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The colour of cider arises through the oxidation of polyphenols in the juice. It can be regulated by the addition of sulphite. If the latter is added immediately after pressing, then nearly all colour development is suppressed due to binding of sulphite to the quinoidal forms of the polyphenolics. If SO2 is added later, there is less reduction of colour because the quinones have become more intimately cross-linked. The colour decreases during fermentation because of the reducing nature of yeast. Maillard browning reactions can occur during the storage of AJC, and these coloured products cannot be dealt with by yeast. The colour of nished cider is standardised by the addition of caramel or other permitted colorants. The colour is removed from speciality products like white ciders by the action of adsorbents such as activated carbon. The traditional high bitterness and astringency of ciders originate with the procyanidins. Procyanidins with a degree of polymerisation (DP) 2 4 are bitter and are referred to as hard tannins . Those with a DP of 5 7 are astringent ( soft tannins ). The relative delivery of bitterness and astringency depends both on the apple cultivar and on how the apples are processed. Oxidised polyphenols adsorb (become tanned) onto the apple pulp and this suppresses both astringency and bitterness. If oxidation occurs in the absence of the pulp, then there is a relative transition from bitterness to astringency as the units polymerise. Alcohol tends to enhance bitterness but suppresses astringency. As in the case of beer and wine, the yeast produces a range of volatile components (e.g. esters), and key variables are yeast strain, fermentation temperature, and the clarity and nutrient composition of the fermentation feedstock. Higher quality apple cultivars tend to give juice containing lower

You may not be able to see the bump map in your drawing. To see it, choose Render tab Render panel Render drop-down list Render. By default, the rendering appears in a separate application window.

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business concept relies on other business concepts to be meaningful, and correspondingly each functional layer needs to do the same : A nonmonolithic information system is naturally composed of multiple layers, and forcing it into only two layers can be done, but doing so defeats many of the componentization purposes . The coordinator pattern also leads to a dynamic between coordination and autonomy, between ability to configure and ease of reuse : On the one hand, it is useful to extract the business rules and as much coordinator capability from lower-layer business components, basically pushing up in the DAG as many responsibilities as possible . This permits architecting a very configurable system : Because business rules and processing tend to be owned by business components quite high in the hierarchy, changing these business rules and processing logic while impacting as few components as possible turns out to be quite easy. This approach leads to a very clean separation of concerns between passive, maintenance-oriented components and more active, process-oriented components. Coupled with other techniques such as externalizing the business rules (see Figure 9.12), this can lead to very configurable systems . This advantage can also become a disadvantage : Building a process component can in this case be quite difficult because much of the business logic needs to be implemented in the process component, and the entity component tends to be very simple and, although reusable, not so useful.

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There is much more to executing strategy and creating high performance than will fit in this book. Newsletters, articles, tools, video demonstrations, and software are available free of charge at www.torconsulting.com.

Sometimes you want to make an exception to a style for one dimension for example, when suppressing an extension line in a tight space. It isn t often worthwhile to create a new dimension style for such a situation. To override a dimension style, simply change the properties of the dimension by using the Properties palette.

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That takes care of the most complex of the options. All that remain are the Channels options. Located directly below the Fill Opacity slider in the Layer Style dialog box, the Channels options let you hide the layer inside one or more color channels. For example, deselecting R makes the layer invisible in the Red channel, sending colors careening toward vivid red or turquoise (all red or no red, respectively), depending on the colors in the layers underneath. Some opinion/advice here: You may find the Channels options useless. There are exceptions, of course in a CMYK image, it can prove helpful to drop a layer inside, say, the Black channel but for general RGB image editing, they just don t offer much. This is a shame, because if slightly retooled, they could. For example, it might be nice to be able to control the translucency of a layer on a channel-by-channel basis, but instead you have only on or off controls. Maybe in a future version of Photoshop....

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