#Barcode is rendered without text

[ivyprints123456]

Durable PVC ID Cards: IVYPrints' Promise of Quality and Longevity

In today’s fast-paced world, businesses and institutions require solutions that are not only efficient but also durable. One such solution that plays a pivotal role in ensuring smooth operations and secure environments is the ID card. Whether it’s for schools, offices, or large events, having a robust and reliable identification system is crucial. And at the forefront of this essential service in India is IVYPrints – a leading ID card printing company based in Jaipur. IVYPrints stands out for its high-quality PVC ID cards, known for their durability, longevity, and superior design.

Trusted by top corporations and businesses across India, IVYPrints has set the benchmark for ID card printing services, offering fast delivery, customer satisfaction, and a wide range of customizable templates. Let’s dive into what makes IVYPrints' PVC ID cards a premium choice and why businesses rely on their promise of quality and longevity.

1. The Importance of Durable ID Cards in Today’s Environment

In many sectors, from corporate offices to educational institutions, ID cards are a daily necessity. These cards not only serve the purpose of identification but also act as tools for access control, security management, and in some cases, even attendance tracking. Given the frequency of their use, it is essential that ID cards are built to last.

Cheaply made ID cards can fade, break, or wear out quickly, causing frustration for employees, students, and management alike. This is where durable PVC ID cards come in, offering a long-lasting solution that withstands the rigors of everyday use. PVC (polyvinyl chloride) is a strong, flexible plastic material that can resist damage from frequent handling, ensuring that your ID cards remain functional and looking good for years to come.

At IVYPrints, the commitment to producing high-quality PVC ID cards guarantees that businesses and institutions receive a product that is not only visually appealing but also built to last.

2. Why Choose PVC ID Cards?

PVC ID cards are widely recognized for their durability and flexibility. Unlike paper or laminated cards, PVC cards are resistant to water, dirt, and physical wear and tear. This makes them an ideal choice for environments where ID cards are frequently handled, such as schools, offices, and events.

Here’s why PVC ID cards stand out:

Durability: PVC cards can handle rough conditions without getting easily damaged. Whether it’s being stored in a wallet, worn around the neck on a lanyard, or scanned multiple times a day, PVC cards are built to endure.

Customization: IVYPrints offers over 250 unique design templates, allowing businesses and institutions to customize their ID cards with logos, brand colors, and other essential details. PVC cards also support advanced features such as barcodes, RFID chips, and magnetic strips for added functionality.

Professional Finish: The high-quality printing used in PVC cards gives them a professional and sleek appearance. IVYPrints utilizes advanced printing technology to ensure that the colors are vibrant and the text is crisp, resulting in a card that reflects your brand’s professionalism.

Environmental Resistance: PVC cards are resistant to environmental factors such as moisture and temperature changes, making them suitable for both indoor and outdoor use.

3. IVYPrints: Setting the Standard for PVC ID Card Quality

IVYPrints has built a reputation as one of India’s leading ID card printing companies by consistently delivering products that meet the highest standards of quality and longevity. Here’s how IVYPrints ensures that their PVC ID cards stand out in the market:

Advanced Printing Technology: IVYPrints uses state-of-the-art printing technology to produce high-resolution, durable ID cards. Each card is printed with precision, ensuring that every detail, from text to design, is rendered perfectly.

Customized Solutions: No two businesses are alike, and neither should their ID cards be. IVYPrints offers fully customizable ID card solutions, allowing businesses to design cards that reflect their unique identity. From company logos to employee photos, IVYPrints ensures that every aspect of the card is tailored to your specifications.

Fast and Reliable Service: Time is a valuable resource for any business. With IVYPrints, you don’t have to worry about delays. They offer dispatch within 24 hours, ensuring that your ID cards are ready when you need them. This commitment to fast delivery is one of the reasons why IVYPrints has over 100,000 happy customers.

Trusted by Top Corporations: IVYPrints has earned the trust of top corporations and institutions across India. Their ability to consistently deliver high-quality products on time has made them the go-to partner for businesses looking for reliable ID card solutions.

4. Versatility for Multiple Sectors

IVYPrints’ PVC ID cards cater to a wide range of industries, each with unique needs. Here are a few examples of how their PVC ID cards are used across different sectors:

Corporate Offices: For businesses, PVC ID cards play an important role in access control and employee identification. IVYPrints’ cards can be customized with RFID chips or magnetic strips to integrate with access control systems, making them not just an ID but a security tool.

Schools and Universities: In educational institutions, ID cards are essential for both identification and security. IVYPrints provides durable cards that withstand daily use by students, teachers, and staff, ensuring a seamless experience for everyone.

Events and Conferences: For event management companies, IVYPrints offers ID cards that can be used as passes or badges for attendees. These cards can be customized to include event logos, sponsor branding, and even QR codes for easy scanning.

Healthcare: In hospitals and healthcare institutions, ID cards are critical for managing access and ensuring security. IVYPrints’ PVC cards are designed to endure the demands of the healthcare environment, offering a reliable solution for patient identification and staff access control.

5. Sustainability and Environmental Responsibility

IVYPrints is committed to not only delivering durable products but also doing so in an environmentally responsible way. PVC cards, while incredibly durable, can be recycled, and IVYPrints ensures that their production processes are as sustainable as possible. They continuously strive to reduce waste and optimize their production methods to minimize environmental impact.

6. Customer Satisfaction: 100K+ Happy Customers

IVYPrints’ dedication to quality and service is reflected in their customer satisfaction. With over 100,000 happy customers and a large portfolio of top corporations trusting their services, IVYPrints has established itself as a leader in the ID card printing industry. Their ability to deliver durable, high-quality products that meet the needs of diverse sectors has cemented their reputation as a trusted partner for businesses across India.

Conclusion

When it comes to ID cards, durability and quality are non-negotiable. IVYPrints has set the gold standard with its premium PVC ID cards, offering businesses and institutions a solution that is both long-lasting and visually appealing. From their commitment to fast delivery and customer satisfaction to their wide range of customizable templates, IVYPrints ensures that your ID cards are designed to meet your exact needs.

Choose IVYPrints for your PVC ID card requirements and experience the perfect blend of quality, durability, and exceptional service. Elevate your brand, enhance security, and ensure longevity with IVYPrints’ superior PVC ID cards.

[trridev]

10 Reasons Digital Printing is Revolutionizing the Packaging World

In today's fast-evolving market, packaging plays a critical role in capturing consumer attention and conveying brand values. Digital printing is at the forefront of this revolution, offering unparalleled advantages over traditional printing methods. Here are 10 reasons why digital printing is transforming the packaging world:

1. Unmatched Flexibility

Digital printing allows for easy customization and adaptation to various packaging needs. Whether it's different product versions, seasonal promotions, or personalized packaging, digital printing provides the flexibility to cater to diverse requirements without significant cost increases.

2. Cost-Effective for Small Runs

Traditional printing methods often require large print runs to be cost-effective. In contrast, digital printing is ideal for short runs, making it more affordable for small businesses or those needing limited quantities. This ability to print on demand reduces waste and lowers inventory costs.

3. High-Quality Results

With digital printing, brands can achieve vibrant, high-resolution graphics that stand out on the shelf. The precision of digital technology ensures that even intricate designs and small text are rendered sharply, enhancing the overall aesthetic appeal of the packaging.

4. Faster Turnaround Times

In a competitive market, speed is crucial. Digital printing offers quicker setup and production times compared to traditional methods. This rapid turnaround allows brands to respond swiftly to market trends, new product launches, or last-minute changes.

5. Eco-Friendly Printing

As sustainability becomes a priority for consumers and businesses alike, digital printing stands out as a more environmentally friendly option. It produces less waste, uses non-toxic inks, and often requires less energy than traditional printing processes, making it a greener choice.

6. Reduced Inventory Costs

With the ability to print on demand, companies can significantly reduce the need for large inventories of pre-printed packaging. This not only saves on storage costs but also minimizes the risk of obsolete or outdated packaging, leading to cost savings.

7. Enhanced Customization

Digital printing makes it easy to personalize packaging with unique designs, names, or messages. This level of customization can create a more engaging consumer experience, helping brands to connect with their audience on a deeper level and increase customer loyalty.

8. Consistency Across Multiple Prints

Maintaining consistency in color and design is critical for brand recognition. Digital printing ensures that every print run, whether it's the first or the hundredth, delivers consistent quality, helping to maintain a cohesive brand image.

9. Supports Variable Data Printing

Variable data printing (VDP) is one of the standout features of digital printing. VDP allows for the printing of labels and packaging with varying information, such as barcodes, QR codes, or individualized content, without slowing down the production process. This is particularly useful for product tracking, promotions, and regulatory compliance.

10. Innovation and Creativity

Digital printing opens up new possibilities for innovation and creativity in packaging design. From unique textures to special finishes, brands can experiment with different effects to make their packaging more visually appealing and memorable.

Conclusion

Digital printing is more than just a trend; it's a transformative force in the packaging industry. By offering flexibility, cost savings, high quality, and eco-friendly benefits, digital printing is helping brands stay competitive and meet the ever-changing demands of consumers. As technology continues to advance, the impact of digital printing on packaging will only grow, making it an essential tool for brands looking to innovate and thrive in the market.

[secureidprint]

Creating Custom ID Cards and Employee ID Badges

Businesses and organizations rely on ID cards and employee badges for identification, access control, and branding. Advances in ID card printing technology allow creating customized cards in-house. This guide covers tips for designing and printing great custom employee IDs.

Why Issue Custom Employee ID Badges?

Here are some key reasons organizations should invest in customized ID badges for staff:

Security – ID badges enhance security by clearly identifying authorized personnel. They can limit building and system access.

Identification – Custom cards can be designed with employee photos, names, titles, departments, and other details for easy visual ID.

Access Control – Integrated technologies like smart chips, magstripes, and barcodes help control access to facilities and systems.

Branding – Consistent branding reinforces corporate image. Custom IDs represent an organization more professionally than generic cards.

Membership – Badges make employees feel part of the organization. They demonstrate membership status and privileges.

Professionalism – IDs must be worn by customer-facing staff. They project professionalism and allow for better customer interactions.

Metrics – Usage tracking provides data on employee activity levels, presence, etc. This supports human resources and operations.

Key Elements of Employee ID Badges

Well-designed staff ID badges should include:

Photograph – The employee’s photo enables facial recognition and personalization.

Name – Legibly printed first and last names. Nicknames or informal names are generally unsuitable.

Title – Including job titles provides context.

Department – Listing the employee’s department conveys organizational structure.

Employee ID number – Unique staff numbers enable database tracking.

Company logo – Adds branding and reinforces corporate identity.

Card background – Visual elements like brand colors make cards more attractive and professional.

Expiry date – Prevent expired cards from granting access.

Contactless/barcode – Support building access, system login, tracking, etc.

Security elements – Visual security features like holograms help prevent counterfeiting.

How to Design Great Custom Employee ID Badges

Follow these tips for ID badge designs that impress:

Use company branding – Include logos, colors, and fonts aligned with brand guidelines for consistency.

Focus on essentials – Only highlight absolutely necessary info like photo, name, department, expiry, etc. Avoid clutter.

Use large text – Text should be prominent and legible from a distance. Sans-serif fonts work best.

Add visual interest – Make use of color, graphics, icons and other elements for visual pop.

Include security features – Holograms, specialty inks, microtext, guilloche patterns all help thwart counterfeiting.

Leave white space – Don’t overcrowd designs. Borders and spacing improve aesthetics and readability.

Get employee input – Consider allowing staff to provide their preferred name or photo. This boosts satisfaction.

Proof carefully – Double check names, titles, ID numbers, expiry dates, and other info for errors before printing.

Test card designs – Verify designs render properly through test prints before full production.

Great card design software simplifies creating stunning customized ID badge designs even without graphic design expertise.

Options for Printing Custom Employee ID Badges

There are several options for producing ID cards and staff badges:

Outsource production – Card printers and badge manufacturers can produce high volumes. This avoids equipment costs.

Purchase ID card printer – Mid-volume needs can justify investing in an in-house badge printing system for convenience and security.

Use PVC card stock – Standard blank white PVC cards work for basic IDs. They offer reduced cost.

Upgrade card material – More durable composites or polyethylene cards better withstand wear.

Add holographic laminates – Applying holographic overlays enhances security and attractiveness.

Print single-sided – Most IDs only require printing on the front. This saves supply costs.

Print dual-sided – Additional info and security elements can be added to the backside.

Encoding – Smart chip or magstripe encoding provides advanced functionality.

Evaluate business needs and ID card volumes to determine the most suitable production methods.

Equipping Your In-House ID Badge Printing Station

To set up ID card printing in-house:

Get a reliable badge printer – Leading vendors include Zebra, Fargo, Evolis, Magicard, IDP, and others. Consider print speeds, features, and volumes.

Use high-quality supplies – Use only approved cards, ribbons, laminates to prevent printer issues and poor print quality.

Install badge design software – User-friendly software simplifies creating and printing badge designs. May come bundled with printer.

Train staff on software – Ensure employees tasked with card design know how to operate the software effectively.

Implement security procedures – Blank cards and supplies should be securely stored with limited access to prevent unauthorized use.

Plan card distribution – New employee badges will need to be efficiently delivered to HR or managers for issuance.

Budget for supplies – Factor in ongoing supply costs for cards, ribbons, laminates, cleaning kits, etc.

A proper ID card printing setup makes producing employee ID badges fast, convenient, and secure.

Issuing New Employee ID Badges

Here are some best practices for providing new staff members with ID badges:

Capture employee photos – Have new hires get professionally photographed or submit an approved headshot for the badge.

Gather personal details – Obtain legal names, titles, departments and any other info required for badge creation.

Create badge proofs – Mock up final badge proofs for employee approval before printing the actual card.

Confirm details are accurate – Employees should verify all printed badge details are exactly right before issuance.

Print and finish cards – Produce the cards according to the established design guidelines and policies. Apply any overlaminates or encoding.

Organize formal issuance – HR, managers, or security teams should handle badge issuance during onboarding. Review policies.

Destroy expired cards – Any old IDs turned in should be shredded or otherwise destroyed to prevent misuse.

Replace lost cards – Staff should immediately report lost badges so replacement cards can be issued. This maintains security.

Following a structured system for new and replacement ID issuance is key for maintaining an effective company credentialing program.

Why Properly Maintain ID Card Printers

To keep employee ID badge printers functioning optimally:

Perform cleaning – Regular cleaning maintains print quality and prevents debris buildup. Use cleaning kits.

Replace used supplies – Promptly install new ribbons, laminates, etc. when existing ones are depleted. Generic supplies cause issues.

Calibrate periodically – Recalibrate the printer every few months or if cards are misaligned or damaged.

Update firmware – Install updated printer firmware when available to fix bugs and improve performance.

Protect from dirt/liquids – Don’t set up printers in dusty or spill-prone areas. Keep covered.

Follow maintenance schedule – Stick to manufacturer guidelines for cleaning printheads, sensors, rollers, etc.

Inspect finished cards – Check completed cards in output hoppers so any potential issues are caught early.

Contact technical support – If print quality declines or other problems arise, contact the vendor for troubleshooting help.

Proper printer care and maintenance helps avoid downtime and quality problems that impair production of employee ID badges.

Key Takeaways for Custom Employee ID Cards

Well-designed custom IDs represent organizations more professionally.

Essential elements include photos, names, titles, logos, and security features.

ID printers allow convenient in-house production and customization.

Proper badge design software, supplies, and training help set up ID card printing.

Following structured new badge issuance and replacement procedures bolsters security.

Printers must be cleaned and maintained to avoid print quality or card feeding issues.

With professional custom-designed ID cards for employees, organizations can build branding, improve security, and elevate professionalism across the board.

[boxturret]

Toa Canister reproduction

In the same vein as the Mask Pack reproduction, I decided to next tackle the Toa Canister, this was much more complex as there was six of them. Luckily, dating back from 2001, I had all six canisters, and through a recent buying spree from me trying to complete my 2001 collection I had a Kopaka canister from Europe. This is what I based my recreation on, as it was cleaner and had a more interesting layout, though unfortunately I had to use the NA barcodes, as try as I might I couldn't find any photographs of the backs of the canisters online[Update: I now have the EU barcodes and everything has been updated accordingly].

The process was composed of 3 main elements:

Inner Sticker

One thing that massively complicated the process was that the canisters were all really unique to the Toa, seemingly simple things like the order of the Toa on the sticker were different for each of them.

The instructions were more clear cut, but I had to scan all the instruction sheets used myself, as the ones online were super low quality. Also colour matching the different canister images was a pain, all the versions I could find online had wildly different hues.

The masks I was able to get away with using some scans I took from the instruction booklets.

Buying a Kopaka that came with the canister that still had the tabs attached and had a sheath loose enough to slide off was so useful, I wouldn't have been able to recreate everything as easily without it.

Outer Sheath

This was actually much more straight forward, the hardest part was making all the Toa specific elements. There are 7 parts of the layout that need to be switched out per Toa, 3 of which I had to make by hand. The parts layout was initially scanned from the instructions, but they proved to be much to low quality, so I recreated them, since I happen to have access to a large collection of 01 era Bionicle part 3d models, AND SO DO YOU!

It was fun to recreate them, especially the weird things like the extra ball on Pohatu or the weird green axels on Lewa.

The trickiest part was the shot of them sticking out of the canister, since the render required the canister itself. I had to get the model done and have everything set up for at least the front of the label to do these, then go back and finish the rest.

The bar codes also took some working out, each one is unique and should, if I did it right, be actual bar codes. I spent so much effort on getting them right.

Though unfortunately, this is wrong, as it's the NA version of the code, not the EU. If anyone has a full collection of the EU canisters and would be willing to photograph them or simply write down the bar code and item numbers I would be super happy[Update: I now have the EU barcodes and everything has been updated accordingly].

At the end, doing all the different images I needed became quite excruciating, as the files were so large that saving and exporting took minutes. I was originally planning on doing 12 layouts, 6 for the cleaner EU version, and 6 for the NA version, but the NA one really just cuts out the parts layout bubble, shifts everything around, and adds a ton of extra text, so I didn't really want to. You also miss out on this awesome arrow.

Here's a quick comparison between the regional variants

The Canister Mesh

A bit easier than the 2d parts, since I just had to do it once.

The lid was particularly hard, as the face part wasn't really built to be used in this way, hollowing it out for the top and then doing the inside was very time consuming.

The rest went pretty smoothly as I had already had some practice with doing the jar for the parts pack.

The mesh was split in to 4 parts, the canister body, the lid, the inner sticker, which had a variation with separated tabs, and the outer sheath. All decorated parts share one texture, but I made a pale version for the insides, even though no one will ever see it.

It was a fun project, I learned so many things about layer masks, and I hope to be able to do more packaging reproductions in the future, I have a couple Matoran bags and a Turaga box for this purpose.

I've uploaded the high res labels and the 3d rendered assets I made for this to Flickr.

As I was writing this a kind person on twitter gave me the EU bar codes, so I'm not done yet!

[file-formats-programming]

Barcode Image Generation in Vector Format & Enhanced Saving Barcode in SVG using Java

What’s new in this release?

Aspose team is pleased to announce the new version of Aspose.BarCode for Java 18.1.0. The major development in this release is the support to save the generated barcode image in Vector format. This release also supports enhanced process of drawing barcode text when font is specified in the code snippet. Enhanced working of CodeLocation property has also been incorporated in this release. Aspose.BarCode for Java now supports the functionality to generate barcode images in vector format. Two new properties Emf and Svg has been introduced in com.aspose.barcode.BarCodeImageFormat class which can be set before saving barcode image. How a developer can save barcode image in vector format is quite simple and is demonstrated in the code snippet given below. The code snippet contains comments that makes it self explanatory. There are some important enhancements also part of this release, such as Process of setting license has been improved. Now API will show correct exception message in case license subscription is expired. Set license execution time has also been improved, Inaccurate barcode text was displayed when font is specified while saving the barcode image in vector format. The enhancement has been made to draw barcode text properly, Setting big text size with com.aspose.barcode.StringAlignment.Far option, it was noticed that the barcode text disappears. Now the issue has been fixed and  working of setCodeLocation property has been improved.  Below is the list of main improved features and bug fixes added in this release.

Add support to save barcode in SVG

Add support to save barcode in any Vector image format

Support to generate and recognize EPC QR coded barcode

Improved drawing text when font is specified

Mark BarCodeReader API as obsolete

Barcode is rendered without text

Incorrectly saving a picture to a file

Property CodeLocation works incorrectly

 Newly added documentation pages and articles

Some new tips and articles have now been added into Aspose.BarCode for Java documentation that may guide users briefly how to use Aspose.BarCode for performing different tasks like the followings.

Control the Appearance of Code Text

Create QR Barcode with Logo

Overview: Aspose.BarCode for Java

Aspose.BarCode is a Java based visual component for generation & recognition of 1D & 2D barcodes to support Java, web applications and J2ME platform. It supports 29+ barcode symbologies like MSI, QR, OneCode, Australia Post, Aztec, Code128, Code11, EAN128, Codabar, Postnet, USPS and also supports image output in GIF, PNG, BMP & JPG formats. Other features include barcode size & color settings, rotation angle & caption. You can render barcodes to images, printers, HTTP servlet response & graphical objects too.

More about Aspose.BarCode for Java

Homepage of Aspose.BarCode for Java

Download of Aspose.BarCode for Java

Online Documentation for Aspose.BarCode for Java

[creationnahas]

Adobe xchange editor

#ADOBE XCHANGE EDITOR PDF#

#ADOBE XCHANGE EDITOR UPDATE#

#ADOBE XCHANGE EDITOR WINDOWS 10#

#ADOBE XCHANGE EDITOR PRO#

#ADOBE XCHANGE EDITOR SOFTWARE#

#ADOBE XCHANGE EDITOR WINDOWS 10#

The hardware used was an AMD A10-6800K, 8 Gb on Windows 10 64-bit. In my tests, PDF-XChange Editor is much faster than the latest Adobe Reader DC. Open the Search Pane to find text in the current document, all open documents, or documents in folders on your hard drive.

#ADOBE XCHANGE EDITOR PDF#

No preview thumbnail is shown for PDF files that need a password to be opened. When a secure document is open in the Editor, a padlock icon is shown on the Tab Bar indicating that there are some restrictions on modifying the content. In the Viewer, security options can be changed in Preferences, in the Editor, they can be changed in Document Properties, Security. If a document is not secured, or if you know the password, security settings can be changed to allow or disallow opening, commenting, printing, copying, etc.

Replace pages with pages from another PDF file (Free).

Split Document by Bookmarks or Every n-pages (Free).

Pages can be extracted to a new PDF file (Free).

Layers: Add New Group and Add New Layer (Pro).

Attachments: New, Edit, and Annotate (Pro).

QR Codes and Barcodes can be Generated and Added (Pro).

Content Editing: Edit Content, Add Text and Images, Transform Selections, Create from Document, Insert Scanned Pages, and Redaction, (Pro).

Digital Signing: Add, Certify, Timestamp, and Clear (Pro).

Bates Page numbering can be added (Pro).

Backgrounds can be Added, Managed, or Removed (Pro).

Watermarks can be Added, Managed, or Removed (Pro).

Bookmarks can be Added, Generated, Managed, Exported, or Removed (Pro).

Pages can be Inserted, Moved, Swapped, Replaced, Deleted, Cropped, Resized, or Split (Pro).

Headers and Footers can be Added, Managed, or Removed (Pro).

#ADOBE XCHANGE EDITOR PRO#

The Pro features can be hidden in the free version from the File menu, Preferences (shortcut: Ctrl+K), Registration. Either cancel the action, or don’t save the document to avoid adding watermarks. A warning dialog is shown if you attempt to use the professional features in the free version. The professional features are also available in the free version, but documents are saved with a watermark until it is registered. Features in the free version, such as adding comments and highlighting, can be used without any watermark being added. The professional and free versions are the same program.

Added the ability to set custom a background logo, specify the date format and font for the digital signature templates.

Added the ability to remove layers with their associated content and comments.

Improved/fixed High DPI scaling in the UI.

Changed the sorting of items in Forms and Destinations panes when handling digits as numbers.

Optimised new text box comments (they now use less space internally than previously).

Changed the rendering of the Segoe Script font.

Added an option when sorting bookmarks to restrict the ‘Sort’ to a specific bookmark and it’s sub-levels in the Bookmarks Plug-in.

Added an option to the ‘Bookmarks To Links’ tool that sets link style.

Improved the handling of non-embedded fonts (italic simulation).

Improved the handling of embedded fonts.

Added ClearType (forced) rendering mode to use ClearType when rendering isolated XForms (may cause rendering artefacts text background is not white).

Added the ability to select text highlighted on a page (select highlight-comment first and then select the corresponding text).

Also the entire UI has been redesigned to make it look lighter and more modern.

Different UI-Themes added (see Preferences, Customise UI).

Added the ability to open and convert to PDF images that are saved in the WebP format.

Implemented different rendering modes for 3D models.

A “Print Portfolio” feature was implemented.

Sharepoint add-in “Open in PDF-XChange Editor” functionality implemented.

Added font customisation for the summarise comments operation.

That section of my review has therefore been removed. The browser plug-in no longer works in modern browsers, which have moved away from NPAPI support.

#ADOBE XCHANGE EDITOR UPDATE#

I am still finding my way around the host of new features and changes, but I will update this page when I have had time to use the new version more and familiarise myself with the changes. The free PDF-XChange Editor replaced the free PDF-X-Changer Viewer several years ago. Reported bugs are often fixed in the next release.

#ADOBE XCHANGE EDITOR SOFTWARE#

Unlike other software companies, they don’t rely primarily on other end-users to provide support. Their responsiveness to users via their support forum is exemplary. The developers continue to add new features and fix bugs, releasing regular updates. Online help is available, or a PDF version (53.8 Mbytes). It is very customisable too, so if you don’t like the defaults, many things can be modified. PDF-XChange has some very nice features not found in Adobe Reader, but where it matters it follows the familiar shortcuts and layout of the established market leader.

[levelblog200]

Download LuxCoreRender For Mac 2.4

BarcodeGenerator.us – 8.9MB – Shareware – Mac

LuxCoreRender 2.4 Edit. Features included in the LuxCoreRender 2.4 update include: Support for using more than 64 logical processors in Windows. Support for CUDA rendering on NVIDIA graphics cards, with out-of-core capability. The ability to create materials with thin-film interference. LuxCoreRender 2.0–2.3 Edit. On Windows, you have to install the following: Microsoft Visual C Redistributable for Visual Studio 2017. Intel C redistributable. BlendLuxCore-v2.5-linux64.zip 99.5 MB. BlendLuxCore-v2.5-mac64.zip 66 MB. LuxCoreRender is a physically based and unbiased rendering engine. Created by Luxion. This topic describes how to use package managers to download and install Spark Standalone from the MEP repository. LuxCoreRender is and will always be free software, both for private and commercial use. V-Ray Standalone is a standalone application that can render. Pycollada is included in the FreeCAD installers for Windows and Mac. Rendering LuxCoreRender. LuxCoreRender is a render engine, reboot of the LuxRender project. Officially it is not supported by the Raytracing Workbench, but it might be worth to give it a try. One time OpenCL kernel compilation. Albedo-texture preview mode. Faster and more optimized 'Autoportals'. Random per island. Custom normals support. Thin film interference.

Apple Mac OS ID Card Designing Software is useful to create standard and professional-looking ID cards. Mac Software has the facility to print designed identification cards using a flexible print setting feature. The software provides design objects and more text fields for making ID cards as required. The program generates ID cards for different organizations for security purposes. Software provides an image cropping tool to crop multiple user images. A user can capture pictures by using a camera. Users can also browse the user image from pc. You can design multiple identification cards using batch processing series in a minimum amount of time. Mac software provides the option of sending designed identification cards to single or multiple email IDs using the inbuilt email setting feature. Mac Software allows users to copy the current card design to the other side of the ID card. Text fields add images, symbols or company logos, borders used for cards, and make them more professional. Users easily design ID cards without the need for skills or technical knowledge. Mac ID card Maker Software Features: * Mac software allows users to browse all the details from an Excel and TXT file while designing ID cards. * Create ID cards in a variety of shapes, such as rectangles, rounded rectangles, and ellipses. *User can export designed ID cards as images, PDFs, and templates. * Save designed ID cards in various file formats like PNG, JPEG. *Design ID cards using designing objects like lines, arcs, text, barcodes, pictures, signatures, watermarks, and other image-designing objects. * Orientation of card-Horizontal or vertical or customize it according to user choice. * Background properties with multiple styles of filling colours.

Download LuxCoreRender For Mac 2.4 Software

Overview

ID Card Design Software for Mac is a Shareware software in the category Business developed by BarcodeGenerator.us.

The latest version of ID Card Design Software for Mac is 9.3.2.4, released on 11/29/2021. It was initially added to our database on 11/29/2021.

ID Card Design Software for Mac runs on the following operating systems: Mac. The download file has a size of 8.9MB.

ID Card Design Software for Mac has not been rated by our users yet.

Write a review for ID Card Design Software for Mac!

Download Luxcorerender For Mac 2.4 Download

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Download LuxCoreRender For Mac 2.4 Pro

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NetSpot for Mac is a native wireless information application for your Mac. It only takes a couple of clicks to load your plan and begin a network site survey. All you need to do is point to where you are on the map and NetSpot will begin measuring wireless signals immediately, then move around and collect Wi-Fi data. The application goves you all the data you need to analyze radio signal leakages, discover noise sources, map channel usage and locate effective access points.

KEY FEATURES INCLUDE:

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Wireless Network Planning.

NetSpot is an amazing wireless survey tool for Wi-Fi planning. You can load a map, collect wireless site survey data and construct a comprehensive heatmap of your network. You can locate empty channels with no wireless networks.

Visualize Your Wireless Network.

To be efficient, your Wi-Fi network needs hotspots placed correctly and radio channels assigned in a proper way. NetSpot allows you see all dead zones without coverage and optimize hotspots' placements.

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[maxsell-technologies]

OVERVIEW OF LASER MARKING – INDUSTRIAL APPLICATIONS

With advancements in marketing techniques businesses realize the importance of branding and are investing in laser marking machines.

In this modern age, laser marking has become quite vital for a lot of manufacturing companies, and its demand is increasing rapidly. It is not only used in industrial operations, but it can also be used for other things like gift marking etc.

LASER is an acronym that stands for Light Amplification by Stimulated Emission of Radiation. A laser beam starts as an atom that is stimulated to emit light particles. This light can be focused and guided at a laser marking location. The amount of energy emitted is estimated in wavelengths or nanometers. The longer the wavelength, the stronger the laser beam.

In this blog you would get an overview of what is Laser Marking and how small business would be beneficial by this and also new technology in this sector.

WHAT IS LASER MARKING

In the most basic form, laser marking is a permanent technique that uses a directed beam of light to leave a permanent mark on a surface. Laser labelling covers a broad range of uses and is typically done with a fibre, pulsed, continuous wave, green, or UV laser unit. Steel, titanium, aluminium, copper, ceramic, plastic, glass, wood, paper, and cardboard can all be laser marked and processed at high speeds, leaving permanent traceability marks. Text machine-readable data, such as barcodes, Unique ID codes, and 2D Data Matrix codes or graphics, can be applied to parts and products.

HOW DOES LASER MARKING WORK?

Laser marking works by marking the surface of a substance with a directed beam of light. As the beam interacts with the surface of the object, it changes its properties and appearance. This focused beam only focuses on a specific region, allowing the laser marking system to produce accurate, high-quality, high-contrast marks that are easy to read or scan on surface.

What is the procedure?

But, now that you've learned a little bit more about the procedure and what it's used for, let's have a look at how laser marking works. It is critical to remember at the outset that this is a high-speed, high-precision operation. It performs easily, efficiently, and reliably, leaving a high-quality label on the content it is dealing with. Since laser marking is done without any touch, it can be done on flat surfaces, lightweight fabrics, or even complicated shapes. To laser label, one focuses a directed laser beam onto the surface of the material being worked with, and the heat generated by the beam creates a contrast between the affected region and the surrounding material. The beam essentially oxidises the region under the surface of the area it is targeting, forcing it to change colour. The majority of marks will turn black, but certain textures will change colour. The fact that the surface layer of a substance, as well as the material itself, is not compromised or rendered uneven is a major draw for this method. The labelling technique, also known as laser coloration, is often used for bar codes, QR codes, badges, and other forms of identifying markings. Although laser engraving may be used where the identifying mark needs to be deeper, engraving is most often used for personalisation and customization.

4 WAYS LASER MARKING MACHINE CAN BE A BOOM FOR SMALL BUSINESS

Manufacturers may benefit from the laser marking process in a variety of ways, including simple component recognition and branding as well as full traceability to trace items from beginning to end. It produces long-lasting, readable markings.

Superior Consistency : One of the most significant advantages of laser marking is the ability to brand the items with high-quality markings. Spending money on a laser marking machine is a big decision, and when you make that kind of investment, you want to see results. Since the laser marking machine's beam is computer-driven, each mark it prints would be accurate. It can also print intricate patterns and engrave them for you, which would be impossible for traditional methods. You can also print small text on your products or machines that is still readable.

Competitive Advantage : Another advantage of laser engraving is that it will help you bring distinctiveness to your brand. In today's market, rivalry is fierce, and if you wish to stay competitive, you must achieve an advantage over your rivals. Laser machines encourage you to be imaginative with your engravings and make your logo look appealing, which will bring more quality to your product.

Timely Engraving : The laser engraving process is fast and can save you a lot of time. Traditional engraving techniques necessitate the use of a particular range of instruments as well as extreme caution, which can be time-consuming. Laser engraving, on the other hand, requires only an order to complete the task without any delays or waste of time.

Precision: If you intend to engrave costly goods or devices, you must proceed with caution. Only one little error, and the whole product will be ruined, which no one likes. You don't have to think about all of that with laser printing. The engravings will be accurate, and there will be no risk of product harm.

NEW TECHNIQUES IN LASER MARKING TECHNOLOGY

When it comes to labeling metals and plastics, the options are endless. You can also use the MOPA laser to produce higher-contrast and more legible effects on plastics, label (anodized) aluminium in black, and create reproducible colours on steel. Furthermore, the MOPA laser can generate qualitatively similar marks partially faster than the traditional fibre laser.

The company who holds great market share in MOPA laser marking technology is MAXSELL LASER MARKING SYSTEM - MOPA lasers. Maxsell has various products in laser marking like Enclosed fibre marking machine , Maxsell laser marking machine - fast and economical . It is for blackish finish,

Maxsell laser marking machine Manufacturer - Enclosed fibre laser marking system that is both fast and cost-effective, all-in-one laser marking system for deep engraving, cutting, and marking on metals and non-metals . It is a quick and affordable laser engraving machine for commercial use, as well as a laser marker for all metals and selected non-metals. It has impact frequency of 1-1000 Khz

BENEFITS OF MAXSELL LASER MARKING SYSTEM – MOPA LASER

Less burning/melting at the metal engraving's edge

ess heat formation during annealing marks on metal, resulting in improved corrosion behavior

Anodized aluminium with a black branding

Plastics melting under controlled conditions

Plastics produce less foam.

INDUSTRIAL APPLICATIONS:

They can be used in various industry lines like Translucent plastic key, integrated circuit (IC), digital product pieces, precision machinery, clothing, sanitary ware, measuring and cutting tool, cell communication devices, automotive and motorcycle accessories, plastic products, medical device, construction material and tubing, and so on. It helps in making your LED and CFL lamps look sleek by adding your company name, specifications, or important details such as a barcode or QR code, logo, serial number, date, specification, tracking information, or something else you want. Because of its outstanding beam quality, it can also mark on metal surfaces and various non-metal type materials.

Laser marking is indeed a critical procedure and involves a lot of precision but this can be a great tool for small business in various industries which can be boom to the market.

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[kakaji]

The Death and Life of Punk, the Last Subculture, by Dylan Clark

Punk is dead. Long live punk. (graffito in use since 1970s)

Punk had to die so that it could live.

With the death of punk, classical subcultures died. What had, by the 1870s, emerged as ‘subcultures’ were understood to be groups of youths who practised a wide array of social dissent through shared behavioural, musical, and costume orientations. Such groups were remarkably capable vehicles for social change, and were involved in dramatically reshaping social norms in many parts of the world. These ‘classical’ subcultures obtained their potency partly through an ability to shock and dismay, to disobey prescribed confines of class, gender, and ethnicity. But things changed. People gradually became acclimatized to such subcultural transgressions to the point that, in many places, they have become an expected part of the social landscape. The image of rebellion has become one of the most dominant narratives of the corporate capitalist landscape: the ‘bad boy’ has been reconfigured as a prototypical consumer. And so it was a new culture in the 1970s, the punk subculture, which emerged to fight even the normalization of subculture itself, with brilliant new forms of social critique and style. But even punk was caught, caged, and placed in the subcultural zoo, on display for all to see. Torn from its societal jungle adn safely taunted by viewers behind barcodes, punk, the last subculture, was dead.

The classical subculture ‘died’ when it became the object of social inspection and nostalgia, and when it became so amenable to commodification. Marketers long ago awakened to the fact that subcultures are expedient vehicles for selling music, cars, clothing, cosmetics, and everything else under the sun. but this truism is not lost on many subcultural youth themselves, and they will be the first to grumble that there is nothing new under the subcultural sun.

In this climate, constrained by the discourse of subculture, deviation from the norm ain’t what it used to be. Deviation from the norm seems, well, normal. It is allegedly common for a young person to choose a prefab subculture off the rack, wear it for a few years, then rejoin with the ‘mainstream’ culture that they never really left at all. Perhaps the result of our autopsy will show that subculture (of the young, dissident, costumed kind) has become a useful part of the status quo, and less useful for harbouring discontent. For these reasons we can melodramatically pronounce that subculture is dead.

Yet still they come: goths, neo-hippies, and ‘77-ish mohawked punk rockers. And still people find solidarity, revolt, and individuality by inhabiting a shared costume marking their membership in a subculture. And still parents get upset, people gawk, peers shudder, and selves are recreated. Perhaps it is cruel or inaccurate to call these classical motifs dead, because they can be so very alive and real to the people who occupy them. Like squatters in abandoned buildings, practising subcultists give life to what seem to be deceased structures.

Or is the subculture dead? The death of subculture-- that is, the death of subcultural autonomy and meaningful rebellion-- did not escape the notice of many. For decades people have decried the commercialization of style, the paisley without the politics. But such laments have not failed to produce strategies. There is something else-- another kind of subculture, gestating and growing far below the classical subcultural terrain. For two decades thousands kept a secret: punk never died. Instead, punk had, even in its earliest days, begun to articulate a social form that anticipates and outmanoeuvres the dominance of corporate-capitalism. And as the Cold War finally disappears from decades of habit, and as the political and cultural hegemony of corporate-capitalism seems unrivalled, it suddenly becomes clear that the anarchist frameworks of punk have spread into all sorts of social groupings. The social forms punks began to play with in the early 1970s have penetrated subcultures across the spectrum. After the death of the classical subculture we witness the birth of new practices, ideologies, and ways of being-- a vast litter of anarchism.

For tribes of contemporary people who might be called punk (and who often refuse to label themselves), their subculture is partly in revolt from the popular discourse of subculture, from what has become, in punk eyes, a commercialized form of safe, affected discontent-- a series of consumed subjectivities, including pre-fabricated ‘Alternative’ looks. Punk is, ironically, a subculture operating within parts of that established discourse, and yet it is also a subculture partly dedicated to opposing what the discourse of subculture has become. As the century rolls over, punk is the invention of not just new subjectivities but, perhaps, a new kind of cultural formation. The death of subculture has in some ways helped to produce one of the most formidable subcultures yet: the death of subculture is the (re)birth of punk.

Part I. Classical Punk: The Last Subculture

Consumer voyeurism is much more offensive to punk sensibilities than song themes about addiction or slaughtering dolls onstage. (Van Dorston 1990)

At the heart of early punk was calculated anger. It was anger at the establishment and anger at the allegedly soft rebellion of the hippie counterculture; anger, too, at the commodification of rock and roll (Cullen 1996:249). Its politics were avowedly apolitical, yet it openly and explicitly confronted the traditions and norms of the powers that be. Describing the cultural milieu for young people in 19765, Greil Marcus notes the centrality of cultural production: ‘For the young everything flowed from rock ‘n’ roll (fashion, slang, sexual styles, drug habits, poses), or was organized by it, or was validated by it’ (Marcus 1989:53). But by the early 1970s, with commodification in full swing, with some artists said to have compromised their integrity by becoming rich stars,a dn with ‘rock’ having been integrated into the mainstream, some people felt that youth subcultures were increasingly a part of the intensifying consumer society, rather than opponents of the mainstream. Punk promised to build a scene that could not be taken. Its anger, pleasures, and ugliness were to go beyond what capitalism and bourgeois society could swallow. It would be untouchable, undesirable, unmanageable.

Early punk was a proclamation and an embrace of discord. In England it was begun by working-class youths decrying a declining economy and rising unemployment, chiding the hypocrisy of the rich, and refuting the notion of reform. In America, early punk was a middle-class youth movement, a reaction against the boredom of mainstream culture (Henry 1989:69). Early punk sought to tear apart consumer goods, royalty, and sociability; and it sought to destroy the idols of the bourgeoisie.

At first punk succeeded beyond its own lurid dreams. The Sex Pistols created a fresh moral panic fuelled by British tabloids, Members of Parliament, and plenty of everyday folk. Initially, at least, they threatened ‘everything England stands for’: patriotism, class hierarchy, ‘common decency’ and ‘good taste.’ When the Sex Pistols topped the charts in Britain, and climbed high in America, Canada, and elsewhere, punk savoured a moment in the sun: every public castigation only convinced more people that punk was real.

Damming God and the state, work and leisure, home and family, sex and play, the audience and itself, the music briefly made it possible to experience all those things as if they were not natural facts but ideological constructs: things than had been made and therefore could be altered, or done away with altogether. It became possible to see these things as bad jokes, and for the music to come forth as a better joke. (Marcus 1989:6)

Punk was to cross the rubicon of style from which there could be no retreat. Some punks went so far as to valorize anything mainstream society disliked, including rape and death camps; some punks slid into fascism. When the raw forces and ugliness of punk succumbed to corporate-capitalism within a few short years, the music/style nexus had lost its battle of Waterloo. Punk waged an all-out battle on this front, and it wielded new and shocking armaments, but in the end, even punk was proven profitable. Penny Rimbaud (1998:74) traces its cooption:

Within six months the movement had been bought out. The capitalist counter-revolutionaries had killed with cash. Punk degenerated from being a force for change, to becoming just another element in the grand media circus. Sold out, sanitised and strangled, punk had become just another social commodity, a burnt-out memory of how it might have been.

Profits serve to bandage the wounds inflicted by subcultures, while time and nostalgia cover over the historical stars. Even punk, when reduced to a neat mohawk hairstyle and a studded leather jacket, could be made into a cleaned-up spokesman for potato chips. Suddenly, the language of punk was rendered meaningless. Or perhaps-- perhaps-- the meaningless language of punk was made meaningful. Greil Marcus (1989:438) records the collapse of punk transgression: ‘the times changed, the context in which all these things could communicate not pedantry but novelty vanished, and what once were metaphors became fugitive footnotes to a text no longer in print.’

Like their subcultural predecessors, early punks were too dependent on music and fashion as modes for expression; these proved to be easy targets for corporate cooptation. ‘The English punk rock rhetoric of revolution, destruction, and anarchy was articulated by means of specific pleasures of consumption requiring the full industrial operations that were ostensibly were the objects of critique’ (Shank 1994: 94). Tactically speaking, the decisive subcultural advantage in music and style-- their innovation, rebellion, and capacity to alarm--was preempted by the new culture industry, which mass-produced and sterilized punk’s verve. With the collapse of punk’s stylistic ultimatum, what had been the foundations for twentieth-century subcultural dissent were diminished--not lost, but never to completely recover the power they once had in music and style.

Part II. The Triumph of the Culture Industry

Gil Scott Heron is famous for the line, ‘The Revolution will not be televised’. But in a way the opposite has happened. Nothing’s given the change to brew and develop anymore, before the media takes hold of it and grinds it to death. Also, there’s an instant commodification of everything that might develop into something ‘revolutionary.’ (Dishwater Pete, quoted in Vale 1997:17)

Having ostensibly neutralized early punk, the culture indsutry proved itself capable of marketing any classical youth subculture. All styles, musics, and poses could be packaged: seemingly no subculture was immune to its gaze. So levelled, classical subcultures were deprived of some of their ability to generate meaning and voice critique.

‘Subculture,’ in the discourse handed down to the present, has come popularly to represent youths who adorn themselves in tribal makeup and listen to narrow genres of music. Subcultures are, in this hegemonic caricature, a temporary phase through which mostly juvenile, mostly ‘White,’ and mostly harmless people symbolically create identity and peer groups, only to later return, as adults, to their pre-ordained roles in mainstream society.

The aforementioned idea of subculture is not without merit: ti is often a temporary vehicle through which teens and young adults select a somewhat prefabricated identification, make friends, separate from their parents, and individuate themselves. As a social form, this classical breed of subculture is important, widespread, and diversely expressed. In this form ‘subculture’ is partly a response to prevailing political economies and partly a cultural pattern that has been shaped and reworked by subcultures themselves and by the mass media. As such it is an inherited social form, and one which is heavily interactive with capitalist enterprise. Thus, subculture is both a discourse that continues to be a meaningful tool for countless people and, at the same time, something of a pawn of the culture industry.

With its capacity to designate all subcultures, all youth, under a smooth frosting of sameness, the culture industry was capable of violating the dignity of subcultists and softening their critique. Implied in the culture industry’s appropriation of subcultural imagery was the accusation of sameness, of predictability, of a generic ‘kids will be kids.’ To paste on any group a label of synchronic oneness is, in some way, to echo colonial tactics. ‘Youths’ or ‘kids,’ when smothered with a pan-generational movement of discontent, are reduced to a mere footnote to the dominant narrative of corporate-capitalism. Trapped in nostalgia and commercial classifications, subcultures and youth are merged into the endless, amalgamated consumer culture.

No wonder, then, that subcultural styles no longer provoke panics, except in select small towns. Piercings and tattoos might cause their owner to be rejected from a job, but they generally fail to arouse astonishment or fear. Writes Frederic Jameson (1983:124): ‘there is very little in either the form of the content of contemporary art that contemporary society finds intolerable and scandalous. The most offensive forms of this art-punk rock, say...are all taken in stride by society’. So too, ideas of self gratification are no longer at odds with the status quo. In the ‘Just Do It’ culture of the late twentieth century, selfish hedonism dominates the airwaves. Says Simon Reynolds (1988:254): ‘“Youth” has been co-opted, in a sanitized, censored version...Desire is no longer antagonistic to materialism, as it was circa the Stones’ “Satisfaction”.’ Instead young people often relate to the alienation of The Smiths or REM, who seem to lament that ‘everyone is having fun except me’; the sense of failure at not having the ‘sex/fun/style’ of the young people in the mass media. Indeed, long before ‘satisfaction’ became hegemonic, the commodity promised to satisfy. But because it cannot satisfy it leaves a melancholy that is satisfiable only in further consumption. So notes Stacy Corngold (1996:33) who concludes that ‘Gramsci’s general point appears to have been confirmed: all complex industrial societies rule by non-coercive coercion, whereby political questions become disguised as cultural ones and as such become insoluble.’ Youth subcultures, after the triumph of the culture industry, may perpetually find themselves one commodity short of satisfaction, and trapped by words that were once liberatory.

Or, as Grant McCracken (1988:133) argues, commodities cannot be completely effective as a mode of dissent because they are made legible in a language written by corporate-capitalism. As he writes:

when “hippies,” “punks”, “gays”, “feminists”, “young republicans”, and other radical groups use consumer goods to declare their difference, the code they use renders them comprehensible to the rest of society and assimilable within a larger set of cultural categories...The act of protest is finally an act of participation in a set of shared symbols and meanings.

Though McCracken underestimates the efficacy of stylized dissent, he is able to locate a defining weakness in the emphasis that subcultures have historically placed in style. My contention is that style was far more potent as a mode of rebellion in the past, and that not until the demise of punk was subcultural style dealt a mortal wound. After the demise of punk’s uber-style, after a kind of terminal point for outrageousness, there is a banality to subcultural style. And it is for this reason that Dick Hebdige’s (1979:102) ‘communication of a significant difference’ can no longer serve as a cornerstone in the masonry of subcultural identity. Following this logic, George McKay (1998:20) comments on the ‘Ecstasy Industry’ of mass culture, which has seized control of style. Thus

The Ecstasy Industry, for its part, is doing only too well under contemporary capitalism and could easily absorb the techniques of lifestyle anarchists to enhance a marketably naughty image. The counterculture that once shocked the bourgeoisie with its long hair, beards, dress, sexual freedom, and art has long since been upstaged by bourgeois entrepreneurs.

We can say, too, that the economy for subcultural codes suffers from hyper-inflation. In other words, the value of subcultural signs and meanings has been depleted: an unusual hairstyle just can’t buy the outsider status it used to. Stylistic transgressions are sometimes piled on one another like so many pesos, but the value slips away almost instantly. Thus, by the 1990s, dissident youth subcultures were far less able to arouse moral panics (Boethius 1995:52) despite an accelerated pace of style innovation (Ferrell 1993:194). In the 2000s, subcultural style is worth less because a succession of subcultures has been commodified in past decades. ‘Subculture’ has become a billion-dollar industry. Bare skin, odd piercings, and bluejeans are not a source of moral panics these days: they often help to create new market opportunities. Even irony, indifference, and apathy toward styles and subculture have been incorporated into Sprite and OK Cola commercials: every subjectivity, or so it may seem, has been swallowed up by the gluttons of Madison Avenue (Frank 1996, 1997a, 1997b).

Part III. The Discourse of Subculture, Plain for All to See

We burrow and borrow and barrow (or dump) our trash and treasures in an endless ballet of making and unmaking and remaking. The speed of this process is now such that a child can see it. (McLuhan and Nevitt 1972:104-5)

The patterned quality of youth subculture (innovate style and music → obtain a following → become commodified and typecast) forms a discourse of subculture, one that is recognized by academics and youths alike. That such a discourse is identifiable over several decades, however, does not mean that it goes unchanged or unchallenged. As a social form it undergoes change in its own right, but also because it has become the discursive object of the mass media. In particular, ‘subculture’ has been in many ways incorporated as a set trope of the culture industries which retail entertainment, clothing, and other commodities. Many observers-- academics, journalists, and culture industrialists-- fail to recognize that hegemonic appropriation of the discourse of subculture has had impacts for the people in subcultures.

Observers may fall into a classic pitfall, wherein they typecast subcultures. Any number of scholars are guilty of detailing the patterned quality of the discourse of subculture, trapping subcultures in a kind of synchronic Othering. One example should suffice:

Nowhere is the rapidly cyclical nature of rock-and-roll history more evident than in the series of events surrounding punk rock. Punk broke all the rolls and declared war on all previously existing musical trends and rules of social behaviour. Rebelling against established musical trends and social mores, punk quickly became a tradition in itself-- a movement with highly predictable stylistic elements. By 1981, just six years after the formation of the Sex Pistols, a new generation of performers had already begun to assert an identity distinct from the established punk style...Here we come full circle in the evolution of rock-and-roll as seen through the lens of punk. Emerging as the antithesis of the conservative musical climate of the 1970s, punk was quickly absorbed and exploited by the very elements against which it rebelled. Undoubtedly a new generation of performers will soon find an aesthetic and philosophical means of rebelling against the now commercial state of rock, just as punks did in [the 1970s]. (Henry 1989:115,116)

Henry, like so many other commentators, repeats serious errors in subcultural studies: (1) she conflates well-known musicians with the subcultures that listen to them; (2) rather than engage punk on its own terms she reduces punk to a type of youth subculture and little more; (3) she assumes that the ‘cyclical nature of rock-and-roll’ will continue to cycle, without considering the cultural effects of its repeated rotations. Many witnesses fail to see the dialectical motion of the discourse of subculture.

Indeed, commodification and trivialization of subcultural style is becoming ever more rapid and, at the turn of the millenium, subcultures are losing certain powers of speech. Part of what has become the hegemonic discourse of subculture is a misrepresentative depolitization of subcultures; the notion that subcultures were and are little more than hairstyles, quaint slang, and pop songs. In the prism of nostalgia, the politics and ideologies of subcultures are often stripped from them.

For today’s subcultural practitioners what does it mean when subcultures of the previous decades are encapsulated in commercials and nostalgia? Punks, mods, hippies, break dancers, 1970s stoners: all seem relegated to cages in the zoo of history, viewed and laughed at from the smug security of a television monitor. (The sign says, ‘Please do not taunt the historical subcultures’, but who listens?) Today’s subcultural denizens are forced to recognize that yesterday’s subcultures can quite easily be repackaged, made spokeswomen for the new Volkswagen.

One danger industrial pop culture poses to subsequent generations of dissident youth subcultures is that these youths may mistake style as the totality of prior dissent. Commercial culture deprives subcultures of a voice when it succeeds in linking subcultural style to its own products, when it nostalgizes and trivializes historic subcultures, and when it reduces a subculture to just another consumer preference. People within subcultures, for their part, capitulate when they equate commodified style with cooptation, when they believe that grunge, or punk, or break-dancing, is just another way of choosing Pepsi over Coke, when they believe that the entirety of subculture is shallow or stolen.

Dissident youth subculture is normal and expected, even unwittingly hegemonic. Where long hair and denim once threatened the mainstream, it has become mainstream and so has the very idea of subculture. Not only are deviant styles normalized, but subcultural presence is now taken for granted: the fact of subcultures is accepted and anticipated. Subcultures may even serve a useful function for capitalism, by making stylistic innovations that can then become vehicles for new sales. Subcultures became, by the 1970s, if not earlier, a part of everyday life, another category of people in the goings-on of society-- part of the landscape, part of daily life, part of hegemonic normality.

But this fact did not go unnoticed by many in the subcultural world.

Part IV. Long Live Punk: New Ways of Being Subcultural

Looking back at the 1980s one has to ask whether punk really died at all. Perhaps the death of punk symbolically transpired with the elections of Margaret Thatcher in England (1979) and Ronald Reagan in American (1980). The Sex Pistols broke up (1978), Sid Vicious died (1979), and--most damningly--too many teeny-boppers were affecting a safe, suburban version of ‘punk’. For many people, spiked hair and dog collars had become a joke, the domain of soda pop ads and television dramas. But did punk disappear with the utter sell-out of its foremost corporate spokesband, the Sex Pistols? Did punk vanish when pink mohawks could be found only on pubescent heads at the shopping mall? If the spectacular collapse of punk was also the collapse of spectacular subcultures, what remained after the inferno? What crawled from the wreckage? In what ways can young people express their unease with the modern structure of feeling? A new kind of punk has been answering these questions.

After shedding its dog collars and Union Jacks, punk came to be: (1) an anti-modern articulation, and (2) a way of being subcultural while addressing the discursive problems of subcultures. In fact, these two courses prove to be one path. That is, the problems of contemporary punk subcultures, after the ‘death’ of classical subcultures, prove to be intimate with the characteristics of recent modernity. Punk, then, is a position from which to articulate an ideological position without accruing the film of mainstream attention.Contemporary punk subcultures, may therefore choose to avoid spectacle-based interaction with dominant culture. Gone too is the dream of toppling the status quo in subcultural revolution. The culture industry not only proved louder than any subcultural challenge, it was a skilled predator on the prowl for fresh young subcultures. The power to directly confront dominant society was lost also with the increasing speed with which the commodification of deviant styles is achieved. It may be only a matter of months between stylistic innovation and its autonomous language of outsiderness, and its re-presentation in commercials and shopping malls.

Even the un-style of 1990s grunge (an old pair of jeans and a flannel shirt) was converted to the religion of the consumer; baptized and born-again as celebrations of corporate-capitalism. With such history in mind, new social movements such as punk attempt to forego style, shared music, and even names for themselves, for fear of being coopted by the market democracy. Tom Frank, speaking at a convention of zinesters addressed precisely this aspect of the structure of feeling in the 1990s:

The real thing to do is get some content. If you don’t want to be coopted, if you don’t want to be ripped off, there’s only one thing that’s ever going to prevent it and that’s politics. National politics, politics of the workplace, but most importantly politics of culture. Which means getting a clue about what the Culture Trust does and why, and saying what needs to be said about it. As culture is becoming the central pillar of our national economy, the politics of culture are becoming ever more central to the way our lives are played out. Realize that what the Culture Trust is doing is the greatest obscenity, the most arrogant reworking of people’s lives to come down the pike in a hundred years. Be clear from the start: what we’re doing isn’t a subculture; it’s an adversarial culture. (Frank 1996)

To a certain extent, punk means post-punk-- a nameless, covert subculture reformed after punk. To recap: early punk was, in part, simulated ‘anarchy;’ the performance of an unruly mob. So long as it could convince or alarm straight people, it achieved the enactment. For its play to work, punk needed a perplexed and frightened ‘mainstream’ off which to bounce. But when the mainstream proved that it needed punk, punk’s equation was reversed: its negativity became positively commercial. As mainstream style diversified, and as deviant styles were normalized, punk had less to act against. Punk had gambled all its chips on public outcry, and when it could no longer captivate an audience, it was wiped clean. Post-punk, or contemporary punk, has foregone these performances of anarchy and is now almost synonymous with the practice of anarchism.

Long after the ‘death’ of classical punk, post-punk and/or punk subcultures coalesce around praxis. For contemporary punks subcultural memberships, authenticity, and prestige are transacted through action internal to the subculture.

Greil Marcus’ idea of punk’s greatness is that the Sex Pistols could tell Bill Grundy to ‘fuck off’ on television. The real greatness of punk is that it can develop an entire subculture that would tell Bill Grundy and safe, boring television culture as a whole to fuck off directly, establishing a parallel social reality to that of boring consumerism (Van Dorston 1990)

Stripped nude, ideologies developed in the early years of punk continue to provide frameworks for meaningful subculture. Against the threatening purview of mass media and its capacity to usurp and commodify style, punk subcultures steer away from symbolic encounters with the System and create a basis in experience.

Punks, in my work among the anarchist-punks of Seattle, don’t call themselves punks. Instead they obliquely refer to the scene in which they ‘hang out’. They deny that they have rules, and claim that they are socially and ideologically porous. After three decades, here is what has become of many of the CCCS’ spectacular subcultures. And yet, in their stead, vibrant, living subcultures remain, with sets of regulations, norms, and their own ideological turfs. Seattle’s anarchist punks, for example, disavow an orthodox name, costume, or music; yet in many ways they continue to leave, or perhaps squat, within the classical structure of subculture. Although today’s punks refuse to pay the spectacular rent, they find that a new breed of subculture offers them ideological shelter and warmth.

From whence did these latter-day punks come? In contemporary America, the relentless commodification of subcultures has brought about a crisis in the act of subcultural signification. Punk is today, in part, a careful articulation in response to the hyper-inflationary market for subcultural codes and meanings, an evasion of subcultural commodification, and a protest against prefabricated culture; and punk is a subculture that resists the hegemonic discourse of subculture. The public cooptation of punk has led some punks to disclaim early punk, while preserving its more political features. Having been forced, as it were, out of a costume and music-based clique, punk is evolving into one of the most powerful political forces in North America and Europe, making its presence felt in the Battle of Seattle (1999), Quebec City (2001), EarthFirst!, Reclaim the Streets, and in variety of anti-corporate movements.

Like the spectacular subcultures so aptly described by the CCCS in the 1970s, current punks are partly in pursuit of an authentic existence. However, now that stylistic authenticity has been problematized by the ‘conquest of cool’ (Frank 1997a), punks have found that the ultimate authenticity lies in political action. Where subcultures were once a steady source of freshly marketable styles for corporations, they now present corporations with a formidable opponent. Punk marks a terrain in which people steadfastly challenge urban sprawl, war, vivisection, deforestation racism, the exploitation of the Third World, and many other manifestations of corporate-capitalism. The threatening pose has been replaced with the actual threat.

Perhaps that is one of the great secrets of subcultural history: punk faked its own death. Gone was the hair, gone was the boutique clothing, gone was negative rebellion (whatever they do, we’ll do the opposite). Gone was the name. Maybe it had to die, so as to collect its own life insurance. When punk was pronounced dead it bequeathed to its successors--itself-- a new subcultural discourse. The do-it-yourself culture had spawned independent record labels, speciality record stores, and music venues: in these places culture could be produced with less capitalism, more autonomy, and more anonymity. Punk faked its own death so well that everyone believed it. Many people who were still, in essence, punk did not know that they were inhabiting kinds of punk subjectivity. Even today, many people engaged in what might be called punk think of punk only in terms of its classical archetype. Punk can be hidden even to itself.

Punk had to die so that it could live. By slipping free of its orthodoxies-- its costumes, musical regulations, behaviours, and thoughts-- punk embodied the anarchism it aspired to. Decentralized, anti-hierarchical, mobile, and invisible, punk has become a loose assemblage of guerilla militias. It cannot be owned; it cannot be sold. It upholds the principles of anarchism, yet has no ideology. It is called punk, yet it has no name.

[loadcard201]

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[t-baba]

How to Create an Android App Without Coding

Alternative approaches to Android application development—those that involve writing no code at all or writing only minimal amounts of code—are becoming increasingly feasible today. They are, of course, ideal for non-programmers, but experienced programmers too can use them to save time and effort. In this tutorial, I'm going to talk about two such approaches and introduce you to several tools and templates that enable them.

CodeCanyon is a Marketplace for App Templates and Builders

CodeCanyon is an online marketplace that has hundreds of additional professional Android app templates and builder tools. Some of these are incredibly feature-rich and well-designed. You can sometimes save days, even months, of effort by using one of them.

1. Using App Builders

App builders are usually tools that allow you to create apps by simply filling in a few forms. Most of the popular ones are flexible enough to create a large variety of apps. For instance, you could use them to create e-commerce apps, news apps, or even chat apps. And the best thing about them is that you won't have to write a single line of code while using them.

React App Builder

React App Builder, a premium tool available on CodeCanyon, is perhaps the most powerful and flexible app builder you can get today. Because it uses the React Native cross-platform framework internally, you can use it to create apps for both Android and iOS devices.

It offers a very intuitive, drag and drop interactions-based user interface for building apps. It also comes with 11 beautiful templates you can use to jump-start your app development.

It's worth noting that this tool is also available as a cloud-hosted service. If you don't want to spend any time installing, configuring, and regularly updating the tool on your computer, using the cloud-based option would be ideal for you.

IMABuildeRz

IMABuildeRz is another popular app builder that can build apps for both Android and iOS devices. It uses the Ionic 4 framework internally, so it generates TypeScript and SCSS code.

This tool comes with a large number of addons you can use to quickly add common features to your apps. For example, there are addons to handle forms, JSON documents, JWT authentication, and AdMob ads. There are also addons that can instantly generate full-fledged screens, such as "About Us" and "Contact Us" screens.

Furthermore, there are directives available to implement functionality such as text to speech, barcode scanning, and media streaming.

AppsGeyser: A Free Android App Builder

If you're looking for a tool that's free, AppsGeyser is definitely worth a try. It's an online app development platform that offers over 70 unique app templates and a simple, forms-based interface to customize them. There are templates for quiz apps, coloring apps, browsers, messengers, and several different types of games too.

Note that the free version of AppsGeyser works on a revenue share system. In other words, it expects you to have ads in your apps and share 50% of your revenue. If you're not okay with that, you'll have to switch to the premium version, which allows you to turn the ads off.

2. Converting Websites to Apps

If you already have a blog or a progressive web app, there are tools available on CodeCanyon that can turn it into a native Android app. Most of them use either webviews or the WordPress API to do so.

WebViewGold for Android

WebViewGold for Android is a very popular template for converting websites into high-performance, native Android apps. The apps you build with it will have support for in-app purchases, push notifications, deep links, AdMob ads, and many different kinds of native dialogs. Right out of the box, you also get easily customizable splash screens, loading indicators, and offline screens.

If you're in a hurry and want to create your app within the next couple of minutes, WebViewGold is for you. All you need to do is point the template to your website or a local folder containing all your HTML files and build it with the latest version of Android Studio.

WebViewGold is available for iOS too. So if you want your app to run natively on both Android and iOS, and have a similar look and feel on both platforms, using these templates is the way to go.

Universal Android WebView

The Universal Android WebView template has been a bestseller on CodeCanyon for years now. This Android template can convert any website into a native Material Design app that looks good and performs well on both phones and tablets. Because color is an extremely important aspect of Material Design, it offers ten beautiful color themes for your apps.

The apps you build with this template will have a navigation drawer and support for the pull-to-refresh gesture. They'll also be fully integrated with AdMob ads, Firebase Analytics, and Firebase Cloud Messaging. Additionally, to be able to handle file downloads, they'll have a download manager built into them.

To customize the Universal Android WebView template, you only need to make changes in a single configuration file, which is very easy to understand. As such, if you have a responsive website, you should be able to convert it into a well-polished app in about 15 minutes using this template.

Android App Builder

Android App Builder is another tool that can convert any website into a native Android app. It also offers additional features for WordPress sites. For instance, it has six different layouts for rendering your WordPress posts, with support for the parallax scrolling effect.

If you have a website that doesn't use WordPress, make sure that it has a responsive layout for best results. Apps for such websites would, by default, have handy features such as support for file uploads and downloads, loading indicators, and the swipe-to-refresh gesture built into them.

Android App Builder also has several features dedicated to handling all the YouTube videos, Flickr albums, and Tumblr posts you embed in your websites. It comes with six unique layouts for displaying the contents of YouTube channels and playlists. Similarly, to display the contents of your Flickr albums and Tumblr picture posts, it offers three layouts.

Flink App Builder

Flink App Builder is a powerful tool that helps you convert a WordPress site into a native Android app in just a few clicks. Because it is fully integrated with the WordPress platform, the apps you build with it will be capable of smoothly rendering all your blog's posts, pages, comments, and image galleries. Furthermore, any changes you make on your blog will be instantly reflected in your app.

All the apps you create with Flink will have in-built support for push notifications. And if you want to monetize those apps, you can choose to add AdMob ads or Facebook Audience Network ads to them.

Flink apps have many additional features to improve the user experience they offer, such as screen transition animations, splash screens, and Material Design components. But one of the best things about them, in my opinion, is that they have user management built into them. This means, not only do they support user sign ups and sign ins, they are also capable of having password-protected content.

RocketWeb

RocketWeb is another premium template that uses a webview to turn a web app into a native Android app. It offers over 50 themes you can use to style your app. Some themes have solid colors, while others have attractive gradients.

The template is highly customizable, but there's no coding required. You can use a simple, browser-based form to configure the template so it matches your requirements.

The apps you create with RocketWeb will have, in addition to the webview, a navigation drawer, a toolbar, and a beautiful splash screen, all of which can be tweaked to match your site's look and feel. They'll also have error pages included, which you can use to handle connectivity issues and other such runtime errors.

RocketWeb apps support both Google Cloud Messaging and OneSignal push notifications. And if you wish to monetize them, all you need to do is enable AdMob ads.

Conclusion

You can be a non-programmer and still build profitable Android apps. In this article, I introduced you to several tools and templates you can use to do so. Most of the tools I mentioned are so easy to use and speed up the process of app development so much that you can potentially churn out multiple apps every day. By adding ads to those apps and publishing them on Google Play, you can easily build a new passive income stream for yourself.

If you're only interested in quickly building an attractive app for your business, I suggest you also take a look at some of the full Android application templates available on CodeCanyon. You can learn more about app templates in our other posts.

App Templates

20 Best Android App Templates of 2020

Franc Lucas

Android SDK

10 Best Android Game Templates

Ashraff Hathibelagal

App Templates

15 Best eCommerce Android App Templates

Nona Blackman

Material Design

Best Material Design Android App Templates

Nona Blackman

And if you want to start learning to code Android apps, you've come to the right place, because we have hundreds of free Android app tutorials here on Envato Tuts+.

Android SDK

How to Get Started Making Android Apps

Ashraff Hathibelagal

Android SDK

My First App: How to Create Your First Android App Step by Step

Ashraff Hathibelagal

by Ashraff Hathibelagal via Envato Tuts+ Code https://ift.tt/2VKsJxj

[file-formats-programming]

Aspose.Newsletter February 2019: Enhance Productivity using JDK 11 Compatible PDF API & More

Aspose Newsletter for February 2019 has now been published that highlights all the newly supported features offered in the recent releases. It includes information about Enhancing productivity & performance using JDK 11 compatible PDF API, Loading Excel workbook efficiently without loading VBA project, Use latest version of Aspose.PDF for C++ with new codebase changes, Create PST folder hierarchy with string notation, Detect archive-based file format and work with AMF files in .NET and Java 3D applications and more.

Planning to move PDF applications to Java 11 or 10?

Enhance productivity & performance using JDK 11 compatible PDF API. Aspose.PDF for Java offers native API to generate, manipulate, convert, compress, render, secure and print PDF documents without needing Adobe Acrobat. Developers can also create new PDF documents directly through the API or via XML templates. With just a few lines of code – Convert PDF to Word, Excel, PowerPoint, HTML, images and many other file formats. Download Trial

Loading Excel workbook efficiently without loading VBA project

Aspose.Cells APIs provide the ability to create, manipulate, convert or render Microsoft Excel spreadsheets. Excel files might have large number of macros but sometimes, it is needed to load worksheets only without loading these VBA projects just like extracting the sheet names from loaded workbook. Aspose.Cells has introduced a filter option LoadDataFilterOptions.VBA within Aspose.Cells for .NET, Java and Android via Java APIs that can load/skip VBA projects.

Use latest version of Aspose.PDF for C++ with new codebase changes

Aspose.PDF for C++ is a native C++ API to create, read, edit or render PDF documents from within C++ applications. The latest version announces entire codebase change, ported from Aspose.PDF for .NET to C++ API this making it more exciting and appealing for developers along with improved performance and stability. Read more details

Email API for .NET & Java – Create PST folder hierarchy with string notation

Aspose.Email offers native email formats processing APIs to create, edit, convert and transmit emails without using Microsoft Outlook. This release adds an overload to AddSubFolder(string name, bool createHierarchy) and CreatePredefinedFolder(string name, StandardIpmFolder defaultFolder, bool createHierarchy) functions that enable you to create folder hierarchy using string notation within any type of .NET and Java applications.

Detect archive-based file format and work with AMF files in .NET and Java 3D applications

Aspose.3D API seamlessly supports manipulating 3D documents without using any 3D modeling and rendering software. The latest version now announces support of standard 3D printing format i.e. AMF along with a new feature to detect archive-based file format within .NET and Java applications. Read more details

Code Example: Applying custom formatting for Time field and control threshold for TIFF binarization in .NET and Java

Aspose.Words offers market-leading APIs for word documents processing on any platform. Aspose.Words for .NET now supports a new feature to apply custom formatting to Time field as per customer requirements. A new property ThresholdForFloydSteinbergDithering in ImageSaveOptions class is also introduced to control threshold for TIFF binarization within .NET and Java applications.

Code Example: Printing PDF documents using PrintController of Aspose.PDF for .NET

Aspose.PDF for .NET is an advance PDF files processing and parsing API to create, edit, protect and convert PDF documents. The latest release of PDF API offers PrintController class that helps saving a System.Drawing.Printing.PrintDocument as PDF format. Read more

Code Example: Convert Word document to HTML format in SharePoint Apps

Aspose.Words for SharePoint supports converting and combining word documents within Microsoft SharePoint applications. The entire codebase is optimized to improve the overall functionality. Using the latest version – users can convert Word document to HTML format now. Read more

Read dotted barcodes from TIFF images in JasperReports

Aspose.BarCode for JasperReports is a flexible JasperReports and JasperServer extension to generate and display high quality barcode labels in your applications. The latest version adds the ability to read dotted barcodes from Tiff images within JasperReports. Read more

Code Example: Rendering IGES and PLT drawings to PDF in .NET and Java applications

Aspose.CAD APIs allow developers to convert CAD files to PDF, XPS and raster images in .NET and Java applications. The latest version now supports exporting IGES and PLT files to PDF using CadRasterizationOption and PdfOptions

Updates about new Product Releases

Aspose.Total for Cloud – RTF compression implemented, and other enhancements.

Aspose.Total for Android – all the latest versions of Aspose Android APIs.

Aspose.Total for SharePoint – a compilation of Aspose latest SharePoint products.

Aspose.Total for Reporting Services– a compilation of Aspose latest Reporting Services products

Aspose.Total for JasperReports – The latest versions of Aspose JasperReports products.

Aspose.Total for C++ – The latest versions of our C++ products packaged into one product suite.

Aspose.Words for Reporting Services 18.12 – Upgraded Aspose.Words for Reporting Services to Aspose.Words for .NET 18.12.

Aspose.Slides for .NET 18.12 – Improved fonts and EMF images rendering.

Aspose.Diagram for .NET and Java 18.12 – Improved conversion of VISIO diagrams to PDF, PNG and GIF file formats.

Aspose.Words for JasperReports 18.12 – Upgraded Aspose.Words for JasperReports to Aspose.Words for Java 18.12 and fixed issue related to table cell height.

Aspose.Tasks for .NET 19.1 – Fixed reported issues and improved reading MS Project files.

Aspose.Slides for Java 18.12 – Improved PowerPoint file formats rendering issues.

Aspose.Note for .NET 19.1 – Improved refactor rendering for underline text and rich text while saving .ONE documents to PDF.

Aspose.Slides for C++ 18.12 – Improve EMF/WMF format processing.

Aspose.HTML for .NET 19.1 – Improved cascading style sheets (CSS) processing for high fidelity rendering.

Collect a copy of Aspose Newsletter, February 2018 edition

Collect the English version of this newsletter

[atakportal]

All the best apps of 2018. (So far.)

New Post has been published on https://pin.atak.co/all-the-best-apps-of-2018-so-far/

All the best apps of 2018. (So far.)

Download these now.

Image: bob al-greene/mashable

By Karissa Bell2018-07-08 11:00:00 UTC

If you can’t remember the last time you downloaded a new app you loved, you’re long overdue for a home screen refresh.

Luckily, we’re halfway through 2018, and the last six months have been filled with plenty of new apps and games worth your attention. 

While some have already proven to be smash hits, others have flown under the radar. But whether you’re looking for a new game you can’t put down or something to make you more productive, these are the apps that have made the greatest impressions in 2018.  

Camera+ 2

If you’re serious about taking photos with your phone, you’d be well-served by a manual photography app, which gives you more control over the camera’s settings than the iPhone’s stock camera app alone. The original Camera+ was the app that set the standard for what these apps should be. The Sequel, Camera+ 2, is a worthy successor. It has all the same manual controls and advanced editing features of the original, while also making the app faster and easier to navigate. 

$2.99: iOS

Fortnite 

Where do we even start? Fortnite was already a global sensation when Epic Games launched the mobile version just a few months ago. It’s not surprising, then, that it quickly became one of the most popular titles in the App Store, raking in $100 million in its first three months alone. But the mobile version of the game is significant for more than simply being a mega money maker and further enabling our collective Fortnite addiction. It’s also the rare console game that jumped to mobile without sacrificing what made it great. And the app plays nice with other versions of the game, too. 

Free: iOS

Google Lens

Want to know what the future of search looks like? Start with Google Lens. Though it was originally only available to Pixel phones, in June the company launched a standalone Android app for the feature. The app uses your smartphone’s camera to scan the world around you and provide information about the objects it detects. It can scan barcodes, recognize plants and dog breeds, tell you about local landmarks, and provide info on works of art. Some of that may sound gimmicky, but the text-scanning abilities alone make it worth having on your home screen.

Free: Android

Google News

Google launched a completely revamped news app this year, and it’s pretty much a dream come true for news nerds. It lets you dive deep into just about any topic or story you’re interested in, and has power-user features, like personalized content and the ability to save articles to read offline. But its most interesting feature is something called “full picture,” which aims to wipe out Facebook-induced filter bubbles.

Free: iOS, Android

Hole.io

There’s not a lot of nuance to Hole.io. And when I say “not a lot,” I mean pretty much none at all: You have two minutes to drag a hole around a miniature city, eating everything in sight while slowly growing bigger. If you outgrow all the other players, you win. On paper, the game shouldn’t be very good — it’s dead simple, predictable, and filled with obnoxious ads. Yet somehow it’s also unbelievably addicting. So much so that it’s been sitting in the #1 spot in the App Store’s gaming charts for weeks, with more than 10 million downloads.

Free: iOS, Android

Otter Voice Notes 

Anyone who’s spent any time transcribing audio recordings knows just how painful that process can be. And while lots of apps have tried to solve the problem, none have totally cracked it. Otter might. Created by AI Sense, Otter records conversations and generates surprisingly accurate transcriptions. It’s much more than basic speech recognition. The software can learn your voice and distinguish between all the different speakers in a given conversation.

Free: iOS, Android

Pokémon Quest 

Image: the pokemon company

It’s the Pokémon you know and love, but with a more Minecraft-esque look. Pokémon Quest is already a huge hit, even though the app’s been out less than a month. The game puts you on “Tumblecube Island,” which you must explore in order to find items, decorate your camp, and — naturally — compete in battles against other players. The formula isn’t new, but it’s enough to capitalize on the Pokémon fever that started two years ago. Did we mention it’s also kind of adorable?

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[seashore-partners]

Android I/O: What’s new and how it will affect app development?

Android I/O 2018 saw several new updates to the operating system and a few new releases too. Android P, the new operating system, Kotlin updates and an upgrade to the OK Google were some of the key takeaways of the event, which will help developers create trendy and functional apps with features that will enhance user experience.

We will discuss here, the features that have redefined app development for the developers.

The Machine Learning Kits We have been seeing a lot of startups and entrepreneurs trying to incorporate machine learning and artificial intelligence into the apps for deep thinking abilities, understanding the human behaviour and deriving insights therein. With Google’s ML kits, this would become easy for the developers. It is a software development kit, using which, developers can add AI powered features to their apps such as text recognition, face detection, enabling live locations, barcode scanning etc. The kits can be used to derive advantage both online and offline, and are used for real-time access of data offline. It is OS-agnostic, which makes it even more useful for the developers.

The Android Jetpack This is yet another update that will act as a game changer for the Android developers. This new update will help manage the background tasks, and also with lifecycle management, which means you will experience fewer crashes and less memory leaks as a user. The tools and design guidelines that come as part of the Jetpack will help accelerate the development, make complex tasks easier and help with robust designs. Work management, Android KTX, Navigation and Slices are part of the newly launched Jetpack. We will discuss both the Slices and Navigation in detail in here.

Slices: This will be the game changer for engagement and user experience. With more real estate available for developers, they can make the users stay around and use the app for a longer time. So, how does this work? The slices will actually provide a small and interactive piece of your app along different areas within the operating system. This feature is part of Android P. For now, it will be a part of the search feature. For instance, if someone searches for a particular type of brand online, a UI template from an app will be rendered in the search. With a few clicks, the user can complete the task intuitively and in an intelligent fashion. The developers can use pre-built templates for the slices or develop the slices for an app from the scratch.

Navigation: We are now talking about gesture based navigation, which will again be a game changer for the Android apps. Android P allows you to change your settings to gestures. What happens with this change? The way you access the apps you used will change. You can see the frequently used apps, without actually moving through the app list.

Instant Apps The instant apps will be available to all game developers. They had done a test run of this feature on select developers, and have finally decided to launch it for everyone. App discoverability and the conversion rates therein will receive a positive impact as a result. The main purpose of this would be to give your users a chance to use the game before downloading it. You engage them, and you win their loyalty in the long run.

Of course, this does not change the need for app store optimization and user acquisition strategies. This will add to these strategies, and help you increase the conversions for your app.

Android app bundle This is another positive development for developers with the Android I/O. This feature will allow users to install your apps and use them but, in smaller sizes. This means the performance will be better and the space occupied by it will be far less than the normal app size. The feature will help you penetrate the newer markets and gain engagement.

Google Duplex Android has finally moved from “Ok Google” to having an assistant that will conduct real conversations. So, whether it is calling a salon for the appointment or having a table reserved at your favourite diner, the Google Duplex will be your assistant. If integrated into apps, it can actually help in gaining insights and improving conversions. This will be an excellent add-on to the machine learning kit devised for the developers.

Summing up the Android I/O The event has left a positive impact on the developers, and have actually offered them features that they can use to benefit the users and enhance user experience. If they combine a few features, they would be able to get A-grade solutions for the business, and help scale the business.

If you are looking for Android app Solutions for your business, and want to improve your conversion rates, connect with Seashore Partners. We offer top-notch mobile solutions that are in sync with your needs.

[jamiekturner]

Packaging Design: Tips, Ideas, and Inspiration

Packaging design isn’t the easiest thing to do. And once you send the design to the client and he starts printing, you can’t CTRL+Z your errors.

Try to imagine a world without packaging.

You probably can’t, or at least you find that the result to be a disorganized mess.

It’s easy to underestimate the necessity of packaging. It is important to have cans for your soda, a wrapper for your candy, or even a hamper for your laundry.

Package design is not only practical but it forms so much of our visual world.

Good product package design is more than just a container; it tells a story. Packaging design engages the viewer through all the senses—sight, sound, touch, sometimes even taste and sound.

This engagement should help the viewer (your potential customer!) understand what the product is used for, how to use it, who might want to use it, and whether or not they should buy it at all.

Achieving this goal can be daunting. Product packaging design is the translation of 2D package designs into 3D packaging designs.

This is an intimidating task, but it doesn’t have to be as difficult as you fear. Here are some ideas for package design inspiration to help make the process easier.

You will learn how to get your 2D packaging design ideas ready for printing and we will offer you a look of some different print finishes you can use for your box package design.

Picking the Best Software for Your Packaging Design

You need to pick out the best program for designing packaging before you really start in on the design process. You will probably end up sending the finished design to the manufacturer in a vector format.

Vector files can be scaled easily. It is very easy to create a dieline templates with the line and shape tools in vector programs like Inkscape or Adobe Illustrator.

3D visualization is a bit harder. Vector software is normally designed for 2D images, though you can use plugins or even other programs to help you out.

It also allowed you to rotate the 3D version of your packaging design so you can work on it from different angles. These is also a toll called Cinema 4D which can render flat deisigns into 3D.

It’s fairly common to skip these plugin and programs, and simply opt to create a mockup a photorealistic design in Adobe Photoshop.

Three Important Questions

Before you even start on your custom package design, you need to ask yourself these three important questions:

What is your product?

Who is buying your product?

How are people buying your product?

These questions will help you find the right mindset to start out with your packaging design. Let’s look at them in more detail.

1. What is your product?

This is a simple one. What is the product you are trying to sell? How big is it? What is it made of? Is it fragile? Does it need to be kept at a certain temperature?

By answering this question, you will be able to determine the logistical requirements of your packaging design.

More fragile products require more secure and reinforced packaging. Large or weirdly shaped items will need custom packaging, made specifically for the product.

Items that need to be transported and sold cold will need to be made of materials that can handle the temperature without issue. If your product is going to microwaveable in the package, it needs to be designed accordingly.

2. Who is buying your product?

What is your target demographic? Is your product meant to be used by men, women, both? It is it for children? Is it meant for environmentally conscious customers? Is it being sold to people on a budget, or is it meant as a luxury item?

Awesome designs are geared towards the customer. It needs to appeals to its ideal customers. You will need to do some research before you begin your design. This can also be a good source of packaging design inspiration.

For instance, a product designed for older people may need to use large text, while medicine meant for children should have extensive safety features. Products meant for the budget-conscious customer should be simple and pragmatic. Packaging for luxury items should seem luxurious itself.

3. How are people buying your product?

How does your product get from the retailer’s store or warehouse to your customer? Is it being sold in a big box store? Will it be bought off the internet and shipped to customers, or will they go get it at a small boutique store?

The answers will affect your packaging. Items that will be shipped from a warehouse to a home address require a different kind of packaging than they would if they were being sold in a department store or supermarket.

Products sold online should have streamlined packaging without any extra space that will allow it to rattle around and possibly be damaged. Anything sold in smaller, boutique shops should have charming designs to catch the eye.

Research, Research, Research!

Information is key. It is the only way you will be able to answer those three key questions above. It’s easy to become overwhelmed by information as you do this. To help you with information overload, focus on these key areas as you do your research:

Brand Requirements

If a product is a part of an established brand, it will have certain aesthetic requirements to fit with the branding campaign. Every brand has its own aesthetic. You need to research these key components of it:

Color- the best way to get the correct colros is to find the brand’s chosen CMYK values or Pantone Matching Values (PMS). These are meant for printing, so should make your design easier to complete. If you cannot get these values, see if you can get a hex code.

Logo- Get the vector file of any logos you may need. Logos are often the core of a branding campaign. You can design a great package, but without the logo it will fail at one its core purposes and be rejected.

Font- Get the correct fonts for the brand. If there are any specific instructions about the kerning or weight, make sure you follow those. This is not only a part of branding, but also often something that has been researched for marketability and readability.

Content Requirements

Every product is going to have unique content requirements. Some of it is a part of the brand’s own standards, like a certain mission statement or part of an advertising campaign. Other requirements are legal obligations, like nutritional information, contents, and hazardous material warnings.

Certain products might need to have expiration dates or batch marks placed on the packaging. These will probably not be printed on the packaging (they will probably be stickers) but you should leave room for them and make sure it does not disrupt any other important elements of the design. You may need to include a barcode or association marks.

Any symbols or text, whether required by the industry, the company, or by law, will need to readable. Do not get so wrapped up in making your creative packaging that you forget the pragmatic requirements. It can be harder to pull off than you think.

Factor in Budget

Budget is one of the most important elements of product packaging design. The budgets for these box designs are broken into two categories:

One-time costs- These costs includes the payment for the original design, print plate setup for large offset print runs, or purchasing a stamp for the do-it-yourself path. These costs are paid up front and typically they are paid only once unless you change the design.

Per item costs- These costs include the payment for the labor and materials. Every box costs a set amount. So will any tissue paper you stuff in it and any tape you seal it with. You will also need to pay someone to put the product in the box unless you choose to do it yourself.

Get a general idea of how much you are willing to spend before you even begin the design process. Cheaper does not always work out better.

Paying a bit more for quality materials can make a big difference in the presentation of your design. It can make your work stand out from your competition and help you with your selling price.

Do Not Forget About Style

Style is a crucial element you need to research as well. The best way to get a sense of current, stylish box designs is to start collecting images of stylish packaging. Take photos when you are out shopping. Use a Pinterest board to collect interesting design you see online.

Style is a complex thing. The packaging design ideas you see might have elements you like, rather than the whole thing. You might like the shape of certain package or a certain color, or a print that you see on a friend’s furniture.

It’s important to remember here that you are not looking for yourself, but instead for your product’s target demographic. Your personal style might be slick and modern, but if you’re trying to sell vintage candy, that is probably not the best style use for the packaging.

You should also look into materials, an often forgotten element of style for packaging design. Innovative packaging, in particular, uses interesting and new materials.

Take a look around as you shop and visit friends, much as you do for all the other elements of design. It is not a decision you can really make now, but it should be a decision you keep in mind as you create your box design.

Once you finish all your research—brand requirements, content requirements, budget, and style— you can begin to get down to the hard and fun work of actually designing your product packaging.

A good tip for the actual design work is to have the packaging tell a story. The choices you make based on your research are going to help you tell that story.

Understand the Use of Packaging Layers

Product packaging consists of three layers: outer packaging, inner packaging, and product packaging. Your product may or may not need any or all of these, depending on many factors (which you’ve already researched).

The outer packaging layer is what customers will see first. It performs more than an aesthetic function. It also protects the product from the elements. Outer packaging could include the box the product will ship in or bag that will be used at the store.

The inner packaging layer keeps the product safe inside the outer packaging. It could be tissue paper, a foam cradle, or even packing peanuts, anything that keeps an item from being jostled, scuffed, or damaged. It could also be something that keeps a food item fresh, like a sealed bag.

The product packaging layer is what you probably think it is. This layer includes the box an item is in, the labelled bottle, a tag on a piece of clothing, or a wrapper for a chocolate bar.

Every one of these layers should be a consideration in your overall design, as they all play a part in the message and story it tells.

Pick the Right Kind of Packaging

There are a lot of packaging design ideas out there. Knowing the right one to use requires a bit of thought. It can typically be easy to choose between a bottle and box. On occasion—for instance, when your product is vitamin pills—it may require a bit more thought. It really all depends on your product.

Your product is the most important consideration in your packaging design. You want to showcase it and catch customers’ eyes. Your product seem may seem to limit you, but remember that unique packaging is a possibility.

Capri Sun and Go-Gurt both sell liquids, but they changed the way their product was perceived and even used by using unconventional packaging for their products.

This can help your product stand out from the competition. Selling fruit juice in something other than a typical jug can catch the eye and market it very well without any extra help. This can backfire, however. Customers used to seeing a certain type of product in a certain type of packaging can be thrown off when they see something different.

Even with clear labelling, they may not pick up on what you are selling. If you are going the unconventional route with your packaging design, think it though carefully.

Also think about your budget for every package. Unusually shaped boxes cost more to produce, for instance. Can your budget handle the extra cost? The customer is an important factor here. Knowing how much your product will be bought for means you can better evaluate how much money you have to spend on the packaging design.

Get a Color Guide

A good color guide is invaluable. Accuracy colors is important to branding and getting the most up-to-date color guide will help everyone involved achieve their goals. It will help you avoid any unpleasant surprises that might occur once the box design has been printed.

Colors might fade over time, especially with heavy usage. In fact, you should expect them to do so. Update you color guides at the end of every year.

Line Up a Good Printer

As with many other kinds of design, packaging designs can be thrown off by the simplest oversights. You won’t start printing until you are done with design phase of your project. It should be in your mind long before you get to this point, however.

Connecting with a good printer will help you on a lot of levels. It will save you on the costs of printing. Giving the printer a call or sending them an email can get you some more specific information that will help you with your overall design.

Make sure you ask the printer about:

File format requirements- the printer will need a vector file. It might need to be a layered file, or you may need to include cut-lines. Make sure to supply a print-ready file, normally an Adobe Illustrator file (.ai) Photoshop file (.psd), PDF, or EPS. If you do not have the right software this can be a problem since you won’t be able open the files. You should always supply everyone involved PNG or JPG visual mockups that can be easily opened by anyone with a computer. Always double check your file types before you send them out.

Dielines- A printer should be capable of providing you dieline templates for standard size box or label sizes.

Color options- Occasionally printers can color-match any Pantone color. Less expensive printers tend to have a much more limited color palette available.

Offset printing vs. digital printing- Make sure you know which kind of printing your printer uses. If they use offset printing, find out their minimum order number. Learn how the costs scale.

Create Your Information Architecture

Customers will look at will remember one thing when seeing your packaging design. You can put an immense amount of effort into every element of your box design, from your color, to your materials, to the copy. All of that does matter, but the customer will still only remember one part of the design.

Decide early on in the design phase what you want that one thing to be. It should be the most appealing and important thing about product (hazard warnings are probably not a good choice, for instance). It needs to be the centerpiece of your design.

Everything else should complement it. You should only add in two or three more things you want to show about product. This keeps the important information front and center, not overwhelmed in extraneous info or too small to find.

Remember, your packaging design is about selling a product to customer. The customer should be the focus of your entire design process.

Evaluating Your Packaging Design

Once you have some designs, you can evaluate them. This can be hard to do, especially if you’ve created multiple iterations. They can blur together and be hard to differentiate.

Is it clear what the product is?

The packaging should let customers know what the product is, what it does, and who it is for. People will only buy something which has a purpose they can quickly understand. You need to make certain that your box design does not look like it belongs to something else, unless that is the intention. The last thing you want to do is confuse your customers.

Is the packaging honest in its representation of the product?

Almost as bad as confusing consumers is misleading them. You need to make sure any images on the packaging are actually images of your product. You could of course try to make a good impression and put your best face forward, but do not lie.

Especially with the advent of internet reviews, the truth will come out to the public very quickly. Make sure your customers do not feel cheated.

What will the packaging design look like in 3D?

You should make two mockups: one in 2D, your flat print design, and another in 3D. The 3D mockup will give everyone, including yourself, a clear idea of what the completed project will look like. You can create this mockup by printing the design out on white paper and assembling it into the correct shape.

You will notice things on this 3D mockup you wouldn’t on a 2D version. Occasionally flat images will look very good, but the 3D mockup will not look good at all.

How will the package look in stores?

How much of the packaging will be visible in the store? The product will probably be displayed in a line next to similar product. Only one side will be immediately visible. You should make sure the most important information is going to be front and center for possible customers to see.

You should also think of what the box design will look like when a bunch of these boxes are stacked together. They may create a distinctive pattern. You need to figure out if you want that pattern or not.

Next, think about how the product will look when it is sitting next to your competition, as it very well might. Do some scouting and go to stores where the product could be sold. See how the competition looks. What will it take to get your packaging design noticed? Bear in mind that the purpose and nature of your product should remain clear to your target demographic.

Is this packaging design versatile?

While your product may only have one variation right now, that may not remain the case. You could end up with multiple flavors of a product, for instance, or similar items belonging to same brand. Your packaging design should be easy to modify for these variations. You should be able to keep the branding the same while conveying the nature of this different product.

Is the packaging reusable?

Figure out if the packaging design is reusable. If it is, decide if you want it to be. You may not be able to reuse the packaging for every product. However, for those that you can reuse, think of it as free marketing. Clever use of reuse might even be used a selling point.

Collect Feedback

After you complete your initial design phase, it’s time to collect feedback. Don’t get your heart set on a certain design. You should run your concept(s) through your stakeholders and customers (or potential customers). You should even try asking people who have never heard of the product what they think of the design, to see if it could help grow the customer base.

These people will probably notice elements of the packaging design that you never would notice. Ask if they know from your box design what the product does, who is supposed to buy it, and what is the single key message they receive from the packaging.

Their answers will help you figure out if your packaging design is communicating what you want and need it to. With any issues identified, you can go back and make any modifications you need to.

Create a Dieline

A dieline will be the flat template of your packaging design. Is it normally created in a vector program using simple liens and shaped. The dieline should inform the printer where the packaging should be cut and perforated. The cutting, or trim, lines and perforation, or fold, lines should be placed in separate layers in spot colors. The cutting and trimming will happen at different stages.

Rename the dieline layers in your vector document as ‘DO NOT PRINT’. This makes it clear to the manufacturer that those layers are meant for post-print processing.

Creating dielines can be a bit awkward and difficult at first. It is one of those things that gets easier with practice. A nice form of practice is to find a box with similar dimensions as you packaging design. Take it apart and measure it. These measurements will be the basis of your dieline creation.

A Box is Not Just a Box

It is a mistake to think of a box as a simple box. Take a look at the packaging you see in your home or office. Many of them are probably some kind of box, varying in size, shape, and depth. They might have flaps integrated into the sign, or they could have a separate lid.

There are, functionally, two kinds of boxes: setup boxes and folding carton. Setup boxes are more expensive to produce and are typically used for high-end products. These are the kinds of box designs you see for retail packaging and gift boxes.

They normally have two parts: a top tray and a bottom tray. These kinds of boxes are what you should order if you want a very special box and do not mind spending more to have it made.

Folding cartons are used for many, many products. You see them for household goods to food products. They usually consist of a single template. It is created as a fold-out 2D design, printed on a card, then laminated, folded, cut, and glued together.

With this format, you can choose a box design that fits for your product and your retail price point. There is really no reason to package a product in an expensive box if it is being sold for a fairly low price.

Options for Closing the Box

Now you have a box format type chosen, next you need to pick out how to close it. It isn’t as simple as you might think. There are a dozens of options for box closure. Most are designed to work as sturdy seal for the bob while being easy to open when needed. The various types if box closures include (but are not limited to):

Standard Tuck End

Reverse Tuck End

Full Overlap Seal End

Do some research on the boxes at your home. Identify what kind of closure is what and how it works. There is no right or wrong kind of box closure. However, some types of closures are easier to design and some of the more complex ones work well without needing to be glued. This can save you time and money when you hit the production stage.

Styles of Boxes

There are a few styles of boxes that have industry standard formats and closure typed. A few of these more common styles of boxes are:

Pillow box— These have simple curved box shapes. They have curved closures to match and are normally used to package candy or cosmetics.

Display box— These are normally used for displaying point-of-purchase items on shelves and counters.

Edge-locked sleeve—These are the card covering ready meals and other food items.

Book style box— These are boxes in a book-like shape, with a hinged lid. You usually fine these used to package custom software and medical or cosmetic items.

Think Out of the Box

Boxes might be the most common type of packaging, but they are not your only option for packaging design. There are a lot more options! Boxes have the advantage of being easy to design as 2D templates. You might find your product is not going to work in a box however, as it is not that angular.

Tubes, pouches, and wraparound bottles might be a better fit. These are going to be harder to design. Good 3D modeling and accurate measurements are key to these sort of packaging designs. With these things, you can more accurately see how the design will look even on curved surfaces.

As it turns out, some kinds of packaging are even easier to produce than boxes. Nothing can be easier to make than labels, which are just a 2D sticker that needs only length and width measurements. Bags are also easy to create designs for, typically needing only a logo that will be repeated across a solid colored bag.

Working with Bottles and Other Curved Surfaces

The thing about curved surfaces is that the technical drawing rarely communicate the effect of the curve of the bottle or other container. The curvature can make the design take up more space than it would on a flat surface. See if you can get a print guide from the manufacturer for accurate measurements.

Think carefully about the layout of your marketing copy. It should not be difficult for a consumer to read the information of the bottle. Think of how difficult it is to read a bottle when you have to keep turning it around to follow the text. Remember, you can compensate for conical distortion in your design using the ‘wrap’ command in Adobe Illustrator.

Mockups are particularly important for curved packaging designs. You will be able to get a better sense of the way your design looks with a truly three dimensional images that you can turn every which way.

You’ll be able to see for yourself how easy and legible any text is, or if the curvature warps any images or other graphics in a weird (or even inappropriate) way. You can also make sure the label fits properly, if that is what you are designing, and is neither too long not too short.

Spot Checking

Both you and you client should check to see if the finished printed batches of the design are right. Look for plate slippage, which occurs when there are slight changes in batch in what should be straightened artwork. Inconsistent color is another issue that crops up.

Color consistency can change across separate print runs when ink batches or changed or even when ink runs low during a single print run. It is also sometimes a mistake that happens made by your printer. There is also a rather shady move to hide defective or less-than-ideal pieces under perfect copies.

You should be thorough with your check and look throughout the batches. Don’t just glance at the ones displayed up front.

If you find any issues, talk with the printer to clear them up. This can be a difficult task, as money might be involved. At the end of the day, however, resolving these problems will be worth the hassle, as it will mean an accurate representation of your carefully planned packaging design is out there for the customer to see, rather than a warped version.

Terminology

Packaging design and creation is its own field in many ways. It gets far more technical than a new designer might think. Because of this, it has its own complex set of acronyms, blending the world of graphic design, computer programming, and even simple materials engineering.

Below we have assembled a set of references to help you understand the lingo used in packaging design. This will be especially helpful when you work with your printer, who will know these terms and their uses inside and out.

Packaging Design Terms

Adobe Illustrator (AI) file — Adobe Illustrator is a design program used to create the vector images needed for printing. Adobe Illustrator files us an .ai extension. To open these files, you will need Adobe Illustrator. If the program cannot be found on your computer, your printer will have it.

Barcodes (UPC and EAN) — Barcodes are the groups of lines found on just about every package. They store information abotut he product in a machine-readable data format. That product information includes price, quantity, and many other things. There are many different types of barcodes. The most predominantly used one in North America is the UPC (Universal Product Code) format. The commonly globally used format is the EAN (International Article Number). The acronym originally meant “European Article Number”, which is why there is an E still in its current version. You may choose to apply for these before you finish the packaging design. You should plan on a spot for it even if you do not apply it.

Bleed — In printing, a bleed is the term used when your design goes to the edge of your paper, box, or wrapper. Because of this, designers will actually add a little extra design to the edges. When the design is printed and cut to the correct size, this additional bit of design work allows a bit of room for error if the cuts are a little bit off.

Canister — A cylindrical or round container, often made of metal, used for storing things like food and chemicals.

CMYK — This common printing acronym stands for cyan (blue), magenta (red), yellow, and key (black). These four colors are the four colors used in printing. Every color has a CYMK code that a printer will can to help color match between your design and the finished package design.

Dielines —This is the flattened pattern of the product packaging. Designers and printers use them to create the correct layout for a package.

EPS — This stands for encapsulated postscript. The encapsulated postscript is a file extension for vector-based images. EPs is generally only opened in specialized graphic design programs.

Digital printing —Digital printing air a modern printing method that consist of sending information about the file to a printer digitally. After that is done, every piece of packaging is run individually through that printer. Digital printing works very well for small-runs and short turnaround times. The more traditional offset printing is usually much cheaper for larger print runs.

Offset printing — This is a printing technique using plates of your design are created in the four colors of CMYK. After they are created, these plates are run through a large industrial printer. Offset printing has high setup costs because the plates need to be custom created. In large volumes– typically over 1,000 or more units– it works much better for the price point

Pantone — Pantone is the company that created the Pantone Matching System (PMS). The PMS is a catalogue of standardized printing colors. Every color has an assigned number so that they can be reproduced nearly identically by any printer.

PDF — PDF is a widely recognized file format that means portable document format. It’s a versatile file format that be either a vector or raster. Remember vector files are what you want for your packaging design. PDF can support both text and images. PDFs can be opened on nearly any computer, as the Adobe PDF Viewer is free and normally standard on business computers.

Raster file type — Raster images are images made up of thousands of tiny dots, also known as pixels. Because of this, they are difficult to resize and are not what you want to use for your packaging design.

RGB — This widely used acronym stands for red, green and blue. These are the three primary colors that can be combined to create all other colors in visible light. The term is often used in reference to digital screens. RGB or hex codes are used to identify colors in a digital context. RGB codes can be converted into Pantone color and CMYK for printing.

Vector file type — Vector images are made up of lines. Because of this makeup, they are very easy to resize.

Common Back of Box Terms and Symbols

RoHS Compliant – Restriction of the use of Hazardous Substances. The materials this box is made of do not pose a health risk.

CE Mark – European Conformity. The product meets legislative regulations created out by the European Union. The term allows customers to know that the product meets a basic level of quality.

Green Dot – The Green Dot is a symbol lets consumers know that the manufacturer has covered the recovery and the recycling cost of a product. This cost is often a license fee that differs between various countries. It is also highly dependent on the materials used in the making of a product.

On opening; use by – This brief, often mechanically stamped words indicate the month and date a product will remain effective for before it is opened.

Recycling symbol (three arrows twisting and pointing to each other) – This symbol means that the material can be recycled. It is sometimes paired with a material ID number.

Leaping rabbit – The products in the package have not been tested on animals.

Soil Association symbol – The soil association has a large set of standards covering a the quality of the products from many different kinds of industries.

Vegetarian Society symbol– The product in the package has meet the Society’s regulations and is suitable for vegetarians.

IMPORTANT: Ensure that both you and the client understands their responsibility when using any of these marks. Slapping them on the packaging design without the testing to back them up or forgetting them when they are required is punishable by customer anger, media condemnation, and occasionally legal action.

Material Identification Codes

These are used to identify what material you plan or want an item to be made of. There are more, but here are a few common ones used for packaging:

HDPE – High Density Polyethylene

LDPE – Low Density Polyethylene

PP – Polypropylene

PETE – Polyethylene terephthalate

PS – Polystyrene

V (PVC) – Polyvinyl Chloride

Barcode Use and Terminology

Barcodes need to be acquired by registering at an official number supplier, like the GS1 or any of its various member organizations. This can be done by either the designer or the client. With that done, the officially supplied numbers can be used with a barcode generator found on the web to create an EPS file to use in the packaging design.

Make sure you check which kind of barcode you will be using before you output the file. For instance, in Europe and many other parts of the world, they normally use the EAN13 barcode format. The normal recommended size for barcode displayed on international packaging is 16mm high.

If you mess up either the format or the size, even the most innovative packaging design will be useless at its intended purpose. Always double check this kind of information.

You should remember that a ladder, in barcode terms, means the barcode is placed vertically. A gate is about the placement of a barcode horizontally. The terms at metaphors and it is easy to remember what they mean once you start using them regularly.

Batch Numbers

Batch numbers are normal for cosmetic or pharmaceutical products. Make sure you leave an unintrusive space for them in your design, as they will be placed on the packaging during actual production of the product.

They will be mechanically stamped in the directed area on the packaging. Your client should include this specification in their brief to you so it can be easy to work into your design.

Ending thoughts on packaging design

As you can see, innovative packaging design is complex and multifaceted process. It consists of many different stages. So much of the success of a packaging design lies in the communication between the client, the designer, and the printer.

Take your time, do your research, learn the right terms, pick the right programs, and make sure you are constantly talking to everyone involved. You might find yourself designing the next big marketing wonder!

If you liked this article about packaging design, you should check out these as well:

Intelligently Made Food Packaging Ideas (100+ Examples)

Innovative And Efficient Package Designs – 44 Creative Examples

Interesting Alcoholic Drinks Package Inspiration – 87 Examples

Packaging of the world

The Dieline

Packaging on Pinterest

The post Packaging Design: Tips, Ideas, and Inspiration appeared first on Design your way.

from Web Development & Designing http://www.designyourway.net/blog/inspiration/packaging-design/

[repwincoml4a0a5]

Announcing Windows 10 Insider Preview Build 15042 for PC and Build 15043 for Mobile

Hello Windows Insiders!

Today we are excited to be releasing Windows 10 Insider Preview Build 15042 for PC and Build 15043 for Mobile to Windows Insiders in the Fast ring. We have discovered a bug that impacts our ability to release this build to PCs running 32-bit (x86) versions of Windows 10 Insider Preview builds. Because the majority of Insiders in the Fast ring have PCs running 64-bit (x64) – we decided to go ahead and release this build with 32-bit PCs blocked until our next flight. UPDATE: PCs running 32-bit (x86) versions of Windows 10 Insider Preview builds should be able to receive this build just fine! We fixed the bug. Also – please read the known issues below.

What’s new in Build 15042

New Cortana animation in OOBE (PC): We know how much you love animations, so we wanted to share with you our updated Cortana persona that you’ll see when you land on the Cortana page in OOBE:

Prompt to enable Flash in Microsoft Edge (PC): Back in Build 15002, we introduced click-to-run Flash by default in Microsoft Edge, for better security and performance across the Web. In today’s build, we’ve added a new dialog in the URL bar to make it clearer when Flash content has been blocked. Just click the puzzle icon to allow Flash once or every time you return to the same site.

Improved reading experience with Microsoft Edge: You loved the new Edge reading experience and gave us a TON of feedback. Here are some we implemented:

When reading a locally saved EPUB book in Microsoft Edge on PC, a book icon will now be used in the place of the previous generic in the tab bar.

If you switch pages while an EPUB book is being read aloud in Microsoft Edge, the reader will now jump to that new location in the book.

If you’ve changed the read aloud settings when reading an EPUB in Microsoft Edge, those settings will now be preserved for subsequently opened books.

Other changes, improvements, and fixes for PC

You should no longer see “Initializing…” when attempting to download new builds.

The download progress indicator shown when downloading new builds under Settings > Update & security > Windows Update should be working as expected and it should no longer appear you are getting stuck at 0% or at other percentages.

We fixed the issue causing the Settings app to crash when navigating to Settings > Devices and you should be able to pair a Bluetooth device without any issue. The Bluetooth quick action from Action Center should also now work again. This issue may also have resulted in generally decreased reliability in the quick action section of the Action Center.

You should be able to launch the Connect UX via Action Center, Win + K, or Settings again.

We fixed an issue where under Settings > Update & security > Windows Update Insiders might see the text “Some Settings are managed by your organization” even though the PC wasn’t being managed by an organization.

We fixed an issue resulting in the Action Center sometimes appearing blank and transparent without color.

We fixed an issue where upgrading with an Xbox controller paired over Bluetooth could result in touch input not working and unexpected beeps when using the mouse.

We fixed an issue where items displayed in the autocomplete dropdown when filling form fields in Microsoft Edge would not insert when clicked.

We fixed an issue resulting in images unexpectedly being missing from certain PDFs when viewed in Microsoft Edge.

We fixed an issue resulting in web notifications not launching the associated website in Microsoft Edge after being clicked.

We fixed an issue from recent flights resulting in some downloads from Microsoft Edge unexpectedly getting stuck in the “Waiting to download” state.

We fixed an issue where the preview thumbnails for certain websites appeared blank as they were taken before the webpage ran its JavaScript / Ajax to fully draw its layout.

We fixed an issue where the calculator button on the keyboard wouldn’t work if Microsoft Edge was in focus.

We also fixed an issue where Win + Shift + left/right arrow wouldn’t work on Microsoft Edge after selecting text on the open website.

We fixed an issue where pressing Alt + C with text selected in Microsoft Edge didn’t open the Cortana pane on recent flights.

We fixed an issue resulting in Microsoft Edge not being able to open the file:// protocol with the AdBlock Plus extension enabled.

We fixed an issue where in Microsoft Edge, if you were already on a website associated with an app, clicking a link on that website to go somewhere else on the website’s domain would unexpectedly launch the associated app.

We fixed an issue resulting in not being able to insert words into certain text fields in Microsoft Edge when using the handwriting panel to enter text.

We fixed an issue resulting in the password placeholder text being unexpectedly shifted down in certain password text fields in Microsoft Edge.

The new Share icon is now visible in Microsoft Edge and the Windows Ink Workspace Sketchpad and Screen Sketch.

We fixed an issue we certain devices on recent builds where resuming from hibernation could result in a bug check.

We fixed an issue where sometimes a single notification toast might not pop up, only to be unexpectedly found duplicated in the Action Center.

We broadened our recent fix for an issue that had some PCs with older graphics chipsets seeing white or colored boxes in the place of text and some UI elements in UWP apps to cover more hardware.

If you right-click an app suggestion in Share, you’ll now find a context menu option to turn them off.

We fixed an issue where ink would go under the Windows Ink protractor when inking with the highlighter.

We fixed an issue where the first ink stroke into the Windows Ink Workspace Sketchpad wouldn’t enable the clear all button.

We fixed an issue where the sample ink stroke seen in the Windows Ink pen, pencil and highlighter flyout would appear to blink when the flyout was first opened.

We fixed an issue that could result in the new XAML scrollbar animation (as seen in Settings) becoming stuck in the transition state.

We fixed an issue resulting in “Microsoft Camera Front” and “Microsoft Camera Rear” unexpectedly showing up, with barcode scanner icons, as optional devices to connect to in Devices Settings on Surface Books.

We fixed an issue where explorer.exe might crash the first time an ISO file is double-clicked.

We fixed an issue from the last flight where if the gateway host name was of the form [ipv6address]::port, Remote Desktop couldn’t connect to the gateway.

We fixed an issue where the bug check screen on high resolution displays wasn’t rendering the “Frowny” part of the frowny face.

We fixed an issue where night light might not turn on/off automatically if the device was asleep at the time at which the night light state was scheduled to change.

The night light on/off animation’s duration has been increased to 2 minutes – appreciate everyone who’s shared feedback for this feature, keep it coming!

Microsoft Edge’s “Inspect Element” and “View Source” options should launch correctly to the DOM Explorer and Debugger, respectively.

Other changes, improvements, and fixes for Mobile

We fixed the issue causing the Settings app to crash when navigating to Settings > Devices and you should be able to pair a Bluetooth device without any issue. The Bluetooth quick action from Action Center should also now work again. This issue could have also resulted in decreased Flashlight quick action reliability.

Using Continuum to connect to a display wirelessly should also work as expected.

We fixed an issue resulting in screen rotation sometimes unexpectedly not working on the last Insider flight.

We fixed an issue where live tiles were not updating some apps such as Outlook Mail and Calendar.

We fixed an issue where under Settings > Update & security > Phone update Insiders might see the text “Some Settings are managed by your organization” even though the phone wasn’t being managed by an organization.

We fixed an issue from recent flights where you couldn’t paste or drag a folder from the PC to your phone

We fixed an issue where tapping the link for a website with an associated app would crash Microsoft Edge and not open the associated app.

We fixed an issue where downloads from Microsoft Edge directly to an SD card might unexpectedly use space on the local phone storage as well.

We fixed an issue where the keyboard might dismiss after a second when opening a new tab in Microsoft Edge and quickly starting to type.

We’ve fixed an issue that could result in your personal typing dictionary being unexpectedly deleted and having to train the keyboard from scratch.

We fixed an issue where, during the download of a phone update, after disconnecting then reconnecting to Wi-Fi due to low reception you might get an error saying the download needs a better connection to continue, despite currently being connected to a good Wi-Fi connection.

We’ve improved the video playback experience when using Continuum for phone wirelessly over Miracast.

The icon for Windows Insider Program under Settings > Update & security should be no longer a square.

Known issues for PC

A small percentage of PCs may fail to update to this build due to a corrupt registry key. If your PC appears to be at the spinning dots black screen during boot for an unusual amount of time while updating to this build, hard reboot your PC and then run the following commands in an admin Command Prompt:

reg delete HKEY_LOCAL_MACHINEsystemsetupupgradensimigrationroot /f netsh int ipv6 set locality state=disabled reg delete HKEY_LOCAL_MACHINESYSTEMCurrentControlSetControlNsi{eb004a01-9b1a-11d4-9123-0050047759bc}28 /f

For more information on this issue, see this forum post.

While we fixed the primary bug causing this issue, some Windows Insiders may still hit nonstop exceptions in the Spectrum.exe service causing their PC to lose audio, disk I/O usage to become very high, and apps like Microsoft Edge to become unresponsive when doing certain actions such as opening Settings. As a workaround to get out of this state, STOP the Spectrum.exe service and delete C:ProgramDataMicrosoftSpectrumPersistedSpatialAnchors and reboot. For more details, see this forum post.

[GAMING] Some popular games might minimize to the taskbar when launched. You can click on the game on the taskbar to get the game back.

[GAMING] Certain hardware configurations may cause the broadcast live review window in the Game bar to flash Green while you are Broadcasting. This does not affect the quality of your broadcast and is only visible to the Broadcaster.

Microsoft Edge F12 tools may intermittently crash, hang, and fail to accept inputs.

The icon for Windows Insider Program under Settings > Update & security is shown as a square.

Windows Hello face authentication might not work, showing a “Camera couldn’t turn on” error on the lock screen, on some Surface Pro 4 and Surface Book devices

Known issues for Mobile

Speech packs will be unable to download on this build.

Adding a new card / paying with an existing card will not work in Microsoft Wallet.

Community Updates

We spent last week at Ignite Australia for the Windows Insiders Program for Business announcement. For more details, please see Bill Karagounis’ blog on it.

We’re so happy to see such interest from all of you around wanting to run Insider builds in your enterprises and to connect deeper with other communities of IT Pros. You’ll be hearing a LOT more from us in the next few months about how we want to co-create solutions with you to help you do your jobs better, easier and faster. Sign up here if you want to learn more today!

ALSO: I highly recommend reading Anita’s blog post about the recent Bug Bash we did and how awesome it was!

Keep hustling team, Dona <3

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