text:
Coat of arms of New York

The coat of arms of the state of New York was formally adopted in 1778, and appears as a component of the state's flag and seal.

The shield displays a masted ship and a sloop on the Hudson River (symbols of inland and foreign commerce), bordered by a grassy shore and a mountain range in the background with the smiling sun rising behind it. The unheraldic nature of the Hudson River landscape reveals the modern origin of the design.

The shield has two supporters:

 * Left: Liberty, with the Revolutionary imagery of a Phrygian cap raised on a pole. Her left foot treads upon a crown that represents freedom from the British monarchy that once ruled what is now New York as a colony.
 * Right: Justice, wearing a blindfold (representing impartiality) and holding scales (representing fairness) and the sword of justice.

A banner below the shield shows the motto Excelsior, a Latin word meaning "higher", "superior", "lordly", commonly translated as "Ever Upward." Following the adoption of the 2021 State Budget in April 2020, a secondary motto, E pluribus unum, appears.

Flags bearing the pre-2020 coat of arms (i.e. without the motto E pluribus unum) are still widely used so long as serviceable.

The shield is surmounted by a crest consisting of an eagle surmounting a world globe.

The flag of New York is the coat of arms on a solid blue background and the state seal of New York is the coat of arms surrounded by the words "The Great Seal of the State of New York." It is one of nine U.S. state flags to feature an eagle, alongside those of Illinois, Iowa, Michigan, Missouri, North Dakota, Oregon, Pennsylvania and Wyoming.

Blazon
The official blazon for the coat of arms is:

 * Charge. Azure, in a landscape, the sun in fess, rising in splendor or, behind a range of three mountains, the middle one the highest; in base a ship and sloop under sail, passing and about to meet on a river, bordered below by a grassy shore fringed with shrubs, all proper.

 * Crest. On a wreath azure and or, an American eagle proper, rising to the Dexter from a two-thirds of a globe terrestrial, showing the north Atlantic ocean with outlines of its shores.

 * ''Supporters. On a quasi compartment formed by the extension of the scroll.

 * Dexter. The figure of Liberty proper, her hair disheveled and decorated with pearls, vested azure, sandaled gules, about the waist a cincture or, fringed gules, a mantle of the last depending from the shoulders behind to the feet, in the dexter hand a staff ensigned with a Phrygian cap or, the sinister arm embowed, the hand supporting the shield at the dexter chief point, a royal crown by her sinister foot dejected.

 * Sinister. The figure of Justice proper, her hair disheveled and decorated with pearls, vested or, about the waist a cincture azure, fringed gules, sandaled and mantled as Liberty, bound about the eyes with a fillet proper, in the dexter hand a straight sword hilted or, erect, resting on the sinister chief point of the shield, the sinister arm embowed, holding before her scales proper.

 * Motto. On a scroll below the shield argent, in sable, two lines. On line one, Excelsior and on line two, E pluribus unum.

Interpretation
According to Joseph Gavit in New York History, Volume XXXI, the seal symbolizes the following:

 * In the center, a shield reveals the sun rising behind Mount Beacon over the Hudson River. "The shield symbolizes in the full sun the name and idea of Old York and the old world; the mountains, river and meadow, with the ships, convey the name and idea of New York in the new world."
 * To the right, Justice is ready to fight tyranny with her sword held high.
 * Liberty, on the left, holds her foot on the overthrown English crown. "This New York is supported by Justice and Liberty, and discards monarchy."
 * The world globe is displayed above the shield. "By exhibiting the eastern and western continents on the globe, the old and new are brought together;"
 * Above the world globe soars the eagle. "while the eagle on the crest proclaims," Westward the course of empire takes its way."
 * The bottom ribbon exclaims "Excelsior", which means "still higher" or "ever upward".

History
The first version of the coat of arms on the state flag was adopted in 1778 and has been slightly redesigned over the years. The present flag itself is a contemporary variant of an American Revolutionary War-era flag. The original is at the Albany Institute of History & Art.

The flag was not well defined at first, but variations of a flag with the state's coat of arms have existed since 1777. In 1858 the Adjuntant General's office issued that the state flag features the state's coat of arms over a white background. The flag was formally adopted by the state legislature in 1896 featuring a buff background. The legislature changed the field of the flag from to blue by a law enacted on April 2, 1901.

In 2001, the North American Vexillological Association (NAVA) surveyed its members on the designs of the 72 U.S. state, U.S. territorial, and Canadian provincial flags. After the survey was completed, NAVA members chose the flag of New York to be ranked 53rd out of the 72.

In April 2020, the 2021 state budget was passed, modifying the coat of arms to include "E Pluribus Unum" as a secondary motto beneath "Excelsior". The state seal and flag were also updated as well to reflect the change.

title: Coat of arms of New York


text:
List of non-standard dates

Several non-standard dates are used in calendars for various purposes: some are expressly fictional, some are intended to produce a rhetorical effect (such as sarcasm), and others attempt to address a particular mathematical, scientific or accounting requirement or discrepancy within the calendar system.

January 0
January 0 or 0 January is an alternative name for December 31. January 0 is the day before January 1 in an annual ephemeris. It keeps the date in the year for which the ephemeris was published, thus avoiding any reference to the previous year, even though it is the same day as December 31 of the previous year. January 0 also occurs in the epoch for the ephemeris second, "1900 January 0 at 12 hours ephemeris time". 1900 January 0 (at Greenwich Mean Noon) was also the epoch used by Newcomb's Tables of the Sun, which became the epoch for the Dublin Julian day.

February 30

February 30 or 30 February is a date that does not occur on the Gregorian calendar, where the month of February contains only 28 days, or 29 days in a leap year. However, from a historical perspective February 30 has been used at least once and appears in some reform calendars.

The thirteenth-century scholar Johannes de Sacrobosco claimed that in the Julian calendar, February had 30 days in leap years from 45 BC until 8 BC, when Augustus allegedly shortened February by one day to give that day to the month of August named after him so that it had the same length as the month of July named after his adoptive father, Julius Caesar. However, all historical evidence refutes Sacrobosco, including dual dates with the Alexandrian calendar.

February 30 was a day that happened in Sweden, 1712. This occurred because, instead of changing from the Julian calendar to the Gregorian calendar by omitting a block of consecutive days, as had been done in other countries, the Swedish Empire planned to change gradually by omitting all leap days from 1700 to 1740, inclusive. Although the leap day was omitted in February 1700, the Great Northern War began later that year, diverting the attention of the Swedes from their calendar so that they did not omit leap days on the next two occasions; 1704 and 1708 remained leap years.

To avoid confusion and further mistakes, the Julian calendar was restored in 1712 by adding an extra leap day, thus giving that year the only known actual use of February 30 in a calendar. That day corresponded to February 29 in the Julian calendar and to March 11 in the Gregorian calendar. The Swedish conversion to the Gregorian calendar was finally accomplished in 1753, when February 17 was followed by March 1.

Artificial calendars may also have 30 days in February. For example, in a climate model the statistics may be simplified by having 12 months of 30 days. The Hadley Centre General Circulation Model is an example.

February 31
February 31 or 31 February is exceptionally used on gravestones when the date is unknown, or, in at least one case, out of supposed superstition (more likely a typo).

May 35
May 35 or 35 May is used in mainland China to avoid censorship when referring to the Tiananmen Square protests of 1989, where the official names are strictly censored by the national government, and the event is normally referred to as June 4. It is also used in the title of The 35th of May, or Conrad's Ride to the South Seas, a German children's novel published in 1931.

December 31.5 GMT
"December 31.5 GMT" in 1924 almanacs was an instant defined to solve the contrast between two different conventions in defining the civil time of referring to midnight as zero hours.

December 32, 1980
The LearAvia Lear Fan aircraft test flight had British government "funding that expired at the end of that year." After the cancellation of a planned test flight on December 31, 1980, due to technical issues, the first prototype made its maiden flight on January 1, 1981, but sympathetic government official recorded the date as "December 32, 1980".

Software
Several non-standard dates are also used in programming. In Microsoft Excel, the epoch of the 1900 date format is January 0, 1900. February 31 is used (along with February 32 and February 33) for calculating weather data, and March 0 or 0 March is used often in software engineering.

Other uses
March 0 is used in astronomy.

Fictional calendars
In the works of J. R. R. Tolkien, the Hobbits have developed the Shire Reckoning. According to Appendix D of The Lord of the Rings, this calendar has arranged the year in 12 months of 30 days each. The month the Hobbits call Solmath is rendered in the text as February, and therefore the date February 30 exists in the narrative.

February 30, 1951, is the last night of the world in Ray Bradbury's short story "Last Night of the World".

June 31 is a fictional date in the Soviet film 31 June. It is also the date of a fictional RAF raid on Germany in Len Deighton's 1970 novel Bomber.

December 32 or 32 December is the date of Hogswatchnight in Hogfather by Terry Pratchett. It has also been used as a title for various works.

The children's book Please Try to Remember the First of Octember! by Dr. Seuss narrates many delightful things which are supposed to happen starting on the first day of the fictional month of Octember.

In popular culture
March 0 is used in Doomsday algorithm calculations. March 2 was celebrated as February 30 by Lin-Manuel Miranda and Weird Al Yankovic for the release date of Yankovic's "The Hamilton Polka".

In November 2010 it was discovered that a Hanshin Tigers wall calendar incorrectly included the date November 31. Fans who had bought the calendar were given a sticker to cover up the date, and reprinted calendars were sent.

In the episode "94 Meetings" of the sitcom Parks and Recreation, Ron Swanson is forced to deal with 94 meetings in a single day because his assistant, April, scheduled them all for March 31st (instead of the common fake date of February 31st), mistakenly believing it was not a real date.

Soul band Black Pumas included a song named "OCT 33" on their Grammy-nominated 2019 eponymous album.

The 1998 French-language film August 32nd on Earth was written and directed by Denis Villeneuve, and was his feature film directoral debut.

Reform calendars
Because evening out the lengths of the months is part of the rationale for reforming the calendar, some reform calendars, such as the World Calendar and the Hanke–Henry Permanent Calendar, contain a 30-day February. The Symmetry454 calendar assigns 35 days to February, May, August, and November, as well as December in a leap year.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: List of non-standard dates


text:
Melting pot

A melting pot is a monocultural metaphor for a heterogeneous society becoming more homogeneous, the different elements "melting together" with a common culture; an alternative being a homogeneous society becoming more heterogeneous through the influx of foreign elements with different cultural backgrounds, possessing the potential to create disharmony within the previous culture. It can also create a harmonious hybridized society known as cultural amalgamation. In the United States, the term is often used to describe the cultural integration of immigrants to the country. A related concept has been defined as "cultural additivity."

The melting-together metaphor was in use by the 1780s. The exact term "melting pot" came into general usage in the United States after it was used as a metaphor describing a fusion of nationalities, cultures and ethnicities in Israel Zangwill's 1908 play of the same name.

The desirability of assimilation and the melting pot model has been rejected by proponents of multiculturalism, who have suggested alternative metaphors to describe the current American society, such as a  salad bowl, or kaleidoscope, in which different cultures mix, but remain distinct in some aspects. The melting pot continues to be used as an assimilation model in vernacular and political discourse along with more inclusive models of assimilation in the academic debates on identity, adaptation and integration of immigrants into various political, social and economic spheres.

Use of the term
The concept of immigrants "melting" into the receiving culture is found in the writings of J. Hector St. John de Crèvecœur. In his Letters from an American Farmer (1782) Crèvecœur writes, in response to his own question, "What then is the American, this new man?" that the American is one who "leaving behind him all his ancient prejudices and manners, receives new ones from the new mode of life he has embraced, the government he obeys, and the new rank he holds. He becomes an American by being received in the broad lap of our great Alma Mater.  Here individuals of all nations are melted into a new race of men, whose labors and posterity will one day cause great changes in the world."

In 1845, Ralph Waldo Emerson, alluding to the development of European civilization out of the medieval Dark Ages, wrote in his private journal of America as the Utopian product of a culturally and racially mixed "smelting pot", but only in 1912 were his remarks first published.

A magazine article in 1876 used the metaphor explicitly:

"The fusing process goes on as in a blast-furnace; one generation, a single year even—transforms the English, the German, the Irish emigrant into an American. Uniform institutions, ideas, language, the influence of the majority, bring us soon to a similar complexion; the individuality of the immigrant, almost even his traits of race and religion, fuse down in the democratic alembic like chips of brass thrown into the melting pot."

In 1893, historian Frederick Jackson Turner also used the metaphor of immigrants melting into one American culture. In his essay The Significance of the Frontier in American History, he referred to the "composite nationality" of the American people, arguing that the frontier had functioned as a "crucible" where "the immigrants were Americanized, liberated and fused into a mixed race, English in neither nationality nor characteristics".

In his 1905 travel narrative The American Scene, Henry James discusses cultural intermixing in New York City as a "fusion, as of elements in solution in a vast hot pot".

Multiracial influences on culture
White Americans long regarded some elements of African-American culture quintessentially "American", while at the same time treating African Americans as second-class citizens. White appropriation, stereotyping and mimicking of black culture played an important role in the construction of an urban popular culture in which European immigrants could express themselves as Americans, through such traditions as blackface, minstrel shows and later in jazz and in early Hollywood cinema, notably in The Jazz Singer (1927).

Analyzing the "racial masquerade" that was involved in creation of a white "melting pot" culture through the stereotyping and imitation of black and other non-white cultures in the early 20th century, historian Michael Rogin has commented: "Repudiating 1920s nativism, these films [Rogin discusses The Jazz Singer, Old San Francisco (1927), Whoopee! (1930), King of Jazz (1930) celebrate the melting pot. Unlike other racially stigmatized groups, white immigrants can put on and take off their mask of difference. But the freedom promised immigrants to make themselves over points to the vacancy, the violence, the deception, and the melancholy at the core of American self-fashioning".

Ethnicity in films
This trend towards greater acceptance of ethnic and racial minorities was evident in popular culture in the combat films of World War II, starting with Bataan (1943). This film celebrated solidarity and cooperation between Americans of all races and ethnicities through the depiction of a multiracial American unit. At the time blacks and Japanese in the armed forces were still segregated, while Chinese and Indians were in integrated units.

Historian Richard Slotkin sees Bataan and the combat genre that sprang from it as the source of the "melting pot platoon", a cinematic and cultural convention symbolizing in the 1940s "an American community that did not yet exist", and thus presenting an implicit protest against racial segregation. However, Slotkin points out that ethnic and racial harmony within this platoon is predicated upon racist hatred for the Japanese enemy: "the emotion which enables the platoon to transcend racial prejudice is itself a virulent expression of racial hatred...The final heat which blends the ingredients of the melting pot is rage against an enemy which is fully dehumanized as a race of 'dirty monkeys. He sees this racist rage as an expression of "the unresolved tension between racialism and civic egalitarianism in American life".

Olympic Games
Following the September 11, 2001 terrorist attacks, the 2002 Winter Olympics in Salt Lake City strongly revived the melting pot image, returning to a bedrock form of American nationalism and patriotism. The reemergence of Olympic melting pot discourse was driven especially by the unprecedented success of African Americans, Mexican Americans, Asian Americans, and Native Americans in events traditionally associated with Europeans and white North Americans such as speed skating and the bobsled. The 2002 Winter Olympics was also a showcase of American religious freedom and cultural tolerance of the history of Utah's large majority population of the Church of Jesus Christ of Latter-day Saints, as well as representation of Muslim Americans and other religious groups in the U.S. Olympic team.

Melting pot and cultural pluralism
In Henry Ford's Ford English School (established in 1914), the graduation ceremony for immigrant employees involved symbolically stepping off an immigrant ship and passing through the melting pot, entering at one end in costumes designating their nationality and emerging at the other end in identical suits and waving American flags.

In response to the pressure exerted on immigrants to culturally assimilate and also as a reaction against the denigration of the culture of non-Anglo white immigrants by Nativists, intellectuals on the left, such as Horace Kallen in Democracy Versus the Melting-Pot (1915), and Randolph Bourne in Trans-National America (1916), laid the foundations for the concept of cultural pluralism. This term was coined by Kallen.

In the United States, where the term melting pot is still commonly used, the ideas of cultural pluralism and multiculturalism have, in some circles, taken precedence over the idea of assimilation. Alternate models where immigrants retain their native cultures such as the "salad bowl" or the "symphony" are more often used by sociologists to describe how cultures and ethnicities mix in the United States. Mayor David Dinkins, when referring to New York City, described it as "not a melting pot, but a gorgeous mosaic...of race and religious faith, of national origin and sexual orientation – of individuals whose families arrived yesterday and generations ago..."

Since the 1960s, much research in Sociology and History has disregarded the melting pot theory for describing interethnic relations in the United States and other countries.

Whether to support a melting-pot or multicultural approach has developed into an issue of much debate within some countries. For example, the French and British governments and populace are currently debating whether Islamic cultural practices and dress conflict with their attempts to form culturally unified countries.

Israel
Today the reaction to this doctrine is ambivalent; some say that it was a necessary measure in the founding years, while others claim that it amounted to cultural oppression. Others argue that the melting pot policy did not achieve its declared target: for example, the persons born in Israel are more similar from an economic point of view to their parents than to the rest of the population.

Southeast Asia
The term has been used to describe a number of countries in Southeast Asia. Given the region's location and importance to trade routes between China and the Western world, certain countries in the region have become ethnically diverse. In Vietnam, a relevant phenomenon is "tam giáo đồng nguyên" (lit. "Three spears, one point," idiomatically "three teachers, one lesson"), references the harmonious co-existence and mutually influencing teachings of the nation's three major religious schools, Confucianism, Buddhism, and Taoism, demonstrating a process described as "cultural addivity".

In popular culture

 * Animated educational series Schoolhouse Rock! has a song entitled "The Great American Melting Pot".

Quotations
"Man is the most composite of all creatures.... Well, as in the old burning of the Temple at Corinth, by the melting and intermixture of silver and gold and other metals a new compound more precious than any, called Corinthian brass, was formed; so in this continent—asylum of all nations—the energy of Irish, Germans, Swedes, Poles, and Cossacks, and all the European tribes—of the Africans, and of the Polynesians—will construct a new race, a new religion, a new state, a new literature, which will be as vigorous as the new Europe which came out of the smelting-pot of the Dark Ages, or that which earlier emerged from the Pelasgic and Etruscan barbarism."

"These good people are future 'Yankees.' By next year they will be wearing the clothes of their new country, and by the following year they will be speaking its language. Their children will grow up and will no longer even remember the mother country. America is the melting pot in which all the nations of the world come to be fused into a single mass and cast in a uniform mold."

"No reverberatory effect of The Great War has caused American public opinion more solicitude than the failure of the 'melting-pot.' The discovery of diverse nationalistic feelings among our great alien population has come to most people as an intense shock."

"Blacks, Chinese, Puerto Ricans, etcetera, could not melt into the pot. They could be used as wood to produce the fire for the pot, but they could not be used as material to be melted into the pot."

title: Melting pot


text:
File:Patenschafts.png

Summary
Herbert Wohlfarth's promissory note to Ernst Lindemann

title: File:Patenschafts.png


text:
Talk:Navigation Act 1651

where can i fine just the 12 navigation acts, the date and a small 2 sentance summery about each act???

At school, as a Dutchman I was taught that England also gave itself the right to inspect foreign shipping to control this act. The excerpt of the act does bot mention this. Can it be found anywhere else, or did my teachers err? TeunSpaans 08:24 16 Jun 2003 (UTC)

title: Talk:Navigation Act 1651


text: User:Ppareit

title: User:Ppareit


text:
User talk:Ppareit

Hello there, welcome to the 'pedia! I hope you like the place and decide to stay. If you ever need editing help visit How does one edit a page and experiment at Sandbox. If you need pointers on how we title pages visit Naming conventions or how to format them visit our manual of style. If you have any other questions about the project then check out Help or add a question to the Village pump. Cheers! --maveric149

 * Thanks for the welcome, I feel at home already. --ppareit

 * I'm glad to hear it. :-) --mav 15:19 Feb 8, 2003 (UTC)

Proposed deletion of File:Triangle-ABC.jpg

The file File:Triangle-ABC.jpg has been proposed for deletion because of the following concern: "unused, low-res, no obvious use"

While all constructive contributions to Wikipedia are appreciated, pages may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the file's talk page.

Please consider addressing the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and files for discussion allows discussion to reach consensus for deletion.

This bot DID NOT nominate any file(s) for deletion; please refer to the page history of each individual file for details. Thanks, FastilyBot (talk) 01:01, 3 June 2019 (UTC)

title: User talk:Ppareit


text:
Journey into Space

Journey Into Space is a BBC Radio science fiction programme written by BBC producer Charles Chilton. It was the last UK radio programme to attract a bigger evening audience than television. Originally, four series were produced (the fourth was a remake of the first), which was translated into 17 languages (including Hindi, Turkish and Dutch) and broadcast in countries worldwide (including Australia, the Netherlands, New Zealand and The United States). Chilton later wrote three best-selling novels and several comic strip stories based upon the radio series.

The first series was created in 1953, soon after Riders of the Range (a popular Western, also written by Chilton) ended its six series on the BBC Light Programme. Michael Standing, then Head of the BBC Variety Department, asked Chilton if he could write a sci-fi programme, and Journey to the Moon (later known as Operation Luna) was the result. Each half-hour episode would usually end with a dramatic cliffhanger, to increase the audience's incentive to tune into the next episode.

The original magnetic recordings of the show were erased shortly after broadcast, and for several decades it was believed that no recordings of the show had survived, although some were broadcast by the American Forces Radio and Television Service (AFRTS, formerly AFN) in Europe during the late 1970s. In 1986, a set of misfiled Transcription Service discs (produced for sale to overseas radio stations) was discovered, containing complete copies of the three original series (more accurately, the surviving version of the first series is a cut-down remake of the original, produced for the Transcription Service during the 1950s). This discovery enabled the BBC to begin re-broadcasting the show in the late 1980s, and release copies of the show, first on audio cassette, and more recently on CD and internet download.

Fans of Journey Into Space included Colin Pillinger, Kenny Everett, John Major, Stephen Hawking, Miriam Margolyes and former Doctor Who producer Philip Hinchcliffe.

The main characters
The four main characters appear in all the original series, as well as the later special episodes:

Guy Kingsley Poynter (who played Doc) had worked with Charles Chilton before Journey Into Space, and Chilton once commented that Poynter "was a very good poetry reader". Chilton also observed that Bruce Beeby was like his character Mitch, and was "always blowing his top".

David Kossoff asked Chilton if his character (the ship's radio operator) could be called Lemuel (a name he loved), and Chilton shortened the name to Lemmy. Chilton based Lemmy's character on himself, since he had been a radio operator in the RAF. Originally, Chilton had chosen John Glen to play Jet, but later decided to use Andrew Faulds instead, because Chilton's secretary fancied him.

David Jacobs's ability to play a wide variety of characters, each with their own distinctive voice, resulted in him playing 22 different characters during the course of Journey Into Space. He used to mark up his script using different colour pencils, to help him remember what each character was supposed to sound like. In episode 1 of The Red Planet, Jet is interviewed by a group of newspaper reporters, all of whom were played by Jacobs.

Light-hearted pranks were often played on David Jacobs just before a recording session was about to begin. On one occasion, Andrew Faulds poured a jug of water inside his trousers, totally soaking him, and he "did the rest of the programme in a raincoat!" On another occasion, some of the actors smeared mustard on his lip microphone, causing him some difficulties during the recording session.

Don Sharp later became a noted director.

Journey to the Moon/Operation Luna
Initially, the first series was simply known as Journey Into Space, with the subtitle A Tale of the Future added by the Radio Times, but within the BBC it became known as Journey to the Moon. The series was set in 1965 (the year in which Chilton believed humans would first walk on the Moon ), and was first broadcast in 1953–1954 on the BBC Light Programme. The series was originally intended to have 12 episodes (one source claims 8 episodes ), and 5.1 million people tuned into the first episode, but the first four episodes (which took place on Earth) did not prove very popular, and the audience soon shrank to fewer than 4 million. But once the rocket set off for the Moon in episode 5, the audience reaction was much more favourable. The series was extended to 18 episodes, and by the time the final episode was broadcast, 8 million people were tuning in.

In 1958, Journey to the Moon was re-recorded for the BBC Transcription Services (retitled as Operation Luna), because the original recordings had been erased. The first four episodes of the original series were omitted, and episodes 12 and 13 were merged into a single episode. Today, the only surviving recording from the original 1953 series Journey to the Moon is a 5-minute excerpt from the final episode.

Faulds, Kingsley Poynter, and Deryck Guyler were the only actors from Journey to the Moon to reprise their roles in Operation Luna.

In addition to the main characters, other characters in Journey to the Moon included:

(*) Alan Keith (born Alec Kossoff) was the brother of David Kossoff, who played Lemmy.

Chilton wrote episode 8 of Journey to the Moon in response to a challenge from a TV producer, who considered the success of the series to be "a fluke". The producer challenged Chilton to write an episode "that could not be played equally well on television", and Chilton succeeded – a large proportion of the episode takes place in total darkness. During the episode, Jet reads to the rest of the crew by torchlight from The First Men in the Moon by H. G. Wells, the only work of fiction carried on board the ship.

Andrew Faulds's adopted uncle, Hector MacPherson, was an astronomer, and wrote a book called Practical Astronomy. Chilton bought a copy of the book, which first sparked his interest in astronomy, and later led him to write Journey Into Space. In episode 7 of Journey to the Moon, Jet's childhood flashback features his great uncle Hector, who was based on Hector MacPherson.

In November 1957, Chilton wrote an episode of the BBC School Radio science series Our Own and Other Worlds, titled "A Trip to the Moon", which featured edited material from episodes 5 and 6 of Journey to the Moon.

The table below indicates the correspondence between the episodes of Journey to the Moon and Operation Luna.

The Red Planet

The second series, The Red Planet, followed the adventures of the crew in their first attempt to reach and explore Mars. Several new characters were introduced, the most notable of which were Frank Rogers and James Edward Whitaker, the two original crewmen of freighter #2. Chilton took the name Whitaker from a copy of Whitaker's Almanack which was sitting on his desk.

In addition to the main characters, other characters in The Red Planet included:

(*) Married to Bruce Beeby, who played Mitch.

The most memorable catchphrase from this series was "Orders must be obeyed without question at all times", which was often repeated by many of the 'conditioned' characters, especially Whitaker. Episode 19 of the series rated a 17% audience share, whereas the newsreel broadcast simultaneously on BBC TV had an audience share of 16%. This was the last time that a radio show achieved a higher rating than its TV opponent.

During the first broadcast of this series, the Radio Times featured Journey Into Space on its cover, showing Andrew Faulds as Captain "Jet" Morgan. His spacesuit (which was used by several of the cast members for publicity photos) was a prototype being developed in Britain at the time.

During the recording of The Red Planet, Guy Kingsley Poynter was also starring in The Teahouse of the August Moon at Her Majesty's Theatre.

The British Empire Exhibition was referred to throughout the episodes.

In the table of episodes below, the numbers marked with # refer to the numbered freighters of the Mars fleet.

The World in Peril
The third series was a direct continuation of the story begun in The Red Planet, and followed Jet Morgan and his crew's return to Mars in an attempt to avert the impending Martian invasion.

In addition to the main characters, other characters in The World in Peril included:

During the recording of The World in Peril, Alfie Bass was also starring in the revue The Punch Bowl at the Duke of York's Theatre.

Critical reaction and legacy
Public reaction to the show was mixed. Some comments received by the BBC described the show as "a first class affair" and "the best serial for ages". After episode 5 of Journey to the Moon was first broadcast, the Daily Express commented: "Hats off to Charles Chilton, who has switched from Riders of the Range to Journey Into Space with masterly ease. I rate this space travel serial as the most exciting piece of radio material for years." Midway through the original broadcast of The Red Planet, a BBC Audience Research Report indicated that the series "was described as 'thrilling', 'fascinating' and 'most entertaining'... This is obviously very much a family occasion in many homes, the entire household following the adventures of Jet Morgan and Co. with great interest." However, others commented that the plot often featured scientific inaccuracies, even though Chilton had received technical advice from Flight Lieutenant Roger Burton and Kenneth Gatland of the British Interplanetary Society. One correspondent to the Radio Times commented that: "Journey into Space was a glorified interstellar 'horse-opera' with no coherent plot, which relied on odd musical arrangements to bolster up the stilted conversations of characters with no substance. There were no convincing word pictures of the new world: 'Jet' lacked tact and leader qualities and 'Lemmy' was an improbable space traveller, not to mention electronic engineer!" Chilton admitted that he was not a science-fiction writer, astronomer, or scientist, and that his "pursuit of astronomical studies" was "clumsy and very amateurish". He often "worked very late to deadline", sometimes not starting to write an episode until two days before recording.

Journey Into Space remains popular today, thanks to the discovery of misfiled recordings of the show, which enabled the BBC to begin re-broadcasting the show from the late 1980s onwards. "Today it still enjoys a huge fanbase, with active websites and keenly received repeats on digital radio channel BBC Radio 4 Extra."

Philip Hinchcliffe has acknowledged growing up listening to Journey Into Space, citing in particular its cliffhangers, as an influence on his period as producer of the science-fiction television series Doctor Who between 1974 and 1977.

Music
Van Phillips composed and conducted the music for all three series. The music was initially recorded beforehand, and played from acetate discs during the recording sessions. Later, an eight-piece orchestra was actually present in the studio, and played the music live. Phillips liked the sound of the clavioline, and obtained one for use during Journey Into Space. He composed music especially for it, and it was "bolted onto the piano" in the studio. Titles of his compositions include "A Picture of the Universe", "Rocket Away", "Music for Outer Space", "The Red Planet", "Crossing the Plains", and "Sunrise".

In 1955, Decca released a 78rpm record of the Journey Into Space theme, performed by Frank Weir and his orchestra (catalogue number F.10435), and sheet music of a piano solo of the theme was also published. In 1978, the recording was included on the 33⅓rpm BBC compilation record BBC Space Themes (catalogue number REH 324), and in 2005, Vocalion/Dutton Laboratories included it on their digitally remastered compilation CD Presenting Frank Weir And His Saxophone (catalogue number CDLK 4266).

In Journey to the Moon, Lemmy occasionally provided musical entertainment for the crew on his mouth organ, playing songs such as "Knocked 'em in the Old Kent Road" and "My Old Dutch". Excerpts of popular music were often used during the episodes, and sometimes played an important role in the plot. In episode 8 of Journey to the Moon, an excerpt from "Honeymoon on a Rocket Ship" by Hank Snow and The Rainbow Ranch Boys is heard by the crew on the ship's radio. "When It's Night Time In Italy", by James Kendis and Lew Brown, was an important part of episodes 7 and 8 of The Red Planet. Other popular music used in The Red Planet included:
 * "Flat Foot Floogie", by Bulet Galliard, Leroy Stewart, and Bud Green, performed by the Benny Goodman Orchestra
 * The theme tune to the Billy Cotton Band Show
 * "Somebody Stole My Gal", by Lee Wright
 * "Friends and Neighbours", by Marvin Scott and Malcolm Lockyer
 * "Selection of Hebrew Dances Part 2", by Ambrose and his orchestra
 * Banjo music by Billy Bell

The World in Peril featured a 'rebel song', sung by the 'conditioned' men aboard the Martian asteroids. This song was actually a musical arrangement of The Green Hills of Earth (a poem taken from Robert Heinlein's short story of the same name), performed by the George Mitchell Choir. In the final episode of The World in Peril, Chopin Opus 34: No. 2: Valse brillante in A minor is heard playing over the radio.

Sound effects
A variety of sound effects were used in the episodes, and played a major role. In addition to basic sounds, such as feet walking along a corridor or tunnel, more advanced effects were created, such as the mysterious haunting 'music' which is heard over the rocket's radio in many episodes of Operation Luna.

The most distinctive effect was the dramatic rocket take-off, which was played at the beginning of each episode, and whenever necessary during the episodes. This was actually a recording of a jet aircraft at Heathrow airport. Often, this would be followed by a slowly ascending tone (representing the rocket accelerating), which "was actually a recording of a thermionic valve played through an echo chamber down at the Physical Research Laboratory at Kingston". Other sound effects were created at Battersea Power Station, and the sound made by the televiewer on board Luna was actually a naval ASDIC.

The BBC had an echo chamber in the studio, which was greatly utilised during the episodes. Whenever the crew were in contact by radio with Earth control, or another distant location, the echo chamber would be applied to the voice of the remote character. Various sound effects were also created "live" in the studio. For example, in episode 8 of Journey to the Moon, the crew hear a mysterious tapping on the outside of the ship; this effect was created "by tapping the needle of the gramophone pickup head, and playing that through an echo chamber".

The operation of the Martian "Brain" when compiling an answer in response to questions was represented by the sound of a 2000-type Director - a telephone call routing device used in large city Strowger type telephone exchanges.

Novels
Chilton wrote three Journey Into Space novels, one for each of the three original series. The first novel, titled Journey Into Space, told the story of Journey to the Moon and was the first book that Chilton had written. It was published in hardback by Herbert Jenkins in 1954, followed by The Red Planet in 1956, and The World in Peril in 1960. Later they were published in paperback by Pan in 1958, 1960 and 1962 respectively.

On 8 May 2008, BBC Audiobooks released a complete and unabridged audiobook of the first novel, read by William Hope.

Comic strips
In 1956, the Junior Express comic began publishing Journey Into Space comic strips, with scripts by Charles Chilton and artwork by Italian artist Ferdinando Tacconi. The first adventure, titled Jet Morgan in Planet of Fear, was a 35-episode sequel to The World in Peril. Tacconi spent some time with Chilton absorbing the atmosphere of the saga, and portrayed (in full colour) the radio actors' likenesses to match the clever dialogue.

The story was continued in 1957 in the 32-episode adventure, Shadow over Britain. In March 1957, Arthur Bruce Cornwell took over from Tacconi as artist, and Chilton lost his enthusiasm for the cartoon strip; thereafter it became a contractual chore for him. Terence Patrick took over from Cornwell in April 1957, and by the time the third adventure began (The World Next Door), Chilton was no longer writing the scripts.

The 1956 Express Weekly annual contained a short black & white comic strip called Jet Morgan and the Space Pirates, illustrated by Tacconi. (Express Weekly was the new name of Junior Express.) The 1957 annual included a short story called Jet Morgan and the Space Castaway, written by Chilton and illustrated by Cornwell.

Discovery of Transcription discs
The programmes were recorded in the studio on 15ips magnetic tape, and were later copied onto 33⅓rpm 16-inch coarse-groove transcription discs for the BBC Transcription Services (except for Journey to the Moon episodes). The master tapes were erased three months after broadcast, in accordance with BBC policy at the time. The Transcription discs were sold overseas, and their fate was unknown, so for many years it was believed that all the episodes had been lost forever, although a number were broadcast by the American Forces Radio and Television Service (AFRTS, formerly AFN) in Europe during the late 1970s.

However, in 1986, a set of misfiled Transcription discs were found by Ted Kendall, a BBC recording engineer, which turned out to be copies of Operation Luna, The Red Planet and The World in Peril. The BBC no longer possessed a suitable turntable on which to play the discs, but Kendall eventually managed to obtain an EMT 927 turntable. To clean the discs, he soaked them in warm water containing Fairy Liquid, brushed them with a goats-hair brush, and dried them using kitchen towels.

Kendall then transferred the recordings to magnetic tape, removing "clicks" from the sound using a device which he designed and built, called the Mousetrap (or Front End). He removed more severe clicks after the transfer, by scraping the oxide off the magnetic tape in appropriate places.

The BBC took the opportunity to re-broadcast all three series on Radio 2, beginning with Operation Luna in 1989, followed by The Red Planet in 1990 and The World in Peril in 1991. Abridged versions of the three series were also released on audio cassette. In 1998, Kendall digitally remastered the recordings for new abridged releases on audio cassette, and in 2004, the unabridged remastered recordings began to be released on CD and internet download. The three series have also been broadcast on BBC Radio 7, now known as BBC Radio 4 Extra.

The Return from Mars
In 1981, Radio 4's Saturday Night Theatre slot ran a special science fiction series, featuring stories such as The First Men in the Moon, The Chrysalids, A Fall of Moondust and The Technicolor Time Machine. Charles Chilton was asked to write a new one-off 90-minute episode of Journey Into Space for this slot, and The Return from Mars was the result. The plot was an approximate continuation from the end of The World in Peril. The episode was broadcast on 7 March 1981.

In addition to the main characters, other characters in The Return from Mars included:

Frozen in Time
This was a new episode based on the original series, with David Jacobs finally taking the role of Jet Morgan (who has aged while the rest of his crew were in suspended animation owing to a systems malfunction). Charles Chilton wrote the one-hour play which was set in the year 2013. It was broadcast on Radio 4 on Saturday 12 April 2008. This was released by BBC Audio in January 2009. ISBN 978-1-4084-0104-0

Music by David Chilton; producer/director Nicholas Russell-Pavier.

The Host
A further new episode based on the original series by Chilton, written by Julian Simpson starred Toby Stephens as Jet Morgan. Another one-hour play, it was set in the year 2079. Broadcast as The Saturday Play on Radio 4 on Saturday 27 June 2009.

Audiobooks
Currently, only the first novel has been released as an audiobook.

In translation
A Dutch-language version of the first three series of Journey into Space was broadcast in the Netherlands by the Katholieke Radio Omroep (KRO) in 1955–1958 under the title, directed by Léon Povel. Translation was by Eddy Franquinet and the main character roles were played by John de Freese (Jeff Morgan [sic]), Adolf Bouwmeester / Louis de Bree (Doc Matthews), Jan van Ees (Mitch Mitchell), and Jan Borkus (Jimmy Barnett).

Director Léon Povel died just a few days after Charles Chilton, on 8 January 2013, at the age of 101 years. After his death, his youngest son Winfried Povel started recording the fourth series with professional actors and as a special guest the Dutch astronaut André Kuipers. The recording was much longer than the BBC version, at 2 hours 11 minutes, so the play was edited into four episodes (30–36 minutes each) and broadcast as a mini-series. It was broadcast in January 2014 by the KRO-NCRV as well on NPO Radio 5 and repeated the same night on NPO Radio 1.

Other related series
Chilton followed Journey Into Space with two other radio series – Space Force in 1984 and Space Force II in 1985 – which were based on a similar theme. Indeed, Space Force had originally been intended as a new Journey Into Space serial, following on from The Return from Mars, until relatively late in the day, so its four central characters are clear 'doubles' for the Journey Into Space team. In the version that was actually recorded and transmitted, one character (Chipper Barnett) refers to his grandfather Lemmy.

title: Journey into Space


text:
Watercolor painting

Watercolor (American English) or watercolour (British English; see spelling differences), also aquarelle (from Italian diminutive of Latin aqua 'water'), is a painting method in which the paints are made of pigments suspended in a water-based solution. Watercolor refers to both the medium and the resulting artwork. Aquarelles painted with water-soluble colored ink instead of modern water colors are called aquarellum atramento (Latin for "aquarelle made with ink") by experts. However, this term has now tended to pass out of use.

The conventional and most common support — material to which the paint is applied—for watercolor paintings is watercolor paper. Other supports or substrates include stone, ivory, silk, reed, papyrus, bark papers, plastics, vellum, leather, fabric, wood, and watercolor canvas (coated with a gesso that is specially formulated for use with watercolors). Watercolor paper is often made entirely or partially with cotton. This gives the surface the appropriate texture and minimizes distortion when wet. Watercolor papers are usually cold-pressed papers that provide better texture and appearance with a weight at least 300 gsm (140 lb). Under 300 gsm (140 lb) is commonly not recommended for anything but sketching. Transparency is the main characteristic of watercolors. Watercolors can also be made opaque by adding Chinese white. This is not a method to be used in "true watercolor" (traditional).

Watercolor paint is an ancient form of painting, if not the most ancient form of art itself. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean and Japanese painting it has been the dominant medium, often in monochrome black or browns, often using inkstick or other pigments. India, Ethiopia and other countries have long watercolor painting traditions as well.

Many Western artists, especially in the early 19th century, used watercolor primarily as a sketching tool in preparation for the "finished" work in oil or engraving. Until the end of the eighteenth century, traditional watercolors were known as 'tinted drawings'.

History
Watercolor art dates back to the cave paintings of paleolithic Europe and has been used for manuscript illustration since at least Egyptian times, with particular prominence in the European Middle Ages. However, its continuous history as an art medium begins with the Renaissance. The German Northern Renaissance artist Albrecht Dürer (1471–1528), who painted several fine botanical, wildlife, and landscape watercolors, is generally considered among the earliest examples of watercolor. An important school of watercolor painting in Germany was led by Hans Bol (1534–1593) as part of the Dürer Renaissance.

Despite this early start, watercolors were generally used by Baroque easel painters only for sketches, copies or cartoons (full-scale design drawings) Notable early practitioners of watercolor painting were Van Dyck (during his stay in England), Claude Lorrain, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists. However, botanical illustration and wildlife illustration perhaps form the oldest and most important traditions in watercolor painting. Botanical illustrations became popular during the Renaissance, both as hand-tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Botanical artists have traditionally been some of the most exacting and accomplished watercolor painters, and even today, watercolors—with their unique ability to summarize, clarify, and idealize in full color—are used to illustrate scientific and museum publications. Wildlife illustration reached its peak in the 19th century with artists such as John James Audubon, and today many naturalist field guides are still illustrated with watercolor paintings.

English school
Several factors contributed to the spread of watercolor painting during the 18th century, particularly in England. Among the elite and aristocratic classes, watercolor painting was one of the incidental adornments of a good education; mapmakers, military officers, and engineers valued it for its usefulness in depicting properties, terrain, fortifications, field geology, and for illustrating public works or commissioned projects. Watercolor artists were commonly taken on geological or archaeological expeditions, funded by the Society of Dilettanti (founded in 1733), to document discoveries in the Mediterranean, Asia, and the New World. These expeditions stimulated the demand for topographical painters, who churned out memento paintings of famous sites (and sights) along the Grand Tour to Italy that was undertaken by every fashionable young man of the time.

In the late 18th century, the English cleric William Gilpin wrote a series of hugely popular books describing his picturesque journeys throughout rural England, and illustrated them with self-made sentimentalized monochrome watercolors of river valleys, ancient castles, and abandoned churches. This example popularized watercolors as a form of personal tourist journal. The confluence of these cultural, engineering, scientific, tourist, and amateur interests culminated in the celebration and promotion of watercolor as a distinctly English "national art". William Blake published several books of hand-tinted engraved poetry, provided illustrations to Dante's Inferno, and he also experimented with large monotype works in watercolor. Among the many other significant watercolorists of this period were Thomas Gainsborough, John Robert Cozens, Francis Towne, Michael Angelo Rooker, William Pars, Thomas Hearne, and John Warwick Smith.

From the late 18th century through the 19th century, the market for printed books and domestic art contributed substantially to the growth of the medium. Watercolors were used as the basic document from which collectible landscape or tourist engravings were developed, and hand-painted watercolor originals or copies of famous paintings contributed to many upper class art portfolios. Satirical broadsides by Thomas Rowlandson, many published by Rudolph Ackermann, were also extremely popular.

The three English artists credited with establishing watercolor as an independent, mature painting medium are Paul Sandby (1730–1809), often called the "father of the English watercolor"; Thomas Girtin (1775–1802), who pioneered its use for large format, romantic or picturesque landscape painting; and Joseph Mallord William Turner (1775–1851), who brought watercolor painting to the highest pitch of power and refinement, and created hundreds of superb historical, topographical, architectural, and mythological watercolor paintings. His method of developing the watercolor painting in stages, starting with large, vague color areas established on wet paper, then refining the image through a sequence of washes and glazes, permitted him to produce large numbers of paintings with "workshop efficiency" and made him a multimillionaire, partly by sales from his personal art gallery, the first of its kind. Among the important and highly talented contemporaries of Turner and Girtin were John Varley, John Sell Cotman, Anthony Copley Fielding, Samuel Palmer, William Havell, and Samuel Prout. The Swiss painter Abraham-Louis-Rodolphe Ducros was also widely known for his large format, romantic paintings in watercolor.

The confluence of amateur activity, publishing markets, middle class art collecting, and 19th-century technique led to the formation of English watercolor painting societies: the Society of Painters in Water Colours (1804, now known as the Royal Watercolour Society) and the New Water Colour Society (1832, now known as the Royal Institute of Painters in Water Colours). (A Scottish Society of Painters in Water Colour was founded in 1878, now known as the Royal Scottish Society of Painters in Watercolour.) These societies provided annual exhibitions and buyer referrals for many artists. They also engaged in petty status rivalries and aesthetic debates, particularly between advocates of traditional ("transparent") watercolor and the early adopters of the denser color possible with body color or gouache ("opaque" watercolor). The late Georgian and Victorian periods produced the zenith of the British watercolor, among the most impressive 19th-century works on paper, due to artists Turner, Varley, Cotman, David Cox, Peter de Wint William Henry Hunt, John Frederick Lewis, Myles Birket Foster, Frederick Walker, Thomas Collier, Arthur Melville and many others. In particular, the graceful, lapidary, and atmospheric watercolors ("genre paintings") by Richard Parkes Bonington created an international fad for watercolor painting, especially in England and France in the 1820s. In the latter half of the 19th century, portrait painter Frederick Havill became a key player in the establishment of watercolour in England. Art critic Huntly Carter described Havill as a "founder of the water colour school."

The popularity of watercolors stimulated many innovations, including heavier and more sized wove papers, and brushes (called "pencils") manufactured expressly for watercolor. Watercolor tutorials were first published in this period by Varley, Cox, and others, establishing the step-by-step painting instructions that still characterize the genre today; The Elements of Drawing, a watercolor tutorial by English art critic John Ruskin, has been out of print only once since it was first published in 1857. Commercial brands of watercolor were marketed and paints were packaged in metal tubes or as dry cakes that could be "rubbed out" (dissolved) in studio porcelain or used in portable metal paint boxes in the field. Breakthroughs in chemistry made many new pigments available, including synthetic ultramarine blue, cobalt blue, viridian, cobalt violet, cadmium yellow, aureolin (potassium cobaltinitrite), zinc white, and a wide range of carmine and madder lakes. These pigments, in turn, stimulated a greater use of color with all painting media, but in English watercolors, particularly by the Pre-Raphaelite Brotherhood.

United States

Watercolor painting also became popular in the United States during the 19th century; outstanding early practitioners included John James Audubon, as well as early Hudson River School painters such as William H. Bartlett and George Harvey. By mid-century, the influence of John Ruskin led to increasing interest in watercolors, particularly the use of a detailed "Ruskinian" style by such artists as John W. Hill Henry, William Trost Richards, Roderick Newman, and Fidelia Bridges. The American Society of Painters in Watercolor (now the American Watercolor Society) was founded in 1866. Late-19th-century American exponents of the medium included Thomas Moran, Thomas Eakins, John LaFarge, John Singer Sargent, Childe Hassam, and, preeminently, Winslow Homer.

Europe

Watercolor was less popular in Continental Europe. In the 18th century, gouache was an important medium for the Italian artists Marco Ricci and Francesco Zuccarelli, whose landscape paintings were widely collected. Gouache was used by a number of artists in France as well. In the 19th century, the influence of the English school helped popularize "transparent" watercolor in France, and it became an important medium for Eugène Delacroix, François Marius Granet, Henri-Joseph Harpignies, and the satirist Honoré Daumier. Other European painters who worked frequently in watercolor were Adolph Menzel in Germany and Stanisław Masłowski in Poland.

The adoption of brightly colored, petroleum-derived aniline dyes (and pigments compounded from them), which all fade rapidly on exposure to light, and the efforts to properly conserve the twenty thousand J. M. W. Turner paintings inherited by the British Museum in 1857, led to a negative reevaluation of the permanence of pigments in watercolor. This caused a sharp decline in their status and market value. Nevertheless, isolated practitioners continued to prefer and develop the medium into the 20th century. Paul Signac created landscape and maritime watercolors, and Paul Cézanne developed a watercolor painting style consisting entirely of overlapping small glazes of pure color.

20th and 21st centuries
Among the many 20th-century artists who produced important works in watercolor were Wassily Kandinsky, Emil Nolde, Paul Klee, Egon Schiele, and Raoul Dufy. In America, the major exponents included Charles Burchfield, Edward Hopper, Georgia O'Keeffe, Charles Demuth, and John Marin (80% of his total work is watercolor). In this period, American watercolor painting often emulated European Impressionism and Post-Impressionism, but significant individualism flourished in "regional" styles of watercolor painting from the 1920s to 1940s. In particular, the "Cleveland School" or "Ohio School" of painters centered around the Cleveland Museum of Art, and the California Scene painters were often associated with Hollywood animation studios or the Chouinard Art Institute (now California Institute of the Arts). The California painters exploited their state's varied geography, Mediterranean climate, and "automobility" to reinvigorate the outdoor or "plein air" tradition. The most influential among them were Phil Dike, Millard Sheets, Rex Brandt, Dong Kingman, and Milford Zornes. The California Water Color Society, founded in 1921 and later renamed the National Watercolor Society, sponsored important exhibitions of their work. The largest watercolor in the world at the moment (at 9 ft tall and 16 ft wide) is Building 6 Portrait: Interior. Produced by American artist Barbara Prey on commission for MASS MoCA, the work can be seen at MASS MoCA's Robert W. Wilson Building.

Although the rise of abstract expressionism, and the trivializing influence of amateur painters and advertising- or workshop-influenced painting styles, led to a temporary decline in the popularity of watercolor painting after c. 1950, watercolors continue to be utilized by artists like Martha Burchfield, Joseph Raffael, Andrew Wyeth, Philip Pearlstein, Eric Fischl, Gerhard Richter, Anselm Kiefer, and Francesco Clemente. In Spain, Ceferí Olivé created an innovative style followed by his students, such as Rafael Alonso López-Montero and Francesc Torné Gavaldà. In Mexico, the major exponents are Ignacio Barrios, Edgardo Coghlan, Ángel Mauro, Vicente Mendiola, and Pastor Velázquez. In the Canary Islands, where this pictorial technique has many followers, there are stand-out artists such as Francisco Bonnín Guerín, José Comas Quesada, and Alberto Manrique.

Watercolor paint

Watercolor paint consists of four principal ingredients: a pigment; gum arabic as a binder to hold the pigment in suspension; additives like glycerin, ox gall, honey, and preservatives to alter the viscosity, hiding, durability or color of the pigment and vehicle mixture; and, evaporating water, as a solvent used to thin or dilute the paint for application.

The more general term watermedia refers to any painting medium that uses water as a solvent and that can be applied with a brush, pen, or sprayer. This includes most inks, watercolors, temperas, caseins, gouaches, and modern acrylic paints.

The term "watercolor" refers to paints that use water-soluble, complex carbohydrates as a binder. Originally (in the 16th to 18th centuries), watercolor binders were sugars and/or hide glues, but since the 19th century, the preferred binder is natural gum arabic, with glycerin and/or honey as additives to improve plasticity and solubility of the binder, and with other chemicals added to improve product shelf life.

The term "bodycolor" refers to paint that is opaque rather than transparent. It usually refers to opaque watercolor, known as gouache. Modern acrylic paints use an acrylic resin dispersion as a binder.

Commercial watercolors
Watercolor painters before the turn of the 18th century had to make paints themselves using pigments purchased from an apothecary or specialized "colorman", and mixing them with gum arabic or some other binder. The earliest commercial paints were small, resinous blocks that had to be wetted and laboriously "rubbed out" in water to obtain a usable color intensity. William Reeves started his business as a colorman around 1766. In 1781, he and his brother, Thomas Reeves, were awarded the Silver Palette of the Society of Arts, for the invention of the moist watercolor paint-cake, a time-saving convenience, introduced in the "golden age" of English watercolor painting. The "cake" was immediately soluble when touched by a wet brush.

Modern commercial watercolor paints are available in tubes, pans and liquids. The majority of paints sold today are in collapsible small metal tubes in standard sizes and formulated to a consistency similar to toothpaste by being already mixed with a certain water component. For use, this paste has to be further diluted with water. Pan paints (actually small dried cakes or bars of paint in an open plastic container) are usually sold in two sizes, full pans and half pans.

Owing to modern industrial organic chemistry, the variety, saturation, and permanence of artists' colors available today has been vastly improved. Correct and non-toxic primary colors are now present through the introduction of hansa yellow, phthalo blue and quinacridone (PV 122). From such a set of three colors, in principle all others can be mixed, as in a classical technique no white is used. The modern development of pigments was not driven by artistic demand. The art materials industry is too small to exert any market leverage on global dye or pigment manufacture. With rare exceptions such as aureolin, all modern watercolor paints utilize pigments that have a wider industrial use. Paint manufacturers buy, by industrial standards very small, supplies of these pigments, mill them with the vehicle, solvent, and additives, and package them. The milling process with inorganic pigments, in more expensive brands, reduces the particle size to improve the color flow when the paint is applied with water.

Transparency
In the partisan debates of the 19th-century English art world, gouache was emphatically contrasted to traditional watercolors and denigrated for its high hiding power or lack of "transparency"; "transparent" watercolors were exalted. The aversion to opaque paint had its origin in the fact that well into the 19th century lead white was used to increase the covering quality. That pigment tended to soon discolor into black under the influence of sulphurous air pollution, totally ruining the artwork. The traditional claim that "transparent" watercolors gain "luminosity" because they function like a pane of stained glass laid on paper—the color intensified because the light passes through the pigment, reflects from the paper, and passes a second time through the pigment on its way to the viewer—is false. Watercolor paints typically do not form a cohesive paint layer, as do acrylic or oil paints, but simply scatter pigment particles randomly across the paper surface; the transparency is caused by the paper being visible between the particles. Watercolors may appear more vivid than acrylics or oils because the pigments are laid down in a purer form, with few or no fillers (such as kaolin) obscuring the pigment colors. Typically, most or all of the gum binder will be absorbed by the paper, preventing the binder from changing the visibility of the pigment. The gum being absorbed does not decrease but increase the adhesion of the pigment to the paper, as its particles will then penetrate the fibres more easily. In fact, an important function of the gum is to facilitate the "lifting" (removal) of color, should the artist want to create a lighter spot in a painted area. Furthermore, the gum prevents flocculation of the pigment particles.

History

 * Andrew Wilton & Anne Lyles. The Great Age of British Watercolours (1750–1880). Prestel, 1993. ISBN 3-7913-1254-5
 * Anne Lyles & Robin Hamlyn. British watercolours from the Oppé Collection. Tate Gallery Publishing, 1997. ISBN 1-85437-240-8
 * Christopher Finch. American Watercolors. Abbeville Press, 1991. ASIN B000IBDWGK
 * Christopher Finch. Nineteenth-Century Watercolors. Abbeville Press, 1991. ISBN 1-55859-019-6
 * Christopher Finch. Twentieth-Century Watercolors. Abbeville Press, 1988. ISBN 0-89659-811-X
 * Eric Shanes. Turner: The Great Watercolours. Royal Academy of Arts, 2001. ISBN 0-8109-6634-4
 * Martin Hardie. Water-Colour Painting in Britain (3 volumes: I. The Eighteenth Century; II. The Romantic Period; III. The Victorian Period.). Batsford, 1966–1968. ISBN 1-131-84131-X
 * Michael Clarke. The Tempting Prospect: A Social History of English Watercolours. British Museum Publications, 1981. ASIN B000UCV0XO
 * Moore, Sean. Ultimate Visual Dictionary. Dorling Kindersley, 1994. ISBN 0-7513-1050-6

Tutorials and Technique

 * Rex Brandt. The Winning Ways of Watercolor: Basic Techniques and Methods of Transparent Watercolor in Twenty Lessons. Van Nostrand Reinhold, 1973. ISBN 0-442-21404-9
 * David Dewey. The Watercolor Book: Materials and Techniques for Today's Artist. Watson-Guptill, 1995. ISBN 0-8230-5641-4
 * Donna Seldin Janis. Sargent Abroad: Figures and Landscapes. Abbeville Press; 1st edition (October 1997). ISBN 978-0-7892-0384-7.
 * Charles LeClair. The Art of Watercolor (Revised and Expanded Edition). Watson-Guptill, 1999. ISBN 0-8230-0292-6
 * Royal Watercolour Society. The Watercolour Expert. Cassell Illustrated, 2004. ISBN 1-84403-149-7
 * John Ruskin. The Elements of Drawing [1857]. Watson-Guptill, 1991. ISBN 0-8230-1602-1 (Reprints from other publishers are also available.)
 * Pip Seymour. Watercolour Painting: A Handbook for Artists. Lee Press, 1997. ISBN 0-9524727-4-0
 * Stan Smith. Watercolor: The Complete Course. Reader's Digest, 1995. ISBN 0-89577-653-7
 * Curtis Tappenden. Foundation Course: Watercolour. Cassell Illustrated, 2003. ISBN 1-84403-082-2
 * Edgar A. Whitney. Complete Guide to Watercolor Painting. Watson-Guptill, 1974. [Dover Edition ISBN 0-486-41742-5]

Materials

 * Ian Sidaway. The Watercolor Artist's Paper Directory. North Light, 2000. ISBN 1-58180-034-7
 * Jacques Turner. Brushes: A Handbook for Artists and Artisans. Design Press, 1992. ISBN 0-8306-3975-6
 * Sylvie Turner. The Book of Fine Paper. Thames & Hudson, 1998. ISBN 0-500-01871-5
 * Michael Wilcox. The Wilcox Guide To The Best Watercolor Paints. School of Colour Publications, 2000. ISBN 978-0-9679628-0-1

title: Watercolor painting


text:
User:R4f~enwiki

fr:Utilisateur:R4f m:User:R4f

Hi,

I am mainly active with the French Wikipedia, so see http://fr.wikipedia.org/.

For further details, see my Web site http://www.r4f.org/.

I am already deeply profiled on my page on the French Wikipedia

title: User:R4f~enwiki


text:
User talk:R4f~enwiki

Hello there, welcome to the 'pedia! I hope you like the place and decide to stay. If you ever need editing help visit How does one edit a page and experiment at Sandbox. If you need pointers on how we title pages visit Naming conventions or how to format them visit our manual of style. If you have any other questions about the project then check out Help or add a question to the Village pump. Cheers! --maveric149

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called R4f. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name R4f~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:15, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 17:51, 22 April 2015 (UTC)

title: User talk:R4f~enwiki


text:
Black Wednesday

Black Wednesday, or the 1992 sterling crisis, was a financial crisis that occurred on 16 September 1992 when the UK Government was forced to withdraw sterling from the (first) European Exchange Rate Mechanism (ERMI), following a failed attempt to keep its exchange rate above the lower limit required for ERM participation. At that time, the United Kingdom held the Presidency of the Council of the European Union.

The crisis damaged the credibility of the second Major ministry in handling of economic matters. The ruling Conservative Party suffered a landslide defeat five years later at the 1997 general election and did not return to power until 2010. The rebounding of the UK economy in the years following Black Wednesday has been attributed to the depreciation of sterling and the replacement of its currency tracking policy with an inflation targeting monetary stability policy.

Prelude
When the ERM was set up in 1979, the United Kingdom declined to join. This was a controversial decision, as the Chancellor of the Exchequer, Geoffrey Howe, was staunchly pro-European. His successor, Nigel Lawson, whilst not at all advocating a fixed exchange rate system, nevertheless so admired the low inflationary record of West Germany as to become, by the mid-eighties, a self-styled "exchange-rate monetarist", one viewing the sterling–Deutschmark exchange rate as at least as reliable a guide to domestic inflation – and hence to  the setting of interest rates –  as any of the various M0-M3 measures beloved of those he labelled as "Simon Pure" monetarists. He justified this by pointing to the dependable strength of the Deutsche Mark and the reliably anti-inflationary management of the Mark by the Bundesbank, both of which he explained by citing the lasting impact in Germany of the disastrous hyperinflation of the inter-war Weimar Republic. Thus, although the UK had not joined the ERM, at Lawson's direction (and with Prime Minister Margaret Thatcher's reluctant acquiescence), from early 1987 to March 1988 the Treasury followed a semi-official policy of "shadowing" the Deutsche Mark. Matters came to a head in a clash between Lawson and Thatcher's economic adviser Alan Walters, when Walters claimed that the Exchange Rate Mechanism was "half baked".

This led to Lawson's resignation as Chancellor; he was replaced by former Treasury Chief Secretary John Major who, with Douglas Hurd, the then Foreign Secretary, convinced the Cabinet to sign Britain up to the ERM in October 1990, effectively guaranteeing that the UK Government would follow an economic and monetary policy preventing the exchange rate between the pound and other member currencies from fluctuating by more than 6%. On 8 October 1990, Thatcher entered the pound into the ERM at DM2.95 to £1. Hence, if the exchange rate ever neared the bottom of its permitted range, DM2.773 (€1.4178 at the DM/Euro conversion rate), the government would be obliged to intervene. In 1989, the UK had inflation three times the rate of Germany, higher interest rates at 15%, and much lower labour productivity than France and Germany, which indicated the UK's different economic state in comparison to other ERM countries.

From the beginning of the 1990s, high German interest rates, set by the Bundesbank to counteract inflationary effects related to excess expenditure on German reunification, caused significant stress across the whole of the ERM. The UK and Italy had additional difficulties with their double deficits, while the UK was also hurt by the rapid depreciation of the United States dollar – a currency in which many British exports were priced – that summer. Issues of national prestige and the commitment to a doctrine that the fixing of exchange rates within the ERM was a pathway to a single European currency inhibited the adjustment of exchange rates. In the wake of the rejection of the Maastricht Treaty by the Danish electorate in a referendum in the spring of 1992, and an announcement that there would be a referendum in France as well, those ERM currencies that were trading close to the bottom of their ERM bands came under pressure from foreign exchange traders.

In the months leading up to Black Wednesday, among many other currency traders, George Soros had been building a huge short position in sterling that would become immensely profitable if the currency fell below the lower band of the ERM. Soros believed the rate at which the United Kingdom was brought into the Exchange Rate Mechanism was too high, inflation was too high (triple the German rate), and British interest rates were hurting their asset prices.

The currency traders act
The UK government attempted to prop up the depreciating pound to avoid withdrawal from the monetary system the country had joined only two years earlier. John Major authorised the spending of billions of pounds worth of foreign currency reserves to buy up sterling being sold on the currency markets. These measures failed to prevent the pound falling below its minimum level in the ERM. The Treasury took the decision to defend sterling's position, believing that to devalue would promote inflation.

Remarks by Bundesbank President Helmut Schlesinger triggered the attack on the pound. An interview of Schlesinger by the Wall Street Journal was reported by the German financial paper Handelsblatt. Schlesinger told the journalist that "a more comprehensive realignment" of currencies would be needed, following a recent devaluation of the Italian lira. On the evening of Tuesday, 15 September 1992, the headline was already circulating. Schlesinger said he thought he was speaking off the record. He later wrote that he stated a fact and this could not have triggered the crisis. This remark hugely increased pressure on the pound leading to large sterling sales.

Currency traders began a massive sell-off of pounds on Wednesday, 16 September 1992. The Exchange Rate Mechanism required the Bank of England to accept any offers to sell pounds. However, the Bank of England only accepted orders during the trading day. When the markets opened in London the next morning, the Bank of England began their attempt to prop up their currency, as decided by Norman Lamont, the chancellor of the exchequer, and Robin Leigh-Pemberton, governor of the Bank of England. They began accepting orders of £300 million twice before 8:30 am, but to little effect. The Bank of England's intervention was ineffective because traders were dumping pounds far faster. The Bank of England continued to buy, and traders continued to sell, until Lamont told Prime Minister John Major that their pound purchasing was failing to produce results.

At 10:30 am on 16 September, the British government announced an increase in the base interest rate, from an already high 10%, to 12% to tempt speculators to buy pounds. Despite this and a promise later the same day to raise base rates again to 15%, dealers kept selling pounds, convinced that the government would not keep its promise. By 7:00 pm that evening, Lamont announced Britain would leave the ERM and rates would remain at the new level of 12%; however, on the next day the interest rate was back to 10%.

It was later revealed that the decision to withdraw had been agreed at an emergency meeting during the day between Lamont, Major, foreign secretary Douglas Hurd, president of the Board of Trade Michael Heseltine, and home secretary Kenneth Clarke (the latter three all being staunch pro-Europeans as well as senior Cabinet ministers), and that the interest rate hike to 15% had only been a temporary measure to prevent a rout in the pound that afternoon.

Aftermath
Other ERM countries such as Italy, whose currencies had breached their bands during the day, returned to the system with broadened bands or with adjusted central parities.

Some commentators, following Norman Tebbit, took to referring to ERM as an "Eternal Recession Mechanism" after the UK fell into recession during the early 1990s. While many people in the UK recall Black Wednesday as a national disaster that permanently affected the country's international prestige, some Conservatives claim that the forced ejection from the ERM was a "Golden Wednesday" or "White Wednesday", the day that paved the way for an economic revival, with the Conservatives handing Tony Blair's New Labour a much stronger economy in 1997 than had existed in 1992 as the new economic policy swiftly devised in the aftermath of Black Wednesday led to re-establishment of economic growth with falling unemployment and inflation. Monetary policy switched to inflation targeting.

The Conservative Party government's reputation for economic excellence had been damaged to the extent that the electorate was more inclined to support a claim of the opposition of the time – that the economic recovery ought to be credited to external factors, as opposed to government policies implemented by the Conservatives. The Conservatives had recently won the 1992 general election, and the Gallup poll for September showed a small lead of 2.5% for the Conservative Party. By the October poll, following Black Wednesday, their share of the intended vote in the poll had plunged from 43% to 29%. The Conservative government then suffered a string of by-election defeats which saw its 21-seat majority eroded by December 1996. The party's performances in local government elections were similarly dismal during this time, while Labour made huge gains.

Black Wednesday was a major factor in the Conservatives losing the 1997 general election to Labour, who won by a landslide under the leadership of Tony Blair. The Conservatives did not take Government again until David Cameron became Prime Minister after the 2010 general election. Five years later in 2015, the party won its first overall majority 23 years after its last in 1992, five months before the crisis.

George Soros made over £1 billion in profit by short selling sterling.

The cost of Black Wednesday
In 1997, the UK Treasury estimated the cost of Black Wednesday at £3.14 billion, which was revised to £3.3 billion in 2005, following documents released under the Freedom of Information Act (earlier estimates placed losses at a much higher range of £13–27 billion). Trading losses in August and September made up a minority of the losses (estimated at £800 million) and the majority of the loss to the central bank arose from non-realised profits of a potential devaluation. Treasury papers suggested that, had the government maintained $24 billion foreign currency reserves and the pound had fallen by the same amount, the UK might have made a £2.4 billion profit on sterling's devaluation.

title: Black Wednesday


text:
Santiago Metropolitan Region

Santiago Metropolitan Region (Región Metropolitana de Santiago) is one of Chile's 16 first-order administrative divisions. It is the country's only landlocked administrative region and contains the nation's capital, Santiago. Most commercial and administrative centers are located in the region, including Chile's main international airport, Arturo Merino Benítez International Airport.

With an area of 15403.2 sqkm and population over seven million, it is Chile's most populated and most densely populated region.

History
The region's history of European influence started in 1542, a few days after Santiago was founded. When the Santiago cabildo was built, its function was to supervise the entire territory. Later, with the creation of the cities of La Serena and Concepción and the creation of their respective cabildos, its territorial reach was reduced.

On 30 August 1826, 8 provinces were created, with the Santiago Province being one of them, but it wasn't until 1980 that the Metropolitan Region was created.

Geography
Metropolitana is Chile's only landlocked region and lies in the Intermediate Depression valley between the Chilean Coast Range and the Andes mountains. Cerro San Cristóbal dominates the sprawling Santiago cityscape at a height of 880 m above sea level with city suburbs steadily climbing the foothills of the Andes to the east. The Tupungato stratovolcano, measures 6570 m on the Argentine border, is one of South America's highest peaks.

The dominant drainage basin feeds into the Maipo River; its main tributaries are the Mapocho, Yeso and Colorado rivers.

Climate and natural features
The climate of the Metropolitan Region is temperate Mediterranean cold, of the kind called continental. Precipitation is concentrated in the winter months, generally as snow over 900 m above sea level and, in colder years, over the city of Santiago. Winter tends to be cold with frequent frosts during which temperature drops below 0 °C. The summer months are usually dry and hot. The Cordillera de la Costa acts as a climate screen and reduces marine influence, which makes the climate more continental. This situation becomes apparent when comparing precipitation from a coastal location such as Valparaíso (460 mm) with that of Santiago de Chile (360 mm).

The annual median precipitation reaches 367 mm on average. The annual median temperature comes out to 13.5 °C, with a median high of 21 °C and a median low of 6 °C in urban areas. Rural areas tend to be colder, as temperature reaches -10 °C in the coldest months (July, August)

Most of the region is made up of an extremely fertile, level prairie that the locals call la Depresión intermedia (Intermediate Depression). The terrain is known for its low elevation in relation to sea level and for being surrounded by hills, as well as emergent so-called island hills, such as Santa Lucía (an ancient extinct volcano), Blanco, and Renca, present today in the city of Santiago.

There is some occurrence of the endangered Chilean Wine Palm, Jubaea chilensis within the Santiago Province; this iconic tree of central Chile had a much larger range prehistorically, before the decimation of much of its habitat by the expanding human population.

Economy and culture
The region's principal industries include manufacturing, services, retail, and financial services. The capital of Santiago serves as the country's administrative, industrial, commercial, financial and cultural center, producing 41.5% of Chile's gross domestic product, according to central bank estimates. The Plaza de Armas, the central square in downtown Santiago, hosts the city's cathedral and city hall. Eight city blocks around the presidential palace, La Moneda, are where most ministries, services and commercial banks can be found. Vitacura and El Golf host most of the city's high-rise buildings and are also home to the Latin American headquarters of several United Nations organizations. Though Santiago's expansion has caused newer vineyards to move to more rural locations, many of the country's oldest wineries, built in the 19th century, have preserved cellars in the valley.

Government and administration
The region is divided into 6 provinces, which are themselves divided into 52 communes. Since 2021 the region is governed by the governor, who is elected by popular vote. The current governor is Claudio Orrego Larraín (Independent).

This table is based on the corresponding Spanish article

title: Santiago Metropolitan Region