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Dan itu menjadi sangat menarik, entah barangkali juga karena tidak banyaknya tipe cewek kaya gini. Oi cowok-cowok, pernah pacaran dengan cewek akademisi ngga. Udah pasti lugas, meskipun beda-beda cara menyampaikannya. Bukan hal yang aneh kalau cewek tipe ini dicitrakan culun, kaku, dan kalah kalo dibandingkan cewek hits. Padahal, kalo bisa diambil sudut lainnya justru malah membanggakan punya cewek yang IPK nya diatas 3,5 atau pernah menang lomba skala internasional, PKM nya tembus, sampe jadi mapres. Udah pasti keren dan tentunya menarik banget, yang udahnya cantik jadi makin cantik dengan prestasi. Tapi jangan salah, tipe cewek begini bukan gampangan. Belom-belom ngedeketin, pasti bakal banyak cowok yang menyisihkan dirinya. Baru 3 minggu gw nikah, udah ada yang nanya udah hamil belom. Iya basa basi sih, atau pingin tahu, atau cari bahan pembicaraan. Terus keinget pengalaman2 ga enak ditanyain kapan nikah jadi energi untuk menahan diri, gausah kepo urusan orang kalo gak pingin bantuin (sebab banyak juga teman2 gw yang baiiiiiiik banget nanya tuh emang karena mau bantuin). Last last, yang sering ngebully gw (dan teman lain) ga nikah - nikah dengan cara yang kurang beradab, ngucapan selamat aja gak, apalagi kado. Yang cerewet ngulang2 nasihat nyuruh gw nikah dengan segudang teori yang GW UDAH KHATAM, eh ya gitu aja, kirain bakal ngado rumah sebagai penebus dosa, minimal mobil gitu. Wkwk. (Tobat diiiin, tobattt, ra sah dendam Nyi Pelet). Kenapa gak komentar semacam itu dikasihinnya ke pelaku aja: “ngapain sih lo nanya - nanya apalagi sambil ngebully.

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During the weeks of Winter Recess (February 19 - 23, 2018) and Spring Break (April 2 - 6, 2018), BMS provides day programing for students ages 5-12 years old. Students will have daily instruction in a range of classes including, Musical Theater, African Drums, Hip Hop, Drum Rhythmology, Guitar and Contemporary Dance. here is also a scheduled snack, lunch, creative time, and outdoor play at Fort Greene Park. It was published by New York postal worker Victor Hugo Green from 1936 to 1967, and listed establishments such as hotels, restaurants, beauty salons, nightclubs, bars, gas stations, and more, where black travelers would be welcome. In an age of sundown towns, segregation, and the Civil Rights Movement, The Green Book became an indispensable tool for safe navigation. It will also include two banners by Cauleen Smith, featured in the 2017 Whitney Biennial, and now in the permanent collection of the Museum of Arts and Design, and two sculptures exploring locations in Harlem and D. . from William D. Williams’s 2012 Dresser Truck Project. Lesley Heller Gallery is pleased to present a solo exhibition of new works by John Torreano. Torreano is widely known for his colorful paintings on flat or molded plywood panels which incorporate acrylic gemstones set into painted and routered surfaces. Torreano's practice pulls heavily from the cosmic compositions of stellar imagery; constellations and nebulae serving as both inspiration and confirmation of his paintings. The exhibitions' title, Dark Matters Without Time, takes this reference further, building on the relationship dark matter has as an unseen yet binding force in the universe and the parallel references in Torreano's abstraction of undefined space as being enigmatic yet universal. They envelop the viewer, drawing the gaze in and past the brush marks and routered shapes—which reference proto planets and dense gaseous clouds within nebulae—into the vast expanse of the works. Torreano's brushwork also conjures an impressionist sensibility reminiscent of Cezanne or Monet with its energetic and gestural strokes. Torreano has exhibited his works extensively since the late 1960s including at the Whitney Museum of American Art, the Museum of Modern Art in New York, the Museum of Contemporary Art in Chicago, and the Corcoran Gallery of Art in Washington, D.

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The CMS converts thecolorfi-om the scanner profile to the print profile. 278 Real World Color Management, Second Edition But, in the real world, things are rarely that simple. Our originals almost always have a wider gamut than our output, and even the best profilewith the best perceptual rendering is unlikely to do equal justice to all imageswe typically need to make different compromises to a pictureof a black cat in a coal cellar and one of a polar bear in the snow, to cite a couple ofextreme examples. So we almost always need to edit our images,even if they were captured perfectly. Input device spaces describe the behavior of capture devices, and as a result they usually have two properties that make them less than ideal as image-editing spaces: Input spaces are rarely gray-balanced. In a gray-balanced space, equal values of R, G, and B always producea neutral gray, which simplifies one of the most powerful techniques for correcting color: pull the neutrals into place and the rest of the color fol- lows. In a non-gray-balanced capture space, this is a lot more difficult to accomplish. n a perceptually uniform space, the same incremental change in the numbers produces the same degree ofchange in the appearance, no mat- ter where in the color gamut and tonal range it takes place. Capture spaces generally lack this property, which again makes them more difficult to use for editing. One solution, embodied in Adobe Systems' applications but usable by others, is to use a device-independent, gray- balanced, perceptually uniform space such as Adobe RGB (1998) for edit- ing. This approach has proven sufficiently popular to spawn a plethora of editing spacesoften named for their developersand debating the mer-its ofeach is decidedly outside the scope of this book. Instead, we'll simply say that the main criterion in choosing an editing space is its gamut. igger isn't necessarily better. The trade-off is between finding an edit- ing space that won't clip colors in either your capture or your output, and finding an editing space that doesn't waste huge numbers of bits describ- ing colors that you can't capture, display, print, or in some cases, even see. In practice, it's pretty much impossible to find a space that contains Chapter 10: Color Management Workflow 279 all your colors yet doesn't waste bits, so you simply have to pick the best trade-off for your particular purposes. CIELAB.