#large format printing online

[bestprintingdiscounts]

Large Scale Printing Online: Taking Your Marketing Efforts to the Next Level

Large Format Printing Online - Large scale printing online can be a powerful tool for taking your marketing efforts to the next level. Whether you're promoting an event, launching a new product, or trying to increase brand awareness, large format printing can help you make a big impact.

[identity2110]

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[argiopi]

fave con pics :] plz no rb I just want to show!

[irinanikoval]

[blindbeta]

Hello!

I’m writing a story (fanfic) featuring a blind character starting in the late 60s and am having a dickens of a time figuring out what technologies were available, when. Do you happen to know if that information is collected anywhere?

On a side note, trying to figure that sort of thing out on today’s internet really highlights how much of it is engineered to sell us stuff.

Thanks for being a great resource!

Researching Assistive Technology for the Blind for Stories Set in the Past

Here are some ideas that might help with researching for anyone writing stories that are not modern or fantasy.

Writing a story set in a different time can be challenging, especially because assistive technology for blind folks isn’t as widely discussed. It is easier to look up when color television entered family homes, but much harder to find a timeline of when exactly technology for blind people was invented or when techniques were more widely taught. At least, I have not been able to find a nice timeline myself and have instead had to search backwards. For example, if your character pours liquid into a cup, you can search for when liquid indicators were invented and where. I found this page with the following writing: “In the early 1960's he came up with the Say When, a compact, battery-operated device that hangs over a drinking cup and signals when poured liquid nears the top.”

If your story takes place in the late 60s, it is probably reasonable to assume this device may be available to your character. Additionally, the article I linked above mentions that the blind inventor, Tim Cranmer, according to this page here, was born in Kentucky and worked there, which means it is likely the liquid level indicator he invented was more likely available in the United States first. I am not sure how long it would take for an invention like that to spread to other blind communities around the world in the 60s.

You can do the same with technology like the Brailler, which would have been available in the 60s, while Braille displays were not. The previous link provided does include a timeline, although ot starts after the 60s, which is not helpful to you.

Your blind character in the 60s is more likely to have Braille books. The 1960s also saw the rise of cassette tapes, with the Listening Library as a major distributor of audio books by 1955. Your character could also listen to books on vinyl and cassette tapes.

When doing searches backwards, starting with when a particular device was invented, I find a lot of devices that were invented in Western countries. I would love to go more into non-Western blind inventors, but that may be for another time.

My advice is to reverse search devices you want to use and start by finding out when and where they were invented. You may also look into online spaces with older blind people who may be able to verify if a character using such a device at the time might be plausible. You may also search for videos to see if anyone has already collected helpful information.

As for writing, your character might have enough vision to write in large print. They may also be able to use a print typewriter with someone else proofreading.

Another technique I found was to research the history of blindness organizations. This page, while it suffers from some unfortunate ableist tones in the phrasing chosen by the writer, has a bit about the history of the Royal National Institute For Blind People. Researching the organization might help with figuring out what came from it. In this case, the page I linked mentioned distribution of Braille books and books in audio formats. You could probably do the same by researching schools for the blind around the area the story is set, as records might be accessible online or obtainable through staff. For example, students who ran school papers.

You can also research history of orientation and mobility or the history of canes to see what your character would likely use.

As for accessibility around the home or frequented areas, it may not be as different from today. Your character will still adjust lighting to a comfortable level. Your character might make a grocery list using a tape recorder or a slate and stylus. They might fold their money in a specific way for easy identification. They can mark specific bottles, buttons, or dials using any number of methods, including ink, tape, paint, stickers, etc. I have tried to research when bump dots were invented, but I came across websites trying to sell me bump dots.

Lastly, for fanfiction you might be able to get away with bending the timeline a bit. You can use notes to explain your researching and writing process to readers.

If anyone has resources to share, please feel free to do so.

[a-halo-for-you]

Useful Online Resources for Creative Students

Tips to controlling your creative chaos.

Studying Creative Writing and Theatre led me to exploring more about myself as an individual as well as an aspiring writer and actress. And in my writing I managed to compile a few more secret helpers to my party so when I am on the verge of a meltdown due to stress and writer’s block, there’s always a helping hand to get me out of a tricky situation. 

Every writer has their tools, from their brain to the type of pen they most prefer to make notes with and which software they prefer to work on. In this article I will be going through some of the tools that have best helped me through my time at university. 

⊱ ────── The Dictionary and Thesaurus ────── ⊰

I know, I know, not particularly exciting and original but it is imperative for us to have these at the ready, whether through technological means of the internet or in printed editions. We have all been in that place where there is a word on the tip of our tongues but we just can’t find it and that is where these come to our rescue. 

⚝──⭒─⭑─⭒──⚝

⊱ ────── YouTube ────── ⊰

YouTube has plenty of channels dedicated to writing, publishing, editing etc. It also has footage of our beloved authors who give plenty of valuable advice from their extensive experience in the job. It is also home to many wonderful playlist channels- no doubt helping me with the flow of my stories a few times or concentrating on studying an essay. 

⚝──⭒─⭑─⭒──⚝

⊱ ────── Spotify ───── ⊰

Speaking of music! Music is probably a number one for me personally, it creates the atmosphere internally before you cry, sweat and bleed it out onto the pages yourself with your own words. Spotify is my favourite as with a student discount you can get a premium membership that means no advertisement interruptions. You can also spend time creating different playlists for different works, for characters, settings or a collective emotion.

⚝──⭒─⭑─⭒──⚝

⊱ ────── Pinterest ���───── ⊰

Now, if you have not come across the wonders of pinterest I must direct it towards you as some are stimulated by music others are stimulated by photos. Helping to visualise characters, clothing, setting they have many wonderful photos for this, as well as plenty of information that can be shared on history, culture, creative ways to get rid of a body etc. There are also posts specifically tuned for writers, a large amount coming from Tumblr blogs which I would also recommend looking at. 

⚝──⭒─⭑─⭒──⚝

⊱ ────── Reedsy ────── ⊰

The next site I recommend is Reedsy. Reedsy is an online blog and website that connects writers, editors, artists and publishers. They have writing software where you can write your book in a publishable format, they have apps and tools that vary from generators and prompts to online classes that you can subscribe to. They also have writing competitions which help to create portfolios for new writers. At Reedsy you can meet other like minded individuals through the marketplace and post for your online portfolio.

⚝──⭒─⭑─⭒──⚝

⊱ ────── Fantasy Name Generators ────── ⊰

Now to some writers, using Generators can seem like a cheat but if you’re stuck then this website is a good place to go, whether you’re struggling with world-building or character creation and need some good names there’s always something you can find and note down. A tip to give would be to take two names and mix them to come up with something new, that way it also feels a little less of a cheat. 

⚝──⭒─⭑─⭒──⚝

Finishing here, I hope that any of these tools are useful for you as they have been for me in organising my creative chaos. And my last piece of advice for any unpublished writer or writing student would be not to compare your works in progress with any published works. Who knows which draft number it is so don’t compare it to your first!

⚝──⭒─⭑─⭒──⚝

[hooked-on-elvis]

Hey, fam. I didn't visit the place - just came to know looking for Elvis pictures online haha - but I think it's cool, so I thought about sharing it with you.

⚡TCB (Taking Care of Business) is a Members Only Club tucked below @FiaRestaurant in Santa Monica, CA (2454 Wilshire Blvd, Santa Monica, CA 90403).

Inspired by the great Elvis Presley’s Jungle Room, TCB features cheetah print wallpaper, brass monkeys, and a vintage jukebox to transport you to Elvis’ well-loved Graceland estate. TCB features an allocated wine and spirits list, as well as one-of-a-kind large-format cocktails.

https://www.fiarestaurant.com/

https://tcbspeakeasy.com/ > https://tcbspeakeasy.com/about

If I find other cool Elvis inspired places to hang around, I'll let you know.

[ernmark]

I was asked privately about the process of publishing a book, but I thought I'd repeat the answer in public in case it's useful for anyone else.

There are two main routes to publishing fiction. Both require that the manuscript be completely finished and polished to a shine before you do anything else, so I'd recommend getting at least three or four beta editors looking at it and getting it as refined as possible.

Route 1: Traditional publishing:

Once the work itself is completely finished, the first (and most important step) is to get yourself an agent. Precious few publishing houses will accept submissions from an unagented writer.

In order to snag an agent, you have to write (and then refine) a query letter and synopsis of your work, and submit it to an agent. Submitting a query is more or less like submitting an application to a potential place of employment, with the hopes that the person will give you an interview, with the hopes that that person will okay you to get a second interview, with the hopes that that person will actually give you the job. Each step weeds out people who aren't quite the right fit for one reason or another.

You can find lists of agents online, but the websites I used while querying were https://www.agentquery.com, querytracker, and I learned a ton reading through the archives at QueryShark.

When submitting to an agent, read each agent's profile carefully. If you submit a genre or vibe that they don't represent, or you don't address the email as instructed, you're disqualifying yourself out of hand. A very small percentage of agents will actually send rejection emails, an even smaller percentage will request a follow-up (a synopsis, the first couple of chapters of your manuscript, etc). Don't get discouraged if it takes a long time. Some agents will offer feedback on your submission. Often this is good advice, but it isn't always, so read it carefully and think on it before doing anything with it.

This is the only part of the process that's actually in your control. From that point forward, your agent will submit your work to publishing houses and negotiate a contract, and they'll guide you from there.

Route 2: Self Publishing

Some books don't work in a traditional market for one reason or another, or their authors just prefer to have more control over the process. Keep in mind, while the bar to entry for self publishing is very low, doing it well can be significantly more difficult and expensive.

Among the things that a self-published author will need to shell out for that a publisher usually pays for:

Editing. An editor to make sure that the quality of the book is up to par. These can be both for content and for line edits, and it's important to check.

Formatting. This is how the text looks on the page, and it's a lot more complicated than you would assume. I actually recommend using draft2digital to do the formatting for your digital files, because otherwise it is a nightmare. For print files, I'm told Scribus is solid free software, but I haven't yet used it myself. But trust me, a badly formatted file is a quick way to turn off readers.

Cover art. You can search cover artists online, or if you have a story that it works for, you can buy premade cover art at places like The Book Cover Designer and. Pay careful attention to how they look as thumbnails-- keep in mind that ebooks are frequently purchased through a phone or tablet, so the cover has to look good when it's tiny as well as in large scale. Another tip: pay close attention to the fonts, too. If a book cover looks slightly off and you can't quite place why, it's probably the font. You can frequently request that a premade cover change the font for free if you don't like it. A bad book cover is also a quick way to turn off potential readers.

Advertising. Yes, absolutely all the advertising is on your shoulders with this one. It takes a lot to figure out what works for you, your skillset, and your book. For me, I've found that I sell best at nerd-centered events like comic conventions and such, because I sell fantasy books. I don't recommend "all genre book events" unless you're selling cozy mystery or romance.

Printing and distribution. I use Ingram for printing, and I use Amazon and Draft2Digital for my digital sales. Draft2Digital allows you to sell to a variety of online markets, Amazon only allows you to sell to its own, but it's the biggest one out there. The latter two are free, while Ingram requires that you pay per file you upload. Ingram is also less user friendly, but I like the quality better, and it allows the books to be purchased by bookstores if somebody makes the request.

ISBNs. Amazon provides its own for free, but you can only use that in limited markets (namely, theirs and a small number of others). Depending on what platform you use to sell, you'll have to purchase an ISBN. DO NOT DO IT BY YOURSELF IF YOU CAN HELP IT. Because the way it's structured (to advantage Big Publishers and disadvantage self-pubbed writers), a single ISBN costs $125, buying 10 at once costs just under $30 each, and buying 100 costs just under $6 each. Yes, it is bullshit. I joined a writing group in my area, and we pooled our money and bought 100 ISBNs in bulk.

I hope that this is helpful to you, and I wish you luck with your writing!

[bylightofdawn]

Sooooo a couple of days ago when I started writing this FF7 fic I made the rather impulsive decision to purchase Final Fantasy VII The Kids Are Alright: A Turks Side Story.

Because it's for fanfiction 'research purposes' so that totally justifies my dropping 14 bucks on a book. And totally not because I got drawn in by Turks being in the title.

Look. I am AWARE that I am grown-ass adult swiftly my glorious approaching mid-life crisis era and if I want to be utterly ridiculous and purchase a book for a 25+ year old game just for fanfiction research purposes then I'm not making any excuses.

I'm aware I'm ridiculous.

Anyway, this book? Actually kinda a banger. This is prolly the best light novel translation I've ever read. It's engaging and interesting. I'm only on like page 35 so it's too early to make any real decision but it's ALREADY paying off dividends in that I already have stuff I intend on folding into this fic.

Like apparently Elena was liaisoning with the WRO who mass produce painkillers for Geostigma patients because apparently it was agonizing. (Which makes sense from what little we see in Advent Children) and that the WRO was the ones who were gonna distribute it. I'd been having Tseng play as Reeve's sort of go-between so I'm going pivot from here because of that info.

I'm going to keep writing the fic but I am definitely going to put some effort over the next couple of days to read more into the book. Only problem I'm having so far is the printing is kinda small. I'd say it's like a 10pt font and isn't times new roman but a slightly lighter serif style font which for my 40+ eyes is JUST SMALL ENOUGH to make me strain to read it.

Which....blows on soooo many levels cause fuck me am I really getting that fucking old that I will be needing large format printing books in the next decade. Also, why the hell are there no digital copies of this or On the Way to a Smile??

I did find a digital copy of the fan-translated On the Way to a Smile online. It's definitely not as smooth as the translation for this book. Like I said, this is an exceptionally well translated light novel. I've been kinda burned repeatedly in the past when it comes to light novel translations and most have been kinda....meh.

Which is kinda understandable because it's hard to convey nuance, differing cultural norms and what have you from one language to another. I might actually pick up the official copy of On the Way to a Smile if it was done by the same team as this book.

EDIT: one other thing that makes buying this book completely worthwhile is apparently Rufus Shinra has the very uncomplimentary nickname if ‘Doofus Shinra’ because he was heading the Shinra empire when everything went to shit.

And you can bet your ass I will be incorporating that into this fic somehow

I’m sure in the original Japanese it’s prolly something else but it’s hilarious in the English translation. 🤣🤣🤣

[mywifeleftme]

365: Patti Smith // Horses

Horses Patti Smith 1975, Arista

There’s a man named Nicky Drumbolis who lives up in Thunder Bay, Ontario, in an apartment that doubles as perhaps Canada’s greatest bookstore almost no one has ever seen. The septuagenarian Drumbolis is short and nearly deaf, a master printmaker and eccentric autodidact linguist. For years he ran a second-hand shop on Toronto’s Queen St. called Letters, until push (the size of his collection) came to shove (skyrocketing rent) and he went north, where he could afford a sufficiently large space to spread out. Unfortunately, Thunder Bay has little market for antiquarian books and micro press ephemera, and his shop is located on one of the most crime-ridden streets in the country. And so, the transplanted Letters has no storefront—in fact, the building looks derelict, its windows boarded up and covered with what at first glance seems to be graffiti but on closer inspection resembles a detail from the cave paintings at Lascaux. Letters’ patronage is limited to the online traffic in rare first editions that brings him a small income, and the occasional by-appointment adventurer willing to make the long, long 1,400 km drive from Toronto or further abroad.

When you enter, you find yourself in what appears to be a well-kept single room used bookstore, the kind there used to be dozens of in every major city. Books of every type and topic line the shelves, neatly arranged by category, and a long glass display features more delicate items, nineteenth century broadside newspapers and the like, some so fragile they seem on the verge of crumbling into dust. But this is not, Drumbolis warns you as soon as you attempt to take a book off of the shelf, a bookstore: this room is a facsimile, a tribute exhibit to as he calls it, “the fetish object formerly known as The Book.” The real bookstore lies in the chambers beyond this front room, the full catalogues of bygone presses, the one-of-one personal editions he’s assembled over decades of following his personal obsessions, the stacks which crowd his own modest sleeping quarters.

To Drumbolis, the original utility of the book as a container and mediator of information is now effectively passed; virtually every popular book in existence has been digitized, their contents instantly available in formats that are better-indexed, more easily parsed, and more readily transferrable than the humble physical book ever allowed. To desire a book is to desire possession of the thing rather than its contents, this edition, this printing, perhaps this particular copy that once passed through the hands of someone significant. He can show you the copy of John Stuart Mills’ On Liberty that was owned by Canada’s founding father John A. MacDonald, and argue convincingly that this object helped set the course of a nation’s history; or a set of Shakespeare’s complete works bearing Charles Dickens’ ex libris, which sets off a long anecdote about how Dickens liked to troll his houseguests with a collection of fake bookshelves. Drumbolis’s collection is threaded through his life like an old wizard in a fantasy novel whose flesh has fused with the roots of a tree: he eats with his books and he sleeps with them; collecting fuels his arcane research and dictates where and when he travels; 25 years ago he uprooted his life when his collection bade him, and though he’s starved for company in the frozen city it chose for him, he abides.

My own case of collectivitis is not so advanced, though Lord only knows what I’ll be like when I’m Old (I’m currently 47). And despite the conceit of this blog, I’ve seldom spent much time in these reviews dwelling on the physical properties of my records, evaluating the relative merit of pressings and the like (or even mentioning which one I’ve got). But as I sit here listening to my copy of Patti Smith’s Horses for the first time, I feel a small but definite sense of wonderment. It’s an early ‘80s Canadian pressing, so near-mint I might’ve stepped back in time and bought it new, still with what I take to be the original inner-sleeve, pale azure (to match the Arista disc label) with a texture almost like crepe paper.

It’s a delightful, surprising contrast to the iconic black and white cover portrait of Smith by her former paramour Robert Mapplethorpe. Generations of fans have stared at this image as they listened, not simply because Smith is hot (though this is undeniably true) but because the music’s visionary qualities demand an embodied locus. That a record, unlike a book, can speak aloud, has always primitively fascinated me; that this one contains what I can only describe as rituals makes it magical, this physical copy that is unique because it’s this one that is speaking to me in this moment. 

 Smith writes on the back of the sleeve:

“…it’s me my shape burnt in the sky its me the memoire of me racing through the eye of the mer thru the eye of the sea thru the arm of the needle merging and jacking new filaments new risks etched forever in a cold system of wax…horses groping for a sign for a breath…”

“charms, sweet angels,” she concludes. “you have made me no longer afraid of death.” The record becomes an extension of Smith’s body as it existed in that time—I think here of the physicality of the moment in “Break it Up” where you can faintly hear her striking her own chest with the flat of her palm to make her voice quaver. It makes me wonder how anyone could sell this thing once they have it: not because it is particularly rare or difficult to acquire, but because it’s hard for me to imagine the experience of slipping the lustrous black disc from its dressing and setting the needle down upon it as anything but a personal one. It is poetry and waves; the subliming of the idea of a rave-up; Tom Verlaine shedding his earthly mantle in an explosion of birds; John Cale; Kaye, Král, Daugherty, and Sohl; one of my boys from Blue Öyster Cult; the pounding of hooves and the Mashed Potato.

I suppose what I’m describing is a fetish, my pleasure in acquiring these things and writing these reviews the hard and strange work of finding life’s joy in its dusty corners. This year has run through my fingers like water, as it seems they all do now. But on my good days, all these words behind me and the records in front of me seem like a document of abundance.

365/365

[identity2110]

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[spockandawe]

😍 I’ve been scrolling through your blog all evening, your work is BEAUTIFUL! I had no idea you could make books look so gorgeous. I’ve been interested in book binding for quite a while, but have been intimidated to take the first step. How did you get into it? Did you take classes, or follow something online? Or, do you already have a post where you talk about that? Seeing your work makes it seem so worth it, even if it seems intimidating to tackle 💖💖

Oh my goodness, than you so much!!! Sometimes I feel like I have a long ways to go, but then sometimes I take a step back and say, hey, this IS fairly rad, isn't it!

But I completely know what you mean about the craft seeming intimidating. I am here to tell you that the way it feels too overwhelming to get started is one of the main speed bumps about this craft, including for leveling up while inside it. I've got a number of projects I'm wrestling in terms of intimidation right now, even though I know I've dealt with this before, and what I do is probably going to be just FINE. Books are such, like.... iconic objects, it's hard to look at a fancy one and decide that you can totally do that too. But this is honestly a craft where I have an easier time encouraging beginners than many of my others, and I've got resources for you.

Where I got started!! It was honestly super trivial stuff, my dad doesn't love reading documents on his computer for work, and he showed me how he was printing off booklets and folding them in half and doing a line of stitches down the middle, and I was like '...........SO IF I WANTED TO PRESERVE A WEBNOVEL--' and things WENT from there. I started with what I could scrounge up on google, but there are better options, and a LOT of them, and a thriving ficbinding community which is pretty good (on tumblr at least) about sharing resources with each other.

So, what I'm about to go into here is largely focused on ficbinding and webnovels and other books with CONTENT, I know some people have a great time making blank notebooks, but my mind has always slid off those. If you're intimidated by the steps involved in formatting text for printing, that may be something you enjoy!!

I think I've got a few asks about this in my spock-replies or my bookbinding tag that go over similar information in different form, but this was the first one I tripped across, with my personal rundown of what I would use to get started with a casebound book (which is most of what I've done. If you're intimidated by a full hardcover with a covered spine, then a coptic bound book will provide similar function, with different construction and an open spine, but I still haven't gotten off my ass to do one of those yet, so I don't have resources on hand. I found my footing using Sealemon's videos, not just the one linked but some of the others as well. I tend to make beefy books that aren't suited to decorative binding styles, but I want to try that, someday. But I also have like ten projects in progress and things are kind of oh-god-let-me-off-mr-toad's-wild-ride, so... not yet.

After I got comfortable with Sealemon, I dug into the DAS bookbinding channel, which is a DELIGHT. The guy who runs the channel is incredibly chill and soothing to listen to, and he knows so much and has SUCH an archive of different techniques and styles. I still haven't gotten super adventurous, and honestly this is still a channel where I get intimidated about trying something new, but there's material that's not an intricate four-part series, there's things like doing a pamphlet binding. Other youtube channels with bookbinders tend to be very helpful as well, and some like annesi binding tackle cool topics that can be hard to find elsewhere. Part of the trouble with bookbinding is that a ton of cultures developed similar ideas independently and riffed on them for CENTURIES, so there is unimaginable variety in the creative space. Video works better for me to understand how it goes than written accounts do, but it's a huge space to find a comfortable nest in.

And!! In the middle of all this, i was pointed at @renegadepublishing, which is a community largely focused on ficbinding (but also open to other endeavors as well), and just a lovely place that's been so helpful to me. There are resource documents that I believe are in the sidebar, and I think there's a dreamwidth community as well where I think they've been crossposted. I know some people involved in that community also post on r/bookbinding, though if you're more interested in binding fanfic, there's also an r/ficbinding community that may be more tailored to your passions. I'm delighted that you liked my books, but renegadepublishing regularly reblogs things from other binders that leave me absolutely starry-eyed, and it's fantastic for inspiration as well as education!

Okay, I think that's what I've got for now. That was basically the slippery slide I fell down, where I just desperately wanted to preserve mxtx's books in english, before there was any hint of an official license. That directed me down a path of learning how to make Big Books, and my own attention span drove me to figure out how to do it fast. There was a long youtube spiral while also using the renegade resources to give me a second bonus perspective that helped me understand WHY i was doing certain things. Part of what helped me out is that I have a stubborn thing where 'what do you mean i can't buy X? fine, then i'm going to MAKE X.' and that served me well here. But also, I can't undersell the excitement of holding a book you made from a piece of beloved fanfiction for the first time (no matter how crooked it is!) and opening it, and seeing the words on the page, physically, and shaped like a real book, and that thrill has carried me forward through a year and a half of this nonsense.

[teamarcstechnologies]

How online survey help in overcoming offline survey challenges?

In the realm of data collection and market research, surveys are an invaluable tool for gathering insights from respondents. Traditionally, surveys were conducted offline, involving face-to-face interactions or paper-based questionnaires. However, the advent of the internet has revolutionized the way surveys are conducted, making online surveys increasingly popular. This transition from offline to online surveys has brought about significant benefits, helping researchers overcome various challenges associated with traditional survey methods.

Accessibility and Reach: Offline surveys are often constrained by geographical limitations and logistical constraints. Conducting surveys offline requires physical presence, making it difficult to reach a diverse and geographically dispersed audience. In contrast, online surveys transcend geographical boundaries, enabling researchers to reach a wider and more diverse pool of respondents. With online surveys, researchers can target specific demographics, regions, or niche populations with ease, thereby enhancing the accessibility and reach of their surveys.

Cost-effectiveness: Offline surveys incur substantial costs associated with printing questionnaires, travel expenses for fieldwork, and hiring personnel for data collection. These costs can quickly escalate, particularly for large-scale surveys or those targeting a broad audience. Online surveys offer a cost-effective alternative, eliminating expenses related to printing, distribution, and on-site data collection. Researchers can design, distribute, and collect responses for online surveys at a fraction of the cost of their offline counterparts, making them a more budget-friendly option for research projects of all sizes.

Time Efficiency: Offline surveys often involve lengthy processes, including manual data entry, transcription of responses, and data analysis. These time-consuming tasks can delay the research process and prolong the time-to-insight. Online surveys streamline data collection and analysis processes, reducing the time required to gather and analyze responses significantly. With features such as automated data capture, real-time reporting, and built-in analytics tools, online survey platforms facilitate rapid data collection and analysis, allowing researchers to generate insights more efficiently.

Flexibility and Customization: Offline surveys are typically static in nature, with limited scope for customization or dynamic adjustments. Conversely, online surveys offer unparalleled flexibility and customization options, allowing researchers to tailor survey questions, format, and design to suit their specific research objectives. Online survey platforms provide a range of features such as branching logic, skip patterns, and multimedia integration, enabling researchers to create engaging and interactive surveys that capture richer insights from respondents. Moreover, online surveys can be easily updated or modified in real time, enabling researchers to adapt to changing research requirements or respondent feedback seamlessly.

Data Accuracy and Quality Control: Offline surveys are susceptible to errors such as incomplete responses, data entry mistakes, and respondent bias, which can compromise the accuracy and reliability of the findings. Online surveys incorporate built-in validation checks, error prompts, and response validation mechanisms to ensure data accuracy and quality control. Researchers can set predefined response formats, enforce mandatory fields, and implement skip logic to minimize errors and improve data integrity. Additionally, online survey platforms offer advanced features such as randomization, response weighting, and quota management, further enhancing the reliability and representativeness of the data collected.

In conclusion, the transition from offline to online surveys has transformed the landscape of data collection and market research, offering researchers a more accessible, cost-effective, and efficient means of gathering insights from respondents. By leveraging the benefits of online surveys, researchers can overcome the challenges associated with traditional survey methods and unlock new opportunities for innovation and discovery in their research endeavors.

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[travaholic]

How Social Media Marketing Is Different From Traditional Marketing

The marketing world has undergone a significant transformation in recent times. While traditional marketing channels like print, television, and radio still hold value, the rise of social media has opened a dynamic new avenue for businesses to connect with their target audience.

This article delves into the key differences between social media marketing and traditional marketing, highlighting the unique strengths and considerations of each approach.

Reach and Audience Targeting

·   Traditional Marketing: Relies on demographics and broadcasted messages. Newspapers, magazines, and television cater to a general audience within a specific area. Targeting specific demographics can be achieved through strategic ad placement, but true individualization is limited.

·   Social Media Marketing: Enables laser-focused targeting. Platforms like Facebook and Instagram allow marketers to target users based on a multitude of factors, including age, location, interests, and online behavior. This granular targeting ensures messages reach the most relevant audience segment, maximizing campaign effectiveness.

Interaction and Engagement

·   Traditional Marketing: Primarily a one-way communication channel. Print ads, billboards, and even television commercials are delivered without the ability for immediate audience response.

·   Social Media Marketing: Fosters two-way communication and engagement. Social media platforms provide a space for direct interaction between brands and their audience. Companies can respond to comments and messages, answer questions, and address concerns in real time, fostering a sense of community and loyalty.

Content and Creativity

·   Traditional Marketing: Content is static and limited by format. Print ads rely on visuals and text, while television commercials are restricted by time constraints.

·   Social Media Marketing: Offers a diverse range of content formats. Businesses can leverage images, videos, live streams, and even interactive polls and quizzes to capture audience attention and deliver their message creatively and engagingly.

Cost and Measurement

·   Traditional Marketing: Costs can be high, particularly for prime-time television slots or large-scale print campaigns. Measuring the return on investment (ROI) can be challenging, often relying on estimates and indirect metrics.

·   Social Media Marketing: Offers a more cost-effective approach. Many social media platforms provide free business accounts, and paid advertising options are often flexible and budget-friendly. Tracking campaign performance is significantly easier with built-in analytics that provides insights into reach, engagement, and conversions.

Data Analytics

·   Traditional Marketing: Limited data available to measure campaign effectiveness. Traditional methods often rely on estimates and indirect metrics like website traffic fluctuations or an increase in sales calls.

·   Social Media Marketing: Provides comprehensive data and analytics. Platforms offer insights into impressions, engagement metrics (likes, comments, shares), website clicks, and even conversion rates. This data allows marketers to refine their strategy, optimize content, and measure the true impact of their social media efforts.

Crisis Management and Brand Reputation

·   Traditional Marketing: Limited ability to address negative feedback or public relations issues promptly. Responding to criticism in print or television ads often requires time and additional resources.

·   Social Media Marketing: Enables real-time crisis management. Businesses can directly address customer concerns and negative feedback on social media platforms, allowing them to control the narrative and minimize potential damage to their brand reputation.

Additional Considerations and The Future of Marketing

While the core differences between social media marketing and traditional marketing have been addressed, here are some additional factors to consider:

Integration and Cohesiveness:

·       Combining traditional and social media marketing efforts can create a powerful synergy. Traditional channels can be used to drive users to social media platforms, where deeper engagement and conversions can occur.

·       Consistency in messaging and brand identity across all marketing channels is crucial for building a strong brand presence.

Rise of Influencer Marketing:

·       Social media has led to the rise of influencer marketing, where businesses collaborate with individuals who have built a large and engaged online audience.

·       Influencer marketing can be a highly effective way to reach a targeted audience and leverage the credibility and trust established by the influencer.

Evolving Social Media Landscape:

·       Social media platforms are constantly evolving, with new features and functionalities emerging regularly. Marketers need to stay up-to-date with these changes to adapt their strategies and ensure they are using the latest tools and trends to their advantage.

Focus on User-Generated Content:

·       Encouraging user-generated content (UGC) through contests, hashtags, and interactive campaigns can be a powerful social media marketing strategy.

·       UGC fosters a sense of community, increases brand authenticity, and allows businesses to leverage the creativity and reach of their audience.

The Future of Marketing: Embracing Personalization

Looking ahead, the future of marketing lies in personalization.

·       By leveraging the vast amount of data available through social media and other digital channels, businesses can tailor their content and messaging to individual user preferences and needs.

·       This level of personalization will be key to building stronger customer relationships and driving engagement in an increasingly competitive marketplace.

Conclusion:

Social media marketing has revolutionized the way businesses connect with their audience. While traditional marketing channels still hold value, the ability to target specific demographics, foster two-way communication, and measure campaign performance in real time makes social media an essential element of any modern marketing strategy.

By embracing the unique strengths of both traditional and social media marketing, businesses can create a comprehensive strategy that drives brand awareness, audience engagement, and ultimately, business growth.

[blindbeta]

I think I just accidentally sent you an unfinished ask so I’m sorry. If a character has a cane specifically to indicate deafblindness, should the story explain what it means or let the readers figure it out? Assume it’s a visual medium like a comic or TV series

Indicating DeafBlindness Plus Accessibility

Note: DeafBlind is written with an uppercase D and B with respect to Deaf culture and for the ease of screen-readers respectively.

I am not DeafBlind, but I can give a few thoughts from a blind person’s perspective. Either could work. If you want to explain, that should make it clear to the audience. However, if you want to let the audience figure it out themselves, you may want to show canes of multiple characters for comparison. For example, showing a blind person’s cane and a DeafBlind person’s cane would allow audiences to notice the multiple red stripes on the DeafBlind person’s cane compared to the one stripe on a blind person’s cane. Two DeafBlind characters with the same canes could also communicate meaning to audiences.

Also, just in case, I wanted to ask that you make sure this is accessible to blind and DeafBlind audiences. I have a few posts on the blog for making comics accessible with image descriptions which can be read with an audio screenreader or in Braille. For mediums like YouTube videos or television shows, I suggest making sure there are audio descriptions, accurate captions, and a print script available that can provide the entire experience (both visual and auditory) in a print format. This way it is accessible to those who can only access it through reading Braille on a display. A large print option would also increase accessibility.

Because DeafBlindness is spectrum like blindness, I wanted to give a few options to try to be as inclusive as possible.

I also suggest finding a DeafBlind reader for accurate details and accessibility. @sensitivityreaders may also have something. A general search online may also help.

I hope this helps.