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Sunday, 4 October 2009
This is my Illustration for the September issue of Management Today. The article is about business Tsars, I wanted to depict the feeling of authority that Tsars have combining the feeling of regal tsars and someone mentioned in the text having been appointed government tsar Sir Alan Sugar.
Posted by Liam Bardsley at 13:41 2 comments:
Labels: Commissions
Saturday, 12 September 2009
Managing Interns
Posted by Liam Bardsley at 13:18 No comments:
Labels: Commissions
Friday, 4 September 2009
Giant illustration
My work is also available to view along with other students and graduates from Stockport College on the Giant website- www.giantillustration.com. The website is run by the design and visual arts department at Stockport College.
Posted by Liam Bardsley at 13:59 No comments:
Wednesday, 12 August 2009
First Commission!
I have just completed my first two commissions for Management Today magazine. The illustrations are for the 'Brainfood' section of the magazine- the articles are 'Do it right: Managing Interns' and 'Wordsworth: Tsars'. My first illustration for managing interns is a response to the title of the article using humour and a feeling of sensitivity whereas the second article 'Tsars' is a striking response with a feeling of power. The managing interns illustration will feature in the August issue of the magazine available to buy at Borders amongst other places. When the magazine goes to print I will post the images on my blog. (The image of the magazine above is from the July issue)
Posted by Liam Bardsley at 05:58 No comments:
Wednesday, 22 July 2009
Videogame Nation
Just a post to make people aware of 'Videogame Nation' an exhibition currently running at Urbis. The exhibition includes examples of games dating back to the 1980s when gaming really started to take off and also gives a view to what computer games mean now and their place in society today. It was great being able to play on games that i played on as a child but to also read about the people behind them. Computer gaming is becoming more accessible to the masses with the console moving out of the bedroom into the living room played on by the family rather than just the child.
Posted by Liam Bardsley at 14:36 No comments:
Tuesday, 7 July 2009
Digital Arts
One of my images that was on display at D&AD New Blood has been selected to be in this months issue of Digital Arts. 'Office Party' and another of my previous images 'Money Grabber' are both featured in a section on new graduates with my contact details and my place of study. This is a real buzz as my work has never been in print before.
Posted by Liam Bardsley at 13:46 No comments:
Tuesday, 16 June 2009
D&AD New blood
I have been chosen along with four other students from Illustration to exhibit works at the D&AD New blood show at the Olympia Hall in Earls Court, London at the end of the month. This is a real buzz as many design practitioners go to New Blood looking for emerging new talent so fingers crossed that I can get some commissions out of it! I visited New Blood last year and it was really interesting to see the diverse range of styles on display. The event runs for 3 days displaying approx 2000 students work with 8000 visitors.
Posted by Liam Bardsley at 16:23 No comments:
Thursday, 7 May 2009
Issues and Practices: The Rise of the authorstrator
Issues & Practices: 'The Rise of the Authorstrator'
The tradition of an illustrator is to respond to a brief producing an image/images that communicate an idea to provoke an interest in a subject or theme. Commercial art can be constricting as illustrators do not have a choice in what they are illustrating and arguably have not had the luxury and freedom that other disciplines have in terms of expression. Furthermore an illustrator must be mindful of a wide audience avoiding becoming self indulgent and talking to themselves visually. But more recently it is emerging that many illustrators and graphic designers are producing work in styles that transfer into other areas including surface design, toys, producing books for self publication and their own magazines. More so commercial artists are producing works for exhibition and their own self initiated projects marketing themselves as fine artists as well as illustrators.
The effects of this are that illustration's boundaries are widening having traditionally been shunned by the art establishment begging the question what is the meaning of illustration now? The meaning of fine art has become increasingly diluted, the benefits of illustration are that the desirable aesthetic that is needed to catch the viewers eye whether reading a magazine or driving past a billboard advertisement can attract and communicate effectively to a gallery viewer.
Matthew Richardson is a great example of this phenomenon having exhibited in collaboration with Emily Mitchell at the George Rodger gallery, Kent in 2008. Richardson is a commercial illustrator with experience in editorial, advertising and book cover design that has used his experience of narrative in illustration to produce exhibition art for the narratives of 'Conduits, schemes & spheres'.
The causes of this phenomenon are for a number of reasons. Firstly an illustrator may produce self initiated work while the commissions are drying up temporarily in which there is more time to explore deeper concepts to produce ideas from. It is also useful because ideas generated during this time can be drawn on or pushed further for commercial work in the future. Brad Holland, a very influential illustrator whose illustration has been described as a cultural force in an interview commented:
"I have a painting that's going to be in the Society of Illustrators show this year that was published last year but it was done 10 or 11 years ago. It just took a while for the right article to come along. I've also got boxes full of sketches that I can mine for ideas whenever a job comes in." (Holland, Varoom issue 04, 2007).
Promotion is another reason, many illustrators collectively produce their own magazines to send to art directors while self publicised books are an extra source of income.
Style is an important part of being an illustrator particularly a recognisable one which demands a strong, bold aesthetic. But appropriateness of style is considered when branching out into other areas like surface pattern design and toys. EBOY are a prime example of this having developed a style that resembles toys echoing the charming computer graphics from the 1980s/90s. The result of this is their style transfers well into toy design and it is clear that what is driving them is a love of toys ultimately from their childhood. An illustrators visual language is often informed by their own individual influences including any childhood interests.
They express their art as an extension of their childhood. Their influences come from: "Pop culture... shopping, supermarkets, TV, toy commercials, LEGO, computer games, the news, magazines..." (http://wapedia.mobi/en/Eboy, 20/04/09).
Illustration is commercial art and commerce is business. What Illustrators are doing is what is common in business practice- diversifying. This means that the meaning of illustration is widening becoming a multi-faceted discipline and cultural influence.
Gillian Blease is an example of an illustrator whose work transfers into surface pattern design, like her placemats for Jenny Duff. Like EBOY her style is appropriate to the aesthetic specifications of surface pattern particularly because of the simple ness of style and use of colour. Culturally now there is a real sense of having everything under one roof particularly from the influence of the Supermarket. This in turn has influenced the mentality of people including those in design. The boundaries of many disciplines including graphic design, fine art and illustration are blurring and in my opinion it is only right that someone should not be labelled as one thing ruling out the option of doing other things. Overall I think there are more avenues for the illustrator to explore.
Posted by Liam Bardsley at 15:42 No comments:
Labels: Issues and Practices
Wednesday, 6 May 2009
Matthew Richardson & Otto Dettmer
Practitioners- Matthew Richardson & Otto Dettmer
The two practitioners that I have chosen for analysis are Matthew Richardson and Otto Dettmer to compare and contrast their methods and practices in the context of the industry. Matthew Richardson is an illustrator whose imagery combines collage, printmaking and digital media having had experience in advertising, editorial and book cover design.
The design industry demands an attractive aesthetic to catch a viewers eye and Richardson's work definitely has this making use of full colour in his compositions. Upon viewing his images he shows evidence of a trait common to successful illustrators, that of being a visual magpie collecting found imagery, in Richardson's case using textured papers as backgrounds. There is a sense of eclecticism in his choice of media as his style also combines painting, line and photography. Style is an important part of being an illustrator, particularly a recognisable one and utilising a medium effectively is part of this.
Within the Illustration industry visual communication is an important aspect, the communication of the idea in Richardson's imagery is what is more difficult to read as a viewer. Although the visuals are attractive and very striking, often they have a mysterious quality about them. Within editorial design in which Richardson's work is largely based however, it is important to take into consideration how the image marries with the text so the illustrator is not just cloning the text, in this respect Richardson's imagery is strong, his images often communicate feelings.
Wit is valuable in the industry and an important part of a successful visual which is evident in his work too. Often wit can amuse prompting a laugh or a smile from an image capturing the viewer's attention but also can offer the reward of satisfaction to the viewer having deciphered it. It is about the interaction between the viewer and the image, an example of wit in Richardson's case would be using a photograph of a pen quill and using it as sail with a boat made out of paper. People semiotically make the link between objects and the positioning of them. Another important quality in an image is charm, trying to capture the spirit of I.e. an object which Richardson uses where appropriate to his advantage. With so many graduates becoming part of the industry highly populated already, using wit and charm can contribute to a successful career as when used properly can achieve unique results.
Otto Dettmer is an illustrator who has enjoyed success in the industry in editorial and advertising having developed a style that incorporates screen-print, collage and digital media. Dettmer similarly to Richardson has an attractive style capable of drawing a viewer's attention but the styles look completely different. Dettmer's work tends to be much more slimmed down using a large amount of white space, images tend more to be vignettes contrasting's Richardson's full colour backgrounds. The effect of this is Dettmer's work looks clearer, simpler and communicatively direct to the viewer. Contrasting Matthew Richardson Dettmer tends not to use found imagery but is resourceful in the sense of using unlikely media such as accidental photocopy textures. Dettmer claims not to believe in style but his style does seem more precise in the execution of ideas.
Viewing Dettmer's work there are strong repetitive themes such as the use of mannequin heads. An important part of surviving as an illustrator is building yourself a visual library as sometimes an illustrator may be commissioned to produce an image with a deadline of a few hours. Having visited his studio in London it was memorable because of all the elements that I had seen in previous works pinned to the wall to be reused and rehashed with newer elements and ideas. Also many illustrators will back up textures, patterns and objects for reuse in the future for the purpose of expediency. Being expedient is important for an illustrator because you need to give an art director the confidence that you can meet a deadline as one of the comments that stuck in my mind when Andrew Pavitt did a talk at College was that the design industry is small and if you cant meet a deadline word will quickly get round and so your career will crumble.
Visual language is integral to an illustrator in the industry and Richardson and Dettmer strongly contrast each other in this sense. Dettmer is more direct and his imagery is punchier, the communication of the idea is often given to you on a plate whereas Richardson's imagery as mentioned above is less easier to decipher and looks richer. This difference is common within Illustration as an illustrator when developing their visual language will be drawing on not just design theory but they're own personal influences essentially what makes them tick drawing on childhood influences, TV, film practically anything that has inspired them. But this doesn't mean one is better than the other I believe that Dettmer's work works close up and far away because of the simplicity of elements and bold use of white space. In this sense I think his style is more appropriate to advertising. In contrast Matthew Richardson has produced book cover designs including Gabriel Garcia Marquez's 'Love in a time of Cholera'. His style is excellent for book cover design because of the richness of his aesthetic approach whereas Dettmer's work doesn't work in this area because of the simple approach. This is an important consideration when working in the industry putting yourself in context and promoting yourself in the right areas. Often when browsing editorial directories they're will be a brief description of what each magazine is looking for and there will be varying appropriateness of style. Overall with all these industry constrictions and parameters Dettmer and Richardson both have strong visuals achieving success in a competitive industry. Upon this analysis the lessons that I have learnt are the importance of the aesthetic approach and communication coming to the conclusion that I believe in a balance between abstraction and communication.
Posted by Liam Bardsley at 16:27 No comments:
Labels: Practitioners
Wednesday, 29 April 2009
George Hardie
This is an image I really like from an album cover of a band I really love. It is the 'Dark side of the moon' cover for Pink Floyd designed by George Hardie. It is a bold image using shape and colour with an intersting use of black space. It has been an influence on my latest illustration on 'The office party' in which i've used a black background rather than a white one as Ive been doing for a while now
Posted by Liam Bardsley at 17:26 No comments:
Tuesday, 14 April 2009
Blaikie's Guide to Modern Manners
This is another book I'm reading for my major project- 'Blaikies Guide to Modern Manners'. It is written in a different style to 'Debretts Modern Manners' which I'm reading too. It is more stories and accounts of people's experiences relating to manners and etiquette rather than dictionary style definitions like Debretts but I find both books useful and have used them to respond to visually. This book seems quite humurous which is an important element of my work.
Posted by Liam Bardsley at 16:21 No comments:
Monday, 13 April 2009
Ben Jones
During the formation of my 'on the spot' illustration I was looking at the YCN agency website and after being told about an ex student from Stockport College- Ben Jones being part of their agency when we visited the agency office in London, so I looked him up. This illustration caught my eye, I'm guessing that Jones is saying that a company will bend over backwards for their employees but I didn't get that at first. I was drawn to the hands which I mistook for forks and then when the image is turned to portrait length it looked like the character had its hands up.
Posted by Liam Bardsley at 12:02 No comments:
Mr Bean/ Band on the run
This cover from the 1973 album 'Band on the run' by The Wings was an influence on my 'On the spot' illustration mainly because of the spotlight catching the characters out. I was suprised to see a few well known faces including Michael Parkinson and Christopher Lee dressed up as prisoners.
Also I used to love Mr Bean as a child particularly because he behaves like a child so there was an instant ifinity with the character. Mr Bean tended to be very slapstick in humour and I remember finding his behaviour, mannerisms and expressions funny. What was interesting is that I thought that Mr Bean is hinted at being alien because of the intro seeing a spotlight and the character hitting the floor as if dropped from a UFO. This is also what has influenced my 'On the spot' illustration particularly the spotlight.
Posted by Liam Bardsley at 11:48 No comments:
On the spot!
This is an illustration I have produced for my major project to do with table manners. When you go to a restaurant especially when in the company of people you don't know that well it can feel like a daunting experience and we often say we feel "on the spot". I felt a good way to show this was to use a spotlight like in film when a prisoner would be escaping they would be caught out by the spotlight and they would freeze. I like combining objects associated with a subject and composing them in what loosely resembles a person- they become a character.
Posted by Liam Bardsley at 11:17 No comments:
When film and TV is so successful to a mass audience like Doctor Who and James Bond they are christenend 'Cult'. And one cult film that enjoyed success in 1999 was 'The Matrix' which I remember feeling was so different especially the idea that were are all part of a computer simulation. What stood out to me most was the green codes that has become one of the defining aesthetic elements of the film. This also was going through my mind when composing my dress code illustration.
Posted by Liam Bardsley at 07:50 No comments:
Never say never again intro
While composing the idea for my dress code illustration one of the things that was going through my mind was the intro to the Warner Bros remake of Thunderball in 1983 called 'Never Say never again'. The film's ok but not in my view brilliant but what stuck in my mind was the way the film began with a pattern made out of 007 numbers, I thought this was an interesting way to open the film where the traditional gunbarrel would have been used. In actual fact this was because of a dispute between the rights to the original Thunderball so because of copyright it was not allowed to be used. Entertainment wise the things I like are programmes and films that are popular to a mass audience so they become long running like household names but I also like to see challenging of tried and tested ideas within them so long running programmes and films can appear fresher and more rounded.
Posted by Liam Bardsley at 07:35 No comments:
Abram Games
One of my all time favourite graphic designers is Abram Games. He is credited as one of the most successful and influential graphic designers of the twentieth century and it is not difficult to see why. The communication of messages in his work are strong and his style is instantly recognisable. Maximum meaning minimum means is the addage that he used favouring simple designs with a powerful message and I strongly believe in this notion. His clients were Shell, The Financial Times, London Transport, British Airways, United Nations and Guiness. He also during the second World War was made poster artist designing 100 posters for the war effort. His career in the industry spanned 60 years and was once when describing his work was quoted as saying, 'I wind the spring, and the public in looking at the poster will have that spring released in its mind'. I would love to achieve the same success and influence that Games did in his lifetime. One of Games's posters that has influenced my newest illustration on dress code is for the Finacial Times seen above. I love the way the object of a newspaper is combined with a pair of legs so it becomes a character.
Posted by Liam Bardsley at 07:03 No comments:
'Dress Code'- Illustration
This is my illustration for the dresscode element of manners and etiquette. I'm still not happy with it and feel that a few minor alterations need to be done on it but I feel the idea is a strong one.
Posted by Liam Bardsley at 06:58 No comments:
Sunday, 12 April 2009
Colin Baker
As it may be apparent from the frequency of posts about Dr Who on my blog it is fair to say it is a major influence on my work. Looking at classic Dr Who through adult eyes I find that the storylines, scenes, effects, costumes and sets weren't always realised as effectively as they could have been with a few gems here and there. But it didn't affect my enjoyment of it as a child as you see things differently and there was a charm about the programme.
The 6th Doctor was played by Colin Baker, not a personal favourite of mine but the character has influenced one of my manners and etiquette Illustrations. Colin Baker is remembered among other things as the Doctor with the clashing frock coat. It was recommended by the producer at the beginning of his era that the character's coat should be 'totally tasteless' which many would agree affected Baker's performance in a negative way.
The coat is what has inspired my latest illustration which covers 'Dress Code'. Baker's coat is made out of different patterns, colours and textures and it is impossible to see how the coat could be appropriate for any social occassion, it is anti social. My illustration combines suit dress appropriate for formal occasions and business situations with a jumper for casual occasions. The styles clash, the suit has a barcode pattern and the jumper is decorated with morse code as I wanted to communicate the code part of dress. You may ask the dress code of a place or occasion which is why I've incorporated a question mark as a coat hanger.
Posted by Liam Bardsley at 16:50 No comments:
Saturday, 21 March 2009
Meeting at YCN
The YCN was established in 2001 to celebrate new talent in design and visual communication. An offshoot of the YCN is the YCN agency which looks for illustrators and designers for varied projects for clients. It was great to see their studio and talk to the directors, we were shown examples of illustrators working for the agency including Ben Jones, an ex student of Stockport College. We had the opportunity to show our portfolios to two women who advised us on the layout of our portfolios and our ideas. When it came to my turn I was pleased with their response as they commented on my Orange poster from the second year saying that it was an optimistic image which is what they look for. I was asked about the context of my images and the scale of them which I thought sounded promising. I mentioned my Ibook but unfortunately I didn't take it with me but I also said that my images could be seen in many formats and sizes frm A4 to the side of a building!
Posted by Liam Bardsley at 18:10 No comments:
Richard Keenan- Timeout
While in London I was able to see Richard Keenan, the art editor from Timeout magazine. I managed to find my way to the Timeout office on Tottenham Court road and waited for him in the lobby. I had expected to be called upstairs to his office but he came downstairs to see me and we spoke on the sofa.
After recovering from a very embarrassing coughing fit aided by a kindly offered glass of water from Keenan I began discussing my portfolio. I discussed the simplicity of my style combining a graphic approach with photographic elements and the ideas for my imagery.
He asked me how long I had been an Illustrator for and when I told him I was still studying he asked me why I was making appointments with art directors. I explained that I was trying to get a head start before I graduate as I really do want to be an Illustrator. He said to me it isn't going to be easy and it would be a challenge for me to which I said I feel confident about, he thought this was a positive response. While looking through my portfolio he commented that he liked my style and that it was similar to Otto Dettmer's whom he said he had commissioned in the past. I think it was a positive interview as Keenan asked me to email him a pdf of my latest work when I graduate.
Posted by Liam Bardsley at 11:28 No comments:
Thursday, 19 March 2009
Otto Dettmer- meeting in London
Initially it had looked like I wasn't going to meet Otto Dettmer as we had arranged an appointment prior to the London trip but he had to cancel. Which is why I was all the more thrilled when he suprised me on the Wednesday night by texting me to say we were back on! I was so nervous about meeting one of my all time heroes I did't have a clue what I was going to ask him. Nina is also a big fan of Otto's work too so between us we put our heads together.
It was interesting to see his studio and I remember thinking it wasn't as big as I'd expected. Looking on the walls I saw photocopies of collaged and screenprinted elements from past works so I gathered that he reuses things alot. What was interesting to see was the computer that he works on, it was a very old apple mac from the mid 1990s. His reasons for using it were the high rate of burglaries in the area and he didn't think anyone would want to steal it! But also I felt that he works organically, very simply with collage, screenprint and digital so alot of these new intricate digital techniques are irrelevant to him.
Dettmer has produced many self publicised books one of which I own but his newest book was out on his desk which I was immediately drawn too. He works with alot of white space but what was interesting was this book was different, they were full colour and compositionally his designs bled out of the page. I remember in one of my questionnaires he said he doesn't believe in sticking to a set style, ironically I think he does though becuase it is so recognisable as his but he isn't afraid to try new approaches.
We started to discuss clients that he has worked for such as The Guardian and he showed us a fold out page that he mails to people to promote himself. The page was full of illustrations all with the same two tone colour scheme which myself and Nina thought looked great. He showed us a few magazines with his illustrations in so it was great to see how his images marry with the text. I found him to be very modest as I said that I thought he had a good reputation in the industry as having contacted art directors for the London trip some of those mentioned Otto after noticing a similarity in approach with his, he said he didnt know about that.
Both myself and Nina showed Otto are portfolios, he distinguished a difference between them saying that Nina's style is appropriate to book cover design and my own is suitable for editorial. A common influence to both my own style and Otto's was Russian Constructivism and hes showed us this big book full of Constructivist images. He asked us to consider scale of images in our portfolios, he favoured some of our images being bigger so he see them more clearly.
He advised me to explore screenprint aswell, I said I wouldn't have the first clue about it, he responded by saying "Well why don't you get on with it then!" I thought that was amusing. As we were leaving Otto was saying about him promoting at a book fair in Leeds the next day so I got the impression that he travels all over to promote his books. I did want to go to it but unfortunately I couldn't. I really enjoyed chatting to Otto in his studio about my own work and his, I found him to be a very likeable person, Cheers Otto!
Posted by Liam Bardsley at 08:09 No comments:
Damian Gascoigne
Damien Gascoigne's lecture was one I found very entertaining particularly as he started by talking about his family and saying that he originally came from Bradford. He was a confident speaker and I got the impression he really enjoyed talking to us.
He specialises in animation and went on to describe his everyday behaviour as a designer. He is always doing something and urged us to pick up a camera, collect things and doodle. Many of his characters emerge from nothing taken from everyday drawings of people in different situations. He even described a special occassion where he sat there and just drew people. Often he will notice things like light fittings and everyday objects which he feels have character, takes pictures of them and doodles on whatever he can find like newspapers. Gascoigne showed us a picture of a cup sticking out of a bin but rather humourously the cup hada face on it and he said it was calling out to him to animate it. What was comical was his very honest admission that he is obsessed with hair and went on to talk about his own students as he teaches at Kingston University. He showed us pictures of them and described there personalities, one in particularly wearing a toy car round his neck.
He described his animation as fine art animation and began describing a projected animation onto a polystyrene book for an exhibition which took 4 years to come to fruition.
Being creative is something you don't have to apologise for was a statement that really stuck in my mind from Gascoigne's lecture because it is so right. But his optimism was also paired with realism as he discussed the conditions of being an illustrator and animator. Sometimes you have a lot of work coming in but you have to be prepared for times when the work drys up. He mentioned his tough time last year having made 7 pitches for commercials not being successful with any of them.
Being a freelance animation director/illustrator is stressful from this point of view but he is happy to keep going and is exploring other avenues of animation like 3D animation with handrawn line, being taught by his own students. He went onto say that he loves working in a team. AS his talk drew to a close he mentioned that he was an illustrator for five years and then wanted to see his illustrations move with sound, im thinking along the same lines with my own work. Overall I found Damian Gascoigne to be a very interesting, entertaining and witty person.
Posted by Liam Bardsley at 07:30 No comments:
Wednesday, 18 March 2009
Ladies first
One of the themes im working with for my newest illustration is "ladies first". I wanted to show this idea in a non smarmy way as we are living in an age of equality and it is an outdated notion that i think would be frowned upon by many women today especially feminists! I thought about running races as if getting to the door first which would give the illustration a competitive edge. I thought the best way to denote male and female is to use the symbols off a toilet door! However I felt it would communicate the wrong message and as it is an old tradition from an older generation I felt that old fashioned hats would denote this better.
Posted by Liam Bardsley at 19:17 No comments:
Goldfinger/ give your seat up for the elderly
One of my all time favourite movies is Goldfinger not just for the great plot but the introduction of the first gadget car that many classic James Bond films are famous for. The Aston Martin DB5 was equipped with machine guns, a bullet proof shield, oil slick and the passenger side ejector seat. For my latest illustration I am illustrating giving your seat up for the elderly. I thought a humurous approach is necessary and I remembered the scene in Goldfinger where James Bond ejects an intruder out of the roof and thought it would be good if I could bring this element in. So with this combined with the moral element of honouring the elderly I composed an old lady boarding a bus pressing a button ejecting a youth out of the roof. I think that the elderly generation are viewed as weaker and out of touch I like this illustration for the power that the little old lady holds.
Posted by Liam Bardsley at 18:30 No comments:
Wednesday, 18 February 2009
Thursday, 5 February 2009
Diary Illustration- Beaufort Windscale
Posted by Liam Bardsley at 09:31 No comments:
Andy Martin- Beaufort Windscale Project
We had the opportunity to work with Andy Martin on 4th and 5th of Februaury to work on a brief that he had set. The brief was to design 12 Illustrations for a proposed 2009 Diary with front/back cover and endpaper illustrations. We each were assigned different roles, my role was to design the illustration for January. The Beaufort Windscale is one of the first scales to estimate wind speeds and their effects designed by Admiral Sir Francis Beaufort, the scale is still in use today to estimate wind strengths. As stated on the brief the 12 illustrations must reflect the months characteristics but also incorporate the definitions of the wind speeds and effects for that month.
Initially I found it difficult to respond to the month I was given as there was very little in the definition. January is denoted as calm and smoke rises vertically. The first thing that sprang to mind was chimneys as they are associated with smoke but it seemed too weak and mundane to go with that idea and in any case it wouldn't reflect the month's characteristics. I started thinking of incorporating snow as January is a cold month but still disatisfied I explored the idea further. January, particularly the begiining of it is a time for New Year's resolutions and a popular one is giving up smoking. Smoking is also seen as calming for many so I decided to combine the chimney idea with a cigarette packet to make it look like a building and a theme in my work is boxes. I don't know why I doodled a fag packet with a cigarette sticking up but that was what began the idea. I placed the cigarette vertically upside down with smoke rising from it to reflect the definition I was given. The last part of the idea was as the fag packet looks like a building I thought a good way of denoting giving up was to collage a wrecking ball swinging towards it, I felt this humourous element was just what the piece needed. Overall it was a great experience working with Andy Martin particularly the professionalism aspect of it, working to a two day brief was a taster for what life is like for an Illustrator after graduation.
Posted by Liam Bardsley at 08:53 No comments:
Monday, 2 February 2009
Willard Wigan
I love the sculptures of Willard Wigan because of the scale of them theyre tiny! They look impossible to produce and are smaller than a needle. The artist works with gold, gems, glue, dust and paint. I have always enjoyed collaging small elements and have started to work more in this way as I think it can make the elements look more charmful.
Posted by Liam Bardsley at 18:49 No comments:
Saturday, 31 January 2009
Two Ronnies
This is an interesting scene, not for its comedy value but for its true resonance with society. I find it interesting that garments signify class and accent, poilteness and speech signify this also.
Posted by Liam Bardsley at 20:18 No comments:
One of the things I remeber frm this film was the class divide between the people aboard the ill fated Titanic. But what was great was the love affair between two characters oblivious of this class system. I remember the character of Jack asking Rose what he was supposed to do with the cutlery laid out to him at the dinner table her response was "just start from the outside and work your way in" i thought was a particularly humourous moment.
Posted by Liam Bardsley at 20:03 No comments:
Jon Pertwee
Jon Pertwee played the third characterisation of the well known 'Doctor Who'. I loved this character as a child, he was elegantly dressed and had a polite manner even in the face of adversity, overall I found the character warm.
Posted by Liam Bardsley at 19:42 No comments:
Michael Parkinson
Michael Parkinson is someone I very much admire. I used to love watching his chat show and what stood ot to me most was his very polite, well mannered technique of interviewing guests. Hes an example of the perfect gentleman
Posted by Liam Bardsley at 18:39 No comments:
Thursday, 29 January 2009
John Steed
The character of John Steed from the TV show 'The Avengers' I think is a great character and a cult icon. The character is a gentleman, polite, well dressed wearing a suit, bowler hat and carrying an umbrella. John Steed and Emma Peel were investigators the storylines would combine spi and science fiction themes. What I liked was that Steed was able to defend himself but in subtler ways, often the character of Emma Peel would fight so there was an interesting reversal of gender stereotypes.
Posted by Liam Bardsley at 15:05 No comments:
Wednesday, 28 January 2009
Grant Gilbert
Grant Gilbert studied a national diploma in Graphics at Stockport college going on to study at degree level at the UCE in Birmingham. After graduating he worked for 3 years at Planet 24 starting on the bottom rung. Thereafter he worked for Channel 4 again for 3 years. He has had experience with title sequences and promos whose work has included the rebranding of BBC 1, ITV 2, Channel 4 and Five. He owns Double G studios and went on to describe his process which involves making moodboards and detailed storyboards. He showed us powerpoint slides of his work including a channel 4 music ident which I found really interesting which involved tents with cables coming out illuminating, I thought it was extremely abstract.
Gilbert calls himself a designer but gets labelled Graphic Designer which he said he has done but it doesn't mean he he can't do motion graphics. He has eperience with logo designing/development including the More 4 logo, the sister channel of Channel 4. He went into detail about rebranding the BBC logo being influenced by past BBc logos including Abram Games' 1953 logo. He went onto say that he uses After Effects and described one of the ads he was developing for the BBC. He wanted to produce a design of people holding the BBC logo divided into seperate squares. There is a lot of development with his ideas and that things that stand out are simple and striking. I had no idea that Gilbert was involved in the hippo ident which got many complaints because of the financial cost of 1.2 million pounds. Gilbert mentioned that he has collaborated with 'Spin' a company in London and likes to paly the channels off with each other when promoting himself. He did comment that he found it difficult to work with the BBC because there was so many people to work with. Overall I found the lecture very interesting and felt that his ideas were original and inspiring.
Posted by Liam Bardsley at 06:16 No comments:
Chris Corr
I had a correspondance last year with Christopher Corr, a travel Illustrator whos childlike style I find charming. I emailed him again for further information and this was one of his responses:
I've always loved painting, printmaking, drawing.
Very old fashioned forms of image making.
I enjoy seeing what's around in current exhibitions, galleries, museums.
A lot of my work is inspired by travels that I make, places that I want to draw.
I like to make comments on life as I see it and show a world that I'd like to live in.
You can communicate with abstraction.
Posted by Liam Bardsley at 05:57 No comments:
Monday, 26 January 2009
Gillian Blease
When Gillian Blease did a lecture last year one of the things that interested me was her fine art background and that she did a crash course in illustration. Fine art vs illustration is an issue in the industry and i was interested in her opinion on the matter. More so i was intrigued to know what her experience of fine art education was in relation to defining the meaning of it and how she sees herself.
I think the term still applies, but only within its traditional use, and mostly with regard to training. I can say I was trained in the Fine Art tradition (ie I studied the crafts of painting, architecture printmaking etc.) but if I continued to make art I would call myself a visual artist or a contemporary artist. So I think its possible to study fine art but, unless they were working in a very classical way, most artists would not use that term to describe their practice.
I used to produce lots of work for exhibitions when I was an artist. I think I struggled with the fact that the endpoint of a piece of art is generally an audience in a gallery space. I found it impossible to get away from the constant awareness of how it was going to be perceived, which always interfered with the process of making it – ie self-conciousness. What I love about illustration is that its main purpose is functional and it exists in tandem with something else usually – ie the host copy or product. It's a real partnership of different media. It's about making a difference in small ways as opposed to making a statement. I find it more ego-less than 'art' which is full of ego!
Posted by Liam Bardsley at 11:39 No comments:
Otto Dettmer
Another of my contacts is Otto Dettmer, a freelance illustrator who has produced self publicised books. I admire his style and contacted him asking questions relating to illustration.
> Hi Liam here some answers. good luck with that.
> 1. How do you go about generating ideas? And what do you do if you
find it difficult to answer a brief?
as I read through a brief, I make little drawings in the margins of
anything that comes to mind. I don't normally go into details at this
stage. I make a quick 5 second drawing and then move on to the next
bit. All that obviously depends on how much time there is. But the
point of the brainstorming phase is to collect a large number of very
basic ideas. In any case I try to find out what the main message of
the piece is about, so as not to get sidetracked. Then I see which of
the drawings have any potential, as in do they fit the brief, are
they elegant. are they unusual? I'll use a drawing program like
freehand to make some montages of drawings and photographs, that's
the 'playing phase'. Sometimes unexpected solutions come about that
way. I'll send of the best ideas to the art director. sometimes the
art director also makes a useful input. Usually, hopefully, at the
end is a half decent solution. As a rule, I try not to do an
illustration which I wouldn't be happy with myself.
> 2. I believe that we are living in an age where Consumerism is more
prevelant than its ever been and is affecting our behaviour, i.e going to a shopping mall for recreation rather than going for a walk or playing sports etc. What is your opinion on Consumerism?
Well, of course, it's evil. A phenomenon of our times. The Soviets
believed in producing things, the capitalists believe in consuming
things. It's all a waste of time of course. Being human should be
about more than just producing and consuming. But what it actually is
about, I'm still working on. I'll let you know if I come up with
> 3. What do you think the advantages and disadvantages are of
working for both agencies/in house illustration and freelance?
I'm not sure, have never worked for an agency. I suppose there is a
bit of mutual distrust going on. I think of them as too commercial,
and my guess is that they think of me as too unpredictable.
> 4. How have you created a style that is instantly recognisable in
the industry as your own?
I have never tried to get a 'style'. I think the style should go with
the brief or the publication, not be something that comes with the
illustrator. So for example if it's a piece about war, I might chose
to do it in the style of Picasso, say. (as in Guernico) Having said
that, I suppose some kind of style will come about by itself, because
everybody has a way of doing things which is going to come through in
the work.
> otto
Posted by Liam Bardsley at 10:35 No comments:
Modern Manners
This is a book that interests me, detailing social protol in different environments and situations. I find some of the ideas humurous but it documents standards of behaviour and thinking in the modern era that we may have forgotten.
Posted by Liam Bardsley at 08:33 No comments:
Friday, 23 January 2009
Matthew Richardson
I emailed Matthew Richardson last year enquiring about his thoughts on Fine Art & illustration. My questions related to both areas and the idea of the two areas coming together. I also asked him whether he classed himself as an illustrator/fine artist. He reponded by saying that he doesn't class himself as an illustrator/fine artist but says rather sometimes "I illustrate" and or sometimes "I do my own work". He acknowledged that the edges of the two areas have blurred wishing there was more respect for each side from each side. He went on to say that he sees people as practitioners and the fine arts could learn alot from illustration. In terms of his work for exhibition he says he wants to communicate different things to different people whereas direct visual communication is needed in his illustration work. My opinion of him has changed since last year when he worked with us in the sense that i saw him as just an illustrator whereas now I seem him as purely a practitioner.
Posted by Liam Bardsley at 09:00 No comments:
Wednesday, 7 January 2009
Andreas Guersky
I like this style of photography Im not normally taken with arcitecture but this looks great its like theres a pattern and a texture going on.
Posted by Liam Bardsley at 08:20 No comments:
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Read DBol Dianabol Review
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subset: commoncrawl


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Lauren graduated from the University of Texas in 2007. Since then, she has been involved in event design while she worked as a Catering Coordinator at the Frisco Embassy Suites Convention Center and later as an Event Manager at the Dallas Musem of Art.
She has helped plan a multitude of events ranging from intimate dinner parties to large-scale weddings and everything in between.
Her years of experience in the event industry and her innate design style allow her to provide chic, sophisticated & charming arrangements that will make any setting exceptional.
Lauren loves spending her free time with her husband, Gary, and their two daughters who inspire her daily to follow her dreams and passions with Blue Posy.


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The rivers have been blown out for two weeks, two very long weeks. I have been jonesing to fling a fly in a way only other bugchuckers will understand. I have been distracted to the point of neglecting my job, home, wife and children. For lack of trout I have been less of a man.
Yesterday afternoon, I sat in my chair staring blankly at yet another episode of Yo Gabba Gabba, silently wondering how an enormous orange phallus has become so popular with children. My head slumped forward, and a puddle of drool formed beneath my chin. My daughter Madison asked her mother if daddy was dead. "No honey, your father isn't dead. He's lost his mind." The phone rang. It was Ben.
"Miiiiiiiiiike." Ben's usual greeting. He seems to think I've an over-abundance of vowels in my name.
"Mike. Will the wife let you come out and play? Let's go hit the lake."
"Uhhh. Uhhhh. Uhhhhh."
"Ballston Lake. My family's camp there. We'll launch the canoe, bring a couple of my spinning rods, and see if we can drum up a few largemouth. It should be perfect."
"Uhhh. Uhhhh. Uhhhhh. Uhhhhhh."
"Mike? You there?"
"OK, I'll go. But I'll take my fly rod."
An hour later the drool had dried, and I was paddling against the wind along the shores of a lake that is likely deeper than it is wide. The native people who inhabited the shores of Ballston Lake originally named it Shenantaha, which roughly translated means "deep water." The southern end of the three mile long lake (the section I was paddling) is estimated at 120 to 130 feet deep, although local lore holds that it is likely deeper.
The fishing is typical in that one can reasonably expect a mixed bag of bass and panfish. I'm told Ballston fishing can be exceptional when compared to other local lakes; Ben's best largemouth topped eight pounds and Adam apparently lost one that was much larger. Rumor has it that some enormous pike and lake trout inhabit the depths at the southern end of the lake, but we didn't see anything quite so grand. The best fish of the evening was a 15 inch largemouth that swirled on my mouse, and swallowed it in a boil. Truth be told though, the fish was of little consequence.
There was something about being in that canoe, at that moment, on that lake. I was reminded of my childhood; a childhood spent at my great-aunt's home on the shores of the Battenkill. The camps dotting the shoreline, the smell of moss wet from recent rains, the metronome of waves kissing the dock; it all seemed so very familiar. I was new to the lake, a foreigner on its shores, but I was comfortable. I was at ease. Strange as it may seem, I felt at home.
My jones is sated (for at least a day or two), but I am resolved to go back to the lake. Ben told me the predominant forage in Ballston is the mooneye shiner (alewife), and I've been devouring everything the internet offers about mooneye behavior. Master the forage and you master the fish, or so goes my often misguided and fallacious reasoning. By the weekend I'll have a box full of mooneye imitations, and I'll begin the process of weeding out the good from the bad.
Somewhere in the depths of Shenantaha is an eight pound bass that is desperate to make my acquaintance.


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Join Jennifer Siebel Newsom and
The Representation Project for the
2018 Flip the Script Benefit
Celebrating New Models of Manhood
Tuesday, November 13
The Chapel, 777 Valencia Street, San Francisco
Complimentary Valet
Always an evening of fun, celebration, and inspiration, our annual Flip the Script Benefit fundraiser brings together a community of thought leaders, young people, and dedicated supporters working to "flip the script" on limiting gender stereotypes so everyone can fulfill their human potential.
An engaging panel discussion led by Jennifer Siebel Newsom, conversations, buffet-style dinner, cocktails, and mingling among celebrities, scholars, and youth leaders throughout the night are just part of what makes The Representation Project's Flip the Script Benefit an unforgettable experience every year.
This year's benefit will be a special one - bringing to the stage male leaders who are changing gender norms in business, sports, and media. Our panel will feature youth advocate, mentor, and nonprofit executive director Ashanti Branch; sociologist Ian Breckenridge-Jackson; and venture capitalist Mitch Kapor.
This will be a night to remember and we hope you will join us!
VIP registration & reception with featured speakers
General registration & reception, followed by panel discussion and auction
Mix, mingle, and dine on a gourmet buffet dinner and hosted bar at The Curio (next door to The Chapel)
Flip The Script Host Committee
Chairs: Mollie Ricker & David T. ibnAle
Ray Arata
Gina Bianchini
Denise Bradley-Tyson & Bernard J. Tyson
Elizabeth Estes
Laura & John Fisher
Lyn & Norman Lear
Nicola Miner & Robert Mailer Anderson
Connie Nielsen
Kendra & Erik Ragatz
Maria Shriver
Caitlin & Gavin Turner
Thank you to our generous sponsors:
Kendra & Erik Ragatz
Mollie Ricker & David ibnAle
Suzanne & J.T. Crandall
Joanna Rees & John Hamm
Using film and media as catalysts for cultural transformation, The Representation Project inspires individuals and communities to challenge and overcome limiting stereotypes so that everyone - regardless of gender, race, class, age, religion, sexual orientation, ability, or circumstance - can fulfill their human potential.
Our Board
Nathan Ballard | Susan Boster | Brandon Hernandez | Elizabeth Hirsh Naftali | Ann O'Leary | Eve O'Toole | Joanna Rees | Mollie Ricker | Brenda Robinson


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- About
- Watershed Info
- Projects & Programs
- Events
- Dive In
- Donate!
Feb 17, 2016 - Project Blue Thumb Spawns Something AWESOME
The RDRWA is proud to host the February Watershed Ambassador Breakfast with an AWESOME presentation. In addition to creating an Integrated Watershed Management Plan, the RDRWA decided to bring watershed management to life by engaging in a Social Innovation Lab, called Project Blue Thumb. This hybrid approach seeks to leverage the benefits of a focused plan, complemented by a strong network of relationships, deep inquiry and adaptive implementation.
Project Blue Thumb is Alberta's first social innovation lab dedicated to improving water quality. The Project Blue Thumb lab team includes stakeholders from municipal and provincial government, the non-profit sector, academia, forestry, and agriculture, who have come together with a common interest in protecting water quality. Drawing from the field of innovation the lab team uses creative and collaborative approaches to address water quality.
Team AWESOME (A Watershed Environmental System Of Municipal Excellence) is one of the prototype teams engaged in Project Blue Thumb and they will be speaking about their project. Their goal is to enable change so that municipalities have the capacity to protect and restore watershed features (e.g. wetlands/riparian areas) in order to improve or maintain surface and groundwater quality.
Ultimate outcomes of project AWESOME include:
- More municipalities are effectively protecting and conserving wetlands and other watershed features
- The number of acres of conserved wetlands and other watershed features has increased in the Red Deer River Basin
- Water quality has been maintained or improved in the Red Deer River Basin
- Watershed management is institutionalized / streamlined in municipal day-to-day decision-making processes and operations
- Everything is awesome...
All of these outcomes and goals are for the benefit of Red Deer River Watershed municipalities.
RSVP to: firstname.lastname@example.com or call Kelly at 403-340-7379 by noon on February 17, 2016
These Ambassador breakfasts are an RDRWA initiative to keep you informed of issues in the watershed, celebrate ambassadors within the watershed and meet like-minded people.
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30 Aug 2017
The Wisconsin corporate base of a cleaning products manufacturer might not sound an obvious place to seek an American legend, but Wright created the headquarters main offices for SC Johnson, in Racine, between 1936 and 1939 – using his signature curve of red bricks to produce a structure of a curved interior and exterior. Public access is possible.
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Ok you bunch of crazy indie rockers, this week's Liberation's favorite artist is Graham Coxon, why ? His history speaks for him, but if you are not clear just have a scroll here below :
- He was the lead guitarist in Blur. Don't know them ? Go back to Indie Rock 101 please
- Despite being in one of the biggest band involved in the famous Brit Rock war of the mid 90s he always managed to stay out of it and his reputation came out stronger
- Because he's 43 and he's still a Punk
- Because he didn't stop at Blur and built a great solo career with albums (8 !!) filled of punk and heavy guitar riffs
- Because he has a new album just out now (A+E) and he's touring around Europe
- Because he usually plays most of the instruments on his solo albums
- Because Freakin'Out is one of the best rock song of the last decade and its simply rowdy
- Because he wrote « Tender » and « Coffee and TV »
- Because he worked on the 2006 Football World Cup cover song « Hurry Up Harry » from Sham 69
- Because Blur split after he quit the band
- Because he painted and designed most of his album's covers (13,..)
- Because he never prostituted himself to commercial music playing on the fact of having been part of Blur but he kept exploring sounds, instruments and music instead, and this, definetly qualifies him as Artist of the Week for the Liberation by Indie Nation


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Now Book Air Ambulance Service at Affordable Cost in Bhatinda
The city Bhatinda is located in the state of Punjab. The city is well known for food grain and cotton market in northern part of India. Apart from that the city is famous for education and thermal plant. In Bhatinda, Panchmukhi Air & Train Ambulance Services had set up the most reliable and hitech low cost air ambulance services from Bhatinda to help the people to stay stress free in time of medical emergencies. Panchmukhi Air & Train Ambulance Services in Bhatinda has been playing a very vital role in transferring patients from one place to another health care center for the better treatment of the concerned patient.
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Book Online or Offline the Below Panchmukhi Services from Bhatinda:
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Lord, Make Me Small
"'Shall a faultfinder contend with the Almighty? He who argues with God, let him answer it.' Then Job answered the Lord and said: 'Behold, I am of small account; what shall I answer you?'" Job 40:1-4
This weekend I found myself standing in the Smithsonian Air and Space Museum before a massive TV screen playing recent videos of the sun from space. What struck me was in the corner of the screen (almost too small to be noticed in contrast except for the caption next to it) was an image of Earth. If this Earth I see on the screen is barely visible....where am I? I am somewhere on the little sphere in the corner, but I am so incredibly tiny that if you were to divide each infinitesimal pixel from one another, you still wouldn't come close to seeing me, or you, or any other individual person.
Yet, we humans tend to think much of ourselves. We want to be omniscient, knowing everything about the future. We want to be omnipotent, having the power to do or be anything. We want to be like God. And this often causes us to hold Him on trial for not orchestrating things how we would if we were in His place. But when Job tried this (see Chapter 30), he was met with a very lengthy reprimand from God Himself. God doesn't answer Job's demands for what he thinks would be just - He barely acknowledges anything Job has said. Rather, He begins to list dramatic examples of His own power, eternality, and independence. In effect, He is asking Job, "Who do you think you are? ...Me?"
We will always need to be reminded of this: there is only room for God to be God.
Lord, make me small. Show me who I am by showing me who You are. The depths of my depravity stand in contrast with Your holiness and purity. The depths of my weakness stand in contrast with Your power. The depths of my dependence stand in contrast with Your utter freedom. As I walk through this day, and the next, and the next, would You remind me that You hold my life in Your hands - and that it is safe there? And it will only ever be safe there. This is the peace that passes all understanding. Protect me from myself, in Jesus' name. Amen.
Your Turn
Spend some time reading the exchange in Job 38:1-42:6.
Jessica is a native to the Appalachian mountains of Asheville, North Carolina, although she now resides in northern Virginia with her husband. She has been a lover of reading since elementary school and a lover of Christ since high school. She is a full time English major, in hopes that her studies will help her more effectively minister to other through written words. Her favorite things in the world are British tea, old books, autumn leaves, dry humor, and rainy weather. Her goal as a writer is to demonstrate how the Gospel, objective truth, and sound theology are not only applicable, but essential, to all aspects of life as a woman, especially in a world that celebrates sin, false doctrine, and self-sufficiency.


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This move-in ready home is in very nice condition with lots of interior eye-appeal! There is updated carpet in the living room and bedrooms, laminate flooring in the kitchen. There is a stylish paint color scheme, light fixtures and window treatments throughout the home.
The kitchen has a roomy dining area, lots of counter and cabinet space as well as a large pantry. The bath has a garden tub and walk-in shower. The master bedroom is spacious with room for a king-size bed.
The finished entryway and yard shed offers lots of storage. The yard has a privacy fence. This home is priced to sell quickly and is located in a quality park, close to schools and shopping in south Bismarck.


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Altin Sencalar will be performing along with the rest of the Geri Allen Fellows in The Gathering Orchestra under the direction of Rodney Whitaker. This is a free event!
Back to All Events
Earlier Event: December 31Doyle Bramhall II NYE at Antones!
Later Event: February 24Kerry Moffit debut CD recording session!


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Page 3: The marketing mix at Argos
As well as changing the culture at Argos, management appreciated the need to change the extended marketing mix to improve the customer experience. Argos has always been associated with 'low prices, more choice, less hassle'. The management team wanted to build on these values and develop the marketing mix to boost the company's sales and profits.
The product
Market research following the 1998 takeover showed that the Argos brand was seen as boring and stuffy. Argos set about modernising the brand to give it greater appeal. This included a new brand strap line -"Brighter Shopping"- and a new logo.
The company has also widened its product range; by 2002 it offered twice as many products than four years earlier. In 2002 alone it added an extra 2,400 product lines, taking the total to nearly 12,000. In particular, Argos has moved further into furniture and white goods such as fridges as well as services such as pet insurance.
Given that the brand is so well known and that over 70% of the population shop at Argos, the company's management thinks the best strategy to boost revenue is to convince existing customers to buy more rather than work specifically at attracting new customers. It aims to do this, in part, through offering a wider choice.
The company has used advertising to appeal to its different market segments. Argos segments its market not just in terms of the traditional demographics (e.g. age and gender) but also in terms of people's brand awareness. Argos divides its customers into 'the don't get its' (who use Argos only occasionally) and 'the get its' (who regularly shop at Argos). The latest advertising campaign has two characters - an ageing rock star (a 'don't get it') and his personal assistant (a 'get it'). In the course of a series of adverts, the 'get it' gradually introduces the 'don't get it' to the wide range of Argos products and solves all his purchasing problems.
The campaign is designed to promote a more modern image for the business, to attract the 'don't get its' to spend more and to reinforce the loyalty of the 'get its'. In 2003 the television adverts won Retail Week's Marketing Campaign of the Year award and the 'Retail' category in the Marketing Week Effectiveness Awards 2003.
Place (distribution)
Argos continues to revamp existing and open new stores, making its products more accessible to customers throughout the UK. Between 2002 and 2003 the company opened a further 36 outlets; its long run target is to have around 600 stores. Its catalogue is a key part of the Argos distribution system and can be found in 70% of British households.
Argos's pricing strategy focuses on providing low prices. The management team has strengthened this approach e.g. with low price DVDs and CDs. The company works closely with suppliers to keep costs, and therefore prices, as low as possible.


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It has been reported that 1 out of every 5 women who went to see their doctors because of heavy bleeding during their periods was diagnosed with a bleeding disorder. (Kadir et al, The Lancet, February 14, 1998)
Keep in mind this study evaluated only women who went to their doctor. I believe there are many more women who, like me, think heaving bleeding is normal and don't seek medical help. In addition, the study did not fully evaluate platelet function. So this number is likely higher.
The CDC has reported that, as many as 2 million women may have a bleeding disorder and not even know it. That means there are too many women who suffer monthly, have unnecessary hysterectomies and are not living a quality of life that they can.
Please remember heavy, prolonged periods are NOT normal. The cause may not be a bleeding disorder but it does need to be evaluated.
Thursday, September 18, 2008
Bleeding Disorder Statistics
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Omnico is making it easy for theme parks to capitalise on the advance of mobile payments and paperless ticketing systems around the world
Abolishing cash and paper inside a theme park is much more than a gimmick – it is a move necessary to meet visitor expectations.
In everyday life, consumers now organise their lives through their digital devices and smartphones. When they enter a park, they expect to do the same, which includes organising their agenda, ordering food and making payments.
Omnico's own Theme Park Barometer research among thousands of theme park visitors provides plenty of evidence. We found that:
• 69% of respondents felt the ability to pay without cash would most enhance their convenience
• 63% want to use a theme park app on their phones or tablets to make bookings for rides and restaurant tables
• 41% want to use touch-screen, self-service kiosks that don't require paper
When asked what their main use for a theme park mobile app would be, the most popular answer was for making payments (46 per cent). This was followed by a host of other uses that eliminate the need for printed paper, such as collecting and storing loyalty rewards or advance-ordering of food and drink. The interactive map is also replacing its paper equivalent.
Omnico is leading these developments right across the theme park industry.
Our solutions allow visitors to co-ordinate their entire visits without paper, either from their smartphones, self-service kiosks or wearable devices. This covers everything from ordering meals, drinks, snacks and merchandise, to in-app payment, e-vouchers for promotions, location-based offers and alerts, and loyalty programmes.
Wearable and waterproof
With IoT or RFID based wearable devices this is taken a step further, and guests can do everything from accessing lockers, hotel rooms or VIP areas, to paying for items using pre-loaded credit or spending pre-paid "entitlements" such as meal plans, or activating 'fast pass' tickets to jump the queue. They can even set spend limits for children and prevent them from purchasing certain foods or drinks. They don't need to carry cash, cards, locker or hotel keys, or a device – making this technology especially useful for waterparks.
A unified solution
By offering a single, seamless digital platform that powers point-of-sale and customer engagement across all channels and touch-points, and across food & beverage, entertainment and retail, Omnico deliver the paperless park in a unified and seamless manner, optimising the customer experience.
In the era of the smart park, clever solutions are required and only Omnico has the expertise and innovation to deliver your entire digital strategy across every channel and touch-point.
To find out more about Omnico's solutions for theme parks and resorts:
Download our Destinations Solutions Brochure
Or try other articles from our blog:
What do visitors expect from theme park POS?
Why smart engagement is a true springboard for theme parks
Embracing apps to deliver the experience guests expect


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2nd-tier luxury carmakers to locate potential customers and localize products for growth in 2019: analysts
Jan. 29 (NBD) -- China's automotive market saw negative growth for the first time in 28 years, according to the country's leading industry association.
Data compiled by the China Association of Automobile Manufacturers (CAAM) showed that the country's automobile sales declined by 2.8 percent year on year to 28.081 million units last year.
In contrast to the negative growth of the automobile industry, sales of luxury cars increased in 2018, due to continuous adjustments in product structure, market landscape and consumption pattern of the luxury brands.
Statistics indicated that car sales of luxury brands rose more than 9 percent year on year last year, reaching 2.8 million units, an equivalent to around 8.9 percent of the 2018 total. First-tier luxury brands including Mercedes-Benz, BMW and Audi grabbed more than 70 percent of the market share.
Mei Songlin, senior auto analyst, said to the 21st Century Business Herald on Sunday that the luxury car sector is the silver lining amid the downward auto market. Mei also predicted that there will be growth space for the luxury-car market this year.
Despite the promising outlook, luxury carmakers are experiencing polarized development. With first-tier luxury brands constantly encroaching on the market, competition among second-tier players such as Cadillac, Lexus and Volvo is intensified.
Cadillac topped the second-tier luxury club with sales of 228,000 units in 2018, followed by Lexus' 160,400 units and Volvo's 130,500 units.
Zhong Shi, a media veteran, told the 21st Century Business Herald that overall, second-tier luxury brands are doing well, but their respective sales, generally ranging from 100,000 to around 200,000 units, fall far behind top players.
In the views of Zhong, disadvantages of second-tier marques lie in insufficient production scale, limited product category and low market share. Zhong called on those carmakers to improve and diversify their production lines in 2019.
It's noted that some brands have already initiated corresponding moves.
Last week, Lexus launched its new compact SUV model, the Lexus UX, in Hangzhou with six variants available. Prior to that, Lexus' rivals Cadillac and Volvo released their new compact SUV models last year.
Noticing relatively weak brand strength of second-tier luxury marques, Mei held that such brands should on the one hand provide more cost-efficient products and differentiate themselves from leading players, and on the other hand, locate potential consumers and cater to their demands by analyzing characteristics and development trend of China's future auto market.
"When it comes to introducing foreign automobile brands into China, changes should be made in terms of products, brands as well as technology in accordance with the local market," Mei noted.
Email: firstname.lastname@example.com


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London is one of the top cities in the world for entertainment and culinary experiences, so finding somewhere good to eat shouldn't be a problem in the capital city. London is a complete melting pot of cultures; you can honestly find any kind of cuisine that you are looking for. So, with so much to choose from in the sprawling metropolis, where do you start?
Decide on your dish
Whatever type of cuisine you want, you'll find it on a menu somewhere in London. If you have something specific in mind, then this is a good start. Whether you fancy Indian, Thai, Chinese, traditional British, family-friendly, Greek, Mexican or even something more obscure, there's bound to be plenty of options to cover a variety of styles, tastes and budgets.
But if you don't have something specific in mind this can be a dilemma and it can be hard to narrow down so many choices. Whether you just want to try something different, you're looking for a unique atmosphere or for eating on a budget, if you don't know where to go you might be missing out on some real gems that might be just the types of places you will love and enjoy.
Do your research
One of the best ways to find a restaurant of your choice is to ask around for recommendations. Somebody you know is bound to come up with a decent tip or two worth considering.
But if you're not from the area, or don't know any locals, then consider looking on the internet for reviews and recommendations. Websites such as TripAdvisor offer candid, no nonsense advice, which can help sort out the wheat from the chaff when it comes to restaurant choice in London.
Aside from website reviews, consider looking in local publications which list restaurants in particular areas. Newspaper supplements often give a guide or insight into what's hot on the capital's culinary scene.
Different communities or ethnic groups often live in certain parts of London, and it's sometimes in these areas that you can find good food specific to that particular group.
If you're looking for something that is perhaps a bit more exclusive, websites like Secret London give tips for the lesser known establishments that offer great food and service.
Consider your budget
In an ideal world money wouldn't be an issue when it comes to dining out, but for most of us, it is an important factor. And London is no exception. If you decide to dine in the more affluent or touristy areas of London, then expect to pay higher prices. Often, you can find excellent, good-value food in areas the further away from zone one that you go, but that's not to say you can't find great places on a budget anywhere in London. With so much competition, restaurants need to attract customers.
Consider other options
As well as finding great food in restaurants, increasingly award-winning dishes are being served up in the capital in places such as hotels, pubs, bars and even within stores or shops. So, if you are looking for something specific, then consider other eating venues aside from restaurants.
One of the best things you can do is simply wander around different parts of London and get a feel for the vibe of each area. Check out the different eating venues – consider what they look like from the outside, what the interior is like, how busy the restaurant looks, etc. Stumbling upon a backstreet gem can be as rewarding as eating out somewhere on the basis of user reviews, so be open minded and adventurous in your search.
Philippa is often travelling to and from London and her life is pretty much on the go. As there is so much choice in London when it comes to dining out, she has decided to put together this guest post to help others. This article was written in consideration of the guys at Restaurant Choice.


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Boys Basketball Seedings Released
Sectional seedings for the Ohio High School Athletic Association's boys basketball playoffs were released on Sunday afternoon.
In Division II play, the St. Marys Roughriders (6-11) are the No. 9 seed in the Ohio Northern District and will play No. 7 seeded Bryan (11-8) in a sectional semifinal at 8 p.m. Feb. 27 at Lima Senior High School. The winner of that game will play the winner between Elida (10-9) and Toledo Scott in a sectional final 8 p.m. March 1.
Shawnee is the top seed in the bracket. Sectional champions will advance to the district tournament March 6 at Ohio Northern University.
In Division IV play, the Minster Wildcats (13-6) are the No. 3 seed in the Wapakoneta District and will have a bye in the semifinal round. The Wildcats will play the winner between No. 12 Waynesfield-Goshen (2-16) and No. 6 Fort Recovery (9-8) in a sectional final 8 p.m. March 1 at Coldwater High School.
The No. 10 seeded New Knoxville Rangers (3-15) will have a rematch against Ada (3-15), the No. 11 seed, in a sectional semifinal 6:15 p.m. Feb. 26 at Coldwater. The winner will then play top-seeded St. Henry (15-3) for a sectional championship at 6:15 p.m. March 1.
No. 7 seeded New Bremen Cardinals (6-10) will open sectional play against No. 5 Upper Scioto Valley (12-5) at 8 p.m. Feb. 26 at Bath High School. The winner of that contest will play for a sectional title against No. 4 Perry (14-3) at 8 p.m. March 1.
Sectional champions will advance to the district tournament March 5 at Wapakoneta High School.


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I was riding my bike yesterday, like I do. I was undecided about whether to walk or ride, since I was just going to the Best Buy, and then later planned to ride over to the UCB theater. I rode, as exposed in the first sentence. I tend to ride in the street, not on the sidewalk, because the sidewalk is full of people walking and riding bikes and waiting for buses and slowing down a more determined bike rider (like me!). I'm cautious, I've got lights, I follow traffic laws and often cross streets with crosswalks instead of presuming to merge on a bike into a busy left-turn lane. I presume to save or prolong my own life in this way. Yesterday, while riding my bike, I saved another life too. It was a small dog. It's owner, some socialite-lookin' would-be Paris Hiltony blonde enormous-sunglasses-and-heels-wearing creature was gabbing away on a mobile phone, back to the street, as her little dog wandered around on its leash and into the street. I didn't hit the dog. I probably would've gotten hurt if I did, as it'd be a big bump. But I couldn't make a sharp turn into cars speeding along, and I couldn't quite jump the curb at such a narrow angle. I scraped up my palms and a knee, sprained my wrists, and snapped the cable on my $5 odometer. Now I've gotta get the brakes fixed on the car AND the bike - the rear brake cable was also jostled loose when the front wheel spun around backwards. For her part, little miss starlet-to-be did a good job scooping up the dog and running away in heels when some guy and a bike wiped out right next to her. But I'll just bet if I hit that dog nobody would have run away, there'd've been hell to pay. So it goes. ONE! I notice lately, especially around shopping centers and trendier parts of town, there is a certain style to carrying one's ipod (and here in LA, everyone has an ipod, even the thieves, as we know.). In the more hipster kinds of places, they remain unobtrusive, perhaps with an earphone cable hanging out, or sometimes neatly threaded through the shirt. But in the trendy section, it's carried between the thumb and one finger, display out, at chest height. Sort of where their chest-graphic would go, if they were care bears instead of ladies in expensive clothes, interested in advertising their song choices or ipod ownership.
On multiple occasions, I've had the dubious fortune of being passed on the sidewalks of Santa Monica Blvd. by an old guy in a flannel shirt on a Rascal. As he passes you, or anyone else on the sidewalk, no matter how close of a pass it is, he shouts "Outta the way, asshole!" Everyone he passes gets their own yell, so one mightn't take it as personally as it seems at first. Also, he has a blue parrot on his shoulder. A real live bird that looks at you, but does not - so far as I know - shout 'asshole!' at strangers. Yet.
Walking into the Best Buy today (I'm determined, see?), a comedian stopped me and said hello. Truly unnecessary, since I didn't spot him at first, but very cool, and good for one's ego.
Apparently, someone's been murdered somewhere around here lately. There are signs on lampposts and such, offering a $57k reward for information on the murderer. It was an older gentleman, out for his 'nightly walk,' and apparently stabbed to death. That part's sad, but not strikingly unusual. The unusual, bastardly thing is that someone's going around sticking up self-defense class advertisements next to the reward posters.
And back to antagonistic traffic, last week walking back from Trader Joe's, a motorist was upset that he could not turn right because the car in front of him was not willing to mow down pedestrians in the crosswalk. He honked his horn. "Beep!" I said. He honked more. "Beep! Beep beep," I said. After the third such exchange it became clear that his window was down, that he could hear me clearly, and that he was now not-turning-right even though the way was clear because he was very pointedly honking at me. I didn't stop though, already having gotten this far. I didn't look at him either, but I smiled more. Russell assures me this is the course of action you want to take with someone you've placed into that kind of losing situation. And it didn't get me shot this time!
One, two, three, four, five, SIX! That's enough of that for a while. Typing hurts.


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A vintage wedding theme is a romantic and classy theme for your wedding day. Turn to history for inspiration and create a glamorous and elegant wedding theme full of old world charm. When creating your bridal theme consider invitations, flowers, reception and table decorations, place cards, favours and bombonniere as well as your wedding dress and the bridal party outfits. Carry your chosen theme through all aspects of your wedding to coordinate your day.
Vintage Wedding Dress
A victorian or classic wedding gown will be the basis for your theme. Wearing a one of a kind vintage wedding dress will add a special and unique touch to your day. If you don't want to wear an antique wedding dress there are many brand new wedding dresses available in vintage styles. Be inspired by ivory, lace, pearls and diamonds to create a vintage look for your bridal gown. A sparkly hair clip or headpiece and earrings will complete your vintage look.
Table Decorations and Wedding Favours
Wedding favors fulfil a number of purposes, as gifts for your guests, table decorations and even place cards. There are many options when it comes to decorating your wedding reception venue and tables. Think vintage birdcages, antique picture frames with guest names inside, ivory lace hand fans, crystal table scatters and decorative candle holders to carry your vintage inspired wedding theme throughout your reception.
Vintage Wedding Flowers
Decorate your wedding reception venue with bunches of gorgeous blooms in vintage inspired vases and jars. Browse markets and second hand stores or shop online to locate genuine vintage vases to arrange your flowers in. Alternatively ask friends and family to save glass jars for you and arrange mismatched glass jars filled with in season flowers and tied with matching ribbons in clusters along your tables. A few single blooms tied with ribbon to the back of chairs or to the front of napkins also looks amazing.
Bridal Party Outfits
A vintage themed wedding is an easy to look to create with your bridal party outfits. Bridesmaids in mismatched vintage dresses in varying shades of pink or cream would look gorgeous. Accessorise your bridesmaids outfits with pearls, feathered hair combs or netted headpieces. Lace hand fans, shawls or parasols are also fabulous vintage wedding accessories. To really accentuate your theme ask guests to dress in vintage outfits, this will create gorgeous wedding photos and won't cost you a cent.


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Dental icons are used for visual bookmarking of the work place like Health Clinics and Hospitals. Here is an amazing collection of inspirational dental logo designs that can be used in professional communications. We highly encourage in galvanizing the creativity of the designer with our wide range of logos.
Inspiring Dental Logo Design
This dental logo design shows a simple yet creative design, displaying a healthy tooth. The colors used are pleasant and the whole design is perfect for showcasing your clinic visually.
Cartoon Dental Logo Design
Here is a funny display of dental logo, with a tooth in the form of a cartoon. It is very creative, best to be used in child specialist dental clinics.
Creative Dental Care Logo Design
This is a totally creative dental health care logo design, with a beautiful and pleasant looking picture of the teeth. It is a perfect way to display complete teeth care.
Inspiring Dental Care Hospital Logo Design
Download this dental care hospital logo template that shows how much care the teeth will receive at your dental clinic. This logo is very inspiring to use at dental clinics.
Animated Dental Logo Design
These free downloadable inspiring designs are well textured with multiple layers and different patterns for customizing the artwork easily. You can find the suggested tag lines under each and every icon, to enhance the branding of dental service and business promotions. Altogether, this will definitely add an extra detailing for the logo.
Cluster of 7 Creative Dental Logo Designs
Here is a wonderful template for your dental clinic logo. It comes in a cluster of 7 different designs, very creatively made. You can customize it as per your requirements.
Inspirational Dentist Logo Design
This is an inspirational dentist logo design that comes with a clean display, with a space for sample text to be entered below the picture of the tooth. Try it!
Dental Logo Design For Hospitals and Clinics
This dental logo design is designed for clinics and hospitals. It comes with a high quality picture of the tooth and a space for entering name, tagline of the company.
Inspiring Healthy Teeth Dental Logo Design
You will definitely love this inspiring design because it is highly creative and displays a tooth that is totally fit and healthy. It is a minimal yet wonderfully designed template.
Seamless Black Dental Logo Design
This is a perfect template if you are looking for something premium and sophisticated. It displays the name of dental company in a creative format, with a seamless black design.
Simple Dental Clinic Logo Design
This dental clinic logo design is of great quality and makes use of pleasant colors. It is also customizable and is the best way to showcase your dental care services.
Professional Dental Logo Design
Here is a professional, clean dental clinic logo design that gives a great visual effect. You can use this logo for your clinic to attract people and showcase your services.
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From Self-Defense KarateJump to navigation Jump to search
[Video of this waza fast and slow, from the side, and ideally, overhead]
Defense against a one-hand lapel grab with an incoming punch
- Trap the opponent's grabbing hand with your opposite-side hand; your arm and elbow will act as a temporary meat-shield.
- Peel the opponent's wrist off of your lapel, turning it inside into a reverse wristlock.
- Twist outside with an outside elbow break.
- Perform one of the following:
- Apply an outside and finish the opponent with knee kicks.
- Takedown the opponent with ikkyō-omote.
Retrieved from "http://www.selfdefensekarate.org/index.php?title=145&oldid=1574"


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3 years ago
Saturday, November 21, 2009
Does This Come in My Size?
These t-shirts are the brainchild of Charles Star and Carrie McLaren, a Brooklyn couple who had some time on their hands and love for the Jews. I totally want one.
Posted by Cultural Infidel at 5:51 PM
Labels: Brooklyn, Carrie McLaren, Charles Star, Jews, T-shirts
No comments:
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In truth, it really is as epic as everyone says it is.
Some highlights/recommendations: Fly into LA and stay for a day or two to check out Decades Inc, Melrose Umbrella Co, and hang out at the W Hollywood. Then head down to the desert, with a pit stop at the Ace in Palm Springs for Stumptown coffee and some shots of this overly instagrammed hotel. While in Indio for the festival, check out the historic La Quinta Resort for a round of 5-dollar margaritas and other pre-chella Tequila specials or grab a bite on the main stretch of this quaint little desert oasis before heading over to the grounds. We are big fans of staying in the valley for the 3-day long festivities (the 40 min ride back to Palm Springs at 1am in the morning would be too much for us to handle after a full day of being out and about) and Airbnb has a bunch of great options very similar to what we stayed in for the weekend, all within 5-7 minutes of the festival grounds. Uber makes it easy to get around.
If you need a post-chella detox, beautiful northern California is just the ticket. More on that soon.


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Announcing Our Partnership With Lee Enterprises
Our commitment to transforming content into commerce doesn't stop with us, which is why earlier this week we officially announced our partnership with Lee Enterprises.
Lee Enterprises is a leading provider of local news and information, and a major platform for advertising in its markets. Across 22 states, Lee operates 46 daily newspapers and has a joint interest in four others.
Over the next six months, we will be rolling out Marketplaces, Product Match, and our Auctions technology across Lee's digital sites, which attract more than 20 million unique visits monthly in markets stretching from Madison, WI to Napa, CA. This technology equips Lee's digital advertising customers with options for easy eCommerce with contextual matching and "Buy Now" capabilities. This will also give local SMBs targeted product exposure across Lee's sites.
In addition, working with Lee will provide us with insights and powerful customer data to further advance our technology.
We are excited about this strategic partnership and look forward to continued growth. Read the full press release here.


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The best friend is getting married in September. I am fortunate enough to have been asked to be a bridesmaid. The unfortunate part is that I live in Montana and she lives in North Carolina (my home). This is unfortunate because I need to go to a specific store to get my dress and this store is 3 hours away. But she is worth it.
Yesterday we packed the kids in the car and drove the 3 hours to the store so I could try the dress on and order it. I knew the kids would be hungry about halfway there, so mama got smart and made snack bentos!
In these bentos:
*Half a peanut butter and apply jelly sandwich
*Fruit leather shape (rocket ship for Bubs, butterfly for Griddles)
*Babybel cheese
*Mini blueberry muffin
*Apple/Strawberry squeezable applesauce
*Fruit punch juice box
Fun day trip! We also got to stock up on camping stuff from Cabelas! Love that store.
Sunday, May 6, 2012
Saturday's Snack: Road Trip!
2 comments:
I love everything in your lunches! Just curious what's the brand of your leather fruits. I bought my kids Simply Balanced Fruit Strips to try but they didn't seem to dig it. Are they the same?ReplyDeleteReplies
Thanks for the comment! I have Trader Joe's brand fruit leather. Unfortunately, we do not have a Trader Joe's anywhere near us. However, my mom came out to visit last September and brought me 2 HUGE boxes of fruit leather from there because she knows I love it just as much as my little minions do. My favorite brand of fruit leather is actually called Stretch Island fruit leather, they can be found at regular grocery stores, but they are kind of expensive in my book. Hope this helps!Delete
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Bring a book, leave with a book
Sunday, July 9, 2017
1:00pm - 3:30pm
$10 + membership
Includes: coffee/tea + a treat
What is it?
Our Summer Book Exchange is a chance for book lovers to talk about and trade books. Bring a copy of a favourite book and take someone else's home with you. We encourage previously-loved books in good condition (new copies welcome too) and in any genre, though we suspect that fiction and creative nonfiction will be the most popular. You'll have ten minutes to present your book. After each book has been presented, they'll be exchanged by draw (and further trades may follow).
Is it for me?
Our Summer Book Exchange is for you if liked doing book reports as a kid and like reading aloud. It's for you if you're a passionate reader who loves books and discovering new ones.
How will I benefit?
- You'll get to discover other people's favourite books
- you'll get to hang out with fellow bibliophiles and talk about books.
What will I get?
- ten minutes to talk about your book and read an excerpt
- a favourite book of someone else's to take home
- coffee/tea + a treat.
What other details do I need to know?
You'll receive suggested guidelines for how to talk about your book. You'll also be asked to submit the title of your book so that we can compile a master list for sharing and make sure there are no duplicates.
Registration is now open and limited to ten people.