Podcasts about Graphic design

SHOW NOTES/TRANSCRIPTSEnglish: https://tinyurl.com/podcastDC223ENFrench: https://tinyurl.com/podcastDC223FRGerman: https://tinyurl.com/podcastDC223DEPortuguese: https://tinyurl.com/podcastDC223PTSpanish: https://tinyurl.com/podcastDC223ESYOUTUBE: https://youtu.be/7uY-xAeeXYMFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookWEEKLY NEWSLETTERhttps://tinyurl.com/followHIMnewsletterSOCIAL MEDIAInstagram: https://www.instagram.com/followHIMpodcastFacebook: https://www.facebook.com/followhimpodcastThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsAmelia Kabwika: Portuguese TranscriptsHeather Barlow: Communications DirectorIride Gonzalez: Social Media, Graphic Design"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

What is disruption and how did it affect the early Saints? As Sister Whitney Johnson explores the theme of disruption in personal and spiritual development and examines what is required to be “anxiously engaged.”SHOW NOTES/TRANSCRIPTSEnglish: https://tinyurl.com/podcastDC223ENFrench: https://tinyurl.com/podcastDC223FRGerman: https://tinyurl.com/podcastDC223DEPortuguese: https://tinyurl.com/podcastDC223PTSpanish: https://tinyurl.com/podcastDC223ESYOUTUBEhttps://youtu.be/oHmpTW_jEbgFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookWEEKLY NEWSLETTERhttps://tinyurl.com/followHIMnewsletterSOCIAL MEDIAInstagram: https://www.instagram.com/followHIMpodcastFacebook: https://www.facebook.com/followhimpodcastThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsAmelia Kabwika: Portuguese TranscriptsHeather Barlow: Communications DirectorIride Gonzalez: Social Media, Graphic Design"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

Sister Whitney Johnson discusses the importance of Sabbath Day observance, gratitude and maintaining faith amidst hardship.SHOW NOTES/TRANSCRIPTSEnglish: https://tinyurl.com/podcastDC223ENFrench: https://tinyurl.com/podcastDC223FRGerman: https://tinyurl.com/podcastDC223DEPortuguese: https://tinyurl.com/podcastDC223PTSpanish: https://tinyurl.com/podcastDC223ESYOUTUBEhttps://youtu.be/ZpXVVQoClpwFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookWEEKLY NEWSLETTERhttps://tinyurl.com/followHIMnewsletterSOCIAL MEDIAInstagram: https://www.instagram.com/followHIMpodcastFacebook: https://www.facebook.com/followhimpodcastThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsAmelia Kabwika: Portuguese TranscriptsHeather Barlow: Communications DirectorIride Gonzalez: Social Media, Graphic Design"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

Maelstrom looms in the distance, will the party approach starboard or from the rear?  This month we're sponsored by @JoinThePartyPod and @MultitudeShows! Their commitment to supporting independent creators shows how much they value our community. Check out their amazing actual play podcast - new episodes every Tuesday! JoinThePartyPod.com Support us at - https://www.patreon.com/chasmquest Visit www.ChasmQuest.com to find Maps, Wikis, and Character Bios Andrew Palmer - Dungeon Master, and Creator, Taylor Haydel - Eyas, Music, and Graphic Design, Collin Allen - Khol-Uun Micah Jordan - Thelneous Special Guests: Cass of The Lovelycraftians as Celesie Ray Merz of The Nerd Asylum as Berta Kyrie (aka Nifer) returning as Daught Sam Anderson - Theme Song Composer Featuring additional music and ambience by Ivan Duch patreon.com/ivanduch(https://ivanduch.com) Cinematic Atmos © 2024 by Monument Studios is licensed under Creative Commons Attribution 4.0 International Additional sound effects from https://www.freesound.org & https://www.zapsplat.com New Merch Store https://chasmquest.threadless.com/ Magic Mind at www.magicmind.co/CQUEST Promo Code CQUEST20 Found Familiar Affiliate https://foundfamiliar.com/ Promo Code STAYROWDY

THE PERSON BEHIND THE PERSON BEHIND THE CAMERA—Close your eyes and picture a classic Rolling Stone cover. Dozens probably come to mind—portraits of music legends, movie stars, political icons, cultural rebels. Bruce. Bono. Madonna. These images are etched into our cultural memory as more than mere photographs. They're statements.But when we remember the cover, and maybe even the photographer, how often do we remember the person who made it all happen? The one who dreamed up the concept, found the right photographer, navigated the logistics, managed the personalities, and ultimately brought that unforgettable image to life?It's the photo editor. But who thinks about the photo editor?Photo editors are essential—especially at a magazine like Rolling Stone—for decades its covers defined our visual culture. Behind every iconic cover is a photo director making hundreds of invisible decisions under pressure and facing tight budgets, unpredictable talent, and shifting editorial winds. They're the ones keeping shoots on track when the talent shows up two hours late. They're the ones coaxing photographers into greatness—the person behind the people behind the camera. Photo editors are expected to be tastemakers, producers, diplomats, caterers, and art directors all at once. Although their work is everywhere, their names are not. They're under-thanked. Underseen. Too often unknown. This is the paradox of their work: When a shoot goes well, it looks effortless. When it doesn't, they take the bullet.Laurie Kratochvil, Rolling Stone's visionary director of photography from 1982 to 1994, knows this all too well.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

SHOW NOTES/TRANSCRIPTSEnglish: https://tinyurl.com/podcastDC222ENFrench: https://tinyurl.com/podcastDC222FRGerman: https://tinyurl.com/podcastDC222DEPortuguese: https://tinyurl.com/podcastDC222PTSpanish: https://tinyurl.com/podcastDC222ESYOUTUBEhttps://youtu.be/2D7KevYsu9kFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookWEEKLY NEWSLETTERhttps://tinyurl.com/followHIMnewsletterSOCIAL MEDIAInstagram: https://www.instagram.com/followHIMpodcastFacebook: https://www.facebook.com/followhimpodcastThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsAmelia Kabwika: Portuguese TranscriptsHeather Barlow: Communications DirectorIride Gonzalez: Social Media, Graphic Design"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

Sister Emily Utt explains that the work of building Zion involves each Saint consecrating not only what they relinquish, but also utilizing their unique gifts and resources in service to others.SHOW NOTES/TRANSCRIPTSEnglish: https://tinyurl.com/podcastDC222ENFrench: https://tinyurl.com/podcastDC222FRGerman: https://tinyurl.com/podcastDC222DEPortuguese: https://tinyurl.com/podcastDC222PTSpanish: https://tinyurl.com/podcastDC222ESALL EPISODES/SHOW NOTESfollowHIM website: https://www.followHIMpodcast.comYOUTUBEhttps://youtu.be/bGZYFOkHE2MFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookWEEKLY NEWSLETTERhttps://tinyurl.com/followHIMnewsletterSOCIAL MEDIAInstagram: https://www.instagram.com/followHIMpodcastFacebook: https://www.facebook.com/followhimpodcastTIMECODE00:00 - Part 2 -  Sister Emily Utt01:14 Definition of Consecration04:53 First-time bishops07:40 Joseph Millet and brilliant acts of service09:49 D&C 57:4-5 - Purchase land, make legally work13:14 A spiritual store19:14 Eliza Snow, Zina Huntington Young, and women supporting others22:16 How to build Zion25:39 Single in Zion30:20 Belonging 34:31 Everyone belongs in Zion38:31 Get to the temple43:52 Becoming Zion is hard work45:26 Sister Utt addresses ancient temple builders47:55 History is beautiful and messy and Jesus is with them53:48 End of Part 2 - Sister Emily UttThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsAmelia Kabwika: Portuguese TranscriptsHeather Barlow: Communications DirectorIride Gonzalez: Social Media, Graphic Design"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

What if building Zion isn't about sacrifice alone, but about offering your strengths to lift others? Sister Emily Utt examines how the Lord gathered Saints from all walks of life to Kirtland—uniting their education, talents, and willingness to consecrate—in order to help build a Zion community.SHOW NOTES/TRANSCRIPTSEnglish: https://tinyurl.com/podcastDC222ENFrench: https://tinyurl.com/podcastDC222FRGerman: https://tinyurl.com/podcastDC222DEPortuguese: https://tinyurl.com/podcastDC222PTSpanish: https://tinyurl.com/podcastDC222ESYOUTUBEhttps://youtu.be/_Fwa4LqRBTUALL EPISODES/SHOW NOTESfollowHIM website: https://www.followHIMpodcast.comFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookWEEKLY NEWSLETTERhttps://tinyurl.com/followHIMnewsletterSOCIAL MEDIAInstagram: https://www.instagram.com/followHIMpodcastFacebook: https://www.facebook.com/followhimpodcastTIMECODE00:00 - Part 1 - Sister Emily Utt05:08 John Taylor's statement about possessing lands again06:51 Emily Utt's bio09:46 Come, Follow Me Manual14:34 The Knight family and Colesville16:33 A historian's view of the upcoming building of Zion22:11 What happens in Kirtland, Ohio, USA24:23 What is humble and contrite?28:20 Zion includes those that build and edify others29:29 A  poem found in the walls of the St. George Temple32:39 Lehman Copley's farm34:24 Brigham Young's view of Zion38:14 D&C 51:9 - Seek for unity41:16 Missionaries being sent to Missouri44:15 Preach on the way48:41 Lesser known people54:24 Reynolds Cahoon56:08 What historical content is available59:06 What do clerks and printers have to do with Zion?1:02:40 Education's importance in Zion1:05:39 The Lord values every talent and skill1:09:35 End of Part 1 - Sister Emily UttThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsAmelia Kabwika: Portuguese TranscriptsHeather Barlow: Communications DirectorIride Gonzalez: Social Media, Graphic Design"Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

Graphic design is a big part of communicating conservation, and even though it's a visual art, it often takes place behind the scenes in a busy communication team setting. Smokey Solis is the graphic designer for the Oklahoma Department of Wildlife Conservation, and like many of us, he wears many hats and has other duties as assigned, but it all comes back to good design. Smokey talked with the Oregon Department of Fish and Wildlife's Tim Akimoff, host of the Outdoor Communicators Podcast, about how he got started in graphic design for a conservation agency and about what good design means to a team of people working together to convey many complicated aspects of fish and wildlife management. They migtht also have touched on tinned fish and tea, as Smokey and Tim share many affinities for fine tasting things and great design.  Questions about graphic design in conservation communication? Please feel free to reach out directly to Smokey Solis about those.  Smokey Solis Oklahoma Department of Wildlife Conservation - 1801 N. Lincoln Blvd.Oklahoma City, Oklahoma(405) 522-4028smokey.solis@odwc.ok.gov

IT'S LE MONDE'S WORLD AND WE'RE JUST LIVING IN IT—Name a major newspaper—anywhere in the world—and you will find a magazine. Or two. Or three. The New York Times is the obvious example of this. The Times of London is another obvious example. And now more and more legacy newspapers from around the world are publishing their magazines in English.La Repubblica in Italy publishes D. And now France's venerable Le Monde is out with M International, a glossy biannual that distills their weekly M magazine for an English-speaking audience.Long called “the newspaper of reference” in France, Le Monde occupies an oversized space in the French media. When the Olympics returned to Paris, Le Monde decided to create an english version of their newspaper for the web. Then they decided to create the magazine—in English—something that not just added an extra piece of land to their media ecosystem, but one that pleased their advertisers as well. We spoke to Louis Dreyfus, the CEO of Le Monde about the business case for English, how the magazines attract new readers to the newspaper, the power of print, and how AI is one of the reasons Le Monde can create in english in the first place.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Graphic designers pour blood, sweat, and sleepless nights into their portfolios—only to be ghosted, passed over, or worse… completely forgotten. The harsh truth? Good design doesn't speak for itself. And if your portfolio isn't telling a story, it's telling the wrong one.In this no-holds-barred episode of The Angry Designer, we expose why most design portfolios fail—regardless of how good the work is—and what actually makes creative professionals unforgettable.Straight from our experience reviewing student portfolios at CropCon 2025 in Austin, we break down the real problem with Graphic Design portfolios. You'll learn why storytelling is your secret weapon, how to lead with personality, and the exact framework to pitch like a pro—whether you're just starting out or 20 years in.Forget the fluff. This is the portfolio reality check you didn't know you needed.In this episode, you'll learn:The 3 deadly mistakes killing your portfolio pitchWhy being memorable matters more than being perfectThe storytelling structure that gets designers hiredIf you're tired of being overlooked, underestimated, or just plain forgotten—this one's for you.Stay Angry our Friends –––––––––––Join Anger Management for Designers Newsletter at https://tinyurl.com/mr4bb4j3Want to see more? See uncut episodes on our YouTube channel at youtube.com/theangrydesigner Read our blog posts on our website TheAngryDesigner.comJoin in the conversation on our Instagram Instagram.com/TheAngryDesignerPodcast

Points of discussion:1. 2025 Beer Branding Trends Review -Learn more at: www.craftbeerrebranded.com / http://www.beyondbeerbook.com-Have a topic or question you'd like us to field on the show? Shoot it our way: hello@cododesign.com-Join 8,000+ food and bev industry pros who are subscribed to the Beer Branding Trends Newsletter (and access all past issues) at: www.beerbrandingtrends.com 

Steve Heller is arguably the world's best-known design educator, with over 200 books on graphic design, illustration, and political art. I interviewed him for my 2025 book Learning to See. His books include Design Literacy: Understanding Graphic Design; Teaching Graphic Design; and The Education of an Illustrator (with Marshall Arisman). He's spent most of his career at the School of Visual Arts in New York City, where he's now the Special Assistant to the President and the Co-Founder and Co-Chair Emeritus of the MFA Design Department. He's won numerous awards including Cooper-Hewitt's National Design Mind Award; Smithsonian Design Museum; National Endowment for the Arts; AIGA Medal for Lifetime Achievement; and many others. For 33 years, he was an art director at the New York Times and the New York Times Book Review. In this interview, he gives amazing insights about how to teach graphic design and illustration. For more information:  Steve Heller's web site Book: Teaching Graphic Design Book: The Education of an Illustrator Sawyer's book Learning to See Music by license from SoundStripe: "Uptown Lovers Instrumental" by AFTERNOONZ "Miss Missy" by AFTERNOONZ "What's the Big Deal" by Ryan Saranich Copyright (c) 2025 Keith Sawyer

TWIST & SHOUT— Philip Burke's portraits don't just look like the people he paints—they actually vibrate. Just look at them. With wild color, skewed proportions, and emotional clarity, his illustrations have lit up the pages of Rolling Stone, The New Yorker, Time, and Vanity Fair, capturing cultural icons in a way that feels both chaotic and essential.But behind that explosive style is a steady, spiritual core.Burke begins each day by chanting. It sounds like this: “Nam Myōhō Renge Kyō. Nam Myōhō Renge Kyō. Nam Myōhō Renge Kyō.” It means “devotion to the mystic law of cause and effect through sound,” he says. The chant grounds Burke and opens a space where true connection—on the canvas and in life—can happen.This daily practice is more than a ritual—it's a source of creative clarity. Burke's rise was rapid and raw. Emerging from Buffalo, New York, he made his name in the punk-charged art scene of the 1980s with a fearless, high-voltage style. But it was through his spiritual journey that the work began to transform—less about distortion for shock, and more about essence, empathy, and insight. Less funhouse mirror, more human.Our Anne Quito spoke to Burke about how Buddhism reshaped his approach to portraiture, what it means to truly see a subject, and why staying present—both on the page and in life—is his greatest creative discipline.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 21st May 2025. The winner will be contacted via Bluesky. Show references: Museum Wales website: https://museum.wales/Big Pit National Coal Museum: https://museum.wales/bigpit/Catherine Pinkerton LinkedIn: https://www.linkedin.com/in/catherine-pinkerton-b1905a110/Catherine Pinkerton is the Group Retail Manager at Amgueddfa Cymru - Museum Wales.Having worked in senior management positions for some of the high street's most recognisable brands such as Harrods, Selfridges, Dior and Guerlain to name but a few, Catherine spent 20+ years in London building her management career. Catherine is now the Group Retail Manager for Amgueddfa Cymru (Museum Wales). She is responsible for the management of all aspects of retail operations and development, across the national museums of Wales. Catherine is currently leading on a transformation project to create immersive retail experiences in each of the museum shops, reflecting the visitor experience and collections of each of the varied museums.Guests Also Featured in This Episode:Anya Kirkby, Freelancer - Anya Kirkby Ltd – Product Development and Graphic Design anyakirkby@gmail.comArantxa Garcia, Freelancer - Exibeo VM Creative Studio – Shop Design and Visual Merchandising Arantxa@exhibeovm.co.ukNia Elias, Director Relationships and Funding, Amgueddfa Cymru nia.elias@museumwales.ac.ukGuy Veale, Freelancer – Freelancer - Sound artist/designer - gbveale@gmail.comAmy Samways, Shop Supervisor, Amgueddfa Cymru - amy.samways@museumwales.ac.ukKate Eden, Chair, Amgueddfa Cymru - Members of Board | Museum Wales Transcriptions: Paul Marden: Welcome to Skip the Queue. I'm your host, Paul Marden. So today you join me on the top of a mountain in Blaenavon in Wales at Big Pit, the National Mining Museum. I'm here today for a really special event. I've been invited to the opening of Big Pit's new Museum Retail experience, which is a programme of work that's being done by the Museums Wales Group to improve the sense of place and the sense of feeling for what could be a blueprint for the rest of the group. We're going to be joined by a number of different people that have taken part in the project and without further ado, let's get started on our tour of Big Pit. Catherine Pinkerton: Morning, everybody. Hello, welcome. It is my absolute pleasure to welcome you all today and I know there's been a lot of you'd have travelled far and wide, so thank you so much for your time. I really appreciate you coming to see the amazing store that we've created and I hope you love it. We're just going to cut the river now. Paul Marden: First up I've got Catherine Pinkerton, Group Head of Retail at Museum Wales. Catherine, welcome to Skip the Queue. Catherine Pinkerton: Thank you very much. Thank you so much for having me. Paul Marden: Absolute pleasure. And this is a corker of an episode. I think everybody is going to be really interested in finding out about the retail, the gift shop experience that you guys have introduced at Big Pit and then you're going to go wider into. Into Museums Wales. This is a really weird episode because you and I are recording the morning after the day before. So yesterday was the big launch event and I was with you at Big Pit and I've met lots and lots of people and we're going to cut to them throughout the episode and hear from those people that were taking part in the project. But you and I have got the benefit of having enjoyed yester today's event and we can look back on what that experience was like and talk a little bit about the project. Paul Marden: Before we do that, I think it would be really lovely for you to introduce yourself and tell us a little bit about Museums Wales and Big Pit specifically. Catherine Pinkerton: Absolutely. Okay. So I'm Catherine Pinkerton. So I head up all of the retail stores within Amgueddfa Cymru, which is National Museums of Wales. I've been with the museum just under three years and I'm good that Cymru hosts seven sites. It's an incredible establishment to be part of and I think, you know, coming from a very commercial background, this is very different for me, but I think it's given me lots of insights into bringing kind of. Lots of. Kind of different skill sets, I guess, to this cultural sector. I think when I first initially joined Amgueddfa Cymru, there were lots of challenges. And that's not to say that we still have those challenges as they are in many of our museums. And I think coming from a retail background, it's. It's looking at something that's not. That's commercial, Paul.Catherine Pinkerton: That's key. But actually, how can we make it very collection and story based on our amazing assets that we hold within our museums? And I think that I felt was probably the biggest thing that was missing because I thought we've got these amazing exhibitions, these amazing collections, amazing, you know, opportunities, and how are we putting that into the retail structure and how do we offer that to us, you know, to our visitors? And I think. I think sometimes it may be. Have forgotten that you go around these amazing spaces and it's very based on that visitor focus and how can we make that visitor feel very happy and engaged. But actually the end part of that process is nearly always coming through, exiting through the retail space. Right. Catherine Pinkerton: And if they've had this amazing opportunity to go and, you know, a lot of investment in these amazing spaces, and then they come through that retail space which has some elements, but not all of what our collections hold, there's a confusion there. You know, that end piece. And for me, customer service and visitor experience is absolutely key to how they. How they finish and how they end their day. And if they're ending their day with something, oh, okay, I'll just have a magnet then. Because there's nothing really else here. Yeah, that pains me. That really hurts me. I think, come on, guys, we can do better than this. We are in an element of. We have our own assets, our own elements to be able to kind of display that. Catherine Pinkerton:  And I think very much it would be very easy and to take the kind of easy road of having, you know, let's. Let's pop a dragon on a mug and yeah, we're a Welsh museum. No, we're not. We have assets here. We have beautiful exhibitions, we have beautiful spaces. And actually looking from further afield into. In terms of an emotional connection. And I think, you know, for me, from all of my past kind of previous work, I'm working with Amgueddfa Cymru. It's probably been the most challenging to get perhaps senior management to understand a crazy way of Catherine Pinkerton working into a. What's emotional retail? What does emotive selling mean? This lady is crazy. What's she talking about? But actually, it's really basic, isn't it? Catherine Pinkerton: Because for me, if I take my daughter or my husband to any kind of day trip, I want to take something emotional that I've connected with home with me, and that's so simple. But actually, sometimes it's not thought about in that way. And, you know, for me, I'm all about the emotional connection. And I think we put so much investment in curatorial teams to kind of give that to our visitors. We need to end that. That end part is so important for them to finish, you know, that journey with that emotional connection that they can take home as a souvenir. So, yeah, I've probably said more than I needed to there, Paul, but.Paul Marden: Absolutely. So I think you're capturing the need to curate the. The ending experience because, you know, the nature of. The nature of people's memory is they remember the beginning and they remember the end and the bit that is in the middle is hugely important to the storytelling experience they have whilst they're at the attraction. But if you don't end on a high, then their emotional connection to you and the space and the stories they've heard is not going to be as impactful for them. Catherine Pinkerton:  Absolutely, totally agree. I think it's really key, and not just in the kind of, you know, the cultural sector, but in any sector, really. I think it's really important that connection is instant, really, because that is what you need to. That's the hook, isn't it, of getting that person, you know, and. And actually understanding what the visitor needs. I mean, it's very easy for me to say on a personal level, I'd love to have this collection of products within the shop, but actually, that's not what data tells us. That's not what our demographic tells know, you know. And they are the ones that are important. Our local communities, our demographic is key for us to be successful. Paul Marden: You know, so one of the things that I took from yesterday was the importance that you were moving away from being just any other generic Welsh gift shop to being a gift shop associated with the place. Yeah, that. That's the. That was the nub of I think, what you were trying to get to how do you go about doing that? How did you make it feel so much like a gift shop? About Big Pit? Catherine Pinkerton: It's taken a process of really pulling everything back and getting under the skin, what is the detail and the personality of the site. But actually it's talking to people and being humour. And Paul, you know, I think, very much, as I say, it'd be very ignorant for me to say this is what I think will work. And that's absolutely not what we want. What we want is for the visitors to say, I really. I mean, what was really interesting, actually, is that we did quite a lot of data analysis in terms of the demographics of customers that come through our sites. But also what was really key is areas of the sites that were really kind of, you know, three key areas that they really enjoyed or they really loved. Catherine Pinkerton:  And actually, one of the top ones was the pit ponies that they all love the pit ponies, they love talking about it, they love the stories that the mining team would talk about. It was a really inspiring, you know, inspirational moment for them to think, oh, my gosh, the pit ponies lived underground. This is really so, you know, I think in some respects that was probably missed in terms of our retail offer, because what we did after that is that we had a workshop with all our retail team and we almost did a little bit like a Dragon's Den effect. We said, right, these are the products that we have, right? Can you pick up out of these products, which products represent the pit ponies? Which products represent the shower rooms? Catherine Pinkerton: And actually, when you're talking to the teams in kind of a literal sense, there wasn't a lot within our retail offer that we already had. And I think it was a bit of a light bulb moment, really, for the retail team and said, “Oh, Kath. Right, I see, Yeah, I understand what you mean.” That's not represented in our retail offer. So what's represented currently was wonderful things and lots of Welsh kind of products. But actually, what. What makes that relatable to our site? And so I think what I wanted to do originally is just go on a journey and to kind of really, from a very basic stage, is understand what the site's POS was and actually understand what their personality was and what the curatorial team were trying to push forward as being their identity. Catherine Pinkerton:  And I think once we got the identity, we then broke that down into themes in terms of there's pit ponies. That's a huge part of the, you know, the exhibition. The other huge part of the exhibition were the canaries. So, you know, that was something that was talked about. There's a huge story around that. And then, you know, the kind of mining history and the community was massive. And actually that element was so important to me and the retail team to make sure that we got right. Because this is history, right? And this is. I come from both my grandparents were miners. So for me it was very much a, you know, a very emotional time for me to make sure that we got it right and that it was respectfully done. Catherine Pinkerton:  So that was really key in terms of how do we deliver this. That's really. That we are not stepping on people's toes. We're not profiting from something that was, you know, the strike range is very significant within what we've offered, but we really wanted to make sure that was respectful and that it was done in a tasteful way that people felt they could take a souvenir away, but know that was actually part of the exhibition. So it was those kind of areas that we really wanted to work. So once we have those themes in place in terms of what those looked like, it was then developing that and how do we develop that into an actual concept? Paul Marden: Yeah, and you've drawn in lots of people. You've already mentioned the kind of wide team that you brought in from Big Pit itself, but from the wider team in the group. Talk a little bit about what that experience has been like as a team. Who have you brought into this? Catherine Pinkerton:  So originally, when we wrote the retail concept and the retail strategy, you obviously have to kind of involve quite a lot of internal candidates to be able to allow them to believe that this journey and vision is a good one. And I'm super thankful. I've got the most amazing manager, Marc Simcox. He's the head of enterprises and he is incredible. He's very commercial, but very trusting in terms of understanding what the business should look like and actually giving that freedom to say, yeah, I think this can work. Kath. So you, you go ahead and that. That's huge. Right. We're not talking about a small project here. So that firstly was great for me. And then I think having the, you know, the opportunity to be able to get some key people. Catherine Pinkerton: And Matthew Henderson we've worked with previously and we've, you know, I knew straight away, for me, Matthew Henderson has gotten. Got a very unique way of working and we work very well together. We've got quite similar kind of ways of working, but I think that development and concept phase is really key and I think it really got to the point where we just sat in a room and kind of really understood what are we trying to achieve here, how can we achieve that? And really just making it very basic in terms of the key themes. And then in terms of product development, we brought on Anya Kirkby. So she is an illustrator and a very clever lady indeed. And we have worked with lots of illustrators and lots of suppliers over the years. Catherine Pinkerton: But what we wanted something for Big Pit was to be quite different in terms of the illustration and the product development. Because what we wanted to deliver with Big Pit was something that had been my vision since the very beginning when I started with Amgueddfa Cymru. And that is, you know, going into the shop and having those guidelines, you know, pricing guidelines, information guidelines, those small details which would probably mean nothing to the average person walking through, but actually a price ticket on something that's been illustrated pains me to see, because the work that's gone on behind that is so key. Catherine Pinkerton: And, you know, for most people not understanding that a price ticket on that is so I think those details are really key, Paul, and I think she really worked stringently with me to make sure that was, was, that was kind of a massive aspect of that role. And then Arantxa Garcia, who is just the most incredible designer. She's, she's a genius in what she does. She's incredibly creative and sometimes you have to kind of pull her back and say, okay, you want this? Okay, can you deliver this rancher? Paul Marden: Yeah. Catherine Pinkerton: And what was really interesting with a rancher is that, you know, she's got a huge, amazing CV of working with lots of people within the cultural sector and designing amazing, incredible pieces. But I think were very nervous because the, the original kind of renders that she sent through to us were quite amazing and impressive. And I said, arantha, are you able to deliver this under the kind of, you know, the budget? We've got a tight budget here. Paul Marden: That's the challenge, isn't it? Catherine Pinkerton: I mean, isn't it? Paul Marden: You do not want to be paying, you don't want to be offered the picture of a Maserati when you have got a Ford Fiesta budget, do you need to know that you can afford it. Catherine Pinkerton: Absolutely. And I think with Aranta, she was very, again, super creative lady. And I think I, as soon as I saw that image, I did say to her, right, you need to deliver this now. You've, you've committed to it, Arantia, so this needs to happen. And then finally, Richard Evans, who has, is hugely respected in the cultural sector and he really supported in terms of project management and the, you know, I hate to say this, and you won't mind me saying this, but the kind of boring kind of financial Gantt charts and keeping me in line actually. Right, Cath, we haven't got a budget for that. You can't spend that. Come on, Richard, make it work. Move some things around, you know. Catherine Pinkerton: So I think that was kind of the main area and then internally, Tracy Lucas, who was kind of my right hand woman, is our operations manager within Amgueddfa Cymru and she really supported me along with Amy, the shop manager, shop supervisor to really look at the product development. So I think, you know, and I think it was really nice actually to have them on board because I think it gave an opportunity for them to see what could be. And I think, you know, definitely in terms of retail, it's been an opportunity for us to be able to say, look, this, the impossible can be possible. Catherine Pinkerton: Actually this is an amazing project and I think what was really incredible is that when we decided to work on Big Pit, the Big Pit team and all of the mining team actually just came on board, Paul, they took it on board and I think the reason why they did that is that one of the mining teams said to me, he said, kath, you know, we never get any funding here. It's always in this big cities, you know, we, the Cardiff and it's never here, you know, we're just in the middle of nowhere. And I was like, absolutely not. That is not what this is about. It's about, you know, making sure that the community in that area is solid. Catherine Pinkerton: And I think the mining industry and they're very proud of that in terms of who works there, they're incredibly proud of what they do. And so because we chose that as our first project, they were so helpful in terms of, yeah, we're going to make this work, let's make it a success. Cath, how can we do that? What do you need from me? I mean at one point we had two of the mining staff pulling one of the drums which we upcycled out of it was like a lake or, yeah, I suppose a lake with a tractor. And I was like, this is crazy. This is crazy but just amazing that these team members are willing to do above and beyond to kind of go and help and support.Catherine Pinkerton: Dwayne Smith, finally I have to mention him because he went above and beyond. He, he's an electrical engineer for Amgueddfa Cymru and no feat was kind of Too hard for him. He helped us massively. He's got a huge team of people and anything that we needed done, I'm not, you know, I'm not a trades person, so anything Trady. I was like, Dwayne, yeah, I'm on it, Kath, I'll do it. Which is great because I was like, okay, yes, that was massively helpful, but huge learning curve, Paul. I feel I've never been so excited about drums in my entire working career as I am now. Paul Marden: And I never heard of one until yesterday. But what I found interesting was you see them all the way through the underground experience. I went down in the. The cage to the bottom of the pit head, did the whole tour. You talk about these drams and the importance of them and the transportation of the coal from throughout the mine back up to the top. And then you walk into the shop and it's subtle. The way that you've blended the museum into the shop is a subtle experience. It doesn't feel, it doesn't feel crude. But you've got a dram in the middle of the workshop. Now, I know it's a real one because we talked about it yesterday and I know the pains that you went through, but it's very subtle placed in there so that it doesn't feel crude. Paul Marden: It doesn't feel like you're trying to overwork the metaphor of the mine in the shop. It's very cleverly done. Catherine Pinkerton:  Oh, that's great, great, great to hear. Because that's absolutely what we did not want. And I think in terms of visual merchandising, actually, and picking up on your point there, is that it's very easy for us and this is something that we're doing in a different shop. It's very easy for us to look at some of our assets and pop them on a tote bag and say, there you go, that's done, we'll sell that. But actually, no, what can we do that's different? That's more kind of innovative? That's more creative. That is a hint or perhaps an opportunity for us to show and display something that is. Is then part of the visitors question. So when they're coming into store and they're speaking to our retail teams, they're questioning, is this a real drum? Catherine Pinkerton:  You know, and that is a conversation opener, isn't it? You know, and I think Kerry Thompson, who is the curator for Big Pit, he's a really inspiring man. I could listen to him all day. And he told me lots about kind of the drums and the history of Big Pit and the strikes. He's such an interesting man, but I think having the inspiration from him allowed us to make sure that we did it not in a crude way, actually, Paul, but that it was representative of the site, but not in a way that's, I guess, too obvious, you know. Paul Marden: Look, Kath, we could carry on talking for ages, but let's cut at this point to hear about some of the voices from the team that you worked with, your internal team, some of the partners that you worked with, about the experiences that they've had on the project. Paul Marden: So let's hear from some of the internal team members involved in the project. Firstly, we have Amy Samways, the retail supervisor at Big Pit, followed by Kate Eden, the chair of Museum Wales. And lastly, Nia Elias, the Director of Relationships and Funding at the Museum of Wales. Hey, Amy, how you doing? Lovely to meet you. What's your role at the museum, Amy? Amy Samways: I'm the shop supervisor for Big Pit. Paul Marden: What have you been doing in this whole project? I guess you've been integral to the whole kind of making it all about the place. Amy Samways: Yeah, so I've worked with Anya, who did all the products for the new shop. So we walked around all the exhibitions. We did a lot of underground visits and a lot of museum visits and just put things together. I've done a lot of work before this project for the last two years to try and get things more relevant to us and not just a Welsh souvenir shop. So a lot of those products stayed and then we just expanded them then. Paul Marden: So how do you go about looking for those products that make it local to here? Amy Samways: Well, we've got a fantastic exhibition at the top of the hill. We've got obviously our ex miners and we also have a lot of events through the times as well. So this year was a lot about the strike because obviously it's the 40th anniversary and we've got a massive exhibition down in Cardiff and also there's a smaller one up year as well. So we just walked through the museum and obviously, you know that disasters are obviously a big issue. We didn't want to make a big issue about those, but obviously they need. They're part of history, aren't they? So more books. We made sure we had books around that. And as you walk through, there's a lot of signs that the staff liked as well, because a lot of our guys have been done about the new projects with those as well on. Paul Marden: So do you then go looking for local suppliers to help you with that? And where do you find those? Amy Samways: Etsy, Facebook. Paul Marden: Oh, really? Amy Samways: Yeah, a lot of them. And also online. And then we've also. Because we work with a lot of suppliers as well, I'll say we need this and then they'll say, oh, you should ask so and so, and then we'll go and ask both. Paul Marden: Brilliant. So one of the things that's really interested me this year is talking to people that are running museum retail and that kind of process that goes from you as a buyer, having an idea, what do you want? How do you stock the shop? I think is really interesting process to go through, but flip it on the other side, as a local creator, you've got your thing and you want it in the shop. How do you get it found? Well, yeah, sticking it on Etsy is something that they're going to do, but then that might help them get into the museum. Amy Samways: Even if there is something that we want. Like at the minute, we're looking for NCB soap. Paul Marden: For what? Amy Samways: NCB soap. Paul Marden: What's that? Amy Samways: It's either bright green or bright pink and they used to buy it in the canteen shop and it's just imprinted with NCB. The guides have been asking and asking for it, but we have actually found a supplier now who's going to be working on it. So that should be coming this summer. Paul Marden: Wowzers. Amy Samways: Yeah. That's really exciting for you. Paul Marden:  What was the highlight? What's the one thing about this space, about the whole experience of the project. Amy Samways: That jumps out for me is seeing all the stock we've worked on and somebody actually buying it. Paul Marden:  And what is it that people are picking up? What are they walking in and gravitating to? Amy Samways: Anything Big pet, really. The little enamel little mugs have gone really well. I think the wording on those are great because it says they must not be removed from the premises. So our guides are loving those. And also our retro sign, which we had for our 40th anniversary and three years ago, but we kept it because it's such a brilliant design. It was the original from 1983 and it was on the original road sign as you drove in. So we've had that recreated and that sells really well. Paul Marden:  That's really interesting. So my wife with the family about 25, 30 years ago, came on a family holiday and they had the original guidebook that they picked up when they were here with the kind of the retro. Retro signage on there. Amy Samways: Yeah, we're back selling it again. Kate Eden: Yes, So my name's Kate Eden. I'm chair of the board of Amgueddfa Cymru. Paul Marden:  Tell me a little bit about your involvement in this project. Kate Eden:  As the board, we've been tracking the development of commercial and enterprises over the past year. Really. And really thrown our way, weight and support behind what the team has been trying to do here as a kind of flagship, really, for what we would all like the new benchmark to be across all of the seven sites of anger for Cymru. So seeing it all come together this morning has just been such a special experience. It's absolutely fantastic. I'm going to bring the rest of the board here as soon as I can so the trustees can see this and see the reaction of staff and of visitors as well, because it's a fabulous achievement and it shows us what we can do now as a national museum. Paul Marden: How well does it tie back into the original pitch at trustees? So I'm a trustee of a charity as well. The pressures that we're all under in terms of reducing funding and having to generate our own funding is so hugely important. This must be integral to the conversations that you were having as trustees. Did you have this in mind when you were signing off the agreement to spend the money? Kate Eden: Yeah. So I don't think anybody realised just how successful this could be. We'd had some mock ups and we'd had a presentation, so there was a lot of excitement and there was sort of the fledgling idea years. So we've got a sense of what it could be. But I think importantly for us, it's about that marriage of financial sustainability because it's got to wash its face, it's got to provide a working profit that can go back into the running of Big Pit here.Kate Eden: But it's got to be authentic to this place. It can't be the add on the visitor should shop that you walk through at the end. And it's a bit of a tedious thing to get back to the car park. It's got to be an integral part of the whole visitor experience in this place. And I think that's what they've achieved. Paul Marden: It's so impressive. So impressive. You know, just the structure that they've built to give you the impression of the mine in a really subtle way. The product that they've chosen, the way that they've laid out that, the shop is amazing. I think they've done an amazing job. Kate Eden: That's it. I mean, this is my local site. Paul Marden: Okay. Kate Eden: I live about three miles over the mountain there. So I bring my friends and family here. This is our go to place when I've got visitors. And I think just the way they've opened up the room, they've removed the barriers, which is really important. It's a small thing, but really important so that people feel welcome. They can walk in or they can walk ground. Paul Marden: Yep. Kate Eden: And it's. And it just feels a little bit more inclusive. It feels a bit more kind of, you know, we're here, it's easy to come and see us, you know, and spend time and then spend a little. Paul Marden: A little bit of money. Yeah. So where do we go from here as trustees? Are you fully behind rolling this out now? Kate Eden: Yeah, I mean, I think now that we've seen what we can do and the type of data that's coming through from sales, this is now the new. This is the bar. Paul Marden: Oh. So it has made a discernible difference to say. Kate Eden: So early data from Easter is really promising. Yeah. So this is the benchmark now from all of the other sites. Nia Elias: Hi, Paul. Hi, I'm Nia. Paul Marden: Lovely to meet you. Tell me about your role at the museum. Nia Elias: I am Director of Relationships and Funding. It basically means I get to work with all of the teams across the museum that work on the reputation, the reach, but also the revenue of this wonderful charity and national museum that we are. Because as well as getting funding from Welsh government, we raise our own income so it can be invested.Paul Marden: What sort of split? Nia Elias: What sort of split? So the majority of the money that comes to us does come from Welsh government because we're a public service, we're here free of charge for the people of Wales and we look after the national collection, which is over 5 million items across seven museums and a collection centre. Nia Elias: But there's a proportion then of money that we raise ourselves about sort of 30%, which is from our cafes and our car parks and the experiences that people have, and most importantly, our shops. Paul Marden:  So what was the inspiration for this project? Why kick off a strategy project around the whole retail experience? Nia Elias:  Well, this whole project, in essence started three and a half years ago when the museum decided that it would bring a strategy together for all of its self generated income. So that means our philanthropic income generation and through our enterprise, including our retail. And from a retail perspective, we knew that what we wanted to achieve with all of the money that we raise ourselves is that it's really rooted in the collection, because we have an amazing collection. It tells the story of Wales and it's owned by the people of Wales. Paul Marden: Right. Nia Elias: And from a retail perspective, we knew if people could engage with that and could take away something from the wonderful experience that they've had on site, that it would be something that they would want and it would make it unique that it's only possible to have here. Developing a project like this is quite challenging. You need the time, you need the teams and expertise, some of which are on your permanent team, some of which are naturally not. And also you need investment. And so by starting the thinking and the route of where we wanted to get to three and a half years ago, it meant when we had the funding and the opportunity to do so here at Big Pit, we knew exactly what to do. Paul Marden: Okay, so you. You put all of those pieces together and then came here and did the first cookie cutter stamp. But what's interesting is it's not a cookie cutter stamp, is it? This totally feels like the gift shop for this museum, doesn't it?. Nia Elias:  Yeah. So we feel really strongly that we wanted the balance of knowing that you're at a National Museum Wales site, knowing that you're somewhere unique, but equally that it has a sense of a place. Because all of our seven museums together tell the holistic story of Wales, but you really get a sense of personality on all of those sites, not just from the collection and the buildings and the items, but also from the colleagues that work here as well. Paul Marden: Right. Nia Elias: They're very much a part of that in terms of the stories that they tell, their lived experiences, and we had a sense of responsibility and fun to bring that through in the shop. Not just the ambiance, but also the products themselves, so much of them, the majority of them actually, are grounded in being inspired by the collection in some way, and also has a really strong Welsh and local profit as well. What we think that will come through to our customers and visitors and guests is that because we've worked across all of the teams in the museum, so curators and people who care for the collection, our colleagues here at Big Pit, many of whom are former miners, and our colleagues front of house, it means that everybody will be able to speak about the product. Nia Elias: So as you're walking around picking things up, imagining them in your home or as gifts, our colleagues can talk about what they mean to the place. And that brings something additional that you can't really buy. Paul Marden: Yeah. There's a story to it. There's a background to it that roots it. Yeah. Lovely. For you, what's the standout experience from the whole project? What have you enjoyed the most? Nia Elias: Two things I think in terms of the way that it's been done, the fact that so many teams have worked together behind the scenes to make it happen. That means that as we want to change things or tweak things or improve things, we'll have all of the knowledge and expertise already baked in, especially learning from other suppliers who've come along and helped us. So we've got that baked in now, which is really exciting. And the second thing is that I can stand here knowing that this is the standard of a national museum that our guests and visitors expect and want to see. Paul Marden: And now let's hear from a few of the external partners that Kath brought into the project. Arantxa Garcia was the shop designer and visual merchandiser. Anya Kirkby was responsible for product development. And Guy Veal was responsible for sound design. Tell me about your involvement in the project. Arantxa Garcia: Sure. So I'm the shop designer and visual merchandiser. It's a freelance role, so. So I worked with the team, Matthew, Richard, Anne and Guy. Paul Marden: Excellent. Arantxa Garcia: So we kind of all came as part of a team and each one of us looked after different areas of the project. And my involvement was to kind of reinvent and reimagine what was already here. And the idea was to create a space that was connected to the experience and to the site itself. So we've basically ripped the space apart. We've kind of kept the structure, obviously, but we've opened up the space as well. Before the shop, it would be very separate. You'd have admissions and then you have the shop area, which meant that you were only really accessing the shop if you came to visit the site. But as a local, you wouldn't be able to come, for example. Or you could, but maybe not in such an open way. Paul Marden: Yeah, you wouldn't feel welcome. Arantxa Garcia: Exactly, exactly. You may not want to just because you didn't know, whereas now you can just come in and basically hang around and also browse the shop. Exactly. We took inspiration from life underground, from the mine itself. So before the building was white, the units were white, so it could be a shop anywhere. You know, it didn't really have a DNA, so to speak, or an identity that related it directly to the site. So when visiting down to the underground and King Call as well, the exhibition that we've got just up the hill, we took inspiration from basically sort of like the. The cladding that you've got on the walls. Cladding is not the right word. So if one of the miners hears me saying that, they'll be. Arantxa Garcia: That's not the word that we told you, but the idea is that all the materiality that we're using, it's really evocative of. Of the site and it's the materials that have been used underground. So even, like the safety lamps, they'll set authentic safety lamps. And the team on site, Dwayne Smith, has electrified them. So it means that now they work, obviously, as a normal light, but it's a safety. Paul Marden: But they are the original safety. Arantxa Garcia: They are the original safety. Paul Marden: Wowsers. And what about these styles? Arantxa Garcia: So, yes, I always like going for a hunt on the side. So basically the team took me to different rooms and we just found stuff, if you like. So they're like the pressure gauges, you know, we're gonna use them just to add, again, like, references to the site and the authenticity, of course. So you also find loads of tools that would have been used underground as well. Paul Marden: I would imagine that this has been a really enjoyable project for you. I can see it on your face, how much you've enjoyed it. Arantxa Garcia: It has. And I think for designers, sometimes there's projects that take a bit longer to emerge and you keep changing things because you just don't feel probably quite right. There's something. But with this one, it kind of. After the site visit, it was just. Paul Marden: I clicked immediately.Arantxa Garcia: It just clicked immediately. So we darkened the wall. So we've kind of given that sort of grey background just to kind of creating more of like a cosy and shrinking the space. Paul Marden: But you. It pops the orange. Arantxa Garcia: Exactly. And the orange is everywhere. So, like, we've also changed the lighting, so it's a lot warmer. So again, that hint of orange. Yeah, orange on the back, orange on the miners on here. And then it comes also from the products. So the identity is there, but without going fully corporate, if that makes sense. That's the colour that you remember, isn't it? You've just been on the ground. All our guides and miners wear the orange overalls and the sort of, like the blue jackets over it, whether it's a donkey jacket in the winter or then they wear the soft shells as well. So, yeah, it's all those details, like those hints to the experience that kind of are embedded in the design. And these are regional as well. The drums are regional, all the flatbeds. Arantxa Garcia:  So the team here took the metal sides off and then sort of like left the skeleton of the drum, varnished it. And then our shop fitters aren't here. They did all the sort of the cladding using reclaimed scaffolding boards. But the original Drums would have been made out of wood. Paul Marden: Beautiful. It's so tactile, isn't it? Arantxa Garcia:  It's tactile. Again, we're looking at the DNA all the time. And shops can be more than just shops. Shops can tell stories. You just connect with it in a very different way. And just having the time the team on site involved has been absolutely incredible. Like the sense of pride and belonging and provenance that this kind of has awakened, it's been great. It's your job done really as a designer. When you just feel like everyone owns it, that's your job, that's when you can walk away. Paul Marden: What an amazing testimonial for you and the work that everyone feels like that. Anya, lovely to meet you. Tell me, what was your involvement in the project? Anya Kirkby: So I mainly focused on product development. So we looked at where we could get inspiration from the site and how we could translate that really from the site experience into the shop experience as well. Paul Marden: Okay, so you're coming, you're experiencing what's going on and then looking to the outside world as to how you can source your products. Where do you go for the inspiration for the products? Anya Kirkby: Working with the team a lot. So Amy was a huge help on guiding us on what things would be very useful for visitors, what they really enjoyed when they were on site, what were their key take home messages that they experienced. And then working with Amy and Tracey as well to look at what products people like when they're in the shop anyway and how we can kind of marry those two up. Paul Marden: So what is it that people like when they come to Big Pit? Anya Kirkby: Well, unsurprisingly, the mine, they enjoy the mines, the mining experience. So that was just something that we already had in the shop. So we just expanded on that more if possible. But then we've also taken inspiration from signage. So they already had the original Big Pit signage and we looked at that and kind of again expanded on it. So then we've kind of expanded that to signage that you find in some of the other exhibits. So up in the showers, for example, in the canteen, signage, some of the original pieces from collections. We then translated that into products. So you'll see we've got the designs across mugs, original little metal signs, moved that across to prints, notebooks, postcards. Paul Marden: You've been developing a lot of the products yourself, so bringing that kind of the unifying feel to everything. Anya Kirkby: Yeah. So along with product development and making all the kind of the new things that we can have it's just bringing across the branding through the AC brand really strongly across everything. It's got such a strong message that we may as well have that on as many products as we possibly can do. Paul Marden: And how much of the stuff is actually locally sourced? Anya Kirkby: Oh, it's huge amounts. And the exciting thing is after speaking to Amy, the things that she needs to reorder are the local suppliers, which is so nice. So a lot of the confectionery that's locally sourced candles, soap, the coal figures, the wooden spoons, chocolate boxes, the biscuit boxes. So as much as possible. And then we've worked with local suppliers as well to do photography, to do some of the signage, to do the original signwriting in the shop as well. So beyond products, we've looked at the POS points like elements of the shop as well. So thankfully we've used as many local spires as we possibly can. Paul Marden: You've enjoyed this project, haven't you? Anya Kirkby: I absolutely loved it, yeah. It's fantastic to see it's absolutely amazing. Paul Marden: Yeah. Anya Kirkby: So yeah, it's really special. Paul Marden: And then from here you springboard on to the other seven sites. How do you, how do you come up with the ideas then? Anya Kirkby: Exactly the same process. So working with the teams to find out what it is that visitors absolutely love about their sites and bringing that into the shop experience. So again I get very lucky. I get to go around a lot museums and experience it. Paul Marden: It's a tough job, isn't it?Anya Kirkby: It's tricky. But basically finding out what they love and bringing that through the really things that visitors take home with them anyway and just making it into a product that they can actually physically take a piece of the museum home with them as well. Paul Marden: It's great because there are some pocket money items here because I take kids on school visits and it's a very expensive experience. You know, if they catch take a fiver with them, often they can't get anything with a fiver but they can walk in and they've got pencils, they've got rubbers and they'll walk out happy with those little bits. But at the same time you've got some beautiful stuff that the grown ups can come and pick up and really enjoy. Anya Kirkby: It's the same as any museum visitor. You kind of have to look at who's going to be visiting. It's all types of people that come and just gauging it from that as well. So having an offer for everyone that they can enjoy. Someone said to me once that children for the first time. It's often their first time having a transaction monetary wise. Is that a museum on a school trip? So it's just lovely to kind of have something for them to experience that as well. Paul Marden: Never thought of it like that. They're out on their own. They're not with mum and dad. So they've got the money themselves and they've got to make the decision. So we are at. I took some kids to the science museum last year. Anya Kirkby: Oh. Paul Marden: And the amount of time we took in the shop because of the indecision that they had. Anya Kirkby: It's the indecision decision and then the queue of all them having a five pound note and having all the change come back or not having quite enough. But I think it's such an important. If you can't do that in a museum, where can you do it? Paul Marden: Guy. Hi. Guy Veale: Hi. Paul Marden: I just wanted to talk to you a little bit about what was your part of the project? Guy Veale: I was sound designer for the soundscape which we can't hear when everyone's chatting. Paul Marden: I can hear some birds in the background. Is that. Guy Veale: Is that canaries? Living canaries. Not dead gas. Paul Marden:  Coal mine canary. Guy Veale: So I did a little bit of research sort of towards the end of the project after lots of stuff had been built in, when they decided that some low level sound would be a good part of the experience. And looking at the brief and the shape of the room, the acoustics, a lot of this new ducting that's gone in that was not then easy to put cables into. We had to go for a wireless solution. Paul Marden:  Okay. Guy Veale: As part of that I found a Swedish company that had a system that creates its own network which is like a weird dream because normally you've got to go the IT guys and then something goes wrong and there's some sort of address problems or. Bluetooth is not always reliable. This has been a revolution just in terms of. Guy Veale: Don't if you can see them. There's little. They look like light fixtures that are centrally over these panels. Paul Marden: Oh right. Guy Veale: And they're quite. Paul Marden: Oh. And so they're speaking speakers pointing down onto the panel to separate it. So what. What. The other kind of sound pictures that you're painting. We've got the canary. What else have you got? Guy Veale: So the whole idea is that you're trying to represent the industrial heritage of the site and have as many authentic sounds from the site as possible. Paul Marden: Right. Guy Veale: So we've reused some of the really high quality recordings that also feature at different parts of the site already. Paul Marden: Yep. Guy Veale: But then, also sourced about another 70 or 80 sound from the BBC archive. Paul Marden: Oh, wow. Guy Veale: Paid for. And so. But if you think about those sounds, they're quite punctuated and aggressive. You think of any industrial sound and like chipping away or different tipples working. You know, the idea is that you don't want to surprise someone that while they're shopping and leaning over next to a speaker and hearing. So it needed to be softened in some way. And you know, traditionally the way I've done work is music and sound design is using different textures and tonal design and like a drone, I suppose, is this as a sort of basis that can be moving and organic, not totally static? Paul Marden: Yeah. Guy Veale:  And the idea was to sort of try and include fragments of relevant songs using the male voice choir.Paul Marden:  Really.Guy Veale: And we tried several things and I looked at it and I realised that you might catch someone coming in for five minutes here and they catch a snippet and it's all well and good for them, but the staff and you've got to hear this eight hours a day, every day, you know, four weeks, a month, so forth. So even just one little identifiable recurring melody starts to get too much, even on quite a long five. Paul Marden: Oh, really? Guy Veale: And I found that it wasn't sustainable. So I, in the end, I ended up using the. Almost like the vocal warm ups and breaths of the choir artificially extended out so they're not breathing, just this constant low level, breathy sort of expulsion. I mean, if went quiet now, we'd hear it as the. As a backdrop and it's embedded with a few other little musical elements that just sort of try and soften and support. I think of it like the vowels of the track and then the consonants. Paul Marden: Or the industrial chipping noises and the harsher noises. Guy Veale: So they're harsher but they're there and they're a bit removed and reverberate and in the background. Paul Marden: But it's really interesting how you describe it in that kind of. Using the metaphor of the letters. Guy Veale: Yeah, that's what it felt like. Just trying to find something that was like a vocabulary of work that has to tick so many different boxes, including like a therapeutic retail experience. People leaving the site with a sense of well being. Also like summarising what they've been through, not sort of projecting them out the door with, you know, a completely new thing or somewhere that they haven't been through yet. So, you know, fair few things to try and fit in there and, you know, hopefully it works and we'll see how things are in a year's time. Paul Marden: Yeah. Cath, the last point I wanted touch on before we finish today is oh my God, how happy everybody was at that event yesterday. How positive the experience was for all of the team members. What was for you the big standout moment for the entire project? Catherine Pinkerton: I mean, there's so many, Paul. But I think for me it's an opportunity to see what can be achieved when people collaborate. And I think, you know, joining the museum three years ago is really collaborating with lots of different departments to achieve something as a team.Catherine Pinkerton: Teamwork is absolutely the key to kind of success and I think you can only achieve that by having that really product professional kind of embodiment with all of the collaborative teams to work together for the same goal. And I, I was really proud yesterday that it took a lot of work, but actually without a team of 40 people as well as the wider organisation, it would not have been, it was no mean feat, but it was certainly wasn't just down to one person saying this is my project because it was a team effort. Catherine Pinkerton: And I was so proud of everybody that was there to kind of thank them along the way to say, this is, we've done this and now onwards and upwards. Paul Marden: Yeah, absolutely. You should be so proud. It really was. Catherine Pinkerton: Thank you. Paul Marden:  It's a demonstration of what a museum gift shop experience can really be like when you work together like that, when you collaborate. So well done to all of you. It was such a lovely experience yesterday. Thank you for inviting me. Catherine Pinkerton: Thank you so much for coming, Paul. I appreciate it. Paul Marden: Before we go though, I always ask for a book recommendation from our guests. Now it would have bankrupted me to have asked everybody yesterday for book recommendations. So you have to take the responsibility of a recommendation on behalf of everybody. What have you got for me? Catherine Pinkerton: The secret for me is, you know, that that book seems to be. I always go back to that book very often and I think it's a key one for lots of areas. So that's definitely a takeaway for me. But the other one I'm reading at the moment called A Monk's Guide to Happiness. I'm not sure if you've had enough to read it. Yeah, it's a 21st century take on A Monk's Guide. It's written by Gelong Thubten and he had a very high powered job and he had a burnout and interestingly he changed his whole mindset in terms of what makes him happy and really making it quite basic. Right. Catherine Pinkerton: So it's a, it's a real eye opener in terms of just pulling things back sometimes, you know, at the end of the day, come on, let's just live life and be happy but, you know, not stress out about things. I'm quite easy to do that. So this is very much a. Just breathe, Kath, get through it. But it's a good one. If you want to just strip it back and just kind of understanding the basics of being happy, then, yeah, he's great. Paul Marden: Oh, Cath, that's a great recommendation. If you go over to Bluesky and repost the show message that Wenalyn put out and say, I want Kath's book, then the first person that does that will get a copy of the book sent to them. Kath, it was absolutely delightful. I enjoyed my day wandering around Big Pit yesterday no end. Given that half my family is from the valleys and most of them were miners, I feel like I should have done this a very long time ago. But it was lovely. And to enjoy the experience of the celebration that you had yesterday, it was a real privilege. So thank you. Catherine Pinkerton: Oh, huge privilege to have you there. Paul. Thank you so much. I'm really appreciative. Did you purchase? Paul Marden: I did purchase on my way out. Catherine Pinkerton: Yay. Great, great, great.Paul Marden: Deal. Catherine Pinkerton: Deal. Thank you so much. Paul Marden: So after my trip 90 metres down to the bottom of the mine shaft, where I of course couldn't take microphones, I'm now back up on the surface, microphones back in hand and enjoying myself, wandering around currently in the winding house, which is where all the machinery is for lifting the cages that 90 metres down to the bottom of the pit head. I've had an amazing day here at Big Pit. It's been so interesting to see this museum and to talk to many of the amazing staff that have taken part in this big project to redesign their gift shops. Highly recommend a day trip to Big Pit. Really has been very enjoyable, if for no other reason, to see that amazing new gift shop experience. Paul Marden: Now, as always, if you'd like a copy of Catherine's book, head over to Blue sky and repost the show notice that Wenalyn will post out and say, I want a copy of Catherine's book and the first person to do that will get that copy sent over to them. So all that remains for me to say is thank you to Catherine for inviting me here to Big Pit today. And I'll see you again soon. Take care. Bye Bye. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

Most Graphic Designers think they know logo design, until they see how the legends did it.While the internet's flooded with trend-chasing tips and lazy logo lists, the truth is: there are laws. Rules. Principles. And the greats like Paul Rand, Saul Bass, Massimo Vignelli lived by them. That's why their work still hits decades later, while most logos today barely survive a rebrand cycle.In this episode of The Angry Designer podcast, we dig deep into the 18 Irrefutable Laws of Legendary Logo Design. Not recycled advice, but timeless lessons pulled straight from the icons of our industry such as Saul Bass, Paul Rand, Massimo Vignelli, Josef Müller-Brockmann, Milton Glaser, Herb Lubalin, Cipe Pineles, Sylvia Harris, Lella Vignelli, James Barnard, Scott Fuller & Allan Peters.If you're tired of generic design fluff and want to level up your thinking, craft, and confidence, this episode will give you the firepower. These aren't just logo tips — they're the rules that turn good designers into great ones.In this episode, you'll discover:The foundational truths behind logos that lastWhy most designers unknowingly sabotage their own workAnd what it actually takes to earn the title of "Logo Designer"Whether you're designing for clients, building your portfolio, or trying to future-proof your Graphic Design career, this episode will help you ditch the guesswork and design with purpose.Stay Angry our Friends –––––––––––Join Anger Management for Designers Newsletter at https://tinyurl.com/mr4bb4j3Want to see more? See uncut episodes on our YouTube channel at youtube.com/theangrydesigner Read our blog posts on our website TheAngryDesigner.comJoin in the conversation on our Instagram Instagram.com/TheAngryDesignerPodcast

In this episode, Emily Ronquillo, Director of Marketing & Design, and Jason Moodie, Director of Learning & Visitor Experience, sit down with three SUU faculty members from different areas of the university to talk about how they engage with the museum in their courses.Kevin Koontz from Outdoor Recreation and Parks and Tourism tells us about how his classes visit SUMA to learn more about museum interpretation. Alex Bradshaw-Yerby from Dance shares how her students react to exhibitions through movement. And Susanna Herrmann from Graphic Design talks about how she uses the museum's collection to teach typography and poster design. We hope you learn more about how SUMA is an educational resource at SUU. If you want to bring a class for a tour at SUMA or learn even more about how to connect the museum to your syllabus, you can reach out to Jason at experiencesuma@suu.edu.

"To reach these simple, remarkable ideas is sometimes also a bit of luck. In the process, you find something you can't really imagine." - Bjorn KussofskyIn this episode, Radim Malinic interviews Bjorn Kussofsky, founder of Stockholm Design Lab. Bjorn shares his journey from aspiring pop star to renowned designer, including the pivotal moment when Andy Warhol designed a record sleeve for his band. This experience influenced his decision to pursue design instead of music. Established in 1998, Stockholm Design Lab was founded with the vision of creating a multidisciplinary design company that could handle holistic branding. The studio now employs about 25 people and works with international clients on design and branding projects. Throughout the conversation, Bjorn emphasizes their philosophy of creating "simple, remarkable ideas" by reducing clutter and focusing on context. He discusses how they strive to create designs that stand the test of time, acknowledging that reaching simplicity requires both process and luck. Bjorn reflects on Scandinavian simplicity, noting that when it's truly effective, it goes beyond style to reveal the essence of something, often born from necessity and resource constraints. Despite growing his company, Bjorn remains deeply involved in the creative work rather than focusing on business aspects. The conversation explores notable projects including Polestar and the recent Sigma rebrand, showcasing how Stockholm Design Lab's approach to simplicity creates distinctive brand identities that resonate in cluttered marketplaces.Key takeaways:Staying relevant is crucial for design companies - creating impactful work in the present rather than relying on past achievementsThe philosophy of "simple, remarkable ideas" drives Stockholm Design Lab's approach to designFinding uniqueness in design is challenging - often it's the context that makes something feel newGreat design comes from a combination of strategic process and serendipitous discoveryEffective Scandinavian simplicity goes beyond aesthetics to truth - stripping away clutter to reveal essenceBjorn values finding and employing talented people as one of the most rewarding aspects of running a studioLogos should never be judged in isolation - they must be evaluated as part of a comprehensive brand systemPhysical artifacts like books serve as important time capsules for preserving design legacyLongevity is a measure of success in design - creating work that remains relevant for decadesThe Polestar project demonstrates how simplicity can create powerful differentiation in a cluttered marketplace Mindful Creative: How to understand and deal with the highs and lows of creative life, career and business Paperback and Kindle > https://amzn.to/4biTwFcFree audiobook (with Audible trial) > https://geni.us/free-audiobookSigned books https://novemberuniverse.co.ukLux Coffee Co. https://luxcoffee.co.uk/ (Use: PODCAST for 15% off)November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

THE NEW, NEW COFFEE GENERATION—On today's show we're creating a storm in a coffee cup about everyone's cup of joe. We're spilling the beans about your morning brew. You're going to hear a latte puns about your cuppa, your high-octane dirt, your jitter juice, your elixir, and by the time we're done you will have both woken up and smelled the coffee.Luke Adams is the editor in chief of Standart, a magazine about a bean that was first cultivated in Ethiopia in the 9th century and within a few hundred years had many of us hooked. It is a subject obviously and extravagantly rich in history, lore, and possibility. What it is not, however, is a paean to what Luke calls “cutting-edge coffee-making geekery.” Rather, Standart is about growers and roasters. It is about cafes and third spaces. It is about culture. It is, in other words, about you, the coffee drinker. It attempts to bring together a disparate potential readership around a singular subject, one that not too many actually talk about. Because while cafes encourage conversation, that conversation is rarely about what we're drinking. Even when it's a “damn fine cup of coffee.”—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Here are today's sponsors:Worldsmith - Easy D&D Prep - Start a Free 7 Day Trial: https://session0studios.com/worldsmith-podcastRoll and Play Press - Easier D&D: https://session0studios.com/rollandplayYour world deserves to feel alive. In this episode of How to Be a Better DM, Justin dives deep into the art of “show, don't tell” — not for your villains this time, but for your cities and settlements. Discover how to make your game world feel like a living, breathing place through cultural cues, architecture, layout, and behavior. You'll learn actionable techniques to bring immersive environments to life and create settlements that feel like characters in your campaign. Plus, a secret about “show, don't tell” that no one talks about!Special thanks to:Benj Weyland for Graphic Design (https://www.instagram.com/benjweydesign/)TJ Max, Juka, and TechSenpai for being amazing moderatorsFoxy Beard, Kyle Wilson, and Nick Ammann for being our patrons.Mentioned in this episode:Add the Magic of Sound to Your GameplayWhen you set the scene you need to tap into the five senses. When it comes to sound one of the best ways to do that is with music, sound effects, and ambience. That's why we've teamed up with Monument Studios. Monument Studios provides an easy-to-use Soundboard perfect for Dungeon Mastering. If you want to see this in action, go to fantasy-plus.com and get 10% off of your first month of their Fantasy+ App by using the code BETTERDM at check out. Again that is fantasy-plus.com and BETTERDM at checkout. Monument StudiosBrought to you by Session 0 StudiosVisit session0studios.com for more information.Start Leveling Up As a DMWouldn't it be nice to gamify your dungeon master abilities? In D&D, characters can reach level 20, so why can't dungeon masters? We're happy to tell you that now, you can. We created the Dungeon Master Level-Up Guide. It's a simple tool to gamify your progression to higher and higher levels of dungeon mastering. It includes Dungeon Master Levels 1 to 20 with associated XP requirements as well as a long list of Dungeon Master activities that will give you XP. Each activity has a Challenge Rating and an XP amount. In order to level up, all you need to do is find out how much XP you have, find out how much you need and pick activities to try. You can get the Dungeon Master Level-Up guide for free by going to session0studios.com/newsletter/, sign up for our newsletter and we'll email you the Level-Up Guide. Finally, leveling up as a DM can be as fun as leveling up a character. Level Up GuideGive Us a Rating and ReviewYou obviously have really good taste, you're listening to How to Be a Better DM after all. We thank you for your support. If you've ever gotten anything useful from our show, take a minute to give us a rating and a review. It goes a very long way to making it so How to Be a Better DM can help many more dungeon masters just like you. If you love our content, help others become better dungeon masters too.

Melissa has studied history, art, folklore, and culture most of her life as a passionate hobby. Academically she studied World Wars I & II, Russian history, and Western Civilization in university and has her degree in Graphic Design.Melissa began podcasting in 2017 on several shows she created as a hobby, including The Secret Door & Deprogrammed Podcast. She founded Gen-X News after a year hiatus away from podcasting. On her show she discusses conspiracy theory, culture, & the human soul.She has interviewed guests from all over the world, including those featured on History Channel, Travel Channel, & A&E.Find Melissa's podcast - Gen-X News - at: https://genxonx.com/Melissa returns to Talking Weird to chat about disturbing connections between Jim Jones and the CIA, including the possibility that the massacre at Jonestown - a remote settlement in Guyana established by Jones' Peoples Temple - was the end result of an MK-ULTRA mind control experiment.This is an enthralling, if disturbing, conversation that you do not want to miss!

In this episode, Ryan announces the podcast will now release new episodes every Friday as well as every Tuesday. The conversation delves into the importance of differing opinions in the SCREAM community, the excitement surrounding Scream 7, and the changing dynamics of the fandom. The conversation underscores the importance of character development and meaningful storytelling in the Scream franchise's future.  Introduction Friday Announcement “Shake It Off” Differing Opinions Scream Story & Speed Round Scream 4's Legacy Show and Tell The Divisiveness of Scream 5 Mindy Meeks  Subscribe Patreon.com/screamwithrcs. Find us on Instagram, Facebook, X, TikTok, BlueSky, and Youtube. Host: @ScreamWithRCS  Producer: @ninnetimes @squirrelandspud9  Graphic Design: @joneshiphop @tjonesfilms  

Points of discussion:1. 2025 Beer Branding Trends Review -Learn more at: www.craftbeerrebranded.com / http://www.beyondbeerbook.com-Have a topic or question you'd like us to field on the show? Shoot it our way: hello@cododesign.com-Join 8,000+ food and bev industry pros who are subscribed to the Beer Branding Trends Newsletter (and access all past issues) at: www.beerbrandingtrends.com 

Pearl Rachinsky our guest for Episode 186. llustration, art direction, photography, branding- it seems like Pearl can do anything. She is a multi-disciplinary visual artist who has worked with Jason Isbell, John Moreland, Joe Pug and many other modern legends of roots music.  Pearl's life has been a fascinating journey and she is a kind soul. We caught up in the green room ahead of John Moreland with Jordan Foley and Tyler Hood at Tuffy's Music Box in Sanford, FL, to talk about crushing the patriarchy, making discerning creative choices, growing up in an artistic environment, and so much more. Listen on: Spotify- https://open.spotify.com/episode/5EwBDPpK4FBpj6TkPaFQ3X?si=99b18bbececa4911 YouTube- https://youtu.be/n9xQa40UVAw?si=0kwopO4ZjjrCGE1U Apple Podcasts- https://podcasts.apple.com/us/podcast/the-marinade-with-jason-earle/id1281080492?i=1000705239554 Support The Marinade on Patreon: patreon.com/marinadepodcast    

"My biggest personal challenge is that I want to do more than I'm capable of ever doing, being just me. I'm open to so many things." - DinesIn this episode, Dahlia Ishak shares her unconventional creative journey from accidentally discovering graphic design during university to running a food and beverage branding studio. Born to Egyptian parents in Northern Ontario, Dahlia initially pursued sciences before stumbling upon design. Her career took her from advertising in Australia to entrepreneurship when she created a pioneering coworking cafe in Brisbane. After building a vibrant community, circumstances forced her return to Canada where she rebuilt her life through new cafes before pivoting to a branding studio following pandemic challenges. Throughout her journey, Dahlia has balanced design work, hospitality businesses, and teaching at Shillington College, consistently finding ways to connect creativity with community.Key TakeawaysDahlia discovered design accidentally despite always being creative – she hadn't made the connection between her passion for collecting designed objects and actual career possibilities.Using her design skills, she created a brochure that established the first student exchange program between her Canadian design school and an Australian university.After experiencing burnout in advertising, Dahlia found new creative fulfillment in Australia's coffee culture, leading her to open a coworking cafe.Rather than abandoning creativity completely when running hospitality businesses, she maintained connections by hosting creative events and building relationships with local designers.When forced to relocate to Canada, Dahlia used her hospitality business to meet people and build a new network in an unfamiliar city.During the pandemic, she pivoted to helping hospitality businesses survive by offering design services, which eventually evolved into her current branding studio.Throughout all her ventures, Dahlia has consistently taught design at night, finding it energizing rather than draining.Her story demonstrates the value of transferable skills across industries – her hospitality experience directly informs her current focus on food and beverage branding.Dahlia's journey shows how creativity can manifest in different ways beyond traditional design roles – as a facilitator, connector, and community builder.Her biggest challenge remains wanting to do more than is possible, highlighting the entrepreneurial drive that has fueled her many successful pivots. Mindful Creative: How to understand and deal with the highs and lows of creative life, career and business Paperback and Kindle > https://amzn.to/4biTwFcFree audiobook (with Audible trial) > https://geni.us/free-audiobookSigned books https://novemberuniverse.co.ukLux Coffee Co. https://luxcoffee.co.uk/ (Use: PODCAST for 15% off)November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

Pacts are made, and siblings rival all while coasting down the Lake of Demon Blood. Sounds like such a fun family vacation right? Magic Mind at www.magicmind.co/CQUEST Promo Code CQUEST20 Support us at - https://www.patreon.com/chasmquest  Andrew Palmer - Dungeon Master, and Creator, Collin Allen - Khol-Uun Taylor Haydel - Eyas, Music, and Graphic Design, Micah Jordan - Thelneous Special Guests Cass of The Lovelycraftians as Celesie  Ray Merz of The Nerd Asylum as Berta Sam Anderson - Theme Song Composer Featuring additional music and ambience by Ivan Duch patreon.com/ivanduch(https://ivanduch.com) Cinematic Atmos © 2024 by Monument Studios is licensed under Creative Commons Attribution 4.0 International  Additional sound effects from https://www.freesound.org & https://www.zapsplat.com New Merch Store https://chasmquest.threadless.com/ Found Familiar Affiliate https://foundfamiliar.com/ Promo Code STAYROWDY Visit www.ChasmQuest.com to find Maps, Wikis, and Character Bios

THE WHISTLEBLOWER—I was a reporter and editor in newspapers, including Chicago Today—which had no tomorrow—the Chicago Tribune, and the San Francisco Examiner. I made a shift to magazines becoming TV critic for People, where I came up with the idea for Entertainment Weekly, launching in 1990.After a rocky launch—a story I tell in my new book, Magazine—I jumped ship for the Daily News, then TV Guide, and finally the internet at Advanced Publications. I left to teach and write books about the fall of mass media in 2006. My name is Jeff Jarvis, and this is The Next Page.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Every learner has the potential to be a leader – both inside and outside of the classroom. In this episode of Learning Unleashed, host Carl Hooker engages with Tisha Ponceo and Rick Butterworth, authors of 'Today's Learners, Tomorrow's Leaders.' They discuss the importance of entrepreneurial thinking in education, the impact of personal learning journeys on teaching perspectives, and the need for educators to adapt to an uncertain future. The conversation emphasizes the role of digital portfolios and the significance of feedback and reflection in fostering student growth. The episode concludes with key takeaways for educators to enhance their teaching practices and better prepare students for their futures. Get the Book: Today's Learners, Tomorrow's Leaders. Tisha Poncio, M.S has served in education for the last 21 years. She has led students in classroom instruction of English, Web Design, Graphic Design, Business Computing, Programming, and Broadcast Journalism. She has also led educators, students, and administrators as a digital learning coach for 12 years. She is a Google Certified Trainer and a Flipgrid, Wakelet, and Buncee Ambassador. Her most significant accomplishment to date has been the creation of a student-led technology leadership group, which enables her to present globally on student voice, empowerment, and the #studentsCANlead movement. Rick Butterworth is a founder and founding member of multiple startup companies, including Resources, RPB Designs, and Wakelet. At each company, he has been a key designer and developer, driving innovation and creating platforms and meaningful experiences for students and teachers of online applications.

Hop on your hog, count your grenades, and get ready to roll for the back half of Megazone 23 Part 2! If it's all too much, you can simply leave like BD inexplicably does at the end of this film.Find Emily on:Bluesky: https://bsky.app/profile/spacequeenemily.bsky.socialPlease find Ethan at these links: Bsky: ⁠https://bsky.app/profile/sundownmcmoon.bsky.social⁠ Bomb Squad Productions: ⁠https://twitter.com/BombSquadProds⁠ZekeFilm: ⁠https://www.zekefilm.org/author/ethan-halker/⁠  Skeet us @giantrobotfm.bsky.social and write to us ⁠⁠⁠⁠giantrobotfm@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠ Giant Robot FM is hosted by Stephen Hero and pmcTRILOGY Support us directly at ⁠⁠⁠patreon.com/giantrobotfm⁠⁠⁠ Graphic Design by DuarfS ⁠⁠⁠⁠⁠https://www.behance.net/maezurita⁠⁠⁠⁠ ⁠⁠⁠⁠⁠https://www.instagram.com/duarfs⁠⁠⁠ ⁠⁠⁠Art by Szkin ⁠⁠⁠⁠⁠⁠https://twitter.com/szkin_art⁠⁠⁠⁠ Music by fretzl (@fretzl) ⁠⁠⁠⁠⁠⁠https://www.youtube.com/fretzl⁠

Here are today's sponsors:Worldsmith - Easy D&D Prep - Start a Free 7 Day Trial: https://session0studios.com/worldsmith-podcastRoll and Play Press - Easier D&D: https://session0studios.com/rollandplayWe've all been there: the endless turns, actions, and HP ticking down as you slog through another combat that you don't know how to end fast enough. Why did your combat become like this? And how can you make it enjoyable and fun again?! Let's talk about it.Also, want ad-free podcasts with additional content while also supporting us? Check out our Patreon: patreon.com/betterdungeonmasterSpecial thanks to:Benj Weyland for Graphic Design (https://www.instagram.com/benjweydesign/)TJ Max, Juka, and TechSenpai for being amazing moderatorsFoxy Beard, Kyle Wilson, and Nick Ammann for being our patrons.Mentioned in this episode:Brought to you by Session 0 StudiosVisit session0studios.com for more information.Start Leveling Up As a DMWouldn't it be nice to gamify your dungeon master abilities? In D&D, characters can reach level 20, so why can't dungeon masters? We're happy to tell you that now, you can. We created the Dungeon Master Level-Up Guide. It's a simple tool to gamify your progression to higher and higher levels of dungeon mastering. It includes Dungeon Master Levels 1 to 20 with associated XP requirements as well as a long list of Dungeon Master activities that will give you XP. Each activity has a Challenge Rating and an XP amount. In order to level up, all you need to do is find out how much XP you have, find out how much you need and pick activities to try. You can get the Dungeon Master Level-Up guide for free by going to session0studios.com/newsletter/, sign up for our newsletter and we'll email you the Level-Up Guide. Finally, leveling up as a DM can be as fun as leveling up a character. Level Up GuideGive Us a Rating and ReviewYou obviously have really good taste, you're listening to How to Be a Better DM after all. We thank you for your support. If you've ever gotten anything useful from our show, take a minute to give us a rating and a review. It goes a very long way to making it so How to Be a Better DM can help many more dungeon masters just like you. If you love our content, help others become better dungeon masters too.Add the Magic of Sound to Your GameplayWhen you set the scene you need to tap into the five senses. When it comes to sound one of the best ways to do that is with music, sound effects, and ambience. That's why we've teamed up with Monument Studios. Monument Studios provides an easy-to-use Soundboard perfect for Dungeon Mastering. If you want to see this in action, go to fantasy-plus.com and get 10% off of your first month of their Fantasy+ App by using the code BETTERDM at check out. Again that is fantasy-plus.com and BETTERDM at checkout. Monument Studios

Fluent Fiction - Danish: A Reunion Brewed: Rekindling Dreams Over Coffee Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2025-04-24-22-34-02-da Story Transcript:Da: Solstråler skar gennem de store vinduer og malede mønstre af lys og skygge på de blanke træborde inde i kafferisteriet.En: Sunbeams cut through the large windows, painting patterns of light and shadow on the polished wooden tables inside the coffee roastery.Da: Den frygtige duft af friskmalet kaffe svævede i luften og blandede sig med lyden af dæmpede stemmer og klirrende porcelæn.En: The intense aroma of freshly ground coffee floated in the air, mingling with the sound of muted voices and clinking porcelain.Da: Mikkel sad alene ved et hjørnebord.En: Mikkel sat alone at a corner table.Da: Han var en stille og eftertænksom grafisk designer, som ofte fandt tilflugt i sin egen verden af farver og former.En: He was a quiet and contemplative graphic designer who often found refuge in his own world of colors and shapes.Da: Men denne dag var anderledes.En: But this day was different.Da: Han kiggede op og så en velkendt skikkelse træde ind ad døren.En: He looked up and saw a familiar figure stepping through the door.Da: Sanne, rejseskribenten med den livlige sjæl og uendelige nysgerrighed, trådte selvsikkert ind i rummet.En: Sanne, the travel writer with the lively spirit and endless curiosity, confidently entered the room.Da: Mikkel glemte et øjeblik alt omkring sig.En: Mikkel momentarily forgot everything around him.Da: De havde mistet kontakten efter en periode med misforståelser og travlhed, som livet nogle gange bringer med sig.En: They had lost touch after a period of misunderstandings and busyness, as life sometimes brings.Da: Sanne fik øje på ham og vinkede med et smil.En: Sanne spotted him and waved with a smile.Da: Hendes smil var varmt, som om ingen tid var gået.En: Her smile was warm, as if no time had passed.Da: Mikkel følte en blanding af glæde og nervøsitet, da han vinkede tilbage.En: Mikkel felt a mix of joy and nervousness as he waved back.Da: Han rejste sig op, og de mødtes i en let omfavnelse.En: He stood up, and they met in a light embrace.Da: "Det er længe siden, Mikkel," sagde Sanne med et glimt i øjet.En: "It's been a long time, Mikkel," Sanne said with a twinkle in her eye.Da: "Alt for længe," svarede Mikkel og kunne mærke sit hjerte banke hurtigere.En: "Far too long," replied Mikkel, feeling his heart beat faster.Da: "Vil du have en kop kaffe?En: "Would you like a cup of coffee?"Da: "De satte sig sammen ved bordet, og samtalen begyndte at flyde, som en velkommen brise på en varm dag.En: They sat together at the table, and the conversation began to flow like a welcome breeze on a warm day.Da: De talte om livet, rejser og de mange projekter, de begge havde kastet sig ud i.En: They talked about life, travels, and the many projects they had both embarked on.Da: Mikkel vidste, at hvis han nogensinde skulle nævne deres gamle drøm om at arbejde på et kreativt projekt sammen, var det nu.En: Mikkel knew that if he was ever going to mention their old dream of working on a creative project together, it was now.Da: Han tog en dyb indånding.En: He took a deep breath.Da: "Sanne," begyndte han tøvende, "har du nogensinde tænkt på vores gamle idé om at lave et projekt sammen?En: "Sanne," he began hesitantly, "have you ever thought about our old idea of doing a project together?Da: Jeg ved, vi har haft vores forskelle, men jeg har virkelig savnet det, vi havde.En: I know we've had our differences, but I've really missed what we had."Da: "Sanne så overrasket på ham, men hendes udtryk blødte hurtigt.En: Sanne looked surprised at him, but her expression quickly softened.Da: "Jeg har faktisk tænkt på dig og vores planer," indrømmede hun.En: "I have actually thought about you and our plans," she admitted.Da: "Jeg har savnet vores samarbejde.En: "I've missed our collaboration."Da: "Mikkel kunne næsten ikke tro sine ører.En: Mikkel could hardly believe his ears.Da: Hans tøven blev skyllet væk af lettelse og glæde.En: His hesitation was washed away by relief and joy.Da: De forsatte med at snakke og følte, at noget tabt blev fundet igen.En: They continued to talk, feeling that something lost had been found again.Da: De enedes om at mødes regelmæssigt for at brainstorme deres projekt over kaffe her i roasteriet.En: They agreed to meet regularly to brainstorm their project over coffee here in the roastery.Da: Som solen krøb langsomt ned mod horisonten og erstattede lyset med en blid skumring, følte Mikkel sig forandret.En: As the sun slowly crept down towards the horizon, replacing the light with a gentle twilight, Mikkel felt transformed.Da: Han havde vovet at være åben og ærlig, og det havde givet pote.En: He had dared to be open and honest, and it had paid off.Da: En gammel forbindelse var blevet genoprettet, og en ny begyndelse tog form.En: An old connection had been restored, and a new beginning was taking shape.Da: De blev de sidste tilbage i roasteriet, klingende kaffekopper og svage stemmer smeltede sammen med aftenens stilhed.En: They were the last ones left in the roastery, the clinking coffee cups and faint voices blending with the evening's silence.Da: Mikkel og Sanne rejste sig til sidst og begav sig ud i den friske forårsluft, begge fyldt med forventning og en genoplivet venskab.En: Mikkel and Sanne finally stood up and stepped out into the fresh spring air, both filled with expectation and a renewed friendship. Vocabulary Words:sunbeams: solstrålerpolished: blankearoma: duftmingling: blandedecontemplative: eftertænksomrefuge: tilflugtfamiliar: velkendtconfidently: selvsikkertmisunderstandings: misforståelserwaved: vinkedeembrace: omfavnelsetwinkle: glimtconversational: samtalenbreeze: briseembarked: kastet sig ud ihesitantly: tøvendecollaboration: samarbejderelief: lettelsebrainstorm: brainstormetwilight: skumringtransformed: forandretsilence: stilhedexpectation: forventningrenewed: genoplivetlinger: blive

Welcome to Hot Topics! Join host Gabrielle Crichlow in this captivating episode as she welcomes back returning guest Shelley Ann Cobb. Shelley, a dedicated tutor and academic life coach, shares her unique experience of marrying her British husband, David, while living abroad in Barcelona, Spain. Discover the challenges faced by U.S. citizens navigating the complex immigration process to marry a foreign national. Shelley recounts her journey, from applying for a visa to enter the U.K. to the extensive paperwork required for her to eventually become a British citizen. In this insightful conversation, Shelley highlights not only the legal and bureaucratic hurdles of international marriage but also the enriching value of travel and cultural experiences. Her story serves as a powerful reminder of the determination and resilience required to make love and commitment transcend borders.Tune in for an engaging personal narrative filled with valuable advice about embracing new cultures and the importance of travel. Whether you're considering an international relationship or simply love a good story, this episode is sure to inspire!Who is Shelley Ann Cobb?Shelley Ann Cobb grew up in sunny San Diego County and studied Spanish and Graphic Design and Illustration at Washington University in St. Louis. She spent five years living abroad in Italy, Spain, and England, where she ran her own British cupcake business before returning to the US to complete her California teaching credential. Shelley has since taught in San Diego County schools and runs her own tutoring business, specializing in academic life organization and tutoring all subjects with an emphasis on Spanish and Mathematics for students from elementary to college level, including those with IEPs and 504 plans. When not working, Shelley enjoys spending time with her five-year-old son, who loves being outside, running, and playing the ukulele.You can find Shelley:On the web: https://www.shelleyanncobb.com/On Facebook: https://www.facebook.com/profile.php?id=100063542860162On Instagram: https://www.instagram.com/shelleyanncobb/On LinkedIn: https://www.linkedin.com/in/shelley-ann-cobb-2262b053Watch this episode on YouTube: https://youtube.com/live/PWD_ohsr_RERate this episode on IMDB: https://m.imdb.com/title/tt34160198/?ref_=ext_shr_lnk********************************************Follow Gabrielle Crichlow:On Facebook: https://www.facebook.com/gabrielle.crichlow On Instagram: https://www.instagram.com/gabrielle.crichlowFollow A Step Ahead Tutoring Services:On Facebook: https://www.facebook.com/astepaheadtutoringservicesOn Instagram: https://www.instagram.com/astepaheadtutoringservicesOn X: https://www.x.com/ASATS2013On YouTube: https://www.youtube.com/@astepaheadtutoringservicesOn TikTok: https://www.tiktok.com/@asats2013On Eventbrite: https://astepaheadtutoringservices.eventbrite.comVisit us on the web: https://www.astepaheadtutoringservices.comSign up for our email list: https://squareup.com/outreach/a41DaE/subscribeSign up for our text list: https://eztxt.s3.amazonaws.com/534571/widgets/61fc686d8d6665.90336120.htmlCheck out our entire "Hot Topics!" podcast: https://www.astepaheadtutoringservices.com/hottopicspodcastSupport us:Cash App: https://cash.app/$ASATS2013PayPal: https://paypal.me/ASATS2013Venmo: https://venmo.com/u/ASATS2013Become a supporter of this podcast: https://www.spreaker.com/podcast/hot-topics--5600971/support Original date of episode: October 20, 2024

This week, Ryan and guests investigate and analyze the relationships of Sidney Prescott over the SCREAM series with Billy Loomis, Derek Feldman, Mark Kincaid, and the potential of her marriage to Mark Evans in Scream 7. Subscribe on Patreon.com/screamwithrcs Introduction Overview of Sidney's Love Life “Delicate” Scream Story and Speed Round Billy Loomis Derek Feldman Mark Kincaid The Potential of Mark Evans Find us on Instagram, Facebook, X, BlueSky, TikTok, and Youtube. Host: @ScreamWithRCS  Editor: @albertmpadilla  Producer: @ninnetimes @squirrelandspud9  Graphic Design: @joneshiphop @tjonesfilms  Feat: @kevins_cravings @joshgreinhold Taylor Swift Song of the Week: “Delicate” (Reputation)  

This is a preview of a bonus episode- check it out on our Patreon! ------ Designer Michael Oswell joins the show this week to talk about his work in graphic design and typography. Michael talks about how he got started in design, at a time when work was still drawn by hand first and tailored to print mediums – and how the expectations of social media platforms and digital first technologies has diminished the importance of drawing. We also speculate over contemporary fascism's penchant for Serif fonts, what the decline of original imagery tells us about culture's lack of imagination, and whether modern design's inability to inspire is the fault of the Adobe Creative Suite. Follow and support Michael's work, here: https://www.instagram.com/michaeloswellgraphicdesigner/?hl=en-gb ------ PALESTINE  AID LINKS You can donate to Medical Aid for Palestinians and other charities using the links below. Please also donate to the gofundmes of people trying to survive, or purchase ESIMs. These links are for if you need a well-respected name attached to a fund to feel comfortable sending money. https://www.map.org.uk/donate/donate https://www.savethechildren.org.uk/how-you-can-help/emergencies/gaza-israel-conflict -------- PHOEBE ALERT Phoebe! Okay, now that we have your attention; check out her Substack Here! Check out Masters of our Domain with Milo and Patrick, here! -------- Ten Thousand Posts is a show about how everything is posting. It's hosted by Hussein (@HKesvani), Phoebe (@PRHRoy) and produced by Devon (@Devon_onEarth).

Fluent Fiction - Danish: Freja's Vibrant Leap: Bold Fashion Choices in Springtime Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2025-04-22-22-34-02-da Story Transcript:Da: Nyhavn summede af liv og farver denne forårsdag.En: Nyhavn buzzed with life and colors on this spring day.Da: Solen skinnede ned over de pastelfarvede huse, mens bådene i kanalen roligt gyngede i takt med vandets bevægelser.En: The sun shone down over the pastel-colored houses, while the boats in the canal gently rocked in time with the movement of the water.Da: Freja gik langs de brostensbelagte gader med sine venner, Mikkel og Kasper.En: Freja walked along the cobblestone streets with her friends, Mikkel and Kasper.Da: Hun havde brug for en ny forårsdragt, noget der kunne matche sæsonens livsglæde.En: She needed a new spring outfit, something that could match the season's zest for life.Da: Freja var en kreativ sjæl.En: Freja was a creative soul.Da: Hun brændte for sit arbejde som grafisk designer, men nu skulle hun tænke på sin garderobe.En: She was passionate about her work as a graphic designer, but now she had to think about her wardrobe.Da: Det var forår, og Freja ville have noget, der strålede ligeså meget som hun ønskede hendes kreativitet skulle.En: It was spring, and Freja wanted something that shone as much as she wanted her creativity to.Da: "Hvad med den der, Freja?"En: "What about that one, Freja?"Da: spurgte Mikkel og pegede på en farverig kjole i et butiksvindue.En: asked Mikkel, pointing to a colorful dress in a shop window.Da: Freja rynkede panden.En: Freja furrowed her brow.Da: "Måske... men jeg ved det ikke," svarede hun.En: "Maybe... but I'm not sure," she replied.Da: Kjolen var så anderledes end det, hun normalt ville vælge.En: The dress was so different from what she would usually choose.Da: Kasper nikkede.En: Kasper nodded.Da: "Det handler om at prøve noget nyt.En: "It's about trying something new.Da: Du vil jo gerne skille dig ud, ikke?"En: You want to stand out, don't you?"Da: De gik ind i butikken.En: They went into the store.Da: Rækker af tøj i alle regnbuens farver mødte dem.En: Rows of clothes in all the colors of the rainbow met them.Da: Freja mærkede et mylder af entusiasme og usikkerhed.En: Freja felt a rush of enthusiasm and uncertainty.Da: Hun bladrede gennem stativerne, blev draget mod en stærk gul top og en mønstret nederdel.En: She flipped through the racks, drawn to a bright yellow top and a patterned skirt.Da: Det var en dristig kombination.En: It was a bold combination.Da: "Jeg kan ikke beslutte mig," sagde Freja og kiggede på begge stykker tøj.En: "I can't decide," said Freja, looking at both pieces of clothing.Da: "Hvad hvis det er for meget?"En: "What if it's too much?"Da: "Det bliver fedt.En: "It'll be great.Da: Gør det," svarede Mikkel, opmuntret.En: Do it," encouraged Mikkel.Da: Freja gik mod prøverummet med modstridende følelser.En: Freja headed to the fitting room with conflicting feelings.Da: Hun trak vejret dybt og betragtede sig selv i spejlet.En: She took a deep breath and looked at herself in the mirror.Da: Den gule farve lyste op mod hendes hud, og mønstret dansede omkring hende.En: The yellow color lit up against her skin, and the pattern danced around her.Da: Det var hele hende - farverig og med et glimt af det uventede.En: It was all her—colorful and with a hint of the unexpected.Da: "Hvordan ser jeg ud?"En: "How do I look?"Da: kaldte hun til Mikkel og Kasper.En: she called to Mikkel and Kasper.Da: "Fantastisk," råbte de i kor.En: "Fantastic," they shouted in unison.Da: Hun smilede, mærkede hvordan tvivlen opløstes som sne i forårssolen.En: She smiled, feeling how the doubt melted away like snow in the spring sun.Da: Freja gik ud af butikken.En: Freja walked out of the store.Da: Hun følte sig fri, medvinden i håret og et smil på læberne.En: She felt free, the wind in her hair and a smile on her face.Da: "Jeg gjorde det!"En: "I did it!"Da: sagde hun, med en ny fundet selvtillid og glæde.En: she said, with newfound confidence and joy.Da: Foråret havde bragt nyt liv, både til verden og til Frejas garderobe.En: Spring had brought new life, both to the world and to Freja's wardrobe.Da: Hun så tilbage mod Mikkel og Kasper, taknemmelig for deres støtte.En: She looked back at Mikkel and Kasper, grateful for their support.Da: Freja vidste nu, at hendes instinkter sjældent ledte hende på afveje.En: Freja now knew that her instincts rarely led her astray.Da: Hun havde lært at omfavne det nye, det modige - og sin egen sande farvepalette.En: She had learned to embrace the new, the bold—and her own true color palette. Vocabulary Words:buzzed: summedecobblestone: brostensbelagtepastel: pastelfarvederocked: gyngedezest: livsglædewardrobe: garderobefurrowed: rynkebrow: pandenunison: korbrowsed: bladrededrawn: dragetpatterned: mønstretbold: dristigenthusiasm: entusiasmeuncertainty: usikkerhedconflicting: modstridendehint: glimtunexpected: uventedemelted: opløstesinstincts: instinkterastray: ledte på afvejeembrace: omfavnecreative: kreativsoul: sjælfantastic: fantastiskconfidence: selvtillidjoy: glædenewfound: ny fundetsupport: støttepalette: farvepalette

Hello! We're starting a new project this month. We have almost 50 bonus episodes on our Patreon. The goal is to get these older bonus episodes out from behind the paywall. So travel back in time with us for poor recording setups, bad editing, out of date opinions, and so much more!Original Show Notes:Support Night Clerk Radio on Patreon Well friends, it seems like nothing gets us into a long conversation like the historical and sociopolitical landscape of corporate art, aesthetics, and marketing. We talk about everything from the post-WW2 rise of popular luxury to the current hellscape of flat purple vector people.Definitely check out the CARI link below and let us know your favorite styles.As always thank you so much for your support.Music Sampledｓａｔｕｒｎ　ａｕｄｉｏ　ｓｙｓｔｅｍ　ｄｅｍｏｎｓｔｒａｔｉｏｎ　ｃａｓｓｅｔｔｅ　茨ヱめ畝ヹ by wilson arcadeAdditional LinksThe Consumer Aesthetics Research Institute - CARINote: The original “Your Face Here” page on Airbnb Design is gone.Blame Corporate MemphisPopuluxe on WikipediaWhy do "Corporate Art Styles" Feel Fake?Corporate Art Style - Know Your MemeWill that ‘big tech art style' become the comic sans of art styles?Corporate Music - How to Compose with no SoulWe Are Sears 1986.mpgCreditsMusic by: 2MelloArtwork by: Patsy McDowellNight Clerk Radio on Bluesky

IN THE REALM OF THE SENSES—Psychedelia has an image problem. At least that's what editor and journalist Hillary Brenhouse realized after she saw through the haze.Both in art and literature, psychedelia was way more than tie-dye t-shirts and magic mushrooms. Instead of letting that idea fade into the mist, she kept thinking about it. And the more she looked, the more she realized maybe she should create a magazine to address this. And so she did.Elastic is a magazine of psychedelic art and literature. It says so right there on the cover of the beautiful first issue that just launched. So this is not your standard issue lit or art mag. After all, this is one backed by … Harvard, and UC Berkeley, and a couple of major foundations. Hillary Brenhouse has learned a lot about the craft and the business of making and selling magazines this past year. Lucky for us, she and her team are quick studies. You can see it on every page of Elastic. And she also may have redefined the literary magazine. Without a single tie-dyed t-shirt or magic mushroom in the lot, man.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

works for EQ Media and is an IHSA Alumni of Alfred University where she graduated in 2014 with her BFA in Photography and Graphic Design with a minor in Equine Studies. Based in Cleveland, Ohio, she continues to ride and compete in the jumper divisions with her horse Terry, when she is not hiking and camping with her husband and dogs. 

Hello Giant Robot FM listeners! We return to the zone, but things have changed. Regular friends of the podcast Ethan and Coop join up to cover gore, sex, and all the others delights of Megazone 23 Part 2.Please follow Coop here:Bsky: https://bsky.app/profile/riderstrike.bsky.socialSite: https://riderstrike.carrd.co/Please find Ethan at these links: Bsky: ⁠https://bsky.app/profile/sundownmcmoon.bsky.social⁠ Bomb Squad Productions: ⁠https://twitter.com/BombSquadProds⁠ZekeFilm: ⁠https://www.zekefilm.org/author/ethan-halker/⁠  Skeet us @giantrobotfm.bsky.social and write to us ⁠⁠⁠⁠giantrobotfm@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠ Giant Robot FM is hosted by Stephen Hero and pmcTRILOGY Support us directly at ⁠⁠⁠patreon.com/giantrobotfm⁠⁠⁠ Graphic Design by DuarfS ⁠⁠⁠⁠⁠https://www.behance.net/maezurita⁠⁠⁠⁠ ⁠⁠⁠⁠⁠https://www.instagram.com/duarfs⁠⁠⁠ ⁠⁠⁠Art by Szkin ⁠⁠⁠⁠⁠⁠https://twitter.com/szkin_art⁠⁠⁠⁠ Music by fretzl (@fretzl) ⁠⁠⁠⁠⁠⁠https://www.youtube.com/fretzl⁠

“We are the weirdos, mister.” This month, Ryan performs the first ever full-length audio commentary of the podcast for The Craft (1996). Ryan chose The Craft because it acts as the prologue to the late 90s horror teen genre starring Neve Campbell and Skeet Ulrich released just six months before the original Scream. This episode is available exclusively for Patreon subscribers. Sign up for the Patreon at any tier to listen to the full commentary. **NOTE: You can listen to this as a normal podcast episode, or as a literal commentary playing the audio while simultaneously watching the movie.** Next month's audio commentary will be Final Destination (2000) ahead of the release of Final Destination: Bloodlines. Listen on Patreon.com/screamwithrcs. Find us on Instagram, Facebook, X, TikTok, BlueSky, and Youtube. Host: @ScreamWithRCS  Editor: @albertmpadilla  Producer: @ninnetimes @squirrelandspud9  Graphic Design: @joneshiphop @tjonesfilms

2025 will go down in history as the year the universal Reuse symbol was born. PR3's Amy Larkin and design expert Cybelle Jones talk about the power of symbols and the current design initiative calling on creatives to develop a symbol that will help catalyze a cultural shift and normalize reuse around the world. Applications are due May 31 for this chance to be part of history—and part of the PR3 Reuse Standards development process. Resources: The Rebrand Reuse InitiativePR3 StandardsCybelle Jones — SEGDEpisode 88: Setting the Standard for Reuse with Claudette Juska and Amy LarkinKansas city soccer stadium reusable cup programGet involved:Join the Reuse Solutions NetworkSupport Upstream to make sure these stories continue to be heard and the reuse economy continues to grow — thank you!

Here are today's sponsors:Worldsmith - Easy D&D Prep - Start a Free 7 Day Trial: https://session0studios.com/worldsmith-podcastRoll and Play Press - Easier D&D: https://session0studios.com/rollandplayAI is here—and it's not going anywhere. But what does it mean for Dungeon Masters?In this episode, Justin and Tanner dive deep into how artificial intelligence is already impacting the tabletop RPG space—from ethical dilemmas to practical time-saving hacks. Is it a crutch or a creativity booster? Are you giving away core skills without realizing it? And how can you use it intentionally to become a better DM?We'll also share:The right way to use AI for session prepWhy AI won't replace storytelling, but might reshape itReal-world examples of how we've used AI in our own gamesA brand new sponsor-powered segment featuring a ridiculous, pizza-based spell

Welcome to Jill's America! On April 15, 2011, Scream 4 released into theaters and Jill Roberts shocked the hearts and minds of horror moviegoers. Today, April 15, 2025, Ryan and the Patreon community celebrate Jill Roberts as one of the best (if not the definitive best) Ghostface killers in the history of the SCREAM franchise.  Subscribe on Patreon.com/screamwithrcs Introduction Why We Love Jill Roberts “The Last Great American Dynasty” The Jill Roberts Tribute  Find us on Instagram, Facebook, X, BlueSky, TikTok, and Youtube. Host: @ScreamWithRCS  Editor: @albertmpadilla  Producer: @ninnetimes @squirrelandspud9  Graphic Design: @joneshiphop @tjonesfilms  Taylor Swift Song of the Week: “The Last Great American Dynasty” (folklore)  

Points of discussion:1. 2025 Beer Branding Trends Review -Learn more at: www.craftbeerrebranded.com / http://www.beyondbeerbook.com-Have a topic or question you'd like us to field on the show? Shoot it our way: hello@cododesign.com-Join 8,000+ food and bev industry pros who are subscribed to the Beer Branding Trends Newsletter (and access all past issues) at: www.beerbrandingtrends.com 

A portal into the Abyss sets our Rowdy Boys into a new realm of fear, loathing, and sibling rivalries?! Magic Mind at www.magicmind.co/CQUEST Promo Code CQUEST20 Support the show at patreon.com/ChasmQuest Andrew Palmer - Dungeon Master, and Creator, Collin Allen - Khol-Uun Taylor Haydel - Eyas, Music, and Graphic Design, Micah Jordan - Thelneous Special Guests Cass of The Lovelycraftians as Celesie  Ray Merz of The Nerd Asylum as Berta Sam Anderson - Theme Song Composer Featuring additional music and ambience by Ivan Duch patreon.com/ivanduch(https://ivanduch.com) Cinematic Atmos © 2024 by Monument Studios is licensed under Creative Commons Attribution 4.0 International  Additional sound effects from https://www.freesound.org & https://www.zapsplat.com New Merch Store https://chasmquest.threadless.com/ Found Familiar Affiliate https://foundfamiliar.com/ Promo Code STAYROWDY Visit www.ChasmQuest.com to find Maps, Wikis, and Character Bios

WHEN EUSTACE MET FRANÇOISE— I first met Françoise Mouly at The New Yorker's old Times Square offices. This was way back when artists used to deliver illustrations in person. I had stopped by to turn in a spot drawing and was introduced to Françoise, their newly-minted cover art editor.I should have been intimidated, but I was fresh off the boat from Canada and deeply ensconced in my own bubble—hockey, baseball, Leonard Cohen—and so not yet aware of her groundbreaking work at Raw magazine.Much time has passed since that fortuitous day and I've thankfully caught up with her ouevre—gonna get as many French words into this as I can—through back issues of Raw and TOON Books. But mostly with The New Yorker, where we have worked together for over 30 years and I've been afforded a front-row seat to witness her mode du travail, her nonpareil mélange of visual storytelling skills.Speaking just from my own experience, I can't tell you how many times at the end of a harsh deadline I've handed in a desperate, incoherent mess of watercolor and ink, only to see the published product a day later magically made whole, readable, and aesthetically pleasing.Because Françoise prefers her artists to get the credit, I assume she won't want me mentioning the many times she rescued my images from floundering. I can remember apologetically submitting caricatures with poor likenesses, which she somehow managed to fix with a little digital manipulation—a hairline move forward here, a nose sharpened there. Or ideas that mostly worked turned on their head—with the artist's permission, of course—to suddenly drive the point all the way home.For Françoise, “the point” is always the point. Beautiful pictures are fine, but what does the image say? Françoise maintains a wide circle of devoted contributing artists—from renowned gallery painters to scribbling cartoonists, and all gradations between—from whom she regularly coaxes their best work. I thank my étoiles chanceuses to be part of that group.And now, an interview with Françoise. Apparently. —Barry Blitt—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

What happens when the world around us goes gray—and we still feel called to create in full color? In this episode, I sit down with photographer, educator, and creative spark David Flynn to talk about art, expression, and the courage it takes to go against the grain. From the quiet rebellion of choosing color in a neutral world, to the magic that happens when creatives come together, this is a conversation about reclaiming your voice and honoring your instincts. We explore why curiosity matters, how creative prompts can open unexpected doors, and the beauty of not doing it alone. Whether you're an artist, a maker, or someone craving more meaning in your days—this one will speak to you. ✨ Takeaways You'll Love: Express Yourself Boldly: Why your unique voice and vision matter—especially when the world feels muted Stay Curious: How curiosity drives creative breakthroughs (and keeps things interesting) Find Your People: The deep power of community to support, stretch, and inspire you. MORE ABOUT DAVID FLYNN David Flynn is an acclaimed graphic designer and educator, originally from Dover, Ohio. He launched his career in 1980 as an intern at a local design studio, this led to working in advertising agencies as Art Director and Creative Director before founding David Flynn Design in 1994. His design studio focuses on serving local and regional clients, delivering services in advertising, branding, packaging, and publication design.  In 2009, David expanded his professional focus by joining the faculty at The University of Akron. He teaches various Graphic Design and Foundation Studio courses, guiding students from freshman to senior levels within the Myers School of Art. He also contributes to the Williams Honors College by teaching a Creative Thinking Colloquium.  In 2019, David introduced "Creative Campfires," a lecture series aimed at fostering innovative thinking. Designed for high schools, colleges, creative teams, marketing departments, and other industries or sectors that value creativity. The series combines lectures, hands-on exercises, and generous amounts of conversation and laughter. Through this initiative, David seeks to inspire and help individuals unlock their creative potential. www.creativecampfiresohio.com blog: www.causeicantpaint.com

In this episode, Toni and I dive into the latest AI image generation announcements from OpenAI and Google and how they are completely disrupting marketing agencies, graphic design and ecommerce overall. What You’ll Learn OpenAI’s latest image gen release Why graphic designers are in trouble How to adapt to work alongside AI tools Sponsors SellersSummit.com – The Sellers Summit is the ecommerce conference that I’ve run for the past 8 years. It’s small and intimate and you’ll learn a ton! Click Here To Grab The Recordings. The Family First Entrepreneur – Purchase my Wall Street Journal Bestselling book and receive […] The post 586: AI Just Replaced Your Entire Marketing And Graphic Design Team. Here's What's Happening appeared first on MyWifeQuitHerJob.com.

This week, experience Ryan's adventure to the 90s Con in Hartford, Connecticut last week with a documentary style episode where Ryan recounts in real time meeting SCREAM stars David Arquette, Skeet Ulrich, Matthew Lillard, Rose Mc Gowan, Jamie Kennedy, and Dermot Mulroney. Additionally, Ryan previews the premiere of the first audio commentary for the podcast, “The Craft” releasing Thursday, April 17 with producer Ashley. Ryan and Ashley also “come back stronger than a ‘90s trend” with the witchy Taylor Swift song of the week, “Willow.”  Subscribe on Patreon.com/screamwithrcs Introduction The Craft  “Willow” 90s Con Adventure Audio Commentaries Trailer Find us on Instagram, Facebook, X, BlueSky, TikTok, and Youtube. Host: @ScreamWithRCS  Editor: @albertmpadilla  Producer: @ninnetimes @squirrelandspud9  Graphic Design: @joneshiphop @tjonesfilms  Taylor Swift Song of the Week: “Willow” (evermore)  

Pricing your Graphic design work shouldn't feel like rocket science—but for most Graphic Designers, it's a total mindfk! Hourly? Project-based? Value-based? Everyone online's got an opinion, but let's be honest—most of that advice is either incomplete or flat-out wrong, let alone providing you a game plan or roadmap on how-to charge for graphic design work. No wonder designers stay stuck, undercharging and second-guessing their worth.In this solo episode of The Angry Designer, Massimo blows the lid off the pricing BS and gives you a straight-up, battle-tested roadmap to charging what you're ACTUALLY worth.You'll learn:The real reason you need to start with hourly pricing (and how it sets you up to win)When to switch to project pricing without guessing or screwing yourselfWhy most designers aren't ready for value-based pricing—and how to earn your way thereHow retainers can save your sanity, stabilize your income, and turn clients into long-term partnersNo fluff. No sugarcoating. Just hard-earned truth from a designer who built a 7-figure agency from his parents' basement—without selling his soul.By the end of this episode, you'll stop wondering what to charge—and start pricing with confidence.Stay Angry our Friends –––––––––––Join Anger Management for Designers Newsletter at https://tinyurl.com/mr4bb4j3Want to see more? See uncut episodes on our YouTube channel at youtube.com/theangrydesigner Read our blog posts on our website TheAngryDesigner.comJoin in the conversation on our Instagram Instagram.com/TheAngryDesignerPodcast