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BBG Creative Director Jason Schwartz and Cards Against Humanity Design Lead Amy Nicole Schwartz to Lecture at Cranbrook Academy of Art in November
BBG Creative Director Jason Schwartz and Cards Against Humanity Design Director Amy Nicole Schwartz (Collectively The Dracula Family) Part of 2016 Lecture Series at Cranbrook Academy of Art in November.
The Dracula Family will be presenting at request of Cranbrook 2-D Designer in Residence, Elliott Earls.
Meet with 2D, talk about professional practices 10 am – 12 pm
Studio Visits 1 pm – 5 pm
Group Dinner
Studio Visits 10:30 am – 12 pm
Lecture 2-3:30
Full Lecture – 2-D, 3-D, Architecture, Painting, Metals, Ceramics, Fibers, Sculpture, Photography & Print Media (deSalle Auditorium)
Unstructured 2D Studio Review – 3:30- end of day
http://cranbrookart.edu/lecture-series/
About The Dracula Family
Jason Schwartz is an enabler with a passion for crafting engaging experiences that intersect human interaction with technology. Over the past 15 years, Jason has worked for start-ups agencies & INC500s as Interactive Designer, Strategist, Advisor, Director of Marketing, Investor and Creative Director.
In 2007, Jason founded the Chicago-based design, strategy and technology house Bright Bright Great where he currently acts as Creative Director. Jason is also the acting Creative Director at Avondale Type Co. , TSH & Mlmtr, all of which he founded.
Amy Nicole Schwartz
Amy Schwartz is a designer specializing in branding, digital experiences, and games. She is currently the Design Director at Cards Against Humanity and Blackbox.
Amy was the winner of Command X at the 2015 AIGA National Design Conference; other recognition includes the 2016 Emerging Designer Award by AIGA Chicago, 2016 Finalist for Young Designer of the Year by the Net Awards, and the recipient of the AIGA What's Next Grant in 2014.
Amy founded Liminal Space in 2015, a design initiative that promotes experimentation, community, and dialogue within Chicago's thriving design, art, and technology scenes. Amy holds an MFA from the Cranbrook Academy of Art and a BA from DePaul University.
AIGA, AIGA Chicago, Amy Nicole Schwartz, behind the scenes, Cranbrook Academy of Art, DePaul University, Jason Schwartz, lecture, Liminal Space, Mlmtr, The Secret Handshake
Bright Bright Great Creative Director Jason Schwartz to Keynote AIGA Cleveland 32nd Annual Conference
Come join the conversation between design professionals and students at our 32nd Annual Conference.
Students, bring your best work and show us what you can do! Network and grow through valuable advice and constructive feedback from industry professionals. Take part in breakout sessions designed to advance your knowledge as you launch into internships and careers. Students of all levels will find something valuable at this event. Register today to add your voice to the dialogue!
Who & What:
All professionals and students are welcome to join us for the Keynote address with Jason Schwartz of Bright Bright Great. Jason crafts engaging experiences intersecting human interaction with technology.
In 2007, Jason founded the Chicago-based brand and strategy agency Bright Bright Great, where he currently acts as Creative Director. Since, Jason has added Avondale Type Co. and Mlmtr to his roster of active brands, acting as Founder/CD.
For over 10 years, Jason has been speaking with young designers, educating to help bridge the gap from education to professional life. In 2014 & 2015 he threw 3 TSH conferences for young designers in San Francisco, Chicago and New York City.
Cleveland State University Wolstein Center
2000 Prospect Ave East,
Early-bird registration ends on April 4, 2016.
Additional information & Tickets
BBG, behind the scenes, Bright Bright Great, design, design events, designers, Jason Schwartz, The Secret Handshake
Creative Couples That Get Shit Done: Jason Schwartz & Amy Nicole Schwartz
Love in Work? It's Possible.
BY LAUREN FESTA (Originally posted on ADC Global's site. Read the full article on ADC Globals site here.)
They say don't mix business with pleasure, but for these creative couples, that's just the perfect working formula between themselves and their clients in producing some of the best work in the industry today.
For this series, we're speaking to creative couples at the top of their game, running small design studios near and far, who prove that there really is such thing as a better half. As for 'who', well, that depends on what day of the week it is.
Romance strikes the heart when you least expect it. This is true of Jason Schwartz and Amy Nicole Schwartz whose initial meeting at INsight in Indiana was nothing more than a mutual exchange of coolness. Three years later and they are INto each other, facilitated in part by social media ties and good old fashioned curiosity.
"I would ask Jason questions like, 'should I take this unpaid internship?'" says Amy, who is eleven years Jason's junior (just like Jay Z and Beyoncé). This couple has found a way to collaborate and work together outside of the traditional 9-5.
Names: Jason & Amy Nicole Schwartz
Ages: 36 & 25
Company: Bright Bright Great, Cards Against Humanity, Avondale Type Co. Jason Schwartz also heads up TSH with Laura Helen Winn)
Working Titles: Creative Director & Creative Director
ADC: Everyone here is refreshingly breaking the cardinal rule: Don't date in the workplace. Do you think it's time we changed this traditional sensibility?
Jason: Depends. People who bring work stress home shouldn't work together. It just turns into a vicious cycle of complaining about clients. People who can leave work and work-related stress at work are fine to work together. Amy and I actually both tend to have very fluid work/life balances where a lot of cool things we do bleed into nights and weekends. We are always on the lookout for creative inspiration and we both are deep in the horror, comic and gaming worlds.
Amy: I've worked at agencies full of creative couples and I think it's fantastic when two people share the same passion and can share that intensity with one another. It's nice to have a partner who understands why you're cancelling plans to work late, or why you enjoyed the title sequence more than the film, or why purchasing dope looking comic books from the 1980s should be a business expense.
ADC: Sometimes you end up liking the people you work with and I think that's okay.
J: We liked each other from outside of work. Now it's nice to like someone you work with. As long as you make each other better, why not.
I could write a pretty long list of design power couples I admire. I think their work and their love lives are probably better off.
ADC: Did you think this would work from the get go? Any doubts?
J: Amy and I are insanely alike. It's rare that we have non-aligning opinions, so it's really easy to get along.
A: I knew that we would work– both in a romantic and professional sense– from the beginning. I am very much a Type A, get shit done, lead the team person, and it's so refreshing to have a partner who is exactly the same way. It's nice to not have to be the person doing everything. We split things up evenly in everything we do. It also doesn't hurt that Jason has impeccable taste and enjoys the same brand of humor.
ADC: Has a client ever been skeptical to approach or have you ever been turned down work given the work dynamic? Some people feel like work may not get done, or there are too many emotions involved.
J: People who we want to work with should look at our existing work and know that work gets done. We make each other better. People should pay extra for that. Fun fact: At BBG, our development team is also led by a husband and wife. If you can find one of them on Slack, the other is usually close.
A: That's never happened, and I don't think we would want to work with people who think that would be an issue. Anyone who thinks emotions would keep us from doing work clearly doesn't know us. The most emotional this relationship has been was when Jason brought home 3 boxes of Count Chocula for me last week and I was overwhelmed with happiness. He knows that spooky junk food is the way to my heart, and also knows how to get things done.
ADC: How do your employees feel about the fact that their bosses are together?
J: They totally don't care. We don't bring anything weird into the office.
A: They don't care.
ADC: Is this one of those things that "isn't for everyone"?
J: I have done this in the past (and with that particular person), it totally didn't work. We were two people who could not work and play together. We brought all of the stress home and it was just a compounding snowball of madness.
A: I think it depends on the people, their preferences, and their communication abilities. It takes a lot of confidence to voice your opinion to someone you respect who has more experience than you, and it takes a lot of respect to hear a person's side of view when you disagree. You have to be open with each other and remember that your critiques and suggestions in the workplace are not correlated to that person's feelings on the relationship.
ADC: Have you ever had a moment where you guys were like "that's it, I quit!"
I don't quit things.
A: We were playing a zombie survival horror video game recently, and I quit because it was too creepy. That's the last time I quit something we worked on together.
ADC: What are some of the main differences between working in this dynamic versus working in a larger agency setting with different people?
J: I don't think it's husband/wife as much as I personally like working in small teams. I don't ever plan to work in a large agency ever again. I like the hunger of small teams. No fat.
A: Jason is my go-to person for everything. It's amazing to have a person you can rely on when you need advice on how to handle a client, need feedback on a project, want to celebrate even a mundane personal victory, and set big life goals with. That really amplifies the level of trust and compassion in a relationship.
ADC: How does it help each of you personally, to be able to work with someone you also cook with and do laundry with?
J: We actually don't do laundry together. I'm too OCD to let anyone else touch my clothes. Also I don't cook.
A: I am too afraid to touch Jason's clothes! He says he doesn't cook, but that's only because unlike myself, food is not his prime motivator. In the kitchen, I'm the head chef and he does the prep work. Like all tasks, we divide and conquer.
ADC: Are you guys like a soundboard for each other?
J: We have a slight age gap, so there's a few things going on. We aren't at the exact same spots in our career. I've been doing this for 16 years, so I feel like I've seen everything and don't get surprised as much. I am definitely able to help with process and business stuff. I think we both run a lot of ideas off each other as a sounding board for each other. We make each other better, which is independent of skill and can be used in all facets of our lives together.
A: Jason is definitely a mentor for me, especially in my new role at CAH. We both have a lot to offer each other in terms of advice and support, with Jason's years of experience and my range of experiences. Not a day goes by that we don't help each other out with something we're working on, big or small.
ADC: Any tips, tricks or advice?
J: Set up an Apple family account. We get each other's app downloads. 😉
A: Always be honest. Always be kind. Always work towards the same goal.
ADC: Do you generally work together as a team or as individuals and have check-ins?
J: Most of the things I do, I do in teams. I feel like creative in general is typically worse solo. I like people to bounce ideas off of. I also like people to tell me I'm doing something wrong. My goal is to always surround myself with people who I think can add to the bigger picture.
ADC: How do you balance the work/life thing? Do couples have a rule that when you aren't at work you aren't talking about work or does it blur into personal hours?
I wrap all work at work. I don't bring anything home. My New Year's Resolution 2013 was to take work email off my phone, which was one of the best things I've ever done. It let's me breathe.
A: If we're ever talking about work in personal hours, it's usually a short conversation about what things happened today. After a quick recap, it's back to personal.
ADC: Do you give yourselves or each other days off?
J: I don't take any work days off. If it's not a holiday, or a weekend, I work. 2015 was actually the first year in about a decade I took a sick day. Even during that day, I still pulled a mostly full-day and got all of my inboxes to 0.
A: I only like taking days off for things that are still related to work, like conferences, and even then, I find odd moments to work.
ADC: Do you guys see eye to eye on most things?
J: Yes. We are building a house together that we are designing ourselves. If we didn't, we probably would've killed each other by now.
A: For sure. Sometimes we disagree on some taste level things, but that's because I tend to love "ugly" and odd design. I have that Cranbrook sensibility, whereas Jason is more Bauhaus.
ADC: Do you have more freedom?
J: Because I run 3 active businesses, I have less freedom. I feel guilty taking vacation. I need to be better about this. New Year's Resolution 2016?
A: I feel like I have more freedom than most. Yes, I am often working– but I am working for my vision, or the vision of a small team. I'm not a cog in a bigger agency machine, a nameless face behind a campaign for a major company. I am connected to the work, and I am pushing my team's ideas forward. I wouldn't give up this level of creative freedom for anything. No salary or benefits could give you the feeling of owning your craft, and owning your time.
ADC: It seems like the work came first and then the relationship. Does work still come first or are there more important things?
Family first. In the end, you only have family and friends. No one will care about your website, or Dribbble shots. Love and life are the only things that are important.
A: Life is first. Work is just a vehicle to do the things we enjoy, like creating things and spending time together. It's important to remember that we can spend time together without working, too.
ADC: What is one thing you wish people would understand about working as a creative couple?
J: Think of all the carpooling!
A: I recently heard Michael Beirut speak about his time working with Massimo and Leila Vignelli, and he was explicit in pointing out that Leila's contributions kept the studio running. Massimo referred to himself as the engine and Leila as the brakes; while that sounds like Massimo was more crucial to the dynamic, it's important to remember that you don't die because your car won't start– you die when the brakes fail. Creative couples work in different ways and distribute tasks differently. Whether you're the brakes, the engine, or both, each person's contributions are crucial, despite how unglamorous they might be.
ADC: Please fill in the blanks: I ______ working with my significant other because____.
J: Please fill in the blanks: I ALF working with my significant other because waffles.
A: Please fill in the blanks: I will never stop working with my significant other because we see the opportunities in everything.
Amy Nicole Schwartz, BBG, behind the scenes, Bright Bright Great, Chicago, Jason Schwartz, press, The Secret Handshake
Where Has TSH Gone?
Why did I land on Bright Bright Great's website?
TSH is going on a small hiatus as we rebrand, retool, and restrategize for 2016.
The first leg of our journey has been amazing with 30+ total events and 3 major conferences in San Francisco, Chicago and New York City and sharing countless pieces of valuable advice, anecdotes and interviews.
We've met amazing people, and have been inspireed by everyone who has shared the journey so far speakers, attendees and volunteers. We will be back in a few months with a new name, new site and even more helpful tools and events planned for 2016 and beyond.
"This is a dream that I've had since lunch. I can NOT give it up."
Michael Scott, Re: Creation of Michael Scott Paper Company, The Office
Thanks again and we'll see you in 2016!
Jason Schwartz & Laura Helen Winn
@jaycrimes & @laurahelenwinn
The Secret Handshake
The Secret Handshake 2015 Recap
The Secret Handshake recently wrapped up their 2015 conference at the Art Directors Club in Manhattan, New York and Bright Bright Great was there to help.
The Secret Handshake is an online advice tool for students and young designers who are looking for no-nonsense advice from creative professionals.
At the Art Directors Club we got to meet most, if not all, of the 200 attendees, the amazing volunteers who helped the event run smoothly and each of the inspiring speakers.
We had a great time and we want to thank The Secret Handshake team for another great event and everyone we talked to for making our trip to New York so fun!
Alyxa Lease, Amy Woodside, Aran Rhee, BBG, behind the scenes, Bright Bright Great, Chicago design events, design, designers, Ja Tecson, Jason Schwartz, Jen Hansen, Jen Mussari, Kayla Kern, Lisa Smith, New York City, NYC, NYC design events, Ping Zhu, Rafael Mojica, Shawna X, Simone Noronha, Sophia Chang, The Art Directors Club, The Secret Handshake
Bright Bright Great Joins The Secret Handshake in NYC
The BBG team recently went to New York City to help to run The Secret Handshake conference at the Art Directors Club in Manhattan.
It always recharges our batteries to help with these events and to get a little inspiration from the speakers, young professionals and students we meet.
We had a great time meeting the 200 different attendees, some of whom came from as far away as Pakistan, and hearing each of the speakers' perspectives on their work and experience.
A special thanks to Sharlene King (Senior Designer, Morningstar) who MC'd the event and to each and every one of the speakers who contributed to an amazing experience:
Ping Zhu (Illustrator)
Shawna X (Designer & Illustrator)
Sophia Chang (Designer)
Simone Noronha (Designer, Google Creative Lab)
Amy Woodside (Founder, OKReal)
Rafael Mojica (Director of UX & Product, Transfix)
Jen Mussari (Illustrator & Designer, Ghostly Ferns)
Lisa Smith (Head of Design, Wolff Olins)
Kayla Kern (Illustrator & Designer)
Ja Tecson (Photographer)
Alyxa Lease (Recruiter, Foursquare)
Aran Rhee (Product Designer, Salesforce)
ADC Global, Art Directors Club, BBG, Bright Bright Great, design events, designers, Jason Schwartz, Jen Hansen, New York City, NYC, NYC design events, The Secret Handshake
BBG Prepares for The Secret Handshake Conference in NYC
The Secret Handshake conference makes its way to Art Directors Club in Manhattan, NY next week (Oct 2 & 3) and the team here at BBG is anxiously awaiting our trip out to the East Coast to once again meet with talented industry professionals and aspiring designers from all over the country.
Tickets are still available for professionals and students and includes a free three month premium membership on Skillshare among a ton of other perks.
The Secret Handshake has previously put on hugely successful conferences in San Francisco at Adobe and in Chicago at Morningstar and we know this year's event in New York will be no different. The stellar line up of speakers includes designers, illustrators, animators, entrepreneurs, and HR professionals:
Sharlene King (Senior Designer, Morningstar)
Laura Helen Winn (Designer)
Jason Schwartz (Creative Director, Bright Bright Great)
BBG is incredibly proud to be involved with such a valuable event for young and aspiring professionals across the creative community. We can't wait to see those of you who are attending in New York and share insight, inspiration, and ideas.
ADC Global, Art Directors Club, BBG, Bright Bright Great, design events, designers, Jason Schwartz, New York City, NYC, NYC design events, The Secret Handshake
Event Alert: Jason Schwartz Speaking At Designation in Chicago, Jan 20 2015
Event Alert:
Designation Labs
1440 N. Dayton #203, Chicago, IL
Tickets are FREE and the event is open to the public.
Have any questions. Tweet them at Jason.
BBG, behind the scenes, Bright Bright Great, Chicago design events, design, Jason Schwartz, The Secret Handshake
WE DID IT! BRIGHT BRIGHT GREAT PICKS UP 2 COMMUNICATOR AWARDS (AWARD OF EXCELLENCE)
Bright Bright Great picked up 2 2014 Communicator Awards "Awards of Excellence" IE Gold one for Best Viral Video – Cards Against Humanity A Lump of Coal and one for Interactive Visual Appeal for The Secret Handshake.
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Interview – BBG Creative Director Jason Schwartz and Smart Design's Laura Helen Winn talk Hike with Design Feast
In advance of April's Hike Design Conference in San Francisco (and October's installment in Chicago), BBG's own Creative Director Jason Schwartz and Smart Design's Laura Helen Winn sat down with the folks at Design Feast to talk about how the conference got started, design, and more.
On being a designer and event maker
How did you arrive at the idea of making the conference Hike?
[Laura]
I arrived at the idea because I started doing small creativity events under Form and Future at Makeshift Society. The events took Form and Future's designer interviews offline and in front of a real audience, and covered topics from chocolate-making to a panel of small business owners. It was a lot of fun. After a few months, my boyfriend asked me when I was going to put on the Form and Future conference. I laughed it off because it seemed too big of a project to do on my own. But when I met Jason through a mutual friend, I still had the conference notion in the back of my mind.
The first time we Skyped, I was asking Jason for advice about keeping my side project going. I had this half-baked idea to turn it into a magazine that I talked through with Jason. Even while I was talking about it, I knew it didn't have legs. He told me to be focused and have a plan, but more importantly, to dream about making something bigger than I could even imagine. I remembered the conference idea, and my gut told me, "this is it." So I Skyped with Jason for a second time and pitched him the idea of co-founding a brand new conference stemming from The Secret Handshake plus Form and Future. Even though I'm in San Francisco and he's in Chicago, Jason was crazy enough to say yes!
[Jason]
Laura and I had connected through a mutual friend in Chicago and once we started talking, it was natural that The Secret Handshake would want to collaborate simply based on our missions. Since we are located in two far apart cities, naturally we wanted to make this as hard as possible and throw a conference in two cities in one year.
What were essential activities/steps you took to start and establish this event? And why were these activities/steps important?
Like I said before, hosting events at Makeshift turned out to be a lot of fun for me. I really got into designing the experience, from the snacks to the ambiance to making everyone feel really comfortable, both the speakers and the audience. It felt like, 'hey, I can really do this.' Beyond that, the mission of Form and Future is the real important factor. I'm a new designer who can attribute my career to some talent, luck, and a lot of guidance from various mentors. That's important because not every new designer has mentors, and it can be difficult to find satisfying work without people helping you develop your own point of view along the way.
The second Jason and I started working on Hike, I knew we were a good fit as creative partners. My weakness has been trying to handle side projects all on my own. The first thing he said was, "We need a board, we need volunteers, we're going to need a lot of help." It made me nervous to be honest, but I took a deep breath and said OK.
Laura and I talked for a few months before opening up the conversation to peers and getting people involved. Because we opted for a two-city conference, we pretty much needed to create an established pocket of volunteers in both cities.
There is a welcoming pattern of individuals making gatherings, such as Tina Roth Eisenberg who invented CreativeMornings; Rusty Meadows started Nearly Impossible that made its debut last November; Emily Ruth Cohen and Sheri Koetting made Evolve to debut during Spring 2014. Why do you think this is?
I think it's because sharing knowledge is inherent in the design practice. In order to become a designer, you have to learn about the designers who came before you and the designers who came before them. The thing I miss the most about art school is the class discussions we had about a reading or an artist's body of work. Hearing people with conflicting opinions share their point of view and occasionally reach an understanding of each other is real magic. I guess I just want to keep that dialogue and magic going as I pursue my career.
This falls into whatever the category the "gathering" falls under, i.e. inspiration, education, networking.
In the education space, schools are having a hard time keeping up with the pace of our skills, and students are graduating with tons of unanswered questions and needed skills. Think about how fast our industry changes versus others. Six years ago, the iPhone didn't exist. Four years ago, tablets really didn't exist and weren't widespread. In the past two years, responsive experiences started to become widespread, and Apple made the first play for "retina" internet.
Schools can't keep up with things changing yearly. By the time Seniors have gone through four years of classes, they may have missed huge changes to how we work that happened within the previous twelve months, because they already took that class three years ago.
It's tough.
The real reason behind the scenes for all gatherings is really networking, even for education. People come to learn, but also it's about getting thirty seconds of FaceTime with people from across the country you're excited to shake hands with.
Were there principles and practices from your work as designers that translated well toward designing a conference? If so, what were some of those?
Communication is key. Surround yourself with people who are smart, motivated, talented, and fun to work with. In my experience, the best design projects are those where people with differing opinions and specialties create something new together. In planning our own conference, we essentially have the opportunity to create our ideal project. Jason and I are also well aware of the challenges that come with design projects. I think knowing to expect common challenges, like miscommunication and people getting spread too thin, has helped us be prepared for the process of getting a bunch of people together to throw a conference in two cities in one year.
OCD (Obsessive Compulsive Disorder). Lots of OCD.
The first volunteer meeting at Smart Design in San Francisco
Compared to other events related to design disciplines, what makes your conference different?
What makes Hike different is that it's a conference specifically for new designers. Organizations like AIGA do a great job of fostering the student design community and posting job boards, but there's no Brooklyn Beta for design students. There's no Build for design students. We want to make something really special that tailors to a very specific audience at a crucial point in their lives. Hike is about more than getting a job. It's about finding your own voice, and taking action in order to build the life you want to live.
One of the main issues I'm having with a good amount of conferences I attend is that presenters are showing a glorified version of their portfolio. I can see why that is inspirational, but I'm at a point where I'd just look at someone's website and understand the who, what, when, where, why and how.
I want Hike to be fully functional. I want speakers to focus specifically on what it takes to create and develop personal brand, which extends into job hunting, résumés, portfolios and following a path that is right for you. This is the difference between benchmarking, "I like that designer's work," and, "Whoa, I never thought that was how an application process worked behind the scenes."
I really want to lift the curtain for a peek into the other side.
How do you find, select, and invite your speakers?
We brought Jennifer Maples on board for San Francisco content, and Kelly Knaga for Chicago content. These ladies are absolutely rocking it on finding speakers and planning the schedule far beyond what Jason and I could accomplish. Early in the project, Jason and I invited all of our volunteers to make a list of dream speakers. Most of our speakers have been invited by recommendations from people we know. There's a level of trust that's really important when inviting people to speak, whether or not they have a good reputation as being reliable and relevant. Jennifer and Kelly have done an amazing job at designing a speaker list that's well-rounded, useful, and true to Hike's mission.
Our whole team wanted to find speakers that had substance to their presentations beyond just showing work. Each speaker will be going deeper into how they vetted the process, what they've learned, processes their companies use and how they look for people currently.
We also wanted to avoid usual suspects. You most likely won't see the same speakers at Hike as other conferences.
What are must-don'ts in making an event?
You must not be afraid of anyone or anything. You must not take anything personally. You must not tiptoe when providing honest feedback. You must speak up. You have to trust other people to carry your vision. You must not burn any bridges. You must only bring in people and organizations or sponsors who truly support you and your cause. Don't take money from people who don't align with your values. Don't burn yourself out trying to handle it all–spread out the responsibilities. Don't take that as an excuse to shove responsibility onto other people: own everything you do. Anything worth doing is worth doing well.
No portfolio presentations (unless specifically that is focused on making a good and presentable portfolio.) No filler. No lies.
Provide more value to every attendee than the price of admission.
San-Francisco-and-Chicago-hosted brainstorming sessions to name the conference
Concerning events, like conferences/summits/workshops, what are their purpose or obligation in our society, the world?
Like I said earlier, sharing collective knowledge is really important for the design community. Seasoned designers have a unique opportunity to shape the minds of young designers, and that's really important. Christopher Murphy talked about this very thing in our interview. One day, his mentor told him that as teachers, they're literally designing the minds of their students. It blew his mind to think of teaching that way. He takes his job really seriously, and I admire him for that.
It's also amazing to me that the more time we spend on our devices, the more we treasure our time away from them. Services like Foursquare document the fact that you were in a physical place with your friends. That's really special. Events that bring people together are important the way a long talk with a friend is important. Giving people the space to learn, grow, and reflect on their own lives and shortcomings. A safe space to examine yourself, and determine what you can do to be better and provide better experiences for the people around you. Reflecting on why we make rather than how we make is important, and I think the obligation of events is to support this kind of thinking, sharing, and growing in any given community.
Additional viewpoints. There are a lot of designers who just work at one job with the same team for a sizable amount of time. Other perspectives are out there. There are other ways of doing things, for better and worse.
Who are your influences related to design?
My own mentors and friends are the most influential. The funny thing about mentors is how they're woven into your life at just the right time. Dan Saffer, the creative director at Smart Design, is a current influence. He demonstrates qualities that I aspire to in leadership: understanding the desires of the people he leads in order to help them become better designers. It sounds simple, but so many people don't get to that level of understanding with their staff. Design is about relationships, so my influences are the relationships I have with other designers.
Ryan Freitas and Shawn Collins at about.me taught me how to be wrong, how to be right, and how to listen to feedback. Mandy Brown is always teaching me something, most recently not to quit my side projects. Marc O'Brien's work inspires me to run as fast as I can towards the things I want to do in life in regards to design, even when I don't know what they are yet. Jennifer Maples teaches me how to be a better adult. Linda Eliasen is a better illustrator than I'll ever be. Xiulung Choy makes technology look fun and he values fine art. I could go on and on–I'm very lucky to have people in my life who support me and encourage me, whether they know it or not.
Andy Warhol. Process and body of work. Dieter Rams (Braun), who possibly lead the most influential product design department in the last decade. There's a reason why Apple does things the way they do. 😉
How important is it for you to follow your instincts?
It's very important for me to follow my instincts. My Meyers-Briggs personality type is XNFJ, in which F stands for Feeling and J stands for judgement. Essentially I use my own intuition to guide my actions. Most recently, intuition led me to work with Jason. Following my instincts is the reason I'm a designer in San Francisco today. It all started with a hunch that I should go to art school, because art had been my most consistent interest in life to that point. I learned to recognize through experience that when I followed my intuition, it led me to more satisfying experiences. Another way to think of it is being honest with yourself, about your own strengths and limitations, about what you really want. When you go against your instincts is when you get into trouble, and find yourself where you knew you shouldn't be. When you follow your intuition, you learn to recognize when you're exactly where you should be. It feels like home.
Depends. I modify my instincts based on situation. I always have a gut feeling, however how I act on it is modified per scenario.
How do you get the word out about Hike?
Talking! We've been sharing the news with our close friends, mentors, colleagues, anyone we meet, really. It's an easy party conversation. "What do you do?" "I'm planning a conference." People tend to have a lot of questions, and it's fun to share the story.
How do you attract sponsors?
Through the relationships and connections that we already have. It's not so much attracting but just asking people, very plainly and nicely. Have I mentioned how important relationships are?
Top secret. Actually a lot of the sponsors have been our friends and network. The board has some really great connections out there.
What is your definition of growth, as it relates to event-creation and management?
My personal definition of growth is only as much as the community needs. On the local level, I'm in favor of keeping the events on the small side. I prefer when people can get to know one another without being overwhelmed by a thousand people. On the national level, Jason and I are interested in hosting the conference in more cities in the future. I'm from Tennessee, so it would mean a lot to me to host a Hike event in Chattanooga or Nashville. Events don't have to be huge to be important. It's the quality of the community and the willingness for people to participate that's most important to me.
We just want to fill enough seats that the thousands of hours were worth it to us. We're not really focused on opening a Hike in every city, like CreativeMornings, or anything at this point.
How would you describe Hike's culture? And why is it important?
Hike's culture is fairness and a lot of fun. It's funny, because I haven't thought of Hike having a culture until just now. I think Jason and I set the tone for the board and our volunteers with our personalities and the way we work together, which includes a lot of laughter and trusting each other. We make decisions quickly because we don't have time to debate forever. It goes back to instincts: we agree on something and it's settled, unless we later think of a solid reason to go in a different direction. We all have a common goal to get this thing off the ground, and we all trust each other to pull weight. We all need each other, and we all like each other.
It's important because when I imagine the opposite—a group of people who have big egos and selfish motivations—it sounds like a nightmare to me. I only want to work with people who are better than me and who respect each other. We're really lucky to be working with our group of volunteers. Once a week, Jason and I have a "holy shit" moment. Everyone on our team is amazing. We couldn't do this without them.
The entire day of the conference will not be speakers presenting to you. There is a focus on collaborative sessions where your input will be shared with smaller groups.
The board meets weekly on a Google Hangout. Special guests include Jennifer Hansen's cat.
How can people learn and be informed about the Hike conference?
Through our website, hikecon.com, and on Twitter @hikecon.The full website will be up in early February with our list of speakers and more details about what Hike is.
What conferences/gatherings do you enjoy experiencing?
I enjoy experiencing small local gatherings here in San Francisco. Jennifer Maples' StrategyTNT, at Makeshift Society, brings in speakers who discuss design strategy and their careers. Joe Robinson hosts a Designers+Geeks event where I saw Aarron Walter from Mailchimp speak at the Yelp headquarters. Julie Horvath's Passion Projects at Github are a big one. She brings women in to speak about side projects, from code to lettering and illustration. It's been really amazing to see Julie grow the idea and community over the last year, and I can't wait to see where she takes it this year. Julie is another design inspiration for me, in that her hustle is so fierce. If we all worked half as hard as Julie, I don't even know what would happen. We'd spontaneously combust.
At a higher level, I enjoy events where I can really connect with everyone involved, from the organizer and speakers to the other attendees. It really helps me get out of my own work and remember that I'm part of a huge community of people with different strengths and passions.
In 2013, I went to a lot of conferences. I'm starting to get a lot less hyped about events where speakers just show a glorified portfolio as their presentation. For me, I'd rather hear a speaker talk about life in general for 45 minutes.
I'm more hyped about shared creative experiences, like hackathons and passion weekends. I think the coolest ideas are coming from these, and that they are absolutely valuable for people who attend and learn new skills, see how others work and make some cool connections.
On creativity, design, working
Design writer Alissa Walker wrote an article called "Women in Industrial Design: Where My Ladies At?" Where are the Ladies in Design/Development/Strategy/Business, et al., at?
We're right here! *waves hands* A common explanation is that women are raised to be more passive and less aggressive than men, which leads to us shying away from the spotlight. I have to admit that it does feel weird to put myself out there and shout, "Hey, look at me! I'm making cool things." But I think there's more to the story than that.
Kai Brach of Offscreen Magazine just posted an explanation of the unbalanced gender line-up they've had with their interviews. It seems like there are a handful of women who become well-known for their trade, and end up doing a lot of interviews. I think they become our representation of women in the industry, and the rest of us can just keep on working. We're so focused on cranking out work that we aren't taking time to produce talks and answer interviews. I've got to admit that it feels strange for me to be doing it now, but I know that this is what it takes in order to share your message. I'm more passionate about sharing the Hike story than I am afraid of putting myself in this uncomfortable space.
By the way, it's incredibly satisfying to see my company, Smart Design, mentioned in the article. Femme Den started in our New York office, and now there's a contingency of San Francisco folks who are refreshing it and reviving the whole movement. My colleagues are starting a feminist literature book club, and expanding the concept beyond marketing. Smart Design is an incredible example of how a modern workplace should be: it's pro-women, pro-work-life balance, pro-employee happiness.
So where are the ladies at? We're right here, making an impressive amount of work for you.
Our Hike board is all ladies but myself. They are out there. Most of our volunteers are also female.
My agency, Bright Bright Great, is also more female than male.
How do you handle disagreements while you're working?
We talk it out! Jason and I are very, very different, and that's part of what I love about working together. When we disagree on something, we just talk about it until we reach a mutual understanding. We respect each other enough to listen.
We are a small team (under 10), so that allows us the opportunity to talk everything out. Since we base all of our work on usability and functionality, the disagreements are usually about how to make something better, opposed to typical feedback like "I don't like that."
Disagreements become so much more clear when data and analytics are involved.
What part of your work is particularly trying,and how do you deal with it?
There are a lot of moving pieces, and often things get lost in translation. I'm taking on several different jobs at once: project managing, sponsorship, and contributing to marketing outreach. We deal with it by talking to each other a lot, and talking to our board members a lot. It takes a lot of patience, because it can be frustrating to not know what's going on. Things flow more smoothly when Jason and I are checking in and carving out our responsibilities on a daily or weekly basis.
Being the small team, my role is running the company (Operations), all sales (Sales Director), leading all creative (Creative Director) down to things like paying bills and emptying the trash. Time is the biggest factor I am up against.
To make sure that my day as well as my entire team's days are as valuable as possible, we have pretty tight processes around we do everything. We use tools to allow us to succeed like Freshbooks, Basecamp, and other apps.
I think our processes are extremely smart. That affords us time to make sure our work is done.
What is your workspace like? How does it contribute to doing the quality of work you want to do?
My workspace is wherever my brain, notebook, and/or computer are. Smart is incredibly supportive of the conference, so I end up conducting a lot of business there. Otherwise, I work from my bed, my kitchen, my backyard…right now I'm in a coffee shop. I moved three times last year, so I'm a very mobile person. I've learned that I only need a comfortable, spacious place to get work done. I've just got to be relaxed and focused, and I seek cozy environments that help me achieve that mindset.
Bright Bright Great is a wide open space. Everyone sits together forcing everyone to collaborate on all projects even if designers, marketers, etc., aren't on that specific project.
You can peek into our space here. We are also putting up lots of photos of our space on Instagram at brightbrightgreat and on Facebook.
What tools do you use and recommend to work on ideas and make them grow, to collaborate and get things done?
I work almost entirely in my inbox and Google drive for collaborating. We use Basecamp to manage what our teams are doing, and set up different projects for each team: marketing, design, sponsorship, and so on. It's not perfect, but we manage to get things done. I personally use IA Writer and Google Drive for any longer-form writing that needs to be done. The calendar on my iPhone is also very important.
There's a lot of tools out there. I recommend you have at least one to handle the following:
Project Management, e.g., Basecamp
Accounting, e.g., Freshbooks, Quickbooks
Collaborative Documents, e.g., Google Drive
How do you stay creative? What are some of your sources of motivation/inspiration?
I stay creative by being really kind to myself. I work when I feel like working, and I take breaks when I'm not getting anything done. I don't look at many inspiration blogs, they tend to overwhelm me. I'm inspired by all the I spend away from my computer. I love traveling, getting to know California, cooking meals, and film photography. Remembering to enjoy life is what motivates me to keep working on my dreams. If I worked all the time, I would get really burnt out. I worked a lot in college and made a lot of great work that I'm proud of. But in hindsight, I wish I had spent a little more time drinking wine and shooting the breeze on my best friend's front porch.
We don't work long hours, which I know is not the norm. Everyone is required to put in a full work day at our office, but all of that other time is about being out in the world and getting excited for how many amazing things are out there.
Every person on my team must have at least one other creative skill that they are a master of. For example, design and photography, design and modeling, design and music creation. We get each other excited with our skills, and learn together, which is always fun.
What is your definition of bad design?
My definition of bad design is anything that solves problems that don't need to be solved, or aren't actually problems at all. I was just talking about this with my boyfriend last night, about how bad design and all the money in Silicon Valley is laughable. But at the same time, sometimes really stupid ideas lead to amazing products that can have significant cultural influence. Twitter is a great example of that. The founders didn't know exactly what they were making or why, and now people use it to connect with one another in ways that were unimaginable when the idea was first conceived. It was just a silly little thing.
If everything were designed seriously and with purpose, how would we know what's actually good and relevant? We need bad design to really appreciate good design.
Anything that doesn't solve the problem posed. Because I am a hard-ass at work, we not only strive to solve the problems but end up with solutions that amaze.
If you were posed, "Laura and Jason, I have an idea for a conference. How do I get this real?" What's your response?
Find someone to work with. Don't try to do it on your own. Understand why you're making it, and be very specific about who your audience is. Most ideas are broad enough to encompass a whole spectrum of people, but you really need to define your target audience and understand them completely. By focusing on one specific group of people, you'll find your own voice and direction is much clearer.
Creating a conference is bigger than you, even if this is just your idea or brand. Working with a team of amazing people who you can count on and will share the load is really what it's about.
Other aspects of your work that would be interesting to creative practitioners and aspiring product/business makers?
I've said it twice, I'll say it again: relationships. Cultivating relationships is the single-most important part of a creative career. You will be a much better person for seeking mentorship and connecting with your creative peers. They will teach you more than you can imagine.
The reason why we are doing this in the first place is because of The Secret Handshake and Form and Future. This is interesting for the students and young creators, because the content is so strong. How did the best designers do it? What did they do to get to where they are today? How do they define success?
How do the cities of Chicago and San Francisco contribute to your work? And what makes each special for startups/business/creativity-at-large?
San Francisco is obviously a huge tech hub, and that's a big part of what people hear. It's the "new Silicon Valley." I'm more interested in the less-discussed side of San Francisco, the part of the city that still fosters artists and creatives and entrepreneurs who aren't exactly tech-focused. Rena Tom, the founder of Makeshift Society, really opened my eyes to that part of our city. Personally, San Francisco contributes to my work by it's incredible weirdness and beauty. There's such a rich and conflicting history here, and it's really interesting to live here right now. I hope the city can find a way to support its artists and residents without just catering to the ultra-rich.
I am very pro-Chicago. I think it's no where as visible as New York City, or San Francisco, but there are amazing things happening here, as well as amazing talent.
BBG, Bright Bright Great, Chicago, Chicago design events, design, designers, Jason Schwartz, san francisco, san francisco design events, The Secret Handshake


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The present study deals with the determination of quality of well-waters taken from different villages of Amta Block-I in the District of Howrah, West Bengal, India. The investigation is made in the pre-monsoon, monsoon and post-monsoon seasons of 2007-2008. The variations in the values of pH, EC,Total NH3, Total hardness,TDS, Chlorine, Na. K, Total Phosphate, Sulphate,DO and COD are not so remarkable in different seasons. It has become clear from the results that there is certain deterioration of water quality in some specific villages. However water of all the villages may be used safely for drinking and irrigation purposes. But for drinking purpose particularly during the pre-monsoon period sufficient remedial practices should be adopted. The probable reasons for the water quality degradation in some villages are also investigated.


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And also as members you were allocated a hole to specifically look after according to your Surname. If in doubt check on the notice board in the clubroom.
Check out this website for a comprehensive list of this year's club fixtures. External inter-club fixtures will be posted when we receive them.
Entries for this season's majors can be made either via www.masterscoreboard.co.uk or directly onto the computer in the club room from 22/03. Entry is £2 per competition so please check your funds before entering.
Mr.Captain (Allen Ibbotson) is having an early season get together on the evening of Wednesday March 14th. This is a chance for members to do a little bit of course improvement and to have a social get together.
The Captain's chosen charity this year is Weston Park. Boxes where you can contribute your pounds for being in the bunker(s) are on the bar as usual.
For the May Open Day we are trying to resurrect the nearest the pin prize on all 18 holes. If you know of someone/a company who will sponsor a hole for £25 please see the Captain.


text:
Mixed Origin
Vegetable Based
Palm Based
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The degumming process of vegetable oil involves the removal of phosphatides from vegetable oil by centrifugation. Water is added in the mixture to allow the precipitation of phosphatides dissolved in oil. The precipitated phosphatides become heavier in mass due to the high water content absorbed. The centrifugation process allows phosphatides to migrate to the water phase; therefore, removing impurities in the oil. Degumming is required to refine the quality of the vegetable oil and allows longer storage time.
The vegetable oils undergo deacidification through a series of solvent extraction processes. The initial vegetable oil is mixed in methanol by agitation. The existing free fatty acid in the oil will preferably dissolve in methanol and decrease the concentration in the oil. As free fatty acid is the cause of the oxidation and unpleasant scent of the oil, it is essential to remove the compound from the oil to promote storage time and refining.
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News briefs from around the area and the state.
Police charged a Gainesville man with robbery Monday, but the man told officers he was owed the cash he took.
Officers accused Joevonne Lewis Flarity, 24, of punching another man and taking a $100 bill from his wallet, according to a police report. The incident occurred when the other man gave Flarity a ride home, police said.
Flarity choked the man and then punched him in the face before demanding the man�s wallet, police reported.
The struggle started when Flarity and the other man began arguing over money.
Flarity later told officers he punched the man in the face and took the money, but that it was money owed to him for work he had done for the man.
Flarity, who was booked into the Alachua County jail on Monday, remained at the jail on Tuesday, according to jail records. A $35,000 bond had been set for his release.
A new speeding law takes effect today that significantly raises the fines for those who significantly speed.
Going more than 50 mph over a posted speed limit will cost you $1,000 for the first offense. Previously, the fine for driving more than 30 mph over the limit was $250.
The new speeding law also includes some hefty fines for repeat offenders. The second time you get caught going more than 50 mph over the posted limit the fine will be $2,500 and your driver�s license will be revoked for a year. A third offense carries a $5,000 fine and your license will be revoked for 10 years.
Fugitive in area robbery caught in N.C.
Prudencio Rodriguez, 21, had been arrested in mid-April by Gainesville Police for an armed robbery at the Cabana Beach Apartments at 1601 SW 51st Terrace.
Michael F. Millikin was appointed superintendent of schools for Columbia County on Monday, which means he will take the job several weeks earlier than expected.
Gov. Charlie Crist appointed Millikin, 50, of Lake City, to fill out the remaining term of Grady �Sam� Markham, the incumbent who Millikin defeated in the August election. Markham resigned unexpectedly Sept. 12 and has not been available to comment on his decision since then.
Millikin was not scheduled to take over the office until November, but he assumed control of the district Monday immediately after his appointment. He served as an assistant superintendent for four years under former Superintendent Mike Flanagan and for three-and-a-half years under Markham. Millikin resigned from the assistant�s job earlier this year to run for the office.
A 30-minute film about a horse rescue operation just south of Micanopy will be aired tonight at 9:30 on WUFT-TV Channel 5.
�Horse Protection Association of Florida � on a Mission� tells the story of the association, which has been in operation for 20 years, the last six of those years on 150 acres off County Road 320 in northern Marion County.
Created and produced by local filmmaker K.C. Remington, the film is �about the good work they do,� said Remington.
A historian will speak Thursday at the University of Florida about how polling became a crucial part of American life.
Sarah Igo, associate professor of history at Vanderbilt University, will speak at 7 p.m. in the Pugh Hall Ocora. The speech is free and open to the public. No tickets are required.
Igo is the author of the 2007 book, �The Averaged American: Surveys, Citizens, and the Making of a Mass Public.� Her speech kicks off the Graham Center Forum on Voting and Identity.
The forum continues Oct. 13 with Richard Johnston speaking on �The Long Horserace: A View from the National Annenberg Election Survey.� Johnston is the research director of the National Annenberg Election Survey and professor of political science at the University of Pennsylvania.
His speech will be at 7 p.m. in the Pugh Hall Ocora.
To help residents of North Central Florida who suffered damage from Tropical Storm Fay, FEMA will open a short-term Disaster Recovery Center today at the Fire Rescue Central Warehouse, 5901 NW 34th St., in Gainesville.
The center opens today at noon, then continue to operate from 8 a.m. to 6 p.m. through Saturday.
Assistance is available for individuals or households as well as businesses.
Applicants should first register by calling FEMA, toll free, at 800-621-FEMA (3362). Application can also be made by registering online at www.fema.gov.
At the recovery center, people who have already registered can have FEMA disaster recovery specialists check on their case, answer questions about their claim, or request information FEMA needs to process their claim.
OCALA � Police are searching for the person they say beat an elderly Ocala man with a table leg.
A news release says 77-year-old Thomas Hickman was looking through a trash bin on Sunday when another man took a broken table leg and beat Hickman with it. The man dragged Hickman behind the dumpster then took off in Hickman�s car.
Hickman was taken to a hospital with non life-threatening injuries.
TAMPA � A Tampa man who thought he could dial 911 whenever he needed medication or a ride has been arrested after making about 50 such calls in September alone.
This time, paramedics called police and had him arrested. Authorities say his constant calls kept them from tending to real emergencies.


Stay in Bournemouth and take time to explore and discover the surrounding area with its stunning coastline, charming countryside, picture-postcard villages, fantastic attractions, activities and a programme of year round festivals and events.
From Bournemouth Pier you'll reach Christchurch to the east or Poole to the West. Both towns have spectacular harbours, delicious local seafood and buckets of old world charm.
Nestled between Bournemouth and the World Heritage Coast lies the historic town of Poole. Get out on the water and make a splash in Europe's largest natural harbour and enjoy the stunning scenery.
Discover fascinating maritime history and take a wander along the cobbles of the Old Town to Poole's historic quayside. Look out for tall ships, fishing vessels and luxury powerboats!
Our neighbouring counties of Wiltshire and Somerset are home to enhanting cathedral cities,bustling towns and picturesque villages with a variety of attractions, activities and adventures just waiting to be discovered.


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Photos Courtesy Mondo.
The Cult of Mondo
An Alamo Drafthouse offshoot has taken the film industry by storm, with rabid collectors paying thousands for the rights to rarified nerdom.
BY Dan Gentile
Walk into the Mondo Gallery on Guadalupe Street and the first thing you'll see is a custom-forged Medusa chandelier with light bulbs protruding from the mouths of snakes. Taking stock of each action-packed wall, your senses are bombarded by the dozens of pieces of art celebrating a wealth of deep nerd references, like artist Greg Ruth's recent interpretive illustrations of the television show, Twin Peaks, or a stencil of Salacious B. Crumb, the cackling monkey-lizard from Jabba the Hutt's Tatooine lair. Even when ducking out to use the restroom, you'll stumble across a neon sign that reads "Hell Here," an homage to Catwoman's bedroom in Tim Burton's Batman Returns. Despite the sentiment of the buzzing pink letters, for fans of pop culture memorabilia and movie poster art, the Mondo Gallery is more akin to heaven.
What began in 2004 as a small operation selling T-shirts in the original Colorado Street location of the Alamo Drafthouse has grown to perhaps the best-known poster company in the world. Mondo's staff of 40 serves as discerning middlemen between artists, studios, and die-hard movie geeks who'll camp out for days in order to purchase ultra-rare prints of the latest superhero blockbusters (i.e. Avengers: Endgame) and cult horror favorites like John Carpenter's They Live. This popularity has dramatically furthered the careers of artists and the exclusivity of limited runs has created a thriving secondary market where posters auction for up to $7,000. Business has been so good, in fact, that starting in 2011, Mondo decided to expand into new fields including vinyl soundtracks, followed by clothing, board games, figurines, even tiki glassware—like the recent Mother's Day Alien Queen (head Xenomorph from the film, Aliens) mug, complete with two egg shot glasses.
"We're living in a world now where nerdism is pure mainstream. It's not just for kids, it's very common for adults to collect things, whether posters, records, or pins," says Brock Otterbacher, creative director of the toys and collectibles department. "It's like comfort food that doesn't go bad on your shelf."
Serious Mondo collectors run out of wall space these days, but creative director and co-founder Rob Jones remembers when their entire inventory could fit inside a ticket booth. A poster artist and early Alamo junkie, Jones helped spearhead the first rounds of prints. "I just kept bugging [Alamo Drafthouse founder] Tim League, saying: 'Hey, we should make a poster for this screening or that! We're doing Flaming Lips' Zaireeka, let's do a poster,'" Jones says.
Worn down by Jones' unbridled enthusiasm for the project, League eventually conceded. That whim led to Mondo becoming a subsidiary of the Drafthouse brand, a separate division that hired artists to design 30 posters a year in tiny 50 to 100 prints runs. Today, Mondo releases almost 10 times as many annual designs—none given value-depleting life in a secondary run. Their largest release to date came from revered artist Olly Moss, whose 9,350 copies of The Dark Knight Rises were all gobbled up in a breakneck three-day pre-order period.
So, what makes these prints different from the typical poster on a cinema wall? Back in the 1970s and '80s, studios promoted films with illustrated posters, like those from legendary artist Drew Struzan (Back to the Future and the Indiana Jones series). But now, most contemporary movie art relies on photography of headlining stars to help attract potential ticket-buyers. Mondo contrasts that barrage of celebrity faces by commissioning independent artists given substantial creative freedom. "One of the most important traits in an artist is being able to boil a film down to one image, and another is good composition," says Mitch Putnam, co-founder and creative director.
Sometimes that means minimalist conceptual ideas, such as Gary Pullin's print for Alfred Hitchcock's Vertigo, which features a figure dangling from a dilated eyeball in the San Francisco sky. Other artists gravitate toward maximalist concepts, like Tyler Stout, whose reimagining of The Goonies poster consists of an illustrated collage of the sprawling cast (plus an octopus from a deleted scene). Many are available in even-rarer variants, like Martin Ansin's Dracula: 75 hand-numbered collectibles screen-printed on coffin-shaped pieces of wood.
Pulling off such ambitious projects requires trusted manufacturers, artists that can meet deadlines, and perhaps most importantly, the consent of copyright holders—a distant concern in the company's nascent years. After all, this was a project that launched out of a ticket booth and later graduated to a glorified crawl space under theater No. 2 at the Alamo's South Lamar location. But as the company grew, they were forced to operate aboveboard.
Needless to say, licensing can be a headache with rare cult films—especially when contractual agreements make certain characters off-limits. But thanks to the cachet Mondo's earned within the industry, major studios now commission them to do posters for new releases. Star directors like Jordan Peele and Steven Spielberg have personally requested prints for their own walls. And starting in 2011, The Academy of Motion Pictures Arts and Sciences, the world's largest movie-related organization, even began archiving each limited-edition silk-screen print for posterity's sake.
"Mondo has become like an adjective," says Eric Garza, creative director. "When studios are planning these big budget films, or even smaller films, they're talking internally and saying we want a Mondo poster. And that's crazy, a smallish company from Austin, Texas, being considered in the massive Hollywood system."
Mondo typically works with established artists, but even veterans have seen
huge career boosts from the support of the community. For Jason Edmiston, who Jones cites as one of the company's most celebrated artists, it's been invaluable. Edmiston might have grown his reputation illustrating for the likes of Nike and Coca-Cola, but it was a print of Game of Thrones' Daenerys Targaryen, entitled "Mother of Dragons," that sent collectors into a swoon. A signed copy now lists on eBay for $6,500, or more.
"It's been the single most important factor in the growth of my career over the last seven or eight years," Edmiston says. "When I produced artwork for them, it was not only seen by a massive audience, it was given the seal of approval that the art was something inherently cool."
To the layman, thousands of dollars probably seems like an insane amount of money to pay for a poster. But make no mistake, procuring Mondo products is no different than any other type of art collecting, which is never cheap. In fact, the collectible nature of each print has led to a lucrative secondary market and a subsection of the fan community that flips posters online, often to support their own Mondo habits. That development has forced the company to put in place a unique purchasing system to control supply and, hopefully, fulfill demand. Occasionally, they'll offer pre-sales over a specific time period (like Olly Moss's The Dark Knight Rises), printing only what's been ordered. But for most online sales, Mondo generates a random on-sale time for a specific release date in order to level the playing field.
Fans are even more devoted to scoring releases from gallery shows. For their yearly House Party event, in which artists sell one-of-a-kind pieces for only $200, fans are known to camp out for up to a full week.
"I fell in love with the posters and then got into the social element of it," says Michael Roberts, a learning specialist at UT who has been a Mondo collector since 2012. He owns close to 50 Mondo posters, including the valuable Mulholland Drive print by Kevin Tong, worth upwards of $1,000. "People camp out for so long, it becomes kind of like a street party."
When the doors opened for its most recent show, "80 Years of Batman," the unshowered masses might have clawed over one another for the same prints, but the lead-up to the debut was shockingly civil. The crowd even policed itself, with selected parties keeping an official list, later given to the Mondo staff to enforce each fan's order of arrival.
"I think the most impressive thing about the line is that the draw isn't simply over something limited. Rather, it's a place friends can hang out," says David Rancatore, Mondo's business intelligence director. "It's like a tailgate."
Sleeping in one's car is permitted, but leaving for work is strictly prohibited. There are no toilets, so bathroom breaks are naturally allowed. If someone has a doctor's appointment, they don't lose their place in the queue (although doctor's notes are encouraged). And often the line will leave en masse for collective dinners together.
Dan Jones, a Mondo collector since 2014, hasn't slept on the sidewalk (yet), but he sees the draw. With fellow fans playing music and projecting films on the wall at night, it feels more like a party than a stakeout. "Most of my friends in Austin are from Mondo groups," he says. "I've been in a group chat with about 40 of them for years. We'll just talk about movies or the daily dramas of our own lives."
For those that can't spend a week loitering on Guadalupe Street, the next best place to gather is MondoCon, a biannual Comicon-style event where artists and fans congregate to buy, sell, and party. Seeing all the fans in one place shows the breadth of the fanbase, which goes as crazy for female-focused properties like Buffy the Vampire Slayer as bro-centric horror films.
"A lot of people stereotype the Mondo fanbase as strictly male, but there are women collectors too," says Amiee Gonzalez Johnson, director of events. "There isn't just one single stereotype; there's a younger crowd whose parents showed them the movies we're expressing in our art, but also older guys and ladies who watched those movies in the theater when they were growing up."
MondoCon's footprint has steadily grown over the years from the former Marchesa Hall (now AFS Cinema), to The Austin American Statesman building, to this year's fifth festival in September at the Palmer Events Center. In addition to interacting with their favorite artists, fans can listen to panels and watch a live Draw & Design event that shows the creative process behind a poster from start to finish. And, of course, there's screenings of films like Labyrinth and Ex Machina, complete with new releases for each film.
The gallery and festival give fans the opportunity to experience Mondo in person, but there's also a thriving online community. The wildly popular Mondo Trader Facebook group posts recommendations on framing and storage, shares photos of impressive collections, holds raffles to win rare prints, and often trash talks the homogeneity of major studio posters (compare those for The Force Awakens, Aladdin, and Dark Phoenix to see their point). The self-annointed "paper prostitutes" even band together to personally commission art for films that Mondo has yet to cover—a throwback to the company's old laissez-faire approach to licensing.
Given the amount of money changing hands on the resale market, it may seem like Mondo or its artists could feel short-changed, but everyone interviewed seemed bemused by the exorbitant prices fetched online.
"Someone buys a poster, that's their business what they want to do with it," says Jones, who estimates that roughly 5 to 7 percent of a print run will be resold online. "Me personally, as a fan of this medium, if you miss out, that's just another way of getting it."
Although posters remain the company's primary focus, in the past few years, Mondo has diversified to other fields to feed their community's fandom. People don't just want Spongebob Squarepants art on their walls, they want to adorn their desks with a 10-inch vinyl figurine. Fans of The Thing went crazy for a tabletop board game based on the John Carpenter film. Enamel pins, at a price point of $10, have become some of the site's most popular items. Clothing is also huge; Buffy the Vampire Slayer devotees loved the satin Sunnydale varsity jackets so much, it racked up nearly 500 pre-orders.
"Mondo is all about community and bringing people together who love the same pop culture," says Allie Whalen, creative director of apparel and accessories. "Clothing is a really great way to show that you love something like Buffy the Vampire Slayer, and then you find those other Buffy people in your community when they see you wearing it."
Music comprises another arm of the Mondo empire. The resurgence of vinyl sales has led to more than 200 deluxe record releases ranging from mainstream television scores (again, Buffy fans rejoice) to obscure Italian horror soundtracks by composers like Fabio Frizzi. They work with many of the same artists as the poster department, pushing them into new types of pop expression.
"A record is such a different task, because so much more art is involved. But at the same time it's liberating because they don't have to limit their color spectrum to make a screen print," says Spencer Hickman, head of music. "Every artist works better experimenting in different mediums."
No matter the format, the common thread throughout the Mondo universe is the power to elevate film and television beyond moving pictures on a screen. It's about making characters palpable enough for fans to rally around. Perhaps, more than anything, it's about taking pop art to the extreme—whether that's in the guise of ultra-rare posters, collectibles, or once-in-a-lifetime experiences, like at a Batman gallery show where they enlisted an actor to play Bruce Wayne's butler, Alfred Pennyworth. "We joke that hiring Alfred was the best decision we ever made," says Eric Garza.
True to form, he addressed every Mondo fan in attendance as Mr. Wayne.
Our Cover Doctor is Fighting on the Frontlines
Elizabeth Douglass is working with essential workers to stomp out COVID-19 in the most vulnerable communities.
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Last month, SpaceX launched its first US national security space mission, when a SpaceX rocket carrying a US military navigation satellite blasted off from Florida's Cape Canaveral.
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Pools announced for women's 2014 World Cup
12.12.13 | England will face Argentina, Germany, China, USA & South Africa in Pool B at the Rabobank Hockey World Cup in The Hague, Netherlands.
Sensational shoot-out gives England bronze
09.12.13 | A stunned crowd in Argentina watched as England celebrated a 4-2 victory in a penalty shoot-out to take third place in the World League Final.
'Aussie Rules' in Semi-Final battle
08.12.13 | Hockeyroos put on dominant display in 1st semi-final with 3-0 victory over England at Argentina World League Final. England will battle with hosts Argentina for bronze medal,...
Battling England U21 Men lose to South Africa
06.12.13 | England suffer 2-1 defeat despite good display in their opening Junior World Cup clash. Next up is New Zealand on Sunday at 14:30 GMT. The match will be streamed live at...
England set up 'Ashes' clash in Semi-Final
06.12.13 | England to play Australia in Semi-Final on Saturday at 21:30 GMT after 1-0 victory over China in Argentina World League Final.
England U21 men's squad preparing for Junior World Cup
05.12.13 | In preparation for the Hero Hockey Junior World Cup, starting this Friday, the men took part in some training games against two of their potential opponents.
Danson brace helps England beat Germany
03.12.13 | Head Coach Jason Lee described his team's performance as 'gutsy' as they beat Germany 3-1 to secure second place in Pool A.
England U21 men's squad announced for Hero Hockey Junior World Cup
03.12.13 | Head Coach Jon Bleby names 18 athletes ahead of opening game against South Africa on Friday 6 December in India
Dutch snatch victory from England
01.12.13 | Two quick goals from the Netherlands gave them a 3-2 victory over England in their Pool A battle earlier today.
'Resilient' England take 6-2 victory over Korea
30.11.13 | England came back from a two goal deficit to win their opening game at Argentina World League Final.


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lschamess January 6, 2022 Indigenous Activist, Economist, Author Winona LaDuke to Speak at AAG 20222022-01-06T14:46:54-05:00 Association News, Featured News, Jobs & Careers in Geography, Member News, Recent News
Rural development economist and environmental justice advocate Winona LaDuke (Anishinaabekwe, Ojibwe) will join AAG President Emily Yeh for a virtual keynote address and conversation during AAG 2022.
LaDuke, an enrolled member of the Mississippi band of Ashinaabeg who lives and works on the White Earth Indian Reservation, founded the White Earth Land Recovery Project in 1989 and served as its executive director for 25 years. She is now the founding executive director of Honor the Earth, where she advocates, raises public support, and creates funding for frontline Native environmental groups.
LaDuke's many honors include being named one of Time Magazine's "50 for the Future" in 1994, and Ms. Magazine Woman of the Year In 1998, the Thomas Merton Award in 1996, the Biha Community Service Award in 1997, The Ann Bancroft Award for Women's Leadership Fellowship, and the Reebok Human Rights Award (which she used to begin the White Earth Land Recovery Project).
A former board member of Greenpeace USA, LaDuke also co-chairs the Indigenous Women's Network, a North American and Pacific Indigenous women's organization. Her books include The Militarization of Indian Country (2011), Recovering the Sacred: The Power of Naming and Claiming (2005), All Our Relations: Native Struggles for Land and Life (1999), and Last Standing Woman (1997), a novel.
A graduate of Harvard and Antioch Universities, LaDuke is one of the leaders in the work of protecting Indigenous plants and heritage foods from patenting and genetic engineering.
LaDuke's talk will take place on Sunday, February 27 from 7:00 to 8:00 EST, immediately following the AAG panel on climate justice from 5:20 to 6:40 PM EST, moderated by Dr. Yeh and featuring talks on climate justice work by Tracey Osborne, Associate Professor and Presidential Chair in the Management of Complex Systems Department at the University of California, Merced, as well as Founder and Director of the Center for Climate Justice at the University of California, a system-wide initiative; Michael Méndez, Assistant Professor in the School of Social Ecology, Department of Urban Planning and Public Policy at the University of California, Irvine and author of Climate Change from the Streets; and Kyle Whyte (Citizen Potawatomi Nation), George Willis Pack Professor of Environment and Sustainability and Affiliate Professor of Native American Studies and Philosophy at the University of Michigan.
Together, these back-to-back sessions organized by Dr. Yeh promise to offer needed insight into the role of spatial and geographic approaches to climate justice. AAG is honored to welcome Ms. LaDuke to speak at AAG 2022. Find out more and register here.
#AAG2022, climate, climate change, climate research, environment, Environmental Science, equity, Food Security, food sovereignty, racial equity
« Geophysicist Marcia McNutt Honored with 2022 AAG Atlas Award
AAG 2022 Goes All Virtual »


A luxury double fronted home with emphasis on space, light and luxury.
A grand entrance foyer opens nicely to a formal living area minimalising corridor length. The kitchen is positioned at the heart of the home with view lines of rear gardens and easy access to the large walk in pantry.
Flowing from the kitchen is a separate meals area designed to take in light and provide view lines of side greenery areas. We have included a large family area which then extends to a rumpus or home theatre room, providing yet another living area.
The outdoor alfresco completes the fifth living area providing the best in outdoor living options.


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One of the pioneers of online gaming, NetEnt emerged from a land-based Scandinavian casino operation in 1996. Since that time, they've grown their customer base to include some of the biggest online casinos in the industry, and their software has become renowned for its unique and profitable games.
The purpose of this article is to provide a basic level of information regarding NetEnt. We'll look at their biggest clients, as well as those who've proven unreliable in the past. I'll also discuss some of their leading games and the strength of their random number generator.
A rogue casino is one that fails to adhere to the high standards expected from the casino software provider. This undesirable behavior can include everything from failure to pay winnings to poor customer service. Fortunately, watchdog sites such as Casinomeister exist to expose such operations and help potential gamblers navigate the often treacherous waters of the online gaming industry.
If you choose to play at a casino operated by Net Entertainment software, you may want to beware of the following sites. They have been cited for rogue behavior in the past, although there is a chance that they might turn things around in the future. To paraphrase an old saying, "Let the gambler beware."
Plum Gaming - Licensed in Malta, this casino has drawn complaints for failure to pay winnings and not replying to customer queries.
Stryyke Casino - This operation combines an online casino with a sportsbetting operation. In either case, players have complained of a general level of incompetence and several examples of winnings being confiscated without sufficient cause.
NetEnt has a selection of over 200 games to choose from, and many are licensed properties based on popular movies and television shows. While new games are added all the time, the following list represents what you can expect to find at a casino powered by Net Entertainment.
Creature from the Black Lagoon - A 5-reel, 20-line slot that features the legendary movie monster from Universal Studios. Save a beautiful damsel from the creature while collecting free spins, re-spins, wild substitutions, sticky wilds, and spreading wilds.
Scarface - Take on the role of Tony Montana, a Cuban refugee turned Miami drug kingpin. There are nudge spins and free spins to look for, as well as a bonus game that recreates the film's climactic shootout.
South Park - Join Cartman, Kyle, Stan, and Kenny in this video slot version of the popular Comedy Central show. There are bonus games for each character, as well as mini-features, sticky wilds, free spins, and wild substitutions.
Aliens - A video slot with 5 reels, 3 rows, and 15 lines. There are three levels to complete while trying to survive the onslaught of the deadly xenomorphs, and you'll also encounter collectable multipliers, re-spins, and wild substitutions.
If you talk to 10 online gamblers, I'm willing to bet that at least half of them will express doubt over the fairness of random number generators for Internet casinos. While there's nothing I can say that's going to totally reverse the position of a paranoid player, I do want to highlight some of the extreme methods that NetEnt undertakes in order to assure their customers of a consistently fair gaming experience.
Independent testing is performed and certified by iTech Labs. This includes systems, practices, and algorithms.
All testing is performed with a large sample size, which is always enough to provide sufficient statistical reliability.
The shuffling algorithm is utilized to make sure a random result is achieved each time the cards are shuffled. Tests are performed on 8-deck games, as well as 6-deck, 4-deck, and single-deck (with one joker and no joker).
A comprehensive scaling test is performed on scratch card games, as well as roulette and slot games.
All checks for randomness use the diehard method of tests developed by George Marsaglia in the 1990s. This testing method includes such bizarre names as the "monkey tests" and "birthday spacings."
While playing at a casino run by NetEnt isn't going to guarantee a winning streak, you can count on an enjoyable and hassle-free experience every time. The fact that they're traded on the Nasdaq OMX Stockholm and keep offices in Sweden, Ukraine, Malta, and Gibraltar also provides an additional level of customer security. If you've never tried their product before, I suggest opening a free account and taking their unique games for a spin.


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Madejski ist der Familienname folgender Personen:

 Edward Madejski (1914–1996), polnischer Fußballspieler
 Herbert Madejski (* 1945), österreichischer Politiker (FPÖ)

redpajama_set_name: RedPajamaWikipedia


Your little cereal munchers may be tearing through a forest's worth of cardboard waste, but fear not – those colorful boxes can also make for a artistic diversion on a rainy day. For Inhabitat's Spring Greening Design Contest, Chris Kaasman and his wife pieced together a map of the United States from their breakfast empties, then mounted their handiwork on a wall for all to admire. Who says geography can't be fun?
Your little cereal munchers may be tearing through a forest's worth of cardboard waste, but fear not - those colorful boxes can also make for a artistic diversion on a rainy day. For Inhabitat's Spring Greening Design Contest, Chris Kaasman and his wife pieced together a map of the United States from their breakfast empties, then mounted their handiwork on a wall for all to admire. Who says geography can't be fun?


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Chang'e 3 (Chinees: 嫦娥三号; pinyin: Cháng'é Sānhào) is een onbemande Chinese missie naar de Maan in 2013. Het was de eerste keer dat de Chinezen op de Maan landden en tevens de eerste keer in 37 jaar dat een ruimtevaartuig een zachte landing op de Maan maakte.

Achtergrond
De missie is onderdeel van de tweede fase van het Chinese Maanprogramma, dat vernoemd is naar Chang'e, de Chinese godin van de Maan. Het volgt twee eerdere missies van het programma, Chang'e 1 (2007) en Chang'e 2 (2010). In deze eerste fase werden ruimtesondes in een baan rond de Maan gebracht.

Rond 2019, als de Chang'e 3-missie en de daaropvolgende Chang'e 4-missie met succes zijn volbracht, begint de derde fase van het Chinese ruimtevaartprogramma naar de Maan. Deze omvat een terugkeercapsule om grondmonsters van de Maan terug naar de Aarde te brengen. Met een boormachine zullen monsters op een diepte van twee meter kunnen worden verzameld. De eerste bemande Chinese missie naar de Maan staat in de planning voor de periode 2025-2030.

Verloop
De Chang'e 3 werd op 2 december 2013 om 1:30 's ochtends (plaatselijke tijd) gelanceerd met een Lange Mars 3B-raket vanaf de lanceerbasis in Xichang. De lancering werd rechtstreeks uitgezonden op de Chinese televisie. Het ruimtevaartuig werd vervolgens in een baan rond de Maan gebracht, waarna de Chang'e 3-lander (en een rover) zich van de hoofdmodule afscheidde en een zachte landing op de Maan maakte. De landingsmodule maakte op 14 december om 14.12 (CET) een zachte landing op het Maanoppervlak. De uitgekozen landingsplaats was Sinus Iridum (44,1° NL, 31,5° WB), een plat gebied van basalt dat in noordwestelijke richting vanuit de Mare Imbrium uitsteekt. De lander beschikte over een grondboor om in het Maanoppervlak te graven en grondmonsters te nemen. Hoewel de Chinese overheid karig is met gegevens omtrent de voortstuwing levert de hoofdmotor tussen de 1500 en 7500 newton stuwkracht, regelbaar tot 7½ N. De diameter van de uitlaat is 60 cm.

Na de landing werd een rover uitgezet die in een periode van drie maanden een afstand van drie km over de Maan moest afleggen, de Joetoe (Chinees: 玉兔; pinyin: Yùtù, "jadekonijn"). De rover stuurde rechtstreeks videobeelden terug naar de Aarde middels een panoramacamera. Verder beschikte het over een grondradar en twee spectrometers. Het voertuig heeft een hoogte van 1,5 meter en een gewicht van 120 kilo (waaronder 20 kilo instrumenten). Het heeft zes wielen en is ontworpen om hellingen te nemen en obstakels te vermijden. Een thermo-elektrische radio-isotopengenerator werd gebruikt als energiebron, zodat de rover niet afhankelijk was van zonlicht.

Op 26 januari 2014 ontstonden er, net voor het ingaan van de tweede maannacht, technische problemen met de rover. De oorzaak is vermoedelijk gelegen in elektromotoren welke de zonnepanelen in slaapstand moeten zetten om de koude maannacht te kunnen doorstaan. Een mogelijke oorzaak is een botsing met een rotsblok. Hoewel de rover technische proeven in een Chinees woestijngebied onderging, bleek na het neerkomen dat de maanbodem in het geselecteerde landingsgebied een aanzienlijk ruiger oppervlak vertoonde dan waar men oorspronkelijk van uitging. Hoewel ontworpen op een levensduur van slechts drie maanden, functioneert het wagentje nog altijd; de wetenschappelijke instrumenten zijn inmiddels uitgevallen. De rover moet als verloren beschouwd worden, heeft slechts 100 meter afgelegd over het maanoppervlak en bevindt zich op 17 meter van de lander, die medio september nog steeds functioneerde en is ontworpen op een levensduur van een jaar. Het is echter zaak zo veel mogelijk fouten uit het ontwerp te halen voor toekomstige missies, daarom houdt de vluchtleiding tevens radiocontact met de rover om er achter te komen hoelang de diverse technische systemen het op de maan uithouden. Gedurende iedere maannacht koelt het wagentje af tot −180 °C.

Zie ook
 Lijst van ruimtevluchten naar de Maan

Chinese ruimtevaart
Ruimtesonde
Rover (ruimtevaartuig)
Ruimtevaart naar de Maan