lovelovelove

annakay

There she is in all her gorgeousness. Grace Coddington gt her start as a fashion model destined to be the next “it girl”. With her sultry eyes and fiery red mane, she graced countless amounts of fashion spreads. But she almost lost her modelling career due a fatal car accident;  luckily, she had reconstructive surgery (her eyelid was sliced off), and was back in full-throttle in the early `60s.

As time would have it, Ms. Coddington wou;d stay in the fashion world, but this time behind the lense. She went on to become British Vogue’s Junior Fashion Editor, then was whisked off to Calvin Klein in America before joining Anna Wintour at US Vogue in 1988. She’s been there ever since.

Release Date: 12/11/09
Genre: Hip-Hop
Language: Korean
Bit rate: 320kbps

Tracklist:
01 – ICONtact
02 – Beautiful Lady (feat. Eun Ji Won)
03 – 모노드라마 (feat. 길미)
04 – 사랑할까요 (feat. 샛별)
05 - 왜 그랬어… (feat. 최정철)
06 - 주파수를 맞춰라 (feat. 무웅 Of 배치기, 상추 Of 마이티마우스)
07 – LUV Hiphop (feat. 태완 a.k.a C-LUV, Simon D Of Supreme Team)
08 – 끌린다 (feat. Lanya)
09 – 서울 상경기 (feat. 가리온)
10 – 공작새 (feat. 현무 Of Showhow, 진보)
11 – Phantom Of Hiphop (feat. Pizmo)

Full Album: Icon Vol.1 – ICONtact

An online debate was sparked by Josh Pettitt in the Cardiff Journalism School newsroom which has spread across WordPress and Twitter flaming debate.

The Greatest Sporting Icon of the Noughties is the issue, and personally I feel there is only one possible choice.

Men such as Michael Schumacher, Lance Armstrong and Ricky Pointing have all been hugely successful since 2000.

Though Michael Brown’s suggestion of Usain Bolt raised a very valid point, and one which goes straight to the crux of the issue.

Bolt, since blasting onto the sprinting scene with his blistering world-record times at Beijing of 9.69s (100m) and 19.30s (200m), has seen the Jamaican become a sporting icon: as an example to youngsters; a remarkable and unique physical specimen; but also with his trademark bolt stance.

Usain and his trademark Bolt

Icons

Cathy Freeman was iconic at the Sydney Olympics. In her head-to-toe suit she carried the hopes of Australia and her Aboriginal heritage.

Freeman iconic at Sydney in 2000

There are many images of Andrew Flintoff during the 2005 Ashes, from celebrating wickets to consoling Brett Lee at Trent Bridge after the Australian tail-end almost pulled off a remarkable victory.

There are many other examples but frankly only David Beckham can really justify the tag of The Greatest Sporting Icon of the Noughties.

The Player

For a start: the cornrows, the shaved head, the mohawk and now the mullet.

Beckham’s hair alone and the attention it has received and inspired others to follow is probably enough to give him this accolade, but his actions have been far more important over ten-years.

Since scoring from the half-way against Neil Sullivan’s Wimbledon on 17th August 1996, he was an instant superstar.
His last-gasp-goal at Old Trafford against Greece in 2001 shattered the ill feeling the nation felt towards him after that incident against Argentina in 1998.

Steve McClaren’s decision to leave him out of his teams for the failed qualification campaign for the 2008 European Championships was later seen as a huge factor in England’s poor performance; and the reinstatement of Beckham to win a record number of caps for an outfield England player (109) by Fabio Capello – a world renowned manager and judge of ability – shows the class the man oozes.

He has played for four of the most glamorous clubs in the world: Manchester United, Real Madrid, AC Milan and LA Galaxy and enjoyed success at all (the Galaxy having just reached the final of MLS).

Although the latter may not be the most famous or decorated club, the money they spent on Brand Beckham put previous feeble attempts by US franchises to promote the sport with the likes of Franz Beckenbauer, Pele, Johan Cruff and George Best – some of the greatest players to have ever played the game – into perspective, and demonstrate the importance the man carries as an icon and player second.

He has been BBC Sports Personality of the Year, inducted into the English Football Hall of Fame and twice runner-up in FIFA’s World Player of the Year.

The Brand

His marriage to Posh Spice propelled him even further into superstardom in 1999, for a decade which was to see Beckham move the attention on footballers from the back pages to gossip columns and magazines.

He has fronted multi-million pound advertising campaigns from Police, Calvin Kline, Gillette to even Sharpie pens, and was even reportedly bought by Real over Ronaldinhio because of his ability to sell shirts as a world-wide sporting icon.

He was one of football’s pioneers to negotiate image rights into his contracts: simply, put a picture of David Beckham and any other sports star to anyone in the world – and Beckham will be recognised considerably more.

He was named in the Time 100 last year, has been recognised by the Queen with a CBE and has been a goodwill ambassador for UNICEF.

***

Beckham may not be the most loved, or may not have won the most amount of football’s prizes since 1st January 2000, but as a sporting icon, he is light-years ahead.

Though he may not be the sharpest knife in the draw

The other contenders:

Roger Federer

Ryan Giggs

Zinedine Zidane

Lance Armstrong

Michael Schumacher

Usian Bolt

Cristiano Ronaldo

Shane Warne

Wow, who would’ve thought?

There was a time when it was blasphemy for fashion blogs and print magazines to be in the same room together. Now, the Fashion Blogger has become the dominant voice in the industry, with invites and mentions in the world’s most prestigious press outlets. The most recent blogger to make the headlines is the Philippines-based Bryanboy, in a Financial Times article respectively titled: “Style bloggers take centre stage” by Deputy Fashion Editor Nicola Copping.  In the headlining image  is Bryanboy sitting next to the world’s most renowned fashion voices (those include Anna Wintour and IHT’s Suzy Menkes).

Bryan Boy’s personality is quite reflective on his blog; he’s a very sweat guy. I wish him so much success as he has become one of the most influential style voices out there.

Icon

Illy

Isabelle

Jaewon

Kelsey

Kiran

Kendall
I received Omelle’s 2010 Spring/Summer kit and I am so glad to share what I received with my readers. Cherise and Nicole’s inspiration for this season is “PLANES!, TRAINS! AND AUTOMOBILES!”. Both ladies take inspiration from chopper blades, luggage tabs, railroad tracks, conductor hats, dashed traffic lines and automobile shifter knobs. Omelle is definitely going to make shoes the focal point of ladies’ outfits for the Spring. These shoes will be available in stores February 2010.

Estos iconos como podéis ver parecen sacados cada uno de su padre y de su madre, sólo tienen en común la sombra de la luz y la forma redondeada en sus esquinas; pero al ser tan diferentes son geniales para identificar el contenido de vuestras carpetas en vuestros equipos Mac.

Son un total de 12 iconos totalmente gratuitos y a una resolución de 512 x 512. El paquete pesa 1,4 MB, podéis descargarlo directamente desde aquí y/o para obtener más información e iconos visitar la página Web de Iconfactory.

Following a post on a colleague’s blog debating the sporting icon of the decade - I thought it was time I stuck my oar in.

For me it is unquestionably the one and only Usain Bolt.  He has that X-Factor no other sportsperson on the planet possesses.

For these two reasons.  He has done more in the last two years than anyone else (certainly that I can think of)  has done this decade.  No-one else has cleaned up and dominated their respective sports the way has Bolt has. 

Two, we are talking sporting icons.  Not necessarily the best although quite clearly Bolt is, but someone who stands out above the rest for not only their abilities but simply the way they are. 

Muhammad Ali is quite clearly a sporting icon and is synonymous with boxing.  Jonah Lomu and what he did in Rugby before his health problems is another. 

With his charisma and confidence Usain Bolt is a sporting icon of the highest order.

Ok, Bolt only really burst on the scene in 2008 and is only in the early years of his career.  But in the last two years the 23 year old has totally blown away all competition.  Any race he is in seems to be a foregone conclusion and this is a sport where sprinters are said to peak in their early thirties.

Bolt announced himself to the athletics world in 2002 when he became the youngest gold-medal winner in the history of the Junior World Championships. At just 15-years-old he recorded a 20.61 sec 200m effort.

Then in 2008, Bolt truly hit global superstardom at the Beijing Olympics.  He became a three time Olympic Gold Medallist, winning and breaking the record in the 100m, 200m and as part of the Jamaican 4×100m.

Bolt then followed this feat up in 2009, at the Berlin World Championships, where he beat his own World Records and became the first man to hold the World and Olympic 100m and 200m titles.

He was also named the Laureus World Sportsman of the Sportsman of the year for 2009 and joins the likes of Rodger Federer, Tiger Woods, Michael Schumacher and Lance Armstrong in winning that acolade.

But it is not just Bolt’s track success.  It is the way he wins with ease, on many occasions he has jogged and show-boated the last few metres, the confidence and care freeness he exuberates before races.  He is not part of a team (well apart from in the 4×100m).  He is on his own, all his achievments are his not a teams.

Usain Bolt is synonymous with both Athletics and Sport, and this is why I believe he is th­­e sporting ­­­­­­­icon of the noughties and potentially our generation. 

Bolt’s World Records.

Usain Bolt tribute

The other contenders:

Roger Federer

Ryan Giggs

Zinedine Zidane

Lance Armstrong

Michael Schumacher

To join the debate just link your blog to this or one of the other contributors sites

This column first appeared on RimoftheWorld.net on Nov. 9, 2009.

Because there were two girls named Kathy in Mrs. Dale’s kindergarten class, my mother agreed to let everyone call me Kathy Ann. The horror of it haunts me to this day.

Don’t get me wrong. Ann is a lovely name. Not only is it my middle name, but it’s the name of two of my favorite aunts. But my weak bladder, coupled with my classmates’ irritating ability to rhyme, produced a moniker that took me a long time to shake…Kathy Ann in the Can. In fact, the nickname stuck until we moved to another school district when I was in sixth grade.

When it comes to people and business, for better or worse, branding happens. And it doesn’t take much to get people to react to an organization’s emblem. Take the controversial 2012 Olympic logo, created at a staggering cost of 400,000 pounds. The image drew fire from a group called Epilepsy Action, which said that a video promoting the logo triggers migraines, epileptic fits and vomiting. The International Olympic Committee is set to investigate the logo which politicians say is childish and “looks like Boris Johnson’s hair.

Although causing people to puke is rarely the objective in professional trademark development, some believe there is no such thing as negative publicity. So, in that regard, the London Olympic logo designer’s efforts were successful.

A more conventional approach would be to create a logo that is:

• Simple
• Attractive
• Eye-catching
• Instantly recognizable

Some famous logos that fill the bill include Google, Starbucks, Coca-Cola, Fed-Ex, and McDonalds, whose images you most likely pictured even as you read their names. The reason you recognize these brands, however, isn’t just because their logos are great. Superior products, excellent service and aggressive marketing help. Let’s face it, if your company sucks, coming up with an amazing image for it is lipstick on a pig.

But for a credible organization, finding the right symbol can mean the difference between obscurity and notoriety. This is especially true in the Internet age, where deep pockets to pay for full-color brochures and slick press packets are no longer necessary. Anyone with a computer and a low resolution, jpeg version of their logo can upload it everywhere from A1-Webmarks to Zaadz.com.

But commissioning a classic design can come at a hefty price. So how do you to produce an iconic logo if you’re on a budget? Whatever the price point, you have several options.

• For Free—if you have no money with which to build your brand, proceed with caution. Like it or not, the logo you choose today will be with your firm for years to come. Also, unless your business is graphic design or fine art, don’t buy do-it-yourself logo software in an ill-fated attempt to craft your own. Having access to a logo program won’t make you an artist any more than owning a calculator will turn you into a mathematician.

When money is tight, less is more. So try to find a nice, clean, clear font for your company name and then quit while you’re ahead. Avoid the temptation to add clipart to the mix. Also, when choosing typeface, skip Script and Old English, unless you’re shooting for an Addams-Family vibe.

• On a Budget—while I generally caution clients against ordering logos online, some companies do a respectable job for under $200. The problem is that, when left to their own devices, many entrepreneurs will ask their Internet designer to place their company name inside a blue and red oval, without realizing they like the look because they’ve seen it on cans of Bud Lite.

• The Sky’s the Limit—if you are in the enviable position of actually having money in your marketing budget, don’t skimp on the cornerstone of business communication. Find someone you trust and let them do what they do best so you can do what you do best. The right professional can help you define your unique sales proposition so your logo not only looks great and conveys your message to the intended target, but does so without inducing nausea.

Well, well, well…… it seems that we may have a bit of a competition on our hands. Since reviewing Donna Flora’s “EVA”, and daring to suggest that it may have become my newest favourite designer, it seems Ms Outlander of MIAMAI has taken this as a challenge and presented me with TWO (yes two!) brand spanking new designs. Oh I love my job .

“SELENE” by MIAMAI

Since first introducing MIAMAI to you all I have had a tendency to focus on Ms Outlander’s formal collection – this was namely because, at the time, she was releasing more formal wear than anything else. But now it is time to move on to outfits for the party season. SELENE is a “very” short strapless dress…. and by that I refer to the fact that had I been just one inch taller you would have been able to see my underwear!! A fashion faux-pas by anyone’s standard. Focussing on the good points however, as usual the textures are sublime and perfectly formed. The “glittery-sequinesque” main colour seems to catch the light and reflect whatever your surroundings have to offer – a champagne glass would be a perfect reflection ; whilst the banded tape effect of the black satin corset belt pulls everything (including yourself) together and adds a touch of glamour to this disco inspired party dress.

There is one comment that I would like to make – and it is with regards to my own personal “pet hate”. Why oh why are there glove type cuffs?? Yes it may add a touch more sparkle to the outfit but I do not think that is needed. It kind of reminds me of the costumes young children wear to disco-dance lessons. But I am sure there are ladies out there who like this glove layer – and if you feel confident enough to carry it off then go ahead!! But seriously this gorgeous party dress does not need it – and I will definitely be wearing it for a party over the next couple months.

Colours Available:  azure, blue, gold, green, purple, red, silver

Price:  L$420

Store:  http://slurl.com/secondlife/Amat/64/172/25

Much Happiness – Emerald x

As the decade draws to a close I have decided, in the style of Empire magazine, to start a poll for the sporting icons of the decade.

But I need your help! After suggesting one myself I need you to post a link to your own blog post of no more than 300 words explaining your pick.

There is no limit on how many sportsmen/women can be put forward and by the end of November I will post a poll to determine who is the greatest sporting icon of the Noughties.

Roger Federer is undoubtedly the most consistent and talented sportsman of the last decade. He has reached an incredible 22 consecutive grand slam finals, spanning five years, and has won an unprecedented 15 grand slams.

Earlier this year at the French Open he completed a career grand slam, a feet only achieved by six other players.

But enough statistics. Hyperbole is called for when referring to Roger Federer.

He simply has the most complete game the world has ever seen. Where Pete Sampras had a weak backhand, Federer’s subtle flick of the wrist is one of the delights of world tennis. Where Bjorn Borg burnt out, Federer’s career is long-lived. Where Agassi would scuttle back to the baseline Federer is equally imperious at the net as he is from the back of the court.

The 15th Grand Slam

But more than his shot making, it is his mental strength that places him on a different playing field from others.

He has suffered at the hands of great rival Rafael Nadal on numerous occasions. Many condemned his career to the scrap heap after he lost in an epic five-set encounter to the Spaniard at the 2009 Australian Open when he broke down in tears, saying: “it’s killing me.”

Their rivalry has produced arguably the finest sporting moment of the decade in the Wimbledon 2008 final. Federer’s defeats have made him more human and has won him more fans. Nadal shed light on Federer’s fallibility, but Nadal also revealed Federer’s humanity and his humility, securing his appeal as the greatest sporting icon of the decade.

Since then he has bounced back to win his bogey tournament, Roland Garros, add another Wimbledon title to his record, and reclaim the Number 1 berth.

In 2006 Tiger Woods said: “What he’s done in tennis, I think, is far greater than what I’ve done in golf.” In the next three years he notched up another six Grand Slams. Facts and hyperbole are indistinguishable when talking about Roger Federer.

Eric Hoenshell i Tony Carbajal to wsparcie zespołu z USA “Team No Limit”. Zdjęcia pochodzą z imprezy Clutch Control 2009 oraz sesji zdjęciowej dla ICON’a.

muzyka: “The Love is Back” by The Metermaids

by Ehud Maimon

Turning thirteen is a big deal for a Jewish boy. As a Bar Mitzva you’re expected to take on all the religious responsibilities of an adult and become a member of grown-up society. In it’s thirteenth year (sort of, more on that later) ICON, the Israeli festival for Science Fiction, Fantasy and Role-Playing seems to have come of age. Like all such transitions it has good sides and bad sides.

ICON was not always a festival. Actually, it wasn’t always ICON. The first convention to be held during Succoth in 1997, was called Sector 972, and the next year it was renamed ICON. In the first few years ICON was the sort of convention where everyone knew everyone else, and if you didn’t know people you could always go up to a group of people, badmouth an author, get the verbal abuse you so richly deserved, and be accepted to the Fandom whether you wanted to or not. It was a modest affair, lasting two or three days, that included mostly lectures and semi-legal screenings of movies and favorite episodes from series, sometimes recorded from the TV on a VCR. The first major turning point for ICON came in 2003, when Orson Scott Card was guest of honor. Suddenly people started showing up by the truckload, and a feeling of “What are all these are doing at my ICON” started creeping in. Like most things that fall into a radioactive bog, ICON too started growing tentacles. While it was still only 2-3 days long, it crawled out of its original home at the Tel Aviv Cinematheque to a nearby school and there were more and more events to choose from. Around this point in time (2002) the Israeli Roleplaying Association joined the original organizers – The Israeli Society for Science Fiction and Fantasy and Starbase 972 (the Israeli Star Trek fan club). ICON also grew longer until this past October it spanned a full week, and along the way it acquired a film festival and an academic convention, which I’ll get to later.

The other important thing ICON picked up along the way is a more professional management. Rather than volunteer representatives from three organizations, it now has a paid manager and a producer (at least for part of the year), that can plan ahead and introduce notions like different start times to events in order to better balance the number of people in rooms and in the lobbies. They are becoming much more adept in the arts of PR that help transform ICON to a showcase of SF&F in Israel.

But all this comes at a cost, sometimes too high as far as the veteran fans and activists of the SF&F community are concerned. The issue of paying the festival manager was a major point of contention in some Internet forums in the last 18 months, with veterans seeing it as a betrayal of the old spirit of ICON (and other conventions) where by all the work is done out of love for the genre, and the success of the convention is the only reward. This has caused some key people who played important roles in the past to not only stop volunteering, but swear off ICON altogether. Fairness forces me to admit that the personalities of the people involved play a role here, but the thought that while the manager and producer get paid while all the other hundreds of people involved in organizing ICON – from lecturers to gofers – do it for free, is a substantial thorn in many sides.

The film festival is a relatively new addition to ICON, held for the third or fourth year. On the plus side, it has built itself to be viewed by some as a serious rival to the Haifa Film Festival (held for the 25th year), which also takes place during Succoth, and the fact that it is a wonderful way of getting financial support. But the need to fill a quota of screening hours has led to a stretching of the festival over more and more days, somewhat drowning the core lectures in a flood of films, some better than others. But the most detrimental effect, as far as fans are concerned, is that it led to the marginalization of the more “hard core” SF&F content of the festival. Last year, while Mexican b-movies were being shown at the major Cinematheque halls, lectures on alternative realities as a way of stretching the boundaries of sexual conventions or YA fantasy were consigned to small rooms in the less visible venues of the festival. This causes fans to feel that they are being not only pushed aside, but also somewhat tucked away in shame.

The effect of the academic convention is somewhat different. This is the second year an academic convention is held as part of ICON, and the idea is to incorporate lectures of a more academic nature and list among the lecturers PhDs and PhDs in the making. Since there is very little study in the Israeli Academia in core SF&F, the result is lectures and panels which deal with the periphery of the genre. It might have to do with this year’s festival theme (Future Cities) but I heard from more than one person the same complaint – while last year there were time slots in which they were torn between 2 or 3 different tihngs they wanted to get to, this year there were entire days with nothing that looked interesting.

Taken together all this has the effect of giving veteran fans the feeling that ICON is taken away from them, that what they worked hard to create over more than a decade was taken over by outsiders while they themselves were being snubbed, marginalized and passed over. This actually led to the creation on Reverticon this year, a half-day old-style convention during one of the days of ICON, where you could find that good-old-fashioned spirit of yore (i.e. crowded, somewhat chaotic, informal and very fannish).

So what are we to make of all this? ICON is no longer ICON, not as we remember it. Rather than Nir Yaniv and Ilan Eshkoly onstage at the opening ceremony, goofing off and leaving the audience laughing so hard they are gasping for air, we have a prim and proper ceremony with a member of the Israeli parliament as a keynote speaker. On the other hand, we can now list universities and embassies amongst the sponsors and collaborators of ICON, and the Israeli SF&F community has a showcase never seen before in Israel. Those, like me, who miss spirit of old ICONs find it in other conventions during the year, let ICON do what it does best and come to terms with the fact that this particular radioactive monster is too big for our britches.

First off, I want to thank everyone who stopped by to read my post on the Key Ingredients to Craft Beer Success.  In terms of views and feedback, it was by far my best blog post ever and I really appreciate all of the kind words.  It was nice to hear that some people who are actually launching new craft breweries read the piece and I sincerely hope I can point you in the right direction for you new endeavor.

As promised, I am going to follow-up and add a little detail to all of these key ingredients.

In this follow-up blog post, I’m going to cover two of the ingredients: “Blocking and Tackling” and “Activating the icon”.

Blocking and tackling

As I said in the original piece, if you don’t give your distributor the tools to sell, they won’t sell.  You gotta have the basic elements to get the beer/product placed.  In the leanest of times, I would highly recommend allocating a large percentage of your budget toward elements that help price and promote your beer.  When you have enough of those items, you can move on to the image building stuff like neons and signs.

Activating the Icon

My opinion on the image building stuff this:  quality, uniqueness and brand communication trump quantity.  Challenge yourself to find that one truly unique item that brings your brand to life.  New Belgium/Fat Tire has done this with their iconic cruiser bike.  Sweetwater has done this with their metal sign and their fish tap handles.  Odell Brewing has done this with their barrels.

Perfecting that iconic piece is not easy.  But it’s worth the challenge and you’ll know it when you find it.

clap for the cookie
for in its chocolate
lies Eden
crumble before the cookie
for in its batter
lies Death
crave the cookie
for in its entirety
lies God

Howdy, this post is for my old 14″ IBM T41 laptop, it only has a screen resolution of 1024×768 and everything in Ubuntu or other gnome based distro for that matter is fracking big. Adjusting all the fonts to size 8 under System->Preferences->Appearances only slightly reduces the problem. The icon still remain rather big, to reduce the icon size some text editing is in order. Open the Applications->Accessories->Terminal and type the following:

sudo gedit ~/.gtkrc-2.0

This will open a text editor, then past the following into the document:

gtk-icon-sizes = "panel-menu=16,16:panel=16,16:gtk-menu=16,16:gtk-large-toolbar=16,16:gtk-small-toolbar=16,16:gtk-button=16,16"

Save and exit.

Please note that these settings will only work with gtk-2.0 themes that doesn’t specify these values on their own, otherwise nothing will happen.

How to ensure your themes doesn’t specify these settings?

All default themes (those that comes from the distro installation) are stored in the following location ‘/usr/share/themes’, simply navigate to the location and find the theme your using, then view the content of the gtkrc file. in my case since I’m using the default theme named Human the location would be; ‘/usr/share/themes/Human/gtk-2.0/gtkrc’.

Locate the line starting with ‘gtk-icon-sizes’. If nothing is found or specified the above settings will work, just restart to apply the changes. Otherwise continue the reading.

Instead of removing the line a better way is the copy the theme to your on theme directory located in ‘~/.themes’. To create a copy of theme simply type the following in the Terminal:

cp -R /usr/share/themes/<theme_name> ~/.themes/<new_theme_name>

<theme_name> being the name of the theme to clone, <new_theme_name> being the name for the new theme (note the <new_theme_name> can’t be the same name as the original one). The next step is to edit the theme file, type the following line in the Terminal:

sudo gedit ~/.themes/<new_theme_name>/gtk-2.0/gtkrc

locate the line starting with ‘gtk-icon-sizes’ and replace it with the following: (Note; if in doubt just comment out the line instead of replacing it, by placing ‘#’ in front of the line.)

gtk-icon-sizes = "panel-menu=16,16:panel=16,16:gtk-menu=16,16:gtk-large-toolbar=16,16:gtk-small-toolbar=16,16:gtk-button=16,16"

The final step of text editing is to adjust the content of the index.theme file located in the ‘~/.themes/<new_theme_name>/index.theme’

sudo gedit ~/.themes/<new_theme_name>/index.theme

In this file their are three lines to change (note my theme is based on Human, so the content can vary from the one you might have). Replace the all the lines contain <new_theme_name> with the name you chose for the theme.

[Desktop Entry]
Type=X-GNOME-Metatheme
Name=<new_theme_name>
Comment=Ubuntu default theme
Comment[fr]=Thème par défaut d'Ubuntu
Comment[pt_BR]=Tema padrão do Ubuntu
Encoding=UTF-8

[X-GNOME-Metatheme]
GtkTheme=<new_theme_name>
IconTheme=Humanity
MetacityTheme=<new_theme_name>
CursorTheme=Human

The final step is to apply the new theme this is done by opening the System->Preferences->Appearance and selecting the theme you just created. The changes here will only affect toolbars that respect gtk like gedit. Changing the size of the panel in gnome (the located in the top and bottom of the screen) more customization is required a solution might be found in the See also section, but I’ve haven’t tested them yet.

See also

• [2009-11-15] http://ubuntuforums.org/showthread.php?t=1041554

References

1. [2009-11-15] http://gnomesupport.org/forums/viewtopic.php?t=10961
2. [2009-11-15] http://ubuntuforums.org/archive/index.php/t-1041554.html