Podcast appearances and mentions of Emma Lewis

Emma Lewis is the owner of Rare Form and The Twentieth, both based in Chicago. Emma works to digitally restore and reinterpret 100-year-old designs to create unique greeting cards, stationery, and more. Through her work, her goal is to empower and affirm others with a brand that combines vintage images with unapologetic contemporary feminist language and over-the-top messages of affirmation.The Twentieth is a stationery, gift, and design brand that brings historical maximalism together with 21st-century wit and an unapologetic attitude. The brand brings Art Deco imagery into the 21st century with empowering language and more than a hint of sarcasm. Rare Form offers a variety of Emma's feminist prints, greeting cards, antiques, and other gifts. There, she uses her nerdy, sarcastic sense of humor to create digital collages that combine vintage photographs of women with empowering, contemporary feminist language.Sonia McMoran spent more than a decade reporting on interior design and technology trends for publications such as The New York Times, Wired, ReadyMade, and Apartment Therapy. While taking a hiatus from journalism, Sonia realized that what she loved most about her job wasn't the writing, butthe excitement of uncovering cool products and the people who make them and sharing her discoveries with the world. This was the impetus for Home/Work, an affordable and unique shop for the home and home office that celebrates the best in past and present design.Sasha Varni was raised in Carmel in a family of retailers - it's in her blood! Sasha worked for her mom's candle store growing up and in college. After a brief stint in Italy, Sasha moved to SF and worked for Sephora and bareMinerals. She then moved to Walnut Creek and after taking maternity leave, she decided to go all-in on opening the gift shop Wish with her mom. Thanks to her amazing customers, Sasha has been able to expand her shop and now ships nationwide through her website. This month, Wish is celebrating its 10-year anniversary. In this first all-female retail roundtable, Emma, Sonia, and Sasha join Michelle to dive deep into their stores and recap the last holiday season. They also share how they like to tackle gift shows, strategies to boost special event attendance, and how to deal with crappy customers and social media trolls. The roundtable wraps up with tips to handle returns and run a successful loyalty program.Cadeau Ami Agency is solely a road rep agency of 10+ associates that handle the states of CA, AZ, HI, and parts of Nevada for many of their 23 or so boutique/gift brands, such as Chive, SF Mercantile, Sock it to Me, French Broad Chocolate, Pomegranate, Calypso Cards, Good Juju, Ryland Peters & Small, Kei & Molly and has been a part of the industry for over 30 years now. What's Inside: A recap of the last holiday seasonHow to boost attendance at special eventsTips for handling crappy customers and returnsMentioned In This Episode:Wish Walnut Creek on FacebookWish Walnut Creek on InstagramWishwalnutcreek.comShoprareform.comHome/Work on InstagramHome/Work on FacebookHome/Work on TikTok

In this episode of the Foundher Series, Carrie sits down with Emma Lewis, an author in The Lighthouse Project, Volume 2: Beautiful Chaos. Her chapter, Believe in Your Wildest Dreams, is more than just words—it's a testament to resilience, self-belief, and transformation. An "old soul" who grew up fast, Emma carries a lifetime of wisdom shaped by lived experience. From navigating childhood in survival mode to redefining a trauma, she has turned her journey into a gift—guiding others as a life coach to break free from their past and step into their soul expansion. At just 16, Emma found herself at a Tony Robbins event, absorbing the energy of a room filled with possibility. That pivotal moment ignited a fire within her: I can do the brave things. Through strength, courage, and an unshakable belief in herself, she rewrote the narrative of her life—not as a victim, but as a creator. Emma opens up about healing from trauma, the power of taking radical responsibility, and why true transformation isn't just about mindset—it's about how you feel. If you've ever felt stuck in your story, this episode will inspire you to change your circumstances, trust in your intuition, and most importantly, believe in your wildest dreams. #BelieveInYourDreamsUseful ResourcesClick here to find links to follow all our guests.Click here to learn about FoundHer projects & events!

Graduating seniors Mary Sydnor Duffy, Emma Lewis, Bridget Lokker and Emilee Rogers gave their testimonials on Youth/Pentecost Sunday. Scripture reading is Acts 2:1-4, 38-39 https://youtu.be/gjrWvkl99Lg?t=2685

Yoversion Podcast #128 – May 2024 with John Jones - Special Guestmix: Lokie (Max Reich/Shapeshifters) TRACKLISTING Jaegerossa Aretha - Once In Her Life // Midnight Riot Dezaray Dawn, Ezel - The Real Deal - Ezel Remix // Makin Moves

This episode is sponsored by Fine Lines, a west coast wholesale rep agency with showrooms in Las Vegas and Seattle representing over 50 fabulous gift, fashion + home lines.Emma Lewis is the owner of Rare Form and The Twentieth, both based in Chicago. Emma works to digitally restore and reinterpret 100-year-old designs to create unique greeting cards, stationery, and more. Through her work, her goal is to empower and affirm others with a brand that combines vintage images with unapologetic contemporary feminist language and over-the-top messages of affirmation. The Twentieth is a stationery, gift, and design brand that brings historical maximalism together with 21st century wit and an unapologetic attitude. The brand brings Art Deco imagery into the 21st century with empowering language and more than a hint of sarcasm. It's meant to raise others up with affirming messages of support combined with updated, stunning historical graphics. The team creates cards and gifts that are purposefully over-the-top in message and design because they believe that now more than ever, it is vital that we share our true feelings with our loved ones and empower ourselves through community-building.Rare Form offers a variety of Emma's feminist prints, greeting cards, antiques, and other gifts. There, she uses her nerdy, sarcastic sense of humor to create digital collages that combine vintage photographs of women with empowering, contemporary feminist language.Here, Michelle and Emma dive into Emma's brands and how she juggles two successful businesses while also managing a busy family. Emma shares how her academic background in the arts shaped her career and how she broke into wholesaling without any prior experience. Emma also talks about her decision to open a retail store, all about how she set up her space, where Emma sources new ideas and inspiration, and more.What's Inside:How Emma transitioned from an academic career in art to owning two successful brands.How Emma opened up her brick-and-mortar retail store.Where Emma discovers new ideas.Mentioned In This Episode:https://shoprareform.com/

This week we are joined by Emma Lewis, Owner of Rare Form/The Twentieth, a pop-up art and vintage shop based in Chicago. Emma works to digitally restore and reinterpret 100 year-old designs to create unique greeting cards, stationery , and more. She seeks to empower and affirm others with a brand that combines vintage images with unapologetic contemporary feminist language and over-the-top messages of affirmation. She plans to open her first brick and mortar store - called Rare Form in Andersonville this August at 5438 N Clark! Rare Form will be a vintage inspired home décor/ concept store a blend of art and home goods with vintage pieces mixed in and a European flare.

The CWB Association has had the honor of working with Skills/Compétences Canada on a special Podcast Series interviewing members of the National Alumni Committee (NAC) from each province and territory to share their Skills journey. Every year, hundreds of Canadian youth participate in the Skills Canada National Competition and become alumni of their programs. The NAC was formed to create, support, and provide guidance to the Skills Canada provincial and territorial Alumni Associations across the country.Today's guest is Emma Lewis, working towards  degree in Jazz Performance at the University of Manitoba. When Emma was in Grade 3 she participated in a public speaking competition and realized she was good at it and every year incorporated it in her activities. Emma first became involved with Skills Canada through her high school and competed in Public Speaking from 2017 to 2019. She remains an active member and currently serves as the Media Chair of the Alumni Committee. Emma credits Skills Canada for playing a crucial role in her growth as a musician and performer.  Follow Skills/Compétences Canada:Website: https://www.skillscompetencescanada.com/en/YouTube: https://www.youtube.com/user/SkillsCanadaOfficialInstagram: https://www.instagram.com/skillscompetencescanada/Twitter: https://twitter.com/skills_canadaFacebook: https://www.facebook.com/skillscanadaThere is no better time to be a member! The CWB Association membership is new, improved, and focused on you. We offer a FREE membership with a full suite of benefits to build your career, stay informed, and support the Canadian welding industry. https://www.cwbgroup.org/association/become-a-member        

This weeks interview is with photographer Emma Lewis. Working with natural light and a sleight of hand, Emma is known for her ability to bring a subject to life as naturalistically as possible.Her portrait photography has captured the spirit of people such as Bill Nighy, David Attenborough and Orla Keily. With a warm and calm nature you find yourself surrendering to the camera even if you are terrified of having your picture taken.Her Interiors and Lifestyle photography has been published in all the major interior and weekend magazines working with incredible brands, makers and designers including Cabana, Hazlitts and Molly Mahon. With self expression and flow at the centre of her work, Emma is now embarking into the world of fine art photography turning to nature as her inspiration. I chat with Natali Stacjic and catch up on turning 42, Glastonbury and discuss what it is to be an artist, stepping into unchartered waters and hugging trees.@emmalewisphotographeremmalewis.xyz Hosted on Acast. See acast.com/privacy for more information.

Thailand Daily News Today - Thursday 9th February 2023--Want to support the show? Then why not buy me a coffee! You can do so by following the link belowhttps://www.buymeacoffee.com/thaiexpatshow--Interested in starting your own podcast like the Thai Expat Daily Show? I use Buzzsprout and I can't recommend it highly enough. It makes everything super easy. Sign up today to get on the path to making great podcasts!https://www.buzzsprout.com/?referrer_id=1751572--Check out our website and forum - https://www.thaiexpatdailyshow.com--LIKE & SUBSCRIBE for new videos every dayhttps://www.youtube.com/channel/UCB8khQ_NapVMDiW09oqL-rw--Listen to our podcast on Spotify, Apple, and Amazon or on our podcast website: https://thaiexpatdailyshow.buzzsprout.com--Facebook - https://www.facebook.com/thaiexpatdailyshow--110 Thai immigration police officers charged in visa scandalMore than 100 immigration police officers, including three generals, have been found to have issued visas illegally to foreign visitors, Pol Gen Surachate Hakparn, the deputy national police chief, said today.Sources - Thai PBS WorldPrayut hails tourism revivalPrime Minister Prayut Chan-o-cha is pleased about the recovery of tourism and thanked agencies concerned for their efforts to organize campaigns to attract foreign visitors, government spokesman Anucha Burapachaisri said.Source – The Bangkok PostVote on media ethics bill adjourned due to lack of a quorumA lack of quorum forced the joint sitting of the Thai Parliament today to adjourn before a vote on the media ethics bill, which is widely opposed by media practitioners who fear it would restrict media freedom.Sources – Thai PBS WorldPhuket tour company's license suspended after employee attacks Chinese touristA tour company in Phuket has had its operating license suspended for six months after one of its employees allegedly attacked a Chinese customer. The female employee was summoned to Karon district police station on Monday, to acknowledge charges of assault and carrying a knife in a public place, after the victim posted on her Facebook page that she was attacked by the employee when she went to the tour company to demand a 5,000 baht refund after the company had failed to arrange a sight-seeing trip to Similan Island for her.Sources – Thai PBS WorldBackpacker slices her face open in moped crash during holiday in ThailandA backpacker's trip to Thailand turned into a "holiday from hell" after she crashed a moped through a window, slicing her face open from side to side. Emma Lewis, 24, lost control of the moped and crashed into a house window while on the way to go snorkeling in Ko Pha-ngan.Source – Wales Online--#thaiexpatdailyshow #thailanddailynews #thailandnewsSupport the show

In this episode I chat with ex-police officer, business owner, number 1 women's supporter ( I just gave her that title then, but well deserved!), good friend and all round top chick, Emma Lewis. Emma chats about her It's In Her Planner membership where she supports women to become the best version of themselves, in a really no BS way. Trust me, I've been involved in this membership since the beginning and it's well worth it.Find out more: https://itsinherplanner.com.au/the-membership/ or on Instagram @itsinherplanner

Om du inte vet vad en ateljerista arbetar med skall du helt klart lyssna till Emma Lewis. Hon är utbildad förskolelärare och därifrån vidareutbildade inom den lärande filosofin Reggio Emilia. Att dagligen få träffa och vara med i våra yngsta medborgares utveckling är både inspirerande och roligaste hon vet. Utöver detta föreläser hon även om hur man kan inkludera utveckla den digitala världen i barnens lärande. Under inspelningen satt vi på en av förskolorna Emma arbetar på.   Besök och följ Helsingborgspodden på: Facebook  Instagram LinkedIn

In this episode, our Strategist Emma Lewis reads, “Utilizing brand to drive an authentic response to climate change in the energy industry.” Originally published in The Drum, Emma takes a closer look at the role global brands play in the fight against climate change, the parallels between the Covid-19 pandemic and the climate crisis, and how to leverage brand to drive authenticity.

Emma Lewis is a Junior Interior Designer based out of the GTA, and has multiple diploma's in both interior design and visual merchandising. Emma and I are twins and it has been an amazing journey being able to grow alongside important stages of our lives together. She has been a large inspiration and motivator of mine as she continues to progress herself in multiple endeavours. Emma is an amazing support as a sister and I couldn't have been happier sharing one of our conversations with you all. During this episode, we covered: -Emma's individual progression and how she's grown in the recent years, -Our childhood and seeing it shape us today, -Learning more about ourselves as we grow, And a ton more! Happy listening, homies. 

Mark Lewis, curator of Tenby Museum and Art Gallery - Wales' oldest independent museum, and Emma Lewis from PLANED describe the development of Tenby as tourist destination from the 1800s to the present day. Find out more about Tenby Museum and Art Gallery, including visitor information and details about their collections on their website www.tenbymuseum.org.uk. Echoes of the past is a podcast about Pembrokeshire, about history and culture, and about the importance of this corner of Wales to the wider world. The Echoes of the Past podcast is produced by PLANED (www.planed.org.uk) and is funded by Arwain Sir Benfro (www.arwainsirbenfro.cymru). Echoes website: http://www.echoeswales.cymru/ Echoes on Twitter: https://twitter.com/PembsEchoes Echoes on Facebook: https://www.facebook.com/PembrokeshireEchoes Music: Water Lily - The 126ers https://youtu.be/BQm22usqKds

In this episode, The Layman's Doctor speaks with blogger Emma Lewis about her experience with cervical cancer and its recurrence. Emma had her first diagnosis in the 1970s when she was in her early 20's. This is before the Human Papillomavirus vaccine was created. Interestingly, her medical records were used in research surrounding cervical cancer. Cervical cancer is the second most common cancer in women and is easily detectable with yearly Pap smears. Now with the HPV vaccine, we can prevent cervical cancer. Both men and women benefit from getting this vaccine. Speak with your healthcare provider about getting vaccinated. Links mentioned in the podcast:CDC HPV Vaccine Mayo Clinic Cervical CancerMOHW Cervical CancerJamaica Cancer Society Cervical CancerKeep up with Emma:Twitter FacebookBlogGlobal VoicesContact The Layman's Doctor:thelaymansdoctor@gmail.comwww.instagram.com/thelaymansdrwww.twitter.com/thelaymansdrwww.thelaymansdoctor.comRemember to LIKE | RATE | SUBSCRIBE!!!

Welcome to the Not Your Mother podcast with Emma Lewis! In this weeks episode, Emma is joined by a forever friend, as we call them in this episode, and the two have a great conversation! Sophie Cassell and Emma Lewis discuss having a random roommate in college, long distance relationships, forever friendships, manifesting, and more! Thank you for listening. Enjoy! Connect with Emma and the Not Your Mother podcast: Podcast Instagram: @notyourmotherpodcast Emma's Instagram: @emmakatherynn

A bit of beach time, and the third of our compilations from the year of 2020. Featuring Caoimhín Ó Raghallaigh, Una Monaghan, Jason Rouse, Emma Lewis, Joanie Madden, Rita Farrell, Daithí Gormley, James Keane, Tara Howley, Sean Lally, Cathy Custy, Hajime Takahashi, Catherine McEvoy, Ciaran Kelly, Cameron Mather, Áine Tyrrell, Sean Mathews, Liam Thomas Bailey, Eoghan Ó Ceannabháin, Tola Custy and Tola Custy live with Ado Barker. The tunes (I think we've got 'em all...) Caoimhín Ó Raghallaigh - Kitty Lie Over Una Monaghan - Nana Nora's and The Clean Player Jason Rouse - The Famous Ballymote / Scotch Mary Emma Lewis - Dwyer's Jig / O'Sullivan's March / untitled jig Joanie Madden - The Cat's Meow Rita Farrell - The Happy Days of Youth and Colonel Rodgers' (often known as McKenna's 1 & 2) Daithí Gormley - Last Night's Fun James Keane - tunes to bring his father back for a visit - Tom Ward's Downfall, Farewell to Erin (from the playing of Paddy O'Brien) and Dillon's Fancy Tara Howley - The Legacy/Paidín Ó Raifeartaigh Sean Lally - The May Morning Dew / Humours of Ballyloughlin Cathy Custy - A Jig and the Cliffs of Moher Hajime Takahashi - Unnamed Tune Catherine McEvoy - Bánchnoic Éireann Ó Ciaran Kelly - The Showman's Fancy and The Galway Hornpipe. Cameron Mather - Fergal O'Gara's / The Bag of Spuds / The Boys of ‘45 Áine Tyrrell - In This House Sean Mathews - Welcome to Ballsgrove Liam Thomas Bailey - The Broken Parts + The Maids of Mitchelstown Eoghan Ó Ceannabháin - The Deepest Breath Rita Farrell - The Drunken Gauger / The Humours of Ballingarry / The Girl From the Big House Tola Custy - Love at the Ending and Tola Custy with Ado Barker - The Broken Pledge/The Porthole of the Kelp/Jenny's Welcome to Charlie Our heartfelt thanks go outto everyone who's supported the podcast over the past year with emails, chats, words of encouragement and suggestions. And to the musicians. Seriously - without you all, we wouldn't be doing this. All the best from us to you for 2021. Hang in there. Love Darren and Dom -- To listen, stream or download simply click a link below: Our website: https://blarneypilgrims.com iTunes: https://apple.co/2A6tUPm Google Podcasts: http://bit.ly/3cPTkis Spotify: https://spoti.fi/3eIwBFy Or alternatively, simply search your favourite podcast app for the Blarney Pilgrims. -- Become a Patron Saint of the Blarney Pilgrims Podcast. We want the podcast to be free to listen to for as many people as possible. But without the support from at least some of you we couldn't keep putting out an episode a week. That's why we're asking you to become a Patron (Saint) of the podcast. www.patreon.com/blarneypilgrims So, for the price of a pint, or a half pint for that matter, you can help keep this show on the road and be safe in the knowledge you have a halo above your head. For your good deed you will secure your place in traditional Irish music podcast heaven. But most importantly, you'll have helped pay for the other 99% of listeners that don't or can't chip in. And that, my friend, is a hell-of-a-nice thing to do. Darren & Dom www.blarneypilgrims.com www.patreon.com/blarneypilgrims www.facebook.com/blarneypilgrimspodcast www.instagram.com/blarneypilgrimspodcast www.twitter.com/BlarneyPodcast

Welcome to the Not Your Mother podcast with Emma Lewis! In this weeks episode, Emma brings guest and long time friend Courtney Bruhn on the show to tell her experience with being in the military, bootcamp, growing up with strict parents, and secret relationships! The two have a great conversation and we hope you enjoy!  Connect with Emma, Courtney, and the Not Your Mother podcast: Podcast Instagram: @notyourmotherpodcast Emma's Instagram: @emmakatherynn Emma's Twitter: @emmakmae Courtney's Instagram: @courtney.bruhn

Interviewing convicted juvenile killers for the FBI leads Emma Lewis and Travis Bell on the hunt for a serial murderer who targets teenagers. A riveting YA thriller that will keep readers on the edge of their seat from start to finish. It's 1982, and the innovative FBI Behavioral Science section is breaking new ground. Emma Lewis and Travis Bell, two teenagers with valuable skills, are recruited to interview convicted juvenile killers for information on cold cases. When they're drawn into an active case targeting teenagers, everything starts to unravel. Over Travis's objections, Emma becomes the conduit between the FBI and an incarcerated serial killer, nineteen-year-old Simon Gutmunsson, who is a super-intelligent sociopath. And although Simon seems to be giving them the information they need to save lives, he's also an expert manipulator playing a very long game ... Can Emma and Travis stop a serial killer on the loose - or will they fall victim themselves?

Welcome to the Not Your Mother podcast with Emma Lewis! In this episode, Emma shares what she wishes she knew in high school. She talks about being in high school relationships, how to pick between colleges, and the lessons she learned during her high school years! Although she discusses high school, the advice in this episode can be helpful to people of all ages! Enjoy! Connect with Emma and the Not Your Mother podcast: Emma's Instagram: @emmakatherynn Emma's Twitter: @emmakmae Podcast Instagram: @notyourmotherpodcast

TW: eating disorders, calorie counting Welcome to the Not Your Mother Podcast with Emma Lewis! In this weeks episode, Emma discusses her health and wellness journey. She covers subjects like the importance of balance, diet culture, eating disorders, and reasons to stay active and healthy that have nothing to do with your physical appearance. Health and wellness is one of Emma's passions and she is excited to share it with you all! Enjoy! Connect with Emma and the Not Your Mother podcast: Podcast Instagram: @notyourmotherpodcast Emma's Instagram: @emmakatherynn Emma's Twitter: @emmakmae This episode is brought to you by Anchor.

Welcome to the Not Your Mother podcast! On today's episode, Emma Lewis has her first guest in the studio; Sam Barrett. Sam and Emma talk all about anxiety, long term relationships, and growing up with divorced parents! There are even topics like skinny dipping, being friends with people of opposite political views, how to stay in love during a long term relationship, and THE FIRST F*@K WORD DROPPED ON MY SHOW! Not only is it fun hearing from Emma and Sam, but they also have a lot of great advice to give to listeners. Enjoy! Connect with Sam: Blog: indyadolescents.weebly.com Instagram: @samfbarrett Twitter: @samib04 Connect with Emma and the Not Your Mother podcast: Podcast instagram: @notyourmotherpodcast Emma's instagram: @emmakatherynn Emma's twitter: @emmakmae This episode is brought to you by Anchor.

Emma Lewis is an influencer, fashionista, music lover, and industry disrupter. In this Episode she talks Harry Styles, Taylor Swift, and music as a form of emotional release.

Welcome to the Not Your Mother podcast! On today's episode, Emma Lewis talks about her COVID-19 experiences including her vacation pre-covid from the devil himself, her quarantine boyfriends, and how to stay motivated and sane during a global pandemic. This episode will be entertaining, but also full of advice during this time that is difficult and has effected all of us. Connect with Emma and the Not Your Mother podcast: Podcast instagram: @notyourmotherpodcast Emma's instagram: @emmakatherynn Emma's twitter: @emmakmae This episode is brought to you by Anchor.

01. Welcome to the Not Your Mother Podcast! On today's episode, Emma Lewis is giving you a sneak peak of her life and what you can expect from the Not Your Mother Podcast. Emma started this show because she realized there are a lot of important conversations to be had that may seem uncomfortable to talk about with your parents. Who better to talk about these things with than Emma herself, the big sister you never had? She talks about what content she will be covering, how she plans on being unapologetically herself on the show, and answers some questions that viewers asked via Instagram story. Stay tuned for the first full episode on Wednesday, November 4, 2020 at 12pm! Connect with Emma and the Not Your Mother podcast Podcast Instagram: @notyourmotherpodcast Emma's instagram: @emmakatherynn Emma's twitter: @emmakmae This episode is brought to you by Anchor

You are in for a treat with this episode of Sober Bliss meets the wonderful 'sobersonic' Emma Lewis. Discover what led Emma to finally saying goodbye to alcohol and how she did it. Emma is a shining light of sober positivity and listen to our uplifting, inspiring conversation full of laughs and golden nuggets of inspiration. You can even be Emma's sober penpal, so listen out for that too!

Is forgetting the past something easy to do?  Dr. Emma Lewis is called to evaluate a patient, who was found on a beach with no ID, no memory and entirely speechless.  But Dr. Lewis will soon find out that this patient knows far more about her past and her true identity than his own… Catherine Steadman, like in her first novel, Something in the Water, delivers another suspenseful and psychological thriller. Go get this book – we bet you won’t be able to put it down!

Emma Lewis on how tunes connect us all. On being a woman in the traditional music scene, travels in Ireland and random festival invites. On friendships and learning tunes and on returning home to Australia. Emma plays the following tunes: East Clare Reel / Martin Wynne's Number 4 / The Liffey Banks Dwyer's Jig / O'Sullivan's March / untitled jig The Old Wooden Bridge / The Road to Ballymote / The Mayo Lasses The Drunken Tinker / Tie The Bonnet / O'Donnell's Sligo Maid (or The Glendowan Fancy) Thanks Emma, for a great afternoon's chat and playing. ... If you liked this episode and think you got some worth from it, then please pledge at any level over at www.patreon.com/blarneypilgrims. Of course, you don't have to become a patron to listen, but we guarantee you'll enjoy each episode more because you'll be safe in the knowledge that you're a deadset legend. If you can't afford to pledge on Patreon, and we totally understand if you can't, all is not lost. You can still support the show by sharing it on your socials, posting about it in your favourite forums or simply by telling your mates about it down the pub. www.patreon.com/blarneypilgrims www.blarneypilgrims.com www.facebook.com/BlarneyPilgrimsPodcast @BlarneyPilgrimsPodcast

Pav Bryan is joined by time trial specialist Emma Lewis; 2019 RTTC Champion of Champions, National 50 Champion & Gold at the National Team Time Trials.Emma tells her story; her rise to success, what her training is like, what she does differently to her male teammates and what targets she has for 2020.They finish by setting up a challenge which you can follow solo or join the Spokes Performance Training Advice Facebook group to partake with a likeminded community. 

On today’s episode (the season finale!), host Viv Kruckow chats to police officer and founder of Canvast, the dateless yearly planner for boss women, Emma Lewis. We dive deep into all things money in your twenties, and the reality of ticking the boxes.We hope you love this episode as much as we do. Emma shares openly about her experiences with money from childhood through to her thirties, giving us real dollar values of what she spent and saved in order to achieve her big goals. We also chat about launching a product-based business, what you should consider before buying a property, and the sacrifices that come with saving.Please note that neither Emma or myself are financial advisors – we are, however, women who share their personal experiences with money and offer advice based on what we’ve learnt as humans existing in this crazy world.For more information on Emma and the brilliant work she does, you can head to Canvast’s website or Instagram.Find us on the internet:

Laura Stevens:  Hello, and welcome to the Government Digital Service Podcast. My name is Laura Stevens and I’m a Creative Content Producer here at GDS. And today’s podcast is going to be on the GOV.UK Design System.    The GOV.UK Design System is a collection of tools and resources for designing and building products and services. It provides styles, components and patterns that are accessible. This helps hundreds of teams across the public sector design and build services that are of high quality and can be used by anyone.    The impact of the design system, created and managed by a team of 10 here at GDS, is significant. It’s used in central government, local government and has also been used by the NHS and international governments to develop their own design systems. It saves teams time and money and helps give people a consistent and accessible experience when interacting with government.    To tell us more is Tim Paul, who is on the team who launched the GOV.UK Design System. Tim has also been at GDS for a long time, he was on the team that launched GOV.UK in fact as well. We’re also going to be hearing from people from central and local government about how the GOV.UK Design System has helped their work.   So yeah, welcome Tim to the podcast.    Tim Paul:  Hi there, how are you doing?   Laura Stevens: Thanks for coming on today. And could you tell us what your job is here at GDS and how you work with the GOV.UK Design System?   Tim Paul:  Yeah so I guess my official job title is Head of Interaction Design. But for the last couple of years, I’ve mainly been kind of doing that as a Product Manager really for the Design System. So that’s a thing that we kind of kicked off a couple of years ago and we’ve managed to build a team around that, and develop a suite of products. We launched those back in summer of 2018 and yeah, I’ve been product managing that and working with the team closely ever since.   Laura Stevens:  So the Design System was launched back in July 2018. But what is the Design System made up of?   Tim Paul:  So it’s essentially a suite of 3 different products. So you’ve got the Design System itself, which is basically a website with guidance and coded examples for designers and frontend developers to use to design and prototype and build public services. So that’s the first thing.   And then there’s a thing we call the GOV.UK Prototype Kit, and that’s a piece of software that designers in particular can download and install, and they can use it to rapidly create very high fidelity prototypes that they can take into user research. And they can test out ideas before their, their team commits to building anything. So they can find out what the right thing to build is.   Laura Stevens: Yeah.   Tim Paul:  And then the third thing, which underpins both of those, is a thing we call GOV.UK Frontend. And that’s essentially a frontend framework, so it’s all the Javascript and the CSS [Cascading Style Sheets] wrapped up into a nice package that developers can install into their projects. And so the Prototype Kit and the Design System both use GOV.UK Frontend and that means that designers and developers are both drawing from the same kind of library of components and patterns.    Laura Stevens:  I heard you say before that you think of the Design System also as a service as well, what do you mean by that?   Tim Paul:  Yes. So as well as the 3 products that we provide, we also offer support and training. We’ve helped facilitate contributions to the design system and we’ve run community events and we have regular hangouts with our community of users and contributors. So we really think of the whole thing together as being an actual service, and we have you know, a multidisciplinary team to support both the products and that service.    Laura Stevens:  And when you were talking about the different parts of the GOV.UK Design System, for people who are listening and don’t know what a component is or a pattern or a style. Could you explain what those things are please?    Tim Paul:  Yeah, ok, I’ll have a go.   So when we first started out - figuring out how to make this thing, we did a lot of thinking about what were the things that were going to be inside the Design System. There’s no really established language for talking about this stuff. Although design systems as an idea are fairly well established now.    So in the end we settled on 3 definitions. And so we have what we call styles. And they’re the really low level building blocks that everything else is made out of. So it’s things like colour palettes and how your typography works and how your page layouts work and your grid system and so on. So those are the styles.    And then one level up from that if you like, we have things that we call components. And so components are chunks of user interface, UI. So they’re visible things that you can compose onto a webpage and that, and, and that makes your service. So it’s things like drop-down lists and tables and navigation and headers and footers. And all our components are built using code, the code that we provide in GOV.UK Frontend. And so that’s what a component is.   And finally one level up from that we have things that we call patterns, and patterns are a little bit more abstract. They’re centred around common needs that users of public services have. So for example, lots of public services require that people enter information about themselves like their name or their address and so on, and so we have design patterns which explain the best most usable way that we’ve found, to ask users for that kind of information.    And, we have even higher level design patterns so for example, it’s quite common that a public service has eligibility requirements that, that, that users must meet if they are able to use that service. And so we have a pattern for example, which explains how best to help users understand whether or not they can use your service, so that they don’t waste time trying to apply for a benefit or something that they don’t actually meet the requirements for.   Laura Stevens: And so now I feel like I, I know what it’s made up of, I know what those words mean. But why are design systems good for government? And in a previous presentation I found in the Google Drive in my research, you said the national motto of design system teams is ‘efficiency, consistency and usability’   Tim Paul: Oh yeah, I did say that didn’t I?   Laura Stevens: Would, is that why they’re good or have you changed your mind?    Tim Paul: I guess, no that’s almost been one of the most stable beliefs that we’ve held throughout the whole kind of time we’ve been developing these resources. There, there do seem to be 3 pretty stable fundamental user needs that things like design systems are good at meeting. And, and that’s that public services needs to be efficiently built, we don’t want our tax payers’ money to be wasted in people like reinventing the wheel up and down the country in different teams.   They need to be of a high quality. So they need to be really accessible and usable. And they need to be consistent with each other. So one of the big reasons that we made GOV.UK in the first place was to try and create a single unified consistent user experience for all government services because that helps people to be familiar with those services, which means that it makes them more usable. But it also kind of fosters trust because it’s much easier to recognise when you’re using a legitimate government service if they all look the same.    And the way that design systems help with those things is that you have this common suite of components and patterns that are ready made, pre-built, they’ve already been tested for things like usability and accessibility. And so that lifts up the quality because people are re-using existing things, it means that they’re not developing them themselves so that makes teams more efficient and productive. And again because they’re re-using the same suite of components and patterns, it means that different services made by different teams in different parts of the country in different departments, are all consistent with each other.   Laura Stevens: And I think that’s a point that I wanted to pick up on, is because I think as a user coming to GOV.UK, it looks like it’s just one big website.   Tim Paul: Yeah.   Laura Stevens: But it’s actually being managed, and being delivered simultaneously, by different teams up and down the UK.    Tim Paul: Yes. So like you say GOV.UK presents as this single, quite large website that’s full of different services and information and that’s entirely intentional, that was always the vision for GOV.UK. But we, anybody who’s worked on it knows that under the hood, it’s hundreds and hundreds of separate websites and they're owned and managed by different teams in different departments up and down the country. There is no single tech stack for the public sector or for government, there’s hundreds and hundreds of different ones and we don’t try to control what that stack should be.    And so the challenge that we’ve always faced is like how do we let all of those teams work pretty much independently of each other, but deliver something which is coherent and consistent and feels like a single user experience. And this is, this is what design systems are really good at because they, they provide this centralised resource that all teams can draw upon and contribute back to.    So not every organisation, or large organisation, requires a design system necessarily but I think government is maybe almost the best example of an organisation that can benefit from, from a tool and a service like this.   Laura Stevens: So yeah, we’ve got GOV.UK as this, appearing as one site but actually being operated by lots and lots of different teams up and down the country. So is that who’s using the Design System, all these different service teams?   Tim Paul: Yeah, so we think that most users of the Design System are probably designers or developers working in, on, in services teams in different departments up and down the country. And we’ve tried lots of different ways to measure usage, it’s important that we know who’s using our service and how and what problems they might be facing, so that we can improve the service for them.   So one thing we have looked at in the past is, is web traffic. That’s just visitors to the Design System website. And that’s quite useful for showing month on month growth. I think since we launched, we’ve grown the number of visitors to the site by about 250%.    Laura Stevens: So impressive figures.   Tim Paul: Yeah, yeah! It’s, we’re happy with that.   Laura Stevens: I wanted to ask about the community element of the Design System. So people are able to contribute their own patterns and how, so in terms of the number of patterns or number of components now, are most of them done in GDS or do, are they generally done from people who have contributed? How does that work?    Tim Paul: Yeah. So from the outset really, we wanted to make sure that what we built was owned by the community of designers and developers in government, and was easy to contribute back to. And there’s a couple of reasons for that. One is that we’re, GDS is at the centre of government and that’s really helpful as a way to kind of propagate out best practice and so on, but it does mean that we’re kind of one step removed from the actual end users of citizen facing services and staff systems and so on. It’s really the teams in the other departments that are closest to those users. And so we really rely on them to feedback into the Design System about, about whether components or patterns are working or not. Maybe they’ve found ways to improve upon them, maybe they have ideas for brand new components and patterns that, that we don’t realise are needed. And so like I say, from the very beginning we were trying to figure out ways to, to kind of foster a community of collaboration and contributors.    And so we initially populated the Design System with maybe about 30 or 40 components and patterns that we already knew were needed by government. Some of those we brought in from our previous design tools.    Laura Stevens: Yeah.   Tim Paul: But since then we’ve had about 18 new components and patterns published over the last year and a bit. And I think of those 18, about 13 of them have been external contributions. So things that have been built by people in service teams somewhere else in government, from MoJ [Ministry of Justice] or DWP [Department for Work and Pensions] or HMRC [HM Revenue and Customs] and so on, and then contributed back to the Design System.    And so we from kind of experience with our previous tools, our legacy products, that contribution is difficult and it certainly doesn't happen for free and it doesn't happen at all unless you do a lot of work to facilitate it and so on. So we put a lot of effort into developing the necessary processes and the governance and the assurance so that when people made a contribution, they knew what to expect and they knew the criteria that they needed to meet and that there were people available to support that contribution. And then other people who are available to kind of assure the quality.    So what we’re hoping is this, by this, by making this process really open, it kind of encourages trust in what we’re doing, and it means that the work that we’re publishing isn’t biased, in favour of any one department and so on. And that it, and that it actually reflects the needs of teams in government.   Laura Stevens: So how does it make you feel having so many patterns and contr-and components now being able to be contributed? Because, this, this hard work of making it decentralised, making it open is working.   Tim Paul: It, I think it is working, I think we’ve learnt a lot along the way. We’ve certainly learned that it’s harder than we thought it would be. I mean we thought it would be hard, but it’s even harder than we thought it would be. I think perhaps we were tempted to think in the early days that contribution was like a shortcut to scaling.   Laura Stevens: Yeah.   Tim Paul: That like by opening our doors and letting people contribute, we could grow rapidly and it would like solve all our problems that way. And actually over the last year or so, I think what we’ve realised is that facilitating and assuring contributions is often as much work as doing the work yourself. We should probably have realised that at the time. And so I think it does let us scale but not to the extent that perhaps we thought it would.   So yeah, we think that aside from scaling, there are other real concrete benefits to, and I’m encouraging contribution on one of those, is that when people make successful contributions to the Design System, they tend to be pretty strong advocates so they almost act as like people doing engagement in departments on our behalf.   But also, and perhaps more importantly, the more people from service teams in other departments make contributions to the Design System, the more representative the Design System is of what those teams need. And so it just really helps us make sure that our product is actually genuinely meeting the needs of our users.    If we were doing all the work ourselves in the centre, then, then there’d be a really strong risk that what we were producing was only really meeting the needs of the teams that we were closest to.    Laura Stevens: And I think that leads very nicely on. Because we’re now going to hear a clip from somebody who uses the Design System who isn’t from GDS.   Tim Paul: Ah.   Laura Stevens: It’s from Adam Silver, who previously worked at the Ministry for Justice, or MoJ Digital. So yeah and MoJ is the second largest of the 24 ministerial departments, so it’s a big department.   Tim Paul: Yeah.   Laura Stevens: And yeah, he’s going to talk about using the GOV.UK Design System and also about the MoJ specific Design System as well.    Adam Silver: I’m Adam Silver, I’m an Interaction Designer working at the Department for Education, and previously I’ve worked at MoJ Digital and HMCTS [HM Courts & Tribunals Service] as well.   Laura Stevens: Could I talk to you about your work with the GOV.UK Design System on the service claim for the cost of a child’s funeral, which is a highly emotional service and also one that had to be delivered at pace in 6 weeks in fact. So how did having this centralised system help you in that?   Adam Silver: Yeah so we used the MoJ form builder, which is a tool that lets you create and deploy digital forms live, live to a URL without spinning up your own dev team. And under the hood, that form builder uses all of the components and patterns of from the GOV.UK design system. So that meant we didn’t have to spend a whole load of time thinking about text boxes, radio buttons and all of, all of the good stuff that’s already been solved brilliantly. And we could just focus on the specific needs of our service, and filling in the gaps where the GOV.UK Design System didn’t have a solution for that.   Laura Stevens:  And so in that way, was it saving you time, was it saving you hours of work, what was it helping you with?   Adam Silver: Yeah, it saved, saved a lot of time. Because instead of focusing on all those things we could focus on just the needs of our service. So for example, we needed to think about how to ask users for their bank details because we needed to make a payment for them for their claim. And we also focused on things like how to upload files because they had to provide evidence for their claim by uploading copies of their receipts. And those, those 2 particular components and patterns aren’t covered really in the GOV.UK Design System. So that’s where we could really focus our attention.   And the other thing was that when we were doing an accessibility audit before we launched, we could focus most of our attention on the new patterns that we knew might not be up to the level of quality, or level of accessibility, that all of the other components that, like the text boxes and radio buttons in the GOV.UK Design System.    Just that it’s so, so real, it’s just so good. Just the quality of the guidance, the quality of the patterns, the components themselves is excellent. It plays really nicely into the prototype kit. And when I have worked on department specific design systems, it plays nicely with those ‘cause. So we’ve, we’ve... At HMCTS and MoJ Digital, we had our own department design systems and we had to extend and build on top of the GOV.UK Design System. So that was, that was another really good thing.    Laura Stevens:  Could you sort of speak then to how important having this centralised GOV.UK design system is to different departments across government?   Adam Silver:  Oh yeah, absolutely. I mean we have several services at MoJ that were asking people for their bank details. And during our research there are many many government departments that have many many services of their own that are also asking for their bank details. So there is a lot of duplication of effort there and a lot of inconsistency between them. Not, not major inconsistency but little inconsistencies and those can, those things can, can add up to creating a less than ideal, tricky user experience.    So having that centralised and standardised in GOV.UK Design System adds a tremendous amount of value along with everything else that is centralised in, in the system.   Laura Stevens: How does the community behind the design system help you in your work?   Adam Silver: Yeah, so well, that’s, it’s majorly helpful. It’s one of my favourite things about working in gov [government] actually, is, is the huge design community who are just willing to, to help. On, on Slack, there’s like thousands of people on there and they’ve, there’s always somebody that’s either come across your exact problem or they’ve come across something similar and can help out.   And then the backlog itself, or, or the more specific help around the design system, I mean the team are real-super friendly. You get to know them individually, they’re always there to, to help. And having someone dedicated on support each, each day on Slack is, is massively massively helpful, knowing that you can go to one place to get help is, yeah, I can’t, I can’t just, I can’t commend it enough really. It’s super valuable to me and it’s, I know that it’s been super valuable to other people I’ve worked with as well.    The community backlog is really good because if there isn’t something in the design system then you know that there’s going to be...well there’s a very very good chance that somebody has put their own designs into the backlog. Just some screenshots, just some explanation and then some discussion. And that, that will get you going so you don’t have to start, you’re never, you’re never really starting something from scratch because somebody has always done something. And somebody, sorry. Sometimes somebody has done more than something. There’s, there's a lot of contributions on some of the backlog tickets as well.   Laura Stevens:  So Kellie Matheson, who works at MoJ Digital, also spoke at Services Week 2020 about having two Design Systems and working with that. How do you, how, what’s been your experience of using two design systems at once?   Adam Silver: So it’s not, it’s not the ideal situation. It’s because, the reason why I think design systems appear in departments is, is because, well for 2 reasons. One is that GOV.UK Design System just can’t go fast enough in accepting contributions which is kind of what I was talking about earlier. They’re just not resourced enough I don’t think. It takes a lot of effort to build out a component.   Laura Stevens:  Yeah, yeah, yeah.   Adam Silver:  So that, that’s one reason where a department could move a little bit faster. Quality might be a tad lower but they can move a bit faster. Because they’re not worrying about the needs of the whole of government, they’re just worrying about the needs of their department of the needs of a programme within a department, sometimes that’s the case. And the other reason is because there are literally department specific patterns. But I see it as a temporary solution while, until the GOV.UK Design System can pull those patterns in.    Laura Stevens: And you, on your blog post, you also contributed a pattern along with your colleagues Amanda Kerry and Gemma Hutley, what was that pattern?   Adam Silver:  That was how to ask users for their bank details. So as part of the, as part of the Child Funeral Fund service that we were designing, the main, the main point was that the user is claiming back the costs. So to do that they need to provide their bank details and that way we can, during the claims process, make that payment to them.    Laura Stevens: And what was it like to contribute your own pattern to that, or your team's pattern to that?   Adam Silver: The reason why I wanted to contribute the bank details pattern was because while we were designing the service, there was no actual pattern existing for the bank details. And we looked in the backlog and we talked to people across government and in our own department as well, and there was no, there was no solid example of how to, how to ask for it. There was lots of different good examples but there was no one way. So that’s something that we had to tackle during the 6 week period.    And so it would have been a real, it would have saved us a lot of time if that did, if that pattern was part of the GOV.UK Design System. So we thought ok well look, we’ve learnt quite a bit about it by searching around what other people have done, and we made a decision ourselves for our service. So why don’t we use what we’ve learnt, work a little bit harder and contribute it back.    Laura Stevens: So I’m sitting here with Tim Paul...And so you can ask him anything, what do you ask him?   Adam Silver: Hi Tim, I would ask you how to quantify the value of a design system?   Laura Stevens: So a nice easy question there.    Tim Paul: Yeah, thanks Adam!    Laura Stevens: But I did actually hear there was, I did actually see this was, this was your talk in Services Week 2020, wasn’t it?   Tim Paul: Yeah. Yeah. So first of all, that was really good to hear from him. And yeah. One of the things we’ve always known that we need to do, and any team will need to do, is to somehow quantify the benefits of the thing that you’re delivering. Design systems are no exception. But it is quite hard to do that because of the nature of the service and the products I think. They’re not transactional services, you can’t watch people kind of go through them, people aren’t signed in when they use it and so measuring how many people are using your service and product is tricky enough.   And then quantifying the actual material benefits is also not that easy. It’s all about productivity and that’s quite a hard thing to measure. These aren’t small tasks that can be done in a few minutes where you can, can easily measure how much faster people get. These are tools which help people over the course of days and weeks and months in quite unpredictable and subtle ways.    So we’ve always struggled a little bit. Although I think this quarter we’ve gotten a little bit better at this stuff. And so we were joined by Roxy, who’s a Product Manager in GDS, and she’s really helped us deliver a kind of economic model and, and a business case for how, how much benefit the Design System is, is giving people. And so we did a fair amount of research, we did lots of analysis of things like repos on Github.    And we fed all of this information into an economic model, we worked with an economist called Parri. We, we, we had lots of other data points. Our user researcher Rosie did, at quite short notice, did some really good research where we interviewed around 10 designers and dev-developers from different departments, and we got them to talk about their experience of using our tools. We got them to do the very uncomfortable thing of like trying to, trying to tell us how much more or less productive they were using our tools and not using our tools.   Laura Stevens:Yeah.   Tim Paul: Which is a, it’s a really tough ask. But people did tell us and we got enough data points that we figured taking an average and going with a conservative version of that average was sufficient. And so feeding all of this stuff together, and thinking about how many teams are actually using our products and for how long and so on, we got to a kind of round figure of, we think we’re probably saving the government about £17 million pounds a year right now    And that’s based on the assumption that without the Design System, government would need to spend about that much money to deliver the same services of a similar quality. So yeah.   Laura Stevens: And were you, did you think the figure would be about £17 million or did you...   Tim Paul: Yeah..I don’t know. I guess it was higher than maybe I was expecting.   Laura Stevens: Yeah.    Tim Paul: Yeah. Yeah. But one of the things we’re really keen to do is focus as much as we possibly can on, on the more qualitative benefits of Design Systems.   Laura Stevens: Sure.   Tim Paul: Rather than treating them as a kind of efficiency tool. They definitely do help teams work more productively but what we’re really hoping is those teams use their excess capacity to deliver better services. And so Adam kind of touched on that. Because they don’t have to worry about checkboxes, and radio buttons and headers and footers and making those all accessible and usable, they can spend that time that they’ve saved focusing on the actual service itself, and the content design, and the service design and the policy design and so on. And that’s really where the gains are to be had for individual service teams.   Laura Stevens: Adam also referenced about how there are other individual organisations using their own design systems, they’ve made up their own design systems. Why do you think places have created their own versions?   Tim Paul: There have always been other design resources made by other teams and departments in government, and that should come as no surprise. For the most part these are people with quite similar missions and goals to ourselves.   Laura Stevens: Yeah.   Tim Paul: They’re trying to solve the same problems but at the level of their individual programme or department. And so a couple of years ago when we were initiating this work, we made a conscious decision to, to not treat them as rivals or competitors or in some way a symptom of failure. They’re really just people who are trying to solve the same problem.   And so we, r-rather than go around and try and s-shut them down or anything like that, we made friends with these people, these people are now contributors and we try and work closely together with them    Laura Stevens: And not only is the GOV.UK Design System helping in central government, but it’s also being, helping across the public sector in local government and the NHS. And we’re now going to hear from Emma Lewis, from Hackney, about her experience of using the Design System in a local authority.    Emma Lewis: I’m Emma Lewis, I am the Lead Frontend Developer at the London Borough of Hackney.    Laura Stevens:  What is the London Borough of Hackney doing with design systems?   Emma Lewis:  So we have our own Hackney Design System and Hackney Pattern Library, and both of those are based on top of GOV.UK Design System and GOV.UK frontend respoistry. So we have our pattern library is called LHB Frontend. Which is essentially a copy of GOV.UK frontend which also imports GOV.UK frontend and we build on top of that.    So we have a bunch of different components, some of which are basically identical to the GOV.UK components but they have sort Hackney, ‘Hacknified’ styles or small colour changes, spacing tweaks, things like that. We have some components that are actually identical to GOV.UK and some components that are completely new to Hackney because they're more local government focused.   Laura Stevens:  What have been the benefits to you working in local government, for using a central government design system?   Emma Lewis:  I mean it’s been huge. So having all of these things just out of the box sort of we can use, it’s such an enormous time saver. But also having things like we, you know, we know they are accessible. So it means the services that we’re providing to residents and staff are so much better than they would have been otherwise.    Laura Stevens:  And I think a lot of people respond to with the GOV.UK Design System is also that community element of it. Has that helped you as well at the council?   Emma Lewis:  Enormously. There’s no-one else really experienced at frontend development that I work with, and having that community of people who I can ask questions to, is such a positive thing. And likewise I am so grateful for the GOV.UK Design System that it means I want to contribute and I think other people feel like that.    So I’ve contributed a couple of pull requests that are like really really tiny minor changes but feels good to do that. And it’s something that I want to do. And I think you see that with other people in the community who aren’t necessarily working centrally at GDS but have benefited from it so want to contribute something.   Laura Stevens:  Why is having a design system a good thing for local government?   Emma Lewis:  It’s...there are lots of different reasons. The main, the first reason is consistency. So it means that you know, any of our products that use that design system are going to look the same and that means, that’s really good for lots of different reasons. It means we’re not duplicating code in lots of different places. So you know, if something changes we don’t need to update it in loads of different places, there’s just a central place where all of that stuff comes from. And that’s something that developers love.   Laura Stevens:  Yeah.   Emma Lewis:  But also I think accessibility is a huge thing. The time and resourcing that goes into making a design system like GOV.UK, like I’ve never seen the amount of effort that goes into a component be put into that kind of thing outside of a design system.    Laura Stevens:  Yeah.   Emma Lewis:  And so making sure that it is accessible means that it’s usable by all of our residents and that’s really important. And we, one of our missions at Hackney is to create digital services that are so good that people prefer to use them.   Laura Stevens:  Yeah.   Emma Lewis:  And in order to do that, they need to be available to work for everyone and that’s like incredibly important.   Laura Stevens:  So this is a bit of a, like a retrospective question. What do you wish you knew, or to anybody who is listening from a local authority, from a local borough, before you started creating the Hackney Pattern Library?   Emma Lewis:  I think 2 things that spring to mind. One of which is how important your decisions are when you start doing something like that. So I think I hadn’t appreciated how difficult it can be to change things down the line. And this is something that...so Nick [Colley] and Hanna [Laasko] who work on GOV.UK frontend actually we’re really kind and came into Hackney to talk to us about the design system. And they were talking about how hard it is, or how bad it is to make breaking changes.   Laura Stevens:  Yeah.   Emma Lewis:  So you know, changes to the design system or pattern library that are going to break things for users of the older versions. And that’s something that I wasn't, I hadn’t really thought about much until that conversation. And now, we’re sort of 6 months into our first version of our pattern library, and I’m starting to see, ‘oh I wish I’d done that differently’. And you know really feeling empowered to take the time at the beginning and think about those considerations about how you’re doing something and whether it is the right thing and what possible use cases there might be down the line, can be really helpful.   Laura Stevens:  So how, what are people using it, what sort of stage are you at?   Emma Lewis:  So I’m doing some work at the moment with our mapping team, who create all sorts of maps for residents and for staff to look at, from things like where water fountains are, are in the borough to planning applications and all sorts of different things. And we’re coming up with, I suppose sort, it’s sort of similar to a design system in a way, we’re trying to come up with this sort of map template that we can use to show all different kinds of data. And I was just showing them really quickly yesterday how to use the design system to put a header and footer on the page, and their faces were just like lit up. It was so exciting that this was suddenly all available to them.    Like using the GOV.UK design system has been an incredible time saver. Like I can’t, we wouldn’t have a pattern library now if we’d had to build everything from scratch. It just. We have so many different projects on and we don’t have the people to build something like that, and by having that, it’s mean that, not only that we can use it on projects going forward, but we’re also massively reducing the amount of time it takes to build all those individual projects as well. So it’s been, it’s just been enormous in terms of the time it saved and like I said, the community around it.    Laura Stevens:  Yeah.   Emma Lewis:  The support that’s been provided with it.    Tim Paul: That was really really nice to hear that. It’s so, so gratifying I think to all of us on the team when other people reuse our work.    Laura Stevens: Yeah.   Tim Paul: It’s one of the best things about working in government and in the public sector is that we can be happy about the fact that people are stealing our work. In fact we kind of strongly encourage it. So yeah, that’s, that’s great. It’s, it’s doing exactly what we hoped it would do.    So we’ve known for quite a while there’s huge potential beyond central government for, for the work that we’re doing, not just ourselves but alongside our contributors, to, to benefit local government and even as far as international governments. We’ve, we’ve got I think we know about 5 different local authorities which are in some way using GOV.UK Frontend, and we’ve got a couple of other governments from other countries who are using our work as well. So this is really really good.   Laura Stevens: And in both those clips, both Emma and Adam, they both spoke about accessibility and how having it tested to the level AA of the Web Content Accessibility Guidelines or WCAG.    Tim Paul: Yes.   Laura Stevens: Is that right?   Tim Paul: That’s correct, yeah.    So this is, this has turned out to be a huge driver I think for adoption of the Design System because there this standard called the Web Content Accessibility Guidelines, it’s been around for a while, it’s in version 2.1 now. But the thing that has changed recently is that meeting level double A of that standard has now become an actual requirement, not just of central government services but the whole of the public sector by this September.    And so suddenly there’s a real strong need by teams everywhere to make their services fully accessible. And that’s pretty difficult. There’s lots you can do it make it easier like building in accessibility from the very beginning is probably the best way you can make your life easier here. Retrofitting accessibility is, is always a terrible experience for everybody.    But it turns out that making even simple things like buttons fully accessible across the full range of assistive technologies, devices and browsers, is actually pretty involved, difficult work. You’ve got lots of testing to do, you’ve got, the state of assistive technologies at the moment is still probably not as mature as it could be, which means there are lots of weird little bugs and kinks.   Laura Stevens: Yeah.   Tim Paul: Funny little idiosyncrasies across all the different technology stacks. And so the work that we do in the centre is to do all of that testing and iron out all of those bugs and figure out how to make these things work across all of the assistive techs that we know that people use. And that level of work, that depth of work is probably not a thing that an individual service team could or should be spending its time doing. They’ve got the full service to worry about and they really shouldn’t be spending the amount of time that we can spend on, on making low level components fully accessible.    So it’s one of the things I’m happiest about because it’s something that we can really contribute to.   Laura Stevens: And in, you mentioned as well that we’re not only helping central government, local, NHS but we’re also going abroad as well. And in March 2019, the New Zealand Digital Service published a blog about how they used the GOV.UK Design System to help create their own. So, and they had a quote in there saying: “We decided not to reinvent the wheel so we’re building on the GOV.UK Design System, a system with years of development. It’s a mature and proven Design System with full rigour and accessibility and testing”. So what does having that sort of reach and international impact feel like for you and the team here at GDS?   Tim Paul: It’s really nice, it’s kind of flattering. Yeah it also feels a little bit scary.   I think Emma alluded to the issue of having dependencies and breaking changes and things like design systems. And that’s a thing that we’ve experienced as well. So if you’re working on a service team in an agile environment, then the idea that you can iterate rapidly and fail fast and all of that, it’s great, it works really well. It doesn’t quite translate when you’re building a central code resource because if you’re iterating rapidly, if you’re failing fast, if you’re making lots of breaking changes, then you’re disrupting the work of everybody who’s relying on your code base. And so we end up being a lot more conservative, we end up moving slower and at a much measured kind of careful pace. And that’s because we are intensely aware that everybody using our tools is going to be disrupted by any breaking changes we make.   And so when we hear that you know, another country or local government authority is using our service, it’s really really good but it really hammers home to us how careful we have to be not to break things for them as well.   Laura Stevens: Do you think there’s a way of fixing that? Or is that just an inherent problem with having a central design system?   Tim Paul: I think probably the way to address that challenge is to not try to create some uber design system for the world, which would be the egotistical response to that challenge.    You know the internet is supposed to be made up of many parts loosely coupled, and that’s what we should be trying to do here. So making sure that people can use our tools as the foundation for the things they need, and that we have nice productive feedback mechanisms between, between those. That’s probably the right way to approach this.   Laura Stevens: Is there anything where you’ve seen the Design System used in a way that you just never expected it to be used, or it popped up somewhere that you...   Tim Paul:  We’re, we’re sometimes asked about doesn’t, don’t, don’t these products make it really easy to make fake versions of GOV.UK, which is a really valid question. And the answer is yes, they do. They make it easy for anybody to make things look like GOV.UK. But to be honest if your motivations are to trick people, then it’s always been pretty easy to make fake versions of a website.    Laura Stevens: Yeah.   Tim Paul: So we’re not making it that much easier for the scammers, but we’re making it a lot easier for the service teams who are building legitimate services. But yes, every now and then we see, we see a dodgy looking GOV.UK site and we see our own code in there, and that’s kind of weird but you know there’s a whole bit of GDS which is dedicated to spotting that stuff and getting it taken down so.   Laura Stevens: So thank you so much to Tim to coming on today and also to Emma and to Adam for talking about the GOV.UK Design System. And you can listen to all the episodes of the Government Digital Service Podcast on Apple Music, Spotify and all other major podcast platforms. And you can read the transcript of Podbean.  So thank you again and goodbye.   Tim Paul: Thank you.

WELCOME BACK to SEASON 2 of The GWA Podcast!! In Episode 14 (or Ep1, S2!)  of The Great Women Artists Podcast, Katy Hessel interviews the brilliant Tate Modern curator, Emma Lewis on DORA MAAR!!  And WOW was it incredible to record at Tate Modern where Emma has curated the HIGHLY critically acclaimed ~ and first ever UK retrospective ~ of the great French photographer and painter (on view until 15th March, don’t miss – https://www.tate.org.uk/whats-on/tate-modern/exhibition/dora-maar!!) Maar was one of the most celebrated Surrealist photographers who lived in Paris in the early half of the 20th century. She exhibited widely in the 1930s, featuring in all six Surrealist exhibitions around the world, yet why is it that she has only really been celebrated since her death in 1997!? After setting up a studio in her early 20s Maar THRIVED and earned herself some of the biggest commissions from the brands of her day, creating some of the most inventive and creative adverts for shampoo to anti-ageing cream. Always capturing the ‘modern woman’, Marr also ventured to the streets of London and Barcelona where she captured the surreal aspects of the every day. In 1935 she met Picasso, with whom she collaborated and taught photography – and ended up documenting the metamorphosis of Guernica. But it was in this relationship that she took up painting agin, capturing a very tense and painful few years through her work “The Conversation”, but it is also this work that Emma reveals majorly influenced her former lover... In this episode we learn just HOW pioneering, brilliant, and radical Maar was for her day; her constant influence on the surrealists (and Picasso...!); and life post 1946, where her post-War career took a turn and she ventured for the south of France. TUNE IN NOW.  Further information:  https://www.tate.org.uk/whats-on/tate-modern/exhibition/dora-maar https://www.tate.org.uk/art/artists/dora-maar-15766/seven-things-know-dora-maar Dora Maar EVENTS! Curator's talk with Emma Lewis at Tate Modern –  https://www.tate.org.uk/whats-on/tate-modern/exhibition/dora-maar/curators-talk-dora-maar Panel discussion at Tate modern –  https://www.tate.org.uk/whats-on/tate-modern/exhibition/dora-maar/surreal-nature-reality Thank you for listening!! This episode is sponsored by the National Art Pass and the Affordable Art Fair! @artfund: artfund.org/great To receive a free tote bag with your National Art Pass, enter the code GREAT at checkout!  @affordableartfairuk: https://affordableartfair.com/ Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by @_ellieclifford Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Classicist Bettany Hughes has traced the history of the goddess known as Venus or Aphrodite. Originally depicted with a phallus on her head, Venus was later drawn and sculpted as a beautiful naked woman. Hughes tells Andrew Marr why this powerful deity of love was thought to corrupt and to inspire. Tenor Mark Padmore depicts the irrationality of desire in Benjamin Britten's Death in Venice. He plays the lead role in the Royal Opera House's new production, based on Thomas Mann's novella, in which a burnt-out writer succumbs to obsessive love. Britten wrote the main part for his partner, Peter Pears, with whom he lived through decades of homophobia. Unconscious desires and strange fantasies play out in the work of Dora Maar, one of the great Surrealist artists. Emma Lewis has curated an exhibition of Maar's photography and paintings, revealing an artist whose striking imagery rivalled that of her more famous lover, Picasso. Historian of philosophy Clare Carlisle discusses the Dutch philosopher Baruch Spinoza, one of the first thinkers to interrogate our emotional life. George Eliot translated his 17th-century masterpiece, the Ethics, into English. Eliot also 'translated' his ideas into literary form. Her novel Middlemarch draws on Spinoza's ideas about human flourishing and love, shown through different happy and unhappy marriages. Producer: Hannah Sander

We meet Rana Foroohar, FT columnist and author of ‘Don’t be Evil,’ a new book that explores just how and when Big Tech lost its way. Plus: Greco-Australian duo Xylouris White talk turning the Myth of Sisyphus from a negative to a positive, and the curator of a major new Dora Maar exhibition at the Tate unpacks her legacy.

As a huge exhibition of Dora Maar's work opens at Tate Modern, we take a tour of the show with the curator, Emma Lewis. Finally, Maar is escaping the shadow of her lover between 1936 and 1945, Pablo Picasso. We also talk to Jann Haworth, the US-born artist who was a key figure in the 1960s pop art scene in Swinging London and was, with Peter Blake and Michael Cooper, the creator of the cover for The Beatles' Sgt Pepper album—though she is often ignored when that seminal image is discussed. Haworth has a retrospective show at the Pallant House Gallery in Chichester, UK. See acast.com/privacy for privacy and opt-out information.

In this election all major parties are talking about cutting down carbon. The Greens aim for net-zero by 2030, the Labour conference voted for the same, although its manifesto may have a later date. The Tories already have it in law for 2050, and the Lib-Dems think it can be done five years earlier.Associated editor Julian Glover explains why this is “the first climate change election” and why making real change will mean making harder choices that aren't really being talked about.Rose Hudson-Wilkin is the Church of England's first black woman bishop. We're celebrating the sign of a changing church, and ask where it goes next?The Tate Modern launches an exhibition on photographer Dora Maar, its curator Emma Lewis on how an extraordinary female artist's talent was overlooked because of her male lover – Picasso See acast.com/privacy for privacy and opt-out information.

Isaac Newton's 'Truth is ever to be found in simplicity...' has often been echoed in music by many of the great composers down the ages. But during the 20th and 21st centuries, akin to movements in the visual arts, some composers have pared down their music to a few seemingly basic elements. But how difficult is it to achieve meaningful musical simplicity and what's the difference between that and mind-numbingly banal simple-is-as-simple-does? With the help of composer Howard Skempton and Tate Modern curator Emma Lewis, Tom Service discovers the hard and often complex truths about simplicity. David Papp (producer)

Danish-Icelandic artist Olafur Eliasson returns to TATE Modern with the thought-provoking and visually arresting exhibition "Olafur Eliasson: In Real Life". Emma Lewis, assistant curator at TATE talks to us about Olafur's love of geometry, his twisted sense of colour, and his big plans for the environment. More info www.culturealt.com More info www.culturealt.com - Instagram @maiamorgen

Today, I'm chatting with Emma Lewis, the founder of Canvast, about how she launched her business, how she's marketed it so far, what's worked well, what hasn't worked well, and the things that she's learnt along the way. If you're also running a side hustle alongside your full-time job, you're going to get a TON of tips from Emma on how to balance both.  Find out more about Canvast: https://canvastco.com/ or @canvastco on Instagram. Download my free ebook - 79 ways to up-level your business: http://stephtaylor.co/79 

It's been a long time coming, but I've been working away on getting some awesome jobs into the mix and this episode is the first to kick us off with the fabulous Emma Lewis, an undercover cop (or covert cop as you will learn is the correct terminology) who also has an amazing side hustle called Canvast. Emma reached out earlier this year during a little social media hiatus which led her to find this and many other podcasts and I am so delighted to have connected to share her story – you've probably gathered I'm fascinated by crime and police so I nearly chewed her ear off. She is not only still a Queensland policewoman but has also created the beautiful Canvast planner – a dateless yearly planner reminding us all that you don't need to wait for a new year or month to get started on your dreams. She shares some wonderful insights including that time she peed her pants in front of a sergeant, the kind of down to earth chuckles that you know I love so much! This also motivated me to finally get a Seize the Yay Facebook group going, so that even if only for a few of us, there is an easy, centralised place to share the things that bring yay to our day! Click HERE to join or search "SEIZE THE YAY COMMUNITY". + Follow Emma here + Announcements on Insta at @spoonful_of_sarah + Subscribe to not miss out on the next instalment of YAY!

It’s been a long time coming, but I’ve been working away on getting some awesome jobs into the mix and this episode is the first to kick us off with the fabulous Emma Lewis, an undercover cop (or covert cop as you will learn is the correct terminology) who also has an amazing side hustle called Canvast. Emma reached out earlier this year during a little social media hiatus which led her to find this and many other podcasts and I am so delighted to have connected to share her story – you’ve probably gathered I’m fascinated by crime and police so I nearly chewed her ear off. She is not only still a Queensland policewoman but has also created the beautiful Canvast planner – a dateless yearly planner reminding us all that you don’t need to wait for a new year or month to get started on your dreams. She shares some wonderful insights including that time she peed her pants in front of a sergeant, the kind of down to earth chuckles that you know I love so much!This also motivated me to finally get a Seize the Yay Facebook group going, so that even if only for a few of us, there is an easy, centralised place to share the things that bring yay to our day! Click HERE to join or search "SEIZE THE YAY COMMUNITY".+ Follow Emma here+ Announcements on Insta at @spoonful_of_sarah+ Subscribe to not miss out on the next instalment of YAY!

*Adult language Do you find yourself spread across 100 planners, never really remembering what you wrote in each one...or worse, where they all are?! Do you struggle to plan out your business AND life, leaving you feeling rushed, overwhelmed and jumping from spot fire to spot fire? This week I'm joined by inspiring Solopreneur, Emma Lewis, who is the owner & creator of all-in-one planner business Canvast Co. She supports tenacious, game-changing babes who want to take control of their life, map out their success and own their happiness with her luxe planner and other products. We cover why it's so important to intentionally plan your schedule in business and life, why you need to schedule time for yourself in your week, how to still enjoy your life while running your business and so much more! There's also a special offer for you to get your very own Canvast at the end of the episode! Connect with Emma: www.canvastco.com Instagram - @canvastco Wellbeing Weekly: Wellpreneur Women Facebook Group Instagram: @wellbeingweekly

Engineering Success interviews Emma Lewis the Managing Director of Rogers Geotechnical Services. Emma has played a pivotal role in establishing RGS as a leading Geotechnical Engineering practice. We spend a great couple of hours with Emma at RGS Office in Huddersfield to hear how she became involved in geotechnical engineering after completing a Law degree. Emma tells us what challenges she faces as MD of an engineering company and how she keeps motivated to succeed. Emma tells us her thoughts on the skills shortage in engineering and construction and what we can do to promote our industry and get more women into STEM careers Engineering Success with special guest Emma Lewis. Never miss an episode of Engineering Success. Subscribe to get new episodes as they become available.

Brea and Mallory talk about trivia books and interview author and podcaster Andy McElfresh. Use the hashtag #ReadingGlassesPodcast to participate in online discussion! Email us at readingglassespodcast at gmail dot com!   Reading Glasses Merch - NEW T-SHIRTS!   Links - Transit App Andy McElfresh https://twitter.com/edumacationandy The Edumacation Book Reading Glasses Facebook Group   Reading Glasses Goodreads Group   Apex Magazine Page Advice Article   Amazon Wish List Books Mentioned - Spider Season by Billy Hanson Not That Bad edited by Roxane Gay Gods Monsters and the Lucky Peach by Kelly Robson Bears Can’t Run Downhill by Robert Anwood Random Illustrated Facts by Mike Lowery Thank You for Being a Friend by Emma Lewis, illustrated by Chantel Desousa The Moral Arc by Michael Shermer   Master and Commander by Patrick O’Brian The English Patient by Michael Ondaatje    

The is the very first episode of Anonymous Knowledge. Join your host, Jenni Walke as she chats to Emma about life, business, and living your dreams.

For this special live event at Hay Festival, top illustrators Rob Biddulph, Leigh Hobbs, Emma Lewis and Britta Teckentrup join Katherine to celebrate the 60th anniversary of the CILIP Kate Greenaway Medal with a discussion of some favourite books from the prize's history and illustrators who have inspired them - as well as the power of pictures in children's books.