larryb123456

Topic Mover, your wish is my command ! I like these new images better than the ones in my last Post, because there is more empty space (i.e., space not filled with lettering), which gives the eyes more "breathing room". I think V3.A especially benefits because of this increased empty space. (Here, the horizontal white stripe essentially joins everything together.) V1.A.Trip.MSFN.userbar, http://postimage.org/image/weu6b868l/ V2.A.Trip.MSFN.userbar, http://postimage.org/image/bjzgafib1/ V3.A.Trip.MSFN.userbar, http://postimage.org/image/pd0u2rs0l/ V4.A.Trip.MSFN.userbar, http://postimage.org/image/uw7yxqefp/

I've been working for quite a while on a MSFN Post with a great many image links. (I'm going to develop quite a few more images, so it will be 2 to 3 weeks before the Post will be ready to be presented.) Bottom line, I needed to take a little break from that work, so this afternoon I defined a little project for myself -- to develop some standard-sized, 350x19 pixel userbars for Tripredacus. I chose Tripredacus because I thought I could use that "monster" in his avatar in the userbars. However, that idea didn't pan out, because that image was much too small -- even with cropping -- when reduced to the userbar height. So the question became, "What images am I going to use in Tripredacus' userbar ?". I found my answer just by looking around at some of the small icons on the MSFN pages. I used 2 icons: the "question mark with a sheet of paper" at the top of the MSFN page next to "Forums" and the orange right-pointing arrow which is shown on any given "Forum Topics" page. (The arrow stands for "Go to first unread post".) It will be clear what these 2 icons are when the userbar images are seen. I modified these two icons slightly by painting (Pencil Tool) and I didn't have to re-size either because they were already near the 19px userbar height. I used the same template for each userbar and I just varied the opacity of the white ellipse layer, the scanlines pattern, and the background layer for the different userbars.I could have made many more variations had I wanted to. Next, I'll present the 4 userbars I made in the order in which I liked them. V1 is "best", V4 is "least liked". V1.Trip.MSFN.userbar, http://postimage.org/image/tnvfu3zmx/ Here, the use of the MSFN icons is shown, and the interpretation of the panel between the lettering is: Tripredacus answers one member's question (i.e., ?), goes on to the next question (i.e., -->), answers that one, etc., etc., etc., ... "infinity". (As Pee-Wee Herman would say.) I first had the area around the rectangles with the arrows to be transparent so that the layers below would show through, but this look was just too busy, so I painted in these transparent areas with white. V1 uses a black/white/red horizontal linear gradient, where the center of the white in the gradient was adjusted to correspond to the midpoint of the central (question mark)/(sheet of paper). White scanlines were used. V2.Trip.MSFN.userbar, http://postimage.org/image/qjl06u987/ uses a solid-red background (no fades, etc.) with black scanlines. This, more or less, is a basic "no frills" userbar, but I like its simplicity. V3.Trip.MSFN.userbar, http://postimage.org/image/pxmm9gltj/ uses a red/white/maroon vertical linear gradient with a white scanline pattern. I like the "puffs of white" to the left and right sides of "Tripredacus" and "K-Mart-ian and MSFN Legend". V4.Trip.MSFN.userbar, http://postimage.org/image/avaui5i7h/ uses a red/maroon vertical linear gradient with white scanlines. I certainly don't expect Tripredacus to use these example userbars for anything. This was just a little project done basically for myself.

This Post is a continuation of Post # 199, which references Paul Dirac and Louis de Broglie. (And, Post # 199, itself, was a continuation of Post # 190.) On looking again at the images in Post # 199, I felt that the lettering in the signatures was too bright compared to the Dirac/de Broglie images, so everything was a little out of "kilter". This Post attempts to correct that by toning down the lettering so that it "recedes" somewhat to a "visual plane" just behind (or near) the Dirac/de Broglie images. In Post # 199, I used white lettering (luminosity=240) with a relatively dark outline (black with luminosity increased from 0 to 65). After careful trial-and-error, for the signature images presented in this Post, I chose the lettering to be lightslategray (r,g,b=119,136,153), setting luminosity=205, with outline slategray 4 (r,g,b=108,123,139), setting luminosity=65. The slategrays are blue/gray colors, and I chose them to add a little color to the lettering as compared to the grays of Post # 199. For the avatars, I had no problem with the lettering being as bright as in Post # 199, since the avatars consisted of only the lettering above the backgrounds. So, for the avatar lettering I used lightslategray, setting luminosity=235, with outline slategray 4, setting luminosity=65. There is a well-known adage which states that "95% of the work takes 95% of the time, and the last 5% also takes 95% of the time". Such has been the case with this Dirac/de Broglie "project". Post # 190 represented roughly 95% of the work in that the Dirac/de Broglie images, the quotations (for the signatures) and the lettering (for the avatars), and the backgrounds were established. But, I wasn't satisfied with the lettering and the overall plain look. So, Post # 199 and this Post represent the last 5% of the work to get the images to the best form possible, at least by me. In this Post, I present the image links in the same order as in Post # 199, so that a direct comparison between the images of Post # 199 and this Post can be made. It is *only* by such a *direct comparison* that the improvements in this Post can be appreciated. To get a direct comparison, simply open two browsers and take one to Post # 199 and the other to this Post. The avatars are virtually unchanged in appearance between these two Posts since the lettering characteristics are essentially identical. If the signature and avatar for a given set are directly compared *next to each other*, it is very clear that the avatar lettering is much brighter. However, if the avatar and signature are separated in space as they would be in a MSFN Post, the lettering of the two would look about the same. (I opened both in a large-dimension Photoshop file and separated them in space to come to this conclusion.) In addition, if the avatar lettering is made the same as the signature lettering, it is *much too dark* for its environment in the avatar. Next, the image links will be given. Images 01 through 04 have solid-color backgrounds. I'm putting their links at the bottom of the list. As in Post # 199, I'm putting the link for image 08 at the top of the list. 08: blue-maroon fade background signature, http://postimage.org/image/okwnj2co5/ avatar, http://postimage.org/image/ia9tlm4z3/ 05: (light purple)-(darker purple) fade background signature, http://postimage.org/image/kb4i0jmd9/ avatar, http://postimage.org/image/zf0bfi4gh/ 06: brown and gold background signature, http://postimage.org/image/gcu9efgmr/ avatar, http://postimage.org/image/dsuhq87uh/ 07: dark to light blue-green fade background signature, http://postimage.org/image/jg4msnrbb/ avatar, http://postimage.org/image/ljsdm6ebh/ 09: brown and black background signature, http://postimage.org/image/47a41589x/ avatar, http://postimage.org/image/yern0tvrb/ The ellipse layer works very well with the background. 10: teal, blue, and black background signature, http://postimage.org/image/f7mvn76zf/ avatar, http://postimage.org/image/udsxe4x0b/ 11: purple, magenta, and black background signature, http://postimage.org/image/no40ff5b9/ avatar, http://postimage.org/image/elaxudt0l/ The ellipse layer works very well with the background. 12: purple background signature, http://postimage.org/image/zcb2b4f1z/ avatar, http://postimage.org/image/xhyzx6oe5/ 13: multicolored background signature, http://postimage.org/image/v5q7vsfg7/ avatar, http://postimage.org/image/hf4wgcgep/ 14: brown background signature, http://postimage.org/image/ajte5cjqr/ avatar, http://postimage.org/image/mjsbsqp6l/ 15: black and blue-gray background signature, http://postimage.org/image/aklez690b/ avatar, http://postimage.org/image/lni282bd3/ 16: pink and blue background signature, http://postimage.org/image/497hawx45/ avatar, http://postimage.org/image/hfi8273lf/ 17: blue and teal background signature, http://postimage.org/image/6yflmj2m5/ avatar, http://postimage.org/image/lbmtq2qs1/ The next four images have solid-color backgrounds. 01: solid blue background signature, http://postimage.org/image/tue6u09wb/ avatar, http://postimage.org/image/6my59rm6f/ The effect of the ellipse layer can hardly be noticed above the blue background. 02: solid reddish-brown background signature, http://postimage.org/image/bflqqfkzr/ avatar, http://postimage.org/image/lv9tyxus1/ 03: solid turquoise background signature, http://postimage.org/image/4bvhrum1d/ avatar, http://postimage.org/image/6lssu39r9/ a nice subtle effect of the scanlines and ellipse layer 04: solid blue-gray background signature, http://postimage.org/image/wcmk8u8ef/ avatar, http://postimage.org/image/anno4z66f/ a nice subtle effect of the scanlines and ellipse layer If "forced" to choose my top five favorite signatures, they would be: 09, http://postimage.org/image/47a41589x/ 11, http://postimage.org/image/no40ff5b9/ 15, http://postimage.org/image/aklez690b/ 16, http://postimage.org/image/497hawx45/ 17, http://postimage.org/image/6yflmj2m5/ --------------------------------------------------------------------------------------------------------- "A painting (or any artwork) is never finished - it simply stops in interesting places." Paul Gardner I added the italicized phrase. "Every creator painfully experiences the chasm between his inner vision and its ultimate expression." Isaac Bashevis Singer ---------------------------------------------------------------------------------------------------------

Thanks for responding, Tripredacus, with your fine, succinct rephrasing.

A great live performance of "Dress You Up", by Madonna, in 1985: http://www.youtube.com/watch?NR=1&feature=endscreen&v=b6I5hb9p7Y0She's now 53 years old and will be performing at the National Football League (U.S.) championship game (i.e., Super Bowl) halftime show in about a week (Feb. 5). I am very interested in seeing what she will do.

--------------------------------------------------------------------------------------------------------- @ CoffeeFiend or Tripredacus I have a question about the "preservation of opacity" in linked and merged layers. Suppose you have 7 PS layers, in which 2 of them have opacities less than 100%. If you link and merge these 7 layers, will the opacities of the 2 layers remain *unaltered*? My guess is that the opacities will not be changed, since opacity "should be (?)" just a physical property of the 2 layers, in the same way that a gradient fade in a layer -- (with all its different colored-pixel distributions) -- will not be changed upon linking and merging. Thanks in advance for your response. P.S. If the opacities of the 2 layers will not be preserved *exactly* upon linking and merging "in the usual way", are there additional steps I can take to make sure that the opacities will be preserved as originally set? --------------------------------------------------------------------------------------------------------- This Post is really a continuation of my Post # 190, concerning signatures and avatars referencing Louis de Broglie and Paul Dirac. I wasn't totally satisfied with the images, and, being something of a perfectionistic artist, I wanted to try to improve them. These improved-image links are given at the bottom of this Post. I have given these links in the same order as given in Post # 190, to make it easy for those of you who want to compare the "new with the old". This comparison can easily be made by opening 2 browsers and taking one to Post # 190 and the other to this Post. In this Post, I use pixel "userbar" letters, scanlines, and an ellipse layer to try to give a subtle improvement -- (i.e., in the form of a "texture") -- to the images. The success of a new image really depends on the *interaction* of the scanlines and ellipse layer with the background layer. This can easily be seen from the images. Fortuituously, the height of the signatures turned out to be the same in this Post -- (using the pixel "userbar" letters) -- as in Post # 190, so I could use the same images for Dirac and de Broglie as before. (However, I enlarged the de Broglie image by a little less than 2%, because in Post # 190, I felt that his head was a little small compared to Dirac's head. I also brightened the de Broglie image by PS +5.) The same scanline pattern was used for all the signatures and avatars. The pattern consisted of black diagonal pixels separated by 4 pixels horizontally. The scanline layer was given an opacity of 20%, to make its effect somewhat subtle. The ellipse layer for the signatures and avatars was made in the usual way (which I have discussed before). I chose the color to be white with an opacity of 15%. The bottom of the ellipse layer can be seen in the signatures between the second and third lines of the quotations text. All the pixel lettering for the signatures and avatars consisted of white outlined by a relatively dark gray, (r,g,b=69,69,69), luminosity=65. (A black outline was too "strong" to be used here.) The signature layers, from top to bottom, consisted of: the template, which had: a 1px wide black border the quotations lettering the images of Dirac and de Brogliethe ellipse layer the scanlines layer the background layer The avatar layers, from top to bottom, consisted of: the template, which had: a 1px wide black border the letteringthe ellipse layer the scanlines layer the background layer, which was "sampled" from the background layer of the corresponding signature -- (thus insuring that the avatars and signatures would be compatible). Note: I absolutely didn't like the "flimsy" white lettering in the avatars in Post # 190. That was one of the *major reasons* I wanted to do the improvements in this Post. IMO, the avatars in this Post are a 100% improvement thanks to the more *dynamic* pixel "userbar" letters and the ellipse/scanlines layers. Next, I'll present the images. This presentation is in tune with my philosopy that if you try 10 (or so) variations to come up with 1 winner, then that's time well spent. As I mentioned above, I present the images in the same order as in Post # 190. Images 01 through 04 have solid-color backgrounds. I'm putting their links at the bottom of the list. As in Post # 190, I'm putting the link for image 08 at the top of the list. 08: blue-maroon fade background signature, http://postimage.org/image/cqf9a9syd/ avatar, http://postimage.org/image/v1r7jpmqn/ one of my favorite signature/avatar sets 05: (light purple)-(darker purple) fade background signature, http://postimage.org/image/mqer3wtlh/ avatar, http://postimage.org/image/bfbmw65s1/ 06: brown and gold background signature, http://postimage.org/image/hd8jkyz1j/ avatar, http://postimage.org/image/mftgfcasj/ one of my favorite signature/avatar sets 07: dark to light blue-green fade background signature, http://postimage.org/image/40mrn60ut/ avatar, http://postimage.org/image/45zpoms35/ 09: brown and black background signature, http://postimage.org/image/ii5q6k72j/ avatar, http://postimage.org/image/sh9ivdqyf/ one of my favorite signature/avatar sets The ellipse layer works very well with the background. 10: teal, blue, and black background signature, http://postimage.org/image/l4l8nrlg5/ avatar, http://postimage.org/image/rl8g26rx1/ 11: purple, magenta, and black background signature, http://postimage.org/image/r48zr5j2j/ avatar, http://postimage.org/image/z55nyltj5/ one of my favorite signature/avatar sets The ellipse layer works very well with the background. 12: purple background signature, http://postimage.org/image/vwdr5qulb/ avatar, http://postimage.org/image/5x593etlh/ one of my favorite signature/avatar sets 13: multicolored background signature, http://postimage.org/image/x8rrwddbh/ avatar, http://postimage.org/image/d5unxnnbf/ 14: brown background signature, http://postimage.org/image/apaxk7sml/ avatar, http://postimage.org/image/7x4owwb85/ one of my favorite signature/avatar sets 15: black and blue-gray background signature, http://postimage.org/image/ykcuqyjbp/ avatar, http://postimage.org/image/8n19esl2p/ one of my favorite signature/avatar sets 16: pink and blue background signature, http://postimage.org/image/9ijyoplg5/ avatar, http://postimage.org/image/3lp9zoo8r/ one of my favorite signature/avatar sets 17: blue and teal background signature, http://postimage.org/image/7u1z7zk9r/ avatar, http://postimage.org/image/kv15k8jhz/ one of my favorite signature/avatar sets The next four images have solid-color backgrounds. 01: solid blue background signature, http://postimage.org/image/xlwy7rzqv/ avatar, http://postimage.org/image/8luzw25l7/ The effect of the ellipse layer can hardly be noticed above the blue background. 02: solid reddish-brown background signature, http://postimage.org/image/vfny5aua3/ avatar, http://postimage.org/image/48jlb5qjx/ 03: solid turquoise background signature, http://postimage.org/image/tudqalqcj/ avatar, http://postimage.org/image/sjk7qqfv9/ a nice subtle effect of the scanlines and ellipse layer 04: solid blue-gray background signature, http://postimage.org/image/3wf61or6r/ avatar, http://postimage.org/image/rysewz5d3/ a nice subtle effect of the scanlines and ellipse layer

A rather catchy song by Question Mark (also known as ?) and the Mysterians, "96 Tears", which went to number 1 on the U.S. charts in the mid 60s: http://www.youtube.com/watch?v=rgfnCTp3p7UUnfortunately for the group, this was their only major hit. I'm sure that fact left Question Mark with a lot of unanswered ? ? ? ?, and I'm sure he cried at least 96 tears because he couldn't repeat his success.

A classic from the late 1970s U.S. punk rock scene, "I Wanna Be Sedated", by The Ramones: http://www.youtube.com/watch?v=N-EKcjpEIGoThe cool thing about this group is that all the members adopted the last name "Ramone". So, there were Dee Dee Ramone, Johnny Ramone, Joey Ramone, etc. (lol)

I found a quotation that somewhat explains why I like the "flaw" produced by the inverse-ellipse layer in the central portion (behind the figure) of 08 ( http://postimage.org/image/vrvl6njnf/ ): "The absence of flaw in beauty is itself a flaw." Havelock Ellis ["Impressions and Comments" (1914)]

To be honest with you, Tripredacus, I don't understand *at all* why you say there is a "problem with the gray color appearing over the white." As I've said many times, I *very much like* the subtle way the inverse-ellipse layer "divides" the red area behind the figure into two horizontal bands, with the red being a little darker on top. It's undoubtedly a nice effect, IMO: 08_new.figure.&.scanlines.&.inverse-ellipse.layer, http://postimage.org/image/vrvl6njnf/ However, I went ahead and tried to do as you asked in your Post # 195. (But I didn't know if what I was doing was *exactly* what you wanted, so I am attaching my .psd file for you to play with, if you want, to get the transparent ellipse *exactly* to suit your tastes. I'll be curious to see what you come up with.) I made the ellipse to be transparent in the middle, as you asked, and the resultant image is: 10_new.figure.&.scanlines.&.transparent.ellipse.layer, http://postimage.org/image/aypot3g3r/ To me, this image is very boring, compared to 08. The steps I used to make this transparent ellipse are shown pictorially in: making.transparent.ellipse, http://postimage.org/image/3xy0pbmu3/ For reference, the top image (C in Post # 194) was made using just the scanlines and no ellipse or inverse-ellipse layer. The next image down shows the background gradient layer. The next image down shows the (solid-colored) ellipse used to make 09 in Post # 194. The color of the ellipse was light gray -- (r,g,b=192,192,192) -- with opacity=35%. The next image down (4th down from the top) shows the construction of the transparent ellipse.The distance from where the ellipse was cropped on the left side to the middle of the head was 58 pixels. So, in a 58x9px New File -- (9px was the height of the ellipse at the left side where the crop was, and since the ellipse was virtually flat over the region until the middle of the head, I approximated the shape of the ellipse in this region by a 58x9px rectangle) -- I made a linear gradient fade from the above-mentioned light gray color on the left to transparent on the right. I then set the opacity of this layer to 35% and dragged it into the main.psd file. I then flipped this New File horizontally, dragged its layer into the main .psd file, and butted it up against the layer from the previous New File. In this way, the ellipse was perfectly symmetrically-transparent about the head. I then lined up the four components of the ellipse as shown in the bottom figure, and linked and merged them to get the final transparent ellipse used in making 10. Tripredacus_userbar-type.signature.zip

For purposes of completeness and clarity, I thought I'd give a visual presentation of the steps used to make the "new figure" discussed in the last Post, # 193. A_new.figure.(showing.template), http://postimage.org/image/ig7zopvev/ B_new.figure.(showing.template.&.gradient), http://postimage.org/image/6aisebgp3/ C_new.figure.&.scanlines, http://postimage.org/image/rmptsmjoz/ 08_new.figure.&.scanlines.&.inverse-ellipse.layer, http://postimage.org/image/vrvl6njnf/ 09_new.figure.&.scanlines.&.ellipse.layer, http://postimage.org/image/jii6796hv/

Thanks for your input, Tripredacus: 08_new.figure.&.scanlines.&.inverse-ellipse.layer, http://postimage.org/image/vrvl6njnf/ 09_new.figure.&.scanlines.&.ellipse.layer, http://postimage.org/image/jii6796hv/ I don't like the polished look (lighter at the top) that the ellipse layer -- (i.e., in 09, which was made with the ellipse) -- gives on both the left and right sides of the image. I prefer the top to be darker than the bottom on the sides (i.e., in 08, which was made with the inverse-ellipse). I agree with you that the ellipse layer (in 09) detracts over the white portions in the middle. I don't think the inverse-ellipse layer (in 08) detracts in the middle white portions much at all, if any. In fact, I *very much like* the "white driving rain" going through the 2 shades of red around the figure -- darker at the top than at the bottom. (For me, this is one of my favorite features of the image.) For these reasons, I prefer the image made with the inverse-ellipse layer, 08, over that made with the ellipse layer, 09. Reason for edit: to add the 08 and 09 image links at the top of the Post for easy reference.

I am making this Post for two reasons: # 1) I wanted to inform those interested that I edited my Post # 186 (under the 06 and 07 sections) to be more *precise* in my language concerning the ellipse layer and the inverse-ellipse layer. In the original Post, I was a little sloppy in that I often referred to the inverse-ellipse layer as the ellipse layer (although it was clear what I meant from the context of my statements). I also discuss how one can use the actual ellipse (rather than the inverse-ellipse) in the final image. # 2) For those of you curious about what the visual effect would be of using the ellipse layer as opposed to the inverse-ellipse layer, I've shown JPEGs 08 and 09 below. (08, which uses the inverse-ellipse layer, was shown in my Post # 189.) 08_new.figure.&.scanlines.&.inverse-ellipse.layer, http://postimage.org/image/vrvl6njnf/ 09_new.figure.&.scanlines.&.ellipse.layer, http://postimage.org/image/jii6796hv/ The differences between these two images are rather subtle, but I prefer 08, because the red area behind the figure goes from darker (at the top) to lighter (at the bottom). Somehow, that seems more "appropriate" than in the "reverse trend" shown in 09. But, really, that's just my preference. Someone else might prefer 09. There's really no right or wrong.

One of my favorite songs, "Gold Lion", by one of my favorite groups, Yeah Yeah Yeahs (a New York indie rock band): http://www.youtube.com/watch?v=jMMkP_ofpXg&ob=av2eThe lead singer, Karen O, is TAGOMU (an acronym for "The Absolute Goddess of My Universe" -- lol). In this video, her face is all covered with mud for the first 1:20, and she still looks great (IMO). For the rest of the song, her face is clean, so you can better see how pretty she really is.

This Post actually is something of a continuation of the "spirit" of my avatar, which references Max Planck, who is credited with founding quantum mechanics. Two other theoretical Physics researchers active in the early years of quantum mechanics were Louis de Broglie and Paul A. M. Dirac. (These two men also made additional contributions in other areas of Physics throughout their long lives.) I have included a rather short Appendix at the end of this Post concerning these three great scientists, so I won't go into any additional details in the main body of this Post. I wanted to make signature/avatar sets for de Broglie and Dirac that would be totally compatible (i.e., more or less in the same "style") with my Max Planck avatar, which was very simple to construct. The results are shown in the picture links in the "Images" section at the end of this Post. The signatures consist of two Photoshop layers, the top "template layer" (which is identical for each signature) and the bottom layer (which changes in color for each and every signature). The template layer, which is 277x73 pixels in size, is composed of: a 1px black border inside the 277x73px; a picture of Dirac on the left side, facing to the right; a picture of de Broglie on the right side, facing to the left; and quotations by both men in the middle of the picture (white "aliased" lettering was used, so that the words would be easily readable at the small size). (It took quite a bit of research to find quotations from both men that were as "well balanced" as those shown in the image links.)The bottom background layer, which is also 277x73 pixels in size, has a different color for each signature. Some care had to be used in choosing the background colors. They couldn't be extremely dark, because then the dark outside parts of the de Broglie and Dirac images would not show up well. And they could not be extremely light, because then the white quotation lettering would not show up well. So, in effect, something of a "mid value" had to be used. Also, the background couldn't be too busy, as shown, for example in the image for the Higgs boson http://images.inquisitr.com/wp-content/2011/06/higgs-boson-god-particle-not-found.jpg because the lettering, which is rather busy in itself, would get totally lost against a background such as this. The avatars, like the signatures, consist of two Photoshop layers, the top "template layer" (which is identical for each signature) and the bottom layer (which changes in color for each and every signature). The template layer, which is 91x59 pixels in size is composed of: a 1px black border inside the 91x59px; and the text, THE MYSTERY OF MATTER AND ENERGY, on three lines, in all-capital white aliased letters (the same height as the capital letters in the signatures).The bottom background layer, which is also 91x59 pixels in size, has a different color for each signature. The color for each avatar was determined by "sampling" the color of its corresponding signature. That way, the signature/avatar sets would be totally compatible. This compatibility can easily be seen when the image links are viewed. So, there is no doubt that this "setup" is very simple, but I feel that *very effective* signature/avatar sets can be generated by varying the background color(s). In effect, then, this Post examines the relationship between the characteristics of the background "color fields" (color distribution, lightness/darkness variations, color "flow", etc.) and the elements of the topmost template layer (the border, the picture images, and the white text quotations). P.S. I noticed that there is a relatively new MSFN member, whose member name is DiracDeBroglie. He is more than welcome to use -- (without any restrictions whatsoever) -- any of these avatars and/or signatures on MSFN or on any other of his forums. Images: Images 01 through 04 have solid-color backgrounds. These images are totally acceptable, but since they are not quite as "exciting" (IMO) as images 05 through 17 -- (which have color variations in the background) -- I'm putting them at the bottom of the list. Since my favorite signature/avatar pair is 08, I'm putting it first on the list. The background here was made using a simple blue-maroon linear fade. 08: blue-maroon fade background signature, http://postimage.org/image/mcc849o0z/ avatar, http://postimage.org/image/i7wxcfprr/ These images are my favorite. I think the blue/maroon combination, dynamically speaking, works very well. The contrast of the hot (maroon) and cold (blue) is very effective. This look is somewhat unique on MSFN. 05: (light purple)-(darker purple) fade background signature, http://postimage.org/image/br7ijm0on/ avatar, http://postimage.org/image/6ixmcy5g5/ 06: brown and gold background signature, http://postimage.org/image/6317spwch/ avatar, http://postimage.org/image/ol5kcye47/ 07: dark to light blue-green fade background signature, http://postimage.org/image/rc3275mwb/ avatar, http://postimage.org/image/k0i0bwfm3/ 09: brown and black background signature, http://postimage.org/image/audb7yvfp/ avatar, http://postimage.org/image/d2040qdb7/ 10: teal, blue, and black background signature, http://postimage.org/image/3x0xycoo3/ avatar, http://postimage.org/image/jviufyxor/ 11: purple, magenta, and black background signature, http://postimage.org/image/qzrgxiq5f/ avatar, http://postimage.org/image/9cotqnz7b/ 12: purple background signature, http://postimage.org/image/xxlxslslx/ avatar, http://postimage.org/image/67pcro3rp/ 13: multicolored background signature, http://postimage.org/image/yrcs9tjoj/ avatar, http://postimage.org/image/rt9l6mjgh/ I don't like these two images at all. To me, the mixture of colors is rather "repulsive". 14: brown background signature, http://postimage.org/image/v9ybnqval/ avatar, http://postimage.org/image/ym9y2wa9t/ 15: black and blue-gray background signature, http://postimage.org/image/orvnz5cln/ avatar, http://postimage.org/image/lnbtavh0j/ I think these background colors are very compatible with the shades of gray in the images. 16: pink and blue background signature, http://postimage.org/image/qxwecw16f/ avatar, http://postimage.org/image/53jn54f0h/ 17: blue and teal background signature, http://postimage.org/image/c708suia3/ avatar, http://postimage.org/image/us22j9os9/ As I mentioned above, the next four images have solid-color backgrounds. 01: solid blue background signature, http://postimage.org/image/m64i11j3h/ avatar, http://postimage.org/image/bwx51d9yd/ The blue works well with the white letters and images to give a feeling of "crispness". But, as a negative comment, I feel the blue is too "intense". (It kind of hurts my eyes to look at it.) 02: solid reddish-brown background signature, http://postimage.org/image/vggm4ktt9/ avatar, http://postimage.org/image/3ztjtaq6t/ I like this image very much, in the way everything works well together. This image illustrates the fact that *simplicity* can be very effective (IMO). The reddish brown color is somewhat unique on MSFN. 03: solid turquoise background signature, http://postimage.org/image/f3j4yrfnl/ avatar, http://postimage.org/image/3np1939kn/ I feel that this turquoise needs to be a little darker to have the most effective images. 04: solid blue-gray background signature, http://postimage.org/image/oo1uiw737/ avatar, http://postimage.org/image/w2r6b9syr/ I used this background color when I reworked the avatar of jds (Joe). The blue component in the background makes the Dirac/de Broglie images (which are done totally in shades of gray) "pop out" a little more. As in 02, I feel that this image illustrates the fact that *simplicity* can be very effective. --------------------------------------------------------------------------------------------------------- "Anyone not shocked by quantum mechanics has not yet understood it." Neils Bohr and "If your model contradicts quantum mechanics, abandon it!" Richard Feynman --------------------------------------------------------------------------------------------------------- Appendix Quantum theory was developed as a new branch of theoretical physics during the first few decades of the 20th century in an attempt to understand the fundamental properties of matter. In contrast to Einstein's relativity, which is about the largest things in the universe, quantum theory deals with the tiniest things, the particles that atoms are made of (i.e., "subatomic" particles). Max Planck (1858-1947), a German physicist, is recognized as the founder (in 1900) of quantum theory. He received the Nobel Prize in Physics for this work in 1918. My avatar is an "homage" to Max Planck. It shows Planck's image, the visible light portion of the electromagnetic spectrum, and Planck's well-known equation which formed the foundation of quantum mechanics. This equation expresses the energy of a light wave (i.e., electromagnetic wave), E, in terms of its wavelength, the Greek lambda. Here, h is the Planck constant and c is the speed of light (i.e., the speed of any electromagnetic wave) in a vacuum. Plank's equation is probably better known in the form E = hf, where f is the frequency of the electromagnetic wave. A substitution of f = c/lambda results in the equation shown in my avatar. I put the arrow in my avatar to show that E increases from left to right, from red to violet. (I also showed the colors in my signature in terms of increasing E.) I put the thin "fade to black" area on the left side of the avatar to show that outside the visible spectrum, everything is perceived to be black by the human eye. (There is also a thin, corresponding, "fade to black" area on the right side of the avatar -- to the right of violet -- but it is covered up by Planck's picture.) As we move to the left of red, in the direction of decreasing E, we have Infrared and Radio waves. As we move to the right of violet, in the direction of increasing E, we have Ultraviolet, X-rays, and Gamma rays. Louis de Broglie (1892-1987) was a French physicist who discovered that electrons have a dual nature, similar to both particles and waves (i.e., particle/wave duality). He was awarded the Nobel Prize in Physics in 1929. In 1923, de Broglie generalized the Planck relation by postulating that the Planck constant represents the connection between the momentum and the quantum wavelength of not just the photon, but any particle. His work culminated in what was to be known as the de Broglie hypothesis, stated as: With every particle of matter with mass m and velocity v, a real wave must be associated, related to the momentum by the equation: lambda = h/p = (h/mv)(1- v2/c2)1/2 where lambda is the wavelength, h is the Planck constant, p is the momentum, m is the rest mass, v is the velocity, and c is the speed of light in a vacuum. De Broglie's work created a new field in physics, wave mechanics, which united the physics of energy (waves) and matter (particles). For this work he won the Nobel Prize in Physics in 1929. Paul Dirac (1902-1984) was a British physicist, who is characterized as "the father of antimatter". He won the Nobel Prize in Physics in 1933. Dirac, in 1928, developed a wave-equation theory that combined quantum mechanics with Einstein's special relativity. Through complex mathematical calculations, Dirac managed to integrate these widely-different theories. Eventually, in 1930, he saw that his equations predicted the existence of a new form of matter -- antimatter (i.e., anti-particles) -- hitherto unsuspected and unobserved (thus, bringing something entirely new to science). The positron -- (an anti-electron) -- has the same mass as the electron but opposite charge, and it was first detected experimentally in 1932. (This theoretical discovery of the positron allowed an explanation of matter/antimatter annihilation.) The anti-proton was first detected experimentally in 1955. Dirac's research marked the first time something never before seen in nature was "predicted" -- that is, postulated to exist based entirely on theoretical rather than experimental evidence. (Dirac's discovery was guided solely by human imagination and mathematics.) For his achievement Dirac was awarded the Nobel Prize for Physics in 1933.

Hello, Tripredacus: I went ahead and worked on my "userbar-type" Tripredacus signature image using the input (i.e., the video link) you gave me in your Post # 187. [i had no choice. Not doing it was like a "loose thread" in my brain! (lol) I'm sure you know what I mean.] It only took about an hour to complete it. I took a screenshot save of the video when the face was really highlighted well, and I worked with that image in Photoshop. With a video, you can stop it precisely where you want it, so I got *exactly* the face image I wanted. Again, I stretched the face out some horizontally to make it a little more predominant in the signature. I also straightened out the fingers some in the new image. The link to my new image is: 08_new.figure.&.scanlines.&.inverse-ellipse.layer, http://postimage.org/image/vrvl6njnf/ This 08 version is far superior to the 07 version in my Post # 186: 07_final.image.with.scanlines.&.inverse-ellipse.layer, http://postimage.org/image/ka04b2s0b/ the reason being, of course, that I really didn't have a very good face image to work with as a starting point in 07. Again, Many Thanks for your input here, Tripredacus. It allowed me to get the *best version* in my little signature exercise. Even though nothing is going to become of my image, it brings me satisfaction knowing that I got a better-looking image in 08.

Hello, Tripredacus: If it helps in any way, I can try to recall what I did to get it where it is. Thanks. (Additional Info) = (Possible New Idea Generators) First, the picture in the background is from a frame in this video: I watched the video from the viewpoint of: "Is there a better image of the figure that I can use?" I like the way the arms/hands are extended upwards in your signature, so I wouldn't want to change that. That basically leaves the face, which I'd like to have a little brighter and more well-defined (i.e., so that one can see the features better). I had downloaded this video and pulled a frame out with various tools. What I do (not having "various tools" -- lol) is make a screensave of the frame I want while watching the video, and use that. Those screensaves that way are amazing. They get it down to the microsecond and the clarity is great. I use these "error" fonts too. Yes, errors can sometimes look absolutely great ! I guess *great-looking errors* are just God's reward to us for leading *perfect* lives. I likely won't end up using those sigs tho No problem. (It never even crossed my mind that you might use those sigs.) My intent in making these images was to "fiddle" with the small "pixel letters" -- which I absolutely love. P.S. It would be ultra-easy to change the figure in the signatures (if I found a better image via the screensave route), but I don't know if I'll do it or not. Certainly not in the next week or so. (I've lined up other projects.) But, in all probability, I'll be getting around to changing the figure at some later time. (I've got the .psd file with *each element* on a separate layer.)

Hello, Everyone, and especially Tripredacus: I thought I'd make a small graphic using Tripredacus' color scheme shown in his signature (black, white, and red) as well as the person/figurative imagery therein. I also incorporated the "tagline" in his avatar, "K-Mart-ian Legend". I made the graphic small -- in tune with the size of standard "Regional Userbars", 350x19 pixels (although my image turned out to be 313x19 px). I wanted the graphic to be this size, because I have a pretty extensive Post planned about Regional Userbars -- to be "delivered" in a few days (if nothing happens, of course). Also, the lettering style/size is the same as in the "pixel font" I used in my recent Post # 183 to e-t-c. I also want to take this opportunity to give another *mini-tutorial* about how I made Tripredacus' graphic. (I sure hope this will benefit someone.) There is some similarity between this Post and the e-t-c Post in regard to pattern fills. However, I cover the *complete explanation* of the elements typically involved in constructing a Regional Userbar -- especially the scanline layer and the ellipse layer (which is a "basic ingredient" of most Regional Userbars). Anyone with a basic knowledge of Photoshop (or other similar image-editing programs) should be able to take my example and make *many variations* on it, to arrive at *something* that suits them. Really, the steps are quite simple, and I tried not to leave anything out in my explanations. The link for the final image I made is: 07_final.image.with.scanlines.&.inverse-ellipse.layer, http://postimage.org/image/ka04b2s0b/ What I'll do now is go through *all the steps* I took in making this image, fully illustrated -- step by step -- with JPEGs. 01_template.&.making.background.gradient, http://postimage.org/image/z6h11m9rn/ I first made a 350x19px border with a 1px black outline inside (not knowing at this point what the final length of my image would be). The lettering was from a "pixel font", 5px tall with a 1 px black outline. I colored the inside of the letters white. I took the figure image from Tripredacus' signature and cropped it to an original size of 116x36px. I removed the white background with the Magic Wand and Eraser Tools, to get the image on a transparent layer. I first reduced the image proportionally to a size 55x17px, a height to fit *exactly* inside the border. However, at this "correct size", the image was really too "puny looking" inside the border, so I stretched it out to 75x17px to "beef it up" to get the look shown in 01 (a little "artistic license" was applied here, but the image is somewhat "radical looking" anyway, so no harm done, IMO). I arranged the lettering and figure image as shown, and cropped the border down to the final length of 313px as shown. As the background layer, I wanted to use a linear horizontal 3-color gradient using black, white, and red -- the colors in Tripredacus' signature. I wanted the red to be centered directly over the figure's head, because that seemed to be the best color to use to really *activate* the image. I measured from the left side of the border to the center of the figure's head (Measure Tool) and found the distance to be 136px. I opened a New File 136x19px, and experimented with the fade to get what I liked -- the fade shown on the left side of the 01 JPEG. To get the fade *perfectly symmetrical* about the head, I flipped the fade horizontally to arrive at the middle fade. (I left a 1px gap between the fades so that the viewer can *see* the "components" of the final background-fade layer. In actuality, I butted the fades exactly together.) The fade on the right was made by flipping horizontally the fade in the middle. Notice that this fade has a little gray on the right side near the end of the border. I simply colored these pixels from gray to black there. I butted the three fades together and linked and merged them to get the final background fade. (Of course, I simply erased the part of the fade that stuck over the right side of the border.) Note that the template (i.e., the border, the lettering, and the figure) will always be the top layer in the PS layers "stack", while the gradient-fade background will always be the bottom layer. 02_background.gradient.behind.template, http://postimage.org/image/toiwxbrbb/ This JPEG shows the final result of the steps in 01. I like the look of it. To me, there is great "depth" in the red background behind the image. It makes the figure "pop out". The figure is also nicely framed by the symmetric white to the right and left sides. But, we can add a few more touches to jazz up the picture even more. 03_white.scanline.pattern, http://postimage.org/image/4dne8axhj/ I had already discussed some scanlines in my Post # 183 to e-t-c, but I referred to them there as "pattern fills" -- same difference. The scanline pattern I made to use here is shown in the above 03 JPEG. I used white pixels on a 15x15px transparent layer. (It is illustrated here on a black background, so that it will show up well.) I made the scanlines somewhat widely separated so that they wouldn't alter the look of 02 too drastically. (Of course, one can lower the opacity of the scanline layer to tone it down, if desired.) There are an *infinite number* of possible scanlines, so you can experiment with making them in your own projects. You can use different colors too, as in black, for example. 04_scanline.pattern.fill.of.313x19px.trans.layer, http://postimage.org/image/fwse15hch/ I discussed pattern fills in Post # 183, but I'll more or less restate it here to keep everything together in this Post. In the white.scanlines.psd file, make the transparent layer with the scanlines the active layer. With the Rectangular Marquee Tool select the entire 15x15px scanline pattern. Edit>Define Pattern (then Select>Deselect). Open a New File, transparent, 313x19px. Duplicate the bottom layer and make the duplicate the active layer. Edit>Fill. For Contents, Use:Pattern and for Blending use Opacity:100% (you can change it later if you want) and Mode:Normal. Click OK, and the entire 313x19px transparent layer will be filled with the scanline pattern, as shown in the 04 JPEG. I show the white scanlines on a black background, so that they can be seen easily. (In actuality, the scanlines are on a transparent layer.) 05_template.&.white.scanlines.above.gradient, http://postimage.org/image/sb5z9zu3p/ This JPEG shows the white scanlines on a layer above the background, but below the template. I reduced the opacity of the scanline layer to 40% to get the 05 JPEG, because the white was just too bright compared to the other elements in the picture. This image could be considered to be a final image, depending on one's tastes. I really like the way the scanlines "do their thing". It's almost like the figure is in a (somewhat subtle) "driving rain". But, Regional Userbars usually have an "Ellipse Layer", so I'll consider that next to finish up this exercise. 06_ellipse.&.inverse-ellipse.layers, http://postimage.org/image/9duhr4lz5/ In this JPEG, part (i.e., the bottom half) of the ellipse is shown in black. I actually used the gray-colored area, whose proper name is the inverse-ellipse, in making 07_final.image.with.scanlines.&.inverse-ellipse.layer, which is shown below. Of course, the actual ellipse could be used -- (by following the same steps discussed below for the inverse-ellipse) -- in creating a final image. The result would just look a little different from 07, and the preference would depend on the viewer's tastes. I'll now detail how I made the gray area, the inverse-ellipse. Open a New File, transparent, 313x19px. Duplicate the background layer and make it the active layer. Double-click on the Elliptical Marquee Tool to get the "Marquee Options". I used Feather: 0 pixels, I checked the box for Anti-aliased, Style: Fixed Size with Width: 313px and Height: 19px. Set the Foreground Color to the color you want for the inverse-ellipse (or the ellipse, if you want to use it instead of the inverse-ellipse). I chose a light gray, r,g,b=192,192,192. (Of course, other ellipse sizes and colors can be used to get different looks.) Click inside the transparent New File, and a row of "marching ants" will appear, in the shape and size of the ellipse. You can then position the ellipse anywhere you want inside this New File (by simply moving the mouse). I chose to line up the ellipse to be symmetric inside the New File in the position shown in the 06 JPEG. Then, Select>Inverse, Edit>Fill. For Contents, Use: Foreground Color. For Blending, use Opacity:100% (you can change it later if needed) and Mode: Normal. Click OK, and the inverse-ellipse will be filled with the Foreground Color. Then Select>Deselect. This inverse layer may now be dragged into the main .psd file and added to the layers "stack". If you want to use the ellipse in making your image, instead of the steps "Select>Inverse, Edit>Fill" just perform "Edit>Fill". 07_final.image.with.scanlines.&.inverse-ellipse.layer, http://postimage.org/image/ka04b2s0b/ I placed the inverse-ellipse layer immediately above the background layer and just below the scanline-pattern layer. I reduced the opacity of this inverse-ellipse layer to 35% and kept the opacity of the scanline layer at 40% as in 05, above. These settings gave the picture shown in 07. This is my favorite version of the image. I like the way the inverse-ellipse layer adds "visual interest" to the upper left and upper right corners, while not disturbing too much the white "driving rain" in the red area behind the figure. P.S. I am totally aware that I *appropriated* -- (lol) -- the ideas and image used in this Post from Tripredacus, so the following quotation is more than appropriate here: "Good Artists Borrow, Great Artists Steal." Pablo Picasso Reason for Edit: I redid the discussions concerning 06 and 07 (given above) to be more *precise* in the statements concerning the ellipse layer and the inverse-ellipse layer. In my original Post, I was a little sloppy in that I often referred to the inverse-ellipse layer as the ellipse layer (although it was clear what I meant from the context of my statements).

An absolutely unbeatable classic from the "psychedelic era" of the 1960s in the U.S., "Purple Haze", by The Jimi Hendrix Experience: http://www.youtube.com/watch?v=BHHuvrQF9TIThe first few times I heard the song, I thought Jimi was singing, "Excuse me while I kiss this guy". But later it was pointed out to me that he was actually saying "Excuse me while I kiss the sky". I guess that's quite a big difference in meaning, isn't it ? (lol)

Hello, e-t-c: I also like the *text signature* you're using now (the "mysterious" one -- much better than the not-so-mysterious-explained version). Your text signature is very subtle in its "small-sized understatement" and it doesn't compete with your avatar for attention. I just made the image-signature versions 03, 06, and 09 in my Post # 183 more or less to see -- (primarily for myself) -- what kind of "visual alternatives" I could come up with for your text signature. (I thought it turned out well that I could also make, in this process, a little mini-tutorial concerning the steps I took. I don't know if anyone got any benefit from my explanations or not.) You might want to save my 3 signature images to your hard drive, because if you don't use them on MSFN, you might think of other uses for them sometime in the future. It might also be interesting for you to Post version 06 *temporarily* as your signature, just to see how it looks with your avatar in the "environment" of the MSFN page. If you didn't like the look, you could immediately switch back to your current text signature. Who knows(?) -- you might like the image signature better. Sincerely, Larry

I've been listening to two absolute classics referencing the Hippie Movement in the U.S. in the mid/late 1960s. "San Francisco" by Scott McKenzie (with lyrics at the bottom of the screen): http://www.youtube.com/watch?v=bch1_Ep5M1sSan Francisco, California, U.S.A. became something of a "Mecca" for Hippies. Such idealism! "Get Together" by The Youngbloods: http://www.youtube.com/watch?v=cw2ze1Iw9d0a video "slideshow" -- showing absolutely beautiful nature photography -- with the lyrics superimposed on top. This video is so poetic/sensual, it almost makes you want to cry.

Hello to everyone, and especially to e-t-c: I've been intrigued by e-t-c's rather "mysterious" one-line signature below all his Posts: ... to exercise patience - and beside learning to l(i)(o)(ea)ving (at the right time) ^L^ ... I like mysterious things, so I wanted to see if I could make a signature *JPEG* for e-t-c to use (if he wanted to). Another *major reason* I wanted to "embark" on this project was that it would give me a chance to work again with really small letters -- [i.e., "pixel" letters (aliased letters), which show up clear and sharp at a very small size]. I had to use very small-sized letters to ensure that e-t-c's new signature would still fit within MSFN signature guidelines. My favorite signature that I made was: 06_template.over.05.JPEG, http://postimage.org/image/9pwkof91b/ I really like the way the "eyeballs" pop out here in the ^L^ "face". If you want to use this image as your signature, simply input the following into the text editor at My Settings>Profile>Change Signature: [center][url=http://postimage.org/][img=http://s11.postimage.org/gt4g41egz/06_template_over_05_JPEG.jpg][/url][/center] (Also, there are also 2 other "candidate signatures" that I made, 03 and 09. See the discussion at the bottom of this Post.) This signature is 250x31 pixels and it uses letters *only 5px tall*, not including a 1px outline. IMO, because of all the color choices I made, I feel that this signature is very compatible with e-t-c's avatar. As I said, e-t-c is welcome to use (or not use) this signature as he sees fit. --------------------------------------------------------------------------------------------------------- I also took this opportunity to "convert" this little project into something of a mini-tutorial for those of you who might not understand some features of Photoshop, like "pattern fills", for example. I have not left out a single step of the images' construction, and I tried to be very clear and "simple-minded" in my discussion. The discussion for each image is given next. I provide JPEGs illustrating each step to make things even clearer. --------------------------------------------------------------------------------------------------------- 01_template.over.red.background, http://postimage.org/image/dxoqn909j/ I showed the "lettering/border template" on a red background, just so the black/white components of the lettering would show up well. In actuality, the template is on a transparent layer, and not merged with a red layer. 02_basic.background, http://postimage.org/image/s6od5bes7/ This background will always be the *bottom layer* in the PS "layers stack" for the "signature-type images" I develop here (i.e., 03, 06, and 09 below). To make this background, I used the Linear Gradient Tool with settings "Normal", "Opacity:100%", "Gradient: Foreground to Background". I checked the boxes for "Transparency" and "Dither". For the brown colors in the background, I started with the coffee colors in e-t-c's avatar and adjusted their shades as follows: for the Foreground Color, I used r,g,b=165,99,80 (luminosity=115) and for the Background Color I used r,g,b=64,37,28 (luminosity=43). It took a little "experimentation" to get these two colors as I wanted (i.e., as in the *best signature version* shown below in 06_template.over.05.JPEG). To get a *perfect* vertical gradient, just hold down the "Shift Key" as you drag the "indicator" down from top to bottom. Again, this dragging had to be repeated a few times to get the look shown in 06. 03_template.over.basic.background, http://postimage.org/image/5oda4oy4x/ This could be used as a signature if so desired. 04_pattern.01.at.800%.enlargement, http://postimage.org/image/imsmhw683/ I put this pattern on a black background here, just so the light-colored pixels would show up well. (Each square represents 1x1px.) In actuality, this pattern is on a transparent layer, and not merged with a black layer. If you look closely at the light-colored pixels, you will see that they all are not the same color. I arrived at these colors by "randomly sampling" the pixels on the saucer in e-t-c's avatar. 05_pattern.01.over.basic.background, http://postimage.org/image/owaxroi53/ Here, the pattern in 04 (made at 15x15px) was filled into a 250x31px transparent layer. That was the size of the finished image(s). The approach to fill a layer with a pattern: With the Rectangular Marquee Tool, make a selection around the part of the pattern -- (which you just made or already have on your C: drive) -- you want to use. (In my images shown in this Post, I selected the *entire* 15x15px pattern.) Choose Edit>"Define Pattern". In the *active* layer that you want to fill with the pattern, choose Edit>Fill>Contents>"Use:Pattern" with the Blending Options that you want to use. In all the examples in this Post, I chose Opacity:100% and Mode:Normal. Finally, click "OK" and the active layer will be *completely filled* with the pattern. 06_template.over.05.JPEG, http://postimage.org/image/9pwkof91b/ This is *my absolute favorite version* for the signature. Because of all the color choices I made for the pattern and background, this signature is totally compatible with e-t-c's avatar. Both the signature and the avatar communicate "coffee." 07_pattern.02.at.800%.enlargement, http://postimage.org/image/wiciay4rl/ I put this pattern on a white background here, so that the relatively dark 1x1px squares would show up well. In actuality, the pattern was on a transparent layer. The two shades of brown in this pattern were based on the darkest and lightest pixels at the surface of the coffee in e-t-c's avatar. Using these shades of brown in a new image helps insure that there is "compatibility" between the new and the old. 08_pattern.02.over.basic.background, http://postimage.org/image/srckzhms7/ Here, the pattern in 07 (made at 15x15px) was filled into a 250x31px transparent layer using the approach detailed in 05 above. 09_template.over.08.JPEG, http://postimage.org/image/p03vsehnf/ This is another contender for a signature. I like 06_template.over.05.JPEG better, because of the rather subtle texture. However, 09 is perfectly acceptable also. It just depends on one's tastes. Reason for edit: I reduced the spacing -- (by 1 pixel) -- between the two lines of text in the signatures to arrive at what is shown in images 03, 06, and 09 above. Therefore, the links had to be updated.

As I mentioned in my last Post concerning Tripredacus' elegant Max Planck image, I thought I might *experiment* with different colors for the (lettering)/(horizontal bar)/(outer outline) "basic unit", just to see what the results would be. There's really no way to tell the effects of changing color combinations in an image -- (in advance of making the changes) -- because, often times, these effects are just too subtle (IMO). I wanted to approach changing the colors in a *systematic way*, without much consideration as to the possible results. They say, "The proof is in the pudding", so I basically made seven "pudding samples" to "taste" (i.e., look at). I more or less moved through the color spectrum -- (i.e., really, the primary colors: red, yellow, and blue). I chose for the red "family", maroon, burnt sienna, and burnt umber (these latter two colors are "reddish earth tones"). I chose gold to represent the yellow "family". For blue, I used "standard blue", r,g,b = 0,0,255. I tried one "secondary-type" color, that being in the teal family (i.e., teal being a combination of green and blue). Please note that this was basically the color Tripredacus used in the Posted version of his image, so my use of this color was no "genius move" on my part. To complete my color *tests*, I chose a very neutral, "tannish" color called burlywood. I chose this color since color samples of my image (on the cream-colored and dark parts of the background) indicated that the colors were in the "tan category" and *not* the "grayish category". I've presented the results below, categorized in the following order, with the color groups discussed above: teal, maroon/"reddish", blue, gold, and neutral "tan" burlywood. I provide a little discussion concerning these images, when I feel it's appropriate. Teal group V03.teal.V1, http://postimage.org/image/4e14py75h/ This is the image I showed in my last Post. On further consideration, I felt that the horizontal 2px "bar" here really wasn't *dark enough* to "push back" the Roman-face-outline *far enough* in "visual space". However, I really couldn't make it any darker, because the 2px outline around the outside of the image would then be way too dark. (Note especially how dark the outline looks at the upper left corner.)V03.teal.V2, http://postimage.org/image/x9wnsvj4h/ Here, I darkened the horizontal bar to get it dark enough to "push back" the Roman-head-outline, but the 2px outline around the outside of the image was way, way too dark.V03.teal.V3, http://postimage.org/image/mpmq9z9g7 The above problem was solved by reducing the thickness of the outline around the outside of the image from 2px to 1px. I kept this same (horizontal bar)/(outer outline) "unit" the same for all the rest of the images shown in this Post.V03.teal.V3_desaturated, http://postimage.org/image/gx55mm3yb/ To get an *accurate feel* (i.e., not influenced by colors) for the "value distribution" (i.e., regions of darkness and lightness) in V03.teal.V3, I desaturated the image. (This converts the image to grayscale, but keeps it in the RGB mode.) An analysis of this image will provide a "guide" to what I'm shooting for in the rest of the images shown in this Post. The analysis is very simple: I want "Max Planck Gesellschaft" to stand out the most (i.e., that's why it is the darkest). Next, I want the horizontal bar to be bold, but at a "visual level" below (i.e., lighter than) "Max Planck Gesellschaft". I based the darkness/lightness of the horizontal bar on a visual comparison with the top of the "P" (with outer glow) where it intersects the horizontal bar. I want the horizontal bar to be darker than the Roman-head (with outline), so that the former will keep the latter well in the background. As you can see from the image, the Roman-head outline (with circle) stands out from the background, primarily because of the good contrast between the light-colored steps and the much darker face outline. So, in summary, all these discussed ingredients will result in the *best* image possible involving these pictorial elements.I like V03.teal.V3 and V03.teal.V3_desaturated very much. Maroon/"reddish" group V04.maroon, http://postimage.org/image/s4il8gupv/ V07.burnt.sienna, http://postimage.org/image/9hnch1bx3/ V08.burnt.umber, http://postimage.org/image/6u7jhjelx/ I don't like V04.maroon as much as the other two images, because the maroon doesn't seem as compatible with the background. The burnt sienna and burnt umber images are more compatible (IMO), because they have a *basis* in the "earth tones", like the cream/tan background of the image itself. The sienna and umber images are almost identical, since their r,g,b values are "close". I think I like the burnt sienna image the best of the three. Blue V05.blue, http://postimage.org/image/9qukhtkfp/ I don't care for this image at all. The blue color is totally incompatible with the rest of the picture (IMO). Gold V06.gold, http://postimage.org/image/ac1mec2v7/ I don't care for this image at all. Neutral "tan" burlywood V09.burlywood, http://postimage.org/image/rooxwhfat/ I like this image very much, because of its "elegant simplicity". I think the "tan" burlywood is *very compatible* with the cream/tan of the rest of the image. In summary *My most favorite* images are: V03.teal.V3, http://postimage.org/image/mpmq9z9g7 V03.teal.V3_desaturated, http://postimage.org/image/gx55mm3yb/ and V09.burlywood, http://postimage.org/image/rooxwhfat/ If I *had to choose* one more favorite it would be V07.burnt.sienna, http://postimage.org/image/9hnch1bx3/ Again, Many Thanks, Tripredacus for your "image generosity", which allowed me to "immerse myself" in a little "color experimentation".

"I Want Candy" by Bow Wow Wow: http://www.youtube.com/watch?v=aMICD3aMZpwShe sings, "Candy on the beach, ain't nothin' better !" (I think I'd agree with that.)

A very young Madonna singing "Holiday" (from 1983): http://www.youtube.com/watch?v=3SIeLnc0ZuQ&feature=relatedThe thing I like about this video, in addition to the music, is watching her do the very simple, but highly effective, dance moves. It's almost like an aerobic workout. The song reminds me that I need to take a holiday (with Madonna, if at all possible -- lol).