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adypy-00 · 5 months ago

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UI/UX Design vs. Product Design: Understanding the Key Differences and Career Paths

In today’s digital landscape, the roles of UI/UX designers and product designers are increasingly essential, but often misunderstood. Although they share similarities and overlap, each role has unique responsibilities, skills, and workflows. Understanding these distinctions can help aspiring designers choose the right career path and provide valuable insights into the dynamic world of design.

Defining UI/UX Design and Product Design

UI/UX Design: UI (User Interface) design emphasizes the visual appearance and aesthetic appeal of a product. It involves creating visually appealing and intuitive interfaces that facilitate user interactions. UX (User Experience) design, on the other hand, emphasizes the overall experience users have with a product. It involves researching, testing, and optimizing the user’s journey to ensure it is smooth, efficient, and enjoyable.

Product Design: Product design encompasses a broader scope, involving the entire lifecycle of a product. Product designers are responsible for defining the product’s vision, functionality, and usability. They often collaborate with various teams, including UI/UX designers, engineers, and marketers, to bring a product from concept to market. This role requires a deep understanding of both user needs and business goals.

Key Responsibilities

UI/UX Designer Responsibilities: 1. User Research: Conducting interviews, surveys, and usability tests to understand user needs and preferences. 2. Wireframing and Prototyping: Creating wireframes and interactive prototypes to visualize the user interface and experience. 3. Visual Design: Designing the aesthetic aspects of the interface, including color schemes, typography, and layout. 4. Interaction Design: Defining how users interact with the product through animations, transitions, and microinteractions. 5. Usability Testing: Continuously testing and refining designs based on user feedback.

Product Designer Responsibilities: 1. Product Strategy: Defining the product vision, goals, and roadmap in alignment with business objectives. 2. Market Research: Analyzing market trends, competitor products, and user needs to identify opportunities. 3. Ideation and Concept Development: Brainstorming and developing product concepts and features. 4. Design and Prototyping: Creating detailed designs and prototypes, often in collaboration with UI/UX designers. 5. Cross-Functional Collaboration: Working with engineering, marketing, and sales teams to ensure the product’s success. 6. Product Testing and Iteration: Continuously testing and iterating on the product based on user feedback and performance metrics.

Skills and Tools

UI/UX Designer Skills: 1. Design Principles: Deep knowledge of color theory, typography, and layout. 2. User Research: Proficiency in conducting and analyzing user research. 3. Wireframing and Prototyping Tools: Expertise in tools like Sketch, Figma, Adobe XD, and InVision. 4. Interaction Design: Ability to create engaging and intuitive interactions. 5. Usability Testing: Skill in designing and conducting usability tests.

Product Designer Skills: 1. Strategic Thinking: Ability to align product design with business goals and market trends. 2. User-Centered Design: Strong focus on understanding and meeting user needs. 3. Cross-Functional Collaboration: Excellent communication and teamwork skills. 4. Prototyping and Design Tools: Proficiency in tools like Sketch, Figma, and InVision, as well as knowledge of basic coding principles. 5. Analytical Skills: Ability to analyze data and user feedback to inform design decisions.

Workflow and Process

UI/UX Design Workflow: 1. Research: Gathering insights through user interviews, surveys, and usability tests. 2. Wireframing: Creating wireframes to outline the structure and layout of the interface. 3. Prototyping: Developing interactive prototypes to test and refine the user experience. 4. Visual Design: Designing the final visual elements of the interface. 5. Usability Testing: Continuously testing and iterating on the design based on user feedback.

Product Design Workflow: 1. Ideation: Brainstorming and conceptualizing product ideas and features. 2. Research: Conducting market research and user research to validate ideas. 3. Design and Prototyping: Creating detailed designs and prototypes in collaboration with UI/UX designers. 4. Development: Working with engineering teams to build and test the product. 5. Launch and Iteration: Releasing the product and continuously refining it based on user feedback and performance metrics.

Overlapping Areas While UI/UX design and product design have distinct roles, there is significant overlap. Both roles require a strong focus on user-centered design, collaboration, and continuous iteration based on feedback. UI/UX designers frequently collaborate with product designers to ensure the user interface and experience are consistent with the overall product vision. Similarly, product designers rely on UI/UX designers to create intuitive and visually appealing interfaces that enhance the user experience.

Real-World Examples

UI/UX Design Example: A UI/UX designer at a tech startup might work on redesigning the company’s mobile app. They would conduct user interviews to understand pain points, create wireframes and prototypes, and test the new design with users. Their goal would be to improve the app’s usability and visual appeal, ensuring a seamless and enjoyable user experience.

Product Design Example: A product designer at a large e-commerce company might be responsible for developing a new feature for the company’s website. They would start by conducting market research and user interviews to validate the feature idea. Next, they would collaborate with UI/UX designers to create detailed designs and prototypes. After testing and iterating on the feature, they would work with engineering teams to build and launch it, continuously monitoring its performance and making improvements as needed.

Career Paths

UI/UX Design Career Path: - Entry-Level: Junior UI/UX Designer - Mid-Level: UI/UX Designer, Interaction Designer - Senior-Level: Senior UI/UX Designer, Lead UI/UX Designer - Leadership: UX Manager, Head of UX

Product Design Career Path: - Entry-Level: Junior Product Designer - Mid-Level: Product Designer, UX Designer - Senior-Level: Senior Product Designer, Lead Product Designer - Leadership: Product Design Manager, Head of Product Design

Conclusion Both UI/UX design and product design are essential for developing successful digital products. While they share common goals and overlap in many areas, they have distinct responsibilities, skills, and workflows. Understanding these differences can help aspiring designers choose the right career path and excel in their chosen field.

At Ajeenkya DY Patil University, we offer comprehensive programs tailored to these exciting fields. Our courses in UI/UX design and product design provide students with the knowledge, skills, and hands-on experience necessary to thrive in the industry. Whether you’re drawn to the visual and experiential aspects of UI/UX design or the strategic and holistic approach of product design, our programs are designed to equip you with the tools and expertise to succeed.

Join us at Ajeenkya DY Patil University and embark on a rewarding career journey in the dynamic world of design.

#adypu #ajeenkyadypatiluniversity #school of design #product design #b des programs #ui ux design #design education #fashion design #Transportation Design #Visual Communication

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avantikauniversity1 · 6 months ago

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B Des Product Design Colleges in India | Avantika University

Embrace your passion for B Des Product Design Colleges in India at Avantika University, a leading choice among design colleges in India. Apply now and ignite your potential.

#B Des Product Design Colleges in India

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dreamings-free · 11 months ago

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‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

Production Profiles 5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Words: Jacob Waite Photos: Justin De Souza and Oli Crump

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“A team effort is required to get this show off the ground,” explained Technical Manager, Sam ‘Kenny’ Kenyon, who has been a fixture of Louis Tomlinson’s live output since joining as Lighting Crew Chief in 2019. “This has been a complete redesign, and the production has expanded and gotten more complex, which requires different solutions to make it happen.”

Kenny and the team oversaw the deployment of an A and B rig. “We’ve been fortunate for the European stint that the venues we’ve toured have, mostly, been arenas. The main difference between the A and B rig is the addition of IMAG and further lighting header trusses. Aside from that, the A rig fits everywhere. If anything, we’ve run into weight issues, which we can overcome swiftly by removing overhead trusses.”

For the first few shows, Riggers, Ian Bracewell, and Alex Walker incorporated load cells on trusses to get an accurate rate and account of the weight of the load of each truss. In the UK, The Brighton Centre had a particularly low-rate roof with weight limitations. Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

There was no video director, as the show’s visuals were programmed and interspersed with live footage and triggered by a lighting console at FOH, thanks in part to an intricate network setup. “There’s a lot going on in racks that people never see, but it has been stable thanks to the quality of kit supplied by our vendors, who have invested heavily, and the team taking the time to programme the show,” Kenny noted.

Key to the success of the operation was the incorporation of Central Control software, which takes a signal from a lighting console, be it ACN or Art-Net, and translates it to talk to various products – in this case, video. “There is a giant brain that nobody knows exists other than those that have programmed it,” he added.

Additional crew members joined the tour in Europe to aid the video deployment and lead to far more efficient load-in an -outs. “We are close to 80 shows in and on days where we have access to multiple trucks, it comes out very quickly, which for a show of this scale is impressive and credit goes to the team,” enthused Kenny. “The biggest hurdle is when you’ve only got a two-truck dock.”

Prior to the tour, the team had five days of production rehearsals spent in Connecticut’s Mohegan Sun. “When we came to Europe a week later, we had a week of re-prepping with a day of rehearsals at Hamburg’s Barclays Arena, the day before a show,” he described. “It’s been a fun and long run,” added Stage Manager, Torin Arnold. “We’ve visited a good range of venues and countries – especially the Eastern European legs, visiting places you wouldn’t ordinarily tour and experiencing how they operate. This show is designed so it can be accomplished in any part of the world.” Carpenter, Harry Reeves was also on hand to support the build.

The routing, however, was sometimes challenging with some late arrivals and difficult border crossings. “There were a few times in Eastern Europe where we were doing a ferry back-to-back to arrive at 11am, sitting at a difficult border crossing. We usually start with a 7am mark out, so knocking hours off your load-in is tough but everyone pulled together to overcome it,” Arnold explained, noting that touring without staging, and instead, using venue stages (particularly rolling stages), was a blessing during those late arrivals. “As with any tour, as dates progress you build a rhythm while maintaining the safety of the build,” he noted.

Arnold also highlighted the benefit of Lead Truck Driver, Neil Thornton and Truck Drivers, Matt Marlow, Ben Woods, Sarah Goldsmith, Bob Miles, Alam Minshall, Franco DeRosa, and Ollie Thornton who “speed up the process” and maintained a level of consistency.

The transitions between support acts before Louis hit the stage was equally seamless, with ample downstage space for the singer-songwriter to traverse during his performance. “Having a clean frontline means we have space to get the bands on and off,” he added. “Our vendors have also provided everything from an audio package standpoint for support acts, which also speeds up the load-in and -out.”

Highlighting a ‘bucket list’ show at Hollywood Bowl, working closely with US union officials as a “fun” and “interesting” experience, Arnold reflected on the entire tour with crewmembers he now considers close friends. “This is a close team and I’ve made some great memories and stories. It’s been a fun year!”

A DIRTY NIGHTCLUB IN AN ARENA Production Designer, Programmer and Director, Tom Taylor, and Francis Clegg of TANCK have worked with Louis Tomlinson ever since he made the leap to solo artist. “The production design has evolved into an angular, grungy, asymmetrical setup, borne out of the ‘dirty nightclub in an arena setting’ creative brief I was given,” Taylor said, citing the creative influence of Matt Vines and Seven 7 Management. “Louis is a phenomenal performer, and the crowd is captivated the entire time. We started knocking ideas around, speaking to Louis about his inspirations and influences, which we then developed into a creative deck, which I sketched in Blender, and imported into WYSIWYG for visuals, to create stills and pre-visualise.”

Taylor spent 10 days programming the visuals at Colour Sound Experiment, a firm he shares a “longstanding” relationship with. “They are always a call away regardless of the day or time. Their team is easy to get along with and I like their whole ‘production sphere’ – sometimes it’s nice to split lighting and video, but for a show like this, aligning those departments with one line of communication is ideal,” he said, underlining the support of Colour Sound Experiment Account Handler, Haydn Cruickshank.

With production rehearsals under their belt and recordings from Louis Tomlinson World Tour (2020–22), where TANCK piloted Central Control software, the creatives understood how the singer and his band moved on stage, developing a rhythm and consistency of when to implement visual cues and which camera angle fit best. This allowed the team to pre-programme the visual content to timecode.

Video content was made by a combination of TANCK, Two Suns Creative, and Boxcat Studio, with the latter creating 3D models and rendered content, all of which was broadcast across a unique set of video surfaces. “Having the abstract video columns on stage makes it much more interesting than your standard slab of LED at the back of the stage,” Taylor noted.

On stage boxes created by Ox Event House housed GLP JDC Line 1000 strobes with reflective panelling and fabric that were printed to look like heavy concrete slabs, ladened with custom LED Creative solutions. These boxes then moved up and down using Wahlberg Motion Design winches to provide a “low-level, clubby feel” to the set.

“The winches can only carry 50kg and the lights alone are 35kg, so we had to be careful not to overload them, but the result was cool. We also have one single lightbulb on a winch which comes up and down above Louis to create a classic lighting moment,” Taylor said, further highlighting Ayrton Huracán’s prismatic colour wheel as a ‘fan favourite’.

The lighting design saw a wall of GLP impression X4 Bar 20s at the rear of the stage in 12 columns. Further lighting trusses over the stage carried the Wahlberg winches for several automated looks. The DMX winches were utilised for three or four songs, either statically or moving up and down, while JDC Line 1000s provided colour and strobe effects, to achieve varied looks, with a relatively minimal overhead lighting package.

Taylor elaborated: “There are some shutters for one specific track which go directly in-front of some of the GLP X4 Bars to get the aura of the lights, instead of the lenses, which I really like the look of. Lighting and video complement each other during this show – there’s also a section with flickering fluorescent tubes on the video content with the X4 Bar 20s behind the LED screens flickering in a similar way.

Taylor was delighted with the performance of the crew. “Overall, it has been a great run, executed flawlessly,” he commented, citing the support of Lighting Crew Chief, James Box; Dimmer Technician, Rick Carr, and Lighting Technicians, Amy Barnett, and Kieran Hancox.

The wider lighting rig comprised Ayrton Eurus, CHAUVET Professional Strike Array 4, Claypaky Mini-B eLumen8 Endura 1Q120, and Robe BMFL fixtures with robo cameras, all fixed on various HOF MLT3, Litec QH40 and Thomas James Thomas Engineering Superstruss. The lighting riser featured Ayrton Huracan LT and GLP JDC1 fixtures.

Robe Spiider fixtures were situated on the up and downstage video trusses, with the floor package boasting the deployment of further Ayrton Eurus, LEDJ Spectra Flood Q15 and Chroma-Q Color Force 72 units, the latter chosen for key light. Atmospherics came in the shape of Smoke Factory Tour Hazer 2, Martin Professional JEM ZR45 and MDG Atmosphere ATMe hazers with TMB ProFans. “We had some challenging shows, implementing an arena-scale design into sheds in the US, but it’s been good to return to Europe and witness the fans enjoying the show,” added Lighting Crew Chief, James Box, who pinpointed the use of the multicoloured glass gobo in Hurricanes as among his favourite looks.

“There is a lot of effort put in by TANCK to ensure we get the utmost from every fixture on the rig, which is great to see, when the team has gone to the effort of assembling the show each morning. Seeing the looks they achieve from the rig and the extra details, with each advanced cue within the show, is a pleasure.

Almost every pixel on the JDC Line 1000 and X4 impression Bars are being used.”

Video Crew Chief, Dave Mallandain, formerly of Colour Sound Experiment, supervised the video build and the team of Video Technicians, Ed Driver, Frank Wlliams and Tim Curwen.

“Working with Colour Sound Experiment again, in a freelance capacity, certainly has its benefits,” he stated. “You get to know the workflows and personalities of the company. There is an element of trust there and our relationship is stronger because of that.” The 2.5m by 2.5m video screen, made up of Leyard CLM6 LED panels with Colorlight Z6 processing on the back end, was built in an abstract configuration – hung from varying size steel structures fixed on to lighting truss, spanning the entire stage, as opposed to a traditional backwall. “This setup requires us to build it quicker, so the backline can start building their world, but it’s very lightweight and easy to use, so once the local crew are up to speed, it flies up in no time,” he reported.

During the show, there was a lot of camera angles fed into a Blackmagic ATEM switcher, with content then fed into Resolume media servers which was processed and treated with video effects and filters to manipulate the content, monitored by the video team, and pre-programmed by Taylor via an MA Lighting grandMA3 console, operating in MA2 mode.

“The fan camera, which was one of Tom’s ideas, has evolved to the point where Frank and I are on stage during Out Of My System, pointing these cameras fabricated in an old VHS-style shell at Louis’ face in reference to the fisheye-lens inspired music video.”

A mixture of Marshall Electronics and Panasonic PTZ cameras ensured the wider on-stage action was captured. “While the visual content is the same, the shots differ based on the energy of the crowd from night to night,” he explained. “We have an overhead shot for the drums, and another behind Louis, which shoots over his shoulder to the crowd. We also have a PTZ camera on the ground in front of Louis which can rotate to capture crowd scans along with a little ‘bullet camera’ for each musician. It’s been a fantastic tour; everyone on this team has been phenomenal.”

The special effects and pyrotechnics package supplied by BPM SFX included Galaxis PFC 10-way receivers running Galaxis, with a main and a backup controller, which ran through an MA Lighting grandMA2 console, to trigger MagicFX Stadium Shot IIs and a single shot of red streamers. The latter, a “signature of Louis Tomlinson live shows”, according to BPM SFX Technician, Jack Webber – who toured with a new custom control rack, with much of the hardware integrated in one rack.

BPM SFX Account Handler, Matt Heap and SFX Technicians, Blake Harward and Phillip Mathew also provided Webber with support. “The one major change on this tour was putting the Stadium Shot IIs at the downstage edge, and adding lasers for the O2 arena show,” said Webber, who has been involved in past touring campaigns with the camp. “This is the first touring camp to take me to the US, so I feel incredibly privileged.”

Safety was paramount for the BPM SFX team, who implemented the safeguard of warning notices on-stage to ensure the band knew exactly when an effect was triggered. In closing, Webber referenced the ‘rainbow-inspired’ track, She Is Beauty We Are World Class, which demonstrated the strength of the special effects package. “There are about 22 rapid fire chase Comets all going off at the same time with a big lift, which differs in comparison to the other looks with eight units.”

MIXING IN A SEA OF SCREAMS FOH Engineer, John Delf mixed on an Avid S6L 32D console with onboard plug-ins. “I use the onboard plug-ins as much as possible because I want to keep it as simple as possible and know I’ve got a show out of the box without any added extras, which is particularly useful during fly-in gigs, where I have to use a house console or have limited time to set up,” he noted. Delf also toured with some choice pieces of outboard gear including a Rupert Neve Designs 5045 primary source enhancer for vocals, an Empirical Labs Fatso two-channel compressor for drums, and further Distressors for the bass guitar group and vocals.

“The bulk of my mixing is riding the DCA control groups and the vocals, balancing between them, and when there is a lead guitar solo, I’ll jump to that. Most of the mix should stay where it is, and I shouldn’t have to think about it, but every day you make major tweaks and refinements based on how the musicians are performing. Most of the gig is turning the band up and down without affecting the vocals because I have DCAs for drums, bass, guitars, keyboards, main vocal, backing vocals, and an ‘all’ DCA that includes everything but vocals,” he said, explaining his mixing wizardry modestly. “I also run snapshots in which I am changing the sub send amount for different songs, as well as reverb and delay times. If the band changes the set last minute, I have the desk synced to the timecode and that will trigger the snapshots.”

At the beginning of the set, the noise of the crowd can be between 112 to 116dB. “We have a little bit of headroom. When they are loud, I can push the mix, and when they are quieter, I can pull it back for the more introspective moments of the show,” he explained.

“My favourite section to mix is the transition from a cover of Arctic Monkeys’ 505 into Back to You. When that kicks in, I push the “All” DCA up to +10. We’ve built the set up to that point, where I’m able to throw it to the top before the end of the set. The three songs in the encore are also fun songs to mix,” he enthused, accenting the support of Solotech Account Handler, David Shepherd.

“I’ve worked with Dave for years, while he was at BCS Audio (now part of Solotech). He’s been my go-to account handler for a very long time, and Solotech has inherited this gig from them, so there was a natural transition.”

System Engineer and Head of Audio, Oli Crump walked TPi through the PA system: “We’ve been using L-Acoustics, which is our preference, since the start of last year’s tour. The main hang has been K1 with K2 downfill for both tours, however, we are touring with a much larger system this year with K2 on the sides instead of KARA-II. We’re flying subwoofers and carrying delays with us, which is also our preference in big arenas, like the O2 – it provides an even level of coverage across the audience,” the TPi Breakthrough Talent Award alumni said, explaining the thought process behind a larger sound system.

“The PA system is naturally bigger this year because we’re touring larger venues. The crowd is very loud, and we need to be able to compete with that at points of the show. The window of dynamic range we have without it being too loud is compressed because the background level from the crowd is so high, so we need to be able to get our level as consistent as possible from front to back. This setup really helps overcome that.”

Out of ear shot from Crump, Delf extolled the virtues of his partner at FOH: “Oli and I work well together. Every day, regardless of the venue, I know the system is going to sound consistent. We deal with different venue acoustics each day but as soon as I run up my virtual soundcheck, I’ve got the mix back to where I want it because the PA is at the same level every day. I used to walk the room a lot during sound check, but it always sounded consistent, so I’ve stopped doing that because I trust him explicitly.”

The PA generally sat in a standard location for an arena PA, 10.5m off centre and no wider than that, using the same basic system design as Louis Tomlinson’s past touring campaign, which Crump worked on with Kenny to ensure it didn’t impede the production design. “The number of boxes we deploy varies from show to show, based on the venue. The worst-case scenario [visually] is that the PA needs to be a little lower than usual and gets in the way of the IMAG screens slightly,” Crump detailed.

He designed the system using Soundvision, then imported his file into Network Manager, with a DirectOut Technologies PRODIGY.MP chosen for system processing. “I have visited many of the European arenas before so I’ve got fairly accurate plots, however, sometimes you will stumble across an error someone has made in building the models,” he continued. “Madrid’s WiZink Center had different CAD drawings for each layer of the venue and one of the layers was accidentally scaled wrong, so the bottom floors were fine but as you went up everything was out. You get curveballs like that occasionally but that’s why it’s important to verify drawings.”

An audience also changes the acoustics of a room, generally for the better, but sometimes not, so Crump was on hand at FOH to make tweaks when required. “As rooms get larger, they generally get more difficult, reverb time will go up purely as a factor of the room size, regardless of how you treat it. The O2 is quite tall seating-wise, so you end up having to angle the PA up into the roof a lot,” Crump noted.

Over by the stage, Monitor Engineer, Barrie Pitt mixed the five-piece band and frontman using a DiGiCo Quantum 338 console. “Louis and the band are good at verbalising what they want. They’ve been playing a long time, so it’s my job to translate those desires into the mix,” he explained. “DiGiCo has been my ‘go-to’ brand of console for the past 15 years. The 338 is an incredibly powerful console, which can do as much as any other on the market and more in a much less convoluted way. I know it like the back of my hand and how to get the best out of it and do the most complicated things at the push of a button. The Capture features are ridiculously powerful.”

Pitt oversaw 85 channels, 64 directly from stage, with additional channels for shouts, sends, returns, communications, and routing, among others. His outboard rack included a classic Lexicon PCM 91 digital reverberator for vocals. “The way I set up the communications and shout systems are the same across the board. For the layout, a lot of people have instruments on one side and vocal and effects on the other, however, I tend to adjust my banks of faders visually, how you would see it on stage, left to right, as a nod to my analogue mixing days. My second layer is usually tracks and any track content with reverbs next to the vocals, so they’re changed in unison. Sometimes, I’ll do a custom layer of [drum or spill group, two lead guitar channels and vocal] the things I use most, particularly if it’s a busy show input-wise.”

Pitt referred to the basis of his mix as ‘static’ with minor changes. “Louis changes a fair bit between songs I’m running upwards of 60 scenes with a lot of songs having multiple scenes for verse and chorus or specific sections,” he explained. The Monitor Engineer is a big believer in unifying the in-ear monitors, so what he hears is the same as those on stage. “We use Shure PSM1000s, JH Audio Roxanne in-ear monitors for Louis and JH16s for everyone else, except for the drummer, who is using Ultimate Ears IEMs. Louis and the band are solid, and they keep their ears in from start to finish. Louis wants the rock star mix; he likes to feel the weight of the mix. It’s not an overpowering mix but it’s a full mix with his vocal on top with Neve 5045 primary source enhancers on all vocals. Everyone else has a standard band mix at moderate level with their instrument and vocals high. The drummer has the most straightforward mix with his drums and shouts layered on top.”

A further pair of subwoofers stage left, and right were situated under the stage risers, providing the weight of side fills without the top end. “It’s a big rock show with drums and guitars, so the less noise I can have flying about the stage, the better,” he said.

The microphone package included a Shure Axient Digital AD4D two-channel digital wireless receiver, a AD2 vocal microphone with a KSM9 capsule for vocals. Sennheiser MKH 60 and AKG C414 XLS microphones captured the ambient noise of the room. “We track everything, including the two sets of ambient microphones for recording and virtual soundcheck, in case the band decides to do anything with the live content,” he noted.

Having collaborated with Solotech and previously BCS Audio multiple times, Pitt was pleased to see the company on the tour sheet. “They are a solid choice and I know Dave Shepherd well. They fix any problems swiftly, and all their gear is well packaged and maintained,” he said. “The band and crew are lovely. It’s rare to come across a camp so friendly on a show of this size.” Pitt thanked Solotech Monitor and Stage Technician, Matt Coton. “He is fantastic. He takes all the second guessing out of my day and is so meticulous and thorough that I know everything will be as it should be from the get-go. When there are issues, he knows exactly what to do to remedy it. He’s been a joy to work and hang out with.”

Audio Technicians, Matt Coton, Tim Miller, Kim Watson, Elliott Clarke, James Coghlan, Matt Benton; Bassist and Keyboard Technician, Chris Freeman; Guitar Technician, Dan Ely and Playback Technician, Scotty Anderson made up the sound team.

CURATING A HOME AWAY FROM HOME Sarah Nicholas of Sarah’s Kitchen and Caterers, Rebecca Henderson, Helena Robertson, Chris Carter, Matty Pople and Tamsin Manvell provided band and crew catering, ensuring morale stayed high and stomachs were full on the road. Making a name for themselves as One Direction’s caterers, the outfit now cater for each of the band members’ individual tours and private functions, amassing a dedicated online following. “I started catering for Louis and the rest of One Direction during their first theatre gig in Watford and I feel very privileged to have that connection. At dinner time, we perform a plate service, which I think is important – our reputation is not only built on really good food but the entire hospitality package, creating a nourishing environment away from home,” Nicholas said.

Sarah’s Kitchen provided a range of vegan, gluten-free and vegetarian options. “We also provide disposable products and water coolers, and our runner regularly collects fresh, local produce from markets based on where we are in the world,” she explained.

The wider European crew featured Security, Kristian ‘Ches’, Ross Foster, Ben Major, and Gav Kerr; Merchandisers, Jon Ellis and Maddy Stephens; Bus Drivers, Aivaras Arminas, Frederico Antunes, Scott Pickering, Chris Grover; Entourage Bus Driver, Paul Roberts; Merchandise Truck Driver, Warren Dowey; BTS UK Account Handler, Garry Lewis; Stardes Account Handlers, Tyrone Reynolds, and Alam Minshall; CSE Crosscom Account Handler, Hannah Evans and Altour Travel Account Handler, Alexandra Gati.

Having wrapped up the best-selling livestream of 2020 – a lofty achievement given the proliferation of remote productions amid the grounding of live events with in-person crowds – Tomlinson shows no signs of slowing down post-pandemic, making the leap from sold-out theatres to arenas across the globe with his trusty crew in tow. “Live From London was great because the crew and I really needed it,” Delf said. “It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

-> read here on Issuu

#louis #fitf tour #fitfwt #lt crew #tpi magazine #05.01.24 #article #touring #thank youu omglarryrabbit ;)#love getting to peek behind the scenes this is great

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covid-safer-hotties · 2 months ago

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Also preserved on our archive

By Conor Hale

The FDA has given a green light to an at-home test that checks for both COVID-19 and the flu—a first for the agency, outside of the additional authorities that it received during the coronavirus pandemic.

Previous over-the-counter combination tests had been granted Emergency Use Authorizations. The Rapid Check test from Healgen received a de novo clearance through the FDA’s traditional product review pathways, allowing its use without a prescription—marking a milestone in OTC tests for influenza, as well.

The antigen test was brought up through the National Institutes of Health’s Independent Test Assessment Program, part of the pandemic-era Rapid Acceleration of Diagnostics initiative known as RADx. The 15-minute nasal swab screener detects the bug behind COVID-19 as well as influenza A and B.

“This de novo authorization represents a significant milestone for Healgen,” President Bryan Fang said in a statement, adding that the Chinese company’s Texas-based subsidiary plans to scale up its respiratory test production ahead of the fall sickness season in the U.S.

A previous report by Houston Public Media profiled a new production facility that aims to produce more than 800,000 tests per day at full capacity, making it Healgen’s largest in the country.

“As we enter this year’s annual flu season with respiratory illnesses such as COVID-19 on many of our minds, our ability to detect these pathogens effectively and efficiently can be impactful on our daily lives,” Michelle Tarver, acting director of the FDA’s devices center, said in an agency announcement. “Today’s authorization expands the options for individuals with respiratory symptoms to receive information about their health from the comfort of their home.”

The test is designed for self-use by people ages 14 and up, or as young as two when performed by an adult. According to the FDA, a study of SARS-CoV-2 samples showed a false-negative rate of about 1% and a false-positive rate of about 8%, with similar accuracy in the flu.

#mask up #covid #pandemic #covid 19 #public health #coronavirus #wear a mask #sars cov 2 #still coviding #wear a respirator #flu #influenza #flu season

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kirvia · 1 year ago

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are there any beary the hatchet fun facts you could share with us? 😳 i loved it and im super curious about any details that didnt make it into the game!

Thank you so much! I don't know if you're aware, but I have some art direction notes on my Twitter, if you want to check that out! Otherwise:

We had no idea what the game was going to be called for the first three weeks of production. It was very tentatively called "The Graveyard Shift" but this was quickly scrapped because a) the game did not actually take place at night and b) it sounded too similar to that one SpongeBob episode

Without a proper game title, Grizz was originally referred to as the Skinner, and her preferred weapon of murder was a bowie knife instead of a hatchet. This changed when we (finally) decided on the game's name, but it required us to fix some CGs and minor parts of the script. For the better, honestly-- considering the type of character she was, something less methodical than a skinning knife suited her.

A lot of the character designs in the game are based off teenage slasher movie archetypes ex. jock, cheerleader, nerd, stoner etc.

Pearl's character went through various ideas before finalization: a quiet catholic schoolgirl, a harrowed mid wife, an overenthusiastic nerd, a composed business woman. Each idea had a different sort of relationship dynamic with the serial killer.

Just a day before the deadline, our shared game file corrupted and literally all of us working on the game lost the file. We thought we were completely fucked. Luckily, we had one late playtester who had a working build that we could de-encrypt and use. Thank you Beena !!!

These were some minor design details I had written out for Pearl because I thought. a lot about her ^__^:

She made her dress out of mattress sheets and cheap lace found at antique stores. She wears black safety shorts.

Her coffin-guitar case is spray-painted red and the bat wings were DIY attached.

She most definitely has piercings, and it's something I wish I could've added to the game... but I didn't feel like drawing them because that was too much work HAHA.

I wanted pearl to have a bit of that "final girl" feeling initially, but we ended up w the grunge musician look because it fit the flashy tone of the game better. She used to look like a Final Girl imo.

#beary the hatchet

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wonderfulworldofdarklords · 1 month ago

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https://redcircle.com/shows/d462cbc8-3fe9-41f5-97b1-f1cbc8306fb6/episodes/9b7be4c0-4acc-4552-b782-cda132b97499

(Sorry for the late Tumblr update; Rachel's laptop is attempting to join the happy haunts.)

CONTENT ADVISORY: because the 2023 film version of The Haunted Mansion involves convincing a living soul to die and join the happy haunts, this episode discusses suicide.

Welcome, foolish mortals, to Wonderful World of Darklords! We are your hosts--your podcast hosts. Kindly load the full episode, and make room (on your hard drive) for every byte. There's no turning back now. Unless you stop listening five minutes in, I suppose. There's always that way out...

This episode is primarily drawing on the 2023 Haunted Mansion movie since it has a darklord and a plot, but if you prefer other versions of the Mansion, don't worry; we're incorporating as many as possible. Topics discussed include:

How to give Alistair Crump, a fun but cartoonishly evil villain, an element of tragedy and relatability;

How to essentially turn the Haunted Mansion into Hill House, Hell House, or the Overlook;

Alternate versions of the domain that highlight other ghosts as the darklord or boss, including Ramsley the butler, Constance Hatchaway, Henry Ravenswood, or even Madam Leota;

So, so, SO many mechanics from the older material to represent hauntings;

And more!

The full write-up for the Haunted Mansion is available for free on DM's Guild: https://www.dmsguild.com/product/497406/The-Haunted-Manor-A-Ravenloft-Domain-of-Dread?affiliate_id=241770

Grim Grinning Gauntlet, Michael Loving's version of the haunted mansion as a pure dungeon crawl, is available here: https://www.dmsguild.com/product/254923/Grim-Grinning-Gauntlet

If you want a gonzo haunted house full of surreal manifestations from the older material, check out Bleak House: https://www.dmsguild.com/product/201381/Bleak-House-2e?filters=0_0_0_0_45359_45347_0_0

Timestamps

0:00 Introduction

9:09 The Lord

38:51 The Land

49:03 Dread Possibilities

1:02:06 Aging Up (CW more detailed discussions of suicide and murder-suicide)

1:05:40 Aging Up ends

1:19:19 Parting Thoughts

1:49:37 D’s Parting Thoughts

All music recordings are in the public domain (mark 1.0) and are licensed through https://musopen.org:

Chopin Nocturne in B-Flat Minor, Op. 9 No.1 (main theme), performed by Eduardo Vinuela

Chopin Etude Op. 25, No. 12 in C Minor: “Ocean” (darklord theme), performed by Edward Neeman

Chopin Nocturne in F Minor, Op. 55 No. 1 (land theme), performed by Luke Faulkner

Rachmaninoff Morceaux de Fantaisie, Op. 3 - 2. Prélude in C sharp minor (Dread Possibilities), performed by Sergei Rachmaninoff

Chopin Nocturne in E Minor, Op. 72 No. 1 (parting thoughts), performed by Luke Faulkner

Dialog for Yensid was written by Azalin Rex himself @darklordazalin

The Wonderful World of Darklords logo was designed by Halite Jones, whom you can find @halite-jones or on Instagram at http://www.instagram.com/insta_halite

Gmail: [email protected]

Facebook: @wonderfulworldofdarklords

Tumblr: @wonderfulworldofdarklords

Patreon: www.patreon.com/WonderfulWorldofDarklords

YouTube: @wonderfulworldofdarklord

#wonderful world of darklords #ravenloft #dnd #podcast #curse of strahd #disney movies #dms guild #haunted mansion 2023 #haunted mansion #alistair crump #hatbox ghost #please dont go into the light laptop

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pagesofkenna · 2 years ago

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I just queued a post where I said this in the tags but I wanna say it again as a real post: shout out to the Neverafter production team for both a) including misophonia warnings in the trigger warnings list, and b) keeping the most common misophonia trigger sounds out of the actual episodes

I think everything they'd included a warning for so far has been SFX added in post, and only played for a few seconds. they've been things like fly buzzing and water sounds, things that can bother me (and perhaps did bother other people) but only if prolonged. there have been no prolonged gross mouth sounds, no squelching or chewing

and in a run of episodes with a recurring chewing gum joke!!! they literally faked chewing gum on camera, and the audio was minimized (if there was any sound at all; I don't remember) and the players' visual triggers cut short

(for context, I had to stop listening to one of my favorite actual play podcasts of all time years ago because the GM introduced an NPC who chewed gum. I usually only glance at the screen while watching Critical Role because there's often at least one player chewing something the whole game, and though you can't hear it sometimes the visual trigger is so hard to ignore)

I remember seeing Sam de Leve's name in the credits for ACoFaF, working as the set accessibility coordinator, and they're someone I know is aware of misophonia issues and takes care to limit potential triggers in their actual play work. they might've helped the production staff develop misophonia accommodations, or it could have been someone else, or maybe the team is just more aware of this issue now (I feel like misophonia awareness is at an all-time high)

not that there have been any particularly horrible misophonia triggers in the past (that I can remember), but. I just remember seeing misophonia listed as a potential trigger for the first episode, and being both excited to see it recognized, and nervous to have to need it, and then excited again when the sounds ended up being so minor. love having sound design work that doesn't actively punish me for wanting to watch their show

#I hope I don't go home and there actually is a major trigger sound in tonights episode tho!! lol #misophonia #dimension 20 #di20 #i'm curious if other misophoniacs have had a worse experience with this season?#i also know that i have my misophonia enough 'under control' (as much as it can be) that certain things that used to bother me dont #as long as they're not obnoxious about it. i can handle some trigger noises in moderation #but there have been multiple times this season where ive noted a warning and waited for it and been like #'wait... that was it?'#neverafter

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roguerevieweradl · 2 months ago

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Heathers Review (Pelican Productions) - 12/09/2024

Stepping into Heathers, I knew we were in for a wild ride, but I wasn’t prepared for the sheer power and presence of this cast.

Tayla Prime as Heather Chandler was an absolute force of nature. She dominated the stage with so much authority that I found myself genuinely intimidated from the audience! I wouldn’t dare cross her Chandler—if I were in Westerberg High, I’d be running for the hills. It was a performance that oozed confidence and power, embodying the iconic ‘mythic b****’ perfectly.

Teagan Garvey as JD had some great moments, especially in the beginning where he played up JD’s charm to a T. His descent into madness was compelling, with Garvey really showcasing the complexity of the role. There were a few moments where his vocals fell a little flat, but overall, he was stellar and brought a lot to the table.

Then there’s Samantha Keough as Veronica—wow. I have never been so in awe of a voice. She didn’t just deliver; she owned the character, adding her unique vocal flair rather than just doing a by-the-numbers version of Veronica. I’d go so far as to say she’s one of the best Veronicas I’ve seen in Adelaide!

Caitlin Laventure as Heather Duke was a standout for me. Talk about a triple threat—the dancing, the singing, the acting, all flawlessly executed. I honestly can’t believe she isn’t already a staple in the professional scene. It was hard to keep my eyes off her whenever she was on stage.

Lily Horton-Stewarts Heather McNamara was another highlight. "Lifeboat" was a real emotional journey, and she took the audience right along with her. I could feel her anxiety bubbling under the surface, and when it broke, it was powerful. A beautifully crafted performance.

And then, Darcie Yelland as Martha—my heart. She brought so much warmth and life to Martha that you just wanted to give her a hug. By the time "Kindergarten Boyfriend" hit, I was a complete mess. It’s a challenging role to pull off, but Yelland absolutely nailed it.

I have to mention my favorite duo of the night: Zach Bartlett and Freddie Windle as Kurt and Ram. These two bounced off each other perfectly, delivering the humor and energy the roles require. They’re an iconic duo, and I truly hope to see them working together in the future!

Hannah Brown as Ms. Fleming brought so much life to the ditzy teacher role. You could really sense how much she cared about her News Crew… which made for a lot of laughs. I thoroughly enjoyed watching her performance!

The song of the night had to be ‘My Dead Gay Son’. The dads, Leo Sage and Hanno de Klerk, absolutely nailed it! The audience couldn’t stop clapping, and we just wanted more. Well done to both actors for a standout performance.

The ensemble deserves massive credit as well. The choreography and vocals were tight and well-constructed, with each piece fitting together like a perfectly synchronized puzzle. You could just feel the joy radiating off the entire cast, which gave the performance an extra spark of magic.

As for the set design, it was nothing short of spectacular. I loved the concept—especially how the brick wall split apart, and the two-story levels made the stage feel dynamic and immersive. I found myself wondering how long it took to build because it was just so beautifully crafted.

The lighting was also brilliantly executed. I loved how they played within the scheme. My favorite moment had to be during the bomb sequence, where the stage transformed into what looked like a disco ball for just a moment, symbolizing the explosion—it was an inventive and effective choice.

Sound was mostly on point. While there were a few minor issues with mics not being turned on in time or some effects coming in late, the sound mix overall was fantastic. Missing a couple of lines didn’t take away from how well everything sounded.

Big shoutout to the creative team. You’ve put on an amazing rendition of Heathers, and I’m excited to see what you all work on next. Overall, this cast for Heathers knocked it out of the park. From powerhouse performances to stellar ensemble work, this show was a treat from start to finish.

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hel-the-growl · 2 years ago

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Nezha Reborn annotations - Part 1

Since New Gods: Yang Jian is about to enter NA theaters this week, and before I do a huge information dump about that movie, I wanted to write about its prequel - Nezha Reborn.

I've already seen Yang Jian twice in cinemas here in Australia, and the animation has markedly improved in the one year since Nezha came out - it's definitely worth seeing on the big screen. You don’t need to watch Nezha before Yang Jian but if you’re interested in the lore, then you should lol. It's on netflix.

My original thread on twitter.

Background

Nezha is one of the most well-known characters from the 16th Century Chinese Novel Investiture of the Gods (IOTG), with countless adaptations based on his legend.

New Gods: Nezha Reborn is one of the latest portrayals of the character, and is the first move in Light Chaser Animation Studios' attempt at establishing a New Gods cinematic universe.

Nezha’s origin story

Nezha was born as a round ball of flesh after his mother Lady Yin was pregnant for three years. His dad Li Jing thought he was demon spawn, so tried to kill him but was spared by the immortal Taiyi Zhenren who became his master. At seven years old, he caused a lot of trouble like accidentally killing a demon from 1000 miles away and killing the dragon king Ao Guang’s third son Ao Bing as well as his right hand man the Yaksa Li Gen. When Ao Guang demanded retribution from Li Jing, Nezha chose to sacrifice himself instead. His master later resurrected him using lotus roots to construct a human body, and he came back more powerful than ever. 3000 years later...

Breakdown

Donghai (East Sea). It was the mythical underwater city that Nezha once conquered, now depleted of all its water resources. Set design is inspired by Republican-era Shanghai and Manhattan in the 1920s and 1930s. The poor Chinese style backdrop is contrasted against the glitz of the Western style architecture in the rich area. Rickshaws were commonplace on the streets.

Fashion is also blend of east and west, like the guy wearing kung fu shoes with a denim jacket.

The qipao was a favored dress among women at the time, popularized by Chinese socialites and high society women in Shanghai. Flapper fashion also influenced Kasha’s outfit, blending eastern and western styles.

Li Yunxiang shares the same surname as the original Nezha. His brother Jinxiang’s name is also similar to Nezha’s eldest brother Jinzha. Jinxiang’s look is very typical of the republican era - complete with his center-parted hair and round glasses.

Old Li has the same temperament as Nezha’s dad, The Pagoda Bearing Heavenly King Li Jing.

Who is Yunxiang’s adoptive sister Kasha? She’s an orphan of Belarusian descent, however not much else is known about her past. Her name means porridge in Belarusian. It might be a corruption of Katyusha (喀秋莎) with middle character removed in order to follow Chinese naming conventions idk.

If you know the history of the Republic of China, there were many girls like Kasha in that era. Her father was a soldier and left Kasha and her mother after the war.

✨Princess✨ Ao Bing～～ and the Yaksa Li Gen. Ao Bing is the third son of the Dragon King of the East Sea. The Yaksa Li Gen is the dragon king’s right hand man.

The four big clans - De, Li, Shun, Song (德家、利家、顺家、松家) - actually corresponds to the titles of dragon kings of the four seas. King De, Dragon King of the East Sea; King Li, Dragon King of the South Sea; King Shun, Dragon King of the West Sea, King Song, Dragon King of the North Sea.

A netizen looked this up and really wanted to kneel to Light Chaser for their worldbuilding.

Fun fact: the white horse from Journey to the West is the third son from the Song family.

H*rley-D*vidson Darrley-Hudson product displacement on the arm of Kasha’s jacket:

Actually the film has left some hints about her past. There are some Soviet-style badges pinned to her jacket, along with some small badges that Kasha herself added as well. Since this jacket is huge, it can be assumed that it was left to Kasha by her biological father.

The giant buddha statue is reminiscent of the Longmen Grottoes in Luoyang, Henan.

Daddy! Ao Guang, the dragon king of the East Sea.

Art deco details on the hood ornament, decals and invitation card.

Monkey’s suit is basically a hot pink version of the Zhongshan suit, a style of menswear introduced by Sun Yat-sen during the republican era, adapted from Japanese student wear. The four pockets are said to represent the Four Virtues of propriety, justice, honesty, and shame. He's blinged up his prayer beads too.

Does this mean Dr. Su is a descendent of Su Daji, the femme fatale of IOTG? Or could she actually be Daji’s reincarnation? Now I don’t know whether to trust her or not.

All these sea creature demons. Why? Chinese dragons are aquatic. They live underwater, and command water-based attacks, unlike western dragons who breathe fire. So it makes sense for them to control an army of demons that came from the deep.

So this is the crystal palace.

After Nezha’s death, Li Jing found out that Nezha’s mother had built a temple in his honor and burned it down because he was still angry at his son for all the trouble he caused to the family. The soul of Nezha was pissed and after his reincarnation, began to pursue his dad with the intent to kill. It took several parties to step in before matters were resolved.

Looks like monkey likes to listen to Peking Opera.

The Pukui fan, commonly known as the cattail fan, is a fan made from palm leaves and stalks. Lightweight and cheap, it is the most widely used fan in China.

Part 2｜Part 3

#nezha #wukong #new gods: nezha reborn #new gods #nezha reborn #新神榜 #新神榜：哪吒重生 #哪吒重生 #哪吒 #jttw

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dcschool · 4 months ago

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Explore Your Creative Potential at DC School of Architecture and Design, Kerala

Are you passionate about design and architecture? Do you dream of shaping the spaces and products that define our world? At DC School of Architecture and Design in Kerala, we offer a range of undergraduate programs that cater to your creative ambitions and prepare you for a fulfilling career in the design and architecture industries. Situated in the picturesque locales of Vagamon and Trivandrum, our campuses provide the perfect blend of academic excellence and serene surroundings.

Bachelor of Design (B.Des) Programs:

Our Bachelor of Design (B.Des) programs are crafted to nurture creativity, innovation, and technical proficiency. Whether you are interested in product design, graphic design, fashion design, or interior design, our comprehensive curriculum is designed to equip you with the skills and knowledge required to excel in your chosen field. We emphasize a hands-on approach, encouraging students to work on real-world projects, collaborate with industry professionals, and explore new design methodologies.

B.Des in Product Design: This program focuses on developing innovative and functional products that enhance user experience. You will learn about materials, manufacturing processes, ergonomics, and sustainable design practices, preparing you to create products that are not only aesthetically pleasing but also practical and environmentally friendly.

B.Des in Graphic Design: Dive into the world of visual communication with our graphic design program. From typography and illustration to digital media and branding, you will master the art of conveying messages effectively through visual elements. This course is ideal for those who aspire to work in advertising, media, and corporate communication.

B.Des in Fashion Design: If fashion is your passion, this program will help you turn your creativity into a thriving career. Learn about fashion illustration, garment construction, textile science, and fashion marketing. Our curriculum is designed to keep you abreast of the latest trends and technologies in the fashion industry.

B.Des in Interior Design: Transform spaces with our interior design program. You will study spatial planning, color theory, lighting, furniture design, and more. This course prepares you to create functional and beautiful interiors for residential, commercial, and public spaces.

Bachelor of Architecture (B.Arch) Program:

Our Bachelor of Architecture (B.Arch) program is recognized for its rigorous academic framework and focus on practical experience. The curriculum covers architectural design, building technology, environmental science, and urban planning. Our students benefit from state-of-the-art facilities, expert faculty, and opportunities to participate in national and international design competitions.

Admission Process:

Admission to our B.Arch and B.Des programs is based on a combination of academic performance, entrance examinations, and personal interviews. We seek candidates who demonstrate a strong passion for design and architecture, creativity, and a willingness to learn and innovate. Detailed information about the admission process, including eligibility criteria, important dates, and application procedures, is available on our official website.

Why Choose DC School of Architecture and Design?

Experienced Faculty: Learn from industry experts and experienced academicians who provide personalized guidance and mentorship.

State-of-the-Art Facilities: Our campuses are equipped with advanced design studios, computer labs, libraries, and workshops to support your learning and creativity.

Industry Collaboration: We have strong ties with leading design and architecture firms, providing students with internship opportunities, industry projects, and placement assistance.

Holistic Development: Beyond academics, we focus on the overall development of our students through extracurricular activities, seminars, workshops, and cultural events.

Scenic Campuses: Experience the serene and inspiring environment of our Vagamon and Trivandrum campuses, which offer a perfect blend of natural beauty and modern infrastructure.

Join DC School of Architecture and Design to turn your creative vision into reality and become a part of a vibrant community of designers and architects. Visit our website for more information and take the first step towards a successful career in design and architecture.

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adypy-00 · 5 months ago

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Beyond Boundaries: A Deep Dive into ADYPU's Innovative Approach to Curriculum and Specialization

In the evolving landscape of higher education, curriculum flexibility and specialization options have become pivotal factors for students selecting universities. These elements not only enhance the learning experience but also prepare students for specific career paths in an increasingly complex job market. This article examines the differences in course selection flexibility, availability of specialized programs, and interdisciplinary opportunities between private universities and government colleges.

Curriculum Flexibility

Private Universities:

Private universities, such as Ajeenkya DY Patil University, are known for their adaptable and student-centered approach to education. These institutions often provide students with the flexibility to tailor their education according to their interests and career goals. At ADYPU, students can choose from a variety of electives across disciplines, allowing them to create a personalized academic experience. This flexibility helps students develop a broad skill set that is highly valued in the modern workforce.

ADYPU’s curriculum is designed to be dynamic and responsive to industry trends. The university regularly updates its courses to incorporate the latest developments and technologies, ensuring that students gain relevant knowledge and skills. This adaptability is a hallmark of private universities, which are typically less constrained by bureaucratic processes than their government counterparts.

Government Universities:

In contrast, government colleges often operate within a more rigid curriculum framework. These institutions follow standardized curricula prescribed by educational authorities, which can limit the ability to offer a wide range of electives. While this standardization ensures a uniform educational quality, it can restrict students' ability to pursue diverse academic interests. Consequently, students at government colleges may have fewer opportunities to customize their education to align with their specific career aspirations.

Availability of Specialized Programs

Private Universities:

One of the significant advantages of private universities like ADYPU is the emphasis on specialized programs tailored to meet industry demands. ADYPU offers a plethora of specialized undergraduate and postgraduate programs across various fields such as engineering, design, management, hotel management and much more. These programs are designed in collaboration with industry experts, ensuring that the curriculum is relevant and up-to-date.

For example, ADYPU’s School of Engineering provides specialized programs in emerging areas such as Artificial Intelligence, Data Science, and Robotics. Similarly, the School of Design offers cutting-edge courses in Product Design, Digital Modeling, and User Experience Design. This focus on specialization equips students with niche skills that enhance their employability and career prospects.

Government Universities:

Government colleges, due to their adherence to traditional academic structures, may offer fewer specialized programs. While some prestigious government institutions do provide advanced and specialized courses, the breadth and diversity of such programs are generally more limited compared to private universities. Additionally, the process of introducing new courses in government institutions is often lengthy and bureaucratic, which can delay the implementation of contemporary and industry-relevant programs.

Interdisciplinary Opportunities

Private Universities:

Interdisciplinary learning is another area where private universities excel. These universities encourage students to engage in interdisciplinary studies, breaking down traditional academic silos. The university's flexible curriculum allows students to combine courses from different disciplines, fostering a holistic educational experience. This approach is instrumental in developing critical thinking, problem-solving skills, and the ability to innovate.

ADYPU’s interdisciplinary initiatives include collaborative projects, research opportunities, and workshops that span multiple fields of study. For instance, a student in the School of Management might work on a project with peers from the School of Engineering or Design, gaining insights from different perspectives. Such opportunities are invaluable in preparing students for complex real-world challenges that require a multifaceted approach.

Government Universities:

While some government universities are making strides toward interdisciplinary education, the scope and implementation are often less extensive compared to private institutions. Traditional academic departments in government colleges tend to operate in isolation, which can limit opportunities for cross-disciplinary collaboration. However, efforts are being made to bridge this gap, with initiatives to promote interdisciplinary research and learning. Despite these efforts, the inherent structural rigidity of government institutions can pose significant challenges to fully realizing interdisciplinary education.

In conclusion, private universities like Ajeenkya DY Patil University in Lohegaon, Pune, offer significant advantages in terms of curriculum flexibility, availability of specialized programs, and interdisciplinary opportunities compared to government colleges. ADYPU’s student-centric approach, dynamic curriculum, and focus on specialization and interdisciplinary learning provide a comprehensive educational experience that is highly responsive to the needs of the modern workforce. While government universities play a crucial role in providing accessible and standardized education, the flexibility and innovation inherent in private institutions like ADYPU make them an attractive choice for students seeking a tailored and industry-relevant education.

#adypu #ajeenkyadypatiluniversity #school of design #culinary arts #school of engineering #dynamic curriculum #b des programs #legal education #product design #law college #schooloflaw #advocate

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avantikauniversity1 · 1 year ago

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B Des Product Design Colleges in India | Avantika University

Embrace your passion for B Des Product Design Colleges in India at Avantika University, a leading choice among design colleges in India. Apply now and ignite your potential.

#B Des Product Design

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spicykaraage · 1 year ago

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Tenipuri Complete Character Profile - Shuusuke Fuji

[PROFILE]

Birthday: February 29th (Pisces)

Blood Type: B

Relatives: Father, Mother (Yoshiko Fuji), Older Sister (Yumiko Fuji), Younger Brother (Yuuta Fuji)

Father’s Occupation: Company Employee (foreign company)

Elementary School: Seiharudai Third Elementary School

Middle School: Seishun Academy Junior High School

Grade & Class: Third Year | Class 3-6 | Seat 14

Club: Tennis Club (Regular)

Committee: Yearbook Production Committee

Strong Subjects: Classic Literature

Weak Subjects: Science

Frequently Visited Spot at School: Photography Room

World Cup Team: U-17 World Cup Japanese Representatives

Favorite Motto: “What is essential is invisible to the eyes.”

Daily Routines: Tending to his cacti, drinking morning coffee

Hobbies: Collecting cacti, photography

Favorite Color: Beige

Favorite Music: Celtic music

Favorite Movie: Musicals

Favorite Book: Interior design magazines ➜ Travelogues, travel photo collections [23.5]

Favorite Food: Apples, Cajun food, spicy ramen ➜ Anything spicy, 100% apple juice [23.5]

Favorite Anniversary: The birthday of a special someone

Preferred Type: A person with beautiful fingers ➜ A person who smells like flowers [23.5]

Ideal Date Spot: Planetarium ➜ An observatory with a beautiful view of the stars [23.5]

His Gift For a Special Person: A flower ring

Where He Wants to Travel: Salar de Uyuni on a starry night

What He Wants Most Right Now: Antique furniture and tableware ➜ Incentive [23.5]

Dislikes: Sour food

Skills Outside of Tennis: Skiing, ice-skating and other winter sports ➜ Winter sports, locating constellations [23.5]

Spends Allowance On: Things to help with his cacti

Routine During the World Cup: Drinking coffee from around the world, contacting his brother

[DATA]

Height: 167cm

Weight: 53kg

Shoe Size: 25cm

Dominant Arm: Right

Vision: 1.2 Left | 1.0 Right

Play Style: Counter Puncher

Signature Moves: Tsubame Gaeshi (Swallow Return), Higuma Otoshi (Bear Drop), Hakugei (White Whale), Kagero Zutsumi (Dragonfly Illusion), Houou Gaeshi (Phoenix Return), Kirin Otoshi (Qilin Drop), Hakuryuu (White Dragon), Gatekeeper of Hecatoncheires, Hoshi Hanabi (Starry Fireworks), Closed Eye, Aoi Fubuki (Blue Blizzard), Hikari Kaze (Radiant Gale)

Time He Wakes Up: 6:00am

Time He Goes to Sleep: 11:30pm

Number of Inui Juices Consumed: 16

Favorite Brands:

Racket: prince (TRIPLE THREAT RIP), prince (MICHAEL CHANG TITANIUM)

Shoes: Nike (NIKE READY AIR BISCAYNE MID III)

Fitness Test Results:

Sidesteps: 63

Shuttle Run: 115

Back Strength: 116kg

Grip Strength: 47kg

Backbend: 62 cm

Seated Forward Bend: 47.8cm

50m Run: 6.8 seconds

Standing Long Jump: 232cm

Handball Throw: 31.5m

Endurance Run (1500m): 4:44

Overall Rating: Speed: 3 / Power: 3 / Stamina: 3 / Mental: 4 / Technique: 5 / Total: 18

Kurobe Memo: “Evident from his beautiful play style, he is undoubtedly gifted in the sport. If he weren’t so concerned with playing aesthetically, I suspect he could go from a great player to an undeniably strong one.” [RB]

[POSSESSIONS]

What’s in His Bedroom [10.5]

Cacti // He moves them back and forth between his windowsill and shelves for sunlight

A rocking chair

Record player // He prefers it over a CD player since it’s quieter

Vinyl records // Bought from used record stores. Most of them are classic and jazz

Computer // The monitor is placed on the shelf next to his desk to conserve space. He’ll put his keyboard on his desk when he needs to use it

His favorite photos // Large printed photos he had taken on holidays and trips that are hanging on his wall

A very spacious closet // He stores his clothes, books, school uniforms and other things in it

What’s in His Bag [10.5]:

Cell phone // His family members are frequently on the go

Pass case

An English copy of The Little Prince // A book that’s dear to him, he’s read it in Japanese and is now reading the English version

Word cards // He’ll write down words he doesn’t understand in The Little Prince and look them up when he gets home

Writing supplies // Used to write down the situations, dates, times of shooting and other details when he captures photos

Compact camera

Compact mirror // He also uses it as a reflector for photos

What’s in His Locker at the U-17 Training Camp [10.5 II]:

Illustrated plant encyclopedia // Borrowed from Shiraishi

Muscle training equipment // 5kg dumbbells. He is secretly doing strength training to improve his power

Camera // Digital SLR

Interior design magazines // He’s thinking of redecorating his room once he returns from the camp

What’s in His Travel Bag:

SLR camera // He prefers taking pictures of his teammates and foreign players rather than the Australian scenery

[TRIVIA]

The Prince of Tennis 10.5 Fanbook | Publication Date: 11/02/2001

He has his eyes closed most of the time to exude friendliness, but will open them when he’s being cautious or calculating. Konomi states they are usually closed whenever he’s smiling

His mother cooks a lot of Cajun and western dishes, which is why he doesn’t mind eating dubious food

He is very family-oriented and kind to his relatives. When he goes shopping with his sister they are often mistaken as lovers

Konomi wrote him to like spicy food since he wanted him to seem different and unusual

He is nicknamed “Fujiko” by Kawamura after the heroine of Lupin III since the latter is a fan of the series

On Sundays he goes to his grandfather’s photo studio on the outskirts of town to take photos

He tries keeping a smile on his face since he wants to find enjoyment in everything. Even when facing a strong opponent in a match, he thinks of how lucky he is that he’s able to go up against a great player

He and his brother Yuuta do not fight, but they do not talk to each other as often as they used to since Yuuta entered middle school

Although he notoriously likes spicy food, he likes sweets as well. He especially loves the raspberry pie his sister Yumiko makes

Despite being born on February 29th, a leap year, everyone still celebrates his birthday every year. Kikumaru once jokingly said to him “you’re only three years old!”

His personality is described as someone who’s very calculating while wearing a smile

Konomi describes him as “growing more on his own,” since at the time he was growing increasingly popular and took on a life of his own

The Prince of Tennis 20.5 Fanbook | Publication Date: 12/04/2003

He is known to be very attentive and can make friends of all types

He keeps his room neat and orderly

He could not handle drinking “Aozu” in Genius 159 due to one of its key ingredients being vinegar (he dislikes sour foods)

His secondary sport would be figure skating

The Prince of Tennis 40.5 Fanbook | Publication Date: 12/04/2007

He is very competitive and will usually stay calm and undaunted in any situation

He is described to be very versatile and multi-talented as well as fastidious, and has a tendency to delve deep into various things in order to feel satisfied

He is easily attracted to mysterious things

He is thought to have had strong spiritual powers by nature and has had strange occurrences happen to him

He is often misunderstood due to his mysterious nature, but he is actually very loving, compassionate and easily moved to tears

He had written a research paper on cacti the previous summer that received a lot of praise and attention, even surprising university researchers

He came up with the name “Gatekeeper of Hecatoncheires” for his technique from a book on Greece he had read when he was younger

Konomi had plans for him to transfer to Rikkai, and states he alluded it after his match with Ryoma, but ultimately decided for him to stay at Seigaku. He explains that he wanted him to transfer to grow even stronger and have a serious match against Ryoma

Konomi had originally wanted him to lose against Niou, but decided against it since he had already lost to Shiraishi

The Prince of Tennis II Official Character Guide: PairPuri Vol. 3 | Publication Date: 01/04/2010

He likes discussing plants with Shiraishi and Yukimura

The Prince of Tennis II Official Character Guide: PairPuri Vol. 6 | Publication Date: 06/03/2011

He, Tezuka and Kikumaru are shown having a chat with Yamato

The Prince of Tennis II Official Character Guide: PairPuri Vol. 8 | Publication Date: 08/04/2011

He had asked Jirou for a photo he had taken of Tezuka being annoyed

The Prince of Tennis II Official Character Guide: PairPuri Vol. 10 | Publication Date: 10/04/2011

His favorite activity is going on drives with his sister since he enjoys watching the scenery pass by

He is interested in trying ghost peppers

When asked what he plans on doing first after graduating, he replies with visiting Tezuka

He lacks confidence in his physical strength, but states he has no intention of forcing himself to build muscle

He likes relaxing with a cup of coffee when doing laundry

He wishes his younger brother would visit home more often

He is named after Fujiko Mine from Lupin III, and after the manga artist duo Fujiko Fujio since Konomi liked the sound of “Fuji”

Konomi came up with his “Triple Counters” since he wanted Fuji to appear as a genius, and that having more techniques meant the more skilled he was. “Higuma Otoshi” was inspired by an intense ballet drama Konomi had watched that had a major impact on him

Konomi tends to draw him as if his hair is flowing in the wind

Konomi has no desire to change Fuji’s appearance, but depicts him having an inner change and obsession over winning. He describes him as kind, but scary when he’s angry

One of His School Days:

6:00am - Wakes up, has breakfast (waffles and morning coffee)

6:30am - Calls Yuuta to wake him up after tending to his cacti

6:50am - Goes to school, morning practice

8:40am - 1st Period: Japanese (Kikumaru secretly passes him a note)

9:40am - Music (jazz lesson)

10:30am - Walks around the school during break time, takes photos of Tezuka without his glasses

11:00am - 3rd Period: English (short test)

12:00pm - 4th Period: Social Studies (Japanese history)

12:50pm - Lunch, develops Tezuka’s photos in the photo studio

1:20pm - 5th Period: PE (endurance run)

2:20pm - 6th Period: Long Homeroom (lesson on off-campus learning)

3:30pm - Stops by the library, borrows a mythology book from Ryoma, who’s on duty

4:00pm - Club activities, practices hitting the ball with his eyes closed

6:00pm - Stops by Kawamura’s house, asks to borrow a game

7:00pm - Returns home, has dinner

7:30pm - Has tea and homemade apple pie with his mother and sister

8:30pm - Bathes (soaks half of his body in the jacuzzi)

10:00pm - Reads while playing a record

11:30pm - Stargazes before going to bed

The Prince of Tennis II 10.5 Fanbook | Publication Date: 09/04/2013

Although it is not on the training camp’s menu, he has a special full course meal of extremely spicy food prepared for him once a week

He gets along well with Yukimura and Shiraishi

The Prince of Tennis II 23.5 Fanbook | Publication Date: 05/02/2018

He has been doing complex scenario training that revolves around different versions of Tezuka ever since the latter’s departure

Konomi states he may continue his and Ryoma’s match in the rain

Fuji’s eyes are open more in the new series since Konomi thinks he looks cooler with them open and that the new opponents are so strong he doesn’t have time to smile

He had gotten into tennis when his older sister’s boyfriend had taken him and Yuuta to a tennis club he was attending

The Prince of Tennis 20th Anniversary Book: Tenipuri Party | Publication Date: 08/02/2019

The photos he wants to take of Australia the most are the night sky

He likes taking photos to refresh himself at the training camp or on his days off

He has mostly taken photos of cacti since coming to Australia

He sends most of his photos to his family

He once went camping with sister and brother, during which his brother’s sandals had been washed away by the river. He and his sister went after them but were swept away by a waterfall, with their younger brother following suit. Ultimately, they all laughed it off at the bottom afterward

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