Podcasts about rgd

Recorded during the early hours of Sunday morning at Garage Noord at the Omen Wapta Weekender, this live set from Formant Value captures the essence of a weekend that transcended the club experience—where sound, space, and shared energy merged into something truly transformative. Opening in slow motion, the set unfolds with a deep, psychedelic ambient current—echoes, pulses, and dub textures forming a wide sonic horizon. What follows is a steady, organic rise into tribal techno rhythms and hi-tech structures, maintaining a sense of spaciousness even at its most kinetic. It's a set that mirrors the architecture of the night itself: meditative, then elevating, then dissolving again. There are no sharp corners—just flow. Time felt suspended. Movement turned internal. And in the foggy warmth of the dancefloor, listeners were gently guided through a collective dreamspace. Formant Value is known for his unique & sophisticated sound, that defies easy categorisation whilst nodding in the direction of downtempo, dub and IDM, with elements of D'n'B, trance and techno. His music has been released by a number of labels including Lowless Records, Well Street Records, Rgd tribe and Annulled Music. Adept at sustaining the fine tension between dancefloor energy and audiophile precision of intent home listening, Formant Value brings a uniquely fresh take on contemporary club music. Follow: https://soundcloud.com/formant-value https://www.instagram.com/formantvalue/ https://linktr.ee/formantvalue

Send us a textFrom actionable leadership strategies to creative direction to AI, this episode is for all of the creative change makers! In this conversation, you'll hear from creative leader, Vince Wanga, author of "The Art of Direction” with a distinguished two-decade career. He shares the benefits of long-term goal setting and he shares his next audacious goal. You'll hear about his book and the important and deeply personal stories about creative leadership he shares in it.You'll hear why creative leadership isn't the only ‘path to success', as well as what Vince believes are the most pressing challenges of our time as designers and creatives. Vince makes a compelling case for using AI ‘as a tool, not a crutch' and the ways that he sees this technology integrating into creative processes.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

Send us a textThis 3 part mini-series features 3 designers who bring different kinds of magazines to life. In this third and final episode, we have Creative Director and magazine designer, Kyle Scrhuder.In this conversation, Kyle straddles the line between printed magazines and digital magazines. You'll also hear about a project early in Kyle's career that fundamentally changed the way he approached magazine design from that day forward. Kyle maps out a framework to balance readability and creativity, digging into actionable techniques to move through a magazine design process, including what magazine designers can learn from UX/UI designers.You can find visuals discussed in the show notes at talkpaperscissors.info.This episode is part of a guest lecture series in GCM 720 Magazine Production & Publishing at The Creative School at Toronto Metropolitan University.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

Send us a textThis is the first episode in a 3-part mini series about exploring creative education, both as a noun and a verb; new ways of thinking about assessments, grading and ungrading with 3 brilliant educators who work and teach in the spaces of communication, design, creativity, art and art therapy. First up is Dom Prevost, Group Creative Director at Resonance and also teaches at IDEA School of Design (Capilano University) and Miami Ad School. With a multi-disciplinary approach and years of international experience, Dom has created award-winning, fully-integrated campaigns for some of the world's most iconic brands including Nike, adidas, Benetton, lululemon, Foot Locker, Mercedes, Ford, Johnnie Walker, Red Bull, Pabst Blue Ribbon, Ministry of Sound, Playstation and Ubisoft. In this episode, you'll hear about a course Dom teaches that, at its core, is helping students succeed through embracing failure, by removing control and providing space for things to go wrong. Dom explains what he hopes to instil in his students about failure, iteration and pushing past the first ideas, as well as how he uses grades not as a means of control and power, but as a means of relinquishing control and power, handing it back to students to show up with good, bad and ugly ideas.Finally, Dom gives us a sneak peek at his upcoming new workshop at DesignThinkers Vancouver, May 13-14, 2025.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

"In the beginning I was more fearless because I had nothing to lose. Now I've developed a reputation, but I'm better at saying no." - Stephanie BoutariStephanie Boutari shares her journey from studying architecture to becoming a mural artist in Southern Ontario, Canada. Originally from Bahrain with Egyptian heritage, Stephanie initially chose architecture as a "safer" career path despite her lifelong passion for art. After years of suppressing her creative identity, she reconnected with her artistic roots during her master's thesis by exploring color, surfaces, and architecture. Her first mural experience—painting outside her architecture school where everyone could see her—marked the beginning of her transition. After working in architecture left her physically ill (culminating in a ruptured appendix), she finally embraced mural art as her full-time career. Stephanie approaches each project with a deep consideration for the architectural context, integrating existing features like windows and structural elements into her compositions. She now dreams of expanding her reach to paint multi-story buildings and participating in international street art festivals.Key Takeaways:Stephanie uses architectural principles in her art, creating geometric murals that play with depth and three-dimensional effects on two-dimensional surfacesHer first mural came from simply asking a building owner if she could paint their wall, showing the power of initiativeEach completed mural naturally led to more commissions through visibility and word-of-mouthShe balances creative freedom with client needs, but always stays true to her artistic visionPhysical challenges of mural painting include weather limitations, construction site complications, and physical fatigueSocial media metrics aren't as meaningful as genuine audience connection and feedbackHer evolution as an artist includes being more selective about projects and setting boundaries while still pushing her creative comfort zone 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)

Send us a textLet's talk portfolios!Meet Robert Smith, a seasoned creative leader, branding strategist, and published author with over 30 years of experience in the design and marketing industry. He is the architect/creative director of the beloved Farm Boy brand. With a reputation for blending creativity with business acumen, Robert has been recognized with more than 100 industry awards for excellence in design and branding.In this conversation full of rich insights, you'll hear why even bad internships are successful in developing self-awareness, excellent advice for portfolio creation, as well as advice on where to have digital presence as a designer. You'll better understand why storytelling is so important in a portfolio and how to approach it, portfolio upkeep, and concrete Ideas for standing out in a competitive space. Finally, you'll hear what you can learn from a box of Fruit Loops about promoting your work.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

This episode features a conversation with Toronto-based designer, developer and accessibility specialist, Michael Young. His graduate level research involves making technology more accessible, specifically through the expansion of Raleway; an open source Google font used in communications by the Ontario Government.In this episode you'll hear more about Michael's gateway into this work, hear about the Syllabic writing system, and what Unicode is in plain language. You'll hear what it was like for Michael to embark on a journey of font creation for the first time, including what surprised him the most and what challenged him most in the process. You'll learn about typographic tofu and hear helpful resources related to typography for Indigenous language support.If you'd like to see some of the visuals related to what's discussed in this episode, please check out the show notes at www.talkpaperscissors.info. This conversation is part of a guest lecture series in GCM 230 - Typography at The Creative School at Toronto Metropolitan University.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

This episode features an in-person conversation at Canada's largest graphic design conference with type aficionado, Carl Shura! In this episode you'll hear LOTS of excellent type geekery, such as: The history of the typeface Cooper Black and the ways it's connected to Carl as a personThe idea that letterforms are just ‘blobs with defects'How Carl worked backwards from a few letters to reconstruct an iconic Toronto building signHow to approach the development of a revival typefaceThe ways that tools and our physical human bodies shape our understanding of how type should lookCarl's delightful views on Comic SansAnd so much more!If you'd like to see some of the visuals related to what's discussed in this episode, please check out the show notes at www.talkpaperscissors.info. This conversation is part of a guest lecture series in GCM 230 - Typography at The Creative School at Toronto Metropolitan University.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

In today's episode, I have Ali DuHart, a Senior Graphic Designer at Benefit Cosmetics where she's worked for the last 8 years. You'll hear about Ali's role at Benefit Cosmetics including visual merchandising: what it is and how it comes together.We get into some specifics around prototyping for print, the importance of understanding different audiences in different situations/events, and we talk about balancing brand identity with trendiness, and specifically how Benefit Cosmetics achieves this. Ali talks about her career path getting into design and where she started as a traditional artist. Ali's also RGD Certified and has attended conferences, judged awards and mentored students within the design hub of the Association of Registered Graphic Designers of Canada. She describes the benefits of being part of this professional organization. If you like cosmetics, if you like printing, if you like glam… this episode's for you!I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

Join us for an enlightening discussion with Jared, a seasoned graphic designer, and advocate for mental health in the creative industry. Jared bravely shares his personal journey of grappling with ADHD, acute anxiety, and persistent depression while navigating the fast-paced and demanding world of design. He opens up about the challenges he's faced and the strategies he's employed to manage his mental health in a field that often prioritizes speed and innovation. From coping mechanisms to moments of triumph, Jared offers candid insights into his experiences. Moreover, he sheds light on his unique approach to creativity, emphasizing the importance of authenticity and following one's heart and mind. Rejecting conventional career paths, Jared shares how he found fulfillment by forging his own way and fostering genuine connections with his work. Don't miss this opportunity to gain valuable perspectives on mental health & creativity! Guest's Bio- Jared Lebel is a multidisciplinary Graphic designer with a focus on brand identity design. With 10 years of experience in the design industry, he's been a partner at an Ottawa-based Studio called Salt (justaddsalt.ca), worked as a freelancer for a variety of agencies and companies, lead a brand team in a global tech startup called Perpetua, and most recently, began his own solo design practice Only Child (website and branding in progress but IG handle provided). As a human first, artist second, and designer third, Jared tries to blur the lines between art and design as much as possible and believes that Different Is Beautiful™ *** Guest's Website & Social Profiles *** Jared's Website- https://www.jaredlebel.ca/ Jared's LinkedIn- https://www.linkedin.com/in/jaredlebel/ Jared's Personal IG- https://www.instagram.com/lebelator/ Jared's Professional IG- https://www.instagram.com/only_child_design/ ***Resources/Information shared on this Podcast*** Calling Canadian designers—Join Jared on Thursday if you're interested in RGD certification. Jared is part of a live webinar covering portfolio presentations and certification prep with fresh insights from recently certified designers- https://rgd.ca/connecting-learning/events-training/freshly-certified-creating-effective-case-studies Jared's Talk at Ottawa Design Club- https://www.youtube.com/watch?v=lh0h095bU-o ***Whether you're a creative professional grappling with mental health challenges, an aspiring artist seeking unconventional career advice, or simply someone passionate about fostering authenticity in your work and life, this episode is for you. Join us for an insightful conversation with Jared, where you'll gain valuable insights into managing depression in the creative world, navigating the demands of the design industry, and embracing your unique path to fulfillment. *** Special Thanks to Today's Speakers & Contributors: Izzy & Wade Host Details: Say Hello to Jaison @ https://iamjdesigns.co/ Brand Identity Designer & Podcaster Jaison's LinkedIn- https://www.linkedin.com/in/jaison-thomas/ Jaison's Instagram- https://www.instagram.com/iamjdesigns/ Buy Our Merch @ Check out our Latest Merch: https://iamj-merch-store.printify.me/products Ready to Elevate Your Podcast Brand with Jaison's Podcast Visual Identity Packages, inquire now @ https://iamjdesigns.co/podbrand #LinkedInAudioEvent #Podcasting #MentalHealthInDesign #CreativeWellness #DepressionAwareness #SelfCareInDesign #Mindfulness © 2022-2024 IamJ Designs Co. All rights reserved. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thedarksideofentrepreneur/message

This is the fourth episode in a 5-part guest lecture series in GCM 806 - Advanced Typography, speaking with type professionals all over the world. Next stop Toronto, Canada!In this episode you'll hear designer and artist, Andrea Cataro, share many, many tips and tricks for creating typographic chalk murals, including tools and strategies for transferring your design to the wall. If you've ever considered dabbling in chalk mural creation, this episode is for you!I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

In this episode you'll learn how Eleni Beveratou (Creative Director of Dalton Maag) went from hating type in school to realizing its utmost importance, leading her to find her niche and complete a Master's degree in Typeface Design. Eleni walks us through how experienced readers read and how this informs typeface choice, as well as assessing accessible type through the helpful metrics of legibility, readability, likeability. Eleni explains why choosing simpler characters over more complex shapes are not always better for accessibility, as well as how using type in digital environments must be carefully considered, particularly the differences in light mode versus dark mode. Finally, you'll learn the ‘basics' that Eleni wishes she knew early in her career. This episode was recorded live at DesignThinkers Toronto 2023 as part of a guest lecture series in GCM 230 - Typography in Fall 2023 at The Creative School at Toronto Metropolitan University.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

In this episode you'll learn about the Netherlands-based type design company, Typotheque, and you'll hear from two of its team members (Peter Bil'ak and Kevin King) and the way they work with language and give shape to language. You'll hear a lot about the North American Indigenous Syllabics Project and the book that Typotheque recently published, celebrating the rich linguistic and typographic diversity of Indigenous languages in North America. You'll hear a high level overview of the syllabic writing system used by many First Nations and Inuit communities, as well as the way that type is an important part of the visual culture. You'll better understand the ways that traditional tools influence shapes of letterforms and how Kevin got started drawing syllabic forms for his work with Indigenous type revitalization and perseveration.Finally, you'll learn how cognitive psychologists work on the Typotheque team to inform typeface design, including a recent typeface release from Typotheque (called ‘Dash') and its scientific origins. I gained so much from this conversation and I hope you will too.This episode was recorded live at DesignThinkers Toronto 2023 as part of a guest lecture series in GCM 230 - Typography in Fall 2023 at The Creative School at Toronto Metropolitan University.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

The final stop on our journey hearing from those in industry who make space for others through community-building, we have the Association of Registered Graphic Designers! In this episode, you'll hear from RGD's Executive Director, Hilary Ashworth, and RGD's President, Nicola Hamilton about the organization, including what it is and why to get involved. You'll learn about different membership levels, different professional opportunities and more about the amazing community of design folks from coast-to-coast who make the organization such a valuable one to be part of. Finally, you'll hear some exciting new initiatives for 2024 and beyond!I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

Mr. Tom Froese is an award-winning illustrator, teacher, and speaker, having worked for brands and businesses all over the world, including Yahoo!, Airbnb, GQ France, and The Wall Street Journal. Tom is a Top Teacher on Skillshare, where over 120,000 students (and counting!) have learned his unique and accessible approach to commercial illustration. In this conversation, Tom shares his professional origin story and early influences, what it means to ask the right questions of your creative work, how he uses constraints, as well as handling criticism of one's creative work. Tom and I share teaching lessons we've each learned over the course of the last decade and you'll hear what's next for Tom's work.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

In this conversation, design education leader, Dr. Ana Rita Morais, shares her vision for the future. She gives us a peek into the ways in which paradigm-shifting tech like AI can be integrated into educational spaces, as well as the evolution of her large-scale calendar project supporting BIPOC students in need. The conversation continues with Ana Rita's vision of future learning environments and how the traditional classroom continues to expand into new spaces, helping students embrace curiosity, develop critical thinking skills and improve their communication skills. Ana Rita shares what excites her the most – and what scares her the most – about the future of design education, as well as how the myriad of free design resources online is (or isn't) changing formal means of design education. Lastly, you'll learn about a big, important project Ana Rita's embarking on in this space. This is the second episode in a 3-part series, co-hosted by Diana's friend and colleague, Nat Lumby.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2022.11.22.517574v1?rss=1 Authors: Kuhn, C. C., Basnet, N., Bodakuntla, S., Alvarez- Brecht, P., Nichols, S., Martinez-Sanchez, A., Agostini, L., Soh, Y.-M., Takagi, J., Biertumpfel, C., Mizuno, N. Abstract: SARS-CoV-2 is a novel coronavirus responsible for the COVID-19 pandemic. Its high pathogenicity is due to SARS-CoV-2 spike protein (S protein) contacting host-cell receptors. A critical hallmark of COVID-19 is the occurrence of coagulopathies. Here, we report the direct observation of the interactions between S protein and platelets. Live imaging showed that the S protein triggers platelets to deform dynamically, in some cases, leading to their irreversible activation. Strikingly, cellular cryo-electron tomography revealed dense decorations of S protein on the platelet surface, inducing filopodia formation. Hypothesizing that S protein binds to filopodia-inducing integrin receptors, we tested the binding to RGD motif-recognizing platelet integrins and found that S protein recognizes integrin v{beta}3. Our results infer that the stochastic activation of platelets is due to weak interactions of S protein with integrin, which can attribute to the pathogenesis of COVID-19 and the occurrence of rare but severe coagulopathies. Copy rights belong to original authors. Visit the link for more info Podcast created by Paper Player, LLC

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2022.11.13.516338v1?rss=1 Authors: Sullivan, M. A., Lane, S. D., Volkerling, A., Engel, M., Werry, E. L., Kassiou, M. Abstract: Current research tools for pre-clinical drug development such as rodent models and 2D immortalised monocultures have failed to serve as effective translational models for human CNS disorders. Recent advancements in the development of iPSCs and 3D culturing can improve the in vivo-relevance of pre-clinical models, while generating 3D cultures though novel bioprinting technologies can offer increased scalability and replicability. As such, there is a need to develop platforms that combine iPSC-derived cells with 3D bioprinting to produce scalable, tunable and biomimetic cultures for preclinical drug discovery applications. We report a biocompatible PEG-based matrix which incorporates RGD and YIGSR peptide motifs and full length collagen IV at a stiffness similar to the human brain (1.5 kPa). Using a high-throughput commercial bioprinter we report the viable culture and morphological development of iPSC-derived astrocytes, brain microvascular endothelial cells, neural progenitors and neurons in our novel matrix. We also show that this system supports endothelial vasculogenesis and enhances neural differentiation and spontaneous activity. This platform forms a foundation for more complex, multicellular models to facilitate high-throughput translational drug discovery for CNS disorders. Copy rights belong to original authors. Visit the link for more info Podcast created by Paper Player, LLC

There are seven antigenically distinct FMDV serotypes; O, A, C, Asia1, SAT1, SAT2 & SAT3, with no cross protection between serotypes. There are five known antigenic sites on the FMDV capsid against which neutralizing antibodies bind to confer protection against the viral infection. VP1 contains the virus attachment motif (RGD) on the G-H loop that binds to the cellular receptor integrin for all the seven serotypes known and carries the serotype specific immune dominant epitope which is part of antigenic site 1. It has been shown that the RGD motif is not an essential constituent of peptides able to elicit neutralising antibody responses against the virus (Brown et al., 1999). Monoclonal antibody (Mab) D9 is a neutralising Mab that binds to the linear immune dominant epitope of G-H loop, where for serotype O, its neutralising activities are affected by the changes at amino acid positions VP1 (L144, L148 and K154). In this study we hypothesised that there are two different types of epitopes on the G-H loop, one is conserved between serotypes, and non-neutralising, while the second epitope is neutralising and serotype specific.

This week we are talking about Risograph printing! My guest on this episode is Heather Cranston from Pulp + Paper Creative out of Thunder Bay Ontario! Fellow Canadian in the house. The project we are doing a deep dive into is the 2020 Roots to Harvest Annual Report. I should say the AWARD WINNING project. This project won an RGD 2022 So(cial) Good Design Award. Heather shares with us what Roots to Harvest is all about and why risograph was the best way to print this one and put it out in the world. We also talk about a print "oops" that really led to sparks flying! Heather is super rad and this was a fantastic conversation I know you will enjoy! THE LINKS Pulp + Paper Instagram CLICK HEREPulp + Paper Website CLICK HERE Print Design Mastery - Learn to be an expert at Print Design: CLICK HEREFREE Print Ready Files Checklist - CLICK HERE

This is the fourth episode in a 6-part series all about Accessibility Changemakers: conversations with persons with disabilities, as well as allies of persons with disabilities, all of whom are working to make the world a more inclusive place through their creative leadership. Meet Mel Sutjiadi, is a QTPOC multi-disciplinary creative director, designer, illustrator, developer, and educator who loves to solve problems through design. They are a Registered Graphic Designer (RGD) and they were recently announced as a finalist for the RGD's ULTRABOLD Awards, celebrating emerging designers under 35 who are making an impact on the design community and beyond. In this conversation, Mel provides practical tips for thinking about and building more accessible digital experiences for as many people as possible. They expand our preconceived ideas about accessibility and share that accessibility needs are not as far removed from ourselves as we might think. Lastly, Mel reminds us of the power we have as designers and that with restrictions comes great design.

This episode focuses on the desire to travel to the continent of Africa and experience an African country and TeaRon (@tearonworld) is joined by Oremeyi Kareem (@oremeyi_kareem) a woman who is currently making that dream a reality for Black people in the diaspora, all the while running a magazine and heading up various organizations and community building endeavors.Contact & Learn More about our guest, Oremeyi Kareem: Reconnecting the Great Diaspora - www.thergd.orgVOME' MagazineUbiquitous Blacks InstagramUbiquitous Blacks FacebookSupport the show (https://www.patreon.com/user?u=31825951&fan_landing=true)

This is the second episode in this NEW 3-part magazine mini-series. These episodes feature conversations with amazing people doing amazing work in the world of magazine production and publishing. In this episode, Nicola Hamilton (Art Director of Best Health Magazine, design educator and President of The Association of Registered Graphic Designers) shares her vast experience designing magazines. In this conversation, she discusses digital versus printed magazine strategy, the importance of storytelling and her process as an Art Director. She also reveals her favourite magazine on the planet.

Who would have know Pantones, CMYK, RGD, and WEB based variations of color are such an important element of branding. Carrie and her company Girl Tribe Creative is responsible for the MADabolic look and feel. Carrie, has this unique ability of taking my jumbled brain of thoughts and ideas and organizing them into beautiful digital artwork. Carrie Barker | Girl Tribe Creative - Guest Instagram | Website Brandon Cullen - Host LinkedIn | Twitter MADabolic Instagram | Website

BGBS 063 | Douglas Davis | The Davis Group | Decide To Learn Something NewBrooklyn-based Douglas Davis enjoys being one of the variety of voices needed in front of and behind the concept. His approach to creativity combines right-brained creative problem solving with left-brained strategic thinking. Douglas' integrated point of view has enabled his natural evolution from designer to strategist, author, and professor. His expertise spans advertising, design, and business education and has found an international audience through presenting his tools on combining the three to produce more effective creative business solutions. Douglas enjoys interacting with creative people and regularly presents at industry conferences including HOW Design Live, RGD Design Thinkers, The One Club Educators Summit, Midwest Digital Marketing Conference, Revolve, and The Art & Branding Conference. In 2016, Douglas wrote his first book Creative Strategy and the Business of Design, a title currently being translated into Chinese by Beijing Normal University. He is a former co-chair of AIGA's National Diversity and Inclusion Taskforce and regularly contributes to the business of design discourse in Printmag.com, Applied Arts, and The European Business Review. In 2011 Douglas founded The Davis Group LLC and continues to offer strategic solutions to client branding, digital, and design problems. In addition to client work, Douglas leverages his professional experience to inspire high school, undergraduate, and graduate students. As the longest-serving member on the 4As High School Advisory Board, his experience was translated into the four-year curriculum at New York City's High School for Innovation in Advertising and Media. Following the launch, Douglas contributed as an education consultant for the launch of the Manhattan Early College School for Advertising (MECA). Currently, he is Chair of the Emmy-Award winning B.F.A. in Communication Design program at New York City College of Technology in Brooklyn and serves on the advisory boards of the University of Oregon's Masters in Advertising and Brand Responsibility and City College's Masters in Branding and Integrated Communications. Douglas holds a B.A. in Graphic Design from Hampton University, an  M.S. in Communications Design from Pratt Institute and an M.S. in Integrated Marketing from New York University. In this episode, you'll learn…The importance of diversifying the minds and perspectives to address the world's issues and industry changes. Try something new. Master something you're not good at. Find the fear and reinvent yourself. ResourcesWebsite: douglasdavis.com Case Study: Imported From Brooklyn Youtube: Imported From Brooklyn Film Win Without Pitching Article: Red, White, Black and Blue: The Land of Mixed Signals COMD: douglasdavis.com/comd LinkedIn: Douglas Davis Quotes[15:49] I like to say our job is to take the rational language of business and turn it into the emotional language of design…I also like to say that creative people really are the spoonful of sugar that make business and marketing objectives palatable to the public. [42:52] We have to keep changing, we have to keep growing, we have to keep learning, to even keep up, to even remain relevant. Why would you not want as many different minds or perspectives on a problem that you can grab? [48:12] I'm going to turn my weaknesses into strengths. And that is the evolution. It's a mindset. Leading is a verb and a posture. [53:55] We can't measure everybody by the same yardstick…creative people like me and you can grow up comparing themselves to other people based on those measures and conclude that something's wrong with them, when they're the ones with the superpowers. Have a brand problem? We can help.Book your no-obligation, Wildstory Brand Clarity Call now. Learn about our Brand Audit and Strategy process Identify if you need a new logo or just a refresh Determine if your business has a branding problem See examples of our work and get relevant case studies See if branding is holding your business back and can help you get to the next level Book Your Brand Clarity Call TODAY Podcast TranscriptDouglas Davis 0:00 I think when you look at what's going on in society, when you look at design needing to become more diverse when you look at the demographics in America, when you look at how some people will describe what's going on in the southern border as an, you know, an infestation. terrible word, other people describe it as well. It's what humans do when they're fleeing or in a situation where they have to flee. It's what happens on every border, because if we're having a crisis, here you go, and seek a better place to be. Marc Gutman 0:41 podcasting from Boulder, Colorado. This is the Baby Got Back story Podcast, where we dive into the story behind the story of today's most inspiring storytellers, creators and entrepreneurs. I like being backstories and I cannot lie. I am your host, Marc Gutman, Marc Gutman, and on today's episode of Baby got backstory, we're talking about strategy and changing the world. I'm not kidding. This episode goes deep and calls out those with the creative spirit to stand up and be the change. Before we get into today's show. Can I level with you? This podcast ain't cheap. But we continue to produce it as a service to you, the audience. And if today's episode isn't worth the price of admission, your time, then no episode is I need you. If you like enjoy the show, please take a minute or two to rate and review us over Apple podcasts or Spotify, Apple and Spotify. Use these ratings as part of the algorithm that determines rating on their charts. If you haven't reviewed, you know who you are. And by the way, I do see who is reviewed and who hasn't. What are you waiting for? review service. That's it guilt trip over. Let's get on with the show. Today's guest is Douglas Davis. I really don't know where to start with Douglas. I first learned of Douglas when I read his book, creative strategy and the business of design. And it's one of those books that literally changed my perspective and worldview on strategy and business. So I had to meet the person who wrote such an influential piece of work. And Boy, was I in for a surprise. Douglas Davis takes great pride in being Brooklyn based and in his words, enjoys being one of the variety of voices needed in front of and behind the concept. His approach to creativity combines right brained, creative problem solving, with left brained, strategic thinking. Douglass's integrated point of view has enabled his natural evolution from designer to strategist, author, and professor, and his expertise spans advertising, design and business education, and is found in international audience through presenting his tools and combining the three to produce more effective creative business solutions. Douglas enjoys interacting with creative people and regularly presents IT industry conferences, including how design live RGD design thinkers, the one club educators summit, Midwest digital marketing conference revolve and the art and branding conference. In 2016, Douglas wrote his first book, creative strategy in the business of design, a title currently being translated into Chinese by Beijing Normal University. He is a former co chair of AI je A's national diversity and inclusion Task Force and regularly contributes to the business of design discourse in print mag comm Applied Arts in the European Business Review, Douglas founded The Davis Group, and he continues to offer strategic solutions to client branding, digital and design problems. In addition to client work, Douglas leverages his professional experience to inspire High School, undergraduate and graduate students as the longest serving member on the four A's High School advisory board. His experience was translated into the four year curriculum at New York City's High School for innovation in advertising and media. Following the launch, Douglas contributed as an education consultant for the launch of the Manhattan Early College School for advertising. Currently, he is the chair of the Emmy Award winning BFA and communication program at New York City College of Technology in Brooklyn, and serves on the advisory boards of the University of Oregon's masters in advertising. And brand responsibility, and City College's master and branding and integrated communications. Douglas holds a BA in graphic design from Hampton University, an MS and Communication Design from Pratt Institute, and an MS in integrated marketing from New York University. Wow, that was a big, big bio, we really don't touch any of it, except for the book in this episode. And that's why I wanted to share that with you. Now. I'm going to stop talking and turn it over to Douglas because well, this is his story. I am here with Douglas Davis. And I couldn't be more excited. Douglas. Douglas Davis 5:47 I'm excited to be here to thank you so much. Marc Gutman 5:49 We were just having a little conversation before recording. And I wish we were recording it. And I know this is going to be a great conversation and in a great episode. And Douglas is a strategist and author and a professor. He's also the author of a book that I think is just gold called Creative Strategy and the Business of Design. Here's my copy Douglas. It is less it has dog years. It's got notes, it's got. It's got post it notes, I mean, this thank you for your support. Yeah, this is like a resource for me, and I can't wait to talk to you about it. It's definitely one of my top, you know, 10 books on branding. Absolutely. But thank you for having me. Yeah. And in addition to being the strategist, author and professor, what are you doing right now? I mean, I see some Emmys in the background. I'm super impressed. When they tell us once you tell us a little bit about what else you're doing cuz you wear a lot of hats. Douglas Davis 6:43 I do. And first of all, Marc, I want to just say thank you, to all your listeners. Thank you all for spending time with us. My name is Douglas Davis, as Marc said, strategist, author, and professor. And right now my current role is that I'm also the chair of the BFA in Communication Design that New York City College of technologies, you know, Department of Communication Design, it's sort of a big mouthful, but we're part of the City University of New York, and over my shoulder, or the Emmys that we were able to when we were nominated for two of them for this story, imported from Brooklyn. And overall, it's about, you know, what, what, how you find the path the possible when you have more ambition and resources. And so overall, we offer graphic design, illustration, we offer web design, we've got advertising, we've got graphic design, so you can come to our program for a fraction of the resources for a fraction of the cost is, you know, going to the design schools. But it's a wonderful, wonderful opportunity to be here. And that's what I do in my day job. Marc Gutman 7:55 Oh, that's so awesome. And I saw that you had put a Vimeo link in the chat is that to the piece that you just described, Douglas Davis 8:02 That's actually, we just recently entered the one show. And, you know, please Wish us luck, we're in three different categories. But this is to the case study of what the impact of that piece imported from Brooklyn was. And so I just wanted to sort of throw that into the mix. Maybe I can go into the show notes, but I'll also send a link to to import it from Brooklyn. It's about 22 minutes documentary on Tony de spinia, who was my professor of prep, and I didn't realize this until years later. But the program that I'm the chair of right now, Tony, when he emigrated to America, he wanted to go to Providence to didn't have enough money. So he went to the communication design department. And just, you know, how wonderful, certain serendipitous, you know, that sort of connection is that I'm now the chair of this program that's offering, you know, private school education and public school prices. So his story is the same story as our Asian, black and Hispanic, Eastern European students today. So it's, it's pretty wonderful in that way, you'll check it out. Marc Gutman 9:19 Yeah, absolutely. We'll link to that in the show notes. We'll make sure everyone knows about it. And I'm going to be watching that. Absolutely. After the after the interview. Thank you very much. So Douglas, what is Creative Strategy and the Business of Design? You know, I was thought design was just a bunch of like, you know, pretty colors and logos and, and some maybe some posters, Douglas Davis 9:39 To a lot of us it is and I was really fortunate enough to have my skills polished in places that I couldn't afford, like Pratt Institute for my first Master's, but uh, just to back up a little bit. I went to Hampton University is historically black college, and I went to study graphic design and photography. Even before that in K through 12, I'm from I was born and raised in Lexington, South Carolina, a very small town, right outside of Columbia, South Carolina, the Capitol there. And surprisingly, we had really wonderful art program really wonderful. And wonderful in a way that I had, you know, in K through 12, murals, rock carvings, ceramic sculpture, the wheel, had exposure to printmaking, drawing, painting, all those different things, right, you know, going through K through 12. Marc Gutman 10:35 So that, was that your primary interest then was that, like, were you? Or was it like a side thing? Or were you you were kind of an art art kid? Douglas Davis 10:43 I was an art kid only because I was really bored, I didn't have a place to channel that energy. And it was just a really great place to to focus my F, my just effort and attention on, I literally applied myself, you know, really didn't apply myself Truthfully, I could go to class and listen, you know, be the class clown. And then the teachers like, what did I just say, and I could verbatim spit back every single thing, because I could do two things at once I wasn't being engaged mentally. So when I found art, it was a place for me to focus and channel that energy and my behavior changed. And so maybe some of your listeners would be able to relate in that way that just having an outlet really did change my life in that way. But in terms of what Creative Strategy and the Business of Design is, it's what I was able to write down as, just as I fumble through my career, I realized that I had gone as far as I could go with my aesthetic training, and again, going to undergraduate going to graduate school, bouncing around from agency to agency design, firm, publishing digital. I also went to NYU and got another Master's. But I realized that design school doesn't teach you business, it teaches you to focus on what are the tactical parts of what should be strategic decisions, largest strategic decisions, without even explain to you what those decisions are, then. So the challenge there is that when you are working somewhere, and you get promoted for doing your job really well for answering those client briefs in ways that are not only creative, but effective. I think there's some assumptions sometimes that you must know strategy, because you're able to knock it out of the park on, you know, all these different points. And so eventually, what I started to notice is that clients were not just coming to me for creative content, they were coming to me for strategic context. And I was uncomfortable with that, because I didn't know strategy. And so I realized that over time, I started losing battles, even though I could write the proposal, build the team, you know, pitch the business, do whatever I needed to do. And I was able to get positions of responsibility relatively quickly as a result of that. But eventually, I started losing battles, because I couldn't justify by the creative decisions within the context of the business and marketing objectives that we should have been trying to hit. And so I lost those battles. Because I fell back on my aesthetic, you know, I was arguing typefaces, well, we should have been talking about marketing objectives or metrics that we needed to hit within the business, you know, objectives. And so one day I stumbled into a strategy session, I realized, Oh, this is that thing that keeps beating me This is that that language that I don't know how to speak. And so let me learn this. That's why I went to NYU, to add the strategy to the creative side, so that I could, my rationale was that I could, you know, become a better creative because I could think, how they think to do what we do like to speak their language, in order to justify what was there. And I'll give you one more piece of that, because this was, you know, you know, you've been in the business for a while. This is back when you could learn ActionScript flash, this is back when you could choose to just double down on the execution part of things. And so even then, I realized, you know, what, I don't want to sit outside the meeting, and wait for these people who are making decisions inside the conference room to come out and tell me what to do and when to have it and, and whatever. So how about I inject creativity into the beginning of solving a business problem, versus being a better executer? And I'm so glad I did that, obviously, because flashes no more. And I think that that's, that's a really important lesson. And a lot of those lessons are what, what I wrote down and Creative Strategy and the Business of Design, in addition to the tools, the frameworks, and the things that allowed me to get to where I needed to go when I added strategy to my creative skill set. So hopefully It'll be useful to somebody to listeners. Marc Gutman 15:03 Yeah, well, you know, I think so I mean, the concept of strategy has completely changed my life. I mean, when I started my career, like, I was exactly the the executer I was like, someone wanted something. And yeah, you know, I started in the movie business, and it was like, you want a story? Great. I'll write that right guys. I didn't even like ask why do you want the story? Right? Like, I was, like, so excited. And, and actually, I, I had a limiting belief that if I asked why that if I questioned it, I would either lose the job, or they would think I was, I was less intelligent or unintelligent, because I was asking questions, you know? Douglas Davis 15:36 Well, that's part of our that's part of our superpower, right? In terms of those emotions, that you need to find a way to channel you need to find an outlet for It's why we are I like to say our job is to take the rational Language of Business and turn it into the emotional language of design, that's our job, we translate that for people. I also like to say that, you know, designers are the spoon. creative people really, are the spoonful of sugar that make business and marketing objectives palatable to the public. And so I can absolutely agree that that insecurity and even navigating those rooms where you don't even know why they want something, and you're a little afraid to ask questions, because you don't want to seem as if you shouldn't have been in that room in the first place. All of those things, I think, are really, really important. And I dress dealing with your emotions, and just how to navigate different rooms. Because if you as you know, if when you're walking into that room, after pouring your heart and soul into whatever you're going to show, and you walk into that room full of people who you don't know, and your emotions, that thing that got you into the room, because of your creativity are now your worst enemy, because you can't even formulate the words, to articulate what it is that you've done. And I think, you know, all these things were things that I had to learn from failing. And so the other piece, too, you know, design schools don't teach business is that business schools don't teach how to get the best out of designers how to inspire creative people. And I realized that because after going there, there was still this gap. And, you know, I had to learn that when you walk into that room as a creative person, they're not going to learn creativity, you have to learn their language. And you have to then put the recommendation up front, instead of walking into the creative side of things where you're going to tell the story. And you're going to talk about the insight and we're going to arrive at the end here it is, you have to completely flop how you even tell the stories in these rooms. But all of those things were things that I had to learn through failing through having outcomes completely opposite of what I wanted to happen. So I can absolutely agree with some of those insecurities. And, and some part of what I teach now is really about organizing the chaos, questioning the answers that clients will come to you with, because they think that they know, or they're still trying to get the same solution that worked six months ago, or in this case, now that we're in Coronavirus times, you know, a year ago, but the environment shifted, and none of that still none of that's even applicable anymore, in order to then turn insights in execution. So we have to retrain the way we listen as creative people. And some part of that is exactly what you're talking about. Marc Gutman 18:34 I mean, thank you so much for sharing that. And I couldn't agree more. And, and and that in itself is a tremendous insight. I mean, what do you do when, you know, let's just hop right to it, like, what do you do when a client has skipped that step? So, you know, hypothetically, you come in, and they've either, you know, started down a campaign road, or they say, look, we've chosen, you know, an identity, but, and you're and then you know, you start to ask your questions, and you're like, Well, wait a second, you haven't gone to step one, like how do you handle that? Like, what do you do when that happens? Douglas Davis 19:06 Yeah, well, overall, one good thing about having been in the business for a while and just being really, really specific about what it is that I do and what I don't do. I haven't been brought in, in a in a situation where there's miscommunication like that in quite a while. But when I was in a situation where people thought that they needed me, but didn't know how much the value of what I would be bringing with cost in asking those questions and and realizing, oh, okay, you're not clear that the way that you're going about this is what you want, but it's not what you need. And I think for me, I've always just walked into the room and been very Matter of fact, and either you hire me or you don't, but I'm going to tell you what you need because I'm the expert and I'll make The recommendations, but as the client, you will make the decisions. And so it's become really easy to to really listen and to know really quickly, whether I'm going to refer you to other sites or other people, because either a, you don't have the budget or B, you're not clear, you need a little bit more information, in order to shift away from being price sensitive, or you need a little bit more information to shift away from that thing that you saw that you liked, that you want the exact copy of that you're not saying. But that you, you're basically going to critique all the work and through a series of meetings, you know, we're going to come out with the exact copy of something else. And so I think, being willing to walk away, being willing to refer other people and being willing to say, you know, if you go to this website, you can be up and running in an hour. Or if you go to this mix of websites, you can have what you need to and under five grand, and then I add the last piece, and so can your competitors. And after that, I think there's a little bit of a pause, been, you know, we can have a conversation where we back up a little bit, and then we can start talking about the value of the services that they need, whether they hired me or not. But I think it's important to just take control of the conversation in a way that you are offering things that makes the client think and it may not even be in that current conversation, it may take a couple of weeks, but giving them something to think about. And then sort of being willing to let it go, has been the way that I've been able to navigate situations where I'm really not the right person. It's best for everybody, if you just you know, shut it down. Marc Gutman 21:54 Absolutely, I've had to walk away from my share. And that I also learned that the very hard way, I mean, I look back at all the things that went bad and all the mistakes I made. And I wouldn't know that without doing it. But it was typically like, there were a lot most of the time, I'd say there were like misalignment issues. Right now. And, and you just learn that the hard way. And I think that's sometimes the only way to learn. So when we look at your book, and we look at it, a lot of the work you've done here, if there was like one thing that we were to know about this book and take away, what would that be? And then what framework is like, you know, I know there's no silver bullet, but which one is the one that's like, if I had to only kind of do one, i i'd lean into that. Douglas Davis 22:37 What chapter six and seven? That was the last question first chapter six and seventh deal with the creative strategy framework, which is literally an alignment exercise. You know, it's, it's something I developed when I was at NYU, when one day, my competitive strategy professor, you know, sort of looked out at the class and held the the whiteboard, pen out, and looked out and says, you know, who's going to step to the board, and I stepped to the board, I was the first one grabbed that pencil. And I started working out this column that, you know, was was four columns and three steps that would help me to organize the chaos, because when I first started learning the language of business, it was new. And so I could be on brand, but off strategy or message on message, but off strategy. And so it takes a little time to speak and understand the language of business. But this tool helps to organize all the information by going through a series of steps where you qualify what the information is that you're dealing with, to create and build your creative work or concepts or just coming up with thought starters, you could use it as a brainstorming tool. I've actually sat in meetings with clients and literally started to write the notes from the briefing into the framework so that I could take what wasn't given to me back to the creative team, stick it up on the whiteboard, and we could just literally hit the ground running where the client left off. But that's really what I would say that that tool and any tool, any framework, you know it we're not talking about something that's a recipe, right? We're not talking about something that is, you know, fill in the blanks, and you'll voila, you'll have this any strategy, any any design even, that's worth its salt is going to be a custom solution. And so the framework, I always like to say is only as good as the information that you put into it, the thinking that goes into it. So yeah, that's that's the one tool that if you didn't go anywhere else, Marc Gutman 24:49 This is the one we're talking about. Right. Great. And so I'll just kind of hold it up there so people can see and get a sense about it. But that's, that's it. Douglas Davis 24:56 That's the one tool that would be that now, the one thing That I would tell people about the book would be that this book is for someone who understands that our careers are a series of transitions, right? You go to you go to college, and you transition from being a student, to breaking into the industry, then you break, you've broken into the industry, you transition from being a junior, to someone who's seen a little battle. And then you transition from someone who's seen a little battle to someone who gets a little bit more responsibility. Now, there are people who report to me, I'm sort of client facing now. And then you move from that person to someone who, at different points might even be a little bit intimidated that the people who are coming in might be a little faster, might have a little edge, because they're the last people and even though they're going to get paid the least, you know, you start to wonder whether you can hold your own as things shift so fast. So the one thing that I would tell people about Creative Strategy and the Business of Design is that it's built for a person who understands that what we do evolves, it shifts. And we all know that, whether it's learning flash, or ActionScript, or whether it's learning about new typefaces, or learning about Slack, or and how to use Basecamp. And all these different things are like a timeline that sort of bring us from the very beginning, and to where we, where we are, and then it keeps going because now we have Tick Tock and we got clubhouse, and you know, everything is going to continue to change. And as creative people, we've always understood that we've always done that in a way that would allow us to, you know, survive, because we're continuing to change. But I think when I think about 1999, when I entered the industry, you know, the.com recession, and all the websites that were there, people didn't know how to make money on the web, I wish that people would have known that, you know, direct marketing was the father of digital because it's, you know, accountable, you can track it, right. But nobody knew that. So they're throwing all this money into this new medium, that my professors at the time I was at Pratt, my professors at the time and not worked in. And so I'm applying my skills, these traditional skills to this medium that no one's worked in who's taught me and you realize that, you know, in 99, no one had a web design degree, because it didn't exist, you couldn't study it. Everybody who was there participating in that industry was there because they decided to learn something new. And I think that that's a really important insight, because I think we're back there right now. If you think about the ways that the Coronavirus has made everyone have to pivot, we have to figure out ways to do the same thing, the exact same thing and complete different ways. Or we have to figure out ways to take what we've already what we have on hand skills or equipment or whatever, and do something completely different. And so I think, when you look at where things were back, then and 99, where you can go to school to learn web design, but there's this industry, you realize that your skills, your willingness to be agile, to change, to morph, that's what actually allows you to survive. And when you add on top of it, the trend, you know, Apple, Microsoft, Google, they're saying the you know, since actually since 2017, that you don't have to have a college degree to enter their ranks, we're back to a point where skills, what you can do, the value that you bring as a person, regardless of what your degree says. That's what matters. And so I think that the book is about those transitions. And, and I wrote it obviously, before we were in this point, because the principles are what we're really talking about here, when you're really understanding that what we do will always evolve, and it's going to evolve at the speed of business, it's going to evolve at the speed of the next thing that marketers are going to create that we're going to have to figure out ourselves to engage and build the relationships that our clients want us to build with our customers who are going to join that platform, and who are going to adopt it in mass in ways that we're gonna have to figure out how to show up and you know, entertain them in a way that they're not shutting us off or blocking us. And I think that that evolution and change that constant change is something that I'm encouraged that as creative people that we're dealing with this pandemic right now. Because who better? Who better to deal with something to change the whole world in an instant? If they no snapped his fingers? We literally were in a situation Where how you enter the industry was different. How you work when you're in the industry is completely different. And we're literally back where we, as the people with experience, we're in the exact same position, as I was saying about in 1999, where my world class practice, the two professors had no experience in this thing that I was going to apply my skills to, were literally back to that point where none of us with experience has more experience than any student. And any, like, we're back, it's leveled the playing field, but who better to to navigate that, who better to lead that then creative people who have to do that to save their lives, every single time anyway, you have to reinvent yourself. So that's the one thing that I would say that the book will help you to do. And you know, I always tell people, it's very similar to like a Harvard Business Case Study, if you're, if you're familiar with that, where your objective is to read it, and then figure out who the decision maker is, and then play that person's role, you step into their role. And everything that you're reading for is to find your, your recommendation, the risk and rewards are what you would do in that situation. So it's about role playing, and sort of stepping into those shoes. The book gives you the stories of why these things are important that I'm going to talk to you about. The book tells you the stories of how I got here, it gives you my story and the way I do it, but it's asking you to bring yourself to it. It's asking you to take the thought process the principles, and then apply it to your own situation, and figure out how to save your own life. That's what this is about the transitions. So that's the one thing that I would tell you, if you're interested in the book, if you want to keep reinventing yourself, this is this is going to help you do that, because it's going to teach you the language of how things change. And that one tool that, you know, if I said, you know, all the other ones have to fall away, would be the creative strategy framework, because it helps you to organize that chaos. And it'll help you to only focus on what's relevant, and solving the problems and those four columns and three steps in order to question the answers that the client comes to you with, so that you can you know, organize that chaos, question those answers and turn insights into executions. And those executions can be the actual work themselves, it could be the brainstorming session, it could be the brief because sometimes, going back to what I was saying about business school doesn't teach how to inspire designers, we've all had a brief that's the size of a novel that's completely worthless, that was given to you by somebody who has a strategist title, and who came from sort of the business side of things, but who has no idea how to talk to a creative person. And that's what's so ironic that the very things that make us professionals to be on the same team to service that client don't even teach us to talk to each other. So sometimes to have a sound strategy, you got to write to yourself as a creative person, to even have one. And so this framework will help you either get started on the creativity part of things, thought starters, it'll help you write the briefs. It can help you with strategy itself. But it's a very, very elastic tool that I'm asking you to bring yourself to. Marc Gutman 33:39 A common question I get all the time is Marc, can you help me with our brand? Yes, we help companies solve branding problems. And the first step would be to schedule a no obligation brand clarity call, we'll link to that in the show notes, or head over to wild story, comm and send us an email, we'll get you booked right away. So whether you're just getting started with a new business, or whether you've done some work and need a refresh, or whether you're a brand that's high performing and wants to stay there, we can help. After you book your brand clarity call, you'll learn about our brand audit and strategy process will identify if you need a new logo or just a refresh, will determine if your business has a branding problem. And you'll see examples of our work and get relevant case studies. We'll also see if branding is holding your business back and can help you get to the next level. So what are you waiting for, build the brand you've always dreamed of. Again, we'll link to that in the show notes or head over to wildstorm comm and send us an email. Now back to the show. I just feel like I got a master class in a few minutes. There. are on strategy and you've really changed actually my perspective and worldview I'm, I'm kind of caught up in obsessed with relevance and this idea of staying relevant being relevant, am I relevant? How do I stay relevant? I recently had a post where I was music, I have never felt the right age, you know, when I was younger, I always wanted more, and to be in someone else's seat. Now, as I'm further my career, I'm looking back and be like, oh, there's all these tick trackers, like, as you're mentioning, all these things happening, that I don't know, but, but the way you just describe that, and what I heard was that reinventing yourself and always learning something new as a gift and an opportunity. And, you know, I haven't always looked at it that way. And so I just want to take a moment and pause. And thank you for that. Because that's changed really how I am seeing this, this concept of relevance. And I want me to ask you, like, on this topic of relevance, is that one of the reasons you teach? Douglas Davis 35:55 It is, and yet, I, you know, if you were to ask me, if I was going to teach one day, this is, you know, back when I'm bouncing around from agency to agency, I'd say the guy you know, and I thought, the farthest age that I could think I was, like, yeah, I teach when I'm, like, 35, or something, this is me like 22 or 23. And it ended up that I started teaching at 25. And, you know, the model was always there that my teachers, I pride, they worked in the day, and they taught at night. And so I saw that. And so I realized that, you know, ended up being what I saw. And yet in some ways, the relevance part, I'm going to sort of unpack this as well, because I think that this word and the change, and what's going on in our industry is something that is a larger issue that's also going on in our society that I think we have to deal with. But I remember, as I mentioned earlier, I went to Hampton University, historically black college to study graphic design and photography. After leaving there, as I mentioned, I went to private Institute to get my masters. And then after maybe about seven or eight years of losing, like I said, while winning but losing different battles, because I didn't know how to speak that language. I then went to get my second Master's in integrated marketing, I didn't want you. And what I realized lately is that not only did my high school guidance counselor not have a one, even one conversation with me about college, but in those three institutions, there was no one black teaching design or, or strategy. And then I became a design professor, then I became a strategy professor. I think, when you look at what's going on in society, when you look at design needing to become more diverse, when you look at the demographics in America, when you look at how some people will describe what's going on the southern border as an, you know, an infestation. terrible word. Other people describe it as will, it's what humans do, when they're fleeing, or in a situation where they have to flee. It's what happens on every border, because if if we're having a crisis, here you go, and seek a better place to be. I think when we're talking about relevance, when we're talking about representation, when we're talking about being able to see yourself, I can't say that I teach because I, I didn't see someone like me. But I can say that, if we're talking about design changing, if we're talking about the issues that are in our profession, also being a part of what's in our society. I think that when we talk about relevance, I think we have to really have the conversation that is on the base of the Statue of Liberty. It's calling out to immigrants. But our policy has been so different in the past, you know, very different in the past four years, if equal justice under law is on the top of the Supreme Court, and yet, we're watching the George Floyd trial right now in front of us. And there is witness after witness up there telling you that the sequence of events that happened were completely unique and different than what would have normally happened. Then, I think when we talk about relevance, and when we talk about America living up to its melting pot, you know, equals and, you know, liberty and justice under our equal justice under law. I think we have to really talk about belonging. We have to really talk about the fact that people are coming to us because they believe what we say If we were a company, these would be our mission statement documents, these will be our vision documents, but there's so many mixed signals that are built into what they say, and what the actual experiences. And a lot of times, as you mentioned earlier, alignment is what we're being asked to do as creative people we're being asked to come in and align some problem. And I always start with, well, where's the gap between what we say? And what the people's experience is, whenever they trust us? I close that. And I think relevance and belonging are why people are coming to us. But I think that we have to start asking ourselves, as institutions as an industry, are we relevant? Because there's a call and response here? various people come to various institutions or employers or countries, they're basically asking, do I belong? And based in their interactions with the country or with the employer, or with the client, good or bad? They're going to conclude yes or no. And I think that if we can, as an industry, but also as individuals continue to ask ourselves a question that you asked, am I relevant? Are we relevant? If your metric on yes or no, I am relevant or not, I'm not relevant. It's tied to how many groups of people feel comfortable in the space that you've created, how wide your arms are open, then that is a call and response because it's connected. And if you do care about being relevant, but you do see that some people have decided that they don't belong, based on whatever environment you influence or which is created, or what you're a part of, the next step is to go get those people to understand why, right? And so I'm mixing culture, I'm mixing, you know, what's going on in America. But you can't separate it from the problems that are in our industry, you can't, it's not possible to separate the two. And when you look at it like that, it explains what's going on in our industry, whether we're talking about relevance, or belonging. And I think that if we don't become really serious about this, we're there will be threats to creativity, because of diversity being hindered. And I'll go back to just on this point, I'll go back to again, we got clubhouse. Before that it was you know, tick tock. And before that it was Snapchat before that was Twitter, right? And before that Facebook, and I can keep going because it's gonna keep going. So why in the world, would you not want as many different types of minds on the problems when the industry moves at the speed of business, and we've already covered that we have to keep changing, we have to keep growing, we have to keep learning, to even keep up to even remain relevant. Why would you not want as many different minds or perspectives on a problem that you can grab? And so I say this, in hopes of some of your listeners who I know are creative professionals who have influence over their studios, who could determine how exactly to staff, I'm saying this to your listeners, because I'm hoping that they can really think about the new barriers that COVID-19 has posed, since we're all in our houses. You know, right now, going to school depends on your own bandwidth, your own internet speed, your own Mac, your own whatever, right. But if you think about it, we're asking people who don't have a lot to buy the equivalent of a computer that cost as much as the car just to go to school. And, you know, if you don't control what your internet speed is, because if you live in public housing, you know, again, people are going to college in order to get out of this the circumstances that they were born into in many cases, and all they need is a chance. And so, the Coronavirus has put us in a situation where, you know, there are a lot more barriers that are different. And some of the barriers that were there before are not there anymore. So some of it is leveled the playing field. But I think that belonging and relevance like these, these words that we we often talk about as people who are tasked with solving brands problems, you know, do our customers feel like they belong? are we creating a culture where we're solving their problems, like what are their pain points that we discussed that stuff all the time, we talk about relationship management, we're a field built on targeting, we craft messaging, you know, there are all these different words that we talked about. And yet, when we exclude groups of people from sitting around the table, then not only can we not hear their perspective of what creativity is, and how we can solve this problem that it's, it should be different than ours. But we also put ourselves in a situation where we're not helping ourselves in in the demographics that are shifting, you know, because either what's either your client base is going to become more black and brown, or either the people sitting at the table, this should be it should be, shouldn't be really an ad or should be both. But overall, on order to serve that client basis, becoming more black and brown with the demographics of the nation, you got to make sure that they're people behind the concept, who actually understand how to talk to these groups, so that you're being authentic, and you can build that trust. And that you can actually build the customer base because that takes, you know, making promises, and then actually delivering on them. So, again, I know I expanded that into way more, but it's bigger. And again, the strategist in me won't allow me to sort of just look at those two words, as just those two words. The strategist in me says, You know what, this is much bigger. And there are a lot of pieces to this, if we're going to continue to evolve to remain relevant, if we're going to continue to, you know, now I think apply our skills to new systems design, operations, forecasting, decentralized decision making, all those things are the things that I believe are the new creative skills as a result of the Coronavirus. All of that is what's coming out of how you got to pivot because your clients are asking how we're going to pivot, then it's going to be your job to also have an opinion on some of those things. This is the next evolution of all the things that creative people have to learn. In order to stay relevant. I'll give you this one last piece. I literally just days ago finished a class on finance, from Harvard Business School online. I hate Numbers, chapter one in the book, first paragraph, I take you back to NYU when I'm sitting in my statistics class, and I want to somebody shoot me in the face, because it was too much. However, what is my point? I understand that at my altitude, and at my point, like where I'm at in my career, if I don't understand how to talk to other people who do get it. If I don't understand how to ask the right questions, if I don't understand which levers I can pull on my level, then I'm not going to get the business, I'm not going to be chosen, somebody else is going to be chosen. So me taking a finance class 15 $100. Okay, I hate numbers. But I'm going to find the fear. Gonna find the fear just like I did when I was bad at typography. And I said, I'm only going to use type on this particular solution, because I'm going to turn my weaknesses into strengths. And that is the evolution. It's a mindset leading is a verb, and a posture. And as creative people, I believe that we will lead us out of this crazy mess that we're in right now. Whether it's climate change, whether it's our social ills that we're going through right now, this just horrible Asian hate, or just you know, what happened in your area with, you know, people not having access to mental health and just having so many guns, I don't even know why people do what they do, but that the systems need to be redesigned. And relevance and belonging are the questions that we will be judged by. It's bigger than just words, this is how we are going to survive. And I'm hoping that in talking about it in a way that I'm scaling it up, unpacking all the different pieces, connecting these dots on something that's much bigger than just your job, the problems your client has, and you being able to like navigate that stuff. It's much bigger than that. And if we can see it as creative people, as bigger than that, I believe that they're the opportunities there for us to lead. That's what I believe. That's what I believe. Wow. Marc Gutman 49:36 I mean, I believe the same and taking that leadership role. And you know, what I've always loved about this idea of design. So when we take it in a very literal sense, you know, I think of it in terms of graphic design of aesthetics of type and I'm like, I wish I was a designer. I'm not a designer. I love designers. I love being around them. I love being in their spaces. There's every there's something magical about it. But when I really think about what design means to me, it's exactly what you just articulated. It's it's seeing the problems, both the ones in front of us and the ones that that expand out of Yeah, of the the the first maybe insight or initial problem, and then coming up with creative, innovative solutions to solve those problems. And I agree, I think creatives are our only hope right now. And they're going to lead us to, to the new world. And yeah, no dog was on that topic of diversity. I mean, what is the step that creative leaders can take? Besides the the obvious of like, Hey, we need more representation at the table, because I hear that a lot. And I hear people putting energy into it, but I'm not seeing it in the way that you just articulated. And I think that's where we want to get to, you know, no doubt. Douglas Davis 50:56 So I'm gonna be I'm gonna be blunt, like we are in Brooklyn. I think a lot of times when I hear, again, our industry that's built on targeting and messaging and, and like, we get that stuff, but yet there are a lot of people are excluded. Right? as a percentage of the population, you can't understand that stuff. Like that can't be your job, your industry, and yet, we're leaving people out. Right, like, and that's what targeting is right? You not you, you, not you, right. So we're deciding to leave people out. And I like to tell people who asked this question, I think it would come from a really good place who really do want to do something different. Now school, you know, what do we find people can't really find, you know, qualified candidates of color and x y&z. I, my answer to that is that I'm not a black white person. Don't look for me in the same places, and in the same way that you would if you're looking for white person, of course, you can't find me. Of course you can't. I'm not there. You're looking for me as if I was not me. And then when you say, Well, I looked, and I can't No, you didn't look, and you didn't even understand that you're not looking for me. And I think that that's the part that has to be corrected. I also think that we have to rethink the measures of what we've used to determine someone's aptitude or potential, whether it be for leadership or, or carrying a gun, frankly, as a policeman. I think we've got to rethink what we've used to judge someone's worthiness or potential. I took the LSAT probably about three times. And again, I mentioned earlier that my guidance counselor in high school, we never had one conversation about college, not 1/11 grade summer, I said to myself, you know, what, if I don't go to college, I wanted to be because I didn't choose to go versus I couldn't go. So I chose to go to summer school, I chose to finish my foreign language requirements, I chose to take extra math, like get it right, I chose to take the LSAT three times. And in those three times, I got to like a 720, or 780, I can't even remember. But on that measure, Marc, I'm stupid. If I were to let that number, tell me dictate to me what I was and was not capable of in the future, then I'm stupid. And I'm so thankful that that's not how I didn't listen to that, like, What do you know about me? None of these questions were even crafted with me in mind. So of course, I didn't do well. And I'm not just saying that, like, Everything about it is wrong. I am saying though, that we can't measure everybody by the same yardstick. And that doesn't mean that one is better than the other. It just means that there are other ways. And and people learn differently as creative people, you know that we all know that. And yet, we don't apply that to the standard measures that we've always used to gauge someone's potential. And I think that there's something wrong with that. Because, you know, creative people like me, and you can grow up comparing themselves to other people based on those measures, and conclude that something's wrong with them, when they're the ones with the superpowers. You know, and I think that that is something that's really important. We have superpowers and I'm not saying that being able to crunch numbers is not a superpower. It definitely is. But I am also saying that being bad at numbers is an indicator that you might be a creative. Think Overall, we really have to rethink our measures. We've got it and again, this is back to new systems design. This is back to us thinking through what's wrong? And if you if you really look at this right, I love this example. You know, there are more design decisions than there are visually literate people to make them. How do I know this? Well, if on live TV, the best picture is announced lala land and not moonlight because of the card, then that tells me that there was a problem that needed to be solved. There were people around who who had the title and the tools, but who are not visually literate. What is another example, if the wrong Mr. Universe gets crowned on national TV? What is another example if the Supreme Court has to determine who the President is because of the ballot design? What is another, I can keep going all day? Right? So there are more visually, there are more design problems than there are visually literate people to make them. And so again, like I'm back to this place, that we've got to redesign our systems, there's so much broken, and there's so many sort of problems to solve. And, you know, if you're like me, as a creative person, you can't unsee all the work around us. Because there's so many things to redesign. There's so many things to rethink, but I think we can do it. And I think, you know, I was thinking about Okay, so what are the new measures, I would argue that we should have a grid metric, you know, if you don't come from money, the money's not the first thing that you think about to solve a problem. I want that person on my team, because that person had everything but money, that person has creativity, that person is thinking creatively, that person is not just like, yeah, we'll throw XYZ in the budget at the problem. Yeah, we're gonna need money at some point. But if you don't have money, you still got a problem that you got to solve. And, you know, I would much rather have a grip metric, somebody who had to fight through some stuff. In order to get here. I want to know your story. How'd you get here? What do you do when you have more ambition and resources? You know, how did that work? And how, you know, what is your origin story? How did you get here, I can only see you now. You know, and oftentimes, I'm always really, really clear that, yes, I have three Emmys, you know, over my shoulder, and yet, it was not always like that. And so I'm making a point to tell young creators, that it was a struggle, it was a struggle, because I don't want anybody to get the wrong idea. It wasn't always easy. And it's not easy now. And so I think there's so much work to do. There's so many systems that we have to redesign and rethink. And the right people to do that, are you and I want to put another link in the chat that sort of deals with all of this, this sort of social, creative sort of mix that I'm putting together, because I'm looking at this as our competitive advantage as a nation, just like Michel Porter's book, you know, competitive ventures of nations, this is a big problem that if we're not careful, we are going to lose out because there's so much human potential that we don't allow, because of the color of somebody's skin, or because of their gender, or because we're worried about which bathroom, you're going to use stupid stuff that if we could just focus on, you know, how someone's mind would process dealing with this issue. We can be so much farther ahead than we are right now. But we're caught up on stupid things that divide us. And I think that, you know, I'm hopeful. I'm hopeful, especially in this generation, because they grew up in a time where, you know, the only president that they knew was black. But it wasn't even a hurdle that like a black person could be president, right? They grew up in a time where now the vice president as a black woman, who also is, you know, has Asian descent as well, like these MCs, these these barriers that we had, like, you can have same sex unions, like all the stuff that took forever, right? It was just it was here, we had made the progress by the time that they were born. And so I hope that they can do something about the climate. I hope that because of their energy, and because they don't have the same limitations that we had. I hope that their creative problem solving skills that we we get out of the way that we let them apply themselves to these big problems. Because if we, if we're not talking about if we keep talking about logos, we keep talking about like the job, then we're part of the problem because we're not even addressing all the other things that we better start to like attention to. And it you know, it would be embarrassing if I didn't speak out, based on all the things that I had to navigate to even get here. And I think that, that that's just always a really important thing that, you know, I have to touch on those things, things that, you know, may seem, you know, like third rail, but I, you know, I think we have to be more deliberate about closing the gap, the mixed signals that are there between what we say and what the experience is in America, you know, none of us as professionals would advise our client to do the complete opposite of everything hit the brandy, mission statement, and just the who would do that? Who would do that? No, but none of us. And so why do we tolerate it? Why do we tolerate it in society? And I think that again, because that's what we do, we should be the ones leading the conversation about how to make change. And I know that, you know, some people might be listening to like, well, this is outside of the lane of what I do. You know, I'm here to learn about tips and tricks about how to, like, you know, do better my job. And yes, I hear you, you know, I hope that there was something there that you could also listen to, but I also hope that you'll take your superpowers and think about our systems that are broken, they need your skills. That's why I'm talking to you about this, because you're a part of who can fix it, because of your creativity. And so I'm calling out, because, you know, we need a different type of person to go into these other professions, you know, or else we're lost. We're lost. But I'm hopeful. Marc Gutman 1:01:52 In that is Douglas Davis. I've goosebumps as I sit here, goosebumps and a bit like I was just shaken into my senses, that we need to stop talking and start doing that I me, because it starts here must work to close the gap, to open my arms and bring more of the world into the conversation. I hear you, Douglas. There was so much gold in this episode. And I can't wait to get Douglas back on the show. So we can hear his story. As he shared it hasn't been easy. And he's worked his tail off to find success in this industry. I hope you're as excited as I am to hear all about that in the future as well. Inspired by Douglas, I challenge you. What new thing are you going to decide to learn? make a commitment to learning something new, put a flag in the sand. Email us if you're so bold with what it is. I want to know that I'll share it with Douglas as well. We are living in such an exciting time as the story is being written as we live it. We have an incredible opportunity to reinvent ourselves, learn new things and change the world. really change the world. It's our job to reinstate that American mission statement on the Statue of Liberty. I'm up for the challenge. Are you a big thank you to Douglas Davis. You inspire me professionally, personally, and culturally. Thank you. Thank you. Thank you, my friend. We will link to all things Douglas Davis, his book Creative Strategy and the Business of Design, imported from Brooklyn, and much more in the show notes. If you know of a guest who should appear on our show, please drop me a line at podcast at wild story calm. Our best guests like Douglas come from referrals from past guests and our listeners. Well that's the show. Until next time, make sure to visit our website www.wildstorm.com where you can subscribe to the show in iTunes, Stitcher or via RSS so you'll never miss an episode. I like big stories and I cannot lie. You other storytellers can't deny. ‍

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.10.25.353904v1?rss=1 Authors: Li, F., Park, T. H., Sankin, G., Gilchrist, C., Liao, D., Chan, C. U., Mao, Z., Hoffman, B. D., Zhong, P. Abstract: Ultrasound or shockwave-induced cavitation is used therapeutically to stimulate neural and muscle tissue, but the mechanisms underlying this mechanotransduction are unclear. Intracellular calcium signaling is one of the earliest events in mechanotransduction. In this study, we investigate the mechanism of calcium signaling in individual HEK293T cells stimulated by single cavitation bubbles. Calcium responses are rare at cell-bubble distance that avoids membrane poration, even with overexpression of the mechanosensitive ion channel Piezo1, but could be increased in frequency to 42% of cells by attaching RGD beads to the apical surface of the cells. By using Piezo1 knockout and Piezo1-expressing cells, integrin-blocking antibodies, and inhibitors of P2X ion channels, key molecular players are identified in the RGD bead-enhanced calcium response: increased integrin ligation by substrate ECM triggers ATP release and activation of P2X-but not Piezo1-ion channels. These molecular players have not been examined previously in cavitation-induced calcium signaling. The resultant calcium influx causes dynamic changes in cell spread area. This approach to eliciting a calcium response with cavitation microbubbles without cell injury, and the uncovered mechanotransduction mechanism by which increased integrin-ligation mediates ATP release and calcium signaling will inform new strategies to stimulate tissues with ultrasound and shockwaves. Copy rights belong to original authors. Visit the link for more info

Paul talks about his latest road gigs, RGD tributes, and ripped Paul's battle with fat Paul. See omnystudio.com/listener for privacy information.

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.07.22.215327v1?rss=1 Authors: Basu, S., Gorai, B., Basu, B., Maiti, P. K. Abstract: In experimental research driven biomaterials science, the influence of different material properties (elastic stiffness, surface energy, etc.), and to a relatively lesser extent, the biophysical stimulation (electric/magnetic) on the cell-material interaction has been extensively investigated. Considering the central importance of the protein adsorption on cell-material interaction, the role of physiochemical factors on the protein adsorption is also probed. Despite its significance, the quantitative analysis of many such aspects remains largely unexplored in biomaterials science. In recent studies, the critical role of electric field stimulation towards modulation of cell functionality on implantable biomaterials has been experimentally demonstrated. Given this background, we investigated the influence of external electric field stimulation (upto 1.00 V/nm) on fibronectin (FN) adsorption on hydroxyapatite, HA (100) surface at 300K using all-atom MD simulation method. Fibronectin adsorption was found to be governed by the attractive electrostatic interaction, which changed with the electric field strength. Non-monotonous changes in structural integrity of fibronectin were recorded with the change in field strength and direction. This can be attributed to the spatial rearrangement of local charges and global structural changes of the protein. The dipole moment vectors of fibronectin, water and HA quantitatively exhibited similar pattern of orienting themselves parallel to the field direction, with field strength dependent increase in their magnitudes. No significant change has been recorded for radial distribution function of water surrounding fibronectin. Field dependent variation in the salt bridge nets and number of hydrogen bonds between fibronectin and hydroxyapatite were also examined. One of the important results in the context of the cell-material interaction is that the RGD sequence of FN was exposed to solvent side, when the field was applied along a direction outward perpendicular to HA (001) surface. Summarizing, the present study provides quantitative insights into the influence of electric field stimulation on biomolecular interactions involved in fibronectin adsorption on hydroxyapatite surface. Copy rights belong to original authors. Visit the link for more info

Welcome to Souls Outside!In this episode…We open by chatting about grounding our physical bodies.Next, our featured guest Ece Savas joins us for a “fireside” chat before sharing how we can follow in their soulprints by following the elements as you build your authentic brand!---As always, we have AUDIO, VIDEO & PRINT versions of this content – choose how you prefer to engage!And, join us on Facebook or LinkedIn to join in the conversation, dive deeper into each episode and share what you’ve got on the topic! Plus, be one of the first viewers of each episode by joining us on Facebook for a watch party, every Thursday as each new episode is released! ---Show Notes + Links to Gifts & More!0:00 Welcome & Overview of Today’s Episode0:37 Intro to Souls Outside1:33 Let’s start by chatting about grounding our physical bodies.9:32 We’re joined by Ece Savas to learn more about his/her journey to now!19:29 And let’s learn how to follow in Ece Savas’s soulprints by following the elements as you build your authentic brand!28:40 Thanks to our Founding Sponsors!29:50 P.S. Continue to journey in Ece Savas’s Soulprints with your complimentary copy of The Five Elements Brand Journal! Ece Savas - Artist, Designer, Yogi and Natural Life EnthusiastI'm a heart-driven strategic designer who seeks meaning, joy and beauty in all areas of life. To me business is more than a job I do; but it's a true expression of who I am and an opportunity to create a best version of my life. I'm truly passionate about nature, sustainability and authentic living. So my partner and I recently bought a large wooded land and started building our off-grid home and retreat. I mean building as in actually building it. Our mission is to inspire and empower other like-minded spirits who seek a natural and self-sustainable life.With over fifteen years of agency and corporate design experience Ece has an in-depth understanding of how corporate brands works in the modern world. She has strong intuitive artistic approach and superb eye for visual aesthetics. Ece published her first book - it is a journal- The Five Elements Brand Journal in Oct. 2019 to guide passion driven entrepreneurs to discover and develop their own brands.Ece is an OCADU alumni and a member of RGD and CSI. She loves to bring more kindness, courage and joy to peoples lives with every opportunity. Beside being a creative entrepreneur Ece is also an artist, educator, traveler, yogini and a black belt.

Nicola Hamilton is a multidisciplinary designer based in Toronto, Canada. The majority of her career has been focused on editorial design and art direction (read: she’s obsessed with magazines.) Her work has been internationally recognized by the D&AD, the Society of Publication Designers, and the National Magazine Awards, among others. Nicola is the co-founder of The Scaries Project, an artistic exploration of the emotional realities of being creative, a part-time design educator at Humber College and George Brown College, an occasional speaker, and the current President of RGD. Find her on the Internet @nickydearest and @the.scaries

1982 - Aix-en-Provence. Afscheid van Jan Nelissen. Terug in Amsterdam. Maarten praat bij binnenkomst met Wigbold over de doorbraak van de loge. Bij de post is een brief van het congres van historici met de mededeling dat Mark De Vlaming vervangt. Joop vraagt of ze mee mag naar Münster. Maarten vertelt dat hij Blazer heeft ontmoet. Met Ad over een nieuwe stoel en het praatje van Rie voor Münster. Freek Matser komt een baan vragen en blijkt gescheiden te zijn. Ad heeft bedenkingen omdat Freek gek is, Maarten wuift dat weg en praat erover met Balk. Bavelaar is nog altijd ziek, volgens de RGD is het psychisch. Als Maarten Mark vraagt hem waarom hij niets gezegd heeft over die vervanging krijgt hij een kwaad antwoord. Hij wordt door Joop gewaarschuwd dat Lien in de puree zit over haar praatje, waarna hij haar probeert gerust te stellen. Met: Lucas Vandervost (Jan Nelissen), Krijn ter Braak (Maarten Koning), Marcel Musters (Henk Wigbold), Jacqueline Blom (Joop Schenk), Bodil de la Parra (Lien Kiepe), Hans Hoes (Ad Muller), Hans Dagelet (Freek Matser), Mark Rietman (Jaap Balk), Ramdew Krishna (Rahman Panday), Ad van Kempen (Mark Grosz) en Jacob Derwig (Bart Asjes).

1986 - Afscheid van Balk (vervolg). Wigbold heeft een briefje opgehangen: U -- jij, wat Maarten onaangenaam treft. Dini Jetses meldt zich, eerste contacten met Joop, Sien, Tjitske en Ad. De Rook belt dat er twee mannen van de RGD zijn voor een lift. Maarten leidt ze rond en besluit dat de lift niet doorgaat. Met: Mark Rietman (Jaap Balk), Krijn ter Braak (Maarten Koning), Hanneke Riemer (Dé Haan), Harry van Rijthoven (Flip de Fluiter), Kees Hulst (Bart de Roode), Han Kerckhoffs (van Laar), Hans Trentelman (Goslinga), Marcel Musters (Henk Wigbold), Jacqueline Blom (Joop Schenk), Elsje Scherjon (Dini Jetses), Roos Ouwehand (Sien de Nooijer-Flipse), Anneke Blok (Tjitske van den Akker), Han Kerckhoffs (Wim de Rook), Bodil de la Parra (Lien Kiepe), Wigbold Kruyver (Erkelens), Tycho Gernandt (Diemel), Tom Sijtsma (Nico Goud) en Hans Dagelet (Freek Matser).

1986 - Smidt belt op dat Maarten niet met de RGD had mogen corresponderen. Maarten zegt dat hij dat zal herstellen, maar dat de lift er hoe dan ook niet komt. Ad veronderstelt dat De Rook erachter zit. Pastoors meldt dat Gorissen uit de sollicitatiecommissie is gestapt. Maarten vraagt Kloosterman verslag uit te brengen in de IR en stelt Pastoors voor daarbij het voltallige personeel uit te nodigen. Hij treft Engelien met haar werkgroep in de kamer van Balk, gaat bij Dini langs, praat met Joop en Lien over het feminisme, gaat naar zijn kamertje en wordt daar gevonden door Frits die zijn lezing heeft gelezen en mooi vindt. Maarten doet in de IR mededeling over de Directeurenvergadering en de staat van de bezuinigingen, Met: Krijn ter Braak (Maarten Koning), Han Kerckhoffs (Wim de Rook), Reinout Bussemaker (Smidt), Hans Hoes (Ad Muller), Huub Stapel (Huub Pastoors), Jeroen Spitzenberger (Jeroen Kloosterman), Carine Crutzen (Engelien Jansen), Elsje Scherjon (Dini Jetses), Jacqueline Blom (Joop Schenk), Anneke Blok (Tjitske van den Akker), Thijs Römer (Frits Bloembergen) en Ricky Koole (Dieke Brandsma).

Ho Ho Ho! Today's episode is the 2019 Design Christmas Gift Guide. The Quickie Podcast Version that is. I've put together a list of things that have been mentioned on the show a number of times, but also some things that have just caught my eye and made me smile or say wow...or ohhhh....or yeaaahhhh. Check them out in the episode and I'll put links below. Check it!TechIpad + Apple Pencil - https://www.apple.com/ca/ipad/Nix Color Sensor Pro - https://www.nixsensor.com/nix-pro/Pantone Color Guide - https://www.pantone.com/products/graphics/formula-guideMembership to Professional Design Organization - GDC, RGD, AIGAThe gift of Astute Graphics - https://astutegraphics.com/BooksLogo Mayhem - https://www.lincolndesignco.com/shopFreelance, and Business, and Stuff - https://hoodzpahdesign.com/shop/How do I do that in Indesign - https://www.amazon.com/How-Do-That-InDesign/dp/1681984849MerchHellcats USA - http://hellcatsusa.com/shopDurham Branding Co - https://www.durham-dept.com/shopFried Design Co - https://www.frieddesign.co/storeJason the 29th - https://jasonthe29th.com/shopNewton Design Co - https://www.newtondesignco.com/shopTypogriff - http://typogriff.com/shopMamas Sauce - https://store.mamas-sauce.com/Gift Card to your favorite fine local caffeine serving establishment. Magazine SubscritionEye Magazine - http://www.eyemagazine.com/subscribeJuxtapoz - https://shop.juxtapoz.com/subscriptions.htmlCommunication Arts - https://store.commarts.com/NewSubscriptionThe way we do it in my house is this...Something you want, something you need, something to wear, something to read. I think I have you covered here. Merry Christmas. Happy Holidays.

Ho Ho Ho! Today's episode is the 2019 Design Christmas Gift Guide. The Quickie Podcast Version that is. I've put together a list of things that have been mentioned on the show a number of times, but also some things that have just caught my eye and made me smile or say wow...or ohhhh....or yeaaahhhh. Check them out in the episode and I'll put links below. Check it!TechIpad + Apple Pencil - https://www.apple.com/ca/ipad/Nix Color Sensor Pro - https://www.nixsensor.com/nix-pro/Pantone Color Guide - https://www.pantone.com/products/graphics/formula-guideMembership to Professional Design Organization - GDC, RGD, AIGAThe gift of Astute Graphics - https://astutegraphics.com/BooksLogo Mayhem - https://www.lincolndesignco.com/shopFreelance, and Business, and Stuff - https://hoodzpahdesign.com/shop/How do I do that in Indesign - https://www.amazon.com/How-Do-That-InDesign/dp/1681984849MerchHellcats USA - http://hellcatsusa.com/shopDurham Branding Co - https://www.durham-dept.com/shopFried Design Co - https://www.frieddesign.co/storeJason the 29th - https://jasonthe29th.com/shopNewton Design Co - https://www.newtondesignco.com/shopTypogriff - http://typogriff.com/shopMamas Sauce - https://store.mamas-sauce.com/Gift Card to your favorite fine local caffeine serving establishment. Magazine SubscritionEye Magazine - http://www.eyemagazine.com/subscribeJuxtapoz - https://shop.juxtapoz.com/subscriptions.htmlCommunication Arts - https://store.commarts.com/NewSubscriptionThe way we do it in my house is this...Something you want, something you need, something to wear, something to read. I think I have you covered here. Merry Christmas. Happy Holidays. 

Today's guest is Matt Warburton, Design Manager at UBC and Designer at Emdoubleyu Communications and Design in Vancouver BC. Matt is a huge motorcycle enthusiast and a lover of stamp design and collecting. In 2013 he was able to merge these two worlds and design Canadian Motorcycle stamps for Canada Post! He shares the struggles he and his partner experienced during the 2008 financial crisis that hit a lot of industries everywhere. Matt also tells some great stories about some of the lessons he has learned in his design career. He is a huge supporter of professional trade associations, think GDC and RGD.

Today's guest is Matt Warburton, Design Manager at UBC and Designer at Emdoubleyu Communications and Design in Vancouver BC. Matt is a huge motorcycle enthusiast and a lover of stamp design and collecting. In 2013 he was able to merge these two worlds and design Canadian Motorcycle stamps for Canada Post! He shares the struggles he and his partner experienced during the 2008 financial crisis that hit a lot of industries everywhere. Matt also tells some great stories about some of the lessons he has learned in his design career. He is a huge supporter of professional trade associations, think GDC and RGD. 

Ce podcast révisera l’énoncé de principe de la Société canadienne de pédiatrie et discutera du diagnostic et des investigations appropriées pour le retard global de développement (RGD) et le handicap intellectuel (HI). Il a été créé par Dre. Meghan Pike, résidente en pédiatrie de deuxième année au IWK Health Centre à l'Université Dalhousie à Halifax, sous la direction du Dre Stacey Bélanger, pédiatre du développement à l’Université de Montréal et de Dre Joannie Caron, pédiatre ayant complété une formation complémentaire en pédiatrie du développement à L’Université de Montréal.

It's just too damn hot. What better way to lower your core temperature than another selection of cooling tunes from Wonk Unit, Rotten Mind, Muck And The Mires, Radium Cats, Thunderfuck And The Deadly Romantics, Thee Girl Fridays, RGD, Wood Shampoo and The Cavemen.Hot, Wonk Unit, Poetry Corner, Tony has your Facebook comments, WHAMBOLT, we go a bit Scottish, last week, Tony is working, Paul sleeps standing up, Nutty Nottingham tour, From the Vaults, Tony's International Gig Guide, PGOTW, this week, Paul's off to the Edinburgh Fringe, LastMinuteComedy, Jazz, internal wall construction, fridge problems, word of the week, no Izzatwat this week and if you can leave us a review at Podchaser that would be marvellous.Song 1: Wonk Unit - FaithSong 2: Rotten Mind – Trouble ChildSong 3: Muck And The Mires - #LonelinessSong 4: Radium Cats – My Girl Is Like UraniumSong 5: Thunderfuck And The Deadly Romantics – Scream My NameSong 6: Thee Girl Fridays – Too Much Of A Good ThingSong 7: RGD – Hey LouiseSong 8: Wood Shampoo – My Best Friend Died (And Left Me His Guitar)Song 9: The Cavemen - Scumbag

So there's a bit of history behind this interview with the mononymous Toronto-based designer Nuff. He was one of the first people I reached out to over five years ago when Revision Path began, and while we've kept in touch since then, it's only until now that I've been able to get an interview with him. And let me tell you...it was worth the wait. We touch on a lot of different topics during our interview, including the Toronto design scene, his creative process behind his digital and physical works, staying creative in the face of impostor syndrome, and more. It's a pretty comprehensive look at someone who has been forging his own path in this industry while staying true to his ideals. Nuff's Website Nuff on Twitter Nuff on Instagram Help support Revision Path by becoming a monthly patron on Patreon! For just $5 per month, you’ll receive behind-the-scenes access to Revision Path, including special patron-only updates, early access to future episodes, and a lot more! Join today! In our new advice column Ask Siedah, designer, writer and entrepreneur Siedah Mitchum answers your questions about career, design and more! Send your questions to asksiedah@revisionpath.com and we'll answer them in a future column! We're on Apple Podcasts, Spotify and Stitcher! Visit https://revisionpath.com/iTunes, https://revisionpath.com/spotify or https://revisionpath.com/stitcher, subscribe, and leave us a 5-star rating and a review! Thanks so much to all of you who have already rated and reviewed us! Revision Path is brought to you by Facebook Design, Glitch, Google Design, and MailChimp. Follow Revision Path on Facebook, Twitter, and Instagram!

Interview with RuffGang RGD

Joe Vitalone, Chief Sales and Marketing Officer at Razberi Technologies, demonstrates how to develop and execute a sales strategy at scale through channel partners.

March Madness

What's your hourly design rate? What you should charge as your hourly design rate is an often debated topic amongst designers. Everybody seems to have their own opinion as to how to calculate what you should charge. I guess I'm no different because on this episode of the Resourceful Designer podcast I do just that. I give you my opinion of how you may want to choose your hourly design rate. One of the biggest issues I see is designers undercharging for their services. They're either not confident enough in their skills and abilities and are afraid to charge a high enough fee. Or they feel they can't charge higher fees because they're only designing part time. Regardless of how long you've been designing or the amount of time you currently spend designing you're probably not charging enough for your services, but that's the topic for another day. Today I want to share why you need an hourly design rate and ways to determine the rate that's best for you. Why you need an hourly design rate. Even if you normally use project based or value based pricing you still need to know how much you are worth per hour. Even if it's just to know whether or not you are under or over charging on your projects. You also need to know how much you're worth if someone asks you for your time. Perhaps as a design consultant. Without knowing your hourly rate how will you know what to charge for your time? What determines your hourly design rate. Your hourly design rate depends on many factors and differs for each designer. Where you live, what sort of clients you're going after, your experience, your skill all play factors in determining what you should charge. Specializing in a niche can also play a factor. A designer who specializes in a certain industry should command higher prices than a designer not familiar with it. All of these things should be taken into considering when determining what your hourly design rate will be. Determining your hourly design rate. Ok, here's the nitty gritty of it. Ways for you to determine exactly what you should charge per hour. You will need to decide which method, if any, is best suited to your situation. Guess It sounds crazy but guessing is actually a pretty popular method used by many designers. I'm not saying it's a good method, just that it's a popular one. Some designers simply pick a number out of thin air and use it as their hourly design rate. Most of the time the number they choose is much lower than they should be charging but guessing is a viable option for choosing. Spy on your competition Tried and true for generations, spying on your competition is an easy way to judge what the going market is for designers in your area. Simply call them up, or have a friend do it for you, and request quotes. Use those quotes to determine what they are charging and to set a baseline for your own pricing. Adjust as needed for experience and skill and then start hunting for clients. Research industry averages There are many organizations that compile design salaries around the globe. The AIGA and RGD are great resources in North America. Research what designer in your area are making and base your hourly rate to match. Calculate your hourly rate Probably the most accurate way to determine your hourly design rate is to calculate it yourself. Add up all your expenses including general expenses and labour expenses, savings, etc.. Then estimate the number of billable hours you expect to work each week. Divide the first number by the second number to determine your hourly design rate. For example: Your monthly expenses including mortgage, utilities, car payment, fuel, groceries, medication, etc. = $4000/month A spending allowance for things like movies, restaurants, treats, etc. = $400/month Money you put aside in savings = $400/month Total $4800/month Billable hours you want to charge per month = 80 (20/week) Remember that billable hours and working hours are two different things. You will only be able to bill for some of the hours you spend working each month. Divide your monthly expenses by the number of billable hours to determine your hourly design rate. $4800 ÷ 80 hours = $60 per hour. In this example, the designer needs to charge $60 per hour and work a minimum of 20 billable hours per week in order to cover their expenses and savings. Keep in mind that this is just a base and is intended to give you an idea of where to start. You do not need to use this number as your hourly design rate. Your personal situation will also factor into this equation. If you're a student living with your parents you may not have as many expenses as someone renting or paying a mortgage. What should you do? I can't tell you which method is best for you. Only you can decide that. I can tell you that establishing an hourly design rate will help you regardless of whether or not you bill by the hour. If you don't have one yet, I highly encourage you to determine your hourly rate as soon as possible. How did you determine your hourly design rate? Let me know your goals by leaving a comment for this episode. Questions of the Week Submit your question to be featured in a future episode of the podcast by visiting the feedback page. This week’s question comes from Jonathan I am looking to start a web design business while I am a full time employee. I've been doing a lot of research and wondering your thoughts on a sole proprietorship vs. llc. I feel like the business side of the business is preventing me from starting the business before it's even been made. I'm not completely sure its worth setting up an llc if I am starting a business on my free time. (ex: quarterly taxes) Any help you may have is greatly appreciated. To find out what I told Jonathan you’ll have to listen to the podcast. Resource of the week Screenflow This week’s resource is something I've shared before, ScreenFlow screen recording software. It has helped me streamline my graphic design business so much that I have to share it again. Using ScreenFlow has saved me so much time and headaches. Instead of teaching clients how to use their new websites and then helping them again a month or so later when they’ve forgotten, now I just record a short instructions video showing them what to do. If they need a refresher or need to train someone new, they have access to the video and they don’t have to interrupt me for help. For that reason alone I highly recommend ScreenFlow. Subscribe to the podcast Subscribe on iTunes Subscribe on Stitcher Subscribe on Android Subscribe on Google Play Music Contact me Send me feedback Follow me on Twitter and Facebook I want to help you. Running a graphic design or web design business all by yourself isn't easy. If there are any struggles you face running your design business please reach out to me. I'll do my best to help you by addressing your issues in a future blog post or podcast episode here at Resourceful Designer. You can reach me at feedback@resourcefuldesigner.com

The brand new band of Highland Park rock veterans, RGD, were so excited to play that they couldn’t just stop at seven tunes! Set list: “Rolling People” “Take Me Down” “Gone Today” “Straight Up And Down” (The Brian Jonestown Massacre) “Gudbuy T’Jane” (Slade) “Abandoning Ship” “Out Tonight” “Everything Is All Right” “I’m Waiting for My […]

*Sorry for the delay on this one. I'm hoping to get RGD back on a regular schedule. A special episode about the new He-Man movie will follow this one very soon! -Val Val Staples, Danielle Gelehrter, "Pixel Dan" Eardley and Nate Baertsch are back to discuss He-Man and She-Ra. In this episode they are joined by Eric Treadaway as they discuss Filmation score, Alan Oppenheimer art book commercial, 200x Prahvus (Dec 2015), 200x Queen Grayskull (Nov 2015), 200x Ceratus (Oct 2015), 200x King Chooblah (Sep 2015), 200x Evil Seed (Aug 2015), 200x Head Pack (Aug 2015), Mara (Aug 2015), 200x Calix (Jul 2015), Peekablue (Jul 2015), Multi-Bot (2nd Quarter 2015), Sssqueeze (Jun 2015), Blast-Attak (May 2015), Angella (Apr 2015), and much more! Intro/Outro info: none Another fan contribution are episode wallpapers and backgrounds, created by Matt Tyree also know as Tyree on the forums. Matt is commercial illustrator who you can find out more about at www.tyreeonline.com Also, don't forget the Roast Gooble Dinner iPhone App, which is great for organizing and downloading current and past episodes. Click here to get yours today! And if you have a comment or a question, please call us at (310) 933-5993 or at our Skype account "roastgooble" and leave a voicemail (in Skype, please go to Call Phones and enter roastgooble as the phone number and dial in. Please do not add roastgooble to your contact list as we won't accept the request. Sorry!) We'll try to work your voicemail into the show, so please call! Otherwise, you can e-mail us at gooble (at) he-man (dot) org. One or more of the hosts will read your e-mail on the show. Please keep e-mails short and sweet! So pull up your chair and fill up your plate! It's time to chow down on a tasty serving of fandom here on He-Man.org's Roast Gooble Dinner! Recorded on March 17, 2015 Runtime: 1 hour, 40 minutes, 40 seconds

I det inledande avsnittet får vi veta mer om några pågående släktforskningsprojekt. Det handlar om Svenskt Porträttarkiv, digitalisering av dödsrunor och nekrologer från tidningen Arbetet samt DIS framtidsprojekt Rikstäckande Genealogisk Databas, RGD.

Episode 35: So the Intor/Outro wasn’t working for some reason but dammit, you don’t come here for the glass of water and after dinner check! You come here for the Steak, Lobster, and Potatoes!! The Guys sit down to talk about Teenage Mutant Ninja Turtles as well as the conversation about Mike Brown and Robin […]

Episode 35: So for some reason our intro/outro wasn’t working but you didn’t come here for the Water and After Dinner check. No! You cam for the god damn Steak, Lobster and Potatoes!! The fellas sit down to talk about Teenage Mutant Ninja Turtles as well as Robin Williams and Mike Brown. Lastly, Terry got […]

We have a Two-fer for you guys… The first, the fellas sit down and talk about taking L’s thanks to someone in the group. What are the worst L’s we took and what have been the worst Mutombo Blocks?… We know what I’m talking about. Also… I have very little memory of the other podcast […]

Episode 32: The guys sit down to first talk about a video of a DUI stop , (link posted), and what they felt about it. They also come together to talk about their experiences with these situations and what they have done. Also NFL Top 10!! The Top 100 just wrapped up and now they […]

Episode 31:   The guys sit down to talk about the weekend we had, and the state of Juel – the shmedium shirt herbal pusher… did he survive? We also talk about Transformers and all of the funny ass shit that happened in that movie. Caution, spoilers. We throw in random ass convos too… You […]

Episode 30:   After taking a week off the fellas sit down to play some video games… EA’s UFC… and talk about the future of the NBA and the state of the World Cup. Also some random back handed statements are made… as usual. But the icing on the cake is the intro and outro… […]

The fellas sit down to talk about the Best Action Scenes in movies they have ever seen. They also go on to talk about Man Code and hand shakes, spoiler… that mushy ragu is for them sissy boys.  Black Dynamite is talked about for a while you jive turkeys. The guys round up the cast […]

Episode 28:   The Guys sit down to talk about the greatness that was getting  AOL software, Workouts and Gyms, and Paki being the Ugliest dude in the world. We go on a nice little topic that everyone should be able to relate to, approaching the opposite sex. But our session was cut up into […]

Episode 27: Well for some reason the audio wasn’t working with out website. But with a bit of tinkering here is the latest episode a few days late. I had the short write up about the show, but left it at my (RJ) desk at home. Soooooo Surprise!! Enjoy episode 27, like, share and hit […]

Episode 26: The guys sit down and talk about friendship… word to Mortal Kombat. The podcast is a day late due to the celebration of a big birthday!! The fellas start off by discussing random theme parks and roller coasters. There is nothing like a good roller coaster… unless you puke on everyone. And then […]

Cysteinproteasen, zu denen zahlreiche Cathepsine zählen, spielen eine wichtige Rolle in (patho)physiologischen Prozessen, die mit Gewebedestruktion verbunden sind. In diesem Kontext wurden vor allem Cathepsin B extrazelluläre Funktionen bei der Tumorinvasion und -metastasierung zugeschrieben. Es häufen sich jedoch Hinweise darauf, dass auch Cathepsin X an invasiven Vorgängen beteiligt ist. Cathepsin X wird unter anderem in Zellen der Immunabwehr sowie in maligne entarteten Organzellen stark exprimiert. Eine erhöhte Expression des Enzyms wurde vor allem beim Prostatakarzinom beschrieben. Zu Beginn dieser Arbeit war jedoch wenig über die Mecha-nismen bekannt, die für diese Überexpression verantwortlich ist. Durch Stimulationsversuche konnte in einem Prostatakarzinom-Zellmodell (LNCaP) gezeigt werden, dass weder das Androgen Testosteron, welches essentiell für die Entwicklung eines Prostatakarzinoms ist, noch Proteine der extrazellulären Matrix (EZM) in der Lage sind, die intra- und extrazelluläre (Pro)Cathepsin X-Konzentration zu steigern. Ob Cathepsin X bei der Tumorinvasion eine maßgebliche Rolle spielt, war zu Beginn der vor-liegenden Arbeit ebenfalls weitgehend unbekannt. Deshalb wurde die Protease unter Anwen-dung der siRNA-Technik in Prostatakarzinomzellen (PC-3) herunter reguliert und die Zellen im Anschluss auf ihr Invasionsvermögen analysiert. Dabei konnte nach Niederregulation von (Pro)Cathepsin X eine signifikant verminderte Invasivität der Zellen beobachtet werden. Da dieses Enzym nur Carboxypeptidase-Aktivität besitzt, muss eine Beinflussung der Zellinvasivität durch direkte Degradation der EZM allerdings ausgeschlossen werden. Eine mögliche Wirkweise wäre, dass Procathepsin X über dessen RGD-Sequenz an Zelloberflächenrezeptoren bindet und durch Aktivierung von Signaltransduktionswegen die Invasionsfähigkeit der Zellen beeinflusst. In Versuchen mit humanem Plasma und konditio-niertem Zellmedium konnte gezeigt werden, dass Procathepsin X extrazellulär vorkommt und somit theoretisch RGD-abhängig an Adhäsionsmoleküle vom Integrin-Typ binden kann. Im Verlauf dieser Arbeit mehrten sich auch Hinweise darauf, dass Procathepsin X in der Lage ist an EZM- und Plasmaproteine zu binden. Experimente mit rekombinanten Komponenten zeigten eine eindeutige Interaktion mit dem EZM-Protein Fibronektin. Zudem scheint Pro-cathepsin X mit dem Serpin α1-Antitrypsin einen SDS-stabilen Komplex zu bilden. Die ent-sprechenden Bindungsstellen müssen in weiteren Versuchen identifiziert sowie die bio-logische Bedeutung dieser Interaktionen ermittelt werden.

We developed a bioadhesive coating based on a synthetic peptide-conjugate (AK-cycloRGDfC]) which contains multiples of the arginyl-glycyl-aspartic acid (RGD) amino acid sequence. Biotinylated AK-cycloRGDfC] is bound to a supported lipid bilayer via a streptavidin interlayer. Layering, hydration and packing of the coating is quantified by X-ray and neutron reflectometry experiments. AK-cycloRGDfC] binds to the streptavidin interlayer in a stretched-out on edge configuration. The highly packed configuration with only 12% water content maximizes the number of accessible adhesion sites. Enhanced cell spreading of neural stem cells was observed for AK-cycloRGDfC] functionalized bilayers. Due to the large variety of surfaces which can be coated by physisorption of lipid bilayers, this approach is of general interest for the fabrication of biocompatible surfaces.

Translocation of the Helicobacter pylori (Hp) cytotoxin-associated gene A (CagA) effector protein via the cag-Type IV Secretion System (T4SS) into host cells is a major risk factor for severe gastric diseases, including gastric cancer. However, the mechanism of translocation and the requirements from the host cell for that event are not well understood. The T4SS consists of inner- and outer membrane-spanning Cag protein complexes and a surface-located pilus. Previously an arginine-glycine-aspartate (RGD)-dependent typical integrin/ligand type interaction of CagL with alpha5beta1 integrin was reported to be essential for CagA translocation. Here we report a specific binding of the T4SS-pilus-associated components CagY and the effector protein CagA to the host cell beta1 Integrin receptor. Surface plasmon resonance measurements revealed that CagA binding to alpha5beta1 integrin is rather strong (dissociation constant, K(D) of 0.15 nM), in comparison to the reported RGD-dependent integrin/fibronectin interaction (K(D) of 15 nM). For CagA translocation the extracellular part of the beta1 integrin subunit is necessary, but not its cytoplasmic domain, nor downstream signalling via integrin-linked kinase. A set of beta1 integrin-specific monoclonal antibodies directed against various defined beta1 integrin epitopes, such as the PSI, the I-like, the EGF or the beta-tail domain, were unable to interfere with CagA translocation. However, a specific antibody (9EG7), which stabilises the open active conformation of beta1 integrin heterodimers, efficiently blocked CagA translocation. Our data support a novel model in which the cag-T4SS exploits the beta1 integrin receptor by an RGD-independent interaction that involves a conformational switch from the open (extended) to the closed (bent) conformation, to initiate effector protein translocation.

Cathepsine sind lysosomale Cysteinproteasen, die neben der allgemeinen Proteindegradation in Lysosomen auch spezifische Funktionen ausüben, die eine limitierte Proteolyse erfordern. Zudem werden Cathepsine sezerniert, weshalb man sie auch im Extrazellulärraum findet, wo sie ebenfalls an verschiedenen biologischen Vorgängen, wie etwa der Zellmigration/Invasion, teilnehmen. Über Cathepsin X, einen relativ neu entdeckten Vertreter dieser Proteinklasse, war zu Beginn der Promotionsarbeit noch wenig bekannt. Die Struktur und das Aktivitätsprofil konnten zwar bereits gelöst werden, über mögliche (patho-)physiologische Funktionen gab es jedoch noch keine Erkenntnisse. Das Hauptziel meiner Untersuchungen war daher, mittels geeigneter Methoden nähere Aufschlüsse über die Rolle von Cathepsin X oder seiner Proform innerhalb und außerhalb der Zelle zu erlangen. Dies sollte vorwiegend durch die Analyse der Expression und Sekretion dieser Protease, sowie durch das Auffinden von Interaktionspartnern erfolgen. Wie sich in Vorversuchen zeigte, wird Cathepsin X in humanen Leukozyten unterschiedlich stark exprimiert. Da eine hohe Expression insbesondere in Monozyten vorlag, wurde für weitere Analysen das Zellmodell THP-1 eingesetzt, das auch für die Differenzierung zu Makrophagen-ähnlichen Zellen durch Stimulation mit Phorbol-12-Myristat-13-Acetat (PMA) oder all-trans Retinsäure (ATRA) verwendet werden kann. Interessanterweise zeigten diese Agenzien unterschiedliche Auswirkungen auf die Expression und Sekretion von Cathepsin X. So wurde mit PMA eine starke intra- und extrazelluläre Erhöhung der Protease verzeichnet, während mit ATRA das Gegenteil der Fall war. Da eine differenzielle Expression von Cathepsin X in Leukozyten auf eine mögliche Funktion in der Entzündungsantwort hindeutet, schien eine Untersuchung der Wirkung von proinflammatorischen Zytokinen und extrazellulären Matrix (EZM)-Proteinen sinnvoll, weil diese Faktoren ebenfalls die Sekretion von Proteasen beeinflussen können. Die untersuchten Zytokine hatten allerdings keinen Effekt auf die Sekretion von Cathepsin X aus THP-1-Zellen, wohingegen mit dem EZM-Protein Vitronektin eine Verdopplung der Cathepsin-X-Konzentration im Medium beobachtet wurde. In diesem Kontext konnte nachgewiesen werden, dass Vitronektin durch die Interaktion mit dem Zelloberflächenrezeptor Integrin avb3 den Sekretionsapparat der Zelle beeinflusst, wobei offensichtlich das Sequenzmotiv Arginin-Glyzin-Aspartat (RGD), welches in Vitronektin enthalten ist, für diesen Vorgang entscheidend ist. Neben Cathepsin X wurde auch für die Cathepsine B und L eine erhöhte Freisetzung nach Inkubation mit Vitronektin gemessen, was zeigt, dass dieser durch das EZM-Protein ausgelöste Mechanismus nicht auf Cathepsin X beschränkt ist. Umgekehrt ließ sich in einem weiteren Zellmodell (HUVEC) durch den Einsatz von „small-interfering RNA“ (siRNA) die Expression von Cathepsin X erniedrigen, was zu einer verminderten Migration der HUVEC in einem Invasionsversuch führte. Dies deutet auf eine Funktion von Cathepsin X in der Zellmotilität hin. Weil Cathepsin X, ähnlich wie Vitronektin, ein exponiertes RGD-Motiv in seiner Proregion aufweist, sollte nun eine mögliche Interaktion mit Integrinen untersucht werden. Tatsächlich ließ sich eine RGD-abhängige Interaktion von Procathepsin X mit dem Integrin avb3 zeigen. Somit werden in dieser Arbeit zwei wesentliche neue Aspekte in der Regulation der Sekretion und seiner Beteiligung an Migrationsvorgängen gezeigt, wobei die Interaktion von Procathepsin X mit dem Integrin avb3 eine besondere Rolle zu spielen scheint. Ob diese beiden Vorgänge miteinander gekoppelt sind, konnte mit den bisherigen Ergebnissen noch nicht bewiesen werden. Insgesamt deuten die Ergebnisse jedoch darauf hin, dass extrazelluläres (Pro)Cathepsin X neben seiner Rolle als Protease auch nicht-proteolytische Funktionen, beispielsweise als Ligand bestimmter Zelloberflächenstrukturen ausüben kann. Dieser Aspekt könnte im Hinblick auf eine therapeutische Inhibition von Angiogenese und Metastasierung von Tumorzellen durch Antikörper gegen Cathepsin X und/oder Integrine von großem Nutzen sein.

Introduction: Antiangiogenetic cancer therapy is a potential new form for treatment of solid tumors. The alpha-v-integrins ( avb3, avb5) mediate the contact of activated endothelial cells to proteins of the extracellular matrix during tumor angiogenesis as a prerequisite for survival of endothelial cells. The aim of this study was to investigate the effects of inhibition of alpha-v-integrins with a methylated cyclic RGD-peptide on angiogenesis, microcirculation, growth and metastasis formation of a solid tumor in vivo. Methods: Experiments were performed in the dorsal skinfold preparation of Syrian Golden hamsters bearing the amelanotic hamster melanoma A-Mel-3. Animals were injected intraperitoneally with a methylated cyclic RGD-peptide every 12 hours, the control group received an inactive peptide. Microcirculatory parameters of tumor angiogenesis including functional vessel density, red blood cell velocity (vRBC), vessel diameter and leukocyte endothelium interaction were analyzed using intravital microscopy. In an additional study the effects on growth and metastasis of subcutaneous A-Mel-3 were quantified. Results: Functional vessel density was markedly reduced on day 3 in treated animals compared to controls (37.2+/-12.1 vs. 105.2+/-11.2 cm-1; mean+/-SEM; P < 0.05), and increased subsequently in both groups. vRBC at day 3 was below values of controls (0.026+/-0.01 vs. 0.12+/-0.03 mm/s; P < 0.05). No differences were observed in vessel diameters and leukocyte-endothelium interaction was almost absent in both groups. Furthermore, growth and metastasis of subcutaneous tumors after administration of the cyclic RGD-peptide was significantly delayed in comparison to controls (P < 0.05). Conclusion: Inhibition of alpha-v-integrins by a cyclic RGD-peptide resulted in significant delay of early tumor angiogenesis, associated with retardation of tumor growth and metastasis in vivo. Application of cyclic RGD-peptides may thus be a promising approach for antiangiogenic therapy of solid tumors