View allAll Photos Tagged acidity
Nerliner Weisse with added woodruff (Waldmeister) or raspberry (Himbeere) syrup to reduce the sharpness and acidity of the beer. Very cool drink in Summer!
Berliner Weisse is a top-fermented, bottle conditioned wheat beer made with both traditional warm-fermenting yeasts and lactobacillus culture. They have a rapidly vanishing head and a clear, pale golden straw-coloured appearance. The taste is refreshing, tart, sour and acidic, with a lemony-citric fruit sharpness and almost no hop bitterness. With food, they would make a good aperitif and might go well with cheeses and salads.
" Berliner Weisse mit Schuss: Himbeere" and "Berliner Weisse mit Schuss: Waldmeister".
This Barrel-Aged blend of beers deviates from convention and pays homage to free-thinkers and bold innovators who prove that straying from the norm can create something special.
Eccentricity #3 blends the subtly spicy tones of our Quad with the nuanced, honey-toned character of our Stingo.
Ten months of aging in Rye Whiskey barrels further enhances its complexity.
Microflora cultures inherent to the barrels lend a mild acidity , while a secondary fermentation in the bottle adds effervescence to this eccentric ale.
Three layers of sediment inside a test tube topped with a cork; the higher layer is dark blue in colour, indicating neutral soil acidity (pH7), © B. de los Arcos.
If you would like to use this image, please mention:
'pH7' by B.de los Arcos is released under CC BY
and link to both this location and the relevant license.
Waves of bacterial mats provide the colors and apparent textures of the hot springs. Each type of bacterial is adapted to live at a particular temperature and acidity present in different rings radiating from the hot spring.
view here.
"Gray skies and light fading,
Headlamps making patterns on the wall.
Uptown is dead now:
But out here no one seems to care at all." ("Take Me to the Riot" by Stars)
Introduced, cool-season, perennial, slender, erect herb to 40 cm tall. Rhizomes can form dense mats in some areas. Leaves form a rosette at the base of the plant; they are 2-7 cm long and shaped like an arrowhead, with 2 projecting lobes at their base. Flowerheads are narrow panicles with small rusty red flowers. Flowering is in spring. Possibly a native of Europe, it is a weed of pastures, waste ground and along roadsides; most common on acid, low fertility, sandy soils. Often considered to be a weed of acid soils, but really indicates poorly competitive pastures, which may be caused by soil acidity. Is grazed, especially by sheep, but contains an oxalate that occasionally poisons stock where sorrel is abundant. Grazing systems (rotational grazing and spelling) that promote good groundcover and competition will reduce sorrel. Fertiliser, and sometimes lime, is important to maintain competitive pastures. Herbicides used to control sorrel also kill legumes.
Focus on Hydrangea Flower - H. paniculata 'Grandiflora'.
In most species the flowers are white, but in some species (notably H. macrophylla), can be blue, red, pink, light purple, or dark purple. In these species the color is affected by soil pH. For H. macrophylla and H. serrata cultivars, the flower color can be determined by the relative acidity of the soil: an acidic soil (pH below 6) will usually produce flower color closer to blue, whereas an alkaline soil (pH above 6) will produce flowers more pink. This is caused by a color change of the flower pigments in the presence of aluminium ions which can be taken up into hyperaccumulating plants.
Step 5: Remove the pan from the heat. Add most of the tomatoes and juice to a blender, reserving some unblended pieces in the pan. Add a bit of the vegan 'cream,' and blend for a couple of seconds.
Taste, perhaps adding a pinch or two of sugar to cut the acidity. If more cream is needed, add and blend. Taste and adjust the seasonings (salt pepper, and/or sugar). Add back to the pan.
** 4 to 5 medium, ripe, in-season, tomatoes.
** 3 tablespoons olive oil (or butter substitute, such as Earth Balance)
** Peel the tomatoes, and slice them in half.
Step 1: Heat the oil (or Earth Balance) in a large skillet over medium heat. Add the tomatoes, cut side down, and season with a pinch of salt and and a twist of cracked pepper.
Full recipe: here.
***************
Photo by Yours For Good Fermentables.com.
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A passable Volnay - lots of raspberry and summer berries, some nice lively acidity and restrained oak. Good to refresh the palate and enliven the conversation before supper.
Organic. Fresh and crunchy nose of red berries (dark cherry, raspberry) and dark fruit (blackcurrant, black berry). The lively palate is fleshy, with supportive acidity and soft tannins, packed with berry aromas. This is an easy drinking Pinot Noir that is very food friendly. To be enjoyed now or hold short term.
Delightful white Rhone from Domains du Pere Caboche. Right age for drinking, not to be aged further. Got it in an estate sale. Beautiful light nose and color, hint of peach, no acidity. Breathed for a couple of hours. White Rhone is often a good buy. Saved it for our daughter and son-in-law. Paired with swordfish, a great toast to a lovely New England summer.
Yours truly and Fabio.
Fabio is doing a promo tour on the west coast for his new whey protein supplement that he deseigned. As part of the tour he's visiting grocery stores around town. Today he was at the Whole Foods in the Pearl. I got him to autograph the most rad pizza box in the universe, which is a busty portrait of the patron Saint of Pizza, Olivia.
It was an interesting experience, he was spending a great deal of time with everybody who was waiting in line. We got sucked into a conversation about body acidity and holistic health for like twenty minutes. Surprisingly knowledgeable and down to earth. Props!
The most important part of a trip to L’atelier is to have their hot chocolate. On my first visit I went straight for the 85% African blend. For some that may seem insane, but I am such a fan of really dark chocolate, so go figure. It was wickedly dark, creamy, and indulgently intense with the aromas of cocoa, with the tiniest hint of acidity. It was unbelievably good! I ordered it again on my return trip – very much in conflict with my do-not-order-the-same-thing policy.
almostalwaysravenous.wordpress.com/2011/09/17/l%E2%80%99a...
#Medium-#Bodied #Red #Wine
A medium-bodied red wine contains more #tannins than #Beaujolais #Nouveau, but will not have near the pucker power of a high-powered California Cabernet #Sauvignon or an #Italian #Super #Tuscan
Medium-bodied red wines tend to have medium levels of #acidity and #tannin. This range of wines is diverse,Typical examples of medium-bodied red wines include: #Merlot, #Sangiovese, #Shiraz or a #Chianti
Used Tamron SP AF 90mm F/2.8 Di Macro 1:1 lens.
Mukutmanipur's undulating forested landscape marked by the vibrant colours of Palash and Sonajhuri trees is refreshing and invigorating for the body and mind. It is marked by the prominent hillock about 200metres high, locally named "Baroghutu" (Baro- twelve, ghutu-/stones/hill). The tribal hamlets of Baroghutu, Jambeda, Kumorbahal, Dhagora and Mukutmanipur encircle this hillock. With a landscape that seems naturally designed for adventure, Mukutmanipur offers opportunities in rock climbing, trekking and a variety of water sports.
The local festivals, Tusu, Bhadu, Sahrai and Badna are symbolized by much music and dance, and strengthen the Mukutmanipur experience, laden with the relaxed air of nature in the heartland. The Bankura district has a tribal population famous for its music, art and culture. Mukutmanipur is one such quaint village. The community will provide the tourist with a life that is stress free.
Palash(Butea monosperma) is a species of Butea native to tropical and sub-tropical parts of the Indian Subcontinent and Southeast Asia, ranging across India, Bangladesh, Nepal, Pakistan, Sri Lanka, Myanmar, Thailand, Laos, Cambodia, Vietnam, Malaysia, and western Indonesia. Common names include Palash, Dhak, Palah, Flame of the Forest, Bastard Teak, Parrot Tree, Keshu (Punjabi) and Kesudo (Gujurati).
It starts blooming end of JAN and arround mid March it is in full bloom. Perhaps the most attractive flower of the season. When in full bloom, it is a sight to behold ! The mountain ranges are transformed into a spectacular phenomenon making them appear as if the flames of saffron-red colors are leaping from them. No wonder the tree is also known as-and aptly so- ' Flame Of The Forest '. In West Bengal, it is associated with spring, especially through the poems and songs of Nobel Laureate Rabindranath Tagore, who likened its bright orange flame-like flower to fire. In Santiniketan, where Tagore lived, this flower has become an indispensable part of the celebration of spring. The plant has lent its name to the town of Palashi, famous for the historic Battle of Plassey fought there.
It is a medium sized dry season-deciduous tree, growing to 15 m tall. It is a slow growing tree, young trees have a growth rate of a few feet per year. The leaves are pinnate, with an 8–16 cm petiole and three leaflets, each leaflet 10–20 cm long. The flowers are 2.5 cm long, bright orange-red, and produced in racemes up to 15 cm long. The fruit is a pod 15–20 cm long and 4–5 cm broadIt is said that the tree is a form of Agnidev, God of Fire. It was a punishment given to Him by Goddess Parvati for disturbing Her and Lord Shiva's privacy. In the Telangana region of Andhra Pradesh, these flowers are specially used in the worship of Lord Shiva on occasion of Shivratri. In Telugu, this tree is called Modugu chettu.
In Kerala, this is called 'plasu' and 'chamata'. Chamata is the vernacular version of Sanskrit word 'Samidha', small piece of wood that is used for 'agnihotra' or fire ritual. In most of the old namboodiri (Kerala Brahmin) houses, one can find this tree because this is widely used for their fire ritual.
Use as a dye
The flowers are used to prepare a traditional Holi colour. It is also used as a dyeing color for fabric.
Use as a pesticide
This plant kills Mosquitoes. They are attracted by the smell and color of the flower. Eggs that are laid into the liquid within the flower will never hatch. Any mosquito that touches the fluid can never escape from it.( Source: Wikipedia)
Medicinal value
The medicinal values of Palash have long been acknowledged in our ancient scriptures. Gum secreting from its bark cures Mucus Dysentery, Acidity & many stomach ailments. Its seeds are useful in treatment of worms and intestinal bacteria. ' Panchang ' of Palash or ash prepared from its five parts i.e. leaves, flowers, seeds, skin and root cures urinary tract, Obesity, Kidney problems, Backache & many more ailments. Highly esteemed by the ancient sages and modern researchers, the miraculous Palash, like Tulas, has no parallels. ( www.palashayurvedictreatment.com/palash.htm).
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
Introduced, yearlong-green, perennial, large, tufted grass. Stems are rounded, up to 1.5 m tall and often reddish at their base. A native of the Mediterranean, it is sown in the
Upper Hunter and further south; naturalised along
roadsides. Prefers more fertile soils. Waterlogging and frost
tolerant, but most varieties are sensitive to soil acidity and aluminium.
Just a snap of a sign for a cebiche festival, then future and now past.
Cebiche (sometimes spelled ceviche or seviche) is raw seafood that is not really raw. Rather it is "cooked" at room temperature in the acidity of lime juice, along with onions and hot peppers... and the Peruvian version of this is amazingly delicious.
This Barrel-Aged blend of beers deviates from convention and pays homage to free-thinkers and bold innovators who prove that straying from the norm can create something special.
Eccentricity #3 blends the subtly spicy tones of our Quad with the nuanced, honey-toned character of our Stingo.
Ten months of aging in Rye Whiskey barrels further enhances its complexity.
Microflora cultures inherent to the barrels lend a mild acidity , while a secondary fermentation in the bottle adds effervescence to this eccentric ale.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
2001 Domaine Armand Rousseau Père et Fils Chambertin-Clos de Bèze
France, Burgundy, Côte de Nuits
Producer Profile: Charles Rousseau who took over in 1959, and his children, Corinne and Eric are behind of one of Burgundy’s finest domaines with some 14 hectares of old vines of which 50% are Grand Cru. Interestingly, while others completely de-stem their grapes, Rousseau retains some 15%, giving tannin and structure for longevity. The estate’s vineyard holdings are excellent and often envied with pride, nearly 8 ha of Grand Crus, 3.5 ha of Premier Crus, and 2.25 ha of Gevrey Chambertin Village site. Since he took over, the estate has grown additional 7 ha with the inclusion of: Clos St.-Jacques, Clos des Ruchottes, Clos de Bèze with Chambertin joining the fray in 1993.
His top three wines, both rare and expensive, Chambertin, Clos-de-Bèze and Clos-Saint-Jacques, are all aged in 100% new oak, while others see 60% new oak. The wines are never massively dark or over extracted but exhibit breathtaking length, power and finesse. Anyone who has had the fortune of drinking its Burgundian example which we did, would agree his wines is Pinot Noir at its finest. Visit website. www.domaine-rousseau.com/eindex1.htm
F18042008. 13.0%. 100% Pinot Noir. Full-bodied. Dense cherry fruit without being too rich or overripe on your senses. On the palate, it’s full-bodied with weight, height and depth. A good sappy structure with non-imposing acidity and tannins, which brings out a medium to long finish. An excellent rival if not better than Bruno Clair’s CDB style. Drink between 2010 and 2024.
BLK Beverages has launched BLK, natural Canadian spring water infused with fulvic acid. Packed in a 50cl clear bottle (the colour comes from the powerful organic antioxidant fulvic acid), BLK has a low acidity level (pH9+) and contains over 77 organically complex trace minerals.
Vibrant strawberry and lemon flavours with hints of fresh mint are centred with a touch of spice and clean crisp acidity. This rose is delicious, fiesty and ready to drink
Hydrangea paniculata 'ZINFIN DOLL' WW39 Panicle J2- (Wood, 2016) Panicle Hydrangea, Mature plant size: 7ft., Pink, USDA Hardiness Zone 3-8, Michigan Bloom Month 7c, In Garden Bed J2 for 5.3 YEARS (Bluestone). Planted in 2017.
Hydrangea paniculata Zinfin Doll® 'SMNHPRZEP' (PP26956, 2016) was developed by Timothy Wood, MI. Selected from an open-pollination of seed parent Hydrangea paniculata 'Little Lamb'. Dense bi-colored blooms emerge white then transition to hot pink to red. Upward-facing blooms on strong stems. Soil acidity does not affect bloom color. A Proven Winners® selection. Good growth in 2 years time. Great fall colors.
2020 note: About 3 feet tall and wide after 3 years in the ground. Needs to be bottom trimmed to be more vase shaped (my preference). Soil in this garden is on the clay side. Seed parent is Little Lamb, which I had but did not survive. Like most of my panicle hydranges, it starts out white and turn pink or red or both. I will probably keep this at a 3-4 foot height.
Photo by F.D.Richards, SE Michigan. Link to additional photos of this plant from 2018, 19, 20, 21, 22:
www.flickr.com/search/?user_id=50697352%40N00&sort=da...
#Michigan, #49236, #usdaZone6, , #PanicleHydrangea, #ConeShaped, #PeeGee, #Shrub, #PP26956, #ZINFINDOLL, #Hydrangea, #Panicle, #WW39
10th Brew Day with the Grainfather - an India Pale Ale for Christmas - and the second with the "Connect Control Box" and Mangrove Jack "Hop Spider". I used my 46 litre Domowybrowarek Conical Fermenter to prepare the the hard (pH 7.4) Hertfordshire tap water for an IPA. I applied 1.04 ml/l of Brupaks Carbonate Reducing Solution (CRS), which dropped pH to 6.1. I then added Lactic Acid at 0.151 ml/l (0.182 g/l) which brought the pH down to 5.4.
After dough-in, Les joined me for the rest of the brew day. The alkalines in the pale grains pushed the pH up a bit. After the mash, it was 5.6 (at 19.9°C) while the refractometer read 18.0 Brix (gravity = 1.0741). After sparging, pre-boil pH was down a little to 5.5 (at 19.5°C) and the Brix reading was 14.0 (gravity = 1.0568). At the start of the boil I had 26.0 litres of wort to work with. By the end of the boil, the volume was down to 22.6 litres. After the boil the pH was 5.2 (at 18.8°C). Spot on :-) Original gravity was measured as 1.062 (at 19.7°C with an Hydrometer) and at 15.2 Brix (1.062 with a Refractometer). With the "hop spider" we did a 20 minute hop stand followed by a 10 minute whirlpool. There was a lot of trub left over in the bottom of the grainfather, and it almost blocked the filter.
The new "Connect Control Box" worked like a dream - significantly more efficient than our past brew days. Dough in was at 09h05; mash started soon thereafer; sparging commenced at 10h28; boil was initiated at 11h25; hop stand was 12h25-12h45; whirlpool from 12h47-12h57; wort went into the fermenter at 13h30. We pitched one 11.5 gram sachet of Safale US-05 yeast. Later that afternoon (and on advice from the Grainfather Users Group on Facebook, I pitched a second sachet. See: www.brewersfriend.com/yeast-pitch-rate-and-starter-calcul... By Monday morning, November 21, we had fermemtation and active bubbling in the airlock. By the morning of November 22, bubbling was very lively. Happy days :-)
Trying a split of the new Top Shelf blend at @palletcoffee Kingsway.
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A blend of washed Guatemalan coffee with a natural Ethiopian, I’m not sure what varietals went into this, but it’s a really pleasant blend.
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Straight it has this lovely sparkling taste and is very sweet and easy to drink. Bright with a nice acidity but still smooth.
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In a macc, it’s nice, maintaining that brightness, sweetness, and sparkling quality.
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A nice roast, good work @palletcoffee!
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#thirdwavecoffee #coffeesnob #vancouver #splitshot #espresso #macchiato #igersvancouver Processed with VSCO with k1 preset
Let the cold-crashing begin! The "Christmas Stout" on the 17th and the "Christmas IPA" on the 18th :-)
Hertfordshire, UK on Friday, December 16, 2016.
Hydrangea paniculata 'ZINFIN DOLL' 10/2021 Panicle- (Wood, 2016) Panicle Hydrangea, Mature size: 7’, Pink, USDA Hardiness Zone 3-8, Michigan Bloom Month 7c, In Garden Bed J2,08 for 4.3 YEARS (Bluestone). Planted in 2017.
Hydrangea paniculata Zinfin Doll® 'SMNHPRZEP' (PP26956, 2016) was developed by Timothy Wood, MI. Selected from an open-pollination of seed parent Hydrangea paniculata 'Little Lamb'. Dense bi-colored blooms emerge white then transition to hot pink to red. Upward-facing blooms on strong stems. Soil acidity does not affect bloom color. A Proven Winners® selection. Good growth in 2 years time. Great fall colors.
2020 note: About 3 feet tall and wide after 3 years in the ground. Needs to be bottom trimmed to be more vase shaped (my preference). Soil in this garden is on the clay side. Seed parent is Little Lamb, which I had but did not survive. Like most of my panicle hydranges, it starts out white and turn pink or red or both. I will probably keep this at a 3-4 foot height.
Photo by F.D.Richards, SE Michigan. Additional photos of this plant from 2018, 19, 20, 21:
Rampgill mine is a disused lead mine at Nenthead, Alston Moor, Cumbria, England UK Grid Reference: NY78184351
It was one of the most extensive and productive mines in Nenthead. It can be accessed via the portal of the horse level close to the Heritage Centre car park.
The mine was completely closed for many decades due to collapses in the horse level, but in 2006 some work was done and it became possible to access the Bounder End Cross Vein (also known as the Boundary Cross Vein).
In 2013 the Canadian mining company Minco (www.mincoplc.com) sunk boreholes to discover the extent of zinc deposits beneath Nenthead. Test drilling could go on for several years, but the company believes that the village may be sited on huge deposits. The zinc is 150 metres below the surface, which is too deep to reach by old mining techniques.
The workings of the original lead mine were mainly in the so-called Great Limestone, which was laid down in the Namurian and is generally 10 to 20 metres thick. The lead sulphide mineral galena PbS was mined as an ore of lead, and the sulphides pyrite FeS2 and sphalerite ZnS were also present. Many carbonates occur there, including ankerite Ca(Fe,Mg)(CO3)2, barytocalcite BaCa(CO3)2, calcite CaCO3, siderite FeCO3, smithsonite ZnCO3 and witherite BaCO3, as well as the non-carbonate minerals fluorite CaF2 and baryte BaSO4.
These minerals can react together to alter from one species to another, depending on the prevailing local environment, such as temperature, pressure and acidity. This is demonstrated by the prevalence of pseudomorphs and epimorphs in specimens from this mine. Epimorphs of quartz SiO2 after fluorite CaF2 are characteristic. These occur when quartz crystals grow on the surface of fluorite crystals, then the fluorite dissolves, leaving a cubic cast in the quartz. The cast could in theory be that of any isometric mineral but in 2005 a cube of fluorite was found re-growing in the corner of a cast. This crystal was in perfect alignment with the cast, indicating that both came from the same source, and the original mineral forming the cast was, indeed, fluorite.
Baryte, BaSO4, is an extremely stable mineral. Under surface and near surface conditions it is far less soluble in aqueous solutions than are the barium carbonate minerals witherite BaCO3, barytocalcite BaCa(CO3)2 and alstonite BaCa(CO3)2, so baryte replaces the more soluble minerals. This is demonstrated by the numerous pseudomorphs and partial pseudomorphs of baryte after these carbonates. The sharp pointed crystals of baryte that occur, particularly where witherite is also present, are secondary in nature, forming from witherite. The change from witherite to baryte, however, can also go the other way, with barium carbonates, particularly witherite, replacing baryte. Replacement of baryte by both barytocalcite and witherite has occurred on a significant scale at Rampgill mine.
Initially cavities formed in the rocks, and some of these were then lined with quartz and sphalerite crystals followed by fluorite. Galena also formed at this time, and later on the barium and carbonate minerals formed. Baryte was the first barium mineral to form, as a primary mineral in slabs up to 10 cm across of irregularly layered crystalline material. Secondary baryte occurred later, typically as encrustations of minute diamond-shaped crystals on earlier minerals. Both barytocalcite and witherite have been found crystallised directly on fluorite and galena, showing that fluorite and galena preceded them in the sequence of deposition. In several fluorite specimens with a coating of barytocalcite, the barytocalcite alters to baryte, which in its turn alters to witherite.
Minerals at Rampgill
Sphalerite with selenite and ankerite from the Rampgill Mine, specimen size 3.8 cm
Ankerite Ca(Fe,Mg)(CO3)2: Ankerite occurs as brownish rhombohedral crystals on quartz.
Aragonite CaCO3: There is a photo of aragonite on Mindat, but it does not feature in the list of minerals from Rampgill.
Baryte BaSO4: Baryte occurs both as a primary and as a secondary mineral, and as pseudomorphs and epimorphs after witherite, barytocalcite and alstonite.
Barytocalcite BaCa(CO3)2: Barytocalcite occurs as masses of buff coloured granular crystalline material, with crusts of small euhedral to anhedral crystals in cavities.
Calcite CaCO3: Calcite is present as masses and granular crusts as well as skeletal frameworks epimorphous after baryte. Crusts of minute scalenohedral crystals often associated with minute baryte crystals are common on other minerals, and the outside of much of the witherite and some barytocalcite shows signs of corrosion and an encrustation of calcite crystals.
Chalcopyrite CuFeS2: Chalcopyrite is present as small irregular crystals occurring in all of the barium minerals found here.
Fluorite CaF2: Fluorite is apparent both as pale yellow cubes, sometimes covered with minute dark siderite crystals and as epimorphs of quartz after fluorite. Fluorite from Rampgill fluoresces purple under long wave UV light.
Galena PbS: Galena occurs as dull grey cubes with sphalerite and fluorite.
Gypsum variety Selenite CaSO4·2H2: Selenite occurs as white clusters associated with sphalerite and ankerite.
Hydrozincite Zn5(CO3)2(OH)6: Hydrozincite occurs with sphalerite.
Pyrite FeS2
Quartz SiO2: Epimorphs of quartz after fluorite are common, often with regrowths of fluorite, siderite and sphalerite.
Siderite FeCO3
Smithsonite ZnCO3
Sphalerite ZnS: Sphalerite occurs as black crystals with quartz and ankerite.
Native sulfur S
Witherite BaCO3: Witherite is an abundant barium mineral at Rampgill. Mostly massive and colourless to brown. Barrel-shaped masses up to 15 cm across of radiating witherite, often with a rudimentary hexagonal cross-section, have been found in cavities in the rock.
Witherite from Rampgill fluoresces white and calcite fluoresces red under SW ultraviolet light. Both phosphoresce.
Nenthead in the county of Cumbria is one of England's highest villages, at around 1,437 feet (438 m). It was not built until the middle of the 18th century and was one of the earliest purpose-built industrial villages in Britain.
Nenthead was a major centre for lead and silver mining in the North Pennines of Britain. The first smelt mill was built at Nenthead in 1737 by George Liddle, and this was subsequently expanded by the London Lead Company. By 1882 the smelt mill was capable of smelting 8,000 bings, i.e., 64,000 long hundredweight (3,300 t), of ore per annum.
Nenthead village in 1861 had 2,000 people, mostly Methodist and employed by the Quaker-owned London Lead Company in the Nenthead Mines - some of the most productive in the country. The Quakers built housing, a school, a reading room, public baths and a wash-house for the miners and their families.
Nenthead has accessible mines remaining, horse whims and a 260 feet (79 m) engine shaft in Rampghill. The mines closed in 1961 and there is a heritage centre displaying their history.
The economy of the village relies on tourism. A long distance cycle route, the C2C, passes through Nenthead. The Grade 2 listed Wesleyan Methodist chapel has not been used since 2002 but benefitted from a Heritage Lottery Grant of £134,500. The post office and community shop occupies the building which was once a reading room for the miners.
Nenthead is around 4.4 miles (7.1 km) east of Alston, 44.3 miles (71.3 km) west of Newcastle upon Tyne, 34.4 miles (55.4 km) south east of Carlisle, 24 miles (38.6 km) east of Penrith, and 20.5 miles (33.0 km) west of Hexham.
County Council subsidies have maintained limited bus services to Alston and beyond. However, in 2014 cuts to these subsidies were being discussed, threatening the existence of bus services for the village.
Nenthead is in the parliamentary constituency of Penrith and The Border. Neil Hudson (Conservative) was elected as Member of Parliament at the 2019 General Election, replacing Rory Stewart.
For Local Government purposes it is in the Alston Moor Ward of Eden District Council and the Alston and East Fellside Division of Cumbria County Council. Nenthead does not have its own parish council, instead it is part of Alston Moor Parish Council.
Before Brexit, its residents were covered by the North West England European Parliamentary Constituency.
In 2013 the Canadian mining company Minco sank 1,640 feet (500 m) deep boreholes in an effort to discover the extent of zinc deposits beneath Nenthead. Although test drilling could go on for several years, the company believes that the village may be sited on huge deposits of the chemical element. The zinc is 490 feet (149 m) below the surface and was previously too deep to reach by old mining techniques.
With a northernly latitude of 55° N and altitude of 1,434 feet (437 m) Amsl, Nenthead has one of the coldest and snowiest climates in England, yielding a borderline subpolar oceanic climate (Cfc) and cool oceanic climate (Cfb). The average annual temperature in Nenthead is 6.5 °C; 1,095 mm of precipitation falls annually, chiefly in winter as heavy snowfall, and in autumn.
Cumbria is a ceremonial county in North West England. It borders the Scottish council areas of Dumfries and Galloway and Scottish Borders to the north, Northumberland and County Durham to the east, North Yorkshire to the south-east, Lancashire to the south, and the Irish Sea to the west. Its largest settlement is the city of Carlisle.
The county is predominantly rural, with an area of 6,769 km2 (2,614 sq mi) and a population of 500,012; this makes it the third largest ceremonial county in England by area but the eighth-smallest by population. After Carlisle (74,281), the largest settlements are Barrow-in-Furness (56,745), Kendal (29,593), and Whitehaven (23,986). For local government purposes the county comprises two unitary authority areas, Westmorland and Furness and Cumberland. Cumbria was created in 1974 from the historic counties of Cumberland and Westmorland, the Furness area of Lancashire, and a small part of Yorkshire.
Cumbria is well-known for its natural beauty and much of its landscape is protected; the county contains the Lake District National Park and Solway Coast AONB, and parts of the Yorkshire Dales National Park, Arnside and Silverdale AONB, and North Pennines AONB. Together these protect the county's mountains, lakes, and coastline, including Scafell Pike, at 3,209 feet (978 m) England's highest mountain, and Windermere, its largest lake by volume.
The county contains several Neolithic monuments, such as Mayburgh Henge. The region was on the border of Roman Britain, and Hadrian's Wall runs through the north of the county. In the Early Middle Ages parts of the region successively belonged to Rheged, Northumbria, and Strathclyde, and there was also a Viking presence. It became the border between England and Scotland, and was unsettled until the Union of the Crowns in 1603. During the Industrial Revolution mining took place on the Cumberland coalfield and Barrow-in-Furness became a shipbuilding centre, but the county was not heavily industrialised and the Lake District became valued for its sublime and picturesque qualities, notably by the Lake Poets.
Honey sweet, a bit of bitterness and acidity. It was easy to drink and kind of juice like. Nice to know this is a natural wine.
Saturday, April 16, 2016 - Preparing our local tap water for our 7th brew with the Grainfather, this time a "Session IPA" with fruit additions. The afternoon was spent preparing the hard (pH 7.5) Hertfordshire tap water for an IPA. Water temperature was 14.6°C when we applied 1.04 ml/l Brupaks Carbonate Reducing Solution (CRS), which dropped pH to 6.1. We then added Lactic Acid at 5.00 ml/l (6.00 g/l) which brought the pH down to a perfect 5.2. This is Rob Heasley enjoying the fruits of our earlier labours, at the end of a long afternoon's graft.
...for Donna & Irene !!!
The most fruits are to be harvest at these 3 little pots,which were standing in the garden in lean soil.The fruit smells very sweet with a spicy acidity.
In fact these plants I want to do to the compost,because I don´t need they. But I could not do so.
So they were growing small in lean soil in the garden with many fruits and I don´t know why,then the plant growing in compost soil was very big but with late fruits.
Now I know,Physalis needs lean soil to become many fruits. The roots were growing through the little whole in the pot and made a real great root ball.To save these plants indoors,I have cut the root balls,but it doesn´t matter.Only they need is regularly water.
The fruits are still very tasty.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
尼歌山酒庄南澳克莱尔谷圣美伦白苏维翁白葡萄酒
Neagles Rock Clare Valley South Australia Semillon Sauvignon Blanc
*89 – By James Halliday
酒色呈淡麦黄色。偏好在桶内发酵，并混合一小部分白苏维翁，使此酒添加点有活力的芳香，极富层次感。西番莲果实，凤梨和煮熟的梨子口味，夹着淡淡的香草，搭配新鲜的酸味形成完美的口感。
Pale straw. Partial barrel fermentation and the blending of a small amount of Sauvignon Blanc has added a vibrant nose and great complexity. Ripe characters from the warm Summer have resulted in a pot pourri of passionfruit, pineapple and cooked pear flavours with a hint of vanilla all balanced by fresh acidity.
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The key to making a well-rounded guacamole is having the perfect amount of acidity, spiciness and texture. I don't know about you but I like my guacamole fully loaded with red onions, cilantro, tomatoes, jalapenos and more! Having grown up in a Mexican household, I consider myself a guacamole enthusiast and find any excuse to make a batch and enjoy it with a nice cold beer or glass of wine.
This was my first time canning. Am about to check the acidity of the salsa to make sure I won't have botulism. Fingers crossed!
This tropical drink is made of coconut fresh, coconut water ,a bit of sugar syrup and ice. Add a few drops of lime juice for acidity. Very fresh on a hot day
I've heard two explanations for these pits: The most plausible is that small pits in the rock are enlarged by acidity in the rainwater that accumulates in them. A second theory is that small, hard pebbles are swirled around by wave action, enlarging the pits that entrap them. Neither explanation, in my opinion, adequately accounts for the straight rows, or why they would all about the same size.
A little closer look at the steam eminating from this still active volcano. Has been less than 50 years since the last eruption, however, there was no lava involved, but a lot of mud and gas. The water in the crater is extremely acidic, so a swim there is highly discouraged. Temperature is not that big of a deal, but the acidity sure is. It will kill you.
Some nice black fruit on the nose. On the palate much more light bodied red fruit dominant than one would expect of a merlot dominated Bordeaux blend, although this seems the case with a few of the entre deux mers wines. Nevertheless it has a nice balance of acidity and velvety tannins albeit short on length of finish. A nice easy drinking, food friendly, quaff at next to no cost.
Clockwise from left: Maïko ("ganache infused with fresh grated ginger), Andalousie ("lemon infused ganache"), Rigoletto Noir ("caramelised mousse with a dark chocolate coating"), Othello ("ganache infused with honey"), and Rocher Noir ("praline coated with almonds and nuts, covered with dark chocolate").
Othello starts off simple with the flavour of quality dark chocolate, then the mellow sweetness of the honey kicks in, finishing off with a faintly floral note.
Andalousie is fruity and fragrant with none of the acidity of citrus. Very smooth.
The strong taste of ginger stands out in Maïko without being overwhelming and finishes off with the taste of dark chocolate.
Rocher Noir is mellow, deep, and nutty, allowing the flavour of the toasted nuts to linger on your palate.
The light creaminess of the caramelised mousse in Rigoletto Noir balances the depth of the caramel and chocolate flavours adeptly, leaving the taste memory of a rich little treat.
Tasting Notes: This is the debut of the First Crush Red. It is produced of 56% Merlot and 44% Cabernet Franc, almost entirely in stainless steel. The nose is primary and full of bright, purple fruit aromas of crushed grapes, sweet plums, bing cherries and raspberry. The wine is mouth-filling with lovely softness, light tannins and zesty acidity. This new style of wine tastes of freshly crushed red berries, and is slightly spicy. First Crush is designed for the table and for the everyday enjoyment of red wine fans everywhere, and especially for those who have a bit of a crush on young wines, The winemakers employ a partial carbonic maceration (as in Beaujolais) to bring a lushness to the fruit. As this is a true second wine by nature, we use fruit of our young vines and of the declassified growths from the estate vineyards. First Crush is our first inclination of the vintage’s quality, and our first look into the wine’s personality. It’s the first time many will get to try a Bedell, and hopefully they will develop that same crush. If your First crush on wine was anything like ours, this is your kind of wine.
Tasting Notes: This is the debut vintage of the First Crush White. It is produced of 82% Chardonnay and 18% Viognier, entirely in stainless steel-free from oak aging. The nose is primary and full of bright, green apple-y aromas, as well as a floral, lightly spicy, and fresh citrus notes. The wine is mouth-filling, with lovely softness and zesty acidity. The wine tastes of fresh citrus and melon fruit, white peach, lychee and orchid flowers. First Crush is designed for the table and for the everyday enjoyment of white wine fans everywhere, and especially for those who have a bit of a crush on young wines. The winemakers employ stainless steel and very cold conditions for aging to bring brightness to the fruit. As this is a true second wine by nature, we use the fruit of our young vines and of the declassified growths from the estate vineyards. First Crush is our first inclination of the vintage’s quality, and our first look into the wine’s personality. It’s the first time many will get to try a Bedell, and hopefully they will develop that same crush. If your First Crush on wine was anything like ours, this is your kind of wine.
DOMAINE SIGALAS • ASSYRTIKO-ATHIRI
Classic mineral-driven palate, obvious notes of sea salt. Clean, crisp and delightful finish, wild acidity. Athiri 25%, hence the pristine and perky overall character. #DomaineSigalas #AssyrtikoAthiri #Assyrtiko #Athiri #Santorini #Greece #Japan #Wine #YORUGOS
Haandbryggeriet Aqua Vita Porter at Olympen in Oslo.
This 7% abv Porter from the Haandbryggeriet brewery in Drammen, Norway, was brewed on 20 March 2008 as batch 147 and released almost two years later, in February 2009. It's a very unique beer, it started its life in March 2008 as a regular Norse Porter but was then aged in Akvavit oak barrels for several months.
The result is a complex beer, that has the body and smoothness of a Porter but the acidity of the oak and a hint of akevitt flavors. A highly enjoyable and interesting beer!
La Futura Espresso
Consistent colouring in the crema. Vanilla aroma with hints of cocoa. Beautifully smooth with low acidity even at the last sip of the cup. The cocoa hints can be tasted in the first sips all the way through to the last.
One... things this Turks has that the Commercial location lacks? Customer service! No uninspired hippies behind the counter who are annoyed that by ordering a coffee you are making them get off their lazy asses and work. Service here is perfect: polite, personable without being intrusive, aka laid-back professional! The kind I give.
George Waldbusser (far right), a biogeochemist at Oregon State University, and doctoral student Sophia Wensman (far left) place bags of oysters on top of empty oyster shells in Netarts Bay as part of a research project funded by Oregon Sea Grant. They aim to see if the number of bags of shells the oysters are stacked on affects the health and growth of the oysters differently. The empty shells dissolve and emit calcium and carbonate into the water, much like an antacid, potentially mitigating the effects of ocean acidification. The researchers aim to determine the amount of shells that will achieve the desired growth for the lowest cost. They will also measure the uranium and calcium in the oyster shells to see if the empty shells under them reduced the acidity of the water. (photo by Tiffany Woods) WATCH VIDEO: youtu.be/dN3CymMlXvI MORE INFO: seagrant.oregonstate.edu/research/current-research/uraniu...