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HTML Tables and Database Tables . . . One-to-one mapping . . . . . . . . Example: A single-table displayer The sample tables . . . . . . . . . Improving the displayer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 296 296 298 299

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The fishbone diagram, named because it resembles the skeleton of a fish, was the brainchild of Kaoru Ishikawa, a pioneer in quality management. The fishbone diagram, also known as an Ishikawa or cause and effect diagram, is used as a structure for brainstorming the causes and effects in a process. It works just as well when brainstorming metrics.

Knowledge is the consultants currency; it is their stock-in-trade and what clients pay hefty fees to obtain. Very few consulting firms hold

To its credit, Photoshop lets you establish a new layer in roughly a billion ways. If you want to add a selected portion of one image to another image, the easiest method is to Ctrl-drag (Win) or -drag (Mac) the selection and drop it into its new home, as demonstrated in Figure 13.2. Photoshop creates the new layer from the selection, in one fell swoop.

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PowerPoint uses color pickers such as this one to enable you to easily apply color placeholders to objects.

Step B [B like bridging gaps ] Establishingincreasingly more coarse-grainedlevels of description and finding the proper formulation or parameters of the corresponding models from the more detailed but nonatomistic models arising from Step A, or formulated empirically.

3. Use an object snap to specify the location of the X (whether the same location as shown or a different location) or use the Select Object option to select an object (right-click and choose Select Object). To skip to the next prompt without associating the dimension to the marked point, press Enter. 4. Continue to respond to the prompts in turn. The command prompts you through all the dimensions you selected.

Calculate the necessary transmit power, for each sub-band n, assuming perfectprep equalization. Sort subbands according to their required transmit powerp,. Select sub-band n with the lowest power p,, and add p , to the total transmit power. Repeat this procedure with the next-lowest power, until no further sub-bands can be C added without the total power p j exceeding the power limit1.

These are the icons for the black point, grey point, and white point tools. We often use the grey point to quickly color correct our photos, by clicking on a pixel that should be neutral grey but that displays a color shift. That click gives the software the information necessary for subtracting the same amount of color shift from the overall picture. When a photo didn t capture any true whites (and the scene has some white elements), we use the white point tool to identify the brightest pixel. The software then sets that point as white and remaps the tonal range accordingly. Similarly, we use the black point tool to identify the darkest point as black. Other high-powered programs have the same tools, though they may be represented by different icons. Your software may even have the ability to average the values of several points, as Paint Shop Pro does. Be very careful how you use these tools. If you click on the wrong point in your picture, the exposure and/or color can be completely skewed. For instance, suppose you click the grey point tool on a pink pixel that really should be pink. All the pink in the picture will be removed. Or, if the pixel you use the white point on isn t the brightest in your picture, you will wipe out all the details in those highlights, turning them to pure white.

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