Podcasts about cmyk

Support this show: https://open.firstory.me/user/cka82dsbmko7u0873o0b8ij9b Leave a comment and share your thoughts: https://open.firstory.me/user/cka82dsbmko7u0873o0b8ij9b/comments

HT2224 - Printing Monochrome with a CMYK Press Most commercial printing presses that you might employ to print your book will use the four-ink process that is the standard in the industry. Simply said, these presses use a combination of cyan ink, magenta ink, yellow ink, and black ink to achieve a sufficient simulation of human color vision. That's where the trouble begins. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Vai su SERENIS: trovi già il codice sconto di Cose Molto Umane. Forse vi sarà capitato di vedere i termini CMYK e RGB riferiti ai colori. Non è solamente uno standard di codifica delle immagini: è come funziona il mondo e i colori nella realtà. Mi sono fatto spiegare delle cose da Francesca Bramante, illustratrice e pittrice (e autrice della copertina di Avanti Veloce). Learn more about your ad choices. Visit megaphone.fm/adchoices

Ep.188 is here! Come listen as we tell you about the great Lacuna from CMYK and why it's a fantastic game. We also tell you about Geometry in games as well as Hayley's hate for measuring things. We end the show by asking Riley and Layken what their favorite games to play with us are! Be sure to like, share, and subscribe! Game: 5:53 Topic: 16:52 Question: 34:43 Game Mentions: Go, Chess, Warhammer, Malifaux, Infiniti, Crash Octopus, Junk Art Support: If you would like to help us improve our product, here's where you can do that! www.patreon.com/MalthausGames podpledge.com?p=3D8L1M1V4S7F8... ko-fi.com/malthausgames Sound Attributions: Something Elated by Broke For Free, Downloaded from freemusicarchive.org/music/Bro... Edits: Cut to length and Faded in. Heavy Happy With Drums by Ryan Cullinane, Downloaded from freemusicarchive.org/music/Ryan Cullinane/Heavy Happy With Drums – Beat Driven Productions – Heavy Happy With Drums Edits: Cut to length and faded out. Crowd in a bar (LCR recording) by Leandros.Ntounis, downloaded from freesound.org/people/Leandros... Edits: Cut to length, added vocals and own recorded drink making sounds. Vinyl_record_needle_static_01.wav by joedeshon, downloaded from freesound.org/people/joedesho... Edits: Cut to length, added to music and raised volume level. Hidden Wall Opening by ertfelda, downloaded from freesound.org/people/ertfelda... Edits: Adjust volume and cut to length added jungle sound and voice. Yucatan jungle.mp3 by folkart films, downloaded from freesound.org/people/folkart%... Edits: Adjust volume, cut to length, added door sound and voice. Footsteps, Concretem A.wav by InspectorJ, downloaded from freesound.org/people/Inspecto... Edits: Cut to length, adjusted volume, added jungle sounds and voice. Fantasy Sounds Effects Library, Ambience_Cave_00.wav by LittleRobotSoundFactory, downloaded from freesound.org/people/LittleRo... Edits: Cut to length, faded in, adjusted volume and added footsteps, jungle sounds, stone door, and voice. Game Show Theme Tune by FoolBoyMedia, downloaded from freesound.org/people/FoolBoyM... Edits: Cut to length, added vocals, adjusted volume. Audience, Theatre Applause.wav by makosan, downloaded from freesound.org/people/makosan/... Edits: Added music, added voice, cut to length and adjusted volume

How do you explain to someone that you're a professional cartoonist? More importantly — should you even try?! Also, Dave and Brad share details about the software they use, and Brad extolls the virtues of a Patreon content exchange.On Today's Show...How do you explain to people that you're a professional cartoonist?What software is best for comics?Take a break this holidayPatreon content exchangeSummaryIn this conversation, Brad Guigar and Dave Kellett discuss the challenges of explaining their profession as cartoonists to others, as well as the misconceptions surrounding the field. Next, they explain the significance of using the right software for comic creation. They emphasize the need for cartoonists to be aware of the technical aspects of their work, particularly when it comes to color formats and printing. Brad Guigar and Dave Kellett emphasize the advantages of tools like Clip Studio Paint and Adobe products. They also highlight the significance of taking breaks during the holiday season to recharge creatively. The conversation shifts to strategies for Patreon content exchanges, where they share insights on effectively reaching out to other creators and the benefits of collaboration in building audiences.TakeawaysExplaining the profession of cartooning can be challenging.Many people don't believe cartooning is a viable career.Using the right software is crucial for comic creation.Procreate has limitations for professional comic artists.CMYK vs. RGB is an essential distinction for printing.Cartoonists often face misconceptions about their work.The number of professional cartoonists is quite limited.It's essential to enjoy and embrace being a cartoonist. Robust software provides better control over comic creation.Clip Studio Paint excels in paneling and drawing processes.Adobe products are preferred for final layout and printing.Taking breaks during the holidays is essential for creativity.Patreon content exchanges can enhance audience engagement.Networking in real life can facilitate collaboration opportunities.Cross-promotion is a valuable strategy for creators.It's essential to under-promise and over-deliver to Patreon backers.Familiarity with tools leads to better results in comic creation.Long-term strategies yield better audience growth than short-term tactics. You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. Dave Kellett is the creator of Sheldon and Drive.

Mokuhanga can be approached in many ways. For some, a hands-on approach is the most appealing, as it places full responsibility on the artist to carefully craft each step—designing, carving by hand, and printing—to achieve the best possible result. However, other mokuhanga artists take a more experimental route, where the possibilities are limitless, and innovation leads to unique outcomes. On this episode of The Unfinished Print, I speak with printmaker Mike Lyon, who has been creating mokuhanga for nearly 30 years. We delve into his philosophy on mokuhanga, his innovative use of a CNC machine in printmaking, and his inventive spirit. We also explore his own mokuhanga prints and the Lyon Collection of Japanese woodblock prints.  This interview was conducted while Mike was at the Mokuhanga Project Space in Walla Walla, Washington, and he reflects on his real time experiences during the interview. One other note; there is reference to an accident Mike had as a young man regarding his fingers. Listeners be warned.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Mike Lyon - website Shotokan Karate - is a traditional Japanese martial art that emphasizes powerful, linear movements, strong stances, and precise techniques. Developed by Gichin Funakoshi (1868-1957) in the early 20th century, Shotokan blends self-defense, physical fitness, and mental discipline. It is characterized by its deep stances, focus on kata (pre-arranged forms), kihon (basic techniques), and kumite (sparring). Practitioners strive for mastery of body and mind, aiming to improve both physical strength and inner calm through rigorous practice. Shotokan is one of the most widely practiced karate styles worldwide. Zen Buddhism - is a school of Mahāyāna Buddhism that emphasizes direct experience, meditation (zazen), and mindfulness as paths to enlightenment. Originating in China as Chan Buddhism and later flourishing in Japan, Zen focuses on achieving insight into the nature of existence through meditation rather than reliance on scriptures or ritual. Central to Zen practice is the concept of "no-mind" (mushin), which seeks to quiet the mind and transcend dualistic thinking. Through sitting meditation, koans (paradoxical questions), and the guidance of a teacher, Zen practitioners aim to awaken to their true nature and the interconnectedness of all things. Hiroki Morinoue - is a mokuhanga printmaker and artist living in Holualoa, Big Island, Hawai'i. He is a co-founding member of the Holualoa Foundation For Arts & Culture, the establishment of the Donkey Mill Art Center and Studio 7 Fine Arts. Hiroki's interview with The Unfinished Print can be found, here.  Kitchen Fosit (2012)  Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.  From The Window (2017) 15" x 12" Anderson Ranch Arts Center - since the 1960s, Anderson Ranch Arts Center, located in Colorado, has been a beacon for the arts in the United States. The Ranch offers master classes, workshops, artist-in-residence programs, and more. For additional information, please click here. registration - there are several registration methods in mokuhanga. The traditional method is called the kentō registration, where you carve two notches, straight another an "L." There is also a "floating kentō," which is where the notches are cut in a piece of "L" shaped wood and not on the wood where you are cutting your image, hence "floating." Lastly, there are removable "pins," such as ones made by Ternes Burton.  The Fisherman and His Wife (1996) 15" x 10" International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here. Prussian Blue - is a dark blue pigment, which has been used by painters, and mokuhanga printmakers. The pigment has been used in Europe since the 18th Century, and in Japan since around 1820, having been imported by Europeans into Japan. More information about Prussian Blue can be found in my interview with Professor Henry Smith, here.  reduction printmaking - is a process in printmaking where the printmaker cuts away on a piece of wood, or linoleum. After every carving, the printmaker makes an impression with pigments, beginning with lighter colours, gradually using darker colours. William H. Mays has a fine description of reduction on his website, here.  CNC Machine - A CNC (Computer Numerical Control) router is a machine used to cut, carve, or engrave materials like wood, plastic, metal, and foam with high precision, guided by a computer program. The router is controlled by pre-programmed software that dictates the movement of the cutting tool along multiple axes (typically three to five), allowing for complex shapes and designs to be created with great accuracy. CNC routers are commonly used in manufacturing, woodworking, sign-making, and prototyping because they can produce detailed and repetitive cuts that would be difficult to achieve by hand. Friends of Baren Forum - is a Facebook group dedicated to those interested in mokuhanga and woodblock printing in general. it can be found, here.  David Bull - is a Canadian woodblock printmaker, and educator who lives and works in Japan. His love of mokuhanga has almost singlehandedly promoted the art form around the world. His company, Mokuhankan, has a brick and mortar store in Asakusa, Tōkyō, and online, here.  River In Spring (2009)  shihan - is a title in Japanese martial arts, often translated as "master instructor." It is an honorific title given to highly skilled and experienced practitioners who have demonstrated knowledge, expertise, and commitment to a particular martial art over many years. A shihan is not only a technical expert but also a role model and leader, responsible for preserving and passing on the traditions and philosophies of the martial art to future generations. The title is typically granted in arts such as karate, aikido, judo, and kendo, and it is often reserved for senior instructors with a rank of 5th dan or higher. aizuri-e - (藍摺絵) are woodblock prints made entirely with shades of blue. This style gained popularity during the Edo Period.  yakusha-e - (役者絵) is the Japanese term for actor prints in mokuhanga.  bijin-ga - (美人画) is the Japanese term for beautiful women in mokuhanga.  Ezoshi - is a mokuhanga focused art gallery and store located in Kyoto, Japan. It was established in 1978. More info, here.  Tōshūsai Sharaku (dates unknown) - was a Japanese ukiyo-e printmaker active during the late Edo period, primarily from 1794 to 1795. He is known for his portraits of kabuki actors, capturing their dramatic expressions and movements with remarkable realism and emotional depth. Sharaku emphasized individuality and personality in his subjects, using bold colors and strong contrasts to create a distinct style. Despite his brief career, lasting only about ten months, his innovative approach had a lasting impact on the ukiyo-e tradition, making him one of the most significant printmakers of the Edo period. The true identity of Sharaku and the reasons for his sudden disappearance from the art scene are still unknown. Otani Oniji III as Edobei (1794) 14 15/16" × 9 7/8" ōkubi-e (大首絵) -  are woodblock prints of close-up human heads, which came into prominence in the late 19th Century. For me, the best mokuhanga designer of okubi-e is Toyohara Kunichika (1835-1900). His okubi-e of kabuki actors is unparalleled, showing the actors in various positions with intricate backgrounds and poses. Kamigata - is a region of Japan which refers to the area encompassing the cities of Kyoto and Osaka, located in the Kansai region. During the Edo period (1603–1868), Kamigata became a significant cultural and artistic center, known for its contributions to theater, literature, and the arts, particularly ukiyo-e  mokuhanga. The term "Kamigata," meaning "upper region," reflects its geographical position relative to Edo (modern Tōkyō), which was considered the "lower region."  Photoshop - is a powerful graphics editing software developed by Adobe Systems, widely used for image manipulation, photo editing, and digital art creation. It offers a variety of tools and features for tasks such as retouching images, creating graphics, applying effects, and designing layouts, making it an essential tool for photographers, graphic designers, and artists. Benjamin Selby - is an artist who works in mokuhanga, as well as serigraphy and installations. More information about Benjamin's work can be found, here. His interview with The Unfinished Print can be found, here.  Crushed (2024) Fudezaishiki - Hand Colored With Brush Mokuhanga 9" x 12" Mokuhanga Project Space - is a mokuhanga residency located in Walla Walla, Washington, USA. It was established in 2016 and is led by printmaker Keiko Hara. More info can be found, here.  coding - also known as programming, is the process of writing instructions for computers using programming languages. These instructions, or code, enable computers to perform specific tasks, solve problems, or automate processes. Coding involves creating algorithms, which are step-by-step procedures for carrying out a task, and translating these algorithms into a language that a computer can understand, such as Python, Java, C++, or JavaScript. Coding is essential in developing software applications, websites, and systems that power various technologies in everyday life, from mobile apps to complex databases and artificial intelligence systems. HP-25 - is a scientific calculator introduced by Hewlett-Packard in 1975. It is notable for being one of the first pocket-sized programmable calculators, featuring a unique Reverse Polish Notation (RPN) input system, which allows users to enter calculations in a more efficient manner than traditional algebraic notation. The HP-25 is equipped with a 49-step program memory, enabling users to create and store complex calculations. It has a 2-line display for showing both the program and the results, and it can perform a variety of functions, including trigonometric, logarithmic, and statistical calculations. The HP-25 is recognized for its durability, design, and the pioneering role it played in the evolution of personal computing and calculators. subroutine - also known as a function, method, or procedure, is a set of instructions designed to perform a specific task within a larger program. Subroutines allow programmers to break down complex problems into smaller, manageable pieces, promoting code reusability and organization. When a subroutine is called, the program temporarily transfers control to that subroutine, executes its instructions, and then returns control to the main program or calling code, often providing a result or output. This modular approach makes it easier to debug, maintain, and understand code, as well as to share functionality across different parts of a program or between different programs. Echizen - is a region in Fukui Prefecture, Japan, known for its long history of papermaking. The area is home to many paper artisans. One notable figure is Iwano Ichibei. He is a Living National Treasure in papermaking and the ninth generation of his family still making paper today. More information can be found here.in English, and here in Japanese.  baren - is a mokuhanga tool that typically consists of a round, flat disk with a bamboo base, covered with a layer of cord or cloth, often wrapped in a spiral pattern made from various materials such as cotton or hemp. Additionally, there are baren made from ball bearings and other materials, including plastic and metal. Linda in Black (2019) 41" x 29.5" - for more information on how this print was made you can find that on Mike Lyon's website, here.  rectangular spirals -  are a pattern which Mike Lyon uses a lot in his mokuhanga. Here is a posting on Mike's website in which Mike discusses his ideas on these spirals and how he uses them through coding. It can be found, here.  Guerra & Paint Pigment Corp. - is a brick and mortar store located in Brooklyn, New York that sells artists pigments. More info, here.  CMYK colour model - stands for Cyan, Magenta, Yellow and Key which are the colours used in the printing process of whichever work you are making. More info, here.  rasters - or raster graphics, are a type of digital image composed of a grid of individual pixels, each containing colour information. This pixel-based format is commonly used in digital photography, web graphics, and image editing, with resolution defined by the number of pixels in each dimension (width x height) and measured in dots per inch (DPI) or pixels per inch (PPI). While raster images can capture detailed and complex visuals, such as photographs, they can lose quality and become pixelated when enlarged, as the individual pixels become more visible. Common raster file formats include JPEG, PNG, GIF, and BMP. Unlike vector graphics, which use mathematical equations to represent images and can be scaled infinitely without loss of quality, rasters are less suitable for images requiring resizing or scaling. Shotbot code - typically refers to programming or scripting used to automate tasks in photography, particularly in photo booths or photography studios. It may involve controlling camera settings, managing image capture, and organizing files, allowing photographers to streamline their workflows and enhance productivity. Often associated with the ShotBot app, this code enables remote triggering of cameras, capturing images at set intervals, and integrating with other software for efficient image management. By utilizing Shotbot code, photographers can achieve consistent results and improve the overall efficiency of their photography projects. Madz - Portrait of the artist Madeline Cass. 31"x32" for more information regarding the process of how this print was made can be found on Mike Lyon's website, here.  Post Digital Printmaking - is printmaking using Computer Numeric Control (CNC) devices, including laser cutters and CNC routers, that are used for matrix production in lithography, intaglio, and relief printing. closed-loop controller -is a type of control system that continuously monitors and adjusts its output based on feedback from the system it is controlling. In this system, the controller receives information about the current state or output and compares it to a desired setpoint or target value. This feedback allows the controller to make real-time adjustments to the input or control signal to minimize the difference between the actual output and the desired output, enhancing accuracy and stability. Closed-loop controllers are commonly used in applications such as industrial automation, robotics, temperature control, and motor speed regulation, and they are contrasted with open-loop controllers, which do not utilize feedback and rely solely on predefined input commands. The feedback mechanism in closed-loop systems improves performance, allowing for better handling of disturbances and changes in system dynamics. MDF - or Medium-Density Fiberboard, is an engineered wood product made from wood fibres, wax, and resin that are compressed under high pressure and temperature. It is known for its smooth surface, uniform density, and versatility, making it a popular choice for furniture, cabinetry, moldings, and decorative applications. MDF can be easily cut, shaped, and painted, allowing for intricate designs and finishes. Unlike solid wood, MDF does not have knots or grain patterns, providing a consistent appearance. It is often used as a cost-effective alternative to solid wood and plywood, although it can be more susceptible to moisture damage and may require sealing for certain applications. Foundry Vineyards - based in Walla Walla, Washington is a vineyard and art space. It has been hosting artists from all types of media such as painting and printmaking since 2010. It has exhibited The Mokuhanga Project Space, printmaker Mike Lyon,  and the International Mokuhanga Print Exhibit. More info about this space and the good it does for the art community at large can be found, here.  The Wichita Art Museum - located in Wichita, Kansas, is the largest art museum in the state. Established in 1935, it features a diverse collection of American art, with a particular focus on works from the 19th and 20th centuries. The museum's permanent collection includes paintings, sculptures, and decorative arts, highlighting notable artists such as Georgia O'Keeffe, Edward Hopper, and John Steuart Curry. In addition to its collections, the museum offers rotating exhibitions, educational programs, and community events that engage the public and promote an appreciation for the visual arts. The museum's architecture, designed by the renowned architect Edward Durrell Stone. More info can be found, here.  The International Block Print Renaissance: Then & Now - was a woodblock exhibition held at the Wichita Art Museum from February 26 - August 7, 2022. It was an exhibition which exhibited prints from around the world as well as printmakers from Wichita, Kansas, USA. It described various print making techniques from Japan, Western and Eastern Europe, as well as the United States.  Secret Garden [Clover] (2017) 36" x 36", a video on how Mike Lyon printed this particular print can be found on YouTube, here.   © Popular Wheat Productions opening and closing credit -There Is No Greater Love by Chet Baker (1928-1988) from the album City Lights (2024) UMG Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***    

iPad用お絵描きアプリのProcreateにはCMYKのモードがあるにはあるんですが、ちょっと癖があるというか問題があるので注意が必要という話をしました。＝＝＝ 目次 ＝＝＝00:00:00 ProcreateでのCMYKキャンバスの作り方00:01:42 CMYKでの数値で色を選べるけれど…00:05:32 CMYKモードは印刷のシミュレートとも言える00:08:32 RGBでの納品・入稿という手もある00:10:31 ProcreateでのCMYK書き出し時の注意00:11:13 CMYKで絵を描いて上手くいってる人の例-------#アシカガCASTデジタル活用のヒントをスキマ時間で。話題のサービス、注目のソフトウェアの紹介、デジタルツールの活用術など、テック系情報をわかりやすくお届けします。月〜水 朝8時に更新■アシカガCAST文字起こし要約｜アシカガコウジ｜note https://note.com/ashikagacast/m/mbc989fbedb84■X（Twitter）アカウントhttps://twitter.com/ashikagacastApple Podcast、Spotify、Google Podcastなどでも配信しています。■アシカガCASTの聴き方http://typebot.io/ashikagacast ■アシカガノオトhttps://ashikaga.substack.com/

iPad用お絵描きアプリのProcreateにはCMYKのモードがあるにはあるんですが、ちょっと癖があるというか問題があるので注意が必要という話をしました。＝＝＝ 目次 ＝＝＝00:00:00 ProcreateでのCMYKキャンバスの作り方00:01:42 CMYKでの数値で色を選べるけれど…00:05:32 CMYKモードは印刷のシミュレートとも言える00:08:32 RGBでの納品・入稿という手もある00:10:31 ProcreateでのCMYK書き出し時の注意00:11:13 CMYKで絵を描いて上手くいってる人の例-------#アシカガCASTデジタル活用のヒントをスキマ時間で。話題のサービス、注目のソフトウェアの紹介、デジタルツールの活用術など、テック系情報をわかりやすくお届けします。月〜水 朝8時に更新■アシカガCAST文字起こし要約｜アシカガコウジ｜note https://note.com/ashikagacast/m/mbc989fbedb84■X（Twitter）アカウントhttps://twitter.com/ashikagacastApple Podcast、Spotify、Google Podcastなどでも配信しています。■アシカガCASTの聴き方http://typebot.io/ashikagacast ■アシカガノオトhttps://ashikaga.substack.com/

Doing it live with Spider-Man: Across the Spider-Verse Live In Concert, stacking shelves in CMYK's Wilmot's Warehouse, travelling with Catch Up Games' Faraway, and being lied to with Odd-Meter's Indika. All that, and teasing a child, on Ep208. 00:00 - How do you define “relax”? 05:24 - Spider-Man: Across the Spider-Verse Live In Concert 11:16 - Wilmot's Warehouse 27:59 - Indika 45:42 - Faraway On this episode were Dan (@ThisDanFrost), Kris (@DigitalStrider), Peter (@XeroXeroXero), and Sam (@MrSamTurner). Our Spotify Playlist brings together lots of great thematic music inspired by the stuff we talk about. Links to where you can find us - StayingInPodcast.com Note: sometimes we'll have been sent a review copy of the thing we're talking about on the podcast. It doesn't skew how we think about that thing, and we don't receive compensation for anything we discuss, but we thought you might like to know this is the case.

Send us a Text Message.In this podcast, I talk with Viktor Lazzeri, COO at Barbieri Electronic. In this pod, we talk about the importance of color quality and consistency and how spectrophotometer technology is vital for professional digital printing given the CMYK profile of the printing process. The challenge is to match print to design accurately! In addition to advances in ink and inkjet head performance, there is a growing number of substrates in which digital print technology is expected to perform a role. Therefore Barbieri's importance continues to grow! We talk of the history of Barbieri, the market the business it serves, the problems the technology solves, the unique characteristics of Barbieri technology and the fact that despite the unique value proposition of the technology why more print professionals need to learn of its compelling advantages. Viktor Lazzeri is the COO at Barbieri Electronic. Barbieri Electronic builds spectrophotometers for color management in professional digital printing and is the color measurement market leader for large format, flatbed and industrial printing.Viktor's focus is expanding Barbieri's international business into new markets, applications, and industries. He started at Barbieri in 2011, initially working as Supply Chain Manager. Later he took the role of the VP of Product and Innovation and also managed the operations of Barbieri North America Inc.Listen on:Apple PodcastGoogle PodcastSpotifyWhat is FuturePrint? FuturePrint is a digital and in person platform and community dedicated to future print technology. Over 15,000 people per month read our articles, listen to our podcasts, view our TV features, click on our e-newsletters and attend our in-person and virtual events. In 2024, we hope to see you at one of our events:FuturePrint TECH: Digital Print for Manufacturing 6-7 Nov '24, Cambridge, UK FuturePrint TECH: Packaging & Labels 2-3 April '25, Valencia, Spain

This week Shelley and I play to beautiful games, one of which is a Kennerspiel nominee! The first has us collecting umbrellas and decorating our cities in Agueda: City of Umbrellas by Dustin Dobson and Milan Zivkovic from 25th Century Games Then we attempt to work together to halt climate change in Daybreak (also known a e-Mission) by Matt Leacock and Matteo Menapace from CMYK and Schmidt Spiele Thanks as always to Bezier Games for their sponsorship of the podcast. You can support us directly at www.patreon.com/garrettsgames OR check out our extensive list of games for sale that no longer fit on our shelves, but belong on your table: https://docs.google.com/spreadsheets/d/16ovRDNBqur0RiAzgFAfI0tYYnjlJ68hoHyHffU7ZDWk/edit?usp=sharing  

Frank gave a brief review on Midori Cotton notebook (20%) vs the normal Midori notebook paper and discusses his miss conception regarding to color composition and finally figured out why some ink color combo didn't exactly went the way he was expecting.He proceeds to discuss some recent pen & ink release, and a recent advice he heard/learn regarding to crowd funding.Goods discussed:Lamy Safari Song Dynasty3D poster cards on Wanderlust Magna Carta Old Glory Sapphire Grand2024 Inkvent BlackFerris Wheel Press New 10ml ink bottleTWSBI Vac700R Kyanite BlueMajohn P136 Titaniumpentonotelife.com Yonomori-sakura inkYonomori-sakura Fountain pen

Listen in on this episode of WorkTape as we commemorate Juneteenth with a spotlight on Kendrick Lamar's cheeky yet powerful performance at The Forum. We also reflect on the enduring legacy of The Eagles as they prepare for their final tour at The Las Vegas Sphere, while giving our takes on James Blakes' recently dropped “CMYK” EP. Join us for another dynamic discussion on these exciting music moments and more!Episode Highlights:Is Kendrick's Juneteenth performance just more trouble for Drake?Does The Eagles' final tour mark the end of an era for classic rock?What made Kings of Leon become so popular with the UK for some time?Would a Pink Floyd reunion be the ultimate Sphere concert?Could Coldplay be a potential candidate for future Sphere performances?What are the standout moments in James Blake's “CMYK”?

Amaia se asoma a la bossa nova y la samba sobre un beat producido por Ralphie Choo. Lo hace en 'Nanai', una nueva canción en la que se asocia en su escritura con Irenegarry y AMORE para completar un trío de ases de la nueva escena del pop de vanguardia nacional. Playlist:hard life - tearsTom Misch - Cinnamon curlsL'Impératrice - Sweet & Sublime (feat. Erick the Architect)Clementine Douglas - RiddlesThe Blessed Madonna - Happier (feat. Clementine Douglas)Logic1000 - side by side (feat. Empress Of)Peggy Gou - Back to OneCosmic Wacho - Caramelo (Lorenzo Soria Diabloso Remix)James Blake - Thrown AroundCMYK, James Blake - Let Het KnowRalphie Choo, rusowsky - GATAAmaia - NanaiDELLAFUENTE, Judeline - Romero SantoLittle Simz - Mood SwingsRM, Little Simz - DomodachiBADBADNOTGOOD - First LoveEscuchar audio

Thanks to our sponsors www.beziergames.com Remember that you can support the podcast directly by becoming a patron at www.patreon.com/garrettsgames or check out our extensive list of games for sale - games that no longer fit on our shelves, but belong on your table: https://docs.google.com/spreadsheets/d/16ovRDNBqur0RiAzgFAfI0tYYnjlJ68hoHyHffU7ZDWk/edit?usp=sharing This week Shelley and I discuss the latest nominations for the Games of the Year coming out of Germany, then have a great time interviewing YouTube gamer and Bezier Marketing guru Jay Bernardo! Jay's YouTube Channel (Cardboard East): https://www.youtube.com/@CardboardEast And the names and BGG links to all of the SdJ, KdJ and Kinder nominees and recommended titles: Spiel des Jahres Nominees: Captain Flip by Paolo Mori and Remo Conzadori from PlayPunk In The Footsteps of Darwin by Gregory Grard and Matthieu Verdier from Sorry We Are French Sky Team by Luc Remond from Scorpion Masque and KOSMOS SdJ Recommended Titles: Harmonies Passt nicht! Phantom Ink Schatz it if you can Trekking Through History  Trio Kennerspiel des Jahres Nominees: Daybreak (or e-Mission) by Matt Leacock and Matteo Menapace from CMYK and Schmidt Spiele Guild of Merchant Explorers by Matthew Dunstan and Brett J Gilbert from AEG and Skellig Games Ticket to Ride Legacy: Legends of the West by Matt Leacock, Alan R. Moon, and Rob Daviau from Days of Wonder KdJ Recommended Titles: Bier Pioniere Botanicus Forest Shuffle Ritual Kinderspiel des Jahres Nominees: Große kleine Edelsteine by Wolfgang Warsch from Schmidt Spiele Die magischen Schlussel by Markus Slawitscheck and Arno Steinwender from Happy Baobab and Game Factory Taco Kitten Pizza by Dave Campbell and Thierry Denoual from Blue Orange Kinder Recommended: Fluffy Valley Lecker Lava Die Nadel im Heuhaufen  

Welcome to episode 60! In this episode we kick it off with some of the games we've been playing lately. We also interview a legendary designer of cooperative games, Matt Leacock. Then we close out the episode with a feature review of a newer release from Matt Leacock, Matteo Menapace, and CMYK, Daybreak. Games we've been playing lately: Witchcraft! - 00:06:48 Sail - 00:20:17 Tikal - 00:26:47 Trekking the World - 00:36:54 Stonespine Architects - 00:45:44 Matt Leacock Interview -  00:54:53 Feature Review - Daybreak: Game Summary - 01:30:40 Review Discussion - 01:34:37 (Production, Gameplay, etc. - what we like/dislike) Final Thoughts - 02:01:29 Outtakes - 02:20:29 Join our Discord: https://discord.gg/F4kX3Faxxf  Other links, please subscribe: https://linktr.ee/Longestturn Affiliate codes: GameNerdz, Boardlandia (5% discount) Rules overview ambience and music is from https://tabletopaudio.com/ Support us on Buy Me a Coffee!

This week's AGT Rewatchable is on America's Got Talent season 7 4th place finisher, David Garibaldi and His CMYKs. Cody and Commenter break down the new Taylor Swift Album and then David Garibaldi's 5 performances. Did they finally get on the same page for Headline/Footnote? Summary In this episode, Cody and AGT Commenter discuss Taylor Swift's new album and then dive into a review of David Garibaldi and his CMYKs, the fourth-place finisher in season seven of AGT. They discuss the uniqueness and entertainment value of Garibaldi's performances, as well as the potential for further growth and expansion in his act. They also provide background information on Garibaldi and his group, including their involvement in charity work. In this part of the conversation, Cody and AGT Commenter discuss David Garibaldi and His CMYKs' audition and Vegas round performance on America's Got Talent Season 7. They talk about the use of CMYK goggles, the painting of Beethoven in the audition, and the painting of Elvis Presley in the Vegas round. They also discuss the judges' comments and give their own scores for the performances. In this part of the conversation, AGT Commenter and Cody discuss the quarterfinals of America's Got Talent Season 7. They talk about the location of the quarterfinals in Newark, New Jersey, and the number of acts performing for a spot in the semifinals. They mention the performances of the American BMX stunt team and Michael and the Jod, as well as the judges' comments. They also discuss the performance of David Garibaldi and the CMYKs, where they paint a portrait of Mick Jagger to the song 'Paint It Black'. They analyze the performance and the use of different canvases to create the artwork. They give their scores for the performance and discuss the results of the quarterfinals. In the finals of Season 7, David Garibaldi and the CMYKs finished in fourth place. Cody believes this placement was just right, while AGT Commenter thinks it was too low. They both agree that the most rewatchable performance was David Garibaldi's semi-finals act, where he revealed a painting of Albert Einstein. They also discuss the judges' comments, with Sharon mentioning her facial hair and Howard giving advice about the pacing of the performance. In terms of unintentional comedy, AGT Commenter finds David Garibaldi's attempts to hype up the crowd cringeworthy, while Cody highlights Sharon's comment about mustaches. Overall, they have different opinions on the placement of David Garibaldi and the CMYKs in the finals. In this final part of the conversation, Cody and AGT Commenter discuss the rankings of David Garibaldi and the CMYKs compared to other acts on AGT. They debate whether the act should have placed higher and compare them to other acts like Zucaroh, Piff the Magic Dragon, and Ryan Niemiller. They also discuss the potential of David Garibaldi and the CMYKs having a Vegas show and speculate on what additional element could enhance their act. They conclude by reflecting on the act's overall impact and memorability. Keywords Taylor Swift, album review, David Garibaldi, CMYKs, AGT, season seven, painting, entertainment, growth, expansion, charity, David Garibaldi and His CMYKs, America's Got Talent, Season 7, audition, Vegas round, performance, CMYK goggles, painting, Beethoven, Elvis Presley, judges' comments, scores, America's Got Talent, Season 7, quarterfinals, Newark, New Jersey, American BMX stunt team, Michael and the Jod, David Garibaldi and the CMYKs, Mick Jagger, Paint It Black, portrait, performance, judges' comments, scores, results, AGT, America's Got Talent, Season 7, David Garibaldi, CMYKs, finals, placement, rewatchable performance, judges' comments, unintentional comedy, David Garibaldi and the CMYKs, AGT, rankings, Vegas show, memorable Takeaways Taylor Swift's new album is receiving a lot of attention and discussion David Garibaldi and his CMYKs brought a unique and entertaining act to AGT Garibaldi's performances had the potential for further growth and expansion Garibaldi and his group are involved in charity work David Garibaldi and His CMYKs' audition and Vegas round performances were visually impressive and showcased their unique blend of dance and painting. The use of CMYK goggles added an interesting visual element to their performances. The judges were impressed with their talent and the overall presentation of their acts. The format of the second audition in Season 7 was different from the current format, with shorter performances and less feedback from the judges. The scoring for the performances was consistent, with both Cody and AGT Commenter giving high scores for the audition and slightly lower scores for the Vegas round. The quarterfinals of America's Got Talent Season 7 took place in Newark, New Jersey. The American BMX stunt team and Michael and the Jod were among the acts that performed in the quarterfinals. David Garibaldi and the CMYKs painted a portrait of Mick Jagger to the song 'Paint It Black'. The use of different canvases and the reveal of the artwork added to the performance. The judges gave positive comments and scores for the performance. David Garibaldi and the CMYKs advanced to the semifinals. David Garibaldi and the CMYKs finished in fourth place in the finals of Season 7. Cody believes their placement was just right, while AGT Commenter thinks it was too low. The most rewatchable performance was David Garibaldi's semi-finals act, where he revealed a painting of Albert Einstein. Sharon's comment about mustaches and Nick Cannon's attempts to hype up the crowd provided unintentional comedy. The judges' comments included advice about pacing and compliments on the performance. David Garibaldi and the CMYKs should have placed higher in the competition They are compared to other acts like Zucaroh, Piff the Magic Dragon, and Ryan Niemiller The act has the potential to have a successful Vegas show The addition of a screen on the back wall could enhance their act David Garibaldi and the CMYKs are memorable and have made an impact on AGT Contact Information Facebook | Twitter | Instagram | Threads | Email About AGT Time Podcast AGT Time Podcast is a weekly podcast covering the hit NBC talent competition America's Got Talent. The hosts, Cody Patterson & Jay Bock recap each episode during the regular season. We do rewatch older seasons during the offseason, have guest interviews, or review movies. AGT Commenter makes a frequent appearance on the podcast and gives his deep insight into America's Got Talent.  The podcast is typically recorded on Thursday nights and released on Fridays. Riverside.fm We are in the affiliate program for Riverside.fm. If you sign up using this link, then we receive a percentage from your subscription. This really helps us support this podcast.  #AGT #AmericasGotTalent   

This week I'm joined by @The0neulost for another art lesson from someone little more seasoned in the industry, going over topics like how to get started what type of stuff will make you better artist long term, and who his oshii actually. Where to find him

As a tribute to Ryuichi Sakamoto on the first anniversary of his passing, Caro C talks to Richard Barbieri, Natalie Beridze and Carsten Nicolai, aka Alva Noto, three musicians who were fortunate enough to collaborate with him. Here, they share some insights into his mindset and methodologies. Chapters00:00 - Introduction01:44 - Richard Barbieri09:04 - Natalie Beridze 19:45 - Carsten Nicolai / Alva Noto Ryuichi Sakamoto BiogRyuichi Sakamoto was a multi award-winning keyboardist, songwriter, composer and producer who along with Haruomi Hosono and Yukihiro Takahashi, became pioneers of the electronic music genre in Honsono's band Yellow Magic Orchestra.Prior to his success with the band, Sakamoto earned a B.A. in music composition and worked as a session musician and producer. Alongside his success with the band, he continued his solo work, releasing solo albums and collaborations, experimenting with various genres and fusing traditional with electronic. This work led to him scoring more than 30 films throughout his career, his most famous being Merry Christmas, Mr Lawrence and The Last Emperor. In his later career he composed a multimedia opera, sampled a glass building for use in one of his works and traveled to the Arctic to record the sound of melting snow.Richard Barbieri BiogHailing from London, Richard joined the British band Japan in 1975 and saw huge success around the world until they split in 1982. He continued to work with David Sylvian, as well as Sylvian's brother, Steve Jansen on separate projects. He reunited with Sylvian, Jansen and bass player Mick Karn for the Rain Tree Crow project and continued to play with Steve & Mick as part of ‘JBK'. In the early 1990s, the three of them teamed up with Tim Bowness and Steven Wilson as part of No-Man and it was here that Barbieri and Wilson would begin their long musical association. Porcupine Tree had initially been a Wilson solo project but he recruited Richard in 1993 and over the next 17 years, became one of the shining lights of the neo-prog / pop scene, embracing a more heavy style as the years went on. Reuniting in 2021, they released the first Porcupine Tree album in 12 years with 2022's ‘Closure/ Continuation', a critically acclaimed return to form. Richard has a large body of solo work which he started to release in 2005 and still does to this day.http://www.richardbarbieri.co.uk/Natalie Beridze BiogNatalie Beridze is a Georgian music composer and songwriter. Since 2003 Natalie has been performing live concerts worldwide, and has been known as the first female electronic music artist from Georgia. From 2002-2008 she lived in Cologne and produced music under the artist name TBA. She's released music in Europe on Max.E, Monika Enterprise, CMYK, Laboratory Instinct, CES Records DADO records, Apollo Records Chainmusic, CES Records and ROOM40.In addition to her solo projects, Beridze has collaborated with artists such as Thomas Brinkmann, AGF (Antye Greie), Gudrun Gut, Joerg Follert, Marcus Schmickler, Nika Machaidze aka Nikakoi, Ryuichi Sakamoto, Gacha Bakradze, Alex Kordzaia, Annika Henderson, Antye Greie-Fuchs, Barbara Morgenstern, Beate Bartel, Danielle De Picciotto, Gudrun Bredemann, Lucrecia Dalt, Merja Kokkonen, Mommo G, Natalie Beridze, Pilocka Krach, Sonae. Beridze's music is part of Adam Curtis's recent BBC Documentary series “Can't get you out of my head”. She also creates works for piano, orchestra and choir, which have been performed by a number of artists and the Tbilisi state opera orchestra. Her recent compositions for piano, keyboard, soprano and tape are part of the ongoing program of Zurich based KioskEnsemble.Beridze, alongside Nika Machaidze teaches songwriting and music production at CES (creative education studio).https://natalieberidzetba.bandcamp.com/Carsten Nicolai / Alva Noto BiogUnder the pseudonym Alva Noto, Carsten Nicolai is one of the best-known representatives of contemporary electronic music. Concerts have taken him to the Solomon R. Guggenheim Museum in New York, the San Francisco Museum of Modern Art, the Centre Pompidou in Paris, and the Tate Modern in London. His various musical projects include collaborations with Ryōji Ikeda, Mika Vainio, Iggy Pop, Blixa Bargeld and Ryūichi Sakamoto. With the latter, Nicolai composed the score for Alejandro González Iñárritu's Oscar-winning film The Revenant, which was nominated for a Golden Globe, a BAFTA, a Critics Choice Award and a Grammy.https://alvanoto.com/Caro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/

In this conversation, Eric and Chain Assembly discuss various topics related to the art industry. They talk about leaving Florida and moving to Atlanta, exploring different conventions and events, the challenges of copyright infringement, the importance of building an audience outside of social media, and the benefits of printing artwork at home. They also touch on the impact of social media on artists, the value of commissions, and the appeal of niche conventions. Overall, the conversation highlights the experiences and insights of an artist navigating the art world and finding success in their own unique way. In this conversation, Eric Z. Goodnight discusses various aspects of his art business, including the use of CMYK and RGB color modes, the appeal of digital prints, the creation of art products like canvas prints and stickers, long-term goals and legacy, and upcoming Kickstarter projects. He also shares his thoughts on using BackerKit Launch for lead generation and the importance of having an online presence. https://www.facebook.com/groups/276639097427588 https://www.instagram.com/ezgoodnight/ Music by Old Romans: https://www.instagram.com/old_romans --- Send in a voice message: https://podcasters.spotify.com/pod/show/a4ps/message Support this podcast: https://podcasters.spotify.com/pod/show/a4ps/support

On this climate-friendly episode of the Shut Up & Sit Down Podcast, Tom and Matt take half an hour to amble through their first play of Daybreak - the latest co-op save-the-world-like from Pandemic designer Matt Leacock, new designer Matteo Menapace, and publisher CMYK games of Monikers, Wavelength, and Lacuna fame. A stacked lineup, for sure; but what do we think of the game? Find out more by having a little listen... Have a great weekend, everybody!

It's likely that everyone reading this has used, or at the very least heard of Adobe's ubiquitous piece of software called Photoshop. But are you familiar with the very first—and perhaps the most eccentric—of the evangelists working behind that magic curtain?   Well, you're about to meet him today, in our latest podcast featuring pioneers of photography and imaging. As Adobe employee number 38, graphic designer Russell Preston Brown was in the room when brothers Thomas and John Knoll showed up to demonstrate a new piece of software, in 1988. Suitably impressed with what he saw, Russell made a beeline to Adobe co-founder John Warnock and uttered the imperative “Buy it! Now!”   Thirty-five years later, Brown has not lost an ounce of passion for concocting magic with digital imaging tools, and for sharing his knowledge with other users during his outlandish workshops and events.   Join us for a rollicking chat with this shapeshifting impresario in cowboy attire. From Brown's earliest training in darkroom photography to his current digital workflow syncing a mobile phone with Profoto lighting gear, we cover a lot of ground.   Throughout our discussion, we reflect on the revolutionary effects of technological advances, plus Brown's uncanny luck to be there in the middle of the zeitgeist, which led him to a telling analogy:   “Yes, I was in the right place at the right time. I made my fair share of contributions, but it all comes back to—what if the Knoll brothers had not decided to make Photoshop? I want to see that Jimmy Stewart episode of “A Wonderful Life,” where Photoshop didn't appear. Would we be using Letrasets?...”   Guest: Russell Preston Brown For more information on our guests and the gear they use, see: https://blogd7.bhphotovideo.com/explora/podcasts/photography/adobes-first-evangelist-russell-preston-brown Above photograph © Russell Preston Brown Episode Timeline: 2:47: A peak behind the scenes of Brown's early experiences at Adobe and what constituted working as a graphic designer back in 1985.  10:24: Brown's early training in darkroom photography, the type of photos he made and the tech transitions to the mobile phones that he works with today.  15:55: Thomas Knoll calls the iPhone a hallucination of what you are seeing in terms of colors, dynamic range, and quality of light. It gives us what we want to remember from that moment. 19:45: Brown's workflow for shooting with an iPhone synched to Profoto strobes and other lighting modifiers, and his ability to carry everything around in one bag.  24:12: Comparing image captures from different brands of mobile phones: iPhone, Google Pixel 7 and Samsung 23. Plus, make sure to use a solar filter over the lens when photographing the eclipse. 31:27: Brown's experiences working directly with programmers in the development of Photoshop, plus working one-on-one with a programmer to develop actions, scripts, and panels for his own Photoshop tools.  36:06: Episode Break 36:39: Brown reflects on his rapport with photographic purists during early presentations about Photoshop—from a photojournalism conference in Perpignan, France, to an early discussion about digital with Greg Gorman.  42:39: Adobe's earliest dreams and goals about prepress and processing images to create CMYK output for print publication, and the subsequent ability to access Raw data. 47:15: Differentiating between generations of Adobe users and how they employ the software, plus distinguishing between Lightroom Classic and Lightroom Desktop. 51:46: Applications that have kept all the original tool sets, offering many routes to similar results, to serve the full range and successive generations of its user base.  54:00: The question of AI and differences between typing text and using AI prompts, or taking one's original photographs and supplementing them with AI through Photoshop's Generative Fill. 1:03:39: The dangers of using creative tools incorrectly, and Brown's predictions about creative trends to come.  Guest Bio: Russell Preston Brown is the Senior Creative Director at Adobe Systems Incorporated, as well as an Emmy Award-winning instructor. His ability to bring together the world of design and software development is a perfect match for Adobe products. In Brown 's 38 years of creative experience at Adobe, he has contributed to the evolution of Adobe Photoshop and Adobe Illustrator with feature enhancements, and advanced scripts. Most recently he has started to travel the world with a mobile phone camera to capture his adventures from a whole new creative perspective. This new age of mobile photography has sparked his creativity and has inspired a variety of new imaging directions.  Brown also specializes in inspirational hands-on training at Adobe MAX, where he shows users how to work and play with Adobe software. He shares his delight in testing the creative limits of his tools as a prolific creator of an entertaining collection of Photoshop tips and tricks. His in-depth design knowledge and zany presentation style have won him a regular following among beginning, intermediate, and advanced Photoshop users alike. A live performance of the Russell Brown Show is not to be missed.  Stay Connected: Russell Preston Brown Website: https://russellbrown.com/ Russell Preston Brown on Instagram: https://www.instagram.com/dr_brown/ Russell Preston Brown on Facebook: https://www.facebook.com/russellprestonbrown/ Russell Preston Brown on Youtube: https://www.youtube.com/user/therussellbrownshow/videos Russell Preston Brown on Vimeo: https://vimeo.com/user6594224 Russell Preston Brown at the Photoshop Hall of Fame:https://www.photoshophalloffame.com/russell-brown Adobe Max: https://www.adobe.com/max.html

Check out what we've played recently including Spots by CMYK, Diced Veggies by Kids Table Board Gaming, and Don't Llama Dice by Amigo. https://mfgcast.com/wp-content/uploads/2023/12/Episode_458_Final.mp3

Episode 20 of Artist & Place with Boston-based artist, Michael Zachary! Michael Zachary is workin in drawing and picture making. His work utilized the slow building up of cross hatched lines using 4 colors - CMYK. Themes explored in his work are landscape, nature,  and perception. This is a great conversation celebrating a love of the slow & tactile quality of drawing through a digital and modular approach. It's a conversation about creating speed bumps in the work to slow the viewer down, and about how landscape, according to Thoreau, can be a psychic self portrait. It's a conversation about the need for a specificity of color and achieving that through his laborious and focused process. It's a conversation about seeing as improvisational and how he came to that discovery and how in many ways he's been seeking to find that feeling of a place or a moment within his work.  Michael Zachary has shown his work widely through the Northeast as well as nationally and internationally. He has received the support from the Joseph and Annie Albers Foundation, the Berkshire Taconic Foundation Artist Resource Trust, the MCC Cultural Council, the Boston University Blanche Coleman Trust, and Mass MoCAs Assets for Artists Grant to name a few. Michael Zachary Website & InstagramSome things discussed:Annie Dillard Pilgrim  at Tinker CreekThe Secret Miracle by Jorge Luis BorgesSol LeWitt Wall DrawingsCharles GainesJanne HöltermannJuan Jose BarbosaRichard Long A Line Made By WalkingNew Museum UnmonumentalBurren College of Art Josef & Annie Albers FoundationPlease Subscribe to the show, leave a review and share this episode on social media or with friends! Check out our website for more information and follow us on @artist_and_place Steam Clock. Theme music by @GraceImago Podcast graphic design by @RobKimmel

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT Everybody who is active and experienced in the digital signage space knows the big evergreen challenge for solutions providers and end-users is content production - keeping programming on screens fresh and relevant, but also attractive. A lot of companies in the ecosystem - and not just the software guys - have some degree of template libraries and finished content that can be updated or pushed straight to screens. That's a piece of the solution. But there's also a demand for tools that make it easy and efficient to produce good-looking material for screens. In looking over the exhibitor list for the upcoming DSE trade show, I came across Design Huddle, and wondered, "Who is that and what do they do?" It's a small West Coast US startup that has B2B graphic design software that allows brands, agencies, and other platforms to create what it describes as lockable digital, video, print, and presentation templates for their users. There are some similarities to solutions like Canva, but also a lot of distinctions. The one that would particularly interest a lot of tech companies in this industry is the ability to fully integrate and white label the Design Huddle toolset inside something like a CMS. I haD a great chat with CEO and co-founder Dave Stewart, who is based (I'm jealous) in Huntington Beach, California. Yeah, there's LA traffic, but it's lovely by the water ... Subscribe from wherever you pick up new podcasts. TRANSCRIPT Dave, thank you for joining me. Can you tell me what the Design Huddle is all about? Because it's unfamiliar to me.  Dave Stewart: Yeah, absolutely. Ultimately, we are an enterprise focused on software as a service platform that focuses on templating and content creation in an easy and accessible way. We're definitely API-first, so we have a big focus on platform integrations where our customers are programmatically creating content, but then we're also really focused on end-user experience so people who are actually designing, whether that's static content or motion content in a browser, are able to really easily fill in pieces of a video template or create content really for any purpose. What kind of content would they be creating in the context of digital signage, which is obviously what I'm interested in?  Dave Stewart: Yeah, absolutely. So yeah, we were actually really surprised. We're relatively new to digital signage, and within the last year, we had to get up to speed ultimately because a couple of players in this industry came to us and really expressed, “Hey, content is a big issue for us, right? We can sell these really expensive screens and they're great, but our customers are just really struggling with what are we going to put on them and how's that going to look good, right? We can have a great-looking screen without good-looking content, so there's a problem.”  So, I've been educating ourselves on this very recently, and it's really a combination of things like static content where it's like, I'm just displaying basic information that might be somewhat real-time or just informational, then also, motion content for things like, imagine the signs that are up on a football stadium or in a basketball gym, where you want to show basic animated content, that's talking about whatever the context is for that sport or things like that. So it's been a little bit of everything, but imagine anything that can be shown on a sign, someone's creating that somewhere, right?  Right. Is the core idea that the end user, the operator would be selecting from a template library or are they creating stuff from scratch or how does it work? Dave Stewart: Yeah, absolutely. We are actually just the software. We're not actually playing in the content game ourselves. We just make it really easy to create content on our platform, and generally, that's going to mean importing from existing design files and animation files that you've created elsewhere. We can import PDFs and maintain all the layers. So any static content that's generated in any Adobe product or Figma, we can essentially just import it in and maintain that. In After Effects, you can now export to a format called Lottie files and Lottie files can be imported into our system and now essentially we can have really rich animations generating After Effects that are really easily customizable by an end user and also programmatically via API. So that's the starting point for most of our customers is generating their content on their side, whether they're contracting with an agency or they have a team internally, it's building these things. The main thing they're focused on is, we just don't want to have to do these customs per customer. I was super surprised to find out that some of the initial interest from us, these hardware companies have content teams that are literally generating content individually for their customers and to me, that was crazy. but they had to, because that was the way they were going to sell their hardware.  So we're just changing that a bit where it's like, just do that once, right? Generate some templates for them and then give them the power, empower them to actually make the changes for themselves, or, again, do it programmatically for them. So I'm curious. Is this the sort of thing that is best suited to somebody who's already a motion graphics designer, an animator, somebody with quite a deep set of creative skills or maybe technical skills?  Dave Stewart: I would say a big focus of ours is when it comes to who we are going to sell to. Definitely, software companies are high up on that list who have a general system that's trying to do a lot of things and specifically in digital signage, that might be a CMS or any of these other acronyms that we've come to find out exist here where they're trying to do a lot of things. We're just the content piece, and we feel like we can really stand out by creating a best-in-breed, seamlessly integrated white-labeled product that can fit into their platform in a way that feels proprietary but adds best-of-breed, innovative content creation ability. Now, when it comes to who's creating that content whether they have an internal design team with some expertise or whether they contract an agency just to initially create them a set of templates, it can work either way. I will also say, though, that we do work with brands directly, where brands are creating branded content that might be shown on lots of screens but they want to empower regular users to be able to make changes to those templates while still adhering to brand consistency and their brand guidelines and so like our locking feature is big in that situation because someone creates a template but then now anybody can actually make basic adjustments to it. So it sounds like it's a little reminiscent of what I've been hearing in the last year about AI and how generative AI isn't going to really replace designers, but it does add a considerable layer of efficiency in that you can remove some of the drudgery and some of the building block stuff and automate that or streamline that but it's not meant to just take designers out of the equation. Dave Stewart: No, definitely not. I feel like we're really excited about AI and everyone says that, but I'll get more specific for you. I think, for us right now, we actually just sent out an AI survey to our customers to try to prioritize the main things that they're really interested in. For us, the basic stuff, like background removal, like removing background from images, which we already do, and background from videos. You have things like speech-to-text to provide like auto captioning and things like that. Obviously, generative AI, where you're prompting via text to say, “Hey, I want an image that shows this, or I want to alter this one image to include this”, all those things fit in really well with what we do, but where we want to take that even further is, okay, let me generate a whole bunch of template ideas for you that are basic iteration changes from a set of templates that we may train a model on. So we're actually gonna take all your content you've made and the holy grail for us is, let us shoot out and show you a bunch of previews of a bunch of similar-looking templates that follow the same kind of styles, maybe themes or layouts. But in a new way you're still starting with the designer that needs to set the standard but you're able to generate content in a much quicker way and remove a lot of the monotonous activity that's usually involved there.  So what would be involved in using it? Dave Stewart: Yeah, absolutely. So typically what will happen is, again, two sides of our business. We have a platform side where we're going to be very hands-on with our customers and integrate this into some platform that they already have, where there are already users where they need to add on templating or improve some existing content creation suite that they have inside that. So, we would inherit those users and they seamlessly became part of that platform. The other side of the business is, okay, their turnkey solution where we might work with an agency or brand directly. We white label it and they log into a portal that like we create, but it's white labeled for you on your domain. and the idea is that a user is just signing up and accessing a template in a way where you are just a distribution mechanism to provide them content that way. Either way, it's going to be in the context of a browser, whether that's on desktop or mobile and generally it's going to be filling out a template that someone has gotten you, let's call it 80 percent of the way there. Okay. So like you were saying earlier, it's not really that you would go in and say, I want to do a 15-second promotional spot for a car dealer and I would go find a template that seems to be about retail or car dealers or whatever it may be and I can monkey around with that. This is more important than what you already have and automating and making it much more efficient to do that sort of thing. Dave Stewart: Honestly, I think it's both. We have some customers that definitely fall more in the former, for sure, where they have more generic content that they're trying to reach a lot of people with and they're creating more generic content that could be used for different purposes while still allowing the user to really personalize it for themselves. But then, we also have customers that are trying programmatically.  So, let's walk through the car dealer one then. If I'm Bob's shovels in Fairbanks, Alaska or whatever it may be and I want to create five ads for our fall clearance event and I don't have Motion graphics animator on my team or anything like that. What would I do?  Dave Stewart: Yeah. No, absolutely. So in that situation, again, they're not necessarily like someone that small isn't going to be our customer directly. We're going to inherit them from the fact that they work with some other company, whether that's an agency or they have digital signage. Let's imagine that. They bought a digital sign and part of that came a subscription to some sort of content creation suite and we just designed how it all just so happens to power that content creation suite. That would be the scenario where we might be involved with a small business like that. In that situation, that would entail that the agency or the hardware company that is providing that software suite has created some basic templates for this type of customer, which is exactly what we're seeing happen by the way.  and again, I was very surprised about this, that these hardware companies would actually have content teams doing this but that's exactly what's happening. and so, the content teams are just really excited that they don't have to do super personalizing custom graphics, both motion and static for the customer anymore. They can just create templates and let the customer have them themselves.  So one of the main reasons that end users and solutions providers to some degree struggle with all of this in terms of content is cost. Agency costs are higher and everything else and the idea of these kinds of tools is attractive for a number of reasons. But one of them is, this will lower my costs of producing content. I assume you guys have done some sort of calculations to say to your potential customers that if you use our stuff, you can potentially save this kind of money. Dave Stewart: Yeah. Ultimately, not that we're in the business of replacing designers that you might already have on staff, but most of the time we're getting brought in a situation where there's a design team and currently what they're super focused on is super monotonous, non creative work where they're taking a Photoshop file and making basic text changes and dropping in images. and think about the salary of someone like that and what you're paying for. We would say, we're not trying to replace that person but let's focus that, some of that person on something actually creative, that's going to move the needle for your business, not on this monotonous work that could absolutely be done by the user themselves in a simple templating solution. So, that's how we'd approach it and so when we talk about cost savings, again, you could think about the fact that, Hey, this salary is gone, but ultimately we'd say, no, let's just repurpose that salary for something useful. Okay.  So do you want to go back to skill sets? What realistically do you need to use this? You're going to be a designer or something already?  Dave Stewart: Yeah. I would say, look, Canva is a really interesting thing to look at because Canva came on the scene and showed everyone that a platform like this in the browser can be really easy to use and we can remove a lot of the friction and difficulty that's been associated with static and motion content in the past. And so Canva has really educated the market on what's possible and that anybody can kind of design following templates and ultimately, I would say, while we're not trying to be Canva whatsoever, there's clearly a lot of overlap in what we do in terms of a simple user interface, a really easy to create templating solution. The big differentiation there is clearly that we're fully white labels and we're embedding this into some proprietary solution, typically in a way that really well fits into that ecosystem, whatever it might be in a seamless way.  So, how did the company get started?  Dave Stewart: Yeah, absolutely. So as I mentioned, digital signage is relatively new for us and we're really excited about it, but ultimately, we operate in other verticals, so the opportunity originally was more like as we do in terms of media types, we support print, even large format prints. For instance, we were at ISA earlier this year and our focus going to that was actually more on non-digital billboards and things like that. That was actually really interesting, by the way, as an aside, because, on the plane ride there, some people behind me were talking about one of our larger customers who's actually a major player in digital signage and it opened my eyes to, wow, this is a much bigger company than I even realized. and they're having content issues. There must be lots of additional opportunities here. So, going into that show, again we shifted and pivoted. It's like, Hey, you know what? Digital signage is actually a bigger opportunity than we thought. But to answer your question, again, starting in some of those other media types, we just saw the need for really simple white labeled, digital content creation, whether that be for ads, whether that's just basic social media graphics and posts and basic print collateral. There are lots of sites that are just offering like, whether that's a printing website or whether that's an agency just providing content to their users. Content is content and at the end of the day and it can be all sorts of things. We've really just focused on how do we create a really consistent experience for both motion and static? How can we really seamlessly tie together? Even like print and digital content in a really simple to use easy editor and that has ended up applying to lots of industries and it's been really exciting to find that out  In terms of the business itself, what would be the breakdown roughly of what you're doing for print, what you're doing for online, what you're doing for digital display, like digital signage is digital signage?  Is digital signage a big component of it, or is it just something you're trying to educate the market on and grow? Dave Stewart: Yeah. Honestly, like I mentioned, we've just gotten into digital signage recently, so clearly it's not a huge piece of the pie yet. We do have very large goals in digital signage Though, we actually do see digital signage being a pretty decent slice of the pie, within the next two years, but as of right now, I'd say that it's hard because of the number of customers versus actual revenue. A lot of our revenue is tied to digital, for sure. So, there are a lot of use cases for ads, social media graphics, things like that, which were our bread and butter. We have a lot of print-focused customers. The revenue is not as high there. There's just more of them, quantity-wise. But I would say that both of those are fairly client counts evenly split. It's definitely skewed more revenue-wise toward digital and what's been really interesting is a lot of these digital-focused, even with social media. They are the ones that push us into video, right? So, like motion content, as it pertains to digital signage, we were already creating HD-quality video just to try to serve that digital market with a priority to know about digital signage. So it's been really interesting to see that a lot of the things that we've done can apply in other areas and it's really just about how we can make a better mousetrap when it comes to end user simplicity of content customization and then programmatic API first control of a platform like this?  Are you constrained at all in terms of formats and resolutions and things like that are obviously day to day things in digital signage? Dave Stewart: Yeah, what's really cool is that from the beginning, we've made it really easy to do basic resizing and that an end user could actually resize. So, if there's a slightly different aspect ratio as we can obviously find very frequently on digital signage. Our algorithm will automatically move things around for you and try to keep the design kind of integrity maintained. Now that doesn't work perfectly when you have huge aspect ratio shifts, like clearly if you're going portrait to landscape, it's not going to necessarily work as well. But yeah, it is a big component of this. I would say that on the other side of it, on the programmatic side, we will have customers that will create different templates for slightly different aspect ratios and then ultimately they'll use our API to populate all of them at once with the same data. So you're now spitting out a whole bunch of creativity at one time, leveraging the same data images, text colors, all of it. Now you've just generated a whole pack for users that might have signs of different sizes. So in terms of outputs, you can do HD video.  Dave Stewart: Absolutely. Yeah. Now we haven't gotten into a 4k yet. There hasn't been demand because typically 4k is going to be created on professional desktop software. We can do it and we are thinking we're going to get pushed into that. and honestly, it's just going to take one customer that kind of just tells us they really need it to pull the trigger on it, but absolutely, 1080p video we've been doing from the beginning.  And are there any other issues around the output files? Like the video is 30 frames per second, that sort of thing? Dave Stewart: Oh yeah, absolutely. Yeah. So we're trying to follow all the industry standards there and honestly, even if a client has very specific requirements when it comes to Codecs and it comes to specific quality of specific items. We're a very customizable platform like we have settings for all of those things that we can match what you need. One of the bigger things has been transparent video. So, we actually are one of the few browser tools that actually supports transparent video, which is difficult because it's not cross browser. There's not one format that works cross browser on that and so importing transparent video files and maintaining them is obviously huge for things like background removal and things like that. But that's been a big one because combining that with our support for Lottie files, which I mentioned Lottie files earlier, but they're really exciting what you can do with them and that plus just bit motion clips that you've either pulled from our stock libraries or that you've shot yourself. Putting all that together, there's a lot of really cool things you can do and they're now attainable by a user who's not a professional motion graphic artist. So yeah, it's really cool. What's possible now.  So I'm very curious about the programmatic piece, and I think for people listening, it's important to understand we're not talking about programmatic advertising here where you're talking about programmatic content creation. Dave Stewart: Yeah, and I will say the overlap there is we do have some clients that are in ads and they will actually use our template platform to do A/B testing on those ads where we'll pass in slightly different colors, slightly didn't copy, to generate a bunch of creatives at once. That's our overlap in the ad space, but yes, when we talk about programmatic, I really just talk about programmatic content creation and the fact that with our API, you can generate all sorts of variations of content very quickly, including videos. We have some clients that don't even show our editor to the user. It's really just about, Hey, I want to generate a video that's 15 seconds from this template where it incorporates the customer's brand, their colors and their tagline and their company name. So, spit this out and show them this. It's that easy, right? You don't even have to have them open the editor and do it themselves. Can you give me a good example of how. You could use APIs and data tables and everything else to automate the production of a whole bunch of media pretty quickly.  Dave Stewart: Yeah, absolutely. So if you are at a campaign that you were pushing, where you're really just trying to get out consistent messaging and you were needing to do that again, I won't even limit this to digital signage because a lot of our clients will choose us because of the fact that we can operate there and across their other marketing collateral at the same time.  But the idea would be if the messaging is the same and you already have branded templates that are the starting point for a lot of different content you might be creating, great. Pass in the mess, the specific messaging, pass in specific keywords to generate images or pass in the specific images directly. Let us fill all of those in at once and generate a whole campaign pack for you in one shot. What about for scale? Let's say you have, I don't know, a retailer that has 800 locations across North America and they want to be hyperlocal about the marketing or messaging or, “Here's our store manager for this location” or whatever. They have a template. They want to knock out 800 unique versions of this or with some variations on it. What kind of time is involved in doing that?  Dave Stewart: It's a great question. I'm glad you brought that model because we were actually operating in the franchise space before we even looked into digital signage at all because franchises specifically that have these locations all over the place had this issue with print, had this issue with social media that's been around for a very long time and so they would come to us because what will happen is those store managers or locations are either one requesting individual personalized graphics from the corporate design team on a very regular basis and kind of and completely, taking off all their time doing that, or two, they're going rogue and building off-brand content and it looks terrible and the marketing manager is finding it online and is just pissed off.  So one of those two things is happening and where we would come in is look, the only way that you're going to solve that is if you make it easy for them, because if it's not easy, they're going to try and do it themselves. or if they have to wait for you to do it for them, they will do it themselves. So the only way to do it is, Hey, how do we make this such an easy process that anybody can come in and feel like this is going to be the fastest way anyway and it's also going to look great. Why not use that? So ultimately what will happen is, again, the brand manager, corporate team, or whoever is going to create the template. Ultimately, that franchise, franchisee, that store manager, whoever it is, is going to log into the system and they're going to find the template.  If they just and , most of the time, these are super locked down. So I have this template and ultimately, I just want to let the store put their store hours right here and maybe some sort of sale information on a specific percentage discount on something, whatever that thing might be and so literally, the user is just going to click that, change the text and then export it, right? It doesn't take any time whenever you've really focused on the template.  So yeah, they can't go in and change it to Comic Sans or put in a picture of their dog or whatever.  Dave Stewart: No, our locking feature is something we spent a lot of time on. You can take it very far. Most of our clients will lock down almost everything, but we've made it to where you have full control over exactly what users can and can't do.  You were talking earlier about Canva and there are a few kinds of platforms out there that are variations on this, or do some of what you're doing. I'm also thinking about Promo and Shaker Media over in Korea. When you get asked about your company versus those kinds of companies, particularly Canva, what do you say?  Dave Stewart: Yeah, no, absolutely. It's really interesting because, again, we don't really compete with Canva, like even with Canva Enterprise solution, we don't really compete with them because ultimately, customers are coming to us because they want this white-labeled and embeddable into their own platform or make it seem proprietary. They want to have control.  Right now, when you go to Canva, you have no control, right? They control the interface. They control the layout. They control the flow. You have zero say in terms of what the user then can do and where they can go and go off crazy and get lost inside the Canva ecosystem. We're like the opposite, right? The whole goal of this is you make it what you want. You show exactly what you want. You lock down what you want and it looks like it's yours and that's why people are going to come to us.  A lot of overlap and functionality, like you said, when it comes to content creation, features and things like that, we definitely have focused on more of some of the more niche-specific things that Canva hasn't, like for instance, for print, we have full CMYK capability, Canva doesn't really. It's a conversion process for them, but we started from the ground up. For large format prints, we support really large format printing for things like large banners and things. That's not something you're really going to do on Canva. For video, this idea that we can support, like these, Lottie files and transparent video, like Canva just launched Lottie files, but their implementation is really simple where you can only really use basic, almost GIF-type content. We've taken it way further. We just go deeper on the more professional aspects and then, again, are more focused on the white-label, embeddable nature of it.  You have a booth of some kind at Digital Signage Experience. I assume you're there to start building partnerships and creating awareness that you exist. If I'm a CMS software company, that is probably the best example, what kind of work is involved if I say, “This is awesome, I'd love to integrate this into my overall solutions offer and have it white labeled.” Is that a three-month journey, a twelve-month journey, or allocating five people to work on it for a month or just how does all that come together? Dave Stewart: Yeah, that's a great question. Now we're really excited about DSE coming up. This is the first time we're even attending and we're really excited to exhibit based on, again, what we've heard and who's going to be there. So super excited about that and I'd say that when it comes to who we're trying to reach there and understanding how it would work to work with us, for a CMS company, honestly, our messaging, you'll see this in our booth is all about and we feel like you've ever actually tried to do some level of content creation already as part of a platform and so our messaging is mostly, “Hey, let's upgrade that. Let's make that a little better. Let's improve that inside of your system because we can do that and make it still feel like it's yours.”  So that is our focus in terms of messaging to them and I would say that in terms of the actual implementation for a company like that, we have a lot of walk-before-you-run type solutions when it comes to integrations. So a lot of our customers will actually start by initially just using our kind of turnkey portal that we have out of the box and then getting their initial customer buying on there and starting to create the templates that way, before actually doing the deep integration. While they're doing that, they're slowly starting to build the integration in and they could do a really basic integration where they're mostly just embedding all of our components in a simple way and then facilitating fairly basic workflows and then that's like a starting point. Then we would say that the next step is, okay, how do we incorporate some of the other data that you have in your CMS to do the automatic population of content where we can take event-specific information or location-specific information and start injecting it automatically, leveraging our API. So that would be like a second step and then how do we make sure that this feels seamless at every part of your workflow, maybe that's a third step. So we would say that a really basic integration takes a team one or two months, typically, just to get started and then we would say that if you're doing something really deep, maybe a few months after that, over time, starting to get it ingrained more and more. And what are the commercial aspects of this? If I am a CMS software company, I think this is really intriguing. What's it going to cost me to work with Design Huddle?  Dave Stewart: Yeah. So again, being enterprise-focused, we found that there are no two customers alike. We actually assign what we call personas to their end users and we say, we have some customers, like their users come into the system once a year and we have some customers where they're using the system every day. We can't price that the same; it's going to be a little bit different. When we talk about API-driven fully use cases where there's no end-user or direct interaction with our editor, that's a little simpler because we can just price it based on API activity and it's fairly straightforward. But when we talk about end users, no users are the same, so we actually do a pretty custom proposal process for customers and we dig into their specific use cases and try to assign a persona to these users. Still, ultimately, the idea would be that, in a user-based kind of pricing proposal like that, the more users you bundle, the bigger discount there is and then we have overage tiers where the cost per user gets cheaper as they grow.  The idea is that we're scaling together and things get cheaper and you get to get more profitable over time.  But for the purposes of referencing this, I'm sure there are people listening, thinking this is really interesting, but is this going to cost me like a quarter million dollars or something?  Dave Stewart: Oh, no!  It's $500 for Starter, $750 a month for Pro and then you've got Enterprise and as you said, that depends on all kinds of variables.  Dave Stewart: Yeah and each one of those, just to be clear, includes a certain number of users, right? and the number of users that's included, again, is getting into what I was just trying to describe as it can vary a little bit. But yes, we're definitely not a quarter-million-dollar product, starting point, right? We have a basic setup fee, which is usually in the low thousand s and then, in the hundreds typically for most initial engagements or low thousand s.  For that setup, that's because you're going to spend all this time working with your partner companies to sort out how to do this. Dave Stewart: We are very hands-on. I know a lot of companies say that, but honestly, for us, it's a huge waste of our time to spend a lot of time with you upfront, try to get it going and then it does not succeed. So we do everything we possibly can at the beginning of the engagement to make sure that you have the tools you need. We actually create custom documentation for every customer that lays out exactly what they need to do based on a consultation session where we talk through the specific platform, what they need to do, what they're trying to accomplish, give them tips and tricks and advice based on what we've seen successful for other customers. That's all part of it. In addition, obviously, training for content creation, like getting your templates in the system. All of that is very front-loaded and so that's where our setup fee is really focusing on that initial time we're going to spend with you to make sure that it's successful. Yeah, I've certainly seen some setup fees from software companies where I thought, okay, that's just a cash grab. But that definitely doesn't sound like the case here. Dave Stewart: No, it really isn't. Honestly, we're probably doing that at a cost, to be honest and then the idea is that once you're in, it's a great thing, like as much as we make our team available around the clock to answer, to always be around support wise, like we hear, as you can imagine, less and less from clients over time, right? So if we can make them successful at the beginning, They're really easy long term and we're just growing together and they're happy and, then, all of our support costs are front-loaded for that reason.  You're a virtual company, West Coast. How many people are in the company? Dave Stewart: So yeah, the latest count is, I'm about to hire another one, so around 12-13. We're relatively small.  Canva's got 3,500 or something like that?  Dave Stewart: Oh yeah and it's fun, right? We're a really nimble team. You know, this is my second go-around. My last company, I took it to about 150 employees before I exited, so we're still pretty early on our journey here and that's really exciting for us because we see so much opportunity in this.  I do expect this to grow a lot in the next two years. but we are a lean team of seasoned and professional software professionals and we're able to do a lot with a fairly small team right now.  And is this bootstrapped or venture-backed? Dave Stewart: Yeah, great question. My previous company actually started in the 2009 timeframe when everything crashed and there was really no money going around the way that it was capitalized. It ended up biting me in the end, and it left a bad taste in my mouth.  So going into this, my partners and I were really trying to bootstrap this from the beginning. I wanted full control over how this is going to work. That said, very early on, we had a large company come to us and say, “Hey, we really want to use you guys, but we're too worried about whether you're going to be around next year.” That company is Smartsheet, right? They own a company called Brand folder, which was the one interested in us. Smartsheets is a public company, they're very large, so they ended up becoming a small minority partner. They did basically a strategic round with us. That's a very small percentage, but ultimately it gives a lot of people a little bit more comfortability working with us because they're our backstop. The only reason that they invested was really just to make sure that we were going to stick around because they were going to be so invested in us. So they're there for that reason that said we are fully, sustainably and profitable at this point. So we, actually, are currently setting our own. Of course, we're in a really good position and we're excited about that coming from my previous experience. If people are going to DSE, they'll be able to find you on the exhibit floor and I know you're coming to the mixer; and if they want to find you online, how do they do that? Dave Stewart: Yeah, absolutely. They can definitely check out our website, designhuddle.com. You can reach out to schedule some time with us. We are doing some of the DSE kind of promotional material. You may have just seen an email about us there where you can schedule some time with us at the show. but yeah, we would love to hear from you. We'd love to talk with everyone. As I mentioned, we're excited to learn more about this industry and get deeper into it and we'd love to have all the conversations we need to figure that out. Great. All right, thank you, Dave. Much appreciated.  Dave Stewart: Awesome. Thanks so much, Dave. It was a pleasure.

Chips. You love them. We love them. This episode talks about them. But when we're not talking chips, we're talking: Lacuna, a delightful 2 player abstract game from CMYK; Townscaper, Oskar Stålberg's relaxing and deeply creative build-em-up; Benji from Osprey's lovely solo recommendations Miru and VOID 1680 AM; and the challenging cooperative deck crawler Regicide from Badgers From Mars. All that, plus hospital radio, on Ep183. 00:00 - A new type of chip, another one bites the dust, and love language 14:37 - Lacuna 27:45 - Townscaper 36:45 - Benji's recommendations 46:22 - Regicide On this episode were Dan (@ThisDanFrost), Kris (@DigitalStrider), Sam (@MrSamTurner), and Benji (@OspreyGames). Our Spotify Playlist brings together lots of great thematic music inspired by the stuff we talk about. Links to where you can find us - StayingInPodcast.com Note: sometimes we'll have been sent a review copy of the thing we're talking about on the podcast. It doesn't skew how we think about that thing, and we don't receive compensation for anything we discuss, but we thought you might like to know this is the case.

#MaruKiruComic #DestroyTheMoon #WarriorWoman #ComicAdventure #EpicQuest #LunarLunacy #CMYKMagic #ArtisticBrilliance #BrendanAlbetski #NewEnglandArtist #ActionComics #IllustrationMasterpiece #FantasyAdventure #StorytellingMagic #ComicBookFun Welcome to Storycomic Presents (Episode 288), where the world of captivating storytelling and mesmerizing artistry awaits! Join us as we introduce the immensely talented Brendan Albetski, the creative genius behind the acclaimed comic series "Maru Kiru Destroy the Moon." Embark on an epic journey with a fierce warrior woman on a blood-soaked quest—an audacious mission to obliterate the Moon itself! Standing in her way is a deadly cult, devoted to an evil god dwelling amidst the lunar expanse. Hailing from the scenic landscapes of New England, USA, Brendan Albetski is a true artistic virtuoso. With a dynamic and limited CMYK color palette, he weaves magic into his illustrations, adding a unique depth to his creations. During our candid conversation, Brendan shares his driving passion—to craft a comic that profoundly resonates with his soul and ignites his enthusiasm as a reader. The love and appreciation from others for "Maru Kiru Destroy the Moon" make it a beloved tale among readers. Experience Brendan Albetski's boundless creativity and immerse yourself in the enthralling "Maru Kiru Destroy the Moon" saga at https://www.brendanalbetski.com/marukirudestroythemoon. The Title sequence was designed and created by Morgan Quaid. See more of Morgan's Work at: https://morganquaid.com/   Storycomic Logo designed by Gregory Giordano See more of Greg's work at: https://www.instagram.com/gregory_c_giordano_art/   Wanting to start your own podcast?  Click on the link to get started: https://www.podbean.com/storycomic   Follow us: Curious to see the video version of this interview?  It's on our website too! www.storycomic.com www.patreon.com/storycomic www.facebook.com/storycomic1 https://www.instagram.com/storycomic/ https://twitter.com/storycomic1 For information on being a guest or curious to learn more about Storycomic? Contact us at info@storycomic.com   Thank you to our Founders Club Patrons, Stephanie Nina Pitsirilos, Marek Bennett, and Matt & Therese. Check out their fantastic work at: https://marekbennett.com/ https://www.hexapus-ink.com/ https://www.stephanieninapitsirilos.com/

In the June 2023 print on demand update, I cover the following:Etsy listing workflow updatesPrintify mockup backgrounds & custom insertsGelato quantity discountsRGB vs CMYK print filesSeasonal niche planningEpisode Blogpost: https://podinsights.net/june-2023-print-on-demand-updateThe Canadian Money RoadmapDiscover strategies to save, invest, and grow your money effectively.Listen on: Apple Podcasts SpotifyPrintify Print on Demand Fulfillment Printify is my main print on demand fulfillment partner, with production partners in many countries.Gelato Print on Demand Gelato offers print on demand fulfillment in 34 countries and a wide variety of products. Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showWebsite: https://podinsights.net/YouTube: https://www.youtube.com/c/PODInsights/featuredTwitter: https://twitter.com/POD_insightsThank you for your support!

We kick things off with power washing fantasies and foraging, then try and find hidden wizards with Wandering Towers from Capstone Games, and bury some dice with Spots from CMYK. After that we get gambling with High Society from Osprey Games, and get an introduction to roleplaying with Critical Foundation from Hachette. Plus, Finger smoking. 00:00 - Powerwashing fantasies and foraging 13:13 - Wandering Towers 21:42 - Spots 33:43 - Critical Foundation 51:35 - High Society On this episode were Kris (@DigitalStrider), Peter (@XeroXeroXero), and Sam (@MrSamTurner). Our Spotify Playlist brings together lots of great thematic music inspired by the stuff we talk about. Links to where you can find us - StayingInPodcast.com Note: sometimes we'll have been sent a review copy of the thing we're talking about on the podcast. It doesn't skew how we think about that thing, and we don't receive compensation for anything we discuss, but we thought you might like to know this is the case.

Hex codes, RGB codes, CMYK codes, Pantone colors…. There's so many ways to define a color, but why?

The Mogollon culture was an indigenous culture in the Western United States and Mexico that ranged from New Mexico and Arizona to Sonora, Mexico and out to Texas. They flourished from around 200 CE until the Spanish showed up and claimed their lands. The cultures that pre-existed them date back thousands more years, although archaeology has yet to pinpoint exactly how those evolved. Like many early cultures, they farmed and foraged. As they farmed more, their homes become more permanent and around 800 CE they began to create more durable homes that helped protect them from wild swings in the climate. We call those homes adobes today and the people who lived in those peublos and irrigated water, often moving higher into mountains, we call the Peubloans - or Pueblo Peoples. Adobe homes are similar to those found in ancient cultures in what we call Turkey today. It's an independent evolution. Adobe Creek was once called Arroyo de las Yeguas by the monks from Mission Santa Clara and then renamed to San Antonio Creek by a soldier Juan Prado Mesa when the land around it was given to him by the governor of Alto California at the time, Juan Bautista Alvarado. That's the same Alvarado as the street if you live in the area. The creek runs for over 14 miles north from the Black Mountain and through Palo Alto, California. The ranchers built their adobes close to the creeks. American settlers led the Bear Flag Revolt in 1846, and took over the garrison of Sonoma, establishing the California Republic - which covered much of the lands of the Peubloans. There were only 33 of them at first, but after John Fremont (yes, he of whom that street is named after as well) encouraged the Americans, they raised an army of over 100 men and Fremont helped them march on Sutter's fort, now with the flag of the United States, thanks to Joseph Revere of the US Navy (yes, another street in San Francisco bears his name).  James Polk had pushed to expand the United States. Manfiest Destiny. Remember The Alamo. Etc. The fort at Monterey fell, the army marched south. Admiral Sloat got involved. They named a street after him. General Castro surrendered - he got a district named after him. Commodore Stockton announced the US had taken all of Calfironia soon after that. Manifest destiny was nearly complete. He's now basically the patron saint of a city, even if few there know who he was. The forts along the El Camino Real that linked the 21 Spanish Missions, a 600-mile road once walked by their proverbial father, Junípero Serra following the Portolá expedition of 1769, fell. Stockton took each, moving into Los Angeles, then San Diego. Practically all of Alto California fell with few shots. This was nothing like the battles for the independence of Texas, like when Santa Anna reclaimed the Alamo Mission.  Meanwhile, the waters of Adobe Creek continued to flow. The creek was renamed in the 1850s after Mesa built an adobe on the site. Adobe Creek it was. Over the next 100 years, the area evolved into a paradise with groves of trees and then groves of technology companies. The story of one begins a little beyond the borders of California.  Utah was initialy explored by Francisco Vázquez de Coronado in 1540 and settled by Europeans in search of furs and others who colonized the desert, including those who established the Church of Jesus Christ of Latter-day Saints, or the Mormons - who settled there in 1847, just after the Bear Flag Revolt. The United States officially settled for the territory in 1848 and Utah became a territory and after a number of map changes wher ethe territory got smaller, was finally made a state in 1896. The University of Utah had been founded all the way back in 1850, though - and re-established in the 1860s.  100 years later, the University of Utah was a hotbed of engineers who pioneered a number of graphical advancements in computing. John Warnock went to grad school there and then went on to co-found Adobe and help bring us PostScript. Historically, PS, or Postscript was a message to be placed at the end of a letter, following the signature of the author. The PostScript language was a language to describe a page of text computationally. It was created by Adobe when Warnock, Doug Brotz, Charles Geschke, Bill Paxton (who worked on the Mother of All Demos with Doug Englebart during the development of Online System, or NLS in the late 70s and then at Xerox PARC), and Ed Taft. Warnock invented the Warnock algorithm while working on his PhD and went to work at Evans & Sutherland with Ivan Sutherland who effectively created the field of computer graphics. Geschke got his PhD at Carnegie Melon in the early 1970s and then went of to Xerox PARC. They worked with Paxton at PARC and before long, these PhDs and mathematicians had worked out the algorithms and then the languages to display images on computers while working on InterPress graphics at Xerox and Gerschke left Xerox and started Adobe. Warnock joined them and they went to market with Interpress as PostScript, which became a foundation for the Apple LaswerWriter to print graphics.  Not only that, PostScript could be used to define typefaces programmatically and later to display any old image.    Those technologies became the foundation for the desktop publishing industry. Apple released the 1984 Mac and other vendors brought in PostScript to describe graphics in their proprietary fashion and by 1991 they released PostScript Level 2 and then PostScript 3 in 1997. Other vendors made their own or furthered standards in their own ways and Adobe could have faded off into the history books of computing. But Adobe didn't create one product, they created an industry and the company they created to support that young industry created more products in that mission.  Steve Jobs tried to buy Adobe before that first Mac as released, for $5,000,000. But Warnock and Geschke had a vision for an industry in mind. They had a lot of ideas but development was fairly capital intensive, as were go to market strategies. So they went public on the NASDAQ in 1986. They expanded their PostScript distribution and sold it to companies like Texas Instruments for their laser printer, and other companies who made IBM-compatible companies. They got up to $16 million in sales that year. Warnock's wife was a graphic designer. This is where we see a diversity of ideas help us think about more than math. He saw how she worked and could see a world where Ivan Sutherland's Sketchpad was much more given how far CPUs had come since the TX-0 days at MIT. So Adobe built and released Illustrator in 1987. By 1988 they broke even on sales and it raked in $19 million in revenue. Sales were strong in the universities but PostScript was still the hot product, selling to printer companies, typesetters, and other places were Adobe signed license agreements.  At this point, we see where the math, cartesian coordinates, drawn by geometric algorithms put pixels where they should be. But while this was far more efficient than just drawing a dot in a coordinate for larger images, drawing a dot in a pixel location was still the easier technology to understand.  They created Adobe Screenline in 1989 and Collectors Edition to create patterns. They listened to graphic designers and built what they heard humans wanted. Photoshop Nearly every graphic designer raves about Adobe Photoshop. That's because Photoshop is the best selling graphics editorial tool that has matured far beyond most other traditional solutions and now has thousands of features that allow users to manipulate images in practically any way they want.  Adobe Illustrator was created in 1987 and quickly became the de facto standard in vector-based graphics. Photoshop began life in 1987 as well, when Thomas and John Knoll, wanted to build a simpler tool to create graphics on a computer. Rather than vector graphics they created a raster graphical editor.  They made a deal with Barneyscan, a well-known scanner company that managed to distribute over two hundred copies of Photoshop with their scanners and Photoshop became a hit as it was the first editing software people heard about. Vector images are typically generated with Cartesian coordinates based on geometric formulas and so scale out more easily. Raster images are comprised of a grid of dots, or pixels, and can be more realistic.  Great products are rewarded with competitions. CorelDRAW was created in 1989 when Michael Bouillon and Pat Beirne built a tool to create vector illustrations. The sales got slim after other competitors entered the market and the Knoll brothers got in touch with Adobe and licensed the product through them. The software was then launched as Adobe Photoshop 1 in 1990. They released Photoshop 2 in 1991. By now they had support for paths, and given that Adobe also made Illustrator, EPS and CMYK rasterization, still a feature in Photoshop.  They launched Adobe Photoshop 2.5 in 1993, the first version that could be installed on Windows. This version came with a toolbar for filters and 16-bit channel support. Photoshop 3 came in 1994 and Thomas Knoll created what was probably one of the most important features added, and one that's become a standard in graphical applications since, layers. Now a designer could create a few layers that each had their own elements and hide layers or make layers more transparent. These could separate the subject from the background and led to entire new capabilities, like an almost faux 3 dimensional appearance of graphics..  Then version four in 1996 and this was one of the more widely distributed versions and very stable. They added automation and this was later considered part of becoming a platform - open up a scripting language or subset of a language so others built tools that integrated with or sat on top of those of a product, thus locking people into using products once they automated tasks to increase human efficiency.  Adobe Photoshop 5.0 added editable type, or rasterized text. Keep in mind that Adobe owned technology like PostScript and so could bring technology from Illustrator to Photoshop or vice versa, and integrate with other products - like export to PDF by then. They also added a number of undo options, a magnetic lasso, improved color management and it was now a great tool for more advanced designers. Then in 5.5 they added a save for web feature in a sign of the times. They could created vector shapes and continued to improve the user interface. Adobe 5 was also a big jump in complexity. Layers were easy enough to understand, but Photoshop was meant to be a subset of Illustrator features and had become far more than that. So in 2001 they released Photoshop Elements. By now they had a large portfolio of products and Elements was meant to appeal to the original customer base - the ones who were beginners and maybe not professional designers. By now, some people spent 40 or more hours a day in tools like Photoshop and Illustrator.  Adobe Today Adobe had released PostScript, Illustrator, and Photoshop. But they have one of the most substantial portfolios of products of any company. They also released Premiere in 1991 to get into video editing. They acquired Aldus Corporation to get into more publishing workflows with PageMaker. They used that acquisition to get into motion graphics with After Effects. They acquired dozens of companies and released their products as well. Adobe also released the PDF format do describe full pages of information (or files that spread across multiple pages) in 1993 and Adobe Acrobat to use those. Acrobat became the de facto standard for page distribution so people didn't have to download fonts to render pages properly. They dabbled in audio editing when they acquired Cool Edit Pro from Syntrillium Software and so now sell Adobe Audition.  Adobe's biggest acquisition was Macromedia in 2005. Here, they added a dozen new products to the portfolio, which included Flash, Fireworks, WYSYWIG web editor Dreamweaver, ColdFusion, Flex, and Breeze, which is now called Adobe Connect. By now, they'd also created what we call Creative Suite, which are packages of applications that could be used for given tasks. Creative Suite also signaled a transition into a software as a service, or SaaS mindset. Now customers could pay a monthly fee for a user license rather than buy large software packages each time a new version was released. Adobe had always been a company who made products to create graphics. They expanded into online marketing and web analytics when they bought Omniture in 2009 for $1.8 billion. These products are now normalized into the naming convention used for the rest as Adobe Marketing Cloud. Flash fell by the wayside and so the next wave of acquisitions were for more mobile-oriented products. This began with Day Software and then Nitobi in 2011. And they furthered their Marketing Cloud support with an acquisition of one of the larger competitors when they acquired Marketo in 2018 and acquiring Workfront in 2020.  Given how many people started working from home, they also extended their offerings into pure-cloud video tooling with an acquisition of Frame.io in 2021. And here we see a company started by a bunch of true computer sciencists from academia in the early days of the personal computer that has become far more. They could have been rolled into Apple but had a vision of a creative suite of products that could be used to make the world a prettier place. Creative Suite then Creative Cloud shows a move of the same tools into a more online delivery model. Other companies come along to do similar tasks, like infinite digital whiteboard Miro - so they have to innovate to stay marketable. They have to continue to increase sales so they expand into other markets like the most adjacent Marketing Cloud.  At 22,500+ employees and with well over $12 billion in revenues, they have a lot of families dependent on maintaining that growth rate. And so the company becomes more than the culmination of their software. They become more than graphic design, web design, video editing, animation, and visual effects. Because in software, if revenues don't grow at a rate greater than 10 percent per year, the company simply isn't outgrowing the size of the market and likely won't be able to justify stock prices at an inflated earnings to price ratio that shows explosive growth. And yet once a company saturates sales in a given market they have shareholders to justify their existence to. Adobe has survived many an economic downturn and boom time with smart, measured growth and is likely to continue doing so for a long time to come.

My wife, Martine Hammar joins me on the pod for a special episode. She has recently published a children's book and I chatted to her about the process.In this episode, Martine talks about:* What inspired her to write a children's book.* What message she hopes to convey through her book.* Why she decided to self-publish.* The process of writing a book, from idea to bookstores. * The challenges she faced during the process and how to avoid them.* Resources you can use to write your own book.Links mentioned on the show:* A Little Piece Inside Me Is Missing* StoryPrompt: Video Engagement Platform

This episode contains: Ben and Devon's relationship is on the rocks, according to Steven. Things have finally settled down this week for Steven's family, since the holidays. Steven's now officially an old man, says him. Would you throw a rave at a 5 year old's birthday party? With whistles as party favors? Ben's super stoked about Owen Davies releasing Farscape Remastered in 4K. Shout out to the Farscape subreddit!  If you like space muppets who fart helium and pee fire, watch Farscape. Steven had a bunch of fun 'stream tweeting' Star Trek: Picard s3e03.  Everyone is disappointed that Steven hasn't seen Star Trek: Deep Space Nine. Steven's gotta clear his schedule for 89 hours of DS9. Ben wishes he could rewatch DS9 for the first time. This could be the I WISH I WAS WATCHING STAR TREK podcast. Paint by numbers: Scholars unify color systems using prime numbers. RGB and CMYK? Get outta here. It's time for the C235 color system. In CMYK, K stands for Key Black. Now you know! How could C235 colorize DNA codons? This article does not go into that. CMYK is subtractive color theory, where everything adds to black.  RGB is additive color theory, where all colors add up to bright white. C235 is a color system based on prime numbers, and doesn't make sense unless you see the image at https:/ [www.eurekalert.org/multimedia/976375](http://www.eurekalert.org/multimedia/976375) Steven eats some focaccia bread baked by his daughter. Good job, young one! Go colors! https://www.sciencedaily.com/releases/2023/03/230302114200.htm  Whoa: Newly discovered chemicals are so deadly to fungi they are named after Keanu Reeves. "Keanumycins:" new fungus-killing compounds are so effective they were named after actor Keanu Reeves. During Keanu's AMA, someone asked him what he thought about Keanumycins. He said "Thanks, scientist people." Keanu Reeve's first pet was a guinea pig named Carrot. He was a cutie-pie. Keanumycins kills bad fungus, is biodegradable, and is safe for humans. https://www.cnn.com/2023/03/03/world/keanumycin-fungus-killer-discovery-scn/index.html  The Big Question: How important is it to 'belong' to a fandom, and what does it mean to give it up? Is the entire concept of 'fandom' manufactured? Fandom has been important as a shortcut to find people who have like interests. As good as fandom can be to connect people, beware of the toxicity. The importance of fandom is based on what the fans get out of it. We talk about growing up and finding other Star Wars and Star Trek fans. Did corporations ruin fandom? They didn't used to use fandom to sell stuff, right? A fandom became a found family, people you could share jokes with about the subject. Will the next Metallica album be good? The singles have been alright. We have a lot of hot takes on the Big Question about fandom this week. Devon changed his mind about the quality of the last two seasons of Enterprise. Ben is a positive person who tends to like everything. How does he feel about Harry Potter? JK Rowling's views on trans rights and human rights are abhorrent.  How does Ben feel about Harry Potter being read in his son's class, given Rowling's views? Canceling Harry Potter would be similar to banning books. The cultural value is in the conversation. Godzilla (1954) is EXCELLENT, Ben talks about watching it and it's cultural significance. 1956's Godzilla: King of the Monsters is terrible; they Americanized and removed all mention of H-Bombs and Nagasaki. Godzilla (1954) is like watching an H-Bomb walk around Tokyo causing the same destruction in slow motion. Is there a direct correlation between subreddits and fandom? So... spoiler alert? Godzilla died at the end of Godzilla (1954). How strange it spawned the franchise! We talk about Tom Cruise's personal beliefs and whether we can differentiate between the actor and the art. Where do you draw the line about creator's beliefs, and when you choose not to support it? Roblox is a digital narcotic for children... but it's fine? I guess? The cheapest way that eggs are made, the ways those chickens are treated is terrible. Shout out to carrots! You're a cool veggie.

Welcome to season 2 episode 2 of Sorted: All Things Color. In this special episode, we dive into all things color. What the heck all of the different values mean, understanding color theory, and lots of resources to help choose the best palettes! — Books: Interaction of Color by Josef Albers The Secret Lives Of Color Color choices Stephen Quiller — CMYK to Pantone Converter — Color Palette Generators: Coolors Color Hunt Adobe Color Khroma — Accessibility: Adobe Guidance on Web Accessibility and the ADA https://www.tpgi.com/color-contrast-checker/ Cool Eye Creative — Follow Sorted: @sorted.pod Follow Alex: @apthecreative Follow Emma: @esm.creative https://bit.ly/sortedpod — Have any questions? Reach out anytime! howdy@sortedpod.com Sponsorship + Advertising inquiries: howdy@sortedpod.com Support this podcast: https://anchor.fm/sorted-podcast/support — Get your coffee ready and let's get Sorted! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/sorted-podcast/support

Our favourite Serge Laget game is Senji. "Senji" is a contraction of "Sengoku Jidai," or Warring States Period, which refers to over a century of near total civil war in Japan that started in 1467. Scholars differ as to when it ended, but mostly we can agree that it started when I traded Huey my grandpa in exchange for boats and then he shipped ol' gramps to Louis' estate. I found this out the hard way when my armies marched on Château Louis to be met with my ex-grandpa. I was a bit miffed, but I was able to use Huey's boat to steal his best stuff, so I guess I got over it. Besides, Dewey gave me Huey's son in exchange for some weapons.01:19 AYURIS: The Red Cathedral (Israel Cendrero & Sheila Santos, Devir Games, 2020)Games Played Last Week:02:35 -Autobahn (Fabio Lopiano and Nestore Mangone, Alley Cat Games, 2022)08:57 -Soda Smugglers (Reiner Knizia, Bitewing Games, 2022)11:11 -Woodcraft (Ross Arnold and Vladimír Suchý, Delicious Games, 2022)12:37 -Chinatown (Karsten Hartwig, Z-Man, 1999)15:21 -Atiwa (Uwe Rosenberg, Lookout Games, 2022)20:39 -Eclipse: Second Dawn for the Galaxy (Touko Tahkokallio, Lautapelit.fl, 2020)23:15 -Karate Tomate (Reiner Knizia, AMIGO, 2018)23:31 -Monikers (Alex Hague and Justin Vickers, CMYK, 2015)25:45 -Herd Mentality (Rich Coombs and Dan Penn, Big Potato, 2020)26:50 -Senji (Bruno Cathala & Serge Laget, Asmodee, 2008)News (and why it doesn't matter):27:00 Pearl Games closed by Asmodee, but Sébastien Dujardin might resurrect it28:37 SVWAG Videos! Uwe Rosenberg and Top 10 of 2022https://www.youtube.com/channel/UCn7rQYKYwsxouP_7nSza9qQ29:15 Tom Jolly's Wiz-War on Kickstarter via Steve Jackson Games30:25 King's Dilemma: Chronicles on Steam 31:03 Topic: Serge Laget

This week I'm so excited to introduce you to my friend Steph Hilfer from Viim to talk all things color and how to use it effectively in your branding. Steph has a background in psychology, Steph is a master at understanding people's relationships with brands. She has this beautiful mix of creativity and strategy and I cannot wait to share this episode with you! During this interview we covered:  - What are brand colours and how did Steph land on hers for Viim? - Why color is so powerful and why it needs to be thought of intentionally in your branding for your business. - How can we use color intentionally and make changes or tweak it as we need without it being overwhelming? - How many colors do you actually need for your brand and how many is too many?- The differences between all the different color codes: CMYK, HEX, RGB + Pantone. - Why is color so powerful when it comes to telling a story and building and defining a brand? - Tips for any entrepreneurs that are DIY'ing their design and using templates. CONNECT WITH STEPH:Website: getViim.com90 Second Video; ‘Discover Your Brand': getViim.com/discoverRead Steph's Branding Journey: getViim.com/journeyConnect with The Consistency Corner on Instagram Get The Consistency Corner Holiday Content Planner! 6 weeks of content prompts (for both product based and service businesses) you can customize for your business. It's my gift to you!https://www.theconsistencycorner.com/holidaycontentplanner

Martin Owens joins us on this episode to talk about the popular open source vector graphics package Inkscape, where he serves as both a developer and a member of the project's leadership committee. Martin shares his perspective on everything from the position of Inkscape in the digital creative market to its exceptionally distributed, consensus-based leadership model, implementing PDF support from scratch, the elusive CMYK support, and a lot more.Learn more about and download Inkscape: https://inkscape.org/Martin's YouTube channel: https://www.youtube.com/c/MartinOwensMartin's page on Patreon: https://www.patreon.com/doctormoThe FOSS Pod is brought to you by Google Open Source. Find out more at https://opensource.google

Today on the flagship podcast of the difference between CMYK and RGB colors: David talks about the future of Photoshop with Adobe's Chief Product Officer Scott Belsky. Verge senior reporter James Vincent joins the show to discuss generative AI art and all its possibilities and complications. The Verge's Kristen Radtke and Jess Weatherbed chat with David about Pantone's new subscription service and what it means for artists and designers. Email us at vergecast@theverge.com or call us at 866-VERGE11, we'd love to hear from you. We are conducting a short audience survey to help plan for our future and hear from you. To participate, head to vox.com/podsurvey, and thank you! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode we're joined by Deb Sonzo the New Business Acquisitions and Accounts Manager at Music Graphics Chicago a division of Leo Graphics Chicago. With a background in art, and a musician herself, Deb is on the front lines of getting art proofed, printed and to your favorite record pressing plant to assemble the project. From short runs to thousands of copies, they're perfecting the digitally printed record jacket one unit at a time. We're also joined by a pop-in guest Jamie Riani who is the owner of the company, and has tons of experience in print houses over the course of his career. This episode dispels some of the confusion around dpi, PMS, RGB, CMYK, and any other design acronym you can come up with along with why templates and proofreading are so important. This is one of our last episodes of the year and 2022 season, so we want to take a moment to thank you again for spending your time with us, learning and demystifying the vinyl community. Music Graphics Chicago: https://www.musicgraphicschicago.com/Deb's Interview with Women in Vinyl: https://womeninvinyl.com/2022/10/08/deb-sonzo-music-graphics-chicago/Chuck Close if you're not familiar: https://www.britannica.com/biography/Chuck-ClosePANTONE: https://www.pantone.com/color-of-the-year-2022Huge thank you to Deb and Jamie for also allowing us to use the song ‘Falling' from their band 13 Monsters. For more visit: https://13-monsters.bandcamp.com/ THANK YOU TO OUR AWESOME SPONSORS!The ones that make your vinyl needs even more accessible with so many great codes and resources. Other Record Labels - Who've gifted our listeners - you! - a 50% code in their store for the myriad of resources compiled there using the code WIV50 at checkout! https://www.otherrecordlabels.com/store Selektor Record Bags - Our new favorite record bag: https://www.theselektor.com/us/Koeppel Design (pronounced Kep-ul) - Sleek and sophisticated, handmade record collection organization! Get $10 off your first order of $85 using the code WOMENINVINYL at checkout! https://koeppeldesign.com/Eargasm - High fidelity ear plugs! keep your hearing protected in style! Eargasm has a great deal for you with 10% off your order using, you guessed it, discount code: WOMENINVINYL at checkout. www.eargasm.com/ Glowtronics - Custom slip mats - you already love the WIV branded slipmat, but think, you can make your own! Get 15% off using the code: WOMENINVINYL15 at www.glowtronics-store.com/ Nugen Audio - Innovative, intuitive, award-winning professional audio plugins and software for all your creative music producing and sound design needs! Use code WOMENINVINYL for 20% off at check out: https://nugenaudio.com/womeninvinyl/ Vinyl Revolution Record Show - Attend one of the longest running record shows out there. 55 dealer tables filled with vendors from all over the east coast and tons of rare and collectible vinyl records! Find more at: https://www.instagram.com/vinylrevolutionrecordshow/ Want to be a sponsor too? Email us: info@womeninvinyl.com As always, join the conversation on Instagram or send us a note at: media@womeninvinyl.comCheck out www.womeninvinyl.com for past episodes, the store, job board, and the growing library of resources!Don't forget to like, subscribe and give us a review on your favorite podcast delivery method! You can also contribute to furthering our mission at https://www.patreon.com/womeninvinylWhere you'll find all of the B-Sides, Deep Cuts and amazing extras, including longer episodes and contribute to the creation of scholarships and educational opportunities to further the demystification and infiltration of more Women and Non-Binary identifying humans into the Vinyl Making Space!

Replete with a robust menagerie in this episode, we perhaps begin to see why anthropomorphic animals seem to feature in every other game lately. We have Dalmations (plus a cow named Doog trying to impersonate a Dalmation), horsies, goats, weasels and wombats (seldom do we see such an august alliteration!), meeses (not to be confused with mooses), and some needed stinkin' badgers. Not a great petting zoo, sure--o of limited utility in a game of Ark Nova--but an impressive collection nonetheless.Games Played Last Week:02:05 -Spots (Alex Hague, Jon Perry, and Justin Vickers, CMYK, 2022)02:20 -Long Shot: The Dice Game (Chris Handy, Perplext, 2022)03:37 -Mountain Goats (Stefan Risthaus, BoardGameTables.com, 2020)06:10 -Mysterium Park (Oleksandr Nevskiy and Oleg Sidorenko, Libellud, 2020)09:08 -Oathsworn: Into the Deepwood (Jamie Jolly, Shadowborne Games, 2022)15:50 -Weasel-Tech (Ivan Sorensen, Nordic Weasel Games, 2021)21:22 -Hand-to-Hand Wombat (Matthew Inman, Elan Lee, & Cory O'Brien, Exploding Kittens, 2022)25:02 -Root: The Marauder Expansion (Nick Brachmann, Patrick Leder, Cole Wehrle, and Joshua Yearsley, Leder Games, 2022)28:45 -Capital Lux 2: Generations (Eilif Svensson & Kristian Amundsen Østby, Aporta Games, 2020)29:22 -I.S.S. Vanguard (Andrzej Betkiewicz, Krzysztof Piskorski, Paweł Samborski, and Marcin Świerkot, Awaken Realms, 2022)36:08 -Cult of the Deep (Sam Stockton, B.A. Games, 2022)39:58 -Strike (Dieter Nüßle, Ravensburger, 2012)News (and why it doesn't matter):42:40 Aegean Sea by Carl Chudyk on BackerKit43:18 All sorts of Patreon-exclusive content and free games! www.patreon.com/svwag44:27 Canadian patrons! Sent a message through Patreon to possibly win a copy of Horizons of Spirit Island: Tell us your Spirit Name!46:08 Feature Game: Dead Reckoning (John D. Clair, Alderac Entertainment Group, 2022)

We apologize for the all-caps implied yelling, but really, given this volume we had to have a corresponding... uh, volume. The puns are also somewhat fishy--but those you can feel free to skip, jack. The nautical theme doesn't end with fishing, as the recent Crash Octopus (when compared with older titles that are comparatively crusty) shone. More specifically given that it's about an octopus and we want to minimize the yelling, it's a safe, low pod. Wait, no, that's the wrong family. If you wanna shop in latin... you mall, usque?I'll see myself out. 1:04 AYURIS: Trick Shot (Nikita Krylov & Artyom Nichipurov, Wolff Designa, 2021)Games Played Last Week:03:27 -Lords of Hellas: Dark Ages Expansion (Adam Kwapiński, Awaken Realms, 2019)09:43 -Hallertau (Uwe Rosenberg, Lookout Games, 2020)12:27 -Keep the Heroes Out (Luís Brüeh, Brueh Games, 2022)17:37 -Nusfjord (Uwe Rosenberg, Lookout Games, 2017)21:49 -Santa Maria (Eilif Svensson and Kristian Amundsen Østby, Aporta Games, 2017)25:47 -Spots (Alex Hague, Jon Perry, and Justin Vickers, CMYK, 2022)29:37 -Long Shot: The Dice Game (Chris Handy, Perplext, 2022)33:37 -Oathsworn: Into the Deepwood (Jamie Jolly, Shadowborne Games, 2022)41:00 -Return to Dark Tower (Tim Burrell-Saward, Isaac Childres, Noah Cohen, Rob Daviau, Justin D. Jacobson, & Brian Neff, Restoration Games, 2022)43:52 -Car Wars (Sixth Edition) (Samuel Mitschke & Rany Scheunemann, Steve Jackson Games, 2021)49:39 -Twilight Inscription (James Kniffen, FFG, 2022)51:47 -Space Cadets: Dice Duel (Geoff Engelstein and Sydney Engelstein, Stronghold, 2013)53:56 -Scooby-Doo! The Board Game (Guilherme Goulart and Fred Perret, CMON, 2022)57:32 -Guards of Atlantis II (Artyom Nichipurov, Wolff Designa, 2022)1:02:50 -Chronicles of Avel (Przemek Wojtkowiak, Rebel Studio, 2021)1:04:23 -Crash Octopus (Naotaka Shimamoto, itten, 2021)News (and why it doesn't matter):1:06:29 Funbrick Series by itten: two Reiner Knizia dexterity games!1:07:19 Queen's Dilemma, and the consumer's dilemma1:09:09 Spirit Island: Nature Incarnate on BackerKit. Strangely information-free campaign. 1:12:32 HeroScape campaign floundering.1:14:08 Another G.I. JOE expansion: Cold Snap1:14:37 Both Sadler brothers out of professional game design1:15:26 A reason why we don't do previews1:16:23 October 27th is Arkhipov Day

In response to some overwhelming feedback on social media let's discuss RGB vs CMYK in the print world and is it time to learn a new trick? In this episode recorded while driving to a press check (sorry of the background noise) we talk about RGB benefits, CMYK is it the old way of doing things, what does Adobe say, and how to incorporate RGB into your process. If you want to support the podcast you can subscribe or leave a review wherever you get your podcasts. --- Pick up a death metal PDU hoodie

The 5th Layer aka Adjustment Layers Talk About Truth in Plain Sight  Dot.Connector.Podcast.by.BMC Have you ever heard of the 5th color layer or the adjustment layer? I bet you haven't - this is a real doozy for the koozie if you're a nerd like me. This is some wild wild stuff. So there are typically 4 color layers within an image or a video.

Dustin began working with digital labels in 2013 and made his first investment in a digital packaging startup in 2017. He discovered personally that there are no playbooks to follow in emerging industries after investing in two digital packaging startups and leading the commercial development of three more.On this episode, we'll talk about:A quick summary of Digital PackagingHow has digital packaging evolved?What the future holds for Digital Packaging and what are some of the key drivers as we look toward the future?Digital Packaging and Smart Packaging coming togetherHow can digital packaging kind of create those individual personalized experiences between a brand and each customer?His advice on how they should approach the next wave of packaging and smart packaging, web three, and how it relates to digital packaging and other issues.What role does Web three play in the packaging business?What is CMYK?As we look to build this community around disruptors in packaging and digital print, collaboration may provide some value.Dustin Steerman founded CMYK and today, He is building a boutique agency, for global packaging executives who seek to or have already begun investing in their digital transformation, Developing a community for digital packaging disruptors and industry enthusiasts, and Coaching a select few sales leaders and sales professionals in the digital packaging sector and Writing about the industry and how others can create their success within this rapidly emerging sector. All intended to further advance the global digital packaging industry. He believes our niche provides the opportunity to rewrite the narrative around the global packaging sector. One that places people, diversity, sustainability, collaboration, and innovation at its core.For more information and to explore other episodes, go to www.ppcpackaging.com/the-packaging-brothersFollow PPCPackaging on social media!  LinkedIn: https://www.linkedin.com/company/pacific-packaging-components-inc-/ Facebook: https://www.facebook.com/PPCPackaging/ Instagram: https://www.instagram.com/ppcpackaging/?hl=en Website: http://www.ppcpackaging.com/Find out more about Dan on his website and connect with him on Email, LinkedIn and Twiiter.Website: https://www.dustinsteerman.com/Email: hey@dustinsteerman.comLinkedIn: https://www.linkedin.com/in/dustinsteerman/Twitter: https://twitter.com/PKGingDisruptorThe views and opinions expressed on the "Packaging Brothers" podcast are solely those of the author and guests and should not be attributed to any other individual or entity. This podcast is an independent production of Packaging Brothers, and the podcast production is an original work of the author. All rights of ownership and reproduction are retained—copyright 2022.

This week's episode was inspired by Sarah, who has a very big problem when it comes to organising her digital files. Keeping organised as an artist can make things much easier for you while you're working. The Thriving Women Artists, Sarah, Ping, and Dorien are here to give you some really great organisation tips to save you time and effort.    KEY TAKEAWAYS There are lots of things you should be keeping organised as an artist, your digital files, your physical work, your workspace, and something that's often overlooked, your mind.  You should have a backup drive on your computer to store both your digital art files and anything related to your business.  When working in a team, like with this podcast, if you organise it can stop confusion over who is doing what work or what work has been done already. Organisation is vital for communication and teamwork.  Declutter! Buy at least 3 of your favourite art supplies. If you can't find the colour you need, then that will stop you from working, but if you have more than one, then you always have one to hand.  There are lots of apps you can use to remind you of something important or urgent. You can even use a sticky note.    BEST MOMENTS ‘Make a clear division what is essential to store'  ‘I started to add the RGB or CMYK in the file name'  ‘Everything has to be in one place, my studio'   ABOUT THE PODCAST  A serious and fun podcast for female creatives hosted by Ping, Dorien and Sarah, three happy artists from Amsterdam.  This podcast will inspire you to make a living out of your art. We welcome you to be part of this community of like-minded people. www.thrivingwomenartists.com www.instagram.com/twapodcast    ABOUT THE HOSTS Ping He  Ping is a watercolor artist. Her work is inspired by nature and her motherhood experience. She develops her greeting cards brand and teaches Botanical Illustration courses online and offline.  www.pinghe.art info@pinghe.art www.instagram.com/pinghe.art   Sarah van Dongen  Sarah is a children's book illustrator and visual artist. She takes her sketchbooks and art supplies everywhere, which results in illustrations based on observation and daily life. www.sarahvandongen.com sarahvandongenillustration@gmail.com www.instagram.com/sarahvandongenillustrations   Dorien Bellaar: Dorien is an illustration artist. Her work is mainly focused on illustration for children, editorial/food illustration, hand lettering, and she likes to combine those into both traditional and digital art.  www.dorienbellaar.nl hello@dorienbellaar.nl  www.instagram.com/dorienbellaar See omnystudio.com/listener for privacy information.

Learn More Earn More Business Growth Podcast Host: Brian Webb Episode 52: Quick Tips For Easily Choosing Your Brand's Color Palette ____________________ VALUE BOMBS So you're thinking about starting a new business, or maybe it's time to rebrand your existing business, but you don't know how to pick the color palette for that brand. Well, today I'm going to give you an easy and fast three-step process to do just that. So let's jump into the show. ____________________ SOFTWARE TOOLS RECOMMENDED BY BRIAN WEBB & WHATBOX DIGITAL Active Campaign - CRM & Marketing Automation TypeForm - Web Forms Monday - Project Management (on steroids) Pipedrive - CRM Alternative Instapage - Landing Pages Creative Market - Graphic Design & Creative Template Resources ____________________ SUBSCRIBE Apple  |  Spotify |  Pandora  |  Google  |  iHeart Radio |  Deezer  |  Stitcher  |  Amazon Music  |  (SoundCloud Coming Soon) ____________________ HELPFUL LINKS The Ultimate 97 Point Marketing Audit Checklist COOLORS.CO  Adobe Color Tool ____________________ TRANSCRIPT Brian Webb: So you're thinking about starting a new business, or maybe it's time to rebrand your existing business, but you don't know how to pick the color palette for that brand. Well, today I'm going to give you an easy and fast three-step process to do just that. So let's jump into the show. This is the Learn More Earn More Business Growth Podcast. Brian Webb: Hey, everyone. Welcome to the show. I'm your host Brian Webb. This podcast is designed to be your number one premier place to learn the framework, secrets, and growth hacks to grow and scale your business smarter and faster. While you're working on pursuing your dreams and growing your business, I'll be here to help you make better decisions and avoid costly pitfalls and expensive mistakes along the way. So let's go ahead and jump into today's episode.             Boy, are you in for a treat today? You are thinking about launching a new brand or a new business, or you're thinking about rebranding your existing business. You're not a creative, you're not a graphic designer and it's time to choose the right color palette to perfectly reinforce the brand that you want to project into the world. You are absolutely going to love this hack. It's easy, it's fast, and you do not have to be a graphic designer or a branding expert or anything like that. Three steps. And again, you're not going to believe how easy this is. So step number one, write down the mood or feel you want to represent your brand. And I want you to do that with a few words. So, for example, you may go with something like feminine, youthful, and bright. Or another example, nautical, sunrise, beach, right? Maybe another example is modern, sleek, neutral. Or maybe it's elegant, exclusive, luxurious.             Basically, come up with a cluster of words that when people see your brand, your logo, your website, anything and everything where your branding resides. Think of a few descriptive words that you want your audience to perceive in your brand. You want them to resonate on the same frequency. This could be an emotion. This could be a socioeconomic type, a personality type, an age group, whatever it is that you want your brand to reflect. So let's just, for example, use the words elegant, exclusive, and luxurious. Step two, go and do an image search using those clusters of words that you created. So, for example, if it was elegant, exclusive, luxurious, go do a Google search and click on the images tab and find an image or two or three that best represents that cluster of words that you want to resonate in your brand.             We'll get back to the show in just a moment, but first, a quick word from our sponsor, Whatbox Digital. Do you want to grow and scale your business better and faster with fewer mistakes? Of course, you do. Then you're in the right place right now. Like so many others, you are tired of relying on a failed hope marketing system, where you're spending valuable time and money on marketing and then hoping it works. You've thrown away tons of money towards marketing mistakes and failures, and you wish you could get all of that money back. When you don't have a reliable system for generating leads and acquiring new customers, then you're doomed to suffer from industry downturns, lumpy cash flow, and ultimately higher stress and sleepless nights. I'm Brian Webb, the CEO and senior guide at Whatbox Digital. I know where you are and I've been there before.             It pains me to watch business owners and entrepreneurs suffer from relying on hope and bad advice that simply doesn't work. I've had the privilege of owning and leading a successful marketing agency in the Greater Houston Metroplex for almost 20 years. Having worked in over 60 industry verticals, I've led my team and clients to achieve business growth time and time again. And that's exactly what I want to do for you. Our marketing strategy playbook consulting engagement allows us to do just that. In just four weeks or less, we'll take you through our three-step process that will open your eyes to the readily available growth opportunities you need, want, and deserve. To learn more or just get started, simply go to whatboxdigital.com/strategy and click the get started now button, or just text the word playbook to 832-324-2432. Don't waste another day or another dollar on failing hope marketing strategies that do not work. If you want to grow and scale your business better and faster and with fewer mistakes, you are in the right place. You need to get unstuck. You need a plan and we're here to help. Let's get started today right now.             Believe it or not, you're almost done. For the final step, find you a color generator tool. There are a couple of them and I'll recommend to you. You can use coolors.co. Let me spell that, www.C-O-O-l-O-R-S.co, or use Adobe's tool, color.adobe.com. By the way, these tools are free. If you're using the Adobe tool, click on the extract theme link at the top. From there, it will allow you to upload an image into the drag and drop area that you found in your Google search. Immediately after you do this, the Adobe tool will go and create a color palette. It guesses and it finds five different points within the image. And then it literally generates a color palette for you. Now, you probably won't like what it pulls out on its own, but you can drag and drop those five points around the image until you have identified five core brand colors that you can now use for your identity.             So that's it. Step one, go and find the words, two or three words that best define your brand, and what you want to emulate. Step two, go and do a Google search to find images that match those words that you want your brand to feel like and to look like. Step three, upload that image to a color tool of your choice. Again, Adobe Color, color.adobe.com is a free one. And then tweak and customize the taste. Then you can do an export. It gives you the RGB values. It gives you the CMYK values for print and you're done. That's it. So this is definitely a short and sweet episode, but I hope you found this tip to be helpful. I'm here to make sure that you keep growing your business smarter and faster. I'll see you in the next episode. Thanks for joining me today and listening to this episode of the Learn More Earn More Business Growth Podcast.             We can be found on all the major platforms like Apple Podcasts, Google Play, Spotify, Pandora, Stitcher, and even Amazon Music. I genuinely hope you enjoyed today's episode. And if you did, I'd be honored if you'd subscribe to the show and leave us a rating in an honest review. I'd love to connect with you on Instagram. You can find me at @brianwebb. And the show sponsor, Whatbox Digital, can be found at, as you might guess, @whatboxdigital. You can also find me in Whatbox Digital on Facebook and LinkedIn with the links in the show notes. This will allow you to stay up to date and never miss out on exciting new announcements, events, special offers, and opportunities. And you'll be in the know when we drop a new episode of the Learn More Earn More Business Growth Podcast. And if you'd like to send me a DM on Instagram to say hello or share your thoughts on how we can make this podcast even better for you, I'd love to hear from you. Again, thanks for listening. Let's go and grow together. I'll see you on the next episode. ____________________ FIND & FOLLOW WHATBOX DIGITAL Website Linkedin Facebook Instagram ____________________ CONNECT WITH BRIAN WEBB Email Linkedin Facebook Instagram ____________________ DESCRIPTION The Learn More Earn More Business Growth Podcast is sponsored by Whatbox Digital, a marketing and consulting agency in the Greater Houston Metroplex. This podcast is your premier place to learn the frameworks, secrets, and growth hacks to grow and scale your business and revenue smarter and faster.

Layer Modes, sometimes called Blending Modes, allow you to combine layers in a variety of ways. We continue with the LCh Components Modes, which brings us to yet another color model, in this case the Hue, Saturation, and Value model. We've already looked at RGB, which is the model used for most broadcast and online uses, and the CMYK model which is used for printing, and in the previous tutorial we looked at the HSV model. This wraps up our look at color models, and also concluded our look at Layer Modes (or Blending Modes). These are the Layer Modes available on the latest (at the time I write this) version of GIMP, 2.10.24. Links: https://docs.gimp.org/2.10/en/gimp-concepts-layer-modes.html https://ninedegreesbelow.com/photography/determine-image-tonality-and-palette-part-1.html https://en.wikipedia.org/wiki/CIELAB_color_space https://en.wikipedia.org/wiki/CIELUV#Cylindrical_representation_.28CIELCH.29 https://en.wikipedia.org/wiki/List_of_color_spaces_and_their_uses https://en.wikipedia.org/wiki/Luminance https://www.ahuka.com/gimp/lch-components-layer-modes/

Welcome to 2022! We herald in the new year by diving into dungeons(that likely were produced by sinkholes), stacking cards, stacking fuzzy balls, stacking roads and rails, and getting frustrated at games that make us act against the best interest of the party. We also have our first top five in a segment we dubbed “Five in Five”. Five minutes to create a top five. Simple. Keep smilin' in 2022, and don't let the bastards get you down. Intro:Dungeon Encounters (Square Enix, Nintendo Switch)Featured Games:25:15 The Game: Face to Face (Steffens Benndorf, Reinhard Staupe, Pandasaurus Games)38:10 The Fuzzies (Wolfgang Warsch, Alex Hague, Justin Vickers, CMYK)49:10 Railroad Ink Challenge (Hjalmar Hach, Lorenzo Silva, Horrible Guild)1:34:00 Townsfolk Tussle (Stephen Louis, Tony Mayer, Rachel Rusk, Panic Roll)Off-Brand - The Peter Jackson Super Trilogies Special Extended Cut:1:34:40 Lord of the Rings1:53:00 The Beatles: Get BackFive in Five:2:22:10 Our DEFINITIVE Top 5 Beatles Songs

I just got a reversible jacket for Christmas… I can't wait to see how it turns out. Dad jokes for days! In this episode, we're breaking down all things print and packaging. From different kinds of labels, sleeves and jackets, to OBI strips, hype stickers and all the weird things you can stick inside a jacket or epic box set. Learn how art and packaging choices can set a release apart, or better understand the terminology for the packaging on your shelves! Thank you to Normandie Records and Nicolette Smith for the use of her song ‘Beasts Bigger Than Me!'Check out all things Normandie Records at: https://normandierecords.com/Watch the Video for ‘Beasts Bigger Than Me!' here - https://www.youtube.com/watch?v=-kQeEk4EMqQPODCAST SPONSOR ALERT!Huge thanks to Other Record Labels - they've gifted us and our listeners (that's YOU!) a 50% code (CODE = WIV50) in their store for the myriad of resources Scott has compiled there!https://www.otherrecordlabels.com/store = CODE WIV50 at checkout!Meet our brand new sponsor SELEKTOR Record Bags: https://www.instagram.com/selektor.co/?hl=enAs always, join the conversations on Instagram or send us a note at MEDIA@womeninvinyl.comCheck out www.womeninvinyl.com for past episodes, the store, job board, and the growing library of resources!Don't forget to like, subscribe and give us a review on your favorite podcast delivery method! You can also contribute to furthering our mission at https://www.patreon.com/womeninvinylWhere you'll find all of the B-Sides, Deep Cuts and amazing extras, and help us start a not for profit to further the demystification, education and infiltration of more Women and Non-Binary identifying humans into the Vinyl Making Space!MORE FROM THE EPISODE: Check out case wrapped / tip on jacket companies:Stoughton Printing: https://www.stoughtonprinting.com/ Dorado: https://doradopkg.com/Explosions in the Sky Package ‘Take Care, Take Care, Take Care': https://www.discogs.com/release/2849199-Explosions-In-The-Sky-Take-Care-Take-Care-Take-Care/image/SW1hZ2U6NTExNTA3Mg==Metallica ‘...And Justice for All' Box Set: https://www.discogs.com/release/12754947-Metallica-And-Justice-For-AllEl Paraiso Hype Sticker:https://drive.google.com/drive/folders/16IcgkY1U9F0ivbKzFk3FflQPQ9p9DjIc?usp=sharing

Correction: An earlier version of this episode incorrectly stated the Jacob Christopher Le Blon was the first to identify cyan, magenta, and yellow as the three subtractive primary colors in 1723-26. Le Blon invented three and four color printing, but used red, yellow, and blue as his primaries. It wasn't until 1905 when Thomas A. Lenci of the Eagle Printing Ink Company, in New York City, used cyan, magenta, and yellow as his primaries and the CMYK method was invented.