HP Iron on Transfer Paper for Dark T-Shirts

ron on transfers is trending nowadays since every one wants to be unique in how they express their style. This fact doesn't seem surprising at all because of this craft is actually very simple and easy to do. Moreover, it enables us to make a wide assortment of designs with shirts, be it plain, white, bright colored or dark colored. Doing iron on transfers require familiarization of the basic steps. The very first step is find the right iron on transfer paper that can accommodate the design you desire.

The first step in designing a t-shirt using transfers is to first check what printer you have at home and then you can match it with the type of paper you are using. If you have inkjet printer at home, then find the paper that works with inkjet printer. If you have a laser printer and the paper is not compatible with it, the paper can get damaged or stuck during printing. Certain conditions and compatibility have to be considered so you do not just purchased any transfer paper. In line with this, not all iron on papers are created equal, some will give you a lot of trouble and some can be done hassle-free. They say it is such an enjoyable, exciting, and creative experience to design a t-shirt. The excitement of customizing your shirts is truly fun but if you started with poor quality product, the whole process can be a disaster.

So if you want to start right, we recommend the HP iron on papers as having the best quality transfers. In making this project, the choice of iron on paper is substantial. The clarity, sharpness, brilliance of color of the images depends on the material used. It is thus important to know that HP iron on transfer papers are intended for particular type of fabric color. For dark colored fabrics there are specified papers. Transfer papers for dark fabrics or dark colored shirts suits both cotton and poly blend cloths. They are specially made to provide clear, vivid, whole image transfer on the fabric. An exceptional and unique formulation is imbued on the said paper to effectively print the graphics on the fabric. The same rule applies with texts.

As for light colored shirts or fabrics, choosing the right transfer paper is not difficult at all. In fact, most transfers are intended for white and other light colored shirts or fabrics. In making iron on transfers, some papers prefer cool-peel. This means that you would have to wait for the image to cool after ironing. This manner is more advisable so that the entire image will be transferred well on the fabric. Premature peeling may damage the image, which may just scorch on your fingers.

In making iron on transfers, not all printers are compatible with the HP papers. Make sure that the right paper matches with the right printer, it is usually indicated in the instructions. The transfer paper cannot most of the instance sustain the heat from if the wrong types of printer is used. Resultantly, the heat may cause the paper to melt. Also do away with printers with heat dry process. Otherwise, the same thing may happen. There can be more fun in making transfers that are hassle free and without wasting much fabric and paper transfers. This can only be done when you opt for the appropriate HP iron on transfer paper. This can also help in making the graphics or texts appear vibrant, clear, and bold.

By Marie Kaplan

Movie Review Jack and Jill 2011 PG

How Exactly Does Sandler's Mind Work?

How exactly does Adam Sandler's mind work? Has he deluded himself into believing his ideas are actually funny? I'm forced to ask these questions given the disastrous results of most of his recent creative projects. These would include The House Bunny, Grown Ups, Just Go with It, Zookeeper, Bucky Larson: Born to Be a Star, and now Jack and Jill, in which Sandler is not only the co-writer and co-producer but also does double duty as the title characters, who are fraternal twins. Imagine the work that must go into making this; Sandler had to be put into makeup for the female role, do all scenes with that character, then do all of the scenes with the male character, and then both versions of himself had to be digitally composited into the shots. In both instances, he had to react to a person who wasn't actually there.

But what does all this effort count for in something this unendurably bad? If you can visualize the experience of listening to fingernails on a chalkboard, that's pretty much what watching this movie is like. It's a grating, strained, hopelessly unfunny comedy. It's being geared towards families, and yet every scene shows no indication that it was geared for any potential audience - with the possible exception of diehard Sandler fans, who are truly devoted if they think seeing this will be worth the time and money. Its basically sound premise is ruined by the decision to have Sandler play both lead roles; as a woman, he could not be less convincing even if he had a neon sign over his head rhythmically blinking, "I'm really a man!" His proportions are all wrong. He looks grotesque.

The Jill character is shrill, offensive, and annoying. This is exactly why Jack, a successfully Los Angeles commercial producer, dreads having her visit every year for Thanksgiving. She typically stays for just one weekend, which Jack has learned to grin and bear. But this year is different; since their mother died, Jill has no family left in the Bronx, and she now wants to stay with her brother and his family all the way through Hanukah, perhaps even through New Years. Jack is, of course, vehemently opposed to this idea. The same cannot be said of his wife, a perpetual go-between named Erin (Katie Holmes), and their children, Gary and Sofia (Rohan Chand and Elodie Tougne). They like Jill so much, you can't help but wonder if all three of them are either in denial or insane. Perhaps it's a little bit of both. Take Gary, the adopted Indian boy; he has a strange compulsion to tape things to his body, including salt shakers, cooked lobsters, and living birds.

In a jaw-dropping subplot, Jack seeks out Al Pacino in the hope that he will endorse a new line of Dunkin' Donuts coffee products. Yes, he finds the Oscar-winning actor, who plays a caricature of himself, but that isn't the joke; Pacino falls head-over-heels in love with Jill, and spends the rest of the film trying to woo her. All eventually leads to him performing a rap solo and dance number. Let me reiterate that this movie features Al Pacino. You know, the Godfather trilogy? Dog Day Afternoon? Scarface? Scent of a Woman? Serpico? ...And Justice for All? Author, Author? The astounding reality that he accepted the offer to be in this movie is second only to the considerable work he puts into his role. My God, he actually took this seriously.

Apart from Pacino, we're treated to a host of other cameo appearances. Some are understandable, like Dana Carvey, Norm MacDonald, The Sham-Wow Guy, and David Spade (who, incidentally, also appears in drag). Others are just as unbelievable as Pacino. These would include Regis Philbin, Shaquille O'Neal, and Drew Carrey. Topping the list is Johnny Depp. Yes, Johnny Depp appears in this movie, too. At this point, he no longer has to be ashamed by his years on 21 Jump Street. Even though his screen time adds up to less than two minutes, this will be a hard one to live down.

The film is bookended by testimonials given by real life identical twins, who bounce biting remarks off each other before professing their love for one another. Did the filmmakers conveniently forget that the main characters are not identical twins, but fraternal, since one is male and the other is female? Never mind. It's more than amazing to me that movies like Jack and Jill get made. It's actually kind of disturbing. Movies like this are comedic dead zones that play to the lowest common denominator in a desperate attempt for laughs. In the course of this movie, Jill will do all manner of broad slapstick routines, including crushing a horse, getting into a barroom brawl with a rival woman (played by a man), and repeatedly whack an elderly Mexican woman (again, played by a man) in the head. And yes, she will inevitably go to the bathroom with the runs, and we will have to listen as the sounds of explosive diarrhea fill the theater.

Although Chris never officially studied film, film theory, or even journalism in college, his Bachelors and Masters degrees in Creative Writing has taught him to appreciate story, character, and the imagination - all aspects that apply to the movies, and if there's anything his years of living in Los Angeles has guaranteed him, exposure to movies would be at the top of the list. He has always appreciated the art of filmmaking, but it wasn't until 2006 that he began writing reviews on various websites for new releases. Still residing in L.A., his reviews can be read at his website.

By Chris Pandolfi

Movie Review Melancholia 2011 R

An Apocalyptic Depression

If Melancholia is indeed a science fiction film, as Wikipedia tells us it is, it's one that only Lars von Trier could have made. Its depiction of a rogue planet on a collision course with Earth is joined at the hip with the story of two sisters, one of whom is deeply depressed. Trier, widely known within film circles for his bouts of severe depression, claims the idea came to him during one of his therapy sessions, in which he was told that, because they've conditioned themselves to see the bad side of every situation, depressives tend to act more calmly than others when under pressure. The depressed woman is resigned not only to her fate but also the fate of everyone on the planet. The same cannot be said for her sister, in the throes of panic and despair. The irony, of course, is that their behavioral roles have been reversed.

The film is not a disaster movie in the Hollywood sense, in which audiences gawk helplessly at cities being reduced to rubble. Rather than typical death and destruction, it's a psychological drama, a story about how we as human beings cope with impending disaster. Some are able to stay level-headed. Others will emotionally self destruct. In the end, it makes no difference; we're all in the same boat, which is to say that for everything we do, it all amounts to nothing. I resist nihilism as a rule, simply because I find that belief system very unpleasant. In this particular case, however, I recognized what Trier was trying to convey. In the inky depths of depression, absolutely nothing matters - not your loved ones, not your professional or personal life, and certainly not an inevitable apocalypse. It's a void, like a black hole.

The depressed sister is Justine (Kirsten Dunst), the subject of the film's first chapter. At the start, we see a woman that's all smiles. It's her wedding day, and she has just married a wonderful man named Michael (Alexander Skarsgård). She even has a promising career in advertising. They arrive for their reception at the palatial home of her sister, Claire (Charlotte Gainsbourg), and her wealthy husband, John (Kiefer Sutherland), and that's when the cracks begin to show. She has an eccentric father (John Hurt), who insists on calling every young woman he meets Betty, and a deeply bitter and cynical mother (Charlotte Rampling), who thinks nothing of saying the wrong thing at the wrong time. She has a boss (Stellan Skarsgård, Alexander's father) who's only interested in power and money and will not stop pestering her for a new slogan. As the night goes on - during which she notices an unusually bright star in the sky - she becomes less and less engaged with the party. Eventually, even Michael is forced to concede that it has all been a lie.

Claire is the subject of the second chapter, which takes place after the disastrous wedding reception. Justine has moved in and is in a depression so severe that she can't even walk without assistance. Claire is willing to nurture her sister. John, on the other hand, is distracted by the discovery of a heretofore unknown planet dubbed Melancholia, which has eclipsed several stars and is scheduled to pass Earth. He believes the scientists who say that the two planets will not collide. Claire isn't as optimistic. As the days pass and Melancholia draws near, she visits numerous websites and worries that it will not be a flyby event but a deadly slingshot orbit. Soon enough, her fears get the better of her. She thinks of her young son, Leo (Cameron Spurr), who may not have the chance to grow up. Justine, despite being certain of Earth's impending doom, inches closer towards once again being a functional adult.

In Trier's previous film, Antichrist, Gainsbourg played a woman who, following the death of her son and the questionable therapeutic techniques of her husband, came to believe that women are inherently evil. (Incidentally, Trier was in a depression of his own when he made the film.) Now in Melancholia, Trier's cinematic misogyny expands to full-blown misanthropy; Dunst's character is convinced that all life on Earth is evil, and that no one will miss our planet when it's gone. She says she knows that we're all alone in the universe - not a trace of life anywhere else in the infinite vastness of the cosmos. There's no explaining it. She just knows. I would not say this comforts her, although she certainly is prepared to accept it.

When the film premiered at this year's Cannes Film Festival, Trier attracted attention for making contentious statements during a press conference and for getting banned as a result. Most inflammatory were his jokes about Jews, Nazis, his own German heritage, and his affiliation with the Nazi party and admiration for Adolf Hitler. He later declared - wisely, I believe - that he would never again make public statements and decline future interview requests. I wonder: Will this draw people to Melancholia? It cannot be denied that controversy generates interest, and yet I'm concerned that certain audiences will see it for all the wrong reasons. In my opinion, Trier's immature and objectionable behavior should have no bearing on the film's strong character development, compelling performances, and striking visuals.

By Chris Pandolfi