text:
SATURDAY, Nov. 5, 2011 (HealthDay News) — Two experimental treatments take aim at the destructive immune response believed to cause lupus, according to new research presented at the American College of Rheumatology annual meeting.
One study looked at large doses of vitamin D, while the other was a trial of a potential vaccine against an immune system protein called interferon alpha.
"This is an incredibly exciting time in lupus research. The academic and pharmaceutical communities are involved in studies that will hopefully lead to more effective and safer treatments," said Dr. Cynthia Aranow, an investigator at the Feinstein Institute for Medical Research in Manhasset, N.Y. She was not involved in the current studies.
Of these latest studies, Aranow said that both appeared to have an effect on immune system cells, but neither was designed to assess whether or not there was enough of an effect to make a difference to a patient (a clinical response).
Lupus is a chronic autoimmune disease that can affect almost any part of the body, including the skin, joints, kidneys, lungs, nervous system and other organs, according to the Office on Women's Health, part of the U.S. Department of Health and Human Services. An autoimmune disease is one that develops because the immune system mistakenly sees healthy cells in the body as foreign invaders, such as a virus. Instead of fending off bacteria and other invaders as they should, some immune system cells begin attacking healthy cells.
The problem in developing a treatment for lupus and other autoimmune diseases is that a treatment can't just shut down the entire immune system, because that would leave the body too vulnerable to infection. So, researchers have been trying to find the specific immune cells involved in causing lupus. Research has been looking for ways to slow these cells down, or maybe even destroy them without damaging the rest of the immune system.
The first study, scheduled for presentation Nov. 6 at the ACR meeting in Chicago by Dr. Benjamin Terrier of the Pitie-Salpetriere Hospital in Paris, looked at the effect large doses of vitamin D might have on the immune response.
The study included 24 people with lupus who had no or mild disease activity and low levels of vitamin D. At the start of the study, they were given an injection of 100,000 international units of vitamin D once a week for four weeks. After that, they received a once-a-month injection of the same dose of vitamin D for another six months.
The treatment was very well tolerated, and no one developed too much calcium in their blood or calcium deposits (kidney stones), according to the researchers.
The investigators also found that the treatment boosted the activity of good immune cells, and dampened some of those believed to play a role in lupus.
"It's exciting to see that they were able to reverse some of the immunologic dysfunction associated with lupus, but we need a large randomized clinical trial to confirm this," said Aranow.
She added that the dose of vitamin D used in the study was quite large, and it's not something that people with lupus should attempt to duplicate on their own.
The second study involved 28 people with mild to moderate lupus who were given four doses of a vaccine against interferon alpha (IFNa), an immune system protein that's known to play a role in the severity of lupus.
"We were able to demonstrate that the IFNa signature (in excess in lupus patients) can be turned down by vaccinating patients against their own IFNa. The drug is called IFNa-Kinoid. [It's] a modified IFNa, devoid of IFNa biological activity, but modified in such a way that it becomes recognized by the immune system of the patient," explained Dr. Frederic Houssiau, head of rheumatology at the Catholic University of Louvain in Brussels.
He said the patient's immune system then begins to make antibodies against their own INFa.
Houssiau's team, along with colleagues from the manufacturer of the vaccine, Neovacs, found the drug to be well tolerated with no significant side effects.
"This is an early, first step. It appears to be safe. And, the fact that they could show that they could inhibit or down-regulate the interferon signature is very promising," said Aranow.
Houssiau didn't know what the vaccine might cost if developed commercially, but said it would likely be more expensive than the standard therapies currently used.
For people living with lupus, he added, "there is hope. By unraveling more and more pathways at work in lupus patients, we are now able to develop new, much more targeted drugs to tackle the disease."
Because this research was presented at a medical meeting, the data and conclusions should be viewed as preliminary until published in a peer-reviewed journal.


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These are used like lettuce to make beautiful, tasty salads, and are good cooked. Most should be sown in late summer to mature into the cold weather. Rich, moist soil with lots of organic matter is ideal. Surface sow and rake in lightly, barely covering the seeds. Will usually germinate quickly if kept very moist. Grow the colored types to mature into colder weather of early-to-mid autumn. The cold sweetens the leaves as the color deepens.
COOK IT! Chicory and Radicchio Recipes HERE
GROW IT! Chicory and Radicchio Growing Tips HERE


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Hey there Tech Savvy fans! This week I wanted to give an update on some of the things I've been using for my iPad that help me stay up to speed with my work when I'm out of the office. I've got a business trip coming up and as I'm preparing for it I am finding myself reviewing some of my apps and accessories to make sure I can both travel light and have what I need to stay connected.
First on my list is still my Brydge+ keyboard. This Bluetooth enabled-keyboard and integrated speaker system really changed how I used my iPad. The added functionality of having a good-sized keyboard was something I didn't really realize I had missed until I got my Brydge+. Having this makes it really easy to type, work on my projects, and have it support itself on a table without goofy gimmicks. I also really like how it is constructed out of aircraft-grade aluminum; it makes air travel feel much more secure for my expensive gadgets.
There are other keyboard options out there, but I honestly think this is still one of the better options out there right now. They are also compatible with multiple models of iPad, so there is some flexibility in there. If you haven't checked them out yet … here you go: www.thebrydge.com.
The cloud is the second vital component of my out-of-office gear. I keep telling people that if you had asked me a year ago if I would consider using the cloud as a replacement for my laptop and external hard drives I would have laughed and said no way. If you asked me today, I'd tell you that I haven't used my laptop in about nine months and I haven't carried external hard drives around with me for about the same amount of time.
What changed my mind you ask? Everything. The long story short is the cloud services like Dropbox, Google Drive and Box have made amazing strides to make their products better and more importantly, arguably, found more ways we can integrate them into our lives.
For project collaboration, presentations, data storage and picture holding my cloud programs are the next best thing since sliced bread. I actually use the three main ones - Google Drive, Dropbox and Box, in about that order, and I have found that not only is it convenient, but they are also helping me stay organized. Wait, me organized? Yep, that's right! See, most cloud services offer free and paid services, just like anything these days, and how they regulate that is in the storage space you're allowed to use. Once you exceed that amount you have to either upgrade or remove files.
I purposefully didn't upgrade all my accounts and I keep my transitional projects and files in the ones with the lowest limits. That way, I am constantly reviewing what is in those folders so I don't exceed my limit and therefore reviewing my projects almost daily so I keep everything fresh in my mind. You don't need to dive in with this, and I would encourage anyone who is interested to test the waters by using one and seeing what you think.
Quickoffice Pro HD is an app for my iPad that has been indispensable when I've been on the road. It is basically an office suite that works on my iPad. It has word processing, spreadsheets, presentations, everything you're used to,.It is also compatible with Microsoft Office programs and . . . (drum roll) it can sync with your cloud drives. What this allows me to do is to use the same file format from my PC to my Mac to my iPad, without having to convert files and having everything with me wherever I go.
It is not the only office app out there, and at $19.99 it may seem a little steep. That being said, it has worked flawlessly and - if this is a case of you get what you pay for - I have no ill feelings for forking over $20 to know it will work. One other neat feature is you can sync multiple cloud accounts to it. So if you have a personal Google Drive account and a Dropbox account, you can sync them all. Even if you have two Dropbox accounts you can sync both of those, too.
My phone is still my go to daily "away-from-my-desk" tool. If I'm not at my desk, most folks know I can be reached on my phone, usually via text.
Not only is it a communication tool, but I have also found it is easier for me to take and share pictures with my phone, whether it is work related or personal, and it is far more convenient to do with my phone rather than my iPad. My phone has also eliminated some other things from my packing bag I brought historically - a camera, notepad, CD or MP3 player, etc. Now my phone is my hub for my daily life.
Power. The downside to my smart devices is they aren't so smart when it comes to conserving their battery. And it's not just me; this is across the board and has been the case ever since the first iPhone was released. What this power dilemma does is force us to carry chargers or cables with us or never leave our homes. Thankfully, in the last couple years, portable power technology has made great strides and now we have some better options.
One I reviewed was the Eton BoostTurbine 2000, a portable power block that allows you to recharge your mobile devices. If you recall, the one unique feature about this device was in addition to the standard charging method, you can also use the built-in hand crank to recharge the power supply.
Most recently I used this device during Lakes Jam at Brainerd International Raceway when I was working with Great White. Because we were on the move all day I did not have a chance to get to a regular power supply. The Eton BoostTurbine 2000 kept my phone charged from 7 a.m. Saturday to 2 a.m. Sunday with no problem. That was with a day of taking photos, video, texting, web browsing and some serious social media.
The BoostTurbine will be making my business trip with me, it is perfect for traveling and will also be coming with when my family goes camping … that hand crank should keep the kids busy during the car ride … good old-fashioned family fun! (www.etoncorp.com)
FinderCodes are something new I just wrote about a couple weeks ago, but they definitely deserve a mention again here. If you didn't catch my initial review, they are tags bundled with software people can use to help identify lost items and increase the chances of finding them. The basics are they use QR codes, or unique ID numbers, to label your property and if you lose it you can use the mobile app or the website to identify it as lost.
When someone finds your lost property and they scan the QR code or enter your ID online, a notice will be sent to your email and a text to your phone notifying you someone has entered that information. The cool thing about FinderCodes is they also have an option where you can pre-arrange the return of your property through FedEx and also offer a reward if you would like.
I'm planning on using them on my next business trip coming up soon, but I may have to rethink that one ... rumor has it that the Transportation Security Administration (TSA) isn't too keen on people leaving abandoned items around the terminals … maybe I'll try leaving something in a park instead. (www.findercodes.com)
All in all there are a lot of great products out there that can make travel and being out of the office that much easier, and there are new ones all the time. I would ask, please, if you have found something that has made your lives easier let me know. I'd love to hear what great time-savers you have found.


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School of Economic Science - Study Forums
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A friend is one before whom I may think aloud
R. W. Emerson
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Sat Aug 28, 2010 9:16 am
Post subject:
The wasp has landed on my Plotinus
Lying open on the patio table
He's reading it!
Doesn't he realise it's upside down?
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Mon Sep 13, 2010 10:07 pm
Post subject:
The friend with whom I had a meal
Had a raven on his nose
Though puzzled I did not feel
That I could such a question pose
As, why is that raven on your nose?
And so the words remained unsaid
And we talked of other things instead.
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Mon Mar 05, 2012 7:45 am
Post subject:
The bird in your head
Has shape but no Form
The bird on the roof
Is the bird in your Mind,
Has both shape and Form
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Thu Mar 08, 2012 11:01 pm
Post subject:
Before me for half a mile now is a shiny red bus
It is looked upon as a child looks
Lacking second sight, he sees all now in the sacred hour
Nowhere else, nowhen else. "Look Mum, it's a shiny red bus."
As I move the knight my grandson says,
"I knew you'd do that, now you've won."
Drat it! I thought,
was supposed to have won this game!
Take his mind away, "John, I saw a shiny red bus."
"Where was it going?" "Not sure" I mused,
He might as well have asked where did it come from?
"I last saw it going up the hill, and it disappeared."
"Granddad", he said, gazing into the distance,
"Shall we put the pieces away? Let's make a plane instead."
John gazes into the distance quite a lot,
As I did at his age. "You were always looking at the sky"
My Auntie Flo once told me. This I have to say I love in John
Though others it worries. "And what happened then?" he said,
"When?" I asked, startled. "When it disappeared." "Well
I suppose it was still there, sort of somewhere.
It didn't vanish, you know, it was still a bus."
"I know that Granddad, Of course it didn't just disappear.
Things don't. Here's the paper, make that special one, where
You bend the paper all over the place. That's a good one'
'Perhaps he's a poet.' I thought. 'He's looking over the hill,
For the bus and all the other things that disappear - trying
to make sense of it all.' I thought I'd have fun
"But perhaps it
disappear" I said in earnest.
"One minute it was at the top of the hill, then it dropped
Down the other side" "No, no, Granddad it was still there
On the other side. It's just that you couldn't see it."
"How do
know. If I couldn't
it, how do I
it was there?"
"Because that's what happens. Look, Granddad,
Listen to me. Supposing you saw a red bus" - "A
red bus"
"What does
matter, Look, look suppose you saw a shiny red bus
It's just come over the top of the hill, you wouldn't expect it to disappear
(now this
promising - I thought.) "Why should it disappear?"
I ask, "Because you're on the other side - imagine - and this
Bus" - "Shiny red bus, John, we mustn't forget that." "GRANDDAD!!
STOP!" silence - then. "Look
on the other side of the hill
And say
here, and a shiny red bus comes over the hill,
And disappears,
say. But
looking at it now, so it wouldn't
Just disappear. Things just don't, not in the daytime do they??"
) "But I didn't say it was daytime did I, John?"
Startled look, and suddenly I'm anxious. After all
Conversations with eight year olds contain a precarious balance,
Not to be betrayed.
"The trouble with the plane you want me to make
Is that it always nose dives. When I was your age,
They seemed to soar. Maybe I've forgotten something.
Your little darts always fly much better"
"Granddad, things don't disappear do they?"
"No, they don't John, I was pulling your leg just a little."
He looked relieved and began to make his dart.
"This'll be the best ever. D'you know, we make these at school."
It didn't take long, and he was up on his feet.
"Watch this, Granddad!" he said, and with an expert swing of the arm
Sent the dart sailing across the room. Then it seemed to pause,
Hang in the air, and then without warning swooped round the door post
And disappeared into the next room.
We both looked for a moment,
But I never said a word.
Last edited by Peter Blumsom on Tue Apr 17, 2018 6:23 am; edited 2 times in total
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Sat Jun 23, 2012 6:58 am
Post subject:
Wherefore do you go wandering?
Is there a place to see?
You might come to a crossroads
And then where will you be?
At a crossroads gathering
Violets you might spy
A maiden by a sign post
She might hold you with her eye
She might point you to some forest
And say that way is fair
Or over yon mountain
There are fine places there
And down that lane are hyacinths
Their scent will cast a spell
And down this path narcissi
To cast you down to hell
No daisy chain will help you
Retrace your steps from there
For a sudden wind will rise
And lay the daisies bare
Far better vain creature stop
You wander in your sleep
Take these violets and return
Or else the world will weep
Or else the world will weep.
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Tue Jul 31, 2012 5:23 pm
Post subject:
Blank Universe
Commemorating NASA's frail, brave and beautifully silly Mars probe "Curiosity"' on its successful (hopefully) descent onto the surface of that unknown and unpredictable entity we call The Red Planet heroically described in true rock'n'roll fashion by NASA's Adam Steltzner on BBC Horizon's "Mission To Mars". Curiosity will then become a wanderer upon a wanderer - Planet means 'wanderer' in Greek. How unlikely is the Universe?
The history of the mind
Is not chronological
And no genesis may be found
Along the dusty corridors of mortal time.
Time, Cronos, is the shadow of the moment
Cast as a fictional path
In both directions, past and to come.
No truth can be extracted from it;
The star systems, the Milky Way,
The constellations, island galaxies,
Are centreless.
We know more than the antique Greek
Who assumed his blessed plot
The turning moment of a discoid cosmos.
The Romans ventured no further.
We know more than Ptolemy
Who, with the rising sap of knowledge,
Plotted an astonishing universal dance
To accommodate that still central view
(So if man were to remain One,
The universe was compelled to trip
The light fantastic.)
We know more than Copernicus, Galileo,
Tycho Brahe, Kepler and all those other
Night gazers,
Who transferred centrality of power
To Sol. He of the fiery chariot
Was the new ruler, and transplanted Earth
Danced lonely with all the other vassals
Around Apollo, sat upon his burning throne.
But not for long, for the age of reason
Disgorged the age of the machine
And new thinkers, who knew how to calculate
But had not read the classics.
They had no respect, those ones,
For men in robes and addled brains,
And the fierce expectations of a former age
Were rent down like a curtain of dreams (pelmet too!)
From behind which, for so long,
Bearded schoolmen had speculated
Upon impressive but unlikely absolutes
(In matters we now consider largely relative).
We, oh we and this goodly lump of rock
We sit upon as merest microbes,
And that divine lamp
Which sprays the sky with just enough light
To make us fear the dark,
We oh we, all of us reside
Merely in the suburbs
Of a great celestial metropolis
The Piccadilly Circus of which
Lies, not a few miles from here
(A few stops on the tube)
But is measurable only in parsecs,
As the photon flies,
(No straight lines here).
It is so uncomfortable a thought
That we solve the problem
By not thinking about it.
Last edited by Peter Blumsom on Mon Jun 11, 2018 3:13 pm; edited 1 time in total
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Mon Jun 10, 2013 10:00 pm
Post subject:
A Manhattan Conceit
I stopped as she walked by,
And she, caressed so by my eye,
Also stopped and turned towards me.
I averted my clumsy gaze desperately
Into some shop window
As if its random contents had so caught my attention
Oh God, I thought, Of all things
It's a shop full of mirrors
And in each one her eyes were angled
Towards me,
Escape was not an option
Countless eyes and countless faces, all of her,
Each smiling expectantly at this averted face.
Beyond embarrassment I was, a cornered fox,
Or a dried out toad waiting to become roadkill.
But wild abandonment clutched my heart
And I thought, Pete, now something truly heroic
Of you is required;
I pulled a deep breath and turned towards her.
"Why should I seek images" said I
"When the reality is so much more beautiful?"
(Did I say that? -Yes, you did!)
Her smile faded in the presence of the unexpected
And I searched for cracks in the pavement
Through which to make my getaway.
There were none ....
And then, after silence, like a peal from heaven, she laughed,
And I laughed, and we laughed. "That", said she,
"Is either the worst pick up line I've ever heard ...
Or the best."
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Sat Oct 12, 2013 3:31 pm
Post subject:
The Whole We Know
A light switch is touched in the dusk
marking joyful exchange and communal activity;
and, somewhere in time, a dog barks, along the way.
So, all our hereafters are measured in heaven,
each transient joy, a full joy in its transience;
on the rising tide the wind spends its fortune
but receives recompense from the moon;
and the sun spreads its adoration
over green plains of grace deep below;
the parts we see fulfill the whole we know;
and activities in time and beyond time
commune at the equinox, a place of transitions
where each task we perform turns a page in the universal book,
and has things of wonder in it that if we knew
we'd hardly dare, or have the words, to tell.
Last edited by Peter Blumsom on Wed Jul 10, 2019 9:48 am; edited 1 time in total
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Wed Feb 22, 2017 4:21 pm
Post subject:
The boy is walking up the hill
His destination is home-after-school
I know ... he lives up there
But there are other forces at play - a fantasy perhaps
He walks stiff-legged - rocking from side to side
Like a robot
I hope he isn't practising to be an adult.
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Tue Feb 13, 2018 9:20 am
Post subject:
The One is present in the forest
Which before was ten thousand trees.
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Peter Blumsom
Joined: 09 Mar 2007
Posts: 1167
Location: Wembley, London, UK
Posted: Wed Jul 10, 2019 9:44 am
Post subject:
Yes, the rose bush is really there
In all its glory, that is to say,
In the present moment
The only moment that
The House of the Lord,
The Abode of Brahman
Yet ever undescribed
A child knows this and without words
And with all our power of language
Why can't we?
With all our riches
In a world of of extension
How frail, how
does this moment
Yet there is no darkness,
Simply a rose bush,
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text:
Artists' Alley Beginner Guide
This guide is intended to help and guide artists who new to Artists' Alleys, whether at Anime Boston or elsewhere. It is not a set of rules. If you are looking for the Anime Boston Artists' Alley rules, you need to read the Artists' alley FAQ.
Posted below is advice based on years of experience by the Artists' Alley staff and artists who have attended Anime Boston and other conventions.
Some of those artists have contributed comics to illustrate some of the hurdles and first-time experiences encountered by Artists' Alley Beginners.
Remember: The advice that follows is based on years of experience from various people. You may find different methods that work better for you. This guide is intended solely to give you a starting point. It is natural that you will change and expand your methods as you attend Artists' Alleys.
- How do I know if I'm ready to be in an Artists' Alley?
- Preparing for the Artists' Alley
a. What do I bring, and how much?
b. Should I have a business card? How many?
c. What are Commissions and why are they a good idea?
d. Presentation and Displays
e. I don't know what to charge. I feel guilty charging people. How should I PRICE my work?
f. So what kind of materials do you recommend that I use?
- Artist Resources
a. Book Printing
b. T-Shirt Printing
c. Prints
- Traditional Art versus Digital Art - which is better?
- Should I sell Fanart?
- Artist Survival Guide
a. Things you should bring
b. Should I take credit cards?
c. Eating and Drinking
d. Should I cosplay?
e. Selling and relating to your customers
f. Time Management
g. Demographic Targeting
h. Take Breaks
i. Being a Neighbor Artist
j. Other General Advice
1. How do I know if I'm ready to be in an Artists' Alley?
You never really know until you try and you won't lose anything by trying, even if you don't do well at your first attempt. The important thing is to have the confidence that you can do it and to try your best.
The entire event is a learning experience. Your neighboring artists are often happy to offer advice on a wide variety of subjects, from displays and preparation, to what to sell and how to color. This is because an artist's alley at just about any convention becomes a community of artists and not just total strangers sitting in the same room.
Even if you don't meet your expectations, you will still walk away with something you didn't have before: experience.
2. Preparing for the Artists' Alley
What do I bring, and how much?
Basically, our advice is: "Keep it small and keep it simple."
If you have seen an Artists' Alley before, you have probably seen artists with huge and tremendous displays. Not only might they have traditional 2D prints, but also items such as comics, plushies, tee shirts, posters and more! Don't worry about trying to match what they have.
Carrying different products is a risk that established artists choose to take. That risk is mitigated only through trial and error experienced through years of Artists' Alleys. During your first time in an Artists' Alley, you should set small and realistic goals and focus on meeting them.
The bigger the space, the more it will cost. And the more you try to sell, the more you will spend on materials. Take your investments a little at a time or you could be out a lot of money. Consider sharing your space with another artist. It can relieve some of the financial and mental pressures associated with filling up a space.
When it comes to what you are selling, try to focus on a single medium to start. If you are a print artist, focus on 2D prints. If you are a crafter, create a niche market with a specific type of item.
Also focus on quality over quantity. When starting, try not to make more than 5-10 products. If things go well, try making 1 or 2 new pieces before every convention you go to. Before you know it, you will have the large inventory that established artists have.
If you succeed in making 10 really good different products, don't create too many of each one. It is pretty much guaranteed that you will NOT sell them all at your first convention. And odds are it won't be the one you think will be the most popular.
Keep track of how many of each product you sell. From this you can learn what people like and don't like. With that information you can gear the products for your next Artists' Alley towards what sells the best. However, don't stop creating what YOU like though. As much as we all want to make money, we also want to enjoy what we create.
Should I have a business card? How many?
Our advice is to make at least 100 business cards. You can never have too many.
People tend to take cards even if they don't buy anything. And if someone does buy something, it's a great reminder of where they got it from.
It's also a good way to get your name out there and try to drum up business outside of a convention. If you keep your cards simple, you can reuse them at any event. A simple card might have the following:
- Name
- What you specialize in (i.e. portraits, comics, etc)
- Website URL (if you have one)
- At least one way to contact you (if you move a lot, make it an email address)
- Logo - if you have time, make a simple graphic people can associate with you.
What are Commissions and why are they a good idea?
Commissions - or 'on the spot art' - are always a good way to supplement the products at your table. Sometimes people like your style, but don't happen to have any interest in the products you have available. If you can take commissions, your clients will tell you what it is they DO want to see. A commission will take some of your time, but will also net you more money than a single print would have. They can also give you more ideas on new prints to make.
So, if you have the ability to handle the simultaneous pressures of doing art with a deadline and having people look over your shoulder, then this is a good route for you to take. Just remember, you have to be able to complete it before the end of the convention. If you want commissions to really be worth your while, you'll want to be able to do more than one. On the other hand, bringing the materials to do commissions can take up space in your art luggage.
Our Advice: Set out a sign-up sheet and pen with limited slots (around 5 to start) and list the costs of the different types of commissions. As you gain more experience, you can gauge better on how many you can do and expand the number of slots.
On the sign-up sheet, leave a little room for descriptions of the commissions. If you have 5 people signed up, and if you are still working on the first one, you might forget the description of the picture that person #5 wants. Writing down the descriptions is always a good idea.
Presentation and Displays
Here are some suggestions to cover the basics of any display setup:
- Use a piece of fabric as a tablecloth. It will give your display a clean and nice look.
- Put prints into a portfolio book so they can be easily flipped through and viewed.
- Place a price sticker on each page of the print book so the prices are clearly marked.
- Put a printed sign with your name and/or studio name in an 8x10 plastic photo frame to make sure people know who you are.
- Another printed sign can advertise special sales, commission rates, and other prices.
- Have a card holder for business cards, so people can remember you later.
- Above all else, remember to keep it simple!
An additional display ideas is using wire grid cubes. They are modular and allow you to build up, but break down for easy traveling. They can be sturdier than using pvc piping and clamps. You can pick them up at Target or online.
I don't know what to charge. I feel guilty charging people. How should I PRICE my work?
This is a tough question. All artists have to work this one out on their own. All we can do is provide starting price points that you will need to change as you gain more experience.
A good way to work this out is to see what other artists charge for the various types of things they have and average it out. You can take notes at conventions when visiting their artists' alley, or ask artists on the forums.
Keep in mind that what you charge for a print, as opposed to what you charge for an original or commission, will vary widely. A one of a kind, premade original (sold only once) and a one of a kind (on the spot) commission will be close if not the same price. While a print, since it is a mass produced copy of an original, will be much less.
When you price your work consider its worth, including materials and time spent, and charge accordingly. When you charge $5 for something that took you hours to make, you may sell out fast, but you are also going to burn out quickly. You are also going to bankrupt other artists who try to price competitively, but cannot afford to lose the same profits you can. Everyone deserves a fair wage per hour for their work. Price fairly and you'll ensure this for everyone.
Even so, here are some suggested starting price points for 2d artwork (depending on size and quality):
- Prints:
- Black and White: $3-$10
- Color: $5-$12
- Originals:
- Black and White: $20-$40
- Color: $30-$50
- Commissions (prices lower due to rush):
- Pencils: $5
- Black and White: $10-$15
- Color: $15-$20
The prices above are based on print sizes of 8.5x11. Though that is the standard print size, sometimes people sell smaller or larger sizes. Smaller sizes should be priced less and larger sizes should be priced more. As you gain experience and confidence, you can adjust these prices as needed.
You may offer different types of color mediums at different prices. For instance, if you usually color using the computer, but can't offer that as a commission option at the convention, you can lower your prices and use colored pencils or even markers. The lower cost offsets the difference in quality.
Due to the immense variety of products that can be done in a 3d manner, it is harder to come up with starting price points - remember these are all suggestions only:
- Plushies: $20-40
- Hats: $15-20 even upwards towards $100
- Costumes: vary too widely depending on intricacy of the specific costume being made.
- Glass: $12 - $40
- Pins: $1 - $5
- T-shirts: $10 - $20
- Paper Fans: $10 - $40
So what kind of materials do you recommend that I use?
This is a matter of personal preference. Below are lists of what other artists use, but you have to make your own decisions.
- Paper for Drawing:
- 100lb Bristol Board (good standard drawing paper with archival quality)
- Use smooth (Bristol) for pens and markers
- Use Vellum for pencils and chalk pastels
- Most Cardstocks - it's a good cheap substitute, but isn't archival. Protected, it'll keep for 20+ years
- Hammermill 80lb Bright White Cardstock (available at Kinko's) is a particularly nice and smooth cardstock to work with. Good for pencils, inks and markers
- Watercolor Paper - Hot and Cold - around 100lb can be nice for some effects as well. (Note: Cold usually means that the paper has texture, while Hot means it's smooth.)
- Hot/Cold Press Illustration Boards
- Paper for Printing:
- Photo Glossy
- Photo Matte
- Hammermill 80lb Bright White Cardstock
- Pens - Most of these are available in most craft stores or art stores, but all can be found online easily. Different sizes are usually available such as .005, .1, .3, .5 and more, and are available either individually or in sets.
- Microns (favorite of many artists)
- Staedler Pens (good for designs and logos)
- Faber-Castell
- Copic multiliners (available at the Copic website or at the Copic stations at various conventions)
- Pencils, Color - Keep in mind that many color pencils do not travel well. Being banged about breaks the soft lead inside MUCH easier than regular pencils. That can be a problem when you are trying to sharpen them to continue working on a picture.
- Prismacolor
- Designs
- Random - Don't be afraid to try random brands. You can find the most amazing pencils in the oddest places - including what are regarded as cheap sets.
- Markers
- Prismacolor- Most people start with these despite them being $2-3 a piece. But you can often find inexpensive sets on eBay.
- Copic Markers- These are expensive and should not be invested in unless you have learned marker and painting techniques. They have generic sets as well as specialty sets such as the 'skin tone' set. They are costly but if you use markers a lot they may well be worth the cost.
- Le Plume is another good brand that can be used with water.
3. Artist Resources
Some of the most commonly asked questions in the forums are:
- "Where do I get this printed?"
- "Where do I go to make T-Shirts?"
- "How do I publish my comic book?"
Every business has its advantages and disadvantages; you will have to find which one works best for you. One place may only give good prices for mass orders while another place is good for smaller orders. These are not your only options, but here are a few to start with:
Book Printing:
Different businesses have different order requirements.
- Lulu Publishing: Lulu is a buy on demand site and makes it possible to keep your inventory small if you don't have the cash for it but it also costs more per book to get printed.
- Ka-Blam: Speficically does comic issue printing. The graphics look better and are generally more consistent. The prices are decent and various discounts are often available. They also offer ways to do online promoting and selling of your comic issues.
- ComiXpress: Recommended alongside with Ka-Blam as a good source for printing comics by many artists.
T-Shirt Printing:
Of course, you don't have to send out your T-shirt design to a third party such as the ones listed below. You can buy special transfers to use with your printer and hand make them. If you do it yourself, the quality may not be as good, but it will be more cost effective since the price of professionally printed T-shirts increases per each color added to the design.
Keep in mind that some "Print on Demand" sites are good for most products, but with T-shirts they can be sort of odd, especially with darker color shirts. We suggest running/ordering a test print before committing to anything.
Some artists use a combination of his or her own personal printers and printing companies, such as Kinko's. Some artists have expressed dissatisfaction with Kinko's and recommend finding a local, small printing business for better prices and service. Here is a list of businesses that are easy to locate regardless of where you may live in the country. Remember that Kinko's, unlike some of the others on the list, specializes in printing.
4. Traditional Art versus Digital Art - which is better?
The truth is, neither is better than the other.
You will find opinionated people all over who proclaim one to be superior but the truth is neither one of them is. They both require skill, time, and a love of art to do a piece WELL. There is the distinction.
Some artists use a mix of traditional and digital, others love to draw by hand and others just can't get the hang of using a drawing tablet. The great aspect of digital color is the unique quality it produces and the fact that, done right, no mistake is unfixable.
A picture isn't better just because it was done traditionally or digitally. Truthfully, there has been both good and bad art made either way. The artist's chosen medium does not necessarily reflect the quality of the art produced. Either way will require dedication, practice, and hard work.
If you are a digital artist and want to be able to do commissions at the conventions, keep the following in mind:
- Not all conventions provide electricity and you may not be guaranteed electricity if it does.
- You will need to bring your entire computer system, including printer, with you to the convention to produce the requested commissions.
With traditional work, it's easy to figure out if you are holding the original. You take a piece of paper and you draw on it. If you flip the paper over, you can see the lines and the bleeds. You can sometimes see how far it was absorbed into the paper especially if you have used ink or markers. To make prints, you scan and print copies, or you use a photocopier to make copies. When placed next to each other, you can generally see the difference between the original and the prints.
With digital work, what is an 'original' and what is a 'print' can be difficult to differentiate. A digital print looks the same no matter if it is the first off the press or the hundredth. If you want it to be billed as an original, you have to make sure you NEVER print it out a second time. Otherwise you have to alter the picture, make a label or put a stamp on it that says the picture is a print and not the original.
5. Should I sell Fanart?
You are more likely to sell anime fanart than original at an anime convention. But that being said, you shouldn't be discouraged from doing non-anime art. Artists can do well selling works depicting Lady Gaga, Bieber, or even colorful ponies.
You should also feel free to do completely original art. Try making your own characters or landscapes. Experiment and find your own style of creation. After all, every character starts off as an original creation.
Above all, you should enjoy what you make.
6. Artist Survival Guide:
Things you should bring:
- Business items:
- Cash Box
- Lots of small bills (and change if necessary)
- Receipt books
- Table Supplies:
- Garbage bags
- Seat cushion
- Scissors
- Exacto blade
- Utility knife
- Tapes:
- Gaffer's tape
- Masking tape
- Invisible tape
- Double sided tape
- Portable paper trimmer
- String, zip ties, and/or wire
- Needle nose pliers
- Rulers
- Personal Wellbeing:
- Rucksack or Backpack
- Snacks
- Water (stay hydrated!)
- Comfortable shoes
- Throat Lozenges
- Band-aids and pain relievers
- Febreeze
- Eye drops
- Feminine hygiene products
- Hand sanitizer
- Sanity Supplies:
- iPod w/charger and/or speakers
- Camera/phones/PSP/DSi and necessary chargers
- Nook/Kindle with charger
- Electrical extension cable
- Power strip
Should I take credit cards?
Normally, we would say no, but Square is free and relatively painless. All you need to have is either a smartphone or tablet that can work with it. If you have one already, it doesn't hurt to get Square. Just sign up on the Square website and they will send you a device for free and the app is free, too. The only fee is a small percentage of what you make.
Eating and drinking:
Make sure you eat. If you are irritable because of hunger, you could drive potential customers away. You can get together with your neighbors and send someone out on a food run, or bring quick and easy snacks and drinks with you every day. The important thing is that you eat!
Try not to bring messy stuff, and if you have to leave and close down the table, leave a sign that says "Out to Lunch" or similar.
Bring caffeine. Coffee and soda work well, but we don't recommend Red Bull or other sugary energy drinks due to 'crash factor'.
Should I cosplay?
Sure, why not? Sometimes it can attract people to your table. And it's fun if it's something you like to do. But keep in mind that you are in a small space and that you will be in that costume all day. You should make any cosplay comfortable and easy to move in. And don't bring large or delicate props.
Selling and relating to your customers!
Don't be cocky and rude or assume that people should want to buy your products. Be humble, polite, and thank people for their business and compliments. Tell people with a courteous smile, "If you like my art, please take a business card and check me out online."
Do not call out to a potential customer while they are at another artist's table. Aside from being incredibly rude and offensive to everyone, it can also take away sales from other artists. Even if it is because you want to take a photo of a cosplayer, try to be sensible about this. You wouldn't want to have a potential sale taken away from you!
If someone is blocking your table and clearly not interested in your products, politely ask them to move. If there is a large traffic jam, try to get convention staff to assist if you need help.
Actively engage potential customers. You need to be friendly and outgoing towards customers and talk to them even if they are just browsing. Ask them how the convention is going for them, let them know your price info, tell them to let you know if they have any questions. Greet people as they pass by your table, you may entice them to stop and see what you have available. Even if you don't feel comfortable making small talk or a sales pitch you should at least stand up (or look up) and look friendly and approachable. Smile and greet people when they come over.
Pay attention to people. It's a huge turnoff to go to someone's table and they're hunkered behind it drawing and ignoring you. You can still draw, but if you make sure you look up and smile and say hello, it makes them aware that you are willing to be interrupted without being pushy and in their face. If you engage in conversation, stand up. It's really hard to engage people in conversation when you are not at eye level, since it is harder to make eye contact from a chair.
Talk and chat with customers on a one-on-one basis. Don't act like a carnival barker and yell "Buy my stuff!" (and other variations) repeatedly. Yelling drives customers away and makes you a bad neighbor. Having a personable tone helps immensely.
Time Management:
Managing your time effectively is key to properly preparing for the convention. You need to know how long it takes to make a product, but also how much time you have available for preparation. It is always good to get things done as far ahead of time as possible
Try to make a plan of what needs to be done before the convention. Set a date of two weeks prior to the convention to finish everything that needs to be completed. You will most likely not finish your plan by the two week mark, but it gives you breathing room to deal with last minute changes, emergencies, and panics. However, if you procrastinate, you will find your time is gone faster than you realized.
If you go to multiple conventions, try to keep a set of dedicated bags/containers prepared just for Artists' Alleys so that you will only need to restock them with a few supplies or products between events. You will find that this can reduce your preparation time drastically. Keeping a reusable list of what you need for each convention will keep you from panicking as much.
Demographic Targeting:
Consider who your potential customers are. Who are you selling to and what is popular right now? If pirate or ninja shows are hot, try to design products based around those themes. Even original work can be highly appealing to your audience if corresponds to popular media. Customers will most likely be between the ages of 14-25, so place yourself in their shoes as if you were looking at your merchandise. But still remember to enjoy what you are making.
Take Breaks
Selling and socializing are totally great, but it is important to take a breather from it all before you get burnt out and cranky. If you have a table buddy to watch your space, find a quiet space to relax and decompress.
Get up from your table and take some personal time to wander around the Artists' Alley. Chat up your fellow artists and get to know them. You will see many of them at other conventions. Don't forget to enjoy the convention itself. See a panel, check out a video room, get that autograph you've been after. Getting away for a bit will also refresh your mind and give you more vigor and a happier attitude.
You want to make sure you actually enjoy being at the convention, or you won't want to return.
Being a Neighbor Artist: It's important to be nice to the other artists! These are the people who are going to lend you duct tape in an emergency, lend you a pen when you can't find yours, keep an eye on your table when you can't find your helper and desperately need to use the bathroom, and generally offer you advice and support.
It is true that we are all competing against each other to sell art, but this is still a very friendly and supportive community. Respecting the other artists will earn you their respect in return. Their help and advice can get you through any rough patches you encounter in the Artists' Alley. Bonding with the other artists throughout the convention is a rewarding experience.
If you plan to leave your neighbors in charge of your table at any point, make sure you show them your inventory setup, cheat sheet for prices, and any other rules, and make sure you tell them if you have any deals going on!
- Make sure you know what's in your cash box when you started and use receipt books to keep track of what you sell. It'll help keep your helpers honest and can aid you immensely when planning for the next event.
- Don't let people put drinks and stuff on your table! They can damage your products and block others from seeing your work.
- If you have stuff that's very mobile, like loose prints, jewelry, charms, and buttons, anchor them down. People will touch, move and jostle things so taping or pinning them down will keep you from having to keep tidying up and keep them from disappearing.
- Offer deals, as they give customers incentives to buy more. For example, one of each for $5, or 3 for $12. Customers usually buy more with incentives like these. But only do this if you are okay with letting your products go at that price.
- You cannot have enough signage, listing prices very clearly and in several places (especially up high if there happens to be a crowd and people can't see the table top). Your best bet is to have a price on each item or print.
- Be aware that no matter how much signage you have, some people will always ask for prices and other information. It is unavoidable.
- If you are selling 3D products, it is a good idea to have photos of your merchandise. Place them in a flipbook, on your table, or on any high structures you have. This will maximize the number of potential customers who can see your items, even if it is crowded. More importantly, if you sell out of an item, people will still know you make them and may make special orders.
- Organize your workspace behind the table. It will help all your transactions to go smoothly and will prevent your supplies from taking up more space than they should.


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text:
- 1 Introduction
- 2 SWOT Analysis
- 2.1 Internal Environment
- 2.1.1 Strengths
- 18.104.22.168 Men
- 18.104.22.168 Means
- 22.214.171.124 Methods
- 184.108.40.206 Machines
- 220.127.116.11 Measurables
- 2.1.2 Weaknesses
- 2.1.3 Critical Factors for Success
- 2.1.1 Strengths
- 2.2 External Analysis
- 2.2.1 Opportunities
- 188.8.131.52 Political/Legal Factors
- 18.104.22.168 Socio-Demographical Factors
- 184.108.40.206 Economical Factors
- 126.96.36.199 Technological Factors
- 2.2.2 Threats
- 220.127.116.11 Political/Legal Factors
- 188.8.131.52 Socio-Demographical Factors
- 220.127.116.11 Economical Factors
- 22.214.171.124 Technological Factors
- 2.2.3 Comparative Analysis
- 2.2.1 Opportunities
- 2.3 Analysis and Proposals for Action
- 2.1 Internal Environment
- 3 Marketing Mix
- 4 Links of Interest
The SWOT Analysis is a tool to provide a self assessment of a project/organization/venture that provides useful output to help on the strategical planning of the very same project/organization/venture. This was the very first challenge I proposed myself when I joined Fedora Marketing Group. I've chosen to do this for several reasons, being by far the most important of them the fact that I wanted to understand the project.
The subject of this document is the Fedora Project as a community that produces a product known as Fedora Linux, one of the most known Linux distributions available for several audiences, from Linux enthusiasts to Software Engineering Professionals, from students to power productivity users, and everyone else who wants to give it a go as an alternative to proprietary software available from several companies.
To better understand the Fedora Project it is recommended to understand the 4 Fedora Foundations, which provide the basis of the Fedora Project identity. Another relevant document to understand the Fedora Project is the current developing version of the Fedora Marketing Plan which presents interesting information regarding several factors of the Fedora Project, some of this interest factors are:
There are other interesting factors that are introduced in the Fedora Marketing Plan, but I will focus only on the three mentioned above because they are the most complete and relevant for the upcoming contents displayed on this document.
This document is composed of the following sections:
- Introduction - A small introduction to the document and the topics to that compose the same.
- Internal Environment Analysis - An analysis to the Internal Environment of the Fedora Project which consists on highlighting and understanding a set of key factors that can be fully controllable by the Fedora Project and that will qualify as Weaknesses and Strengths. This factors are to be selected as a self-assessment of the project and will be evaluated under a methodology explained later.
- External Analysis - An analysis of the External Environment of the Fedora Project which will provide a set of key factors, those that can not be in any way controlled by the Fedora Project and that might act as Opportunities or Threats to the project. They will be evaluated under four factors (Economy, Social/Demographic, Politic/Legal and Technological) that will be introduced later on.
- Analysis and Proposals for Action - The last part of the document will be an analysis from the SWOT itself (including Matrix) with a set of proposals for action to correct the possible points that might require immediate action from the Fedora Project.
- Critical Factors for Success & Critical Comparative Analysis - This points might not qualify for a typical SWOT Analysis, but they are of relevance and they should be present in this case, therefore I've taken the liberty of introducing them on this document.
SWOT Analysis
A SWOT Analysis is often divided in two different analysis, both very important for the strategical planning.
Julius Caesar
- External Environment - This will define the Threats and Opportunities of the Project and none of this factors can be controlled by the management, or in this case the Fedora Project. The External Environment is based on the following factors:
- Demographic/Social Factors - An analysis based on social and demographic factors. Given the nature of the Fedora Project it is also important to look at geographical data.
- Technological Factors - The technological factors in the Industry.
- Politic/Legal Factors - Legal and Politic factors. Factors like licensing and legislation are contemplated here.
- Economical Factors - The economical factors.
- Internal Environment - The internal environment provides the Strengths and Weaknesses of the Fedora Project. All this factors can be controlled by the Fedora Project and they are being evaluated according to:
- Men - Defines factors related to manpower, this includes contributors, enthusiasts, audience that is involved with Fedora, payed contributors and sponsorship in operational fields.
- Measures - The course of action taken to achieve the goals proposed, highly theoretical.
- Means - The operational field that implements measures on the operational theatre.
- Machines - The intellectual capital and physical support used to produce Fedora Linux, including infra-structure which is shared with other points.
- Methods - The methods used to weight measures and means.
The SWOT Analysis should provide information helpful in evaluating the Project's resources and capabilities to the competitive environment in which it operates. This is a instrumental resource in strategy formulation and selection.
Internal Environment
The Internal Environment Analysis is a self assessment of the Fedora Project based on all the factors that the Fedora Project can control directly. From this Analysis we will identify factors that will classified under Strengths or Weaknesses. This factors are to be taken into consideration related to the following aspects:
- Quality and Management
- Performance / Performance Improvements
- Technology
For the Internal Environment Analysis we will take into consideration the following:
- There is a product called Fedora Linux;
- Infra-structure (physical and intellectual) for this analysis is a part of the 'product' Fedora Linux;
- The group of people, sponsors, contributors, enthusiasts, etc, behind the 'product' Fedora Linux is the Fedora Community;
- The audience is defined by the information on Fedora's Marketing Plan.
Men; manpower related (no gender discrimination). This are The Fedora Project strong factors when it comes to manpower.
Payed/Sponsored Contributors/Contributions
Red Hat Inc., the main sponsor of The Fedora Project allocates resources to the Fedora Project from their own staff. This is a very positive factor for the Fedora Project as it can deploy in the industry new technology which otherwise would be harder to achieve. The symbiotic relation between Red Hat Inc. and the Fedora Project is one of the factors which strongly contribute to the First Foundation of the Fedora Project. It is also important to mention that most projects that are represented on Fedora Linux also might have contributions that share this charactristic (ex: linux kernel, GNOME, KDE). This contributions are important to the current status of many FOSS projects, including Fedora, and represent a strength within the Project Fedora, specially the contributions sponsored by Red Hat.
Volunteer Contributors
The Fedora Project has thousands of volunteer contributors working in several tasks. Everyday thousands of people contribute actively for several sub-projects of Fedora with thousands of hours of dedicated work to make Fedora Linux happen and keep the community growing. Many sub-projects are daily maintained by this people. This is the real muscle of the Fedora Project and the real life force behind it, the Fedora's contributors.
The Bazaar Model
Robyn Bergeron introduced me once with The Cathedral and the Bazaar. The model described in the Bazaar is outstanding. The proof that the most sceptic would require are long given. In a matter of manpower this model provides an outstanding solution to fast and feature rich development. This is without doubt the element that solved the manpower problem for many applications, and still does. We should not underestimate the Cathedral building. The Fedora Project Marketing Plan also mentions something interesting: general productivity user. This productivity user is usually something hard to decode. If this user is not computer friendly or Linux enthusiast the Bazaar Model sometimes might fail. A lot is around this "general productivity user" which at some point might be complicated for the Bazaar Model to handle.
Marketing Team
The Fedora Project Marketing Team is responsible for many positive sinergies around the Fedora Project, namely on the Promotion (see [https://fedoraproject.org/wiki/Marketing/SWOT#Promotion Promotion - Marketing Mix) of the Fedora Project. The Fedora Project Marketing Team also has a very special strategical position working many times as a bridge between different teams and placing a special efforts on Ambassadorial Campaigns and Events.
Translation/Localization Teams
The L10N Project is responsible for translation and localization of Fedora Linux and Fedora Infra-Structure for at least 40 different languages worldwide. The contributions on this area are a Critical Factor for Success, and despite many times the work from this contributors remains un-noticed by the wider audiences, they provide one of the most important strategical factors for user base increase and market penetration.
Design/Artwork Teams
Engineering Teams
The Ambassadors initiative aims to deploy first line Public Relations and promote the Fedora Project amongst it's established and potential audiences. It is unclear how goals are defined and evaluated from my perspective as they seem to operate in a very closed group on a fully armoured structure. The work developed by Ambassadors in many fields, specially on event production and promotion is to be pointed as a strength and a critical factor for success (discussed on Critical Factors for Success more in-depth).
Events (FAD's, FUDCon's, etc)
The ammount of events where the fedoraproject itself or Individuals are present.
Free Media Program
Public Mirror System
Machines; These should be faced as every tool used to produce something in the Fedora Project.
My approach to sponsorship is generic, it is widely known that Red Hat Inc. is the official sponsor of the Fedora Project. But in the scope of this SWOT Analysis I would like also to keep an importance on the following:
- Red Hat Inc; The main sponsor of the Fedora Project and Industry leader. This creates very good synergies and energies on the Fedora Community. Considering symbiotic bond between Red Hat and the Fedora Project it is realistic to say that Fedora Linux has high notoriety and recognized value by the target audiences (defined in the Marketing Plan).
- Hosting sponsors; This sponsorship is important not only for the Community Infra-Structure but also for the free circulation of contents throughout several communities and FOSS projects. I would also like to mention that official Fedora Mirrors should also be contemplated as hosting sponsors. All together they deploy not only the Fedora Community infra-structure but also enable a powerful distribution channel for Fedora Linux.
- Mirrors: To all the local and international mirrors which allow such a great distribution channel.
- Human; Every single person that donates a part of their personal time to the Fedora Project.
It is through a wide set of sponsorships measurable in value and volume that the Fedora Project strives for providing a technological leading Linux distribution. Through this sponsorships I believe that most people will find the two human pillars of Fedora, Freedom and Friends.
The Fedora Project provides a large infra-structure to support it's community, which can actually be measured in value and volume. If we take into consideration the following:
- Community: The infra-struture oriented for the community. This includes example like Planet, wiki, IRC, logistics, etc.
- Fedora Project - FAS, Transifex, git, etc. All the technological platforms that are online with the goal of producing Fedora Linux.
LimeSurvey Platform
Lack of Contributors
Critical Factors for Success
User Base
The Fedora Project has established in the Marketing Plan the user base for the future:
- Voluntary Linux Consumer - Though the Fedora Project defines clear positioning and diferentiation, this might not be clear to all users specially because the promotion lacks of many details regarding about this. To successfully increase penetration rates amongst this users it is imperative that positioning and diferentiation is a part of the message, this can be done through comparative advertisement or using a more subtile approach. Though the Fedora Foundations provide good information regarding positioning and diferentiation (and considering that Fedora Linux inherits the notoriety of Red Hat as a part of it own), First and Features might not be enough to translate the correct message about it's positioning and diferentiation.
On one of my first approaches to the Fedora Project, I was told that other FOSS communities like openSuSE and Ubuntu were 'friends' sharing work for the same goal, FOSS. It is unclear to me on how to perform this goal without facing other distributions as competitors. This is a reachonable goal, but this specific segment demands Fedora Linux to engage other distributions as competitors and 'battle' for this so called Voluntary Linux Consumer.
- Computer Friendly - In most cases this computer friendly concept applied to a Linux user will be deeply related to other kinds of users, for example the Voluntary Linux Consumer. It is vague enough to provide acceptable results if correctly approached and promoted to this audiences.
- Potential Collaborator - This segment can be faced as a sub-segment of any of the other segments presented by the Fedora Project. This is interesting as it denotes the need of the Fedora Project to become self-sustainable based on it's users. If enough efforts are placed on this field to provide easy ramps to the Fedora Project, either by Ambassadorial work or Team oriented, virtually any Fedora user can become a potential contributor in any of the sub-projects provided by the Fedora Project. Once more it's a reachable and realistic goal.
- General Productivity User - The Fedora Project presents this segment as an uncomplicated and too vague segment. I find this therm misleading and can be harmful in the future.
This topic, the future user base displays 4 segments of Community that are deeply inter-connected between themselfs, and in most cases can through one you can fulfil others. From the strategical point of view this segments are so close to each other in some cases that merging them into one could actually provide a better effort to rally methods and means to successfully hit that audience with the correct promotion.
Value Perception by the User
Brand Notoriety
The Fedora Project inherits much of the notoriety of it's sponsor Red Hat Inc., and it's generally faced with confort from the audiences it targets. The reputation of Fedora Linux and Fedora Project amongst their user base can be generally understood as a excellent.
Channels of Distribution
For any organization to deploy it's products successfully it requires good channels of distribution. In this field the Fedora Project's efforts have been worderfull and everything just works, on either providing software DVD/CD ISO's and also as deploying improvements and software updates.
- Online Software Repositories >
- (RPMFusion >) // not directly a Fedora Project, but indiretly
- Public Mirrors Network >
- Free Media Program >
- P2P Networks > //not influenced by Fedoraproject
- User Sharing >
- Other (e.g. archive.org, etc.) >
Cultural Emphasis
External Analysis
Political/Legal Factors
Availability of Legal Department
Exportation Laws
General Public Licence
Free Software Foundation
Creative Commons
Socio-Demographical Factors
Alphabetism Rates
Internet Penetration Rates
Economical Factors
Red Hat Inc.
Product Available for Free
Channels of Distribution =
Technological Factors
Interaction with other FOSS Communities
Patent Free Software
Industry Standards
Interaction with Hardware Manufacturers
Interaction with Industry Leaders
Political/Legal Factors
Exportation Laws
Socio-Demographical Factors
Lack of Information
User Base increase by competitors
Economical Factors
Red Hat Inc.
Technological Factors
Educational Models
Competitor Movements
Interaction with Hardware Manufacturers
Comparative Analysis
Fedora and Ubuntu
Fedora and openSuSE
Fedora and Debian
Fedora and Slackware
Fedora and Arch Linux
Analysis and Proposals for Action
Marketing Mix
For this document we will use the "4 Ps" methodology for the Marketing Mix analysis. Currently new theories have developed new methodologies in this field that can push the original "4 Ps" up to 11 Ps and in one particular to 15 Ps. I am not aware on the current Academy decisions on this field, so I'm going to use the very basic approach of the 4Ps.
Fedora Linux
Internet/Local Resellers


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How do you prepare for a real stress situation, in which you are forced to defend yourself or others? I'm not talking about avoiding conflict; assume that you have already tried all that is possible to resolve the situation without it becoming physical.
What is the training like when you really want to find out if you can withstand the attacker's verbal and physical abuse, and effectively neutralize the conflict?
From experience, I have see people who either collapse under the pressure and cannot apply their training, or people who go overboard and have no control whatsoever over their rage.


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Scratch Beginner Programming for Kids (Age 7-9) - June 2017
Computhink Kids SG
Event Details
"We know what we are, but we know not what we may be"
~ William Shakespeare
Wondering how you can occupy your kids meaningfully during the holidays? Come and learn to program with Computhink! Your child will learn how to analyze problems, design solutions, write codes and programs to make things work. Just imagine what they could create!
The Scratch Programming for Kids class is an introductory holiday program for kids to learn about programming (or coding) in a fun and enjoyable way. Your child will learn techniques to think like a programmer and apply Computational Thinking concepts to create mini-games, animations or story projects of their choice.
At Computhink, we teach programming by using visual blocks with drag and drop functions where minimal typing is required. Our tried and tested approach makes it easy and fun for your child to create anything as quickly as they can imagine it while picking up programming skills.
Learning Goals
Learn the basics of Visual Block Programming (VBP) using Scratch (Scratch is developed by the Lifelong Kindergarten Group at the MIT Media Lab);
Acquire basic programming skills and coding concepts that professional programmers use in their daily work;
Harness the opportunities to think, to imagine, to explore, to create and most importantly, learn something useful while having fun; and
Develop an ability to think like a Programmer and apply Computational Thinking concepts to create mini-games or animations of your kid's choice.
Course Outline
Introduction to Programming
Basic Scratch Concepts
7 Basic Concepts of Computer Programming (that all Professional Programmers use!)
5 Steps of Computational Thinking
Creating Games, Storyboards and Fun Dynamic Animations
Class Details
- 4 Days from Monday to Thursday (Jun-19, Jun-20, Jun-21, Jun-22)
Time :
- 9.30 am to 11.30 am
- The Grandstand (previously Turf City), #04-10B
- None required. These classes are meant for beginners.
- A laptop will be provided for each child.
- If you would like to bring your own laptop (Windows 7 and above only), do let us know in advance!
Course Promotion
- Sibling Discount: Bring your sibling to class and enjoy $50.00 off each registration!
Why Computhink?
1:8 Trainer to kids ratio in each class
By keeping the class small, we ensure that each kid gets the guidance and coaching he or she needs to create and bring their imaginations to life through programming. Besides allowing us to get to know your kid better, we also encourage the kids in our classes to also get to know one another and this is better facilitated in a small group setting.
Hands-on activity-based learning
We believe that kids learn best when they do it themselves in a fun environment. That is why we ensure that each kid is given a laptop to work their own respective projects and try their hand in the programming projects and activities. It is heartening each time we see the kids beaming and being proud of themselves when they could get the code to work as they want it to.
Our Teaching Philosophy
This idea that kids will learn anything that they want to, when they are given the freedom to create, inspires and drives our teaching philosophy. In this, we are influenced by the work of Sugata Mitra (Educational Researcher) whose research demonstrates the effect that a child's innate curiosity and interest have on learning complex subjects outside the normal school environment. The key word here is interest. By itself, it is a simple word and concept, easily understood, but not so easy to influence, especially with children.
At Computhink, our approach to this learning conundrum is three-pronged and can be described by these 3 questions by the child:
- What can I do? - What is possible and achievable by programming? We approach this question by showing examples of fun projects that can be done with programming. These can include small mini-games or animations. In the beginner stage, the child would be unsure of what can be done, and it is helpful to be able to emulate and enhance something that is fun and cool.
- How can I do it? - Secondly, we guide the children to ask open-ended questions. For example, "How can I make the character walk? Can it jump? Can it fly?" As we answer these questions, this is where the learning starts for the child as we guide them along.
- What else can I do? - The Beginner Computhink class is, well, just the beginning. By the end of the 4 classes, the child would have grasped the basics of programming and computational thinking, and we want to show them what else is possible. By interfacing with other platforms (e.g. Arduino for robotics, Littlebits for home DIY projects), your child will be able to put their skills learnt in this course to good use.
Follow-on Mastery Classes
What's next after this class? Like any learning, learning programming is best done through regular practice and with guidance from experts. And this is why we offer the Computhink Code Club classes which provides regular weekly practice while exposing the kids to various programming languages such as intermediate Scratch, HTML, Python and Javascript.
Building on the basic programming concepts from the Beginner Computhink for Kids! class, at the Code Club, kids will learn how these same basic concepts are applied and used in the other programming languages to do different things such as building websites and creating mobile apps and games. It is through regular and varied practice that promotes mastery and that is what we aim to do at our Computhink Code Club. Our goal is to develop your kid's interest in programming and guide him or her to reach a skills level to be comfortable enough to build their own websites or creating suitable apps to solve everyday issues and make things better.
Note: We may take photographs or videos of the students during the class. By registering your child's attendance, you agree to grant Computhink permission to use the photographs, videos or other materials produced during the class as part of Computhink's electronic or non-electronic promotional materials.
The Grandstand (previously Turf City)
200 Turf Club Road
Singapore 287994
Computhink Kids SG
Computhink provides Computational Thinking and Computer Programming classes for curious kids aged 7-16.
Our classes are customised to help your child learn essential programming skills quickly, easily and have fun creating at the same time.
Learn, explore, program, think computationally, have fun and share in the wonder of creation with your child.
For enquiries, please call/ whatsapp/ sms +65 8858 6173


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Whoa!! this site has been hit times!!!
Today's consumer is completely oblivious to what goes on in order for their product to arrive at the mall for them to buy. It is time that the consumer be aware of what goes on in many of today's big industries. Most importantly, the food industries. For instance, dairy cows are injected with a chemical called BGH that is very harmful to both humans and the cows. This chemical gives the cows bladder infections. This makes the cows bleed and guess what? It goes straight in to your bowl of cereal. Little does the consumer know, nor care. The same kind of thing goes on behind the back of fur wearers. The chemicals that are used to process and produce the fur are extremely bad for our earth. Not only that, but millions of animals are slaughtered for fur and leather coats. I did this in order to wake up the blind consumers of today. Know the facts.
Having doubts about animal rights? This should clear them up...THE Animal Rights FAQ
A good Animal Rights site. Go there.The American Anti-Vivesection Society
Want visual proof of the animal abuse that goes on in the big industries? Check this site out: The Animal Rights Picture Gallery
Learn how to live an animal friendly life. People for the Ethical Treatment of Animals
Here is the address of Kriegsman Furs. Write them a nasty letter, prank call them, e-mail bomb them. Do everything you can to fuck them up. They deserve it.
502-M East Cornwallis Drive * Greensboro, NC 27405-5677 * 910.272.1322


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Swimming Pool Blog
Early Spring Pool Checkup – Preparing for Opening.
Rob Cox
3 Simple Steps to Prepare your Pool for Opening (later)...
by Matt English, March 28, 2013
Spring Pool Check-Up
Spring is almost upon us! While it may not be quite time to open your pool, there are 3 steps you can take to make your pool opening easier and quicker.
Following these simple tips will help ensure that your pool opening will be trouble free, whether it's one or two months away from now.
3 Simple Steps to Prepare your Pool for Opening (later)...
Step 1. Check your deck
Old Man Winter has been huffing and puffing and blowing leaves and branches and dirt all over your deck. It's time to clear away all of the debris. Blow, rake, or sweep everything away from your pool. Once that's done, inspect for any cracks in your deck that may have formed over the winter and repair pool deck cracks. Check your expansion joints for cracks or tears in the caulking. Spring is an excellent time to caulk your deck expansion joints. Have any weeds taken root? Take them out now before they have a chance to multiply and damage the deck.
Step 2. Check your cover
Is your cover a swamp or does it just have a few leaves on it? Are there any holes or tears Check on your water bags for splits or for places where they may have been chewed on by squirrels. If there is water standing on your cover, pump it off with a cover pump. Be careful when pumping off the cover. If the cover has holes in it you might also be pumping out your pool water.
Do not attempt to move or lift even part of your cover while there is standing water on it. One slip and water rich in dissolved leaves and other organic waste could spill into your pool. If your cover does dump into your pool then you will likely have to drain your pool. Otherwise you could be in for several weeks of shocking, filtering, and backwashing, perhaps every day.
Step 3. Check your water
Pull back part of your cover so you can test the water chemistry. If water is frozen to your cover do not attempt to move it or to lower the water as you can damage the cover. For mesh covers, if your water is higher than your tile line, lower it.
To test your water you will need a water sample from as deep as possible. During the winter all the chemicals in your pool are likely to have settled. You will have different concentrations of chemicals at different depths with the highest concentrations near the bottom. If you have a mesh pool cover it is likely that your chlorine level will be low since much of it will have been broken down by the sun. Add fast dissolving shock if your chlorine level is low.
If your alkalinity is low add an alkalinity increaser such as sodium bicarbonate, soda ash, or sodium sesquicarbonate. Be aware that these chemicals will raise your pH. Also only do this once if the weather is still cold. Lower water temps will decrease your pools ability to dissolve alkalinity increasers. As the pool warms up the undissolved chemicals could cause a spike in your alkalinity levels causing cloudy water, scale deposits, or locking your pH.
If you have phosphates in your water (algae food) add phosfree. Add pool enzymes especially if you have a mesh pool or if leaves and other debris found their way into your pool. Enzymes will help your pool opening as well as protect your pool through the season by breaking down organic contaminants well into the late spring. Unless you are opening you pool after the weather has already started to warm up, you will not have to add algaecide until you officially open your pool.
To brush or not to brush?
This really depends on how soon you are going to be opening your pool. If you are a month or more away from officially opening your pool, go ahead and brush. This will help break up any algae that could be forming on the walls and will help redistribute chemicals through your pool. The water will not be circulating so all the solids will have time to settle back to the bottom of the pool. If your pool opening is sooner I would recommend not brushing. You're going to be running the pump soon and any solids suspended in the water are going to wind up in your filter. Save the brushing till after you've vacuumed the bottom of the pool to waste and you will save your filter and save some time during startup.
Ready for Opening!
If you follow these suggestions you will be well on your way to having a speedy and successful spring opening. However, every pool is different. I'm sure that you have come across your own shortcuts or tricks for waking up your pool from its hibernation. Why not share them in the comments below?


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Did you catch CanvasPop canvas prints on The Doctors TV Show on Dec. 13? CanvasPop was featured on air. We're so excited!
Are you searching for the perfect holiday gift? Check out our new Photo Collage canvas prints.
There's still time to order before our holiday shipping deadline! Order by Dec. 14 and we'll guarantee holiday delivery. Talk about easy peasy!


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Paris travel information
Getting to Paris by air
The main airport in the Paris region is Charles de Gaulle (Roissy) airport, which is more than 30km from the stadium. It is one of the world's busiest airports, with numerous domestic and international connections.
Travel assistance for disabled passengers must be booked at least 48 hours before departure, via the relevant airline or travel agent.
Charles de Gaulle (Roissy) airport has accessible toilets and lifts, as well as parking spaces for disabled passengers. Telephones and ATM machines in the terminals are accessible to wheelchair users and induction loops are installed in public areas.
For more information, visit:
+33 (0)1 70 36 39 50
Information on the best way of reaching the centre of Paris from Charles de Gaulle (Roissy) airport is available at http://en.parisinfo.com/practical-paris/visiting-paris-with-a-disability/info/guides/transport-and-disability-how-to-get-to-paris/disabled-and-arriving-in-paris-by-air/adapted-airport-transfers-to-and-from-paris
Wheelchair users wishing to take the RER B should reserve a ramp the day before travelling (at the latest).
Accès Plus Transilien: 0970 824 142 (Monday–Friday, 07.00–20.00)
Email: firstname.lastname@example.com
We advise you to check whether your station is accessible to disabled passengers, since not all stations are accessible. For more information, visit www.infomobi.com/en/disabled-travellers/
It may be more convenient for you to fly to Paris's second airport, Orly. This airport is located in southern Paris and is nearer to Parc des Princes than Charles de Gaulle (Roissy) airport. As Orly airport is smaller, there are fewer international connections, but it is France's busiest airport for domestic flights.
Orly airport has parking spaces for disabled passengers and there are accessible toilets, telephones and ATM machines in the terminal building. Shuttle buses from the airport are accessible to wheelchair users.
There are several ways of travelling from Orly airport to the centre of Paris:
Take the Orlyval from gate K at the South Terminal or gate A at the West Terminal to Antony station.
Wheelchair users should contact Accès Plus Transilien to make sure a ramp is available:
Tel. +33 (0)970 824 142 (Monday–Friday, 07.00–20.00)
Email: email@example.com
From Antony, passengers should take the RER B to Paris. We advise you to check whether your station is accessible to disabled passengers, since not all stations are accessible. For more information, visit www.infomobi.com/en/disabled-travellers/
An accessible shuttle bus operates from Orly airport to Place Denfert Rochereau in Paris.
Length of journey: 30 minutes
The buses can accommodate one wheelchair user.
For more information, visit http://en.parisinfo.com/practical-paris/visiting-paris-with-a-disability/info/guides/transport-and-disability-how-to-get-to-paris/disabled-and-arriving-in-paris-by-air/adapted-airport-transfers-to-and-from-paris
Air France shuttle service
Air France shuttle buses are open to all passengers, whichever airline they use. This service is more useful for visitors wishing to go to the north or west of Paris.
Line 1 (Étoile – Invalides – Montparnasse – Orly Ouest – Orly Sud) runs every 20 minutes, 7 days a week, from 06.00 to 23.40. Buses and stops are wheelchair accessible.
For more information, visit http://en.lescarsairfrance.com/
Information and timetables are available by calling +33 (0)892 350 820.
Getting to Paris by rail
Paris has rail links to other countries, via the Gare du Nord, Gare de l'Est and Gare de Lyon. Eurostar services from the United Kingdom and Belgium stop at the Gare du Nord, with additional connections to the Netherlands and Germany. Trains from Italy and Switzerland arrive at the Gare de Lyon.
TGV and intercity trains on the French national network have two wheelchair spaces. For more information, visit: www.sncf.com/en/services/handicap/information-booking
To check whether your departure and arrival stations are accessible, or for any other information, contact Accès Plus:
Accès Plus, open 7 days a week (07.00 to 22.00)
Tel. +33 (0)890 640 650
Email: email@example.com
Website: www.voyages-sncf.com/services/acces-plus (French only)
To book a wheelchair space, please visit: www.sncf.com/en/services/handicap/information-booking
If you require assistance during your journey, you must book this with Accès Plus at least 48 hours before departure (see contact details above). You should arrive at the station at least 45 minutes before departure and go to the Accès Plus office. The staff there will contact their colleagues at your destination station to ensure they are prepared for your arrival.
If you are travelling with other operators, CAFE advises you to book assistance as early as possible.
Getting to Paris by bus
Several coach companies provide buses to the tournament host cities and vehicle accessibility may vary. CAFE advises disabled supporters planning to travel by bus to discuss their specific access requirements with their travel provider before booking.
SNCF offers inter-city bus services that include accessible vehicles. It is advisable to book in advance and explain your specific access requirements at least 48 hours before departure. Levels of accessibility may vary.
For more information and to book your tickets, visit: www.ouibus.com/persons-limited-mobility


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|MySQL and Java
|« Previous MessageNext Message »
|Hery Ramilison
|July 3 2012 10:55pm
|MySQL Connector/J 5.1.21 has been released
|View as plain text
Hello all, MySQL Connector/J 5.1.21, a maintenance release of the production 5.1 branch has been released. Connector/J is the Type-IV pure-Java JDBC driver for MySQL. Version 5.1.21 is suitable for use with many MySQL server versions, including 4.1, 5.0, 5.1, 5.4 and 5.5. It is now available in source and binary form from the Connector/J download pages at http://dev.mysql.com/downloads/connector/j/5.1.html and mirror sites as well as Maven-2 repositories. As always, we recommend that you check the "CHANGES" file in the download archive to be aware of changes in behavior that might affect your application. We welcome and appreciate your feedback, bug reports, bug fixes, patches etc: http://forge.mysql.com/wiki/Contributing - Added new built-in authentication plugin com.mysql.jdbc.authentication.MysqlClearPasswordPlugin ("mysql_clear_password"). It allows C/J based clients to connect to MySQL accounts which use PAM authentication for example. SSL connection required for this authentication method. If SSL is not enabled then authentication which requires "mysql_clear_password" will lead to an error. - Fix for Bug#13980303, Auth plugin's confidentiality requirements are not checked after Auth Switch Request. - Fix for Bug#64205, Connected through Connector/J 5.1 to MySQL 5.5, the error message is garbled. - Fix for Bug#37931, Null Pointer Exception Thrown When specifying invalid character_set_results enc. - Fix for Bug#36662, TimeUtil.java: MEST mapping n/a. - Fix a scalability/memory footprint issue where Object.finalize() was being used on ConnectionImpl to clean up the low-level network connection to MySQL should a connection be abandoned by the application before being cleanly close()d. We now track connections in a phantom reference queue, and have a single thread per-vm clean these up when the VM notices the connection is no longer referenced by anything else. - Added the ability to add new client-side prepared statement parse info caches by implementing com.mysql.jdbc.CacheAdapterFactory and telling the driver to use it when "cachePrepStmts=true" via the "parseInfoCacheFactory" configuration property. - Implemented JDBC-4.1 methods from Java-7: - Connection.setSchema(String) - no-op, until we support database==schema in the driver - Connection.getSchema() - see above - Connection.abort(Executor executor) - Connection.setNetworkTimeout(Executor, int) - Connection.getNetworkTimeout() throws SQLException; - CallableStatement.getObject(int, Class<T>) - CallableStatement.getObject(String, Class<T>) - DBMD.getPseudoColumns() - returns an empty result set - DBMD.generatedKeyAlwaysReturned() - always true for MySQL - ResultSet.getObject(int, Class<T>) - ResultSet.getObject(String, Class<T>) - Statement.closeOnCompletion() - Statement.isCloseOnCompletion() Enjoy, On behalf of the MySQL/Oracle Release Engineering and Connector Team
|• MySQL Connector/J 5.1.21 has been released
|Hery Ramilison
|3 Jul


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Quick Arch Linux Install (正體中文)
Template:I18n links start Template:I18n entry Template:I18n entry Template:I18n links end
This document walks you through a basic Archlinux installation. It is based on the 0.6 (widget) installation scripts.
This is a quick walkthrough for those who don't yet know what Arch is and what it is capable of. It is written mainly for those people who already have an existing Windows Partition on their harddrive and want to set up Arch Linux without harming the Windows install.
This guide is for "normal" hardware, nothing special (such as scsi) is documented.
Windows is assumed to exist on the first partition of the harddrive, otherwise grub won't be able to find it.
Necessary things
- The Archlinux Base Installation-CD or the Full-Installation-CD. Template:Sn
- Either one free harddisk or free space on one partition. You have to separate this free space from an existing partition in windows with partitioning tools (such as partition magic).
Installation from the Arch-CD
- Insert the CD in your drive, reboot, and check that your BIOS will boot from the CD-ROM drive first.
- Now it should look like this:
http://home.arcor.de/Langeland/1.png Default Arch boot screen
- Press
- After the boot process is finished, type:
You will be installing from the CD first, so network drivers are not necessary.
The Main Menu will appear:
http://home.arcor.de/Langeland/6.png Main Menu
Partition Hard-Drive
If you have an empty Hard-Drive you may skip these steps and choose Auto-Partitioning. Please note this will erase all partions from your Hard-Drive! If you want to keep any partition on your harddrive follow the steps below:
- Select Prepare Hard-Drive.
- Choose Partition Hard-Drive.
- Select the Disc you want Arch-Linux to be installed on.
- The cfdisk-Partition Program will open and you can create the partitions. For Arch-Base-Installation there are at least two partitions needed:
* one swap partition * one data partition
- At this point the display may look like this (if you have a ntfs-partition for windows):
http://home.arcor.de/Langeland/9.png cfdisk
- Don't touch the ntfs (or vfat) partition in any way, or otherwise you may lose Windows.
- The type of the swap-partition should be set by setting the partition type to 82
- If you want to quit cfdisk without saving anything then press quit, otherwise press write.
- After using cfdisk it should look like this:
http://home.arcor.de/Langeland/10.png Partition Layout
Set Mountpoints
- Select point 3: Set Filesystem Mountpoints
- Select the partition you marked as swap
- Select the other partition for the system (to mount as /)
- Select the Filesystem ext3
- Select DONE !!
This last step is very important, many people skip this step, but no actions take place until you select DONE - if you do not do this, the install will appear to work, but will not install any files
Select Packages
- Select CD
- Now it should look like this:
http://home.arcor.de/Langeland/11.png Package Categories
- For now you should select only base and editors.
- You want to select all packages in the categories by default
- Just press ok.
Install Packages
- This is rather easy: Just press install packages, say ok and everything will be copied from cd to harddisk.
Install Kernel
- Choose 2.6 IDE unless you know you have different hardware.
Edit Config Files
- Choose nano to edit the files
You have to edit the rc.conf if you want to change your keyboard layout. For example de is german.
- nano is easy to understand: Strg-o ( Ctrl-o ) saves the file, Strg-x ( Ctrl-x ) saves the file and exits nano.
- Change the line with keymap
us to keymapde
You have to edit the menu.lst*.
- Here you create your bootloader. There you can switch between windows and linux.
- You will see a file like this:
http://home.arcor.de/Langeland/13.png Menu.lst
- Everything should be setup right to boot into arch, you only have to add the following lines at the end to have the ability to boot windows:
title Windows rootnoverify (hd0,0) chainloader +1
Press Strg-O, Strg-X and everything is saved.
Install Bootloader
- Choose grub.
- Choose the entry on top of the list.
Ready to reboot
- Exit the mainmenu, type reboot and the computer should reboot.
- Remove the CD
- You can choose between windows and arch, default is arch
Alternative Installing Methods
First steps in Arch
- Login as root.
- Execute the command
passwdto set a password for root.
# passwd
- Add a user. You can use the adduser script. Your user should be in the users, audio and optical groups.
# adduser
Now it's time to fix your internet and start installing packages with Pacman. Enjoy!