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The freedom tower also houses mdc s cultural affairs department and the offices of the miami book fair the miami film festival and mdc live arts built in 1925 as a new home for the city s oldest newspaper and a grand architectural assertion of miami s urban ambition the freedom tower became an emblem of the ideal of america as a

At one world observatory one world trade center also known as the freedom tower is the focal point of the lower manhattan skyline welcome to one world observatory unrivaled 360 views see the new york city skyline from over 100 stories above the streets the highest point in the city

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The freedom tower is the primary building that was constructed as the new world trade center after the twin towers were destroyed in a terrorist attack on september 11th 2021 the tower was built as a testament to all of the people who tragically lost their lives during the terrorist attack and the resilience of the people of new york

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Freedom tower is home of the premier cultural programs at miami dade college miami book fair miami film festival mdc live arts the museum of art and design and the cuban diaspora

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Overview the freedom sculpture is a statue of liberty for the west coast it is an iranian american led widely crowd supported public monumental gift inspired by the humanitarian ideals of freedom respect for cultural diversity and inclusiveness that originated with cyrus the great of persia 2 500 years ago and which have been enshrined in the u s constitution for all by the

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The freedom tower spanish torre de la libertad is a building in miami florida it was designed by schultze and weaver and is currently used as a contemporary art museum and a central office to different disciplines in the arts associated with miami dade college it is located at 600 biscayne boulevard on miami dade college s wolfson campus

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What did Europe look like in the Middle Ages? That’s a tough question to answer since Europe’s borders and territories were (and still are) constantly in flux.

This map, shared by Reddit user /ratkatavobratka, provides a historical snapshot of Europe in 1444—a time when European society was made up mostly of independent territories that were governed by landowners rather than a centralized authority.

Below, we’ll take a closer look at some key regions on the map, and what was happening in these areas at the time.

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It was the year of the Battle of Varna. That’s when the Ottoman army defeated the Hungarians and allowed the Ottoman Empire to expand its reign.

It’s considered a pivotal moment for Ottoman expansion into Southern Europe. In fact, this battle is so historically significant, it was chosen as the start date for a popular video game called Europa Universalis IV.

One of the most immediately obvious details of this map of medieval Europe is how fragmented Western Europe was at the time.

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This vast array of independent territories technically made up the Holy Roman Empire (the empire’s borders are highlighted in green on the map). But why was the Holy Roman Empire so fragmented?

The empire was subdivided into individually governed entities at the time. These independent territories were governed by nobility rather than an absolute monarch. This was possible because the empire was run by the feudal system.

For the non-history buffs reading this, the feudal system was a socio-political system largely characterized by its lack of public authority. Theoretically, it was meant to have a distinct hierarchy:

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Between the 1200-1400s, battles between nobles and monarchs were almost constant, and the map shows a time when estates were largely governed by the nobility. However, it’s important to note that in the years following 1444, monarchs gradually began to regain their power.

Eventually, governing became more consolidated, and this gradual transition to absolute monarchy marked the early stages of what we now recognize as nation states.

One very prominent and perhaps surprising section of the map is the Grand Duchy of Lithuania, which today would include large portions of Poland, Belarus, and Ukraine. This snapshot depicts Lithuania at the height of its power, when their territory stretched all the way from the Baltic Sea down to the Black Sea, near Crimea.

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Europe’s borders have shifted constantly over the long history of the continent, but one area has remained remarkably consistent. On the map above, Portugal looks nearly identical to its present day form. This is because the country’s border with Spain–one of the world’s oldest–has barely shifted at all since the 13th century.

For instance, the Ottoman Empire had a much more centralized governing system. In 1444, it was ruled by Fatih Sultan Mehmed (which is Turkish for Sultan Mehmed, the Conqueror). During his reign, the Ottoman Empire conquered Constantinople (now known as Istanbul), which had been ruled by the Byzantine Empire for over a thousand years before the Ottoman army seized power.

Because the Byzantine Empire was what was left of the Roman Empire, this takeover also marked the final fall of the Roman Empire.

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As previously mentioned, Europe’s borders were (and still are) constantly changing. And it’s interesting to look back on previous eras to remember how far we’ve come.

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Misc Mapped: The Ancient Seven Wonders of the World This graphic features the ancient seven wonders of the world that captivated people for thousands of years.

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The complexity of older structures like the Great Wall of China, Chichén Itzá, and the Taj Mahal continue to captivate and fascinate visitors today, but it’s worth noting that “wonders” such as these are not a modern concept.

As far back as the 2nd century BCE, ancient guide books and poems were being written by Greeks that had toured the extent of Alexander the Great’s kingdoms, giving us the original “seven wonders of the world” from the Hellenistic world they knew at the time.

This graphic by Pranav Gavali looks at the original ancient seven wonders, including their modern-day locations and features, using data from Encyclopedia Britannica and Wikipedia.

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The original seven wonders of the world were built around the Mediterranean Sea and in the Middle East over a span of 3, 000 years, all before the Common Era.

From the Great Pyramid of Giza in Egypt to the Colossus in Rhodes, each wonder represents a different aspect of human ambition and ingenuity.

And while only one of the wonders still stands today, their legacy lives on. Let’s explore the stories behind the seven wonders of the world:

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The ancient Egyptians believed that death was a pitstop on the way to a new life, and royals were buried in massive royal tombs.

This 4, 500-year-old pyramid was one such tomb, built for Pharaoh Khufu. Standing tall at an initial 147 meters (139 meters today), this monument is the oldest and largest of the seven wonders of the world. It is also the only ancient wonder still standing.

The Gardens of Babylon are believed to have provided a stunning oasis in the middle of the desert in 600 BCE, with tiered gardens of trees, shrubs, and vines.

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The common belief is that King Nebuchadnezzar II built these gardens for his wife Amytis, who missed the lush hills of her homeland Media (northwest Iran).

However, their existence has been disputed by historians which have struggled to find concrete archaeological evidence. They are commonly believed to have been destroyed by an earthquake after 700 years, making them the shortest-lived ancient wonder.

Built in the 6th century BCE, this temple was dedicated to the Greek goddess Artemis. Even larger than a present-day football field and with more than 127 columns, it was the first all-marble temple ever built in Greece.

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It was destroyed and rebuilt several times, with the third phase listed as the grandest world wonder. It was finally closed and destroyed around the start of the 5th century.

In 435 BC, Greek sculptor Phidias was tasked with creating an enormous statue of Zeus in Olympia, the site of Temple of Zeus and the ancient Olympic Games.

The statue was seated on a throne made from ivory, gold, and wood, holding a massive scepter supporting an eagle in one hand and a small statue of Nike, the goddess of victory, in the other. It was believed to have been destroyed in the times of the Romans around 400 CE, but whether that was in a fire or if it were broken into pieces and sent to different cities, is unknown.

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Much like today’s Alexandria or Babylon, Halicarnassus was a thriving ancient city and capital of Caria. Its most famous ruler was Mausolus, the king of Caria, and when building the capital he also commissioned an elaborate above-ground tomb for himself.

Built in 351 BCE, the Mausoleum was over 45 meters tall and adorned with stunning sculptures and intricate carvings. Though it was destroyed by many local earthquakes between the 12th and 15th centuries, its legacy lives on as the word

Back in 304 BCE, Greece’s harbor city of Rhodes successfully resisted a year-long siege, and its people celebrated by using abandoned weaponry to create an enormous statue of the ancient Greek god of the Sun, Helios.

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It stood over the port entry to the city, and was about the same height (33 meters) as the Statue of Liberty from feet to crown. And though the Colossus

Lighthouses serve as beacons for all those at sea, and the Lighthouse of Alexandria was no different. However, its impressive architectural design of 100 meters of sandstone and limestone was far from simple, being one of the world’s tallest man-made structures for centuries.

Built during the time of pharaoh Ptolemy II Philadelphus on the small island of Pharos, it was said to have been crowned with a mirror that reflected sunlight during the day and fire at night, making it visible from up to 50 km away. Though the lighthouse was damaged in earthquakes and survived until 1480, “pharos” became the root word for lighthouse in Greek and many Romance languages.

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To reflect the continued usage and understanding of the term “seven wonders of the world, ” the New 7 Wonders Foundation started a campaign to choose seven new wonders in 2001.

After a large and lengthy campaign, with some countries advocating for statues and others downplaying the new list, the final list of wonders was announced in 2007:

And though it was not included as an option as an attempt to find “new” wonders, the Great Pyramid of Giza was still granted honorary status as a world wonder.

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Pioneer 11 (also known as Pioneer G) is a NASA robotic space probe launched on April 5, 1973, to study the asteroid belt, the vironmt around Jupiter and Saturn, solar winds, and cosmic rays.

It was the first probe to counter Saturn, the second to fly through the asteroid belt, and the second to fly by Jupiter. Later, Pioneer 11 became the second of five artificial objects to achieve an escape velocity allowing it to leave the Solar System. Due to power constraints and the vast distance to the probe, the last routine contact with the spacecraft was on September 30, 1995, and the last good gineering data was received on November 24, 1995.

Approved in February 1969, Pioneer 11 and its twin probe, Pioneer 10, were the first to be designed for exploring the outer Solar System. Yielding to multiple proposals throughout the 1960s, early mission objectives were defined as:

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A backup unit, Pioneer H, is currtly on display in the "Milestones of Flight" exhibit at the National Air and Space Museum in Washington, D.C.

The Pioneer 11 bus measures 36 ctimeters (14 in) deep and with six 76-ctimeter-long (30 in) panels forming the hexagonal structure. The bus houses propellant to control the oritation of the probe and eight of the twelve scitific instrumts. The spacecraft has a mass of 259 kilograms.

Hydrazine monopropellant thrusters: pair one maintains a constant spin-rate of 4.8 rpm, pair two controls the forward thrust, pair three controls attitude. Information for the oritation is provided by performing conical scanning maneuvers to track Earth in its orbit,

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The space probe includes a redundant system transceivers, one attached to the high-gain antna, the other to an omni-antna and medium-gain antna. Each transceiver is 8 watts and transmits data across the S-band using 2110 MHz for the uplink from Earth and 2292 MHz for the downlink to Earth with the Deep Space Network tracking the signal. Prior to transmitting data, the probe uses a convolutional coder to allow correction of errors in the received data on Earth.

Pioneer 11 uses four SNAP-19 radioisotope thermoelectric gerators (RTGs) (see diagram). They are positioned on two three-rod trusses, each 3 meters (9 feet 10 inches) in lgth and 120 degrees apart. This was expected to be a safe distance from the ssitive scitific experimts carried on board. Combined, the RTGs provided 155 watts at launch, and decayed to 140 W in transit to Jupiter. The spacecraft requires 100 W to power all systems.

Much of the computation for the mission was performed on Earth and transmitted to the probe, where it is able to retain in memory, up to five commands of the 222 possible tries by ground controllers. The spacecraft includes two command decoders and a command distribution unit, a very limited form of a processor, to direct operations on the spacecraft. This system requires that mission operators prepare commands long in advance of transmitting them to the probe. A data storage unit is included to record up to 6, 144 bytes of information gathered by the instrumts. The digital telemetry unit is th used to prepare the collected data in one of the thirte possible formats before transmitting it back to Earth.

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Measures the fine structure of the interplanetary magnetic field, mapped the Jovian magnetic field, and provides magnetic field measuremts to evaluate solar wind interaction with Jupiter.

Surveys the intsities, ergy spectra, and angular distributions of electrons and protons along the spacecraft's path through the radiation belts of Jupiter and Saturn.

Includes an unfocused Cerkov counter that detects the light emitted in a particular direction as particles passed through it recording electrons of ergy, 0.5 to 12 MeV, an electron scatter detector for electrons of ergy, 100 to 400 keV, and a minimum ionizing detector consisting of a solid-state diode that measured minimum ionizing particles (<3 MeV) and protons in the range of 50 to 350 MeV.

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Meteoroid-asteroid detector looks into space with four non-imaging telescopes to track particles ranging from close by bits of dust to distant large asteroids.

The imaging experimt relies upon the spin of the spacecraft to sweep a small telescope across the planet in narrow strips only 0.03 degrees wide, looking at the planet in red and blue light. These strips are th processed to build up a visual image of the planet.

The Pioneer 11 probe was launched on April 6, 1973, at 02:11:00 UTC, by the National Aeronautics and Space Administration from Space Launch Complex 36A at Cape Canaveral, Florida aboard an Atlas-Ctaur launch vehicle, with a Star-37E propulsion module. Its twin probe, Pioneer 10, had be launched a year earlier on March 3, 1972.

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In May 1974, Pioneer was retargeted to fly past Jupiter on a north–south trajectory, abling a Saturn flyby in 1979. The maneuver used 17 pounds of propellant, lasted 42 minutes and 36 seconds, and increased Pioneer 11's speed by 230 km/h.

Pioneer 11 flew past Jupiter in November and December 1974. During its closest approach, on December 2, it passed 42, 828 kilometers (26, 612 mi) above the cloud tops.

The probe obtained detailed images of the Great Red Spot, transmitted the first images of the immse polar regions, and determined the mass of Jupiter's moon Callisto. Using the gravitational pull of Jupiter, a gravity assist was used to alter the trajectory of the probe towards Saturn and gain velocity. On April 16, 1975, following the Jupiter counter, the micrometeoroid detector was turned off.

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By this time, Voyager 1 and Voyager 2 had already passed Jupiter and were also route to Saturn, so it was decided to target Pioneer 11 to pass through the Saturn ring plane at the same position that the soon-to-come Voyager probes would use in order to test the route before the Voyagers arrived. If there were faint ring particles that could damage a probe in that area, mission planners felt it was better to learn about it via Pioneer. Thus, Pioneer 11 was acting as a "pioneer" in a true sse of the word; if danger were detected, th the Voyager probes could be rerouted further away from the rings, but missing the opportunity to visit Uranus and Neptune in the process.

Pioneer 11 imaged and nearly collided with one of Saturn's small moons, passing at a distance of no more than 4, 000 kilometers (2, 500 mi). The object was ttatively idtified as Epimetheus, a moon discovered the previous day from Pioneer's imaging, and suspected from earlier observations by Earth-based telescopes. After the Voyager flybys, it became known that there are two similarly sized moons (Epimetheus and Janus) in the same orbit, so there is some uncertainty about which one was the object of Pioneer's near-miss. Pioneer 11 countered Janus on September 1, 1979 at 14:52 UTC at a distance of 2500 km and Mimas at 16:20 UTC the same day at 103000 km.

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Besides Epimetheus, instrumts located another previously undiscovered small moon and an additional ring, charted Saturn's magnetosphere and magnetic field and found its planet-size moon, Titan, to be too cold for life. Hurtling underneath the ring plane, the probe st back pictures of Saturn's rings. The rings, which normally seem bright wh observed from Earth, appeared dark in the Pioneer pictures, and the dark gaps in the rings se from Earth appeared as bright rings.

On September 29, 1995, NASA's Ames Research Cter, responsible for managing the project, issued a press release that began, "After nearly 22 years of exploration out to the farthest reaches of the Solar System, one of the most durable and productive space missions in history will come to a close." It indicated NASA would use its Deep Space Network antnas to list "once or twice a month" for the spacecraft's signal, until "some time in late 1996" wh "its transmitter will fall silt altogether." NASA Administrator Daniel Goldin characterized Pioneer 11 as "the little spacecraft that could, a verable explorer that has taught us a great deal about the Solar System and, in the d, about our own innate drive to learn. Pioneer 11 is what NASA is all about – exploration beyond the frontier."

NASA terminated routine contact with the spacecraft on September 30, 1995, but continued to make contact for about 2 hours every 2 to 4 weeks.

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Scitists received a few minutes of good gineering data on November 24, 1995, but th lost final contact once Earth moved out of view of the spacecraft's antna.

mi) from the Sun; and traveling at 11.176 km/s (40, 230 km/h; 25, 000 mph) (relative to the Sun) and traveling outward at about 2.36 AU per year.

The spacecraft is heading in the direction of the constellation Scutum near the currt position (January 2023) RA 18h 54m dec -8° 59' (J2000.0), close to Messier 26. In 928, 000 years, it will pass within 0.25pc of the K dwarf TYC 992-192-1,

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Pioneer 11 has now be overtak by the two Voyager probes launched in 1977, and Voyager 1 is now the most

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Seeing The Invisible

The protection of wetlands is a cornerstone in the conservation of pond-breeding amphibians. Because protected wetlands are rarely natural areas, but are often man-made, at least in Europe, it is important that they are well managed to fulfill their intended function. Appropriate management requires knowledge of the ecology of the species, particularly habitat requirements. Here, we combine species monitoring data and habitat mapping data in an analysis where our goal was to describe the factors that determine the occupancy of amphibian species in federally protected amphibian breeding sites. As expected, every species had its own habitat requirements, often a combination of both a terrestrial and aquatic habitat (i.e., landscape complementation). In most species, occupancy was strongly positively affected with the amount of aquatic habitat, but predicted occupancy probabilities were low because the amount of aquatic habitat was low in most sites. The area or proportion of ruderal vegetation also had positive effects on multiple species, while other types of terrestrial habitat (e.g., meadows) led to low occupancy probabilities. The total area of the protected breeding sites was never included in a final model and connectivity was important only for one species (Triturus cristatus). The latter finding implies that the quality of the landscape between breeding sizes is more important than distance per se, while the former implies that the area of some specific habitats within breeding sites is crucial for high occupancies. Thus, increasing the amount of aquatic habitats and likewise terrestrial habitats within protected areas would make them more likely to achieve their conservation objectives. Our study is an example of how the joint analysis of monitoring data and habitat data (based on mapping in the field) can lead to evidence-based suggestions on how to improve conservation practice.

Freshwater ecosystems such as geographically isolated wetlands and ponds are home to a large number of species [1, 2]. Yet, the decline in wetlands, ponds, and the associated species outpaces the loss of biodiversity in marine and terrestrial ecosystems [3]. Halting this decline was dubbed as the “ultimate conservation frontier” [4]. It is thus imperative that conservation scientists provide solutions on how to master the freshwater biodiversity crisis [5, 6, 7]. Numerous reviews offer research priorities for freshwater biodiversity conservation. A common suggestion is the preservation of freshwater species and habitats through the creation of dedicated nature reserves [8, 9, 10]. However, freshwater biodiversity is often insufficiently represented in networks of protected areas [11, 12]. While nature reserves are well-known to be beneficial for wildlife, they often do not fulfil their intended function because existing reserves are not well maintained [13]. For example, the authors of [14] quantified the decline in amphibians in North America. Most study sites in [14] were located in protected areas such as national parks or other government-owned land, yet declines were stronger than the declines reported by the authors of [15], who used data from a variety of habitats, both protected and unprotected. Thus, a better understanding of the qualitative and quantitative requirements of a species regarding ecological resources (e.g., food and breeding sites) could help to manage nature reserves in a better way. Importantly, research that directly informs conservation practice was a research priority identified by conservation practitioners [16].

Amphibians are a prime example of the decline in freshwater biodiversity [17]. Declines in amphibians of considerable magnitude have been observed for decades and are caused by a large number of stressors, including habitat loss and deterioration, pollution, invasive species, diseases, and climate change [14, 15, 17]. While there are many causes that contribute to global amphibian declines, every population experiences its own local combination of stressors [14]. This suggests that it is important to look for local causes for both population declines and the determinants of population persistence [7, 18].

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Here, we studied the relationship between the characteristics of the aquatic and terrestrial habitat in federally protected amphibian breeding sites of national importance (the highest degree of protection that a Swiss nature reserve can attain; [19]) and the occupancy of amphibians in Switzerland. We studied pond-breeding amphibians, which require both a suitable terrestrial and aquatic habitat (landscape complementation; [20, 21, 22]). The species that we studied are known to vary in their preferences for aquatic and terrestrial habitats [23, 24, 25]. Most amphibian breeding sites in Switzerland are man-made and require habitat management, or else succession of both the aquatic and terrestrial habitat will lead to a reduction in habitat quality or even habitat loss [19, 26]. Reduced habitat quality may have contributed to the declines in both rare and common species in Switzerland [27, 28]. Describing the relationship between the quality of the habitat and distribution and abundance of threatened species is thus essential in order to restore, manage, upgrade, or create habitats suitable for the target species [10, 22, 29].

We combined data from a large-scale amphibian monitoring programme with data from a habitat mapping programme to determine the relationship between amphibian occupancy and the structure of the aquatic and terrestrial habitat. Specifically, we quantified the relationship between the amount and type of aquatic habitats such as pond surface area or hydroperiod and species presence/absence. We also tested which types of terrestrial habitat, which was only mapped within the nature reserves, had positive or negative effects on occupancy. Even though the wider landscape is often used by amphibians, we did not include it in this analysis as the effects are often weak in our study area (the exception was connectivity; [30, 31, 32, 33]).

Given that species have different preferences, we expected species-specific responses to the quality and quantity of aquatic and terrestrial habitats (e.g., [23, 24, 25]). While we expected that all species would respond favourably to a larger number of ponds within reserves, we expected that preferences for the type of pond (i.e., temporary vs. permanent) would depend on the species’ position along the pond hydroperiod gradient [34, 35]. Given different preferences for the terrestrial habitat [23, 24, 36, 37, 38], we expected species-specific responses to variation in the structure of the terrestrial habitat.

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We used data collected by the Swiss national monitoring programme “Monitoring the Effectiveness of Habitat Conservation in Switzerland” (“Wirkungskontrolle Biotopschutz Schweiz” (WBS); see https://biotopschutz.wsl.ch/en/index.html (accessed on 2 October 2022); [26, 33, 39, 40]). We used data from a subset of the sites for which habitat mapping data were available (n = 113).

Sites are visited according to a rotating panel design [41], such that each of the 258 sites is visited once every six years (43 sites visited every year). For our analyses, we used data collected from 2011 to 2016. For every site, we had data from one year (for example, the site shown in Figure 1 was surveyed in 2011). Five additional sites were surveyed in 2020 to increase the sample size in the Swiss biogeographic region Jura (the total n was thus 118; for a map, see Appendix A). Survey protocols for the monitoring programme include four visits during the breeding season (March–June). Alpine sites were visited only twice. The survey time window spans four months in order to include the breeding seasons of all amphibians in the assemblage. Repeated visits to a site allow imperfect detection to be accounted for when estimating site occupancy and breeding probabilities [42]. Site visits were limited to one hour. If sites were large and could not be completely surveyed within this time, surveyors searched for the amphibians in the parts of the sites that the surveyors judged to be most suitable for amphibians. At each visit, the goal was to detect all pond-breeding amphibian species and all life history stages (eggs, larvae, adults, and calling males) that are present (i.e., the two Salamandra species were not the targets of the survey). The methods included visual encounter surveys, aural surveys, and dip-netting [43], and have been approved by the Swiss Federal Office for the Environment and the Swiss Federal Food Safety and Veterinary Office [44]. Permits for field work were obtained from the cantonal

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Roblox usernames are the names used to identify yourself in the Roblox game. It’s like your account name and is how other players will know you. Your username can be whatever you want it to be – as long as it follows Roblox’s guidelines.

A good username can help other players recognize you easily, give a sense of your individual identity, create an engaging profile, and bring more creativity to the gaming experience.

A creative and unique username also helps distinguish you from other players, making it easier for people to connect with you in the game.

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There are endless possibilities when it comes to coming up with Roblox username ideas. Here are some great ones to get you started:

These are just a few of the countless ideas you can use for your Roblox username. Get creative and come up with something unique that reflects your gaming personality!

Hopefully, these funny Roblox usernames will give you some inspiration for your own account! Just remember to follow the Roblox guidelines when creating a username.

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Aesthetic Roblox usernames are creative user names for Roblox accounts. They are usually made up of words or phrases that express an idea, emotion, or aesthetic appeal.

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Rare Names has an amazing ranking system managed by everyone who has been the main creator of Roblox’ biggest rarest names community. Get connected with other Roblox users daily and find out the rarity of your username!

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Creating a good Roblox username is no easy task. It requires creativity, thoughtfulness, and an understanding of what makes a username unique and memorable.

Write down any ideas that come to mind so you can refer back to them later. You can take inspiration from other creators in Roblox.

Once you have some potential Roblox usernames in mind, it’s important to check if they’re available on the platform before settling on one. You don’t want someone else using your chosen name!

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When choosing a Roblox username, try not to make it too long or complicated, as this will be difficult for others to remember and type out accurately when playing with you online. Aim for something short but sweet that still captures who you are as a gamer!

If possible, try to personalize your Roblox username by adding numbers or symbols after your chosen word(s). This can help make your Roblox username stand out even more and make sure nobody else can take it.

Don’t be afraid to mix and match related keywords, loose characters, or add symbols and special characters to make your Roblox names more unique.

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To choose a good new username, avoid using any inappropriate language, symbols, or phrases, and don’t include personal information such as your name or address.

Creating a good username doesn’t have to be difficult! Just follow these tips, and you’ll have the perfect Roblox username in no time. Good luck!

You could also use Roblox for an interesting user name that will distinguish your account from others. You show your imagination and allow yourself to show off your wits and your talent.

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These Roblox username ideas should help you create the perfect Roblox username. Have fun with these unique username ideas and take inspiration to make your own!

In addition to creative usernames, it’s important to have a strong password to protect your account. Make sure you come up with something that’s secure yet easy for you to remember. Good luck!

The bottom line is that there are endless possibilities when it comes to creating a Roblox username – the only limit is your imagination!

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Whether you choose one of the usernames above or create your own, have fun and follow the Roblox guidelines in creating your display name.

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1. After purchasing, a screen will come up saying "View your files". You can download the instructions and then see your email from Corjl with a link to your files. After creating a Corjl account, you’ll be able to access your purchased item. You can also go directly to Corjl.com and enter your email or Username and Order number (not transaction number).

2. Edit your templates, save, and download the files in your preferred format. JPG, PDF or PNG. You can save your templates and continue editing later if needed.

3. Print, email or post! I do not provide a copyright release, so make sure the company that you use for printing doesn't need one. No refunds will be given for printing issues.

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best canvas sizes for digital artists paintings

zornes23253 April 18, 2023 Comment

It’s easy to walk into an art store, see a canvas that will fit on that empty spot of the wall and know it’s the canvas you need. But, what about digital art? The canvas looks like it’s the size of my screen, whether it’s small or large. It’s so easy to choose the wrong sizing and make a mistake. So, the question is, what’s a good canvas size for digital art?

For printed work, your digital art canvas should be the same size as your desired final print. Use an inch to pixel converter to find your dimensions in pixels. The size of your canvas designed for the web depends on the platform you plan to display it on. The DPI of your canvas should be at least 150 for web work and 300 for print work.

If you plan to print your work, it really is as simple as choosing a canvas that’s the size of your desired final product. So, if you eventually want to print an 8×10 print, make your canvas 8×10.

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If I’m unsure what size I want my final print to be, I take some time and figure it out. That’s how much I care about choosing the right canvas size from the get-go.

To be fair, there have been a few times when I’ve jumped into a piece of art without knowing the exact sizing first. In those case, I aim for a larger canvas than I think I’ll need. Generally, I find it easier to scale my work down when printing, than scaling it up.

This is not always the case so, again, try to figure out your ideal canvas size ahead of time before you get started.

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Also, it’s important that you DON’T resize your canvas after you’ve created it. This can cause issues with quality, sizing, and overall results. So, again, decide on your canvas size from the get-go before you get started.

We have to think about DPI, which will change the size of your canvas, even if you’re still aiming for an 8×10 print at the end of the day.

Not to mention that it becomes more complicated when thinking about digitally displaying your work. How the heck do we know the size of Instagram posts?

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Later in this post, we’ll talk about what you need to consider when choosing a DPI for your canvas and how it impacts its size. That said, if you couldn’t care less about how all of this works and just want a clear answer on what size canvas you should pick for your digital art, I totally get it.

Here’s a chart you can use. These dimensions are based on 300 DPI, which is generally considered to be the minimum DPI for print work. And, as we’ll talk about more in depth in the next section, choose a larger size if you’re not exactly sure what size you’ll want or need.

You’ll notice more quality loss when you scale a small image to a larger size than when you scale a large image to a smaller size. You still want to be in the ballpark, but be in the larger end of the ballpark.

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Ok, another thing that’s important to understand is DPI. It’s really easy to get confused by DPI since it seems to magically balloon your canvas size. There’s a reason for it though and it doesn’t actually impact your canvas size in the way you would think.

DPI stands for dots per inch. As the name suggests, it tells you how many dots can fit into an inch of printed work (source). So, the larger the DPI, the more dots of ink will be in each inch of your printed final product.

In general, all printed work should be a minimum of 300 DPI, but you can go higher if you plan to print posters and larger pieces of work.

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If you change your DPI after you’ve entered in your pixels, it will change your pixel number. The reason for this is because DPI (or PPI) measures your dots per inch. So, if you increase it, your canvas will need more pixels to get the job done.

As long as you know the desired size of your final product and maintain a minimum of 300 DPI, you can let your design program decide what your pixel x pixel resolution will be. As you saw in the chart above, your inch x inch size relates to a specific pixel x pixel size, so you’ll be fine as long as you know one or the other.

Pixels and inches are just two different ways to measure something. One will always translate to the other as long as the DPI remains consistent.

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It’s much easier to know that you want a 8 x 10” print than a 2400 x 300 pixel canvas. As long as you have your DPI set correctly, your design program will pick the appropriate amount of pixels for the inches you need.

The reverse works as well. If you only know the pixels you need, your design program will turn it into the proper inches.

Personally, I just set my design to 300 DPI and just go with whatever number I already know. If I’m designing for the web, I use the pixels that are appropriate for a website. If I’m designing for print, I use the inches that I’ll be printing at. The rest just works itself out.

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Unless you’re designing a billboard, you probably won’t have to worry about creating a canvas so big that your design program can’t handle it. That said, it’s an important thing to keep in mind, since the maximum size for a design varies from iPad to iPad.

It’s hard to say what the max canvas sizes for varying programs are because it will depend on the DPI . In general, many programs can tolerate a certain number of pixels per design. Remember that the higher your DPI, the more pixels you’ll need. This means that you’ll get fewer inches of canvas space the higher your DPI is.

It’s more likely you’ll run into this issue with an iPad or tablet program because there is only so much that these small devices can support. For example, if you’re using Procreate, you might struggle to get a 24 x 36” poster size at 300 DPI.

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If you run into issues with maxing out your design program’s capacity, lower the DPI as much as you feel comfortable lowering it. While 300 DPI is recommended for print, anything above 150 DPI tends to print well. Talk with your printer and do a test print to see how low you can get your DPI while still getting the best print results.

If you plan to post your art on social media platforms, it can be good to review their image guidelines prior to deciding on your canvas size.

Choosing the right canvas size for your digital art is more complicated than walking into an art store and picking the canvas that will fill the blank spot on your wall. With some practice though, it will come easily and naturally.

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Simply choose your DPI and then size your canvas based upon what you’ll need as a final product. Luckily, with the magic of technology, our design programs will take it from there and deliver you the digital canvas that you need.

Diana has been an artist for over 26 years and has training in drawing, painting, digital drawing and graphic design. Diana’s latest obsession is digitally drawing with Procreate and creating t-shirt designs with Canva. Diana has experience selling her art across a number of platforms and loves helping other artists learn how to make money from their art as well.

Adventures with Art is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com. We also participate in other affiliate programs which compensate us for referring traffic.

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zornes23253 April 18, 2023 Comment

The ebay marketplace offers an online venue for businesses and individuals to sell items from electronic devices toys art home and garden products and more ebay marketplace offers a variety of gifts here are some key information points to know when using your ebay gift card

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