Podcasts about Letraset

This month's show really is going down the toilet! That is to say, the downstairs loo of our special guest Matt Skywalker-Jones, which he's turned into a bijou display room. Matt tells all to Andy P, and talks about his collecting journey, and his many vintage passions. Elsewhere, the lads ponder Star Tourism, tell all about their latest finds, and battle it out in the Action Playset Face-Off, which sees a Death Star and an Ewok Village up against not one but two Cantina playsets.  Jason hosts this month's quiz, and in New Acquisition shout-outs, we hear about 12-back display shippers, Japanese pencil cases, Peruvian board games, Helix and Letraset shenanigans on eBay, and an HCF pencil pot. A packed Rebel Briefings section sees chat about latest happenings in the collecting universe, as we catch up with a new blog on early Kenner displays, hear about the latest charitable offering from the Pennsylvania Star Wars Collecting Society, recall Thomas Troy's Troop Transporter, take a look at a Palitoy book, a signed Survival Kit and a great Greek gun, before looking ahead to Echo Live and Celebration Japan. Licensee this month is Burger King, as the team sink their teeth into a whopper of a promotion across all three original trilogy movies. Plenty of bluff, bluster and banter besides, look for the podcast in all the usual places.

Letraset, handing in journalism, black and white again, the rancor keeper, and teenage banking. (Rec: 10/8/23) Join the Iron Filings Society: https://www.patreon.com/topflighttimemachine Hosted on Acast. See acast.com/privacy for more information.

Before I start, let me preface this by saying I am not an expert in AI-Generated Art. These platforms are still in their infancy, and nobody knows what the future holds for them or their effect on the graphic design industry, but I doubt they'll ever replace graphic designers. I've experimented with various platforms, read articles, and watched videos. I've seen both sites of the debate argued. Some people don't see AI-Art as a threat to our industry, while others are all doom and gloom, saying designers should start applying to work at McDonald's as flipping burgers will soon become more lucrative than designing things. I don't see AI-Generated art as a threat to the graphic design industry. And I'll get to why in a bit. However, I'm not so sure about artists and illustrators. If that's your profession, I suggest you pay close attention to how AI-generated art matures, as it will affect those creative people much more than it will designers. As I said, I'm no expert here. And these AI Art Generators are evolving fast. So what I say today may change soon. Who knows? I also haven't tried all the various platforms nor used the ones I have tried to their fullest potential. So some of what I say today may be wrong. If that's the case, if you know something I don't, please reach out to me at feedback@resourcefuldesigner.com. I would love to be educated more on the subject. First, a story. Before I begin my discussion on AI-Generated Artwork, I want to tell you a story that will help put my beliefs into perspective. I entered the three-year Graphic Design program at my local college in 1989. The first two years were spent learning and applying design principles to our projects. We learnt things like design history, colour theory, using grids, layout hierarchy, typography and more. And we were taught the different tools of the trade, most of which are no longer in use and are considered archaic by today's standards. It wasn't until our third year, once we were familiar and comfortable with what being a graphic designer was, that we were granted access to the computer lab. Computers were still new to the industry back then, and very few design agencies used them. When I started working at the print shop after graduation, the first two years of my employment were spent designing everything by hand before I convinced the owner to invest in Macintosh computers. I don't remember what year it was, but during school, a few of my classmates and I made a trip to Toronto for a graphic design trade show. It was the largest show of its kind in Canada and the third largest in North America. All the big names were there, including Adobe, Quark, and Microsoft, to name a few. I remember overhearing a conversation between two design agency owners at a demonstration put on by Adobe. They were talking about the introduction of computers to the design industry. Both were concerned that computers would harm the design industry by minimizing what they considered a particular skill set, that of a graphic designer. To them, computers took the “Art” out of being a “Graphic Artist.” With today's mindset, It's kind of crazy to think that back then, design agency owners thought computers would harm our industry. You can easily argue that computers have made the industry better. Having lived through that period, I can tell you that even though computers didn't harm our industry, they did change it. Drastically, in fact. QuarkXpress, Photoshop and Illustrator replaced the standard tools of the trade, such as wax machines, no-repro blu pencils and Letraset rub-on type. And I know a few designers who left the profession because they couldn't grasp the use of computers. So computers were introduced, the industry evolved, and the graphic design industry persevered. Microsoft Publisher Fast forward a few years, and personal computers are becoming more popular, with Windows-based machines outselling Apple. And Microsoft released a program called Microsoft Publisher that introduced an affordable means for anyone with a computer to “design” their material. Quark and Adobe software costs thousands of dollars which weren't feasible for most people. But Microsoft made Publisher affordable. And what do you think happened? The graphic design industry started to panic. With “design” software now available to the masses, designers would lose their jobs. But you know what? Microsoft Publisher was introduced, and some people changed their thinking about design, yet the graphic design industry persevered. WordPress. Around that same time, an innovation emerged called the World Wide Web. Businesses started embracing the idea of having a website—a way for people to find them over the internet. Computer programmers created the first websites. They were functional but lacked design aesthetics. And graphic designers worldwide took notice and realized an opportunity to apply their skills to something other than paper. Some learned to code, while others embraced WYSIWYG software, allowing them to build websites without coding. A whole new side of the design industry was created. And then WordPress arrived. This new platform allowed people to build websites using pre-built templates called Themes. The arrival of WordPress sent web designers into a panic. If people could build websites using a pre-built template, our design skills would no longer be needed. WordPress was going to kill the web design industry. But you know what? WordPress stuck around, designers evolved and changed their view of the platform, and the graphic design industry persevered. I'd say most web designers these days design using WordPress. 99 Designs. Fast forwards another few years, and 99designs is introduced to the world. For a small fee, clients could submit a design brief to the platform, and multiple designers would compete by submitting their designs and hoping the client chose theirs. The selected designer would win the contest and be paid for their work. The others received nothing. 99Designs was all the talk back then. It was an industry killer. Why would anyone pay hundreds, if not thousands, of dollars to a single graphic designer when they could pay a much smaller fee and have multiple designers compete for them? Many designers worldwide tried to offset this intruder by lowering their rates, hoping to lure clients back from the dark side. But you know what? Designers quickly learned that to attract clients, they needed to sell the value and the relationship of working with them, not just the design deliverables. Because the designers on 99Designs didn't care about the client, they only cared about the subsequent contest they could enter. In fact, 99Designs helped weed out the most undesirable clients making it easier for the rest of us to grow. The graphic design industry persevered. Fiverr. Not long after that, Fiverr was launched, putting our industry into another tailspin. Whereas a design from 99Designs might cost $100 or more. Fiverr's claim to fame was that all tasks were only $5. It didn't matter if you need a logo, a poster, a web banner, or a booklet. Everything was $5. How was a graphic designer supposed to compete with that? The design industry was doomed. And yet, 12 years after its launch, Fiverr is still around. However, nowadays, people on the platform are charging much higher than $5, and graphic designers worldwide are still thriving despite the “competition” of Fiverr. The graphic design industry persevered. Adobe Creative Cloud In 2013 Adobe launched Creative Cloud, replacing their Creative Suite platforms. Whether you like the subscription model or not, there's no arguing that Adobe changed the creative landscape when it introduced Creative Cloud. Software that had previously cost thousands of dollars to own was now available at an affordable monthly rate, making programs such as Adobe Photoshop, Illustrator and Indesign, the bread and butter of most people in the design industry, accessible to the masses. Designers were no longer a unique breed with our special tools. Adobe opened the floodgates. Now anyone who wanted to tinker with their programs could do so. This created a whole new breed of graphic designers who lacked formal education. Even kids as early as kindergarten started learning Photoshop. For all our education and skills, being a designer didn't seem as prestigious as it once was. Clients would no longer need our expertise since anyone with a computer could be a “designer.” And the industry started to panic. But you know what? Giving people access to tools doesn't make them an expert. Clients appreciate the years of dedication and knowledge we have when it comes to design. It shows in the work we produce. So even though these tools were available to everyone, the graphic design industry persevered. Canva. A couple of years later, Canva emerged. It was touted as yet another graphic design killer. Canva not only makes it easy to create beautifully designed materials, but you can use it for free if you don't want to pay for their premium offerings. And there's a lot you can do on the free plan. Whenever you see a social media or forum post where someone inquires about hiring a graphic designer, you will find at least one comment suggesting they do it themselves on Canva. Did Canva steal potential clients from designers? Yes, it did. But did it kill our industry? Far from it. I'll argue that Canva made clients appreciate us more. I've had numerous people hire me after dabbling in Canva and realizing their creations lack that professional touch. So even Canva, the closest thing to a design industry killer, hasn't made that much of a dent in our industry. We still persevere. BTW, Canva recently announced their own incorporated AI Art generator. There will always be new design industry killers. It seems like something new comes out every few years, making designers panic. Do these things affect some designers? I'm sure they do. Just like everything else, there will be some people affected. But none of these things have made an impact on our industry. Or at least not in the way the nay-sayers believed they would. You can almost argue that these things have made our industry better. Can you imagine what it would be like if computers were never introduced? Or WordPress? And I'm sure many freelancers couldn't afford thousands of dollars for Adobe's software if they hadn't switched to a subscription model. This mentality dates back to Guttenburg's invention of the printing press. I'm sure caligraphers of the time panicked that this new invention would ruin their industry. But graphic design perseveres. The only people it ruins are those unwilling to evolve with the times. Now back to AI-Generated Art. By this point, you probably know my stance on AI-Generated Art. This innovation may seem like an industry killer. But only if you allow it to affect you. I see Artificial Intelligence as another opportunity for our industry to evolve. It's up to us to embrace these tools as just that, tools. I already see designers putting AI-Generators to good use. Katie, a Resourceful Designer community member, recently shared how she needed an abstract pattern for a background of a design she was creating. Instead of searching for a stock image or making one herself, she turned to AI. She told it what she wanted, and it produced something she could use. Katie also used it as inspiration for an annual report project. She asked it to produce a report cover design using blue and yellow triangles. It gave her a few options that she used as inspiration to create something herself. And these are just a couple of examples. As for creating full designs using AI, I think the technology is still a long way off. And no matter how good it gets, it will never be able to replicate the emotions we designers bring to a project or the empathy we feel towards our clients. I like to meet every client I work with. If I can't meet them face to face, I at least want to get on a video call. I do this because I want to get to know them. I want to see their personality and understand how they act and think. Because these things will help influence my design decisions. No artificial intelligence can do that. At least, as far as I know. And that's why AI will never replace a live graphic designer. And don't forget relationships. How often have I stressed the importance of building relationships with your clients over the years? Not only does it help you understand your clients better, which allows you to design better things for them. But relationships build loyalty. It keeps clients coming back to you, regardless of your price. AI-Generated Art has limitations. At this point. I see too many limitations with AI-generated design to affect us as an industry. Since every piece of generated art is uniquely created, it's tough to replicate should you need to. Say you're working on a marketing campaign and need several images. You ask an AI-Generator to create an illustration of a rocket ship flying through space, and it produces something you like. But now you need a different image of the same rocket ship landing on the moon. And maybe another of it returning to Earth. Every time you enter a prompt in an AI Generator, it creates a unique image, so there's no way to ask it to use the same rocket ship in future creations. The rocket ship will look different in each image. Even the style of art might look different. Plus, these prompts, the instructions you type into the generator telling it what to create, are very subjective. These two prompts “An elderly man is sitting on a park bench feeding pigeons.” “An old man is feeding pigeons in a part while sitting on a bench.” To you and me, they both mean the same thing. But to the AI, they could be vastly different. How does artificial intelligence interpret “elderly man” vs. “old man”? The smallest detail can drastically affect the output. Also, from what I can tell, It's tough, if not impossible, to adjust an image. Say you like the AI-generated photo of a woman sitting on a chair with a cat on her lap. But you decide you want it to be a dog instead. None of the systems I tried would let you make that sort of change. The best I could do was change the word “cat” to “dog” and rerun my prompt, producing a new batch of images with different women and chairs. There was no way I was getting the same woman in the second set of images. Again, maybe this is possible, but I couldn't see it. Conclusion All of this to say. Don't panic. There are people out there leaning on both sides of the fence. Some say our industry is doomed, while others say we have nothing to fear. I'm just one voice. But I don't think we have anything to worry about. And I have the history I just shared with you backing me up. Fiverr, Canva, WordPress, Creative Cloud. These “design industry killers” are now part of my design toolbox. Instead of taking work away from me, they allow me to do better work and do it more efficiently. I see AI-Generated Art as no different. I plan on embracing it and using it in any way I can. And don't forget—no matter what new “things” come out. Clients will always appreciate what a good designer can do for them. You can be that designer.

If ever there were Star Wars items Craig and Mark dreamed of turning up, it would be these.  Join them for this special one-off sofa chat as they discuss the pre-production find of their lives – from stumbling on an auction listing that seemed too good to be true and building a war chest, to some tense phone bidding and ultimately taking delivery of some of the most amazing original Star Wars artwork of the vintage era. It's a candid conversation that explores how connected they are to these items on more levels than just childhood nostalgia, and an opportunity for you to hear about the artwork in more detail. This represents a landmark discovery for the hobby and a very personal achievement for two incredibly passionate collectors. Some things are meant to be. There's a video version of this episode you can watch here. And for a more in-depth look at the pieces with lots of added insight from the world of graphic design and print production in the late 20th century, check out the blog that accompanies this video here.

Highlights from the conversationMy lack of conviction about branding may be [because] everything is being presented as a brand nowadaysBranding was this shorthand for authorityDesigners are taught form follows function. What really makes design contribute to culture are those 'other things' that come into playBrands provide visual and experiential cues that help us work through a complicated environmentMy [interest] in the subject matter has a direct relationship to how good the work for it isEverything is being presented as a brand nowadays More about Michael BierutMichael Bierut has worked as a graphic designer for over five decades. His first job after graduating from the University of Cincinnati was for Massimo Vignelli where he worked for 10 years. He then became a partner in the New York office of Pentagram, where he's worked for 32 years and counting. Along the way, he was elected to the Alliance Graphique Internationale (1989), to the Art Directors Club Hall of Fame (2003), and was awarded the profession's highest honor, the AIGA Medal (2006). In 2008, he was named winner in the Design Mind category of the Cooper-Hewitt National Design Awards. He's been a senior critic in graphic design at the Yale School of Art and a lecturer at the Yale School of Management.Michael writes frequently about design, is the co-editor of the five-volume series Looking Closer: Critical Writings on Graphic Design, and co-founder of Design Observer, a blog of design and cultural criticism which now features podcasts on design, popular culture, and business. His books include 79 Short Essays on Design (2007), How to use graphic design to sell things, explain things, make things look better, make people laugh, make people cry and (every once in a while) change the world (2015) and Now You See It and Other Essays on Design (2018). He is still married to the first girl he ever kissed and has three children and two grandchildren.Find Michael here: LinkedIn | Instagram Show NotesPeople:John BergMassimo VignelliCompanies and organisations:Columbia RecordsNew York Public LibraryBrooklyn Academy of MusicMiscellaneous:Letraset How you can helpThere are four ways you can help us out.Give us your thoughts. Rate the podcast and leave a comment.Share this as far and wide as you can - tell your friends, family and colleagues about us (caveat: if you own a family business, these may all be the same people)Tell us how we can create a better podcast - tell us what you liked, didn't like, or what you'd like to hear more (or less) ofTell us who you'd like to hear on the podcast. Suggest someone that you think we should interview.One More Question is a podcast by Nicework, a purpose-driven company helping people who want to make a dent in the world by building brands people give a shit about.One of the things we do best is ask our clients the right questions. This podcast came about because we want to share some of the best answers we have heard over the last 13 years. We talk to significant creators, experts and communicators we encounter and share useful insights, inspiration, and facts that make us stop and take note as we go about our work.Hosted by our founder Ross Drakes.Subscribe iTunes, Spotify, Stitcher, Google PodcastsMusic by: @dcuttermusic / http://www.davidcuttermusic.com

In Oberschleißheim bei München lebt und arbeitet Thomas Neumann als Werbegrafiker und Künstler. Werbegrafiker hat er vor vielen Jahren gelernt, Künstler ist er unterwegs geworden und seine Werke beschreibt er selbst als "Alpine Kunst". Die allerdings findet teilweise auf einer solchen Abstraktionsebene statt, dass sie ohne Kontext kaum erkennbar ist. Ein Gespräch über Letraset, abstrakte Trachten und den Kunstfaktor. Bild: erlebe.bayern - Bernhard Huber

Letraset is a largely antiquated process for transferring letters and graphics onto various materials. It rose in the 1950's and fell in the 1990's. While most people in the worlds of typography, graphic design and printing have long since put away their dry-rub transfer sheets, one Toronto-based artist and zinester loves using Letraset in his practice as a way to incorporate analog processes into his design work. In this conversation we meet the magical Jonathan Valelly, who uses Letraset as a jumping-off point for digging deeper to the relationship between design and technology, including how using Letraset helps counteract the ‘Abdobification' of design. Jonathan will delight and intrigue and challenge you, through the power of Letraset.

Dallas chats with Vanessa about her delicately wrought essays and hand-drawn maps, Vanessa describes her encounters with unusual, forgotten or abandoned places in the city in which she was born and raised, using their details to open up repositories of significance, and to create an alternative city, a Mirror Sydney, illuminated by memory and imagination. She writes at a time when Sydney is being disassembled and rebuilt at an alarming rate. Her determined observation of the over-looked and the odd, the hidden and the enigmatic – precisely those details whose existence is most threatened by development – is an act of preservation in its own right, a testament to what she calls ‘the radical potential of taking notice'. Vanessa's work combines a low-fi DIY approach with an awareness of the tradition of philosophical urban investigation. Her unique style of map illustration was developed through the making of zines and artworks, collaging detailed line drawings with text from typewriters and Letraset. We round out our conversation with a drip into Vanessa's latest book, Gentle and Fierce. Having spent her life in city environments, Vanessa's experiences with animals have largely been through encounters in urban settings, representations in art and the media, and as decorative ornaments or kitsch. Join us for a series of fascinating conversations about some of the most interesting books about cities and urban life. Author Dr Vanessa Berry is a Sydney writer and artist who works with history, memory and archives. She is the author of the memoir Ninety9, the ‘autobiographical almanac' Strawberry Hills Forever and Mirror Sydney, an essayistic atlas exploring the city's marginal places and undercurrents, and which won the 2018 Mascara Review's Avant-garde Award for nonfiction. Vanessa's latest book is Gentle and Fierce. Host Fenella Kernebone, Head of Programming, Sydney Ideas at the University of Sydney Interviewed by Dallas Rogers, Senior Lecturer, School of Architecture, Design and Planning, University of Sydney.

Lorem Ipsum es simplemente el texto de relleno de las imprentas y archivos de texto. Lorem Ipsum ha sido el texto de relleno estándar de las industrias desde el año 1500, cuando un impresor (N. del T. persona que se dedica a la imprenta) desconocido usó una galería de textos y los mezcló de tal manera que logró hacer un libro de textos especimen. No sólo sobrevivió 500 años, sino que tambien ingresó como texto de relleno en documentos electrónicos, quedando esencialmente igual al original. Fue popularizado en los 60s con la creación de las hojas "Letraset", las cuales contenian pasajes de Lorem Ipsum, y más recientemente con software de autoedición, como por ejemplo Aldus PageMaker, el cual incluye versiones de Lorem Ipsum.

Lorem Ipsum es simplemente el texto de relleno de las imprentas y archivos de texto. Lorem Ipsum ha sido el texto de relleno estándar de las industrias desde el año 1500, cuando un impresor (N. del T. persona que se dedica a la imprenta) desconocido usó una galería de textos y los mezcló de tal manera que logró hacer un libro de textos especimen. No sólo sobrevivió 500 años, sino que tambien ingresó como texto de relleno en documentos electrónicos, quedando esencialmente igual al original. Fue popularizado en los 60s con la creación de las hojas "Letraset", las cuales contenian pasajes de Lorem Ipsum, y más recientemente con software de autoedición, como por ejemplo Aldus PageMaker, el cual incluye versiones de Lorem Ipsum.

November 2019s Vintage Rebellion podcast welcomes Jason Smith to the regular hosts. Mark Daniels had to drop out through a sniffle but we managed to Press-Gang Craig Spivey for Jason's 'Adventure Game' style quiz. Craig's main reason for joining us is to talk about this month's Licensee focus of Letraset. It's not just a focus, its a fundamental blast through a much loved range of products. The notes supplied for this may well be the most comprehensive ever seen. You do not want to miss it, nether do you want to do anything other than gather a few brews for the main interview where Richard interviews Australia's Blake Edgerton, a journey through collecting in Australia and setting up as an independent dealer. Amongst all the usual fun podcast shenanigans we look forward to Dave Tree's Farthest From in Fordingbridge during the weekend of November 30th (beer) and December 1st (Vintage Toy Show). The podcast will be presenting an exclusive poster and flogging issue 4 of our fanzine 'It Came From The Loft'. Andy Preston has donated his Dairylea badge as a free cover prize (subject to availability).  This month its 4 hours and 45 minutes of vintage sausage that you simply cannot get anywhere else. 

A conversation between anna and client Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

Movie Meltdown: Episode 490 This week we continue our “live” coverage from WonderFest as we talk with artist Daren Dochterman. Early on, Daren worked in the art department on The Abyss - when he was just 20 years old. And since then, he’s worked in the art departments of more than 75 feature film projects including - Batman v Superman: Dawn of Justice, Independence Day: Resurgence, Passengers, Star Trek Beyond, Master and Commander: The Far Side of the World, TRON: Legacy, Iron Man 2, Addams Family Values, Seven, The Grinch, The Chronicles of Riddick, Exorcist III, Freaked and so many others. And as we dust off our moviolas and steenbeck editing tables, we also bring up… Black Mirror, Sesame Street, Star Trek: The Animated Series, James Cameron, 2001 A Space Odyssey, Lee Unkrich, Screaming Mad George, Winona Ryder or Bella Thorne, why I was scared, redressing of locations, Ron Cobb’s designs, Wizard of Oz, he gave me a pad of tracing paper, various signage, leader of the Necromongers, all done by Letraset, Jay Roach, hanging out with Wednesday Addams, Planet of the Apes, doing storyboards, all the soup cans, I knew them when they were goofballs, Dirk Benedict’s shirt, matching the full-scale to the miniature, gags for Thing, because a lot of the times... I'm showing them - what they don't want, I completely turned away from any sort of school art classes - for that reason, I'd be more surprised if she didn't lick it, USC, every new movie gives you a new opportunity to do something different, Balok, art classes are not intended for artists, Christian Slater, record album covers, Star Wars, Close Encounters, Superman, the fight to stay employed, I don't know if she talks some of her words, The Talosians, HAL was born there, using toxic waste as it’s engine, Mina Harker, Jack Warner's old desk, if Neve Campbell and Hayley Atwell had a baby, a 2000 mile buffer, the Starchild and Oscar the Grouch’s trash can. “I would be perfectly content to sit in my room and draw and listen to records… and I’m pretty much exactly the same way now.“ For more on Daren’s career, go to: http://betafive.com And for more on WonderFest, go to: https://wonderfest.com/

Liv Siddall and Adrian Shaughnessy discuss all things Letraset – from the company's founding and rise to prominence in the mid-1970s, to what the lettering system enabled designers (and non-designers) to do. www.uniteditions.com

Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum. See acast.com/privacy for privacy and opt-out information.

So we setup a new microphone stand and needed to do a soundtest to balance the voice levels. What ensued was this episode.----more---- So now that Godbound is over we are starting a new game which will be starting hopefully next week. Alongside that we are also about 10 episodes into recording a huge Chronicles of Darkness game which you will be seeing next week. Its going to be good. So have a listen to this joke extra recording session and tune in next week for non mythic demigod games! ----more---- Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

In this 20th Anniversary episode of LIGHT TALK, the Lumen Brothers interview Steve Shelley. Steve discusses his amazing career and how he feels about lighting art and the industry.  Join Steve, and The Lumen Brothers as they pontificate about doing something "special" for the 20th Anniversary Episode, getting involved with dance lighting, Grecian Urns, Letraset, taking advantage of amazing opportunities, special prizes in your textbooks, staying awake on cross country trips, insane publishing stories, focusing techniques for impossible situations, moving monkey madness, Steve's advice on getting started in the business, Get A Grip, Jack Hammer focusing techniques, and Flyman Flatulence. Nothing is Taboo, Nothing is Sacred, and very little makes sense.

In an audio interview with Liliane Lijn, which took place in her north London studio in 2013, the leading international artist gives us an insight into her unique career. Lijn hung out with Surrealists and Beat poets in Paris in the 1960s where she applied Letraset to cylinders and cones and attached them to revolving turntables to create kinetic texts called Poem Machines. From these early beginnings Lijn has gone on to pursue the exploration of light and energy with scientific dedication. In the 1980s she worked on a number of gigantic, plumed and beaded kinetic sculptures that referenced the feminine. In the last couple of decades she has produced a new series of rotating cones known as koans, stemming from her interest in Zen Buddhism where a koan is a puzzle, or type of riddle used for meditation. Lijn’s whirring mainly off-white koans have a snaking neon line running through them in subtle contrast to the object’s opaque surface that mark elliptical planes on, in and through the sculpture itself. Lijn delights in juggling with combinations of industrial materials – including liquid, light, fire, acid – and has also worked with interstellar dust following a three-month residency at NASA’s Space Science Laboratory in the US in 2005. Covering sculpture, drawing and installation, Lijn’s kaleidoscopic practice brings into focus the diverse strands of science, art, technology, female mythology and Buddhist philosophy.

Episode 006 - Waiting to be Directed to Destroy a Fax Machine In this episode Relly and Pauly discuss the joys of travel including comedy beds, the airlines who don’t understand tickets and the hotels who think that wicker is the height of sophistication. There are also updates on Elder Signs: Omens HD, Relly’s iPad woes and *that* story about the 3G spectrum auction, a fax machine and an axe. Here are the show notes: Runcorn on wikipedia http://en.wikipedia.org/wiki/RuncornElder Sign Omens HD http://www.fantasyflightgames.com/edge_minisite.asp?eidm=187Player 2 Podcast twitter http://www.twitter.com/player2podcastPlayer 2 site http://www.player2.co.ukCharlie Brown’s Christmas app https://itunes.apple.com/gb/app/a-charlie-brown-christmas/id476508724?mt=8Snoopy’s street fair app http://www.snoopystreetfair.com/Theme Park app https://itunes.apple.com/gb/app/theme-park/id464151522?mt=8Tiny Tower https://itunes.apple.com/gb/app/tiny-tower/id422667065?mt=8iPad mini on UK apple store http://store.apple.com/uk/buy/home/shop_ipad/family/ipad_miniEverything Everywhere http://ee.co.uk/Shift Run Stop http://shiftrunstop.co.uk/Runny centre scotch eggs M&S on The Grocer http://www.thegrocer.co.uk/fmcg/fresh/eggs-and-poultry/runny-scotch-egg-makes-its-debut-at-ms/232090.articleCape town on wikipedia http://en.wikipedia.org/wiki/Cape_TownPacking cubes on Amazon http://www.amazon.co.uk/gp/product/B0013KDS96/ref=as_li_ss_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B0013KDS96&linkCode=as2&tag=mydirtylaundr-21Venice Beach on wikipedia http://en.wikipedia.org/wiki/Venice,_Los_AngelesAir New Zealand air plane http://www.airnewzealand.co.uk/Star Alliance http://www.staralliance.com/en/Letraset pro markers http://www.letraset.com/products/8-ProMarkers/East Midlands trains http://www.eastmidlandstrains.co.uk/Alan Partridge http://en.wikipedia.org/wiki/Alan_Partridge

The official podcast of the MCM Expo Group organisers of the London & Midlands MCM Expo's, Memorabilia & Cosplay Roadshow

SPORTSDESK – ARSENAL BUY SPECIAL LETRASET ACTION TRANSFER PACKClick the headline to listen to the audio clip at the On The Hour website. Deluxe case-bound 4-CD sets of On The Hour series 1 & 2 are released 24th November 2008 via Warp Records (preorder now). Digital audio downloads of the both series are available on iTunes and Bleep now. SPORTSDESK – ARSENAL BUY SPECIAL LETRASET ACTION TRANSFER PACKClick the headline to listen to the audio clip at the On The Hour website. Deluxe case-bound 4-CD sets of On The Hour series 1 & 2 are released 24th November 2008 via Warp Records (preorder now). Digital audio downloads of the both series are [...]