From left to right, Modern Woodmen members Jim Goolsby, Connie Goolsby, Debra Grover, Altrusa President Cathy White, District Agent: Dan Mayo, Modern Woodmen members: Bev Mayo, Wayne Arnold and Leslye Arnold.
The Fayette County Sheriff's Office and Modern Woodmen of America members will co-sponsor an Identity Theft Training Program Sept. 15, 7:15 p.m., at Fayette Progressive Industries, 1330 Robinson Road southeast in Washington C.H.
Detective Brian Carlson will be the presenter and the Altrusa Club of Washington Court House will host the event and serve refreshments catered by The Farmer's Pantry. The program is free to the public for adults over the age of 18, but reservations are required.
The best way to avoid becoming a victim of identity theft is to become knowledgeable about how your identity can be stolen. Please contact Debra Grover, 740- 333-8503, on or before Sept. 12 to make your reservation.
Shared values – yours and ours. That's what makes Modern Woodmen of America a fraternal financial services organization, different. Touching lives and securing futures since 1883. Built and owned by members. Together, we impact your community and what matters to you.
For more information contact Dan Mayo at 937-725-0445.
https://www.recordherald.com/wp-content/uploads/sites/27/2016/09/web1_Altrusa-MW-Training-Event-Photo-Aug-2016.jpgFrom left to right, Modern Woodmen members Jim Goolsby, Connie Goolsby, Debra Grover, Altrusa President Cathy White, District Agent: Dan Mayo, Modern Woodmen members: Bev Mayo, Wayne Arnold and Leslye Arnold.


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App-based Conditional Access with Intune
Intune app protection policies help protect your company data on devices that are enrolled into Intune. You can also use app protection policies on employee owned devices that are not enrolled for management in Intune. In this case, even though your company doesn't manage the device, you still need to make sure that company data and resources are protected.
App-based Conditional Access and client app management add a security layer by making sure only client apps that support Intune app protection policies can access Exchange online and other Office 365 services.
A managed app is an app that has app protection policies applied to it, and can be managed by Intune.
You can block the built-in mail apps on iOS and Android when you allow only the Microsoft Outlook app to access Exchange Online. Additionally, you can block apps that don't have Intune app protection policies applied from accessing SharePoint Online.
Before you create an app-based Conditional Access policy, you must have:
Enterprise Mobility + Security (EMS) or an Azure Active Directory (AD) Premium subscription
Users must be licensed for EMS or Azure AD
For more information, see Enterprise Mobility pricing or Azure Active Directory pricing.
A list of apps that support app-based Conditional Access can be found in the Azure Active Directory Conditional Access technical reference documentation.
App-based Conditional Access also supports line-of-business (LOB) apps, but these apps need to use Office 365 modern authentication.
How app-based Conditional Access works
In this example, the admin has applied app protection policies to the Outlook app followed by a Conditional Access rule that adds the Outlook app to an approved list of apps that can be used when accessing corporate e-mail.
The flowchart structure below can be used for other managed apps.
The user tries to authenticate to Azure AD from the Outlook app.
The user gets redirected to the app store to install a broker app when trying to authenticate for the first time. The broker app can be either the Microsoft Authenticator for iOS, or the Microsoft Company portal for Android devices.
If users try to use a native e-mail app, they'll be redirected to the app store to then install the Outlook app.
The broker app gets installed on the device.
The broker app starts the Azure AD registration process, which creates a device record in Azure AD. This isn't the same as the mobile device management (MDM) enrollment process, but this record is necessary so the Conditional Access policies can be enforced on the device.
The broker app verifies the identity of the app. There's a security layer so the broker app can validate if the app is authorized for use by the user.
The broker app sends the App Client ID to Azure AD as part of the user authentication process to check if it's in the policy approved list.
Azure AD allows the user to authenticate and use the app based on the policy approved list. If the app isn't on the list, Azure AD denies access to the app.
The Outlook app communicates with Outlook Cloud Service to initiate communication with Exchange Online.
Outlook Cloud Service communicates with Azure AD to retrieve Exchange Online service access token for the user.
The Outlook app communicates with Exchange Online to retrieve the user's corporate e-mail.
Corporate e-mail is delivered to the user's mailbox.
Create an app-based Conditional Access policy
Block apps that do not have modern authentication
Tell us what you think.

redpajama_set_name: RedPajamaCommonCrawl


text:
BA Visual Culture Taster Lecture 2019
by National College of Art and Design, Dublin
Wed, 20 February 2019, 12:00 – 13:30 GMT
National College of Art & Design
100 Thomas Street
Many of you will already be certain that you would like to study Visual Culture with us at the National College of Art and Design (NCAD): others will be considering whether Visual Culture is right for you.
Either way, we would like to invite you to an open session at the college. You will have a chance to participate in a taster lecture, to meet current students, and to tour the facilities including the Edward Murphy Library, Ireland's leading specialist art and design library.
NCAD has a special atmosphere. Based on our campus in the Liberties in Central Dublin, Visual Culture students study the history and contemporary practice of art and design - including fashion and mass media - in the company of the next generation of practicing artist and designers. Our open morning will give you a chance to see the college in action.
The open morning will take place at 12 midday on Wednesday 20th February 2019 (room HCH203). The talk and tour will last c. 90 mins and refreshments will be provided.
Please email NCAD visualculture@staff.ncad.ie if you would like further information on this opportunity.
If you are unable to come on February 20th but would like to talk to a member of staff about the programme or any other aspect of life at NCAD, please email the same address.
We look forward to welcoming you to NCAD - Professor David Crowley, Head of the School of Visual Culture
Ireland Events Dublin City Events Things to do in Dublin Dublin Seminars Dublin Other Seminars
BA Visual Culture Taster Lecture 2019 at National College of Art & Design
100 Thomas Street, Dublin 8, Ireland
National College of Art and Design, Dublin
US$0 - US$1,625
A Counselor's View of Ireland Institute 2019
Trinity College Dublin, Dublin
TCD Staff Induction for Global Brain Health Staff 17 September 2019
Science Gallery Studio 1 & 2, Dublin
TCD Staff Induction for New Staff 30th October 2019
Science Gallery, Studio 1 & 2, Dublin 2
Thu, 25 Jun 09:00
TCD Staff Induction for New Staff 25th June 2020
Science Gallery, Dublin
TCD Staff Induction for New Staff 12th September 2019
Science Gallery Dublin, Studio 1 & 2, Dublin 2
Fri, 4 Oct 10:00
Hospitality: Aspirations and challenges
Dublin (DCU), Dublin
Thu, 5 Sep 10:30
CETL-MSOR 2019
Dublin City University, Dublin
Bontemae Tea Ceremony in Dublin Sat 20th July
Dublin, Dublin 8
Mon, 7 Oct 11:00
Electronic Health Records in Ireland – getting it right from the start
Hilton Dublin, Dublin 2
An Evening with David Nicholls in Conversation with Eithne Shortall
dlr LexIcon, Dun Laoghaire
Browse Dublin 8 Events


Mum died a year ago today. I was too busy today at work to mourn her passing. When I got home I sat in the bath with a glass of wine and tried to have a conversation with my mum. I tried and it didn't work, I need to write it out and so here I sit.
I miss you mum. This past year was hard, a year of firsts. My first Mother's Day without you, my first spring, my first birthday and lastly, my first Christmas ever without you. It's better than it was a year ago. I don't cry all the time. I don't cry every night when I got to bed. I don't hang up angry and frustrated with people on the phone. I don't want to rip anyone's head off.
In fact most days are good days. I can remember the good things that we had, supper on Sunday, walks in the river valley, knitting, having a cup of tea and of course jokes and laughter. You taught me without realizing it how to laugh, how to see the funny side of things and even how to tell jokes. You were my first audience. The rubber chicken that somebody gave you one Christmas still sits on the shelf beside my bed. That chicken reminds me of your sense of humor every time I see it.
If I am honest with myself, and I do try to be, I am thankful that you died. Thankful that you are no longer suffering. Thankful that you are no longer frightened. I know how scared you were of going completely blind, know how scared you were of being dependent on others for your care.
You were frightened of dying too I know, scared of a vengeful god. I told you that god doesn't work that way and I believe that. I don't believe any divine being would punish people for eternity. I believe that god, the divine, is about love, not about hate and retribution.
When I remember you, it's not how you were for that last year before you died, it's the you from a few years ago. The woman I went to England with, who got stuck trying to climb over Paul McCartney's fence, who laughed so much that you couldn't get off the fence without help. The woman I walked with down river valleys both here in in England. The woman who taught me how to garden and love birds, although you never convinced me to love roses.
But as I sat in the tub, I realized that I also mourn the mother I never had and maybe that's a normal part of grief. I never went to you asking for advice, nor did I want to share my troubles with you. Partly because you told the rest of the family and partly because I didn't respect how you dealt with conflict, all passive aggressive. Of course I do both of these things and of course I hate that I do them.
You were a great one to make a compliment sound like a criticism. I was always too loud, too aggressive, too much for you. Even as a middle aged woman, you would try to dampen down my spirits. I'm not sure why but you did. Actually that's not true, I know why you did it, you were always concerned with what others thought. I wish I'd had a mum who could have accepted me just as I am. I'm guessing you would have wanted the same from your mum, or mummy as you called her. I understand with my head that you could not give me what you had never been given yourself, but inside of me there is still a young girl who wants desperately to be accepted and loved.
You were a good mother. You taught me that family is first. You weren't perfect and maybe that's the greatest gift you gave me, the knowledge that we can love people despite their imperfections.
Me and my mum, a year and a half ago. The big guy and I took her for a weiner roast, her first, down in the river valley. It was a wonderful day.
She got to feed the chickadees out of her hand.
It will be a year next week since she died. I miss her still, especially her laugh.
The big guy and I went to the zoo this weekend down in Calgary. He took this photo. It reminds me of him.
Last week a staff member at Katie's house was fired for emotional abuse directed at Katie's roommate Amber and indirectly at Katie. When I got the email telling me about this I felt sick to my stomach and then relived. Sick to my stomach that anybody would abuse vulnerable women like Katie and Amber and then relieved that Katie was only indirectly affected, which probably doesn't win me any person of the year awards.
Amber is mostly a gentle soul except for once a month when she goes off the rails and tries to put her head through a window, or a wall, or flood the place. The police and EMS are often involved. Katie is also a gentle soul who lives with a lot of anxiety which leaks out of her fingertips. She tends to pull hair, pinch, slap, scratch, mostly other people but she also likes to have a go at herself as well. When things are really bad, she bangs her head against the wall or the floor causing bruises or in some cases, open wounds. Katie doesn't sound so bad, a little pinching or hair pulling but she can take me down to the ground if I'm not careful and she has.
Both of these young women require constant monitoring so that they don't hurt themselves or others. Amber can talk but mostly just repeats back what you say to her. Katie can't speak at all but does have some limited sign language. They are extremely vulnerable and I trust the agency who cares for them. When the abuse came to light, the staff was immediately fired.
Combined with this incident was a recent post on Elizabeth's blog in which she wrote about what Sophie knows, or doesn't know. I don't really know what Katie knows or doesn't know either. I can tell how she feels by her body language and the expressions on her face but what she understands is often a mystery to me. I can tell you though that Katie is far more perceptive than most people give her credit for. The post and the firing got me to thinking about Katie and about all disabled people and about why they matter.
I have three children, Katie is my youngest child. Katie is severely disabled, or handicapped or delayed or whatever the politically correct phrase du jour is. She is twenty-one years old and functions at the level of about a two or three year old child.
My daughter doesn't work, doesn't pay taxes, doesn't read or write and doesn't talk. She won't marry or have children. She won't go to University or become a scientist. She won't develop a cure for anything. She won't write poetry or prose for that matter. She doesn't shop, doesn't consume, except for the basics. She doesn't own a car or drive. She wields no power. By all accounts she is an utter failure in our society.
My daughter matters because she is here and because she is a human being. Katie allows me, allows all of us, to be better people than we might otherwise be. She allows us to stop and be kind to someone without any expectation of repayment. She shows us that different is not worse, it's just different. Her laugh, her smile, show us that life can be enjoyed without all of things that we think we must have.
She reminds us that life is not about the things but about the people in our life. She couldn't care less what you're wearing, or rather, who you're wearing. She doesn't judge you by what you look like, she wants to know how you'll treat her. She is cautious. I believe that a part of her understands how vulnerable she is and she is careful. If you are gentle with Katie, patient, kind, you will reap the rewards of her smiles and her laughter. To hear Katie laugh, to see her smile, trust me, is truly a gift.
To have Katie in my life has been a gift, a hard gift it is true, but a gift. I am a better person for having known her. I am more compassionate, kinder, more patient (which is hard to believe because I am not the most patient person) and stronger. When you walk through a mall with Katie, people know her by name, even though she can't talk. They remember her smile, her outstretched hand waiting for a handshake. Katie makes people's lives better because she is here, not because of anything else than who she is. She matters.
This is a view from Sulphur Mountain; Banff lies in the valley that is mostly obscured by the tall tree on the left in the photo.
The caregiver who cares for Katie full time. He is gentle, kind and patient.
Katie has an appointment for her dental care, she requires a general anesthetic.
She can also get the mole, that continues to grow and change, removed under anesthetic.
Sunshine. The days are getting noticeably longer.
A fire in the fireplace because it's cold outside.
A cat curled up in front of the fireplace.
Lunch with my son last weekend.
The oncology course I'm taking right now.
I figured out how to get a photo on my blog with my new PC. I still miss my Mac.
My health. I care for people every single day who don't have their health.
My friend's radiation treatment is finished.
Hugs from the big guy.


Businesses are spending billions of dollars to acquire traffic for their e-commerce stores, but there is a big problem: The Google Analytics setup for most stores is not working properly.
The result? marketers cannot measure the return on investment, which is increasingly critical in highly competitive e-commerce. They may be spending money in the wrong places, or, they mistakenly may pause campaigns that are actually performing well.
Is the data in your Google Analytics account accurate? We start by doing an in-depth audit of your account and check all the tracking codes. You will get an in-depth review of the state of your account and you will know exactly what's working and what needs fixing. You can then make the changes yourself or we can make them for you.
If you require more than an audit, our team will work with you to define project goals. A project can be as standard as setting up Enhanced Ecommerce in Google Analytics, or as complex as developing a multi-site dashboard to analyse average customer revenue by location.
In this phase, our team is very hands-on setting up analytics and coordinating implementation. This includes: creation of a new Google Analytics account (if you don't have one already), creation of a Google Tag Manager container to increase reporting abilities and improve site speed, creation of 2 Google Analytics views (Raw data and Filtered Data), creation of appropriate filters ensuring compliance with Google's best practices, creation of up to 5 goals, and tracking and reporting of up to 5 events.
We monitor your new data collection for accuracy, create reports and dashboards that meet your team's specific needs, and we make recommendations for how to use your new analytics setup and automated reporting to improve marketing ROI and drive revenue.
Base your decisions on accurate data.
Let us set your Google Analytics codes correctly.


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Tagged With "Rehearsal" | Frenz Forum
Tag: Rehearsal
Tagged With "Rehearsal"
Re: Setlist and/or Rehearsal Songs
Sugar Mouse · 10/1/186:00 AM
Article said that Stevie pushed for Free Fallin even though Mike Campbell isn't a big fan of the song after playing it for so many years. Sounds like the band is going more for crowd pleasers over more obscure songs. Fingers of Love would be fantastic in this setting.
The Ligature · 10/1/1811:34 AM
Based on promotional performances and interviews to date this portion of the Fleetwood Mac set has potentially been revealed so far: The Chain Gypsy Second Hand News Little Lies Gold Dust Woman Don't Stop Free Fallin' Don't Dream It's Over Oh Well (Part 1) Dreams As much as they've mentioned 3 hour sets, and I hope it's true - I'd guess this will be closer to half of the show. It's mildly surprising "Stop Draggin' My Heart Around" doesn't appear to be the nod to Tom Petty & The...
Romer · 10/4/186:51 AM
Update of songs having been in the playlists: The Chain Gypsy Little Lies Second Hand News Gold Dust Woman Don't Stop Dreams Say You Love Me Black Magic Woman Everywhere I Got You [Split Enz] Rhiannon Tell Me All the Things You Do Storms World Turning Hypnotized Oh Well Don't Dream It's Over [Crowded House] Landslide Isn't It Midnight Monday Morning You Make Loving Fun Go Your Own Way Free Fallin' [Tom Petty] All Over Again
Romer · 12/8/187:40 PM
Couple more have been played at one time or another: Johnny B Goode [Chuck Berry] Hold Me
c.houser · 12/19/185:45 PM
I've been reading some of the ledge today, and I can't help but hear in my mind's ear, a mash-up of the song Free Fallin' with DDIO chorus (and vice versa)!
Jaffaman · 8/11/199:02 PM
"Man of the World" and "Blue Letter" were played last night in the second Perth show.
The Ligature · 8/11/1911:28 PM
Wow! Nice additions there, particularly - "Man Of The World". Neil and Mike Campbell did a great job on it at Largo while they were in tour rehearsals so a little surprising it's taken almost a year to make it into the set - it was a #2 hit. Only a few of their singles from any era of the band have charted higher in any territory. With "I Got You' reinstated in the set that would potentially be an additional three songs featuring Neil on lead vocal going forward on the antipodean tour...
Perfectchord · 8/12/195:10 AM
Guardian article. https://www.theguardian.com/mu...with-added-neil-finn
Thom Bullock · 8/12/195:44 AM
Good review. I'm also pleased they noted that it takes an additional 5 musicians on stage to complement the 6 billed as Fleetwood Mac. I've seen this tour and really enjoyed it, but it is very much best not to think too much about it, musicianship-from-Fleetwood-Mac-wise.
slowpogo · 8/12/195:54 PM
I see the extra musicians as just filling out the arrangements...I don't see them as compensating for something lacking in the core band. FM is rich enough to afford that level of production and I think they just want to put on a big show.
The Ligature · 8/13/1912:28 AM
Exactly. It's also worth pointing out that what I recall as being much, if not exactly the same musicians and backing singers were augmenting the principal players when I last saw Fleetwood Mac with Lindsey in the band ten years ago and have been for many years and several tours. Plus they also receive full introductions to the audience during the show so it's not like they're a deliberately overlooked presence.
Thom Bullock · 8/13/195:10 PM
Yeah - I wasn't suggesting it was either hidden (though for years the percussionist was behind Mick's drumkit until they started getting bad press about it) or that it was different with Lindsay. I just find it interesting that it takes a village, as it were. It would be a nice moment if Christine were to play the DDIO organ, instead of leaving it to the keyboard player in the shadows.
Romer · 11/18/192:54 PM
Hopefully I didn't miss out on any -- final list: The Chain Gypsy Little Lies Second Hand News Gold Dust Woman Don't Stop Dreams Say You Love Me Black Magic Woman Everywhere I Got You [Split Enz] Rhiannon Tell Me All the Things You Do Storms World Turning Hypnotized Oh Well Don't Dream It's Over [Crowded House] Landslide Isn't It Midnight Monday Morning You Make Loving Fun Go Your Own Way Free Fallin' [Tom Petty] All Over Again Johnny B Goode [Chuck Berry] Hold Me Man of the World Blue Letter
The Ligature · 11/18/194:04 PM
The is one more off the radar corporate performance on Wednesday in San Francisco but I don't anticipate any set list changes, and possibly not even a full show performance so that does look like the complete Neil Finn/Mike Campbell era Fleetwood Mac all inclusive set list.
Setlist and/or Rehearsal Songs
From https://www.rollingstone.com/m...eartbreakers-730187, it appears as though Tom Petty and the Heartbreakers' "Free Fallin'" made the list of rehearsal songs being considered for Fleetwood Mac setlists, as did Crowded House's "Don't Dream It's Over." "Oh, Well" was also included, but with vocals from Mike Campbell, as Neil apparently felt that they required more of a bluesy touch than of which he was capable. The first Fleetwood Mac tour date is now only three days away, so more on the...


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California Governor Says NCAA Will 'Collapse' if They Resist New Bill
posted by Wil Leitner - Oct 2, 2019
Dan Patrick: "Is there anything that you would like to say to Mark Emmert, the President of the NCAA?"
Gavin Newsom: "I've known Mark for years and think he's a good, decent, and honorable person. I don't say that lightly and that's not just a 'politician' saying that. I believe in his heart of hearts he knows what the right thing to do is… They need to think about the athletes as the preeminent responsibility of the organization, and not the institutions first, not the coaching staffs first, not the athletic departments, but the students themselves and have their best interests at heart… If they try to sue and threaten, as they've threatened California schools, I think they'll lose public opinion, and ultimately their moral authority will wane, as well as their formal authority and the whole system will collapse." (Full Video at Bottom of Page)
Listen to California Governor Gavin Newsom join The Dan Patrick Show to discuss the state's revolutionary 'Fair Pay For Play' bill that could potentially obliterate the legitimacy of the NCAA.
The state passed a ground-breaking new bill that will allow NCAA athletes at public and private universities within the state to receive endorsement deals while still enrolled in college… A revised regulation previously unseen in college sports.
Newsom believes this legislation will set the tone for other states to adopt similar bills, with the revised regulations eventually becoming standard precedent in every state.
The NCAA had urged the Governor to reject the bill, and threatened to ban schools in California from NCAA competitions if they attempted to pass legislation.
The NCAA even threatened to sue the state of California because of the 'unconstitutional bill.'
Check out the interview below as Newsom says the NCAA will collapse if they try to resist the movement.


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Wassily Kandinsky's Colourful Path to Abstraction
06 Nov, 2018 | Tue | 19:56
Russian painter and art theorist Wassily Kandinsky (1866-1944) was one of the most influential artists of the 20th century. Credited with painting one of the first purely abstract modern works, Kandinsky developed his abstract style with the express intent of being accessible to all audiences. How did Kandinsky explore the use of colour and pioneer abstract modern art?
Russian painter and art theorist Wassily Kandinsky is considered one of the most influential artists of the 20th century
Kandinsky was born in Moscow in 1866, the son of a wealthy tea merchant from Siberia. He studied law and economics at the University of Moscow and became Associate Professor of Law after his graduation. Everything changed when he visited a Monet exhibition at Moscow in 1896, where he saw a painting from Monet's Haystack series. The colour and composition of the work had a profound impact on Kandinsky.
One of the paintings from Claude Monet's Haystack series
In 1896, at the age of 30, Kandinsky gave up his career and moved to Munich to study art. In 1900 Kandinsky was accepted into the atelier of Franz von Stuck; it was here that he rejected the prevailing established Munich School of painting and begin to experiment with a more sensuous and symbolic content in his art.
In 1903, the artist painted his first milestone artwork, Der Blaue Reiter (The Blue Rider), an Impressionistic scene of a man in a blue cape astride a white horse. It's perhaps the most important of Kandinsky's paintings from the first decade of the 1900s.
Wassily Kandinsky. Der Blaue Reiter. 1903
In this painting, he demonstrated a clear stylistic link to the work of the Impressionists, like Claude Monet, particularly evident in the contrasts of light and dark on the sun-dappled hillside. And the inspiration for many of Kandinsky's early works come from Vincent van Gogh's paintings with his heavy use of impasto.
Wassily Kandinsky and Gabriele Münter
Wassily Kandinsky and Gabriele Münter spent six months in Rapallo on the Ligurian coast in the winter of 1905 and spring of 1906 during their extensive travels around Europe. During their stay, Kandinsky painted eighteen works featuring the harbour and its picturesque boats along with the town's coastline.
Wassily Kandinsky. Rapallo: Grauer Tag (Rapallo: Grey Day). 1905
Grauer Tag, one of the first in this series, shows Kandinsky's interpretation of the Impressionist style. The painting conveys his characteristics expression of emotion and mood, which in this case is a more solemn, melancholy tone.
After spending a great deal of time travelling across Europe, he settled in the small Bavarian town of Murnau. The picturesque scenery of the countryside around Murnau gave his paintings a renewed energy. In Murnau, Kandinsky was able to build on that experience and join Matisse and Derain in understanding how to formulate an abstraction from nature. Townscapes, such as Treppe Zum Schloss, are characterised by a simplification of forms which gave way to Kandinsky's chromatic abstract works of 1910. No longer deeply influenced by impressionist movement, Kandinsky looked at the Fauves for inspiration.
Wassily Kandinsky. Treppe Zum Schloss (Steps to the Castle). 1909
During these years Kandinsky began to emerge as an important art theorist. In 1910, he published his first book exploring abstract art theory, "Concerning the Spiritual in Art", which advocated for abstract art as a means of achieving the spiritual. Kandinsky made a case for the similarity of music and visual art in terms of expression. The artist used musical terms such as "improvisation" and "composition" in the titles of his pre-war paintings, emphasizing the link between the two art forms.
The extraordinary colour palette in Improvisation Auf Mahagoni represents a step away from the natural world and multiple steps into abstraction. The colours can also be attributed to Kandinsky's love of traditional Russian folk art.
Wassily Kandinsky. Improvisation Auf Mahagoni (Improvisation on Mahogany). 1910
Through constant experimentation and extensive preparatory work Kandinsky's artistic means developed from an essentially figurative Fauve style to pure abstraction. By 1910 he had found the language he sought, with sweeping lines, beautiful iridescent patches of colour and kaleidoscopic compositions.
Kandinsky in his Munich apartment in 1913
Years leading up to the First World War are considered by many the peak of Kandinsky's career as he accelerated toward non-representational painting. The development of his thinking and the possibility of an entirely abstract art was closely linked with his interest in a wide range of religious and philosophical inquiries. After abandoning the Russian folk imagery of his earlier work, he turned to the universal roots of Christian myths.
Wassily Kandinsky. Composition VII. 1913. The State Tretyakov Gallery, Moscow
For example, Kandinsky's Composition VII, considered to be the apex of his artwork before the First World War, is a combination of several themes namely Resurrection, the Judgment Day, the Flood and the Garden of Eden. Such combination is expressed as a symbiosis of pure painting.
Wassily Kandinsky. Zum Thema Jüngstes Gericht (on the Theme of the Last Judgement). 1913
Kandinsky went back to Moscow in 1914 and returned to Germany in 1920, where he taught at the Bauhaus from 1922 to the Nazi closure of the school in 1933. As a Russian in German, Kandinsky was especially targeted by the Gestapo. He decided to emigrate from an increasingly hostile Germany to France, where he was to live out the remainder of his life.
Kandinsky in front of Courbe dominante in 1936
Once in Paris, Kandinsky was inspired by the surrealist movement which galvanised Kandinsky to employ dramatic, rich colours. He had almost entirely eliminated references to objects and the outside world, and succeeded in creating a universally understood mode of expression that does not require recognition of objects by the audience.
Wassily Kandinsky (1866-1944). Le Rond Rouge. 1939
Wassily Kandinsky's paintings from Sotheby's Impressionist & Modern Art Evening Sale
Wassily Kandinsky (1866-1944). Rapallo: Grauer Tag (Rapallo: Grey Day)
Lot no.: 9
Painted in: 1905
Size: 24 x 32.7 cm
Gabriele Münter, Murnau (acquired from the artist)
Fritz & Peter Nathan, Zurich
The Lefevre Gallery, London (acquired in 1963)
Sale: Christie's, New York, May 18, 1983, lot 334
Acquired at the above sale
Estimate: US$400,000-600,000
Wassily Kandinsky (1866-1944). Treppe Zum Schloss (Steps to the Castle)
Lot no.: 18
Size: 44.9 x 33 cm
Moderne Galerie Thannhauser, Munich
Herwarth Walden (Galerie Der Sturm), Berlin
(possibly) Private Collection, The Netherlands (acquired circa 1912)
Paul F. Sanders, Amsterdam (acquired circa 1930)
Thence by descent
Estimate: US$3,000,000-5,000,000
Wassily Kandinsky (1866-1944). Improvisation Auf Mahagoni (Improvisation on Mahogany)
Size: 63.5 x 100.2 cm
Nina Kandinsky, Paris (until at least 1963)
Galerie Beyeler, Basel
Acquired from the above on June 15, 1972
Estimate: US$15,000,000-20,000,000
Wassily Kandinsky (1866-1944). Zum Thema Jüngstes Gericht (on the Theme of the Last Judgement)
Gabriele Münter und Johannes Eichner-Stiftung, Munich (acquired by 1961)
Leonard Hutton Galleries, New York (acquired by 1967)
Robert Schwarz, Jr., New Jersey
The Norton Simon Foundation, Los Angeles
Leonard Hutton Galleries, New York
Acquired from the above on March 5, 1979
Wassily Kandinsky (1866-1944). Le Rond Rouge
Galerie René Drouin, Paris (acquired by 1946)
Sidney Janis Gallery, New York
Galerie Maeght, Paris
Gustav Zumsteg, Zurich (acquired by 1946, probably from the above, and sold: Christie's, London, April 6, 1976, lot E)
Davlyn Gallery, New York (acquired by 1982)
Acquired in 1996
Auction summary:
Auction house: Sotheby's New York
Sale: Impressionist & Modern Art Evening Sale
Sale date: 12 November 2018|7pm


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Q: pathForResource returns null I'm trying to load some .applescript files in my project.
Copied them into the "Supporting Files" directory like this:

and tried to access them:
NSBundle *bundle = [NSBundle mainBundle];
NSLog(@"Resource path for test.applescript: %@", [bundle pathForResource:@"test" ofType:@"applescript"]);

pathForResource always returns null.
Both files are correctly imported in xcode. The target membership is my app.
Solutions from similar questions didn't really help
What am i doing wrong?

A: For all those who are still getting a nil path and the file is added in "Copy Bundle Resources" just remove the file from Copy Bundle Resources and than add again.

A: In the Xcode target "Build Phases" add the file under "Copy Bundle Resources"".

A: Great response from Zaph above, but I noticed when I was doing it there's quicker way, at least in Xcode 6.1.
if you single click the file (eg. test.applescript) and have the right menu of Xcode open, you'll see a section called "Target Membership". Make sure that the right target (as in the one you're using the script with) is selected and it'll do the same job as adding the file under "Copy Bundle Resources"
Also, not entirely relevant but in case you're loading from several different places, or you are inheriting this class. You shouldn't really use
[NSBundle mainBundle];
instead use
[NSBundle bundleForClass:[self class]];

That means you don't have to worry about where you are on the method call it'll take the resource from the appropriate items associated with the target you're running. Great for making libraries and reusable calls ;)

A: Does your image assume that that file in some folder?
Try pathForResource:ofType:inDirectory: method in this case:
NSLog(@"Resource path for test.applescript: %@", [bundle pathForResource:@"test" ofType:@"applescript" inDirectory:@"folder/Supporting Files");

A: In addition to what Zaph said, be sure that you are not running in 'Release' mode.
There was a time where I forgot to change that setting back, and the symbols were stripped, thus making NSBundle incapable of resolving the path.

A: Just in case you have this issue on the app start, note that [bundle pathForResource] will not work earlier than in the applicationDidFinishLaunching.
Update: Also, make sure you are running it from the main thread.

redpajama_set_name: RedPajamaStackExchange


Dean Kahney with bucket list red – his first on fly!
Unless you live under a rock in a dark corner of the planet, you are keenly aware how fanatical Texans are about football. The summer months are looked upon with great enthusiasm as thousands of football players from high school to pro begin their preparations for the fall campaign by first trying to beat the Texas heat. The football term two-a-days refers to the practice of working out twice a day, usually in the morning and again late afternoon, to escape the hottest hours of the day. Well, football players aren't the only ones trying to beat summer's high temperatures; fishermen face the same dilemma. Triple digit temps not only have an effect on fishermen but also on the fish, in some instances.
The whole key to successful summertime fishing is figuring out how to best cope with the heat and that means focusing on the best times of the day and the best tides. Anglers on my part of the upper coast who have to make the biggest adjustments in how and where they fish are those that stay in shallow water areas like the marshes around Sabine and Calcasieu.
During late-summer these shallow and often brackish marshes can have some ridiculously high water temps, which in turn can really do a number on the fish. Surface temps in the 90s will begin to make things uncomfortable, maybe even dangerous, for even the heartiest of redfish as oxygen levels decrease during the long summer days. Many times these fish will retreat to the deepest areas of the marsh in search of cooler water. Several years ago I was helping some Florida angler's pre-fish for a tournament and watched them carve out a very unlikely but successful pattern by fishing deep ditches adjacent to larger back lakes and ponds. We watched several other anglers scour the shallow water and finally give up after having little or no success while the deeper ditch pattern steadily produced quality fish. It's amazing the difference in temperature that comes from water only a couple of feet deeper than the surrounding area, especially if it has a decent tidal influence.
A godsend of sorts for shallow water fish is matted vegetation on the surface that functions as a canopy providing shade and slightly cooler water. Many of the areas I like to fish will get covered in widgeon grass, turtle grass, or even coontail, and the fish seem to gravitate to it like a magnet. Besides the immediate relief from the heat that mats offer, there is also the added bonus of bait that tends to gather there for cover. Shrimp, crabs, and various baitfish species will seek the safety and comfort of those grassy areas just like redfish, and that's a great combination for both fish and fisherman. Certain adjustments in tackle and technique will need to be made in order to properly fish these areas and it all starts with lure selection.
The Stanley Ribbit, hands down, is one of my absolute favorite ways to fish when live and floating grass becomes part of the equation. Taking a page from the freshwater playbook on fishing vegetation, the Ribbit opened up a new world for me and my clients. Fishing water that in the past was basically off-limits due to the grass nuisance enables me to fish virtually anywhere with confidence. The Ribbit is not only a versatile lure but the strikes it provokes from thick grass habitats are heart stoppers! Definitely worth experimenting if you've never done it before.
Now the shallow water folks are not the only ones who have to adjust to the heat open water folks have to adapt as well. The fish in the open lake or bay are not generally as affected as the shallow fish but they certainly can be at times. Surface temps, high skies, bright sun and little to no wind can all be factors that stifle a bite. The most obvious factor is surface temperature and that necessitates perhaps the biggest adjustments. Tons of anglers will habitually patrol the shorelines barely a cast away from land, regardless of other factors. During certain times of the year that program pays dividends but not so likely during summer.
Another mistake I see often is boats anchored at the mouths of marsh sloughs that empty into Sabine Lake during summer, apparently oblivious to the fact that the water coming out is much hotter than the water in the lake. Most of these folks go there simply because it worked earlier in the year so it must be good all the time. Great idea in cooler months but not so much in summer.
Perhaps one of the best bets during the summer months is to burn a little gas, get off the shoreline, and go see what the open water has to offer. The telltale signs of gamefish feeding activity are slicks with skipping shrimp and greyhounding baitfish nearby. Best of all can be no crowd to dampen your enjoyment.
So we've covered how sizzling temperatures affect the fish, now it's time to consider what it does to anglers. For most of us the thought of performing physical work in summer heat is downright unappealing. The funny thing is that fishing in those same temps somehow doesn't seem so bad. Standard precautions of staying hydrated, lathering on plenty of sunscreen, and wearing appropriate clothing go without saying. Many folks also adjust their time schedule and leave the dock during evening hours to beat the heat. Fishing in the dark has its own set of rules and precautions to follow so we'll talk about that at another time. But if you do plan to navigate and fish at night be sure to file a float plan with a responsible party and make sure all your safety gear and nav lights, handheld spotlight, etc., are in good working order.
Back to our schedule change, the pre-dawn launch that allows you to grab that first hour or so before the sun starts cooking is a magical part of the morning and a favorite for many fishermen. The same can be said for the last hour of daylight until sunset. These times are tailor made for catching big fish in the summer and there are many anglers I know who try to do both in the same day. The thought of two or three fishing hours at dawn followed by two or three more at sunset is my idea of a "Texas Two-A-Day."
Recently I had the good fortune to fish with Dean Kahney and George Sutherland of the Texas Flyfishers. Following our Texas heat protocol we launched well before the sun came up and took advantage of the cooler and calmer conditions. Both of these guys are good fly fishermen and pleasant company in the boat. The main goal for the trip was to put Dean on his first-ever redfish on fly tackle. Our plan came together early as we were treated to slick-calm conditions which made spotting fish all the easier. After a few lessons on how to approach the fish, it wasn't long before Dean was able to cross catching a red on fly from his bucket list and I couldn't have been happier for him. It's always a great privilege to be part of a memorable occasion like a first- or biggest-ever and I get a big kick out of helping folks reach those milestones.
Make schedule adjustments to beat the heat and hang on–the first shot of autumn should arrive in less than two months.


DMAD's main purpose is to bridge research and education for the sustainable protection of marine ecosystem. Our organisation works towards to fill the scientific knowledge gap on marine mammals in habitats that are suffering from lack of knowledge despite the heavy human pressure. Our conservation actions are towards the active community involvement for citizenscience. The gained scientific knowledge on flagship species together with identified statues of Mediterranean ecosystem guides us for the accurate conservation and management efforts. However, we are aware that without the involvement of stakeholders and decision makers in equal importance with our scientific activities, project outcomes will be only paper based with no real life adapted regulations. Therefore the origin of our work is to line science, stakeholder, decisionmakers involvement in equal importance for an effective in field conservation implications to conserve the Mediterranean Sea on the ecosystem level.


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1Now#Or "And" the whole earth had one language and the same words. 2And as people migrated#Or "set out" from the east they found a plain in the land of Shinar and settled there. 3And they said to each other,#Literally "each to his companion" "Come, let us make bricks and burn them thoroughly."#Literally "burn to burning" And they had brick for stone and they had tar for mortar. 4And they said, "Come, let us build ourselves a city and a tower whose top reaches to the heavens. And let us make a name for ourselves, lest we be scattered over the face of the whole earth."
5Then#Or "And" Yahweh came down to see the city and the tower that humankind#Literally "sons of Adam" or "sons of humankind" was building. 6And Yahweh said, "Behold, they are one people with one language,#Literally "one people and one language to all of them" and this is only the beginning of what they will do.#Literally "and this they begin to do" So#Or "And" now nothing that they intend to do will be impossible for them. 7Come, let us go down and confuse their language there, so that they will not understand each other's language."#Literally "each the language of his companion" 8So Yahweh scattered them from there over the face of the whole earth, and they stopped building the city. 9Therefore its name was called Babel, for there Yahweh confused the language of the whole earth, and there Yahweh scattered them over the face of the whole earth.
The Descendants of Shem
10These are the generations#Or "family records" of Shem. When Shem was one hundred years old,#Literally "the son of one hundred years" he fathered Arphaxad, two years after the flood. 11And Shem lived five hundred years after he fathered Arphaxad, and he fathered other sons and daughters. 12When Arphaxad had lived thirty-five years, he fathered Shelah. 13And Arphaxad lived four hundred and three years after he fathered Shelah, and he fathered other sons and daughters. 14When Shelah had lived thirty years, he fathered Eber. 15And Shelah lived four hundred and three years after he fathered Eber, and he fathered other sons and daughters. 16When Eber had lived thirty-four years, he fathered Peleg. 17And Eber lived four hundred and thirty years after he fathered Peleg, and he fathered other sons and daughters. 18When Peleg had lived thirty years, he fathered Reu. 19And Peleg lived two hundred and nine years after he fathered Reu, and he fathered other sons and daughters. 20When Reu had lived thirty-two years, he fathered Serug. 21And Reu lived two hundred and seven years after he fathered Serug, and he fathered other sons and daughters. 22When Serug had lived thirty years, he fathered Nahor. 23And Serug lived two hundred years after he fathered Nahor, and he fathered other sons and daughters. 24When Nahor had lived twenty-nine years, he fathered Terah. 25And Nahor lived one hundred and nineteen years after he fathered Terah, and he fathered other sons and daughters. 26When Terah had lived seventy years, he fathered Abram, Nahor, and Haran.
The Descendants of Terah
27Now#Or "And" these are the generations#Or "family records" of Terah. Terah fathered Abram, Nahor, and Haran, and Haran fathered Lot. 28And Haran died in the presence of Terah his father in the land of his birth, in Ur of the Chaldeans. 29And Abram and Nahor took wives for themselves. The name of the wife of Abram was Sarai, and the name of the wife of Nahor was Milcah, the daughter of Haran, the father of Milcah and Iscah. 30And Sarai was barren; she had no child. 31And Terah took Abram his son, and Lot, the son of Haran, his grandson,#Literally "the son of his son" and Sarai his daughter-in-law, the wife of Abram his son, and went out with them from Ur of the Chaldeans to go to the land of Canaan. And they went to Haran, and they settled there. 32And the days of Terah were two hundred and five years, and Terah died in Haran.
2010 Logos Bible Software. Lexham is a registered trademark of Logos Bible Software
1And the whole earth was of one language, and of one speech. 2And it came to pass, as they journeyed from the east, that they found a plain in the land of Shinar; and they dwelt there. 3And they said one to another, Go to, let us make brick, and burn them throughly. And they had brick for stone, and slime had they for morter. 4And they said, Go to, let us build us a city and a tower, whose top may reach unto heaven; and let us make us a name, lest we be scattered abroad upon the face of the whole earth. 5And the LORD came down to see the city and the tower, which the children of men builded. 6And the LORD said, Behold, the people is one, and they have all one language; and this they begin to do: and now nothing will be restrained from them, which they have imagined to do. 7Go to, let us go down, and there confound their language, that they may not understand one another's speech. 8So the LORD scattered them abroad from thence upon the face of all the earth: and they left off to build the city. 9Therefore is the name of it called Babel; because the LORD did there confound the language of all the earth: and from thence did the LORD scatter them abroad upon the face of all the earth.
Ancestors of Abraham
10These are the generations of Shem: Shem was an hundred years old, and begat Arphaxad two years after the flood: 11and Shem lived after he begat Arphaxad five hundred years, and begat sons and daughters. 12And Arphaxad lived five and thirty years, and begat Salah: 13and Arphaxad lived after he begat Salah four hundred and three years, and begat sons and daughters. 14And Salah lived thirty years, and begat Eber: 15and Salah lived after he begat Eber four hundred and three years, and begat sons and daughters. 16And Eber lived four and thirty years, and begat Peleg: 17and Eber lived after he begat Peleg four hundred and thirty years, and begat sons and daughters. 18And Peleg lived thirty years, and begat Reu: 19and Peleg lived after he begat Reu two hundred and nine years, and begat sons and daughters. 20And Reu lived two and thirty years, and begat Serug: 21and Reu lived after he begat Serug two hundred and seven years, and begat sons and daughters. 22And Serug lived thirty years, and begat Nahor: 23and Serug lived after he begat Nahor two hundred years, and begat sons and daughters. 24And Nahor lived nine and twenty years, and begat Terah: 25and Nahor lived after he begat Terah an hundred and nineteen years, and begat sons and daughters. 26And Terah lived seventy years, and begat Abram, Nahor, and Haran.
27Now these are the generations of Terah: Terah begat Abram, Nahor, and Haran; and Haran begat Lot. 28And Haran died before his father Terah in the land of his nativity, in Ur of the Chaldees. 29And Abram and Nahor took them wives: the name of Abram's wife was Sarai; and the name of Nahor's wife, Milcah, the daughter of Haran, the father of Milcah, and the father of Iscah. 30But Sarai was barren; she had no child. 31And Terah took Abram his son, and Lot the son of Haran his son's son, and Sarai his daughter in law, his son Abram's wife; and they went forth with them from Ur of the Chaldees, to go into the land of Canaan; and they came unto Haran, and dwelt there. 32And the days of Terah were two hundred and five years: and Terah died in Haran.
Rights in the Authorized (King James) Version in the United Kingdom are vested in the Crown. Published by permission of the Crown's patentee, Cambridge University Press.


Looking for baby bottle coupons or deals? There is a very rare BOGO Nuk Bottle coupon today that you don't want to miss. These bottles are regularly around $5, so even if you pay full price you are still getting each bottle for $2.50. I found this under zip code 77477.
They are on sale this week at Target for $4.33. Use the printable coupon and you've got each bottle for $2.16!
Even if you don't have a baby, this would be perfect for a baby shower gift or to print and leave in the church nursery to help others out.


After graduating at ISIA (Higher Institute for Artistic Industries) of Faenza with a thesis about the experimental use of paraffin waxes in lighting technology, starting from 2000 he collaborated with the designers Paolo Zani, Stefano Gallizioli and Matteo Thun in their design studios based in Milan. Since 2008 he works as an independent designer. He is constantly interested in deepening the meaning of interaction between human beings and objects and the affective and emotional relationship that develops between them.
Born in London in 1994 and currently based in Paris. Graduated from Chelsea College of Arts in Fine Art after completing a year in design at Goldsmiths University. Co Founded Dellostudio, a interdisciplinary design studio. Charlotte's personal practice examines the parallels of architectural shape, objects and space through a process of photographic documentation, sculpture and digital compositions.
Designer, inventor and technician, Gerard Mari was born in Santa Fe, Argentina in 1977. In 2003 he obtained his degree in Industrial Design from the Universidad Nacional de Cordoba, Argentina. From 2005 to 2013 he worked for Artemide, being the head of the Product Design / Development Department, working with designers such as Ernesto Gismondi, Michele de Lucchi, Naoto Fukasawa, Ross Lovegrove, Karim Rashid and Issey Miyake in their projects for Artemide. In 2014 he opened his studio and he is still collaborating with companies such as Artemide, Danese Milano, Breil, Astep and Salar.
Born in Verona, Italy in 1980. Graduated in art of wood from N.Nani school of art and then in Industrial Design from Politecnico di Milano. He acquired experience from collaborations with studios of design from Milano, New York, Verona, Guangzhou and Barcelona. Multifaceted designer, he engages in diferent contexts as product design, interior design and graphic. Currently is managing from his headquarters from Barcelona the Mondo Marmo Design creative direction.


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Vulnerable populations in healthcare – Term Paper
Norman Wade
At risk groups for poor health and the vulnerable population
A group at risk for poor health differs from the vulnerable population in various ways. Vulnerable population is a subgroup of a population that has a possibility of developing health problems because of subjection to risks or has worse outcomes from health problems as compared to the rest of population (Stanhope and Lancaster, 2015). Many variables interact and form a potent combination of factors which predispose persons in this group to illness. Examples of the vulnerable population which are a concern to healthcare providers include the homeless, individuals with disabilities, pregnant teens, people who abuse addictive substances and persons with HIV as well those with sexually transmitted diseases (STDs).
The group at risk for poor health, on the other hand, has a particular risk factor or identifiable exposure that poses a danger to health. People in this group can easily develop adverse health conditions because of exposure to a risk factor. Examples of people in this group are smokers who are in danger of developing lung cancer or overweight adults who are at risk of cardiovascular disease.
Vulnerable populations in healthcare cases
Vulnerable population and group at risk are likely to face challenges and therefore lack support from family, friends or the society because they are likely to have a low education level, face discrimination, poor integration into the labor market and own few assets. Sammarco (2016) agrees that few supportive social contact places then at risk. The members of these groups each have particular challenges in advocating for themselves. Those living with HIV and pregnant teens, for instance, do not come out because they are stigmatized in the society because of their status. The elderly are facing declined health while the physically challenged cannot participate in the society because of physical and social barriers. All these factors make them unable to advocate for themselves and hence do not have access to a wide range of facilities.
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The people in these groups require support in some of the crucial areas such as income support through the expansion of pension contribution and increased social services such as basic housekeeping. They also need advocacy in better access to medical services because some may refuse recommended medical assistance, poor adherence to treatment regimens and may delay in seeking medical care. Advocating for these groups should also include the call for the provision of more healthcare providers and equipping of the existing health facilities so that they can access medical care, enhance referral tests, receive specialized care and surgery. Finally, advocating for support groups is another significant thing that these groups need.
Sammarco, A. (2016). Women's Health Issues Across the Life Cycle. Jones & Bartlett Publishers.
Stanhope, M., & Lancaster, J. (2015). Public health nursing: Population-centered health care in the community. Elsevier Health Sciences.
Related Term Papers:
Healthcare in the United States – Term Paper
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Sutusinjang (Schreibvariante: Sutu Sinjang) ist eine Ortschaft im westafrikanischen Staat Gambia.

Nach einer Berechnung für das Jahr 2013 leben dort etwa 1588 Einwohner. Das Ergebnis der letzten veröffentlichten Volkszählung von 1993 beträgt 980.

Geographie
Sutusinjang liegt in der West Coast Region, Distrikt Foni Brefet. Der Ort liegt an der South Bank Road, rund drei Kilometer westlich von Bessi und 3,6 Kilometer östlich von Bulok entfernt.

Kultur und Sehenswürdigkeiten
Bei Sutusinjang ist ein heiliger Baum als Kultstätte unter den Namen Tungo-To bekannt.

Siehe auch
 Liste der Ortschaften in Gambia

Einzelnachweise

Ort in der West Coast Region
Ort in Afrika

redpajama_set_name: RedPajamaWikipedia


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Lerchenfelder Straße
Lerchenfelder Straße, Vienna, 奥地利
© Bernd Griese / flickr
In Austria, Lerchenfelder Straße 1 - a dormitory initially built in the 1970s - is an up-market location in today's Vienna. Thanks to its slightly elevated position and the Weghuberpark in front, there is an outstanding view of the city center nearby. In two construction stages, the building is to be initially increased by three stories and subsequently renovated into a hotel. The DELTABEAM Composite Beams provided by Peikko were used for the structurally demanding construction work of the new floors, making the building's construction exceptionally light.
Deltabeams solving the structural challenge of adding an another storey
The dormitory is located in the vicinity of Vienna city center next to Weghuber Park, near Mechitaristengasse and Lerchenfelder Straße. The property is divided into two parts: an old building listed for preservation in the Mechitaristengasse and a new building constructed later. There is also an underground parking lot at the property.
The property is being expanded by 2,500 m2 by adding three floors to it. The new floors will be used as a boarding house where some 30 furnished apartments will be available for short-term rent. The dormitory will continue to operate whilst the building work is going on. Once the additional floors have been built, the property will be converted into a two or three star budget design hotel with approximately 190 rooms. The premises will also house a modern conference area and a spa. The constructor of the site, Strabag AG, is applying contemporary and modern architectural solutions in every detail of the building. Michael Schügerl, engineer and responsible construction supervisor at Strabag AG, the general constructor at the site, listed the multiple challenges of the project. Not only does the ongoing operation of the dormitory make executing the building work more complicated, but the location of the site also means overall logistics at the site must be managed in an the extremely narrow space with as little distraction as possible to the busy Lerchenfelder Straße.
There is only one unloading zone for supplies, where the head foreman Rudolf Rebensteiner must follow strict timelines and schedules. An efficient progress in the construction work can only be ensured under these conditions. It was also required to finish the glass façade by the end of June and the release the building of the scaffolding.
Slim and light construction
In the run-up to the construction work, the commissioned structural engineer, Prof. DI Christian Aste from Aste Konstruktion at Innsbruck, examined the existing building fabric and did not identify any building defects. The structural challenge of the project was, of course, not to overtax the existing foundations through the planned addition of another floor. In the light of the specific framework conditions, which severely hampered reinforcements in the foundation area, the conversion could only take place through a fundamental minimization of additional load.
Prof. DI Aste solved this challenge by adding slim composite steel construction and massive ceilings with hollow core planks to the building. Despite the massive design and attainability of the R90 quality, the largest weight saving possible could be attained through the hollow core planks. The load carrying system was planned as a composite steel construction with very high requirements. The weight advantage of this slim construction lies in contrast to the low number of bracing points available. The horizontal plate effect must be available so that the overall construction can work. Another structurally interesting detail is the form of a five meter long projection on the existing final ceiling over the fifth floor. In the final state, this will function without support as a suspended projection fastened to the steel construction via slanted supports, integrated into the walls.
Deltabeam - the composite steel beam of choise
Considering the requirements, the use of the Deltabeam composite beam from Peikko proved to be an ideal solution. The overall horizontal load carrying system with Deltabeam was calculated in the face of previous plans for creating the overall steel construction of rolled sections and submitted to the building authority. The vertical steel construction remained as a composite construction with forming tubes filled with concrete. The building authority of Vienna recognized this composite construction in R90-quality as such and the bidding could begin.
The Deltabeams were above all satisfactory in the following points: R90 fire resistance without additional fire protection, low height and weight of the ceiling construction, erection of the overall ceiling construction without temporary supports, potential for support grid creation and short assembly times for the steel or ceiling construction. In addition, the different beam spans were optimized through different sheet thicknesses, at uniform foundation engineering height. R90 Fire Resistance In low floor heights the possibility of internal fire reinforcement is certainly a great advantage of Deltabeam. Deltabeam has a patented trapezoidal cross section that bears the hollow-core planks without protection plates in case of a fire. The loss of lower flange strength caused by the fire is absorbed by internal reinforcement. The Deltabeam is therefore also considered to be R90 fire resistant without additional fire resistant coating.
Low height and low weight
When another floor is added the weight and the height of the construction must be kept in a minimum - a task that affects the construction of the ceiling. The weight of the construction has been reduced by the use of hollow-core planks in comparison to in-situ concrete ceiling, since the existing foundations could only be reinforced to a limited extent. Low heights were employed with a 16 cm hollow-core plank and a 20 cm high Deltabeam.
Erection of the ceiling construction without temporary supports
Since in this project the addition of another floor started in the sixth floor and the remaining floors were in full operation during the construction phase, there could not be any ceiling load in the existing final ceiling. Constructing by using Deltabeam can fulfil this condition. The overall construction of the ceiling including the hollow-core planks can be erected without support. When the hollow-core planks were laid the finishing could be started. The overall construction remaining was fixed simply by using bolted connections, which is usual for a Deltabeam construction.
Light but rigid frame
To achieve the rigid plate necessary, the side end beams and the central beam were formed via bolted-in connectors as a support grid in addition to the wide main beams. When filled with concrete, the support grid - including the concrete core and the hollow core planks filled with concrete - act as a stiff plate, and in this way can support the horizontal forces in the reinforcement core. The cooperative action of the cavity walls and the Deltabeam also takes place via anchors, which were set here in concrete with the grouting of the beams.
Benefits of prefabrication
When formwork costs are high, prefabrication close to 100 per cent comes with huge advantages. The walls used were of prefabricated double shell elements, so hardly any formwork preparation was necessary on-site. The necessity of quick assembly does not even need to be mentioned. Prefabrication is an advantage here and can cut down on assembly time. However, using prefabrication requires thorough planning when used for property reconstruction. In this renovation project, Deltabeams and exemplary use of prefabricated elements were a real problem solver.
Dr. Jelitzka+Partner Immobilien, Wien
STRABAG AG, Wien
Aste Weissteiner ZT, Innsbruck
建筑师:
BWM Architekten, Wien
DELTABEAM® 组合梁
BM-Online article.pdf
Wolfgang Riederer
Vertrieb & Anwendungsberatung Ost
wolfgang.riederer@peikko.com


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Q: AngularJS promises not firing when returned from a service
Possible Duplicate:
angularjs - promise never resolved in controller

I'm wrapping a slow WebSockets server in a AngularJS service, and then calling into that service from my controllers. If I chain callbacks onto callbacks onto callbacks, everything works just fine, any the UI updates asynchronously.
When I try to use $q.defer() to clean up that mess of callbacks, it seems my deferred never gets called. I'm familiar with the concepts of deferred from Python's Twisted, so I think conceptually everything should work - but it doesn't.
This is the shortest example I could come up with, the slow WebSockets server is simulated with a setTimeout function.
<!doctype html>

<html ng-app="beta">
    <head>
        <title>Beta</title>
        <script src="http://ajax.googleapis.com/ajax/libs/angularjs/1.0.4/angular.min.js"></script>
        <script>
            var beta = angular.module('beta', []);

            var BetaCtrl = function ($scope, betaServ) {
                $scope.button = function () {
                    serv_result = betaServ.slow();
                    console.log(serv_result);

                    serv_result.then(function (result) {
                        console.log('callback finished');
                    });
                }
            }

            beta.service('betaServ', function($q) {
                this.slow = function () {
                    d = $q.defer()
                    setTimeout(function () {
                        console.log('before resolve');
                        d.resolve();
                        console.log('after resolve');
                    }, 2000);
                    return d.promise;
                }
            });
        </script>
    </head>
    <body>
        <div ng-controller="BetaCtrl">
            <button ng-click="button()">Run</button>
        </div>
    </body>
</html>

The could should run as following:

*

*button click

*$scope.button() gets called; it calls the service.slow() function

*service.slow() returns a deferred

*a callback is registered on the deferred

*deferred fires, triggering the registered callback (this part never happens)

Any ideas? Thanks.

A: You need to call your callback with $apply since it's called outside of Angular. Since this is a service, you'll need to include $rootScope in your service:
beta.service('betaServ', function($q, $rootScope) {
    this.slow = function () {
        d = $q.defer()
        setTimeout(function () {
            console.log('before resolve');
            $rootScope.$apply(d.resolve);
            console.log('after resolve');
        }, 2000);
        return d.promise;
    }
});


We have recently opened a facility that costs roughly $15K to run and we are running 100% off of private donations. The ASNN is a no-suffer shelter. This means that we do not euthanize unless the animal has a debilitating disease or injury that causes their quality of life to be poor moving forward. To remain a no-suffer facility, we need to remain running off of only donations from businesses and individuals in the community.
We have a "Partners for Paws" Program that supports the animals that need a little more TLC than the average one that comes through our doors. The adoption fees pretty much covers the cost of the animal if they come through our doors healthy (vaccinations, testing and spay/neuter). However, if they need any medications, additional surgeries, treatments or special foods, we end up dipping into our Partner for Paws donations to help support these guys. It's only $25/month!
We are so incredibly grateful for your support!
Click on the 'donate' button below. You can either donate through our website or donate through a current Paypal account.


text:
Report: Washington won't hire new general manager until after NFL draft
Shalise Manza Young
Yahoo Sports 5 January 2020
Washington team owner Dan Snyder decided — or finally decided, to many of the team's fans — to fire Bruce Allen at the end of last month, ending the reign of the unpopular but all-powerful team executive.
Ron Rivera has since been hired as head coach, but Washington may wait a while to hire a general manager to put together a roster.
Following a report from NBC Sports Washington's Julie Donaldson a few days ago, ESPN's Adam Schefter reported on Sunday that Washington is planning to wait until after April's NFL draft to hire a general manager. Citing league sources, Schefter wrote that the team's "thinking is that they still have people in place for now, though anyone in the front office is in jeopardy after the draft."
That came at the end of a brief item in which Schefter said Snyder nearly hired former Houston Texans general manager Rick Smith as team president.
Smith and Snyder had several meetings in the Bahamas, discussing a vision for the franchise.
Ultimately, Snyder opted to run the team through the head coach instead of a president, which seems to indicate that Rivera will have a significant say in who is ultimately hired for the front office.
While he may not end up in Washington, it's a good sign for Smith that he's ready to return to the NFL. The 49-year-old has been out of football for over a year; his wife, Tiffany, battled breast cancer before dying last January 31 at just 49.
Washington team owner Dan Snyder will reportedly wait until after April's draft to hire a general manager. (Timothy T Ludwig/Getty Images)
Watson, Texans rally past Bills in thrilling wild-card game


We changed templates to hold most of history data for 33d, now database seems to be nearly stable at 700GB.
-> everything works fine BUT!
If we try to change the template "Template VM VMware Guest" to store items for 33d (insted of default 90d) history the change is not processed an a blank site is shown.


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When it comes to landing the job of your dreams, there's nothing more important than your resume.
Your resume is like your employment calling card. It tells potential employers who you are, what you can do, and why they should hire you. And while the content of your resume is (obviously) important, so is the way you present that content, or, in other words, your resume design.
One of the biggest factors potential employers will use to determine whether you're the right hire for the job? Your past experience. And the only way they're going to get a clear idea of that past experience and how it fits in for the role they're hiring for? Your resume.
Your resume is like a road map of your career. It shows potential employers where you started, where you ended up, and the important stops you made along the way. A great resume paints a clear picture of not only what experience you've had at past jobs, but how each position has built on the one before, in order to make you a more well-rounded and experienced candidate.
Your resume offers the chance to highlight your job experience, but there are far more reasons employers should hire you than your past job titles! Resumes also give you the opportunity to showcase any other skills or talents that make you a better team member.
Do you have expert-level knowledge of an industry-specific software? Do you participate in a public speaking group? Are you an active volunteer or mentor in your community? If so, those are all things you can and should include on your resume. Your skills and talents give potential employers a better idea of who you are, not just what job titles you may have held—and the more relevant information they have about who you are and what you can do, the more informed their decision will be on whether they want to bring you on board their team.
When an employer posts a new job, chances are, they're going to get hundreds—maybe even thousands—of resumes in response. It can be completely overwhelming for hiring managers, and inevitably, some candidates get lost in the shuffle.
That's why having a standout resume is so important. The right resume can help you break through the clutter, grab a hiring manager's attention, and differentiate yourself from other candidates. It can be exactly what you need to set yourself apart and land the interview—instead of your application getting pushed to the bottom of the pile.
Bottom line: Your resume is one of the most important parts of any job search, and if you want your resume to get you the job of your dreams, it needs to be the kind of resume that grabs people's attention, sets you apart from other candidates, and convinces potential employers that you are a candidate they can't afford to miss.
So now that you know why resumes are so important, let's talk about how to build one from the ground up. Starting with some resume writing tips.
It doesn't matter how impressive your resume is, if it doesn't tell potential employers who you are and how they can get in touch with you, it's not going to yield results. Make sure at the very top of your resume you include your name, your phone number, your address, your specialty, and your email. That way, if a potential employer likes what they see, they know how to contact you and schedule an interview.
Employers are going to want to get a sense of your educational background as well. So, if you've completed any higher level education, your resume is the place to showcase it.
Anything that goes above and beyond high school or primary school should be included on your resume. That includes junior or community college, university, graduate degrees, coding boot camps, trade schools, certificate programs, and even relevant short courses.
This is also true if what you've studied isn't 100% in line with the kinds of jobs you're applying for. So, for example, if you're applying for a marketing manager position but you also have a certificate in graphic design and completed a three-month coding boot camp? It's worth putting that educational experience on there.
Furthering your education shows that you're committed to growing as an employee and furthering your skills. It also shows that you have the follow-through to get things done—all of which are extremely attractive qualities to potential employers.
The meat of any great resume is, of course, your prior work history.
Your resume should outline all of your previous positions, including the company you worked for (and the location), the position or title you held, the dates you were employed, and your core responsibilities and achievements within each role.
This will give potential employers a clear idea of the kinds of projects you've worked on in the past, the areas where you excel, and what your next growth opportunity may be—and, most importantly, how all of that information relates to their organization and the role they're hiring for.
As mentioned earlier, your resume is also an opportunity to showcase any relevant skills or talents that may help you in the role you're applying for. But the key word in that sentence? Relevant.
Your resume isn't the place to highlight your baton twirling, juggling, or unicycle riding skills (unless you're applying to work in a circus—in which case, knock yourself out. Instead, focus on skills and talents that make you better at your job, or align you with the company you are applying for.
A photo. Adding a photo to your resume is a quick and easy way to help it stand out from the majority of resumes, which are text-based. However, this practice is typically frowned upon in more traditional, corporate environments. So it may be wise to only add a photo if you're applying for more creative positions or at more laid-back companies.
A link to your portfolio. If you're a creative and the job you're applying for is heavily reliant on your past work, you'll definitely want to include a link to your portfolio. This way, a hiring manager can get a sense of your past work and whether your style fits with what they're looking for—which is key in determining whether they want to bring you in for an interview.
Recommendations from former employers, colleagues, or clients. If you have glowing recommendations from past employers, colleagues, or clients, your resume can be a great place to showcase them. Make sure to keep them short and to the point (and don't include so many recommendations that it overshadows the other, more important parts of your resume, like job history).
References. All employers are going to ask for references, and while it's appropriate to send them separately if you have room, you can also include them on your resume.
Are you fresh out of school building your resume for the first time? Learn more about how to build your first resume from scratch (and get hired as a result!) here: Six tips for creating a college resume.
Back in the day, there wasn't a ton of variation in resume design; you typed out your contact details, education history, job experience, and relevant skills in a word processing document (or, even more old-school, on a typewriter!), printed it out, and then you were done.
But today, there are literally hundreds of different resume layouts and styles you can choose from. The key to success? Choosing the layout or style that's the right fit for you, your background, and your industry.
For example, if you're applying for a financial analyst position, you're going to want to use a more traditional resume layout. But if you're applying for an art director position, that same traditional layout is going to feel lackluster and corporate.
Traditional resume layouts are exactly what they sound like: Traditional. This resume layout focuses on simple text laid out in a way that's easy for hiring managers to skim read and process (typically using a single column or two columns side-by-side). Traditional resumes typically incorporate a traditional font (think Times New Roman or Arial), a neutral color palette, and few (if any) graphic details.
If you're applying with very traditional, corporate companies or for roles that require a certain level of seriousness (think law firms or banks), you're definitely going to want to stick to a traditional resume layout. Getting too creative with your resume design can make recruiters question your understanding of their industry—and could potentially cost you the interview.
Traditional resumes that take a more minimalist approach to design read as highly professional—and are great for getting in the door at more corporate organizations. Capture the traditional look with Canva's professional resume templates like the Gray Simple Minimalist Resume, the Blue Simple Professional Resume, or the Dark Blue Simple Line Scholarship Resume.
If you're applying for a more creative position or applying for a role within a creative company, a photo resume can be a great way to stand out and grab a recruiter's attention.
A photo resume layout includes—you guessed it—a place to include your professional photo. Typically, the photo would go in the header or in the sidebar, right above your contact information.
Photo resumes are great for grabbing hiring manager's attention. Put your photo front and center with Canva's photo resume templates like the Peach Photo Header Scholarship Resume, the Black and White Photo Theatre Resume, or the Grey Minimal Photo Acting Resume.
If you don't feel comfortable including your photo on your resume (or you don't think it would fly at the companies you're applying to), a graphic resume can have the same attention-grabbing appeal—minus the large image.
Graphic resumes rely on details like color, design, and interesting layouts to help them stand out. If you want to show potential employers that you're creative and fun, graphic resumes are a great way to communicate that message alongside other important hiring details (like your job history and education).
Resumes that feature bold colors and graphic details are a surefire way to get noticed. Embrace this bold look with Canva's creative resume templates like the Pattern Creative Resume, the Pink Pattern Creative Resume, or the Colorful Abstract Theatre Resume.
Want to know more about the different resume layouts that can help you land your dream job? Learn more here about the templates that will get you hired here: 10 Resume Templates To Help You Get Your Next Job.
What you write in your resume is (obviously) important, but so is the font you choose to write it in, and the various font sizes you choose.
When it comes to resumes, not all fonts are created equal. The font you choose for your resume will send a very specific message to your future employer, so you need to choose wisely. For example, the perfect font for a creative director resume might not necessarily be the best font choice for an accountant or an IT manager.
When it comes to font choices for your resume, there are two major categories you're going to want to consider: Serif and sans serif.
Serif fonts have a decorative line, taper, or accent on the end of their letters, which is called a serif (hence the name). Some of the more popular serif fonts include Times New Roman, Baskerville, Courier New, Georgia, and Garabond.
Serif fonts typically are viewed as more traditional and classic, so if you're applying to a more corporate role or company, serif fonts are a safe choice.
Using a serif font in your resume is a great option if you want to convey a message of professionalism and poise. Capture the look with one of Canva's corporate resume templates, like the Two Tone Blue and White Corporate Resume.
Sans serif fonts, on the other hand, don't have a serif at the end of their letters (which is why they're called "sans" serif). Instead, sans serif fonts are made of simple, clean lines that can lend a more modern, sophisticated, and edgy look—perfect for more creative position or organization.
Some of the more well-known sans serif fonts include Arial, Proxima Nova, Futura, Calibri, and Helvetica.
Using a sans serif font in your resume still comes across as professional—but has a more laid-back, creative feel. Capture the look with Canva's creative resume templates, like the Blue Marketing Corporate Resume.
Now, serif and sans serif are the major font categories you'll want to consider when choosing a font for your resume, but they're not the only font categories. Other categories (like script fonts, handwriting fonts, typewriter fonts, or graphic fonts) can, in certain situations, work well on resumes, but you need to proceed with caution.
These other font categories are decidedly less professional than serif or sans serif fonts—so, if you're going to use them, they really need to make sense for the job or organization you're applying for.
For example, if you're applying for a role at an animation production company, a graphic font with a cartoon-like feel might be appropriate to use for accent text on your resume. Or, if you're applying for a role at an organization that uses a specific script font in their branding, it could make sense to incorporate that font in your resume.
The point is, there may be occasions where using a less-professional font makes sense, but those occasions are typically few and far in between. When in doubt, stick to the classics.
Now that you know the font categories to consider—and what kind of message each sends to a potential employer—let's go over some quick tips for narrowing down the perfect font for your resume.
Think outside of the box. Now, there's nothing wrong, per se, with using Times New Roman or Arial on your resume design. It just doesn't exactly scream "original"—and, if a hiring manager notices you've gone with a tried-and-true font, it might read as lazy. If you want your resume to feel original and unique, think outside of the box and experiment with different, lesser-known fonts. Using a font for your resume that hasn't already been used 10,000 times is a surefire way to grab someone's attention and help your resume stand out.
Experiment with a few different fonts before making a decision. Once you've narrowed down your font choices and have a few you think would be a good fit, create a resume using a few different options. Then, send it to a few design-savvy friends, family members, or colleagues to get their insights on which font looks the best and sends the right message.
Incorporate more than one font into your resume design for added visual interest. Using a variety of fonts (like one font for your headers and one font for your body text) is a great way to add visual interest to your resume. Just make sure you choose fonts that complement each other and keep the total number of fonts on the resume to three or less (any more and your resume will be more visually overwhelming than visually interesting).
Incorporating more than one font into your resume design is a great way to break up text, create a sense of hierarchy, and add visual interest. Get started with one of Canva's resume templates like the Pastel Yellow and Green Interior Designer Modern Resume or the Red Circle Creative Resume.
Want to dig deeper into choosing the perfect font for your resume? Learn more about the best (and worst) resume font choices here: 20 best and worst fonts to use on your resume.
Like fonts, the color palette you choose will also send a clear message to future employers—and you want to make sure the colors you incorporate into your resume design are sending the right message.
People have extremely strong associations with and emotional reactions to color (there's even a name for it: Color psychology). And if you understand how to use color strategically, you can play off those associations and emotional reactions to get your desired result, which in this case is landing an interview with your dream company.
So, what are some of the common associations people have with color?
Let's say you're applying for a position at a financial services firm. You want to come across as trustworthy, reliable, and intelligent. According to color psychology, blue is a great color choice for your resume. Or maybe you're applying for a marketing management company at an outdoor sports company. Color psychology tells us that green (which people tend to associate with nature and the outdoors) would be an obvious go-to.
The point is, you want to build your color palette based on the colors that make the most sense for the position and organization you're applying for (so if you're applying for a management position at a bank, neon pink and orange probably aren't going to be your best bet).
In addition to choosing the right colors for your resume color palette, you should also think about how you're going to use those colors, and in particular, how you can use color to bring attention to key elements of your resume design. For example, you can build a neutral color palette and then use a bold accent color to build hierarchy and bring attention to key details (like former job titles or employers). Or, you can use a dark background and white text to make your experience pop (and to help your resume stand out in a pile of neutral resumes).
Want to learn more about how to use color strategically in resume design? Then check out this article: Emphasize career highlights on your resume by using color strategically.
There's no one-size-fits-all approach to choosing a color palette; the best colors for your resume are going to depend on who you are, what you do, and what job and company you're applying for. Luckily, Canva has resume templates that cover the full range of the color spectrum, from bright and colorful (like the Blue Brush Strokes Minimalist Designer Creative Resume or the Colorful Abstract Creative Resume) to muted and neutral (like the Large Blue Heading Designer Creative Resume or the Pastel Yellow Interior Designer Modern Resume).
As we mentioned earlier, when you apply for a job, chances are you're going to be going against hundreds, maybe even thousands, of other applicants. So if you want to snag the interview, you need your resume to stand out.
What are some ways to help your resume break through the clutter, grab the hiring manager's attention, and land you an interview? Read on for more tips below.
Going bold with your resume design—whether that's using a bold color palette, a daring font combination, or unexpected graphic details—is a surefire way to get you noticed. Just make sure that if you go bold, you do it well. It doesn't matter what you incorporate (like loud colors or bold fonts) into your resume, if it's poorly designed, you're going to stand out for all the wrong reasons.
Want to learn more about how to go bold with your resume design, and how to do it well? Then check out this article: Make a first impression on hirers with a bold and original resume.
A bold resume is impossible to miss, which can make it more likely get noticed. Capture the bold look with a resume template from Canva, like the Colorful Abstract Creative Resume or the Modern Floral Feminine Creative Resume.
Depending on what kind of role you're applying for, your resume isn't just an opportunity to tell potential employers what you can do, it's an opportunity to show them.
Are you applying for a position as an illustrator? Draw a few custom illustrations to include in the border of your resume design. Trying to get your foot in the door as a graphic designer with a large branding agency? When listing past clients, make sure to include your logo designs so the hiring manager can get a sneak peek of your work. Are you trying to break into the copywriting world? Then look at your resume as a sales ad, and the product you're selling is you.
The point is, a resume can be more than just a summary of your education, skills, and experience—it can be an opportunity to actually show off that education, skills, and experience to potential employers.
This tip won't work for every type of resume, but if you want to go above and beyond—and pretty much guarantee you'll make an impression—you could design an interactive resume experience.
Think of the digital or paper resume you send to a potential employer as the first step in a larger experience. Maybe you include a link or a QR code that leads to a video introduction of yourself, your work, and why you should be hired for the job.
Maybe your resume instructs the hiring manager to download an app that you designed from scratch that showcases your coding skills. Maybe your resume has a unique portfolio link that takes hiring managers to a curated portfolio of samples of your past work with details on how each sample is relevant to the job you're applying for.
Now, this obviously takes a lot more work than a standard resume, but if you're applying to an innovative, forward-thinking company (for example, a hot startup in the tech sector), the creative format and extra effort can really help set you apart from other candidates.
Why it works: This resume uses an infographic style to tell the candidate's employment history. The title's clever play on words ("Wearer of Many Hats") combined with a hat graphic for each milestone of the candidate's career makes for an unforgettable resume that's not only well designed but is sure to grab any hiring manager's attention.
This resume tells a story and yours can too. Tell your unique story to potential employers with Canva's infographic resume templates, like the Pink Violet Boxes Infographic Resume.
Why it works: When it comes to resume design, sometimes simple is best. This resume sticks to a black and white color palette, neat columns, and traditional font choices make for a professional, clean resume that's universally appealing across industries. The photo in the upper left corner of the header adds enough visual interest to keep the rest of the design from feeling too simple.
Want to capture the simple, clean look of this resume design? Recreate the simple feel of this resume with one of Canva's resume templates, like the Blue Simple Academic Resume.
Why it works: This graphic design resume is a perfect showcase of the designer's skills. From the clean layout, the custom illustration, the pops of color, and the use of text hierarchy, this resume says "when it comes to design, I know what I'm doing"—which is exactly what every designer's resume needs to say if they want to land an interview.
A well-designed resume will get you in the door—but you don't have to be a designer to get one. Use one of Canva's templates, like the Colorful Vector Graphic Designer Infographic Resume, to get the look of a designer resume—no design know-how necessary.
Why it works: This resume design is exceedingly simple—except for the bold pops of orange. These pops of color jazz up the otherwise simple design, call attention to key elements of the resume (like titles and job history) and ensure that this design won't get lost in a pile of neutral resumes.
Sometimes, a pop of color is all you need to elevate a simple resume design to something special. Get the look with Canva's colorful resume templates, like the Yellow Orange Chevron Colorful Resume.
Why it works: There's a lot going on in this resume design (colors and graphics and text hierarchy, oh my!). But because the designer made sure to create a sense of balance between all the different elements, no one feels overpowering—so the end result is a resume that's visually interesting, not visually overwhelming.
If you're going to incorporate multiple elements into your resume design, you need to make sure no element overpowers the other and that the design doesn't feel crowded. Keep things balanced and uncluttered with one of Canva's resume templates, like the Black and Pastel Modern Creative Resume.
A well-designed, impactful resume will help you get your foot in the door, score an interview, and (hopefully!) land your dream job. And now that you know exactly how to build your resume, all that's left to do is get out there, get designing, and start lining up those interviews!