Podcasts about Bodoni

Giancarla Bertero"Giambattista Bodoni da Saluzzo all'Europa"Fusta Editorewww.fustaeditore.itTra i numerosi saluzzesi illustri Giambattista Bodoni è il più noto a livello internazionale. La sua opera di disegnatore di caratteri costituisce una pietra miliare nella storia della tipografia e al tempo stesso, trascorsi più di due secoli, è ancora ben presente, nella nostra quotidianità: marchi noti come IBM ed Emporio Armani veicolano i loro messaggi pubblicitari attraverso i caratteri bodoni e i loro ridisegni, il giornale La Repubblica, collane editoriali come la Biblioteca Universale Rizzoli (BUR), l'editoria di qualità li hanno scelti a garanzia di leggibilità ed eleganza. Tuttavia Bodoni non ha soltanto creato caratteri, ci ha lasciato un modello d'impaginazione, opera di studio e di gusto personale, in un momento in cui la tipografia era decaduta rispetto ai primi maestri rinascimentali e i prodotti editoriali che circolavano erano poco leggibili. Il libro racconta la vicenda umana e professionale di un uomo, che lavorando con rigore e tenacia ha inventato quell'arte che oggi esiste, ma che prima di lui non c'era: l'arte grafica ovvero il graphic design.Giambattista Bodoni (Saluzzo 1740- Parma 1813) è stato tipografo secondo l'idea dell'Encyclopédie di Diderot e D'Alembert, ovvero stampatore, disegnatore, incisore e fonditore di caratteri, nonché editore, impegnato a curare le varie fasi di produzione dei libri e il rapporto con committenti, mecenati, autori, come testimonia il suo archivio di dodicimila lettere. Il francese Firmin Didot e Bodoni inventarono il carattere romano moderno, chiudendo l'era dei tipi umanistici. Didot lo usò per primo nel 1784 e Bodoni lo perfezionò per tutta la vita ricercando le giuste proporzioni e l'armonia perfetta. Tre città, Saluzzo, Roma e Parma furono di importanza capitale per la sua affermazione professionale. Nella città natale compì i primi studi e la famiglia di tipografi gli diede i primi rudimenti dell'arte, a Roma svolse l'apprendistato nell'ambiente cosmopolita della stamperia poliglotta della congregazione di Propaganda Fide. Con questo bagaglio rispose all'invito del duca di Parma di creare dal nulla una tipografia di Stato, che nel giro di pochi anni divenne un'attrattiva celebre in città per viaggiatori colti nell'epoca del Grand Tour. Carlo Dionisotti ha scritto che tra Sette e Ottocento, subito al di sotto dello scultore Antonio Canova, il rappresentante più noto della cultura italiana non fu un letterato, un Monti, Foscolo o Alfieri ma il tipografo Bodoni. Giancarla Bertero non tralascia alcun aspetto della biografia, della produzione editoriale del Saluzzese e del contesto in cui si svolse, riportando talvolta notizie inedite o poco note. Di capitolo in capitolo percorre l'itinerario bodoniano, con successi, difficoltà e riconoscimenti ufficiali come il premio all'Esposizione Universale di Parigi del 1806, vincendo la concorrenza di Didot, e l'apprezzamento del re di Napoli Gioacchino Murat per la stampa dei classici francesi. Completa l'opera una rassegna sintetica dei ridisegni dei caratteri Bodoni nel corso del Novecento e fino ai giorni nostri.Giancarla BerteroDopo la Laurea in materie letterarie conseguita all'Università di Torino e il lavoro di catalogazione alla Biblioteca Centro Rete di Pinerolo, dal 1988 al 2018 è stata direttrice della Biblioteca Civica e della sezione storica di Saluzzo. Ha riordinato gli oltre 17.000 volumi del patrimonio librario antico della Città, comprendente la prestigiosa collezione bodoniana e ha contribuito a far conoscere e a valorizzare il patrimonio storico-artistico comunale attraverso l'allestimento di mostre, l'organizzazione di convegni, attività didattiche, visite guidate rivolte agli studenti e al pubblico adulto, conferenze e studi. Sono numerose le sue pubblicazioni, tra le quali quelle relative a Bodoni sono le seguenti: Il disegno di Bodoni, in AND Rivista di Architetture, Città e Architetti, Firenze, 2017, n. 31; l'introduzione alla riproduzione anastatica dell'Oratio Dominica, Savigliano, L'Artistica Editrice, 2008; Biografia di G.B. Bodoni, L'opera di G.B. Bodoni, Le edizioni illustrate, Volumi di tecnica tipografica, in La collezione bodoniana della Biblioteca Civica di Saluzzo, cd-rom, Comune di Saluzzo - Fondazione Cassa di Risparmio di Saluzzo, 2003; ha curato il volume La Collezione Bodoniana della Biblioteca Civica di Saluzzo, Collegno, Altieri, 1995.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

This week on the show Maine and Josh preview Gordon Ryan versus Patrick Gaudio for the Heavyweight Championship on WNO 20 Night of Champions  Plus we preview the Polaris Absolute GP and recap Enigma Invitational 13.We kick off the show with the previews discussing The previous match between Gordon Ryan and Patrick gaudio back in 2018 and why it's probably not that relevant nowadays anyway we discussed some of the recent activity of Gordon  contrasted with that of gaudio in No-Gi  we also discuss the small margin of victory during the first matchup in the IBJJF  prior to heel hooks being added to the organization many years ago we discussed some potential strategies that could be employed during the match and possibly some strategies Gordon might decide to implement based on interviews he's done the leading up to the rematch. In the preview of Rafaela Guedes vs Nathiely de Jesus for the Women's Heavyweight Championship we discuss both women's major victories and possible avenues for Rafaela to retain the title.In Brianna Ste-Marie vs Elisabeth Clay for the Women's 145 lbs Championship,  we talk about their previous match back in 2019 when they were both purple belts and how much like in the main event that's probably not that relevant to this matchup we discussed some of the tactics that clay may use including repeated leg lock attempts that contrasted with Brianna's passing and back taking ability.We also discussed the fantastic men's tournaments, a 170 lb men's welterweight bracket of four featuring some of the most exciting and top-level Grapplers in the sport Mica Galvao, PJ Barch, Andrew Tackett, and Jay Rodriguez.  We talked about Mica  potentially having the most pressure on him going into this and being the one to beat plus we talked about how all of these Grapplers have that something special and ability to turn it on when needed and upset anyone in the bracket.   We talked about everyone's ability to capitalize on very small mistakes and turn anything into a major victory.In the men's 145 lb bracket we talked about some of the rematches that are possible in the tournament we also discussed some of the seating with current ADCC -66kg champion Diogo Reis, Certainly in the FrontRunner position as he takes on Ash Williams, Keith Krikorian, and Gabriel Sousa.  We discussed the recent match between Ash and Keith as well as the match between Keith and Gabriel.  In our preview of Polaris 25 the absolute we discussed The men who have been announced for the bracket including Kaynan Duarte, giancarlo Bodoni, Izaak Mitchell, Jason Rau, Roberto Jimenez, and Fabricio Andre, We discussed some of the first round matchups and possible matchups and broke down why current -99 KG ADCC champion Kaynan may have to be on his toes in his first round matchup vs Rau.  We also discussed some of the announced undercard Grapplers including ADCC European Trials champion Owen Jones. We also reviewed how Deandre Corbre ran through Enigma Invitational and how he used the triangle from the back and armbar combination to finish most of his matches.In the outro section Maine  talks about taking some time off to heal injuries.Recorded 9-25-2023

Raidījumā Grāmatai pa pēdām šoreiz ielūkojamies maz zināmajā, bet svarīgajā grāmatu iespiešanas procesā 18.gadsimtā, kad dienasgaismu ieraudzīja arvien vairāk grāmatu arī latviešu valodā. Pētāim, kur tās drukāja, kas drīkstēja drukāt, kā atšķīrās iespiedēji un izdevēji, un galu galā – kādus 18. gadsimtā izgudrotus drukas principus nenojaušot izmantojam arī šodien.  “18.gadsimts poligrāfijā – jeb toreiz grāmatu drukā – nebija nekāds lielais atklājumu gadsimts,” stāsta poligrāfijas vēstures pētnieks Artis Ērglis. “Iespiešana lielā mērā notika tāpat kā Gūtenbergs bija izgudrojis. Iekārta bija tāpat ar roku darbināma, varbūt bija nelieli uzlabojumi, piemēram, vieglāk vilkt kloķi, lai radītu spiedienu; uz gadsimta beigām līdzās koka presēm parādījās metāla preses, lai būtu lielāks spiediens. Bet līdz pat gadsimta beigām būtisku izmaiņu nebija, līdz pašā 18.gadsimta nogalē Aloizs Senefelders izgudroja litogrāfiju. Tagadējās Latvijas teritorijā ar zināmiem uzlabojumiem drukāja tāpat kā 16.gadsimtā, Mollīna laikā. 18.gadsimtā bija pazīstami tikai divi iespiedprocesi – augstspiedums un dobspiedums. Vienā attēls veidojas formas augšpusē, otrā – padziļinājumos. Tikai gadsimta beigās Senefelders izgudroja gludspiedumu. Mūsdienās mēs drukājam ofsetā – tas ir viens no gludspieduma veidiem. Bet tā bostonprese, ko mēs redzējām, drukā augstspiedumā tieši tādā pašā veidā, kā to izgudroja Gūtenbergs. Un patiesībā vēl pirms Gūtenberga, mūsu ēras pirmajā tūkstošgadē, šādā veidā ar ksilogrāfiskām klišejām drukāja arī Senajā Ķīnā. Vecākā saglabājusies grāmata ir no 868.gada. Un augstspiedums kā galvenais iespieduma veids pasaulē paliek līdz pat 20.gadsimta 60.gadiem. Bijušajā PSRS, arī Latvijā – vēl ilgāk, līdz pat 80.gadu vidum.” Tomēr tieši 18. gadsimts grāmatu drukas nozarē nāk ar vairākiem būtiskiem izgudrojumiem, kurus – varbūt pat nenojaušot par izcelsmi – izmantojam arī mūsdienās, rakstot tekstu datora ekrānā. Ieskatieties burtu fontu nosaukumos! Vai redzat tur, piemēram, “Bodoni” vai “Didot”? Un kā ar 12 punktu burta izmēru, ko bieži izvēlamies?  “Piemēram, fonta nosaukums “Garamond” – tas ir no Parīzes tipogrāfa Kloda Garamona vārda. Vai “Bodoni” – tas ir Parmas hergcoga iespiedējs 18. gadsimta beigās, par kuru teica: “Džambatista Bodoni – visu karaļu iespiedējs un visu iespiedēju karalis!”. Visus šos uzvārdus mēs varam atrast arī mūsdienu fontu sarakstos. Īpaši jāizceļ Parīzes tipogrāfs Pjērs Simons Furnjē, kurš pirmais izveidoja vienotu sistēmu burtu izmēriem, standartizēja šriftus. Viņš izveidoja punktu sistēmu, kas ir tik arhetipiska, bet arī šodien mēs burtu lielumu mērām šajā sistēmā – 12 punktu izmērs, 18 punkti, 36 punkti, 72...” atklāj Ērglis.  Raidījuma ierakstā – arī par to, ko nozīmēja privilēģiju sistēma spiestuvju darbā, kā iespiedēja darbs un izdevēja darbs pamazām kļuva par diviem atšķirīgiem biznesa veidiem, kāpēc Jelgava 18.gadsimta otrajā pusē kļuva par nozīmīgāku grāmatu drukas centru nekā Rīga, un arī – kur šodien Latvijā varam iepazīt un izmēģināt tolaik grāmatu drukā izmantotos principus.  Vairāk par projektu šeit:  

In Episode 939, Giancarlo Bodoni, Mark Bell, Nsima Inyang, and Andrew Zaragoza talk about what it takes to become a Grappling/BJJ World Champion and how to become a dangerous athlete that competitors fear. Follow Giancarlo on IG: https://www.instagram.com/giancarlobodoni/   New Power Project Website: https://powerproject.live Join The Power Project Discord: https://discord.gg/yYzthQX5qN Subscribe to the new Power Project Clips Channel: https://youtube.com/channel/UC5Df31rlDXm0EJAcKsq1SUw   Special perks for our listeners below! ➢ https://withinyoubrand.com/ Code POWERPROJECT to save 15% off supplements!   ➢ https://markbellslingshot.com/ Code POWERPROJECT to save 15% off all gear and apparel!   ➢ https://mindbullet.com/ Code POWERPROJECT to save 15% off Mind Bullet!   ➢ https://goodlifeproteins.com/ Code POWERPROJECT to save up to 25% off your Build a Box   ➢ Better Fed Beef: https://betterfedbeef.com/pages/powerproject   ➢ https://hostagetape.com/powerproject Free shipping and free bedside tin!   ➢ https://thecoldplunge.com/ Code POWERPROJECT to save $150!!   ➢ Enlarging Pumps (This really works): https://bit.ly/powerproject1 Pumps explained: https://youtu.be/qPG9JXjlhpM   ➢ https://www.vivobarefoot.com/us/powerproject to save 15% off Vivo Barefoot shoes!   ➢ https://vuoriclothing.com/powerproject to automatically save 20% off your first order at Vuori!   ➢ https://www.eightsleep.com/powerproject to automatically save $150 off the Pod Pro at 8 Sleep!   ➢ https://marekhealth.com Use code POWERPROJECT10 for 10% off ALL LABS at Marek Health! Also check out the Power Project Panel: https://marekhealth.com/powerproject Use code POWERPROJECT for $101 off!   ➢ Piedmontese Beef: https://www.piedmontese.com/ Use Code POWER at checkout for 25% off your order plus FREE 2-Day Shipping on orders of $150   Follow Mark Bell's Power Project Podcast ➢ https://www.PowerProject.live ➢ https://lnk.to/PowerProjectPodcast ➢ Insta: https://www.instagram.com/markbellspowerproject ➢ YouTube: https://www.youtube.com/markbellspowerproject   FOLLOW Mark Bell ➢ Instagram: https://www.instagram.com/marksmellybell ➢https://www.tiktok.com/@marksmellybell ➢ Facebook: https://www.facebook.com/MarkBellSuperTraining ➢ Twitter: https://twitter.com/marksmellybell   Follow Nsima Inyang ➢ https://www.breakthebar.com/learn-more ➢YouTube: https://www.youtube.com/c/NsimaInyang ➢Instagram: https://www.instagram.com/nsimainyang/?hl=en ➢TikTok: https://www.tiktok.com/@nsimayinyang?lang=en   Follow Andrew Zaragoza on all platforms ➢ https://direct.me/iamandrewz   #PowerProject #Podcast #MarkBell #FitnessPodcast #markbellspowerproject

Failure has many valuable lessons to teach us, one of which is that anyone can experience it. It is difficult to accept the fact that no one is immune to it. The fact that it teaches us to never take anything for granted and to always put in the effort makes it a very essential lesson as well. Everyone is fallible, and mistakes are common. But the ability to learn from these errors and turn them into stepping stones for achievement is what sets the successful apart from the unsuccessful. Giancarlo Bodoni imparts his life's lessons, wisdom, and counsel to aspiring leaders. Failure is a part of life, and it makes us more resilient. If we give up every time we run into a roadblock, we'll never succeed. We must develop the ability to accept our mistakes and grow from them. Tune in as young leaders ask questions about life, personal growth, entrepreneurship, and more! Quotes: “I struggled a lot with self-doubt and confidence in general. But I didn't want anybody to think that I had tried something and failed. I refused to fail.” – Giancarlo Bodoni “I want to be able to do something that I haven't done before. There's no reason why I shouldn't be able to do it, as long as I set my mind to it.” – Giancarlo Bodoni “Don't try to change people and try to make them more like you. Instead, have everybody be on the same page and have them identify each of their strengths and weaknesses.” – Giancarlo Bodoni Takeaways: The idea is to never give up despite the difficulties and disappointments that come with life. We must never give up; we must constantly get back up and keep going. Making seemingly impossible undertakings possible requires a strong will. The motto of outstanding people is "Nothing is Impossible," as any task can be completed with tenacity and diligence. Having a solid group of people around you not only keeps you grounded but also allows you to think creatively, push the envelope with new ideas, and most importantly, it gives you a strong support system. It is crucial for a team to function cohesively, to have a common objective, and to support one another in achieving that objective. Conclusion: Although difficult, failure is a valuable experience. We may apply the lessons it teaches us to better our lives. It demonstrates to us that we are fallible and that difficulties abound in life. It also teaches us the value of perseverance, humility, and learning from our mistakes. The youth need to learn these lessons as they set out on their path to becoming successful adults.

This week on the show Maine and Miranda recap WNO  Nicky Rod Vs  Felipe Pena 2 and debate who should have won the match.  We also recap the rest of the matches on the card including Pedro vs Bodoni for the 205 pound title, and the debut of JT Torres on WNO.We also recap One FC grappling matches from the weekend including Daniel Kelly whats and Tommy Langakker  performances on the card.  We recap Unrivaled that featured 3 headline matches with the Tackett Brothers, and Igor Tanabe vs Jacob Couch.  We also go through the results for F2W and Finishers Kombat. In the preview section we discuss Toro Cup 155 pound title matchup, the IBJJF men's and WOmen's GP plus the superfights and some other matches and cards this coming week. Recorded 2-27-2023 

Silvio Antiga"Tipoteca Italiana"Tipoteca Italiana Fondazionehttps://tipoteca.itArriva dagli Stati Uniti il più prestigioso riconoscimento per Tipoteca Italiana, il Museo del carattere realizzato 20 anni fa dalla famiglia Antiga a Cornuda. La giuria dell'American Printing History Association ha assegnato alla fondazione trevigiana il Premio istituzionale per il 2023.A Cornuda,dove vi era un canapificio corderia, nel 2002 nasce un museo davvero originale, non solo per ciò che vi è custodito, ma anche per come è stato “costruito” nel tempo, grazie a una storia fatta di tanto amore per uno dei mestieri più belli del mondo, quello del tipografo.Tipoteca Italiana è un polo museale di 3000 m2, dedicato alla storia della stampa e in particolare dei caratteri mobili, che custodisce un archivio di oltre 5000 famiglie di caratteri di piombo e di legno, di cui molte rare o addirittura uniche al mondo, prevalentemente dell'800 in poi.Museo, archivio, biblioteca, stamperia, galleria e auditorium: sono le forme attraverso le quali Tipoteca offre ai visitatori l'occasione di scoprire e sperimentare la bellezza dell'arte tipografica.Tipoteca conserva, Tipoteca racconta, Tipoteca fa. Grazie a visite, laboratori, mostre temporanee e incontri, Tipoteca stimola il dialogo tra passato e contemporaneità della rivoluzione culturale che ha segnato gli ultimi cinque secoli: la stampa.Il più importante polo museale italiano sull'arte della stampa e della tipografia.Tipoteca Museo propone laboratori e corsi di composizione e stampa a caratteri mobili, scrittura a mano e legatoria creativa. Le attività educative sono orientate alla comprensione dell'arte della stampa, un'invenzione che ha permesso la diffusione universale del sapere e la nascita del libro moderno. Gli strumenti in uso sono quelli originali del tipografo: torchi a mano, caratteri mobili di lega e legno, casse tipografiche e compositoi.L'archivio di Tipoteca è composto da torchi, presse, vari strumenti del tipografo, macchine e stampati, ma è sicuramente la collezione di caratteri, matrici e punzoni il cuore pulsante del Museo. Con una collezione di significativo valore storico, non ancora del tutto catalogata, Tipoteca può essere una fonte d'ispirazione per studiosi e appassionati che vogliono conoscere le origini di un carattere o che vogliono utilizzarlo per il proprio progetto stampato.TipotecaVia Canapificio 3Cornuda (Treviso)T 0423 86338Silvio AntigaPresidente e Fondatore di Fondazione Tipoteca ItalianaNasce in provincia di Treviso nel 1945. Sin da ragazzo si appassiona all'arte della tipografia, iniziando a lavorare prima in una piccola bottega e poi in una delle maggiori aziende grafiche dell'epoca.Nel 1968 avvia in proprio una tipografia, utilizzando un locale della casa paterna vicino a Cornuda. Nel volgere di pochi anni, la tipografia cresce in termini di addetti e fatturato e i tradizionali strumenti di lavoro vengono sostituiti dalle più moderne tecnologie. Grafiche Antiga spa conta oggi oltre 200 collaboratori ed è tra le migliori aziende nazionali nel settore.Negli anni '80, quando i moderni apparecchi ottici e digitali iniziavano a sostituire caratteri di piombo e clichés di zinco, Silvio inizia a raccogliere gli storici attrezzi della tipografia prima che vadano dispersi, riconoscendone il valore e sentendosi debitore verso un'arte diventata per lui mestiere di vita.Nel 1995 costituisce così la fondazione Tipoteca Italiana, con il preciso scopo di preservare e valorizzare il patrimonio storico della tipografia italiana e dei suoi maestri. Nel 2002 viene inaugurato il Museo del Carattere e della Tipografia, che conta oggi centinaia di macchinari, migliaia di polizze di caratteri in piombo o in legno e una preziosa biblioteca, composta da 5000 titoli di pubblicazioni e campionari.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Alberto CasiraghyEdizioni Pulcinoelefante“Il Pulcinoelefante è un ossimoro. Combina in sé cose apparentemente opposte: arte ed editoria, poesia e intrapresa economica, locale e globale. Anche l'editore-artista Alberto Casiraghy è una contraddizione. Ma a noi lettori piace così. Ci piace pensare che mentre dormiamo, mangiamo, leggiamo, facciamo l'amore, a Osnago, nel cuore della Brianza, c'è un mago che stampa con generosità libri inimitabili; li fa con i gesti che sono insieme di grande concentrazione e grande dissipazione. I suoi libri vanno in giro per il mondo con parole e segni che una volta stampati diventano unici. Nessuno potrà mai averli tutti. Non è favoloso?" (Marco Belpoliti)Alberto Casiraghi, in arte Casiraghy (“per un piccolo vezzo”, ama dire lui), “è nato con piacere a Osnago” – così inizia la sua biografia pubblicata sulla quarta dei suoi libri – nel 1952. È poeta ma soprattutto pensatore, pittore, ex liutaio, violinista e fondatore della casa editrice Pulcinoelefante, unica nel realizzare libri stampati esclusivamente a caratteri mobili, piccole opere d'arte che in sole quattro pagine svelano la profondità di aforismi, poesie, corredate di incisioni o acquerelli. Dal 1982, la Pucinoelefante ha pubblicato più di 8.000 opere, stampate su una pregiatissima carta prodotta in Germania, la Hahnemuhle, con l'antica pressa in piombo che Casiraghy, negli anni Ottanta, ha acquistato in liquidazione dalla tipografia Same di Milano, dove lavorava come apprendista compositore stampando i più importanti quotidiani di quegli anni, da Il Giornale di Montanelli all'Avanti!. Da quel momento, l'abitazione di Casiraghy a Osnago, nel Lecchese, diventa la “stamperia” Pulcinoelefante, un'accogliente villetta a due piani in cui ogni stanza ha funzione editoriale, dalla cucina-rilegatoria alle camere-archivio, con i tavoli, le pareti, i mobili imbottiti di carta, luogo prediletto in cui scrittori, pittori, intellettuali, amici si incontrano, chiacchierano, creano e bevono come in un café francese dell'Ottocento.Il nome che Casiraghy ha scelto per la sua casa editrice è metafora dell'associazione tra gli autori di oggi, spesso esordienti, e i grandi poeti del Novecento, da Campana a Gadda, da Pasolini a Penna, da Luzi a Pound, le cui opere sono accompagnate da illustrazioni di artisti del calibro di Munari, Baj, Tadini, Paladino, Mainolfi, Parmiggiani, Della Casa, Nespolo e molti altri.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it

Chewy and Eugene are joined by BJJ black belt and the 2022 ADCC 88 kg World Champion Giancarlo Bodoni. Giancarlo joins the show to discusses his preferred rule sets for grappling, starting BJJ primarily as a Gi practitioner and then transitioning to primarily training No-Gi. Giancarlo also talks about starting BJJ at 12 years old, what was unique about BJJ compared to other martial arts, the story of how he started training with John Danaher and Gordon Ryan, how he drastically improved his leg lock game, mentally preparing for big tournaments, his approach to rematching an opponent, the tactics he implemented in ADCC, ideas on training intensity and improving your skill set,  the most beneficial things outside of training that supplement his Jiu-Jitsu, and his favorite submissions and some key tips for making the Rear Naked Choke work, what Giancarlo took away most from his coaches, and his long-term Jiu-Jitsu goals. In this episode's exclusive conversation, we discuss the benefits of teaching Jiu-Jitsu and how it can positively improve your game. You can check out this podcast exclusive at https://patreon.com/thechewjitsupodcast Thanks to the podcast sponsors: Charlotte's Web CBD. Head over to https://bit.ly/38FnyUv and use the promo code Chewjitsu20 to get 20% off of your total purchase. Epic Roll BJJ. Check out https://www.epicrollbjj.com and use the promo code Chewjitsu to get 15% off of your total purchase. Manscaped. Check out https://www.manscaped.com/ and use the promo code Chewjitsu20 to get 20% off and free shipping!

From the middle ages to the Middle East, from Futura to Freight, join us on a journey across the type universe and go where no designer has gone before… welcome to An Incomplete History of Type (Part 2!). This episode is guest hosted by Shelby Cooper and Zohal Rashid. Name: BodoniRelease Date: 1798Designers: Giambattista BodoniClassification: Modern Serif ScriptOwned By: LinotypeClaim to Fame: One of the older typefaces still in use as a font today.

Zsolt Bodoni is a Romanian artist, who experiments with a range of media in his paintings to create dimension. His latest venture are semi-transparent multi-layered works with light. In late 2021, his exhibition viewed in darkness at David Kovats London, introduced the artist to the UK. We were really excited to talk to him about his process, the evolution of his practice and what comes next. Find Zsolt: https://davidkovats.com/artist/zsolt-bodoni/ https://www.instagram.com/zsoltbodonid/?hl=en https://davidkovats.com/artist/zsolt-bodoni/ Find Ksenia: https://www.instagram.com/essentialaspects/ https://kseniakazintseva.wixsite.com/fineart Find us via: https://www.russianartandculture.com/ https://www.instagram.com/rusartculture/ https://twitter.com/RusArtCulture https://www.facebook.com/RusArtCulture/ Music by Alexandr Solodchenko

On this weeks show Maine and Miranda previewed Tezos WNO: Who's Next Finale Gordon Ryan vs Pedro Marinho  and the Whos Next Main Event Kyle Chambers vs Izaak Michell.  Plus recapped Fight to Win 204 Damon Ramos vs Colton VaughnIn our preview of Gordon Ryan vs Pedro Marinho we talked about the size that Gordon has put on and how this could possibly affect his gas tank going into a 30 minute match with Pedro.  We talked about a potentially high paced game on the feet and some potential counter guillotine offense from Pedro on top and the potential of Gordon getting on top and controlling the mount like we have seen in his recent matches.  We also discussed how Pedro has leveraged his speed against larger people in the past.  In the preview of Kyle Chambers vs Izaak Michell we talked about the wrestling game of Izaak, and how Craig Jones speaks highly of his leg lock game.  We discussed a guard game for Chambers that would most likely see Izaak looking to pass and impose on top in this no time limit match.  In Andrew Tackett vs Rene Sousa we discussed Rene most recent game plan on Who's Next and how this slower pace may affect how he decides to approach the never tired Tackett.  In our discussion of "Big"  Dan Manasoiu vs Tristan Overvig we talked about how Big Dans game is catered to larger competitors and how stylistically this matchup may favor him, as well as how hard it is to find training analogues for a 6'8" 290 pound grappler. In a late replacement match for Andy Varela we see Giancarlo Bodoni fill in vs Jay Rodriguez  in a class at -88 kg we discussed the passing offense of Bodoni compared to the wrestling of Jay Rod, and how Bodoni may be able to force Jay to his back and how Bodoni flat back open guard may prevent the jumping back takes Jay Rod likes to implement. We also previewed the Free prelims  of the “Sewer Rat” Spencer Fossier vs Mike Rakshan, in a personality clash. we also discussed Breylor Grout vs Luke Griffith and Fabian Ramirez vs Max Hanson. In the recap section we discussed the main event of Fight to Win 204 Damon Ramos vs Colton Vaughn that saw Ramos takedown then control from the top and try for a leg lock late in the match.In the outro we discussed training and Maines hurt ribs, and recovery.Recorded 7-11-2022 

This week on the show Maine and Miranda Break down the rematch between Giancarlo Bodoni and  Elder Cruz, plus Preview GrappleFest 12 Dante Leon Vs PJ Barch.In the news section of the show we discuss JT Torres competing in the IBJJF taking double gold.In the recap section of the show we discussed Twister Church Faith and Violence #1 an 8 man 5000 dollar bracket that saw a rematch between Giancarlo Bodoni vs Elder Cruz in the finals.  We discussed how this match looked very similar to their ADCC East Coast North American Trials match from 2021 with a notable difference in Cruz underhook game in half guard, and posture. We talked about the controversial scoring sequence later in the match  that earned Giancarlo Bodoni a -1 in the ADCC scoring.   We also talked about Hasim Rida matches on the event.  In the preview of Grapplefest 12 we broke down another rematch in the main event between Dante Leonand PJ Barch and how Barch recent emphasis on passing may change this matchup that we last saw at No-Gi worlds.  We also previewed Ash Williamsvs Keith Krikorian in a battle of the ADCC Trials winners.  Plus discussed Jon Blankleg lock accolades and skills vs Eoghan O'Flanagan.  After that we looked at Jacob Couchtaking on Tom Breese, and the wrestling of Micheal Pixleyvs the Grecco and Judo of Owen Livesey.In the outro Miranda discussed her upcoming trip to Mexico. Recorded 5-16-2022

In the year 1740, a boy named Giambattista Bodoni was born in Saluzzo, Italy. He came from a family of engravers, and he had personally designed almost 300 typefaces.

Amedeo Palazzi"Voi siete qui"City Branding: lo scenario italiano e i progetti di Edenspiekermannper Amsterdam, Santa Monica e ParmaCSAC – Centro Studi e Archivio della Comunicazione,Università di Parma, Abbazia di Valserena, Parmafino al 18 aprile 2022In occasione delle celebrazioni per Parma Capitale Italiana della Cultura 2021, il fitto programma di eventi e manifestazioni si arricchisce con il progetto espositivo Voi siete qui. City Branding: lo scenario italiano e i progetti di Edenspiekermann per Amsterdam, Santa Monica e Parma, promosso da CSAC-Centro Studi e Archivio della Comunicazione dell'Università di Parma e prodotto dal Comitato per Parma 2020, con l'organizzazione di Electa. La mostra esplora l'idea del City Branding e propone al pubblico esempi significativi di un importante fenomeno contemporaneo che trova il suo sviluppo in diversi ambiti di ricerca, dal marketing all'urbanistica, dalle scienze sociali al design, con l'obiettivo d'indagare le strategie di comunicazione racchiuse dietro la costruzione dell'identità visiva di una città. Allestita nei suggestivi spazi dell'Abbazia di Valserena presso lo CSAC dell'Università di Parma, la mostra riunisce una selezione puntuale di progetti dedicati al City Branding italiano, insieme all'esperienza internazionale dello studio Edenspiekermann che presenta i casi studio di Parma, Amsterdam e Santa Monica. Il tema dell'immagine pubblica delle città italiane viene sviluppato in tre sezioni. Primo fra tutti viene analizzato il caso di Parma, che dopo essere stata designata Capitale italiana della Cultura 2020 e successivamente confermata al 2021 a causa della pandemia, ha definito un'identità visiva più riconoscibile ed accessibile per i suoi cittadini e per i turisti locali ed internazionali. La creazione del linguaggio progettuale si è incentrata su pochi ma efficaci elementi: la reinterpretazione in chiave moderna del classico font Bodoni, con la P possente e sagomata e l'utilizzo di un giallo vivace e allegro, colore tradizionale dei palazzi della città sin dal Settecento, per rappresentare l'incontro tra la cultura classica italiana, la politica progressista e un futuro dinamico.Corpus centrale della mostra è “Destination Italy” che raccoglie 32 studi di immagine coordinata di città italiane (Ascoli Piceno, Bari, Bologna, Cagliari, Courmayeur, Fano, Ferrara, Firenze, Gabicce Mare, Genova, Gorizia, Latisana, Lignano Sabbiadoro, Madonna di Campiglio, Mantova, Milano, Napoli, Palermo, Parma, Pesaro, Pisa, Pordenone, Rimini, Roma, Roveredo in Piano, Sabbioneta, Salerno, Siena, Treviso, Trieste, Varese, Venezia). La narrazione segue un ordine cronologico a partire da uno dei primi progetti di redesign cittadino fino ad assumere connotati sistemici: quello del Comune di Siena realizzato tra il 1994 e il 1998, fino ad arrivare all'esperienza nel 2021 di Madonna di Campiglio.Nella terza sezione, infine, ampio spazio è dedicato a due tra i numerosi progetti internazionali dello studio Edenspiekermann, a cui le città di Amsterdam e Santa Monica si sono rivolte. Nel primo caso emerge l'intento di riunire una serie di realtà molto diverse in un unico sistema di identità condivisa, grazie anche alla creazione dei personaggi “Adam ed Eve”, figure iconiche modulari che possono essere utilizzate in applicazioni statiche e dinamiche per supportare la narrazione e il trasferimento di informazioni complesse. Nel caso della città californiana viene proposto un concept necessario per un'esperienza identitaria e attenta ai servizi digitali, con l'implementazione di un marchio ad ombrello per i vari dipartimenti cittadini.L'esposizione è accompagnata dalla pubblicazione del catalogo edito da Electa, che ripercorre i casi studio selezionati in mostra.Il volume presenta la documentazione grafica del percorso progettuale che ha portato all'ideazione del brand Parma, con un focus sulle esperienze italiane nel campo del City Branding, fino ad arrivare ai due esempi internazionali che rappresentano il lavoro dello studio Edenspiekermann, agenzia internazionale specializzata in brand identity di città, e del suo fondatore Erik Spiekermann, uno dei più noti graphic designer e disegnatore di caratteri tipografici al mondo. IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

I chat with ADCC trials champion Giancarlo Bodoni about WNO, Joining New Wave Jiu Jitsu, bjj fanatics, competition mindset and much more.

Today on the show we are in conversation with Lucas Lepri Black Belt and multiple-time champion Giancarlo Bodoni. Giancarlo also worked extensively with Rillion Gracie. Giancarlo earned his reputation as one of the sport's top athletes after his performances in the International Brazilian Jiu-Jitsu Federation (IBJJF) World Championships and Pan American Championships as a brown belt, a level of excellence he continues to this day. As well as actively competing you may have seen him serve as uke on some of John Danaher's BJJ Fanatics instructionals, Giancarlo is also an instructor at Bernardo Faria's academy and has several instructionals of his own that you should check out also at BJJ Fanatics as well as his great YouTube page. Giancarlo's passion for the "fundamentals" or as I like to call them, the foundations of Jiu Jitsu is a consistent theme I'm hearing amongst the elite practitioners I have the honor of speaking with. Innovation is a wonderful thing but innovation without foundation is without substance. Giancarlo is a class act, I very much enjoyed our conversation, and I hope to have him back on the show soon. Just a reminder to please give us a 5 star review on iTunes or just share this podcast with a friend, and check out our Forever White Belt merchandise at https://teespring.com/forever-white-belt, and become a patron by clicking the "Support" button at the https://anchor.fm/foreverwhitebelt/web page, you can also leave us a message on that same page, also Like our Facebook page to get all the latest at https://www.facebook.com/foreverwhitebelt, and check us out on all the socials by searching for Forever White Belt. --- Send in a voice message: https://anchor.fm/foreverwhitebelt/message Support this podcast: https://anchor.fm/foreverwhitebelt/support

Listen in as we hang out with Giancarlo Bodoni. He is a professional jiu-jitsu competitor, who works and has trained extensively with Bernardo Faria, as well as Rillion Gracie. He is best known for great success in both training, competition and teaching, as well as filming instructional videos for www.bjjfanatics.com. We get into what BJJ means to him, as well as what he would like his legacy to be. Giancarlo talks about starting martial arts at a very young age in both Karate and Taekwondo. He even competed in both of those martial arts as well. We talked about his training routine, as well as all the competitions he's done this year and the upcoming ones. He also gets into some great information about his new instructional video coming soon that focuses on fundamentals in BJJ.IG - @giancarlobodoniLook for Giancarlo's 1:1 Coaching, BJJ courses, Youtube channel and more on - campsite.bio/giancarlobodonibjjSponsors:www.albinoandpreto.com - Gear and tournamentswww.kannaway.com - CBDInstructionals: All located on www.bjjfanatics.comWinning Fundamentals: Open Guard by Giancarlo BodoniSubmission Arsenal: Closed Guard by Giancarlo BodoniSingle Legs From Everywhere by Giancarlo BodoniClosed Guard Arsenal: Sweeps & Back Takes by Giancarlo BodoniSupport the show (https://pod.fan/limitless-radiocast)

It’s the 281st birthday of printer Giambattista Bodoni, who designed over 300 typefaces. One of these, Bodoni, is found on most word processors today.

Episode 51 of OGC is an interview with Giancarlo Bodoni. Giancarlo is a No Gi World Champion and he also won the 2020 Pan Ams a few days after we recorded this epsiode! Topics discussed include: Giancarlo's plans for what weight class he'll compete in His start in Jiu Jitsu and his thoughts on MMA Traveling to Brazil to train with GFTeam Training with Lucas Lepri Teaching and training at Bernardo Faria's academy BJJ Fanatics And much more... Follow Giancarlo on Instagram @giancarlobodoni!  

詹巴蒂斯塔·博多尼，堪称十八世纪末、十九世纪初欧洲声名最为显赫的字体设计师。博多尼以其精湛的设计及刻字技艺，自成风格的排版手法，为后世留下了字体排印的经典范本。与其同名的 Bodoni 系列字体，和 Didot 一同被视作西文字体「现代」风格的代表。今天，主编 Rex 将为我们讲述这位字体排印巨匠的生平及作品。 参考链接 詹巴蒂斯塔·博多尼（Giambattista Bodoni），意大利字体排印师、印刷师 罗马智慧大学（La Sapienza，也称罗马第一大学） 壮游（Grand Tour），十七、十八世纪欧洲上层阶级青年们的旅行传统 帕尔马（Parma），意大利北部城市 费迪南多一世（Ferdinand, Ferdinando Maria Filippo Lodovico Sebastiano Francesco Giacomo），波旁王室成员、帕尔马公爵 保拉·玛格丽塔·达拉格里奥·博多尼（Paola Margherita Dall’Aglio），詹巴蒂斯塔·博多尼之妻，生卒于帕尔马，排版师、印刷师；在丈夫过世后整理出版了博多尼的 Manuale tipografico 博多尼博物馆（Museo Bodoniano），位于帕尔马 Manuale tipografico（字体排印手册），现有数码扫描稿可供浏览 ；Taschen 出版社先后在 2010 年和 2016 年复刻了两个版本 厉致谦 2011 年撰文介绍 Bodoni 的字体样张，刊于 The Type Bodoni 字体，泛指博多尼设计的一系列字体，以及后世的部分复刻作品 American Type Founders (ATF) 于 1909 年以金属活字形式复刻了 Bodoni 字体，由 Morris Fuller Benton 设计；部分样张可供浏览 Bauer Type Foundry 于 1926 年以金属活字形式复刻了 Bodoni 字体，由 Heinrich Jost 设计；该套字体现亦有数码复刻版 ITC Bodoni，ITC 于 1994 年出品的 Bodoni 数码复刻，包括 Six、Twelve、Seventytwo 三个视觉字号 Bodoni Old Face，Günter Gerhard Lange 于 1983 年设计的 Bodoni 数码复刻，Berthold 出品 Ultra Bodoni，Morris Fuller Benton 于 1928 年设计的一款标题字体，ATF 出品；现亦有数码复刻版 Filosofia，Zuzana Licko 于 1996 年设计的 Bodoni 数码复刻，Emigre 出品 Filosofia Parma，2019 年 Zuzana Licko 为帕尔马城市形象设计的品牌字体 WTC Our Bodoni，Tom Carnase 于 1989 年专为 Massimo Vignelli 工作室设计的 Bodoni 复刻字体 英国《卫报》1977 年的愚人节消息虚构了一个岛国 San Serriffe ，其首都为 Bodoni；《字体故事：西文字体的美丽传奇》也记录了这个故事 Postoni，Matthew Carter 于 1998 年为美国《华盛顿邮报》设计的 Bodoni 复刻字体 嘉宾 Rex Chen：The Type 建立者、主编 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 The Type 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

BJJ Fanatics sat down with brown belt no-gi world champion & BJJ Fanatic Giancarlo Bodoni to talk about his teaching and learning style, how he won a world title a few months after injury, what it is like training with Bernardo, his start in BJJ, and more.

Amber of Bodoni Cosplay chats with Beverly about her Cricut projects! We cover tips for cutting EVA foam, Leather, Acrylic, optimizing files for Design Space, fonts, favorite accessories and so much more!

In un momento difficile e così complesso come quello del lockdown i vissuti, pensieri ed emozioni dei giovanissimi studenti e studentesse della 2 F dell' Istituto Tecnico Economico G. B. Bodoni ci ricordano le cose davvero importanti. Come descriveresti in una parola questo periodo?

Karmadillo oggi parte con un nuovo format pensato ad hoc per questo periodo di quarantena! In collaborazione con SONIKA, inizia una serie di puntate con doppia intervista ai musicisti che sono passati per la sala di registrazione in viale Alfonso d’Este. Questa sera dopo una chiacchierata introduttiva tra karmadilli su rinunce e astinenza, due cose con le quali in questo periodo stiamo forse facendo un po’ tutti i cont, conosceremo BODONI e The Arguments, due band caratterizzate da sonorità rockeggianti.- BODONI https://open.spotify.com/artist/1Z5nitgPUeMGmFQKEiPDDa?si=A2yJ6aM0RFSSdnQHmsM_Kg- The Arguments https://open.spotify.com/artist/2q2lyR3rDnV1kVilUbZoZf?si=xFj3L6rjTdOZUQ4QQB5DGg

My guest today is Maria Giudice. Maria founded Hot Studio, a design consultancy that was acquired by Facebook in 2013. After leaving Facebook, she served as VP of Design at Autodesk. In this conversation, Maria reveals how she found her purpose, and shares with us the exciting next stage of her career. Listen to the full conversation   Show notes Maria Giudice on LinkedIn Maria Giudice on Facebook Hot Studio Richard Saul Wurman Information Architects by Richard Saul Wurman Cooper Union Fortran Massimo Vignelli The yellow pages CCA Cartography Macintosh IIci Adobe Photoshop Adobe Illustrator Times New Roman Helvetica Mosaic web browser Netscape Frank Frazetta Italic script The Speedball Textbook: A Comprehensive Guide to Pen and Brush Lettering by Joanne Fink Autodesk Clement Mok The Second Mountain: The Quest for a Moral Life by David Brooks Rise of the DEO: Leadership by Design by Maria Giudice and Christopher Ireland Rise of the DEO posts in Medium Some show notes may include Amazon affiliate links. I get a small commission for purchases made through these links. Read the full transcript Jorge: Maria, welcome to the show. Maria: Thank you. I'm so happy to be here with you, Jorge. Jorge: Well, I'm very excited that you've agreed to come on. So, for folks who might not know you, how do you describe what you do and what you've been doing; your trajectory? Maria: Boy, that's a good question because I feel like I keep changing and growing. So, I'll go from one end, from being a child. I considered myself a fine artist and now that I'm a woman in her fifties, I am a, a design leadership coach and consultant. And a lot of stuff happened in between. Jorge: I was about to ask. I think there's a lot of… There's a big gap between those two. I'll tell you what I know, because we've known each other, but my awareness of you proceeds my knowing you in person. And I knew two things about you before I met you. One was that you founded a design agency or consultancy called Hot Studio. Maria: Yes. Jorge: And I also know that at one point you worked with Richard Saul Wurman. Maria: I did. Yes. Great, then you got two data points in a sea of many years of data points. Jorge: I think that the first time that I became aware of you, I believe it was in the Information Architects book. Maria: Yeah. I was sitting my twenties when I was featured in that book. And you know, Richard coined the phrase “information architects” back in the day. Jorge: Absolutely. Maria: I started out as a fine artist, went to art school. I went to Cooper Union in New York City. One of the beautiful things about Cooper Union as an art school was it was art, engineering, and architecture. It was founded in the 1800s by Peter Cooper. And when I went to art school, I had no understanding of the interrelationship between art, architecture, and engineering. They just seemed like very discreet disciplines. But at Cooper, you could take an art class. I was majored in art, but I took an engineering class. I learned how to do Fortran; don't ask me why decided to do that. I could take an architecture class. And so, this interconnection between art and technology was there at the very beginning, even though I didn't realize it. And then out of school, I got to work with Richard Saul Wurman. And how I got to do that was Richard was a visiting professor in my senior design class. And I was taking graphic design classes, but I had very… I was just… I hated it. I was a painter and I took graphic design essentially to learn how to be more organized. And also, my painting teacher suggested that I do that so I don't become poor. So, I was taking graphic design for all the wrong reasons, really seeing no purpose to it. I felt like it was incredibly formulaic. It's like, “Okay, you got Bodoni, you got Helvetica, you got the classic typefaces, you got the Bauhaus. So, you create the grid. Everything should be flush left. And oh yeah, lots of white space. Throw an image out, slap it together, call it a day.” That was my version of graphic design, and I was struggling for meaning and purpose. And then Richard walks into our class, he's a visiting speaker for the day. He doesn't look anything like all the graphic designers from the 80s. It is graphic design, and we're tall. Men wearing black. Vignelli. Everybody looked so polished, and I'm a girl from Staten Island. Okay? So, I look nothing like a typical designer. And he walks in, and he looks nothing like a typical designer. Short, chubby, big scarf, and more importantly, cursing up a storm, which of course I fell in love with. And he walks in and he changed my life because he walked in, he looked at all of us. He said, “You're all full of shit.” He's like, “You're doing design for the wrong reason. Design isn't about you. It's about helping people make sense to the world.” Now, I don't know if he said that exactly, but that's what I took away, and that was like the gods coming down from the heaven telling me, “Oh. There's a purpose to this.” You know, design is about being in service to others. Our job is a service job. Helping people understand, be entertained, make sense, you know, make clarity out of chaos, all of that stuff. And that changed my trajectory for the rest of my life. And that idea about design being in service to others, carried me through my 30 year career to where I am today. That focus, that we are here to help make clarity out of chaos. So, I worked for him right out of school designing guidebooks, because that's what you did in the 80s. And another big milestone happened where he got the gig to redesign the Pacific Bell Yellow Pages. Now, do you remember the yellow pages, Jorge? Jorge: I sure do. Maria: Yeah. I mean, I teach at CCA now and I, and I ask people about the yellow pages. They don't raise their hands. It's like generationally, a gone concept. But the yellow pages was the only thing that connected people in communities together through the telephone. And he got the gig to reimagine what the yellow pages could be for all of California and Nevada, to rethink about what the value proposition could be for this. And I thought that was a) fascinating; a fascinating problem to solve at scale, and b) an easy trip to the Bay Area for a couple of months where I can hang out and enjoy the nice weather. So, I drove cross country, my best friend came here. There was no office set up, so it was like ground zero. I land, a few other people land, and then we actually have to put together a company. So, I was at the beginning of understanding how you put a company together from the ground up. And so, I worked on the yellow pages, and my specialty was cartography. I don't know if you knew that about me, but I was a master cartographer. And that came through working for Richard. And so, my job in the yellow pages was to redesign and build all the maps in all the yellow pages. And we're talking about hundreds of different yellow pages throughout California, for all of California and Nevada. So, you know, I started designing maps and I had to quickly build a team, because I couldn't do it all myself. So here I am, 24 years old trying to help bring a company to life and become instantly turned into a manager of people. And it was the dawn of the digital age. A computer landed on my desktop in 1987, it was the Mac IIci. And it had Photoshop and illustrator 1.0 and it had Times New Roman and Helvetica. And Richard embraced technology really early on, and we all were at the beginning trying to figure out how to integrate this new technology into our workflow. So, all these new things happened at the same time in my twenties. That entrepreneurial spirit was alive and well, I was part of this new horizon. And I flourished. I really took well to tech. I loved working with computers. I loved being part of the beginning of figuring out how this all works. And I turned out to be really great at managing and inspiring people to work really hard. And so, I wound up staying in California and I had a team of like 20 people. By the time I was 27, I was managing a large, large team of people. And then I got to a place where I could no longer grow. I hit the top of my game in that company, and that's when I went on my own and started freelancing. And then, the short answer here is I started freelancing, I got busy, I hired people, I got busy, I hired people. Suddenly I had a company. I had a small company. Then I had a medium sized company. Then I had a really large company. The other thing that happened was I was also part of the very early beginnings of the internet. So, my clients were like, “Hey, you think about design very differently than other people, and can you design a website?” And I'm like, “I don't know what a website is, but I'm sure I could figure it out.” And this was like 1993. Mosaic was there. Netscape was coming out. And again, we were all trying to figure out what is this new medium and how does it integrate with what we do? And that propelled my career to founding Hot Studio. Hot Studio grew to about a hundred people in two locations, New York and San Francisco. And then we sold Hot Studio to Facebook in 2013, the year I turned 50. And then I worked at Facebook for two years and went to AutoDesk to be VP of Design, and that takes me to where I am now. Two years ago, I left Autodesk, and now I'm a coach where I get to help grow the next generation of creative leaders. And that's been incredibly rewarding. So that's a long trajectory, long story. But the information design element, the design being in service to others is the consistent thread through all of those experience touchpoints. Jorge: That's great. I want to circle back on that, but before I do, I want to ask you about something you said. You said that when you were still a student, you got into it primarily because of a love for the arts. Maria: Yeah. Jorge: But it's like visual arts, right? Maria: Yeah. I started painting when I was seven or eight years old, and I used to go study painting every Friday… Every Saturday morning, I would go to Mr. [Inaudible] art studio and take a book out of his rack and paint seascapes and still lifes, and it was oil paint. My uncle is actually a very famous fantasy artists named Frank Frazetta. Jorge: I've seen Frank Frazetta's work. It's astonishing. Maria: Yeah. So, he was my uncle. And so, I was surrounded by this idea about, you know, art being something that you can thrive in. And also, the connection between painting and graphic design for me was calligraphy. I started doing calligraphy in middle school. My English teacher gave me a book on italic, and I was fascinated by the Speedball book that I bought in the art store that had all of these different, like… I wouldn't say they were typefaces, but they kind of were. And I was really good at drawing letters and I used to design band posters. So that's how I managed to peg with the cool kids, because I would design posters for bands. And also paint jean jackets. So, I was entrepreneurial at a young age, being able to apply my artistic skills to things that people needed. Jorge: You said something when you were describing your career at Cooper Union, where you said that when you made the switch from visual arts to graphic design, one of the distinctions between the two was that graphic design was more organized. Maria: Yeah. I was such a slob, and I thought that if I take graphic design classes, it would help me be a little bit more organized. Jorge: Why would that be? Maria: Because my impression of the graphic designers that were in art school, they seemed like they had their shit together. The fine artists, not so much. And so, I saw these graphic designers that were so buttoned up and I went, “Oh, I maybe could learn something about this.” Jorge: When you came to California and started a company, was that The Understanding Business? Maria: Yes, that was The Understanding Business. So, Richard had Access Press in New York, and he founded the understanding business, and the big client was Pacific bell yellow pages. Jorge: So that is an awesome overview of your career, and I've learned so much just from this short conversation. Maria: Yeah, we're done now. Right? Jorge: Yeah. No, but I want to focus on what you're doing now because you said that… Well, you've had the experience, starting out as a freelancer, and I don't want to say accidentally, but it's almost like the business grew organically. Maria: Yeah, it was accidental. Jorge: Right? By the time before the step where you find yourself now, you were running design at a fairly large organization that makes tools for designers, right? Maria: Yes. Jorge: So, you've been exposed to various different facets of the design industry, and in particular digital design, right? From being an individual contributor, all the way to being an executive in a large organization. Maria: Yeah. Jorge: And you've made the switch now to advising folks, is that right? Maria: Yeah, I have had the good fortune of being exposed to growing businesses, working in essentially startups. Right? Because The Understanding Business was a startup — my own company was a startup from the very beginning — and being in middle-sized companies, also having hundreds of clients, when I worked at Hot Studio. So, I've had this context about how people and organizations work at scale. And at Autodesk I was the VP of Design. I loved that job because I got to participate in culture change at scale, with 400 designers worldwide, and Autodesk had hundreds of products. So, the last two years of working for others, I was in corporate America. So from 2013 to 2017, end of 2017, I was essentially working in two large corporations. And I loved pieces of it, but I also hated pieces of it. And as I got older, this is what I say about people who get older: the amount of fucks you give goes to zero, right? When you get older, your priorities change. It's so hard to play the politics game. But I was fascinated by that, and I like looking at how people in organizations work together from the outside in. So I left Autodesk and I resisted jumping into another VP job. And that was actually one of the hardest things I've ever done, because I've spent my entire life building my brand and reputation. And I have a great story to tell. I've worked hard and I've accomplished a lot, and then suddenly I don't have a job anymore at the end of 2017. And I remember running into Clement Mok. He's an early mentor of mine. And he told me, “Maria, you have to promise me to take a year off.” I'd never taken a year off. Everything was one thing to the other. I had two kids. I raised kids; I have… I'm married. I did all of that nonstop. And it just, it stuck with me. He said, you need to take time to think and figure out what you want to do next. And that year was brutal because I kept saying to myself, “Who the hell am I if I don't have a name, a title, I'm not bringing in shitloads of money?” And it really made me question and challenge myself in terms of like, what's it all worth? Why am I doing what I'm doing? What's my purpose in life? All of these big, big questions. So, one thing I did in that time off is I made a list of all the classes I ever wanted to take but could never take them. My kids are teenagers now, so they ignore me. So, I have plenty of time on my hands. And I took like an improv class. I hated it, but I know it's important. I'm taking calligraphy classes again; I'm taking a watercolor class. I'm bringing back the fine art, but I also took a coaching class. And I took coaching classes because I, not necessarily wanting to be a coach, but I thought that, boy, those are great skills to have. I could always be better at listening and asking powerful questions. I'm working on another book project and I'm interviewing people and I thought that these could just really improve my listening skills. And then over the course of the year, I realized I was really good at it. That, you know, people are constantly asking me for advice. So, I said, well, if I'm going to be giving advice, I should a) be great at it, and b) get paid to do it. So, then I kind of committed and stepped over the line. I drew like an invisible line on the floor and I said, “What am I stepping into? What will I commit to?” And I committed to getting certified as a coach, which is a pretty rigorous training program. It takes about seven to eight months to do. And I should be done with my certification at the end of February, I have like over 20 clients worldwide and it gives me great energy to help people. I get to help people lead based on where they are in their career. So, it could be everything from emerging design, emerging leaders, all the way up to very senior leaders. And I get to support them without the bullshit of corporations and corporate America. I don't have to deal with their politics, they have to deal with their politics. So it gives me that insight to stay relevant and fresh in the industry that I love without dealing with the corporate bullshit. And that, that's been great. But what I want to say is, from a meta perspective — and I find this to be true with people who are leaving jobs in their 50s and asking the same kind of questions that I'm asking… There's these two phases in life. David Brooks wrote a book called The Second Mountain, and he talks about this. And the first mountain is the mountain that you climb to establish your identity, build your career, generate wealth, create status, raise a family. You know, that's the mountain. That's the trajectory that we're all climbing. And then something happens to people in their 40s and 50s, when they start really questioning what's next for them. They're at the peak, and then they're going to go down the mountain. Some of them retire, some of them get depressed, and some of them go into different careers. But what I'm finding is people in their 40s and 50s are staying in… are not retiring. They're reinventing. And they're reinventing through the context of purpose and meaning. They're starting to ask questions about what is worth doing in life? Why am I here on this earth? What can I do to support people, help people? You know, create a legacy that isn't about wealth and title. And that's the space that I'm sitting in right now. And it's like going from the outer world to the inner world, and that's been really satisfying. So, I'm doing a lot of work on myself, sort of inner work, like identifying what brings me joy and fulfillment, and making sure that I'm spending my precious time on earth in service. And it's exciting because I don't feel like I'm marching towards death. Right? I feel like I have, like… I feel lucky that at 57 years old, I feel like I'm at the beginning of a new path. Jorge: That's great. Maria: Yeah. What a gift, right? I mean, when I was in my twenties, I thought when you were 50, by the time you turned 50, you were like close to death, you know? And even though it sucks to get older, I have to say, the wisdom that you gained from your life experience is priceless. And then you have to decide how you're going to use that wisdom in, in really helpful ways. Jorge: It sounds to me like you had an experience when you were younger of someone coming into your life and helping you discover your purpose, right? You talked about Mr. Wurman and this idea that he helped you see that it was about helping people understand and make sense of things. And to bring it back to the folks listening to the show, as you go about advising people now, and helping impart this wisdom that you've gained over the years and your experiences. First of all, I'm wondering if you ever find yourself advising folks who maybe have not yet discovered that purpose, that can motivate them and that can get them to another level. And if that's the case, how do you move past that? Maria: Well, that's the part of coaching. The big part of coaching is not to give people answers, it's to guide them so that they find their own answers that resonate with them. And through those coaching sessions, we unpack values. What are things that are important to you? What are your own guiding principles in life, and how do you use those guiding principles, those values that you have, to make decisions, and to live your life authentically? A large part of the coaching journey is to help people uncover what they're meant to do on this earth, and how they can live in authentic life, and bring joy and purpose to it no matter where they are in the process. The other thing about finding Richard early in my life, who became sort of the linchpin to who I have become, we all have that. We just have to pay attention to it. I tell my students that all the time. Walk around life with your eyes wide open and pay attention to those moments. Be open to those moments that are going to… That may change your trajectory in life. And we all have them. Jorge: That is a fantastic takeaway for folks. And I think it's also a good summary of where you are now, and what you're doing to help folks. So, thank you for sharing that with us. I'm wondering, if folks want to follow up with you and perhaps reach out to see if you can help them with this, where can they reach out to you? Maria: Yeah. Well, if you go to hotstudio.com, which is still up, you could send me an email through there. Or you could just reach out to me on LinkedIn and send me a message that you're interested in coaching. That's how I found all my clients, by the way. I put out a call on LinkedIn and Facebook and I said, Hey, I'm doing this. And I got contacts from people all over the world, which was so humbling. And this is the other thing that I love about this work, that I get to be introduced to people from all over the world who want help, want coaching, and I could help them no matter where they are, whatever geography they're in. So that's been lovely. Jorge: We didn't get into this, but you're also the author of a book called Rise of the DEO, and I just wanted to mention it because I'm going to link that in the notes as well. Maria: That's great. Yeah. Actually, Rise of the DEO is my third book. The great thing about Rise of the DEO now is it's all available on Medium. So, if you are a subscriber to Medium, you can get the whole book on Medium for free. Jorge: That's great. I didn't know that. I'm going to link to that as well. Folks who are listening to this conversation, especially if they're in the design disciplines and looking to move up to leadership positions, it strikes me as something that they would be keen to follow up on. Maria: Yeah, it's actually, it's both for… I would say it's for designers, design leaders, but it's also for creative business leaders, because it talks about the interrelationship of design skills and qualities at the CEO level. And the rise of the DEO is about the rise of the Design Executive Officer. You don't have to be a designer in order to be a creative business leader, a DEO. And it talks about how you can be better at risk-taking, intuition, system design, people-centeredness. All of these things that we were trained as, as designers, are now incredibly relevant skills and characteristics in today's business world. Jorge: Well, fantastic. I'm going to link to that. Well, thank you so much for your time, Maria. This has been fantastic. Maria: Oh, it was great talking to you.

It's the birthday of the printer Giambattista Bodoni (Italy, 1740), namesake of the popular typeface Bodoni. He personally designed around 300 typefaces.

di Matteo B. BianchiIl libraio ospite di questa puntata è Massimo Minuti della libreria Bodoni / Spazio B di Torino e il consiglio letterario è della scrittrice Teresa Ciabatti e riguarda il romanzo "Fedeltà" di Marco Missiroli.

Riccardo Olocco - Eredità del Rinascimento Progettista di caratteri ed esperto di storia dei caratteri tipografici. Dal carattere romano di Nicolas Jenson (1470) è iniziata una avventura durata negli ultimi 500 anni. L’influenza dei suoi caratteri minuscoli a stampa è ancora visibile nelle lettere che usiamo oggi e un confronto con altri tipi incisi nel Quattrocento mostra la qualità tecnica e la scelta vincente nei confronti dei modelli manoscritti che ha fatto di Jenson una delle figure più importanti nella storia della tipografia e della cultura occidentale. L’intervento offre un panorama completo dei successivi sviluppi tipografici: dal romano di Francesco Griffo usato nel De Aetna ai lavori di Claude Garamond e Robert Granjon; dal carattere romano progettato per l’Académie des Sciences nei primi anni del Settecento alle lettere dei più noti Baskerville, Bodoni e Didot; e dai caratteri ottocenteschi per la pubblicità ai bastoni, ossia i caratteri privi di grazie, divenuti nell’ultimo quarto del secolo scorso lo stile tipografico più diffuso.

Sep. 29, 2016. Author Valerie Lester discussed her book, the first English-language biography of the printer Giambattista Bodoni (1740-1813). For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7543

Spreaker Live Show #79 for Sept 7th, 2016Our Topics This Week: - How To Be A Great Podcast Host - The Benefits Of Transcribing Your Podcast Audio- Newly Released IAB Podcast Ad Metric GuidelinesShow Duration: 52 minutesHost: Rob Greenlee, Head of Content, Spreaker @robgreenlee - rob(at)spreaker(dotcom)Co-Host: Alex Exum, Spreaker Host of "The Exum Experience" and the "Spreaker Studio Review" shows at @AlexExumWe had some feedback from SLS75: How to Start Making Money with your Podcast:Gail Nobles I gave the subject of copyrighted music some more thought. It may be good that we don't play copyrighted music because it can give podcasting some space to do something radio is not doing. We don't need everything doing the same thing. At least podcast can recognize some music.Gail NoblesNo copyrighted music huh? Well, if it's never a good idea, radio will have no problems in the future.Spreaker Blog at http://Blog.Spreaker.com – Articles and Spreaker News- I will be at the coming Mid-Atlantic Podcast Conference in Philly - Sept 9-10 - Moderating Hall of Fame Panel and Sponsoring an awards event - Live streaming at the event - http://podcastmidatlantic.comOur Tip of the Week is a Blog Post: The Benefits Of Transcribing Your Podcast AudioWhy should you transcribe your show?1. Reading or. ListeningReading is much faster than listening, and many of your show’s visitors might prefer to quickly scan a transcript of your content before listening to it – including your existing audience. It’s important that your podcast catches your listeners’ attention even before they press play, and giving them an at-a-glance look at what your podcast’s all about could help you gain new listeners and keep your current fans. In short, make sure to add (a part of) your podcast’s transcription to your show notes, and that you’ve used great artwork!2. Social Media SharingIncluding the complete text of your audio on your episode’s page makes it easier for people to share it via Twitter, Facebook, Google+, and the myriad of other social media sites out there. Your listeners can copy and paste quotes or highlight a particular section and share it with their own network in a pinch. Higher sharing rates mean more traffic towards your show. You’ll also be able to write other blog posts using your transcribed content that can be shared later on. “Some of you might podcast for the fun they get out of it, others because they want to share their expertise and yet others because they want to push their business forward. So why not reuse something you already have produced and turn it into something new.” (Podigee.com)3. Indexing & SearchThe biggest advantage to having a transcription is that search engines can easily index your content with the available text. Better indexing will lead to more search traffic and visitors, as well as long tail search traffic (meaning those obscure terms that get your episode page to appear in the search results). Your show could get linked by others, and get a higher page ranking.4. How can I easily transcribe my podcast?Creating a transcript can be tedious work, especially if your episode is particularly long. You can do it on your own, but it’s definitely a mindless task that can take up loads of time. Because of this, outsourcing this work is a good option. For our podcasters, Spreaker has partnered with Scribie to offer them the best transcription service available at unbeatable rates. If you want to know more about it, check out our Store section. https://www.spreaker.com/store/transcriptdo that is to use the right font. Another great tip from Daniel J. Lewis: Serif fonts (with “feet”), like Times New Roman, Garamond, or Bodoni, often have thin lines and small details that get lost or blurred at small sizes. Script fonts can be too ornate to be legible, unless they’re really big (and never put a script font in all-caps!). Sans serif fonts (“without feet”), like Arial, Myriad Pro, or Futura, work really well with thick or uniform-thickness lines, clear characters, and strong contrasts from the background. Let’s Dive into our main topic this week “How to Select a Podcast Name”BIG News: IAB Podcast Ad Metric Guidelines have been releasedExecutive SummaryPodcast audiences represent a growing segment of effective marketable media but inheritchallenges of legacy consumption platforms. This restricts the ability for advertisers to obtain the same data parity found in other digital mediums, limiting participation of some advertisers. This document provides an introduction to tracking Ad delivery in a podcast and attempts to provide clarity in the marketplace by describing common and existing practices. Podcasts are downloaded to a device for later listening or for online listening. In most cases the podcast file and any ads included with it are downloaded to a device that doesn't, or can't, send data about the consumption of the podcast and ads. This lack of data beyond ad delivery limits real-time measurement. In contrast, other media are consumed by reading an article and interacting with a site, playing a game, or streaming a video, all of which can be measured in real time. Even audio stations that offer music or news are streamed and measured in real time in today’s media marketplace.Unlike streaming audio, podcast listeners come from an era where files were downloaded. The medium, the distribution, and the platforms used to collect and listen are built around the habit of downloading the file. Tracking content in this time-shifted medium involves filtering server logs to produce meaningful data for measurement. Since podcast technical teams analyze server logs differently, results vary across the industry.The challenge for podcast producers and distributors is to offer buyers a set of metrics that is consistently defined and measured equally across the podcast medium. While ad measurement will always produce some discrepancy in any medium, the definitions in this document aim to reduce measurement discrepancies. This document is the first attempt to bring IAB members together, describe common practices and provide a common set of metric definitions. With a consistent set of podcast advertising metrics, buyers and sellers can engage in a conversation about campaign strategy with confidence.https://iabtechlab.com/wp-content/uploads/2016/07/Podcast-Metrics_September_2016.pdfLet’s Dive into our main topic this week “How To Lead and Host a Successful Podcast”- What does it take to be a great podcast host? - Do you know a lot about your topic genre? - Do you know how to use a microphone? - Amazing podcast hosts are funny, engaging, friendly (usually) and informed. This is how you can get people to love you over time. Also value your listeners, interact with them as much as possible.- The art of spoken delivery is something that will take time, practice and passion. I know that this seems as though it is something simple, but being great at something just doesn’t happen overnight. - Smile a lot before you record and it will make a HUGE difference in your Show!!1. PRACTICE YOUR AUDIO DELIVERY2. EDUCATE YOURSELF BY LISTENING TO OTHER AUDIO SHOW HOSTS3. BE YOU AND AUTHENTIC. STAY TRUE TO YOURSELF.Spreaker Links:http://Adore.fmhttp://blog.spreaker.comhttp://SpreakerLiveShow.comhttps://Spreaker.comSend Questions and Comments to:Twitter: http://twitter.com/spreaker using #SpreakerLiveTwitter: http://twitter.com/robgreenleeTwitter: http://twitter.com/alexeum Tech Support: support at spreaker.com

Spreaker Live Show #79 for Sept 7th, 2016Our Topics This Week: - How To Be A Great Podcast Host - The Benefits Of Transcribing Your Podcast Audio- Newly Released IAB Podcast Ad Metric GuidelinesShow Duration: 52 minutesHost: Rob Greenlee, Head of Content, Spreaker @robgreenlee - rob(at)spreaker(dotcom)Co-Host: Alex Exum, Spreaker Host of "The Exum Experience" and the "Spreaker Studio Review" shows at @AlexExumWe had some feedback from SLS75: How to Start Making Money with your Podcast:Gail Nobles I gave the subject of copyrighted music some more thought. It may be good that we don't play copyrighted music because it can give podcasting some space to do something radio is not doing. We don't need everything doing the same thing. At least podcast can recognize some music.Gail NoblesNo copyrighted music huh? Well, if it's never a good idea, radio will have no problems in the future.Spreaker Blog at http://Blog.Spreaker.com – Articles and Spreaker News- I will be at the coming Mid-Atlantic Podcast Conference in Philly - Sept 9-10 - Moderating Hall of Fame Panel and Sponsoring an awards event - Live streaming at the event - http://podcastmidatlantic.comOur Tip of the Week is a Blog Post: The Benefits Of Transcribing Your Podcast AudioWhy should you transcribe your show?1. Reading or. ListeningReading is much faster than listening, and many of your show’s visitors might prefer to quickly scan a transcript of your content before listening to it – including your existing audience. It’s important that your podcast catches your listeners’ attention even before they press play, and giving them an at-a-glance look at what your podcast’s all about could help you gain new listeners and keep your current fans. In short, make sure to add (a part of) your podcast’s transcription to your show notes, and that you’ve used great artwork!2. Social Media SharingIncluding the complete text of your audio on your episode’s page makes it easier for people to share it via Twitter, Facebook, Google+, and the myriad of other social media sites out there. Your listeners can copy and paste quotes or highlight a particular section and share it with their own network in a pinch. Higher sharing rates mean more traffic towards your show. You’ll also be able to write other blog posts using your transcribed content that can be shared later on. “Some of you might podcast for the fun they get out of it, others because they want to share their expertise and yet others because they want to push their business forward. So why not reuse something you already have produced and turn it into something new.” (Podigee.com)3. Indexing & SearchThe biggest advantage to having a transcription is that search engines can easily index your content with the available text. Better indexing will lead to more search traffic and visitors, as well as long tail search traffic (meaning those obscure terms that get your episode page to appear in the search results). Your show could get linked by others, and get a higher page ranking.4. How can I easily transcribe my podcast?Creating a transcript can be tedious work, especially if your episode is particularly long. You can do it on your own, but it’s definitely a mindless task that can take up loads of time. Because of this, outsourcing this work is a good option. For our podcasters, Spreaker has partnered with Scribie to offer them the best transcription service available at unbeatable rates. If you want to know more about it, check out our Store section. https://www.spreaker.com/store/transcriptdo that is to use the right font. Another great tip from Daniel J. Lewis: Serif fonts (with “feet”), like Times New Roman, Garamond, or Bodoni, often have thin lines and small details that get lost or blurred at small sizes. Script fonts can be too ornate to be legible, unless they’re really big (and never put a script font in all-caps!). Sans serif fonts (“without feet”), like Arial, Myriad Pro, or Futura, work really well with thick or uniform-thickness lines, clear characters, and strong contrasts from the background. Let’s Dive into our main topic this week “How to Select a Podcast Name”BIG News: IAB Podcast Ad Metric Guidelines have been releasedExecutive SummaryPodcast audiences represent a growing segment of effective marketable media but inheritchallenges of legacy consumption platforms. This restricts the ability for advertisers to obtain the same data parity found in other digital mediums, limiting participation of some advertisers. This document provides an introduction to tracking Ad delivery in a podcast and attempts to provide clarity in the marketplace by describing common and existing practices. Podcasts are downloaded to a device for later listening or for online listening. In most cases the podcast file and any ads included with it are downloaded to a device that doesn't, or can't, send data about the consumption of the podcast and ads. This lack of data beyond ad delivery limits real-time measurement. In contrast, other media are consumed by reading an article and interacting with a site, playing a game, or streaming a video, all of which can be measured in real time. Even audio stations that offer music or news are streamed and measured in real time in today’s media marketplace.Unlike streaming audio, podcast listeners come from an era where files were downloaded. The medium, the distribution, and the platforms used to collect and listen are built around the habit of downloading the file. Tracking content in this time-shifted medium involves filtering server logs to produce meaningful data for measurement. Since podcast technical teams analyze server logs differently, results vary across the industry.The challenge for podcast producers and distributors is to offer buyers a set of metrics that is consistently defined and measured equally across the podcast medium. While ad measurement will always produce some discrepancy in any medium, the definitions in this document aim to reduce measurement discrepancies. This document is the first attempt to bring IAB members together, describe common practices and provide a common set of metric definitions. With a consistent set of podcast advertising metrics, buyers and sellers can engage in a conversation about campaign strategy with confidence.https://iabtechlab.com/wp-content/uploads/2016/07/Podcast-Metrics_September_2016.pdfLet’s Dive into our main topic this week “How To Lead and Host a Successful Podcast”- What does it take to be a great podcast host? - Do you know a lot about your topic genre? - Do you know how to use a microphone? - Amazing podcast hosts are funny, engaging, friendly (usually) and informed. This is how you can get people to love you over time. Also value your listeners, interact with them as much as possible.- The art of spoken delivery is something that will take time, practice and passion. I know that this seems as though it is something simple, but being great at something just doesn’t happen overnight. - Smile a lot before you record and it will make a HUGE difference in your Show!!1. PRACTICE YOUR AUDIO DELIVERY2. EDUCATE YOURSELF BY LISTENING TO OTHER AUDIO SHOW HOSTS3. BE YOU AND AUTHENTIC. STAY TRUE TO YOURSELF.Spreaker Links:http://Adore.fmhttp://blog.spreaker.comhttp://SpreakerLiveShow.comhttps://Spreaker.comSend Questions and Comments to:Twitter: http://twitter.com/spreaker using #SpreakerLiveTwitter: http://twitter.com/robgreenleeTwitter: http://twitter.com/alexeum Tech Support: support at spreaker.com

Gutenberg

Spreaker Live Show #78 for Aug 24th, 2016Our Topics This Week: - How to Select a Podcast Name- Tip of the Week “9 Steps To Making Great Podcast Cover Art”Show Duration: 29 minutesHost: Rob Greenlee, Head of Content, Spreaker @robgreenlee - rob(at)spreaker(dotcom)Co-Host: Alex Exum, Spreaker Host of "The Exum Experience" and the "Spreaker Studio Review" shows at @AlexExumWe had some feedback from last weeks show #77:THE X & Y SHOW from Spreaker.com:Lot of good points. One thing is for Podcasters to never lose their confidence, and keep plugging away!! Like me, my show is in it's baby stages.... But I'm coming! ;o)Gail Nobles from iOS:It's nice to have listeners, but it's also good to know how well you are doing. You can get 60 views or listeners without anyone commenting or likes on your podcast. It's interesting to know what radio and podcasters aim for?Spreaker Blog at http://Blog.Spreaker.com – Articles and Spreaker News- I will be at the coming Mid-Atlantic Podcast Conference in Philly - Sept 9-10 - Moderating Hall of Fame Panel and Sponsoring an awards event - Live streaming at the event - http://podcastmidatlantic.comOur Tip of the Week is a Blog Post: 9 Steps To Making Great Podcast Cover Art1. Follow iTunes’ requirementsiTunes is the largest podcast directory, and the most popular, so it’s important to make sure your artwork adheres to its requirements. As stated in iTunes’ help section, they require that Podcast feeds contain artwork that is a minimum size of 1400 x 1400 pixels and a maximum size of 3000 x 3000 pixels, 72 dpi, in JPEG or PNG format with appropriate file extensions (.jpg, .png), and in the RGB colorspace. To optimize images for mobile devices, Apple recommends compressing your image files to 500K size max.2. Design it for scalabilityEven if iTunes requires min. 1400 x 1400 images, always remember that your cover art can get scaled down at any point, so it must remain legible even when its dimensions are really small. Starting creating your artwork with the smallest size first, like 600x600, 300x300, 125 x 125, 75x75 or 55 x 55. If it still looks good and you can clearly make out what’s there, it’s perfect! Podcasters: make sure your cover artwork looks great and is legible when scaled down.3. Use high quality images or vector graphicsThe last thing to keep in mind when it comes to sizes and pixels is that even if you’ve sized your artwork correctly, it will still look bad if the images aren’t high quality in the first place, and you’ll spoil the final product. You can find great, high quality pictures on the many free stock picture websites around, like pexels.com or istockphoto.com. You can also try creating cover artwork with vector graphics using Canva.com. If you’re comfortable with Adobe’s suite, you’ll also find some great readymade vector graphics on freepik.com. 4. Keep it consistent with your brandGenerally speaking, you should never underestimate the importance of brand consistency: you want to stay recognizable and familiar to your listeners no matter what they see. It’s why you should use the same logo, fonts, and general color scheme for your artwork on Spreaker, iTunes, and every other podcatcher, as well as your website, social network pages, and accounts. We recommend you create a template for episode images, so that you can distinguish episodes from each other, yet still keep them consistent with the show’s overall artwork.5. Make it eye-catchingAs listeners browse through shows on Spreaker, they’ll be deciding in a matter of seconds what to pass up based solely on who has attractive or unattractive images. So, consider creating artwork with bold contrast, and try to use images that will immediately convey what your podcast is about. The best podcast cover artwork is simple + iconographic. Keep to ONE logo (avoid network logos) to ensure legibility6. Easily communicate what your podcast is aboutYour show’s art is the first thing your listeners will see, even before listening to your podcast. That’s why it has to visually evoke the content of your show to your listeners. The question you should answer with your artwork is: what is my show about? 7. Use few wordsThere’s no time to read, not even a haiku! This is not the place to explain with words what your show is about. Save those syllables for your podcast description section! Daniel J. Lewis of The Audacity To Podcast gave this great advice: “The easiest word to remove from your cover art can be the word ‘podcast,’ as it’s really unnecessary in your title. Think of ‘podcast’ as the label for your distribution method (which it actually is, technically) and not part of your title unless necessary.”8. Don’t use more than 2 fontsYour artwork’s text needs to be legible, even at the tiniest dimensions, and the easiest way to do that is to use the right font. Another great tip from Daniel J. Lewis: Serif fonts (with “feet”), like Times New Roman, Garamond, or Bodoni, often have thin lines and small details that get lost or blurred at small sizes. Script fonts can be too ornate to be legible, unless they’re really big (and never put a script font in all-caps!). Sans serif fonts (“without feet”), like Arial, Myriad Pro, or Futura, work really well with thick or uniform-thickness lines, clear characters, and strong contrasts from the background. 9. Avoid overused imagesLike the word “podcast”, try to avoid microphones, headsets, and other overused pictures of podcasting gear. Podcasting is the medium, just focus on the great content you’re sharing and make it eye-catching by following all our previous steps! (The only exceptions are podcasts about podcasting!) Don’t be overwhelmed at all the steps we’ve listed above, it’s not as daunting as it seems! But if you really think it’s too much work or you’re not confident enough in your design skills, consider paying an artist who can quickly make high quality graphic designs for you. Discover how to get new images now, at this link. Let’s Dive into our main topic this week “How to Select a Podcast Name”- Should be short and sweet - single word names or short phrases are popular- Longer names of name phrases are ok. Drive important search keywords is good for iTunes/Google- Needs to fit square cover art image in bold font on image- It is good have a show title that is obvious “What your podcast is about”- Is it fun or have a word meaning association with your show concept- Does it have words that can be easily misspelled or confused via verbal communications- Check Google/iTunes for prior use of the show name ideas- You should check the availability of a domain nameSpreaker Links:http://Adore.fmhttp://blog.spreaker.comhttp://SpreakerLiveShow.comhttps://Spreaker.comSend Questions and Comments to:Twitter: http://twitter.com/spreaker using #SpreakerLiveTwitter: http://twitter.com/robgreenleeTwitter: http://twitter.com/alexeum Tech Support: support at spreaker.com

Spreaker Live Show #78 for Aug 24th, 2016Our Topics This Week: - How to Select a Podcast Name- Tip of the Week “9 Steps To Making Great Podcast Cover Art”Show Duration: 29 minutesHost: Rob Greenlee, Head of Content, Spreaker @robgreenlee - rob(at)spreaker(dotcom)Co-Host: Alex Exum, Spreaker Host of "The Exum Experience" and the "Spreaker Studio Review" shows at @AlexExumWe had some feedback from last weeks show #77:THE X & Y SHOW from Spreaker.com:Lot of good points. One thing is for Podcasters to never lose their confidence, and keep plugging away!! Like me, my show is in it's baby stages.... But I'm coming! ;o)Gail Nobles from iOS:It's nice to have listeners, but it's also good to know how well you are doing. You can get 60 views or listeners without anyone commenting or likes on your podcast. It's interesting to know what radio and podcasters aim for?Spreaker Blog at http://Blog.Spreaker.com – Articles and Spreaker News- I will be at the coming Mid-Atlantic Podcast Conference in Philly - Sept 9-10 - Moderating Hall of Fame Panel and Sponsoring an awards event - Live streaming at the event - http://podcastmidatlantic.comOur Tip of the Week is a Blog Post: 9 Steps To Making Great Podcast Cover Art1. Follow iTunes’ requirementsiTunes is the largest podcast directory, and the most popular, so it’s important to make sure your artwork adheres to its requirements. As stated in iTunes’ help section, they require that Podcast feeds contain artwork that is a minimum size of 1400 x 1400 pixels and a maximum size of 3000 x 3000 pixels, 72 dpi, in JPEG or PNG format with appropriate file extensions (.jpg, .png), and in the RGB colorspace. To optimize images for mobile devices, Apple recommends compressing your image files to 500K size max.2. Design it for scalabilityEven if iTunes requires min. 1400 x 1400 images, always remember that your cover art can get scaled down at any point, so it must remain legible even when its dimensions are really small. Starting creating your artwork with the smallest size first, like 600x600, 300x300, 125 x 125, 75x75 or 55 x 55. If it still looks good and you can clearly make out what’s there, it’s perfect! Podcasters: make sure your cover artwork looks great and is legible when scaled down.3. Use high quality images or vector graphicsThe last thing to keep in mind when it comes to sizes and pixels is that even if you’ve sized your artwork correctly, it will still look bad if the images aren’t high quality in the first place, and you’ll spoil the final product. You can find great, high quality pictures on the many free stock picture websites around, like pexels.com or istockphoto.com. You can also try creating cover artwork with vector graphics using Canva.com. If you’re comfortable with Adobe’s suite, you’ll also find some great readymade vector graphics on freepik.com. 4. Keep it consistent with your brandGenerally speaking, you should never underestimate the importance of brand consistency: you want to stay recognizable and familiar to your listeners no matter what they see. It’s why you should use the same logo, fonts, and general color scheme for your artwork on Spreaker, iTunes, and every other podcatcher, as well as your website, social network pages, and accounts. We recommend you create a template for episode images, so that you can distinguish episodes from each other, yet still keep them consistent with the show’s overall artwork.5. Make it eye-catchingAs listeners browse through shows on Spreaker, they’ll be deciding in a matter of seconds what to pass up based solely on who has attractive or unattractive images. So, consider creating artwork with bold contrast, and try to use images that will immediately convey what your podcast is about. The best podcast cover artwork is simple + iconographic. Keep to ONE logo (avoid network logos) to ensure legibility6. Easily communicate what your podcast is aboutYour show’s art is the first thing your listeners will see, even before listening to your podcast. That’s why it has to visually evoke the content of your show to your listeners. The question you should answer with your artwork is: what is my show about? 7. Use few wordsThere’s no time to read, not even a haiku! This is not the place to explain with words what your show is about. Save those syllables for your podcast description section! Daniel J. Lewis of The Audacity To Podcast gave this great advice: “The easiest word to remove from your cover art can be the word ‘podcast,’ as it’s really unnecessary in your title. Think of ‘podcast’ as the label for your distribution method (which it actually is, technically) and not part of your title unless necessary.”8. Don’t use more than 2 fontsYour artwork’s text needs to be legible, even at the tiniest dimensions, and the easiest way to do that is to use the right font. Another great tip from Daniel J. Lewis: Serif fonts (with “feet”), like Times New Roman, Garamond, or Bodoni, often have thin lines and small details that get lost or blurred at small sizes. Script fonts can be too ornate to be legible, unless they’re really big (and never put a script font in all-caps!). Sans serif fonts (“without feet”), like Arial, Myriad Pro, or Futura, work really well with thick or uniform-thickness lines, clear characters, and strong contrasts from the background. 9. Avoid overused imagesLike the word “podcast”, try to avoid microphones, headsets, and other overused pictures of podcasting gear. Podcasting is the medium, just focus on the great content you’re sharing and make it eye-catching by following all our previous steps! (The only exceptions are podcasts about podcasting!) Don’t be overwhelmed at all the steps we’ve listed above, it’s not as daunting as it seems! But if you really think it’s too much work or you’re not confident enough in your design skills, consider paying an artist who can quickly make high quality graphic designs for you. Discover how to get new images now, at this link. Let’s Dive into our main topic this week “How to Select a Podcast Name”- Should be short and sweet - single word names or short phrases are popular- Longer names of name phrases are ok. Drive important search keywords is good for iTunes/Google- Needs to fit square cover art image in bold font on image- It is good have a show title that is obvious “What your podcast is about”- Is it fun or have a word meaning association with your show concept- Does it have words that can be easily misspelled or confused via verbal communications- Check Google/iTunes for prior use of the show name ideas- You should check the availability of a domain nameSpreaker Links:http://Adore.fmhttp://blog.spreaker.comhttp://SpreakerLiveShow.comhttps://Spreaker.comSend Questions and Comments to:Twitter: http://twitter.com/spreaker using #SpreakerLiveTwitter: http://twitter.com/robgreenleeTwitter: http://twitter.com/alexeum Tech Support: support at spreaker.com

In this episode: Geof accidentally hates on magazines, Jim talks about his extravagant lunches, Brijan goes to a place called Bob's on State St. and Ben goes on a walk. Please note that the opinions expressed here are not that of Rally Interactive and any possible reference to anyone living or deceased is purely coincidental. Also, we have no idea what we are talking about. Smart Water Bottle https://www.kickstarter.com/projects/582920317/hidrateme-smart-water-bottle Massimo Vignelli http://www.vignelli.com/intro.html Wabi-Sabi https://en.wikipedia.org/wiki/Wabi-sabi Raku Ware https://en.wikipedia.org/wiki/Raku_ware Nikon F https://en.wikipedia.org/wiki/Nikon_F # Brijan Powell - Freelance Interactive Designer working out of the Rally office and motorcycle riding hellion. - @brijan - Bodoni, Helvetica, Futura, Garamond, Avant Garde # Ben Cline - Part owner, designer and string cheese consumer at Rally Interactive. - @yocline - Gotham, Tiempos, Chronicle Display, Trade Gothic, Futura # Jim DeBrock - Designer at Rally Interactive and Logic Pro tutorial consuming beast. - @jimdebrock - Chronicle Display, Albertina, Klavika, Sentinel, Trade Gothic # Geof Crowl - Designer at Rally Interactive and connoisseur of fine italics. - @rectangular - Helvetica Neue, New Rail Alphabet, Trade Gothic, Minion, Bodoni Air Lookout https://itunes.apple.com/us/app/air-lookout-monitor-air-quality/id1003112819?mt=8 The episode was brought to you by: Rally Interactive and Air Lookout.

CONCERN: STOP ANIMAL TESTING, HOW WOULD YOU FEEL? TIFFANY DOAN KAITY VIEN FRANZ MAGBUAL ETHAN NGO

The Marvelous Invention

A recording of students curious about the history of writing.

Ray Bradbury's sci-fi, The Rocket, scenes 5 and 6: Photo by Bigstock Photo: Jr Casas FIORELLO: You are all mine. Even if you never move or spit fire, and just sit there and rust for fifty years, you’re mine! In today’s episode, Fiorello Bodoni tries to get back to just living. He’s trying to forget about rockets and Mars so that he won’t have to face disappointment again. His reality is the small world of his junkyard, his broken down machinery, and a family that is relying on him to provide for them. Turning Down the Chance of a Lifetime: In our last episode, Fiorello was trying to choose who would get to go to Mars — his wife, one of his children, or himself. When logical reasoning couldn’t settle it, he turned to drawing straws. But even that failed. Of course, they all wanted to go, but what it came down to was a deep fear that their chance of a lifetime would make the others jealous and destroy their relationships. Feet on the Ground: With his hopes dashed, Fiorello returns to his work in the junkyard. He has some junk to recycle, but his machinery is getting old. He knows his money needs to be invested in new equipment, like a new furnace to melt down metal. He’s trying to be practical and realistic. He's trying to face reality instead of dreaming of flights to Mars, when along comes a huge temptation. What can one man do when faced with such a big temptation? When would he ever have this opportunity again? Reality Bites: It finally seems like Fiorello's dream has become reality. Unfortunately, he finds out that a compromise is a huge disappointment. Settling for second best is emotionally painful. Have fun learning the keywords with English-Chinese Flashcards and Games.DL027 Keywords on QuizletDL027 Supplementary Words on QuizletDL027 More Supplementary Words on Quizlet Bodoni couldn’t resist getting his own rocket. He tried to turn down Matthews special deal and make a practical, responsible choice about what to do with his money, but he couldn’t bear to lose this chance. The rocket, however, is just a model. Sometimes when we can’t reach our dream, we settle for second-best. It is often just a shadow of the real thing. After we’ve compromised, accepted second-best, we often become disillusioned with it. It’s just a disappointing fake. Bodoni becomes very angry at the rocket and at his unrealistic dream. It is beyond his grasp, unreachable, and it seems to be laughing at him. He is ready to destroy the rocket, and hopefully, all traces of his dream. It has hurt him too much. Then just as he is about to carry through on his threat, he gets a brilliant idea. “We’re going to Mars!” he announces to his family. What do you think he’s going to do with the rocket? Take a wild guess. What do you think? Leave your answer in the comments below.

End hunger

Att typsnitt engagerar människor blev radioproducenten Simon Moser varse i höstas. Då sändes hans program Typo i P1 som handlade om just typsnitt. I tio avsnitt djupdök han i historier om bland annat Times New Roman, Bodoni och Gill Sans. Och responsen från lyssnarna blev stor. Kategori: Radiokurserna 2013Producerat av: Josefine Owetz

Att typsnitt engagerar människor blev radioproducenten Simon Moser varse i höstas. Då sändes hans program Typo i P1 som handlade om just typsnitt. I tio avsnitt djupdök han i historier om bland annat Times New Roman, Bodoni och Gill Sans. Och responsen från lyssnarna blev stor. Kategori: Radiokurserna 2013Producerat av: Josefine Owetz

In this podcast we consider the history of Bodoni.

Giambattista Bodoni kallades för kungarnas boktryckare och boktryckarnas kung. På 1700-talet Hans prydde hans typsnitt hyllningsskrifter till kungar och furstar i hela Europa. Genom århundraden har du kunna läsa typsnittet Bodoni i dagstidningar som Dagens Nyheter och på 80-talet var det återigen dags för Bodoni att sträcka på sig, när det blev det självklara typsnittet i modevärlden. Medverkande: Carolina Laudon, Pelle Andersson, Laila Österlund. Producent: Simon Moser. Typo görs av produktionsbolaget FILT för Sveriges radio.

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Salmiak by Erik van Blokland 2) Sound piece by Hannah Scherber 3) Chinese whispered typeface by Jan Gerner In the sound piece Jan got he heard parts of ‘The Entertainer’ by Scott Joplin. Jan’s interpretation of the sound was of a pianist sitting in a boring environment trying to have some fun by drinking and playing the piano. And therefore getting more drunk by the minute. Jan thought of certain typefaces he thinks are quite boring. For him these are typefaces in the Bodoni and Didot styles. Jan’s idea was to put some fun into these classicist typefaces. He did this by adding balls. Balls that try desperately to be funny and are put in strange places, so that some characters become completely out of shape. These balls are for example sticking out at the top and bottom of the M. This illustrates the drunkenness of the pianist. In the end Jan added a layer by connecting the letters through lines. Even across multiple letters. left: Salmiak by Erik van Blokland, right: Chinese Whispered Salmiak by Jan Gerner HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:40 min / 2 MB)

Audio description of Sumner’s work place & Mr. Bodoni versus Mr Stone. Some info on Sumner Stone :: File Download (13:30 min / 12.4 MB)

Mr. Perondi on Bodoni. Everywhere Bodoni! :: File Download (0:02 min / 0.1 MB)