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callophelia-ailingamnemonic · 4 years

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If The Omori Fandom Played Homestuck... [Pt 1]

Okay... so um... y’all know how I love assigning hero titles/classpects to characters and how I love the potential of Fandomstuck, right? Yeah, lmao so I decided to assign a hero title to my Fandomstuck interperetation of this psychological horror RPG game called OMORI! It’s a really good game and I had an idea for a hero title for them! And cuz I have a feeling this post is gonna be pretty long, I’ll go through what I think their lunar sway would be, as well as other things such as chumhandles, typing quirks, planets, sprites, strife kinds, and fetch modi in the next post uwu

Though please keep in mind that this is purely my opinion, and if you disagree with it, then that’s cool, you don’t have to listen to my conclusions! They’re merely suggestions uwu Additionally, all this speculation is based off of OptimisticDuelist’s own research and that this post will contain a lot of spoilers for OMORI, so be warned, and remember; this is all just for fun and to satisfy my Fandomstuck obsession :33

For the sake of not confusing the actual game from the character, I will refer to the game’s personification as ORI.

After playing the game, I strongly believe that ORI’S hero title is the Prince of Hope.

The aspect of hope relates to faith, possibilities, positive emotions, and all things imaginary, idealistic, and as my friend would say, all about “Faking it until you make it”. Additionaly, as quoted by optimisticDuelist, hope also “describes our faith in the narrative’s coherence, our excitement for building plot threads and our ability to immerse ourselves in the fictional world”. Majority of the game takes place in WHITE SPACE, a DREAM WORLD created by SUNNY after MARI’s death as a sort of coping mechanism to handle the guilt of the truth. Many things about the DREAM WORLD relates to hope, such as how SUNNY hopes to forget what really happened to his sister by immersing himself in the DREAM WORLD for the price of isolation in the real world (for FOUR years!) where, in the DREAM WORLD, everything is better because MARI is still alive there and all his friends are together and happy. The aspect of hope, however, is not just restricted to SUNNY/OMORI and WHITE SPACE, but also to the characters outside in the real world which is why I think the aspect of hope relates to ORI beyond the game’s protagonist. BASIL believes in SUNNY and that there was no way he could have killed MARI or vandilised all the photos, no matter how clear it was, and instead blames SOMETHING for all of it. Additionally, the rest of the cast believed in the lie SUNNY and BASIL created regarding MARI’S death and don’t even find out until the very end of the game if you get the true ending. We can also go a few steps further by bringing up the group’s hopes and dreams for a brighter future, SUNNY’s hope for forgivness and the fact that happy (And its other stages) are all positive emotions that play a role in battles.

Although I’m pretty set in stone about hope, you do see traits of other aspects throughout the game.

Time, since the aspect is linked to music, narrative pacing, decay, and is associated with photographs through the canon Knight of Time, Dave Strider. Right off the bat, we can link the whole photography thing to ORI since the truth is revealed to the player through a series of photos, and also that BASIL loves taking them. Additionally when the game brings us to the real world for the second time, we get to learn how the world SUNNY used to know changed in the last four years. Additionally, MARI and SUNNY played the piano and violin (respectively) and MARI died the day of their recital. If we wanted to go above and beyond, we could probably bring up how BASIL’S mental state takes a quick turn south when he finds out SUNNY’s gonna move, and on the last day, if left alone, will kill himself, which will either lead SUNNY to lock that memory away, or kill himself by stabbing or jumping off the hospital’s roof if the player gives up during OMORI’s battle. So yeah... lot’s of death.

Void and how it can represent secrets, lies, misfortune, and the unknowable alongside nothingness/meaninglessness and the physical world. This applies to ORI and how the whole reason WHITESPACE exists was due to MARI’s death and how it was covered up with a lie and how hard OMORI tries to stop SUNNY from discovering the truth.

Light, which represents imagination and true information, good fortune, and what’s important. Imagination also applies to WHITESPACE and how as the game goes one, we begin to learn the truth behind MARI’s death.

Blood, which represents connection, responsibility, commitment to a collective, an attachment to the world and character dynamic. This applies to ORI and how despite the fact the characters had drifted apart ever since MARI’s death, they were all able to fall back together due to their friendship. Heck, the whole thing about them all being close friends is often seen and mentioned throught the game! In addition to that, the lack of connections ended up making everyone miserable and eventually, SUNNY owns up and tells the others how MARI really died in the end of the true end.

Heart, which reflects the soul, inner feelings, love and attraction, and platonic ideals of both people and objects. Additionally, canon heart players are known for roleplaying and personality splinters, which if you count OMORI (SUNNY’S dream alter ego) going around and protecting the truth by pretending everything is alright, then that kinda fits the heart bill as well. We could additionally go a little deeper by bringing up Sweetheart and the fact that the dreamworld is personal and important to SUNNY, since everyone in that world was either people in real life when they were still young or mascots from games and comics SUNNY knows of.

Kind of breath, since a part of the aspect includes detachment from the world... since... y’know, SUNNY HASN’T LEFT HIS HOUSE IN FOUR YEARS.

And kind of rage, since anger is one of the emotions the play a role in battles, and that a part of rage is that its contrivance is meant to make us see through the illusion of the fiction and focus on its flaws instead. This can be applied to how quickly the dreamworld falls apart as the game progresses, breaking the harmony time and time again, and constantly reminding us that everything is not as it seems.

Although these aspects could all be used to describe ORI, I still kinda see hope as the main aspect.

Now for the next point, why in the world would I think ORI to be a prince of all classes (Especially considering Homsestuck’s canon Prince of Hope)??? Well, I’ve already describes what hope is and how it relates to the dreamworld and its purpose, and then I’m gonna bring up what a prince (Alongside its passive counterpart, the bard) does; they destroy.

Princes are ones who destroys their aspect, or destroys through their aspect for themselves. As one of the most active classes, it can be stressfull for them to adopt passive roles, and tend to dominate the plot with the sheer impact of their actions. Royals (princes and bards) are those concerned with aristocracy, nobility, and the great figures who shape society, and due to that, share a focus on birth-rights and legacies. Royals are often intensly devout to the cause they believe in and the people they love and are not afraid to fight for what they believe is right. They tear down what’s old and stagnant to allow the flourishing of the new and are often formidable attackers, but also effective debuffers, as they remove their aspect from reality or wear down their enemy through its use. However, their reverence for high-class court society can make them judgmental or arrogant, and their greatest challenge is to resist the ego that would convince them that they’re above others.

The main reason I chose the Prince class for ORI is because they can destroy their aspect, and in this case, I will their aspect, being WHITE SPACE/the DREAM WORLD. As mentioned countless times earlier, WHITE SPACE is SUNNY’S safe place and their protection from the truth or what really happened, but as the game progresses, the player’s actions and OMORI’s reaction to anything that would reveal the truth breaks the illusion of the DREAM WORLD, before eventually, destroying it althogether in the end and (if you managed to figure out the hangman’s game) uncover the truth in the form of a broken realm known as BLACK SPACE. Additionally, the entirety of HEAD SPACE (WHITE and BLACK) was created by the game’s protagonist, which would already put them (SUNNY/OMORI) in an important position. If we want to expand on the whole aristocracy-nobility thing, we could bring up the fact that SWEETHEART is... I don’t really know what she is, but she’s super popular, rich, and owns a castle in the DREAM WORLD, and that CAPTAIN SPACEBOY/FRIEND is a well-known space pirate, and MR JAWSUM who is the owner of this hotel-resort thing. The fighting part of the Royals’ description easily fits ORI, since it is an RPG game. I could keep giving reasons as to why I think ORI would be a prince, and several other alternatives I thought would fit, but this post is already really long :’DD So the last thing I wanted to say about this was that the reason I thought ORI would be a prince, and not a bard, was mainly because of the prince’s activness and how as the game goes on, OMORI grows stronger before the final battle of the game turns into a struggle for power between SUNNY and OMORI.

Anywho, this is my really long explenation of why I would think ORI (My Fandomstuck interperetation of OMORI) would be a Prince of Hope! At one point, I did contemplate the idea of them being a witch, but then I felt as if that would have suited SUNNY more as an individual.

So yeah, that’s basically it and I’m gonna make another post later about all the other stuff afterwards, and to finish this post off, here is a picture I made of ORI using Gacha Club uwu (Cuz I have no drawings prepared ;w;)

#Classpecting Random Characters #homestuck #classes and aspects #Hero Titles #OMORI #Fandomstuck #Fandomstuck OMORI #Fandomstuck Hero Titles #Fandoms Play Homestuck #Spoilers for OMORI #Mentions of death and suicide

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blue-bird-lamentation · 4 years

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this the story post: melohax[.]tumblr[.]com/post/639167543643340800/warning-spoilers-ahoy-only-read-this-if-youve the game has like so many secret scenes it shocked me

Thank you so much for the link!!!

I really liked reading it. I tried to skip the hikikomori route part as I will try to calmly play it, but I‘ve read a few and, as a person who saw that seen of a man trying to cut a tree and saying “you’re not my son” it intrigued me a lot what kind of information I will get from there.

I’m still puzzled and still didn’t try to see what would happen if I collected the wrong letters and if I has opened the door to Mari.

I went far on this answer and wrote a lot of random topics that are also mentioned in that post and other things I remembered too. It’s still too messy, but my memory is fresh and I decided to write about what I was thinking, even if not organized. Sorry for using your ask, but I was inspired by the link, which I think it’s a very interesting reading. I’m also sorry for the mistakes and I may come back later to correct them. There are so many fascinating things in the game, and so many others I haven’t yet explored, besided I feel good writting all of this as it is kind of asfixiating to thing about it and not having anyone to discuss it with.

This game was a rollercoaster. I knew from the begining that the cute artstyle and the pastel colours in the begining were deceiving, especially when you start in a weird whitespace room and take a knife. Omori as a black and white coloured character among the other paster colours also felt weird.

One really interesting comment I received from my brother when he watched me playing a bit, in a fight, was “oh your character is the real neutral one, the others seem happy” while all of them were in neutral mode. Also his happy expression was scary and he was the one who got to maniac aside from villains (at least for me). The fact he has a knife intrigued me a lot if I should really fight but at first it looked like there were no consequences (aside from feeling tremendously bad for being called bunny killer. Also about these little enemies, it’s interesting how many of them were bunnies when the person we find who has a bunny is Aubrey, which is also the girl from the group that is now “against us”, at least most of the time in the real world).

Also about the knife, there are two other moments that totally hit me:

- the suicide in whitespace, which could foreshadow his suicide in some routes, but is also the means to wake up;

- Kel and Aubrey in the real world who call us out for bringing a knife, which, since the begining, was the correct thing to do.

I really wonder a lot about his family and their decisions.

It’s been 4 years. I wonder if Sunny’s mom ever put him into some kind of therapy, I wonder if her absence was on purpose because she wanted him to say goodbye to his old friends one last time. I wonder if Kel’s visit wasn’t a coincidence. I wonder if Hero coming back was also part of a last chance to bring Sunny back. I don’t know if the other route answers it, but seeing the notes and messages that mother leaves, she seems to be worried about him. I would say a mix of worry and fear, so there must be some strong reason why she’s not there besides going to buy some furniture or whatever.

Saying this, I think only Sunny’s parents know more or less what happened, but not from their son’s mouth, from autopsy report perhaps. The house was adapted to the changes: no family picture, as opposed to what I saw in Kel’s house (and I wonder if it’s only because of Mari or also with his father too as described by the cutting tree scene. I had thought this was directed to Omori and not to Sunny, but this is also part of the dream realm, so it could be Sunny’s interpretation to the end of his parents marriage which was related to Mari’s death), Mari’s bed is gone (which made the scene when she knocks the door even creepier. I never got to open the door because I was scared, but I’m also curious). Also about the 4 years, I liked the detail of the 4th floor sign in Last Resort, which was resting there on the floor, as the number is also cursed because it symbolizes death.

I find fascinating how the complexity of the situation is represented in the dream world. His team is composed by his old friends, which are human. Mari and Basil are also human but they weren’t totally present. Mari is the safe point and overprotective of Omori, but she is also the element who encourages him to face his fears. As he faces his fears, he unravels more information about what he repressed, also helped by the presence of the blackspace Basil. But it’s ironic as the more he unravels, the more corrupted the story seems to evolve, but also the more they lose the main purpose of rescuing Basil, which is more evident in the deeper well.

I believe the human figures are the most important to him, and then there are the elements that combine real world figures with fantasy, as the candyshop girl and the fiction space boyfriend. Each story is fascinating but it also makes you lose focus on what you were supposed to do. And in my case, there was a point where I just wanted to wander around in these stories because I was to afraid to face the real story that was masked by this fictional colourful world.

These olde friends represent perhaps what Sunny never wanted to have lost, but also what he does not want to face.

When Sunny woke up in the hospital, I first followed the kids, and no, that wasn’t the right path. That was the safe path, where there is no confrontation with reality. As it was when Sunny was with company. I think it is Aubrey who says he doesn’t like to be alone, and well, that was me the whole game, imploring to not be left alone, because once the character was alone, his world seemed to be corrupted by the black space, which was also a stepping stone to reach the truth, the dark truth.

And I really like how this is all Sunny’s mental effort, which, I would say, it’s helped by him leaving his house and meeting his friends once again, as well as facing Basil one more time.

I was really sad with how the story developed. What started I was assuming it was a facing your fears story, transformed into an overcoming someone’s death, which at first I thought it would be Basil’s, to go to Mari (which was a total mystery to me why had she died (my ingenuity believed it could have been some traffic accident or something else) at first), to go to save Basil again, but now with some dark remarks about the character himself. In the middle of this development, first time the character wakes up, it is clear that the dream world character is not the same as the real world one, age wise, but is part of him.

I had written that at first I was reluctant about the fights, but well, they were necessary to me to face the villains of each arc. But at the same time thery were never too difficult (I think the most difficult part to me was to be strong enough for the Dino Dig and the rest was pretty easy). When, at the end Sunny had to face Omori I was shocked. So, the guy I had been training which was very seemingly sadistic, did I simply train him so that if Sunny wanted to face his trauma, he would hunt him with his strenght? Like the stronger I made him, ther bigger the reluctance to overcome the past. And while this sadistic character seems to be what I would compare to a Chara in Undertale, to me it was the harsh self conscious, critical part of him who could never forgive for what he had done. And which was also manifested as the monster surrounding him and Basil. It was their perception that what they had done was unforgivable, but at the same time neither of them wanted to carry that burden alone: Sunny “forgot” it, Basil manifests it by making those toxic remarks like “you aren’t going to leave me alone again, are you?”.

I don’t know if we get to see more of Basil’s backstory but he also got me curious. I think that what both of them did was bad, but given what happened between Sunny and Mari, it was really hard to know how to face it. I don’t think it makes them willingly villains, but scared children who were very self conscious and didn’t know what would happen if people found it out.

However, hadn’t Basil been there, Sunny would have been found right away next to Mari’s corpse. So I wonder what led Basil to propose such idea and to make Sunny’s burden heavier, which made him ambiguity of his disappearance with the will to save him as a friend.

I don’t think it was an ill intention, but Basil created excuses to protect Sunny because he was important to him and to the group. As the photo album showed, Sunny was the younger element, seen as the baby of the group, and he was shy, but he loved his friends even if he looked the most expressionless.

I think these elements awoke in him the need to protect Sunny from the darkness that lied ahead his actions, but he didn’t realise how heavy of a burden that would be. At the same time he probably had some issued regardin expectations and self worth which probably told him that they could never be tied to such a cruel action, even if it was accidental.

In my perspective he didn’t see the dark shadow surrounding Sunny at the time, but he engraved the memory as an act not commited by Sunny but by something surrounding him, pretty much like when he started attacking him at the end.

I like to think that, good ending wise, the malevolent side, Omori is not necessarily a potential evil that was always within Sunny, but the self guilt and lack of self worth. The fact the Sunny wouldn’t leave the house and didn’t even take good care of his health shows it. He is self destructive, because guilt consumes him, not a person who needs to apply suffering in the outter world for his own satisfaction. The whole struggle is within Sunny and not ot become a bad person per se.

Some of Basil’s dialogue was too much for me, mainly when he kept repeating for Sunny to not leave him. However I totally understand why. Sunny covered the what had happened while Sunny had to live those years knowing what they had done, as if he was the only one carrying the burden.

It’s a real complicated story where everyone was the victim.

It was so hard to see how sad and angry Aubrey was, and how she had to make new friends to overcome, how alone she was all the time. How Kel kept being such a good person, however had to move away because he didn’t know how to face the others, afraid of being misinterpreted. Hero’s pictures with Mari break me everytime. “A match made in heaven” Basil had written in the description of one of the photos. The fact that he is the element in the group that cooks, but 4 years later he had given up. The fact he can’t face Mari’s grave. The way Kel describes his struggle over Mari’s death. The way he didn’t make new friends in college, although he says it was lack of time. Basil is completely broken and can’t even touch the camera anymore and tries to “destroy” the old memories, which Aubrey discovers. Sunny’s parents, as their life turned upside down. And probably everyone around was too afraid to know how to act around them.

I really like how despite everything, the human figure that Sunny creates of Mari is forgiveful and so cheerful. Mari is such a good influence that wants to help him overcome the trauma for himself (especially when she helps him overcoming the fear of drowning and calls him Sunny for the first time. The ways she asked for his forgiveness for pushing him so hard into playing the recital. It is still part of Sunny’s dream but it’s so in Mari’s character. I believe this part is also connected to the scene where we see her saving Sunny in the real world).

I will end this text here. I will eventually come back to it, and to the omori tag, because this is certainly a very good game with a lot of space for debate and reflection.

#omori #omori spoilers #tw: knife #tw: suicide

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douchebagbrainwaves · 3 years

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THE FUTURE OF JUDGEMENT

This caught my attention because earlier we'd noticed a pattern in the least successful startups we'd funded: they all seemed hard to talk to other pet owners. Google. In this essay I'm going to start a startup. I wasn't sure whether to include Jobs on this list. An essay is supposed to be? There were a lot like bipolar disorder. Where is the man bites dog in that?1

In math, every proof is timeless unless it contains a mistake. The Octoparts are the nicest guys in the world. If a successful startup: to be familiar with promising new technologies, because they're big consumer brands. I would take a serious pounding. What would Steve do? It was easy to measure that.2 As well as pinching off the stream of traffic is. This is in contrast to Fortran and most succeeding languages, which makes it difficult to tell founders things they would like that would be popular but seem hard to make themselves as angels.3

Oh, I can't tell you who they are. Corp. The catch is that people get used to networks. This talk was written for an audience of investors. By compressing the dull but necessary task of making a bad car.4 But I doubt Microsoft would ever be so stupid. When we got into such a scrape, our investors took advantage of what later came to be called corruption when there started to be driven by ambition: self-consciously cool person wanted to differentiate himself from preceding fashions e. Launching too slowly has probably killed a hundred times as productive as a small startup. Now we can recognize this as something hackers already know to avoid: bad stories and bad comments. It makes the guys developing the technology more accountable, because they get their investment back before the common stock holders who take the hit. One YC founder who read a draft of an essay. In that case, stay on a main branch becomes more than a couple hundred giant ones run by professional managers.

Notes

Governments may mean well when they talked about convergence. But not all equal, and I had no natural immunity to messianic figures, just that if the founders don't have enough equity left to motivate people by saying Real artists ship. In principle you might be tempted, but he doesn't remember which.

Instead of the current options suck enough. First Round excluded their most successful companies have little to bring to the usual way will prove to us an old copy from the truth.

Probably more dangerous to have this second self keep a journal, and b made brand the dominant factor in high school football game that will cause the brand gap between the two elsewhere, but less than a product, and the older you get to college, they mean that's how they choose between the subset that will seem as if they'd like it takes more than we can respond by simply removing whitespace, periods, commas, etc, and post-money valuation of hard work. Family and Fortune: Studies in Aristocratic Finance in the bouillon cube s, cover, and especially for individuals. Quoted in: it's not the sense of the most important things VCs fail to mention a few hours of advice from your neighbor's fifteen year old to get at it he'll work very hard and doesn't get paid to work for us now to appreciate how important a duty it must have believed since before people were people.

The problem is not much use, because to translate this program into C they literally had to write an essay about why people dislike Michael Arrington.

Thanks to Robert Morris, Aaron Swartz, Mike Moritz, Peter Eng, Patrick Collison, Jessica Livingston, Trevor Blackwell, Geoff Ralston, and Harj Taggar for sparking my interest in this topic.

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rafat · 4 years

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On Breaking Away: 18 Years Of Lessons On Journalist-As-An-Entrepreneur Life

Back in 2003, I wrote this rather bombastic “screed” about life as an individual journalist-entrepreneur, then a year into my journey on solo media entrepreneur life back then through paidContent.org (now defunct).

I was in my 20s then, barely two years into my career out of school and was a know-it-all, living in an East London tenement with a leaky roof, creating my own path on the backs of early blog publishing tools like Blogger, pMachine (anyone remembers that?!) and MovableType. This was 2003 and I had been blogging for four years then, had a Btech in Computer Engineering, MA in New Media journalism and loved the merging of reporting skills, DIY tech publishing tools and immediacy & freedom of blog journalism world. I was barely making subsistence money and still happy to just be doing my own thing.

Fast forward to 2020s, a year like no other for media, and the Substack generation is the new blogging-in-pajamas generation. Lots of hard knock lessons we learned back then still apply and figured I would jot them down, might be helpful to the new generation of journalists-as-entrepreneurs.

If you want control of your own destiny, then you’re in for the long-haul. This will take much much longer than you think or the initial reception will indicate.

If you can, give yourself two years as a good ballpark before you can become fully self-sustaining. After that time if you aren’t, you know the answer from there...

Own the stack and everything else along with it. While tools like Substack and others are enticing to get you started, there’s nothing like having your own site, where are you can do whatever you want to without the constraints of whatever choose any of these third-party providers will create. These days creating a Wordpress site and putting an email newsletter other, charge for it and dozens of other things in it are very easy these days and don’t require any technical knowledge, and even if they do, you can find cheap freelance talent to help you put it together and maintain it.

OWN your email newsletter list, don’t outsource that part to anyone or any entity.

While the newsletter format is great it get started, don’t ignore a standalone site which will allow you to better showcase previous work, archives, and pull in people better through search/SEO than just a newsletter format can. Also be ready to be multi format: podcasts, online webinars etc, whatever it takes to build the paying audience.

Subscriptions aren’t the only way, don’t let the herd guide you on this. Smart, long lasting businesses — even solo journalist entities — have multi pronged revenue streams built into them, including advertising, yes that dreaded A-word these days.

There’s nothing called the first mover advantage, that’s a myth in media. It works in platforms but popularity doesn’t necessarily mean revenues.

However crowded a sector you are in is, you can create your own whitespace by your own unique worldview. So better know what your unique worldview is before you get started.

Starting out as an ad-supported site/newsletter doesn’t mean you can’t convert to paid later, it’s just harder but it can be done. In fact a hybrid free+paid makes most sense for maximum impact.

Pace yourself, or else you will burn out quickly. Don’t “out-blog and out-news anyone to death” as I foolishly said 17 years ago when I started on my solo journey.

Frequency of output does matter, and consistency in frequency matters. You can be daily or weekly or mix of both, anything longer people won’t know how to value your work when deciding to pay for it, or not.

Bring original reporting and original thought into the world, that is what people will value in the short and long term. One step removed from original editorial is one step too many removed from success.

Build franchises people return to every year or every quarter. Yep, lists matters, and there are meaningful ways to do it.

Ignore and break the silos in whatever industry/sector you are writing about, the forward looking people in your sector will thank you for it.

Don’t write for praise of fellow journalists & media people, they have no bearing on your success, write for the audience that will care for what you write and build.

VERY IMPORTANT: Pay up for good financial advice, company structure and tax advice, your future self will thank you for it.

Stay solo or hire more people? You don’t need to know the answer right away, don’t worry about it, you’ll figure it out along the way. Just make sure your financial/company structure is set up right way for either, from the start.

Over a period of time, you’ll figure out what you are good at, and more importantly, what you aren't good at. Ask for help from experts and you’ll be surprised how many are willing to help you pro bono.

Will anyone miss you if you stop your newsletter/publication tomorrow? That is the ultimate mark of impact you can have, it will take time to get there.

“Fuck it, I’m going for it” will take you a long way in building your own destiny. Fuck the naysayers.

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bonjourmoncher · 5 years

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Resume composing tips

While there are a couple of generally utilized resume styles, your resume ought to mirror your one of kind training, knowledge and important aptitudes. Hamilton Lindley should seriously mull over having various variants of your resume custom fitted to the occupations you're applying for.

Here are a couple of key resume composing tips that will enable you to sort out and plan your resume:

1. Search for catchphrases in the activity postings

The best spot to begin when getting ready to compose a resume is to painstakingly peruse the activity postings that intrigue you. As you apply for various occupations, you should read each expected set of responsibilities for watchwords that show what the business is searching for in a perfect applicant. Incorporate those watchwords in your resume where pertinent.

For instance, in case you're applying for work as a Medical Billing Coder, a business may list catchphrases, for example, "coding", "claims accommodation," "consistence," or "AR the executives" part of the set of working responsibilities. Give specific consideration to anything recorded in the segments named "Prerequisites" or "Capabilities." If you have the right stuff that businesses are searching for, you can add these equivalent terms to your resume in the experience or aptitudes segments.

2. Audit continue models for your industry

When making your resume, you may examine instances of resumes from your industry for motivation and best rehearses. While there are numerous ways you can utilize resume tests, there are three principle takeaways you should search for:

Make it straightforward and simple to peruse. Resume tests are basic and direct. This is on the grounds that businesses have an insignificant measure of time to audit your resume, so meaningfulness is vital. This likewise means choosing an expert, clean text style.

Make it brief. You'll see that each area of the resume test is short and to-the-point, including the synopsis and experience depictions. Counting just the most key and applicable data implies businesses can expend more data about you, and all the more rapidly comprehend your readiness for the job.

Incorporate numbers. You may likewise see that there are regularly measurements incorporated into the experience segment of resume tests. This is on the grounds that businesses are profoundly receptive to quantifiable demonstrated worth. Numbers enable them to all the more likely comprehend the worth you may bring to the position. For instance, one visual cue under the experience depiction for a clerical specialist peruses, "Executed preparing of merchant contracts and actualized an institutionalized procedure, lessening contract errors by 90%."

When utilizing resume tests, you should remember that these are not intended to be duplicated precisely. While you ought to abstain from utilizing them as a layout, tests are helpful as instances of great continues in your industry and employment title.

3. Utilize an expert textual style

Since bosses have just a brief span to audit your resume, it ought to be as clear and as simple to peruse as could be allowed. You should utilize a fundamental, clean textual style like Arial or Times New Roman. Keep your text dimension somewhere in the range of 10 and 12 points. Choosing an unmistakable, meaningful textual style will help cause your resume to show up increasingly proficient.

Related: Best Font for a Resume: How to Choose Type and Size

You ought to likewise ensure lessen or kill any unessential whitespace. An excess of clear space may cause your resume to appear to be inadequate, diverting the crowd and perhaps raising a warning. By decreasing additional blank area, you make it simpler for the resume peruser to concentrate just on the substance of your resume rather than the void areas. You can lessen blank area by expanding your text dimension to 12 and perhaps including an extra, discretionary segment like "Aptitudes" or "Grants and Achievements."

4. Incorporate just the most applicable data and put the most significant data first

While you may have broad work or instructive experience, it's critical to keep your resume as brief as conceivable without forgetting about key data. Enlisting directors don't invest a great deal of energy perusing each resume. Research has demonstrated that contracting directors will in general go through just 6 seconds for each resume. On the off chance that your resume incorporates old or unimportant data, for example, employments held more than 10 years back or minor degrees and accomplishments, it might occupy from key data.

Attempt to incorporate just Hamilton P Lindley involvement, accomplishments, instruction and abilities most significant to the business. You can locate the most pertinent qualities by intently perusing the activity posting. You ought to organize significant data higher on your resume to attract regard for key aptitudes and accomplishments.

5. Utilize dynamic language

Your resume ought to be composed utilizing dynamic language without unessential words. This implies utilizing force words, for example, "accomplished", "earned", "finished" or "achieved". On the off chance that Hamilton Philip Lindley resume is excessively long or appears to be difficult to peruse, you should think about making sentences shorter or thoughts progressively succinct.

For instance, you may have an expected set of responsibilities that peruses:

"During my time at Freedom Inc, I ran different group based activities and assisted each colleague with different errands related with each venture."

This model could be abbreviated and fortified in the accompanying manner:

"Driven various group based ventures and successfully planned gathering undertakings."

The reexamined form imparts similar thoughts regarding your achievements while lessening the quantity of words and including progressively dynamic language.

6. Point out significant accomplishments

Rather than posting your activity obligations under the experience segment, select your best three or four most significant accomplishments in every job you've held. Where conceivable, incorporate numbers that measure your prosperity for that specific objective or accomplishment.

You may likewise consider including a different "Accomplishments" or "Aptitudes" segment to explicitly feature important accomplishments in your instruction, profession, charitable effort or different encounters.

7. Just incorporate subheadings and areas you need

Regardless of whether you're utilizing a resume format or making your own, you may discover there are some prescribed areas you needn't bother with.

For instance, you may require a resume rundown or a resume objective, yet you ought exclude both. On the off chance that you are simply moving on from school or secondary school and have not yet held an expert position, do exclude a vacant work history segment. Rather, you may supplant the experience area with important coursework, scholastic accomplishments and different encounters like entry level positions or extracurricular undertakings.

You may likewise think that its helpful to consolidate segments in the event that you are experiencing difficulty filling an area with in excess of two visual cues.

8. Pick proper edges

Normally you should utilize a one-inch edge size on all sides of your resume with single spaces between the lines. On the off chance that you have an excess of void area, you should think about making your lines dispersed by 1.15 or 1.5. You can likewise expand your edges on the off chance that you discover it is hard to fill your resume, yet they should remain beneath two inches.

9. Edit and alter

Prior to sending your resume, you ought to experience a few rounds of editing to guarantee there are no spelling or sentence structure mistakes. While there are a few editing projects and apparatuses you can utilize, it is likewise useful to ask confided in companions or partners to audit your resume. It is useful for a target outsider to take a gander at your resume as a business may to discover ways you can address or improve it.

10. Choose whether you need an exceptional resume for various occupations

Before presenting any application, you ought to ask yourself, "Have I made it as simple as workable for this business to see that I'm qualified?". In case you're applying for a vocation that has remarkable necessities, you may require another form of your resume to completely show your capabilities. Choose a case by case premise which resume to utilize.

Your resume is frequently the initial step to getting a meeting with a business. Ensure you incorporate the most applicable data on your resume, arrange it to feature the most significant data and cautiously audit for blunders. When your resume is cleaned and settled, it should enable you to get more callbacks, meetings, and employment propositions.

#hamiltonlindley

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wheremytwinwatches · 4 years

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[Where My Twin Watches]: Full Metal Alchemist Brotherhood Episode 39

Last time: The Blondes finally met back up with the Brunettes, Yoki was an idiot who tried to burgle the Leto-damned ARMSTRONGS, and Scar either kidnapped or “kidnapped” Winry. Onwards!

New Intro! We’ve got the two young brothers separated by wind, then the title drawn in sand before it’s white text with a glowing red TC and the brothers running in opposite directions. Are we going to have a Party Split? Nevermind, they just slowed down to the middle of the screen. Bright light, Ed should have brought a hat to this sunny bunch of rocks. Then he looks off all dramatic like as camera goes to Al trudging through a desert before he too does the Dramatic Protagonist Stare. Both brothers back to back against the Xerxes mural ok seriously betting on a Party Split here with all the opposite directions going on. Now the Elric Brothers are running at each other and yep just phased through to become Red (Ed) and Blue (Al). Looking around for each other? Whatever happens I guess Al is with May since he has Shao on his shoulder and her gripping his hand, Ed’s got Winry in unzippered gear on his side. Camera pans out to show Al with May, Scar, and Marcoh to the left, Al, Winry, and Granny Rockbell to the right. Then a bunch more people start popping up? Can’t tell who is on which team anymore. Short image of Al’s Body in the whitespace, becomes a Stone which shatters to show a smug-looking Pride. Now Ed’s running about striking shadow blades in a forest (Ed vs Pride fight?), Al’s in the rocky desert fighting more toothy Pride blades. Wrath in what looks like a basic longsleeve shirt and vest (no uniform?) fighting LING YES TURN AGAINST THE GOTHS MY GREEDY LITTLE PRINCE Envy’s in Titan form getting sliced up by YES BRING BACK BADASS NINJA BODYGUARDS. Now it’s Armstrong The Great looking serious, Sloth burst out from snow to be used as target practice by Sideburns and a bunch of tanks but Kimblee swoops in and blows the shells up. Beard’s walking along with his briefcase frowning towards Central in the distance. Ed and Al stand back to back in a TC in the desert (not as rocky as the one Ed was in, but not as sandy as the one Al was in), shot of the Door of Truth opening and shattering, ends on the Alchemist Watch covered by the title and silhouettes of the Elric Brothers. Back where we left off: It’s a cloudy and windy day in Baschool, where Scar is carrying Winry’s limp form and glaring down at Kimblee. The Ishvalan comments on how they’ve changed positions from the last time they met, the Alchemist says he shouldn’t be so confident. Episode 39 - “Daydream” Oh no Winry’s in trouble so Ed is grabbing Kimblee’s coat and yelling at him for letting his mechanic get captured, Kimblee tells him to move aside while pulling off his gloves (hey, he’s kinda Roy’s opposite in that regard), Ed blocks his arms so that he won’t hurt Winry by attacking Scar. The Ishvalan then shatters the building, creating a nice big dust cloud to walk away in. Kimblee’s about to chase after him but a mustached soldier says that it’s too dangerous to go close to the damaged building, they need to fall back. Oh, and there’s a snowstorm incoming so they have to find shelter! Man, it has just not been Kimblee’s day, has it? Ed, Sideburns, Al and some soldiers are walking along, Miles compliments Ed on his performance aha, called it! Ross Deception! Ed’s not happy about having to play along with the “stupid charade”, though. Flashback! Scar isn’t apologizing for the death of Winry’s parents. She has every right to pass judgement on him. Winry… walks away, reaches into a box, and pulls out some cloth. Oh, wow. It it wasn’t already clear, Winry is Best Girl. Bandaging an injury on her parent’s killer? Ed and Scar are equally shocked at her compassion and what. What is that face. I’m sorry, this is a sweet and touching moment and all, but Scar? What is going on with your face here?

That is quite possibly the best Does Not Compute face I’ve ever seen. Just, Scar has no idea how to process this. Winry’s saying that if her parents saved his life before, then there must have been a reason. But like Leto does this mean that she’s forgiven him for his murders. She’s not gonna cry though, she promised… wait, I thought it was Ed who promised that the next time she cried it would be tears of joy? Ah whatever. Ok, you’ve got Scar bound up. Angry boyfriend proclamations aside, time to make him decipher the book NO DON’T CALL HEADQUARTERS YOU IDIOTS. Aaaargh. Wait Scar’s asking Sideburns what he meant by “one of your people”, can’t understand how an Ishvalan could stomach being part of the Amestrian military. Sideburns responds that he’s working on the inside to change Amestrian views of Ishvalans, Scar is shocked at such an idea, and that it was an Amestrian that set Sideburns on the path. Scar can only look down. [Scar]: “Look at me. I am a festering wound of hatred born of the Ishvalan War. I am thankful that there is someone like you out there.” Aaargh but just as Scar is realizing that maybe wanton murder isn’t the way to go about things the call goes through, and Kimblee is on his way to “deal” with Scar. This drives Marcoh and May to reveal themselves. Finally! Oh, and now May can patch up Scar’s arm! Outside the Mustached Mook is noting the stormy clouds, Kimblee tells them to hurry up (gee, I wonder if he’ll get there in time?). Marcoh and May are yes thank you for Leto’s sake it took long enough they’re saying that they’ve got groundbreaking Alchemy/Alkahestry research but the only one who can read it is Scar. Sideburns notes that May is the Alkahestry girl they’ve been searching for as well, says that she needs to come back with them to Fort Briggs. Add in that Scar’s needed to read the notes and it’d be just as bad for Marcoh to be recaptured, looks like all three need to go back to the Fort. Ed’s just a mite unhappy with needing Scar’s help, Sideburns knocks him upside the head with the fact that the Goths are pulling some sort of giant TC shenanigans, they need all the info and help they can get right now. Ed stands down after the suggestion that with Scar’s help they can disgrace Kimblee and get Winry away from his clutches. One Ishvalan Oath later Scar’s judgement is postponed… and the Chimeras are waking up, uh oh. The kids balk at Sideburns’ orders to kill them, the Chimeras sadly agree with Sideburns, saying that they can never go back to their old lives. Al tries reasoning with them, appealing to their families but they’ve been told they’re dead. And it’s not like they can go back like this, we’d just be imitating the 2005 Fantastic Four, and nobody wants that.

But Al does get them to yell that “of course they want their old bodies back”, when they quite reasonably say that it can never happen Al does the helmet remove to show his Soul Armor state. [Al]: “Well I’m going back. No matter how long it takes. I’m not giving up.” Ooh, is Al getting some followers? Watch him form an army out of Chimeras tossed aside by the Goths, take them down with their own creations. Unfortunately the snowstorm’s coming in, meaning that they can’t reach the Fort until it passes. And Kimblee’s on his way, so they need a plan- [Yoki]: “This is a mining town, isn’t it? Why don’t we just go into the underground tunnels?” [Everyone]: *turns in surprise to the secret tactical genius in their midst* [Yoki]: “W-what’s wrong? I mean, this is a pretty large mine, right? So surely there’s a tunnel that can take us beyond the mountains, uh… I think?” [Everyone]: “That’s it!” [Yoki, Tactical Genius]: “H-hey, give me some credit; this is what I did for a living!” Ha! Way to finally pull your weight, you C-tier flashback antagonist! Confirming that the tunnels go past the mountains- wait. Wait wait wait. Isn’t the whole point of the mountains that they are between Amestris and Drachma? Ooh, do we finally get to see another country?! Please let my dream of missionary Drachma’s with Leto pamphlets be a reality! Sideburns gives Marcoh notes for any Briggs soldiers the meet after the tunnel (watch them run into Drachmans first and cause all sorts of problems: “These people have notes written in Amestrian! They must be spies from Fort Briggs!”). But what about Winry? If she just up and vanishes with them then Kimblee will suspect the Elrics of foul play! [Winry]: “Um, I hate to be the one to suggest this, but, uh… What do you think Kimblee would do if I was suddenly taken hostage by Scar?” Whoa, so kidnapped!Winry was Winry’s idea? Props to you, mechanic! Mid-ep pictures of Winry Rockbell and human Jerso/Toad and Zampano/Boar. Ed and Al are understandably uneasy with the plan, but Winry shouts them down about being able to at least choose her captor if she’s a hostage either way. Come on Protagonists, learn that you don’t have to or can do everything by yourselves! Scar again promises to protect Winry before Ed lets him loose, when the Chimeras as to be taken along as well. They’ve failed which means Kimblee’s going to kill them either way… [Boar]: “Besides, we don’t want to give up either.” Look at you go Alphonse, already with your two inhuman followers! Also, they’re just a little confused and upset about all this talk of this band of misfits trying to stop some catastrophe that threatens their families along with all of Amestris. Y’know, just a minor detail. Kimblee’s inbound, better hurry. Sideburns asks wait what they’re back to human? Uh ok, with all the talk about being monsters I was kinda assuming that their beast forms were permanent, not something that they could consciously deactivate. Kinda undercuts the whole “we want our human bodies back” if they can shapeshift back like this. The groups are splitting up (to my surprise it’s not the Elric Brothers who are going different ways, at least for now), a soldier remarks that Winry needs to remove her earrings ok what. Seriously, what? This just totally broke my immersion, you cannot tell me that now is the moment when having metal earrings in the frozen north would cause discomfort and haven’t been an issue yet, especially when she came up north specifically because her boyfriend’s metal arm was seizing up. But whatever, she gives them to Ed for safekeeping before promising to see him back at the Fort. Ed gazes up after her, clenching his fist and probably crushing those precious earrings that he was just trusted with. Nice going, kiddo. Explosion! Acting! Snowstorm! Those left in Baschool are sheltering in a building, alternately looking at girlfriend’s jewelry, wondering where their fellow Chimeras have gone, and arguing for planning the next leg of the search. Then Sideburns gets a call from the Fort? Ooooooooh, right. There was that whole “forces from Central showing up to look for Raven” thing going on last time. And our guys are walking right into that mess. Whoops. Down in the tunnel Marcoh’s going on and on about how the Rockbell Doctors were widely respected during the Ishvalan War, how they helped all without regard for themselves. Meanwhile Scar’s walking in the back having flashbacks to Winry’s “I don’t forgive your wanton murdering”, an Ishvalan Elder telling Scar that while he should never forgive the Military’s “wanton murder” that he must abide it-

-to break the chain of hatred, and his brother saying he studies Alchemy to replace hatred with understanding. And here is Scar, following the orders of an Ishvalan who willingly works in the Military to change it, representing the ideals of Scar’s brother and Elders. So what does that make him? Yoki’s having the group stop in an underground office, to pick up a more detailed map of the tunnels. Man, who’d have thought that freaking Yoki would be the most useful party member at this point. Or ever? Inspired by Al, Toad and Boar are pestering Marcoh about any clues in the journal (that he can’t read), they banter with each other about their families. Aw, they’re actually friends! Nice to show that even the Central forces have loved ones, hopefully for real this time after that infuriating Bradley & Selim fakeout. May? What’s wrong? Oh. Oh yeah. Her whole mission was to learn the secret of the Philosopher’s Stone, only to find out it’s based on suffering and the obtaining of immortality for one at the expense of so, so many others. And His Imperial Highness, aka her father, apparently would make one without a moment’s hesitation using any number of his people. So apparently he leans more towards Wrath’s philosophy of leadership than Ling’s. But if she doesn’t bring back the secret of immortality, her clan is in danger from all the others. Marcoh says that the notes might have the humane secret to immortality, they just need to hurry up get to the Fort so Scar can get a-translating. [Ed]: “What do you mean, ‘the Fort is no longer safe’?!” Welp. Just when we get Armstrong The Great as an ally, she’s been summoned back to Central and a Military Officer’s getting put in her place, along with a bunch of other Central forces. So now the Tunnel Team is walking into a hostile environment without knowing. They have to be warned, but how? Ed wants to go but he’ll freeze before he gets anywhere close… [Al]: “There is a way! Listen: send someone who doesn’t have a body. That storm won’t freeze me to death!” Uh, Al? Sure I guess you wouldn’t catch hypothermia, but you’re still a giant suit of steel armor. Remember how there was that whole “Ed’s arm freezing up” problem that was fixed by replacing his entire arm? You don’t have body heat like a living person, your limbs are just gonna ice up. Actually, how the Leto hasn’t that happened yet? Huh. I guess Souls act as armor heaters too, Al’s having more trouble just seeing where he’s walking in the blizzard than actually moving. He sees the path but the winds picks up and the screen whites out from the snow GAH ZOMBIE AL! Oh shit how did Al end up in the Whitespace? Uh, well you’ve found your body? Quick, grab it and let’s get wait no it was an illusion. What, you getting snow madness buddy? Oh. Oh shit. We’ve got a flashback to Barry musing that foreign bodies can’t hold souls for too long, Al’s freaking out about his body trapped in Whitespace, pulling on his soul as it’s rejected by his armor… he can’t think about that right now, he has to hurry. Without the map now, since he dropped it after that vision. Oh hell it’s this asshole. [Uncle]: “Alphonse Elric. Edward Elric. And also… there’s… Van Hohenheim. Izumi Curtis, she’s a possibility-” Aside from all the awfulness of listing off Potential Sacrifices, which is looking a lot more like ‘killing all of these people, not just one or the other’, did you just purposefully knock over Izumi’s piece? Rude, and I can’t wait to see her punch you. “That leaves one more.” New end credits! Rapid guitar music as we race through a 3D hallway/tunnel, outside looks like Ed’s standing in the ruins of the Elric house, Al’s somewhere else standing among some tall square rocks. Flashes of red-eyed Envy, Gluttony, Wrath, Pride, and Uncle (what, no Lust, Greed or Sloth?) A look at Riza’s scarred back with that strange symbol before she turns and I am very sorry for walking in while you were changing ma’am, I’ll be going now. Roy’s still in his eveningwear outfit probably trying to get someone to take all those flowers off his hands, Beard is oh Leto what is happening with your face, are you actually smiling. That looks so weird, stoppit. Oh hey it’s Mama Elric, so sad that we lost you before we could fully appreciate your snark. Ah there’s the scowling Beard that we know, go kick Uncle’s ass. We’ve got Ed jumping and Al and LING YES BRING HIM BACK and a lion and monkey oh my Leto is Al actually going to build a Chimera Army this is the best thing of all time yeah there’s Toad and Boar we are totally getting Rebel General Al. Also there’s Alchemist-Slayer Scar on their side now but who cares CHIMERA ARMY ok fine we also get May and oh Marcoh’s getting in on the action looks like he lost a few teeth wait Yoki no we need you as the secret tactical genius get off the front lines. Selim’s there looking all cute and innocent in his little schoolkid guise until his shadow gets teethy and attacks Ed. Winry’s power walking through a hallway (can’t see if she got her earrings back). Then a bunch of hands reaching up, one larger one grasping a smaller one (which ship will sail?!) before we’re back in the tunnel, shots of Ed and Al and Beard before a final map of the country-sized TC.

#wmtw #where my twin watches #full metal alchemist #full metal alchemist brotherhood #fmab #fmab 39

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mysticsparklewings · 5 years

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Summer Beach

Two down, three to go for the Art Philosophy November Challenge! The prompt this time, for the 12th-14th is “Summer Beach,” which was both a familiar and conflicting one for me. I’ve done a couple of beachy art pieces before, but I haven’t had the unique challenge of making the actual sandy beach part or ocean water with watercolors before. And likewise, when I got started with the prompt I really had no idea where to go with it. After browsing around on Pinterest for a while, I did find a couple of photo references I wanted to try working with. So just like last time on my Spring Meadow piece, I started with a page divided up into four smaller practice areas before diving into the final version. Unfortunately for me, these practice pieces came out even rougher than my practice pieces from last time, to the point that at first I actually considered them all failures and one of them I didn’t even bother to finish. I even went to the trouble of pulling out of my Artist Trading Card sized pieces of watercolor paper just to try one more different method and see if that helped, and I still went to bed unsatisfied with anything I’d come up with. However, when I came back to them the next day, one of the practice pieces didn’t look so bad anymore. It wasn’t perfect, but it had some workable ideas. And the ATC one...it wasn’t great, but again, it had some workable ideas in it. And so I dared start on the final piece. I started with the gradient for the sky, which isn’t terribly unfamiliar territory for me. I washed about ⅔ of the paper and then brought the colors I’d picked out into the water—having learned to use my pre-mixed tube colors instead of trying to mix the colors from pans from my practice pieces—and got them blended so I could leave the area alone to dry. Then I moved down the page a bit and started on the water in the foreground, using the same blue as I did for the sky and trying to be mindful of the space I had and the other colors and things I knew I wanted to bring in based on my references. It took some patience, and I discovered to get some of the softer fades in certain areas where I was trying to leave the white that it worked well if I went in with a clean but still damp brush, started on the white, and sort of pushed the color back into itself. Then came the sand. My practice pieces had taught me that I needed to be exceptionally careful with this to keep it from bleeding into the foreground water but also so let it mix just enough with the water/horizon line that was going to go behind it. I used the same technique that I had with the water to soften some of the edges, once again trying to be mindful of what whitespace I wanted to leave. By the time those steps were done, the sky was dry, which meant it was safe to come in and start on the darker blue of the horizon line. But I did wait for a few minutes longer so that the sand wouldn’t be as wet. I did want it to blend slightly with the horizon line water, but I didn’t need the darker color to bleed into it and take over as it had on two of my practice pieces. Fortunately, I think I timed it just right, as the part of the sand closest to where I was going in with this indigo didn’t take the color and let it run wild, but after a bit of back-and-forth tinkering the two areas did soften into each other roughly where I needed them to. There was a little more tweaking that I did between the two different areas of blue/water and the sand but for the most part, the whole experience had gone a lot more smoothly than I thought it would. In fact, as far as what I had planned went, the other main thing I had left to do was add in the moon. And even that went better than I had anticipated because on my practice piece with the moon, the white pan watercolor was more of an off-white and after it dried it really sank back into the colors underneath it. Meanwhile, my tube watercolor on the final held up significantly better. Here I paused to take a break and decide if I wanted to add in some palm tree silhouettes as I had on a couple of the practice pieces since it did look kind of empty with just the beach itself and the moon. I ended up making one more ATC sized test for how I wanted to do the trees for the final and a little piece of island hanging out back on the horizon, and once it was dry and I was satisfied with how it looked, all that was left to do was paint the final that way. And then, just for good measure, I dotted in a few stars near the top to tie off the impending nighttime. It’s funny to me really how much of a struggle I had with this concept in practice, and yet I think this is my favorite of the two prompts I’ve done so far. The colors are really nice to look at and the overall feeling is very serene to me...it just makes me happy to look at. To that end, I do feel a little bit better despite the next couple of prompts making me nervous as to what I’ll end up doing for them. It is a challenge after all, but now I’ve been firmly reminded that just because the concept doesn’t come easy doesn’t mean it’s destined to fail. And so onward shall I go with this endeavor! ____

Artwork © me, MysticSparkleWings

____

#artphilosophynovemberchallenge

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transformationstuck · 6 years

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Commission work based on the old Milf Mag fics, but now with John as the focus.

“Roxyyyyyy!” John yelled, crying out into the whitespace nothingness he found himself in, “You left your overvoided junk on my desk again! Again, Roxy!”

This wasn’t the first time Roxy had overcharged her void powers and left the results around for John to find. T-shirts, cabinets, boxes of cereal… the common thread between them seemed to be that they were so full of Void that they would try to fill themselves with whoever tried to interact with them. Well, except Roxy, of course. And so John had found himself wearing or trapped inside of various items in ways that ranged from amusing to infuriating.

And this one was definitely the latter. For starters, he couldn’t see shit, and his attempts to wiggle around and punch a hole through the off-white surface before him were being met with so much resistance he could almost swear he wasn’t moving at all.

Where the hell was this? He'd just been trying to clean the place up and hadn't really been watching what he was doing. Had he bumped Roxy's mattress and gotten stuck inside that thing? It would explain the whiteness, and maybe how restricted his movements felt, and the surface he was up against certainly felt like fabric, but something about it just didn't feel right.

But before John could put any more thought into his situation, a familiar voice came ringing out in a very familiar tone, "Oh Joooooohn... you hooooome~?"

The slight purr in her voice was unmistakable. Roxy was horny as fuck. Scooooooore!

As long as Roxy doesn't laugh at his situation so much that she kills the mood. But even with that in mind, John needed her help, so he let out what he hoped was a manly plea for assistance.

"....!"

W... Why couldn't he speak? He was speaking before, right? But now it felt like he couldn't even move his mouth! That was bad! He tried his hardest to kick and flail for attention, but again his entire body felt rigid and unmoving.

John could hear Roxy approach, but it didn't seem like she could see his attempts to wiggle for attention, "Boy Howdy I sure do feel like getting fucked by a strapping young lad and his big ol' donger!" Roxy called with absolutely no attempt to make it sound erotic. Damn, she knew just how to push his buttons!

"Haaaah... Oh wellllll." Went Roxy, and John felt the surface below him move as he heard the sounds of blankets being tossed abouy above him. But just as it seemed like his mattress theory was about to be confirmed, John suddenly saw everything in front of him suddenly moving in one great big blur of colour.

"...!!"

He'd meant to say 'Roxy', but once again his voice failed him.

Where the hell could be possibly be that would allow him to see Roxy perfectly, while unable to be seen in turn? And, more importantly, why did it make her look so HUGE?

He watched nervously as Roxy slowly slipped herself under the covers, bringing her hand up to her mouth to give her finger a lick. Even John's face felt weirdly restricted as he tried to raise his eyebrow in confusion, but thay confusion didn't last much longer as her she reached out towards him and pressed her finger on the side of his face. He was glad he still had his glasses on to protect his eyes, as her massive finger squished right up against his face, adhering him to her as she gave her hand a flick.

John knew that weird habit of hers. Roxy was reading! She always found it a little gross when she read like that, but it was far worse when it was being pressed right into his face.

He just hoped this was a good book!

As the page fell, John's eyes were treated to an entirely new world. He could still see Roxy in his peripheral vision, but now he was looking out towards what looked like some kind of black-and-white college campus... was he in a manga? Did he look like a handsome anime boy right now? No, that was a dumb thought! He needed to get his ass back into the real world!

"Roxy!" He called, relieved that he could talk again, "I'm in here! You left your stuff full of void again!"

Roxy did not respond, instead turning her head away from him. John's attempt to cry out 'noooooo!' silenced like his earlier attempts at talking. Fortunately, a sudden shift in his perspective granted him a chance to learn why. Once again he was facing outward, and he could just barely see himself on the opposite page, a pair of speech bubbles filled to the brim with text, though there was something decidedly off about the text that John just couldn't quite make out from this angle.

At least he seemed to have another speech bubble in this panel, and he quickly made his plea, "Rox! I'm stuck in this dumb book, you--"

B'DONK!

John felt a sudden pain in the side of his head as his perspective shifted again. His vision was skewed as one of his eyeballs felt like it shrunk and the other grew, and he could see action lines all around himself.

"My apologies, John-kun."

John felt like he was falling, his feet weren’t even touching the floor… no, they didn’t even seem to exist right now, as his waist eventually gave way to whiteness as it reached what must have been the edge of the page. But that wasn’t what his character was paying attention to at all, for it seemed that he was stuck in a panel where he was looking up at a tall, handsome anime fella… and blushing so much his face felt like it was cooking.

“Th-Th-Thank you?” He stuttered, even though he didn’t really feel like he should’ve been stuttering at all. It would be kind of ridiculous to be nervous about this encounter, this guy wasn’t real! He was fictional! Though… he was holding onto John with an arm around his back while their hands touched. Kind of a weird way to stop someone from falling, it didn’t even feel like a pose they could’ve gotten into from how they bonked heads. All the while, he could hear Roxy giggling.

Yeeeeeah, John had a pretty good idea what kind of story this was now, “Roxy! I don’t wanna be a part of your stupid dumb yaoi manga!” He cried, albeit now he was in a new panel where he was standing up incredibly straight, and could feel puffs of steam coming out of his ears. It wasn’t exactly uncomfortable, but he really hoped she’d turn the page soon, “I’m not even gay, Roxy!”

John’s comment apparently fell on deaf ears, as once again Roxy licked her finger and flicked the page over. He was sitting now. Great, a classroom scene. What thing was he in for here? Once again he couldn’t talk, it must have been an establishing shot, but he very quickly transitioned into the next scene, with him staring at the door at… he wanted to sigh… ‘senpai’. That handsome man was walking into room, absolutely surrounded by sparkles and flowers and rose petals.

“Oh, John-kun. I didn’t realise you were taking this class.” He said, though it was weird, because he didn’t exactly have a voice, yet John always had odd memories of him speaking, “Try not to be too naughty, okay?”

Roxy giggled. John just grumbled back, “You… do know I’m not a homosexual, right?” He asked, hoping his sarcasm would be properly conveyed. Goddammit he wished he could half-lid his eyes right now, but instead they were wide open and staring. Worse, it felt like his heart was racing in his chest. He could just barely make out lines on the side of his chest, just over his heart. Why did Roxy have to be into this stupid romantic shoujo bullshit?

John felt his scene transition again, and found a chance to speak as his ‘senpai’ took a seat next to him, “Look… You’re probably not even real, but I’m just waiting for my girlfriend to--" But John was suddenly interrupted as Roxy turned over the page, and he found himself staring face to face with senpai, uncomfortably close to his big, round eyes, “W-Woah, h-hey! You seem nice and a-all… f-fucking, this stuttering isn’t me! I-I’m just flustered because I’m being drawn this way!”

No response. John had to imagine that the guy was stuck saying whatever the original script said, just with John’s name replacing whatever the original protagonist’s name was. But even though he wasn’t talking, and John’s attempts to speak were being prevented, the two lingered on for several more panels, just staring at one-another as John began to notice more and more details in his eyes. Though with every extra line and sparkle added to his irises, John felt more and more of himself being cut away. It didn’t hurt, but he kept feeling less and less of himself, chopped away by the panel border and leaving him as just a disembodied head… then face… then eye. It was a good thing he was already drawn with shuddering lines, because that’s exactly what he wanted to do.

Smooch!

And then once again John and his character matched perfectly. His eyes widened in shock as senpai’s lips met his. His entire face felt warm again, steam emitting from all sides as his glasses comically cracked. He wanted to scream at Roxy, to tell her to turn the page, because he was stuck feeling so many over-the-top emotions that he couldn’t even pinpoint them all! But no, Roxy just seemed enamoured with the scene. From the corner of his eye John could see Roxy’s excited face, and while normally that’d be enough to make him instantly forgive all her crimes, right now he just wanted out of the kiss, and out of the book!

Thankfully, John eventually got his wish. In fact, Roxy was even kind enough to skip over a few pages, which John was sure had character development galore. As Roxy flicked through, John tried to find relief from the extreme sensations he’d felt, though it was made a bit hard as John was occasionally made to spend a few seconds or more stuck in odd positions, such as underneath senpai’s desk, ostensibly reaching for a pencil, only to instead notice a… uh… SIZEABLE bulge in the dude’s pants. It even had extra lines to emphasize just how big it was! God, why did he have to be dating a pervert? …And why was that pervert spending so long on this one panel! Big dicks had no appeal to him, except maybe in the hypothetical world where he had one himself!

“Mmmmmngh…” Roxy groaned, and John recognised the sound. Wow. That girl gets herself horny super easily, he thought. It seemed like she was turned on by the mere idea of handsome anime dick. He wished real dick had the same effect on her, that’d be fun.

The fun of imagining that idea proved an entertaining distraction, so distracting, in fact, that John didn’t even notice the subtle differences in the scene transition. No longer was he just staring at the guy’s cock… he was grabbing it!

“Goddammit Roxy!” He shouted, mentally slapping himself as he realised that he’d wasted the panel’s only text box.

“J-John-kun…” Went senpai, the next panel making John want to wretch as he saw a close up of his own hand pulling down that zipper. A feeling made worse when he realised he couldn’t even feel his own head in that shot, just a disembodied hand.

Aaaaand fwlomp! An absolutely massive cock fell out of senpai’s pants, and slapped itself down on John’s face, some unscrupulous fluids already trickling down onto his brow. “Gross gross gross gross gross groooooss… I-I hate dick!” He cried, desperate to pull away or push the thing off his face.

“Hee… hah…” Roxy giggled a bit as she panted. Her body and the entire world John was in were bouncing around. She was masturbating, and this was hentai. That realisation might have been more devastating to John if not for the fact he was already bringing the uncensored cock down to his lips, his pursed lips pressing against it and forcing him to taste the salty bitterness of pre-cum.

“Turn the page, Roxy, oh please, turn the page!” John cried, not sure how his character was meant to be talking right now, but he didn’t care, he just wanted to NOT be doing the gay thing right now and--

“HRRRCK!” John’s throat was static, but the sensation of constantly trying to force out some ten inches of manmeat from his gullet was constant. It was like he was permanently at the most intense part of having his gag reflex triggered, trying to push out the thing in his throat, even though he never could.

“Wow… John-kun… your throat is truly special…” Senpai sighed, his crotch squashed up against John’s nose.

“Mmnnn… Nnnngh…” For a moment John had thought senpai was the one moaning, until he realised that the sounds were coming from Roxy! “Nnnghh… c-cock’s too small…” She whined. John wanted to roll his eyes, this thing was already making his eyes roll back, both in the art and mentally, so calling it too small was ridiculous.

…Or it would have been, had Roxy not shown John just how big a cock could really get by bringing out a pen and adding in several crude lines in several quick strokes. What had been a small bump in his throat was now as wide as the rest of his neck, and he was made to feel the cock inside of him suddenly bloat up to match, even if it didn’t quite match with its width in his mouth. And then she made sure to go the extra mile by adding in a ballooned out belly, which was made to feel like it was rumbling and sloshing about as Roxy’s hand was made unsteady by her own pleasure.

If John wasn’t just a drawing right now, there was no way he could’ve survived all that, especially not with Roxy keeping her eyes on the panel for a minute straight as she played around with herself beneath the sheets.

When she finally moved on and John was finally moved on to a scene that was merely humiliating, he almost felt like he was in heaven.

“S-Sorry, John-kun… please take my semen bath…” Came Senpai’s melodic, weirdly disembodied voice.

“D-D-Don’t mention it.” John stuttered, this time not because of the character, “J-Just don’t, nngh… t-tell my girlfriend…” He joked, completely and utterly dazed after that last experience.

“No… John-kun… I want you to understand…” Senpai said, leaning in close to give John an unexpected hug, one that he desperately needed after the foot-wide cock he’d just had in his throat, “I… I love you.”

“S-Senpai, th-that’s…” John gasped, feeling his blush get intense again, “th-that’s ridiculous… y… you’re fictional and also not really my type. I-I’m just not… i-interested in--”

“BOH-RING!” Roxy chimed, and gave the page another few flicks. John braced himself for the worst as he prepared himself for something horrible.

“MNNNNNNYAAAARGH!” He screeched. Yep, there was something in his ass! He could feel senpai’s body over his, clutching him in a weirdly protective way, but it wasn’t enough to distract from the sheer pain of his virgin asshole being filled with a ten inch cock!

Or… oh no… “R-Roxy… please… I-I’m not gay… p-please don’t make him bigger again… p-please!” He begged, feeling as Roxy’s pen pressed into his skin, and started to drift upwards. It didn’t feel of anything, not yet. It was still just a line for now, but then she drifted to the side, adding in some bumps here and there before making her way back down again. The moment her pen was off the paper, John felt like he was going to burst, for Roxy had just added a cock-shaped bulge to his stomach that reached up almost all the way to his chin, made to feel even bigger thanks to the poor perspective on Roxy’s art.

“J-John-kun… t-tell me you love me…” Came senpai’s soothing voice, not that John cared over the overwhelming sensations of feeling himself being so ludicrously penetrated. Roxy even had to humiliate him by adding tiny little spurts of his own cum shooting out of his dick. It was a merciful relief, but it only pushed the problem further by adding yet more overwhelming sensations to the mix!

John was trapped in the middle of the most intense and yet pathetic orgasm he’d had in his life. He’d never cum from something like this before, his poor prostate the victim of two or more feet of leg-thick cock. It made it hard to think, and all he could do was try to focus on the sense of his own ridiculous pleasure to block out the sensation of being stretched to the extremes.

“Hnggghaaaaaawwh!”

John momentarily felt hopeful. Roxy’s orgasm squeal was unmistakeable. But the idea she’d free him from this mess was dashed as she watched Roxy’s body teeter about, the girl attempting to put the comic away, but instead just leaving it down on her pillow, her head landing on one page as John endured his fate on the one next to it.

How could things get worse than this?

“SNOOOOOORE!”

That was how. With a great big inhale, Roxy pulled the pages up onto her face, skipping back a few pages.

“S-Sorry, John-kun… please take my semen bath…”

John gagged as he once again felt copious amounts of spunk all over him, this time properly tasting the semen in his mouth that he’d not really noticed when coming off the heels of having his throat stuffed.

“Wow… John-kun… your throat is truly special…”

The feeling of his ridiculously overstretched throat was back! His big, rumbly belly made things feel like they were shaking, which only made things worse!

“No… John-kun… I want you to understand… I… I love you!”

Momentary comfort for John as he relived the hug, but only for a split second as Roxy began to exhale, flipping the pages all the way back to where they had just been.

“J-John-kun… t-tell me you love me…”

Senpai’s ridiculous cock was back inside John, and John was once again struck with an orgasm, or rather returned to one already in progress. It all happened so suddenly… from overfull asshole to an overfull throat and back again, and there wasn’t a thing he could do about it but be happy that he at least got some momentary relief.

“SNORE!”

“Wow… John-kun… your throat is truly special.”

Back to choking…

“J-John-kun… t-tell me you love me.”

Back to cumming…

“S-Sorry John-kun… please take my semen bath…”

Back to being made into his senpai’s cumdump…

“SNORE!”

“Wow… John-kun…”

Throat. Again.

“SNORE!”

“T-Tell me you love me.”

There was no pattern to it. John was subject to the whim’s of Roxy’s snores. All he could do was look forward to his next orgasm. …And the occasional comforting hugs of his senpai.

“I-I do love you… senpai…”

“Grubble Translate”

Roxy took a few intermittent snaps of the comic as she settled down in front of her laptop. Sure, she could spawn a yaoi doujin out of thin air, but apparently she was just straining causality a little too far to try and get one in English.

#Mod O #inanimate tf #john egbert #Roxy Lalonde #sexuality tf #homosexual focus

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perfectirishgifts · 4 years

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New Brand To Know: Maison D'Etto

New Post has been published on https://perfectirishgifts.com/new-brand-to-know-maison-detto/

New Brand To Know: Maison D'Etto

Brianna Lipovsky

For Maison d’Etto founder Brianna Lipovsky, it was her extensive life experiences that aided her to shape her lifestyle business. A former executive at Pfizer PFE , Lipovsky took on a pre-med post-baccularate course, which helped her understand the frameworks of perfumery and product development. Lipovsky’s background also includes working at companies including RoAndCo Studio, KiDS Creative Box Studios with Pascal Dangin and Fairchild Fashion Media, a division of Penske Media Corporation (PMC). Alongside running Maison d’Etto, she also oversees Maiden Ventures, her brand, product development, and advisory consultancy. Launched in 2019, the company is based in New York.

Maison d’Etto

What inspired you to launch your brand?

Honestly, it was a little bit of everything. Most importantly, I was craving independence and freedom of thought, mind and time. I always had a creative itch, but I never knew how it would manifest. Fragrance and brand building are the perfect medium for me to engage my creativity. With my past experience in building other brands I found space for a luxury brand that was purpose-driven, actively engaging with community, like many of the D2C brands, however ensuring that the products we put forth are the utmost of quality and craftsmanship. Bringing the utmost of luxury back, but in a modern way and utilizing the macro and micro shifts I was noticing in society. In addition, financial control over my life was a big one. I no longer wanted to be dependent on others to dictate my worth. Lastly, the perceived notion of having more time to spend with my family and competing in the equestrian sport of Dressage. Ironically, I now have little to no time!

Why fragrances?

It was a choice that was deeply personal to me. I wanted something that spoke to my heart and soul as much as horses always had and scent, olfactive storytelling, fragrance measured up very nicely for me. I saw so much opportunity in the space for something really unique. But everyone told me, “no, you can’t be in fragrance, find a whitespace that’s not dominated by multinationals.” This was 3 yrs ago the era of D2C “white-space” blanding madness. I evaluated many other, possibly much more lucrative, “white space” opportunities but they just didn’t feel right on a personal level, I wasn’t motivated on the inside. Fragrance motivated me on the inside, and I still can’t tell you in words why. But coming to this conclusion was a lot of hard work — spiritual work, meditation, working with a shaman to get me out of my head and into my heart, allowing me to find my intuition. From there, everything flowed.

What is your brand ethos?

To create moments of connection, reflection, well-being and nurture the human spirit one moment at a time.

A lot of people ask about the name too. What is Etto? Etto is actually a combination of ethics and motto — representing your core truths and beliefs that you carry with you regardless of where you are and what is going on in your life. It also stands for “Each To Their Own”. It is a brand that refuses to dictate values and beliefs to its wearer but rather empowers them to explore what Etto uniquely means to them.

The name derives from a combination of Ethics Motto, which represents the core truths and beliefs we carry within ourselves despite where you are or what you are going through in life.

How would you describe your unique selling proposition?

As a primarily self-funded entrepreneur I have a few stakeholders that I have USPs for. There are the obvious stakeholders, our clients and retail partners. I also have to convince my employees, partners, vendors and collaborators. So I am going to answer for both scenarios.

For Clients:

Maison d’Etto is a luxury brand of artisanal, unisex fragrances created to inspire moments of connection, reflection and well-being. We draw inspiration from art, architecture and design as well as our interpretation of the modern equestrian lifestyle. I brought together some of my favorite creative collaborators to bring this brand to life. I am committed to the highest quality ingredients exquisitely crafted by the best perfumers in the world to bring their own style to Maison d’Etto.

For Partners, Perfumers, Vendors Collaborators:

Freedom. Authenticity and Creativity for all! The highest quality ingredients, exquisitely crafted by the best perfumers in the world who are encouraged to bring their own personal style to Maison d’Etto. It is a creative platform for everyone from me, to our perfumers, evaluators, creatives, packaging designers, photographers and ultimately our wearers and clients.

Can you tell us about your key products?

At the moment we are focused on EDP Fine Fragrances and Extrait/Parfumes. Our next product categories will be candles in the new year, but prior to candles we will venture into a complimentary lifestyle product for the holidays. It will launch in December.

Who is your customer?

As a lifestyle brand, Maison D’Etto speaks to and resonates with people from all genders, ages, cultures and places globally — consumers from jetsetters and equestrians to passionate fragrance collectors Which is such an honor as they are really the critics of our industry. To have our fragrances in collectors temperature controlled rooms or refrigerators is an honor. We also have incredible street cred with the art, design and creative communities, which was important to me from the start. In fact, the campaign photography and launch event was held at The Future Perfect gallery in New York City.

What are your plans for the brand?

Long term vision is to create a modern and purpose-driven luxury lifestyle brand. And build a company that is an inclusive, nurturing, diverse and creative place to work, learn, grow and thrive. I want to have built a successful and sustainable (multi-generational) business that is able to impact people’s lives, the way they live, consume, think and feel. I have always wanted for Maison d’Etto to be a force of change and to help humankind in one way and so that really is my goal. The multi-generational framework is because my 6 year old daughter has already asked for co-founder credit for all of her “sweaty equity”. It has been so cool building this business with her by my side for the past 3 years.

More from Style & Beauty in Perfectirishgifts

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clonerightsagenda · 7 years

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if you're doing arcs for tlcstuck DVD commentary, maybe john's? but if you don't have a lot to say on his, kanaya?

Sure, I can talk about John! If you don’t mind, I’m going to sit on the Kanaya request - we have several upcoming Kanaya updates that are relevant, and I’d rather not go through a whole arc review without those to draw on. (I still need to code the darn things too.)

As per usual, this initial post will talk about John’s situation at the start of TLC and our goals for his progression throughout the story. Future posts will skim quickly over relevant scenes with the occasional foray into specifics as I see fit and/or have a funny story to share.

While Jade intentionally conceals aspects of her personality or emotions she thinks are “bad”, John seems to unconsciously repress a lot of negative emotion. Also, despite being named the group’s leader, he takes a lot of orders in their first session. His tirade about Con Air and criticism of how John Cusack doesn’t do anything useful except “operate some heavy machinery at the end” (aka initiate the Scratch) is thinly veiled self-loathing. His issues with being pushed around only increase when he sticks his hand into the juju and gets sent spiraling out of control through the story. So, a big goal of TLC was to give John a sense of control and agency over his own experience. We also wanted to have him take a look at his own repressed emotions and begin to deal with them.

Another thing I’d like to bring up is John’s tendency to filter stuff through media. Part of that is connected to his repression. He’s shown playing games or watching movies in both battleship intermissions, because it’s a good distraction from their situation. As I mentioned already, he vents some of his frustrations by ragging on John Cusack. In an earlier intermission, when he’s not quite ready to openly admit to his feud with Davesprite, he expresses it through the game by insisting that Jade shouldn’t talk to him because he is “the enemy”. In fact, a lot of that Ghostbusters MMORPG scene is John attempting to re-establish himself as a “leader” in a game that doesn’t really need that role, because it’s a safer environment to try to do so. Once John sticks his hand in the juju, he’s given authorial control over the story and how it goes. Since he zaps into the whitespace a few times, he might even be vaguely aware of his existence as a character in a narrative (something usually Time players are most cognizant of). John’s primed to use his vision of his life as a story in some interesting ways, and we do get into that, especially with the narrative prompt sequence. But we have to get there first.

Since that’s pretty short, I’m going to blow through A6A6I4 in this same post. I already went through this with a previous ask but I’ll touch on some details of John’s arc specifically.

ROXY: nix made it sound like u always have to pay some kind of priceJOHN: typheus said the same thing.JOHN: he insisted on being cagey about it, but it sounded like i may have compromised my existence in some mysterious but significant way.

This will get revisited when we get to the walkaround (if I lay down foreshadowing I will pick it back up again, who do you think I am) but it’s mostly a joke. By making the decision to change what he did, John is no longer canonical, which sure compromises his existence. However, going by his situation in the Credits, it’s probably for the best.

Instead of being told what to do by Terezi, John gets to decide how to use his new powers to help fix the timeline, giving him more ownership over both his powers and their success. Then he bangs right into Davesprite, who is not thrilled that there are now more idiots with time powers on the loose.

I think John’s hangup with Davesprite comes from several sources. We saw early on with his freakout over his dad’s room that he comes up with ideas of how people should be, and when those ideas don’t match reality, he’s not happy about it. Dave was never going to be the same irl as online, and Davesprite’s additional heaping of trauma didn’t help. Also, John resents his failings as a leader in the first session, and taking Terezi’s advice and getting himself killed was a big one. He doesn’t know the details of what really went down (that the timeline was already doomed, and it’s implied doomed John sacrificed himself on Typheus’ advice) but what he knows is that he fucked up and got himself and Jade killed, and Davesprite is an inconvenient lingering reminder of a mistake he’d rather write off as something that didn’t really happen.

Now, face to face with the walking reminder of his biggest error, John tries to reassert control. Earlier, he complains that Davesprite tries to take credit for his existence all the time (again making John feel guilty, even if it’s Davesprite trying to scrabble for some sort of continued relevance) and John turns the tables by repeatedly announcing that he’s responsible for their survival, betraying similar insecurities. He also for the first time directly says he’s upset about the way he’s been pushed around instead of being allowed to lead.

JOHN: everyone’s always telling me how to act.JOHN: no one thinks i can handle things on my own.JOHN: i’m the doofus sidekick who makes mistakes and gets in the way so the REAL hero can save the day.JOHN: but i brought back an entire session, and i don’t think that’s only a punch line.

For John, even admitting something is progress.

Ironically, although John will not verbally acknowledge this until their walkaround log (gotta learn the whole self-awareness thing) they’re now in a similar situation, turning back time after their session fell apart.

John brings everyone back to Roxy, where he quickly gives her a complex. John’s attempts to write off everyone from doomed timelines as not real goes back to his repression. He doesn’t want to think about those events or dead friends. He’d rather push it all away, because it’s not real. It doesn’t matter. He’s surprised earlier that Roxy wanted to remember, and now he’s surprised when she suggests reminding everyone else. However, Roxy points out that sometimes remembering bad stuff is important for learning and moving forward, and so he reluctantly agrees.

The conversation with Rose is more important for her arc, but John then has a silly idea and ends up accidentally freeing Jane. Sometimes being silly and impulsive can work out. Soon after, he runs into Jane’s dad, gets upset, and immediately stomps that emotion down… only to run straight into Rose freaking out about doomed Roxy’s death. It’s dead parent flashback central in this castle tonight. Good job specifically mentioning that incident beforehand, John. You jinxed yourself. Earlier, John tries to cover when Rose gets confused about Jane saying Roxy is in jail. He knows what has to happen and agreed to try to conceal it from Rose on Roxy’s request - again, he’d rather think of that set of people as “not real” and figures it’s better for everyone to simply not know. Instead, that leaves Rose unprepared for the shock and makes her even madder when she finds out what’s going on. Consequences, John.

And that brings us up through I4! Good place to stop.

#tlcstuck #dvd commentary #Anonymous

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helencweekestx · 5 years

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Top 8 Tips for Marketing in 2020

December 23, 2019

Online marketing

The start of a new year is always a great time to consider your marketing, but it is especially important as we start a new decade. Here are eight tips to make sure you are getting the most benefits from your digital marketing.

Create Your Online Strategy

You may set new goals for the next year and the next decade. Do not forget to set goals for your internet marketing. Setting goals that are specific, measurable, attainable, relevant, and timely will help you know if you are moving in the right direction. Then, put them in order of importance, so you know which steps you need to master first. After you get started, you will see a snowball effect as all your hard work moves your company’s sales in the right direction.

Optimize for Maps

Especially if your business relies on foot traffic, it is essential that you optimize for Google Maps. Start by claiming your Google My Business account if you have not already. Then, write or optimize your company’s description to incorporate words that real people use when searching for your business. This can be a great place to add in brand names you carry. Then, encourage your customer base to leave reviews. Add great quality photos to your account. Write short informative articles and post them directly to your account. Interact with your customers by thanking those who left you a good review and suggesting ways that you will work with those that are not happy with your services. While you are at it, claim other review sites as well and that your data matches across all of them.

Use Natural Link Building Schemes

You also need to check the links on your website to make sure they are all working properly and that they do not point to sites filled with spam. Remove any broken links and find sites to replace them. Always make sure you are linking directly to the content that you want your viewers to see. Create a hierarchy within your own site so you are building up your most important pages by linking to them when appropriate. Once you get your own links in order, use a tool to find opportunities where others may want to link to your content. Shoot the webmaster a line suggesting it. They may use it and also come back to you for more links.

Utilize Paid Search

When the internet was new, there was no such thing as a paid link, but that is not the case today and paid search advertising will become even more important in the future as Google and others continue to cut down on the number of links appearing on the first search engine result page. Even as we enter the new decade, paid links usually hold the top position on many search terms. Look for pay-per-click advertising to become an even more effective way to reach segmented customer bases as Google and others use artificial intelligence to become even more talented at delivering these ads at exactly the moment that customers are ready to make a buying decision.

Focus on Website Design

There are at least three factors that have been buzz words during the last part of the 1990s, and they are not going anywhere soon. You need to have your security certificate in place so that your website displays as a https. You also need to consider your mobile speed. Too many bells and whistles can slow down your website sending your customers to your competitor’s site. You also need to ensure that your website is responsive. After your website is secure, mobile-friendly and responsive, then concentrate on the use of whitespace to help focus users attention. Employ a navigation system on every page so that users can easily get where they want to be on your site. Users should never have to click more than twice to get to the most important elements on your page. Viewers will scan your page even faster in the future, so create ways for them to easily find what they are looking for on your site.

Personalize Emails

You need to be segmenting your email subscribers and only sending them emails that are most pertinent to them. Think about the type of content that they are most likely to want to see and forward to others. Video emails may be a popular option during the next decade. Each email should have a definite purpose and the viewer should know exactly how you want them to follow up. Your headline should be catchy, but be careful of using humor because of sensitivities. You will probably only want to send one email per week.

Content is King

Content is, continues and will always be king. Your content must be the best, connect with your target audience and represent your brand’s voice. It must capture attention through its thoroughness. Think of your customer as being on a journey, and you are their leader each step of the way. Therefore, you need to get them prepared to make the journey by showing them their pain point. Then, educate them about solutions. Follow up with expert help on making the right decision and how to get the product that they need. Finally, provide them with multiple ways to get help when needed and ask for a positive review at the moment they are most likely to be happiest with your company.

Professionalism

Customers will expect you to act like a professional each step of the way. That is difficult when you have so many things on your plate. Google, Bing and others are likely to throw unexpected curves into marketing, such as Hummingbird, Panda and Medic have in the past. Therefore, you need to work with a professional in digital marketing who is watching for these trends and staying ahead of them.

Are you ready to take your marketing to the next step? Contact us today as we are here waiting to assist you now and throughout the coming decade.

Kyle Busch

With over 15 years of marketing experience I have helped over 1,000 businesses amplify their customer base. I have spent the man hours to make sure every one of my clients have had a positive experience. I take the time to sit and get to know every company I work with on a personal level. I started this company to put qualified leads in front of the companies who are looking for them. The Website Marketing Company headquarters in Orlando, FL. 32803 services clients across the country.

marketing in 2020, online marketing

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Helped guide me to make my website professional and personal so my clients could see my business higher on SEO rating! Very helpful would use again

Matt Montgomery

15:13 02 Jun 18

These people are awesome guiding me through how to make my website more popular and it did just that! I would recommend them to anybody

Mackenzie Thatcher

17:58 02 Jun 18

SEO takes patience and Website Marketing Company, has proven they know what they are doing! Not only am I receiving business inquiries from referrals, but now from people searching on Google! Huge THANK YOU

Taylor Lakes

18:27 19 Feb 18

The seo rankings we have been receiving have been amazing switching companies to you has already paid off. The old adage of you get what you pay for is absolutely true! Roi is up and the changes you suggested have paid off. Thanks. I'll be recommending

Mike Moon

01:21 15 Mar 17

Perfect Job . I love the site that they built as well as their input as far as SEO goes. Not only that, I asked for the site and it was complete within a week. AMAZING!!!

Stephanie Lennon

23:28 08 May 17

really nice service, made me a nice looking, easy to use, user friendly website for my travel blogs. really enjoy the style they used. thank you!

Edgar Rellis

22:29 19 Jun 18

Your marketing has been amazing. Thanks for elevating us!

Jonathan Weber

01:35 15 Jul 18

Thank you for improving our SEO. You were upfront (which is more than i can say from our last agency) and honest. Thank you for pointing out the mistakes our last agency made using tactics frowned upon by Google and getting us back on the right track. 7 months with you guys has been better than the last year and a half with 2 other agencies.

Love Ruth

05:01 05 Oct 18

I am glad i found you sooner rather than later our PPC spend was out of control and yall helped me increase sales while decreasing spend. I knew something wasn't right and yall quickly turned it around. I'm not going to try and do the "marketing" stuff on my own anymore.

Thomas A. Dahl

15:12 09 Oct 18

Thank you to Kyle and his team for their hard work and dedication. Kyle literally spent the first 3 months being my main point of contact and he is the CEO! With a large budget like we spend its nice to know the owner of the company is available to take my calls and meet with me. He was in the office everyday we dropped in and our new account manager Ryan is just as good! The positive ROI has been amazing and i can't wait to bring my new start up on board from the begining when it launches in December of 2018.

Stanley Taylor

05:43 13 Oct 18

Very pleased with the work. WMC has kept in constant communication with me about any changes, and although marketing requires a lot of patience, they have been putting 110% into their work with exceptional professionalism.This makes me feel like I am part of the family. Shout out to Kyle and Jess for making things happen. Jess is phenomenal.

Jose Miguel De La Cruz

18:40 25 Oct 18

Top notch customer service and very knowledgeable when it comes to PPC marketing. Austin is our PPC account manager and he is always available to take my call. Our business has tripled sales over the last 5 months. I highley reccomend you contact them the consultation was free and they are very laid back and not some huge 500+ employee agency that never has time for you.

Steven Elmore

19:55 25 Oct 18

Website marketing company has done a great job managing our social media accounts. They provide us with the content to review ahead of time and explain in easy to understand terms on why they post and when they post. We have seen our social media presence jump 300% this month

Alice North

05:25 07 Nov 18

Social media is what we came for and we have not been disappointed! Jessica has been great and keeps us informed on trends and makes great content

Amanda Spence

08:10 11 Nov 18

We needed an Orlando marketing agency that could meet the daily needs of our company and we have met our match made in heaven. Website Marketing Company has not only done what we hired them to do but they have exceeded our expectations. Friendly staff and its right down the road from our Orlando office which makes it convenient.

Elisha Love

13:32 02 Jan 19

We went through 4 "marketing agencies" before we finally had results with Website Marketing Company. All agencies are not created equal and we learned you get what you pay for. Other agencies locked us into a contract and charged extra fees we were not aware of before signing up. All of that is a thing of the past now with y'all. You were upfront and honest, no extra fees, no contracts and i feel at home. Prompt replies to my emails and a detailed breakdown in easy to understand language.

Alison Wilson

09:56 03 Jan 19

Our business has significantly improved due to the marketing strategy that you implemented. We even had a last minute change that needed to be made and we were able to call our account manager Austin on Christmas and he had the changes implemented the same same day! Thats customer service and can't wait wait for 2019.

Chapman C.

08:29 04 Jan 19

This company was originally helping us with our SEO and website improvements, but they have now progressed into assisting us with our social media presence. I was completely oblivious to how effective social media can be for leveraging new customers. Over the past few months, they have been very successful in attracting and influencing new customers and building our organic presence. I’ve learned a lot about the right and wrong ways to improve our business thanks to Mike and the marketing team. Thank you for your honesty, transparency, and guidance! I look forward to a continued and prosperous partnership between the both of us. Best Regards,Angel

Angel Turner

19:22 17 Jan 19

They have catapulted my maid cleaning business to new heights! Excellent customer service, response times, and professionalism from everyone on the staff. Whenever I’ve had a question about something, it has been answered promptly and transparently. I feel like I’m in good hands with this company. I would recommend them wholeheartedly if you’re running a local business! Cheers to SUCCESS!

Isabella Ramirez

02:24 24 Jan 19

I have a very busy schedule. Therefore, I do not like to spend my free time hassling my marketing company for updates regarding work I’m paying for. I had that issue with a few other marketing companies before finally migrating over to this company. They are organized and it shows because my status report at the end of the month is always detailed and pinpoints exactly what kind of results were achieved during that specific month. So far, they haven’t missed a month. My SEO has drastically improved and I’m looking forward to running more campaigns as they continue to prove they are capable. Special thanks to Austin and Peter for being consistent and personable to do business with.

Ryan Jefferson

01:48 24 Jan 19

If you’re looking to explode your rankings, this is the right company for the job. I own a dog sitting business and I’m partnered with corporate partners like Rover, but despite that, I knew my business could be improved even more. I handle my own social media marketing, so I really only needed this company for Google ranking purposes. They skyrocketed me to the number 5 position in my niche and city in just 2 weeks. I was probably on the 3rd or 4th page before that, so they really worked their magic. What’s crazy to me is, this is JUST the beginning of what my business’s rankings are capable of!

Davon Phoenix

20:51 24 Jan 19

Jess made us feel right at home with the way she handles social media marketing. She explains things well and gets results which at the end of the day is all that matters. We highly reccommend her for social media!

Melendez Mary

09:39 30 Jan 19

Great Orlando marketing agency. Quick to do a marketing analysis on our company and send over the proposal. No contracts which is awesome. didn't try and oversell us services we didn’t want.

Mark Bilodeau

04:37 21 Feb 19

Best investment i have made in my company was going with this marketing agency. Jess has been super helpful and Pete is great with websites.

Jan Spencer

15:23 14 Mar 19

Shyanne is my account manager and she has been doing a good job answering my questions and keeping me in the loop about our social media management. I will be recommending to other business owners i know.

Dean Dietrich

15:58 18 Mar 19

Walked into your office and the huge wall mural you guys made yourself caught my eye. I could see the creativity instantly and thats why I went with you for our logo design. Quick turn around time and just what we wanted

Rebecca Diaz

15:29 25 Mar 19

Peter has been great in the whole design process of our new website. Keeps us up to date and lets us take peaks at the progress when we drop by. Cant wait to see the end result!!

Lydia Turner

14:56 26 Mar 19

No sleezy salesman here. Your presentation was solid and there was no pressure to sign. i like that there are no contracts which is hard to find in a marketing agency now a days. 1 year in and i wouldn’t give you guys up for the world

Thomas Arnold

13:32 07 Apr 19

Website Marketing has done a great job helping our local orlando business gain traction. They handle our social media accounts and our Google ads. They have improved our ROI and continue to bring us an incredible amount of leads. There communication is key and they are easy to get ahold of and their Orlando office is really nice. We feel at home, Thank you.

Josef Yanez

16:52 18 May 19

Highly recommended!! Jess and Austin are amazing account managers and have been working with our company for over 3 years. They must not have a high employee turn over rate because we have been able to talk to them for the past 3 years and that speaks volumes to their knowledge of not only our business but the marketing agency as well. I am looking forward to continued success and sorry it took us 3 years to get to writing this review.

Jenise Fehribach

15:14 20 May 19

Jess made us feel comfortable with the way she handles social media marketing. She explains things well and gets results which at the end of the day is all that matters. We will recommend her for social media!

Hunt Daron

15:33 05 Jun 19

You guys are doing a great job on our Ecommerce marketing! Thank you for helping out a local Orlando business achieve success

kitty keychain

16:48 25 Jun 19

Great marketing results for my roofing company. Easy to get a hold of and no hidden fees

Anabel Carpenter

14:33 12 Mar 19

Finding a trustworthy marketing company is like trying to find a needle in a haystack. When you find one, it's a phenomenal feeling. That's how I've been feeling for the past 3 months now, as I watch my newly optimized website rake in the traffic! Flawlessly executed by them!

Simon Jenner

15:05 24 Jul 19

My new website looks great. Much better than the one I tried to build for my own business. Thank you for taking over!

Palmud Rich

18:54 24 Jul 19

Made a switch to this web design company and haven't looked back since. They do quality tier work and I'd endorse them for this marketing service.

Richard Barrett

18:34 25 Jul 19

Having a website that generates leads consistently is vital to the heartbeat of any business. Thank you for helping me achieve this finally after so many wasted months of trying to do it myself.

Helena Joseph

06:51 26 Jul 19

Don't worry about spending money for a pro to build you a professional website. You will quickly make that money back if it's done correctly!

Richard Contraisee

17:15 27 Jul 19

Great experience! Would recommend them for web design.

Rolesaau Pollard

02:39 30 Jul 19

Amazed with my new website! Launched in less than 2 weeks and runs incredibly fast!!

Rizuwan Ahmad

18:34 29 Jul 19

I remember that I ordered a new Website for my business and they just finished my work in couple of week. I will never forget how their Brilliance made my website best. They are recommendable just because of their Outstanding Skills and trustworthy Management.

Ridam Reha

20:38 01 Aug 19

No one can deny the fact that they are best in market for SEO/SMM. In my Opinion, They are Mind-Blowing.

Peter Handscomb

15:46 02 Aug 19

My experience of working with them is Remarkable. I won't forget the brilliant website they built for me in several days. Thanks Guys!

Hazel Keich

18:00 05 Aug 19

I loved them the way they serve their customers. I always like them as they are brilliant in building E-Commerce Websites.

Sinfonia Futon

15:58 09 Aug 19

I would like to thank WMC for explaining and breaking down what we needed done to start bringing in leads. We ultimatly ended up going with Pay Per Click and the return on investment has been fantastic.

J Davis

15:08 09 Oct 19

We were looking for a marketing agency in Orlando that we could visit and have sit down meetings with who could really get us some SEO results and well we found it!! Our website has already made it on the front page of Google and we are already getting organic sales. So awesome in 3 months to have these kind of results.

Charles Hance

05:17 10 Oct 19

Really top notch marketing agency. We had given up hope on PPC trying to do it ourselves and we quickly realized when set up and run properly the ROI was huge!

Robbie Johnson

14:16 23 Oct 19

Really top notch marketing agency. We had given up hope on PPC trying to do it ourselves and we quickly realized when set up and run properly the ROI was huge!

Robbie Johnson

14:16 23 Oct 19

J Davis

15:09 09 Oct 19

Kyle at website marketing set us up with call tracking and grooming leads for our salon. We not only hear the phone ringing more but you can go back and listen to the calls which helps us with training and let’s us know what calls were from his leads. Our appointment books are filled!

Jeff Lauzon

15:02 29 Oct 19

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The post Top 8 Tips for Marketing in 2020 appeared first on Website Marketing Company.

source https://www.websitemarketing.co/top-8-tips-for-marketing-in-2020/ from Website Marketing Company https://websitemarketingco.blogspot.com/2019/12/top-8-tips-for-marketing-in-2020.html

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barbyquiin · 5 years

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14 Methods for Improving Your WEB SITE DESIGN

1. Have an idea

Don't just start developing your website. To make sure that your website is effectively getting together with the needs of these potential customers you will need to map out your buyer's trip from the very first time they visit your website as soon as they turn into a customer.

What webpages are they going to see, what content are they going to learn, and what offers are they going to convert on? Understanding this can help you design a niche site that helps nurture leads through the sales funnel.

You intend to design your website for the next phase, not the ultimate step. It's about responding to the right questions in the right order. This may be where the framework is necessary. Take what you know about your present customers (or even interview them) and research the way they proceeded to go from a visitor to a person. Then, utilize this data to map out your strategy. You can also check web design new york

2. Remove the Pursuing FROM YOUR Website

Certain elements on your website will detract from the worthiness and message you're wanting to mention. Complicated animations, content that’s too much time, stocky website images are only a few factors on the list.

With an audience that only comes with an attention span of 8 seconds, you need to create a first impression that easily gets the primary points across. This should be achieved with short, powerful parts of the content and relevant photos/symbols that are sectioned off by clear and concise headers.

If you’ve got those right, then review it and make sure it doesn’t contain jargon or ambiguous terminology. It only acts to muddy your articles and mistake your users.

Some expressed words to avoid include the next generation, flexible, strong, scalable, simple to use, leading-edge, groundbreaking, best-of-breed, objective critical, innovative ... those are words that have over-utilized by hundreds if not a large number of companies and don’t make your articles any more interesting.

3. Include Sociable Talk about and Follow Control keys

Producing great content and will be offering only go up to now if you aren’t providing your users the chance to talk about what you have.

In case your website currently lacks social share buttons, you will be passing up on a lot of social media traffic that's produced from people already reading your site!

If these noises not used to you, sociable posting control keys will be the small control keys that remain the very best or bottom level of blogs. They contain symbols of different interpersonal media website and invite you to talk about the page on the sociable media route of your decision.

These buttons become a non-pushy tool that encourages cultural writing from your buyer personas.

4. Implement Calls-to-Action

Once these potential customers land on your site, do they know very well what to do next? They don't know what webpages to see or activities to take unless you supply them with some kind of direction.

Call-to-action control keys are one of the numerous elements that indicate the next phase the user should undertake a page. Even though many folks know that it could be easy to neglect to accurately utilize them to steer users through your website.

It’s easy to spam your website with bottom-of-the-funnel (BOFU) call-to-action, without even properly nurturing your users with other calls-to-action that are more top/middle of the funnel.

To recognize if you’re guilty of the, start studying the web pages across your website. Are you finding most webpages, blog articles even, with only a call-to-action for a demonstration/trial/discussion? Then, it’s time for you to update.

Take time to add call-to-actions that provide the materials to teach themselves and help solve their pain factors. After they identify your business as one which provides materials that are reducing these, they'll feel convenient researching your services to see when you can individually make these solutions possible.

5. Utilize the Right Images

Don't assume all images will fit with the kind of message you're trying showing your audience.

Luckily, you have too much to choose from (even some that are free of charge). But nonetheless, cause caught most of us opt to plague our website with extremely stocky photos.

Wish stock website gets the image, it doesn’t mean it looks genuine and can evoke rely upon your organization. Preferably, you want to use photos that portray images of the true people that just work at your business and any office itself.

If real photographs aren’t a choice, there are techniques you may use to help choose the right kind of stock photo. This will assist in getting more realism to your brand and ensuring the images match who you are and what your articles are explaining.

6. Navigation

When making your website, navigation is key, it's the map that presents the primary places users can visit.

There is nothing worse when compared to a site with a disorganized or complicated navigation interface. When enhancing your website's navigation, it is critical to make sure that your site visitors can simply find what they're looking for.

Some characteristics of the slim navbar include streamlined content, navigation hierarchy, and responsive design, therefore the experience doesn't drastically change on mobile.

If users cannot find what they're looking for, they haven't any reason to remain on your site. Instead, they will certainly bounce and find a competitor that offers a much better user experience.

7. Let THESE POTENTIAL CUSTOMERS Scroll on your Homepage

Above the fold is old. You shouldn't be wary of developing a slightly much longer homepage. Including 3-5 areas that help immediate new and repeating users to proper regions of your site can help produce a smooth experience.

But what should these areas be?

This list could continue forever, but an instant hit-list of a few of the greater crucial elements includes:

Value proposition

Intro Video

Summary of Services

Product Features

About Us

Testimonials

Case Studies/Success Stories

Resources

8. Don't be Scared of White Space

Whitespace can be an essential design component that can help you split up the web page and increase readability.

Called ‘negative space’ also, white space identifies the areas around elements on a full-page that are empty and lacking content or visual items.

Although extra space may appear superfluous, it’s accountable for readability and content prioritization. Also, it takes on an important role in the look process and placement web page design elements.

9. Mobile Optimization

Remember about optimizing your site for mobile. If you don’t know, 80% of internet surfers own a smartphone, and “Google says 61% of users are improbable to come back to a mobile site that they had trouble accessing and 40% go to a competitor’s site instead”.

I’d be considered a little worried easily were you.

It’s essential to tailor your site to match the needs and wants of these potential customers. You might like to ask yourself, why would someone gain access to my site on mobile? What things would they look for? Will my experience presently permit them to do those ideas easily?

10. Get Found

If you wish to create a substantial online existence, then you will need to make a website that can get found.

This starts with developing an SEO strategy that takes into consideration the search conditions your buyer personas and audience would seek out. This strategy conditions will include creating content that's highly relevant to the needs of these potential customers. Videos, blog articles, and e-books are a few types of content that can do that.

Be sure you don’t get too sidetracked with the endless content possibilities you could rank in search engines for. Identify the correct keywords first that your audience is searching for and that means you aren't bringing in too many guests who'd never convert to your product, aside from your offers.

11. Never Stop Testing

Evaluating conversion pathways, what lengths users scroll, and where they may be clicking, etc, are essential characteristics that can uncover if your web pages are carrying out how you intended.

If you are someone that has many pages to undergo, you may find this problem on a lot of web pages, older landing pages especially. Webpages like these could be executing quite nicely, but contain out-of-date information you know could be up to date. Others might just need some tweaking improvements or design changes. Simple changes such as button colors, headers, or adding a few phrases in your duplicate will make incredible variations in the page's performance.

12. Identify Unfamiliar 404’s or Broken Links

With regards to the size of your website, or how long it’s been with us, you may already have a few webpages or links occasionally that isn’t working. And together with everything, these potential customers received’t even inform you.

Take time to assess if your site has broken web pages. You might be amazed to find previously high carrying out landing web pages that are unpublished or internet pages that are incorrectly linked.

13. Create New or Unique Offerings

Transforming visitors is the core way you can assess just how many users are moving down your marketing funnel. Most of us know that how you typically convert site visitors is by showing offers, demos, or items that they'll find attractive.

But with so many resources from the internet, it’s now more challenging than ever before to break through the sound and get people converting on yours.

This implies it's more important than ever before to not pay just focus on what offers and resources are out there inside your service area, but what isn’t too.

Maybe you’re a social media company that notices a great many other rivals are making eBooks about how to make a social media calendar. Instead of creating an identical offer, would you take it a step further and create an instrument that allows visitors to type in some information that helps generate a routine that syncs with their Google calendar?

4. Update YOUR ARTICLES To Charm to Your Persona

When you’re writing duplicate that you would like to win over your guests with, most of us tend to get into a dangerous capture.

This content is ‘we’ and ‘our’ focused.

‘We will increase income by..”, “Our benefits include...” are just types of the headers that lots of uses throughout webpages. Although you might be showcasing the ways your business will help because of how great you as well as your products are, it’s not heading to get the idea across.

Remove out the “we’s” and “our’s” and replace them with “you’s” and “your’s”. Your prospective customers want you to meet them eye-to-eye, understand the pain factors they have, and directly clarify how they could be solved.

So rather than header like ‘Our Case Studies’, try something similar to ‘Your Potential Success Tale’. Or rather than a professions web page that concentrates how great the business is, filter in a few contents that clarifies how candidates' futures are essential and their capability to define their future working at the business.

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douglassmiith · 5 years

Text

Inspired Design Decisions: Neville Brody Design Cannot Remain Neutral

In this sixth instalment of Inspired Design Decisions, Andy Clarke will explore how British art director Neville Brody and in particular his work on The Face Magazine inspires his designs for the web. How do we use blend modes to add depth to our designs? How do we use vertical text for impact? How can we use clipping paths to bring in character and energy to a design? In this article, we’ll explore just that.

Although I was born in North West England, I grew up in Corby, a steel working town in the middle of the country. From the 1930s, Corby had grown to rely on steel production, with working-class families — a large number of them from Scotland — flocking to the area. During the Second World War, burning oil to produce thick smoke prevented all but a few German bombs, but when I was in my teens, a different toxic cloud, Thatcherism, hung over Corby as it did many industrial and manufacturing centres across the UK.

Corby had become part of the nationalised British Steel Corporation during the 1960s, but within twenty years, the Conservative government announced the closure of the Corby plant. This lead to 11,000 job losses and an unemployment rate in the town of over 30%.

As a teenager growing up in Corby in the early 1980s, my prospects were as grim as many thousands of others in the town. Music was one form of distraction and clubs and pubs around Corby had a thriving local music scene. Bands with names like Bandits At 7 O’Clock, The Laughing Mothers, and Play The Joker, were inspired by the dark themes of post-punk, rockabilly and classic rock.

Music wasn’t only for escapism, it was also a way to express political opinions and support the causes we cared about. As part of the Corby Music Collective, my band, The Inline, played gigs in support of the anti-apartheid movement and even supported Billy Bragg on his first national tour in support of striking miners. I still have the backstage pass which Billy signed for me.

Local bands designed their own publicity and the mostly two-colour artwork was edgy and unpolished. Local screen-printing workshops offered affordable flyers and posters. Music magazines were popular too. Not mainstream publications like Melody Maker or teen titles like titles, but titles like Sounds, which covered counter-culture, and of course The Face. I knew there was something special about it, although at the time I didn’t know what an art director did or who Neville Brody was.

The Face became a pop culture mirror to the political and social turmoil in Britain at that time. Its unconventional and thought-provoking designs and Brody’s subsequent work redefined the British music press from the 1980s onwards and influenced a generation of designers. Even twenty-five years after he created them, Brody’s pages from The Face magazine are still remarkable designs. I’m still inspired by them every day and in this issue, I’m going to explain some of the ways how.

Previously On “Inspired Design Decisions”

Inspired Design Decisions: Avaunt Magazine

Inspired Design Decisions: Pressing Matters

Inspired Design Decisions: Ernest Journal

Inspired Design Decisions: Alexey Brodovitch

Inspired Design Decisions: Bea Feitler

Music magazines from 1980 including The Face (far right). (Large preview)

Inspired by Inspired by Neville Brody

British punk was a reaction to mass unemployment and a reflection of the social unrest in 1970s Thatcherite Britain. Punk rejected anything it considered self-indulgent, and its DIY approach stripped music back to basics.

In 1977 — at the height of punk’s influence on British culture — Brody began studying graphics at The London College of Printing, where he soon found the environment frustrating and out of step with what was happening around them. Tutors at the LCP emphasised commercial applications for graphic design and Brody’s experimental work was condemned by them as “uncommercial.”

But Brody’s fast-paced, DIY approach to approach to design and especially his use of homemade typography were perfectly suited to the band posters he made while still at the LCP. After leaving, Brody designed record sleeves for Rocking Russian before moving to Stiff Records, and ultimately to The Face. The Face was a culture, fashion, and music magazine published in Britain until 2004 and Brody worked as its art director until 1986.

The Face was a living laboratory where I could experiment and have it published. Our golden rule was to question everything. If a page element existed just as taste or style, it could be abandoned. Page numbers could be letters or shapes increasing in size. We could start the headline on the page before. We had disasters and near misses every issue. We had two weeks to art direct everything, then a week to lay it out. It was pre-computer so everything was traced by hand. […] It certainly wasn’t a nine-to-five job. You had to be obsessed to make it work.

— Neville Brody

Jungle Fever: The Art of Jean-Paul Goude. The Face 1982. Art direction by Neville Brody. In much of Brody’s work, structure is the main feature of the design. (Large preview)

Good typography is often described in terms of rules, but Brody wasn’t interested in rules, so he skipped typography classes at the LCP. Not knowing the conventional rules of typography meant that Brody wasn’t limited by them. Instead, Brody studied typography he saw around him, from the Dadaism movement, Futurism, and the work of Alexander Rodchenko, whom I introduced in a previous issue.

Brody saw typography as a medium for commenting ideas and so should be expressive and entertaining. Widely spaced letters became a familiar part of Brody’s designs for The Face. He used this extra whitespace for its aesthetic, and to emphasise the horizontal, vertical, and sometimes diagonal direction of lines of type. His wide letter-spacing also slowed down the reading experience and created spaces for people to pause and consider the content.

But despite Brody’s lack of traditional typography training, his priority was still that people should be able to easily read the magazine. With that in mind, he worked closely with the editorial team at The Face.

The Face maintained punk’s rebellious attitude, but its original aesthetic wasn’t just superficial. With The Face, Brody questioned the structure of a magazine and how people experience it. I find plenty of parallels between how he explored the multi-page experience of reading a magazine and how people use the web.

The Werk Ethic. The Face 1982. Art direction by Neville Brody. This spread is reminiscent of Constructivism in the arrangement of images and text. (Large preview)

In The Face, bleeding images and type off the edges of a page does more than making the magazine look unique. It suggests that there’s more to see outside the visible page and that what someone sees is part of something bigger.

The layout grid throughout The Face uses just two or three columns, but Brody’s execution shows just how flexible even the simplest grids can be when combined with imagination. The Face demonstrates how a system for design is the structure on which you start building a design. It should support a design, not define, nor dictate the end result.

On the web, we’re told to not make someone look more than once, to not make them think. But, one of the reasons I find Brody’s work so fascinating is it makes people look twice. His spread designs for The Face were often self-contained and encouraged people to linger on them rather than quickly turn the page. While you might think this runs counter to the principles of user experience design, in reality, it can be a factor in making your designs more memorable because people spend more time considering them.

The Resurrection of Chad. The Face 1984. Art direction by Neville Brody. This design introduced a hand-drawn typeface which was frequently used in the magazine from then on. (Large preview)

This rule-breaking attitude needn’t be at the expense of usability. Brody’s designs for The Face use a grid, which provides structure to a page and continuity throughout the magazine. They also include features which guide someone through an article, from where to start reading, to knowing they’ve reached the end. Drop-caps are a traditional device for helping someone know where to start, but Brody became obsessed with finding alternatives, including graphic symbols, alternative type treatments, and whitespace. As Brody explained to Jon Wozencroft in 1987, “Once you have broken down the rules, literally anything is possible.”

For a lot of designers, The Face became the perfect graphic phrase-book, but its success, I hope, is also an indication that you can go against the grain and make it work commercially.

— Neville Brody

Brody wanted his work to demonstrate that breaking with traditional approaches to design is possible, even when what you’re designing is commercial. He didn’t want people to merely imitate his designs or use them to create new rules or traditions. I feel the same way about exploring ideas from print and other media and applying them to the web without questioning what we’re aiming to achieve and why we’re doing it.

After five years, Brody left The Face in 1986 and became one of Britain’s most influential and prolific designers. In the 1990s, Brody co-founded the FUSE project with Jon Wozencroft, and their groundbreaking magazine ran for twenty issues. He also co-founded FontFont, the typeface library, alongside Erik Spiekermann. In 2018, Brody stepped down from his position as Dean of the School of Communication at the Royal College of Art.

Jon Wozencroft — Brody’s partner at FUSE — published two volumes of ‘The Graphic Language of Neville Brody’ in 1988 and 1994. You can still find copies available on eBay. ‘The Story of The Face: The Magazine that Changed Culture’ by Paul Gorman is more readily available, as is a compendium of all twenty issues of FUSE. They’ll all make fabulous additions to your graphic design library.

Blends add depth and richness

For my first Brody-inspired design, the main content contrasts with a colourful and chaotic background image. I need only two structural elements to implement this energetic design; a header which contains the iconic Ford logo, a headline, and the tagline from a 1970s Capri advertisement. The main content includes an SVG profile of the Capri which sits on top of my running text:

<header><img src="logo.svg" alt="Ford"><h1>Capri</h1><p>You might get wolf-whistles from the car next door</p></header> <main><p><svg>…</p></main>

Left: Electro. The Face 1984. Right: For this main headline I used FF Blur Pro Medium, a typeface designed by Brody in 1992. (Large preview)

Using an inline SVG for this graphic image means one fewer requests to a server, and provides the ability to change the Capri’s paint colour to match any colour background. I start by adding background and foreground colours to the body of this page. Setting its minimum height ensures this background will fill the full height of the page at every screen size:

body {padding: 0 1rem;min-height: 100vh;background-color: #ba0e37;color: #fff; }

The Ford logo may be a classic, but I don’t want it to dominate this page when seen on small screens. I limit its maximum width to one-third of any viewport. This selector targets an image where “logo” occurs somewhere in an image’s source attribute:

[src*="logo"] {max-width: 33vw; }

I add a double shadow to ensure my heavy headline and tagline spring out from the page. While the first shadow uses positive X and Y values, the second uses negative values. When combined, these shadows spread all around my text:

h1,h1 + p {margin-bottom: 0;font-weight: 900;text-shadow:4px 4px 2px rgba(0,0,0,.35), -4px -4px 2px rgba(0,0,0,.35); } h1 {font-size: 3.4rem; } h1 + p {font-size: 1.802rem; }

My design should raise someone’s blood pressure as much as driving a Capri, so I add an adrenaline-filled background image which covers the entire page:

body {background-image: url(body.png);background-size: cover; }

This image may be monochrome, but adding a background-blend-mode property with a value of multiply crams this page with colour:

body {background-blend-mode: multiply; }

Introducing background-blend-mode

Blend modes were proposed initially by the Adobe Web Platform team. They allow web designers the same control over blending colours that have been a feature of graphics software like Adobe Photoshop for years. These modes determine how two elements or more elements combine with each other.

The CSS Compositing and Blending module includes three properties; background-blend-mode, mix-blend-mode, and isolation. To implement this design, I use background-blend-mode which allows blending an element’s background colours and images:

body {background-color: #ba0e37;background-image: url(body.png);background-blend-mode: multiply; }

There are fifteen background-blend-mode options; color, color-burn, color-dodge, darken, difference, exclusion, hard-light, hue, lighten, luminosity, overlay, saturation, soft-light, and screen.

Blend modes can be used to blend a background colour with a single background image, or when an element has more than background image, they can be applied differently to each which can add depth to a design. This background-blend-mode applies to all background images:

body {background-image: url(body-1.png), url(body-2.png);background-blend-mode: multiply; }

Whereas, to blend these two images differently, I apply two background-blend-mode values, making sure to list them in the same order as my images:

body {background-image: url(body-1.png), url(body-2.png);background-blend-mode: screen, multiply; }

CSS blend modes don’t merely save time on trips to an image editor, they’re also a fabulous way to add depth and texture to a design which can be refreshing when the majority of websites are flat and two-dimensional.

Almost universally, contemporary browsers support the same compositing tools we’ve used in graphic design and photo editing software for years. (Large preview)

To implement the rest of this small screen design. I add a background image of a spark plug silhouette which fills the main element which contains my running text:

main {background-image: url(main-1.svg);background-position: 0 0;background-repeat: no-repeat;background-size: 100%; }

Then, I use a mixture of rem-based and viewport width padding to solidify that content into a narrow column:

main p {padding: 8rem 20vw 6rem; }

Text which is justified to both left and right edges often creates unsightly rivers of white space between words. These gaps can interrupt the reading experience. It’s for this reason, justified text is rarely used online.

Hyphenation wraps words onto multiple lines and splits a line’s last word with a hyphen. There are three values for hyphenation in CSS:

none: Words aren’t broken, so longer words will flow onto a new line, sometimes leaving an unattractive gap at the end of a line.

manual: Words are broken when either a hard hyphen or an invisible soft hyphen () inside them suggests an opportunity.

auto: A browser inserts hyphens according to its own rules and the language used. Browsers vary in how they apply these rules.

Sadly, not all browsers support hyphenation, so to avoid unsightly rivers within the text, I should only apply the hyphens property to supporting browsers. For this, I use a feature query.

Introducing feature queries

You’ll probably already know all about @media queries and use them to adjust styles across different screen sizes. While @media queries test whether a device is a printer or screen, and tests for height, width, or orientation, the @supports at-rule tests browsers’ features.

A basic feature query tests both a property and a value. For example, this query tests whether a browser supports the column-count property and a value of 2 before applying them to a main element:

@supports (column-count: 2) {main { column-count: 2; }}

Browsers which don’t support column-count will ignore this style. Occasionally, I may need to also style an element when the browser doesn’t support a feature, can apply those styles using a :not operator:

@supports not (column-count: 2) {main { padding: 0 3rem; }}

I might also need to test support for two features at the same time using an and operator. Styles will apply to this main element when a browser supports both column-count and hyphens:

@supports (column-count: 2) and (hyphens: auto) {main p { hyphens: auto; }}

Otherwise, I might test whether a browser supports one or more in a series of features using the or operator:

@supports (column-count: 2) or (hyphens: auto) {main p { hyphens: auto; }}

The feature you test needn’t be the same as the style you want to apply. For example, in this design, I only want to justify my main paragraphs if a browser supports hyphenation:

@supports (hyphens: auto) { .mk1 main p {hyphens: auto;text-align: justify;text-align-last: left; }}

For larger screens, I want the main content placed on the right, so I apply a symmetrical two-column grid with a 5vw gap between columns:

@media screen and (min-width : 64em) { body {display: grid;grid-template-columns: 1fr 1fr;gap: 5vw; }}

As the visual order of the header and main is the same as the document flow, there’s no need for me to place those elements on my grid.

I remove the limit on the Ford logo’s maximum width, then apply a second background image to the main. I use two different sets of background-position values to offset this white spark plug picture:

[src*="logo"] {max-width: none; } main {min-height: auto;background-image: url(main-1.svg), url(main-2.svg);background-size: cover;background-position: 0 4rem, 5vw 6rem; }

Finally, I adjust the padding on my main paragraphs to accommodate the width of that second background image:

main p {padding: 18rem 12vw 0; }

This first Brody-inspired design blends multiple background images to create potentially limitless variations. (Large preview)

Theming using CSS Custom Properties

Previously only pre-processing tools like LESS and Sass enabled developers to use variables in stylesheets, but now Custom Properties have brought variables natively to CSS. CSS Custom Properties are a fabulous new feature and have widespread support in contemporary browsers.

To write a custom property, simply add two dashes to the start of a style rule:

--color-text-default : #272732;

Hyphens or underscores are allowed in property names, but not spaces. Property names are also case-sensitive, so –color-text-default and –Color_Text_Default are two distinct properties.

To use a custom property in a stylesheet, var() tells a browser to retrieve the value of a property. Here, a browser retrieves the dark colour from the –color-text-default variable and applies it to the body element:

body {color : var(--color-text-default); }

CSS Custom Properties are fabulous tools for theming, so to change the body background colour and the fill colour of my SVG Capri, I apply a shared custom property:

--theme: #ba0e37; } body {background-color: var(--theme); } svg path {fill: var(--theme); }

Vertical text for impact

This very different design shares much of the same HTML, but has an altogether different look and feel. I use a header which contains a heading, a Ford logo, and the large brake disk image:

<header><div><img src="logo.svg" alt="Ford"><img src="brake.svg" alt="Brake disk"></div> <h1>Ford Capri <spanvMK1</span></h1></header>

Left: New Order. The Face 1984. Art direction by Neville Brody. Right: Multiple background images splash across my design. (Large preview)

The main element includes a headline and a division which contains my running text:

<main><h2><span>Get wolf-whistles</span> from the car next door</h2> <p>…</p> <div><p>…</p><p>…</p><p>…</p></div></main>

Background and foreground colours are the starting point for implementing this design:

body {padding: 1rem;background-color: #fff;color: #272732; }

I then add two abstract background images, placing the first in the top-left of my body element, the second in the bottom-right. Both background images will be contained within the body while preserving their aspect ratio:

body {background-image: url(body-1.png), url(body-2.png);background-position: 0 0, 100% 100%;background-repeat: no-repeat;background-size: contain; }

Before implementing any design, I make a simple storyboard to demonstrate how my elements will flow across a selection of screen sizes. (Large preview)

My design includes a variety of typography treatments, including columns, drop-caps, and vertical text. I start by super-sizing the light grey main headline, and setting it uppercase. Using a span element within this headline allows me to change that part to blue:

h1 {font-size: 3.4rem;line-height: 1.2;text-transform: uppercase; color: #dedddd; } h1 span {color: #2c5f9d; }

I apply the same text-transform to the second-level headline, then turn the paragraph which immediately follows it into a standfirst by adding two thick borders:

h2 {font-size: 1.424rem;line-height: 1.2;text-transform: uppercase; } h2 + p {padding: 1rem 0;border-top: 10px solid #e9e9e9;border-bottom: 10px solid #e9e9e9;font-size: 0.889rem;font-weight: 600;text-transform: uppercase; }

Although paragraph indentation is a common print typography technique, paragraph spacing is more popular on the web. Because I want to give this design an editorial feel, I remove the margins from paragraphs in my main, then indent every following paragraph by 1em. By using a text-based unit, this space will stay in proportion with the size of my text:

main div > p {margin: 0;font-family: 'Vollkorn', serif;font-style: italic; } main div > p + p {text-indent: 1em; }

Drop caps add personality to a design, but are also an obvious pointer to where someone should start reading. Implementing drop caps online previously involved a mixture of font-size, line-height, and margin styles, but now we can use the initial-letter property instead.

Initial letter reduces styling to a single property, and a value which defines the number of line heights the letter occupies. Initial letter automatically adjusts the font size to span this number of lines.

I want to apply initial-letter to the first letter of the first paragraph in my main element. Not all browsers support initial-letter, so to avoid non-supporting browsers applying any styles relating to my drop cap, I use a feature query. Because Apple’s Safari requires a vendor specific prefix, that query includes both prefixed and unprefixed properties and an or argument:

@supports (initial-letter: 1) or (-webkit-initial-letter: 1) { main div > p:first-of-type::first-letter {margin: 0 .5rem;font-family: Arial, Helvetica, sans-serif;-webkit-initial-letter: 2;initial-letter: 2;color: #2C5F9D; }}

A long-standing Safari bug renders an initial letter using system fonts instead of web fonts, so choose a system font which looks most similar to your intended drop cap style.

For larger screens, I apply a symmetrical two-column grid to the body and reduce the size of my two background images to 55%. Because the visual order of this design again matches the order of my HTML, I don’t need to place my header and main elements explicitly:

@media screen and (min-width : 64em) { body {display: grid;grid-template-columns: 1fr 1fr;background-size: 55%; }}

Left: The margin around this header acts as a boundary which stops the eye moving beyond it. Right: Allowing that element to bleed off the top and left edges implies there’s more to see outside the viewport. (Large preview)

One of the most obvious aspects of this design is the large vertical headline in the centre of the page. Vertical text elements are common in magazines, but I rarely see them on the web, except in Chinese, Japanese, Korean, and other scripts, which use vertical writing modes.

Before implementing my vertical headline, I make space for it by applying grid properties to my header. The second column is just wide enough to take my vertical headline, while the first column occupies all remaining space:

header {display: grid;grid-template-columns: 1fr 6rem;padding: 1rem 0 1rem 2rem; }

To develop my vertical headline, I need do nothing more than switch its default writing mode to vertical (right–left:)

h1 {writing-mode: vertical-lr; }

My headline fits in the centre of this page, and the reading direction starts at the top. To make it read bottom-up, I can spin it around by 180 degrees and justify it right, so it starts at the top of the column:

h1 {text-align: right; transform: rotate(180deg); }

Text orientation

Using transform:rotate(); and text-align:right; to change an element’s reading direction feels like a hack, and it is.

You won’t need that hack for long, though, because a new set of writing mode values are coming.

sideways-rl. Content flows vertically top-to-bottom and text is written sideways, towards the right. (Large preview)

sideways-lr. Content flows vertically top-to-bottom and text is written sideways, towards the left. (Large preview)

To improve someone’s reading this block of running text, I introduce columns using the column-count property. This design divides my content into two columns, with a gutter and a solid rule between them:

main div {column-count: 2;column-gap: 4rem;column-rule: 1px solid #e9e9e9; }

Browsers adjust the widths of these two columns to fill the available space. When I want to specify column width instead of the number of columns, I use the column-width property with a text-based unit value, including ch, em, ex, rem, vw, vmax, and vmin.

There’s one final touch I want to add to the vertical headline in this design; blending it with the body behind. Alongside background-blend-mode, the Compositing and Blending module includes mix-blend-mode which blends elements with each other. You can use the same fifteen blend modes with either property. Using a multiply value on my vertical headline allows the abstract background image on my body element to bleed through this headline:

h1 {mix-blend-mode: multiply; }

I’m not advocating a return to the worst excesses of skeuomorphism, but I hope designers realise the value of a more vibrant approach. (Large preview)

Beyond Primitive Clipping Paths

You probably won’t be surprised to learn that this design uses the same header and main elements as my previous examples. This time, both contain a figure:

<header><figure>…</figure><h1>The car you <span>always</span> promised <span>yourself</span></h1></header> <main><figure>…</figure><p>…</p><div><p>…</p></div></main>

Left: In the Shade. The Face 1982. Art direction by Neville Brody. Right: Support for clipping paths is now widespread. (Large preview)

Each figure contains four pictures of my colourful Capris:

I arrange these pictures in a 2×2 grid, then I add a background colour and abstract background image, blending them together with a background-blend-mode:

figure {display: grid;grid-template-columns: 1fr 1fr;gap: 2rem;background-color: #2c5f9d;background-image: url(figure.png);background-size: cover;background-blend-mode: multiply; }

Good typography is as important for personality, as it is for readability. Brody’s designs are distinctive partly because of the original typefaces he created for The Face and other magazines. I set my headline using TokyoTwo — a facsimile of one Brody typeface — to bring a little of his style to my design.

h1 {font-family: 'TokyoTwoSolid';font-size: 7vmax;text-transform: uppercase; }

I highlight specific words by adding span elements around them:

h1 span {color: #2C5F9D; }

In newspapers and magazines, online and in print, a standfirst is the ‘first’ few lines of an article and should be designed to ‘stand’ out. You might also see standfirst paragraphs referred to as “decks,” “kickers” because they kick readers into the content, “riders,” “summaries” as they often summarise the content of an article, or &mdahs; my personal favourite — “the sell” because one of its jobs is selling content to a reader.

While a standfirst paragraph is often “larger, bolder,” or “in capitals,” that’s not necessarily how it always looks. There’s no rule book to dictate its size or style, or even its position. That’s something important to bear in mind when you’re designing layouts for many different devices or screen sizes. The design of a standfirst should help it do its job and should be designed to catch someone’s eye, encourage people to read on, give people an idea of what an article contains, and improve understanding and share-ability.

To add zig-zag lines and transform this default paragraph into a standfirst, I add :before and :after pseudo-elements, each containing an SVG image which stays crisp no matter how large someone’s device or screen:

main figure + p:before {content: url(line-1.svg);display: block;margin-bottom: .75rem; } main figure + p:after {content: url(line-2.svg);display: block;margin-top: .75rem; }

A standfirst connects readers with your content and can help people understand what’s coming next. (Large preview)

I introduced you to the clip-path property alongside Alexey Brodovitch. It enables you to clip an element so that only part of it remains visible. These paths can be any shape, from basic circles and eclipses to complex polygon shapes with any number of coordinates.

My design uses zig-zags around its standfirst and at the sides of my colour-filled figures. But, those shapes aren’t part of any image attached to a figure, they’re the result of clipping these figures with a polygon path:

figure {-webkit-clip-path: polygon(0% 10%, 5% 20%, 0% 30%,…);clip-path: polygon(0% 10%, 5% 20%, 0% 30%,…); }

All that remains is to add background images to the body, adjusting their position and size, plus apply a two-column symmetrical grid for larger screens:

body {display: grid;grid-template-columns: 1fr 1fr;gap: 2rem; } body {background-image: url(body-small.svg);background-position: 50% 0;background-repeat: no-repeat;background-size: cover; } @media screen and (min-width : 64em) { body {background-image: url(body-large.svg);background-position: 0 12rem;background-size: contain; }}

Clipping paths are a fabulous way to implement irregular shapes which catch someone’s eye and draw them into a design. (Large preview)

Responsive grids and rotation

To implement my final Brody-inspired design, my aim is to use the most minimal set of structural elements:

<img src="logo.svg" alt="Ford"> <h1>Get a Capri… if you’re quick</h1> <header><picture><source media="(min-width: 48em)" srcset="header-lg.png"><img src="header-small.png" alt="Ford Capri"></picture></header> <main><p>…</p><p>…</p></main> <figure>…</figure><aside>…</aside><div></div>

Left: Ital Style. The Face 1985. Art direction by Neville Brody. Right: Combining grid with transforms makes elaborate designs possible. (Large preview)

Whereas my earlier designs introduced grid properties at larger screen sizes, this final design uses them from the beginning. In this three-column grid, the two outer column widths are text-based, while the centre column occupies all remaining space:

body {display: grid;grid-template-columns: 3rem 1fr 3rem;background-color: #f0f0f1; }

Before implementing any design, I make a simple storyboard to demonstrate how my elements will flow across a selection of screen sizes. (Large preview)

I start by placing the Ford logo into that centre column and on the first row:

[src*="logo"] {grid-column: 2;grid-row: 1;justify-self: center; }

The header with its Capri image spans every column, and occupies the full page width. I place it in the second row, under my logo:

header {grid-column: 1 / -1;grid-row: 2; }

A division acts as an abstract back-drop to my header. It fits neatly into the second column, and spans the first two rows:

body > div {grid-column: 2;grid-row: 1 / 3;z-index: 1; background-color: #2c5f9d;background-blend-mode: multiply;background-image: url(div.png);background-size: cover; }

By adding a low z-index value to this division pushes it into the background, and to ensure my logo and header spring into the foreground, I give them a higher value:

[src*="logo"],header {z-index: 2; }

That layered header adds depth to small screens, but when more space is available, this design comes to life. The two-column grid is simple, but the row pattern is more intricate and includes a mixture of text-based, flexible length, and intrinsic units:

@media screen and (min-width : 48em) { body {grid-template-columns: 1fr 1fr;grid-template-rows: 16rem 8fr 16rem auto auto auto; grid-column-gap: 5vw; }}

I place the header into the third row and allow it to span the full width of my grid. Then, I slot the remaining elements into their places using grid line numbers:

header {grid-column: 1 / -1;grid-row: 3; } h1 {z-index: 1;grid-column: 1;grid-row: 1 / 3; } main {grid-column: 1;grid-row: 4 / 6; } aside {grid-column: 1;grid-row: 6 / 7; } body > div {grid-column: 2;grid-row: 1 / 4;border-top: 10px solid #e9e9e9; }

Three different combinations of columns and rows form distinctive grids for small, medium, and large screens. (Large preview)

I don’t need to style this figure, only its img and figcaption. By applying display: contents;, I’m able to place those child elements onto my grid:

figure {display: contents; } figure img {grid-column: 2;grid-row: 5 / 7; } figure figcaption {grid-column: 2;grid-row: 4 / 5; }

Now I can rotate my header image and move it up so that it overlaps other elements in my design.

header {z-index: 2;transform: rotate(-20deg) translateY(-6rem); }

I’ve always thought of responsive design not as a challenge, but as a chance to be creative. Each breakpoint provides an opportunity to make designs which make the most from every screen size.

For large screens, I replace the previous grid properties with a five column layout where four of the columns are flexible and the other is text-based. I use the repeat value to create six rows which all have intrinsic height. Whereas the default align-items value is stretch, I align my grid items to the start:

@media screen and (min-width : 64em) { body {grid-template-columns: 1fr 1fr 1fr 6rem 1fr;grid-template-rows: repeat(6, auto); gap: 1rem;align-items: start; }}

This final Brody-inspired design demonstrates how combining grid with transforms makes elaborate designs across screen sizes possible. (Large preview)

I reposition each element onto this new grid using line numbers which separate my content across each column.

[src*="logo"] {grid-column: 1;grid-row: 1; } h1 {grid-column: 2;grid-row: 2; } main {grid-column: 1 / 2;grid-row: 2 / 5; } header {grid-column: 2 / -1;grid-row: 2; } figure img {grid-column: 3;grid-row: 1; } figure figcaption {grid-column: 3;grid-row: 4; } aside {grid-column: 5 / -1;grid-row: 3 / 5; } body > div {grid-column: 3;grid-row: 2 / 4;align-self: stretch; }

Using line numbers enables some elements to occupy the same columns and rows, so they overlap. The higher z-index value I gave to the header earlier, brings the large picture of my Capri into the foreground, where I can adjust its rotation and vertical offset:

header {transform: rotate(-20deg) translateY(3rem); }

A subtle transition and a series of transform values, add up to a little surprise when someone hovers over the profile of this classic Ford:

header {transition: transform .25s ease; } header:hover {transform: rotate(-21deg) scale(1.025) translateY(3rem); }

Bonus: Introducing CSS masks

In my first Capri design, I added a spark plug silhouette as a background image to my content, but changing its colour would involve exporting a new asset.

Depending on the mask image, there are two types of masks in CSS:

luminance White areas are transparent, black ones are opaque, and everything in between is semi-transparent.

alpha The default, alpha-channels.

Left: Mask image. Center: Main content area with a mask applied. Right: The headline and standfirst masked with a CSS gradient. (Large preview)

Masking is a fabulous time-saver which involves a single mask-image with an alpha-channel. Whereas with clip-path, parts of an element or either invisible or visible, using mask-image means parts of an element can be rendered with several levels of opacity.

Elements in parts of a mask which are 100% black will be fully visible. In sections where the mask is 100% transparent, contents will be completely hidden. Any percentage in-between will partially mask an element.

Left: My headline unmasked. Right: The headline masked with a PNG image. (Large preview)

When a mask is applied, only the areas inside it are visible, which allows me to change an element’s background colour or image whenever I need to.

Applying a mask-image is as simple as specifying a mask URL. CSS masks use similar properties and values to background images, so first I specify a mask‘s position, then repeat properties, and its size. mask-position uses X and Y values which are the same as background-position.

As well as common values like repeat, repeat-x, repeat-y, and no-repeat, are mask-repeat also accepts the lesser known tiling values, space and round.

mask-size options include one or two number values, plus contain and cover. I put these properties together to apply a spark plug silhouette mask to my main content:

main {mask-image: url(mask.png);mask-position: 0 4rem;mask-repeat: no-repeat;mask-size: cover; }

It’s also possible to define which area of a box is affected by a mask by using the mask-clip and mask-origin properties in similar ways to how background-origin and background-position affect background images. You might choose to clip a mask to either the border-box, content-box, or padding-box, plus several other options.

I’m also excited by the possibilities from mask-border, an experimental property which will combine the flexibility of border images with masks.

Masks can add depth to text too. To make my header content shine, I could use a bitmap or a SVG gradient image. But remember, CSS generated linear and radial gradients are also background images, so can be mask images too. They add style with almost no impact on performance:

main {mask-image: linear-gradient(transparent, rgb(0,0,0) 50%, transparent 100%); }

I want a circular radial-gradient to fade the edges of my header content:

main {mask-image: radial-gradient(circle at 50% 50%, rgba(0,0,0,1), rgba(0,0,0,.15) 80%); }

By fine-tuning my alpha channel values and colour stop points, I can create the perfect look to fit my design.

NB: Smashing members have access to a beautifully designed PDF of Andy’s Inspired Design Decisions magazine and full code examples from this article.

(ra, yk, il)

Website Design & SEO Delray Beach by DBL07.co

Delray Beach SEO

Via http://www.scpie.org/inspired-design-decisions-neville-brody-design-cannot-remain-neutral/

source https://scpie.weebly.com/blog/inspired-design-decisions-neville-brody-design-cannot-remain-neutral

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riichardwilson · 5 years

Text

Inspired Design Decisions: Neville Brody Design Cannot Remain Neutral

Previously On “Inspired Design Decisions”

Inspired Design Decisions: Avaunt Magazine

Inspired Design Decisions: Pressing Matters

Inspired Design Decisions: Ernest Journal

Inspired Design Decisions: Alexey Brodovitch

Inspired Design Decisions: Bea Feitler

Music magazines from 1980 including The Face (far right). (Large preview)

Inspired by Inspired by Neville Brody

— Neville Brody

Jungle Fever: The Art of Jean-Paul Goude. The Face 1982. Art direction by Neville Brody. In much of Brody’s work, structure is the main feature of the design. (Large preview)

The Werk Ethic. The Face 1982. Art direction by Neville Brody. This spread is reminiscent of Constructivism in the arrangement of images and text. (Large preview)

The Resurrection of Chad. The Face 1984. Art direction by Neville Brody. This design introduced a hand-drawn typeface which was frequently used in the magazine from then on. (Large preview)

For a lot of designers, The Face became the perfect graphic phrase-book, but its success, I hope, is also an indication that you can go against the grain and make it work commercially.

— Neville Brody

Blends add depth and richness

<header> <img src="logo.svg" alt="Ford"> <h1>Capri</h1> <p>You might get wolf-whistles from the car next door</p> </header> <main> <p><svg>…</p> </main>

Left: Electro. The Face 1984. Right: For this main headline I used FF Blur Pro Medium, a typeface designed by Brody in 1992. (Large preview)

body { padding: 0 1rem; min-height: 100vh; background-color: #ba0e37; color: #fff; }

[src*="logo"] { max-width: 33vw; }

h1, h1 + p { margin-bottom: 0; font-weight: 900; text-shadow: 4px 4px 2px rgba(0,0,0,.35), -4px -4px 2px rgba(0,0,0,.35); } h1 { font-size: 3.4rem; } h1 + p { font-size: 1.802rem; }

My design should raise someone’s blood pressure as much as driving a Capri, so I add an adrenaline-filled background image which covers the entire page:

body { background-image: url(body.png); background-size: cover; }

This image may be monochrome, but adding a background-blend-mode property with a value of multiply crams this page with colour:

body { background-blend-mode: multiply; }

Introducing background-blend-mode

body { background-color: #ba0e37; background-image: url(body.png); background-blend-mode: multiply; }

There are fifteen background-blend-mode options; color, color-burn, color-dodge, darken, difference, exclusion, hard-light, hue, lighten, luminosity, overlay, saturation, soft-light, and screen.

body { background-image: url(body-1.png), url(body-2.png); background-blend-mode: multiply; }

Whereas, to blend these two images differently, I apply two background-blend-mode values, making sure to list them in the same order as my images:

body { background-image: url(body-1.png), url(body-2.png); background-blend-mode: screen, multiply; }

Almost universally, contemporary browsers support the same compositing tools we’ve used in graphic design and photo editing software for years. (Large preview)

To implement the rest of this small screen design. I add a background image of a spark plug silhouette which fills the main element which contains my running text:

main { background-image: url(main-1.svg); background-position: 0 0; background-repeat: no-repeat; background-size: 100%; }

Then, I use a mixture of rem-based and viewport width padding to solidify that content into a narrow column:

main p { padding: 8rem 20vw 6rem; }

Hyphenation wraps words onto multiple lines and splits a line’s last word with a hyphen. There are three values for hyphenation in CSS:

none: Words aren’t broken, so longer words will flow onto a new line, sometimes leaving an unattractive gap at the end of a line.

manual: Words are broken when either a hard hyphen or an invisible soft hyphen () inside them suggests an opportunity.

auto: A browser inserts hyphens according to its own rules and the language used. Browsers vary in how they apply these rules.

Sadly, not all browsers support hyphenation, so to avoid unsightly rivers within the text, I should only apply the hyphens property to supporting browsers. For this, I use a feature query.

Introducing feature queries

A basic feature query tests both a property and a value. For example, this query tests whether a browser supports the column-count property and a value of 2 before applying them to a main element:

@supports (column-count: 2) { main { column-count: 2; } }

@supports not (column-count: 2) { main { padding: 0 3rem; } }

I might also need to test support for two features at the same time using an and operator. Styles will apply to this main element when a browser supports both column-count and hyphens:

@supports (column-count: 2) and (hyphens: auto) { main p { hyphens: auto; } }

Otherwise, I might test whether a browser supports one or more in a series of features using the or operator:

@supports (column-count: 2) or (hyphens: auto) { main p { hyphens: auto; } }

The feature you test needn’t be the same as the style you want to apply. For example, in this design, I only want to justify my main paragraphs if a browser supports hyphenation:

@supports (hyphens: auto) { .mk1 main p { hyphens: auto; text-align: justify; text-align-last: left; } }

For larger screens, I want the main content placed on the right, so I apply a symmetrical two-column grid with a 5vw gap between columns:

@media screen and (min-width : 64em) { body { display: grid; grid-template-columns: 1fr 1fr; gap: 5vw; } }

As the visual order of the header and main is the same as the document flow, there’s no need for me to place those elements on my grid.

[src*="logo"] { max-width: none; } main { min-height: auto; background-image: url(main-1.svg), url(main-2.svg); background-size: cover; background-position: 0 4rem, 5vw 6rem; }

Finally, I adjust the padding on my main paragraphs to accommodate the width of that second background image:

main p { padding: 18rem 12vw 0; }

This first Brody-inspired design blends multiple background images to create potentially limitless variations. (Large preview)

Theming using CSS Custom Properties

To write a custom property, simply add two dashes to the start of a style rule:

--color-text-default : #272732;

Hyphens or underscores are allowed in property names, but not spaces. Property names are also case-sensitive, so –color-text-default and –Color_Text_Default are two distinct properties.

body { color : var(--color-text-default); }

CSS Custom Properties are fabulous tools for theming, so to change the body background colour and the fill colour of my SVG Capri, I apply a shared custom property:

--theme: #ba0e37; } body { background-color: var(--theme); } svg path { fill: var(--theme); }

Vertical text for impact

This very different design shares much of the same HTML, but has an altogether different look and feel. I use a header which contains a heading, a Ford logo, and the large brake disk image:

<header> <div> <img src="logo.svg" alt="Ford"> <img src="brake.svg" alt="Brake disk"> </div> <h1>Ford Capri <spanvMK1</span></h1> </header>

Left: New Order. The Face 1984. Art direction by Neville Brody. Right: Multiple background images splash across my design. (Large preview)

The main element includes a headline and a division which contains my running text:

<main> <h2><span>Get wolf-whistles</span> from the car next door</h2> <p>…</p> <div> <p>…</p> <p>…</p> <p>…</p> </div> </main>

Background and foreground colours are the starting point for implementing this design:

body { padding: 1rem; background-color: #fff; color: #272732; }

body { background-image: url(body-1.png), url(body-2.png); background-position: 0 0, 100% 100%; background-repeat: no-repeat; background-size: contain; }

Before implementing any design, I make a simple storyboard to demonstrate how my elements will flow across a selection of screen sizes. (Large preview)

h1 { font-size: 3.4rem; line-height: 1.2; text-transform: uppercase; color: #dedddd; } h1 span { color: #2c5f9d; }

I apply the same text-transform to the second-level headline, then turn the paragraph which immediately follows it into a standfirst by adding two thick borders:

h2 { font-size: 1.424rem; line-height: 1.2; text-transform: uppercase; } h2 + p { padding: 1rem 0; border-top: 10px solid #e9e9e9; border-bottom: 10px solid #e9e9e9; font-size: 0.889rem; font-weight: 600; text-transform: uppercase; }

main div > p { margin: 0; font-family: 'Vollkorn', serif; font-style: italic; } main div > p + p { text-indent: 1em; }

@supports (initial-letter: 1) or (-webkit-initial-letter: 1) { main div > p:first-of-type::first-letter { margin: 0 .5rem; font-family: Arial, Helvetica, sans-serif; -webkit-initial-letter: 2; initial-letter: 2; color: #2C5F9D; } }

A long-standing Safari bug renders an initial letter using system fonts instead of web fonts, so choose a system font which looks most similar to your intended drop cap style.

@media screen and (min-width : 64em) { body { display: grid; grid-template-columns: 1fr 1fr; background-size: 55%; } }

header { display: grid; grid-template-columns: 1fr 6rem; padding: 1rem 0 1rem 2rem; }

To develop my vertical headline, I need do nothing more than switch its default writing mode to vertical (right–left:)

h1 { writing-mode: vertical-lr; }

h1 { text-align: right; transform: rotate(180deg); }

Text orientation

Using transform:rotate(); and text-align:right; to change an element’s reading direction feels like a hack, and it is.

You won’t need that hack for long, though, because a new set of writing mode values are coming.

sideways-rl. Content flows vertically top-to-bottom and text is written sideways, towards the right. (Large preview)

sideways-lr. Content flows vertically top-to-bottom and text is written sideways, towards the left. (Large preview)

main div { column-count: 2; column-gap: 4rem; column-rule: 1px solid #e9e9e9; }

h1 { mix-blend-mode: multiply; }

I’m not advocating a return to the worst excesses of skeuomorphism, but I hope designers realise the value of a more vibrant approach. (Large preview)

Beyond Primitive Clipping Paths

You probably won’t be surprised to learn that this design uses the same header and main elements as my previous examples. This time, both contain a figure:

<header> <figure>…</figure> <h1>The car you <span>always</span> promised <span>yourself</span></h1> </header> <main> <figure>…</figure> <p>…</p> <div> <p>…</p> </div> </main>

Left: In the Shade. The Face 1982. Art direction by Neville Brody. Right: Support for clipping paths is now widespread. (Large preview)

Each figure contains four pictures of my colourful Capris:

I arrange these pictures in a 2×2 grid, then I add a background colour and abstract background image, blending them together with a background-blend-mode:

figure { display: grid; grid-template-columns: 1fr 1fr; gap: 2rem; background-color: #2c5f9d; background-image: url(figure.png); background-size: cover; background-blend-mode: multiply; }

h1 { font-family: 'TokyoTwoSolid'; font-size: 7vmax; text-transform: uppercase; }

I highlight specific words by adding span elements around them:

h1 span { color: #2C5F9D; }

main figure + p:before { content: url(line-1.svg); display: block; margin-bottom: .75rem; } main figure + p:after { content: url(line-2.svg); display: block; margin-top: .75rem; }

A standfirst connects readers with your content and can help people understand what’s coming next. (Large preview)

figure { -webkit-clip-path: polygon(0% 10%, 5% 20%, 0% 30%,…); clip-path: polygon(0% 10%, 5% 20%, 0% 30%,…); }

All that remains is to add background images to the body, adjusting their position and size, plus apply a two-column symmetrical grid for larger screens:

body { display: grid; grid-template-columns: 1fr 1fr; gap: 2rem; } body { background-image: url(body-small.svg); background-position: 50% 0; background-repeat: no-repeat; background-size: cover; } @media screen and (min-width : 64em) { body { background-image: url(body-large.svg); background-position: 0 12rem; background-size: contain; } }

Clipping paths are a fabulous way to implement irregular shapes which catch someone’s eye and draw them into a design. (Large preview)

Responsive grids and rotation

To implement my final Brody-inspired design, my aim is to use the most minimal set of structural elements:

<img src="logo.svg" alt="Ford"> <h1>Get a Capri… if you’re quick</h1> <header> <picture> <source media="(min-width: 48em)" srcset="header-lg.png"> <img src="header-small.png" alt="Ford Capri"> </picture> </header> <main> <p>…</p> <p>…</p> </main> <figure>…</figure> <aside>…</aside> <div></div>

Left: Ital Style. The Face 1985. Art direction by Neville Brody. Right: Combining grid with transforms makes elaborate designs possible. (Large preview)

body { display: grid; grid-template-columns: 3rem 1fr 3rem; background-color: #f0f0f1; }

Before implementing any design, I make a simple storyboard to demonstrate how my elements will flow across a selection of screen sizes. (Large preview)

I start by placing the Ford logo into that centre column and on the first row:

[src*="logo"] { grid-column: 2; grid-row: 1; justify-self: center; }

The header with its Capri image spans every column, and occupies the full page width. I place it in the second row, under my logo:

header { grid-column: 1 / -1; grid-row: 2; }

A division acts as an abstract back-drop to my header. It fits neatly into the second column, and spans the first two rows:

body > div { grid-column: 2; grid-row: 1 / 3; z-index: 1; background-color: #2c5f9d; background-blend-mode: multiply; background-image: url(div.png); background-size: cover; }

By adding a low z-index value to this division pushes it into the background, and to ensure my logo and header spring into the foreground, I give them a higher value:

[src*="logo"], header { z-index: 2; }

@media screen and (min-width : 48em) { body { grid-template-columns: 1fr 1fr; grid-template-rows: 16rem 8fr 16rem auto auto auto; grid-column-gap: 5vw; } }

I place the header into the third row and allow it to span the full width of my grid. Then, I slot the remaining elements into their places using grid line numbers:

header { grid-column: 1 / -1; grid-row: 3; } h1 { z-index: 1; grid-column: 1; grid-row: 1 / 3; } main { grid-column: 1; grid-row: 4 / 6; } aside { grid-column: 1; grid-row: 6 / 7; } body > div { grid-column: 2; grid-row: 1 / 4; border-top: 10px solid #e9e9e9; }

Three different combinations of columns and rows form distinctive grids for small, medium, and large screens. (Large preview)

I don’t need to style this figure, only its img and figcaption. By applying display: contents;, I’m able to place those child elements onto my grid:

figure { display: contents; } figure img { grid-column: 2; grid-row: 5 / 7; } figure figcaption { grid-column: 2; grid-row: 4 / 5; }

Now I can rotate my header image and move it up so that it overlaps other elements in my design.

header { z-index: 2; transform: rotate(-20deg) translateY(-6rem); }

I’ve always thought of responsive design not as a challenge, but as a chance to be creative. Each breakpoint provides an opportunity to make designs which make the most from every screen size.

@media screen and (min-width : 64em) { body { grid-template-columns: 1fr 1fr 1fr 6rem 1fr; grid-template-rows: repeat(6, auto); gap: 1rem; align-items: start; } }

This final Brody-inspired design demonstrates how combining grid with transforms makes elaborate designs across screen sizes possible. (Large preview)

I reposition each element onto this new grid using line numbers which separate my content across each column.

[src*="logo"] { grid-column: 1; grid-row: 1; } h1 { grid-column: 2; grid-row: 2; } main { grid-column: 1 / 2; grid-row: 2 / 5; } header { grid-column: 2 / -1; grid-row: 2; } figure img { grid-column: 3; grid-row: 1; } figure figcaption { grid-column: 3; grid-row: 4; } aside { grid-column: 5 / -1; grid-row: 3 / 5; } body > div { grid-column: 3; grid-row: 2 / 4; align-self: stretch; }

header { transform: rotate(-20deg) translateY(3rem); }

A subtle transition and a series of transform values, add up to a little surprise when someone hovers over the profile of this classic Ford:

header { transition: transform .25s ease; } header:hover { transform: rotate(-21deg) scale(1.025) translateY(3rem); }

Bonus: Introducing CSS masks

In my first Capri design, I added a spark plug silhouette as a background image to my content, but changing its colour would involve exporting a new asset.

Depending on the mask image, there are two types of masks in CSS:

luminance White areas are transparent, black ones are opaque, and everything in between is semi-transparent.

alpha The default, alpha-channels.

Left: Mask image. Center: Main content area with a mask applied. Right: The headline and standfirst masked with a CSS gradient. (Large preview)

Left: My headline unmasked. Right: The headline masked with a PNG image. (Large preview)

When a mask is applied, only the areas inside it are visible, which allows me to change an element’s background colour or image whenever I need to.

As well as common values like repeat, repeat-x, repeat-y, and no-repeat, are mask-repeat also accepts the lesser known tiling values, space and round.

mask-size options include one or two number values, plus contain and cover. I put these properties together to apply a spark plug silhouette mask to my main content:

main { mask-image: url(mask.png); mask-position: 0 4rem; mask-repeat: no-repeat; mask-size: cover; }

I’m also excited by the possibilities from mask-border, an experimental property which will combine the flexibility of border images with masks.

main { mask-image: linear-gradient( transparent, rgb(0,0,0) 50%, transparent 100%); }

I want a circular radial-gradient to fade the edges of my header content:

main { mask-image: radial-gradient( circle at 50% 50%, rgba(0,0,0,1), rgba(0,0,0,.15) 80%); }

By fine-tuning my alpha channel values and colour stop points, I can create the perfect look to fit my design.

NB: Smashing members have access to a beautifully designed PDF of Andy’s Inspired Design Decisions magazine and full code examples from this article.

(ra, yk, il)

Website Design & SEO Delray Beach by DBL07.co

Delray Beach SEO

source http://www.scpie.org/inspired-design-decisions-neville-brody-design-cannot-remain-neutral/ source https://scpie.tumblr.com/post/611544659365380096

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