Gloss is a fictional superhero published by DC Comics. She first appeared in Millennium #2, was created by Steve Engelhart and Joe Staton; the creators of the Green Lantern Corps, the Guardians, had planned to create their successors, a race of new Guardians on Earth, so one of their number met a female alien called a Zamaron. The two channeled their powers into the "Millennium Project," gathering ten individuals together, teaching them about the nature of the cosmos, endowing them with immortality and metahuman powers. One of these was a young woman from China named Xiang Po, to whom the Guardians gave the power to draw energy from the Earth's "Dragon Lines", she became Gloss, joined the other heroes the Guardians had made in the team named the New Guardians. When the powerless Guy Gardner comes to the team's island home in order to take over, she becomes so disgusted with his crass ways she ends up throwing him far into the ocean. Gloss was on a mission to pass on her enhanced DNA to her offspring, was seeking a suitable mate, but she abandoned her quest when the team disbanded.
Gloss is seen in issue number 50 of the maxi-series "52". Gloss, along with other superpowered beings including Manticore and Tasmanian Devil, are seen knocked down after a battle with the rage maddened Black Adam. In the events of One Year Later, Gloss is now a Global Guardian, follows her former teammate Jet, now team leader, she is killed by Prometheus. Gloss has the power to draw energy from the Dragon Lines of the Earth; these lines of mystic power infuse her with incredible strength and make her durable. She can command the Dragon Lines, manipulating the Earth's energy to create earthquakes and affect local ecosystems. DCU Guide: Gloss
Gloss is an optical property which indicates how well a surface reflects light in a specular direction. It is one of important parameters; the factors that affect gloss are the refractive index of the material, the angle of incident light and the surface topography. Apparent gloss depends on the amount of specular reflection – light reflected from the surface in an equal amount and the symmetrical angle to the one of incoming light – in comparison with diffuse reflection – the amount of light scattered into other directions; when light illuminates an object, it interacts with it in a number of ways: Absorbed within it Transmitted through it Scattered from or within it Specularly reflected from it Variations in surface texture directly influence the level of specular reflection. Objects with a smooth surface, i.e. polished or containing coatings with finely dispersed pigments, appear shiny to the eye due to a large amount of light being reflected in a specular direction whilst rough surfaces reflect no specular light as the light is scattered in other directions and therefore appears dull.
The image forming qualities of these surfaces are much lower making any reflections appear blurred and distorted. Substrate material type influences the gloss of a surface. Non-metallic materials, i.e. plastics etc. produce a higher level of reflected light when illuminated at a greater illumination angle due to light being absorbed into the material or being diffusely scattered depending on the colour of the material. Metals do not suffer from this effect producing higher amounts of reflection at any angle; the Fresnel formula gives the specular reflectance, R s, for an unpolarized light of intensity I 0, at angle of incidence i, giving the intensity of specularly reflected beam of intensity I r, while the refractive index of the surface specimen is m. The Fresnel equation is given as follows: R s = I r I 0 R s = 1 2 Surface roughness in micrometer range influences the specular reflectance levels; the diagram on the right depicts the reflection at an angle i on a rough surface with a characteristic roughness height h.
The path difference between rays reflected from the top and bottom of the surface bumps is: Δ r = 2 h cos i When the wavelength of the light is λ, the phase difference will be: Δ ϕ = 4 π h cos i λ If Δ ϕ is small, the two beams are nearly in phase and therefore the specimen surface can be considered smooth. But when Δ ϕ = π beams are not in phase and through interference, cancellation of each other will occur. Low intensity of specularly reflected light means the surface is rough and it scatters the light in other directions. If an arbitrary criterion for smooth surface is Δ ϕ < π 2 substitution into the equation above will produce: h < λ 8 cos i This smooth
In linguistics and pedagogy, an interlinear gloss is a gloss placed between lines, such as between a line of original text and its translation into another language. When glossed, each line of the original text acquires one or more lines of transcription known as an interlinear text or interlinear glossed text —interlinear for short; such glosses help the reader follow the relationship between the source text and its translation, the structure of the original language. In its simplest form, an interlinear gloss is a literal, word-for-word translation of the source text. Interlinear glosses have been used for a variety of purposes over a long period of time. One common usage has been to annotate bilingual textbooks for language education; this sort of interlinearization serves to help make the meaning of a source text explicit without attempting to formally model the structural characteristics of the source language. Such annotations have been expressed not through interlinear layout, but rather, through enumeration of words in the object and meta language.
One such example is Wilhelm von Humboldt's annotation of Classical Nahuatl: This "inline" style allows examples to be included within the flow of text, for the word order of the target language to be written in an order which approximates the target language syntax. So, this approach requires the readers to "re-align" the correspondences between source and target forms. More modern 19th- and 20th-century approaches took to glossing vertically, aligning the same sort of word-by-word content in such a way that the metalanguage terms were placed vertically below the source language terms. In this style, the given example might be rendered thus: Note that here word ordering is determined by the syntax of the object language. Modern linguists have adopted the practice of using abbreviated grammatical category labels. A 2008 publication which repeats this example labels it as follows: This approach is denser and requires effort to read, but it is less reliant on the grammatical structure of the metalanguage for expressing the semantics of the target forms.
In computing, special text markers are provided in Specials to indicate the start and end of interlinear glosses. A semi-standardized set of parsing conventions and grammatical abbreviations is explained in the Leipzig Glossing Rules. An interlinear text will consist of some or all of the following in this order, from top to bottom: The original orthography, a conventional transliteration into the Latin alphabet, a phonetic transcription, a morphophonemic transliteration, a word-by-word or morpheme-by-morpheme gloss, where morphemes within a word are separated by hyphens or other punctuation,and a free translation, which may be placed in a separate paragraph or on the facing page if the structures of the languages are too different for it to follow the text line by line; as an example, the following Taiwanese clause has been transcribed with five lines of text: 1. The standard pe̍h-ōe-jī transliteration, 2. A gloss using tone numbers for the surface tones, 3. A gloss showing the underlying tones in citation form, 4.
A morpheme-by-morpheme gloss in English, 5. An English translation:In linguistics, it has become standard to align the words and to gloss each transcribed morpheme separately; that is, koat-tēng in line 1 above would either require a hyphenated two-word gloss, or be transcribed without a hyphen, for example as koattēng. Grammatical terms are abbreviated and printed in SMALL CAPITALS to keep them distinct from translations when they are frequent or important for analysis. Varying levels of analysis may be detailed. For example, in a Lezgian text using standard romanization, Here every Lezgian morpheme is set off with hyphens and glossed separately. Since many of these are difficult to gloss in English, the roots are translated, but the grammatical suffixes are glossed with three-letter grammatical abbreviations; the same text may be glossed at a different level of analysis: Here the Lezgian morphemes are translated into English as much as possible. A more colloquial gloss would be: Here the gloss is word for word.
In interlinear morphological glosses, various forms of punctuation separate the glosses. The words are aligned with their glosses; that is, there should be the same number of words separated with spaces in the text and its gloss, as well as the same number of hyphenated morphemes within a word and its gloss. This is the basic system, can be applied universally. For example, An underscore may be used instead of a period, as in go_out-PFV, when a single word in the source language happens to correspond to a phrase in the glossing language, though a period would still be used for other situations, such as Greek oikíais house. FEM. PL. DAT'to the houses'. However, sometimes finer distinctions may be made. For example, clitics may be separated with a double hyphen rather than a hyphen: Affixes which cause discontinuity may be set off by angle brackets, reduplication with tildes, rather than with hyph
In paint technology, the sheen is the glossiness of a paint finish. Glossy and flat are typical extreme levels of glossiness of a finish. Glossy paints are shiny and reflect most light in the specular direction, while on flat paints most of the light diffuses in a range of angles; the gloss level of paint can affect its apparent colour. Between those extremes, there are a number of intermediate gloss levels, their common names, from the most dull to the most shiny, include: matte, satin, semi-gloss and high gloss. These terms are not standardized, not all manufacturers use all these terms. One manufacturer measures gloss as percentages and gives: Flat Low Sheen Eggshell Semi Gloss Gloss The sheen or gloss level of a paint is principally determined by the ratio of resinous, adhesive binder which solidifies after drying, solid, powdery pigment; the more binder the coating contains, the more regular reflection will be made from its smooth surface. To a lesser extent, gloss is affected by other factors: refraction index of the pigment particles and refraction index of the binder.
An important indicator is pigment-volume concentration, defined as the ratio of pigment volume and total paint volume: P V C = V p i g m e n t V p i g m e n t + V b i n d e r PVC affects both physical and optical properties of a paint. Matte paints have less binder. Optimum quantity of binder provides a smooth surface at which all extender & pigment particles are bonded by reducing little quantity of Binder can damage surface. However, at a certain PVC, called critical PVC, the extenders & Pigments are saturated with binder and the surface becomes solid and matt, without protruding particles. CPVC depends on the binder-pigment system used, falls in the 1–9% range; as a gloss finish will reveal surface imperfections such as sanding marks, surfaces must be prepared more for gloss finishes. Gloss-finish paints are more resistant to damage than flat paint, more resistant to staining, easier to clean. Flat paint may become glossier through staining with grease. Unlike gloss paint, flat paint can be touched up locally without repainting the entire surface.
Gloss level can be characterized by the angular distribution of light scattered from a surface, measured with a glossmeter, but there are various ways of measuring this, different industries have different standards. In traditional household interiors, walls are painted in flat or eggshell gloss, wooden trim in high gloss, ceilings invariably in flat. Exterior trim is painted with a gloss paint, while the body of the house is painted in a lower gloss. Gloss-paint is commonplace in the automotive industry for car bodies. PCI Magazine article: What is the Level of Confidence in Measuring Gloss? NPL: Good practice guide for the measurement of Gloss
Lip gloss is a product used to give lips a glossy lustre, sometimes to add a subtle color. It is distributed as a liquid or a soft solid The product is available in ranges of opacity from translucent to solid, can have various frosted, glittery and metallic finishes. Like lipstick, lip gloss may be applied in different ways, it can be contained in a small cylinder and applied with a rounded or sloped applicator wand or with a built in lip brush. It can come in a small, squeezable plastic tube designed to be passed over the lips or applied with a fingertip or lip brush. Solid or semisolid glosses come in boxes or tubes and sometimes blur the distinction between lip gloss and lip balm. Basic lip gloss adds basic shine to the lips without color. Colored lip gloss adds a combination of shine. Glittery lip gloss has a glitter base. New types of "plumping" lip gloss contain ingredients that make the lips appear plumper; these are a cheap and harmless alternative if compared to collagen, Juvederm, or fat injections.
They are not as effective. Lip gloss is used when a person wants to have some color on their lips, but does not want an intense, solid lip color effect, as lipstick would create. Lip gloss is often used as an introduction to makeup, it is used by preteen and young teenage girls who want to wear some makeup, but are too young to wear more intense lipstick colors. Lip gloss is common for young women who don't like to wear makeup but have to attend a formal occasion. Lip gloss can be applied on top of lipstick to increase the gloss of a color, or to add depth as in the case of glitter gloss. Like lipstick, lip gloss is a mixture of waxes and pigments. However, lip gloss contains fewer pigments, those used are pale in color or diluted. Furthermore, the free-flowing nature of the product requires less wax; the principal components are lanolin, which feels good on the lips due to its moisturizing qualities and imparts gloss, polybutene. Lip gloss was invented by Max Factor in 1930, he wanted to create a lip product that would make lips glossy for films.
Factor created makeup for the movie industry. He developed makeup for actresses starring in black and white films. Women were inspired by movie actresses to embrace this makeup trend; this led to the popularity of lip gloss. The first commercially available lip gloss was Max Factor's X-Rated, launched in 1932; the original formula was sold until 2003, when Gamble retired the product. In 1973, Bonne Bell introduced Lip Smackers. Lip Smackers were, still are, popular among young teenagers. Lip Smackers came in two sizes: small and big; the small ones could be kept in the pocket and the big ones had a rope to hang around the neck. It was advertised that before a date, a teen girl should choose an appropriate flavor because that would be her date's first taste when his lips kissed hers. Lip augmentation Lip liner Lip stain
A gloss is a brief notation a marginal one or an interlinear one, of the meaning of a word or wording in a text. It may be in the language of the text, or in the reader's language if, different. A collection of glosses is a glossary. A collection of medieval legal glosses, made by glossators, is called an apparatus; the compilation of glosses into glossaries was the beginning of lexicography, the glossaries so compiled were in fact the first dictionaries. In modern times a glossary, as opposed to a dictionary, is found in a text as an appendix of specialized terms that the typical reader may find unfamiliar. Satirical explanations of words and events are called glosses; the German Romantic movement used the expression of gloss for poems commenting on a given other piece of poetry in the Spanish Décima style. Glosses were notes made in the margin or between the lines of a text in a classical language; as such, glosses vary in thoroughness and complexity, from simple marginal notations of words one reader found difficult or obscure, to interlinear translations of a text with cross references to similar passages.
Today parenthetical explanations in scientific writing and technical writing are often called glosses. Hyperlinks to a glossary sometimes supersede them; the word "gloss" was first used in the 1570s to refer to the insertion of a word as an explanation. It began to be used to mean to "explain away" in the 1630s, originated from the concept of a note being inserted in the margin of a text to explain a difficult word. Glosses and other marginal notes were a primary format used in medieval Biblical theology, were studied and memorized for their own merit. Many Biblical passages came to be associated with a particular gloss, whose truth was taken to be scriptural. Indeed, in one case, it is reckoned that an early gloss explicating the doctrine of the Trinity made its way into the Scriptural text itself, in the passage known as the "three heavenly witnesses" or the Comma Johanneum, present in the Vulgate Latin and the third and editions of the Greek Textus Receptus collated by Erasmus, but is absent from all modern critical reconstructions of the New Testament text, such as Westcott and Hort and Nestle-Aland.
In the medieval legal tradition, the glosses on Roman law and Canon law created standards of reference, so-called sedes materiae. In common law countries, the term "judicial gloss" refers to what is considered an authoritative or "official" interpretation of a statute or regulation by a judge. Judicial glosses are very important in avoiding contradictions between statutes, determining the constitutionality of various provisions of law. A gloss, or glosa, is a verse in traditional Iberian literature and music which follows and comments on a refrain. See villancico. Glosses are of some importance in philology if one language—usually, the language of the author of the gloss—has left few texts of its own; the Reichenau Glosses, for example, gloss the Latin Vulgate Bible in an early form of one of the Romance languages, as such give insight into late Vulgar Latin at a time when that language was not written down. A series of glosses in the Old English language to Latin Bibles give us a running translation of Biblical texts in that language.
Glosses of Christian religious texts are important for our knowledge of Old Irish. Glosses shed valuable light on the vocabulary of otherwise little attested languages. In linguistics, a simple gloss in running text may be marked by quotation marks and follow the transcription of a foreign word. Single quotes are a used convention. For example: A Cossack longboat is called a chaika'seagull'; the moose gains its name from mooz. A longer or more complex transcription may rely upon an interlinear gloss; such a gloss may be placed between a text and its translation when it is important to understand the structure of the language being glossed, not just the overall meaning of the passage. Sign languages are transcribed word-for-word by means of a gloss written in the predominant oral language in all capitals. Prosody is glossed as superscript words, with its scope indicated by brackets. NEGATIVE RHETORICAL, GARLIC. "I don't like garlic." Pure fingerspelling is indicated by hyphenation. Fingerspelled words that have been lexicalized are indicated with a hash.
For example, W-I-K-I indicates a simple fingerspelled word, but #JOB indicates a lexicalized unit, produced like J-O-B, but faster, with a perceptible O and turning the "B" hand palm side in, unlike a fingerspelled "B". Meinolf Schumacher: "…der kann den texst und och die gloß. Zum Wortgebrauch von'Text' und'Glosse' in deutschen Dichtungen des Spätmittelalters." In'Textus' im Mittelalter. Komponenten und Situationen des Wortgebrauchs im schriftsemantischen Feld, edited by Ludolf Kuchenbuch and Uta Kleine, 207-27, Göttingen: Vandenhoeck & Ruprecht, 2006; the dictionary definition of gloss at Wiktionary
Gloss is a 2007 Russian satirical melodrama directed by Andrei Konchalovsky. The picture opened the 2007 Kinotavr film festival, was part of the competition program. Galya, a young worker in a provincial factory, dreams of becoming a successful model. One day she goes to Moscow, she ends up getting hired by a great couturier as a seamstress. During one of their shows, she walks the runway as a model, which causes her to be fired on the spot. By chance, she becomes the assistant of the owner of a exclusive matchmaking agency, which arranges marriages for rich men with the most beautiful models in Moscow. Galya, who only thinks of a career, advances in this world of luxury and money and will do everything to achieve her goals. Julia Vysotskaya — Galya Sokolova Juris Lauciņš — Fedor, father of Galya Efim Shifrin — Mark Schiffer, fashion designer Aleksei Serebryakov — Stasis Gennady Smirnov — Petya, the owner of the model agency Irina Rozanova — Marina Yurievna, editor of the glossy magazine Aleksandr Domogarov — Misha Klimenko Olga Arntgolts — Nastya Tatyana Arntgolts — Oksana Olga Miloyanina — Jeanne Alexei Grishin — director Artemy Troitsky — thief in the law Alexey Kolgan — Volodya Fyodor Bondarchuk Gosha Kutsenko Alexander Ilyin — Mikula Sergei Makovetsky Andrey Noskov — Gleb Yola Sanko — Galya's mother Nikolai Fomenko Elena Drobysheva Yana Poplavskaya Ilya Isaev — Viteok Elena Perova Oleg Komarov Vladimir Shiryaev Elmira Tuyusheva — Ingeborge Yuliya Snigir — model Galina Stakhanova — old weaver The film was shot in Montenegro and Rostov.
Gloss on IMDb Глянец / Gloss - Andrei Konchalovsky's official website