation tools was a script I created to magnify forces to get bigger splashes—we dubbed it the "cowbell force." We'd often get requests for more cowbell. But by the end, in a lot of cases, we toggled on too much cowbell. It was nice to hear, 'OK, less cowbell, please' from the supervisor.
What's next for you?
We're focusing on providing fluid effects elements for features now, and working less in-house with other studios. And we're currently involved in a few projects requiring large-scale, non-water-type fluid effects and continuing to work with Next Limit Technologies to ramp up to RF5 in the process. Watch out for some amazingly violent and yet highly 'directable' particle effects coming soon.