#branded logo mats

[nico-di-genova]

One Day

Written for @somethingsomethingwords’s and their request for:

Once again, this one was written in my notes app in a frenzy. Apologies in advance for any typos.

It is raining when Lance enters Aston hospitality on Friday afternoon, the misty sort of rain that’s cold and irritating and glazes the steps in a fine layer of water that he’s busted his ass on once before. He’s not looking to repeat the humiliation, so he’s careful when he makes his way up the steps and into the building. Which is maybe why he doesn’t notice Fernando until he’s already through the doors and scuffing his shoes against the entry mat to dry them.

AirPods in, music playing, he’s doubly distracted - until a baby’s laugh pulls his attention up from where he’d been kicking loose dirt from his sneakers. There’s a lot of noises he’s come to expect from the paddock, but the gurgling giggle of an infant is not one of them.

He glances up with a confused expression, half expecting to see an engineers happy family crowded around one of the tables. Instead it is Fernando that greets him.

“Lance!” He hoists the baby higher in his arms, angles the kid so Lance is making mutually befuddled eye contact with the newborn. “Look!”

Lance looks. The baby looks back, chubby cheeked, bit of drool dripping down their chin, gripping one of Fernando’s fingers with a twitchy little hand. They’re wearing headphones bigger than their own head, green, Aston Martin logo branding the side.

Fernando’s smile is wide enough that Lance can see his dimples, the lines that form with the crinkling of his eyes. It’s wide enough that Lance’s heartbeat is thrown off kilter.

He swallows.

“Come say hello,” Fernando commands, and Lance listens. Shoes squeaking across the laminate flooring, water slicking off his raincoat and leaving a trail. There’s a couple standing next to Fernando who look a little too much like the kid. They’re wearing matching Aston merch and the lanyards that mark them as guests, fans.

“Uh, hi,” he greets them first, waving awkwardly even though he’s standing right in front of them. They don’t seem to mind, seem excited enough that he’s talking to them in the first place.

He asks them how their day has been as he slides off the raincoat and throws it over the back of a chair. Asks if they’re enjoying themselves as he puts his AirPods back in their case. Trying to be friendly in the way the socials team always hopes he will be. It’s easy to do when there’s no camera in his face and pre rehearsed talking points he’s supposed to hit.

Fernando elbows him in the ribs with the arm that’s not holding the baby, but is attached to the index finger the kid is holding tightly.

“Look at him,” he coos, in a voice Lance has never heard from him before. Something new, soft, similar to the way he talks to Chloe’s dog when he visits Lance during breaks, but different enough that Lance has to catalog it away as something new. His heart thuds again.

He has to lean to get close to the kid, close to Fernando, brushes a finger along the top of the kids fist that’s tight around Fernando’s knuckle.

He hasn’t interacted with babies much. Being the baby of the family himself and all. He had a cousin twice removed that he’d held at a family reunion once when he was fifteen, but that kid had been squirmy and crying and Lance had quickly passed him back to whatever distant aunt had handed him over in the first place. This kid seems much more mild mannered, maybe it’s the headphones muffling the noise around them, or maybe it’s just the effect Fernando has.

Fernando who keeps smiling, who’s looking over the top of the baby’s head to direct that smile at Lance. Both of them, Fernando and the kid, looking at him with big brown eyes and-

Oh.

Lance figures it’s probably a good thing he lacks the productive means to give Fernando a child. Figures he probably would have been willing to try the moment Fernando passed the baby back to his actual parents.

“He’s cute, no?” Fernando asks, shifts closer to Lance so the baby starts to reach for him instead. Lance offers his own finger, lets the kid grab it with his chubby little hand. His other hand rubs awkwardly at the kids back, a pantomime of behavior he’s seen from parents before. The baby grins at him, gummy and slobbery and babbles something.

Fernando, nonsensically, babbles back. Makes a string of noises that pulls the baby’s attention back to him and then they’re both giggling at each other.

Lance feels suddenly warm, flushes through with pure yearning and blames it on the constricting fabric of the Aston polo around his throat.

“His name is Presley,” Fernando says, turning back to Lance, like he wasn’t just speaking in senseless sounds.

It shouldn’t make Lance’s stomach do cartwheels, and yet he finds the feeling in his gut anyway. Whatever, he’s twenty-five, blame it on his ticking biological clock and the paternal nurturing he’d been comfortably raised in.

Fernando keeps smiling, and yeah, it’s not a new expression but it almost is in the way that his eyes go soft and his nose crinkles when he goes back to baby-talking with Presley. Lance can’t stop staring, can’t seem to make his heartbeat go back to normal. Can’t stop seeing a future where Presley isn’t Presley, but instead a kid of their own.

And oh. Oh. Oh no.

“Do you want kids?” He asks later, in the hotel, when they both naked and sharing the covers.

Fernando’s fingers stall the dance they’d been doing along Lance’s side pausing at his tattoo and then tracing along the Hebrew there.

“Why?” He asks, as Lance shudders at the touch, “you are pregnant?”

Lance scoffs, “Yep. Pissed on the stick last night actually. Congratulations, you are the father.”

Fernando laughs, pauses where he’d been mouthing along the line of Lance’s neck, his breath hot when he says, “Lucky me.”

In the muted light of the singular lamp they’ve left on this is simple. Lance is warm, sated, the press of Fernando’s body solid against him.

“I’m being serious though,” he presses, turns his head enough that Fernando is forced to pull away and make eye contact with him.

“Do you?”

Fernando shrugs, “Eventually, yes. Maybe.”

“Oh,” Lance says, lacking the ability to think of anything better. Something heavy settles on his chest. Fernando’s hand is quick to replace it, palm flat over his heart.

“But not now. We have time.”

We. Lance swallows. Fernando must feel the way his heartbeat thuds, mistakes it for apprehension when really it is relief at the realization that Fernando does not mean for him to be a stand-in. Realization that Fernando intends to keep him, put the comforting weight of a ring on his finger one day, maybe, build a home with him. Lance realizes he maybe wants that.

“If you want to. If not then, no, I will be okay without. I just want you.”

Lance thinks of Fernando’s smile when he’d held Presley. So raw and honest, open in a way that Lance is only used to seeing when Fernando looks at him. Or when he looks at his sister, a look reserved for family. For people he loves.

“I want to,” he says, and means it. “Eventually, yeah. You’d be a good dad.”

Lance would know, he’s somewhat of an expert in the fantastic parents department - got the team and the boyfriend to show for it.

Fernando smiles, soft, fond. His hand comes up to cup Lance’s neck in a way that is familiar.

“One day, then,” he promises.

Lance smiles back, “One day.”

After the rings of course, after he beats Fernando in a race, after tomorrow and the day after that, because they have time. Lance is, of course, already thinking about the wedding band he’s going to slide onto Fernando’s finger though. He’s always twenty steps ahead like that, drivers instincts and all.

Fernando is probably thinking the same thing.

When they kiss it is with the hint of the future. A wedding, and a shared home, and a baby’s laugh all caught up in the hotels ac kicking on. Present and future entwined with Fernando’s quiet deceleration of, ‘I love you’ that gets lost somewhere in the space they share.

[fazafras-pizza]

Words: 3379

"Just what do you think you're doing?!" Erica shouted as she stormed into the playplace, jolting the Toy animatronics and guards to attention at the thunder of her voice. The only two unshaken by the sound were Mangle and the Puppet, both simply turning their heads to her as she marched her way to the slides the Puppet stood upon. The Puppet crossed their arms and straightened their posture, keeping hold of their ground as she approached as if the plastic castle was really their kingdom to defend.

"Oh, I know that tone well," Mangle mumbled to Mike, "usually someone gets fired after it."

"Told you you should've stepped in," Jenny added.

"Come on, what is she really going to do to them?" Mike asked. They both eyed him and he felt a guilt wash over himself. At the last restaurant, he had been able to hold his own and step in much faster to keep the animatronics from getting into nonsense like this. He should've known better.

Balloon Boy wound his way around the Puppet and slid down the slide furthest away from Erica towards the shallow side of the ball pit, stumbling his way out to run over and hide behind Jenny as Erica reached it. The Toys, meanwhile, cowered together at the edge of the ball pit, taking slow steps in unison backwards to give her space as she kept her anger on the Puppet who had not backed down.

"Good evening, Erica," the Puppet began, "I have demands."

Erica stared at them, blinking, hands on her hips, frustrations not dissipating.

"No you don't," Erica replied.

"Yes I do," the Puppet said, plucking Balloon Boy's discarded notebook from the rubber mat floor of the playplace and holding it up, "quite a few actually—so pay attention."

"You haven't wanted anything for years—"

"You don't know that—"

"If you actually wanted something, you'd actually leave your box and ask for it. Or maybe, if you really wanted it, tried to find a way to achieve what you wanted."

The Puppet stared at her for a moment, making all the occupants acutely aware of the silence that was only interrupted by the whirring of animatronic bodies (though the Toys had tried desperately to stay still in that silence to not bring attention to themselves lest it grow even more awkward.)

However, it seemed the Puppet wasn't affected, and instead turned again to the notebook and began: "First item—"

"No," Erica interrupted.

"Don't interrupt me."

"I'm not giving into your demands."

"First item," the Puppet insisted, glaring at Erica who crossed her arms and huffed, "let Toytronica be a real band."

Erica's jaw dropped. "Are you kidding?"

"No."

She turned her scowl to the Toys who averted their gazes, terrified to meet hers as they fidgeted with their hands. "First off—all of your main inspirations are 90s garage rock bands and 2000s punk, but you have no bass guitar which is essential to those genres. Secondly, you have a logo that evokes the 80s neon aesthetics which is all you play here because, thirdly, you all have never made an original song in your lives so I don't know where you think you can get away with thinking you can be a 'real' band if all you can do is covers!"

The Toys stood still in stunned silence briefly; though, if a robot's lip could quiver, theirs' each would have. Then, almost unanimously, the three began to wail like so many children that had come through the restaurant before them.

"She's right!" Toy Bonnie cried. "Our branding is inconsistent!"

"It's true! We're musically confused!" Toy Chica said.

"We'll never make it as a band!" Toy Freddy sobbed.

"Wow, and I thought I was mean," the Puppet mused. Erica rolled her eyes. "You could have just asked them who'd perform for the kids when they were gone on tour."

Toy Chica fell to her knees and clasped her head. "We didn't even think about the kids!"

Toy Bonnie collapsed onto her. "We're so selfish!"

Toy Freddy fell to the floor with them. "We don't deserve to be musicians!"

"I should have designed them to be less emotional," Erica mumbled to herself.

"It's just your nature, Erica: you can't help but hurt people's feelings everywhere you go," the Puppet said.

"I'm being realistic. I'm not out here to set them up to fail," Erica replied.

The Puppet sneered. "Right, of course. You don't want us to fail because you don't want us to do anything at all. You want us to be obedient and stay here forever."

"That's not what I want—"

"That's what it sure feels like," the Puppet interrupted, "you've especially trapped me in one after another after another without ever asking what I wanted, so you can say all you want how that's not what you want but here I am still: proof that that's what you're doing. So I don't know if you just enjoy being a hypocrite or what it is but it's still what's going on."

"I wasn't—"

"Like, I don't know what your angle is with all that because it's basically torture for me because I hate it here. You'll take Fredbear out everyday and have for well over a decade but I guess I don't count even though you've known I've been in the same situation as him for the same amount of time, but I guess that doesn't mean anything to you."

Erica had stopped arguing, keeping her mouth shut in a frown that had begun turning from anger to hints of guilt, but the Puppet didn't stop.

"And the wild thing is that the person who could take me out of here—who frankly should have this whole time—won't even talk to me!" they continued, "And I don't know how to get him to! I guess my dad just doesn't love me anymore which—okay! Sure! Guess that was bound to happen—!"

Erica shook her head. "Henry still loves you—"

"You don't know that. He doesn't talk to me anymore—"

"Because you refused to talk him for five years first!"

"Because he tried to get me incinerated!" the Puppet shouted, the sound echoing like none other around the cavernous walls and ceilings surrounding the playplace. The visceral anger paired with the break of pain in their voice took everyone aback, as if they were all spectators at an aquarium and were watching cracks in the glass appear on its shark tank in real time.

Erica was breathless. "What?"

"I found the paperwork," the Puppet continued, voice trying to stay strong with their rage but wavering as the kept on, "he had everything done but to sign it. He was...he was so ready to burn me and get rid of me. He was done with me." They looked away from Erica, trying to collect themself. "I just- I just wanted to be with my dad like Evan gets to be with you, but he doesn't and I...I'm stuck here. I've been stuck here in these stupid restaurants for over 20 years and I can't leave because nobody asks me what I want."

The fire had been snuffed out of Erica. Her shoulders dropped and all she was left with was shame and pity as she stared up at the Puppet, stood all alone at the top of the slides in the playplace, surrounded only by shadows and barely taller than the kids that clambored through it everyday. The cape swallowed them up like a sick child in a blanket, the crown slightly askew on their head from all their animated yelling.

It broke Erica's heart, because she could still see Charlotte clear as day through the Puppet every time she looked at them. There was never a day she didn't. And even though, after all these years she knew that Charlotte would've been an adult, she still wanted to scoop them up and tell them everything would be okay like she did back when they were a seven year old kid and her daughter's best friend that came over everyday.

"Oh," Erica breathed, "Charlie..."

The Puppet's head snapped back up to Erica and the despondence disappeared from their eyes, replaced with the refueled rage that had started to simmer. Erica felt herself tense, not knowing what exactly she did wrong in the moment until they spoke.

"You don't get to call me Charlie," they growled, the sound slurred through barely contained tears, "you don't get to call me that. You don't ever get to call me that because you don't care and you've never cared."

They stepped out from the playplace, foot catching on the slide and making them lose their balance. They stumbled slightly, but caught themself enough to slide into the pit below and stay standing, kicking the balls this way and that out of it as they marched forth towards Erica from it. They leapt from it up to her feet, fury radiating from their body.

"You don't get to call me Charlie," they said, "no one does."

Erica gave no response; she knew nothing would help in the moment. The Puppet, so infuriated their body was shaking, stood there for only a few moments more before storming off to the Prize Corner and disappearing from sight. Everyone left behind lingered in the tense silence, as if disturbing the air with any movements would set the Puppet off again even if they weren't in the room anymore.

Eventually, they all did begin to move, mostly to check on each other (though everyone gave space to Erica, perhaps too afraid to talk to her.) The exception was Fredbear, who approached her. Her eyes had not left the Prize Corner, which Fredbear noticed.

"You need to give them space, mom," Fredbear said.

Erica shook her head, then began to head towards it. "No, I messed this up. I'm fixing it."

"Mom—"

"They're not going to deal with it later if we don't talk about it now."

Fredbear watched her leave and sighed.

Erica entered the Prize Corner, noticing first the discarded crown crumpled on the floor before having to step over the cape not long after. She reached the tiers of plushie prizes where the Puppet's box was nestled on the lowest tier. The lid was shut tight, but the sound of their muffled crying wasn't hidden. Erica pulled herself up onto the tier to sit besides the box, quiet for a moment as she tried to decide how to start, then her eye caught a glimpse of the still ballerina in the music box between the plushies near her. She watched it for a bit before gently picking it up and winding it, the ballerina spinning to the music twinkling delicately out through the stillness of the Prize Corner. The Puppet's sobbing began to soothe into shaking hiccups, but they didn't say anything either.

"I should never have made you stay at all the restaurants corporate kept jumping you between before this one, or me sticking you at this one permanently," Erica started, "it wasn't fair. I was convinced you'd get sick of it and tell everyone that you were murdered and possessing the Puppet and it'd all come out like that because I couldn't do it because all of the NDA's I'm stuck under—but that wasn't fair to expect you to do and I'm coward for trying that. It's not your responsibility to expose what the company's been hiding...and it was my responsibility to ask you what you wanted."

Erica ran her finger along the enamel roses on the edge of the music box.

"You're family, you always were, even though I didn't treat you like that." She laughed. "But, if you ask Michael, maybe that's how I treat my family."

There was the slightest of chuckles from inside the prize box. Erica smiled.

"If you want—especially because I know I'm probably the last person you'd want to leave with—I'll take you out of here with Evan and Cassidy when we go," she continued, "you don't have to stay here anymore if you don't want to, higher ups be damned."

She waited for a reply, but none came. Erica nodded and set a hand on the box.

"Just let me know when you make you decision. It'll always be open for you. I won't take it back. Like I said—you were always family," she said. She put the music box down again, then got up and began to leave.

As Erica crossed the threshold of the Prize Corner, the Puppet lifted up the lid of the prize box ever so slightly and watched her as she walked away.

———————————

The three Toy animatronics had sequestered themselves backstage, trying to hide from Erica to not hear more about how bad of a band they were nor to think more about how badly their plan to get the Puppet to talk to her on their behalf had played out. The former was working out well, but the latter was not. In fact, it was all the three of them could think about as they sat at their dressing tables in shameful contemplation, not looking at each other or their own reflections as they sat in silent, self imposed time-outs.

Every once in a while, one would open their mouth to speak, but then shut it again. What was there to say? They messed up. Erica was right—they weren't cohesive as a band, they didn't have original material, they weren't ready and it wasn't going to work. And everything that happened with the Puppet was a bad idea that was entirely their faults. They were the ones that set up the whole royal fiasco, so it was their faults it went so sideways.

Toy Freddy was the one to finally speak.

"We should at least do something to make them feel better," he said. Toy Bonnie nodded as Toy Chica stared ahead at her station in thought before her eye caught on the drawings from kids taped up on the mirror in front of her. Thoughts lit up in her head like the bulbs above them on the wall.

"Well," she started, "what's the best way we know how to make someone happy?"

Toy Freddy and Toy Bonnie considered it for a moment, then Toy Bonnie's ears perked up.

"Birthday parties?" he asked. Toy Chica smiled at him as he kept thinking. "And I don't think we've ever thrown one for them!"

"But..." Toy Freddy shook his head, "...everyone deserves a birthday party."

"Then that settles it, boys." Toy Chica stood up from her dressing table. "Let's throw a birthday party!"

———————————

The Puppet was curled up in their prize box, knees tucked to their chest in the darkness as they listened to the quiet twinkling notes of the music box outside trickle in. They were still considering Erica's offer, wishing it could've been offered by anyone else—or at least, by the one person they wanted it to be from.

But still, the fact it was finally offered at all...

As they tightened their hug on their legs, the lid of the box was slowly pushed back. They glanced up, brow furrowed.

"What?" they whispered. Erica would not have been dumb enough to poke the bear again and Balloon Boy was too short to get up onto any of the prize tiers to open the prize box to try and check on them. The only reasonable guess would have been Fredbear, but even then he would have knocked or said something first before opening it up.

The Puppet lifted themselves up and poked their head out of the box. "Who are you and what do you...?"

They weren't in the Prize Corner anymore, but instead the Birthday Room, walls all warm reds and covered in patterns of the muted versions of the colors of the Toy animatronics. Streamers hung from the ceiling and balloons bobbed between them amidst the dim lighting.

The Puppet stood up taller, taking it in with a bemused smile. Apparently they had grown so used to being transported in their box from the Prize Corner to the Birthday Room for parties they hadn't noticed the shift happening, and the fact the music box was brought along with them made the trip even less obvious.

Suddenly, but gently, a new crown was set on the Puppet's head by Toy Bonnie that they, at first, tried to shrink away from. But, when they noticed Toy Freddy laying their cloak across their shoulders, pinning it under their chin with the star side up just like the Puppet did for all the birthday kids, they stopped fighting it, instead stood in a moment of stunned quiet.

Then a shimmer caught the Puppet's attention as Toy Chica approached, carrying in both hands as careful as she could a well meaning but hastily made birthday cake. The frosting was uneven, the decorations lopsided, the sprinkles overused in some parts and sparse in others, even the candles were crooked—only the lettering was legible (clearly that and the base cake were the parts done by Toy Chica herself, if the Puppet had to guess; the boys did the rest.) Still, she approached with as much earnestness as she ever would with any kid at the restaurant, warm smiles and all. Besides her, Toy Bonnie and Toy Freddy had gathered, and alongside them, the Puppet now saw Mangle, Balloon Boy, and Fredbear all join, wearing party hats like the rest of them before the group began to sing 'Happy Birthday.'

"You guys didn't have to do this," the Puppet said, then shook their head, "it's not even my actual birthday."

"Who cares? Let's let it be today," Mangle said. The Puppet laughed.

"You gotta make a wish, Charlie," Fredbear said, "can't have cake if you don't."

The Puppet considered it for a moment, then took a deep breath and blew out the candles. Everyone cheered, and the Puppet's smile grew wider.

———————————

Erica listened to the phone ring as she held the receiver tight to her ear. She rubbed her forehead as her heel bounced against her office floor as she sat hunched over at her desk.

"Come on," she grumbled as the call continued to not connect, "I know you're still awake."

"You know exactly who you reached if you called this number—" the voicemail started, making Erica groan, "—and I didn't pick up for a reason. Don't leave a message, I won't listen to it."

"Henry you suck, call me back," Erica snapped before she slammed the phone down and fell back in her chair to stare up at the ceiling. She took a deep breath and shut her eyes, trying hard to resist the urge to throw something across the room even if it was the middle of the night and there was only a couple guards around. It wasn't a lot of people to look unprofessional around, but she didn't want to start getting back into the old habits she had had to break herself out of from back when she and William were still working together.

She dug the heels of her hands into her eyes. She should have left him long before she actually did. (Maybe one of her kids would have ended up normal at the least if she did. The only thing she could say for them now was that one of them was alive, and Michael challenged that everyday.)

There was a quiet knock at her door and she pulled her hands back from her eyes, glancing over to it, expecting to see Fredbear standing there to check on her like he tended to when he could tell she was upset (he had some kind of sense for it.) Yet, that's not who stood there.

"Hey," the Puppet said.

Erica blinked. "Hey."

The Puppet tugged their head down the hallway. "The Toys are throwing me a birthday party."

She paused, then nodded. "Oh, that's nice of them."

"You're not gonna come?"

Erica cocked her head. "You want me there?"

"I mean," the Puppet started, "everyone I care about is supposed to be there."

There was a moment of pause, then Erica smiled. "Okay."

The Puppet smiled back as she got up to walk with them back to the Birthday Room. "Cool."

[thesandsofelsweyr]

What is the 'wild card' option do?

from Headcanon Game - A to Z (NSFW)

It means I get to share a sexy headcanon of my choosing, so of course it's gonna be scar related 😎

(This is not the aforementioned scar headcanon post. Still working on that one.)

⚠️ cw: here be more angst than smut 😅, torture mentions

W = Wild Card (Get a random headcanon for the character of your choice)

Scars: he’s covered in them—from his scalp to the soles of his feet. Joker made use of nearly every square inch of flesh available on his “canvas” for his “artwork” 😞 Jay doesn’t want them seen: by himself, by others, by you especially. He feels like anyone can read his entire humiliating history from his scars, because all he sees are flashing advertisements for his many failures, for his cowardice, for his weakness. So he wears hats and hoodies, long sleeves, pants, and even gloves year-round (sexy driving gloves in the warmer months 😎). He’ll let you tug down his pants and boxer briefs to his thighs, but that’s as much of his ruined flesh as he wants showing, especially since he’s already feeling emotionally vulnerable when you two are intimate.

Touching his scars brings up a knotted tangle of emotions in him. They’re ultra sensitive. Not physically, per se, but the sensation reminds him that they’re there, reminds him of what happened to him. He remembers all of the times he “let” Joker touch him… how the man would trace the ridges of scar tissue almost tenderly, admiring his masterpiece, his plaything, his boy toy… His… and that godawful feeling makes him want to puke. But then you touch them—the crude mockery of the Robin logo carved into his breast, the puckered “HAHAHA” cut into his stomach, the Clown’s laugh permanently imprinted into his flesh—you trace them gently, absently with your fingertip while you rest your head on his shoulder in bed, and he can’t help but feel as though you’re reclaiming them and him from the Clown.

You place a soft kiss on his brand, and immediately that red hot iron is sinking into his cheek again—he can feel the Clown’s cruel fingers twisted into his matted hair, yanking back his head, can hear his wail of agony echoing off the walls of his torture chamber, can smell his flesh as it cooks, can taste the salt of his tears pouring down his permanently disfigured face—but then it’s your fingers combing through his hair, your soothing voice reminding him you want him, love him even, it's the scent of your perfume filling his nose, the taste of you lingering on his lips…

Over time you carve out much of the hatred, the pain, the blackness left by the Clown, and fill that hollowed out shell back up with your love, your loyalty, your light… and he trusts that you see more than the scars that litter his naked body… that you don’t see him as a coward or a failure, that you’ll never abandon him like the others he thought had loved him, that you don’t care about his past mistakes, only his future. With you 💕

(A/N: GOD, I could talk about his scars all day long, hehe. I love that he finds them disgusting, while all of us find them sexy as hell 😋)

[yellowjacketsfashion]

HOW TO MAKE MISTY’S EQUIPMENT MANAGER JACKET (Part 1):

Supplies:

* Gold/Navy Windbreaker

* Printer

* Cardstock

* Colorfast White Fabric Sheets (these work for Inkjet printers but you can use any other fabric sheets that work in your printer).

* Heat ‘n Bond

* Black Fabric Paint

* Thin Paint brush

* Exacto Knife/Box Cutter

* Clear packing Tape/ Scotch Tape

Optional:

* White Thread

* Needle

Step 1: Aquire your jacket.

It’s supposed to resemble the jacket Misty wears so you can either try to find one on your own or look at the close matches I found for the coat Here. I bought mine off eBay but if wanted to you could probably sew one or buy one brand new etc. It is important to do this first because everything else builds off of this step.

Step 2: Size Patch Designs.

You can use the photos I provided below or your own but you’ll need to paste them into a word document. From there you can size them up or down to reach the size that you like for printing.

Depending on the size of your jacket your patches can be bigger or smaller, but once you’re happy with the sizing you can then move onto the next step.

Step 3: Print Patch designs

The “Equipment Manager” design is to be printed on cardstock to make the stencil sturdy. If you had to you could also print it on normal paper but you’d have to be more careful with it and it might not work as well.

The Yellowjackets logo is to be printed on the fabric sheet because it will be turned into the patch. Follow the instructions on the fabric sheet container to make sure you print it right.

I found it helpful to make a mark on a regular sheet of paper before I printed it so that I could see which side the design gets printed on as that’s very important to know for when you put the fabric sheet in the cassette.

Step 4: The Equipment Manager Patch

* Once you’ve picked the size of patch you like best coat the front and back of the design in clear packing or scotch tape. This step is important so that the paint doesn’t seep into the paper and potentially create unwanted smudges on the jacket.

* Once you have the tape in place you can cut out the letters with an exacto knife (I didn’t have one so I used a box cutter but either one works fine). For letters containing holes (e,p,a,g, etc) you could either leave a little strip to hold the holes onto the outside of the stencil (which you’d have to paint in after the rest is painted) or just remove them entirely and free hand the inside lines of the letters.

(Also it’s a good idea to cut this on something that is thick so you won’t cut through the surface you’re working on. I used a sewing mat but thick cardboard can work too).

* Once finished it should look something like this:

* Before you paint the design on it’s a good idea to put the coat on to determine where you want the design. I based the position of mine on where the words were in relation to Misty’s collar so the letters are in a similar spot.

* From here you are ready to paint the design onto the coat using the stencil. Make sure you push the stencil down when painting otherwise paint can get underneath it and mess up the design.

Also, don’t move the stencil around when painting (I taped mine down to combat this), keep it in one place and don’t lift it up until you’ve finished.

Something else to keep in mind is not to gob the paint on near the edges because it can smear underneath (especially if you don’t have the stencil pushed down enough).

* Once you’ve finished painting the design, let it dry down before you remove the stencil so you don’t smudge the paint.

* Once the stencil is removed you can go in and clean up the edges of the design. The lines won’t be super sharp and you may have some small smudges so you may need go in and fill it in to make it look nicer. I found a small brush very useful for this step.

Before:

After:

(if you’ve got the black paint in spots you can’t fill in you might want to get a yellow fabric paint that matches the jacket to paint over it).

* You’ve now finished this side of the jacket!

In the next part I’ll be using the heat n bond to attach the Yellowjackets logo patch to the jacket (an possibly using thread to seal the edges of the patch but I’ll have to see if I can get it done). If you’re doing this for Halloween and I don’t get the second part out before then you can look at my Letterman Jacket post for essentially a tutorial on how to use the heat n bond for patches.

If you have any questions about my process feel free to ask! I’ll work on getting the next part out soon!

[diabolus1exmachina]

Ferrari F40 LM Barchetta (the F40 that Ferrari Says Doesn’t Exist). 

There’s an F40 that isn’t regarded as a Ferrari by Ferrari themselves! Its name: LM Barchetta. 

The Ferrai F40 was the last car developed under the supervision of Il Commendatore Enzo Ferrari, before he passed away. It was a tough, barely road-legal race car with a 2.9-litre twin-turbo V8, producing 478bhp (and said to offer much more). Coupled with a composite central structure, tubular space frames, and lightweight composite bodywork, it propelled the car to 201 mph (323 kph). The F40's biggest claim to fame was being the first production car to break the 200 mph barrier. The car was stripped of any unnecessary luxury features: no radio, no floor mats, no air conditioning, even the door was opened by pulling on an exposed wire in the door instead of chunky handle and lever construction and therefore much heavier. They are usually found in automobiles. As a result of this dedication to the car's performance, it looks rather rough around the edges in places.

Enzo Ferrari had always seen his road cars as a way to fund his racing programmes and, of course, the F40 was no exception. Ferrari enlisted the help of Michelotto, a long-term Ferrari race car builder, to make the F40 eligible for the IMSA GT Series in the US. Michelotto extensively rebuilt the F40 and turned them into the F40 LM. The chassis was changed, the suspension was changed, the bodywork was altered and the engine was tuned. The final result was 720bhp, a huge increase in power compared to the road-going F40. Top speed increased from the original 201mph (323kph) to an astonishing 229mph (369kph). To make the car run in other series as well, it was changed to the F40 GT, the F40 GTE and the F40 Competizione, although changes were limited to restrictions in safety and power output only, depending on regulations.

The car was bought by Jean ’Beurlys’ Blaton, a Belgian billionaire with a passion for cars. Not satisfied with a one-of-nineteen car, an ‘ordinary’ car that any fellow billionaire could purchase, Blaton wanted his car to be unique. In theory at least.The roof was cut off, the bodywork was altered again, a competition windshield was installed, the engine’s restrictor was removed, the exhaust was rerouted to exit on the side, a roll-cage was installed and the chassis was upgraded with F1-style pushrod suspension. Oh, and the car was painted yellow, the official historic racing colour for Belgium. 

One of the things you might notice when you go over images of all these F40s is that where other cars had “F40” stamped into one of the uprights of the massive rear wing, this one doesn’t. It has no Ferrari badge either, per order of the Italian manufacturer. The brand is so protective of its cars that changes of this magnitude disqualify them as a Ferrari product. So, occasionally, a cease-and-desist order is sent out to remove all prancing horse badges, Ferrari logos and trim from the car(s) in question. And thus the car is scrapped from the company’s archives and “lost”, even though most of its history is known.

[saintmeghanmarkle]

Licence to shill by u/Mickleborough

Licence to shill We know that Meghan’s trying to trademark American Riveting Offerings for what looks like all products known to humankind.We also know that she tried to excite interest by sending numbered pots of strawberry jam, nestled in lemons (because we all associate lemons with strawberry jam), accompanied by deceased white flowers:Maybe the flowers committed suicide.The world’s awaiting, with bated breath, for Meghan to launch product - any product. It’s speculated about what she’ll make, how she’ll do this, what’s going to cost.Possibly the answer lies in this incidental headline from the Daily Mail archived / unarchived:In other words - the dream’s that Netflix steps in to do what it’s not been set up to do.Basically:The difficulty of finding a CEO sounds like an excuse This led me to thinking: Perhaps the plan’s not for Sussexes to make, distribute, and sell ARO products. Rather, it’d be simpler and less riskier to licence the name and retain some quality control. It’s also far less work - and we know how much that’d appeal to Meghan.That is, other companies will pay Sussexes for the right to put the ARO name and logo on jam, yoga mats, stationery, and whatever rubbish she’s trying to trademark. Then they bear the costs - and risks - of manufacturing and distribution.The (cough) suspense surrounding the release of the jam was to create buzz, which would translate into demand, which in turn would attract manufacturers.One of the most successful licensors was the French designer Pierre Cardin. At its height, he had some 1,000 licenses, and an estimated income in 1986 of £7.8 million / $10 million / €9.25 million; died in 2020 with a fortune of £630 million / $800 million / €740 million. This indiscrimate licensing led to a cheapening of the name, but at that point, money probably made up for it.This is why I think it unlikely that Sussexes will put up their own money to make, distribute, and sell ARO garbage. They’d let Kraft Foods or whoever use their name and have the headache of flogging the crap, and just sit back and collect royalties. Even though their name isn’t marketable like Cardin’s was.Looking forward to the release of the first ARO branded whatever! We should all live so long. post link: https://ift.tt/I87njZP author: Mickleborough submitted: May 23, 2024 at 11:53PM via SaintMeghanMarkle on Reddit disclaimer: all views + opinions expressed by the author of this post, as well as any comments and reblogs, are solely the author's own; they do not necessarily reflect the views of the administrator of this Tumblr blog. For entertainment only.

[briancampbell0706]

Why Logo Mats Are Essential for Enhancing Your Brand’s Image ?

In the realm of branding and marketing, every detail counts. One often underestimated yet impactful element is the logo mat. Whether you’re running a bustling retail store, a professional office, or a high-traffic commercial space, incorporating logo mats into your establishment can significantly enhance your brand’s image. These versatile and functional items are more than just practical additions — they’re a strategic investment in your brand’s identity and customer perception.

1. First Impressions Matter

The entrance to your business is the first interaction potential customers have with your brand. A well-designed logo doormat sets a welcoming tone and creates a positive initial impression. Logo welcome mats are the first thing customers encounter, so making them visually appealing and representative of your brand can greatly impact their perception. A clean, eye-catching mat featuring your brand’s logo can instantly convey professionalism and attention to detail, ensuring that visitors start their experience on a high note.

2. Reinforce Brand Identity

Consistency in branding is crucial for establishing and maintaining a strong brand identity. Using branded logo mats in your business space reinforces your brand’s presence and messaging. Corporate logo mats and business logo mats serve as subtle yet constant reminders of your brand. Whether strategically placed at entrances, reception areas, or other high-visibility locations, these mats help to keep your brand at the forefront of customers’ minds.

Customizing company logo mats allows you to incorporate your specific brand colors, logos, and messaging. This customization ensures that every aspect of your business environment aligns with your brand’s identity, contributing to a cohesive and professional appearance. By integrating logo floor mats into various areas of your business, you enhance brand recognition and make a memorable impression on both new and returning customers.

3. Enhance Customer Experience

Beyond branding, commercial logo mats offer practical benefits that contribute to a positive customer experience. They help keep floors clean and safe, reducing the risk of slips and falls. In high-traffic areas, a well-maintained logo mat can capture dirt and moisture, ensuring that your business environment remains clean and inviting. This combination of functionality and branding makes custom logo mats a valuable addition to any business.

Additionally, a well-placed logo doormat can create a cohesive and organized look, contributing to an overall positive atmosphere. Customers are more likely to feel comfortable and valued in a space that is clean, organized, and reflective of a professional brand image.

4. Promote Your Business

Using logo mats as a branding tool can also serve as an effective promotional strategy. Branded logo mats can be designed to include promotional messages, special offers, or upcoming events. By strategically placing these mats in high-traffic areas, you can attract attention and drive customer engagement. For instance, a custom logo mat at the entrance of a retail store could promote a current sale or new product line, turning a simple mat into a powerful marketing tool.

5. Durability and Cost-Effectiveness

Investing in high-quality commercial logo mats is not only about enhancing brand image but also about ensuring durability and cost-effectiveness. These mats are designed to withstand heavy foot traffic and various environmental conditions, making them a practical choice for both indoor and outdoor use. While they may require an initial investment, their durability ensures that you get long-term value, reducing the need for frequent replacements.

6. Customization Options

One of the significant advantages of custom logo mats is the wide range of customization options available. From choosing the material and size to selecting colors and design elements, you can create a mat that perfectly aligns with your brand’s identity. Whether you prefer a sleek, modern design or a more traditional look, customization ensures that your mat reflects your business’s unique character.

For businesses looking to make a statement, logo doormats and logo floor mats provide an opportunity to showcase creativity and brand personality. With options for various styles and finishes, you can choose a mat that enhances your brand’s image and complements your overall design aesthetic.

7. Increase Visibility

In a busy commercial environment, visibility is key. Branded logo mats positioned at strategic locations, such as entrances, lobbies, and waiting areas, increase your brand’s visibility and ensure that your logo is seen by every visitor. This consistent exposure helps reinforce your brand’s identity and makes a lasting impression on customers.

Conclusion

Incorporating logo mats into your business strategy is a smart move for enhancing your brand’s image. From making a positive first impression to reinforcing brand identity and promoting your business, these mats offer numerous benefits that go beyond their practical uses. By investing in custom logo mats, company logo mats, and logo floor mats, you create a professional and welcoming environment that reflects your brand’s values and makes a memorable impact on your customers.

In the competitive landscape of today’s market, every detail matters. Don’t overlook the potential of logo mats as a powerful tool for brand enhancement. Invest in high-quality branded logo mats and watch as they elevate your business’s image, contribute to a positive customer experience, and reinforce your brand’s presence in the minds of your customers.

[rat-boots]

Hi I'm brand new to bob hund could u please infodump information to me about them bc I'm loving the music but know nothing about them

ohhohoho let's freaking go!

all right, so bob hund was formed in 1991 in stockholm by Thomas Öberg (vocals), Jonas Jonasson (synth) and Mats Hellquist (bass). A bit after that Conny Nimmersjö (guitar) joined the band because he had a rehearsal space (they even made him audition in that rehearsal space). Their other guitarist Johnny Essing joined the band because he owed Mats Hellquist 100 kr (which is like $10). They had a bit of difficulty finding a drummer at first but eventually found a guy named Mats Andersson

Thomas and Jonas went to school toghether in helsingborg before they moved to stockholm

They got the name bob hund from an animated short film called get a job (1985)

Their logo was drawn by Martin Kann, who is also the guy who designs all of their album covers

Blur's guitarist Graham Coxon is (or at least was) a huge fan of bob hund and he did a cover of the song min trampolin

In 2003 they released a self titled album in english under the name bergman rock. That album took several years to make and flopped commercially. In 2005 they released a second album as bergman rock called Bonjour Baberia pt II (both albums are very good i highly recommend them)

In 2009 bob hund gets a new drummer, Christian Gabel, to replace Mats Andersson who is now a passive member of the band

in 2013 they sold their instruments and played shows by borrowing instruments from their fans which somehow resultet in them performing at the malmö opera with the opera orchestra in 2014 (the recording of that performance can be found on their youtube channel under the name 'och bob hund dör i slutet')

in 2021 they did a musical where they are ghosts trying to stop a band called bob katt from breaking up (it's really good but there's unfortunately no recordings of it online) and from late 2022 to about mid 2023 they did some more theater with the show Den overkliga sanningen om bob hund, which is kind of an on stage argument about the band's history (no full recording of this either but there are a few short clips of it on youtube)

[gufettodue]

Sweater

He calls himself stupid once, twice, fifty times but the instinct is too strong: he takes the sweater. Then he promptly curses himself, marches back into the away dressing room and puts it back. He can’t. He’s not a thief. He’s just dealing badly with..well, life really. He never thought abandonment issues or heartbreak would come in the form of a national squad list but hey, first time for everything. Maybe it's a pile on effect, first failing to compete with Dortmund, then Robert, now…

How the fuck does Reus do it? - Thomas asks himself. Then he sighs. Marco would probably take the sweater. Call it his due for the world leaving him behind. Only, Thomas is not the one being left behind. He is the one going. Scheiße. He goes back and takes the sweater.

_

The shit thing about international tournaments is that you never know how long you will be away for. A week, a month, a single match? Is the weight in your chest going to lift if you win it all? 

Thomas wears the sweater to the last Bayern training - not while actually training, just on his way to the session. The fabric is soft and worn, cozy in the way only beloved clothes can be. It smells like the pine shampoo Thomas has known for a lifetime, its too long sleeves falling down on his hands where they grip the steering wheel.

He is pining, ok? Which isn't a joke on the pine shampoo. It's a statement of truth and one Thomas has realized maybe a bit too late. He wonders if the theft of the sweater has been noticed already or at all. Maybe he could get away with it: not having to explain he woke up one day and realized he's an idiot and he's been in love for 20 years or so.

_

The sweater gets packed into his suitcase then gets moved out of his suitcase and into his carry on and then somehow ends up on his person. The flight to Qatar is 10 hours long and the plane is cold, that's the only reason why. He can get away with it, he thinks. The sweater is plain, no logos or brands, nothing that would give away it doesn't belong to a Bayern player. Sure it's black and way too big but it's not bright yellow and he can always say he nicked it from Manu if somebody asks. He snuggles into it on the plane, warm and comfortable. It’s not the same as getting a hug but it’s the closest he’s going to get now, a continent and a sea away.  

_

To others, what he is doing would be cruel. Maybe it is. Thomas is not cruel, he is just an idiot. It’s Marco Reus who opens the door on the second ring, looking about as good as Thomas is feeling. Which is shit. Thomas would have taken him to Qatar over Mario but he can't quite say that and not make it worse so he shuts up. 

"Well" - Marco says as a greeting  - "That was a shitshow of a World Cup."

"At least you didn't miss much?" - Thomas says because even at 34 it’s too much of an ask for him to have mastered the art of not completely putting his foot in his mouth. If Marco punches him, it would be fair.  Instead Marco cheers him with his mug of coffee and yells up the stairs "Mats, it's for you!" before disappearing back inside the house, leaving Thomas to deal with himself.

Thomas is not cruel but he is an idiot. The kindness grates on him, scrapes him raw just that tiny bit more as to make it insufferable, like a carpet burn or a nettle sting. It picks at the scab of something unresolved, darkly jealous and selfish, because Mats is here, Mats didn’t stay. It twists guilt at the bottom of Thomas’ stomach - how can he reproach Marco anything? Thomas is the one who has run here like a child with a broken toy after just one international setback when Marco doesn’t have enough toes and fingers to count the times the Universe hated him.

But Thomas has wound himself tight, so tight, it’s really not about football anymore, it’s…

“Mull?” - Mats asks, shaking him softly. Thomas looks up at him and feels himself wobble. He’s wearing sweatpants and a pj t-shirt in the December cold, his hair sticking up in unruly curls and he looks concerned, like he’s probably called to Thomas already, which it’s totally possible because Thomas has not even heard him come down the stairs, which…. Mats gives really good hugs. He's shorter than Manu, less soft, and God - not that Thomas is complaining about Manu's hugs, mind you -  but there's something about being able to sink into Mats, to press his forehead against his chest, into a soft t-shirt that smells like pine that just makes him feel at home. He's always joked that Thomas is like a puppy, a ball of energy with nowhere to go, but here in Mats' arms he can finally still. Thomas slips both arms around Mats’ waist and holds on. 

-

Thomas is an idiot but he was blind. First it was Manu, then it was Robert and somehow it all got tangled together and Thomas got lost. Books and songs speak of love like butterflies, fluttering in your belly and upturning your world. But with Mats, it had always been easy, so easy that it had occurred to him only with a 20 years delay that love never needed to be fireworks because it was never meant to explode, it was never meant to burn either of them. It was meant to be the safety of clinging to someone like a koala, the laughs at being dropped on a couch like a sack of potatoes, the thousand kisses it takes to make Mats believe he is not being cruel, he is not going to regret it tomorrow, he is not rebounding from anything. Love was always meant to be the warmth of a well-worn sweater that smells of pine, with the cuffs rolled up so they don’t fall on your hands, and the chance to steal many more, for many years to come.

[thistledropkick]

So Hiromu's All Star Junior Festival was a great show, but one aspect that really stuck out to me was the complete lack of the standard New Japan branding.

New Japan like any promotion has a pretty specific presentation style, most famously their "cerulean blue" mat. But the mat for this show was black, with ジュニア最高 "Juniors are the best" hand-painted on it by the participating wrestlers. The corner pads are also usually NJPW and sponsor-branded on NJPW shows, but these were replaced with plain corner pads for this show. The blue and branded ring aprons and entrance curtains were also replaced with plain black. Even the event's t-shirt lacks any overt NJPW branding - the NJPW logo does appear, second after CMLL, on the back, but only alongside every other participating promotion's logo. The title of and logo for the show also don't include anything about New Japan.

This was such a great way to make the event feel less like a "New Japan, with other visiting wrestlers" show and more like a true festival of Junior Heavyweight wrestling.

And the choice to use both ring announcers and referees, and even some guest commentary, from other promotions throughout the show added to this feeling.

[logomatsireland]

Logomats: Small Mats, Big Branding Impact Introduction: Logo mats may seem like simple floor coverings, but they possess a remarkable ability to make a big branding impact. These mats, often found at entrances to businesses, display a company's logo, name, or unique design. Their influence goes beyond aesthetics:

First Impressions: Logomats welcome visitors with a professional touch, creating a positive first impression. Brand Recognition: They reinforce brand recognition by displaying logos consistently throughout a space. Cleanliness: Logomats help keep interiors clean by trapping dirt and moisture from shoes. Versatility: They can be placed anywhere, from entryways to reception areas, enhancing a brand's visibility. In the world of branding, logo mats are small yet powerful ambassadors, leaving a lasting mark on anyone who enters.

[gregheeres]

Brand new

Growing up a few of my school friends were quite well off. New spiffy clothes, a new car every three years, and frequent fabulous vacations. My mom and dad worked hard and were stewards of their earnings and savings, but we didn’t have these luxuries. We were NOT country club members. We didn’t have a cottage, we didn’t have new golf clubs, but my little sister and I never wanted for anything. We had all we needed, and we had love in our home. 

I remember getting into one of my buddy’s cars in high school and it smelled so amazing. He told me it was the new car smell. It was scrumptious! My dad nor I had ever bought or had a new car, so we had to buy the pine tree shape odorizer to hang inside our vehicles to get anything close to the new car smell. 

The smell of “brand new” is so fresh! 

Why does brand new smell so good? My vehicles can smell like tennis shoes, Burger King french fries, or soggy floor mats at any given time.  

Let me tie this in with your success as a sales leader.

What is your brand? Is it stale? Is it renewed? Do you need to revamp your brand? If we asked 100 people, would they be able to consistently and accurately describe your brand?

Here is a basic business definition of branding: The process of creating a distinct identity for a business in the mind of your target audience and customers. 

There are four governing stages of branding 

Identification—awareness

Meaning—vital differentiating

Feedback—reactions 

Affinity—active loyalty

When I was in charge of marketing, advertising, and branding at one of my companies, I really focused on customer experiences, and not so much on a particular logo or tag line or even what we offered. The experiences not only confirm our brand resonated but also solidified our brand by others who did business with us. 

Branding applies to your business, your sales force, and also to your leadership. Here are a few things I have noticed what happens when branding misses the mark:

Hypocrisy—when what you say and what they feel doesn’t match. 

Failed connection—the audience scratches their head.

You are a jack of all trades—but a master of none.

Here is my sales leadership challenge for you. As we start the new year, I encourage you to revisit your brand. Research your brand effectiveness. Reset your brand, if necessary, or stay the course with your brand. You will have more success in life and business from a brand experience closely aligned to what you say and what out customers experience. 

[haheenad]

Innovative Branding Solutions: Signboards, Stickers, Journals, and Car Mats

In today’s competitive business landscape, unique and creative marketing solutions are essential to capturing attention and fostering brand loyalty. Custom signboards, die-cut stickers, personalized journals, and custom car mats have become invaluable tools for businesses looking to stand out. These creative and functional products cater to different marketing needs, making a brand memorable while blending functionality with aesthetics. Let’s explore how each of these branding solutions—3D signboards, die cut stickers, notebooks and journals in the UAE, and car mat printing in Abu Dhabi—can elevate a business's visibility and reputation.

The Power of 3D Signboards in Modern Marketing 3D signboards have transformed the way brands are visually represented in public spaces, taking traditional signage to an entirely new level. These signboards are more than just signs—they are focal points that catch the eye and captivate viewers, even from a distance. Unlike conventional flat signs, 3D signboards add depth, texture, and personality to a brand, making them instantly more memorable and visually appealing.

The design possibilities with 3D signboards are vast, from illuminated lettering to metallic finishes and various textures. This versatility enables brands to tailor their signage to align with their aesthetics and mission, enhancing brand consistency. For instance, a minimalist tech company might opt for sleek, monochromatic designs, while a vibrant restaurant might go for colorful, playful fonts. These customizations ensure that the 3D signboard reflects the brand’s essence, creating a stronger connection with customers.

Moreover, 3D signboards are incredibly durable and weather-resistant, making them an ideal choice for outdoor advertising in all types of environments. Given the long-lasting nature of these signboards, they also provide great return on investment. Businesses in high-traffic areas benefit tremendously from these eye-catching installations, as they are consistently noticed by pedestrians and potential customers.

Die Cut Stickers: The Versatile Branding Tool Die cut stickers have become a popular tool for businesses aiming to spread brand awareness in a creative and cost-effective manner. These stickers, which are precision-cut to any shape or design, make a brand stand out due to their customizability and portability. From logos and mascots to intricate designs, die-cut stickers can be crafted to meet any branding need.

The portability of die-cut stickers means they can go where traditional advertisements cannot. They are perfect for handouts, event giveaways, and promotional materials, making them a great option for reaching a wide audience. Their small size makes them ideal for placing on laptops, water bottles, notebooks, and other everyday items, allowing brands to remain visible to customers long after they first encounter the sticker.

Businesses can use die-cut stickers in creative ways to engage customers and build brand loyalty. For instance, a company might encourage customers to place their stickers on social media, creating user-generated content that promotes the brand further. With high-quality materials and finishes, die cut stickers maintain their visual appeal and integrity, even with daily use. They are also a sustainable option, with many companies opting for eco-friendly materials that resonate well with environmentally conscious consumers.

Customized Notebooks and Journals: A Practical Yet Personal Touch The demand for personalized stationery has surged, and Notebook & Journal UAE have become a popular choice for both personal and corporate gifting. Custom notebooks and journals are not just functional; they serve as personal items that people use daily. This daily interaction with a brand's logo or message creates a deeper level of engagement, making these items a valuable tool for long-term branding.

Whether given as corporate gifts, employee rewards, or event souvenirs, custom notebooks and journals offer a versatile branding solution. These items can be customized with logos, taglines, and other design elements that reflect the brand's identity. Many companies also add motivational quotes, organizational tips, or cultural references that resonate with their audience, adding an extra layer of connection.

Furthermore, notebooks and journals are popular items among the UAE’s business community, as they are widely used for meetings, brainstorming sessions, and personal organization. A thoughtfully designed notebook or journal in the UAE becomes a consistent reminder of the brand, whether used by clients, partners, or employees. The act of writing and journaling is personal, making the branding on these items feel less intrusive and more aligned with daily life.

Car Mat Printing in Abu Dhabi: Branding with Functionality Car Mat Printing Abu Dhabi combines practical utility with innovative branding. Custom car mats are especially effective for companies with fleets or those that cater to clients who use vehicles frequently, such as ride-hailing services, car rentals, and tourism companies. Branded car mats offer an additional opportunity to promote a business in a space that customers are likely to see daily.

With car mat printing, brands can add their logo, colors, and even a message to the car mats, creating a professional and polished look. These mats are designed to be durable, easy to clean, and able to withstand wear and tear, ensuring that the branding remains visible over time. The climate of Abu Dhabi, with its desert environment, often requires car owners to replace mats more frequently. This presents a unique opportunity for brands to market themselves on a product that is both useful and consistently in demand.

Businesses that invest in branded car mats add a layer of professionalism to their vehicle fleet, creating a cohesive and branded environment within their vehicles. For companies in Abu Dhabi’s competitive automotive or tourism sectors, car mat printing in Abu Dhabi can set them apart by enhancing brand recall with each customer interaction.

[adcreativelondon]

Creative and Functional Dog & Cat Food Packaging Design: Enhancing Appeal and Quality

When it comes to our furry friends, pet food packaging is more than just a pretty exterior. It's the first thing pet owners notice on a store shelf, and it plays a vital role in their purchasing decisions. With dogs and cats becoming beloved family members, the demand for high-quality food has skyrocketed. Consequently, effective dog food packaging design and cat food packaging design have become essential components of successful brands. Imagine walking down an aisle filled with colorful bags and cans—each one vying for your attention. What makes you pick up one product over another? It’s not only about what’s inside; it's also about how it looks on the outside. Creative designs can elevate both appeal and perceived quality, while functional elements ensure that the contents remain fresh. This article dives into key elements of effective packaging design that make products stand out while keeping practicality at its core. Let's explore how innovation in materials and technologies is shaping the future of pet food packaging!

Key Elements of Effective Dog & Cat Food Packaging Design

Effective best cat food packaging design starts with clear branding. Logos and colors should resonate with pet owners, creating an emotional connection right from the shelf. Next comes information hierarchy. Key details like nutritional content, ingredients, and feeding guidelines must be easily visible. This transparency builds trust between brands and consumers. Additionally, imagery plays a crucial role. High-quality images of happy pets can evoke feelings of joy and companionship. It’s all about showcasing the benefits pets will experience from consuming the product. Another important element is practicality. Resealable bags or easy-to-open packaging enhance user experience while keeping food fresh longer. Sustainability is increasingly vital for modern consumers. Eco-friendly materials not only appeal to environmentally conscious buyers but also reflect a brand's commitment to quality and responsibility in pet care.

Balancing Functionality and Aesthetics in Pet Food Packaging

Creating pet food packaging that effectively blends functionality with aesthetics is crucial. Consumers are drawn to visually appealing designs, but the packaging must also serve its primary purpose—keeping food fresh and safe. A well-designed package should provide convenience. Resealable options or easy-pour features enhance user experience significantly. Think about how a simple zip-lock can make feeding time easier for busy pet owners. On the aesthetic side, colors and graphics play a major role in attracting attention on store shelves. Bold visuals can communicate quality while evoking emotions related to pets’ health and happiness. Balancing these elements requires thoughtful consideration of both materials and design principles. Engaging artwork combined with practical features creates an irresistible product that resonates with consumers looking for premium dog food packaging design or cat food packaging design.

Innovative Materials and Technologies for Pet Food Packaging

The world of pet food packaging is rapidly evolving, driven by the need for sustainability and enhanced consumer experience. Brands are increasingly opting for eco-friendly materials that not only appeal to environmentally-conscious consumers but also ensure the freshness and safety of their products. Biodegradable plastics, compostable films, and recyclable containers are just a few innovations making waves in dog food packaging design and cat food packaging design. Moreover, technological advancements like vacuum-sealing techniques help keep pet food fresh longer while preventing spoilage. Smart packaging featuring QR codes or NFC tags can provide pet owners with detailed product information at their fingertips. This transparency builds trust between brands and consumers. Designers are now integrating these materials with eye-catching aesthetics that draw attention on store shelves. Bright colors, playful graphics, and engaging typography create an emotional connection with buyers right from first glance. As the market continues to grow, staying ahead means embracing creativity alongside functionality in every aspect of  best cat food packaging design. The possibilities seem endless as both innovation and responsible practices come together to elevate how we present our beloved pets’ meals.

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