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Issue 20 February/March 2014
Horticultural Science Technology & Art
Cover Image Visible Traces (Remnants of Presence) by Kerryn Madsen-Pietsch
Photographic Print & Throw Pillow
All The Materials Contained May Not Be Reproduced, Copied, Edited, Published, Transmitted Or Uploaded In Any Way Without the artist/photographers Permission. These Images/writings Do Not Belong To The Public Domain. All images and information within the Garden Tripod magazine are the responsibility of the owner/artist/writer/photographer & not the Garden Tripod magazine 2012-2014

GARDEN TRIPOD Horticultural Science Technology & Art Issue
22 April/May 2014 Garden Tripod Web Site www.gardentripod.com
About  7 Office News Hound
8Window to the world challenge 25Feature Hans Bax 40Gardening Tips from Wilkinson sword 44Calendar Feature, Sandra Fortier
& bubblehex08
62Calendar Feature, Morag Anderson
& Mother Nature
80Lancelot (Capability) Brown 82Fine Art America, garden tripod group Exhibition
92William Morris 97RedBubble, country gardens come
grow with us group Exhibition
125In the News
GARDEN TRIPOD Horticultural Science, Technology & Art Welcome to our 22nd edition of the Garden Tripod. Wow our 22nd edition and still looking amazing due to all the fabulous images that are arriving. Thank you everyone for joining in and supporting the Garden Tripod.
This is a slightly different edition as we have sent all our writers off on a short fact finding break. So am delighted to say the featured writings are all sourced by your editor.
The Garden Tripod would like to thank Yvonne Weaving from Wilkinson sword allowing us to show their garden advice text and images. Also V&A museum for some text and images connected wit the article on William Morris, and lastly where would we be without wikipedia with useful info on William Morris and Lancelot Brown.
As always we are including real text, so grammatical errors and spelling mistakes are all included free of charge
The Garden Tripod is also beginning its search for talented artists and photographers to be included in the Garden Tripod hard cover book. As this is going to be printed we will need high res images (300 dpi) and an artist statement with a short bio.
So if you would like your images to be looked at for inclusion, please go to the Garden Tripods Web site (Talk to Us page) and fill in the request form or email to email@example.com. Closing date is the 1st September 2014 Look forward to seeing your applications.
A little word from our
Office News Hound Hi Folks ..
I am officially the office dog for the Garden Tripod Magazine.
O wow ~ I just love throw pillows… and now I can get them from some of my favourite artists . RedBubble have just introduced their new range of cushions and they looks great. My personal fav are these from the artist Kerryn Madsen-Pietsch. We also have a feature about William Morris, and his art on textiles. …. cool Guess I am trying to say .. woof :)
Stay Safe Princess Summer
A Potter's Garden by Kerryn Madsen-Pietsch
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Window to the world Catalogue Garden Tripod Supports Country Gardens come grow with us group challenge
House of Johannes Larsen by hans p olsen Born in Kerteminde on Funen, Larsen studied art at the Free School in Copenhagen under Kristian Zahrtmann in the 1880s. There he met other painters from Funen, notably Fritz Syberg and Peter Hansen, both from the southern port of Faaborg, and the Funish Painters' group was born. They went on to create an art colony that influenced many Danish and Swedish artists and brought them success. Johannes Larsen's home, Møllebakken in Kerteminde, became the gathering place in summer months for many painters, particularly younger artists from Zahrtmann's school.
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Rice Paper Window by Eileen McVey
gecko by metriognome
gecko in silhouette hanging on clear screen
A Pink Outlook by Alexandra Lavizzari The window of an English country cottage with a windowsill full of pink glass and china objects. (Devon)
The dinner table .. .. make mine red! Kilmore East VIC Australia by Margaret Morgan (Watkins)
Looking Out by Fay270 Garden Tripod 22
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Chimneys by ElsT Taken in the Botanic Gardens, Glasgow
My Room...My Winter View... by naturelover
Set In Stone - Mission San Jose - San Antonio Texas USA by TonyCrehan Window in the stone wall of one of the ruined buildings at Mission San José y San Miguel de Aguayo in San Antonio, Texas, USA, looking through to the church.
Founded in 1720, the mission was named for Saint Joseph and the Marqués de San Miguel de Aguayo, the governor of the Province of Coahuila and Texas at the time. It was built on the banks of the San Antonio river several miles to the south of the earlier mission, San Antonio de Valero (the Alamo).
In 1941, Mission San José was declared a State Historic Site, and later that same year, a National Historic Site. When the San Antonio Missions National Historical Park was established in November 1978, the Spanish colonial mission was assured of protection.
A room with a view - Sissinghurst Castle by Mortimer123
A shot of a quintessential English country garden through a window in an outside wall in the grounds of the National Trust property at Sissinghurst, Castle, Kent UK.
Lookin' Out The Window by WildestArt Looking out the window of The Old Mill, in N. Little Rock, Ark USA, at their garden. This building, a mill, was used in the opening credits of the movie Gone Withe The Wind. It was built in the 1930s, and is on the National Historic Register. Its open and free to the public, and one of my favorite places. Taken with a LumixDMCSZ02.
Taken at the Chalice Well, Glastonbury, UK
From My Bedroom Window by Vicki Spindler (VHS Photography)
In church near Exmouth, UK
Church Window by lynn carter Garden Tripod 22
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Looking Inside the Old Potting Shed by SummerJade Try to look through the old windows of the potting shed to see what the family gardener has been doing. The yard foliage casts a pinkish reflection on the cloudy glass, but thanks to the light coming from the windows on the opposite wall some shapes can be seen. There are painted pots on the work bench, and some patio furniture has been stored inside. Geraniums, saved over the winter, are now leggy and in need of care before being planted outside in large urns near the front entrance. The place is both pleasant and mysterious.
Edited in Paint Shop Pro using many blending layers with several textures added. The window layer is from CG Textures Canon EOS Digital Rebel XT, Canon Zoom Lens EF-S 18-55mm. Location: New York (USA).
It's Nice Outside. by relayer51 A view through one of the windows at Frensham Heights School.
View on the Muckross gardens
Muckross – Killarney – Ireland
by Arie Koene Garden Tripod 22
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Taken in the grounds of 'Everglades' at Leura, in the Blue Mtns, NSW, Australia.
Framing the Blue Mtns by PhotosByG
Huntington Botanical Gardens in San Marino, California.
Chinese Garden view at The Huntington by Celeste Mookherjee
Oko's Open Shutters.......... by WhiteDove Studio kj gordon
Oko opens his shutters and lets the beauty of the world in…………..Kauai Hawaii……..
acrylic on fabric. each shutter is hinged and moves independently. This was exhibited at a Gallery last year at Arizona State University….. Garden Tripod 22
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Looking out on an Ullapool Evening by lezvee
Flowers in the Window by krishoupt Old Stone House in Salisbury, NC
Lovely Garden View by hummingbirds North Sydney, Nova Scotia, Canada.
A River View by Barbara Brown The Truckee River viewed through the window at River Ranch, a few miles from the point that Lake Tahoe flows into the Truckee river Garden Tripod 22
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Autumn Through the Fence Window by Georgia Mizuleva Autumn colors shine through the fence window in the Old Town in Plovdiv, Bulgaria.
Window to the world
Top Ten Results
Flowers in the Window by krishoupt
It's Nice Outside. by relayer51
Looking out on an Ullapool Evening by lezvee
My Room...My Winter View... by naturelover
Chinese Garden view at The Huntington by Celeste Mookherjee
View on the Muckross gardens by Arie Koene
Autumn Through the Fence Window by Georgia Mizuleva
A River View by Barbara Brown
House of Johannes Larsen by hans p olsen
Looking Out by Fay270
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Winning Entry Flowers in the Window by krishoupt
A sideways look at wire Challenge Winner Feature
A little bit hair of a sheep with dew at an early morning at sunrise near Wijk bij Duurstede, Holland
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Autumn in the Country by Hans Bax
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Hi, I'm Hans and I live in the Netherlands in Gouda, near Rotterdam.
Photography is my hobby (hey, hey!), especially close ups, details, nature, old buildings, flowers, funny things and many more. I'm fascinated by lines and colours.
I took pictures to illustrate magazines and I've also made bridal photo shoots, but I'm not a professional!
The camera's I used were a Canon Powershot S3 IS, Canon Powershot SX1 IS and an Olympus Mju 790 SW. The last one especially for underwater-shots. My first digital camera was a Kodak DX 6340 ZDC.
Currently I use a Canon Powershot SX40 HS. For underwater-shots an Olympus Mju Touch 6010 SW. I also took pictures with my I-Phone 4 and nowadays with my I-Phone 5S.
Next generation by Hans Bax lady's bower (clematis) in Gouda, Holland.
Autumn view by Hans Bax
Sun reflected in Pearls by Hans Bax
Pearls at sunset II
Pearls at sunset by Hans Bax
Paulusbrug - Utrecht by Hans Bax
Nieuwegracht Utrecht by Hans Bax
Broken glass 3
Finally Winter in Holland by Hans Bax
On Guard! by Hans Bax
Just a little pink at sunset by Hans Bax Hydrangea starting to bloom in Gouda, Holland.
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"Oh My.... Kiss me, please!" by Hans Bax
Keys by Hans Bax
Fallen into the Puddle
Gardening Tips đ&#x;'€
The Wilkinson Sword gardening tool collection is a totally unique, innovative range of products developed by E. P. Barrus Ltd; a British Company with over 90-years trading experience. Barrus has a strong sales, distribution and engineering focus and is the power behind leading brands in the garden machinery and tools sector, marine, powered products and industrial engine markets. E. P. Barrus Ltd is a family Company co-owned with MTD Products., one of the largest producers of outdoor powered equipment in the world who are committed to producing high quality lawn and garden machinery including the popular brands of Lawnflite, Wolf-Garten and Cub Cadet; distributed in the UK by Barrus. E. P. Barrus has a trade mark licence agreement with Wilkinson Sword Ltd (a wholly owned subsidiary of Energizer Holdings Inc) to sell and market the Wilkinson Sword range of garden tools in the UK and Eire. Reflecting 100 years of cutting excellence, the Wilkinson Sword gardening tools collection comprises highly engineered quality products, including pruners, shears, loppers, stainless steel garden tools as well as a range of axes and multi-tools. Every product in the range is put through rigorous quality tests to ensure the high quality design, durability and strength that you would expect from this trusted brand. We are so confident about the quality of our range that every product comes with the reassuring stamp of a 10 year guarantee. Our mission is to provide gardening tools of premium quality and performance that help make gardening easier and more enjoyable!
Reflecting 100 years of cutting excellence
from Wilkinson Sword Choosing Pruners or Loppers Bypass, Precision, Anvil what is the difference and how do I know which pair I should choose? Well it really comes down to what cutting job you need to do in the garden whether it is trimming new stems or tougher, woodier growth.
Bypass or Precision These are essentially the same, just different terminology. They work on a scissor-like cutting action with one blade 'bypassing' the other. They are ideal for cutting growth which is around 1 to 2 years old as they provide a very clean cut, essential for maintaining a healthy plant or shrub. For pruning of this nature there is little pressure required and therefore the pruners or loppers tend to be light in weight. A good quality pair of Bypass or Precision pruners or loppers can still handle older cuttings but a little more effort is required. However to avoid unnecessary strain on the hands and wrist it may be wise to consider either Anvil or Ratchet models.
Anvil or Power Again, these are essentially the same. They have a blade that closes against a softer metal anvil on the lower jaw. This action tends to crush the stem being cut so this type of pruner or lopper is particularly suited to older wood where the cleanliness of cut is not as important.
Ratchet Ratchet pruners and loppers have the advantage of being easy to use and take the strain out of cutting woody growth. The ratchet mechanism allows you to cut through a branch in 3 or 4 movements rather than in one action. This means that less effort is required. Ratchet pruners or loppers are beneficial for the mature gardener or gardeners who suffer from arthritic conditions and disabilities.
Gardening Tips đ&#x;'€
Cutting It
When it comes to all things wood whether it be tree care, pruning shrubs or hedges, we at Wilkinson Sword are in our element, with over 100 years of cutting excellence. Our cutting products have evolved into a mature range of tools that will cover all of your cutting needs in the garden – whatever the task or diameter of the branch. For any plants to grow to their optimum, it is so important that they are regularly pruned. Wilkinson Sword have developed a premium range of cutting tools for each task. Our range of loppers and pruners are available with both anvil blades – for hard or dead wood and bypass blade – for cutting young green plants.
How to recognise high-quality pruners How do you recognise good quality durable pruners? They need to fit comfortably in your hand, cut sharply and cleanly (even after years of use) and are designed so that the parts, if necessary can be replaced.Â
Pruners The Wilkinson Sword Power and Precision pruners bring together all our expertise and quality into one cutting tool: • • • •
Unsurpassed in precision, longevity and technology Accurate cut, owing to precision-polished blade. Special screw safety device prevents inadvertent loosening of the spring 30Âş angle of the cutting head will prevent over-stretching of the hand during the cutting process. This takes the strain off the wrist and lower arm The spring is integrated into the pruners. It will not get dirty or be lost and will stay securely in place
Reflecting 100 years of cutting excellence
from Wilkinson Sword Scissors Wilkinson Sword will be launching a brand new range of scissors in 2014.
Loppers For dead wood, you would want to use an anvil lopper. In a good quality hard wearing lopper so you won't have to replace them so often. Make sure that the tool you choose is the right tool for the job. If using a garden lopper to cut a branch down that really should come down with a saw, you are overworking yourself, the tool and could possibly damage your plants. Be sure that the lopper will be able to make one clean cut when you prune, otherwise you are causing multiple wounds on the shrub and it could attract insects or disease more quickly than just one cut would. The longer the handle of the garden lopper, the more leverage you will have when cutting, for gaining extra reach try using the Wilkinson Sword General Purpose Telescopic Geared Anvil Loppers (1111136W). This is especially important for individuals who do not have height as an asset when it comes to pruning taller bushes. The long handles give more leverage for the cut, making it easier to make a clean cut. For closer and less stout jobs, a shorter handled Wilkinson Sword General Purpose Geared Anvil Loppers (1111134W) could be used. The shorter version will give you a powerful cut on a smaller diameter. Find garden loppers that have a good hand grip that will be non-slip. Accidents are avoidable if you practice safety measures and use good equipment. đ&#x;'€
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Sandra Fortier CHATEAUGUAY, CANADA
Hi! My name is Sandra and I live in Canada. I've re c e n t l y d i s c o v e re d there are many photo opportunities where I live and I now take my camera for daily walks. I enjoy photography and writing… I'm editor of 3 newsletters and I often integrate my photos with my written words. This provides an interesting incentive to find the perfect image to convey my message.
Sandra Fortier
Malachite by Sandra Fortier
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The World As I See It by Sandra Fortier
Bluebelle by Sandra Fortier
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Sipping Nectar by Sandra Fortier
Ssss-Cobra by Sandra Fortier
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Sandra Fortier
A Spot of Tea? by Sandra Fortier
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My name is MarieJo. I'm living in the heart of Europe and I travel a lot through the world. I want to share my photos and in the same time I like to look at the others' work and learn from them. Therefore Redbubble is perfect!
Valuable by bubblehex08
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In good company by bubblehex08
Hello Spring! Magnolia blooms like butterflies on the bare tree by bubblehex08
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My idea of a romantic garden by bubblehex08
All you need to light up your day! by bubblehex08
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Thru the clock by bubblehex08
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Morag Anderson HOBART, AUSTRALIA
I've been taking photos for a while. But I continually feel the need to extend myself, sometimes the journey takes you somewhere better than expected
Morag Anderson
Shady walk amongst the trees by Morag Anderson
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Eucalypt leaves by Morag Anderson
Zouterwoudsesingel, Leiden by Morag Anderson
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Loch Tulla by Morag Anderson
Heartbeat of the city by Morag Anderson
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Morag Anderson
Owl by Morag Anderson
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MotherNature GREEN LANE, UNITED STATES
I love nature, science, poetry, prose, art, music – you name it! Now that I'm retired, time is mine to spend as I wish (pretty much), and I wish to take pictures of our natural world. Bringing the outdoors in for others to see, especially those who may not get the opportunity to wander next to a pond, fish at the beach, or tramp in the woods, is a pleasure. I hope to build a window to the wonders of nature that fill our everyday lives. If you learn something new or see an animal or landscape from a different perspective, I'm delighted. Six years ago I began photographing and worked my through an Olympus FE240, a Sony Cyber Shot DSC H9, and now I use a Canon EOS Rebel T4i. This move to DSLR was a tough one for me because it meant learning about lenses and carrying more equipment. The Tamron lenses and the new DSLR camera took me to another level, and I learn more every day.
Sunset on the Outer Banks, NC by MotherNature
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Sunrise Painted In Liquid Gold by MotherNature
Frisco Pier - Outer Banks NC by MotherNature
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Sunrise Surf - Island Beach State Park, NJ by MotherNature
Sunset Behind the Dunes by MotherNature
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Sand Dune and Split Rail Fence by MotherNature
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Lancelot (Capability) Brown Landscape gardens Lancelot Brown (Baptised 30 August 1716 – 6 February 1783),more commonly known as Capability Brown, was an English landscape architect. He is remembered as "the last of the great English eighteenth-century artists to be accorded his due", and "England's greatest gardener". He designed over 170 parks, many of which still endure. His influence was so great that the contributions to the English garden made by his predecessors Charles Bridgeman and William Kent are often overlooked; even Kent's apologist Horace Walpole allowed that Kent had been followed by "a very able master�.
It is estimated that Brown was responsible for over 170 gardens surrounding the finest country houses and estates in Britain. His work still endures at Croome Court (where he also designed the house), Blenheim Palace, Warwick Castle, Harewood House, Bowood House, Milton Abbey (and nearby Milton Abbas village), in traces at Kew Gardens and many other locations. It has been reported that he refused work in Ireland because he had not finished England & was called "Capability" Brown, because he would characteristically tell his landed clients that their estates had great "capability" for landscape improvement.
Lancelot ('Capability') Brown, by Nathaniel Dance
Badminton House and landscape garden, in Gloucestershire, England from Morris's Country Seats (1880)
His landscapes were at the forefront of fashion. They were fundamentally different from what they replaced, the well-known formal gardens of England which were criticised by Alexander Pope and others from the 1710s. Starting in 1719, William Kent replaced these with more naturalistic compositions, which reached their greatest refinement in Brown's landscapes. At Hampton Court, Brown encountered Hannah More in 1782 and described his "grammatical" manner in her literary terms: "'Now there' said he, pointing his finger, 'I make a comma, and there' pointing to another spot, 'where a more decided turn is proper, I make a colon; at another part, where an interruption is desirable to break the view, a parenthesis; now a full stop, and then I begin another subject'". Brown's patrons saw the idealised landscapes he was creating for them in terms of the Italian landscape painters they admired and collected, as Kenneth Woodbridge first observed in the landscape at Stourhead, a "Brownian" landscape with an un-Brownian circuit walk in which Brown himself was not involved.
'Now there' said he, pointing his finger, 'I make a comma, and there' pointing to another spot, 'where a more decided turn is proper, I make a colon; at another part, where an interruption is desirable to break the view, a parenthesis; now a full stop' Badminton House: features of the Brownian landscape at full maturity in the 19th century His style of smooth undulating grass, which would run straight to the house, clumps, belts and scattering of trees and his serpentine lakes formed by invisibly damming small rivers, were a new style within the English landscape, a "gardenless" form of landscape gardening, which swept away almost all the remnants of previous formally patterned styles.
At Blenheim Brown dammed the paltry stream flowing under Vanbrugh's Grand Bridge, drowning half the structure with improved results Russell Page, who began his career in the Brownian landscape of Longleat but whose own designs have formal structure, accused Brown of "encouraging his wealthy clients to tear out their splendid formal gardens and replace them with his facile compositions of grass, tree clumps and rather shapeless pools and lakes". Richard Owen Cambridge, the English poet and satirical author, declared that he hoped to die before Brown so that he could "see heaven before it was 'improved'". This was a typical statement reflecting the controversy about Brown's work, which has continued over the last 200 years.
Grand Bridge and lake at Blenheim Palace, Oxfordshire. by Boddah
Subsequent reputation Brown's popularity declined rapidly after his death, because his work was seen as a feeble imitation of wild nature. A reaction against the smooth blandness of Brown's landscapes was inevitable; the landscapes lacked the sublime thrill which members of the Romantic generation (like Richard Payne Knight and Uvedale Price) looked for in an ideal landscape, where the painterly inspiration would come from Salvator Rosa rather than Claude Lorrain. During the nineteenth century he was widely criticised, but during the twentieth century his popularity returned. Tom Turner has suggested that the latter resulted from a favourable account of his talent in Marie-Luise Gothein's History of Garden Art which predated Christopher Hussey's positive account of Brown in The Picturesque (1927). Dorothy Stroud wrote the first full monograph on Capability Brown, fleshing out the generic attributions with documentation from country house estate offices. Later landscape architects like William Gilpin would opine that Brown's 'natural curves' were as artificial as the straight lines that were common in French gardens.
By contrast, a recent historian and author, Richard Bisgrove, described Brown's process as perfecting nature by
"judicious manipulation of its components, adding a tree here or a concealed head of water there. His art attended to the formal potential of ground, water, trees and so gave to English landscape its ideal forms. The difficulty was that less capable imitators and less sophisticated spectators did not see nature perfected... they saw simply what they took to be nature".
This deftness of touch was not unrecognised in his own day; one anonymous obituary writer opined: "Such, however, was the effect of his genius that when he was the happiest man, he will be least remembered; so closely did he copy nature that his works will be mistaken". Sir William Chambers, who considered himself a garden authority as well, complained that Brown's grounds "differ very little from common fields, so closely is nature copied in most of them".
Read the full text at …
Brown died in 1783, in Hertford Street, London, on the doorstep of his daughter Bridget, who had married the architect Henry Holland. Horace Walpole wrote to Lady Ossory: "Your dryads must go into black gloves, Madam, their father-in-law, Lady Nature's second husband, is dead!". Brown was buried in the churchyard of St. Peter and St. Paul, the parish church of Brown's small estate at Fenstanton Manor (a fact memorialised on his tombstone).
Brown's portrait by Nathaniel Dance, c. 1768, is conserved in the National Portrait Gallery, London.
His work has often been favourably compared and contrasted ("the antithesis") to the œuvre of André Le Nôtre, the French jardin à la française landscape architect. He became both "rich and honoured and had 'improved' a greater acreage of ground than any landscape architect" who preceded him.
http://en.wikipedia.org/wiki/Capability_Brown Garden Tripod 22
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An exhibition from Fine Art America Group Garden Tripod
Conservatory In Autumn Sally Weigand Venice, FL - United States
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Apple Blossoms Rabiah Seminole Chase City, Va - United States
Wisley Garden Ross Henton Frisco, TX - United States
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Natural Born Beauty Bob Daalder Den Helder, Noord-Holland - Netherlands
The Last Wish Stuart Harrison Sea Pines, Fl - United States
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Watercolour Painting
Annemeet Van der Leij Tel- Aviv, Israel - Israel
A Circle Of Flowers Esther Newman-Cohen Mevaseret Zion - Israel
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Spring Blossoms In The City
Miriam Danar New York, NY - United States
Garden Tripod Group Features
Cabbage And Marigolds
Jean Hall
Ferns Ferns Oh My Lucy Threlfall
Norwood, MA - United State
Tonawanda, NY - United States
Good Morning
Dreamy Green Fern
Katerina Kamenetsky
Priya Ghose Bay Area, CA - United States
Adelaide, SA - Australia
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Secret English Garden
Michael Friedman
Ann Horn
Springfield, MA - United States
Livonia, Mi - United States
Civil War Eastern Sycamore Tree Patti Whitten Sykesville, MD - United States
Tropical Green Curves And Diagonals A Vertical View Georgia Mizuleva Toronto, ON - Canada
William Morris
As an author, illustrator and medievalist, he helped to establish the modern fantasy genre, and was a direct influence on postwar authors such as J. R. R. Tolkien. He was also a major contributor to reviving traditional textile arts and methods of production, and one of the founders of the Society for the Protection of Ancient Buildings, now a statutory element in the preservation of historic buildings in the UK.
Morris wrote and published poetry, fiction, and translations of ancient and medieval texts throughout his life. His best-known works include The Defence of Guenevere and Other Poems (1858), The Earthly Paradise (1868–1870), A Dream of John Ball (1888), the utopian News from Nowhere (1890), and the fantasy romance The Well at the World's End (1896). He was an important figure in the emergence of socialism in Britain, founding the Socialist League in 1884, but breaking with that organization over goals and methods by the end of the decade. He devoted much of the rest of his life to the Kelmscott Press, which he founded in 1891. Kelmscott was devoted to the publishing of limited-edition, illuminated-style print books. The 1896 Kelmscott edition of the Works of Geoffrey Chaucer is considered a masterpiece of book design.
Textiles Portrait of William Morris, aged 53! First published 1899 (photo c. 1887)! William Morris (24 March 1834 – 3 October 1896) was an English artist, writer, textile designer and socialist associated with the Pre-Raphaelite Brotherhood and English Arts and Crafts Movement.
Born in Walthamstow, Essex to a wealthy middle-class family, Morris studied Classics at Oxford University, where he came under the influence of medievalism. There he became a close friend of artist Edward Burne-Jones and joined the Birmingham Set. After university he trained as an architect, married Jane Burden, and became close friends with artist Dante Gabriel Rossetti and architect Philip Webb. Webb and Morris designed a family home, Red House in Kent, where the latter lived from 1859 to 1865, before relocating to Bloomsbury, central London. In 1861, Morris founded a decorative arts firm with BurneJones, Rossetti, Webb, and others: the Morris, Marshall, Faulkner & Co. The firm profoundly influenced the decoration of churches and houses into the early 20th century.
Furnishing textiles were an important offering of the firm in all its incarnations. By 1883, Morris wrote "Almost all the designs we use for surface decoration, wallpapers, textiles, and the like, I design myself. I have had to learn the theory and to some extent the practice of weaving, dyeing and textile printing: all of which I must admit has given me and still gives me a great deal of enjoyment."
Morris's preference for flat use of line and colour and abhorrence of "realistic" three-dimensional shading was marked; in this he followed the propositions of Owen Jones as set out in his 'The Grammar of Ornament' of 1856, a copy of which Morris owned. Writing on tapestry weaving, Morris said:
As in all wall-decoration, the first thing to be considered in the designing of Tapestry is the force, purity, and elegance of the silhouette of the objects represented, and nothing vague or indeterminate is admissible. But special excellences can be expected from it. Depth of tone, richness of colour, and exquisite gradation of tints are easily to be obtained in Tapestry; and it also demands that crispness and abundance of beautiful detail which was the especial characteristic of fully developed Mediæval Art. Of the Revival of Design and Handicraft
It is likely that much of Morris's preference for medieval textiles was formed — or crystallised — during his brief apprenticeship with G. E. Street. Street had co-written a book on Ecclesiastical Embroidery in 1848, and was a staunch advocate of abandoning faddish woolen work on canvas in favour of more expressive embroidery techniques based on Opus Anglicanum, a surface embroidery technique popular in medieval England.
He was also fond of hand knotted Persian carpets and advised the South Kensington Museum in the acquisition of fine Kerman carpets.
Detail of Art Needlework embroidery "Artichoke" in wool on linen
Portion of Cabbage and Vine tapestry, William Morris's first tapestry woven at Kelmscott House in the summer of 1879. (Identification from Linda Parry: William Morris Textiles, New York, Viking Press, 1983, ISBN 0-670-77074-4, p. 100-101)
Morris taught himself embroidery, working with wool on a frame custom-built from an old example. Once he had mastered the technique he trained his wife Jane, her sister Bessie Burden and others to execute designs to his specifications. When "embroideries of all kinds" were offered through Morris, Marshall, Faulkner & Co. catalogues, church embroidery became and remained an important line of business for its successor companies into the twentieth century. By the 1870s, the firm was offering both embroidery patterns and finished works. Following in Street's footsteps, Morris became active in the growing movement to return originality and mastery of technique to embroidery, and was one of the first designers associated with the Royal School of Art Needlework with its aim to "restore Ornamental Needlework for secular purposes to the high place it once held among decorative arts
Tapestry Morris long dreamed of weaving tapestries in the medieval manner, which he called "the noblest of the weaving arts." In September 1879 he finished his first solo effort, a small piece called "Cabbage and Vine". Shortly thereafter Morris trained his employee John Henry Dearle in the technique, setting up a tapestry loom at Queen Square and later a large tapestry works at Merton Abbey.
Printed and woven textiles
Morris's first repeating pattern for wallpaper is dated 1862, but was not manufactured until 1864. All his wallpaper designs were manufactured for him by Jeffrey & Co, a commercial wallpaper maker. In 1868 he designed his first pattern specifically for fabric printing. As in so many other areas that interested him, Morris chose to work with the ancient technique of hand woodblock printing in preference to the roller printing which had almost completely replaced it for commercial uses.
Morris took up the practical art of dyeing as a necessary adjunct of his manufacturing business. He spent much of his time at Staffordshire dye works mastering the processes of that art and making experiments in the revival of old or discovery of new methods. One result of these experiments was to reinstate indigo dyeing as a practical industry and generally to renew the use of those vegetable dyes, such as the red derived from madder, which had been driven almost out of use by the anilines. Dyeing of wools, silks, and cottons was the necessary preliminary to what he had much at heart, the production of woven and printed fabrics of the highest excellence; and the period of incessant work at the dye-vat (1875–76) was followed by a period during which he was absorbed in the production of textiles (1877–78), and more especially in the revival of carpet-weaving as a fine art. However, his first carpet designs of 1875, were made for him industrially by commercial firms using machinery.
Morris's patterns for woven textiles, some of which were also machine made under ordinary commercial conditions, included intricate double-woven furnishing fabrics in which two sets of warps and wefts are interlinked to create complex gradations of colour and texture. His textile designs are still popular today, sometimes recoloured for modern sensibilities, but also in the original and bright colourways.
Drawing for block-printed fabric Tulip and Willow by William Morris. (Identification from Linda Parry, William Morris Textiles, New York, Viking Press, 1983, ISBN 0-670-77074-4, p. 147)!
© Victoria and Albert Museum, London. Acanthus Wallpaper Place of origin: England, Great Britain (made) Date: 1875 (published) Artist/Maker: William Morris, born 1834 - died 1896 (designer) Morris & Co. (publisher) Jeffrey (manufacturer) Materials and Techniques: block-printed in distemper colours, on paper Credit Line: Given by Morris & Co. Museum number: E.495-1919 Gallery location: Prints & Drawings Study Room, level C, case MB2A, shelf DR104, box LOANS
Acanthus wallpaper.
Tile panel of 66 tiles, designed by Willaim Morris and made by the firm of William de Morgan, 1876. Museum no. C.36-1972, © Victoria & Albert Museum, London. Given by Charles and Lavinia Handley-Read
A William Morris and William De Morgan Tile-Panel !
The early commissions of Morris and Company for decorative work at St James Palace (1865-67), the Green Dining-Room in this Museum (1866) and at No. 1 Palace Green (1868) are well documented, as well as being for Morris and his still fairly new firm important milestones towards success. Some light can be thrown on another major commission, not previously discussed, of which almost nothing now remains but some tile-panels. The commission was to decorate Membland Hall, which lay some miles north east of Plymouth. Originally the house was an 18th century one but in 1877 it was remodelled for the Baring family by George Devey. Before discussing the commission some words should be spared for Devey (1820-1886): at the time when this text was written he was rather forgotten, probably because he played little part (unlike most leading architects of his day) in the governance of the Royal Institute of British Architects or the Architectural Association; but, in his heyday, Devey was a prolific builder and adaptor of country houses, which he often constructed in a pastiche of the Jacobean and Queen Anne styles. His patrons were usually landed gentry, and very often bankers. One such was Edward Charles Baring (1828-1897; created first Baron Revelstoke in 1885), for whom Devey had already worked about 1863 at Coombe Cottage, Surrey. In 1887 Baring bought Membland Hall and got Devey to enlarge it by adding wings and also outbuildings to serve as a laundry, stables, and so on. The work must have gone on speedily for the west wing was dated 1877, and Devey's account book shows that the payment of his fees stop after 1879.
Read more at :
http://www.vam.ac.uk/content/articles/a/a-morris-and-de-morgan-tile-panel/ http://en.wikipedia.org/wiki/William_Morris
An exhibition from RedBubble Group Country Gardens come grow with us Garden Tripod 22
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coffee-painted back-ground Brown Stabilo Fine point 0.4 pen sketch on a coffee-painted background – DalerRowney 300gsm
Barn Owl hunting 1 by Maree Clarkson
A palette-knife painting, oil. Summer in South Africa. ART: Oil A paletteknife painting, oil. (on an x-raysheet, can be framed) . 35 × 43 cm. Original SOLD.
Happiness by Elizabeth Kendall
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Things enslave us and yet we can't help but collect them…they will live on long after we're gone, a testament to how we've lived our lives…
Acrylic on Linen Canvas
Things... by © Janis Zroback
Daisey Mum by Charlotte Yealey
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Scannerscanned Photography on Epson Perfection.
Purple and CreamTulip Bouquet by Barbara Wyeth
Entwined ~ Chain of Hearts by Kerryn Madsen-Pietsch
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Spring by jhawa
Pickwick by Brian Haslam
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Featured 36 February ~ January ~ December Country Gardens Come Grow with us RedBubble Group
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Wherwell by lezvee Garden – Belvidere, NJ – My little cottage by Mike Savad Pam's Garden #5 by Elaine Teague The old Porch by PicsbyJody Adare – Ireland by Arie Koene Stone Cottage by phil decocco
Junco in Budding Cherry Tree by hummingbirds Titmouse at the Pyracantha by Eileen McVey Southern Boobook Owl by BronReid Pelegrine Falcon – bird of prey – Australia by Margaret Morgan (Watkins) Kingfisher – I by Peter Wiggerman Lets have a closer look…..by Nicole W.
Wherwell by lezvee
Pam's Garden #5 by Elaine Teague
Adare - Ireland by Arie Koene
The old Porch by PicsbyJody
Stone Cottage by phil decocco
Garden - Belvidere, NJ - My little cottage by Mike Savad
Junco in Budding Cherry Tree by hummingbirds
Southern Boobook Owl by BronReid
Kingfisher - I by Peter Wiggerman
Titmouse at the Pyracantha by Eileen McVey
Pelegrine Falcon - bird of prey - Australia Acrylic on Arches 175 by Margaret Morgan (Watkins)
Lets have a closer look..... by Nicole W.
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Double Stone Garden Arch by phil decocco Marrow Chutney by Clare Colins The View From My Tuscan Bedroom by Fara Blossom of PINK by Joy Watson The Huckleberry Trail. by Larry Lingard/Davis Organic lady apples by Celeste Mookherjee
Verdancy by Lynn Gedeon How Green the Leaves of Gardens Grow by paintingsheep New Born – Fern Frond by MotherNature2 hitting their straps by metriognome Drops on a leaf… 2 by Bob Daalder Elephant Ear Leaf by Penny Smith
Double Stone Garden Arch by phil decocco
The Huckleberry Trail.
The View From My Tuscan Bedroom
by cullodenmist
by Fara
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Marrow Chutney by Clare Colins
Blossom of PINK by Joy Watson
Organic lady apples by Celeste Mookherjee
Verdancy by Lynn Gedeon
New Born Fern Frond by MotherNature2
Drops on a leaf... *2* by Bob Daalder
How Green the Leaves of Gardens Grow by paintingsheep
hitting their straps by metriognome
Elephant Ear Leaf by Penny Smith
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Sunset rose by Celeste Mookherjee "Lady in Red" by Rosehaven Deck The Halls by paintingsheep Forest in Miniature by Larry Lingard-Davis In the forest by EbyArts funghi by Nicole W.
A place for quiet contemplation between the trees by heidiypi1 Central Park – Autumn – Literary Walk – New York City by Vivienne Gucwa Earth Grown Cold… by © Janis Zroback Garden Out Building by relayer51 Romantic Window by Alexandra Lavizzari Branches And Twigs by Sandra Foster
Sunset rose by Celeste Mookherjee
Deck The Halls by paintingsheep
"Lady in Red" by Rosehaven
Forest in Miniature by cullodenmist
In the forest by EbyArts
funghi by Nicole W.
A place for quiet contemplation between the trees by heidiypi1
Central Park Autumn - Literary Walk - New York City by Vivienne Gucwa
Earth Grown Cold... by © Janis Zroback
Garden Out Building by relayer51
Romantic Window by Alexandra Lavizzari
Branches And Twigs by Sandra Foster
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Cover image Visible Traces (Remnants of Presence) by Kerryn Madsen-Pietsch
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Written Features by Spotlight features Hans Bax Wilkinson Sword Sandra Fortier bubblehex08 Morag Anderson MotherNature Wikipedia
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House of Johannes Larsen by hans p olsen Rice Paper Window by Eileen McVey gecko by metriognome A Pink Outlook by Alexandra Lavizzari The dinner table .. .. make mine red! Kilmore East VIC Australia by Margaret Morgan (Watkins) Looking Out by Fay270 Chimneys by ElsT My Room...My Winter View… by naturelover Set In Stone - Mission San Jose - San Antonio Texas USA by TonyCrehan A room with a view - Sissinghurst Castle by Mortimer123 Lookin' Out The Window by WildestArt From My Bedroom Window by Vicki Spindler (VHS Photography) Church Window by lynn carter Looking Inside the Old Potting Shed by SummerJade It's Nice Outside. by relayer51 View on the Muckross gardens by Arie Koene Framing the Blue Mtns by PhotosByG Chinese Garden view at The Huntington by Celeste Mookherjee Oko's Open Shutters………. by WhiteDove Studio kj gordon Looking out on an Ullapool Evening by lezvee Flowers in the Window by krishoupt Lovely Garden View by hummingbirds A River View by Barbara Brown Autumn Through the Fence Window by Georgia Mizuleva
Barn Owl hunting 1 by Maree Clarkson Happiness by Elizabeth Kendall Things… by © Janis Zroback Daisey Mum by Charlotte Yealey Purple and CreamTulip Bouquet by Barbara Wyeth Entwined ~ Chain of Hearts by Kerryn Madsen-Pietsch Spring by jhawa Pickwick by Brian Haslam Wherwell by lezvee Garden – Belvidere, NJ – My little cottage by Mike Savad Pam's Garden #5 by Elaine Teague The old Porch by PicsbyJody Adare – Ireland by Arie Koene Stone Cottage by phil decocco Junco in Budding Cherry Tree by hummingbirds Titmouse at the Pyracantha by Eileen McVey Southern Boobook Owl by BronReid Pelegrine Falcon – bird of prey – Australia by Margaret Morgan (Watkins) Kingfisher – I by Peter Wiggerman Lets have a closer look…..by Nicole W. Double Stone Garden Arch by phil decocco Marrow Chutney by Clare Colins The View From My Tuscan Bedroom by Fara Blossom of PINK by Joy Watson The Huckleberry Trail. by Larry Lingard/Davis Organic lady apples by Celeste Mookherjee Verdancy by Lynn Gedeon How Green the Leaves of Gardens Grow by paintingsheep New Born – Fern Frond by MotherNature2 hitting their straps by metriognome Drops on a leaf… 2 by Bob Daalder Elephant Ear Leaf by Penny Smith Sunset rose by Celeste Mookherjee "Lady in Red" by Rosehaven Deck The Halls by paintingsheep Forest in Miniature by Larry Lingard-Davis In the forest by EbyArts funghi by Nicole W A place for quiet contemplation between the trees by heidiypi1 Central Park – Autumn – Literary Walk – New York City by Vivienne Gucwa Earth Grown Cold… by © Janis Zroback Garden Out Building by relayer51 Romantic Window by Alexandra Lavizzari Branches And Twigs by Sandra Foster
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Conservatory In Autumn by Sally Weigand Apple Blossoms by Rabiah Seminole Wisley Garden by Ross Henton Natural Born Beauty… by Bob Daalder The Last Wish by Stuart Harrison Parsley by Annemeet Van der Leij A Circle Of Flowers by Esther Newman-Cohen Spring Blossoms In The City by Miriam Danar Cabbage And Marigolds by Jean Hall Ferns Ferns Oh My by Lucy Threlfall Good Morning by Katerina Kamenetsky Dreamy Green Fern by Priya Ghose Almost by Michael Friedman Secret English Garden by Ann Horn Civil War Eastern Sycamore Tree by Patti Whitten Tropical Green Curves And Diagonals A Vertical View by Georgia Mizuleva
Catalogues Garden Tripod 21
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! !
Sheep act 'like heroin addicts,' 'commit suicide' after eating poisonous plant !
In The News
Stephen and Louise Knight have lost nearly 800 sheep, who have died after eating a darling pea plant that causes addiction. The animals reportedly become addicted to the plant and exhibit behavior such as ramming their heads against objects until they die. BY DAVID HARDING NEW YORK DAILY NEWS Sunday, May 18, 2014, 4:36 PM
Read more: http://www.nydailynews.com/news/world/sheep-heroinaddicts-eating-poisonous-plant-article-1.1797060#ixzz32F9Q9Sqi
Hundreds of sheep in Australia have "committed suicide" after eating and becoming addicted to a poisonous plant. Some 800 sheep died after eating the darling pea plant then bashing their heads open "like heroin addicts." The plant is toxic to the animals and if the sheep graze on it for a period of time it causes addiction, a lack of coordination and depression. The Sydney Morning Herald reports that New South Wales farmers Stephen and Louise Knight have lost 800 sheep to the plant. "They just go to a post and bang their head on it till they crack their heads open," Louise said. "It's like dealing with a thousand heroin addicts."
In The News
! !
Vet Bob McKinnon, said sheep display erratic behavior "similar to that of a drunk" when they become addicted to the plant. "They lose weight to start with and then get staggery, the progression gets worse, they get uncoordinated and depressed, they don't know where their feet are and they become recumbent and die that way," he said. there appears to be no cure, other than preventing the animals eating the plant in the first place.
! !
Read more: http://www.nydailynews.com/news/world/sheep-heroinaddicts-eating-poisonous-plant-article-1.1797060#ixzz32FAu96fm
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Garden Tripod 21
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Visible Traces (Remnants of Presence)
by Kerryn Madsen-Pietsch
Photographic Print & Throw Pillow
All The Materials Contained May Not Be Reproduced, Copied, Edited, Published, Transmitted Or Uploaded In Any Way Without the artist/photographers Permission. These Images/writings Do Not Belong To The Public Domain. All images and information within the Garden Tripod magazine are the responsibility of the owner/artist/writer/photographer & not the Garden Tripod magazine 2012-2014

imaged based garden magazine


text:
This appendix contains the Alabama Building
Commission Administrative Code, which has been adopted by the Commission
pursuant to the Administrative Procedures Act, Title 41, Chapter 22,
Code of Alabama 1975, and filed with the Alabama
Legislative Reference Service. This Administrative Code contains the
"Rules" of the Alabama Building Commission.
As of the printing of this August 2001
edition of the Manual of Procedures, amendments to four Rules have been
approved by the Commission, have been filed with the Alabama Legislative
Reference Service, and will become effective November 1, 2001. These
Rules appear herein as amended to become effective November 1, 2001.
These Rules are:
170-X-1-.05 GENERAL METHODS of
170-X-4-.07 APPLICATION of BASIC FEE
170-X-1-.01 CREATION and EMPOWERMENT.
The Alabama Building Commission was created by Act
No. 128 of the 1945 regular session of the Alabama Legislature. Act No.
290, also of the 1945 regular session, authorized and directed the
Alabama Building Commission to promulgate and enforce a code of minimum
building standards for state building and construction, school houses,
hotels, and moving picture theaters. Act No. 766 of the 1978 regular
session required the Alabama Building Commission to adopt, promulgate
and enforce a state building code containing energy conservation
measures to be used in all future construction or remodeling of
buildings which are constructed with state appropriated funds. These
acts are codified in Title 41, Chapter 9, Article 6 of the Code
of Alabama, 1975.
Author: Stedmann B. McCollough
Authority: Code of Ala. 1975, ÏÏ41-9-140
through 174
History: New, Filed: Apr 17, 1997: Certified Aug
29, 1997: Effective Oct 3, 1997
The membership of the Alabama Building Commission
consists of the Governor as chairman, the State Health Officer, the
Director of Finance, the State Superintendent of Education, four (4)
members from the Senate to be elected by that body at each regular
session of the Legislature, and four (4) members from the House of
Representatives to be elected by that body at each regular session of
the Legislature. The Budget Officer of the State Department of Finance
serves as the secretary, but is not a member. The Commission maintains a
full-time Technical Staff, headed by a Director, through which its
policies and duties are carried out.
Authority: Code of Ala. 1975, ÏÏ 41-9-140
& 41-9-141
As used in this administrative code the following
words and phrases shall have the following meanings, respectively:
(a) Commission: The Alabama Building
Commission composed of the Governor, the State Health Officer, the
Director of Finance, the State Superintendent of Education, four members
from the Senate, and four members from the House of Representatives.
(b) Director: The person appointed by the
Commission to serve in the senior administrative position of the
Technical Staff.
(c) Manual: Short for the Manual of Procedures of
the Alabama Building Commission, which is prepared and published by the
Technical Staff to establish procedures to effect compliance with the
rules of this administrative code, applicable state laws and
regulations, and the policies of the Commission.
(d) Primary Design Professional: The Alabama
registered architect, engineer, or architectural or engineering firm
under contract with an awarding authority or
(f) Technical Staff:
Authority: Code of Ala. 1975, Ï 41-9-141
170-X-1-.04 POWERS and DUTIES.
(1) The Commission has full power and authority
to provide for and supervise the planning, design, construction,
renovation, and improvement of state buildings, including entering into
contracts as necessary to implement this power and authority and to
(4) The Commission is responsible for reviewing
plans and specifications for compliance with accessibility standards
prescribed by the State Fire Marshal for public buildings and
facilities. The Director is authorized to construe and interpret such
standards and to adopt and enforce rules and regulations prescribing
additional standards prescribed by the Americans with Disabilities Act
Accessibility Guidelines for Buildings and Facilities: State and Local
Governments (ADAAG). (See ÏÏ 21-4-5 & 6 for shared authority and
(5) The Commission may appoint and dismiss any
officers, employees and agents including competent architectural and
technical employees as may be necessary to effectuate its powers and
duties. All employees of the commission are subject to the provisions of
the merit system.
Authority: Code of Ala. 1975, ÏÏ41-9-141,
161, & 171, and 21-4-5 & 6
History: New, Filed: Apr 17, 1997: Certified Aug
29, 1997: Effective Oct 3, 1997
170-X-1-.05 GENERAL METHODS of OPERATION.
(2) The Commission maintains a full-time
Technical Staff, headed by a Director, which is charged to:
(a) Evaluate and adopt, through the Director,
codes, code revisions, or code supplements as published by code
publishing organizations (with modifications) for inclusion in the State
Building Code.
(b) Enforce the State Building Code and other
regulations through review of proposed construction plans,
specifications, contracts and related documents, and inspection
Director, Technical Staff
Alabama Building Commission
RSA Plaza, Suite 444
770 Washington Avenue
Montgomery, Alabama 36130
Authority: Code of Ala. 1975, ÏÏ 41-9-141
and 41-22-4
History: New, Filed: Apr 17, 1997:
Certified Aug 29, 1997: Effective Oct 3, 1997
Amendment Filed: July 17, 2001:
Certified: September 18, 2001; Effective: November 1, 2001
(1) The minimum building standard codes adopted
by reference and enforced by the Alabama Building Commission are all of
the following:
(a) 2006 International Building Code
(b) 2006 International Plumbing Code
(c) 2006 International Fuel Gas Code
(d) 2006 International Mechanical Code
(e) 2008 National Electrical Code
(f) 2006 International Fire Code
(g) 2006 International Energy Conservation Code
(h) Americans with Disabilities Act
Accessibility Guidelines for Buildings and Facilities: State and Local Governments (ADAAG).
(i) ABC Code Supplements.
(2) The requirements of the Americans with
Disabilities Act Accessibility Guidelines for Buildings and Facilities
supersede the handicapped requirements contained in the Standard
Building Code.
Author: Kippy Tate
Authority: Code of Ala. 1975, ÏÏ 41-9-161
& 171 and 21-4-3
History: New, Filed July 24,
2003, New, Filed: Apr 17, 1997:
Certified Aug 29, 1997: Effective Oct 3, 1997
Amendment Filed: July 17, 2001:
Certified: September 18, 2001 Effective:: November 1,
2001; Amendment Filed: October 16, 2003; Effective:
November 20, 2003; Filed: March 14, 2005, Effective:
April 18, 2005; Filed: August 6, 2007: Effective:
September 10, 2007; Operative: October 1, 2007; Filed
January 4, 2008; Effective: February 8, 1008; Filed:
September 22, 2008; Effective: November 13, 2008;
Operative: December 1, 2008.
The Commission adopts by reference, as official
"recommendations" rather than as mandated regulations, Chapter 5 of the
Architectural and Transportation Barriers Compliance Board (ATBCB)
publication; "Recommendations for Accessibility Standards for Childrens
Authority: Code of Ala. 1975, ÏÏ 41-9-161
and 21-4-3
170-X-2-.03 OBTAINING the ADOPTED CODES.
The Technical Staff shall publish in the Manual of
Procedures the necessary information to obtain copies of the adopted
codes and official recommendations.
Authority: Code of Ala. 1975, ÏÏ 41-9-141,
161 & 171
170-X-2-.04 APPLICABILITY of ADOPTED CODES.
(a) STATE BUILDING and CONSTRUCTION: All
buildings and other structures erected or acquired by or in behalf of
the State of Alabama or any of its agencies or instrumentalities.
(b) SCHOOLHOUSES: Any building or other
structure erected or acquired by the public schools of Alabama and also
shall mean any private building in which 25 or more persons are
congregated regularly for the purpose of instruction in any branch of
(c) HOTELS: Any public inn or lodging
house of 15 or more bedrooms, in which transient guests are lodged for
(d) MOVING PICTURE THEATERS: Any
building in which moving pictures are featured regularly for charge of
(2) The ALABAMA BUILDING ENERGY CONSERVATION
CODE applies only to all buildings constructed or remodeled with
state appropriated funds or funds from any other instrumentality of the
(3) The Commissions responsibility to review
plans and specifications for compliance with handicapped accessibility
standards prescribed by the State Fire Marshal applies only to all
buildings and facilities used by the public which are constructed in
whole or in part by the use of state, county, or municipal funds, or the
funds of any political subdivision of the state.
Authority: Code of Ala. 1975, ÏÏ 41-9-163
& 171 and 21-4-4
170-X-2-.05 PRECEDENCE of CODES.
(a) In case of conflict between the State
Building Code, local codes, the Life Safety Code enforced by the State
Fire Marshal, or other codes, the most stringent requirements shall
(b) All food preparation facilities, private
water systems, and sewage disposal systems shall also meet the
requirements of and be approved by the applicable county health
170-X-2-.06 RESPONSIBILITY for COMPLIANCE.
The compliance of plans and specifications with code
requirements, is the responsibility of the primary design professional
and the awarding authority and approval of these documents by the
Technical Staff does not relieve the primary design professional or the
awarding authority of this responsibility.
Authority: Code of Ala. 1975, ÏÏ 41-9-141
To minimize reoccurring problems on public
construction and improvement projects, from time to time the Commission
will adopt and publish specific design and construction requirements or
recommendations to supplement the State Building Code. The following
requirements and recommendations are adopted and bound at the end of
this chapter:
(a) ABC Code Supplement No.1, LABELING OF FIRE
Authority: Code of Ala. 1975, ÏÏ 41-9-141
and 161
ABC CODE SUPPLEMENT No. 1
All door openings in fire resistive walls and
partitions requiring a rating shall be protected by assemblies which
include doors, frames, hardware, closing devices, anchorage, sills,
etc., installed in accordance with the National Fire Protection
Association (NFPA) 80, Standard for "Fire Doors and Fire Windows" and
the State Building Code.
To further clarify the basic requirements and/or the
correct method of labeling that will be acceptable to the Alabama
Building Commission, the labels shall include the following:
1. Accessibility: Each
component shall bear a label located so as to be accessible
after installation.
2. Permanence: Each component
shall bear a label of a type of material and be so attached
that the life of the label and the attachment thereof can
reasonably be expected to equal the life of the component to
which it is attached. Labels shall be raised or embossed on
metal labels or stamped into metal frames. Plastic or paper
labels are unacceptable.
3. Legibility: The label design
shall be such that it can be visible and legible at all times
and must be clean of any paint or other coverage making the
label illegible.
4. Fire Resistance: All approved
labels on doors and on frames shall include thereon the fire
resistance rating in hours and/or minutes for which the door
or frame is labeled. Labels on frames with transoms or
sidelights must identify that the opening assembly includes
5. Other Requirements:
The plans and specifications for all projects to
which the State Building Code applies shall be submitted to the
Technical Staff for review and approval. Refer to rule 170-X-2-.04,
Applicability of Adopted Codes.
170-X-3-.02 SUBMITTAL REVIEWS and APPROVALS.
(1) The Technical Staff will review the submitted
plans and specifications for compliance with the State Building Code.
The results of the review will be provided as written review comments to
the submitting design professional and project owner. The design
professional or owner must respond to, or comply with, comments citing
building code violations or obvious non-compliance with applicable laws,
regulations, or the Manual of Procedures. Response by the design
professional or owner to comments in the form of constructive criticism,
suggestions, questions, or recommendations is not mandatory.
(2) Changes made to plans and specifications
after final approval shall be submitted to the Technical Staff for
review relative to compliance with the State Building Code. Written
response by the Technical Staff to these submittals will be made only in
cases of violations of building codes or obvious non-compliance with
laws and regulations.
(3) The Technical Staffs approval of plans,
specifications, change orders, or related materials submitted for public
projects does not constitute certification that the documents or project
comply with the states competitive bid laws; the responsibility for
this certification rests with the awarding authority and its legal
170-X-3-.03 PRE-BID REVIEW and APPROVAL REQUIRED.
Submissions of plans and specifications to the
Technical Staff shall be made, and final approval obtained, prior to the
receipt of bids to insure that the Technical Staffs comments are
incorporated into the bid documents.
170-X-3-.04 DOCUMENTS to be PREPARED
by REGISTERED DESIGN PROFESSIONALS.
(3) Architectural drawings shall bear the Alabama
seal of registration of the architect who prepared them or under whose
supervision they were prepared. Engineering drawings shall bear the
Alabama seal of registration of the engineer who prepared them or under
whose supervision they were prepared.
Authority: Code of Ala. 1975, ÏÏ 41-9-141,
34-2-32, 34-2-35, and 34-11-7.
170-X-3-.05 CONTENTS of SUBMITTAL DOCUMENTS.
The plans, specifications, addenda, change orders,
and related materials submitted to the Technical Staff for approval
shall contain sufficient information to fully describe the work of the
project and to fully demonstrate compliance with the State Building
Code. Standards for compliance with this rule shall be prescribed in the
Manual of Procedures. The Technical Staff is authorized to request
additional information if needed to perform their review.
Plans, specifications, and related materials shall be
submitted to the Technical Staff in accordance with procedures
prescribed in the Manual of Procedures and, unless otherwise provided,
shall be made in three stages: Schematic Plan Submittal, Preliminary
Plan Submittal, and Final Plan Submittal.
170-X-3-.07 DISPOSITION of SUBMITTED DOCUMENTS.
(1) Schematic and preliminary plans and
specifications will be retained by the Technical Staff until receipt or
review of the subsequent stage of submittal at which time these
documents may be destroyed.
(2) Final or revised final plans and
specifications will be retained by the Technical Staff for a period of
not less than five (5) years after completion of the project, or a
period as may be prescribed by the State Records Commission. At the
expiration of this period these documents may be destroyed.
(3) Project documents such as transmittal
letters, comment letters, project-related correspondence, contracts,
reports, etc., shall be retained by the Technical Staff for a period not
less than thirteen (13) years after completion of the project, or a
period as may be prescribed by the State Records Commission. At the
expiration of this period these documents may be destroyed.
Authority: Code of Ala. 1975, Ï 41-9-141
and State Records Commission
170-X-4-.10 Schedule of Basic Fee Rates 4 - 6
170-X-4-.01 APPLICABILITY of CHAPTER.
The rules of this chapter apply only to public
construction and improvement projects assigned to the Alabama Building
Commission by state law for its supervision and administration. Project
supervision and administration will be carried out by the Technical
Staff who will prepare and publish a Manual of Procedures containing
procedures, standard forms, and uniform documents to be used by awarding
authorities to effect compliance with this chapter.
170-X-4-.02 REQUIRED EMPLOYMENT of DESIGN
(1) The awarding authority of a public
construction or improvement project shall employ the services of
registered architects and engineers in accordance with Title 34, Chapter
2 - Architects and Chapter 11 - Engineers and Land Surveyors, Code
of Alabama 1975.
Authority: Code of Ala. 1975, Ï 41-9-141
and Title 34, Chapters 2 & 11
170-X-4-.03 FORM of AGREEMENT for
The agreement shall stipulate an agreed amount that
is budgeted for the cost of the planned construction or improvement
work. This amount shall not only establish the project budget, but shall
also be the basis for establishing the basic fee to be paid the primary
design professional. The project budget may be a fixed, lump sum amount
or it may be an amount that is tentative pending development of design
and cost estimates by the design professional. If the project budget is
tentative, the budgeted amount shall be validated by the
170-X-4-.05 MAXIMUM BASIC FEES for DESIGN
(2) The Basic Fee shall be based upon the
budgeted cost of the planned work stipulated in the agreement, but shall
not be higher than a fee as determined by the "Schedule of Basic Fee
Rates" contained in rule 170-X-4-.10. A higher Basic Fee may be paid
only if approved by the Director. A Basic Fee determined by the schedule
may be adjusted without the Directors approval for Major Renovation as
defined in rule 170-X-4-.06. A lower Basic
170-X-4-.06 ADJUSTMENT for MAJOR RENOVATION.
An increase of up to 25% in the basic fee rate will
be allowed for major renovation projects. This adjustment is intended to
provide compensation to the design professional for the added effort
required to investigate and develop drawings of existing conditions and
other additional work required for renovation. A project is considered
major renovations if more than 50% of the construction cost involves
renovations and alterations. The application of this adjustment is
negotiable and must be stipulated in the agreement to be effective. In
general, reroofing projects are not to be considered as major
170-X-4-.07 APPLICATION of BASIC FEE RATE.
(1) The Basic Fee percentage rate determined by
the project budget shall be applied to the cost of the work. It is not
necessary to change the Basic Fee percentage rate because the amount of
the subsequent construction contract as awarded or adjusted for minor
change orders falls within a bracket of the schedule that is higher or
lower than that of the project budget. If major changes in the project
and budget occur during the design or construction phases of the project
and warrant an increase or decrease in the Basic Fee rate to provide
fair and reasonable compensation, the change must be agreed upon in an
amendment to the agreement. "Major Changes" include, but are not limited
to, changes in project size, complexity, usage, arrangement, schedule,
delivery, or phasing of the construction or improvement work and may or
may not result in a major, or significant, change in the cost of the
work. A Major Change may warrant adjustment of the Basic Fee rate if the
change is requested by the awarding authority and the change requires
design, administrative, consultant, or other services materially
different from those contemplated by the agreement.
(2) The "Schedule of Basic Fee Rates" of rule
170-X-4-.10 contemplates that the work covered by an agreement will be
executed either under one lump sum construction contract or under one
lump sum construction contract for sitework and a second lump sum
construction contract for building construction. Separation of the work
into additional construction contracts may warrant negotiation of a
higher rate, the basis of which shall be stated in the agreement or in
an amendment to the agreement.
(3) The Basic Fee rate shall apply to the
combined cost of all buildings or other work covered by an agreement
whether the work is executed under one construction contract or one
contract for sitework and a second contract for building construction.
(4) If the work covered by an agreement is so
divided that more than one building group is involved, the Basic Fee
rate of the appropriate building group may be applied to each building.
Division of Basic Fee rates must be stipulated in the agreement.
(6) If the scope of an agreement involves
substantial duplication of buildings on more than one site, the Basic
Fee for all services shall be applicable to the cost of the work of site
improvements of each site as well as modifications required to adapt the
design of the substantially duplicated building to conditions of the
second, third, etc., sites. The Basic Fee for all services shall be
applicable to the cost of the work for the first building. One-half of
the Basic Fee for design services shall be applicable to the cost of the
work for the second building which is a substantial duplication of the
first. The basic fee for design services for other buildings which are
substantial duplications of the first and second buildings shall be
negotiated and defined in the agreement, but in no case shall exceed the
fee for the first duplication. The fees for contract and construction
administration services shall be paid in full for duplicated buildings.
Author: Kippy Tate, Director
Amendment Filed: July 17, 2001:
Certified: September 18, 2001; Effective:November 1, 2001
If the lowest responsible bid received by the
awarding authority is greater than the project budget, the design
professional will, upon instructions from the awarding authority, make
revisions to the plans and specifications as may be necessary to re-bid
the project within project budget, or a higher amount as may be
authorized by the awarding authority. The design professional shall be
reimbursed for revising the plans and specifications where the bid
over-run is up to 10% of the project budget. If the bid over-run is
greater than 10% of the project budget and (1) the awarding
authority has received bids for the work within 90 days after final
approval of the plans and specifications and (2) the reason that
the over-run exceeds 10% of the project budget is not attributable to a
unique or unexpected market condition which the design professional
would not have reasonably contemplated in its estimates,, the design
professional will revise the plans and specifications to conform to the
project budget defined in the agreement at no cost to the awarding
Amendment Filed: July 17, 2001:
Certified: September 18, 2001; Effective:
The agreement shall stipulate that under any
subsequent owner-architect agreement, the basic fee for any substantial
duplication of buildings covered by the original agreement will be paid
in accordance with rule 170-X-4-.07-(4). However, the fee schedule in
effect at the date of the subsequent agreement will apply.
History: New, Filed: Apr 17, 1997:
Certified Aug 29, 1997: Effective Oct 3, 1997
(1) The "Schedule of Basic Fee Rates" is
graduated by project cost and categorized by building groups defined in
100,001 to 200,000
7.0 8.0 9.0 10.0 11.0
300,001 to 400,000
5.9 6.9 7.9 8.9
500,001 to 600,000
5.7 6.7 7.7 8.7
700,001 to 800,000
800,001 to 900,000
900,001 to 1,000,000
1,000,001 to 1,250,000
1,250,001 to 1,500,000
1,500,001 to 1,750,000
1,750,001 to 2,000,000
2,000,001 to 2,500,000
2,500,001 to 3,000,000
3,000,001 to 3,500,000
5.5 6.5 7.5 8.5 9.5
5.4 6.4 7.4 8.4 9.4
5.3 6.3 7.3 8.3 9.3
5.2 6.2 7.2 8.2 9.2
5.1 6.1 7.1 8.1 9.1
5.0 6.0 7.0 8.0 9.0
4.9 5.9 6.9 7.9 8.9
4.8 5.8 6.8 7.8 8.8
4.7 5.7 6.7 7.7 8.7
4.6 5.6 6.6 7.6 8.6
4,000,001 to
5,000,001 to 6,000,000
6,000,001 to 8,000,000
8,000,001 to10,000,000
18,000,00to 20,000,000
4.4 5.4 6.4 7.4 8.4
4.3 5.3 6.3 7.3 8.3
4.2 5.2 6.2 7.2 8.2
4.1 5.1 6.1 7.1 8.1
4.0 5.0 6.0 7.0 8.0
3.9 4.9 5.9 6.9 7.9
3.8 4.8 5.8 6.8 7.8
3.7 4.7 5.7 6.7 7.7
3.6 4.6 5.6 6.6 7.6
3.5 4.5 5.5 6.5 7.5
3.4 4.4 5.4 6.4 7.4
3.3 4.3 5.3 6.3 7.3
3.2 4.2 5.2 6.2 7.2
3.1 4.1 5.1 6.1 7.1
3.0 4.0 5.0 6.0 7.0
2.9 3.9 4.9 5.9 6.9
2.8 3.8 4.8 5.8 6.8
2.6 3.6 4.6 5.6
(a) Group I: Industrial buildings without special
facilities, parking structures and repetitive garages, simple loft type
structures, warehouses exclusive of automated equipment, and other
similar utilitarian type buildings.
(b) Group II:
(c) Group III:
1. College classroom facilities, convention
facilities, correctional and detention facilities, extended care
facilities, gymnasiums (simple, prefabricated-pre-engineered, minimum
types shall be classified under Group II), hospitals, institutional
dining halls, laboratories, libraries, medical schools, medical office
facilities and clinics, mental institutions, office buildings with
tenant improvements, parks, playground and recreational facilities,
police stations, public health centers, research facilities, schools
(elementary and secondary), stadiums, and welfare buildings.
(d) Group IV
(e) Group V: Residences and specialized
decorative buildings unless otherwise stated in the agreement. Custom
designed furnishings shall be categorized in Group V except when
considered incidental to the basic architectural service for a building.
170-X-5-.01 APPLICABILITY of CHAPTER.
The rules of this chapter apply only to public
construction and improvement projects assigned to the Alabama Building
Commission by state law for its supervision and administration. Project
supervision and administration will be carried out by the Technical
Staff who will prepare and publish a Manual of Procedures containing
procedures, standard forms, and uniform documents to be used by awarding
authorities to effect compliance with this chapter. The rules of this
chapter supplement the requirements of such laws as Title
34, Chapter 8-Contractors, Title 39-Public Works, and Title 41, Chapter
16-Public Contracts, Code of Alabama 1975.
170-X-5-.02 EVIDENCE of BIDDERS LICENSE.
When the cost of the work exceeds the amount
requiring licensing pursuant to Title 34, Chapter 8, Code of
Alabama, 1975, each bidder must show evidence of this license
before bidding or the bid shall not be received or considered. The
bidders shall show evidence of license by clearly displaying their
current state general contractors license number on the outside of the
envelope in which their proposal is delivered. This requirement shall be
included in the advertisements for bids and instructions to bidders.
Authority: Code of Ala. 1975, ÏÏ 41-9-141
and 34-8-6(d)
170-X-5-.03 DETERMINATION of LOW
BIDDER by use of ALTERNATES.
(1) Deductive alternate bids may be used in order
to reduce the base bid to an amount within the funds available for the
project. Additive alternate bids may be used in order to obtain prices
for the addition of items not included in the base bid. The alternate
bids shall be listed in the bid documents in the order of priority in
which they shall cumulatively deduct from or add to the base bid for
determining the lowest responsible and responsive bidder.
170-X-5-.04 WORK BID on a UNIT PRICE BASIS.
Where all, or part(s), of the planned work is bid on
a unit price basis, both the unit prices and the extensions of the unit
prices constitute a basis of determining the lowest bidder. In cases of
error in the extension of prices of bids, the unit price will govern. A
proposal may be rejected if any of the unit prices are obviously
unbalanced or non-competitive.
Authority: Code of Ala. 1975, ÏÏ 41-9-141
and 39-2-7
As a means of predetermining unit costs for changes
in certain elements of the work, the project specifications may require
that the bidders furnish unit prices for those items. Unit prices for
application to changes in the work are not a basis for determining the
Proposals may be rejected if they contain any
omissions, alterations of forms, additions not called for, conditional
bids, alternate bids not called for, incomplete bids, erasures, or
irregularities of any kind. However, the awarding authority may reject
any and all proposals or waive technical errors if, in its judgement,
the best interests of the awarding authority will be promoted.
170-X-5-.07 DISQUALIFICATION of BIDDERS.
In addition to causes for disqualification or
rejection of bidders as provided in Title 39, Code of Alabama 1975,
the awarding authority may reject a proposal from a bidder who has not
paid, or satisfactorily settled, all bills due for labor and material on
other contracts in force at the time of letting.
After bids have been received, the design
professional shall check and tabulate all bids, certifying that the bids
were received sealed, publicly opened and read aloud at the time and
place advertised, and that it is a true and correct tabulation of all
bids received for the project. This tabulation shall be signed by the
design professional, notarized, and furnished to the awarding authority
and the Technical Staff. If a bid is incomplete, qualified, or bears any
condition or irregularity that may affect its responsiveness, the design
professional shall note this information on the tabulation.
170-X-5-.09 AWARD of CONTRACT.
The contract will be awarded to the lowest
responsible bidder complying with all established requirements of the
bid documents unless the awarding authority finds that the bid is
unreasonable or that it is not to the interest of the awarding authority
to accept it.
The bidder to whom award is made will be notified by
letter to the address shown on the bidders proposal.
Authority: Code of Ala. 1975, ÏÏ 41-9-141
and 39-2-6
A notice to proceed with the work of the contract
shall be issued to the contractor by the Director within 15 days after
final execution of the contract by the awarding authority unless both
parties to the contract agree to a stipulated extension in time for the
issuance of a notice to proceed. The notice to proceed shall specify the
date on which the work and time of completion stated in the contract are
to commence. Before performing any work on the construction site, the
contractor shall furnish to the design professional acceptable
certification of insurance coverages as required by the contract.
Authority: Code of Ala. 1975, ÏÏ 39-2-10
and 41-9-141
170-x-5-.11 REQUIRED USE of UNIFORM DOCUMENTS and
(1) The Director is authorized to develop, adopt,
and publish in a Manual of Procedures all uniform documents and standard
forms as the Director deems appropriate for the contracting for, and
administration of, public construction and improvement projects. The
terms and conditions of these documents shall effect compliance with
state laws and the rules of this administrative code and shall
incorporate standardized provisions based upon sound contracting
principles within the construction industry and compatibility with
operational and budgetary restraints of government. The Director shall
revise, repeal, or add to these uniform documents and standard forms as
the Director deems necessary to keep them abreast with current practices
in construction contracting, construction project delivery, and changes
in state law.
170-X-5-.12 USE of UNIFORM DOCUMENTS
and STANDARD FORMS for PROJECTS NOT SUPERVISED and
ADMINISTERED by the ALABAMA BUILDING COMMISSION.
The uniform documents and standard forms published in
the Manual of Procedures may be used for projects that are not
supervised and administered by the Technical Staff; however, provisions
for decisions, approvals, or other actions by the Director or Technical
Staff shall be deleted from the documents and forms unless otherwise
agreed in writing by the Director.

subset: commoncrawl


text:
Krysten Ritter was involved in a nasty verbal clash with a male flight attendant Friday that left her fighting back tears … witnesses aboard the flight tell our sources.
According to the witnesses, Ritter was on a flight from NYC to LA that was experiencing severe turbulence. We"re told at one point Ritter — whose show "Don"t Trust The B—- in Apt 23" premiered this week — got up when the "fasten seatbelt" sign was on … and she was immediately confronted by a male flight attendant.
Our sources say the flight attendant was "very aggressive" and yelled at her to sit back down. We"re told Ritter was so distraught by the confrontation, she was on the verge of a tearfest.
According to our sources, the supervising flight attendant got wind of what went down and spoke with Krysten. We"re told that flight attendant apologized and told Krysten she felt the male flight attendant was out of line and that disciplinary action would most likely be taken.
We spoke with Krysten once she landed — take a look.


text:
I like how this hair color makes my eyes stand out more, so I kinda tried to play that up a little.
|Sorry about the wet hair!
|Sorry about the wet hair!
I love both looks! Especially that second one with the purple on the lowerlid!! SOOO Gorgeous, and your eyeliner is perfection! I am loving the brown hair on you and I totally agree that it makes your eyes pop even more!
Oh and by the way, I LOVE the new blog layout!!
ok somehow i totally missed your last post xD but ooh!!! you did it!! brown hair!! it looks great!!! i think brunettes with blue eyes look amazing!! and i love the ombre effect. i'm dying to do that with my hair but its so damaged that i dont wanna risk going bald >_< and love the makeup looks too of course ^^ReplyDelete
I'm jealous you can rock the heavy color on the bottom lid! I can't, it just looks odd on me!ReplyDelete
Love your hair! I have been going back and forth with this same idea. The last time I did it to my hair myself it went a little ash. Yours turned out really good!ReplyDelete
I love both looks! You are so lucky. You are gorgeous as a blonde and as a brunette!ReplyDelete
I absolutly LOVE the brown hair on you!! I have missed you so much and I so happy to be back blogging. I hope to get back to regular everyday posts soon!!! Thank you so much for all the help and support ou have given me through my difficult time. My blogger girls are really some of best friends!! I love ya girl and your makeup is amazing I love the purple under the lash line, it is awesome!!ReplyDelete
I love both looks, the heavier colour under the eye looks really good on you. And you are absolutely stunning, the brown hair looks great :) xxxReplyDelete
I really love the brown hair, I think it looks even better than the blonde! The purple look is outstanding!ReplyDelete
Very pretty! I love the thick purple under! I might have to try it and see how it looks on me! Im sure not as good as on you though!ReplyDelete
The second one is my favorite but i think both are so pretty on you!! I love your hair more and more everytime I see it!!!ReplyDelete
Thank you all so so much!
@Kassie: thanks! I've just been playing around with it a little so it may continue to change haha
@Isabella: Haha yup! I'm a burnette! I didn't really care for the ombre thing before but I do like it when it's not like ridiculous (like to the extent I've seen Drew Barrymore go)! What color hair do you have now? I'm just super excited that now I won't have to touch up my roots every 3 weeks! I'll be able to let my hair just grow without having to dye it all the time!
@Angie: really? I bet you can rock it! You look great with dramatic liner on the top too though. Your liner is always awesome.
@Mrs.Makeup: thank you! It was the first time I've ever done anything like this and I like how it looks as long as my hair is curly. If my hair is straight, I don't really like it and also if I have my bangs down I feel like it's too dark.
@Leticia: thank you so much! I've been dark before (never this dark) but I always just felt mousy so I do like that this doesn't feel super boring. I totally think that if I didn't have blonde chunks in it that it would be too dark for me though!
@Jess: aw, I'm so glad you're back! I hope everything is going well for you! I was getting concerned when I hadn't heard anything from you in a while. I probably won't be posting every day but I'll do what I can haha!
@Sylvie Helen: Thank you so much! I'm glad people have been so nice about this dark hair! Makes me glad I did it!
@Ronnie: thank you! I still think I like blonde better on me but I do like this too. But I'm super glad that you like it on me!
@Miranda: I think this kind of look looks good on everyone so I'm sure you can rock it! I like that it's simple but edgy at the same time.
@FoxyAries: well I have you to thank for it! Your comment was the one that made me go do it! So thank you!
Beautiful eye makeup as usual.ReplyDelete


text:
The Diamond Live Lounge in Doncaster will turn down the volume on three rock bands on Sunday, March 22.
The famous Quireboys – a band that has been in the music business for 30 years – will play an acoustic set at the Wood Street venue.
Also joining the four-piece rockers from 7pm, also for unaccustomed acoustic sets will be local Doncaster rock bands KDM and Dead Sense.
It gives the audience the chance to not only see the Quireboys play a more intimate set, but to also grab a look at the up and coming Doncaster bands. Tickets for the gig are £14 each. To find out how to get tickets go to the www.diamondlive.co.uk website.


text:
TITUSVILLE — A circuit judge Tuesday sentenced a Melbourne Beach woman to five years in prison for the abuse of an 81-year-old man in a center she ran for the elderly.
A jury Friday found Lori Engelleiter, 53, guilty of abuse and neglect of Max Darevsky. The verdict ended six years of problems involving Engelleiter's care of the elderly in Brevard County.


text:
Hello! After nearly 3 years, I've decided to resurrect this blog. There are various reasons for choosing to do this now. I'm overseeing the setting up of a new library and information service, and am therefore thinking about lots of new things. I've just properly started on CILIP chartership – I registered in February, but haven't really got very far up until the past week or so. Finally, in the past few weeks I've registered for 2 conferences, having not attended one for a couple of years, and am feeling a renewed enthusiasm for my CPD.
This evening I attended my first #chartership twitter chat. I've previously used Hootesuite for twitter chats, but decided to try out another tool I'd heard of for this evening – Twitterfall. Tweets fall into the Twitterfall screen a bit like a slow waterfall.
You can choose which tweets you see with a list, search or location and you can exclude searches too. There's also tick boxes to add tweets from your timeline, that you're mentioned in or your direct messages. I just used a search for #chartership and missed some replies to my tweets that were missing the hashtag. Now I've found the mentions tickbox I'll use that as well for chats so I don't miss helpful replies!
I like how tweets fall slowly onto the page slowly. If lots of people are tweeting at once you don't get overwhelmed. I'm quite a slow reader and the default speed worked for me, but you can speed it up if you want. Once I'd worked out symbol that looks a bit like a refresh button was a 'View conversation' button, that was useful too.
I also realised partway through the chat that if you're hovering over one of the tweets in the fall, the fall is paused so you don't get any new messages. This is a really useful feature if you're taking a bit longer to read a tweet, trying to catch up with them or contemplating a response. However, if you find yourself wondering why no one is tweeting, check you haven't left your cursor hovering over the fall.
When you hover over a tweet an arrow appears at the right hand side giving you various options – DM, Follow, Favourite, Reply, Retweet, Report and View. You can follow, favourite, reply and retweet satisfactorily from within Twitterfall, but when I tried View it took me to Twitter and when I returned to Twitterfall it started the fall all over again. So, if you want to view someone's Twitter page, I'd open the View link in a new tab/window. One thing I found quite frustrating was that you don't get a normal mini profile when you hover over someone like you do in Twitter – the pop up you get is missing their picture and blurb.
Overall, Twitterfall worked really rather well for following a twitter chat and I'll be using it again.