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This is a slightly-dressed-up version of the visualization I usually do for team rankings. Most of the graphic comes from Excel, with the team logos added afterwards in InDesign.
Graphically, this isn't much to look at, and I include it here only as a starting point. While Excel does allow custom colors across lines, they're not the easiest to pick - so for this I've only customized the Crew's line (look for the thicker line with the drop shadow).
As an ongoing fascination with making fake map-looking things in Excel via formatted pivot tables, here's one showing tornadoes in the US.
All about the process at: uxblog.idvsolutions.com
See more car pics on my facebook page!
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The Type 89 Lotus Excel, built from 1982 to 1992, is a front-engined, rear-wheel drive sports car designed and built by Lotus. It was based on the design of the earlier Lotus Eclat, which itself was based on the earlier Lotus Elite II.
Toyota engaged Lotus to assist with engineering work on the Supra. During this period, Toyota became a major shareholder in Lotus, later giving up their holding when General Motors bought Lotus.
Part of the deal between Lotus and Toyota included the use of many Toyota mechanical components in Lotus' cars. The original Excel (aka the Éclat Excel) used the W58 manual transmission, driveshafts, rear differential, 14x7 in alloy wheels, and door handles from the Supra Mk II, which was made from 1982 to 1986. The engine was the familiar all-aluminium, DOHC 2.2 L Lotus 912 Slant Four (which was used in the Lotus Esprit S3). During its lifetime, the Excel received two major upgrades with the introduction of the Excel SE (a 180 bhp/134 kW engine vs the standard 160 bhp/119 kW engined car) in 1985 and the Excel SA with automatic gearbox in 1986. Further facelifts in 1989 saw Citroen-derived mirrors, as featured on the Esprit, and 15 inch OZ alloy wheels to a similar pattern as the Esprit's.
According to Lotus records, only 1 Excel was manufactured to USA specification. The lack of release in the USA was due to the high emission regulations (which would hinder the car's performance), and poor sales of the car in Europe.
(Wikipedia)
www.xlautomation.com.au/excel-consulting/excel-consulting...
At XLAutomation we specialise in Excel Application development. Our Excel Consultants have years of experience in developing solutions to improve your business.
Trent Barton's "Treat every customer like your Mum" Optare Excel 262 (Y262 DRC) loads passengers in Bakewell on a journey to Nottingham from Buxton. This bus is currently covered with Mothers Day messages sent in by users of the trent barton services.
archive.org/search.php?query=subject:%22%20Undersea%20Kin...
Starring Ray “Crash” Corrigan, Lee Van Atta, C. Montague Shaw, Monte Blue, Lois Wilde, John Merton, William Farnum.
Undersea Kingdom begins with a protracted introduction to our hero, US Navy lieutenant “Crash” Corrigan (Ray Corrigan), in a series of sequences that establish his athletic prowess. After Crash has excelled at football, wrestling, and other strenuous sports, the main plot gets underway when Corrigan is assigned to accompany scientist Professor Norton (C. Montague Shaw) on a submarine expedition to the bottom of the ocean. Norton is convinced that a recent series of earthquakes are emanating from the lost land of Atlantis–which, according to his theory, was not destroyed when it sank to the ocean floor but instead preserved by a protective dome. Norton, Corrigan, newspaper reporter Diana Compton (Lois Wilde), and Norton’s young son Billy (Lee Van Atta) discover the truth of Norton’s theory when their undersea journey brings them to Atlantis–a country that culturally and sartorially resembles Ancient Greece, but possesses technology never seen in the ancient or modern world. There, they find that the Atlantean tyrant Unga Khan (Monte Blue) has been causing the earthquakes, which are mere test runs for his planned conquest of the “surface world” with his arsenal of destructive weapons. Norton is taken prisoner by Khan, who makes the professor his scientific lackey after after technologically brainwashing him, while Crash is captured by Sharad (William Farnum), the high priest of Poseidon and the leader of an Atlantean faction that opposes Unga Khan. Eventually, Crash convinces Sharad that they share a common enemy, and is given command of the high priest’s “White Robe” army. He takes command of Sharad’s campaign against Unga Khan’s “Black Robes,” while Khan assiduously prepares for an invasion of the unsuspecting surface world.
Undersea Kingdom is invariably compared to Universal’s Flash Gordon, which was released two months earlier in 1936; in fact, it’s often cited as a direct imitation of the Universal chapterplay. Given the closeness of the two serials’ release dates, this is unlikely–although Republic did begin producing Kingdom when Universal announced Gordon, no doubt hoping to steal a little of Gordon’s thunder with a sci-fi adventure of their own. Thematically, however, Undersea Kingdom owes more to Phantom Empire, released two years earlier by Republic’s predecessor Mascot, than it does to Flash Gordon. Among the two serials’ points in common are an alien kingdom that is still part of the good old Earth, a child co-hero, and a villainous robot corps. Also like Empire, Kingdom lacks any of the otherworldly atmosphere of Flash Gordon; Atlantis’ locales and inhabitants never come alive the way Mongo’s do. The troubles of Atlantis never becomes involving in their own right; the struggle between Unga Khan and Sharad is a mere backdrop to Khan’s plan to conquer the surface world; (in fact, the final destruction of Sharad’s city is only a side effect of Khan’s attempt to recapture Professor Norton).
However, while Undersea Kingdom is no Flash Gordon, it has much to recommend it. As already mentioned, the writers (John Rathmell, Oliver Drake, Maurice Geraghty, and Tracy Knight) don’t succeed in making Atlantis seem very colorful (although they give the supposedly Greek Atlanteans a wild potpourri of names that hail from Mongolia, ancient Persia, Phoenicia, and many other places), but they keep their plot moving swiftly. The final chapter is unusually exciting, with Unga Khan confidently preparing to blast opposing Navy ships from the ocean as Crash and Norton work frantically to cripple his defenses from within his impregnable tower.
While the serial’s principal outdoor location (Iverson’s Movie Ranch) doesn’t look very otherworldly, both Sharad’s Sacred City (a disguised version of Republic’s Spanish fort, enlarged by some excellent matte work) and Unga Khan’s laboratory are decorated in properly peculiar style, while the serial’s various miniatures (the Atlantean “Volplane,” Norton’s submarine, Khan’s rocket-powered tower) are very well-designed by Howard and Theodore Lydecker. The Juggernaut, a tank-like vehicle that anticipates the Jungle Cruiser in Tim Tyler’s Luck, is similarly impressive, while a squad of robots (called “Volkites” here) will only impress those (like myself) who don’t object to the water- heater-like appearance of the robot in the later Mysterious Doctor Satan; the Volkites are near-duplicates of that automaton.
The serial features few of the fistfights common to Republic’s later serials, but compensates by including some truly unique action sequences, chief among them the large-scale attacks on Sharad’s Sacred City by the Black Robes; these battle scenes are beautifully staged by directors Joseph Kane and B. Reeves Eason (Eason directed many similar sequences in silent and sound “spectacles” like 1925’s Ben-Hur and 1936’s Charge of the Light Brigade). The serial’s smaller-scaled swordfights are also well-handled, as are several chariot chases, Crash’s tightrope-walking escape from Khan’s tower, and the wrestling matches between Crash and various opponents (although his repeated success in overpowering two villains at once somewhat stretches credibility). The serial’s chapter endings are interesting (particularly the ones involving Crash’s fall down an elevator shaft, his apparent crushing by the Juggernaut, and the good guys’ failed escape in the Volplane that ends in their being shot down), but too many of them–including the famed Juggernaut cliffhanger–are resolved by blatant “cheats” in the following chapter.
The serial’s cast is uneven in terms of acting. Ray Corrigan, excellent as a laid-back but determined cowboy hero in Republic’s Three Mesquiteers films, seems slightly uncomfortable as a swashbuckling near-superhero (with a rather embarrassing outfit); he delivers most of his lines hurriedly in rather stone-faced fashion and lacks the dash that helped Buster Crabbe put across the similarly difficult role of Flash Gordon. Monte Blue is also a bit miscast as the warlord Unga Khan. While Blue was good as more prosaic villains like the evil Yellow Weasel in Hawk of the Wilderness, his appearance and voice aren’t “bravura” enough for such a larger-than-life part. He voices Khan’s megalomaniacal ravings in a harsh monotone, with none of the measured staginess someone like Charles Middleton or Bela Lugosi would have given them.
The lovely Lois Wilde has very little to do as the leading lady, but delivers her lines with a breathless enthusiasm almost unparalleled among serial actresses. Lee Van Atta is good as the capable, if somewhat cocky, Billy Norton, in effect the serial’s co-hero. John Merton features prominently as a tough Black Robe soldier named Moloch who switches over to the good guys’ side and provides Crash with loyal support; Merton handles this change-of-pace part with plenty of vigor and conviction. Lon Chaney Jr. is properly snarling and aggressive as Captain Hakur, the leader of Unga Khan’s Black Robe army, while Raymond Hatton–surprisingly cast as a villain–is his second-in-command. Boothe Howard makes a slick aide-de-camp for Monte Blue, and Lane Chandler is William Farnum’s stalwart lieutenant. Farnum himself handles the role of Sharad with his customary dignity and theatricality, glowering angrily over Unga Khan’s aggression and ringingly declaring his faith in Poseidon. The most refined and assured performance in the serial, however, comes from C. Montague Shaw as Professor Norton. Shaw is calm, dignified, and authoritative as the pre-transformation Norton and whining, crafty, and obsequious as the transformed Professor. His evil chuckling when he’s decoyed Crash into a trap is memorable, and his simple but startling transition back to his previous manner when his mind is restored is excellent.
Smiley Burnette and Frankie Marvin, accompanied by a parrot named Sinbad, are the serial’s designated comic relief, but aren’t given anything amusing in the way of material. Fortunately, they make only a few token appearances throughout the serial. A scrutiny of their scenes shows that their characters were inserted in post-production, apparently to pad out a few chapters’ running time; they never interact with any of the other principals and are never referred to by them (except in one obviously-looped scene). Jack Mulhall and Lloyd Whitlock play naval officers in the first and final chapters, and John Bradford overacts wildly as Joe, Norton’s hysterical assistant who goes berserk at the prospect of descending to the ocean depths. George DeNormand doubles for Ray Corrigan in the action scenes and plays various Atlantean guards, along with fellow stuntmen Eddie Parker, Tom Steele, and Bill Yrigoyen.
Undersea Kingdom, while not as slick as later Republics or as colorful as its contemporary Flash Gordon, is a definite step up from Mascot predecessors like Phantom Empire when it comes to production values and smoothness of plotting. The serial belongs to a developmental stage in Republic Pictures’ history, but is no less appealing because of that; while few fans or critics (this author among them) would rate it as one of Republic’s best serials, it usually holds a warm spot in their esteem.
Above: Crash, Billy, and Norton make an escape in the Volplane.
Berlin, Germany - February 14 --- during the 2019 League of Legends European Championship Series Week 3 at the LEC Studio on February 14, 2020 in Berlin Germany (Photo by Michal Konkol/Riot Games)
With Visual Command Center, an Excel report detailing all the affected assets is a single click away.
The synagogue in Pleszew was built after 1830. During World War II, the building was devastated by the Germans, and after the war it was used as a warehouse. In the 1970s, it was rebuilt, which erased most of the architectural details. The building is currently abandoned, and access to it is hindered by a fence and a building erected at the front (the photo shows the view from backyard side - Ogrodowa Street).
Synagoga w Pleszewie zbudowana została po roku 1830. W latach II Wojny Światowej budynek zdewastowali Niemcy, a po jej zakończeniu pełnił on funkcję magazynową. W latach 70tych dokonano przebudowy, która zatarła większość architektonicznych detali. Obecnie budynek jest opuszczony, a dostęp do niego utrudnia ogrodzenie i wysoka plomba wzniesiona od frontu (fotografia prezentuje widok od ul. Ogrodowej).
synagogu.es/2025/04/05/pleszew/
Pentacon Six TL (S/N 51715)
Carl Zeiss Jena DDR Flektogon 4/50 (S/N 9128574) + Panchromar gelbhell
Cinestill BwXX at 200ISO
Fomadon Excel stock * 7 min. (20C)