#ms radian

[mergedshadows-fanartfunart]

#ooh i don't recall seeing anything about Radian before!

It's because you haven't :3 I opted to give some new info in that character guide since I had put Midna in there too. Here she is in her toon style art

[Image Description: A colored flat drawing of an LoZ AU Twili OC, Radian. She has grey-blue skin and purple markings and short purple hair that swoops forward sharply. Her eyes are red and yellow. Her forehead and stomach circular markings are red. She wears a yellow dress with one short sleeve and one long billowing sleeve. Half of her top is dark blue with a high collar. She holds a staff with a red-marked Sol in the top. End ID]

[jcmarchi]

CSS Length Units

New Post has been published on https://thedigitalinsider.com/css-length-units/

CSS Length Units

Overview

Many CSS properties accept numbers as values. Sometimes those are whole numbers. Sometimes they’re decimals and fractions. Other times, they’re percentages. Whatever they are, the unit that follows a number determines the number’s computed length. And by “length” we mean any sort of distance that can be described as a number, such as the physical dimensions of an element, a measure of time, geometric angles… all kinds of things!

At the time of this writing, the CSS Values and Units Module Level 4 specification defines a bunch of different CSS units — and many of those are relatively new (this pun will make sense later).

Quick Reference

Absolute units

Unit Name cm Centimeters mm Millimeters Q Quarter-millimeters in Inches pc Picas pt Points px Pixels

Font units

Unit Relative to… em The font size of the element, or its nearest parent container ex The x-height of the element’s font  cap The cap height (the nominal height of capital letters) of the element’s font  ch The width of the 0 character of the font in use ic The average width of a full glyph of the font in use, as represented by the “水” (U+6C34) glyph rem The font-size value that’s set on the root (html) element lh The line-height value that’s set on the element  rlh The line-height that’s set on the root (html) element  vw 1% of viewport’s width vh 1% of viewport’s height vi 1% of viewport’s size in the root element’s inline axis vb 1% of viewport’s size in the root element’s block axis vmin Equal to 1% of the vw or vh, whichever is smaller vmax Equal to 1% of the vw or vh, whichever is larger

Viewport units

vw 1% of viewport’s width vh 1% of viewport’s height vi 1% of viewport’s size in the root element’s inline axis vb 1% of viewport’s size in the root element’s block axis vmin 1% of the vw or vh, whichever is smaller vmqx 1% of the vw or vh, whichever is larger

Container units

Unit Relative to cqw 1% of a query container’s width cqh 1% of a query container’s height cqi 1% of a query container’s inline size cqb 1% of a query container’s block size cqmin The smaller value of cqi or cqb cqmax The larger value of cqi or cqb

Angle units

Unit Description deg There are 360 degrees in a full circle. grad There are 400 gradians in a full circle. rad There are 2π radians in a full circle. turn There is 1 turn in a full circle.

Time units

Unit Description s There are 60 seconds in a minute, but there is no unit for minutes. ms There are 1,000 milliseconds in a second.

Fractional units

Unit Description fr One fraction of the free space in a grid container.

Resolution units

Unit Description dpi Dots per inch dpcm Dots per centimeter dppx, x Dots per pixel unit

Frequency units

Unit Description Hz Represents the number of occurrences per second kHz One kiloHertz is equal to 1000 Hertz.

Table of contents

Introduction

You’re going to see a lot numbers in CSS. Here are a few examples?

/* Integers */ 1 /* Pixels */ 14px /* em */ 1.5em /* rem */ 3rem /* Percentage */ 50% /* Characters */ 650ch /* Viewport units */ 100vw 80vh 50dvh /* Container units */ 100cqi 50cqb

While these all mean different things, they essentially do the same thing: define an element’s dimensions in CSS. We need units in CSS because they determine how to size elements on a page, whether it’s the height of a box, the width of an image, the font-size of a heading, the margin between two elements, how long an animation runs, etc. Without them, the browser would have no way of knowing how to apply numbers to an element.

So, what the heck is px? What’s up with this thing called rem? How are these different than other length units? The unit defines what type of number we’re dealing with, and each one does something different, giving us lots of ways to size things in CSS.

Types of numbers

You may think a number is just a number, and you’re not wrong. Numbers are numbers! But we can distinguish between a few different types of numbers, which is helpful context for discussing the different types of units we attach them to since “number” can mean, well, a number of different things.

Integers (literally a unit-less number, e.g. 3)

Numbers (same as an integer, only measured in decimals, e.g. 3.2)

Dimensions (either a number or integer with a unit, e.g. 3.2rem)

Ratios (the quotient between two divided numbers, e.g. 3/2)

Percentages (e.g. 3%)

Got that? They’re all numbers but with nuances that make them ever-so-slightly different.

From here, we can think of numbers in CSS as falling into two specific types of units: absolute and relative. Let’s start things off our deep dive on CSS length units by breaking those down.

Absolute units

An absolute unit is like Bill Murray in the movie Groundhog Day: it’s always the same. In other words, whatever the number is, that’s exactly how it computes in the browser regardless of how other elements are sized.

The most common absolute value you’ll see is the pixel value. It’s sort of hard to define, but a pixel is the smallest building block of a graphical display, like a computer screen. And it’s based on the resolution of the screen. So, if you’re on a super high-resolution screen, a pixel will be smaller than it would be on a low-resolution screen, as the resolution can pack more pixels into a smaller amount of space for higher clarity. But look at the example below. All of the boxes are sized with pixels, so you can get a sense of how large 50px is compared to 250px.

Absolute values are nice in that they are predictable. That could, however, change in some situations, particularly when it comes to zooming. If, say, a user zooms into a page using browser settings, then anything defined with an absolute value is going to increase its absolute size accordingly. So, if the font-size of a paragraph is set to 20px, the paragraph is going to be larger as the user zooms closer into the page. And because zooming is often used to make content more readable, using absolute values that retain their sizing could be a good approach for making pages more accessible by allowing users to zoom things up to a spot that more comfortable to read.

But then again, see Josh Collinsworth’s click-baity, but fantastic, post titled “Why you should never use px to set font-size in CSS” for an exhaustive explanation of how pixels behave when used to set the font-size of an element. It’s a great read to better understand the behavior and limitations of pixel units.

And, hey: pixels are only one of many types of absolute lengths that are available in CSS. In fact, we can group them by the types of things they measure:

Length units

Length units are a little funny because they can technically be either an absolute unit or a relative unit. But we’re discussing them in absolute terms at the moment and will revisit them when we get further along to relative length units.

A length is essentially a dimension, which is any integer proceeded by a unit, according to the list of types of numbers we looked at earlier. And when we talk about dimensions, we’re really talking about the physical size of an element.

Unit Name cm Centimeters mm Millimeters Q Quarter-millimeters in Inches pc Picas pt Points px Pixels

What we’re looking at here are the types of units you might use see on a tape measure (e.g., cm and in) or in print design (e.g. pc and pt). They are what they are and what you see is what you get.

Angle units

Angle units are purely geometric. They’re good for setting shape dimensions — like a circle’s radius, setting the direction of a linear-gradient(), or setting the how much we want to rotate() something.

Unit Name Description Example deg Degrees A full circle is equal to 360deg. rotate(180deg) grad Gradiens A full circle is equal to 400grad. rotate(200grad) rad Radiens A full circle is equal to 2π (i.e., 2 × 3.14), or about 6.2832rad. rotate(3.14rad) turn Turns A full circle is 1turn, like a bicycle wheel making one full rotation. rotate(.5turn)

Time units

Time units are what you’d expect to find on a clock or watch, but only measure in seconds and milliseconds. Apparently the web cannot be measured in minutes, hours, days, weeks, months, or years. Perhaps we’ll get a new category of “calendar units” at some point, or maybe there’s no good use case for that sort of thing. 🤷‍♂️

Unit Name Description Example s Seconds One full minute of time is equal to 60s. animation-duration: 2s ms Milliseconds One full second of time os equal to 1000ms. animation-duration: 2000ms

Frequency units

You won’t see frequency units used very often and for good reason: they’re not supported by any browser at the time of this writing. But they’re specced to change sound frequency, such as a sound’s pitch. The best I can make of it as it currently stands is that frequencies can be used to manipulate an audio file with a higher or lower pitch measured in hertz and kilohertz.

Unit Name Description Example Hz Hertz Measures the number of frequencies per second <source src="tubthumping.mp3" type="audio/mpeg" frequency="100Hz"> kHz Kilohertz A value of 1Hz is equal to 0.001kHz. <source src="tubthumping.mp3" type="audio/mpeg" frequency="0.1kHz">

If you’re wondering what constitutes a “low” pitch from a “high” one, the spec explains it like this:

[W]hen representing sound pitches, 200Hz (or 200hz) is a bass sound, and 6kHz (or 6khz) is a treble sound.

Resolution units

Resolution is how many little dots are packed into a screen — such as the screen you’re looking at right now — where more dots per inch of space improves the clarity and quality of the display. The fewer dots there are, the more pixelated and blurry the display.

Why would you need something like this? Well, it’s great for targeting styles to specific screens that support certain resolutions in a media query.

img max-width: 500px; /* Double the resolution and above */ @media (min-resolution >= 2dppx) img max-width: 100%;

Unit Name Description Example dpi Dots per inch The number of dots packed into one inch of space. @media (min-resolution: 96dpi) dpcm Dots per centimeter The number of dots packed into one centimeter of space. @media (min-resolution: 960dpcm) dppx (or x) Dots per pixel The number of dots packed into one pixel of space. @media (min-resolution: 1dppx)

Interestingly, the specification makes mention of an infinite value that is supported by resolution media queries for targeting screens without resolution constraints. It’s not so much of a “catch-all” value for targeting any sort of screen, but for cases when we’re using the media query range syntax to evaluate whether a certain value is greater than, less than, or equal to it:

For output mediums that have no physical constraints on resolution (such as outputting to vector graphics), this feature must match the infinite value. For the purpose of evaluating this media feature in the range context, infinite must be treated as larger than any possible <resolution>. (That is, a query like (resolution > 1000dpi)will be true for an infinite media.)

W3C Media Queries Level 4 specification

Relative units

A relative unit is extremely well-named because whatever value we use for a relative unit depends on the size of something else. Say we have an HTML element, a <div>, and we give it an absolute height value (not a relative one) of 200px.

<div class="box"> I am 200 pixels tall </div>

.box height: 200px;

That height will never change. The .box element will be 200px tall no matter what. But let’s say we give the element a relative width (not an absolute one) of 50%.

<div class="box"> I am 200 pixels tall and 50% wide </div>

.box height: 200px; width: 50%;

What happens to our box? It takes up 50%, or half, of the available space on the screen.

See that? Go ahead and open that demo in a new window and change the width of the screen. And notice, too, how the height never changes because it’s an absolute length unit in pixels. The width, meanwhile, is fluidly resized as “50% of the available space” changes with the width of the screen.

That’s what we mean when talking about computed values with relative numbers. A relative number acts sort of like a multiplier that calculates the value used to set a length based on what type of unit it is relative to. So, a value of 3rem is going to wind up becoming a different value when it is computed.

Percentages, like 50%, are only one kind of relative unit. We have many, many others. Once again, it’s helpful to break things out into separate groups to understand the differences just as we did earlier with absolute units.

Percentages

We’ve already discussed percentages in pretty good detail. What makes a percentage relative is that it computes to a number value based on the length of another element. So, an element that is given width: 25% in a container that is set to width: 1000px computes to width: 250px.

Unit Name Relative to… % Percent The size of the element’s parent container.

Font relative units

The em and rem units we looked at earlier are prime examples of relative units that you will see all over the place. They’re incredibly handy, as we saw, because changing the font-size value of an element’s parent or the <html> element, respectively, causes the element’s own font-size value to update in accordance with the updated value.

In other words, we do not need to directly change an element’s font-size when updating the font-size of other elements — it’s relative and scales with the change.

Unit Name Relative to… em Element The font-size value of the element’s parent container. rem Root element The font-size value of the <html> element. ch Character The width of one character of content relative to the parent element’s font. The computed width may update when replacing one font with another, except for monospace fonts that are consistently sized. rch Root character The same thing as a ch unit except it is relative to the font of the root element, i.e. <html>. lh Line height The line-height value of the element’s parent container. rlh Root element line height The line-height value of the <html> element. cap Capital letter The height of a capital letter for a particular font relative to the parent element. rcap Root capital letter The same measure as cap but relative to the root element, i.e. <html>. ic International character The width of a CJK character, or foreign glyph, e.g. from a Chinese font, relative to an element’s parent container. ric Root international character The same measure as ic but relative to the root element, i.e. <html>. ex X-height The height of the letter x of a particular font, or an equivalent for fonts that do not contain an x character, relative to the parent element. rex Root x-height The same measure as ex but relative to the root element, i.e. <html>.

Some of those terms will make more sense to typography nerds than others. The following diagram highlights the lines that correspond to relative font units.

So, at the expense of beating this concept into the ground, if width: 10ch computes to a certain number of pixels when using one font, it’s likely that the computed value will change if the font is swapped out with another one with either larger or smaller characters.

Viewport relative units

Unit Name Relative to… vh / vw Viewport Height / Viewport Width The height and width of the viewport (i.e., visible part of the screen), respectively. vmin / vmax Viewport Minimum / Viewport Maximum The lesser and greater of vh and vw, respectively. lvh / lvw Large Viewport Height / Large Viewport Width The height and width of the viewport when the device’s virtual keyboard or browser UI is out of view, leaving a larger amount of available space. lvb / lvi Large Viewport Block / Large Viewport Inline These are the logical equivalents of lvh and lvw, indicating the block and inline directions. svh / svw Small Viewport Height / Small Viewport Width The height and width of the viewport when the device’s virtual keyboard or browser UI is in view, making the amount of available space smaller. svb / svi Small Viewport Block / Small Viewport Inline These are the logical equivalents of svh and svw, indicating the block and inline directions. dvh / dvw Dynamic Viewport Height / Dynamic Viewport Width The height and width of the viewport accounting for the available space changing if, say, the device’s virtual keyboard or browser UI is in view. dvb / dvi Dynamic Viewport Block / Dynamic Viewport Inline These are the logical equivalents of dvh and dvw, indicating the block and inline directions. dvmin / dvmax Dynamic Viewport Minimum / Dynamic Viewport Maximum The lesser and greater of dvh/dvb and dvw/dvi, respectively.

Ah, viewport units! When we say that something should be 100% wide, that means it takes up the full width of the contain it is in. That’s because a percentage unit is always relative to its nearest parent element. But a  viewport unit is always relative to the size of the viewport, or browser window. If an element has a viewport height of 100vh and a viewport width of 100vw, then it will be as tall and wide as the full browser window.

This can be a neat way to create something like a hero banner at the top of your website. For example, we can make a banner that is always one half (50vh) the height of the viewport making it prominent no matter how tall someone’s browser is. Change the CSS in the top-left corner of the following demo from height: 50vh to something else, like 75vh to see how the banner’s height responds.

There’s something else that’s very important to know when working with viewport units. You know how mobile phones, like iPhone or an Android device, have virtual keyboards where you type directly on the screen? That keyboard changes the size of the viewport. That means that whenever the keyboard opens, 100vh is no longer the full height of the screen but whatever space is leftover while the keyboard is open, and the layout could get super squished as a result.

That’s why we have the svh, lvh, and dvh units in addition to vh:

svh is equal to the “small” viewport height, which occurs when the keyboard is open.

lvh is equal to the “large” viewport height, which is when the keyboard is disabled and out of view.

dvh is a happy medium between svh and lvh in that it is “dynamic” and updates its value accordingly when the keyboard is displayed or not.

dvmin / dvmax is the greater ore lesser of dvh, respectively.

It’s a bit of a tightrope walk in some cases and a good reason why container queries and their units (which we’ll get to next) are becoming more popular. Check out Ahmed Shader’s article “New Viewport Units” for a comprehensive explanation about viewport units with detailed examples of the issues you may run into. You may also be interested in Sime Vidas’s “New CSS Viewport Units Do Not Solve The Classic Scrollbar Problem” for a better understanding of how viewport units compute values.

Container relative units

Unit Name Equivalent to… cqw Container query width 1% of the queried container’s width cqh Container query height 1% of the queried container’s height cqi Container query inline size 1% of the queried container’s inline size, which is its width in a horizontal writing mode. cqb Container query block size 1% of the queried container’s inline size, which is its height in a horizontal writing mode. cqmin Container query minimum size The value of cqi or cqb, whichever is smaller. cqmax Container query maximum size The value of cqi or cqb, whichever is larger.

Container units are designed to be used with container queries. Just as we are able to target a specific screen size with a media query, we can target the specific size of a particular element and apply styles using a container query.

We won’t do a big ol’ deep dive into container queries here. The relevant bit is that we have CSS length units that are relative to a container’s size. For example, if we were to define a container:

.parent-container container-type: inline-size;

…then we’re watching that element’s inline-size — which is equivalent to width in a horizontal writing mode — and can apply styles to other elements when it reaches certain sizes.

.child-element background: rebeccapurple; width: 100%; @container parent (width > 30ch) .child-element background: dodgeblue; width: 50cqi;

Try resizing the following demo. When the parent container is greater than 30ch, the child element will change backgrounds and shrink to one-half the parent container’s width, or 50cqi.

What about unit-less numbers?

Oh yeah, there are times when you’re going to see numbers in CSS that don’t have any unit at all — just a single integer or number without anything appended to it.

aspect-ratio: 2 / 1; /* Ratio */ column-count: 3; /* Specifies a number of columns */ flex-grow: 1; /* Allows the element to stretch in a flex layout */ grid-column-start: 4; /* Places the element on a specific grid line */ order: 2; /* Sets the order of elemnents in a flex or grid layout */ scale: 2; /* The elementis scaled up or down by a factor */ z-index: 100; /* Element is placed in a numbered layer for stacking */ zoom: 0.2; /* The element zooms in or out by a factor */

This isn’t a comprehensive list of all the CSS properties that accept unit-less numeric values, but it is a solid picture of when you would use them. You’ll see that in most cases a unit-less number is an explicit detail, such as a specific column to position an element, a specific layer in a stacking context, a boolean that enables or disables a feature, or the order of elements. But note that anytime we declare “zero” as a number, we can write it with or without a prepended unit, as zero always evaluates to zero no matter what unit we’re dealing with.

border: 0; /* No border */ box-shadow: 0 0 5px #333; /* No shadow offset */ margin: 0; /* No margin */ padding: 0; /* No padding */

We can create our own custom units!

In some cases, we may want to work with a numeric value, but CSS doesn’t exactly recognize it as one. In these cases, the number is recognized as a “string” value instead, regardless of whether or not it contains alphabetical characters. That’s where we can use @property to create what’s called a “custom property” that evaluates a numeric value in a certain way.

Here’s a good example. There was a time when it was virtually impossible to animate a gradient that changes colors over time because to do so would require (1) a color function that allows us to change a color value’s hue (which we have with hsl()) and (2) being able to interpolate that hue value around the color spectrum, between a range of 0deg and 360deg.

Sounds simple enough, right? Define a variable that starts at 0 and then cycles through 360 degrees at the end of an animation. But this doesn’t work:

/* 👎 */ .element --hue: 0; animation: rainbow 10s linear infinite; background: linear-gradient(hsl(--hue 50% 50%); @keyframes rainbow from --huw: 0; to --hue: 360deg;

That’s because CSS reads the variable as a string instead of a number. We have to register that variable as a custom property so that CSS aptly reads it as a numeric value.

@property --hue syntax: "<number>"; initial-value: 0; inherits: true;

There we go! Now that we’ve given CSS a hint that the --hue syntax is that of a <number>, we can animate away!

/* 👍 */ @property --hue syntax: "<number>"; initial-value: 0; inherits: true; .element --hue: 0; animation: rainbow 10s linear infinite; background: linear-gradient(hsl(--hue 50% 50%); @keyframes rainbow from --huw: 0; to --hue: 360deg;

Find a deeper explanation of this same example in “Interpolating Numeric CSS Variables” by Geoff Graham.

When to use one unit over another

This is super tricky because CSS is extremely flexible and there are no definitive or hard-and-fast rules for when to use a specific type of CSS length unit over another. In some cases, you absolutely have to use a specific unit because that’s how a certain CSS feature is specced, like using angle units to set the direction of a linear gradient:

.element background: linear-gradient( 135deg, red, blue; )

The same goes for the values we use in certain color functions, like using percentages to set the saturation and lightness levels in the hsl() function:

.element background: hsl(0 100% 10%);

Speaking of color functions, we define alpha transparency with either an integer or number:

.element background: hsl(0 100% 10% / 0.5); /* or simply .5 */

All that being said, many cases are going to be some degree of “it depends” but there are some instances where it makes sense to use a specific unit in your work.

Generally set font sizes in rem and em units

This way, you can set things up in a way where changing the font-size value of the <html> or a parent element updates the font sizes of their descendants.

html font-size: 18px; /* Inherited by all other elements */ .parent font-size: 1rem; /* Updates when the `html` size changes */ .child font-size: 1em; /* Updates when the parent size changes */

Declare “zero” without units if you’d like

It’s not a big deal or anything, but leaving off the units shortens the code a smidge, and anytime we’re able to write shorter code it’s an opportunity for faster page performance. The impact may be negligible, but we’re able to do it since 0 always computes to 0, no matter what unit we’re working with.

Use container units for responsive design, where possible

Container queries in general are so gosh-darn great for responsive layouts because they look at the size of the container and let us apply styles to its descendants when the container is a certain size.

.parent container: my-container / inline-size; /* Looks at width */ .child display: flex; flex-direction: column; max-width: 100vh; /* 100% of the viewport */ /* When the container is greater than 600px wide */ @container my-container (width >= 600px) .child flex-direction: row; max-width: 50%; /* 50% of the parent elenent */

So, if we going to size the .child element — or any of its children — it’s worth specifying sizes in relation to the container’s size with container units than, say, the viewport’s size with viewport units.

.parent container: my-container / inline-size; /* Looks at width */ .child display: flex; flex-direction: column; max-width: 100cqi; /* 100% of the container */ /* When the container is greater than 600px wide */ @container my-container (width >= 600px) .child flex-direction: row; max-width: 50cqi; /* 50% of the container */

Use percentages when you’re unsure of the context

Yes, use container units for responsive design, but that only does you good if you know you are in the context of a container. It’s possible, though, that you use the same component in different places, and one of those places might not be a registered container.

In that case, go with a percentage value because percentages are relative to whatever parent element you’re in, regardless of whether or not it’s a container. This way, you can declare an element’s size as 100% to take up the full space of whatever parent element contains it.

The only word of caution is to note that we’re only basing the size on the parent. Meanwhile, container units can style any descendant in the container, no matter where it is located.

Viewport units are great for laying out containers

You may be thinking that viewport units are a bad thing since we’ve been advising against them in so many cases, like font sizing, but they are still incredibly useful, particularly when it comes to establishing a full-page layout.

I say “full-page” layout because container queries are the gold standard for sizing elements according to the space they have in their container. But if we’re working with a full page of containers, this is where viewport units can be used to establish a responsive layout at a higher level.

If the elements of individual containers look at their container for sizing information, then the sizing and placement of individual containers themselves probably ought to look at the viewport since it directly influences the amount of space on the page.

Examples

Element (em) and Relative element (rem) units

Let’s talk specifically about these two little buggers. We saw how a percentage unit calculates its size by the size of something else. em and rem units are sort of the same, but they are calculated based on the relative font size of specific elements.

Let’s start with em units and say we have an HTML element, a <div> with a .box class, and we set its font size to 20px. That means any text inside of that element is 20px.

Great, now what if we decide we need additional text in the box, and give it a relative font size of 1.5em?

See how a font size of 1.5em is larger than the 20px text? That’s because the larger text is based on the box’s font size. Behind the scenes, this is what the browser is calculating:

20px * 1.5 = 30px

So, the relative font size is multiplied by the pixel font size, which winds up being 30px.

And guess what? rem units do the exact same thing. But instead of multiplying itself by the pixel font size of the parent container, it looks at the pixel font size of the actual <html> element. By default, that is 16px.

/* This is the browser's default font size */ html font-size: 16px; .box font-size: 1.5rem; /* 16px * 1.5 = 24px */

And if we change the HTML element’s font size to something else?

html font-size: 18px; .box font-size: 1.5rem; /* 18px * 1.5 = 27px */

Character unit (ch)

The character unit (ch) is another is another unit relative to font size and, while it isn’t used all that often, it is amazingly great at sizing things based on the amount of content displayed in an element, because one character unit equals the width of one character of content. Here’s how I wrap my own head around it. If we have this in our HTML:

<p>The big brown dog lazily jumped over the fence.</p>

…and this CSS:

p width: 10ch;

What we get is a paragraph that is 10 characters wide. That means the text will break after the tenth character, including spaces.

But note that the words themselves do not break. If the content is supposed to break after 10 characters, the browser will start the next line after a complete word instead of breaking the word into multiple lines, keeping everything easy to read.

If you’re wondering when you might reach for the ch unit, it’s absolutely boss at establishing line lengths that are more pleasant and legible, especially for long form content like this guide you’re reading.

Line height unit (lh)

The line-height unit (lh) looks at the line-height property value of the element’s containing (i.e., parent) element and uses that value to size things up.

.parent line-height: 1.5; .child height: 3lh; /* 3 * 1.5 = 4.5 */

When would you use this? Personally, I find lh useful for setting an exact height on something based on the number of lines needed for the text. You can see this clearly demonstrated in Temani Afif’s “CSS Ribbon” effect that uses lh to establish dimensions for each row of text that makes for consistently-sized lines that adapt to whatever the parent element’s font-size value happens to be,

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[holy-ghost-fire]

My KE Arms KP-15 build. I wanted to do my own lightweight, WWSD-inspired build but on a budget. The parts are:

KE Arms Blem OD Green Lower with Mil-Spec FCG and Ambi Selector

PSA 16" Mid-Length Pencil Barrel Upper

Radian Raptor-LT Ambi Changing Handle

Aero Precision Nitride BCG

Some other parts that I put on:

Diamondhead Iron Sights (I've really liked these for years and had a set on hand)

Magpul B.A.D. Lever (inb4 "bad lever is bad")

Magpul MS-1 Sling, QD Sling Mount, and QD Sling Swivel

[wylannvansunshine]

Ms. Bustier: Radians are another way to measure other tha-

Marinette: radiant

Ms. Bustier: no its radian-

Marinette: CAREFREE

Ms. Bustier:

Marinette: DREAMY

[threat5680]

Title: OUR ALTERNATIVE UNIVERSE

Part 1

Y/N's POV

"Yes sir! I'll be there in a minute!!" I said to Brimstone

I am the new assistant for the agents.. Actually I was the adopted daughter of the leader of the agents.. Brimstone.. He is very strict to me by the way ... And I cannot argue more, he is a father to me..

And since I graduated to the academy, he accepted me as a major intern to assist Miss Killjoy but majority of what I do is to assist everyone, means all agent...

But recently the team develop a major problem, the duality..

There is other of "us", I don't think I have one but surely all the agent have ..

We were also able to create Kay/o to assist, of course "dad" or brim but morely to assist all agent ...

After the recent fight at the Map Bind, the three of them which was Ms. KillJoy, Phoenix and Ms. Viper return with the so called spike and a radiant defuser..

And of course with a confused phoenix..

"Y/N!! Help me find more information about this spike!!" KillJoy

"Ahh!! Yes! Yes!" I said

"What's with that look idiot!!" Yoru

"Phoenix got a look in the mirror" Viper

"Hmph, why are they look at us?!" Phoenix

"Are they really look like you?" I asked

"What? I thought you knew Y/N?" Killjoy

"Does your father didn't tell you?" Raze

"He did, but of course, I mean, does they really look like all of you?" I asked again looking at the agents who are currently at the hall

Killjoy, Raze, Viper, Sage, Phoenix and Yoru

"We'll talk about this at the Meeting hall!" Brim

Everyone look at the person who just suddenly talk..

"Yes!" Everyone on the hall

"Y/N call the others!" Brimstone

"Y-Yes sir!" I said

And I hurriedly look for the other agent who isn't at the hall

As I look for the others, a certain annoying sound ring my ears ..

'Yoru' I though and shake my head side to side

I followed the sound of the annoying sound..

And here I found it.. the blue tiny walking orb..

Me: *waiting*

Yoru: *teleported*

Me: *put my hands on my hips*

Yoru: *look shocked, then smirk*

"what's with that look?" I asked

"Are you waiting for me here, Princess?" Yoru

"Ahh, no not really waiting like that, and don't call me princess, Yo-ru-kun!" *Wink at him*

"Ahh, playing are we princess~~" Yoru

"Hahah, maybe next time, I'm quite busy at the time, and also don't use your powers here at base" I said

"Hai-hai~~~" Yoru

"Well see you later, Yoru-kun!" I said as I was about to go look for the other agents

"Aaa--hh w-wait!!" Yoru

"Hmmm?" I said as I look back at him

Yoru: *rubbing his head* *with a little red tint on his face*

Me:*confuse and tilted my head onto the side*

Yoru: *looks away*

"Wanna come and join me?" I said and then smile

"W-what?" Yuro

"Don't you want to?" I said

Yoru:*looking shocked*

Me: *look confused again then tilted head*

"I mean if you want to join me, I don't really mind, it will be easy to find the others" I said

"I mean two person is better than one right" I said as I smile

Yoru: *nod in agreement then follows me*

~~~a while later~~

"Ahh! Ms. Reyna!" I called

"Oh yess my little hermanita?" Reyna

"Ahh da--, I mean sir Brimstone needed everyone at the meeting hall ASAP!!" I said

"Alright, thank you for the information, little one" Reyna

Reyna: *about to go* -- *then look at us*

Yoru: *looking away*

Me:*confuse??*

Reyna: *wave her head side to side*

Me: *confused*

Yoru:*red tinted face*

"L-let's go look for others again" Yoru

"Ahh yes" I said

Then we continue to look..

As we walk thru the hall we saw Omen and Cypher

I suddenly hold onto Yoru's Jacket...

Yoru look at me, knowing that I was scared to the both of them..specially Cypher..

Yoru took the lead on telling them about the Meeting..

"Hey you two!!" He shouted since we were far away from the two of them ..

Cypher and Omen, look at us

"Meeting at the Meeting Hall, Urgent, so go ASAP there!" Yoru shout

The two nod and as I look at them.. Cypher wave at me, and I Hesitately smile and wave back while still holding Yuro's Jacket..

Then we walk away with Yoru leading our way out of the sight from the two..

"Thank you Yoru-kun!" I said happily smiling at him

"No problem" He confidently said

"So where are we going next?" Yoru continue

"Well usually, most of you guys go train yourself... So Training ground we goo!!" I said

Yoru chuckle to my sudden change of aura..

we gone to the training ground where we found the rest of the team

"Hi everyone, you were called to the Meeting Hall, ASAP" I said with a happy voice

"Aaa the litttle lamb has come to pick us up!!" Sova (Rushian accent)

"Aaa Yes, I am here to pick you all up, good sir" I said in the same Accent

"Well let's go little lamb?" Kay/o

We all look at Kay/O on his sudden reply to my comment earlier..

It unusual for him to do that.. specially knowing him ready for a fight..

"What?" Kay/O

We all laugh after that..

"Well let's go then, my friends" Sova

And we all nod and went back to the HQ..

~~~after a while ~~~

We all gather at the Meeting Hall, where most of the other agents are there ...

We were like children teasing each other as we arrive at the meeting hall..

Silent has come after we come sit on our perspective seats...

Brimstone

Kay/O infront Breach

Y/N infront Reyna

Killjoy infront Viper

Raze infront Sage

Jett infront Skye

Phoenix infront Sova

Yoru infront Cypher

Omen infront Astra

"Now everyone is here, I won't beat around the bush" Brimstone

"There is another world that has the same of us, but since our world have the power of Radiance, it has gives out world stability.." Brimstone

"Radiant power?" Cypher

"Y/N care to explain" Brimstone

Then everyone come to look at me

"Ah yes, well aa you see Radiance Power are natural power, such as like the power of Ms. Reyna, Phoenix, Jett, Yuro and Skye..." I explained

"The spike over there has able to absorb the power of radiance and as it absorb the power it creates particle that exploded as Ms. Killjoy and I discovered" I futher explain

"That's why Killjoy was able to create the defuser which also has a Radian power within it" Brimstone continue

"And the other us? What this power?" Phoenix

"To be clear, not just want the Radiant power but to destroyed our world, and I'm not going to let that happen" Brimstone

"Well, is this mean that we will go through fight?!" Reyna

"Yes, we are going, to protect this world" Viper

"Well is this mean we will go teams or group or something?" Raze

"Yes we all be going by group and rotating team.." Brimstone

"Rotating?" Breach

"Random and Rotating to all maps that has Radiant Power, Viper will look into this and Sage will assign your perspective teams.. " Brimstone

Everyone nod in agreement..

"And also I have a hard though with this but since we are still lack of people, Y/N, you will be starting your training tomorrow under Sova's Care" Brimstone

"What? Little lamb will start her training? For what?" Phoenix

"For becoming an agent" Brimstone

"What?! Are you sure?" Sage

"Hmm" Brimstone nod

"Well, don't you all want to bond with her? Little Lamb isn't little anymore" Reyna

"But isn't she just a normal chally?" Astra

"Well what's wrong with her being normal, she can be like us, more tech!!" Killjoy

"Yes!! I agree with her" Raze

"Then this is enough, you will start tomorrow, Rest the whole day for you to prepare" Brimstone

Everyone was quiet for a while..

"Anymore questions?" Brimstone

~~silent~~

"Then meeting ajure!" Brimstone

Then we all stand up and one by one go out of the meeting hall..

"Congratulations for becoming an agent, little Lamb!" Reyna

"Yeah, Congrats! Little Lamb!" Cypher

"Y-yes thank you" I said as I thank back all the agent who congratulate me

Then I head back to my room.. as everyone went to their perspective training or room..

As I head back I heard again the annoying sound..

Me:*exhale*

'Yoru' I thought as I smile looking for that Blue orb

~~THIS IS ACTUALLY A STORY I MADE ON BUT STILL ISN'T PUBLISHED BUT I'M STILL WORKING ON IT...

-what do you guys think? Should I continue?

[jenniferportman]

Cable trays Support System for large Cables

Cable trays Support System for large Cables

The cable tray and accessories are a mechanical support system for electrical cables that are used for power distribution, control, and communication. They're ideal for running big amounts of power or data cables overhead or beneath the floor. They come in MS, hot dip galvanised, pre-galvanized, powder coated, and painted finishes, depending on the application.

Cable trays &Support System:

Cable trays are the kind of mechanical support for large electrical cables assemblies large electrical cables system are generally seen in power distributions, control, and communication. Where cable plays a very important role to support providing mechanical support to the system. They're ideal for running big amounts of power or data cables overhead or beneath the floor.

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4. Channel Cable trays

5. Accessories for cable trays vertical bends, horizontal bends, inside bends, outside bends, reducers, and tees with radians 300, 600, 900.

Please Visit: https://ieng.tech/cable-trays-and-support-systems/

[thestructurepipe]

MS Angle

MS Angle

U.K & Sons are the largest Distributors, Dealers, Suppliers of MS Angle in other words ISMA. We deals in all Major Brands such as SAIL, TATA, JINDAL, RINL, Nevertheless we also deal in secondary market products such as Local Rolling Mills situated in states like Punjab.

MS Angle - Mild Steel Angle Dealer, Supplier, Distributors -U.K & SONS We also deals in ISMA of local manufacturing units from states like Punjab and Uttar-Pradesh. Jammu, Uttrakhand, Haryana and Himachal Pradesh. Being the largest supplier of Mild Steel Angle we are the registered vendor of IOCL, BPCL, Sugar Mills. Other Industries such as Cement Industry, Chemical Plants, Petrochemical Units and Pharmaceuticals, Regular supplies of ISMA to HVAC installations, Fire Fighting, Plumbing, Industrial Sheds, Storage House, Large Convention Halls, Foot over Bridge.

Dimension of Angle

Equal Angle Weight Chart - U.K & SONS Size in MMWeight of Angle in KilogramWeight per Meter20 x 20 x 3 mm0.2740.89925 x 25 x 3 mm0.3351.09925 x 25 x 3 mm0.5481.79831 x 31 x 3 mm0.391.2835 x 35 x 5 mm0.7922.59937 x 37 x 3 mm0.5181.7040 x 40 x 3 mm0.5481.79840 x 40 x 5 mm0.9153.00240 x 40 x 6 mm 1.0663.49850 x 50 x 5 mm1.1583.79960 x 60 x 6 mm1.645 5.39765 x 65 x 6 mm1.7675.79865 x 65 x 8 mm 2.3467.69775 x 75 x 6 mm2.0726.79875 x 75 x 8 mm2.7128.89875 x 75 x 10 mm3.35210.99880 x 80 x 6 mm2.2247.29790 x 90 x 6 mm2.4998.19990 x 90 x 8 mm3.29210.80190 x 90 x 10 mm4.08413.40100 x 100 x 6 mm2.8049.20100 x 100 x 8 mm3.68712.097100 x 100 x 10 mm4.54514.912100 x 100 x 12 mm5.39517.701130 x 130 x 10 mm6.00419.699150 x 150 x 10 mm6.9522.803150 x 150 x 12 mm8.2927.199150 x 150 x 16 mm10.91135.799150 x 150 x 20 mm13.44144.10Size in MMAverage WeightAverage WeightM.S Angle Dimension chart -U.K & Sons

Dimension of Unequal ISMA Weight Chart

Buy Now -U.K & Sons Size in MMWeight in Kilogram / Meter30 x 20 x 3 mm1.10/meter30 x 20 x 4 mm 1.40/meter30 x 20 x 5 mm1. 80/meter40 x 25 x 3 mm1.50/meter40 x 25 x 4 mm 1.90/meter40 x 25 x 5 mm2.40/meter40 x 25 x 6 mm2.80 /meter45 x 30 x 3 mm1.70/meter45 x 30 x 4 mm2.20/meter45 x 30 x 5 mm2.80/meter45 x 30 x 6 mm 3.30/meter50 x 30 x 3 mm1.80/meter50 x 30 x 4 mm2.40/meter50 x 30 x 5 mm3.00/meter50 x 30 x 6 mm3.50/meter60 x 40 x 5 mm3.70/meter60 x 40 x 6 mm4.40/meter60 x 40 x 8 mm5.80/meter65 x 45 x 5 mm4.10/meter65 x 45 x 6 mm4.90/meter65 x 45 x 8 mm6.40/meter70 x 45 x 5 mm4.30/meter70 x 45 x 6 vmm5.20/meter75 x 50 x 5 mm4.70/meter75 x 50 x 6 mm5.60/meter75 x 50 x 10 mm 9.00/meter80 x 50 x 5 mm4.90/meter80 x 50 x 6 mm5.90/meter80 x 50 x 8 mm7.70/meter80 x 50 x 10 mm9.40/meter90 x 60 x 6 mm6.80/meter90 x 60 x 8 mm8.90/meter90 x 60 x 10 mm11.00/meter90 x 60 x 12 mm13.00/meter100 x 65 x 6 mm7.50/meter100 x 65 x 8 mm9.90/meter100 x 65 x 10 mm12.20/meter100 x 75 x 6 mm8.00/meter100 x 75 x 8 mm10.50/meter100 x 75 x 10 mm13.00/meter100 x 75 x 12 mm15.40/meterStandard Unequal Angle Weight Chart - U.K & Sons

Large Size Unequal ISMA Weight Chart

Size in MMWeight in Kilogram per Meter125 x 75 x 6 mm9.20/meter125 x 75 x 8 mm12.10/meter125 x 75 x 10 mm14.90/meter125 x 75 x 12 mm19.60/meter150 x 75 x 8 mm13.70/meter150 x 115 x 10 mm20.00/meter150 x 115 x 12 mm23.50/meter150 x 115 x 15 mm29.50/meter200 x 100 x 10 mm22.80/meter200 x 100 x 12 mm27.20/meter200 x 100 x 15 mm33.60/meter200 x 150 x 10 mm31.80/meter200 x 150 x 12 mm31.80/meter200 x 150 x 50 mm39.40/meter200 x 150 x 18 mm46.90/meterMild Steel Angle Large Size Weight Chart - U.K &Sons

Grade of Mild Steel Angles

IS 2062 as per ISS 2006 Tolerance as per IS 1852 -1985 Properties as per IS 808

Dealer of ISMA

Mild Steel Angle like equal ISMA and unequal ISMAcomplementary anglestypes of ISMAISMA meaningadjacent anglestypes of quadrilateralsms angle like Mild Steel Equal ISMAalternate angles such as Degree on customer demand.hexagon angleslines and anglesdifferent types of ISMAinterior anglesms angle suppliervertical anglesangles of a triangleexterior anglesbond anglesalternate exterior anglessides of a triangle7 types of triangles1 radian to degrees

Supplier of ISMA

ISMA Local Brandms angle 50x50x6 priceisma meaningms angle 50x50x6ISMA Mainms t anglems equal anglesISMA dealer of Main companyms angle ironms angle channeljindal ms anglems angle supplier near meisma websitems angle 50x50x5 pricems angle price todayisma meaning in hindimild steel l angletata steel ms anglesms steel angle50x50x6 angle priceisma impexms angle 40x40x6price of ms anglems channel price per kgms ISMA grademild steel equal anglecost of ms angle per kgl ISMA msms angle 75x75x6mild steel unequal ISMAisma stressismasupersrabi ismapsa ismabright mild steel ISMA

Frequently Asked Question on MS Angle and ISMA

Who is the dealer of ISMA? U.K & Sons are the authorized dealer of SAIL, TATA, JINDAL, VIZAG, RINL brand ISMA, Mild Steel Angle. Call 9821946252, 9555086252, 9873186252 Who is the supplier of ISMA? U.K & Sons are the most trusted and reputed supplier of ISMA in North India. We are the registered vendors of IOCL, BPCL, Petrochemical Industries, Call 9821946252, 9555086252,9873186252 Who is the dealer of ISMA near me? U.K & Sons are registered dealer of ISMA in nearby your area. We have the capacity to deliver ISMA Pan India with the help of trusted logistic companies. Call 9821946252, 9555086252 and 9873186252 for the best prices Who is the dealer of Tata Steel ISMA? U.K & Sons are registered dealer of Tata Steel ISMA in North India. Call 9821946252, 9555086252 and 9873186252 for the best prices. Latest MS Angle price? Call 9821946252, 9555086252 and 9873186252 for the latest prices at U.k & Sons. Best MS Angle price per kg? Call 9821946252, 9555086252 and 9873186252 for the best prices at U.k & Sons What is the Mild Steel Angle price? Contact us at 9821946252, 9555086252 and 9873186252 for the latest prices at U.k and Sons. Mail us at ukindustries_in@yahoo.com

How to order ISMA

Booking Process of MS Angle Measure the dimensions of ISMA Measure and calculate the dimension of ISMA required such as length breath and height before going ahead. Confirm the quantity Exact calculation of quantity is a very vital in placing an order because precise calculation of quantity will help you to save your resources like manpower,time and money. Choice of quality grade Choosing the required quality grade of product will ensure that you stay precise to your project requirements. Placing an order Executing all the above steps correctly and then as a result you would now be able to place your order correctly. While placing an order a lump sum amount is required to be paid as advance. Fix your mode of transport After the confirmation of dispatch status and then make the full payment and choose your preferable mode of transport such as by rail, truck and cargo.

However in case of Inquiries

Please mail your inquiries to get the best company discount and latest offers. Reach us at:- ukindustries_in@yahoo.com

In Addition For Online Ordering

#msangle #mildsteelangle #structuresteelangle #Lshapeanglesteel #lsection #structuresteel #angle #angles Buy Now Read the full article

[neversaw-youcoming]

The Mysterious Death of Mildred Button

“I just do not understand why you wanted to come to this sort of distasteful spectacle, Charles.” Emma Darwin sighed.

“Now darling, you are always asking me to get out of my study and spend more time with you and the children. It’s supposed to be a fun day out for us.” Charles Darwin looked at his wife eagerly. “And this way I do not have to get on another boat to the colonies to study these exotics savages like I did in my youth on the Beagle.”

Excitement glistened in Darwin’s eyes as he walked up a dusty path to a large striped tent ahead, with the words Behold, Human Freaks! painted in large letters on the sign hung above. “Some of my colleagues have mentioned there is this girl here that is covered in hair like an ape! They say she is the missing link that will turn my next book into an even bigger breakthrough than On the Origin of Species! Oh, I do hope they are correct.”

Emma held her tongue when she saw how excited her husband was. She hated his work and how it drew a big wedge between him and God, but what was she to do she had no control over him? The nights she had spent aching and praying for his soul seemed countless. It took a while but she had come to terms with the fact that he was not going to stop his research, for it was a hunger inside to learn that drove him.[1] She had come to accept his work with animal species, but hearing that he was trying to broaden his theory to people made her scared and wistful for the time when mollusks and barnacles were all he talked about.

“Run along children, and do not touch anyone!” she called ahead, squeezing her husband’s hand a bit tighter as he paid and they ducked under the flap into a dark space lit up by torches on the walls of the tent. The Darwin’s stood together by the back of the tent as their vision adjusted to the dim lights. The murmur of the crowd grew louder as the curtain on stage shook.

A man in a top hat and a dirty brown suit waltzed onto stage, “Ladies and Gentleman!” the booming voice echoed around them.

“Here we go!” Charles said pulling out an old notebook and pencil from his coat pocket. He flipped through pages and pages of notes scratched into the paper for his next book, The Descent of Man. He settled on a blank page when the crowd hushed.

“What you are now about to see is proof of the remarkability of man!” the announcer bellowed. “My name is Tom Norman and I’m here to show you the one and only Mr. Joseph Merrick, the Elephant Man!”[2] The curtain dropped and the crowd gasped at the sight of the deformed man on stage.

“Good heavens!” Mrs. Darwin exclaimed, hiding her face in her husband’s chest, the wool fabric tickling her face.

“How fascinating!” Mr. Darwin said, stepping forward through the crowd to get a better view.

“Oh you are mad as hops!” Emma called after him, but is drowned out by the murmuring spreading through the crowd from the sight of the man on stage in front of them. Merrick stood in his refined Sunday’s best, breathing loudly like a dog panting in the sun. A couple of women ran towards the exit at the sight of him, and a mother was shushing her crying child.

“Now do not be afraid me friends!” Mr. Norman exclaimed. “Do not to despise or condemn this man on account of his unusual appearance. Remember,” he asserted, “we do not make ourselves, and were you to cut or prick Joseph … he would bleed, and that bleed or blood would be red, the same as yours or mine.”[3] An air of awe swept over the crowd as Merrick gave them a bow. “I want you to look into your hearts and see that this man is the most remarkable human being ever to draw the breath of life! For he is not a monster but a master work of nature!” [4]

Charles scribbled a description of Merrick into his notebook, “enormous and misshapened head. From the brow there projected a huge bony mass like a loaf, while from the back of the head hung a bag of spongy, fungous-looking skin…”[5] Mr. Norman continued to work the crowd in the background, telling them how Merrick was a working man from right there in England, and earned his living just like the rest of us.[6]

The Darwin’s walked hand in hand together, looking at the other freaks on display, waiting for the next one on the main stage. The torches flickered on the wall. “How about that? Do you think it was some sort of accident?” Emma asked Charles.

“Actually ma’am, I was born this way.”

“Oh my! I am sorry I did not think you could hear me.” Mrs. Darwin said, startled to be interacting with the man that appeared to have no arms or legs at all. Sat on a trunk, he wore a garment that resembled a sock along his whole body.

“Happens all the time don’t worry about it,” the man said in a gruff voice, “the name’s Prince Randian but I’m known here as The Snake Man. Want to see me roll a cigarette?”[7] He grabs a small glass jar of tobacco with his mouth from the side of his trunk and used his shoulder to hold the paper in place as he sprinkled the tobacco inside.

“My good sir, where do you come from?” Charles asked.

Prince Radian managed to get the cigarette into his mouth and light it. “British Guinea.”[8] Darwin scribbled in his journal.

“Now, may I have your undivided attention as I present the missing link in our evolution, all the way from Laos, Krao!”[9] Norman bellowed once again on stage.

“Oh I must see this!” Charles said, grabbing his wife’s hand and weaving his way through the crowd. “What a fascinating find!” he sighed, observing the girl on stage covered completely in thick dark hair. The show had dressed her up in a blue dress fitting of a girl her age, something Mrs. Darwin would have made their daughter Annie wear.

“Krao here is an eight year old girl, and a perfect specimen of the step between man and monkey!”[10] Mrs. Darwin was appalled at the claim this dirty freak show owner was making, who seemed to be a big fan of her husband. “Who here has read On the Origin of Species?” Norman asked the crowd. Charles eyes lit up with glee as he turned to his wife when a light cheer ran through the audience, not letting the several sounds of displeasure get to him. “Well, I am sure Mr. Darwin would agree that this girl here with her primitive, hairy body, fits his theory to a tee.”

“What a remarkable creature!” Darwin turns to his wife as the stage show continues. “This is exactly what I needed to finish my evidence collection on my next book. It is the key to my theory.”

“You know how I feel about this, Charles.” Emma sighed.

“I am sorry, my dear, but no honorable man shall accuse me of concealing my views once I finish this book.”[11] He says triumphantly. “My views have often been grossly misrepresented, bitterly opposed and ridiculed.” [12]

“Maybe you should write a clarification of what you believe next, if you are so concerned about your legacy here on earth.” Emma rolled her eyes at her husband.

“You are angry with me?”

“The habit in scientific pursuits of believing nothing till it is proved, influence your mind too much. The situation that has befallen that girl is likely to be above our comprehension. The existence of God cannot be proved in the same way as all your studies.”[13]

“Darling, I cannot deny my own mind. When I am dead, know that many times, I have kissed and cried over this,[14] but I cannot avoid the belief that man must come under the same law.”[15] He put his arm around Emma just as a crash echoed from the stage.

           Gasps ran through the audience with the realization that the Bearded Lady, who had just walked on stage, collapsed. Her pink dress was strewn across the floor and Tom Norman was knelt next to her, lightly slapping the sides of her face to try and revive her. He stood up, “Alright now, stay calm everyone. Some find the Lady Isabella!” he shouted over the commotion. The Bearded Lady came to, and was handed a glass of water by Krao.

           Suddenly, a woman in a purple and orange oriental gown and turban burst through the flap of the tent.[16] Distressed and hands covered in blood she yells out “Mildred Button is dead!”

Chaos erupted in the crowd, which Norman started to usher out of the tent. “Sorry folks, due to unknown circumstances the rest of the shows are canceled for today!”

Two men in suits approach Norman, “Excuse me, we were here for the show but we are detectives with local law enforcement and are here to help with this apparent murder of one of your performers is it?”[17]

“Yes, yes,” said Norman, still in shock. He grabbed one of the detectives by the arm and said, “she was our only dwarf in the show. Look, I have as little information as you do we are going to have to talk to the Lady Isabella.” Tom Norman began to steer the detectives towards the Lady Isabella while Emma Darwin gathers her kids to leave. Charles started to follow behind them when the detective with a mustache stopped him.

“I am sorry, sir, but do you happen to be Charles Darwin? I recognize you from the paper,” the detective remarks.

“Oh yes, lovely to meet you. I will be getting out of your way.” Darwin tried to duck past the man.

“Actually sir, I was wondering if you would stick around for the investigation? My friend here Arthur Weaver is a consulting detective for the force whose a scientist and we have found that the more scientists we have at an investigation the faster we can solve it.”[18]

Darwin hesitates for a moment, “alright then, but I must get back to my family soon.” The detective holds out his hand to Charles “The name is John, John Fisher. It’s an honor to meet you, sir.”

The two walk over to Norman and Isabella who was animatedly talking to Detective Weaver. “She claims she went into the female freak’s tent to talk to Ms. Button about the show they were doing together tonight and found her bleeding heavily from between her legs,” Detective Weaver says to his partner.

“She was dead when I found her! There was no way she was pregnant or nothing! She never even had her first menarche the doctors think she was too small,” Lady Isabella explained to the detectives.

“Lady Isabella is basically the manager of the female freaks here, knows all their medical information and keeps them all fresh and healthy for the shows,” Norman said.

“Actually I feel her spirit here with us!” Lady Isabella exclaimed.

“Huh?” said Darwin.

“She is also out in house medium. Sell out shows every week,” Norman said proudly.

“A medium, say,” Fisher inquires, “why don’t you just talk to Mildred’s spirit and she can tell ya why she is dead.”

“Yes! We must hold a séance!” The two detectives nod in agreement as Darwin tried to figure out he became a part of the side show act.

All but one torch was blown out and the five of them sat around a table with Lady Isabella at the head of it. “I ask you to all join hands and open yourself to the realm beyond,” the Lady Isabella said. Charles Darwin could not believe the scene he had gotten himself into but decided to play along and close his eyes.

“I call to you Mildred Button. Come to us and illuminate what brought you to such an untimely end.” The Lady Isabella started to take larger and larger breaths and it seemed that everyone else had stopped breathing. This single torch on the wall flickered fast. “Yes, my girl! Speak through me!”

           A shiver seemed to pass through Lady Isabella as the table started to shake. Suddenly the table stopped and the Lady Isabella’s eyes snapped open. Her whole demeanor changed from commanding to scared.[19] “There was this doctor…” Darwin’s eyes snapped open at the voice. It had come from the Lady Isabella’s mouth but it was not her own. This voice was timid and of a higher pitch, not unlike a little girl or dwarf women he assumed. Goose bumps spread up his arms, he tried to tell himself it was the body’s natural reaction to the unknown and he was not actually afraid there was a spirit talking through the women beside him.  

           “There was this doctor who said he was going to cure me,” the voice continued. “He had come to check on all of the women, but he spent extra time on me because I was feeling down about work and had these coughing fits recently. I heard the mention of hysteria. I am not crazy!” [20]the voice seemed distressed.

           “Who was the doctor, what happened?” Detective Weaver asked.

           “I do not remember much, but it was very painful and when I woke up I no longer felt like a women.” A tear rolled down Lady Isabella’s face. “A week of pain went by that just got worse, and today I could not even walk. The incisions he made down there in me were swollen, and then there was a tearing, and the blood would not stop coming. I tried to call for help but everyone was at the show.”

           “Do you know who the Doctor was, Mildred Button? We cannot solve your murder unless you tell us who treated you here,” Fisher exclaimed.

           The Lady Isabella had tears streaming down her face. The voice came through with the sound of pure anger. “It was Dr. Baker Brown,” it hissed.

The Lady Isabella’s head collapsed onto the table. She looked up, appearing to be out of her trance. “God Almighty in heaven, rest her soul. That was the man who saw the Bearded Woman! I heard her go on and on about some cure, I thought she was talking nonsense!” Lady Isabella explained, voice back to normal.

The detectives looked back and forth at each other. “Are you thinking what I am thinking?” Detective Fisher asks his partner.

“That is the man we had been getting multiple reports about!” Detective Weaver shouted, slamming his palms on the table and getting up. “We can use Mildred Button’s death to finally end that Ratbag! This will make our careers!” He slapped his buddy on the arm.

The detectives shook the hands of Norman and Lady Isabella. “We will try to pin him for murder, but if that does not stick we will at least be able to get him for destruction of property for your freak show because you lost an act,” Detective Fisher said. “We must get going but we will update you guys when we can.” The two detectives ducked out of the tent together.

“I best be going,” Darwin said. “I am glad you will be getting justice for your friend Mildred, a man as dastardly as that deserves to be off the street for good. You cannot force evolution by removing part of a being.” He shook hands with Norman.

Charles Darwin turned to Lady Isabella. “I do not know what you just did there ma’am, but my wife is always telling me that there are things on this Earth that are truly beyond our comprehension and I think you might be the first proof I have found of that.” She smiled at him as he walked out of the tent to tell his wife and kids a new fantastic story to match those from his youth.  

[1] Charles Darwin, The Autobiography of Charles Darwin, 1958, 197.

[2] Nadja Durbach, “Monstrosity, Masculinity, and Medicine: Re-Examining the Elephant Man,” Cultural and Social History, 2012, 201.

[3] Durbach, “Monstrosity, Masculinity, and Medicine,” 201.

[4] Ibid, 201.

[5] Ibid, 194.

[6] Ibid, 202.

[7] “Prince Randian: Biography,” International Movie Database, 2017.

[8] Ibid.

[9] Nadja Durbach, “The Missing Link and the Hairy Belle: Krao and the Victorian Discourses of Evolution, Imperialism and Primitive Sexuality,” Victorian Freaks, 2008, 1.

[10] Ibid, 1.

[11] Darwin, The Autobiography of Charles Darwin, 107.

[12] Ibid, 103.

[13] Ibid, 198.

[14] Ibid, 199.

[15] Ibid, 107.

[16] Arthur Conan Doyle, The Sign of Four, 2001.

[17] Ibid.

[18] Conan Doyle, The Sign of Four.

[19] Alex Owen, “The Darkened Room: Women, Power, and Spiritualism in Late Victorian England,” The New Cultural Studies Series, 1990.

[20] Isaac Baker Brown, “On the Curability of Certain Forms of Insanity, Catalepsy, and Hysteria in Females,” 1866.  

[canmom]

here’s how you rotate text in MS Paint

decide what angle ϕ you want to rotate by

select the part of the image with your text in it [1]

click the button in the top bar that says ‘Resize’

make sure the ‘Maintain aspect ratio’ box is turned off

grab a calculator that supports trigonometric functions [2]

calculate 100*cos(ϕ) and put it in the first box [3]

calculate 100/cos(ϕ) and put it in the second box

put -ϕ in the third box

calculate arctan(sin(ϕ)cos(ϕ)) and put it in the fourth box

transform!

[1] note MS Paint does not support layers so any part of the picture right next to your text will also be rotated

[2] Google or Wolfram Alpha will do it, but make sure to type ‘degrees’ to tell it your angle is in degrees not radians

[3] you can’t put decimals in the MSPaint resize box so just round it to the nearest whole number...

Derivation for the above formulae here. tl;dr: multiply shear and scale matrices together, set equal to rotation matrix, solve equation.

[vanillakosmetik]

MS GLOW Radiance Gold Gel Original : Review, Testimoni dan Manfaatnya

MS GLOW Radiance Gold Gel Original : Review, Testimoni dan Manfaatnya

MS GLOW Radiance Gold Gel – Masih dengan tema yang sama seperti pendahulunya yaitu MS Glow Cream dan Red Jelly Cantik Skincare, produk MS Glow Radiance Gold hadir untuk memberikan opsi pilihan perawatan wajah premium yang terbaik bagi Anda.

Kehadiran produk MS Glow Radiance Gold ini ditujukan untuk memberikan alternatif pilihan…

[publicrelationsfreelancers]

Sr Experience Strategist, F/T and Freelance

We are looking for a passionate, solution-oriented individual who can be both creative and analytical. You will be working with a strong team in developing 360’ experiential, socially driven programs amongst a collaborative group of account, creative, production and analytics team members.  We currently have needs for both f/t and freelance.

Responsibilities:

·Collaborate with creative, media, analytics and technology to develop a holistic strategy for clients and new business opportunities

·Lead client and new business discussions

·Own the integrity of the work, from initial planning through execution

·Work with global and regional client teams

·Uncover new content, platform, product, and audience opportunities through qualitative and quantitative insights in the earned and owned channels

·Develop external and internal influencer strategies, specifically in the technology category

·Work with the Analytics team to develop innovative strategic tools, resources and practices across all Agency partnerships

·Be a client-facing social resource on existing and new business opportunities

Desired Skills and Experience

·6 - 8 years digital experience at an interactive, creative, media, and/or PR/Communications agency (or demonstrated client-side experience)

·Exceptional communications skills, strong communicator and experienced at collaborating with people across networks

·Hands-on social listening experience using tools such as Radian 6, Sysomos and/or Crimson Hexagon

·Expert in MS Office (Word, Excel, PowerPoint)

Please attach a resume when applying.

Click here to apply

[lokerindonesia]

Lowongan Kerja SDP dan ODP Radian Edu Solution, Depok

Lowongan Kerja SDP dan ODP Radian Edu Solution, Depok

[ad_1]

di butuhkan segera marketing, pengajar dan admin…

Tanggung Jawab Pekerjaan :

  – Marketing

– Mengajar Sd,SMP,SMA/SMK

– Input data perusahaan

Syarat Pengalaman :

Minimal 1 tahun berpengalaman dalam mengajar/admin di perkantoran.

Kualifikasi :

  – Pria/Wanita max 25 th.

– Menguasai Ms Office

– Punya kendaraan & Laptop

– IPK > 3.00

Keahlian :

– Mampu bekerja dalam team.

– Bersedia…

[kontji]

Weekly #Jobs List

JOB LISTINGS AND OPPORTUNITIES THROUGH FEB. 24, 2018

HELP WANTED

Call Center (Call Paul at 310-9609)

Administrative Assistant, Radian Partners, 6060 Poplar Avenue, Suite 150 (Apply in person)

Warehouse/Delivery, Party Connection, 174 Collins, Suite 104 (Apply in person)

Cashier, Landers, 315 Goodman Rd. East, Southaven, MS (Apply in person)

Delivery Driver/Labor (Need valid driver’s license; Call…

[unnotantei]

30+ new jobs in Jawa Barat

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[judieasley57]

My Disclaimer:

I was provided a complimentary copy of this book. I am voluntarily providing an honest review in which all opinions are fully my own. I am not being compensated in any way.

~ Judi E. Easley for Blue Cat Review

What it’s about…

Sunday Merkwood is a Mistletoe. She’s been fending off advances from Jamie for two years now.

Jamie Tepes is a Dracula. He’s determined that Sunday is going to be his and he’s got eternity to be patient.

They play a game of cards. The winner gets things their way. And Jamie has a full house! His choice of prize is a date that includes dinner at Sunday’s house and a movie at his house.

History tells us that Draculas used to massacre Mistletoes. Sunday’s parents are very traditional Mistletoes. They also have information to reveal to Sunday that will effect her future and Jamie’s plans with her.

How will Sunday and Jamie overcome this startling change?

Technical Tidbits…

The cover I had was this one you see here to the right. The alternate one you see above is the one I actually prefer. It is so much more artistic and actually relates to the story. Unfortunately it has not mistletoe on it. Again, a mistletoe title without the plant. Hhmmm. I hope book two gets a new cover before it gets published! Something more like the one above would be awesome!

The story line was very interesting. I really enjoyed the way the author handled it.

The characters were really great. They had wonderful personalities, even the disagreeable ones were great! Not pleasant, but they were done really well. To the point that you wanted to say something to the yourself about the way they were acting and what they were saying.

The pace was just fine. It was fairly fast but given the 51 page limit, that was needed to get everything in. It worked well with what Ms. Kitt included in this first book of the series.

The tension was right there from beginning to end. Sometimes you could hear it screeching in your ears, like at dinner with the Mistletoes, but it was mostly tolerable.

The writing quality is really up there. Ms. Kitt has had me read and review a couple of her novellas in series recently and I have enjoyed them all. Though her work wasn’t at first glance in my genre, I find that her work is really fun and always entertaining. She pulls me in and keeps my attention until the end so that I always want more. So this is what I want next from Ms. Kitt. I want a full novel. I want something that I can curl up and read on a long snowy day.

And this is where you STOP if you don’t want to see any SPOILERS…

The good, the bad, and the ugly…and how much it lit up my life… ✰✰✰✰✰

I thoroughly enjoyed this book. It kept me engaged from cover to cover! The flirting between the two of them at the club where Sunday was waitressing and Jamie was hanging out was fun and led to that game of cards that ended with dinner with Sunday’s parents.

Sunday’s personality was perfect for a young woman her age. She’s still a virgin and rather conservative. Yet, here’s this rather hunky young man who’s been making advances to her for two years. In a darkened club where it’s just the two of them and she can experiment just a bit. So she plays this game of cards with him. She makes things rather suggestive by sitting on the table and putting the cards between her legs, but acts innocent about it. So, when Jamie wins, he gets to make his prize up. Dinner at her house and a movie at his house. She’s seems fine with that, but I don’t understand why she would be so calm and casual about it. She had to know her mother, and especially her father would be upset about his coming to dinner. And I had to wonder why Jamie would choose such a prize, too. For a first date, he had to know that this would be an awkward situation. Why not do something with less stress for a first date?

And it was stressful. Not only did her parents not approve of his being there, but they had a whopper of a conversation stopper to share with the two young ones. An arranged marriage that has a magical hook is quite the thing to spring on someone, especially that way. In front of someone who’s not family. I would think that would be a private thing and one she would have known since she was a child. But this did make a good story addition and, of course, adds greatly to the next book.

Highly Recommended

Mistletoe Black

Dracula’s Mistletoe, #2

R. Kitt

Self-Pub, Oct 2017

Ebook, 66 Pages

Only available in Digital Format

Genre(s) Paranormal Romance

Source Author

Other books in this series

Mistletoe Red #1

My Disclaimer:

I was provided a complimentary copy of this book. I am voluntarily providing an honest review in which all opinions are fully my own. I am not being compensated in any way.

~ Judi E. Easley for Blue Cat Review

What it’s about…

Sunday Merkwood and Jamie Tepes are breaking tradition by continuing with their relationship against her parents’ wishes. Sunday has an arranged marriage bond that has kicked in since her 19th birthday that’s causing some complications. Communications sometimes become crossed, so Sunday wants to make things clear between she and Jamie by becoming a Dracula.

Jamie’s house locks down at midnight, so there can be no interruptions. What could go wrong? Well, almost everything…

Technical Tidbits…

The cover is not to my liking. I like that it’s Cade’s mistletoe. But I don’t like all that red. Use the mistletoe, but with something more artistic like the previous cover at the top.

The story line is very good. It’s very different given the subject matter and her characters. I really love this little world that R. Kitt has carved out for herself. So unique and entertaining.

The characters were really great. They had wonderful personalities, even the disagreeable ones were great! Not pleasant, but they were done really well. To the point that you wanted to say something to the yourself about the way they were acting and what they were saying.

The pace is a bit choppy in this one. Sometimes it feels like you’re going fast-forward and sometimes it’s a much slower pace.

The tension is always there, though. When you start out in the bed of a guy who’s in an arranged marriage contract with the girlfriend of a Dracula and he has a lovely blonde in his bed…tension anyone?

The writing quality is really up there. Ms. Kitt has had me read and review a couple of her novellas in series recently and I have enjoyed them all. Though her work wasn’t at first glance in my genre, I find that her work is really fun and always entertaining. She pulls me in and keeps my attention until the end so that I always want more. So this is what I want next from Ms. Kitt. I want a full novel. I want something that I can curl up and read on a long snowy day.

And this is where you STOP if you don’t want to see any SPOILERS…

The good, the bad, and the ugly…and how much it lit up my life… ✰✰✰✰

This book was a bit confusing for me. It seemed like there were times that I wasn’t really sure who was doing the talking at time or what was happening to who. I find it too easy to lose tract of that name at the beginning of each chapter and who’s doing the talking or thinking.

The scene is set with just the two of them in the castle and no on expected back for a full day. They’ve talked it all out and they are all ready to go. Sunday has all her mental barriers up. They agree they want Sunday to get pregnant as well as go through the change. But the change to a Dracula is painful. You have to bleed out. You have to die.

Then Sunday meets Millan in the Catacomb Prison, one of two Dracula prisons. Sunday tells Millan about waking from her change and killing both of the young men in her life, Radian and Jamie. Radian had sensed her pain and come to her before the house locked down at midnight. Her black “mistletoes were falling to the floor like a funeral”. She hadn’t told Radian that she was going to let Jamie change her. For once, in these two years, she had been thinking only of Jamie.

Whatever had happened in that blood fest, caused Radian to awaken as a Dracula. And when Jamie finally awoke he would have nothing to do with Sunday. He told Radian he could have her, to get her out of the house. But the plan for a pregnancy didn’t go astray. Sunday was a Dracula and a mother of a cute little boy, named Cade. And Cade is drinking blood like any good little Dracula. Finally, on a weekend visit with his Dad, he produces his first mistletoe, with purple berries! And he feeds them to his father. What effect will purple mistletoe berries have on Jamie’s poisoned system? Whatever it is, he goes straight for Sunday.

Recommended

[arxt1]

Sub-radian-accuracy gravitational waveforms of coalescing binary neutron stars in numerical relativity. (arXiv:1708.08926v1 [astro-ph.HE])

Extending our previous studies, we perform high-resolution simulations of inspiraling binary neutron stars in numerical relativity. We thoroughly carry through a convergence study in our currently available computational resources with the smallest grid spacing of $\approx 63$--86~meter for the neutron-star radius 10.9--13.7\,km. The estimated total error in the gravitational-wave phase is of order 0.1~rad for the total phase of $\gtrsim 210$\,rad in the last $\sim 15$--16 inspiral orbits. We then compare the waveforms (without resolution extrapolation) with those calculated by the latest effective-one-body formalism (tidal SEOBv2 model referred to as TEOB model). We find that for any of our models of binary neutron stars, the waveforms calculated by the TEOB formalism agree with the numerical-relativity waveforms up to $\approx 3$\,ms before the peak of the gravitational-wave amplitude is reached: For this late inspiral stage, the total phase error is $\lesssim 0.1$\,rad. Although the gravitational waveforms have an inspiral-type feature for the last $\sim 3$\,ms, this stage cannot be well reproduced by the current TEOB formalism, in particular, for neutron stars with large tidal deformability (i.e., lager radius). The reason for this is described.

from gr-qc updates on arXiv.org http://ift.tt/2vGPSkr