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This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Final Fantasy is mostly an anthology series with primary installments being stand-alone role-playing games, each with different settings, plots and main characters, but the franchise is linked by several recurring elements, including game mechanics and recurring character names. Each plot centers on a particular group of heroes who are battling a great evil, but also explores the characters' internal struggles and relationships. Character names are frequently derived from the history, languages, pop culture, and mythologies of cultures worldwide. The mechanics of each game involve similar battle systems and maps.
Final Fantasy has been both critically and commercially successful. Several entries are regarded as some of the greatest video games, with the series selling more than 185 million copies worldwide, making it one of the best-selling video game franchises of all time. The series is well known for its innovation, visuals, such as the inclusion of full-motion videos, photorealistic character models, and music by Nobuo Uematsu. It has popularized many features now common in role-playing games, also popularizing the genre as a whole in markets outside Japan.
The first installment of the series was released in Japan on December 18, 1987. Subsequent games are numbered and given a story unrelated to previous games, so the numbers refer to volumes rather than to sequels. Many Final Fantasy games have been localized for markets in North America, Europe, and Australia on numerous video game consoles, personal computers (PC), and mobile phones. As of June 2023, the series includes the main installments from Final Fantasy to Final Fantasy XVI, as well as direct sequels and spin-offs, both released and confirmed as being in development. Most of the older games have been remade or re-released on multiple platforms.[1]
Three Final Fantasy installments were released on the Nintendo Entertainment System (NES). Final Fantasy was released in Japan in 1987 and in North America in 1990.[2][3] It introduced many concepts to the console RPG genre, and has since been remade on several platforms.[3]Final Fantasy II, released in 1988 in Japan, has been bundled with Final Fantasy in several re-releases.[3][4][5] The last of the NES installments, Final Fantasy III, was released in Japan in 1990,[6] but was not released elsewhere until a Nintendo DSremake came out in 2006.[5]
The PlayStation console saw the release of three main Final Fantasy games. Final Fantasy VII (1997) moved away from the two-dimensional (2D) graphics used in the first six games to three-dimensional (3D) computer graphics; the game features polygonal characters on pre-rendered backgrounds. It also introduced a more modern setting, a style that was carried over to the next game.[3] It was also the second in the series to be released in Europe, with the first being Final Fantasy Mystic Quest. Final Fantasy VIII was published in 1999, and was the first to consistently use realistically proportioned characters and feature a vocal piece as its theme music.[3][13]Final Fantasy IX, released in 2000, returned to the series' roots, by revisiting a more traditional Final Fantasy setting, rather than the more modern worlds of VII and VIII.[3][14]
Three main installments, as well as one online game, were published for the PlayStation 2.[15][16][17]Final Fantasy X (2001) introduced full 3D areas and voice acting to the series, and was the first to spawn a sub-sequel (Final Fantasy X-2, published in 2003).[18][19] The first massively multiplayer online role-playing game (MMORPG) in the series, Final Fantasy XI, was released on the PS2 and PC in 2002, and later on the Xbox 360.[20][21] It introduced real-time battles instead of random encounters.[21]Final Fantasy XII, published in 2006, also includes real-time battles in large, interconnected playfields.[22][23] The game is also the first in the main series to utilize a world used in a previous game, namely the land of Ivalice, which was previously featured in Final Fantasy Tactics and Vagrant Story.[24]
In 2009, Final Fantasy XIII was released in Japan, and in North America and Europe the following year, for PlayStation 3 and Xbox 360.[25][26] It is the flagship installment of the Fabula Nova Crystallis Final Fantasy series[27] and became the first mainline game to spawn two sub-sequels (XIII-2 and Lightning Returns).[28] It was also the first game released in Chinese and high definition along with being released on two consoles at once. Final Fantasy XIV, a MMORPG, was released worldwide on Microsoft Windows in 2010, but it received heavy criticism when it was launched, prompting Square Enix to rerelease the game as Final Fantasy XIV: A Realm Reborn, this time to the PlayStation 3 as well, in 2013.[29]Final Fantasy XV is an action role-playing game that was released for PlayStation 4 and Xbox One in 2016.[30][31] Originally a XIII spin-off titled Versus XIII, XV uses the mythos of the Fabula Nova Crystallis series, although in many other respects the game stands on its own and has since been distanced from the series by its developers.[38] The sixteenth mainline entry, Final Fantasy XVI,[39] was released in 2023 for PlayStation 5.[40]
Square Enix has expanded the Final Fantasy series into various media. Multiple anime and computer-generated imagery (CGI) films have been produced that are based either on individual Final Fantasy games or on the series as a whole. The first was an original video animation (OVA), Final Fantasy: Legend of the Crystals, a sequel to Final Fantasy V. The story was set in the same world as the game, although 200 years in the future. It was released as four 30-minute episodes, first in Japan in 1994 and later in the United States by Urban Vision in 1998. In 2001, Square Pictures released its first feature film, Final Fantasy: The Spirits Within. The film is set on a future Earth invaded by alien life forms.[57]The Spirits Within was the first animated feature to seriously attempt to portray photorealistic CGI humans, but was considered a box office bomb and garnered mixed reviews.[57][58][59]
A 25-episode anime television series, Final Fantasy: Unlimited, was released in 2001 based on the common elements of the Final Fantasy series. It was broadcast in Japan by TV Tokyo and released in North America by ADV Films.
In 2005, Final Fantasy VII: Advent Children, a feature length direct-to-DVD CGI film, and Last Order: Final Fantasy VII, a non-canon OVA,[60] were released as part of the Compilation of Final Fantasy VII. Advent Children was animated by Visual Works, which helped the company create CG sequences for the games.[61] The film, unlike The Spirits Within, became a commercial success.[62][63][64][65]Last Order, on the other hand, was released in Japan in a special DVD bundle package with Advent Children. Last Order sold out quickly[66] and was positively received by Western critics,[67][68] though fan reaction was mixed over changes to established story scenes.[69]
Two animated tie-ins for Final Fantasy XV were released as part of a larger multimedia project dubbed the Final Fantasy XV Universe. Brotherhood is a series of five 10-to-20-minute-long episodes developed by A-1 Pictures and Square Enix detailing the backstories of the main cast. Kingsglaive, a CGI film released prior to the game in Summer 2016, is set during the game's opening and follows new and secondary characters.[70][71][72][73] In 2019, Square Enix released a short anime, produced by Satelight Inc, called Final Fantasy XV: Episode Ardyn – Prologue on their YouTube channel which acts as the background story for the final piece of DLC for Final Fantasy XV giving insight into Ardyn's past.
Square Enix also released Final Fantasy XIV: Dad of Light in 2017, an 8-episode Japanese soap opera based, featuring a mix of live-action scenes and Final Fantasy XIV gameplay footage.
As of June 2019, Sony Pictures Television is working on a live-action adaptation of the series with Hivemind and Square Enix. Jason F. Brown, Sean Daniel and Dinesh Shamdasani for Hivemind are the producers while Ben Lustig and Jake Thornton were attached as writers and executive producers for the series.[74]
Several video games have either been adapted into or have had spin-offs in the form of manga and novels. The first was the novelization of Final Fantasy II in 1989, and was followed by a manga adaptation of Final Fantasy III in 1992.[75][76] The past decade has seen an increase in the number of non-video game adaptations and spin-offs. Final Fantasy: The Spirits Within has been adapted into a novel, the spin-off game Final Fantasy Crystal Chronicles has been adapted into a manga, and Final Fantasy XI had a novel and manga set in its continuity.[77][78][79][80] Seven novellas based on the Final Fantasy VII universe have also been released. The Final Fantasy: Unlimited story was partially continued in novels and a manga after the anime series ended.[81] The Final Fantasy X and XIII series have also had novellas and audio dramas released. Final Fantasy Tactics Advance has been adapted into a radio drama, and Final Fantasy: Unlimited has received a radio drama sequel.
GNU Image Manipulation Program, commonly known by its acronym GIMP (/ɡɪmp/GHIMP), is a free and open-sourceraster graphics editor[4] used for image manipulation (retouching) and image editing, free-form drawing, transcoding between different image file formats, and more specialized tasks. It is extensible by means of plugins, and scriptable. It is not designed to be used for drawing, though some artists and creators have used it in this way.[5]
1996 was the initial public release of GIMP (0.54).[9][10] The editor was quickly adopted and a community of contributors formed. The community began developing tutorials and artwork and sharing better work-flows and techniques.[11]
In the following year, Kimball and Mattis met with Richard Stallman of the GNU Project while he visited UC Berkeley and asked if they could change General in the application's name to GNU (the name of the operating system created by Stallman), and Stallman approved.[12] The application subsequently formed part of the GNU software collection.[13]
A GUI toolkit called GTK (at the time known as the GIMP ToolKit) was developed to facilitate the development of GIMP. The development of the GIMP ToolKit has been attributed to Peter Mattis becoming disenchanted with the Motif toolkit GIMP originally used. Motif was used up until GIMP 0.60.[10][15]
In recent versions (since the GIMP 2.9 build), the removal of the Lanczos image scaling algorithm, which had been used by GIMP and other image editing programs for many years, in favor of pushing forward the new NoHalo and LoHalo algorithms developed by Nicolas Robidoux, caused some controversy among GIMP users, with some users standing by the change but others expressing their dissatisfaction about it, due to mixed quality results in some image scaling scenarios, leading some users to keep using the older 2.8 version of GIMP simply because it's the last build with Lanczos support, and a few users giving up on using the application altogether as a result. To this day, several users hope to see a future version of GIMP with the Lanczos algorithm added back as an option for image resampling.[16][17][18]
GIMP's mascot is called Wilber and was created in GIMP by Tuomas Kuosmanen, known as tigert, on 25 September 1997. Wilber received additional accessories from other GIMP developers, which can be found in the Wilber Construction Kit, included in the GIMP source code as /docs/Wilber_Construction_Kit.xcf.gz.[19]
GIMP is primarily developed by volunteers as a free and open source software project associated with both the GNU and GNOME projects. Development takes place in a public gitsource code repository,[20] on public mailing lists and in public chat channels on the GIMPNET IRC network.[21]
New features are held in public separate source code branches and merged into the main (or development) branch when the GIMP team is sure they won't damage existing functions.[20] Sometimes this means that features that appear complete do not get merged or take months or years before they become available in GIMP.
GIMP itself is released as source code. After a source code release, installers and packages are made for different operating systems by parties who might not be in contact with the maintainers of GIMP.
The version number used in GIMP is expressed in a major-minor-micro format, with each number carrying a specific meaning: the first (major) number is incremented only for major developments (and is currently 2). The second (minor) number is incremented with each release of new features, with odd numbers reserved for in-progress development versions and even numbers assigned to stable releases; the third (micro) number is incremented before and after each release (resulting in even numbers for releases, and odd numbers for development snapshots) with any bug fixes subsequently applied and released for a stable version.
Previously, GIMP applied for several positions in the Google Summer of Code (GSoC).[22][23] From 2006 to 2009 there have been nine GSoC projects that have been listed as successful,[22] although not all successful projects have been merged into GIMP immediately. The healing brush and perspective clone tools and Ruby bindings were created as part of the 2006 GSoC and can be used in version 2.8.0 of GIMP, although there were three other projects that were completed and are later available in a stable version of GIMP; those projects being Vector Layers (end 2008 in 2.8 and master),[24] and a JPEG 2000 plug-in (mid 2009 in 2.8 and master).[25] Several of the GSoC projects were completed in 2008, but have been merged into a stable GIMP release later in 2009 to 2014 for Version 2.8.xx and 2.10.x. Some of them needed some more code work for the master tree.
Second public Development 2.9-Version was 2.9.4 with many deep improvements after initial Public Version 2.9.2.[26][27] Third Public 2.9-Development version is Version 2.9.6.[28] One of the new features is removing the 4 GB size limit of XCF file.[29][30] Increase of possible threads to 64 is also an important point for modern parallel execution in actual AMDRyzen and IntelXeon processors. Version 2.9.8 included many bug fixes and improvements in gradients and clips.[31] Improvements in performance and optimization beyond bug hunting were the development targets for 2.10.0.[32] MacOS Beta is available with Version 2.10.4.[33]
The next stable version in the roadmap is 3.0 with a GTK3 port.[34] 2.99-Series is the development Series to 3.0. Jehan Pages, the lead developer and maintainer of GIMP, stated that GIMP 3.0's release is tentative for May 2024 and plans to announce the release at the next Libre Graphics Meeting conference.[35]
GIMP developers meet during the annual Libre Graphics Meeting.[36] Interaction designers from OpenUsability have also contributed to GIMP.[37]
Switch from Motif to GTK+ 1.x. Support for image layers. Introduction of the XCF file format. New memory manager with disk caching of tiles to support large images. New plug-in/extension API and introduction of the Procedural Database (PDB). Introduction of Script-Fu.
Switch to GTK+ 2.x graphical toolkit. Introduction of tabs and docks system, improvements to Script-Fu scripting, text re-editing, CMYK color support.
Old version, no longer maintained: 2.0.1
?
Old version, no longer maintained: 2.0.2
?
Old version, no longer maintained: 2.0.3
?
Old version, no longer maintained: 2.0.4
?
Old version, no longer maintained: 2.0.5
?
Old version, no longer maintained: 2.0.6
?
2.2
Old version, no longer maintained: 2.2
2004-12-19
Plugin support, keyboard shortcut editor, previews for transform tools. New GIMP hardware controllers support. Improvements to drag and drop and copy and paste to other applications. The last major version to support Windows 98/Me.
Old version, no longer maintained: 2.2.1
?
Old version, no longer maintained: 2.2.2
?
Old version, no longer maintained: 2.2.3
?
Old version, no longer maintained: 2.2.4
?
Old version, no longer maintained: 2.2.5
?
Old version, no longer maintained: 2.2.6
?
Old version, no longer maintained: 2.2.7
?
Old version, no longer maintained: 2.2.8
?
Old version, no longer maintained: 2.2.9
?
Old version, no longer maintained: 2.2.10
?
Old version, no longer maintained: 2.2.11
?
Old version, no longer maintained: 2.2.12
?
Old version, no longer maintained: 2.2.13
?
Old version, no longer maintained: 2.2.14
?
Old version, no longer maintained: 2.2.15
?
Old version, no longer maintained: 2.2.16
?
Old version, no longer maintained: 2.2.17
?
2.4
Old version, no longer maintained: 2.4
2007-10-24
Color management support, scalable brushes, new and rewritten selection tools and crop tools. Many user interface changes including full screen editing and a new icon theme. Increased file format support. Improved printing quality. Improved interface for external device input.
Old version, no longer maintained: 2.4.1
?
Old version, no longer maintained: 2.4.2
?
Old version, no longer maintained: 2.4.3
?
Old version, no longer maintained: 2.4.4
?
Old version, no longer maintained: 2.4.5
?
Old version, no longer maintained: 2.4.6
?
Old version, no longer maintained: 2.4.7
?
2.6
Old version, no longer maintained: 2.6
2008-10-01
Partial implementation of GEGL, and first iteration of UI re-design.
Old version, no longer maintained: 2.6.1
2008-10-09
Old version, no longer maintained: 2.6.2
2008-10-30
Old version, no longer maintained: 2.6.3
2008-11-22
2.6.4
—
Unreleased version.
Old version, no longer maintained: 2.6.5
2009-02-15
Old version, no longer maintained: 2.6.6
2009-03-17
Old version, no longer maintained: 2.6.7
2009-08-14
Old version, no longer maintained: 2.6.8
2009-12-10
Old version, no longer maintained: 2.6.9
2010-06-23
Old version, no longer maintained: 2.6.10
2010-07-08
Old version, no longer maintained: 2.6.11
2010-10-04
Old version, no longer maintained: 2.6.12
2012-02-01
2.8
Old version, no longer maintained: 2.7.1
2010-07-03
Single-window mode. Multi-column dock windows. Other UI improvements. Save/Export separation. Layer groups. Tools drawn with Cairo. On canvas text editing. Simple math in size entries. Various improvements.
Old version, no longer maintained: 2.7.2
2011-04-15
Various bugfixes.
Old version, no longer maintained: 2.7.3
2011-08-22
Various bugfixes. UI improvements. OS X improvements.
Old version, no longer maintained: 2.7.4
2011-12-13
Various bugfixes.
Old version, no longer maintained: 2.7.5
2012-03-14
Various bugfixes.
Old version, no longer maintained: 2.8rc1
2012-04-08
Updated code from 2.7.5.
Old version, no longer maintained: 2.8
2012-05-03
Layer groups, on-canvas text editing, optional single window mode. UI improvements. Various bugfixes.
Old version, no longer maintained: 2.8.2
2012-08-24
Various bugfixes.
Old version, no longer maintained: 2.8.4
2013-02-05
Various bugfixes. OS X version released on 10 February.
Old version, no longer maintained: 2.8.6
2013-06-21
Various bugfixes.
2.8.8
—
Unreleased version.
Old version, no longer maintained: 2.8.10
2013-11-28
Improved OS X support.
2.8.12
—
Unreleased version. Re-released as 2.8.14 with a critical bugfix.
Old version, no longer maintained: 2.8.14
2014-08-26
Fixed libtool versioning.
Old version, no longer maintained: 2.8.16
2015-11-22
Layer groups support in OpenRaster files. Layer groups support fixed for PSD files. UI improvements. Various bugfixes. Windows installer received an important bugfix on 5 June 2016.
Old version, no longer maintained: 2.8.18
2016-07-14
Vulnerability (CVE-2016-4994) fixed in XCF loading code. Various bugfixes.
Old version, no longer maintained: 2.8.20
2017-02-01
Various bugfixes. Windows and macOS versions released on 7 February.
Old version, no longer maintained: 2.8.22
2017-05-11
Various bugfixes.
2.10
Old version, no longer maintained: 2.9.2
2015-11-27
First dev release in the 2.9.x series. GEGL port. New and improved tools. File format support improvements. Better color management. Layers blending improvements. Metadata improvements.
Old version, no longer maintained: 2.9.4
2016-07-13
Second dev release in this series. New UI, usability improvements, new themes. Better color management. GEGL improvements. Various other improvements and bugfixes.
Old version, no longer maintained: 2.9.6
2017-08-24
Third dev release. Various performance improvements and bugfixes.
Old version, no longer maintained: 2.9.8
2017-12-12
Fourth and final dev release. On-canvas gradient editing. Wayland support (Linux). GUI and usability improvements. File format support improvements.
Old version, no longer maintained: 2.10
2018-04-27
Nearly fully ported to GEGL, including for filters. New color management. Various improved tools. New image formats (OpenEXR, RGBE, WebP, HGT). Basic HiDPI support. New themes. Various bug fixes.
Old version, no longer maintained: 2.10.2
2018-05-20
Various bugfixes.
Old version, no longer maintained: 2.10.4
2018-07-04
Simple horizon straightening. Asynchronous fonts loading. Various bugfixes.
Old version, no longer maintained: 2.10.6
2018-08-19
Vertical text layer. New filters. Various bugfixes.
Old version, no longer maintained: 2.10.8
2018-11-08
Various bugfixes.
Old version, no longer maintained: 2.10.10
2019-04-07
Line art detection. GEGL improvements. Various bugfixes.
Old version, no longer maintained: 2.10.12
2019-06-12
Various bugfixes.
Old version, no longer maintained: 2.10.14
2019-10-31
File format improvements (HEIF, TIFF, PSD). MacOS compatibility improvements. Various bugfixes.
2.10.16
—
Unreleased version. Re-released as 2.10.18 with a critical bugfix.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
The DBS was intended as the successor to the Aston Martin DB6, although the two ran concurrently for three years. Powered by a straight-six engine, it was produced from 1967 until 1972, eventually being phased out in favour of the Aston Martin V8.
It was a larger coupé than the DB6, with four full sized seats, but was powered by the same 4.0 L engine as the previous car. Claimed engine output was 280 bhp (209 kW; 284 PS),[3][4] but a Vantage engine option used Italian made Weber carburettors, increasing output to an advertised 325 bhp (242 kW; 330 PS).[5]
In 1966, Touring of Milan was commissioned to design the DB6 replacement and produced two prototypes before the design house went out of business. The DB6 was incapable of accommodating the planned V8-engine and had to be replaced.[6]William Towns was then hastily brought in to design the new car.[3] The DBS was intended to have a more "modern" look than the previous series of Aston models (the DB4 through DB6), and it incorporated a fastback style rear end and squared off front grille, atypical of Astons at the time but very much then in vogue in automotive design circles of the late sixties. Trademark Aston design features, such as a bonnet scoop, knock-off wire wheels with 815X15 Crossplys or 205VR15 Pirelli Cinturato CN72 Radial Tyres, and side air vents with stainless steel brightwork were however retained. The DBS was the last Aston Martin to be developed under David Brown's control.[5]
In September 1969 the DBS was made available with the 5340 cc V8 engine for which it was always intended, this variant being known as the DBS V8.[6][7] At the time, it was the fastest four-seater production car in the world. The new model was fitted with light alloy wheels (as opposed to wire wheels on the DBS) fitted with Pirelli 225/70VR15 Cinturato CN12 and ventilated brake discs.[7] Automatic transmission was offered as an alternative to the ZF 5-speed manual gearbox. The DBS V8 was produced until May 1972, after which it was given a single headlamp front end and was renamed simply the Aston Martin V8.[7]
In 1969 the Lagonda name was briefly resurrected, appearing on a four-door prototype of the DBS model. The prototype was allocated chassis MP230/1 and was retained by the factory until 1972 and used by Sir David Brown as his personal car, registered JPP 5G. The car originally ran a prototype 5-litre V8 engine but this was quickly replaced by an early 5.3-litre production quad carb version (VS4008EE).
Between 1974 and 1976, seven Lagonda four-door saloons were produced based on the 1969 prototype. The production models adopted a single-headlight treatment with a Lagonda "horseshoe" grille in place of the twin-headlamp treatment of the prototype.
The DBS was used by George Lazenby's James Bond in the 1969 film On Her Majesty's Secret Service. Unlike Bond's previous car, the Aston Martin DB5, no gadgets were seen in this car, other than a mounting for a telescopic-sight rifle in the glove compartment. In the final scenes of the film, Bond's wife, Tracy, is shot and killed whilst sitting in the car.[5]
A second DBS also appears in a brief single scene in the next Bond film, Diamonds are Forever. It can be seen in the background being fitted with small missiles at Q Branch whilst Bond is talking to Q on the telephone.
Another DBS was later used in the TV series The Persuaders! (1971–1972), in which Roger Moore's character Lord Brett Sinclair drove a distinctive "Bahama Yellow" 6-cylinder DBS (chassis number DBS/5636/R) that, through the use of alloy wheels and different badges, had been made to look like the DBS V8 model. Supplied by Aston Martin to the show's producers, the car used the personalised number plate "BS 1" (except for one scene in the episode "The Gold Napoleon," where the car has its original UK registration number PPP 6H instead), courtesy of the plate's real owner Billy Smart, Jr. After filming ended it was sold by the factory, via HR Owen in London, to its first private owner. It was later restored by the Aston Martin factory, and is currently owned by divorce lawyer and noted art collector Jeremy Levison.[8] Moore and co-star Tony Curtis both signed the underside of the car's boot lid (rear luggage compartment): Moore at Pinewood Studios in May 2003; Curtis at Cheltenham Racecourse in October 2008. In 2013 the Aston Martin DBS was an invited participant at two of Europe's most exclusive motoring concours, the Concorso d'Eleganza Villa d'Este at Lake Como, and the Salon Privé Concours in London.
The restoration of an original DBS, registration JRA615H was featured in the first episode of series 2 of the Channel 4 series For the Love of Cars, screened in April 2015.[9] The process took over 6,000 man-hours.[9] During restoration, it was upgraded to Vantage specification which included conversion from an automatic to manual gearbox.[9] It sold at auction with Coys of Kensington for £169,800 .[9]
^ abcSass, Rob (June 2010). "Aston Martin DBS, Unloved No More". Sports Car Market. 22 (6): 28.
^ abGrayson, Stan (1980). "Volante – a look at the latest Aston Martin". Automobile Quarterly. XVIII (1, first quarter 1980). Princeton, NJ: 47. ISSN0005-1438.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Plant considered undesirable in a particular place or situation
This article is about plants specifically called "weeds". For the psychoactive plant commonly called "weed", see Cannabis (drug). For other uses, see Weed (disambiguation).
A weed is a plant considered undesirable in a particular situation, growing where it conflicts with human preferences, needs, or goals.[1][2][3][4] Plants with characteristics that make them hazardous, aesthetically unappealing, difficult to control in managed environments, or otherwise unwanted in farm land, orchards, gardens, lawns, parks, recreational spaces, residential and industrial areas, may all be considered weeds.[4][2][5] The concept of weeds is particularly significant in agriculture, where the presence of weeds in fields used to grow crops may cause major losses in yields.[6]Invasive species, plants introduced to an environment where their presence negatively impacts the overall functioning and biodiversity of the ecosystem, may also sometimes be considered weeds.[7][8]
Taxonomically, the term "weed" has no botanical significance, because a plant that is a weed in one context, is not a weed when growing in a situation where it is wanted. Some plants that are widely regarded as weeds are intentionally grown in gardens and other cultivated settings. For this reason, some plants are sometimes called beneficial weeds. Similarly, volunteer plants from a previous crop are regarded as weeds when growing in a subsequent crop. Thus, alternative nomenclature for the same plants might be hardy pioneers, cosmopolitan species, volunteers, "spontaneous urban vegetation," etc.[9]
Although whether a plant is a weed depends on context, plants commonly defined as weeds broadly share biological characteristics that allow them to thrive in disturbed environments and to be particularly difficult to destroy or eradicate. In particular, weeds are adapted to thrive under human management in the same way as intentionally grown plants.[1] Since the origins of agriculture on Earth, agricultural weeds have co-evolved with human crops and agricultural systems, and some have been domesticated into crops themselves after their fitness in agricultural settings became apparent.[10]
More broadly, the term "weed" is occasionally applied pejoratively to species outside the plant kingdom, species that can survive in diverse environments and reproduce quickly; in this sense it has even been applied to humans.[11]
Weed control is important in agriculture and horticulture. Methods include hand cultivation with hoes, powered cultivation with cultivators, smothering with mulch or soil solarization, lethal wilting with high heat, burning, or chemical attack with herbicides and cultural methods such as crop rotation and fallowing land to reduce the weed population.[12]
It has long been assumed that weeds, in the sense of rapidly-evolving plants taking advantage of human-disturbed environments, evolved in response to the Neolithic agricultural revolution approximately 12,000 years ago. However, researchers have found evidence of "proto-weeds" behaving in similar ways at Ohalo II, a 23,000-year-old archeological site in Israel.[13]
The idea of "weeds" as a category of undesirable plant has not been universal throughout history. Before 1200 A.D., little evidence exists of concern with weed control or of agricultural practices solely intended to control weeds. A possible reason for this is that for much of human history, women and children were an abundant source of cheap labor to control weeds, and not directly acknowledged.[14] Weeds are assumed to have existed since the beginning of agriculture, and accepted as an "inevitable nuisance."[15]
Though the plants are not named using a specific term denoting a "weed" in the contemporary sense, plants that may be interpreted as "weeds" are referenced in the Bible:[8]
Cursed is the ground because of you; through painful toil you will eat of it all the days of your life. It will produce thorns and thistles for you, and you will eat the plants of the field. By the sweat of your brow you will eat your food until you return to the ground.[16]
Some early Roman writers referenced weeding activities in agricultural fields, but weed control in the pre-modern era was probably an incidental effect of plowing.[17] Ancient Egyptians, Assyrians, and Sumerians had no specific word for "weeds," seeing all plants as having some use. The English word "weed" can be traced back to the Old English weod, which refers to woad, rather than a category of plant as in the modern usage; in early medieval European herbals, each plant is regarded as having its own "virtues".[18]
By the sixteenth century, the concept of a "weed" was better defined as a "noxious" or undesirable type of plant, as referenced metaphorically in William Shakespeare's works.[18] An example of a Shakespearean reference to weeds is found in Sonnet 69:
To thy fair flower add the rank smell of weeds: / But why thy odour matcheth not thy show, / The soil is this, that thou dost common grow.[19]
In London during this period, poor women were paid low wages to weed gardens and courtyards.[20]
After the Reformation, Christian theology that emphasized the degradation of nature after the Fall of Man, and humankind's role and duty to dominate and subdue nature, became more developed and widespread. Various European writers designated certain plants as "vermin" and "filth," though many plants identified as such were valued by gardeners or by herbalists and apothecaries, and some questioned the idea that any plant could be without purpose or value.[18] Laws mandating the control of weeds emerged as early as the seventeenth century; in 1691 a law in New York required the removal of "poysonous and Stincking Weeds" in front of houses.[21]
In the nineteenth century, manual labor was used to control weeds in European towns and cities, and chemical methods of weed control emerged. For example, a French journal in 1831 documented a mixture of sulfur, lime and water boiled in an iron cauldron as an effective herbicide to prevent grass from growing among cobblestones.[20]
The cultural association between weeds and moral or spiritual degradation persisted into the last nineteenth century in American cities. Urban expansion and development created ideal habitats for weeds in nineteenth-century America.[21] Reformers consequently saw weeds as a part of the larger problem of filth, disease, and moral corruption that plagued the urban environments, and weeds were seen as refuge for "tramps" and other criminal or undesirable people. The St. Louis Post-Dispatch credited weeds as causing diphtheria, scarlet fever, and typhoid.[21] In St. Louis between the years of 1905-1910, weeds became viewed as a major public health hazard, believed to cause typhoid and malaria, and legal precedents were set in order to control weeds that would help facilitate the adoption of weed control laws throughout the country.[21]
"Weed" as a category of plant overlaps with the closely related concepts of ruderal and pioneer species.[22] Pioneer species are specifically adapted to disturbed environments, where the existing plant and soil community has been disrupted or damaged in some way. Adaptation to disturbance can give weeds advantages over desirable crops, pastures, or ornamental plants. The nature of the habitat and its disturbances will affect or even determine which types of weed communities become dominant.[23] In weed ecology some authorities speak of the relationship between "the three Ps": plant, place, perception. These have been very variously defined, but the weed traits listed by H.G. Baker are widely cited.[24][25]
Examples of such ruderal or pioneer species include plants that are adapted to naturally-occurring disturbed environments such as dunes and other windswept areas with shifting soils, alluvial flood plains, river banks and deltas, and areas that are burned repeatedly.[26] Since human agricultural and horticultural practices often mimic these natural disturbances that weedy species have adapted for, some weeds are effectively preadapted to grow and proliferate in human-disturbed areas such as agricultural fields, lawns, gardens, roadsides, and construction sites. As agricultural practices continue and develop, weeds evolve further, with humans exerting evolutionary pressure upon weeds through manipulating their habitat and attempting to control weed populations.[10]
Due to their ability to survive and thrive in conditions challenging or hostile to other plants, weeds have been considered extremophiles.[27]
Due to their evolutionary heritage as disturbance-adapted pioneers, most weeds exhibit incredibly high phenotype plasticity, meaning that individual plants hold the potential to adapt their morphology, growth, and appearance in response to their conditions.[22] The potential within a single individual to adapt to a wide variety of conditions is sometimes referred to as an "all-purpose genotype."[28] Disturbance-adapted plants typically grow rapidly and reproduce quickly, with some annual weeds having multiple generations in a single growing season. They commonly have seeds that persist in the soil seed bank for many years. Perennial weeds often have underground stems that spread under the soil surface or, like ground ivy (Glechoma hederacea), have creeping stems that root and spread out over the ground.[29] These traits make many disturbance-adapted plants highly successful as weeds.[22]
On top of the ability of individual plants to adapt to their conditions, weed populations also evolve much more quickly than older models of evolution account for.[28] Once established in an agricultural setting, weeds have been observed to undergo evolutionary changes to adapt to selective pressures imposed by human management. Some examples include changes in seed dormancy, changes in seasonal life cycles, changes in plant morphology, and the evolution of resistance to herbicides.[10] Rapid life cycles, large populations, and ability to spread large numbers of seeds long distances also allow weed species with these general characteristics to evolve quickly.[30]
The concept of weeds also overlaps with the concept of invasive species, both in the sense that human activities tend to introduce weeds outside their native range, and that an introduced species may be considered a weed. Many weed species have moved out of their natural geographic ranges and spread around the world in tandem with human migrations and commerce. Weed seeds are often collected and transported with crops after the harvesting of grains, so humans are a vector of transport as well as a producer of the disturbed environments to which weed species are well adapted, resulting in many weeds having a close association with human activities.[31][32]
Some plants become dominant when introduced into new environments because the animals and plants in their original environment that compete with them or feed on them are absent; in what is sometimes called the "natural enemies hypothesis", plants freed from these specialist consumers may become dominant. An example is Klamath weed, which threatened millions of hectares of prime grain and grazing land in North America after it was accidentally introduced. The Klamathweed Beetle, a species that specializes in consuming the plant, was imported during World War II. Within several years Klamath weed was reduced to a rare roadside weed.[33][34] In locations where predation and mutually competitive relationships are absent, weeds have increased resources available for growth and reproduction. The weediness of some species that are introduced into new environments may be caused by their production of allelopathic chemicals which indigenous plants are not yet adapted to, a scenario sometimes called the "novel weapons hypothesis". These chemicals may limit the growth of established plants or the germination and growth of seeds and seedlings.[35][36] Weed growth can also inhibit the growth of later-successional species in ecological succession. [37]
Introduced species have been observed to undergo rapid evolutionary change to adapt to their new environments, with changes in plant height, size, leaf shape, dispersal ability, reproductive output, vegetative reproduction ability, level of dependence on the mycorrhizal network, and level of phenotype plasticity appearing on timescales of decades to centuries.[38] Invasive species can be more adaptable in their new environments than in their native environments, occupying broader ranges in areas where they are invasive than in areas where they are native. Hybridization between similar species can produce novel invasive plants that are better adapted to their surroundings. Polyploidy is also observed to be strongly selected for among some invasive populations, such as Solidago canadensis in China. Many weed species are now found almost worldwide, with novel adaptations that suit regional populations to their environments.[28]
Some negative impacts of weeds are functional: they interfere with food and fiber production in agriculture, wherein they must be controlled to prevent lost or diminished crop yields. In other settings, they interfere with other cosmetic, decorative, or recreational goals, such as in lawns, landscape architecture, playing fields, and golf courses. In the case of invasive species, they can be of concern for environmental reasons, when introduced species outcompete native plants and cause broader damage to ecosystem health and functioning.[40]
Some weed species have been classified as noxious weeds by government authorities because, if left unchecked, they often compete with native or crop plants or cause harm to livestock.[41] They are often foreign species accidentally or imprudently imported into a region where there are few natural controls to limit their population and spread.[42]
In a range of contexts, weeds can have negative impacts by:
competing with the desired plants for the resources that a plant typically needs, namely, direct sunlight, soil nutrients, water, and (to a lesser extent) space for growth,
providing hosts and vectors for plant pathogens, giving them greater opportunity to infect and degrade the quality of the desired plants;
providing food or shelter for animal pests such as seed-eating birds and Tephritid fruit flies that otherwise could hardly survive seasonal shortages;[43]
offering irritation to the skin or digestive tracts of people or animals, either physical irritation via thorns, prickles, or burs, or chemical irritation via natural poisons or irritants in the weed (for example, the poisons found in Nerium species);[44]
causing root damage to engineering works such as drains, road surfaces, and foundations,[45]
in the case of aquatic plants, obstructing or clogging streams and waterways, which interferes with boating, irrigation systems, fishing, and hydroelectric power.[46][47]
"What would the world be, once bereft, of wet and wildness? Let them be left. O let them be left; wildness and wet; Long live the weeds and the wilderness yet."
— Gerard Manley Hopkins' poem Inversnaid
While the term "weed" generally has a negative connotation, many plants known as weeds can have beneficial properties. A number of weeds, such as the dandelion (Taraxacum) and lamb's quarter, are edible, and their leaves or roots may be used for food or herbal medicine. Burdock is common over much of the world, and is sometimes used to make soup and medicine in East Asia.[48] Some weeds attract beneficial insects, which in turn can protect crops from harmful pests. Weeds can also prevent pest insects from finding a crop, because their presence disrupts the incidence of positive cues which pests use to locate their food. Weeds may also act as a "living mulch", providing ground cover that reduces moisture loss and prevents erosion. Weeds may also improve soil fertility; dandelions, for example, bring up nutrients like calcium and nitrogen from deep in the soil with their tap root, and clover hosts nitrogen-fixing bacteria in its roots, fertilizing the soil directly. The dandelion is also one of several species which break up hardpan in overly-cultivated fields, helping crops grow deeper root systems. Some garden flowers originated as weeds in cultivated fields and have been selectively bred for their garden-worthy flowers or foliage. An example of a crop weed that is grown in gardens is the corncockle, (Agrostemma githago), which was a common weed in European wheat fields, but is now sometimes grown as a garden plant.[49]
As pioneer species, weeds begin the process of ecological succession after a disturbance event. The rapid, aggressive growth of weeds rapidly prevents erosion in newly exposed bare soil, and has substantially slowed topsoil loss due to anthropogenic disturbances.[50]
It has been suggested that weeds, with their aggressive ability to adapt, could provide humans with vital tools and knowledge for climate change adaptation. Some researchers argue that researching weed species could offer valuable insights for crop breeding, or that weeds themselves hold potential as hardy, climate-change-resistant crops. Adaptable weeds could also be a source of transgenic genes which could confer useful traits upon crops.[22]
Weed species have been used in the restoration of land in Australia using a method called natural sequence farming. This method allows non-native weeds to stabilize and restore degraded areas where native species are not yet capable of regenerating themselves.[51]
An alternate definition often used by biologists is any species, not just plants, that can quickly adapt to any environment.[11] Some traits of weedy species are the ability to reproduce quickly, disperse widely, live in a variety of habitats, establish a population in strange places, succeed in disturbed ecosystems and resist eradication once established. Such species often do well in human-dominated environments as other species are not able to adapt. Common examples include the common pigeon, brown rat and the raccoon. Other weedy species have been able to expand their range without actually living in human environments, as human activity has damaged the ecosystems of other species. These include the coyote, the white-tailed deer and the brown headed cowbird.[11]
In response to the idea that humans may face extinction due to environmental degradation, paleontologist David Jablonsky counters by arguing that humans are a weed species. Like other weedy species, humans are widely dispersed in a wide variety of environments, and are highly unlikely to go extinct no matter how much damage the environment faces.[11]
White clover is considered by some to be a weed in lawns, but in many other situations is a desirable source of fodder, honey and soil nitrogen.[52][53]
A short list of some plants that often are considered to be weeds follows:
Amaranth – ("pigweed") annual with copious long-lasting seeds, also a highly edible and resilient food source
Bermuda grass – perennial, spreading by runners, rhizomes and seeds.
Weed control encompasses a range of methods used by humans to stop, reduce or prevent the growth and reproduction of weeds within agricultural or other managed environments. Some weed control is preventative, implementing protocols to stop weeds from invading new areas. Cultural weed control involves shaping the managed environment to make it less favorable for weeds.[56][57] Once weeds are present in an area, a wide variety of means to destroy the weeds and their seeds can be employed. Since weeds are highly adaptable, relying on a single method to control weeds soon results in the invasion or adaptation of weeds that are not susceptible. Integrated pest management as it applies to weeds refers to a plan of controlling weeds that integrates multiple methods of weed control and prevention.[58]
Methods of preventative weed control include cleaning equipment, stopping existing weeds in nearby areas from producing seed, and avoiding seed or manure that could be contaminated with weeds.[59] A wide variety of cultural weed control methods are used, including cover cropping, crop rotation, selecting the most competitive cultivars of crops, mulching, planting with optimal density, and intercropping.[60]
Mechanical methods of weed control involve physically cutting, uprooting, or otherwise destroying weeds. On small farms, hand weeding is the dominant means of weed control, but as larger farms dominate agriculture, this method becomes less feasible.[6] On many operations, however, some hand-weeding may be an unavoidable component of weed control.[57]Tillage, mowing, and burning are common examples of mechanical weed control on larger scales. New technology increases the range of mechanical weed control options. One newly emerging form of mechanical weed control uses electricity to kill weeds.[61]
Mechanical weed control has been increasingly replaced by the use of herbicides.[62] The reliance on herbicides has resulted in the rapid evolution of herbicide resistance in weeds, making previously effective herbicide treatments useless for the control of weeds.[63] In particular, glyphosate, which was once considered a revolutionary breakthrough in weed control, was relied upon heavily when it was first introduced to agriculture, resulting in rapid emergence of resistance.[64] As of 2023, 58 weed species have developed resistance to glyphosate.[65]
Herbicide resistance in weeds has rapidly developed into new, increasingly challenging forms as the plants continually evolve. Non-target site resistance, or NTSR, is particularly difficult to counteract, since it may confer resistance to multiple herbicides at once, including herbicides the plants' ancestors were never exposed to.[66] Various methods of adjusting herbicide application to avoid resistance, such as rotating herbicides used and tank mixing herbicides, have all been questioned in terms of their efficacy for preventing resistance from arising.[67]
Understanding the habit of weeds is important for non-chemical methods of weed control, such as plowing, surface scuffling, promotion of more beneficial cover crops, and prevention of seed accumulation in fields. For example, amaranth is an edible plant that is considered a weed by mainstream modern agriculture. It produces copious seeds (up to 1 million per plant) that last many years, and is an early-emergent fast grower. Those seeking to control amaranth quote the mantra "This year’s seeds become next year’s weeds!".[68] However, another view of amaranth values the plant as a resilient food source.[69]
Some people have appreciated weeds for their tenacity, their wildness and even the work and connection to nature they provide. As Christopher Lloyd wrote in The Well-Tempered Garden:
Many gardeners will agree that hand-weeding is not the terrible drudgery that it is often made out to be. Some people find in it a kind of soothing monotony. It leaves their minds free to develop the plot for their next novel or to perfect the brilliant repartee with which they should have encountered a relative's latest example of unreasonableness.