Podcasts about sans serif

What makes an accessible typeface? And how can we improve typography in regard to web accessibility? To answer this and other questions, I invited type designer Eleni Beveratou, creative director at Dalton Maag. We discuss:

Sans Serif - Chris Heazlewood and Lainie Henderson for new Dunedin band Sans Serif preview Saturday's gig with Kahu and Pearly at The Crown. This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

My name is Miķelis Baštiks and this is Asketic Podcast where we talk about design and branding. This time we're here with brand strategist Edgars Pētersons and we will discuss why it's important to create one clear association with a brand and why Latvian companies need to be more shameless in order to achieve global success.There are trends, cultural characteristics, timeless things that are fundamental truths in most countries of the Western world. Then there are micro-cultural, local cultural characteristics. When you create a brand platform, can you rely on these fundamental things or do you have to focus more on micro-trends in the local context?The thing that differs from country to country or even from region to region in bigger countries is the sense of humour. If you attempt to define your brand's form of expression as funny and humorous, it can quickly go very wrong. I was once working on a Baltic campaign. In Latvia, everyone found it funny, but no one got the joke in Lithuania. That's one aspect you should be careful with. A reference to the brand's origin is a thing that works, for Europe in general. Declaring you're from Europe provides you with a mark of quality. Then there are certain individual associations for each country. Scandinavian design, German quality etc. An opinion in regards to Latvia and the Baltic region is slowly forming in certain markets, namely, that people, ingredients, processes here are closer to nature, ecological. Foreign businesses associate us with being innovative with wood. That's still an amorphous association. It depends on the category. As I recently discussed with students, there are categories where you have to maintain an artificially high pricing. If you buy sparkling wine for 8 euros, you won't associate it with something good. The same goes for design. I had a discussion with Edgars Zvirgzdiņš, it was around ten years ago. I said to him, look, there are so many ugly signboards on Čaka Street. We could ask designers to lend their hand and remake them. In response he asked me if I believe their usual customers would continue to shop in there. I didn't think so. There are people who would much rather spend that same money at the market, even though you could find those items for a lesser price at fast fashion stores, where the quality is the same, but the stores, the design and communication looks too good, therefore it gives a signal of being too expensive and not being meant for me. The trend that always works is empathy. If you find something current, important, interesting and attractive for your audience, then you have to signal that same thing.Seth Godin has said the same thing as you. He has a saying, “You can't be seen until you learn to see”. There's that same empathy.In various workshops, I've shown a bottle with no label or instructions, and then I ask them what it is and they interpret it. And then I show a bottle of “Absolut” with no label, and everyone knows what it is. The brand is in your head, it's what you think about it. You reflect on this brand, based on what knowledge you have, therefore, in order to create a successful brand, you have to find the points of contact, namely, the person's knowledge, associations, and have to try to find ways of connecting to them. The person perceives this brand, based on something they intuitively know, understand and are conscious of, and not based on some new information you provide.You take the matrix that they understand and change only so little that it's something new, instead of making something completely different.I believe that striving for originality as an end in itself is a self-sabotage in the creative industries. Creativity quite often can mean taking an existing cliché and adding something interesting or turning it around. For example, if you have such consumer product as potato chips and you create an extremely ascetic design for it, with Sans Serif font and all the rest, while targeting teens or even kids, then my hypothesis is that it won't be seen as an affordable consumer product. It will sit lonely on the shelf, while all the other products with flashy packages with 3D designs will sell out.Wouldn't it seem that teenagers are looking for something opposite to the mainstream?Let's not dissect this particular example too much. The needs and perceptions of the young people are changing, of course. Many teens are focusing more on health and sustainability and are much more responsible than their previous generations. We once did a study on environmental issues and the youth. Ideologically everything is fine, but when it clashes with economical issues, namely, how much what costs, then it is what it is.When it comes to teenagers, it's interesting to think about the balance between wanting to belong to a group and signal with certain brands and also wanting to be different from the previous generation. How can one manoeuvre among this fragility of wanting to belong and to be different at the same time? How can you create the perfect brand and design for this?The smaller markets often face the biggest challenge. You might belong to a global movement or sub-culture, but you actually represent only about 10 people in Latvia. Let's say you're a brand that operates only regionally in Latvia and targets the youth, but these young people might be divided into countless sub-cultures, which can be reached by global businesses due to their global scale, thus justifying a worthwhile investment, since these groups amount to hundreds, thousands and millions of people, however, for a local brand, operating only Latvia, this group might represent only a few tens or few hundreds of people, so you have to find the arithmetic average. Then you also have to consider your ability to stand out, to be challenging and different.You touched upon market research. Do you think it's worth it for a new start-up brand to invest a few thousand euros in market research? How else can you get qualitative data, so that you're not just basing everything on intuition?You have to think about research on several levels. We always begin cooperation with a client with the interview round. Many clients afterwards have called it their corporate psychotherapy. We identify the key persons within the company, their functions. By that I mean anyone from the owner to, as it was in case of “Virši”, the station manager or employees. In one-on-one setting or in groups of three or four we discuss the main issues in 90-minute interviews. From company's archaeology, their origins, up to their future ambitions and outlook towards their consumers. That itself is research. We don't associate it with research, because there's no research authority with 120 slides, tables and graphs, but it's research. It's essential in order to get to know this business, this brand, this company and this market. Based on that, you often realize what information you're missing and what additional research you require. Then you also have plenty of publicly available information from various sectors, sectoral associations publish various reports and studies locally and globally. Various consultation companies, like McKinsey, Boston Consulting Group, also provide publicly available information. The public sector carries out a lot of research, various ministries, European organizations etc., so you can find a lot of public information. You also can't dismiss your personal observations. The next question is whether you require personalized research, whether you need to purchase a secondary study that's already been completed. You have to assess it from the economic perspective. If you purchase an additional study for a bigger or smaller sum of money and become 5-10% more sure, so that you're 85% sure, instead of 75% sure, will these 10% be worth it? Not only in marketing, but also in investment and product development, you have to take into consideration the unknown. There's a risk premium that you have to pay. When you launch a new product, you can be 80% or 90% sure of its success, but then the unlikely 10% scenario happens and it doesn't succeed. The same applies to brands and identities. It's the question of how much you're willing to pay and whether it's worth it to pay. It's one thing if you're 95-100% sure, but another, as my lecturer once told me, there's such phenomenon as analysis paralysis. You sit there as a consultant or a client, there's a study after study, and then suddenly you're unable to make any decision, because you have too much information and you can't choose which direction to take. In various industries, whether it's beauty, underwear or something else, you can see plenty of brands, where you can sense that people like us, who understand how to create a cool brand and what the current trends are, have decided to create an underwear line. We too would be quite good at that. But that's a marketing project, and you have to wonder whether such project will continue existing in five, ten or fifteen years, because, if you're really burning for that category, that product, and go through the process with it, then probably “yes”, but if it's a classic marketing approach of “exploring an unoccupied market niche, doing everything by the book and seeing it succeed”, will you as a person who manages the brand still feel motivated and fully invested in that project in a year, two, three, four years?In a way, yes. On the other hand, almost every global celebrity has their own brand, even several. Kim now has a cosmetics line with an excellent design, she has several brands. MrBeast has chocolate. The Rock has energy drinks. Basically, every celebrity now has several brands. It even might be easier to create a successful brand, if you're a recognizable person and you find a manufacturer and create a brand, then if you're a manufacturer who has to create something from ground up.You should view these celebrities as corporations like “Procter & Gamble”, “Unilever” and all others. Here you have a recognizable brand, competence or means to keep adding new products to the product portfolio. You will most likely succeed, since you have the name that you lead with. And in their case, some things from the portfolio will die off within a year, something new will appear, it will be very fluid. Just like with corporations. You launch a new product line, it succeeds – great, it doesn't –you kill it. Remember, “Madara” had a drink line. There obviously was a hypothesis that the brand is strong enough and has suitable associations in order to introduce a new category, but the market said “no”. It went back to cosmetics. It's similar for the celebrities. Maybe it's obvious for MrBeast to offer chocolate. Maybe he will enter a new product category and get burnt.I believe that the audience of all these public personalities is very specific and that they have the same outlook through the content this person creates, so it's easier to position the new brand, since the audience is clear and already gathered in one place. While, if you're a chocolate manufacturer, you have to build the audience from zero. You have to find it first, you have to know how to approach it, how to gain respect within this group. It's much more difficult than when you already have an audience, few million followers on Instagram. You can just provide them anything they need. In the end, the audience is more important than the product. If you have audience, you can offer it anything.Yes, but there's one difference. If you're an organization and an institution, you're an organism that's already a group with employees, teams, decision-makers etc. This group also attracts like-minded people, hopefully. Each organization has its own rituals, its founding story etc. It's more immune to sudden changes in a positive way and represents a more predictable direction. Then you have this individual, a personality cult, where you have built everything upon yourself and your activities. Regardless of whether it's your public persona or it's really you. If we look at recent events, where something happens to your persona, in your head or in regards to your opinions, you change your beliefs or suddenly spill something that you've kept within you, some antisemitic remarks or something else. Then there's the question of whether your audience will follow the marasmus you begin to produce or it won't. And then one day you see someone like Ye or Kanye West go from a billionaire to someone who brands, product categories and audience turns away from.But is the audience really turning away?In this specific case, it's too early to tell. But there has been precedent, like the classic example of Nike and Tiger Woods.Time will tell, but my intuition tells me that the audience is putting more trust in the individual than the corporations. If you ask me, I think that the audience that surrounds this individual will most likely stand by this individual than by some corporation.Actually, people are the ones we put our trust in regardless of whether we talk about corporations or influencers. If you sense that there's a team standing behind the influencer or the persona, creating its content, but this influencer is just a talking mouth that you don't believe in, then people will turn away sooner or later. If you have a corporation with a strong leader or a founder who is open and talks with the audience, and you can see him and empathise with him, then you will trust the corporation. And, even you don't see the faces representing the corporation, but will sense its humanity and that there's a team behind it, let's say, you experience a positive interaction at the client service. I recently ordered a bicycle helmet, and I received an order confirmation with the text “somebody's going to look sharp soon”. That's an automated order confirmation with pre-generated text, but the way it was formulated textually and visually made me think that this company is cool. It raised the brand value and its credibility. So to answer the question of whether we trust the corporations or the influencers more, I have to say we trust the people, and there are people behind corporations as well. After talking with many companies, I've realized the missed opportunity of showcasing all the behind-the-scenes processes, the team, the people standing behind the product and the brand. In the modern world, where we talk about content marketing, there is content that can improve this damned search engine marketing, which is a mechanical, algorithmical process. By adding stories about employees, it not only cultivates human empathy, but also provides content that gives you an advantage in the digital environment.When you start a new business, you often begin with your product and who you will sell it to. In the context of our conversation, if you already have an audience, it's much easier to find a product that will sell, because you already closely feel your audience. If you're now starting a new company, shouldn't you start by growing your audience, by showing the backstage processes, and then this process might even lead you elsewhere. Instead of creating a product and knocking on every door, looking for someone who will finally buy it.There is a channel within brand identity creation that hasn't received enough credit, namely, sales channel and sales strategy. These personalities on YouTube and elsewhere, they already have a communication and sales channel on Instagram or elsewhere. They're able to lead the audience to their website, which is also their sales channel, with on click. When a start-up company requests a market strategy or identity, I always ask for their sales strategy, their sales channels, distribution models. There's a difference between being in a low-priced shop and a premium department store. Between only distributing through your online store and a third-party online store etc., because it also defines your audience and followers. It also defines how you have to look visually, your context. Companies need to have a more complex and technical approach to growing the audience. You have to consider the products, the team, your story, distribution channels, sales channels, communication etc. It's clear that the initial investments for a corporation or a start-up will be higher than if you already have a persona. You can't forget that this ready persona has invested its time, money and resources in creating oneself.If a start-up had limited time and budget, what three things should this start-up attempt to do as a minimum? What would provide the highest return value?It should start by defining four things that it's good at. What are the reasons we should trust you. Then you mirror these things by naming the benefits they provide to the end consumer, who should already be defined. That's from the business side of things. Secondly, you should define the brand's tonality and personality. That establishes how you behave and look in the market. There are practical things you define together with the design partners, namely, that we represent this specific colour or that these forms dominate in our design. It's important, especially in this digital age. If you have a signature colour and if you can make people associate you with this colour, then it's as simple as showing it in a banner, and people already know who's approaching them. Firstly, the competences, what you do plus how they translate into benefits. Secondly, all these communications, tonality and things that make you recognizable. Thirdly, no one has dismissed the thing called mission or vision, or brand promise. You should state in at least one or two sentences the direction you're taking, be it ideological or philosophical. It not only helps with external audiences, but also internally. It will establish the company's culture, for example, if we think about product development – what categories will or won't suit you. Here I don't mean that this mission, vision or brand promise has to be anything related to saving the world, because nowadays I find it to be extremely exaggerated. There's too much attention on the fact that brands spend a fraction of their profits to benefit environmental or social issues. They take a stand regarding certain ideology. I think it's totally okay, if you as a company just aim to create a good product. Let's say, I want to create a tasty lemonade of superb quality and, while making this lemonade, I don't want to save dolphins. I just want a tasty lemonade that people enjoy. It goes without saying that in the production process you shouldn't pollute the local river, you should pay all taxes and avoid corruption. Not all companies need to make that their central message, your overriding goal may also be that you want to live a good life, not that you want to right the wrong in this world.There are times when you want to develop a good product with good intentions, but, by speaking honestly and directly, you do more damage than those who don't care, but who are able to smoothly apply these self-praising statements with no scruples, even though their raw materials are questionable or their source is unknown, but you do the so-called “greenwashing”, where you put up all these statements, and the vast majority of people will not go into details and will instantly decide that these products are the same or that this one is even better since it states all these things. But you, by being honest and having good intentions, let others surpass you with their marketing. What should you do in this case?I would always like to hope that the good guy will win in the long-term.But, considering the performance marketing taking place on social media, where people hammer out limited offers, “click fast to get 3 for the cost of 1”, should you do that or rather build a proper brand in the long-term. I'd like to believe it would be better, but will it?When it comes to performance marketing, these tools become increasingly expensive, price per conversion becomes higher and higher. People with deeper pockets will most often outtrump you in performance marketing or by buying the best place on the store's shelf, or by price dumping etc. Your only hope is to create a proper story, a good product and to slowly grow a loyal audience in the long-term. The most successful marketing tool is word-of-mouth marketing, but that's a long-term process. If you're a start-up or a niche company, it's very important to land the right audience, which will remain loyal to you and will bring you forward, based on your resonance potential. Here we see the big problem in Latvia, this small market. If you, with your correct, decent approach, wish to remain that way, but the vast majority of the audience is price-sensitive and will buy 3-for-2 items, despite the fact that the statements about these products are bullshit, because they will feel like they've bought an equal item due to marketing, then you have to understand whether you a) have to keep up, by compromising your values and changing your setup, your category and your position, or b) have to make peace with the niche that you occupy in Latvia and accept that you won't grow any bigger. You might need to find new product categories in order to reach new people or secure the existing audience. Or c) you have to reach outside of the borders of Latvia, where, as we discussed, what is a small number in Latvia, can amount to a huge absolute number globally, since 1% of Riga audience is not the same as 1% of the audience of London or Stockholm.But then you have to reconsider if your values that work here, being local, home-made and natural, are of value to someone outside our borders. You have to be able to find a different brand story.Maybe. I've been involved in “Madara Cosmetics” to some extent, and I think there's a combination of general values and brand-story elements that are true in all markets. For example, organic raw materials, responsible and ethical production etc. This growing industry and consumer's understanding that cosmetics should be organic. And then there's the exotic element that lets you stand out, for example, a special design element that has a local characteristic, certain shapes, portrayal of landscapes, which isn't Scandinavian or European, but signals the Baltics. In this case, many locals here don't appreciate or realize that you shouldn't be ashamed of the cultural, visual and ideological references to our nation. They can actually help us be great and stand out on the European background. Ukraine has been a current topic, and you can see that they heavily reference, in political and other contexts, even in Eurovision, things that are specific to their culture, ornaments, Kazakhs, nature, sunflowers, and it makes them interesting and unique. I don't mean we all have to become provincial and reproduce artisan markets, but the history and cultural references, visual references can be a huge source for interpretation and can make us interesting and different in the context of Europe. Regarding the global brand-story, it doesn't matter whether those are cosmetics, financial services, food products or something else, if we as humans can use it here, then others should be able to use it at a product level. There's a uniting functional and emotional need that this product solves. The next level of how we stand out can be found here locally, in our country or our people.The big question is what the local brands are missing that keeps them from finding their place globally, from being heard.This too is a story about the long-term and the masses. I think they lack confidence and shamelessness in a positive sense. Instead of denying and copying something that's only a global trend you have to able to create trends yourself or use the current global trends in your own unique way. If you do it alone, you might look weird, but if it's represented by one, two, three, four, five, ten Latvian brands whose ambition is to conquer not only Latvia and the Baltics, but a wider region, then it creates a movement. It also encourages other brands. Latvian brands are often characterized by modesty and certain compliance, and excessive flexibility in response to external factors, therefore it's refreshing to meet the managers of “Printful”, “Madara” and other similar companies that have reached the next level, but at the same time have maintained the local presence, by developing infrastructure in a certain city or by supporting social initiatives here, in Latvia.You've been working on two studies for two years, about the marketing environment mood in Latvia and about the future trends. Can you provide insight into what you've discovered within these studies? What is the mood like in Latvia and the Baltics? What should we pay attention to in the next year?We have just completed the survey of the marketing environment in Latvia, where we surveyed the people responsible for marketing on the clients' side. We asked several questions, the report will be published soon. The overall question is whether the positivity has decreased or the pessimism has increased when compared to the previous year in regards to how you see the next 12 months for your company. What's interesting, the response to the decrease in positivity or increase in pessimism isn't to freeze and wait it out or to freeze, cut marketing resources and wait, but to react flexibly to what happens. The previous priorities of where to invest and what competences to develop are expressed in research, product analysis, seeking new audiences and export markets. There's no sense of doom, which I felt in 2008 or 2009. Maybe all the marketing and business conferences, saying that there are opportunities within a crisis, have worked, or it's a business truth that companies have realized, namely, that we have to be flexible in the face of potential recession and inflation in order to react appropriately. And we can find value there as well, by creating new types of products, new variations, by conquering new markets with design and marketing, by approaching new audiences. That's one big characteristic found in this survey. There are a lot of specific trends which can be found on social media. When we summarized this year's trends at the beginning of this year, I found it interesting that now, after a pandemic, during times of war, when everything seems bad and everyone should be glum and sad, things are the opposite. People are looking for positivity, brightness and colourfulness. It doesn't mean you're throwing a feast in a time of plague, it's just a natural human reaction and some sort of protest and fight against the large, grey authority. If we look at history, at the late 60s, 70s, oil crisis, the Vietnam War, stagnation within the Soviet Union, the Afghan War. What did simultaneously happen in pop-culture? Hippies, tie-dye art, disco. To summarize what the marketing managers themselves are saying, yes, we know we're going to face a challenge, but we're ready to fight and actively work on increasing value.

Branding is a form of self-discovery. Your brand is how the world perceives you, but more importantly, how potential voice seekers will perceive you. Anne & Lau want you to put your best foot forward, and that starts with using your name and likeness to let the world know who you really are. Type casting, client feedback, and peer advice can all be tools to build your understanding of how others perceive your brand. But it doesn't stop there! Look inside yourself to learn your core beliefs. What is it that makes you tick? Externalizing this will strengthen your brand and make it authentic, like you. Sounds challenging? Listen up Bosses, Anne & Lau are here to help… Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza. Welcome to our business superpower series with the one and only Lau Lapides. Hey Lau. Lau: Hey Anne. Anne: How's it going today? Lau: Oh, it's beyond awesome. I'm always thrilled to be on with you. I mean it's, it's -- Anne: Beyond awesome, I love it. Lau: -- can't wait to see what's gonna happen. Anne: I love it. Well, then I've got a question for you. Okay? Lau: Okay. All right. Anne: So this is a question I get asked a lot. So if you had to give three words to describe me, what would those three words be? Either my voice or something that would help to brand me. What would those three words be? Lau: Now, are you talking about let's qualify that, is that within the profession or is that just in general as a person from the short time that we've known each other? Anne: Well, you know what, since it's such a personal brand, like we are personal brands, I think it could be a mix of both if it needs to be. Because I think people wanna connect to the human side of Anne as well as the business side of Anne. Lau: Okay. And by no means is it just these three words, 'cause we could probably come up with you 50 words for you, but we, we only have so much time. So we'll say three for now. Anne: And hopefully they're good words. Lau: Oh. Of course. Okay. So the first one that comes to my mind that I can't dismiss is feisty. Anne: Oh, feisty! Lau: Feisty. Anne: I like feisty. Lau: Feisty always goes with like fun in my mind too, but feisty -- Anne: That's a good word. Thank you. Lau: The second one would be, I wanna say intelligent. I feel it's a little bit bland of a word. I was almost gonna say sophisticated. Anne: Oh, so feisty, intelligent or sophisticated. I'll take those. Lau: Seasoned. Anne: Ooh, seasoned. Lau: Seasoned. Anne: That's awesome. Wow. Lau: And those are three that come to my mind. If you gimme another five minutes, I'll come up with more. But. Anne: I love that. Wow. Lau: And to be perfectly transparent with our listeners, even though I feel like I've known you forever, we really have only been working together like a week. And we only met, when did we meet, a month or two ago? Right? But see, already I got so much perception of your vibe and the way you work and how you're thinking about things. And it's, it's a lot in a very short amount of time. Anne: I love that. So if I have three words for you, and this is funny, cause look, I have not thought about this, BOSSes. I sprung this on Lau like just as you heard it. So she was kind of not anticipating either. So I'm going to say brilliant. That's one for you. And I mean brilliant in not just a sense of like intelligence, but I mean like brilliant, like sparkly. Lau: Oh. Anne: Like in a sparkly way. Lau: Like how you would say about a diamond or something. Anne: Right? Yeah. Yeah. Like brilliant. Lau: Oh thank you. That's really sweet. Anne: And honestly this is something maybe you're not gonna put it on your, your webpage, but we could think of a different word for it. I mean, I think you could, but beautiful really is another, and I don't mean beautiful like visually I do mean visually, but I really mean beautiful spirit. Like a beautiful spirit. Lau: Thank you. Thank you. Anne: Yeah, absolutely. Lau: That means so much more to me. . Anne: So a beautiful spirit and gosh, you know, you said feisty and I love that word. That's a great word, but I -- Lau: Isn't that a great word? Anne: -- also feel like, like a version of feisty, a version of feisty because gosh, I'm thinking of the word, something that would resonate with -- like, no one's gonna pull the wool over your eyes. Lau: Ooh. Anne: Like you're not gonna stand for any kind of nonsense. You are forthright. Lau: Oh, I like that. Thank you. Anne: So those, brilliant, beautiful and forthright. So those would be my three words. And so BOSSes, we get these questions -- Lau and I get these questions all the time, right? What is my brand? How would you describe my voice? And I think it would be a great time to talk about branding, because branding is so difficult to do on your own because -- this is why I asked Lau, what do you think? So I was able to get an assessment from eyes that were not my own or ears that were not my own. And I think it really helps to have someone brand you, but also to have you be a part of that decision in terms of what type of a brand do you wanna be? How do you wanna be perceived out in the business world for your voiceover business? So I know that for my students, there are two different forms of branding. One is a visual branding, which could be your website, right, and how you wanna represent visually. But also vocally. I make it a point to tell students, as we go through our sessions together, I will be vocally branding them. And that really means to assess their tone, their style, and where I feel they fit within the industry in terms of what brands do you think you would represent well, and what styles and what industries your voice would resonate in. Lau: Hmm. I think that's brilliant. I mean, that's so important and that's the very thing that everyone needs, everyone's looking for. Everyone needs it. Sometimes I would imagine it doesn't always like match or it's not always on the level of what someone is self-perceiving, and that's why it's so imperative that you have great coach, great people surrounding you to sort of keep you in line and keep you realizing what is realistic in your perception of whatever your branding is. So I think that that's fantastic that you do that. It's so important, and to do it upfront versus a lot later on, so hearts are not broken you know what I mean? Anne: Well, I think that branding is a process and I think that you can also evolve your brand. You don't have to be one specific brand or three specific adjectives. As a matter of fact, like Lau, you said before, there could be multiple words that describe you. And it's not something that -- you know, it took me a minute to kind of formulate my three words for you, 'cause I was making a decision. There's so many words that came to mind, but as making a decision, how do I best feel that your brand is assessed? And so I think it's important for BOSSes to know out there that branding is not something you can do just over a night or maybe by asking a few questions. I think it's something that happens over time, and it's something that can actually really evolve along with you. I know that my brand, especially my business brand, when I first got out there, I was Anne Speak. And you know, that was like, Anne Speak. What, you know, what is that? What is Anne Speak? And Anne Speak was a very different logo and a very different look on my website. And I've evolved into something that I feel is more authentically me over the years in terms of who I am. And I, I love that you said intelligent because that was one thing that I really wanted for people to perceive about me. It could just be that a female that worked in engineering, that is one of those things that I always wanted people to see me as intelligent and not necessarily, oh, there's a female. I want just here's somebody who knows what they're doing. And some people think that that's why I wear glasses, but honestly I just need them to see . Um, but glasses have always been a big part of my brand. Lau: The truth comes out. Anne: Yeah. Lau: Anne: Well, what about you Lau? 'Cause you've been in the business for some time. And how has your brand evolved over the years? Lau: Well, you know, it's funny. When I started this business, Lau Lapides Company, the studio, I ended up keeping the name throughout. I've never really changed the name itself. I think when I first started though, I always had the mindset of an agent in my head, though it was funny. I wasn't really starting an agency per se. I was starting a studio. Right? So I had this idea of actors work, voice actors work. And so that was one of the running titles in my mind of naming a business, 'cause I wanted talent to work, and I wanted to help them get to work. That was one of -- so that was one of the original working title ideas I had. But then it went to Lau Lapides Company fairly fast and then I stuck with it. Here's the interesting thing I found, Anne, is that despite me or despite what I was thinking, it had a very large appeal. It had a large presence. That's what I'm looking for, a large presence to people on the outside that were saying, wow, you have a big company. And so I would start listening, I think in branding, how do I learn who I am? I have to listen to my audience. And so I spent a lot of time listening to how I was perceived by the audience. And I was astounded at how I was being perceived. And one was this big, large presence. And I think because the name was Lau Lapides Company, it sounded big. It had a largess. So people would come and say, wow, you have an enterprise. Wow you have this, Wow, you have that. And I was very small at the start, as most businesses are. Anne: Sure. Well, one person sometimes. And I love that you talked about your personal name because again, I'm always of the thought that we are our own personal brand. We're selling a product that is very personal to us. It's our voice. Right? It's our essence. And so I always think, well, what better name for your product or your company than your name? And it's funny because people might say, well, I have a long name that's difficult to spell or I have Anne with an E that people always forget. But honestly I'm always like, well look when I need a tissue, I ask for a Kleenex, right? So when I need a voiceover, I should ask for a Lau Lapides or an Anne Ganguzza. Lau: That's right. Anne: And so I've come from the place of abundance as you like to say. And I manifested, right? I am just putting it out there. I'm Anne Ganguzza and lo and behold, at some point people are gonna be asking for an Anne Ganguzza and it, and it will work. And so that was part of my branding, my personal branding for my name was my name. And so my legal company name is Anne Ganguzza Voice Productions. And so it's interesting 'cause you're Lau Lapides Company and I'm Anne Ganguzza Voice Productions. Lau: That's right, that's right. Anne: So I settled on that after many years of trying to figure out what should I name my company? What domain should I buy? Because I thought Anne Speaks was so cute, but we know that nobody really knows what an Anne Speak is. Um, it's not really searchable, but Anne Ganguzza is, right? Lau: Right. Anne: So I love that. And I think you wanted to see what people thought of you, right? Lau: I did. Anne: And that was the basis for the beginning of a brand. So I think any of you BOSSes that are out there and you're starting the branding journey, I think it first has to start with you and the basis of who you are as a person. because it is such a personal brand. Now maybe you're not gonna put those words out beautiful, but maybe beautiful voiceover, who knows. I mean -- Lau: Who knows? Anne: -- whatever comes to you that you wanna be perceived as. Lau: The funny part about it was, Anne, to me it was clunky. It wasn't a smooth transition or polished thing because my name was hard to say it's hard to pronounce. It's hard to spell. I got a lot of people who legitimately thought I was an Asian man. Like literally they had no idea I was a Caucasian white woman, and everyone mispronounced my name, everyone. Anne: Yeah. Yeah. Lau: And so a few of the folks that are close to me said, are you sure you wanna keep the name? Because no one's gonna get it right. and they're gonna mispronounce it. And I said, absolutely. Anne: Yes. Oh my God. Lau: That's what makes it memorable. Anne: I am so in agreement with you, so in agreement with you about that, and that's like, well, don't you think people are gonna spell your name wrong? Well, yeah. I mean, but no. People will learn it and Ganguzza, which to a lot of people think is really a difficult name to spell -- it's not, spelled the way it sounds -- Lau: It's different. Anne: But a lot of people were like, yeah. And so why would you do that? I'm like, hey, no, keep it. It's kind of one of the reasons why I kept my unique New Jersey phone number for my cell phone, because people would know if it was coming from that area code, it was Anne Ganguzza. Lau: So that's right. and as they stumble over the name and still stumble over the name and mispronounce it, it never bothers me. I love it because I know as they learn how to pronounce it or catch something, they're thinking about -- Anne: They're gonna remember it. Lau: Yes. Mm-hmm, they're thinking about, they're gonna remember -- Anne: They're thinking about you. Lau: Yeah. So I think that's a hook for a lot of folks to think about it. It doesn't have to be easy and it doesn't have to be common. It could be something a little bit unique that people remember that they have a tough time with too. Anne: Right. Now, and so let's talk a little bit about visual branding. So for visual branding, I'm assuming like visual branding would be your logo, your website. And so things that represent your store front, that would be the visual branding. It can also be the visual branding of your person. If you're a person that goes to conferences or you're a person that goes out and speaks, go to the chamber of commerce and you're representing your business. So visually branding, so it's a little bit different than vocally branding. So what are some steps that you take, Lau, to visually help brand yourself or others? Like what steps can the BOSSes take to start with the visual branding? Lau: Gosh, that's a great question, Anne, and it's like asking someone to think like a graphic designer. Anne: Yeah. Lau: Or a web designer, right, or do something that I personally am not. I am not a visual designer. I'm not a graphic designer. And yet when I was starting out with a website, I had to kind of become that in the sense of the designer would need to know, what was I going for? What was the visual I was seeing. So I had to -- Anne: Colors. I think starting with them -- Lau: -- work with them. Colors. Anne: Colors. Lau: Colors, colors. Anne: I think colors are a good start. Right? Lau: Huge. So what I did was, and I remember doing this years ago before I actually started the studio, I started asking some of my students at that time, I would say, what color do you think of when you think of me? Anne: Yeah. Absolutely. Lau: And I remember, I remember some of their responses that it was so memorable to me. One of the women that I worked with was amazing. And she said, oh, red. Anne: Yeah. Lau: It just like came right out. Just like that. I said, you don't have to think about that for a second. She said, no, no, you're blunt. You're vibrant, you're specific you're out there and unapologetic, and you're red. . Anne: Yep. I agree with that. I totally -- Lau: 'Cause I love all colors, Anne. I don't have a favorite color. Like any color you give me, I would like. Anne: Oh really? Lau: Yeah. Anne: So my favorite color is blue, right? Yes. Believe it or not, blue -- and blue is actually my brand. If you go to annganguzza.com, blue is -- but I also love red. Okay? Lau: I can see that. Yes. Anne: And so red -- yes -- red is part of my VO BOSS brand. So I got to have the best of both worlds and my favorite colors. And it's not necessarily a vibrant, bright red, but it is more of a deeper red. That is one of my very favorite colors. And so I got to have both for both of my brands. And so I think it starts, colorwise also, I think it can really describe you in a lot of ways, colors. You know, Blue's very professional calming, but for me, blue is also the color of my eyes. And it was always been my favorite color. I mean, when I was a kid blue everything, and I had blue stripes painted in my room on my walls because I love the color blue. And so that's really an integral part of who I am. And I think starting with those colors and it was something within that color palette can be a great visual representation. And I'll tell you what I do with a lot of my students, if I were helping them brand themselves is we, we actually create a, a private Pinterest board, and I have them just like a vision board, right, I have them pin everything that they love on one of a board that they call Sarah's branding board. Right? And they pin their favorite colors. And then maybe they'll go to like Behr paints and get a color palette, right? Pick their favorite colors, pick their favorite fonts, pick their favorite things, and flowers and whatever that might be and put that on a board. And what's really cool is that -- I'm not saying you have to design the website, but you give that to the person who's doing your website design. And that is a great representation of who you visually are as a brand. Lau: Oh, I love that. That's fab. Anne: Yeah. Yeah. Lau: That's fab. And you know, the other thing that comes to my mind is shape. So when I think about shape, right? I think about the first thing that comes to my mind was the documentary on coffee, the great coffee kings entrepreneurs around the world. And Starbucks had done years and years of studies about their furniture. Like what shape should their furniture be in their stores? And they went from square to rectangle to oval, to round, whatever. Bottom line they landed on more -- at that time, it may have changed -- more round than square and the reasoning being, they want the community to be connected in the circular sense than in a square sense with sharp corners and sharp edges. That's, I mean, they were really going to town with the details. Anne: That's, that's really interesting. Lau: And I learned a lot from that and I thought, gee, what shape am I? What shape am I? And my logo was very square. It was actually very rectangular. And I analyzed why I did that. At the time I was coming out of an executive speech firm that was pretty square. I mean, they were pretty corporate in the sense. Anne: Yeah, yeah, yeah, yeah. Lau: I thought it was, was the right thing, the right thing to have a logo that had subliminally, I thought that had sharp, sharp, structured edges to it. Anne: That makes sense. Lau: I since created a new logo, and it's always in a, a work in progress, like everything we're always work in progress, and I didn't even think about this. I just did it, Anne. It became circular. It became circular. I like the image, but I also love the sense of just roundness and the world and the -- Anne: Softening. Lau: -- connections. Softening. Anne: Yeah. Yeah. Lau: Yeah. So I think shape plays a big part in your branding. Anne: That is so interesting. And I, I interesting that 'cause shape can define your website. You can have a curved logo or even curved edges on your website or represented in circles for me. I'm very clean. I'm gonna say clean lines, clean circles. And I'm gonna say -- that's so funny because your furniture decor can say a lot about your taste as well, right? I used it for many, many years. It was more of like a, a Tuscan Italian dark wood. And then literally just moved to this new house, which became the interpretive farmhouse. Right? And now I became all clean lines, and my backyard landscaping, believe it or not is not circular. And it's funny because I would go to my neighbors' yards as they were getting them landscaped. And I'd be like, I love the circular curved paths, but in retrospect, my backyard is very square and asymmetrical, rectangular and asymmetrical. And there's something to that as well. So I think that BOSSes think about those things in terms of visual branding, put them on a Pinterest board that you can either give to your website designer or use it yourself in terms of colors and shapes really say a lot. And fonts, I love clean fonts. I don't like fonts with curly anything. I don't like fonts that are Times New Roman like that kind of like that. I like fonts that are plain like Arial, you know, that kind of a Sans Serif, those types of things. So clean and readable and clear. And I feel that that also describes my voice, believe it or not clear and professional. And so those are my font choices. Then comes the part of the visual branding is also how you write about yourself, how you describe yourself. Do you write in the first person, do you write in the third person? You know, how is it that you're describing yourself on your webpage for your bio or for your business? But that really is a visual branding thing. And I think it can absolutely help if you start doing that and work with someone to help you to develop your visual brand. It's sometimes really difficult and know that it can evolve. I mean, absolutely. My colors when I first started were dark green. So who knew, right? I evolved my brand into blue and deep red. And now maybe it'll turn into something else. But brands do evolve. They do refresh. And I literally just had a refresh of the VO BOSS website. And so, so the colors that I had before were more brighter red and more of a royal blue. Now I've got maybe just a deep red and black. So the look is different. The website design, the logo is clearer and so things can evolve. And I think it's good for you to refresh your brand once in a while. Lau: Absolutely. Anne: Now let's talk about vocal branding. So it's something that I say that I do. And I, there's not a lot of people who they're like, oh, I love that you vocally brand me. What do you do? But I think a lot of people are vocally branded, right? When we try to describe what are the traits of my voice that you hear? I think that's definitely one, but also I think not just what are the traits of my voice, whether it's friendly, warm, whatever could be -- Lau: The qualities. Anne: The qualities of voice. But I think it's also more of a style as well. What do you think, Lau? Lau: Oh, oh my goodness. Absolutely. I feel like your personality, your persona, your inners, so to speak, do come out in the sound of your voice. Like when we're working with a client to find their voice, it's not just for voiceover delivery. It's for authentication of your identity, of your strength, of your inner soul, if you will. It goes that deep. So I think a branding is an offshoot of that. It doesn't have to expose everything about you personally, but there is that element there of how do you come across? How are you perceived on a daily basis outside of copy, outside of a booth, outside of work? And melting that into your professional life so it's not a totally separate thing. It's really a hybrid of your persona, your personality, the personification of personalization with your professional chosen life and choices that you've made. It's kind of a combination of those two. I don't believe it's one or the other. So I think your vocal branding is really every possible range of motion movement that your voice is capable of doing and really landing on what do I do most? What do I do best? What do I like doing? Anne: Right, and a lot of that has to do with like, you know, when I talk about vocal branding, you're right, it doesn't stop at the actual technicality of a vocal. It really, it becomes what styles, what do you love? What are you passionate about? Because again, that personality, that authenticity, that you, that unique you is a part of your vocal. So it's so interesting when people try to just categorize it as just being friendly, warm, compassionate, gravelly. It's so much more than that, your vocal branding. And again -- Lau: It is. Anne: -- that's something that I think with a lot of times, if a demo producer they're creating a demo for you, they'll ask you what brands do you align with? What things are you passionate about? Because it really makes sense that if you're talking about things that you're passionate about, it comes through in your voice and that becomes a style. I know that there are people, let's say if there's a male that comes to me, that has a very deep gravelly voice, what sorts of things do you think of when you think of a deep gravelly voice? I don't know, Ford trucks or , you know, maybe at Cracker Barrel, I don't know. Or, or it could be John Deere construction equipment, that sort of thing. So what sort of things with a higher pitched, young youthful voice? Well, believe it or not, a lot of times I think of finance. There's a lot of finance lately that is using young millennial youthful voices, because that's the audience they're trying to attract, not just the young voice for that, but just, it could be college spots or anything that that style or that age would be passionate about or thinking about. And a lot of the style and the content that we are shooting for is where they want to advertise to. Are they advertising to a younger audience? Are they advertising to a more mature audience? And so wherever your voice follows suit the best, I think helps to vocally brand your voice as well. You know, even though I have a younger sounding voice, I certainly cannot sound millennial. It's just not necessarily in my authenticity, right, to sound millennial. Even if I try to mimic a millennial, I think ingrained in my voice is too many years of, I don't know, just too many years. Right? So I could try to sound millennial, but will I feel authentic doing it? So for vocal branding, I'm always very much about the authentic part of you. Now, if you get into character, that's something different, right? That's a different voice. And again, that's also a different passion. I know so many people vocally that can bring out so much more personality behind a character than they can with their own voice. It's hard for them to assess their own voice and to be authentic with their own voice or realistic, I should say, because I truly believe there's a lot of people that are exceptional character actors, that they're really good at -- and I don't maybe hiding behind the voice is not a good word for it, but I wanna say they're very good at putting on another character. And sometimes when you say, well, let me just hear you because you are good enough. Your voice is good enough. That's a little more difficult for them. Lau: Oh, no question about it. And I think a lot of folks get really disappointed and let down when they are prototyped quickly or when they are thought of as, oh, you're the grandmother. Oh, you're the -- Anne: You're the mother type. Lau: -- middle-aged mother. Oh, you are the, this you're the that. Well, that's what our industry does. I mean, our industry has to do that for time sake, for expediency, for ease, you know. I can do Shakespeare. I can do a lot of things, but what do I do most of, what do I do best? What do I do easiest? What's the easiest thing for me to deliver? That's important for you to really identify that and recognize that and understand that you get -- it's not the only thing you'll get. You may get something outside of that, for sure. But if you can make the job of the producer, casting a lot easier, then you wanna do that. And you wanna listen to your audience, how they're seeing you or in this case, how they're hearing you. How do they hear you? I remember too, I got a number of times through the years, even when I was much younger, Anne, even when I was in my 20's, I was starting to get audiences say to me, oh yeah, you're like the nanny. You're like the Jewish, you know, mom, you're the Jewish mom, aren't you? And I was offended. Here I was a conservatory actress. I wasn't married. I had no children. I, I was like, all right, I guess so. I thought it was almost like a slight to me. It was almost like a backwards insult of saying, is that all you hear me as? Is that really what is all has come down to? Well, since then, I've learned that that level of familiarity, that level of maternal, maternalistic quality, that level of ethnic appeal is very gratifying for a lot of people, very gratifying, and very gratifying for me too, as an actor. And so I adopted that. I love that. I, I embrace that. But then I know I could do something totally different at another time. It doesn't really limit me, not really. It just expands the level of work that I can get, because that's what I get known for. See? Anne: Yeah. Yeah. I'm so glad that you said that. And I think that there are people who hear your vocal brand as a type. I mean, I just had a student who had a really deep gravelly voice and I said, oh, we're gonna do a Kubota spot, 'cause I had -- construction equipment. He goes that's so funny because I work in it and I have no idea about construction equipment. I said, yeah. But it's something that it's associated with that type of work, and you sound great at it. And as long as you're okay with it, you know, and you can be authentic about it, and it doesn't mean you have to go out and run a piece of equipment to be authentic about it. You just have to be authentic about the message and what you're saying. And so, yeah. I'm so glad that you said that because there are perceived, you know, you sound like this type. And for me I've like, okay, you've got the professional educator because you've got that clear articulate voice. Well, I can't help -- I -- it's a clear articulate voice. And I would love to have that raspy kind of a demure kind of other voice, but it doesn't physically happen for me. So I said, okay, I'm going to accept that. And you know, if I get hired for that, of course, that's fantastic, right? But it doesn't stop me from learning other genres. It doesn't stop me from trying to vocally place my voice and do different things to increase my acting ability and my vocal ability. So it's just something, if you embrace it and then just move forward, continuing to broaden and expand your styles. I think that's, that's a wonderful thing. Lau: Yeah, it reminds me of when someone says, oh my God, you, you look like my best friend. You look like my aunt, you look like this one I know. That used to annoy me. That used to say, oh, it's like, I'm not my own identity. I'm not my own person. I look like someone everyone knows. And then I realized that's a really great thing because they already feel close to me. They feel familiar to me. They feel like they know me. Anne: What a great way to analyze that because that's the same thing with your voice. Right? So somebody is kind of saying, oh you are that voice. Well then that's great. Because they're familiar with it. They feel comfortable with it. That's a wonderful way to look at it. Lau: That's exactly it, exactly it. So don't look at is anything is limiting you. Look at it as expansion, your brand, your vocal, your visual, your inner, your outer. I think the sky is the limit, but do understand how in audience, there's like a truism, a community truism that you get in a film when you're watching a great film or when you're listening to great music. There's a community understanding of familiarity or greatness or fitting in a particular role. And it's important to just pay attention to that. So you're red, you're red. Anne: Yeah, there you go. And I can also be blue. So there you go. Lau: And you can be blue. Anne: So branding, guys, it's not something you can do overnight. Remember, it definitely helps when you have someone else, a trusted coach, a trusted circle of friends and community that can help you to understand how you are perceived. And also I think it takes a lot on your part to project what it is that you want to be perceived in an authentic manner, of course. That's gonna be your start to branding. Just know that it doesn't typically happen overnight and that you can evolve and change with it. And I think that's a wonderful thing. Lau: And it can be a load of fun. And you can learn an awful lot through the years of shifting your brand, and changing your brand, and what your perceived brand is, and really kind of just opening up and accepting the flow of what the audience and the universe is giving to you. Anne: Yeah. I would never disagree to being able to discover more about myself and learn more about myself in order to help put out a brand. So it's all good. It's all good, BOSSes. Well, thank you, Lau. What a great conversation. Lau: My pleasure, as always. Anne: Always a pleasure to have you. I'm going to give a big shout out to ipDTL, our sponsor. You too can connect and network like BOSSes. Find out more at ipdtl.com. Also for your voices out there, 100voiceswhocare.org. You can use your voice to make a difference. Find out more at 100voiceswhocare.org. BOSSes, it's been amazing, and Lau, it's been amazing having you again. And we will all see you next week. Lau: See you next week. Anne: Bye. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

Hasta hace unos días no tenía idea de nada que tenga que ver con fuentes y diseño gráfico. De hecho, ahora tampoco tengo idea pero al menos ahora entiendo algunos chistes que suelen aparecer en Internet. https://milangaelectronica.com.ar/posts/091-papyrus/

Stephen talked to Sam Carlson, New Haven musical and engineering stalwart, a little while back. They talked about movie audio nerd stuff, the most illuminating kinds of failure and Aleister Crowley's, uh, compulsions. Stephen can't entirely recall, but thinks he might have inadvertently used his laptop mic for this one, so sorry I guess? Songs: The Tines - "White Sedan/Red Earth," "In the Morning You Will Find It; Youth XL - "Salad" Books by Gary Lachman: Aleister Crowley, Madame Blavatsky Socials: The Tines, Sans Serif Recording  Produced and edited by Stephen Theme by Zack Abramo

The Drunk Guys promise to drink all their beer this week when they discuss The Promise by Damon Galgut. They promise to finish: No Requests by Short Throw and 3 Sons, Product of a Misspent Youth by Twin Elephant, Bright Side by Finback, Sans Serif by Finback, and Jumbo Slice

With over half a million fonts in existence, there are two main categories: Serif and Sans Serif. Each has a very specific purpose...so which one is right for your brand?In this episode, I'm going to cover:The difference between Serif and Sans Serif fontsThe biggest misconceptions behind the twoWhy both fonts still work in the modern age, even though the serifs look somewhat outdatedIf you got value from this episode, please be sure to subscribe and rate this podcast! Connect with Joshua

Cheyenne joins Ben this week to talk about the word Achievement.  Ben shares facts on scouting, movies and how he amassed his sewing kit fortune.  Cheyenne asks about knots and wants a badge for building traps.  They both share stories about how uncomfortable it was going door to door in their youth.  A discussion on dumb and satisfactory game achievements ensues.  Ben thinks he knows what the first video game achievement was.  Cheyenne shares her definition of time traveling and opinions on why she doesn't use exploits. 00:20 - Ben and Cheyenne: “Achievement Unlocked!” 01:55 - “… in Sans Serif font,” and Ben's hot take on the US educational system 03:35 - Tiny house talk and Earthships 06:30 - Cheyenne is not a knot person but wants to build traps 09:34 - The Big Lebowski; the Dude is a real person  12:24 - Nathan Arizona or Jim Click? 13:18 - Philip Seymour Hoffman and Natalie Wood  17:45 - Exploring the definition of the word achievement 19:29 - Cheyenne plays devil's advocate and has a pose picked out for graduation 23:36 - “What is the escape velocity of the graduation cap?”  24:37 - Ben amasses his sewing kit fortune 27:25 - Going door to door is uncomfortable as a tweenager 29:37 - Ben's paper route, and Cheyenne says “do people read papers?!” 32:04 - Reward yourself and Ben's a Double Fine fanboy 34:54 - Sixteen years later… 36:16 - Pointless achievements and dumb trophies  41:42 - Ben is mixed on his opinion of trophies and achievements  43:38 - Cheyenne and Stardew Valley 45:28 - Ben and Cheyenne ponder; “What makes a good achievement in video games?” 47:23 - Ben's achievement origin hypothesis… Atari 2600 and Activision PATCHES!  49:20 - A short PSA about gamertags.  51:43 - Cheyene's sewing kit callback and thoughts on Gamerscore  55:31 - Cheyene's thoughts on speed runs and using game exploits  59:15 - A definition of “time traveling” for Norah 01:03:01 - Cheyenne's parting thoughts on achievements and trophies

Hot Chip – Over and Over Það er komið að tilgangslausu trúttilúllus skaðræði í formi duracell airwaves hjakks. Nú skal djammað fast og post mortem framkvæmt á post modern. Öld grafíska hönnuðarins. Eftirpartí á ellefunni. Þriggja pipara Ban Thai réttum sturtað yfir nóvember-kvíðann. Þröngar buxur, 8 GB RAM, heimildamynd um erfðabreytt matvæli. Staffadjamm. Ofnskúffan hennar […]

Host: Alex CrowGuest: Aaron Lowell Denton@aaronlowellPortraits courtesy of Anna Powell DentonRecorded in Los Angeles, CA and Bloomington, IN via Zoom.Music by Hideout HillThanks to our episode sponsor TeamPeople. For more information, visit - https://www.teampeople.tvFor the latest employment opportunities, visit the TeamPeople Job Board - https://teampeople.secure.force.com/careers/

Highlights from the conversation:A brand is an organism composed of hundreds of elements, logos, copywriting, photography, colours, and of course, typographyBig companies spend millions of dollars on their fucking brand. Why can't they spend a little bit more money to make sure they have a font that is recognisable?They don't even have to say anything. They just have to put type on a page and people would immediately recognise the brand It's very difficult to maintain what's good about the brandThey're rooted in this idea of being digital-friendly but they're falling in line with everybody elseIf you spend $250,000 for a photo campaign, that gets used for one season. If you spend the same amount for a font that you use for 20 years, the cost is negligible More about MatteoMatteo Bologna is the Founder and Creative Director of New York-based branding studio Mucca, a singular personality whose multidisciplinary background in architecture, graphic design, illustration, and typography has helped him build one of the most respected companies in design. Over his celebrated career, Matteo's focused but fun-loving approach has earned strong client partnerships across countless industries, from startups, small retailers and beauty powerhouses to hospitality where he has designed for various renowned hotels and restaurants. This includes work for Sephora, Barnes & Noble, Target, WeWork, Whole Foods, Adobe Systems, the legendary Balthazar in NY and many others.Matteo is also a former board member of AIGA NY and president emeritus of the Type Directors Club, frequently lecturing around the world about his passion for typography. For his efforts, he has been widely recognized by industry publications, competitions and exhibitions, including: Communication Arts, Eye, Graphis, HOW, PRINT, the Art Directors Club, and the James Beard Foundation.Find Matteo here: Website | LinkedIn | Instagram Show NotesPeople:Rainer ScheichelbauerCompanies and organisations:MuccaGlyphsBalenciagaAbsolut VodkaMiscellaneous:FontographerMatteo's course – Type Design for Non-Type designersMatteo's workWhole FoodsRise by WeWorkSephoraFarmer's Fridge How you can helpThere are four ways you can help us out.Give us your thoughts. Rate the podcast and leave a comment.Share this as far and wide as you can - tell your friends, family and colleagues about us (caveat: if you own a family business, these may all be the same people)Tell us how we can create a better podcast - tell us what you liked, didn't like, or what you'd like to hear more (or less) ofTell us who you'd like to hear on the podcast. Suggest someone that you think we should interview. One More Question is a podcast by Nicework, a purpose-driven company helping people who want to make a dent in the world by building brands people give a shit about.One of the things we do best is ask our clients the right questions. This podcast came about because we want to share some of the best answers we have heard over the last 13 years. We talk to significant creators, experts and communicators we encounter and share useful insights, inspiration, and facts that make us stop and take note as we go about our work.Hosted by our founder Ross Drakes.Subscribe iTunes, Spotify, Stitcher, Google PodcastsMusic by: @dcuttermusic / http://www.davidcuttermusic.com

This is basically a mini album. I've been listening to old episodes and wanted all the tunes in Jackson's Celebrated Irish Tunes in one place. What do you think of the new fonts and background? The font is as close as I could find for Robert Bremner's font in his printed collection. But I'm not sure the History nerd-ness of Marble paper and eighteenth century font outweighs the readability of a Sans Serif font and white space. If you want to see any of these tunes they are all on NPU's website, or Cape Irish: http://www.capeirish.com/webabc/working/source.folders/jcit/jcit_table.html Please Consider supporting the Podcast by Joining the Patreon Page: https://www.patreon.com/wetootwaag Please take advantage of the Tune Collection tab: https://www.wetootwaag.com/tunesources Also Please take a minute to leave a review of the podcast! Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Itunes: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

1) Discussing the win, another strong start by Eli Morgan, Big performance by Ernie Clement and Cesar Hernandez power the com from behind win, we talk Jose Ramirez and Nolan Jones as well2) Digging into Nolan Jones who makes sense as a replacement for Jose Ramirez if his elbow keeps shim sidelined or if a trade occurs down the line. We dig into the good and bad that would occur with his call up3) Talking about the newest Indian Zac Fascia, a Purdue catcher who they added today according to the announcement, then a quick preview of the Rays comparing the two teams Support Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order.BetOnline AGThere is only 1 place that has you covered and 1 place we trust. Betonline.ag! Sign up today for a free account at betonline.ag and use that promocode: LOCKEDON for your 50% welcome bonus.Rock AutoAmazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you.Fully Loaded ChewFully Loaded Chew is offering LOCKED ON “TEAM” listeners a special offer – Rightnow you can try a can for just $1. Go to www.fullyloadedchew.com and use promo code: “LockedOn”Wild AlaskanRight now you can get $15 off your 1st box of premium seafood when you visit WildAlaskanCompany.com/MLB.Sans Serif▲ 1Send          Learn more about your ad choices. Visit podcastchoices.com/adchoices

E estamos de volta… Para falar de um dos livros mais necessários já publicados para Fate, não apenas para o sistema Fate, mas para o RPG como um todo. Vamos falar do Fate Accessibility Toolkit (FAcT), ou o Guia para Acessibilidade em Fate, focado em como tornar personagens com condições atípicas muito mais do que estereótipos e mostrar que condições atípicas podem ser muito mais que mecânicas de horror lovecraftiano ou pontos para aprimorar outras partes. Falamos sobre o risco dos estereótipos, sobre como um personagem pode, ainda que contando com condições atípicas, ser tão competente, proativo e dramático quanto qualquer outro, sobre os problemas do “kit do psicopata feliz” e da narrativa de superação e sobre como é importante sempre fazer a lição de casa, tanto ao criar personagens com condições atípicas quanto ao aumentar o acesso de jogadores com tais condições ao RPG, que é um hobby que tem possibilidade de ser muito mais inclusivo do que atualmente fazemos. Esse longo episódio também é regado com exemplos pessoais e informações nossas. E deixamos o pedido: você que conheça jogadores ou seja jogador de RPG que tenha condições que demandem algum tipo de atenção especial, como baixa visão, surdez ou condições psicológicas e que deseje dividir suas experiências conosco, por favor entre em contato conosco no fatemasterspodcast@gmail.com e divida conosco sua história, já que esse debate que está sendo aberto nesse podcast não foi encerrado E lembrando aquilo que não te contaram sobre a acessibilidade: Nem toda pessoa com alguma deficiência deseja ser curada Nem sempre dá para se curar uma deficiência Binarismo em deficiências é uma ilusão: a maior parte das deficiências não são oito ou oitenta, vindo em escalas. Dispositivos de Acessibilidade são ferramentas, não brinquedos A deficiência não é toda a sua identidade, ainda que possa ser algo importante. Você pode ser um cego judeu, ou uma pessoa de cor cadeirante, ou uma mulher com bipolaridade, ou um homem trans autista… ou qualquer outra coisa. Pessoas com deficiência são pessoas complexas, como qualquer outra. Dor é um conceito relativo: certas dores podem ser simplesmente ignoradas se você as sente o tempo todo Deficiências não são caixinhas: elas variam de pessoa para pessoa. Mesmo pessoas que tenham o mesmo tipo de deficiência podem lidar com ela de formas diferentes. Nem toda deficiência é visível: algumas podem não ser vistas, mas ainda poderem influenciar a vida da pessoa. Pense em pessoas diagnosticadas como autistas. E as redes sociais dos Fate Masters: Mr Mickey: fabiocosta0305 ou hufflepuffbr em quase todas as redes sociais Velho Lich: rafael.meyer no Facebook ou eavatar no Tumblr Cicerone: lcavalheiro#0520 no Discord e lcavalheiro no Telegram Abaixo, a tabela dos materiais analisados até agora Posição Cenário Mr. Mickey Velho Lich Cicerone Palomita Média 1 Uprising - The Dystopian Universe RPG 5 5 5   5   #iHunt 5 5 5   5 3 Masters of Umdaar 5 4,5 5   4.83   Chopstick 5 4,75 4,75   4.83 5 Wearing the Cape 4,8 4,75 4,38   4,78 6 Secrets of Cats 4,7 4,5 4,5   4,73 7 Templo Perdido de Thur-Amon 4,6 4,75 4,75   4,68   Jadepunk 4,8 4,75 4,5   4,68   Nest 4,8 4,5 4,75   4,68 10 Bukatsu 4,75 4,5 4,5   4,58 11 Boa Vizinhança/Good Neighbors 4,7 4,25 4,75   4,56 12 Daring Comics 4,25 4,5 4,75   4,5 13 Mecha vs Kaiju 4,25 4,75 4   4,33 14 Atomic Robo 4 4,5 —-   4,25 15 Super-Powered Fate 4,2 3,75 3,75 4 3,92 16 Destino em Quatro Cores 4 4 3,75   3,92 17 Atomic Robo: Majestic 12 3,5 3,5 —-   3,5 18 Projeto Memento 3,5 3,75 2,75   3,33   Accessibility Toolkit 4,8 4 4 3,5 4,075   Ferramentas de Sistema 4 —- —-   4   Horror Toolkit 4,5 4,5 2   3,6   Fate Condensado —- —- —-   — Link para o programa em MP3 Participantes: Fábio Emilio Costa Luís Cavalheiro Maína “Palomita” Paloma de Lima Rafael Sant'anna Meyer Duração: 160min Cronologia do Podcast: 00:00:10 - Introdução 00:01:47 - Apresentando o Fate Accessibility Toolkit, inclusive o quão seminal ele é para o RPG como um todo 00:09:30 - A História por trás do Fate Accessibility Toolkit e sobre como ele foi escrito por uma autora com tais condições de acessibilidade 00:28:29 - Sobre as condições listadas e como eles foram escritos por pessoas com tais condições e sobre uma “normatividade social” 00:36:47 - FAÇA A LIÇÃO DE CASA! Estude e aprenda sobre condições, ouça as pessoas que tem tais condições, evitando os estereótipos! 00:44:03 - Sobre Linguagem e Identidade, e sobre evitar a narrativa de superação, sobre como os Aspectos permitem traduzir de maneira respeitosa as excelências e dificuldades de cada condição, e sobre NUNCA DIAGNOSTICAR EM MESA!!!!! 01:03:56 - Menos Coringa, mais Hannibal Lector! Evite os Clichês, e lembre-se que, em especial nas condições mentais, condições não são binárias (mesmo nos jogos de humor) 01:07:05 - Como é narrar para pessoas com Condições de Acessibilidade e dicas sobre a lição de casa a ser feita varia para cada grupo 01:25:24 - Comentários sobre as Condições de Acessibilidade mais comuns indicadas no Fate Acessibility Toolkit 01:41:35 - Cobre Condições Mentais e sobre o tanto de estereótipos e clichês envolvidos 01:49:32 - Sobre as regras do Fate aplicadas a personagens com Condições, incluindo mudanças de diagramação com Fontes Serifadas 02:12:28 - Rankeamento 02:24:26 - Considerações Finais 02:35:26 - Mensagens Finais, incluindo um pedido especial aos jogadores com condições especiais Links Relacionados: Fate Accessibility Toolkit Review do Fate Accessibility Toolkit pelo Mister Mickey Fate Space Toolkit GURPS Viagem no Tempo Consent in Gaming Artigo sobre o acidente de Alessandro Zanardi em Lausitzring (TW: Gráfico, Partes de Corpo, Sangue) Imagem do acidente de Alessandro Zanardi em Lausitzring (TW: Gráfico, Partes de Corpo, Sangue) Artigo sobre Alessandro Zanardi nas Paraolimpíadas do Rio (TW: Gráfico, Partes de Corpo, Sangue) Artigo sobre Alessandro Zanardi pós-segundo acidente Aaron ‘Wheelz' Fotheringham - o Cadeirante Radical do Nitro Circus Aaron ‘Wheelz' Fotheringham descendo a mega-rampa em uma cadeira de rodas Modelos 3D para dados de RPG Rick Allen, o baterista sem um braço Demolidor Oráculo Toph Beifong Cem Olho Giordi LaForge Tyrion Lannister Quasímodo - Corcunda de Notre Dame Arkham Braço Metálico Lipedema Fundação Dorina Nowill ADEVA Gráfica Braille da ADEVA Instituto Benjamin Constant Zatoichi Tachibana Ukyo Changeling: O Sonhar Dreams and Nightmares Immortal Eyes Movimento Antimanicomial Lista de Personagens com Condições Atípicas Delírio Místico nVDA Leitor de Tela Orca para Linux JAWS DOSVox Fonte OpenDyslexic Sobre Fontes Serifadas e Nãos-Serifadas Infográfico sobre Serifa versus Sem Serifa PDFtoText Sobre Fonte Serifada Acromatopsia Dislexia Dragon Dice - aplicativo para rolar dados e administrar jogos online DnDice Breakfast Cult Amigo Dragão Oscar Pistorius Unforgettable Sans-Serif Pixie e Brutus Fullmetal Alchemist Carta-X Script Change Don Bluth Um Conto Americano (Fievel) Em Busca do Vale Encantado Bernardo e Bianca Death Note Fairy Tail Thirsty Sword Lesbians Link para a comunidade do Google+ do Fate Masters Comente esse post no site do Fate Masters! Assine no iTunes Trilha Sonora do Podcast: Ambient Pills por Zeropage Ambient Pills Update por Zeropage

Nell'ultimo anno, soprattutto a causa della pandemia da COVID-19, è incrementata la cosiddetta “Didattica a Distanza” (DAD) per tutti gli studenti. In Italia si è fronteggiata l'emergenza sanitaria con i metodi più svariati, addirittura con investimenti sui banchi a rotelle, di cui il 50% è rimasto inutilizzato.Discutendo delle poco sfruttate potenzialità dell'e-learning, due ex-colleghi de La Sapienza Università di Roma si sono chiesti come semplificare l'erogazione della didattica scolastica a livello nazionale, accorti anche delle diverse possibilità in termini di bandi/fondi sulla digitalizzazione.Abbiamo deciso di conoscerli, sia per l'interesse specifico verso la loro start up, sia per poter raccontare e dare visibilità ad un gruppo di giovani ragazzi che si mette in gioco in modo proattivo, per trovare nuove risposte a bisogni emergenti e poter innovare ambiti, come la didattica a distanza, che stanno divenendo fondamentali negli ultimi anni e potrebbero migliorare la vita di molti studenti e famiglie.Il team è composto da tutti ex studenti o studenti dell'Università Sapienza di Roma.Louis Samuel Andreotta, classe 1994, lavora come libero professionista e consulente con diverse aziende tra Milano e Roma , ed è il Project Manager di Sans Serif Room. La coetanea Denalda Berisha, sceneggiatrice, script editor e da anni docente di cinema in piattaforme online, è invece la Media Manager del progetto. Maria Grazia Rionero, la più giovane del gruppo (1997), è laureanda magistrale in pedagogia. Nel team è presente anche una Graphic Designer, Sara Tavella, classe 1995.“Sans Serif Room”Trasmettere un messaggio complesso con un nome specifico è un compito assai difficile. Ci sono volute settimane e settimane di brainstorming per arrivare a “Sans Serif Room”: con questo termine si identificano in tipografia i caratteri senza grazie, quindi i font ad alta leggibilità. Si è dunque optato per un nome che suggerisse già dal titolo uno degli strumenti necessari alle persone con DSA, ma che allo stesso tempo non escludesse la possibilità, e il desiderio, di un ampliamento nei confronti di altri tipi di esigenze in futuro.La mission è creare una Social Learning Platform di incontro tra docenti e studenti con DSA e BES, grazie ad aule virtuali ad hoc e strumenti di supporto quali: mappe concettuali, un font ad alta leggibilità, strumenti di sintesi vocale, calcolatrice e altri.L'iniziativa risponderebbe a un'esigenza del mercato piuttosto ignorata, infatti, la didattica online rimane spesso inefficace per persone con disturbi specifici dell'apprendimento riconosciuti che nel biennio 2018/2019, secondo indagini svolte dal MIUR, rappresentano il 4.9% degli alunni di scuola primaria e secondaria di I e II grado. L'andamento in serie storica presenta un forte incremento del 4% rispetto allo 0,9% del biennio 2010/2011.Sans Serif Room è ancora in fase di ideazione, ma già nei prossimi mesi si inizierà a proporre il progetto ai vari bandi nazionali e non.Come “Boost Your Ideas”, un'iniziativa di Lazio Innova, che oltre ad offrire una piccola somma di denaro, prevede una vera e propria formazione in campo start-up.Ascoltare per progettare: il questionarioAttraverso un questionario online, volto a capire come si sono trovati gli studenti, soprattutto con DSA e BES, durante la DAD (Didattica a Distanza), e chiedendo anche la testimonianza di genitori e insegnanti, sono state raccolte 267 risposte, ma si attende ancora un feedback più completo da parte degli studenti con DSA e BES, un dato necessario per capire quali siano le esigenze nel concreto e poter dunque successivamente costruire un ambiente di apprendimento ad hoc. L'idea nel lungo termine non sarà quella di creare una corsia preferenziale per DSA e BES, ma quella di abbracciare la neurodiversità di ognuno.Quindi creare un ambiente strutturato che risponda alle esigenze di tutti, ma soprattutto stimolante per la sua componente social.Quando entrano in gioco le emozioni, l'apprendimento è capace di rimanere veramente nella memoria.Il progetto non è rivolto solo alle scuole primarie e secondarie, ma qualsiasi persona che voglia, anche dal lato docenza, erogare una conoscenza attraverso questa piattaforma.Sempre più spesso persone che hanno concluso i propri studi, continuano a specializzarsi seguendo corsi nell'ottica del Lifelong Learning, anche solo per i propri hobby.L'intenzione è anche quella di creare un network, trovando una serie di stakeholder che supportino e condividano l'iniziativa e la sappiano ingrandire dal punto di vista della conoscenza. Trovato l'informatico e rilevati gli ultimi dati, si definirà in modo più specifico quello che sarà lo sviluppo della piattaforma: da dove partire, quali obiettivi prefissare nei primi anni.“Molto spesso la difficoltà non è solo degli studenti, ma anche degli insegnanti che non sono abbastanza formati per individuare il problema e quindi a sostenere lo studente.C'è una grande diversità, e quindi non è possibile creare dei piani educativi standard che vadano bene per tutti.”L'e-Learning può diventare un supporto importante per una didattica inclusiva e personalizzata.

We sit down for a chat with Henri Helvetica to discuss his journey from working at record labels to the fashion industry and then landing with a splash in the tech world.

When it comes to decisions brand leaders have to make, choosing the typeface that will live across your website and on all of your products is a pretty big one. Customers are going to see and interact with your copy throughout the life of your brand — and making a change to your design style will cause a ripple effect with lasting impacts.  Monotype is the largest company that is dedicated to typefaces. According to Jonathan Zsittnik, the Vice President of Commerce Channels at Monotype, the company has the world's largest library of typefaces, and thousands of type families, many of which are the backbone of key brands.  On this episode of Up Next in Commerce, Jonathan explains the intricacies that go into running and selling that massive inventory of fonts. Plus, he dives into the importance of choosing and properly licensing a font style and how it can impact a brand. Main Takeaways:   Would You Like To Update? — A brand is a living, breathing thing, and needs to change with the times. But updating a brand’s typeface may require more careful thought and planning than some may anticipate. How do you pick or create a typeface that works for both mobile and desktop, speaks to your brand’s identity, works in multiple languages, and meets different users' needs? Tune in to find out! It All Adds Up —  The Ecommerce experience does not begin and end with a customer putting an item in a cart and then completing a transaction. That experience needs to carry on after the purchase has occurred, because in order to turn a one-time purchase into a repeat customer, brands need to stay top of mind for their customers. Every part of your brand — including the typeface you choose — makes up the Ecommerce experience and should be taken into consideration. For an in-depth look at this episode, check out the full transcript below. Quotes have been edited for clarity and length. --- Up Next in Commerce is brought to you by Salesforce Commerce Cloud. Respond quickly to changing customer needs with flexible Ecommerce connected to marketing, sales, and service. Deliver intelligent commerce experiences your customers can trust, across every channel. Together, we’re ready for what’s next in commerce. Learn more at salesforce.com/commerce --- Transcript: Stephanie: Welcome back to Up Next In Commerce. I'm your host, Stephanie Postles, co-founder of mission.org. Today on the show, we have Jonathan Zitnik the Vice President of commerce channels at Monotype. How's it going, Jonathan? Jonathan: Very good. Thanks so much for having me, Stephanie. Stephanie: Yeah, thanks for coming on. We were just mentioning that today's a special day. It's your 19th anniversary. And how lucky are we to have you on the show? Jonathan: Oh, man. It's crazy to have been here so long, but I've enjoyed the ride. And what better way to kind of celebrate that anniversary by talking about Monotype and all the things that I've done and see coming, than being here with you today. So thanks for having me. Stephanie: Yeah, it's going to be really fun. I think you're the first person we've had on the show that's been somewhere this long. So I think it'll be a really good conversation where you've actually been able to see a company evolve, and grow, and change. So I'm excited to dive into it. Jonathan: Awesome. Stephanie: I was hoping we can first start at Monotype. So I was reading a bit about it. But then I saw that you employ, I think it was somewhere around like 700 people and had really high revenue numbers. And I was wondering, what do you guys actually do? What is Monotype? And how do I think about the company? Jonathan: Sure. So I think probably your audience is largely not familiar with Monotype, but would recognize many of our flagship products. So if you've ever worked with the fonts Helvetica, Arial or Times New Roman, then you've worked with some of our key offerings. Monotype is the largest company that's dedicated to type. And we have the world's largest library of typefaces, where you'll find thousands of type families, many of which are the backbone of key brands. So the list of typefaces goes on quite a bit that that brands rely on every day. Stephanie: That's awesome. So are you guys purely a typeface design company or do you do other things as well? Jonathan: So type is really at the core of what we do, but we do have some other supporting businesses that all relate to helping brands express themselves and make sure that their digital expression is on point and translates across their various mediums that they communicate over. Stephanie: Very cool. So when I'm thinking about fonts, I guess maybe I'm a newbie when it's coming, or when I'm thinking about fonts, but oftentimes, I'll maybe go and look for free fonts or trying to see like what's out there. So how does Monotype make money and monetize these fonts? Jonathan: Sure. So the majority of our revenue comes from creative professionals that are working with type and those creative professionals could be internal, so working on behalf of the brands, at the brands, at those enterprises, or working at agencies, or even individual creative professionals that are in freeline design spaces. So we're really supporting the creative space and these are the people that know about type, care about type and know how to leverage it within their design projects. And understand that it can really be the backbone of a brand. So these are the people that are willing to spend the value in a typeface. Stephanie: Awesome. And I saw I think you guys developed some fonts I know like Times New Roman, huh, that's a favorite. Is that you guys who created that one? Jonathan: It is, that was a custom typeface at the turn of the century for the London Times. And so it's gone through many, many iterations over the years to catch up with digital times to make the progression that the type has gone from over the years from metal type through phototype and now it's a digital type. Stephanie: That's cool. So how do we think about types transforming over time? Like, what are the levers that make you guys want to change a font, or typeface, or edit it, or make a new one? Like, how are you staying on top of these trends and actually deciding like, "Ah, this would be a new way to maybe shift the fonts or create something new or even transition an old font into something more relevant." Jonathan: Yeah, that's a great question. A lot of our successful typeface releases come from either new opportunities based on the way that type needs to be used or updates to existing typefaces to make sure that they're catching up with the digital needs of today, right? So take Helvetica as an example. Last year we released Helvetica Now, and it was an update for Helvetica, which cleaned up some of the idiosyncrasies that had caught up with the typeface over the years and make sure that it has all the necessary characters that are used today, some adjustments so that the type looks great on screens versus some of the way the characters were drawn originally, and which didn't translate as well. Jonathan: So those types of updates are really common. And as I said, previously, when you're thinking about a new typeface, you want to think about the challenges that designers are having today and make sure that you're designing it for those needs. Stephanie: So what are some of those challenges, if a brand is thinking right now about I mean, what first comes to mind is maybe creating a logo or something like that? And I think for us, we're pretty, like easy standard. I think we just use like Futura or something like that. But for people who are looking to actually develop their own typeface, what are some challenges they might encounter down the road when it comes to maybe designers trying to use that? Jonathan: Yeah. So if you want to think about all the places where the brand needs to be represented, right? So if you are going to be using your type in an application, like a mobile application, you're going to make sure that the type performs its small sizes, that it looks great on screen and that the readability remains strong when it's presented that way. And you also want to think about your audience, right? Jonathan: So if you're selecting a typeface, and you know that you're going to be communicating with an audience that's global, you have to make sure that you have the necessary characters to ensure that you can communicate in all the languages your audience uses. So those are just a couple of the considerations, but those are big ones. Stephanie: No, that's some good things to keep in mind. So when I'm like... what are some of the maybe top typefaces right now that you see a lot of brands going with? Like, is there anything new that's happening or shifts happening in the world of fonts that maybe hasn't happened up until now? Jonathan: So I mentioned the remaking of typefaces and updating them and that's a big trend. A lot of the big name typeface families like Helvetica and you mentioned Futura are used by these major brands because they know them, they're familiar with them. They know they perform well. They're versatile typefaces, and they're just beautiful designs. And so these updates that are happening, it's a trend that you're seeing more and more of, and what the audience is getting is a broader range of typeface suites which can be exciting so you can extend the family to include more decorative designs so that you can extend the family designs to be more creative with your work. Jonathan: You're getting broader character ranges, which is excellent for taking your brand to different places and geographies. And also some visual adjustments to make sure the performance is there, regardless of what the typeface is. So that's a big one. Stephanie: All right, cool. So I wanted to get into your role a bit. Being at the company for 19 years. I want to hear how it's evolved and what your day to day looks like right now. Jonathan: Sure. So when I started back in the day, it was still really at the dawn of Ecommerce. It was kind of an exciting place to begin, certainly for Ecommerce marketing. Pay per click advertising was just emerging. So I don't think even Google had introduced AdSense at that point. So it was kind of an exciting time and we used all of those things really to establish our Ecommerce business, which when I started, had really just launched. Jonathan: And so at that point, we developed myfonts.com and through my time we've gone through numerous acquisitions. So we have a host of commerce properties, myfonts.com the largest of those today. And so it really went from an Ecommerce marketing roll up into managing operations for an Ecommerce business and took a brief turn in that to focus on a subscription offering and then helped build out a customer success and support organization to help the greater Monotype business grow and ensure that our customers including our enterprise, customers, really have the support that they needed. Jonathan: And more recently kind of turned my focus back over to the Ecommerce world. So now the role is managing the global digital commerce business, which includes our font sites, some of which I just mentioned, a little bit of our indirect business and a relatively new business that's fun and growing, which is called flip font. And it's an application that runs on a mobile phone unless you've changed the UI typeface to one that you purchase from a store. Stephanie: Oh, very cool. Jonathan: Yeah. Stephanie: So what does that look like overseeing the different Ecommerce channels? Like are there different maybe learnings that you're getting from having different websites to be able to like see trends on or see like which ones are doing things successfully, and which ones maybe need to have a little help. What kind of things are you seeing by having that oversight of multiple websites? Jonathan: Yeah, well, that's certainly one of the challenges right? Because it's a lot of businesses rolled up into one business. But there's advantages of that too, right? Because you can test out different techniques on one website. And then if it works out, you can roll it out to others. And one of the challenges is that they all have slightly different audiences, the customers coming from different places, like if you look at the different customer segments, they're not identical. They have different preferences and so you have to act and think in the interest of these different audience segments. Stephanie: Got it. So where are these customers coming from right now? Like, what kind of acquisition channels are you guys using to find new customers and then how are you treating them differently depending on the source of where they came? Jonathan: Yeah. So most of our customers, one of the advantages that we have is that a lot of our typefaces have been in use for many years. And so when a typeface gets, it's purchased and sees used within a project, and that project will spurn additional use, right? Especially if it's in the hands of an agency and an agency might use it with multiple clients. Jonathan: So a lot of people will come to the channels already knowing exactly what they need. And so a lot of the focus is on making sure that we can get that customer who already knows that they need to use this particular font, get them the font, get them in the cart, make sure that they know what license they need, so they can get back to designing as quickly as possible. So that's a lot of the emphasis there. Jonathan: And then the other point of emphasis is really on the discovery phase, and this is for the designer that knows that they need a particular type of typeface, they might have a classification in mind or a couple of different qualities in mind that will suit the needs of their project. So what are the tools that we can provide them, how can we help them filter down the inventory of a hundred thousand plus fonts so they can get down to the one that's really going to be the perfect design, perfect choice for their design. Stephanie: How do you go about personalizing that because I could see it being quite a bit of consulting and education depending on maybe the industry and I could see people also coming in with quite a few wild ideas where when I was looking at design recently it's like, "Okay, don't go too crazy. Don't go too designery or too out there because that stuff will probably got out of style soon." And like, how would someone go about recommending what kind of font a brand should use? Jonathan: Yeah, so I think there's a couple things you can focus on. One is just the making sure that you provide enough tools to help someone navigate the inventory. And so if you understand the attributes of your inventory, you can make it easy to filter down. And also you can go take a look at just the Sans Serif fonts. And then you can look at the Humanistic Sans, not to geek out too much on type here. No, but you can kind of narrow down your selections by the various characteristics of the typefaces for the person that has an idea of what they're looking for. Jonathan: But I think the more fun thing that we do is making sure that we give our customers a sense of how the typeface is going to perform before they purchase, right? So you need a lot of tools that allows the designer to experiment with the typeface before they purchase it. So before they lay their money down, make sure they understand what it's going to look like. And the visuals that we supply are critically important. So making sure that we have the images that don't just show the range of the typeface that's important, but also some fun examples of what it might look like when it's designed. So really just show off the characteristics of the type. Stephanie: Yeah, that's really important. I was just thinking when we're going through making website changes and stuff, I always wish they could just be an easy, quick switch of like, what does it look like with this font, this font, and maybe you guys have this functionality, and I just never knew it. But oftentimes, it's me like trying to preview and going back and changing again, previewing again. And after maybe changing it a couple times, I'm like, "Oh, I'm kind of done." So do you guys have that functionality? I think you mentioned it with the app earlier. But do you have that for desktop as well? Jonathan: Yeah, there's different ways that you can do that. And depending on what tool or what subscription you might have, there's different ways that you can experiment with typefaces. And that's always been a huge problem for the type industry, right? It is sort of, how do you allow someone to experiment with your product, but make sure that you're not cannibalizing your sale? So that's kind of the trade off that we have to work through. Stephanie: So I'm interested in thinking about metrics when it comes to changing typefaces. I mean, I'm sure you guys have case studies where different fonts produce different results, can you speak through some of that? Jonathan: Well, it's difficult to predict. So unless you're working with a typeface that has a track record, and you're doing a new version, you're actually not certain what you're going to get, right? So typefaces are a lot like music where there will never be enough created to satisfy the creative needs, both on part of the person that's doing the creation and the designers that are consuming what's created. So a lot of it is strategic, right? Jonathan: So we know that there are certain needs that need to be served so we'll do a release there. And some of it is creative expression. Stephanie: Got it. And you mentioned that a lot of people come to you knowing what they already want. Do you also do paid acquisition for getting customers to find out about you. Like if it was someone like me and I'm looking for a brand redesign, how would you go about targeting someone who maybe I don't really know much about fonts or for me if I wanted the font I might open up maybe Adobe Photoshop and get it in there and like I wouldn't actually know the process of maybe even buying one and licensing and stuff like that. Stephanie: So how would you go about maybe pulling in a new customer like me with very low awareness? Jonathan: Yeah, sure. So for targeting individual creative professionals, paid search of course is huge and all the typical advertising methods and affiliate programs, which bring people in and will, on the paid search side will also invest in terms where that are not product specific unless there's someone that's looking for a particular style of typeface we can bid on those terms or using terms like something that's more broad like font or by fonts as well. And for the larger customers that we work with those might come in to the agencies that we partner with as well. Jonathan: So if we doing a, involved in a big brand design, it's not uncommon for us to partner with the agency that's working with the brand. So some business comes in through that way. And in other cases, we might see that a brand has started to work with one of our typefaces, and we'll get to know them a little bit better and see if we can expand the relationship and then help them with the next steps in their brands. And maybe there's different ways that we can help them as they prepare to make that move further down the digital path. Stephanie: Got it. So you mentioned partnerships earlier, and I wanted to maybe touch on that a bit because I think maybe in our prep notes you'd mentioned partnering with other technology providers to basically have a more creative and collaborative approach when it comes to design and the whole ecosystem in general. I was hoping you could talk about what those partnerships look like and how you guys are thinking about the design and not just typeface, but the industry as a whole. Jonathan: Yeah, so I think on a more practical level, there are lots of Ecommerce providers that we partner with to put great quality type in the hands of their end users, right? So if it's an Ecommerce platform that has their own templates, you might find Monotype typefaces built in there. So when you're doing your design, you don't have to choose from the standard website, web safe typefaces that you know, are going to be resident on just about everybody's machine, right? So you have a nice variety of selections to choose from. So that's one way that we partner with which puts our type in the hands of more end users. Jonathan: But I think that like when you're thinking more broadly about collaborations with Ecommerce, the industry has just evolved so much. And today Ecommerce when you're thinking about your Ecommerce experience, it's not really just about those few precious minutes that the customer spends on the website, right? To do it right, you really have to be thinking about how that Ecommerce site supports the brand and what are the key elements of a brand that you want to inject into that Ecommerce experience. And then that Ecommerce experience really broadens beyond just shopping. Jonathan: It's all the things that you're going to do to retain that customer and get them to think about you and create that positive sentiment when they're not shopping. So when the need arrives, they're right there going back to your site to purchase something new. Stephanie: Yeah, that makes sense. So talking about retaining customers, a bit and what came to mind was actually licensing for some reason, because that's also an arena that I don't fully understand. And it sometimes scares me of like, "Oh, is there certain licenses we should have around this? And like, how do you protect yourself and your company?" So I was hoping you could touch on what are some of the failures a new Ecommerce company might be making right now, when it comes to typefaces and licensing and not having the right licenses. What do you see happening right now that could be prevented that a lot of people might not know about? Jonathan: Yeah, font licensing is complex, and it's always been complex. And I think that's something that the industry Monotype included, needs to work on to simplify that and make it easier on our customers. And so a traditional font license, the traditional found license that we've been selling forever is a desktop license. So that allows someone to use a particular font on their machine, possibly multiple machines depending on the license. They do vary. And that's one of the bits of complexity right there is that... so take my fonts, for example, we have thousands of partner foundries that sell their products on our site. Many of which have their own licenses. Jonathan: So that puts a lot on the customer to look through and actually read the license and understand what they're getting. So one of our strategies there is to consolidate on fair industry standard terms there. So that the user is going to be more familiar with the license that they're purchasing. But even looking beyond that, it gets more complicated when you look at different use cases for the type, right? So if you want to use a font on the web, that's going to require slightly different font file as well as a different EULA, excuse me a license agreement and you have to pay attention to the amount of distribution with the font as well. So, are there limitations on the page views associated with the font? Jonathan: And, so really additional use cases oftentimes are tied to additional license types. So if you want to use a font in a mobile application, or you want to use it in digital ad, you might require a different license to go along with that. So there's a lot of different formats there that they have to pay attention to. And it's our job as a marketplace to make sure that we educate our customers when they come to the site and help them find the right license. Especially people that are looking to be compliant with that. [crosstalk 00:24:46]. Stephanie: Yeah, licensing is definitely tricky. I mean, how do you... like if I'm using photoshop, for example, and they have all the fonts in there, and maybe I'm using that to build my own logo, or build a page or something or some kind of like PDF, or if you're using a website builder tool that already has a bunch of fonts like is very different type of licensing thing you should think through, or are you kind of already covered because maybe Adobe already has like an unlimited forever license? Jonathan: Sure. Speaking in generalities here, right, because there are different font license agreements. But typically, a font license for a desktop font license is going to cover use on your machine. And as long as that font file isn't traveling to another user, you're good, right? So the output of that font as long as it's static text that is no longer leveraging the font file can be distributed. And that's the case with most, not all, but most font licenses. Stephanie: So I want to kind of touch on some higher level Ecommerce trends because you've been in the industry for a while. I think you could have some fun answers for them. First one is what kind of trends or patterns are you excited about right now in the world of Ecommerce? Jonathan: I think the thing I'm most excited about right now is machine learning. And it's application for recommendations. So recommendations within Ecommerce has been a problem that we've tried to solve collectively for 10s of years now. And I feel like it's really turned the corner in the past few years. The recommendations you get on store and your music service or other places where it's being leveraged have really gotten good, it's impressive, and it's exciting. So you can go from a place where you're making recommendations that maybe weren't well informed, and just come across as noise to recommendations that are personalized and accurate and are really helping your customers solve a problem. So it's interpreted really well and I think there's a lot of potential there. Stephanie: Yep. I completely agree. What about COVID? Have you guys experienced any kind of impact from COVID right now? And how do you see the industry moving forward after this? Jonathan: Yeah. So I think everybody's feeling some sort of impact. I think the companies that have really seen the most positive effects of it are the companies that have the brick and mortar locations where their Ecommerce businesses is taking off, because that's where the activity is moving. And we have digital goods and digital delivery. Jonathan: So we didn't see that. We saw some initial impact and as our customers spend is really tied to marketing and the agency world which was hit pretty hard. But we've since seen a lot of recovery, which is great. We're seeing a lot of positive signs. And when you look at the various products that we sell, we're seeing some really encouraging and some growth signs, particularly on the use of type on the web which makes sense that kind of speaks to the broader industry of Ecommerce. So that's been a strong point. Stephanie: Yeah, that's really interesting. Are there any other surprises that you've seen through all this where you're like, "Oh, now there's all of a sudden an industry around this, or people popping up asking for this that we didn't have before." Jonathan: The ripple effects of this are huge, right? And so, I think initially, it was kind of hard to put two and two together and see what the impact would be. But you think about it, it makes sense when you see companies like Zoom or DocuSign having success that they are and all of this and so we've kind of seen the effects of that as well and are just trying to cope with it like a lot of companies. Jonathan: And I think in some regard, it's been easier than then we anticipated. I'm very thankful that we're here today and not in 2010, right? If you can imagine trying to do the things that you go through on a daily basis, without the collaboration and communication tools that we have today, it would be incredibly challenging. Stephanie: Yep. Are there any challenges that you guys are facing? Of course, it wouldn't be 2010 levels challenges, but is there anything right now where it's kind of like, feeling a little tough to do X, Y, or Z based on the changes in the market or the increased demand? Jonathan: I don't think that they're market driven. I think if you look at the things that we need to do, everything is totally accomplishable. But that doesn't mean it's not without challenges, right? So you have a team and you work together. There's just something. It's difficult to put your finger on, but I don't know if it's the morale of the group or just that whatever you get from being able to socialize in person, so you feel the effects of that when you can't meet in person and just have that initial catch up. But you know, you can kind of do that informally but it's definitely missing something. Jonathan: And so I think everybody kind of has to find different ways to make sure they get that in their life, in their day to day. The other thing that I think is more challenging is when you're trying to solve a difficult problem, and you can't collaborate the same way. So like I said, Zoom is great, but there's really no substitute for getting five people in a room together with a whiteboard and just working through a problem with everybody's undivided attention. So I do long for those days. And hope that we can do those types of things again soon. Stephanie: Yep, I long for the happy hour day where you can just get together again and not worry and catch up on all things work or not work if you don't feel like talking about it. Jonathan: Absolutely. Stephanie: So I want to hear a little bit about more about Monotype and the successes behind your guys brand. What do you see is working? Like how do you portray your company in a design oriented, beautiful way. Jonathan: One of the things that we've had success with is putting emphasis and attention into our communication materials. And if you look at the newsletters, they're very heavy with imagery that shows the type, shows it off, shows how it can be used. And it's really gratifying when our customers tell us that they find these materials which are ultimately marketing materials that are designed to sell, and inform, and educate that they're inspirational to them. Now, so it checks a lot of boxes there and I definitely perceive that as a victory. Stephanie: How do you go about building those materials? Like how do you know what's going to connect with the customer? How do you know... what one person might think is beautiful another one might be like, "Urgh." So how do you build something that connects with the majority of your customers or prospects? Jonathan: Sure, well, you certainly aren't going to please everyone. You need to rely on talented people that are great with type and see the unique value in an individual typeface and know how to use it and design that shows off its characteristics and present it in a way that shows how it might likely be used by a typical project that would work well for. Stephanie: Got it. Do you ever have to educate new customers in a way of like, "Well, here's what we did with this font, like look at that little curlicue there, that's newer," like showing people why something special? Jonathan: Yeah, so I think, readability, legibility might be a good example. And you could read all day on the various aspects of a typeface that can aid or hinder readability. And so we'll put a lot of time into the generalities of what makes a typeface more legible, more readable. And then certainly, if there's an individual typeface that has some of those characters or those properties we would point those out. Stephanie: Yeah, there's a email newsletter, I can't remember who it is, but they essentially show just how subtle design tweaks and fonts make a big difference in like portraying whatever you're talking about. And it was displayed in such a way that made it be like, "Oh, of course, this one looks better," or, "Oh, we're talking about food in this one." Like you can kind of get a feeling depending on the type of font and I just thought that was a really nice way to just show two things up against each other and it'd be general accepted like which one looks better, which one connects with the brand depending on what the product was. Jonathan: Yeah, that's a great way to present it because great typographic often goes unnoticed. Stephanie: Yep. I think that was kind of their point is like, you wouldn't think anything if you just saw this by itself. But if you saw a random font next to it, or a font that was just like so off brand, it would be very obvious and you would not feel disconnected with it. So I like that. Jonathan: Right. Stephanie: All right, let's jump into the lightning round brought to you by our friends at Salesforce Commerce Cloud. This is where I'm going to throw a question your way and you have a minute or less to answer. Are you ready, Jonathan? Jonathan: I am ready. Stephanie: All right, what's up next on your Netflix queue? Jonathan: Cobra Kai, high recommendation from my wife. So she's jumped in and I'm trailing her. But that's gotten her through the pandemic. Stephanie: I like it. I saw that being the trailer playing and I was just about to watch it. So I'm glad that it has good recommendations from your wife. What's up next on your reading list? Jonathan: It's a book I think it's called Writing Down The Bones. And it's a practical guide to doing more writing and getting more practice at it and ultimately improving your writing skills. Stephanie: All right, cool, I like that. I thought it was going to be A Practical Guide To Typography. And I would say, "Man, Jonathan, you are a lover of typography." Jonathan: I'm all in. Stephanie: I like it. Where are you traveling to when you're able to go out and about again? Jonathan: Oh, Cocoa Beach, Florida is my happy place. And I'm looking forward to getting back down there again. Stephanie: I love Florida. And the last one, if you were to have a podcast, what would it be about and who would your first guest be? Jonathan: Oh, wow. Let's see. Well, I guess I can't steal your idea and talk about Ecommerce. Stephanie: You can just keep coming on the show. Jonathan: I might have the chops to talk about fonts with an Ecommerce audience, but I don't think I could handle it there. So let's see, I might do something just on creativity in general, because I love the arts. I love expression. And so it'd be fascinating to pull in different people from different genres and have them speak about their art form. And who would my first guests be? Stephanie: Yeah. Jonathan: Let's see, I'll probably pull in a musician. And let's see. I'm really excited about the new Deep Sea Diver album that's coming out next month. So Jessica Bazzi. Stephanie: Cool. That sounds great. All right, Jonathan, well, thank you for coming on the show and teaching our audience about all things fonts. Where can people find out more about you and Monotype? Jonathan: So you can follow me on twitter @Zitnik and for Monotype, it's just monotype.com. And you can learn more than you ever wanted to know about fonts from there or you can go to our flagship Ecommerce store myfonts.com. Stephanie: Awesome. Thanks so much.

Suscríbete a la 💌 NEWSLETTER SEMANAL 💌 en http://filispin.es Para recibir un resumen semanal de las noticias más importantes del sector del marketing, la comunicación y la publicidad. -------------------------------------------------- Facebook anuncia oficialmente Instagram Reels Allá por el mes de noviembre, ya les contamos en este podcast que Instagram estaba probando Reels en Brasil. 8 meses después, se ha hecho el anuncio oficial en canales de comunicación oficiales, los “about”, una especie de blog de Facebook en el que comentan aspectos de sus aplicaciones. Básicamente se trata de TikTok llevado a Instagram. Videos editables y personalizables de 15 segundos. Seleccionando “reels” en la parte inferior de la cámara aparecerán diferentes opciones para crear los vídeos. Edición de audios, de velocidad, de alineación, etcétera. Para ver reels de otras personas, simplemente habrá que entrar en sección Reel dentro de la pestaña “Explora”, como cuando se busca a cualquier usuario, hashtag o localización. A diferencia del famoso ocultamiento de los likes, esto, al menos, en España podemos asegurar que sí ha llegado. Al gobierno estadounidense seguro que le gusta más Reels que TIkTok. https://about.fb.com/news/2020/08/introducing-instagram-reels/ Y seguimos con la misma aplicación porque trae otra novedad muy potente para las marcas y para el marketing de influencers. Llega Instragam shop, el e-commerce en el que comprar sin salir de la app Si reels supone una novedad a nivel usuario, Instagram Shop lo es para anunciantes. Y como Facebook no da puntada sin hilo, llega de la mano de Facebook Pay, el sistema de pago seguro para las aplicaciones de su grupo. En su nueva pestaña integrada en la sección “Explora”, que va a estar más llena que la linea 1 del metro de Madrid en Atocha Cercanías un domingo por la tarde, Instagram Shop presentará un carrusel de “Colecciones” con contenido elegido por el equipo de Instagram orientadas a inspirar a los usuarios, y gracias al lanzamiento de Checkout, los consumidores pueden hacer clic en “Comprar en Instagram”. Las recomendaciones estarán personalizadas en cada usuario basándose en función de las cuentas que siguen y las empresas que utilizan Instagram Shopping. Punto este que, si funciona como en Facebook, puede ser foco de mucha risa. La sección de sugerencias, se encontrará dentro de la pestaña de Instagram Shop. Facebook busca desde hace tiempo monetizar su familia de aplicaciones al convertirlas en un eCommerce y con esto han dado el paso al superar la mala imitación a milanuncios, con los anuncios de facebook. Aunque, personalmente, me huele más a intentar potenciar el sistema de pago Facebook Pay, otra característica copiada. Entre compras y plagios, Facebook demuestra que no hace falta ser creativo para triunfar. https://marketing4ecommerce.net/llega-instagram-shop-un-nuevo-lugar-donde-descubrir-y-comprar-sin-salir-de-la-app We are Marketing son los encargados de llevar la estrategia digital de la Comunitat Valenciana Con un presupuesto global de 1.520.000 euros y que incluye un plan general de marketing acompañado de un plan de medición, comunicación y participación de eventos, We Are Marketing será la encargada de gestionar el nombre de la Comunitat Valenciana a nivel nacional e internacional. Por lo que se refiere a la estrategia de contenidos, se centrará en la administración y dinamización del escaparate turístico, así como en la creación y el mantenimiento de un videoblog turístico y de una agenda cultural. La estrategia de redes sociales estará basada en el marketing móvil y de influencers. Asimismo, el email marketing pondrá foco en el mantenimiento y la segmentación de la base de datos y en la creación de boletines turísticos mensuales. El punto fuerte será la publicidad digital y SEM, que englobará la publicidad en operadores y agencias de viaje online, las redes sociales viajeras y los metabuscadores turísticos, mediante publicidad display. El objetivo es posicionar a “La terreta” como referente turístico creando fuertes vínculos con los visitantes y ser un referente de la experiencia que supone vivir el Mediterráneo. Senyors i senyroes de We Are Marketing, pot escomençar la mascletà. https://www.hosteltur.com/comunidad/nota/023319_comunitat-valenciana-presenta-su-nueva-estrategia-de-marketing-online.html Google confirma que las búsquedas sobre medio ambiente se dispararon en marzo Las búsquedas en internet sobre medio ambiente y cambio climático crecieron un 135% en el último año y algunas comunidades duplican e incluso triplican este volumen. El estudio, 'Sostenibilidad energética: el usuario comprometido y la industria', elaborado por analistas de Google y su división de Surveys, desprende que las búsquedas relacionadas con esta materia crecieron un 135 por ciento y las específicas sobre energía verde aumentaron un 60 por ciento en el último año. Además refleja que el confinamiento elevó en marzo más de un 20 por ciento las búsquedas en internet sobre medio ambiente y que los usuarios más interesados son las mujeres, los sin hijos, y los que tienen entre 45 y 54 años. La tendencia apunta que 8 de cada 10 españoles se muestran "comprometidos" con la sostenibilidad energética, aunque a riesgo de ser políticamente incorrecto, creo que este dato contiene más gente preocupada por el desproporcionado e injustificable precio de la factura que por el medio ambiente. Les dejamos un link en nuestra newsletter para que puedan leer y ampliar esta información que, sin ningún género de duda, demuestra que cada vez son más las personas preocupadas e involucradas en el mundo de la ecología. https://www.europapress.es/sociedad/medio-ambiente-00647/noticia-busquedas-medio-ambiente-aumentaron-135-ultimo-ano-20-mas-marzo-covid-19-google-20200421140303.html Hoy vamos a tener mucha pandemia. Por ejemplo, el análisis de las identidades visuales en 18 países. Las consecuencias de la pandemia global también ha afectado a los diseños. Y no, no hablamos de los rebrandings que no aportan nada, salvo una página en algún medio. En un artículo se ha estudiado cómo han sido los diseños relacionados con este periodo en 18 países distintos. Por ejemplo, en Argentina ha adoptado una campaña textual con una gráfica básica de los colores de su bandera albiceleste, una tipografía al estilo Sans Serif y una composición minimalista. En España, se ha hecho bajo un contundente #EsteVirusLoParamosUnidos, Se combina el color nacional amarillo con el negro, acompañado con el logotipo del Gobierno de España-Ministerio de Salud. Aquí, el texto es clave para diseñar la composición, ya que se trata de un diseño minimalista en el que lo único que destaca es el claim en bold y mayor tamaño, con una tipografía extended que en algunos casos dificulta su legibilidad. Así hasta 18 países hispanohablantes como Panamá, México, Perú, Colombia, etcétera. Las conclusiones son bastante curiosas: Sólo 3 de los 18 países deciden optar por una identidad visual que conecte salud y colectivo por encima del sentimiento de nación. Más de la mitad de los países analizados no tienen una identidad visual definida y la mayoría optan por tipografías bold. Les recomendamos leer el artículo que podrán encontrar a través del enlace de nuestra newsletter. https://brandemia.org/analisis-las-identidades-visuales-del-covid-19-en-18-paises-al-microscopio-0 En lo que a campañas se refiere empezaremos hablando de acciones. En el punto de venta, para ser más concretos. Y sin nada que ver con ninguno de los dos temas. Seat abre un bar de tapas para vender sus coches La firma española inaugura el restaurante Hola Tapas Bar en Viena (Austria) para que los clientes disfruten de la comida española mientras conocen las últimas novedades de Seat. Este nuevo restaurante es fruto de la asociación de Seat, con su marca Cupra, con el chef Juan Amador y abrirá sus puertas el próximo 17 de agosto. Hola Tapas Bar nace con dos enfoques: el de restaurante tradicional pero también del de ofrecer un servicio de tapas para llevar y busca crear nuevas experiencias a los clientes. La elección de Austria se debe a que en ese país, Seat es la tercera marca con mayor número de ventas. https://www.elespanol.com/motor/coches/seat/20200728/bar-tapas-seat-utilizara-vender-coches/508700049_0.html Una de las protagonistas ha sido la pandemia. Muchas piezas han girado en torno a a todo lo relativo a la pandemia y sus consecuencias. Por ejemplo, esta acción que me ha recordado vivamente a las ideas que tenía yo cuando estaba en primero de carrera. KFC pide se cambie el nombre de una estación de metro de lavapiés a … lavamanos La cadena del pollo pollo quiere ayudar a seguir concienciando a la gente de la importancia de seguir las recomendaciones y para ello ha hecho llegar a Metro Madrid una petición del cambio temporal del nombre de la estación de Metro Lavapiés a Lavamanos. A la espera de la respuesta del Metro de Madrid, algunos usuarios en RRSS ya están empezando a mostrar su apoyo a esta iniciativa a través de una petición de firmas en Change.org. Una idea propia de una sociedad cada vez más infantilizada. Y, quizás por ello, podría hasta tener éxito. https://lapublicidad.net/kfc-pide-que-se-cambie-el-nombre-de-la-estacion-de-lavapies-por-metro-lavamanos/ Vamos ahora con las marcas fijas de este podcast y los temas fijos desde hace meses. McDonald’s busca tocarnos la patata con una historia de la nueva normalidad Lanzado en Países Bajos, una pareja de abuelos deciden montarse en su coche, pasar por uno de sus restaurantes y sorprender a sus nietos con una cena improvisada en la que mantienen la distancia de seguridad. La pieza de TBWANEBOKO Amsterdam, cuenta con una versión acústica de la canción «Don’t You (forget about me)» de Simple Minds, canción lacrimógena fácil presente en una ingente cantidad de anuncios. Parece que la pandemia se está llevando miles de puestos de trabajo y la originalidad. No se pierdan la redacción de la noticia. 100% millenial. https://lacriaturacreativa.com/2020/07/23/este-bonito-anuncio-de-mcdonalds-cuenta-una-historia-sobre-la-nueva-normalidad/ Y, como no Burger King también trae cosas nueva. El mismo tema pero desde una perspectiva completamente distinta. Y con una doble ración. Burger King celebra la navidad para que se acabe cuanto antes este año La compañía de comida rápida ha decorado uno de sus restaurantes de Estados Unidos con luces, árboles de Navidad, nieve artificial y otros adornos navideños como si de diciembre se tratase además de transformar sus canales en redes sociales y la aplicación BK con villancicos e imágenes propias del periodo navideño. El spot creado por David São Paulo y David Miami es el típico vídeo en el que la gente hace resumen de cómo ha ido el año y muestran sus deseos para el próximo frente al restaurante decorado con todos los adornos navideños. Señor King, por favor, tráiganos a España estas cosas. Necesitamos un aire fresco de buena creatividad. https://lacriaturacreativa.com/2020/07/24/burger-king-celebra-la-navidad-en-julio-para-ver-si-asi-se-acaba-2020-de-una-vez/ Y además le añade una pantalla protectora a su corona Si hace unas semanas creaban unas coronas gigantes para mantener la distancia, la agencia peruana Mood, ha convertido la corona en un «escudo» facial que ofrece una protección adicional a la que ya proporciona la mascarilla. Se anunció en RRSS que se lanzaría en una edición limitada de 45 unidades que se podían conseguir el pasado 24 de julio en uno de los establecimientos que Burger King tiene en Perú. Esta iniciativa forma parte de las acciones que la marca está llevando a cabo en el país hispanoamericano para promocionar los protocolos de seguridad que han implementado en sus establecimientos para asegurar la seguridad de sus clientes. Muy buenas las ideas de Burger King. https://lacriaturacreativa.com/2020/07/30/burger-king-reinventa-su-corona-y-le-anade-un-protector-facial/ Bosch car service se apunta a los mensajes optimistas Pese a tener casi 100 años, Bosch no es una marca que destaque especialmente dentro de la creatividad publicitaria ya que su comunicación está dirigida a talleres y profesionales de la mecánica y la automoción. La nueva campaña, creada por Comunica+A, va dirigida además al público en general. Con ella, Bosch Car Service busca acompañar a la sociedad para que siga avanzando con la seguridad de tener siempre cerca a la red de talleres de confianza. Se estima que la campaña impacte al menos a 13 millones y medio de espectadores mediante sus 500 pases en Telecinco y Cuatro de Mediaset, Movistar y Gol T, además de las RRSS donde cuenta con decenas de miles de seguidores. CIerto es que el spot no ganará un león de cannes ni aparecerá en la lista de los TOP, pero sí despierta cierta simpatía por una marca que no suele acercarse al gran público. Podrán ver la pieza en nuestra newsletter a la que pueden y deben suscribirse en filispin.es https://youtu.be/j_-H3UoNeas https://lapublicidad.net/bosch-car-service-transmite-un-mensaje-de-ilusion-y-tranquilidad-para-todos/ Los animales y su cuarentena permanente plasmados en un anuncio animado La agencia londinense Engine ha encontrado la forma de crear conciencia sobre los animales en cautividad. Han creado un spot animado en el que diferentes animales enjaulados cuentan historias basadas en testimonios reales de personas que padecieron la cuarentena. Los responsables de la animación son el estudio Aardman, creadores de películas como «Wallace & Gromit» o «Chicken Run» y del corto ganador del Oscar en 1989 «Creature Comforts». De hecho, el estilo de este anuncio rinde homenaje a este corto, que critica las condiciones en las que viven los animales en los zoos Ya saben dónde encontrar el vídeo, ¿verdad? Efectivamente, en filispin.es y nuestra newsletter. https://youtu.be/5B7BQKmq7FM https://lacriaturacreativa.com/2020/07/28/este-anuncio-animado-muestra-que-los-animales-en-cautividad-viven-en-una-cuarentena-permanente/ Nike también se apunta a la lucha contra el coronavirus con otra genialidad «You can’t stop us» es el lema que Nike ha escogido para lanzar diferentes anuncios durante la pandemia. En estos, se lanzan mensajes de esperanza, unidad y motivación para mantenerse en forma durante este tiempo. El nuevo anuncio, lanzado con motivo de la vuelta de la NBA, muestra una pantalla partida en la que las imágenes están sincronizadas al milímetro. El montaje subraya, de forma muy inteligente, las similitudes compartidas por los entusiastas del deporte cotidianos y los atletas de élite de todo el mundo. Para realizar el spot, obra de Wieden+Kennedy Portland y narrado por la jugadora de fútbol estadounidense Megan Rapinoel, Obra de Wieden+Kennedy Portland y narrado por la jugadora de fútbol estadounidense Megan Rapinoe. A mí, me ha recordado a la campaña “Conectados podemos más” que lanzó Movistar de la mano de Young & RUbicam Perú hace unos 10 años. Les dejamos los enlaces a esta excelente obra. La de Movistar https://youtu.be/2M2JlC0NZik y la de NIke https://youtu.be/WA4dDs0T7sM en nuestra newsletter. https://lacriaturacreativa.com/2020/07/31/you-cant-stop-us-el-sorprendente-spot-a-doble-pantalla-con-el-que-nike-planta-cara-al-coronavirus/ Después de tantas noticias sobre la nueva realidad, la cuarentena, el virus y la madre que crió a Peneke, este campaña interesará a más de uno. Islandia te invita a gritar y desahogarte Vale, es cierto que hacen referencia a la cuarentena. Sin embargo, la obra de la agencia M&C Saatchi UK titulado “let it out”, comienza con varias personas confinadas en sus casas mientras se intentan cortar el pelo, terminar un puzzle o ver un programa de televisión, A continuación, estas personas rompen con lo que están haciendo y sueltan varios gritos a todo volumen que los transportan, como por arte de magia, a un paisaje al aire libre. La campaña, que se emitirá en en Canadá, Dinamarca, Alemania, y los dos unidos, Reino y Estados, se complementa con una campaña digital a través de la cual las personas de todo el mundo puedan mandar sus gritos a diferentes lugares de Islandia. Personalmente, me encanta el concepto pero la ejecucíón... ¿No les parece que sacándolo del contexto del Coronavirus y dándole mayor globalidad hubiera sido más potente? https://lacriaturacreativa.com/2020/07/16/islandia-invita-a-gritar-y-desahogarte-de-tus-frustraciones-tras-el-confinamiento-con-esta-divertida-campana/ Tantas noticias sobre el mismo tema dan ganas de huir. Buen momento para hablar de Alsa que presenta su campaña de verano. Tras el cambio de imagen que presentaron a principios de año, y a través de VCCP Spain, supone la primera campaña de esta nueva era. Bajo el concepto "Vive un verano Alsa" y con el objetivo de posicionar el viaje en un autobús como la mejor opción para disfrutar de este verano, la campaña enfatiza los beneficios más relevantes para el viajero vacacional, como la seguridad, la enorme variedad de destinos, las tarifas asequibles, la alta frecuencia de salidas, la posibilidad de llevar equipajes especiales, la sostenibilidad o la comodidad de los autobuses de Alsa. VCCP Spain ha desarrollado una campaña integrada de ámbito nacional, dirigida especialmente al target joven y que se desarrollará en varias fases hasta el mes de septiembre, contando con spots de TV de 45”, 25” y 10’’, un plan en medios digitales en Youtube, así como con Bumber Ads, campaña display (Dynamic Ads) y en redes sociales. https://www.marketingdirecto.com/creacion/campanas-de-marketing/alsa-lanza-su-campana-de-verano-creada-por-vccp-spain Otra opción para huir del monotema nos la trae un marca de coches japoneses. Lexus fomenta el turismo nacional redescubriendo nuestra geografía. Lexus y su agencia digital, SrBurns, junto a Pangea The Travel Store, son los responsables de la campaña “España es mucho mundo”, una acción que viene a apoyar el turismo nacional. Para ello se ha dispuesto la plataforma España es mucho mundo, en la que los usuarios, a través de un sencillo test, podrán descubrir el enclave nacional más acorde al destino internacional que tenían planificado visitar este verano. Además de la web, la campaña viene acompañada de concursos para fomentar la participación de los usuarios con sorteos de escapadas con Pangea The Travel Store. Ahora falta saber cómo evolucionan los rebrotes y si será posible hacerlas realidad como en el caso del concurso de AirBnb del que no hemos tenido más noticias. Algo similar a Lexus, aunque lejos de ser comparable, lo ha hecho Jeep, que incluye imágenes de la geografía española en sus spots sustituyendo las originales, aunque sin nombrar especificamente el tema turístico. https://lapublicidad.net/lexus-redescubre-este-verano-nuestra-geografia-apoyando-el-turismo-nacional/ Adolfo Domínguez utiliza la inteligencia artificial para acabar con las compras compulsivas De cada 5 prendas que compramos hay una a la que sacamos partido y 4 que apenas utilizamos. Adolfo Domínguez, partiendo de ese dato, quiere concienciar sobre la compra compulsiva y la moda de usar y tirar. Para ello ha creado ADN, un modelo de compra personalizada que se propone reducir el margen de error humano con una sencilla fórmula, que un algoritmo aprenda de tus gustos para recomendarte lo que más vas a utilizar. ADN es un servicio de suscripción que selecciona prendas y complementos adaptados al estilo de cada cliente y los envía a su casa sin que hayan tenido que probárselos en una tienda, conjungando la experiencia de los personal shoppers y una inteligencia artifical. La acción, creada por la agencia CHINA, es el primer proyecto I+D+i de estas características desarrollado por una marca europea de moda, y ha sido diseñado durante más de un año con la ayuda de proveedores nacionales expertos en IA, y agencias espaciales públicas como la NASA. https://www.reasonwhy.es/actualidad/adolfo-dominguez-adn-modelo-suscripcion-ropa-2020 Apple celebra el talento creativo de Reino Unido Apple lanzó en 2018 su campaña “Behind the Mac” con la que daban a conocer gente inspiradora que trabaja creando cosas increíbles con sus ordenadores. Ahora, Apple dirige su mirada hacia la escena creativa de Reino Unido a través de varios diseñadores, actores y músicos que usan Mac. Bajo el lema «Made in the UK», el spot muestra una mezcla de talentos emergentes y ya consagrados. https://youtu.be/SGXnhGhLn_Q Creada por TBWA/London, la campaña cuenta también con piezas de exterior que muestran fotos de los creativos junto a imágenes de sus trabajos y mini vídeos de 15 segundos con más información sobre cada creativo para difundir a través de Snapchat, TikTok y Twitter. Con estas piezas, Apple busca afianzar la unión entre sus productos y la creatividad. https://lacriaturacreativa.com/2020/07/24/apple-celebra-el-talento-creativo-de-reino-unido-en-su-ultima-campana-behind-the-mac/ Gilette apuesta por un Animal crossing más inclusivo Animal crossing es uno de los videojuegos que más anunciantes ha atraído en los últimos tiempos. Uno de los más curiosos ha sido Gilette a través de las maquinillas Venus. Han creado cientos de avatares nuevos que muestran diferentes tipos de piel. Así, esta colección incluye 8 tonos diferentes y 19 tipos de piel diferentes. En total, serán 250 combinaciones las que estén disponibles, entre las que podemos encontrar vitiligo, tatuajes, psoriasis, acné, estrías o celulitis. También se han incluido otras condiciones, como prótesis ortopédicas, mastectomías, cesáreas, cicatrices o piel quemada. https://youtu.be/6GqtKbIG5VE Esta acción pretende promocionar la nueva línea de productos de verano Skinclusive de Venus que se basa en la diversidad de la piel de las personas reales. Para descargar estos diseños, basta con entrar en el microsite que Venus ha creado para esta campaña https://www.gillettevenus.com/en-us/animal-crossing y que encontrarán en nuestra newsletter. https://lacriaturacreativa.com/2020/08/06/gillette-hace-animal-crossing-mas-inclusivo-anadiendo-diferentes-tipos-de-piel/ El ecologismo también ha sido un tema comentado. Además de la noticia de google, han venido más campañas y piezas a su alrededor. Estrella Galicia y Cada lata cuenta se unen para fomentar el reciclaje El programa europeo de sensibilización meiodambiental Cada Lata cuenta y Estrella Galicia trasladan su exitoso proyecto #daralata a las playas gallegas con el objetivo de seguir concienciando y sensibilizando sobre la importancia de reciclar para fomentar la economía circular y promover el turismo más sostenible. Dar la lata ha sido nominada a diversos premios por el éxito que ha cosechado en varios festivales musicales de verano. Ante la cancelación de estos para este año, han decidido seguir con el mismo formato. Varios equipos de educadores ambientales, denominados #ResistenciaCircular en referencia a la campaña de Estrella Galicia, recorrerán varias playas de las provincias de A Coruña y Pontevedra durante el mes de agosto con el objetivo de seguir con la labor que ya desarrollaran en los festivales. La campaña estará activa todos los fines de semana de agosto. Entre las playas que recorrerá la #ResistenciaCircular a lo largo del mes se encuentran Riazor, Orzán, Matadero, As Lapas, Adormideras, San Amaro, Oza y Patín en A Coruña, y Samil, O Adro, Bouzas, Alcabre, Da Foz, Fonteíña, A Fontaíña, O Baluarte, Fechiño y O Vao en Pontevedra. Como cierre de la campaña se organizará una Pixelata, una obra de Street art realizado con latas recolectadas a lo largo del mes en la playa de Orzán durante el 28, 29 y 30 de agosto. https://lapublicidad.net/cada-lata-cuenta-y-estrella-galicia-volveran-a-colaborar-este-verano-para-fomentar-el-reciclaje/ La ONU hace un documental sobre la vida de los plásticos en mares y océanos La agencia Goodby Silverstein & Partners para crear este inquietante anuncio que lleva por título «Life Below Water» («La vida bajo el agua») y que muestra a los plásticos desde una perspectiva diferente. Narrado por Morgan Freeman y dirigido por Brian Schulz, el corto imita el estilo de los documentales de la naturaleza, aunque sustituyendo la vida marina con deshechos plásticos. https://youtu.be/QiiMzB2SXGQ Esta campaña ha sido creada para responder al objetivo núm 14 de los 17 Objetivos de Desarrollo Sostenible de las Naciones Unidas. El spot, inspirado en el documental de 1956 llamado “The silent world” hace hincapié en la idea de que los plásticos se han vuelto omnipresentes en el océano hasta el punto que este parece ser su hábitat natural. A mí me ha traído recuerdos de aquel anuncio de lavadoras Hotpoint Ariston en el que la ropa se comportaba como fauna marina. https://youtu.be/tCvZ5QLVtVY Les dejamos ambos enlaces en nuestra newsletter. https://lacriaturacreativa.com/2020/08/05/los-plasticos-se-convierten-en-especies-marinas-en-este-anuncio/ Y por esta semana ya está bien, ya. Recuerden que en nuestra newsletter tienen los enlaces para poder leer y ampliar todas estas noticias. Pueden suscribirse a través de la web filispin.es y escuchar los podcast desde iVoox, y Spotify. Besos, abrazos y gratitudes.

Journalist Krishna Prasad talks to Ravichandar about the disturbing present and future of news media in India.  India needs better news now more than ever, but media houses have been struggling with business models and with credible journalism well before the COVID-19 pandemic and the lockdown. Reporters without Borders ranks India at 142 out of 180 countries on press freedom in 2020.  KP discusses challenges such as regulated newsprint, disappearing ad revenue, reduced readership, poor pricing and choked distribution networks. He discusses how Indian news outlets can remain relevant in 2020 and beyond, how they can shift online, invest in good journalism and more.  Krishna Prasad is a journalist and was the Editor-in-Chief of Outlook Magazine from 2012-2016. Since 2006, he has been the force behind Churumuri, Indian Journalism Review and Kosambari, some of India's most popular and insightful blogs. Churumuri and Indian Journalism Review (formerly, Sans Serif) remain active to this day.  He recently started J-POD, a podcast on journalism, with 17 episodes with a host of journalists and editors across English, Hindi, Kannada and other language media, till date. You can follow his work on Twitter at @churumuri, and at churumuri dot blog. Visit the Bangalore International Centre website to stay up to date on livestreams, upcoming podcast episodes and future events. 

Podcast about the description of the printing press. Tyson Coxum, Katrina Casupanan, Joshua Gagante.

Las tipografías en una página web son como las relaciones humanas: o funcionan o son un desastre. Si quieres que las tuyas te ayuden a conseguir los objetivos de tu proyecto, ya estás tardando en escuchar este peazo de podcast. Lucía Sánchez, Art Director de esta, nuestra casa, te enseñará qué debes tener en cuenta a la hora de elegir tus tipografías y dónde las puedes encontrar… ¡gratis! Que el horno no está para bollos (caros) y hay que ahorrar de donde se pueda, ¿verdad? Pues eso, ponte los cascos. En este episodio hablaremos de: -Tipos de fuentes: Display. Handwriting/Script. Sans Serif. Serif. -Familia tipográfica: Normal o regular. Negrita o bold. Light. Cursiva o italic. Condensada. -Conceptos esenciales (minuto 16:41): Legibilidad. Tamaño. Contraste. -Google Fonts: Uso. Número de fuentes a utilizar. Ejemplos. -Semanita Paradiser (minuto 37:21). Enlaces y recursos recomendados en el programa: -Panagramas: -Inglés: The quick brown fox jumps over the lazy dog. -Español: El veloz murciélago hindú comía feliz cardillo y kiwi. La cigüeña tocaba el saxofón detrás del palenque de paja. -Post Cómo combinar los colores en el diseño de una página web. -Google Fonts. -Post Redes sociales horizontales: ¿cuáles son? -Debate sobre los equilibrismos del periodismo online: https://www.linkedin.com/posts/mk-paradise_paradisers-blog-comunicaciaejn-activity-6582215319878672384-9ln4

Need advice? roommatepod@gmail.com Hosts: Meghan (@meghantonjes) Keith (@keithwithoutacrew/@keithwoacrew) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/roommatepod/support

Today I talk with Sofia Belhouari, we talk everything from fonts to Ellen to modeling! Check it out Sofia Belhouari is an Actor, Model, & Creative Producer in NYC. Sofia is the Founder of The NYC Women's Art Collective: a non-profit organization dedicated to creating a judgment-free, safe space for female-identifying and genderqueer creators to connect, collaborate, and promote their work. NYC WAC's mission is to help support female-identifying artist's independent projects that aim for social/political progress. She has a BFA in Musical Theatre Performance from The University of Oklahoma and is working on a few film projects in NYC. She just appeared in "The Cigar Lounge" at the Williamsburg Comedy Festival. Films currently in Post Production are (Blueberry Hall 2016, and Gosnell America's Biggest Serial Killer.) Sofia will also appear in a feature shooting in the fall of 2019. IMDB. Sofia Partners with Incline Productions, a full-service Film/ Commercial production company located in Meat Packing. With her background in acting, broadcast, filmmaking, and modeling, she's a storyteller with perspective from both sides of the lens. Sofia is a photographer, consultant, and content creator for several brands. Check out her work at www.sofiabelhouari.com, as well as the philosofi blog: an online resource she created for fashion, beauty, creative living, and a gluten-free lifestyle. Visit @sofiabelhouari for daily updates!

Art has flooded from Catholicdom in greater abundance and unmatched beauty than anything produced in other cultures in any period. One is led to attribute this cornucopia of genius to God the Creator having graced the human species with an extraordinary creativity. An ability that imitates His own; that is the image of His own. A wellspring of God’s beauty gushed forth through God’s human creatures from the earliest days of the Catholic Church. It reach an astounding height as an illuminating positive response to the darkness shadows of the Protestant Reformation. This crest of created beauty continued for four centuries. Is it over?Short stories by Catholic Authors that present a positive image of the Catholic Church. http://www.catholicstories.net

An Old Civilization vanished. It had been millions of years old, climaxing in the magnificence of Christendom/Catholicdom. In the USA it was replaced by layers of mutually intolerant civilizations called Gen X, Gen Y, Gen Z, etcetera. Was this just natural “progress”? No. It was the result of a carefully executed cultural project executed in full view. Although many deny its existence, this Culture War succeeds the same way every where, beginning with Bismarck, and continuing with Soviet subversion, the Chinese Cultural Revolution, and the Communist takeover of 32 countries after World War Two. The subtle lever of Public Schools and the hoax of Peer Group socialization were inserted under societal foundations toppling countries into a world in which governments became the parents.Short stories by Catholic Authors that present a positive image of the Catholic Church. http://www.catholicstories.net

Vito Restroom, a doorman in downtown Seattle, is nominated for the prestigious Golden Doorman Award, producer Gregory Tustin-Husk spends a day in one of Honolulu's best-rated restaurants, Teresa Bones, a woman who has legally died 26 times discusses her journey, a New Yorker sex columnist comes out as an Eroto-French-Exiter, and producer Shendra Yumms revisits home movies from a 10 day long family reunion.Starring Micah Gordon, Jordan Pridgen, Janel Benisch-Wojcik, Mike Hughes, and Tommy Bechold.This American Lie is an improvised podcast performed in studio and LIVE around Los Angeles. Part of the Ruby Tone Network. Follow @ThisAmerLie or find us on Facebook for show information.

Is it better to use serif or sans-serif fonts in your slides? Which one is best for your presentations?

Today we cover Emily’s favorite typeface and the talented designer that created it! After listening to this you’ll spot this typeface on soaps, European cities, and thin mint boxes!

Frequent urination! Plus... plots! Studio upgrades! A quiet zang! And... Oscar's Take (Oscar's Take).

Presentation Visuals Mastery (Part One) Today we are going to look at the proper use of visuals when we are presenting.  Many people ask us at Dale Carnegie, what should I do with preparing my PowerPoint or my key note presentation?  What about visuals?  What's too much?  What's too little?  What's the best way to make this work for me?  Well there's a couple of things we need to consider at the very beginning.  What about the types of visuals that we need to use?  How many visuals are required?  Some people have very few.  Some people have a lot.  I once gave a five minute presentation and I used for that, I think, about 90 visuals.  Now you might be thinking, 90 visuals in five minutes?  Are you nuts?  Well that particular presentation was a warm up to a keynote speaker.  We'd sponsored the event and for that we got five minutes of stage time.  Now I remember a quote from Abraham Lincoln.  Something along the lines of, if you want me to give a three hour speech I can get up and give it right now.  But if you want a 20 minute speech it will take me three or four weeks to prepare it.  And that's right.  To give a very long speech, rambling speech is relatively easy.  To give a very concise sharp speech is very tough.  Five minutes is a really tough time period in which to speak, very hard to have impact.  So in that particular case, I used 90.  I was using a visual every two seconds.  As I was speaking, behind me on a big screen, lots of visuals were just hitting the audience because in that five minutes I needed to get something across about Dale Carnegie Training Japan.  I wanted to give some visual stimulation, because I didn't have many words in five minutes to really get in front of that audience with very strong ideas.  So I was using that as a technique.  For that particular case it worked very well.  Generally speaking, I usually want to use too many visuals, because I am too greedy and I see all these great things I can show people, and I want to show them.  But I really have to pair it down. I have to really discipline myself to really cut them out.  Oh, I really want to use that graph.   Oh that's a great visual.  No, no, no, no.  Cut it out.  Cut it out.  Try and keep it in some sort of range that works for you depending on what the purpose of your presentation is.  Degree of permanency is something you need to think about.  It might be better to use a handout.  It might be something that is too complex to put up on the screen.  Unfortunately you often get this.  I worked in the financial sector for a number of years and had to sit through countless presentations of spreadsheets up on screens with numbers that were so tiny, the person standing next to the screen giving the presentation had no clue how to read it themselves and they would say crazy things like, “I know you can't see this but…”.  Well of course we can't see the thing, it's too damn small.  Get those sorts of visuals in the hands of the audience, rather than try to see it on the screen.  As for the size of the audience, for a very big audience, the visuals may be more important than a small audience.  Think.  Does it back up the content of what you are saying?  How much time have you got to prepare?  Where I think a lot of people make a mistake is they put all the time into the PowerPoint or the key note or whatever it is that they are preparing and no time on the rehearsal.  So the whole balance flips and instead of having a case where you get the presentation structure, content right and then spend time on the rehearsal, delivery practice, it's all sucked up into the visuals preparation, which is the wrong balance.  Be very cautious about spending all your time on that and not allowing enough time on the actual physical stand up and deliver and practice.  And finally the cost.  Sometimes there might be a cost to buying visuals or sourcing visuals.  That may not be something you want to do.  Here's some guidelines for using visuals.  As it was mentioned before, sometimes less is definitely best.  On a screen, try to avoid paragraphs.  Try to avoid sentences.  If you can, single words, bullet points.    Single words can be very, very powerful.  Just one word or even just one number can be very very impactful. You can talk to the number, or you can talk to that word.  Or just put up a photograph or a simple visual and you talk to the visual.  You don't have to crowd the screen with stuff that we can read ourselves.  What you really want is the audience to be focused on you, the presenter and not what's on the screen.  This is very critical.  We don't want the screen competing with us so the less you have up there the better, because people look at it two seconds, they've got it and then they come back to you.  Which is where you want them.  And I mention that two seconds because I believe that the two second rule is a key rule.  If you are putting something up on screen and an audience cannot see that and understand that within two seconds, it's probably too complicated.  Two seconds-that's not long.  But if it's more than two seconds it's probably too complicated.  So think about reducing down the volume or breaking it into a couple of parts or maybe just leaving it out and replacing it with something you can talk to.  Don't try and have people try and make their way through something very complex on the screen. Generally, the six by six rule means that again, less is best.  Six words on a line.  Maybe six lines maximum on a screen is good.  Again, keeping it very minimalist.  Six lines or less per visual is probably good.  And then six words across each line probably max.   With fonts, try to make fonts easy to read.  You might use for the title 44 font size, and for the text a 32.  Large font so it's easy to read if you are at the back of the hall.  In terms of font types, sans serif fonts like Arial are very easy to read.  Whereas serif fonts like Times, Times Roman, which has got a lot of additional fancy work done to them, can be a bit distracting.  Try to use something like Arial or Sans Serif fonts that make it easy to read.   And again, be very very very sparing with all uppercase.  It's actually screaming at your audience; it's shouting at your audience when you use strong uppercase like that.  You can use it.  But use it very, very strategically and very practically to make a strong point.  So upper and lowercase is much more balanced.  Be very careful about using a lot or too much of all upper case.  For visibility, be careful about the overuse of underline.  Yes you can use underline, but use it sparingly.  Bold, yes you can use bold, but the same thing, occasionally.  Italics, yes, but very rarely with italics because again it's not so easy to read.  You can use them but use them very, very modestly.   With things like transitions and animations, sometimes it's good to reveal one concept at a time, because there is only one idea on the screen and then you can talk to that, so you are not competing with a lot of words on the screen.  Try and keep it consistent and simple.  So if you start like that then maybe continue like that.  Or sometimes maybe have it all up on the screen at one time, but try not to have it jumping around too much because then people get very confused.  If you are going to have animation where it might be wipe right for example, as you bring in something, then have it wipe right all the time.  Don't have one wipe right then the wipe up and the next one is wipe left, next one is something else.  It's very confusing for an audience.  And wiping left to right is good because that's how we read.  That makes a lot of sense for people.  And if we are going to indent on a visual, do it maybe just once on that page.  Don't have a sentence and a couple of words and a whole bunch of indents.  Just try and keep it as simple as possible.  If you've got that much information, whip that over onto another page.   Pictures are great.  Pictures have a lot of visual appeal and as we say, a picture is worth a thousand words.  And a nice, nice photograph of something that's relevant, of a book or picture or whatever.  Nice and people can look at that.  Very simply, they get it.  Two seconds, they've got it.  Now they're ready for your words to talk about the relevancy of this visual image, this picture, to what your talk is about today. Next week we continue with Part Two of the correct use of visuals and look at graphs, colours, room lighting and some technical nightmares to avoid.

Ryan and Nate make their noble return for Episode 54 and cover Sotheby's Supreme skate deck auction, Justin Beiber's Drewhouse, why corporate high fashion brands need a refresh, and why the hell Sans Serif fonts are so popular nowadays. Enjoy! +++++++++++++++++++++++++++++++++ Want to continue the conversation? Follow us on our socials! No Chance Radio Instagram: www.instagram.com/nochanceradio Twitter: twitter.com/nochancepodcast Ryan Corpuz Instagram: www.instagram.com/swanouthere/ Twitter: twitter.com/swanouthere Nathan Lumanlan Instagram: www.instagram.com/natesince95/ Twitter: twitter.com/NateSince95

Bienvenidos a Robot, un podcast para humanos hecho por 4 humanos que trabajan para un robot. Este es el Episodio 76, titulado “¡Sans serif vence a serif en 7 juegos!” Grabado el 3 de Noviembre de 2016 por Alfredo Octavio, Julio Ohep, Jaime Creixems y Guillermo Amador. Y en una nota lateral, el perro de […]

San Serif Sweater by Elizabeth Doherty in Quince & Co Chickadee in the Dogwood colorway. Check out Elizabeth’s blog post on correcting Rowing Out (if your knit stitches and purl stitches do not match in size.) See BlueBeeStudio.com. Direct link in show notes. Kindly sponsored by Quince & Co and KnitCircus Yarns. I am also a Craftsy Affiliate. Please consider visiting my web site before purchasing a Craftsy class or materials as I receive credit for it. Thank you! Show notes are found at www.knittingpipeline.com.  

As the saying goes, "A picture is worth a thousand words." Those thousand words tell the story of your company, its' work ethic, industry authority and so much more! It is not only important to have strong graphic and web design but also understand the elements that make it successful in the first place. Tatiana puts on her design hat while pulling from her history of psychology to talk to us more on facets to better understand the psychology of digital visual media and how they affect the overall message of a company. Visual Psychology Font - What are Serif Fonts - Fonts without the little 'feet' are easier to see on small screens and seem more modern. - Types of Fonts - Know Sans fonts. Ex. Open Sans (nice shape/people use it. Why people use it. Easier to read) - Negative of Sans Serif fonts. - When do Serif fonts work? Green - Unofficial Primary Color - Why nature impacts this and amounts of shades we see. - People can see more variations of green than any other color; and each shade provides a different meaning. - Why colors like brown, red or blue don't stand out as much - Fun fact: 49 shades of green exist with Crayola Crayons Crowd Sourced Content - Visual media exists to engage people, so why not have your audience create the content for you? This is a popular trend on social media. - Hotels and Instagram - Company contests (restaurants do this a lot - Bon Me #Smilewithbonme - support domestic violence victims) - Gain more authority because people are engaging with your brand directly - Showing product use in multiple ways without spending Responsive Design - Mobile Friendly (Resizing / keeping format & general structure / layout using space correctly / keep things modern & fresh) - Shows professionalism, being up to date, that you think about customers & how they interact with you - Still controls where viewer focuses and travels to on website BONUS: Google - Links and navbars (DIV wraps etc). Classification for Google to understand and refer to your site correctly More information about us: http://www.WaverleyKnobs.com/about Facebook: http://www.facebook.com/waverleyknobs Twitter: http://www.twitter.com/waverleyknobs Instagram: http://www.instagram.com/waverleyknobs

Сегодня обсудили много тем по дизайну и программированию, например, актуальность jQuery в 2015 году, нужда использовать Sans Serif шрифты в интерфейсах, а также эволюцию такого элемента интерфейса, как «кнопка». Кроме этого обсудили много новостей, среди которых: блокировка Rutracker, редизайн «лайков» в Twitter и возвращение ссылочного ранжирования в Яндексе.

Download MK Podcast #003MK Podcasts by Maurits Kautz presents the third podcast live recorded at Vreugdedans, Zottegem, BE.Tracklist: 1. Francys - Crossing the white line 2. Dosem - message 3. Subb-an - This place  4. Stefano Ritteri - Let us pray (Jaymo & Andy's refix '96) 5. Siwell - hangover 6. Adrian Hour - Old future 7. Adrian Hour - Gonna be 8. Daniele Petronelli - Gimme Sound 9. Heartik - Benzomondon  10. Superskank - Good time  11. Schuhmacher, Daniele Petronelli - BounceMore productions on: http://www.soundcloud.com/MauritsKautzhttp://www.youtube.com/MauritsKautzhttp://www.mixcloud.com/MauritsKautzhttp://www.facebook.com/MauritsKautzOfficial

  シカゴブルースポッドキャストエピソード　＃25  （もし環境によってプレイヤーが使えない場合、このタイトルをクリックすれば聴けます。） ニュース １、ジミーロジャースの本　ウェイン、エベレット、ゴインズ著 http://www.shojinaito.com/news/2014/9/2/new-jimmy-rogers-book ２、ケニースミス＆ボブストロジャーの新譜　http://www.bigeyerecords.com/music ３、エディクリアウォーター新譜　http://www.eddyclearwater.com/ ４、日本ツアー　http://shoblues.blogspot.com/2014/09/blog-post_5.html ５、ブルースアンドソウルレコード　Leeさんのインタビュー記事　http://shoblues.blogspot.com/2014/09/blog-post.html ６、ブルース１００曲　＋　ブルースインストゥルメンタル１００曲 http://www.chicagoblueslessons.com/  本編Mr. Oh Yeah さん対談  インタビュー中BGM曲　by Mr. Oh Yeah「Working Papa」 「Oh Yeah’s Boogie」 「Hip Pretty Baby」 曲 Baby I Need Your Love / Mr.Oh Yeah & ShojiMr. Oh Yeah : Vocal, guitarShoji : Harmonica 挿入BGM 曲　by　SHOJIイントロ　 「Groove and Cats」ニュース　「Blue Stroller」「I 55 to Memphis」エンディング　「Autumn in Chicago」

Episode 52:  THE Leadership Japan Series - How to Use PowerPoint, Etc. (Properly) When Presenting Intro:  Greg:  Konnichiwa and welcome to Episode 52 of THE Leadership Japan series.  I'm your host in Tokyo, Dr. Greg Story, president of Dale Carnegie Training Japan, and much more importantly you are a student of leadership, highly motivated to be the best in your business field.   If you enjoy the program then you might consider subscribing on iTunes.  Also, if you would like your own access to 102 years of the accumulated wisdom of Dale Carnegie training through free white-papers, guidebooks, reports, training videos, blogs, course information plus much much more, then go to japan.dalecarnegie.com.  Today, we are going to discuss the proper use of PowerPoint when presenting. Greg:  Welcome to Dale Carnegie Training Japan, High-Impact Presentations.  Today we are going to look at the proper use of visuals when we are presenting.  Many people ask us at Dale Carnegie, what should I do with preparing my PowerPoint or my key note presentation?  What about visuals?  What's too much?  What's too little?  What's the best way to make this work for me?  Well there's a couple of things we need to consider at the very beginning.  Firstly, to have impact when you are a presenter, you must have a good structure.  It must be something that people can follow.  It's very clear as you transition from one section to another of where you are going with this conversation, where you are going with this skilled presentation.  Naturally the content must be high quality.  There must be clear points with evidence backing up what you are saying.  The third one though is really the make or break it.  If your delivery is not well-rehearsed, well-practiced and professional, it doesn't matter how good your structure is, people leave the presentation with a very poor image of your company's brand and your brand.  If the structure is good, but content not very good, not very high quality, again you are just killing your brand.  But even if your content is great and even if your structure is great but you deliver it in such a way that the audience is left bored or they're not relating to it, they are not identifying with the message, then you have had zero impact on that audience.  So a big part of the delivery is how we interact with the screen or with handouts that we've got for the audience.  Today I am going to look at what we can do to really improve in that delivery aspect around using visuals. Preparation is the key to everything.  Very key question, who is my audience?  You have to really understand who you are talking to.  What is their level of expertise?  What is their level of experience?  What's the age range?  What's the gender mix?  What's their interest in this particular subject?  So before we get up in front of any audience, we need to investigate who will be there?  What things we think will be most appropriate for that particular audience?  I'll talk about this in a little bit but why are you giving this presentation?  What's the purpose?  What are you trying to achieve with this presentation?  Let me come back to that in a little bit more detail in the next slide. Well, how will I open?  Critical question.  You are competing with what's already inside their heads, of every single person inside that room.  They come to your presentation maxed out.  They've got everything that's happening in their lives in their head.  What happened that morning, what they've got to do later in the day, things that are going on at work, things that are happening in their personal life.  You are really competing with a lot of other stuff.  Your opening has got to cut through all that distraction and it has to grab their attention so they'll listen to what you have to say.  If you don't get that right and you lose them, and you've only got a few seconds to grab them, you are going to have a very difficult job to have any impact with that audience.  What are some of the key points you are going to make?  You've got a certain time limitation.  You can't deal with everything.  What are the key things I am supposed to be concentrating on?Make sure you've isolated those and then bracket them throughout the talk so that they flow in that structure that I talked about before, nicely from one to the other.  And then again, what are the ideas and evidence that you are going to use to back up those key points?  You make a statement.  Ok that's great.  Well so what?  What's the proof?  What's the evidence?  Who else says that?  What are some testimonials?  What are some authorities you can draw on that back up what you're saying?  And then finally, first impression.  I mentioned before, it's very critical to grab the audience attention.  Lastly, closing statement.  This is the last thing that is going to be ringing in their ears as they walk out of that venue.  You must command that close.  You must have the final key message as the last things in their mind as they leave you and leave the presentation.  Even if you have Q&A, from when you finish your presentation to the actual final closing of the presentation, you must come back and have a second close.  You might close, go to Q&A.  Definitely don't end it at the last question in Q&A.  Wrap it up.  Go back and close it up as you want it to close.  You must keep in control of the proceedings.  Now I mentioned a minute ago about what's the purpose here?  There are basically four purposes of our presentations.  Either we are trying to convince an audience or impress them about our company or something we are doing ourselves.  Or it might be we just want to give them some information or inform them about something, update them on something that's happening. Might be a new regulation, a new product release.  It could be a new marketing strategy.  Or we might be trying to persuade them or persuade them to take some action.  Or we just might be there to entertain people.  Depending on what you are trying to achieve, then you really need to think, what am I going to present that will help me to achieve that purpose?  Don't start with the visuals or you know, I found this really cool photograph.  I found this really great graph or I've got this really interesting PowerPoint animation.  Don't start with the mechanics.  Start with the point.  What am I setting out to achieve, and then build your opening.   Build your key points.  Build your evidence and then build your close around that and then come back and look at the visuals.  In fact I recommend you start with the close.  Start with the thing you want to have people remembering.  Start with that.  Design that first, then go back and design how you are going to open this up.  Then look at, what are the key points and what is my evidence around those key points.  That sounds a bit counterintuitive, but begin where you want to end.  It's not bad advice.  Go back and think, what's the final key message I want to leave with this audience?  How am I going to break into their attention that's already crowded with lots of competing ideas and information?  How will I arrange my structure so it's logical?  And then how will I hang the evidence and the ideas off that.  Having done all that and having decided what the purpose is, now let's think about the visuals.  Visuals are great, but you don't always need to use visuals.  Sometimes it's better not to use visuals.  Sometimes a PowerPoint free or a visual free zone is great when you are doing a presentation.  It doesn't have to be a lot of visuals, but, they can dramatize ideas.  They are also a bit of a guide to the presentation direction.  Many years ago I attended a lecture at Harvard Business School.  It was an executive course that I was sent to by my company.  The professor gave a three hour lecture, no notes.  It was most impressive.  I did notice at the back of the lecture theatre, on a piece of paper on the back wall, ten words.  Those ten words was actually his three hour lecture.  That was his guide to what comes next.  I talk about this and then I go into this and then this comes next. Well a visual presentation can also be a prompt to us as a speaker as to what comes next.  It keeps us on track with where we are going in our presentation.  Visuals can also make the presentation easy to understand, particularly if you are talking about numbers.  A graph or a pie chart or something like that is a very clear visual signal about a complex idea and helps the audience to understand the message we are trying to get across.  What about the types of visuals that we need to use?  How many visuals are required?  Some people have very few.  Some people have a lot.  I once gave a five minute presentation and I used for that I think about 90 visuals.  Now you might be thinking, 90 visuals in five minutes?  Are you nuts?  Well that particular presentation was a warm up to a keynote speaker.  We'd sponsored the event and for that we got five minutes.  Now I remember a quote from Abraham Lincoln.  Something along the lines of, if you want me to give a three hour speech I can get up and give it right now.  But if you want a 20 minute speech it will take me three or four weeks to prepare it.  And that's right.  To give a very long speech, rambling speech is relatively easy.  To give a very concise sharp speech is very tough.  Five minutes is a really tough time period in which to speak, very hard to have impact.  So in that particular case, I used 90.  I was using a visual every two seconds.  As I was speaking, behind me on a big screen lots of visuals were just hitting the audience because in that five minutes I needed to get something across about Dale Carnegie Training Japan.  I wanted to give some visual stimulation because I don't have many words in five minutes to really get in front of that audience with very strong ideas.  So I was using that as a technique.  For that particular case it worked very well.  Generally speaking I usually want to use too many visuals because I am too greedy and I see all these great things I can show people, and I want to show them.  But I really have to pair it down. I have to really discipline myself to really cut them out.  Oh I really want to use that graph.   Oh that's a great visual.  No, no, no, no.  Cut it out.  Cut it out.  Try and keep it in some sort of range that works for you depending on what the purpose of your presentation is.  Degree of permanency is something you need to think about.  It might be better to use as a handout.  It might be something that is too complex to put up on the screen.  And often you get this.  I worked in the financial sector for a number of years and had to sit through countless presentations of spreadsheets up on screens with numbers that were so tiny the person standing next to the screen giving the presentation had no clue as to read it themselves and say crazy things like,“I know you can't see this but…”.  Well of course we can't see the thing, it's too damn small.  Get those sorts of visuals in the hands of the audience rather than try to see it on the screen. As for the size of the audience, for a very big audience, the visuals may be more important than a small audience.  Think, does it back up the content of what you are saying?  How much time have you got to prepare?  Where I think a lot of people make a mistake is they put all the time into the PowerPoint or the key note or whatever it is that they are preparing and no time on the rehearsal.  So the whole balance flips and instead of having a case where you get the presentation structure, content right and then spend time on the rehearsal, delivery practice, it's all sucked up into the visuals preparation, which is the wrong balance.  Be very cautious about spending all your time on that and not allowing enough time on the actual physical stand up and deliver and practice.  And finally the cost.  Sometimes there might be a cost to buying visuals or sourcing visuals.  That may not be something you want to do. Here's some guidelines for using visuals.  As it was mentioned before, sometimes less is definitely best.  On a screen, try to avoid paragraphs.  Try to avoid sentences.  If you can, single words, bullet points.  Sometimes bullet points are, the point, the bullet is sometimes good.  Single words can be very very powerful.  Just one word or even just one number can be very very powerful and then you can talk to the number, or you can talk to that word.  Or just a photograph or a simple visual and you talk to the visual.  You don't have to crowd the screen with stuff that we can read ourselves.  What you really want is the audience to be focused on you, the presenter and not what's on the screen.  This is very critical.  We don't want the screen competing with us so the less you have up there the better, because people look at it two seconds, they've got it and then they come back to you.  Which is where you want them.  And I mention that two seconds because I believe that the two second rule is a key rule.  If you are putting something up on screen and an audience cannot see that and understand that within two seconds, it's probably too complicated.  Two seconds-that's not long.  But if it's more than two seconds it's probably too complicated.  So think about reducing down the volume or breaking it into a couple of parts or maybe just leaving it out and replacing it with something you can talk to.  Don't try and have people try and make their way through something very complex on the screen. Generally six by six rule means that again, less is best.  Six words on a line.  Maybe six lines maximum on a screen is good.  Again, keeping it very minimalist.  Six lines or less per visual is probably good.  And then six words across each line probably max.  With fonts, try to make fonts easy to read.  You might use for the title 44 font size, and for the text a 32.  Large font so it's easy to read if you are at the back of the hall.  In terms of font types, sans serif fonts like Arial are very easy to read.  Whereas serif fonts like Times, Times Roman, which has got a lot of additional fancy work done to them, these can be a bit distracting.  Try to use something like Arial or Sans Serif fonts that make it easy to read.   And again, be very very very sparing with all uppercase.  It's actually screaming at your audience; it's shouting at your audience when you use strong uppercase like that.  You can use it.  But use it very very strategically and very practically to make a strong point.  So upper and lowercase is much more balanced.  Be very careful about using a lot or too much of all upper case.  For visibility, be careful about the overuse of underline.  Yes you can use underline but use it sparingly.  Bold, yes you can use bold, but the same thing, occasionally.  Italics, yes, very rarely with italics because again it's not so easy to read.  You can use them but use them very very modestly.  With things like transitions and animations, sometimes it's good to reveal one concept at a time because there is only one idea on the screen and then you can talk to that so you are not competing with a lot of words on the screen.  Try and keep it consistent and simple.  So if you start like that then maybe continue like that.  Or sometimes maybe have it all up on the screen at one time, but try not to have it jumping around too much because then people get very confused.  If you are going to have animation where it might be wipe right for example as you bring in something, then have it wipe right all the time.  Don't have one wipe right then the wipe up and the next one is wipe left, next one is something else.  It's very confusing for an audience.  And wiping left to right is good because that's how we read.  That makes a lot of sense for people.  And if we are going to indent on a visual, do it maybe just once on that page.  Don't have a sentence and a couple of words and a whole bunch of indents.  Just try and keep it as simple as possible.  If you've got that much information, whip that over onto another page.  Pictures are great.  Pictures have a lot of visual appeal and as we say, a picture is worth a thousand words.  And a nice, nice photograph of something that's relevant, of a book or picture or whatever.  Nice and people can look at that.  Very simply, they get it.  Two seconds, they've got it.  Now they're ready for your words to talk about the relevancy of this visual image, this picture, to what your talk is about today. With bar graphs-they're great.  Easy to compare items, you know.  For certain, particularly measurement related, numbers related presentations, you want to compare different variables by bar graphs-very good for that.  Y charts, they're great to show change over time.  And you can compare two or three items over time and it is very easy to see, that one's up, that one's down, that's flat.  Again,it's very simple to understand.  And pie charts are fantastic for parts of a whole.  What's the share of something?  As long as there's not too many, then a pie chart works well. With lighting be very careful when the room gets set up because honestly I am yet to meet very many people who set up rooms, who do presenting.  The people who get the job to set up the room are rarely presenters themselves.  They are just told, you set up the room.  Put the chairs here.  Put the lectern there.  Put the mic there.  Particularly at hotels I'll notice that a lot of times, hotel staff, very unhelpfullywill turn off all the lights in the audience and just havethe whole stage black and then the screen is the main light source.  No, no, no.  You want the lights on that audience.  You want to see your audience.  You want to be looking at their faces.  What is their reaction to what I am saying?  Am I boring them?  Are they with me?  Are they nodding?  Are they shaking their head?  You want to see your audience.  So keep the room lights up on the audience.  Do not turn it down.  If you have to turn it down at all, turn it down very very little.  Try and keep the room lit.  Around the screen area, it's good if you can actually have the lights off just above the screen.  Then the screen becomes easier to read.  But definitely leave the lights on you.  When they shut the lights down, you're now in darkness so you're invisible to an audience, just a voice in the dark.  No, have the lights on you, spotlights on you so the audience can see your face, because your face has got so much power of persuasion.  You've got so much creditability through the message through using your face, using your gestures, your body language.  Don't miss the opportunity that the audience can see all of that.  I have to say I am struggling to think of too many venues that manage to isolate out the lights above a screen.  But today with most projectors, the screens are pretty good, even with all the lights on so it's usually not such a big deal.  And again if you design your visuals with that in mind, you're not going to be too dependent on too much information on the screen.  We have a particularly bright room, might be a lot of natural light.  Then often you have a light background with very dark text as the contrast.  And that works very well.  So the contrast of dark fonts on a light background in a light room can work.  Or sometimes in a dark room you might go the other way and have a dark background with white and even white bolded text on a screen to really stand out and have the contrast. Colors are tricky, you rarely see people using them well I have to say.   Colors like black, blue, green - they work very well on a screen.  They're the best colors.  Stay away from oranges and greys and particularly we'll talk about in a minute, red.  So with contrast, black and blue work together well as a contrast.  And green and black also work well together as a contrast.  They're good colors to mix and match on the screen: black and blue, green and black.  Red, oh my god, red can be hard to see.  In fact I was at a presentation not that long ago in marketing.  Quite good content and reasonably well delivered but the screen!  Dark blue background, red on dark blue.  I could not read it very easily.  So red, avoid red.  Just try and stay away from red.  It is hard to read on a screen.  And also don't go crazy and try and have some sort of rainbow federation going on.  All the colors we've got to have.  Too many on screen.  Too distracting.  Too confusing.  And remember you are the message.  You are.  Your face, your body, your gestures, your body language, your energy-you are the message, not what is on that screen. The screen is a slave to you.  It is a servant to you.  Not the other way around. So when we are preparing, one of the tricky things is we often sit around in front of a screen, at a very close distance and we are preparing the visuals.  And then off we go and we are in a big room, big venue, big screen.  And somehow it doesn't look like it did when I was preparing it.   And you go, uh oh, too late.  On your computer you'll have a presentation mode function.  Go to that and then run your slides through that and see how it looks.  And also, another handy hint, get to the venue early and run it through their projector on their screen in that venue and then make any final adjustments you need to make there and then, because often it is different.  And if you are using different computers, for example at work I am using a sort of Windows environment, at home I've got a Mac environment  so when I do things on PowerPoint on my Mac and then I take it to my desktop at work, it looks different.  Something, the formatting changes.  Often it's a mysterious thing why it changes but it changes. So be very careful about when you are shifting formats through computers.  Particularly if you are taking a USB, a disk or something and you stick it in the venue's computer and then suddenly, boom!  All your formatting's changed and you've got no time to do much about it.  So you can always go early if you are going to use their computer with your USB or whatever, check.  And the visuals should have some relevancy to what you are presenting so try and make sure it is not irrelevant or distracting or competing with the message.  If you have something that is really exciting on the screen, very interesting, you don't get lost.  Particularly if you are presenting video, be very careful that the video doesn't overrun what you're doing.  That the video then takes over the whole presentation.  And use video sparingly.  It's sad for me to see CEO's, of major corporations get up there and they go straight to the video.  You know, straight to the video because they don't like presenting or they're not confident, or they think somehow that sort of corporate video is going to be so riveting for an audience that they're just going to sell the whole message.  No, you sell the message.  The video is a slave.  The video is a servant to you.  Use it as an adjunct not as a substitute for you.  There is no substitute for you actually.  You are the main thing.  Electronic backup is good.  Not a bad thing to have a second laptop there, primed and ready to go.  Because things do go wrong.  Have a USB there.  Things do go wrong.  Have a disk handy.  Things do go wrong.  Be ready to have some backup if you need it.  Recently I was at a presentation, and the actual IT guy was doing part of the presentation and he couldn't get his presentation to work.  So now we've got a balding pate looking at us because his head is over the keyboard, like under the bonnet of a car, trying to fix the engine.  And here he is, he's got the head down with his bald pate facing us trying to get the plumbing to work.  Not a good look.  Things do go wrong, even for IT people who are experts in this area.  Things do go wrong.  So don't think it's always going to be perfect; be ready for trouble. With an audience, there are lots of things we can look at.  We can look at the screen behind us.  We can look at our screen on our laptop in front of us.  We can look at notes.  But we should not.  We should not be looking much at any of those things.  We should be looking at our audience.  We should be breaking our audience up into pockets of six.  And what I mean, and I'm an Australian so I'm not particularly familiar with things like baseball.  I've seen it played and I've noticed that with baseball they have sort of a curved shape in front of you.  So you've got left field, center field, right field.  So there's three basic brackets that you can break your audience up into.  Audience on my left, audience at my center, audience on my right.  I've also noticed they have what they call the inner field and the outer field. So that inner field might be the first few rows of my audience-like the first half of the venue is my inner field.  And the back half is my outer field.  So now left, center right.  I've got front and back.  So that creates six pockets.  So try and involve the audience in all six pockets.  Don't just look at the left side of your audience.  Don't just look at the right side of your audience.  Don't look at the front row and ignore everyone else.  Take your eye contact and involve every single group and look at every single group through the process of your presentation.  And try and look for about six seconds because less than that it looks like sort of fake eye contact.  And too much more than that six seconds, it gets a bit intrusive. So six seconds is a good enough period of time to be making a comment or you are looking at an audience member in one pocket and then switch and look to another pocket.  And don't do it by numbers like a 1, 2, 3, 4, 5, 6 in one order, left to right.  No, no.  Break it up.  Look left to right randomly.  Look all over the place so you never quite know where you are going to pick up the next audience group, so it's not predictable.  And keep that audience eye contact and glanceat the screen, but keep the main contact with your audience.  Remember, the audience is the key thing.  Your monitor of your laptop will tell you what's on screen so you can refer to it without having to look backwards at the big screen.  All though, sometimes for me I prefer to present without glasses so if I can I will sometimes use the big screen to just check what's on there rather than my monitor on my laptop because it might be a bit hard for me to see - can't read it without glasses.  But I try not to spend too much time looking at the big screen.  Just glance at it and talk to my audience. I've seen lots of people get lost with their notes.  They've got copious notes and they start reading it.  Don't.  That's my advice. Don't.  Don't read it.  Do not read it.  Have your points, sure.  Have some points, have some notes.  That's fine.  Noone will begrudge you looking at some notes to trigger the next phase of what you going to talk about. But talk about it.  You're the expert.  Talk to what your topic is about.  You've designed it. It's your presentation.  You know what the purpose is.  Talk to the points.  Don't read the points.  It just takes away from it.  I forget where I was recently - something I saw, someone actually reading a presentation.  They did a reasonable job of reading it, but it would have been so much more impressive if they had not read it, if they'd actually spoken to it.  And you can, you know, you've got points you can talk to.  That's enough.  So try to avoid looking down and reading.  It's noteffective.  You are not going to have an impact when you do it that way. Lecterns are a bit of a trap.  Again, people who set up venues, they tend to set them up without thinking.  So they'll put the lectern there with the sort of stand mic.  Try and use a pin mic rather than a stand mic so you can move around a little bit.  If you can, move the lectern get rid of it.  If the lectern is just a platform to put your laptop on, fine.  But move it out of the way; put it to the side so that yes, you can have the laptop there if you need to look at the screen.  If you are not particularly tall, then you should definitely be very careful about being trapped behind a lectern because often the lectern is a bit high and all we can see is your head, and it's just framed above the lectern.  Again, not a good look.  If you have to use a lectern, then get organized, get something to stand on so you are going to be higher above the lectern.  If you can get rid of the lectern then get rid of the lectern because that way we can see your whole body, we've got all the body language available to us.  Great for getting messages across. If you've got a mic stand then take the mic out from the mic stand and try and move away from the lectern.  Even if you can't move the lectern then try and stand in front of the lectern-in between the audience and the lectern.  Or stand to the side of it if you can. Definitely check out the room.  Room layout is very critical.  Often people layout rooms the wrong way.  Crazy things happen.  I've been to venues where the organizers obviously never give presentations.  They set up my position right in front of the projector.  Right in front of the projector. I'm now going to become the screen.  Just crazy stuff so get there early if you could.  Actually, go the day before, even better, then you can check out how it's going to look.  What's the room like?  Make any adjustments.  But certainly day before is best.  If that's not the case then definitely get there early and check it out because crazy stuff happens and people who don't know about presenting are often given the task of setting it up.  And often they won't set it up correctly.  With the room, if you can, always try and stand on the left of the screen.  That means the audience left.  We read from left to right so what we want is the audience looking at us and then they read what is on the screen.  Look at our face, read the screen.  Look at us, read the screen.  It often happens that the people putting the presentation together or hosting it will set it up so that you are on the right side of the screen.  They'll have the laptop stand there, they'll have the mic set up there.  Again if you can get there early, move it.  Now I can have that on the other side if possible.  If you can't, ok.  You have to present from the right side to the audience but better if you can present to the left side of the audience side.  So read left to right.  Look at you, read.  Look at you, read is much better if you can organize it like that.  But also check where you are standing in terms of audience lines of sight.  Because sometimes if you are on the same level as the audience and you are standing to the left or to the right, doesn't matter.  You might actually be blocking people on the far extremes of the seating.  So be careful that you're not standing in front of the screen.  Now sometimes you have a platform and huge screen and you might stand in front of the entire presentation so you are actually blocking part of the screen.  That's ok.  Again, power position is at the center.  But then don't stay there, move.  Walk across the stage from the left and talk from there.  Come back to the center.  Move across to the right.  Then come back to the center.  So you are not entirely blocking what's on screen all the time for every slide.  And sometimes with the slides it won't matter.  But be careful about not blocking your audience from their seated position to the screen. Microphones.  If you have a big venue or if you have a reasonably large audience size, say more than 30 people, microphones are good to use.  But if it is a small venue, only a small audience, you don't need a microphone.  It all depends.  Sometimes some ladies have a soft voice, they can't get their voice to carry.  A microphone is definitely recommended.  I personally don't use a microphone in a small audience because then it leaves both hands free for gesturing and I am not restricted.  But if it's a big venue then yes, definitely use a microphone.  And one hint with microphones and you are nervous, there is nothing worse than seeing a microphone vibrating in your hand through the shaking of your hands.  So a good sort of way of getting around that problem is grip the microphone with both hands and then hold your hands on your chest, physically bring both hands, you've got the microphone, and bring both hands to your physical chest.  And tuck your elbows in.  So now the microphone will not sway and vibrate and show you are nervous.  It's not the greatest thing for lack of gestures but it's much better than the audience fixated on,“Oh look at that, that person is totally nervous.  Look at that vibrating microphone.  Wow they look really scared.”  No don't have that.  If you've got the calmness to hold it in one hand, great.  Swap hands so you can use both hands for gesturing.  And don't hold it right up to your mouth.  Now this is sometimes funny with things like the Academy Awards.  You know you see so called professionals and they've got the stand mic on the dais on the lectern and they'll lean down.  They'll actually physically lean down so they are leaning right over to speak in this little mic.  Microphones are so sophisticated today, they catch the sound.  You don't have to lean down.  You should be talking across the top of the microphone not jamming it up in front of your mouth.  Hold it away from you and speak across the top.  It will catch you just fine. With the projector, sometimes you don't need to have things on screen.  Just hit B.  Go to your laptop or your keyboard, hit B.  Then the whole screen will go black and there is nothing to distract your audience.  They've just got to listen to you and look at you.  And you come back to hit the space bar and the screen will come back on again.  If you want to go to an all-white you can just hit I think W for memory and that will give you an all-white screen if you want an all-white screen for some reason.  It might be a dark room.  Hit W for white and up it comes, and B for black, just black it out, which again cuts down the distractions. Be careful about waving your hands around with the screen behind you.  Then we start feeling like shadow puppets. People get distracted by the shadow of you hand on the screen so be careful about that.  That's something you don't want to have happening.  Be careful about the positioning of your hand relative to a screen.  With things in your hand, don't hold notes in your hand.  It's amazing that when we are teaching people how to give presentations we'll sometimes have people wanting to hold the actual document they've prepared in their hand. They don't even look at it.  They don't need it.  Leave it on your desk or leave it somewhere close.  You can look at the notes but don't hold it in your hand.  But if you do have an exhibit or something that you want to show the audience, that's great.  Pick it up, then use it, and then put it down again.  You don't have to hold it the whole time.  And don't have things in your pocket.  You might have things in your pockets, bring it out, show the audience because you are handling it, and then just put it away so it's not distracting.  And one thing with the clickers, the slide clickers, they can also be a distraction but then again you've got them there, you've got to use them. Visuals can be a distraction from your message.  Make sure they are relevant. Make sure they are not overpowering you.  Think of it on the big screen. Make sure that the audience is looking at you, not currently what's on the screen.  Design it so they got two seconds they can get it then they come back to you.  Power is also a tricky thing because the power supply can go down.  This can happen.  Suddenly you lose the screen.  You loselights depending on the venue. Soldier on.  You might have your laptop not connected to the power supply and then your laptop battery dies.  Check all these things so that you are on track to have power.  If you lose power, charge on.  Keep going.  Don't worry about it unless you have to evacuate the building for some reason.  But keep going.  If power fails, be prepared.  Be prepared to keep going.  Have notes or have it in your mind what you are going to talk about.  Be prepared to wrap it up.  Don't look stuck.  Don't look lost.  Keep going.  Test everything before you start presenting, of course.  Now this mysteriously happens.  I was at a presentation recently. I got there early, fortunately.  I went through. I checked my visuals.  It was all working. And then suddenly, suddenly the visuals were not working.  I could not get the computer to work.  I do not know to this day what was wrong. But I had to get out, reboot it, reset it.  You know go through the whole process.  It takes time.  Test everything and give yourself time margin.  And in that particular case, with about two minutes to spare I got it up again and we were away.  I could have presented without the visuals, it wasn't a big deal.  I could have done it without the visuals but it would have been a little bit more powerful with the visuals, give some extra buzz to what I was talking about.  But these things happen, so check, check, check. Sometimes remotes are useful for clicking through.  I've a bit of a love/hate thing with visual remotes because it is in my hand so I try to hold it in my hand in a way that it is not obvious that I've got it.  I still try and use that hand for gesturing.  I'll try and put it down if I don't need it.  Laser pointers-some people go nuts with the laser pointer.  Worst thing is they point the laser at the audience.  I've seen that.  Let's zap a few eyeballs with that laser beam.  No, don't do that, or they are whizzing the thing around all over the place.  It's like they've forgotten that the laser is on so the laser is doing some sort of laser show in the venue because they are waving their arms around with the laser.  The laser's still on.  No.  Or they try to use the laser beam to indicate something on the screen and they are whipping it around at a very rapid pace all over the place.  No.  You've got to understand that if you are going to use the laser, go to the word or the section and use the beam slowly.  Move it very slowly if you are going to circle something or across something that you want to underline.  Very very slow is the key.  Focus is important.  As I said earlier with the eye power, if it's in a big venue and the screen takes up the whole background, again, I like to use the front, left, right, side for a bit of variation.  And I try to stand as far to the front, the apron, as I can.  I try not to fall into the audience. I've come close to that a few times by getting a bit too close.  But it's good.  It's good to be close because then you are physically close to your audience and you can have more impact, more body language power when you are up close.  That's always a good position to be in.  Sometimes you'll have something on screen.  Use your arms to reach back to what's on screen but keep looking at your audience.  Your arm actually indicates where you want your audience to look.  That's very good so they see they need to look at the screen now.  Or, I need to look at this part of the screen now.  Use that gesture to very effectively to make focus.  And again use it for focus-don't use it all the time, just to direct their attention to particular things. And again, tell people where you are going with your presentation.  Set it up so people are aware what's coming.  “Now we are going to talk about so and so.”  The next screen comes up and they know what to expect, rather than being surprised all the time about what's coming up.  This keeps them focused.  And your bridges or your transitions in your talk about your key points, you bring them visually into the next section of your talk works very well.  And I said before about keeping the lights on - worst thing in the world is you are in light and the audience is in darkness and you can't see.  I work in Japan, live in Japan and I've noticed that Japanese audiences, if you turn the lights out, they are very quick to lose focus.  I think it's probably true around the world, but because I do a lot of presenting here I probably notice it more in Japan.  Don't turn the lights off the audience.  Keep the lights on the audience and allow yourself to read the reaction to your voice and what you are saying.  Look at their faces-how many are nodding?   How many are just looking dead bored?  How many are now on their iPhone checking email because you have lost them.  You need to be able to see them to be able to keep the focus on your audience to then switch gears.  Now if you need to get your audience back in the room, ask a question, a rhetorical question.  They don't know though whether it's a rhetorical question or real question.  But by answering a question, you get their attention back in the room.  Or come back from wherever they are and you've got them again and keep going. The way we present conversational language is very good.  Storytelling is very good.  We all relate to storytelling.  It takes into the context, the why of what you are talking about very quickly.  And congruency between what you are presenting and how you are presenting it is very important.  Remember, I can't remember the comedian.  This is going back 50 years ago now, 40 or 50 years ago.  I remember I heard some American comedian and he was talking about being a graduate of so and so school of speed reading. But he spoke in this really slow voice.  “My. Name. Is…  I. am. A. Graduate. Of.The.So and so.School.Of.Speed.Reading.”  Speaking like this as a graduate of the school of speed reading.  It's for ajoke.  It was comedy. But there is no congruency because he is not matching the way of delivering the words with the message.  Same thing.  If it's a very serious point then you shouldn't be laughing, you shouldn't be smiling.  You should look serious.  If it's a lighthearted point, if it's something that's good news, don't look unhappy.  Don't look serious, look happy.  So we need to make sure that the content is matched by the delivery.  Speed is something that we use for variation in our voice.  Speeding things up, slowing them down for emphasis.  Putting the power in!  Taking the power out.  These are all controls we can use for variation so we have modulation in our voice where we are going up and down as well which gives us power, gives us variation.  We can have gestures and about 15 seconds is max that you want to hold a gesture because after that the power of the gesture is dead and it just becomes annoying.  So you turn the gestures on, turn them off.  Using our face, as I said before, for highlighting.  Like something surprising, show a surprised face.  If it's a very great piece of news, show a really happy face.  If it's something very serious, show a serious face.  The voice or the face or the body language-everything matches up with the message.  And body language too, using the energy.  In Japanese we talk about the “ki” in Aikido.  The energy, the power we have inside us just by projecting that power, energy out to the audience. You give the audience energy, you give them power.  You bring their energy level up, they are more receptive to your message.  So if your energy levels start dropping through the process of giving your presentations, you'll notice that your audience level will start to drop too and they'll start to get distracted.  So be prepared to keep your energy levels high.  But don't have it maximum high all the time.  That just wears an audience out and wears you out too, by the way.  So you need to have some variation.  Very strong and then sometimes very soft.  And drop it down.  Remember to have that in the voice.  Sometimes in a whisper.  I remember once I gave a presentation, it was in Kobe.  It was at a university.  It was for summer school for students who had graduated and were going back to their home countries.  And I was giving this uplifting talk about how they could use the experience they had in Japan back in their home country.  It was powerful, a very powerful presentation I gave.  The speaker after me was a Korean professor and maybe because of the way I presented, I don't know, but he spoke very quietly; he spoke in a very soft voice throughout the whole presentation.  And it really forced you to lean in and listen to him because you had to really work a little bit harder to listen to him.  So he got peoples' attention by having a softer voice and I thought at the time, wow look at that.  That was very effective and I realized, ah, just being one power all the time is not going to work.  I need to have variety in my voice so I should have times when I am very powerful and other times when I am very soft.  So just watch yourself that you are not getting into too much soft or too much strong.  Variety is the key. I said before gestures are very important.  Be careful about getting your hands tied up with things.  If you are saying one thing, hold up one finger, or two things, hold up two fingers. And if you are holding up things up like that, hold it up around head height.  Don't hold gestures around about your waist height.  It's too low, people struggle to see it.  Get your gestures up and then band right around chest, from chest height up to around head height.  That zone is the key height you want for showing gestures.  You want to show a big point, open your hands right out.  Don't be afraid of big gestures.  Use gestures that are congruent.  Be careful about waving your fist at people, at your audience.  It looks aggressive, it looks combative.  Use the open hand rather than a closed fist. And don't hit your hands together, slap them together or slap them on your thigh.  That becomes distracting.  Just use the gestures by themselves.  As I said before, 15 seconds is probably at the max you want.  And you can walk around on the stage, but be careful about walking around too much, pacing up and down.  That makes you look a bit nervous.  Try and hold the main point and move because you've got a reason to move. Again, names of people in your audience is a great thing to use.  If you get there early, meet some of your audience.  Have a conversation with someone.  It's nice in the presentation to refer to that person and say,“I was just chatting with Jim.  Jim jones over there before and he made a very interesting point about giving presentations.  In fact Mary made an addition to that point, Mary Smith.  Made an addition to that point blah blah…”  Suddenly you've got both people very much proud and involved.  You know, they've been recognized by the speaker.  The audience now feels that you have a stronger connection with the audience.  Just simple things like this.  Refer to people by name.  Very very very effective.  Try and look for those opportunities to engage with your audience.  As I said before, what's the point of your presentation?  Who's your audience?  What's the point?  And then being conversational and customizing the delivery to your listeners.  Have exhibits or have demonstrations or whatever that's custom-made to match that audience or match the point that you are making.  Don't just bring out a set off the shelf that's a pack for a presentation.  You might have the basis of a presentation but think about who am I talking to?  What is my key point and then take it and re-work it, re-package it up.  I've given now close to about 500 presentations in the last 20 years here in Japan.  I have never given the same presentation twice, ever.  Even with the slides, I will always have some small variation but certainly the way I present it will be different every time. Keeps it fresh for me, as a speaker.  And it also keeps it fresh for an audience.  So if I feel stimulated and interested in what I am talking about, then chances are that's how the audience will feel about it too.  They will feel stimulated and interested as well.  Do not receive a pack, and you know often you'll see the president's had some munchkins out the back preparing his presentation for him or her, and often it will be the first time that they have even seen the presentation and it's obvious that it's the first time they've seen the presentation.  They don't know what's coming next and they struggle through it.  It's really killing the brand.  It's killing the brand, the organization.  Its killing the president's or the presenter's personal brand.  You don't want that.  Get it, customize it, make it yours, then present it.  So there we have some ideas on how to present your visuals when you are giving your presentations which is based on our training called High Impact Presentations, where we teach people over two days how to become a high impact presenter and how to learn a number of different structures.  Really cover all the major structures you need for an audience.  How to isolate out the content you want.  How to deliver it.  How to do things like Q&A very effectively.  How to deal with pressure, really intense pressure situations.  How to present complex information.  How to be persuasive.  How to inspire people to take action.  How to create a great first impression.  There's a whole raft of things in that two-day course.  It's really the Rolls-Royce of the presentation skills.  This is where Dale Carnegie started in 1912, teaching people how to be persuasive.  If ever you have a chance after listening to this, to do that particular course if you haven't done it before, grab that opportunity because it is a powerhouse course.  It's a game changer of a training course.  In two days, everything is videoed.  You have two trainers so you have coaching while watching yourself on screen.  It's a phenomenal course.  I've taken it myself and I strongly recommend it. So best of luck and remember, rehearse, rehearse, rehearse.  Do not be consumed by the construction of the materials.  They are secondary to you.  But when you do construct your materials, take my advice, what I've given you today, what we've talked about.  Use those ideas, use those hints and you will give a much much better presentation.  Good luck and I hope that we can see you one day in a high-impact presentations class for Dale Carnegie somewhere in the 90 plus countries and the 30 plus languages we deliver around the world.   Closing:  Thank you for joining THE Leadership Japan Series.  If you found the program useful then you might consider subscribing on iTunes.  Remember, to access your Dale Carnegie training free white-papers, guidebooks, training videos, blogs, course information plus much  much more then go to japan.dalecarnegie.com.

エピソード23　Walking By Myself シカゴブルースポッドキャストエピソード　＃２３  （もし環境によってプレイヤーが使えない場合、このタイトルをクリックすれば聴けます。） ニュース１、国立図書館の名録音リストのニュースThe Library of Congress　National Recording Registry "Caldonia" (single)—Louis Jordan (1945) "Dust My Broom" (single)—Elmore James (1951) "Texas Sharecropper and Songster" (album)—Mance Lipscomb (1960) "Theme from ‘Shaft’" (album)—Isaac Hayes (1971) ２、DVD発売のニュースA Celebration Of Blues And Soul: The 1989 Presidential Inaugural Concert (2014)３、Morganfield Foundation４、Chicago Blues Festival 2014５、 SHOJIの新ウェブページ　shojinaito.com トピック　Walking by Myself / Jimmy Rogers   スコットダークスさんの記事１９９４年のビデオリンク挿入BGM 曲　by　SHOJIイントロ　 「Groove and Cats」「Luke's Blues」　ニュース　「Blue Stroller」「I 55 to Memphis」「Jump Box」「Tupelo Slide」エンディング　「Autumn in Chicago」

Philleighway Cookery School Video from the Sumer Issue of the iPad Cornwall Guide

シカゴブルースポッドキャストエピソード　＃13 （もし環境によってプレイヤーが使えない場合、このタイトルをクリックすれば聴けます。）News Albert King R&R Hall of fame http://rockhall.com/inductees/albert-king/ ロックンロールの殿堂ミュージアムの写真Jimmy Dawkins RIP http://blues.about.com/b/2013/04/14/chicago-blues-legend-jimmy-dawkins-r-i-p.htm http://www.arhoolie.com/blues/johnny-young-chicago-blues.html?sl=EN Rob Stone Tour https://www.facebook.com/events/521088697943752/permalink/532457083473580/ 1曲目　Rob Stone「Cut The Heat On」09:40  http://www.robstone.com/Harp, Rob Stone Guitar, Dave Myers Guitar, Chris James Bass, Patrick Rynn Drums, Eddie Kobek  2曲目　Cristian Inostroza「Goodbye Santiago, Hello Chicago」14:38http://www.cristianinostroza.com/Amazing Slowdowner https://play.google.com/store/apps/details?id=com.ronimusic.asd&feature=search_result#?t=W251bGwsMSwyLDEsImNvbS5yb25pbXVzaWMuYXNkIl0. http://www.ronimusic.com/  挿入BGM 曲　by　SHOJIイントロ　 「Groove and Cats」　ニュース　「Blue Stroller」「I 55 to Memphis」スマートフォンアプリ紹介　「Jump Box」エンディング　「Autumn in Chicago」 このポッドキャストで聴ける曲はすべてアーティスト本人から直接許可を得た上で流しています。　

چارسوق بعد از یک مرخصی کوتاه برمیگردد: با گزارشهای متنوعی مانند استعفای دالتون مک‌گینتی، حقوق کارگران، منشور رنگین‌کمان، هفته مد در تورنتو و ... همراه با مصاحبه‌هایی با رضا مریدی، آرش عزیزی، مهدی کوهستانی‌نژاد، مهرداد حریری و علی احساسی

I haven’t seen Bob Blewett for over a decade, but thanks to the internets, I was able to track him down and coerce him to come on the podwaves.  Necessary & Sufficient once again serves as a great excuse to … Continue reading →

Newsbits; Contest Winner; Straight Lines; Readable Text; Obscurity of the Week: Metrics ----- Details below, or go to http://indesignsecrets.com/category/podcasts/ for Show notes, links, and to post a comment! ----- Listen in your browser: InDesignSecrets-043.mp3 (10.6 MB, 22:18 minutes) (a transcript of this podcast will be posted shortly) InDesign Newsbits: Free Plug-in from Teacup, Upcoming InDesign Shows Winner of the contest from last episode: Least Useful InDesign Palette InDesign trainer extraordinaire Russell Viers explains how to draw a straight line What's more readable: Serif or Sans Serif body text type? Obscure InDesign Feature of the Week: Metrics Links mentioned in the podcast: TypeFitter plug-in for InCopy (free) or InDesign ($59) (link leads to post with details) Creative Suite Conference in Miami, Florida (Feb. 28â��March 3, 2007) InDesign Conference in New York, New York (June 4â��6, 2007) Russell Viers' YabbAdobeDoo.com site Literature Review of Serif vs. Sans Serif Legibility Studies Typophile.com forum for typographers (especially this thread on optical vs. metrics0 InDesign CS2 Keyboard Shortcuts Poster (use FEATHER coupon code for a 25% discount) Listener Comment Line: +1-206-888-INDY (-4639) Talk to us, baby: Leave a message! p>Listen in your browser: InDesignSecrets-043.mp3 (10.6 MB, 25:16 minutes) (a transcript of this podcast will be posted shortly)  InDesign Newsbits: Free Plug-in from Teacup, Upcoming InDesign Shows Winner of the contest from last episode: Least Useful InDesign Palette InDesign trainer extraordinaire Russell Viers explains how to draw a straight line What's more readable: Serif or Sans Serif body text type? Obscure InDesign Feature of the Week: Metrics Links mentioned in the podcast: TypeFitter plug-in for InCopy (free) or InDesign ($59) (link leads to post with details) Creative Suite Conference in Miami, Florida (Feb. 28â��March 3, 2007) InDesign Conference in New York, New York (June 4â��6, 2007) Russell Viers' YabbAdobeDoo.com site Literature Review of Serif vs. Sans Serif Legibility Studies Typophile.com forum for typographers (especially this thread on optical vs. metrics0 InDesign CS2 Keyboard Shortcuts Poster (use FEATHER coupon code for a 25% discount) Listener Comment Line: +1-206-888-INDY (-4639) Talk to us, baby: Leave a message!

Tips for the Final Exam    Listen To The Mp3 Here! This lecture was given on December 8, 2006

Database and Information Systems  What is a database and why is it beneficial to use databases Components of a database Database management systems Data Warehouses and Data Mart                     Running time: 39:48  Listen To The Mp3 Here! This lecture was given on December 5, 2006

Software Development What is the Software Development Life Cycle and each of its phases What is the life cycle of a program How do programmers create algorithms Selecting the right programming language Review of popular programming languages                   Running time: 56:31  Listen To The Mp3 Here! This lecture was given on November 28, 2006

The Internet: How it works Who manages and pays for the Internet How do the Internet'snetworking components interact What data transmissions and protocols are used IP Addresses and Domain Names                 Running time: 1:09:23  Listen To The Mp3 Here! This lecture was given on November 14, 2006

Welcome to the Empire Cinemas Podcast Special for the hugely anticipated return of James Bond in Casino Royale from Sony Pictures & Eon Productions.In the podcast we have clips from the film, details about the return of the world's premier secret agent and an interview with the new Bond himself, Daniel Craig.Click the picture below to book tickets now.Take a look at the website,www.empirecinemas.co.uk to see more information about Empire Cinemas, the newest cinema chain in the UK. On here you can advance book your tickets and find out what's showing at your local Empire Cinema. You can also book by phone on 08714 714 714.You can now subscribe to the podcast through the Empire Cinemas website www.empirecinemas.co.uk

Tips for the middterm exam    Listen To The Mp3 Here! This lecture was given on October 18, 2006

Evaluating your system - To Upgrade or Not to Upgrade: What does the CPU Do How much memory does my computer have What are the computers main storage devices What components affect output of video on my computer What componenets affect my computers sound quality What ports are available on my computer How can I ensure reliability of my system Running time: 51:35  Listen To The Mp3 Here! This lecture was given on October 18, 2006

Addicted Mixed by Edwin Diaz