Gilet

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For the municipality in eastern Spain, see Gilet, Valencia.
Gilet (French gilet, from Spanish gileco or chaleco, ultimately from Turkish yelek) is a sleeveless jacket resembling a waistcoat or blouse.[1] Currently, a gilet is a sleeveless jacket or vest. They may be waist- to knee-length, and are typically straight-sided rather than fitted. However, historically, they were fitted and embroidered.[2] In a further derivation, in 19th-century dressmaking a gilet was a dress bodice shaped like a man's waistcoat.[3]
Today, gilets are often worn as an outer layer, for extra warmth outdoors. Fashion gilets may be made of cloth, fake fur or knitted. Sports gilets are often windproof and/or made of fleece. High end hiking jackets often have an integral gilet inside them, that can be zipped on/off. Racing cyclists use thin light gilets with a windproof front and mesh back. Shooting gilets are rugged and made of leather.
See also
Dickie
Jelick
Vest
References
^ Merriam-Webster Unabridged - Gilet entry
^ Sugino Costume Museum images - Gilet
^ Oxford English Dictionary - Gilet entry

v?d?eClothing
Materials
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Tops
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National costume
Abaya Aboyne dress 閱� b ba 閱� d閯� 閱� t? than Barong Tagalog Bunad Dashiki Dhoti Dirndl Djellaba Galabeya Hanbok Hanfu Jellabiya Jilb?b Kente cloth Kilt Kimono Lederhosen Qipao Sampot Sarafan Sari Sarong Scottish dress
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Banyan Bedgown Bodice Braccae Breeching Breeches Brunswick Chemise Chiton Chlamys Doublet Exomis Farthingale Frock Himation Hose Houppelande Jerkin Justacorps Palla Peplos Polonaise Smock-frock Stola Toga Tunic
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See also
Lingerie Costume Fashion
Coordinates: 3940?45?N 019?18?W? / ?39.67917鐧� 0.32167鐧�? / 39.67917; -0.32167
Categories: Tops | Jackets | Words of Turkish origin | Spanish clothing(and so on)

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Tea bag

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A wet tea bag being dipped into a cup of tea
A tea bag is a small, porous paper, silk or nylon sealed bag containing tea leaves for brewing tea. The bag contains the tea leaves while the tea is brewed, making it easier to dispose of the leaves, and performing the same function as a tea infuser. Some tea bags have an attached piece of string with a paper label to the top that assists in removing the bag while also identifying the variety of tea.
In countries where the use of loose tea leaves is more prevalent, the term tea bag is commonly used to describe a paper or foil wrapper packaging for loose leaves. They are usually square or rectangular envelopes with the brand name and flavour printed on them, as well as interesting decorative patterns.
Contents
1 History
2 Production
3 Tea bag shapes
4 Criticism
5 Coffee
6 Other uses for tea bags
7 References
//
History
The first tea bags were made from hand-sewn silk muslin bags and tea bag patents of this sort exist dating as early as 1903. First appearing commercially around 1904, tea bags were successfully marketed by tea and coffee shop merchant Thomas Sullivan from New York, who shipped his tea bags around the world. The loose tea was intended to be removed from the bags by customers, but they found it easier to prepare tea with the tea enclosed in the bags.[1] Modern tea bags are usually made of paper fiber. The heat-sealed paper fiber tea bag was invented by William Hermanson[citation needed], one of the founders of Technical Papers Corporation of Boston[citation needed]. Hermanson sold his patent to the Salada Tea Company in 1930[citation needed].
The rectangular tea bag was not invented until 1944. Prior to this they resembled small sacks.[1]
Production

Three different tea bags
Tea bag paper is related to paper found in milk and coffee filters. It is made with a blend of wood and vegetable fibers. The vegetable fiber is bleached pulp abaca hemp, a small plantation tree grown for the fiber, mostly in the Philippines and Colombia. Heat-sealed tea bag paper usually has a heat-sealable thermoplastic such as PVC or polypropylene, as a component fiber on inner side of the tea bag surface.
Tea bag shapes

Circular Irish tea bags

Pyramidal silk tea bag
Traditionally, tea bags have been square or rectangular in shape. More recently circular and pyramidal bags have come on the market, and are often claimed by the manufacturers to improve the quality of the brew. This claim, however, only holds with a proper preparation.
A practical observation in the development of the tea bag from the traditional square, to the circular and finally the pyramidal bags is that the amount of adhesive used to seal the bags is reduced in each development, It could therefore be surmised that the development is not to improve the quality of the brew, but to reduce the cost of producing the bags themselves.
Empty tea bags are also available for consumers to fill with tea leaves themselves. These are typically an open-ended pouch with a long flap. The pouch is filled with an appropriate quantity of leaf tea and the flap is closed into the pouch to retain the tea. The resulting tea bag combines the ease of use of a commercially-produced tea bag with the wider tea choice and better quality control of loose leaf tea.
Because of the convenience of tea bags, a wide variety of herbs can be purchased as "tea bag cut", a grade which is specified in terms of the particle size, typically with the bulk of the leaves around 1 - 1.5 mm.
The nylon pyramidal tea bag containing tea leaf fragments instead of the tea "detritus" or dust made an appearance in the marketplace for aficionados. The pyramidal shape allows more room for the leaf to steep. Environmentalists prefer silk to nylon because of health and biodegradability issues.[2]
Criticism
A well-produced tea bag, with enough space for the tea to infuse properly, is a convenient alternative to loose leaves. However, cheap tea bags may contain poor quality tea small, dusty leaves from many different sources ('floor sweepings') that tend to release tannin quicker, making the tea taste harsh.[citation needed]
Some tea drinkers claim that loose leaves brew a superior cup of tea, and believe that the ritual of handling the leaves is part of the experience of tea.[citation needed]
Recent rumours say that chlorine-whitened tea bags may cause cancer, developmental defects in newborns and so on, after minute amounts of dioxin were found in whitened tea bags [3]. It is also considered that no safe dose of toxin exists. On the other hand, no research has shown so far that using chlorine-whitened tea bags actually causes cancer in any person.
Coffee
The concept of pre-measured portions to be infused in disposable bags has...(and so on)

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Thermohaline circulation

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A summary of the path of the thermohaline circulation. Blue paths represent deep-water currents, while red paths represent surface currents
The term thermohaline circulation (THC) refers to the part of the large-scale ocean circulation that is driven by global density gradients created by surface heat and freshwater fluxes. The adjective thermohaline derives from thermo- referring to temperature and -haline referring to salt content, factors which together determine the density of sea water. Wind-driven surface currents (such as the Gulf Stream) head polewards from the equatorial Atlantic Ocean, cooling all the while and eventually sinking at high latitudes (forming North Atlantic Deep Water). This dense water then flows into the ocean basins. While the bulk of it upwells in the Southern Ocean, the oldest waters (with a transit time of around 1600 years) upwell in the North Pacific (Primeau, 2005). Extensive mixing therefore takes place between the ocean basins, reducing differences between them and making the Earth's ocean a global system. On their journey, the water masses transport both energy (in the form of heat) and matter (solids, dissolved substances and gases) around the globe. As such, the state of the circulation has a large impact on the climate of the Earth.
The thermohaline circulation is sometimes called the ocean conveyor belt, the great ocean conveyor, or the global conveyor belt. On occasion, it is used to refer to the meridional overturning circulation (often abbreviated as MOC). The term MOC, however, is more accurate and well defined, as it is difficult to separate the part of the circulation which is actually driven by temperature and salinity alone as opposed to other factors such as the wind. Temperature and salinity gradients can also lead to a circulation which does not add to the MOC itself.
Contents
1 Overview
1.1 Formation of deep water masses
1.2 Movement of thermohaline circulation
1.3 Quantitative Estimation
2 Gulf Stream
3 Upwelling
4 Effects on global climate
5 Footnotes
6 References
7 See also
8 External links
//
Overview
The movement of surface currents pushed by the wind is intuitive: we have all seen wind ripples on the surface of a pond. Thus the deep ocean devoid of wind was assumed to be perfectly static by early oceanographers. However, modern instrumentation shows that current velocities in deep water masses can be significant (although much less than surface speeds).
In the deep ocean, the predominant driving force is differences in density, caused by salinity and temperature (the more saline the denser, and the colder the denser). There is often confusion over the components of the circulation that are wind and density driven[1]. Note that ocean currents due to tides are also significant in many places; most prominent in relatively shallow coastal areas, tidal currents can also be significant in the deep ocean.
The density of ocean water is not globally homogeneous, but varies significantly and discretely. Sharply defined boundaries exist between water masses which form at the surface, and subsequently maintain their own identity within the ocean. They position themselves one above or below each other according to their density, which depends on both temperature and salinity.
Warm seawater expands and is thus less dense than cooler seawater. Saltier water is denser than fresher water because the dissolved salts fill interstices between water molecules, resulting in more mass per unit volume. Lighter water masses float over denser ones (just as a piece of wood or ice will float on water, see buoyancy). This is known as "stable stratification". When dense water masses are first formed, they are not stably stratified. In order to take up their most stable positions, water masses of different densities must flow, providing a driving force for deep currents.
The thermohaline circulation is mainly triggered by the formation of deep water masses in the North Atlantic and the Southern Ocean and Haline forcing caused by differences in temperature and salinity of the water.
Formation of deep water masses
The dense water masses that sink into the deep basins are formed in quite specific areas of the North Atlantic and the Southern Ocean. In these polar regions, seawater at the surface of the ocean is intensively cooled by the wind. Wind moving over the water also produces a great deal of evaporation, leading to a decrease in temperature, called evaporative cooling. Evaporation removes only molecules of pure water, resulting in an increase in the salinity of the seawater left behind, and thus an increase in the density of the water mass. In the Norwegian Sea evaporative cooling is predominant, and the sinking water mass, the North Atlantic Deep Water (NADW), fills the basin and spills southwards through...(and so on)

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Zbigniew W?siel

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Zbigniew W?siel

鎱檌fe video installation ?AK Gallery in Gdansk 1966
Zbigniew W?siel (born on 29 January 1966 in Chrzan楂�) contemporary Polish artist, sculptor; creates installations, video objects, artistic arrangements and performances. He also makes figurative, allegorical sculpture verging on abstraction. Much sculptured work is made in brass and bronze.
Contents
1 Biography
2 Activities
3 Selected projects and works
4 External links
//
Biography
He graduated from the Antoni Kenar State High School of Visual Arts in Zakopane. Graduate of the State School of Visual Arts (ASP) in Gdansk in the faculty of Sculpture; Diploma (1993) under the tutelage of Prof. Edward Sitka.
Activities
In 2000 he co-founded 鎱沘 wie?y gallery in Gdansk; in 2001-2004 he cooperated with Galeria 78 in Gdynia. Since 2007 he has run the Sculpture Gallery of the Sculpture Artists Association in Gdansk. Founder of the Local Initiatives Association (in 1998) non-governmental organization involved in promoting different socio-cultural forms of life. First chairman for three terms.
He takes an active part in the artistic life of the Tri-City; organizer of over 120 joint and one-man exhibitions. Participant of many exhibitions, artistic projects at home and abroad (Germany, the Netherlands, Turkey, Italy, Sweden, France and Lithuania). Frequent prizewinner. Works of Zbigniew W?siel are held in private collections at home and abroad; in the Museum of the City of Gdynia, the National Museum in Gdansk, the Museum of Central Pomerania in Slupsk and the Pomeranian Fine Arts Society). He lives and works in Gdansk.
Selected projects and works
鎱me Capsule co-designer, engaged in the project, Gda?sk (1991)
鎱塺chetypes installation created in the State School of Visual Arts (PWSSP) in Gda?sk (1993) a series of 4 installations:
鎱峯mposition of 8 Pyramids (personal technique, measurements: 2.5 x 15 x 23 m), 鎱弖plicated Element (personal technique, measurements: 6 x 6 x 1 m), 鎱tems (personal technique, measurements: 5 x 10 x 6 m), 鎱歛ndalas (personal technique, measurements: no. I /1.5 x 1.5 x 3 m/, no. II /? 3 x 0.1 m/, no. III /? 3 x 2 m/).

鎱峯mposition of 8 Pyramids- measurements: 2.5 x 15 x 23 m
Duplicated Element- measurements: 6 x 6 x 1 m
鎱歛ndalas- measurements: (circle) no. I: 1.5 x 1.5 x 3 m, (circle) no. II: ? 3 x 0.1 m
鎱歛ndalas 鎱峣rcle no. II measurements: ? 3 x 0.1 m
The spatial composition made from various materials such as concrete, brick, metal, wood, glass, plastic wrap, clay, tar, mineral wool, fabrics, gauze, paper, colour dyes, aromatic essences and organic materials such as soil, grass, fish. The work was displayed in the form of a video presentation as part of an exhibition entitled 鎱x Artists from Gda?sk at the Fass Gallery in Istanbul (Turkey) in March 2002.
鎱檌fe video installation created at the ?ak Gallery in Gda?sk (1994), measurements: 5.5 x 4.7 x 2.4 m, materials: concrete, plastic wrap, green and brown dyes, photocopies, video presentation, diodes, fish, calfskin, water.
鎱杗 vitro veritas installation created for an exhibition entitled 鎱減en Close (2000) at the Spi? 7 Gallery in Gda?sk (gallery of Marek Rogulus Rogulski), materials: plastic wrap, ink, zinc sheet, Perspex, colour/black and white photocopies, screws, nails, magnifying glasses, photographic filters, glass containers, elements of lighting equipment, fragments of calfskin, larvae, dressing materials, tampons, needles, drip, dental instruments, water, olive oil (3 photographs of Wiaczys?aw Stukow {1941-1996} were used in the installation), measurements: 7 x 6 x 4 m.
Composition made from stump, artificial limb and nappy installation created for the exhibition entitled 鎱gether in Europe at Gallery 78 in Gdynia (2002) and for the exhibition 鎱峯mbi Nations at the ?ak Gallery in Gda?sk (2004), materials: bronze, fabrics, wood, paper, metal elements, screws. Measurements of one element: approx. 23 x 29 x 94 cm (11 elements)
鎱杗ner Portrait sculpture (1999) bronze, measurements: 48 x 42 x 32 cm
鎱廼sabled Torso no. 11 / sculpture (2005) bronze, cast iron, metal, measurements: 33 x 31, 1 x 49 cm
鎱檕ving Angels no. 12 / sculpture (2005) bronze, measurements: 17 x 15.5 x 35.5 cm
External links
Zbigniew W?siel
鎱杗stallation 鎱杗 vitro veritas
鎱媔ographical entry ? Independent. art
Biography of Zbigniew W?siel ? Wiki Art
SIX ARTISTS FROM GDA?SK Exhibition by Polish Artists ? exhibition at Sabanci University in Istanbul
Categories: Polish sculptors | 1966 births | Living people(and so on)

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Aso Oke fabric

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Aso Oke Fabric
Aso oke is a hand loomed cloth woven by the Yoruba people of south west Nigeria. Usually woven by men, the fabric is used to make men's robes, see Boubou (clothing) called Agbada, women's wrappers, called Iro, and men's hats, called a 'Fila' i.e Aso Oke Hat.
Contents
1 Types of aso-oke
2 Yoruba Women's Garment
3 Formal wear
4 See also
5 External links
//
Types of aso-oke
There are three types of traditional Aso Oke worn by Yoruba people.
1. Alaari - a rich red aso-oke.
2. Sanyan - a brown and usually light brown aso-oke.
3. Etu - a dark blue aso-oke.
Aso-oke fabric is often worn with Aran. Aran is a brown velvet with concentric designs.
Yoruba Women's Garment
When people speak of an aso-oke, they are usually referring to the traditional Yoruba women's garment. It consists of four parts:
1. Buba - Yoruba blouse
2. Iro - a wrap skirt
3. Gele - head tie
4. Iborun or Ipele - shawl or shoulder sash
Formal wear
Nigerians all over the world wear aso-oke fabric for special occasions including holidays; weddings; funerals; and chieftain title ceremonies. All followers of the Yoruba religion also wear aso-oke fabrics and hats. Members of the Yoruba religion can be of any nationality, including, American, Cuban, British, etc.
See also
Aso Oke Hat
Wrapper (clothing)
Boubou (clothing)
Kente cloth -- Woven by Ashanti people
Barkcloth -- Woven by Buganda people
External links
1. The Yoruba Women's Garment http://moderntraditional.com/magazine/mtcglossary/asooke.html
2. Pictures of the Women's aso-oke
http://www.asooke.com.ng/events.htm
3. Yoruba clothing diagram (with photos showing the different Men's and Women's garments) http://www.motherlandnigeria.com/attire.html
4. Aso Oke pictures http://dupsies.com/Dstore/special-headwrap-asooke-gele-c-81.html
Categories: African clothing | Woven fabrics(and so on)

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Vegetarian cuisine

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A variety of vegetarian food ingredients.
Vegetarian cuisine refers to food that meets vegetarian standards by excluding meat and animal tissue products. For lacto-ovo vegetarianism (the most common type of vegetarianism in the Western world), eggs and dairy products such as milk and cheese are permitted. The strictest forms of vegetarianism are veganism and fruitarianism, which exclude all animal products, including dairy products as well as honey, and even some refined sugars if filtered and whitened with bone char.
Vegetarian foods can be classified into several different types:
Traditional foods that have always been vegetarian (Cereals/grains, fruits, vegetables, nuts, etc.)
Soy products including Tofu and Tempeh which are common protein sources.
Textured vegetable protein (TVP), made from defatted soy flour, often included in chili and burger recipes in place of ground meat.
Meat analogues, which mimic the taste, texture, and appearance of meat and are often used in recipes that traditionally contained meat.
Vegans may also use analogues for eggs and dairy products.
Contents
1 Foods used in vegetarian cuisine
2 Cuisine that is traditionally vegetarian
2.1 National cuisines
2.2 Desserts and sweets
3 Cuisine that uses meat analogues
4 See also
5 References
6 External links
//
Foods used in vegetarian cuisine
Food usually regarded as suitable for all types of the vegetarian cuisine usually include:
Cereals/grains: maize, hempseed, corn, wheat, rice, barley, sorghum, millet, oats, rye, triticale, buckwheat, fonio, quinoa; derived products such as flour (dough, bread, pasta, baked goods).
Vegetables (fresh or pickled) and mushrooms (though some strict Indian vegetarians do not eat mushrooms); derived products such as vegetable fats and oils
Fruit (fresh or dried)
Legumes: beans (including soybeans and soy products such as tempeh, tofu, soy milk, and TVP), chickpeas, peas, lentils, peanuts)
Tree nuts and seeds
Spices and herbs
Other foods such as seaweed (however seaweed is considered inedible by some strict vegetarians for the same reason it can be considered as non-kosher by some: the possibility that various tiny animals may be found adhering to it.
Food suitable for several types of the vegetarian cuisine:
Dairy products (milk, butter, cheese (except for cheese containing rennet of animal origin), yogurt (excluding yogurt made with gelatin), etc) not eaten by vegans and pure ovo-vegetarians
Eggs not eaten by vegans and pure lacto-vegetarians
Honey not eaten by some vegans
Cuisine that is traditionally vegetarian
Wikibooks Cookbook has a recipe/module on
Vegetarian cuisine
These are some of the most common dishes that vegetarians in the Western world eat without substitution of ingredients. Such dishes include, from breakfasts to dinnertime desserts:
Gujarati cuisine from state of Gujarat in western India is predominantly vegetarian.
Many bean, pasta, potato, rice, and bulgur/cous cous dishes, stews, soups and stir fries.
Cereals and oatmeals, granola bars, etc
Fresh fruit and most salads
Potato salad, baba ganoush, pita-wraps or burrito-wraps, vegetable pilafs, baked potatoes or fried potato-skins with various toppings, corn on the cob, smoothies
Many sandwiches, such as cheese on toast, and cold sandwiches including roasted eggplant, mushrooms, bell peppers, cheeses, avocado and other sandwich ingredients
Many side dishes, such as mashed potatoes, scalloped potatoes, some bread stuffings, seasoned rice, and macaroni and cheese.
Classical Buddhist cuisine in Asia served at temples and restaurants with a green sign indicating vegetarian food only near temples
National cuisines
Indian cuisine in Asia is replete with vegetarian dishes, many of which can be traced to religious traditions (such as Hindu Brahmins). Gujarati cuisine of India is predominantly vegetarian among other Indian cuisines and Gujarati thali is very famous among Indians. There are many vegetarian Indian foods such as pakora, samosa, khichris, Pulao, raitas, rasam, bengain bharta, chana masala, some kormas, sambars, jalfrezis, saag aloo, subjis (vegetable dishes) such as bindi subji, gobi subji, Punjabi chole, aloo matar and much South Indian food such as dosas, idlis and vadas. Chapati and other wheat/maida based breads like Naan, Roti Parathas are often stuffed with vegetarian items to make it a satisfying meal. Many Indian dishes also qualify as vegan, though many others also use honey or dairy.
South Indian foods like sambar, rasam, koottu, karembadu, upma, palya, kozhambu, Aviyal, Olan, Kadala curry, Theeyal, Pulingari, Chammandi, Chutney, and breads like Appam, Puttu, pathiri, dosai, idli and vadai.
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Sinn F?in Manifesto 1918

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Sinn F闁昻 Manifesto for the December 1918 election
Following its reform in 1917, the Sinn F闁昻 party campaigned against conscription in Ireland. Following the armistice of 11 November 1918 the British Government called a general election for 14 December, in which Sinn F闁昻 won 73 out of 105 seats, primarily on the basis of this manifesto.
Significance
While by 1918 the Irish electorate knew of the rationale for the Dublin Easter Rising of 1916, it was not launched by nor for the Sinn F闁昻 party. The manifesto was the first formal address to the Irish electorate, from which followed the Declaration of Independence of the Irish Republic and its Democratic Programme on 19 January 1919.
An amended version, approved by the official censor, can be found here.
Text
'GENERAL ELECTION --- MANIFESTO TO THE IRISH PEOPLE
THE coming General Election is fraught with vital possibilities for the future of our nation. Ireland is faced with the question whether this generation wills it that she is to march out into the full sunlight of freedom, or is to remain in the shadow of a base imperialism that has brought and ever will bring in its train naught but evil for our race.
Sinn F闁昻 gives Ireland the opportunity of vindicating her honour and pursuing with renewed confidence the path of national salvation by rallying to the flag of the Irish Republic.
Sinn F闁昻 aims at securing the establishment of that Republic.
1. By withdrawing the Irish Representation from the British Parliament and by denying the right and opposing the will of the British Government or any other foreign Government to legislate for Ireland.
2. By making use of any and every means available to render impotent the power of England to hold Ireland in subjection by military force or otherwise.
3. By the establishment of a constituent assembly comprising persons chosen by Irish constituencies as the supreme national authority to speak and act in the name of the Irish people, and to develop Ireland's social, political and industrial life, for the welfare of the whole people of Ireland.
4. By appealing to the Peace Conference for the establishment of Ireland as an Independent Nation. At that conference the future of the Nations of the world will be settled on the principle of government by consent of the governed. Ireland's claim to the application of that principle in her favour is not based on any accidental situation arising from the war. It is older than many if not all of the present belligerents. It is based on our unbroken tradition of nationhood, on a unity in a national name which has never been challenged, on our possession of a distinctive national culture and social order, on the moral courage and dignity of our people in the face of alien aggression, on the fact that in nearly every generation, and five times within the past 120 years our people have challenged in arms the right of England to rule this country. On these incontrovertible facts is based the claim that our people have beyond question established the right to be accorded all the power of a free nation.
Sinn F闁昻 stands less for a political party than for the Nation; it represents the old tradition of nationhood handed on from dead generations; it stands by the Proclamation of the Provisional Government of Easter, 1916, reasserting the inalienable right of the Irish Nation to sovereign independence, reaffirming the determination of the Irish people to achieve it, and guaranteeing within the independent Nation equal rights and equal opportunities to all its citizens.
Believing that the time has arrived when Ireland's voice for the principle of untrammelled National self-determination should be heard above every interest of party or class, Sinn F闁昻 will oppose at the Polls every individual candidate who does not accept this principle.
The policy of our opponents stands condemned on any test, whether of principle or expediency. The right of a nation to sovereign independence rests upon immutable natural law and cannot be made the subject of a compromise. Any attempt to barter away the sacred and inviolate rights of nationhood begins in dishonour and is bound to end in disaster. The enforced exodus of millions of our people, the decay of our industrial life, the ever-increasing financial plunder of our country, the whittling down of the demand for the 'Repeal of the Union,' voiced by the first Irish Leader to plead in the Hall of the Conqueror to that of Home Rule on the Statute Book, and finally the contemplated mutilation of our country by partition, are some of the ghastly results of a policy that leads to national ruin.
Those who have endeavoured to harness the people of Ireland to England's war-chariot, ignoring the fact that only a freely-elected Government in a free Ireland has power to decide for Ireland the question of peace and war, have forfeited the right to...(and so on)

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Color printing

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"Color separation" redirects here. For other uses, see Chroma key.
Color printing is the reproduction of an image or text in color (as opposed to simpler black and white or monochrome printing).
While there are many techniques for reproducing images in color, specific graphic processes and industrial equipment are used for mass reproduction of color images on paper. In this sense, "color printing" involves reproduction techniques suited for printing presses capable of thousands or millions of impressions for publishing newspapers and magazines, brochures, cards, posters and similar mass-market items.
In this type of industrial or commercial printing, the technique used to print full-color images, such as color photographs, is referred to as four-color-process printing, because four inks are used: three primary colors plus black. The "subtractive" primary ink colors are cyan (a bright blue), magenta (a vivid red-purple), and yellow; which are abbreviated as CMYK.
Two graphic techniques are required to prepare images for four-color printing. In the "pre-press" stage, original images are translated into forms that can be used on a printing press, through "color separation" and "screening" or "halftoning." These steps make possible the creation of printing plates that can transfer color impressions to paper on printing presses based on the principles of lithography.
An emerging method of full-color printing is six-color process printing (for example, Pantone's Hexachrome system) which adds orange and green to the traditional CMYK inks for a larger and more vibrant gamut, or color range. However, such alternate color systems still rely on color separation, halftoning and lithography to produce printed images. Within the specialist area of printed packaging, an emerging method of full-color printing is another system, Chapter1, developed by design group LFH. Chapter1 can be tailored to individual companies and was recently adopted by Unilever. It involves the traditional process colors (cyan, magenta and yellow) plus three additional colors chosen to best reproduce a particular company鎶� range of branded packaging.
Color printing can also involve as few as one color ink, or multiple color inks which are not the primary colors. Using a limited number of color inks, or specific color inks in addition to the primary colors, is referred to as "spot color" printing. Generally, spot-color inks are specific formulations that are designed to print alone, rather than to blend with other inks on the paper to produce various hues and shades. The range of available spot color inks, much like paint, is nearly unlimited, and much more varied than the colors that can be produced by four-color-process printing. Spot-color inks range from subtle pastels to intense fluorescents to reflective metallics.
Color printing involves a series of steps, or transformations, to generate a quality color reproduction. The following sections focus on the steps used when reproducing a color image in CMYK printing, along with some historical perspective.
Contents
1 Color separation process
2 Screening
3 References
4 See also
5 External links
//
Color separation process
The process of color separation starts by separating the original artwork into red, green, and blue components (for example by a digital scanner). Before digital imaging was developed, the traditional method of doing this was to photograph the image three times, using a filter for each color. However this is achieved, the desired result is three grayscale images, which represent the red, green, and blue (RGB) components of the original image:
The next step is to invert each of these separations. When a negative image of the red component is produced, the resulting image represents the cyan component of the image. Likewise, negatives are produced of the green and blue components to produce magenta and yellow separations, respectively. This is done because cyan, magenta, and yellow are subtractive primaries which each represent two of the three additive primaries (RGB) after one additive primary has been subtracted from white light.
Cyan, magenta, and yellow are the three main pigments used for color reproduction. When these three colors are combined in printing, the result should be a reasonable reproduction of the original, but in practice this is not the case. Due to limitations in the ink pigments, the darker colors are dirty and muddied. To resolve this, a black separation is also created, which improves the shadow and contrast of the image. Numerous techniques exist to derive this black separation from the original image; these include grey component replacement, under color removal, and under color addition. This printing technique is referred to as CMYK (the "K" being short for "key." In this case, the key color is black).
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Gerry Anderson's New Captain Scarlet

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Gerry Anderson's New Captain Scarlet (more commonly New Captain Scarlet or NCS) is a United Kingdom-produced computer-generated imagery action-adventure TV series which debuted in February 2005 as part of the Ministry of Mayhem on ITV. Created by Gerry Anderson, it is a Hypermarionation reboot of the classic 1967 Supermarionation series, Captain Scarlet and the Mysterons, created by Gerry and Sylvia Anderson.
Contents
1 Synopsis
2 Skybase
3 Regular Characters
3.1 Main Spectrum Personnel
3.2 Enemies
4 Supporting Characters
4.1 Spectrum Field Agents
4.2 Spectrum Angels
4.3 Other Characters
5 Vehicles and Aircraft
5.1 Spectrum Vehicles
5.2 Spectrum Aircraft
5.3 Other Craft
6 Episode List
7 Comparison with the original series
8 Broadcast
9 DVD Releases
10 Notes
11 External links
//
Synopsis
In the year 2068, peace on Earth is maintained by the Spectrum Organization, a super-efficient security group, headquartered in the vast floating aircraft carrier Skybase, which hovers on the edge of Earths atmosphere. Spectrum is manned by agents recruited from various military services, who are each assigned colour codenames to hide their true identities. Under the command of Colonel White, Spectrum has become the supreme peace-keeping force, maintaining a fleet of sophisticated vehicles for use by Spectrum field agents, including White Falcon Interceptor Jet Fighters, Rhino Tactical Response Units, Cheetah Rapid Response Vehicles, Stallion Raid Bikes, Albatross Special Deployment Craft, Hummingbird Helicopters, Swift Passenger Jets and Bison Alien Terrain Vehicles.
An ill-fated mission to locate the source of mysterious signals originating from Mars unleashed the power of the Mysterons, a ruthless alien consciousness. When Spectrum Captains Scarlet and Black discovered the Mysteron City on Mars, Black mistook the intentions of a Mysteron probe for a hostile offensive and opened fire, completely destroying the city. Using their incredible power of retrometabolism, the ability to recreate matter, the Mysterons reconstructed the city and pledged to take vengeance on the people of Earth for their unprovoked attack. This has taken the form of a war of nerves, with the Mysterons using their amazing powers to influence people, vehicles and inanimate objects to fall under their control. The Mysterons primary Earth agent is Captain Black, recreated from the body of the original Spectrum agent.
Spectrum's personnel and facilities are now mainly mobilised to combat the threat of the Mysterons. Leading the fight is one man fate has made virtually indestructible - Captain Scarlet. Killed during the Mysterons' initial attack, Scarlet was retrometabolised to become the aliens' instrument of destruction, but the Mysterons' hold over him was broken after he fell through a power conduit in the Skybase engineering section. Retaining the original man's memories, personality and loyalties, the new Captain Scarlet also retains the ability to survive injuries that would prove fatal to any other person, making him Spectrum's greatest weapon in their unceasing war against the menace from Mars.
Skybase
Skybase is a 330-metre long command ship and the operational headquarters of Spectrum. It is permanently stationed above the clouds at 18,288m. There are six main engines to keep the base positioned in the sky and a further ten engines designed to keep Skybase balanced. Skybase is home to the fleet of high-tech Spectrum vehicles, including the squadron of Falcon aircraft.
The Falcons are handled on Skybase using a unique magnetic control system. After landing on the magna-strip runway, a circular lift lowers the plane into the hangar. Robotic arms automatically re-fuel, and re-arm guns and missiles. Using this system means that the Falcons are always action ready.
Regular Characters
Main Spectrum Personnel
Captain Scarlet (Paul Metcalfe): Leading Spectrum field agent. A 32 year old dual-nationality (British/American) former USAF and Special Forces officer, replaced by a virtually indestructible replicant. He was born in Winchester, England, and was the son of a US astronaut and a British astrophysicist. Scarlet was always quietly jealous of the relationship that had developed between Black and Destiny, himself being close to her. However, once Black is dead, Scarlets feelings for Destiny resurface and throughout the series the two start to fall in love. Scarlet has black hair and blue eyes, weighs 12 stone (76kg) and is 6ft 2in (188cm) tall. Voiced by Wayne Forester, and motion capture performance by Oliver Hollis.
Captain Blue (Adam Svenson): 32 year old American agent. A decorated former US Army officer and first class sportsman. He was born in Fort Hood, Texas, USA. Blue has blonde hair and blue eyes, weighs 12.1 stone...(and so on)

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The Fly II

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The Fly II
Poster for The Fly II
Directed by
Chris Walas
Produced by
Steven-Charles Jaffe
Written by
Characters:George LangelaanScreenplay:Mick GarrisJim WheatKen WheatFrank Darabont
Starring
Eric StoltzDaphne ZunigaJohn GetzLee Richardson
Music by
Christopher Young
Cinematography
Robin Vidgeon
Editing by
Sean Barton
Distributed by
20th Century Fox
Release date(s)
February 10, 1989
Running time
105 min.
Country
Canada/USA
Language
English
Preceded by
The Fly (1986 film)
The Fly II is a sci-fi film produced in 1989 starring Eric Stoltz and Daphne Zuniga. It was directed by Chris Walas as a sequel to the 1986 movie The Fly. Stoltz's character in this sequel is the adult son of Seth Brundle, the scientist-turned-'Brundlefly', played by Jeff Goldblum in the 1986 remake. John Getz was the only actor from the first film to reprise his role.
Tag line: "Like father, Like son".
Contents
1 Plot
2 Characters
3 Makeup/Creature Effects
4 Reception
5 Production notes
6 Deleted Scenes
7 Merchandise
8 External links
//
Plot
The story begins several months after the first film, with the birth of Martin Brundle. Martin is unique, as he is the offspring of Veronica Quaife and Seth Brundle/Brundlefly, the human-housefly hybrid from the first film. The birth is under the control of Brundle's employer, Anton Bartok, owner of Bartok Industries (which financed Brundle's teleportation experiments in the first film). Veronica dies during childbirth, leaving Martin in the custody of Bartok, who plans to exploit his unique condition.
Martin's lifespan is quickly accelerated as a result of his mutant genes. He knows that he is aging faster than a normal human, but he doesn't know of his insect heritage. As Martin grows, Bartok befriends him, amusing him with simple magic tricks, and tells him that a "magic word" needs to be a secret word that can never be confided to anyone or else it would spoil the magical effect. When Martin is three years old, he's already physically aged to a child of around ten. He frequently sneaks out of his room, and finds a room full of specimen animals awaiting testing. Martin befriends a Labrador retriever. The next night, he sneaks out again to bring him some of his dinner, but he's gone. Martin finds the telepod lab, and they're about to teleport his dog as a testing subject. The dog ends up being horribly deformed, but still alive and attacks one of the scientists. Horrified, Martin screams and cries as Bartok consoles him.
Two years later, Martin is physically twenty years old, and is a fully mature adult. Bartok then offers Martin a position working on Seth Brundle's telepods. In the past five years, Bartok and his scientists have not made any progress in getting them to work. Bartok hopes Martin will be able to finish what his father started. He also apologizes for the dog, stating that he didn't suffer long.
As he begins work on the telepods, Martin befriends Bartok employee Beth Logan. They grow closer together over time as Martin tries to get the telepods to function correctly, and Beth invites him to a party over at the genetic research area. Once there, Martin discovers Bartok lied to him; they've kept his dog alive for two years. He runs out of the party and sneaks down to the holding pen where the dog is. The dog, however mutated and in pain, still remembers him and starts to wag its tail. Martin sits with it, and while petting his former pet, ends its misery by euthanizing it with chloroform. The next day, Bartok asks if Martin is aware of the break-in over at genetic research. Martin coldly says "No," and Bartok smiles (realizing Martin is lying) as he states that Martin is finally growing up. Bartok believes that Martin will become like him, a liar and corrupt man.
Eventually, Martin gets the telepods to function properly, but he also learns the truth of his father's fate, his own biology, Bartok's motives, and of a possible cure to his condition. Unfortunately, the cure, which involves swapping out Martin's insect genes for healthy human genes, requires the sacrifice of another healthy human being, who will in turn suffer a grotesque genetic fate as a result. Things begin to culminate when Martin's dormant insect genes awaken and the signs of his transformation begin. Martin escapes from Bartok Industries when he's told by Bartok of his "fate". Even though Martin successfully repaired the telepods, Bartok is unable to use them as Martin has installed a password along with a computer virus attached (the computer asks for the "magic word") to erase the computer's memory if the wrong word is inputted. Bartok knows Martin had indeed been listening to him when Martin was a child, and they'll never figure out...(and so on)

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