![]() Divide remaining frosting evenly among 6 bowls with about 1/3 cup each. Beat at medium speed until smooth and creamy. Gradually add powdered sugar and 1/4 teaspoon salt alternatley with whipping cream and 1 tablespoon vanilla, beating at low speed until well incorporated. Repeat with remaining colors until all cake layers are baked.īeat 2 cups butter in medium bowl at medium speed until creamy. Meanwhile, wash pans grease and flour pans. Cool 3 minutes remove from pans to cooling rack. Bake 8-10 minutes or until toothpick inserted into center comes out clean. Spread red and orange batter into prepared pans. Tint cake batters red, orange, yellow, green, blue and purple. Add flour mixture alternately with milk, beating at low speed after each addition, just until mixed.ĭivide batter evenly among 6 bowls with about 3/4 cup each. Add eggs, 1 at a time, beating well after each addition. Set aside.Ĭombine flour, baking powder and 1/4 teaspoon salt in bowl set aside.īeat sugar and 1 cup butter in another bowl at medium speed, scraping bowl occasionally, until creamy. Grease and flour 2 (8-inch) round cake pans or spray with baking spray. This strawberry, mint and mango combination is my favorite.Heat oven to 350☏. Add fruit and refrigerate for at least two hours before serving. To add the mix-ins, pour the liquid into molds and let sit at room temperature for 15 minutes before adding fruit. I add mint as well - yum! Try adding your own combination of fruits or sprinkles as the treat starts to set. I think the water cake is totally bland by itself, so I added sprinkles or very small chopped fruit that have soft, not-too-fibrous textures (like mango and strawberry). Add fruit if desired and refrigerate for at least two hours to set. Add agar-agar dessert powder and let simmer for a minute until completely dissolved and liquid is clear. USING AGAR-AGAR READY-MIX DESSERT POWDER? INGREDIENTS:īoil water. Soak the agar stick in water to rehydrate it. ½ agar stick, soaked in water for 30 minutes.USING AGAR POWDER OR FLAKES? INGREDIENTS:īoil water. Note: Always dissolve the agar completely before adding sugar. Use a silicone mold or small, shallow bowls to form the semi-circle raindrop shape (although you can also use any other desired shape). Make your raindrop cake by following the instructions below. As for the sensation of eating it? It starts out feeling like putting a delicate JELL-O in your mouth - and then it just smooshes into water. They taste like premium, extra-refreshing water, just ever-so-slightly sweet. Raindrop cakes feel like JELL-O but not as firm and definitely more delicate. It is sold as powder, flakes, sticks or prepackaged in boxes with sugar already mixed in. You can easily find it in an Asian market, health food store or online. It is vegan (unlike gelatin, which is made from animal byproducts), calorie free, fat free, tasteless, zero carb and full of fiber. Agar is a gelling agent made from seaweed. Growing up in an Asian household, agar was a commonly used ingredient. I’m not familiar with that particular dessert, but I am very familiar with its main ingredient: Agar, sometimes called agar-agar or kanten. The dessert is actually derived from a Japanese dessert called mizu shingen mochi. I’m here to give you these details, including a recipe to make your own and some suggestions for making your raindrop cake version a more exciting one! The viral “Raindrop Cake” has left many of us raising our eyebrows and longing for more information.
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![]() Most are still fairly slender in design, enabling you to slip one into a bag. Larger tactical flashlights measure up to a foot long and can weigh close to a pound. Despite their small size, these flashlights offer 1,000 lumens or more. There’s no right answer when choosing the size and weight of a tactical flashlight, only the right answer for your needs.Ĭompact tactical flashlights, measuring between four and eight inches long and weighing below ten ounces are ideal for carrying in a pocket or hiking bag or taking on camping trips. When it comes to power, candelas are the more important unit. Most tactical flashlights offer anywhere from 1,000 to 150,000 candelas. Most tactical flashlights list the lumens of their highest setting, which will drain the battery faster than lower settings.Ĭandela: This is the measure of the brightness of a flashlight’s beam focused in one direction. Even 500 lumens is still blinding enough to temporarily disable an attacker, and 300-lumen lights can cast beams reaching up to 500 feet. Whether you really need a 1,500-lumen flashlight is up to you. A 1,500 lumen flashlight will seem incredibly powerful compared to a standard household flashlight. A 100-watt incandescent light bulb outputs about 1,500 lumens. Most fall in the 300 to 600 lumen range, but there are some flashlights with 2,500 lumens or more. The lowest lumen rating for a tactical flashlight is around 100 lumens. Lumens: Lumens measure the total amount of light given off by a flashlight. The metal construction, in addition to the LED bulbs, makes most tactical flashlights highly shock resistant. Their size makes tactical flashlights easy to grip, but many are also large enough to be used as weapons. Most tactical flashlights have a clip that allows you to attach one to your belt, pocket, or bag for easy access. ![]() Originally developed for military use, these lights have metal casings that are both tough and lightweight. Key considerationsĪ tactical flashlight is a compact, durable tool designed to provide powerful, focused light in a variety of situations. The bright light of a tactical flashlight can greatly reduce the ability of an attacker to see in the dark, making it a useful defensive tool. Because Radwell is not an authorized distributor of RQANS2 products, the Original Manufacturer's warranty may not apply.
![]() ![]() If you measure 34” on the rib cage, you will trace to the line marked 34 on the 5.25 band pattern piece. Next, measure your RIB CAGE, pulling the tape snug against the skin but not tight. For example, if you measure 5.25” BCD, you will trace the 5.25 size for all pieces. This number (in inches) is the pattern size you will use. ![]() While wearing your best-fitting non-padded bra, be sure to hold the tape flat against your body and do not twist. Measure your BOTTOM CUP DEPTH, which is the measurement from the apex seam following the curve of the breast down to the seam at the wireline on the lower cup pattern piece – that is the Bottom Cup Depth. This includes the "in-between" sizes that ready-to-wear does not carry! All BCD sizes from 2.25 through 7.5 are included in this one pattern which offers the equivalent of over 100 ready-to-wear sizes. This pattern uses a unique sizing system, called the Bottom Cup Depth Sizing Method (BCD). You will notice 3 different underwire styles listed on the chart - WR, WL, and WX.Ĭlick on the underwire type listed for your size. If you will be using underwires in your bra, please see our Underwire size chart to determine your correct underwire size and type. You learn the professional methods of construction, then get it professionally fitted to YOUR unique body. If you are not quite confident enough about your ability to make a bra and fit it from the pattern, why not consider taking a class in Beginner Bra-Making? We use the Pin-up Girls patterns for all classes. All patterns have both French and English instructions and material lists! This pattern is available in over 90 sizes. Both views use fabric for extra comfortable straps. The Classic Full Band Bra Pattern has three views - one made entirely of fabric, one with lace trim on the upper cup and one made with lace trim on the entire cup. This is the pattern featured in The Bra-makers Manual and on the Craftsy/Bluprint Classes. It has been specially designed to use with Duoplex, and other low-stretch fabrics which give the best support and a flattering profile. The Classic Full Band Bra Pattern is a beautifully fitting bra from the Pin-up Girls, now updated for a fresh new look! This classic full band bra can be made with or without underwires and has great lift and support. ![]() At this crucial time for the natural world we will journey to every corner of the globe to explore the greatest treasures of our living planet, and reveal the extreme lengths animals go to to survive." Never have our wildernesses been as fragile and as precious as they are today. But that is not all the planet has changed too. We can now show life on our planet in entirely new ways bring you closer to animals than ever before and reveal new wildlife dramas for the very first time. "It's been ten years since we explored these wonders in the first series of Planet Earth, and since then much has changed. The first episode gained 12.26 million viewers in the United Kingdom, which broke the record for the highest under the current system of viewing figures for a nature documentary. Official episode viewing figures are from BARB. The series comprises six episodes plus the compilation episode "A World of Wonder". All the episodes are also available in Discovery Plus. In India, all the episodes are available for streaming through Amazon Prime. In Greece, all the six original episodes were broadcast daily from 12 April 2020 until 17 April 2020 at 09.30pm on the free-to-air television network Skai TV. In the Philippines, the series premiered on 17 June 2018 on GMA Network through its version Amazing Earth for the first season. In Israel, the series premiered on on the new public broadcasting network KAN 11. In the United States, the series premiered with a three-network simulcast across BBC America, AMC, and SundanceTV (owned by AMC Networks, who manages BBC America on behalf of BBC Worldwide). ![]() The series debuted in Canada and the United States on 18 February 2017, with the Canadian broadcast on the local BBC Earth channel (which recently launched). As for New Zealand, it aired from 9 July 2017 at Prime channel. In Australia, the series premiered on 15 February 2017 on the Nine Network. In Japan, the series aired on NHK – with four special episodes aired on 23 December 2016 and concluded on 19 February 2017 respectively, while all the six original episodes were broadcast from 29 March 2017 until. In the Netherlands the series is airing on the Dutch channel NPO 1, narrated by Peter Drost, with episodes airing each Sunday from 1 January 2017. The series aired in Belgium on the Flemish channel Canvas, narrated in Dutch by Vic De Wachter, with episodes airing each Wednesday from 7 December 2016. The series was broadcast internationally on BBC Earth channel with a few exceptions for some countries. The previous week's episode was repeated in an earlier time slot the following Sunday. Each of the six episodes included a 10-minute making-of documentary called Planet Earth II Diaries. The series debuted on BBC One and BBC One HD the following Sunday (6 November) from 8pm to 9pm. Bristol has been the global home of BBC's Natural History programme making for almost 60 years. The premiere of Planet Earth II took place at Bristol's Cinema de Lux on 2 November 2016 with special guest appearance by Attenborough. The original Planet Earth, airing in 2006, was one of the first natural documentary series to be made in high definition (HD) and Planet Earth II utilised new technologies developed since the first series, including ultra high definition ( 4K), improved camera stabilisation, remote recording and aerial drone technology. The BBC trailer for the series used the same music featured in the trailer for the original Planet Earth, " Hoppípolla" by Icelandic post-rock band Sigur Rós. The series was announced by the BBC in 2013 with the working title One Planet, but the title was later changed to Planet Earth II. It won two Television Awards and two Television Craft Awards from the British Academy of Film and Television Arts, and two Primetime Emmy Awards.Ī sequel titled Planet Earth III is scheduled to air in 2022.Įxecutive producer Mike Gunton presenting about the series at the University of Cambridge. The series received universal critical acclaim, with many reviewers commending the use of new filmmaking technology and declaring it among the best nature documentaries of all time. It aired internationally on BBC Earth and other networks. The first trailer was released on 9 October 2016, and the series premiered on 6 November 2016 in the United Kingdom on BBC One and BBC One HD. Īnnounced in 2013, Planet Earth II is the first television series produced by the BBC in Ultra-high-definition (4K), and set out to utilise new filmmaking technologies that had been developed since the first series. The series is presented and narrated by Sir David Attenborough with the main theme music composed by Hans Zimmer. Planet Earth II is a 2016 British nature documentary series produced by the BBC as a sequel to Planet Earth, which was broadcast in 2006. For more information about memory management in. Whenever this article mentions the “heap”, it refers to the managed heap. This contrasts with the unmanaged heap which is not tracked by the garbage collector, it’s mostly used by native code or code that interacts directly with the operating system. When you create a new instance of a class, it gets stored on the managed heap. This is memory that is automatically managed by. The tools in this article focus on the managed heap. To illustrate the usage of these tools, we’ll go through some practical examples using sample applications and use cases. However, the tool does not tell you exactly where objects were allocated from. It helps you answer questions such as: Which objects were alive on the heap at a certain point in the app’s execution? What are the references keeping this instance alive? Did this object survive a garbage collection run? This tool is helpful when investigating memory leaks. This allows you to see what has changed between two points in the app’s execution: which types of objects were garbage collected, which new objects were allocated, etc. It also displays diffs between different snapshots. Each snapshot contains information about objects that were alive at that time and which objects hold references to them. This tool allows you to take heap snapshots while your app is running. But it does not tell us why an object is still in memory. The tool shows us where things are allocated from. It can also help you optimize your app’s memory usage by tracking down the methods that are most expensive in terms of memory allocations. This can be useful when you want to understand allocation patterns in your. ![]() It also collects information about each garbage collection that occurs, such as which types were freed, and which ones survived. It helps you answer the questions: Where was this type allocated from? How many instances of this type are allocated? Which method accounts for the most allocations? etc. This tool helps you track how many instances of each type are allocated to the heap and their aggregate size and the methods they are allocated from. This article aims to clarify what each tool is good for and how to use them effectively.įirst, let’s briefly explain what each tool does.NET Object Allocation Tracking tool While both tools are useful, it may not be obvious for new user to know which one to use when. NET applications: the Memory Usage profiler and. Visual Studio provides two great tools for analyzing and diagnosing memory issues in. ![]() It helps you recover data from Windows storage media. Piriform Recuva is a lightweight freemium SD card recovery software.
However, silica-coated ZnO/PAA induces higher emission intensity at room temperature to make up for the thermal quenching.Ĭore-shell nanocomposites are promising materials in the degradation of harmful chemicals released from industries/factories. Regarding the application, the materials suffer from thermal quenching at temperatures high up to 100☌, at which white light emitting diodes (WLEDs) generally operates. A thin layer of silica that does not absorb too much excitation light but completely covers the mesospheres proves to be the most efficient, with a drastic PL QY improvement of six times. The amount of TEOS does not affect the crystal structure of ZnO or the PL spectrum of the material, but high concentration of ammonia can degrade the PAA mesospheres and thicken the silica shell. For silica-coated ZnO/PAA, an optimal coating correlatively depends on the amount of TEOS and ammonia in the coating process. Doping generally leads to the quenching of PL, but the PL spectrum can still be tuned in a wide range (between 2.46 eV and 2.17 eV) without degrading the PL QY by doping small ions at a low doping concentration (0.1 %). Ions larger than Zn2+ with a higher valence tend to induce larger mesospheres and unembedded ZnO nanoparticles. For ZnO doped with metallic elements, the nature, concentration, size and valence of the dopant are found to affect the formation of the mesospheres and consequently the PL and PL QY. To further tune the photoluminescence (PL) spectrum and improve the PL quantum yield (PL QY) of the material, metal-doped ZnO and silica-coated ZnO/PAA are fabricated independently. The mesospheric ZnO/PAA hybrid structure was previously proved efficient in emitting visible light in a broad range, which results from the deep-level intrinsic defects in ZnO nanocrystals. The present thesis studies ZnO nanoparticles embedded in a mesospheric polyacrylic acid (PAA) matrix synthesized via a hydrolysis protocol. ![]() Even though the layer probably has numerous other fields about the location and type of point, you wouldn't want to show it in the pop-up, as the public wouldn't be interested and it would detract from the more relevant information. For example, if you want to show the public where they could swim, fish, and boat along the Mississippi Gulf, you might configure pop-ups to show the address, type of access, and image of public access points. The main decisions map authors make about pop-ups are what information they want to show and what's the best way to present that information. If you are configuring pop-ups for an ArcGIS Server feature layer, you can also set which fields are editable. If you share your service with groups you belong to, and not with everyone (public), only group members will see your pop-ups. You need to share your ArcGIS Server service layer in the website for the pop-ups to appear in your maps. The configuration applies to the layer in the map only and not the actual service running on your ArcGIS Server. Pop-up configurations you make on layers you own can be saved with the item properties and automatically enabled on other maps using that layer. Some restrictions apply when configuring clustering pop-ups. If your layers contain related data, you can configure pop-ups to show the related data in the pop-up or in a table. Configuring pop-ups on KML layers is not supported (you cannot configure or disable them) any feature data in the layer is automatically displayed. Pop-ups for OGC WMTS layers are not supported. ![]() You can enable pop-ups on an OGC WMS layer if the layer is queryable and returns the feature information as either text/plain or text/html. You can configure pop-ups in ArcGIS Server service layers, hosted feature layers, hosted tile layers, layers from files, and OGC WFS layers. ![]() This is a deeply emotive and intellectually engaging game, but it's one of those cult hits I touched on earlier. That's not to say the writing rivals Shakespeare, of course, but it aspires to offer that kind of depth beyond the literal narrative. Persona 4 was perhaps the first game I played that convinced me that we can study game narratives as we would the likes of Shakespeare. It expresses and explores Japanese cultural values, but I think it also reaches deep into nihilist and existentialist philosophy. Many of the games I featured are personal favorites, too.īut there are three other games, outside of those that appear in Game Art, which led me to write this book. Well, obviously I think all of the games that appear in Game Art definitely illustrate that games are moving away from being toys and into offering a greater depth of meaning. ![]() What, in your opinion, have been the most essential releases in moving games from the toy arena into the arts? Do you have a favorite game or two that actually inspired the making of the book in the first place? Games are clearly a popular medium for creative expression, and fans of gaming can help the general public see this by encouraging popular culture, as a whole, to legitimize art-house games as it has art-house cinema. I think that for the games industry to develop further, everyone has to recognize that games are much more. That's not to say we can't have our shooters and sports games, but even cinema would not be worth nearly as much as a creative outlet if all it offered was superhero movies. Games are on the cusp of breaking away from that same reputation right now, and part of the reason I wrote this book was because I wanted to join that discussion. When novels were a new and innovative form of writing, critics of authors like Daniel Defoe harped on how inferior the novel was to the purity of poetry. ![]() To continue having important discussions and debate about and through art, and for art to even maintain its relevance in society, we have to consider all dominant forms of creative expression, which includes video games.įilm originally had a reputation as a mindless distraction. Games easily compete with any other form of entertainment and art in terms of sales, and that puts them in the public eye more than ever before. Is it fair to say that games are processing inspiration now just as much as any other means of expression? And if that's the case, what do we as fans of gaming "need" to do to make sure the public en masse sees this, and doesn't think of games simply as shooters and sports titles, the dominant commercial genres? The book showcases a wild diversity of aesthetic approaches and cultural influences. It's all out there, and that's a basic fact. Some game directors play a similar role in this industry to Quentin Tarantino, Steven Spielberg, Jean-Luc Godard, or Antonin Artaud in film. We have experimental post-modernist stuff, cult art-house hits, and local industries producing games almost exclusively for local audiences, similar to what Bollywood does in cinema. That said, games can certainly be described like art is in other mediums. And everyone knows how important Citizen Kane is, but how many people have actually watched it? Not so many. Think about the film industry: even people who don't really watch films know that alongside blockbusters like The Avengers there's a robust art-house scene. While blockbusters like Call of Duty and little time wasters like Angry Birds are artful in their own right, the challenge lies in getting those outside the industry to recognize that the world of video games extends so much further, even if they never play anything but mainstream commercial successes. Matt Sainsbury: Before we start dividing games down those lines, I think it's important to get general society on board with the idea that games are art. ![]() That being the case, can we divide games into categories of art, as we do other mediums-high art, low, and so on? Or should it be the developers making these calls? In your preface, you say that games are art, and that the book accepts that as fact. That chapter is published in full below, but before that is a chat Sainsbury was kind enough to have with me about his new book. One of the book's most striking chapters focuses on 2014's genuinely gorgeous puzzler Tengami and speaks to its studio's (Nyamyam) co-founder Jennifer Schneidereit. |
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