#formation e-marketing

[omnischool]

[digitalrhetoricpune]

Shopping Ads vs. Search Ads: Which Is Right for Your Business?

Understanding Shopping Ads and Search Ads

Shopping Ads

Google Shopping Ads are specifically designed for e-commerce businesses. These ads showcase product images, prices, and other essential details directly on the search engine results page (SERP). They allow potential customers to view and compare products at a glance, making them ideal for driving e-commerce advertising strategies in 2024.

Search Ads

Search Ads, on the other hand, are text-based advertisements that appear on the SERP when users search for specific keywords. They’re highly versatile and can be tailored for various goals, including Search Ads for lead generation and driving website traffic. These ads work well for service-based businesses or when targeting specific user intents.

Key Differences Between Shopping Ads and Search Ads

Criteria Shopping Ads Search Ads Format Visual (images, price, product info)Text-based (headline, description)Purpose Showcase products, drive online sales Drive leads, website traffic Best For E-commerce businesses Service providers, lead-focused goals Placement Google Shopping Tab, SERP, Display Network SERP (top and bottom)Ad Management Requires product feed integration Keyword and bid management

Benefits of Shopping Ads

High Visual Appeal: Shopping Ads display images, making them eye-catching and ideal for showcasing product details.

Higher Purchase Intent: These ads target users actively searching for products, increasing conversion rates.

Product Comparisons: Users can compare products from multiple vendors, enhancing transparency.

Detailed Analytics: Track performance metrics like impressions, clicks, and sales for individual products.

For businesses focused on e-commerce, Google Shopping Ads benefits include better visibility, higher CTRs (Click-Through Rates), and improved ROI (Return on Investment).

Benefits of Search Ads

Flexibility: Ideal for any industry, these ads can target users at any stage of the buyer’s journey.

Customization: Tailor ad copy, landing pages, and bidding strategies for maximum impact.

Lead Generation: Search Ads for lead generation are highly effective, especially for service-based businesses looking to capture contact details.

Cost Control: Precise budget management and keyword targeting keep campaigns within budget while driving results.

Choosing the Right Ad Format for Your Business

When to Choose Shopping Ads:

You Sell Physical Products: Shopping Ads work best for retailers and e-commerce platforms.

You Want High-Intent Buyers: Users clicking on Shopping Ads are usually ready to purchase.

You Have a Product Catalog: If you manage an online store with a wide range of products, Shopping Ads offer excellent scalability.

When to Choose Search Ads:

You Offer Services: Service providers can use Search Ads to target specific queries related to their offerings.

You’re Focused on Leads: For businesses seeking inquiries, consultations, or registrations, Search Ads excel.

You Want Brand Awareness: Keyword targeting in Search Ads helps reach users in the awareness phase.

E-commerce Advertising Strategies for 2024

Leverage Both Formats: Use Shopping Ads to target high-intent buyers and Search Ads to attract broader audiences.

Optimize Product Feeds: For Shopping Ads, ensure your product data is accurate and includes relevant keywords like “Optimize Amazon search terms” or “Amazon SEO for A10 algorithm.”

Focus on Mobile Users: Design ads and landing pages that perform well on mobile devices.

Experiment with Bidding Strategies: Test automated bidding for Shopping Ads and manual bidding for Search Ads to find the perfect balance.

Retarget with Precision: Use remarketing techniques to re-engage users who interacted with your ads.

Final Thoughts

The choice between Shopping Ads and Search Ads depends on your business model, goals, and target audience. E-commerce businesses can benefit significantly from the visual appeal of Shopping Ads, while service-based businesses may find Search Ads more effective for lead generation.

[prosegalaxy]

The haunting whisper of an ancient past, A spirit born from shadows cast. In shadows of the moonlit night, A talent hidden from mortal sight. In distant lands and distant time, The echoes of a long-forgotten rhyme. A gift unveiled in eerie grace, Of weaving words, of haunting space. The whispers grow, they fill the air, As secrets of the past become clear. An ability revealed, so rare, In tapestry of history, they weave a tale so grand and rare.

[kachmedcom]

Supports de formation complets et conformes aux référentiels RNCP et RS

Supports de formation complets et conformes aux référentiels RNCP et RS

En tant que formateur, vous avez besoin de supports de formation complets et conformes aux référentiels RNCP et RS. Ces référentiels définissent les compétences et les connaissances que les stagiaires doivent acquérir au cours de la formation.

Nos supports de formation répondent à ces exigences. Ils sont conçus par des experts pédagogiques et sont régulièrement mis à jour pour garantir leur conformité aux dernières évolutions des référentiels.

Les avantages de nos supports de formation:

Complets: Nos supports de formation couvrent l'ensemble des compétences et des connaissances requises par les référentiels RNCP et RS. Ils comprennent des contenus théoriques, des exercices pratiques et des évaluations.

Conformes: Nos supports de formation sont conformes aux dernières évolutions des référentiels RNCP et RS. Ils sont régulièrement mis à jour pour garantir leur pertinence.

Professionnels: Nos supports de formation sont conçus par des experts pédagogiques. Ils sont adaptés aux besoins des formateurs et des stagiaires.

Les bénéfices pour les formateurs:

Gain de temps: Nos supports de formation vous font gagner du temps dans la préparation de vos formations. Vous n'avez plus besoin de créer vos propres supports, ce qui vous permet de vous concentrer sur l'animation de la formation.

Qualité pédagogique: Nos supports de formation garantissent une qualité pédagogique optimale. Ils sont conçus pour favoriser l'apprentissage des stagiaires.

Satisfaction des stagiaires: Nos supports de formation contribuent à la satisfaction des stagiaires. Ils leur permettent d'acquérir les compétences et les connaissances requises.

Découvrez nos supports de formation

[digitechmediaa-blog]

Delve into Twitter's exploration of new monetization models and its efforts to enhance its advertising platform, uncovering strategies for increased revenue and a sustainable future.

[argentsurleweb]

Pourquoi créer un tunnel de vente avec Learnybox

Maximisez Vos Ventes en Ligne : Les Avantages Incontestables d’un Tunnel de Vente avec LearnyBox. Dans le monde en constante évolution du commerce en ligne, les entrepreneurs recherchent continuellement des moyens de stimuler leurs ventes et d’accroître leur chiffre d’affaires. C’est là que les tunnels de vente entrent en jeu, et lorsqu’il s’agit de créer des tunnels de vente performants,…

[merciecommerce]

Créez Votre Avenir Commercial avec Formation E-Commerce Lyon!

Découvrez les clés du succès dans le monde du commerce en ligne avec Formation E-Commerce Lyon. Notre programme complet et innovant vous guidera à travers les stratégies, les outils et les tendances les plus récentes de l'e-commerce.

[wheelsgoroundincircles]

Dodge Challenger T/A

Dodge Challenger T/A

Dodge Challenger T/A

The Trans American Sedan Championship came around in 1966, and it was mostly a Ford-Chevrolet turf war in its first five seasons, with no real competition from other manufacturers. The Z/28 and the Boss 302 (Camaro and Mustang) were clubbing each other over yonder, and Chrysler only bothered to rejoin the fun in 1970 after running only in the first two years.

1970 was the only year in the original Trans Am format when all pony car brands were represented on the tracks by factory-backed teams, thanks to the late arrival of the Plymouth-Dodge twins, the E-body Barracuda and Challenger. Mother Mopar didn’t impress, though, and the two siblings left the competition at the end of the season.

However, to run in Trans Am, all cars had to abide by the Sports Car Club of America rule, which stated that a minimum of 2,500 vehicles sold to the general public were required for the respective nameplate to be allowed to run on the street circuits. Since it was the only all-new car launched in 1970, the Dodge Challenger was replicated in a most desirable 340-cube Six-Pack form, the single-year Challenger T/A.

Although the rules were crystal clear about the production numbers required to homologate it, the 1970 Dodge Challenger T/A did not make the bar, stopping at 2,399 examples. That’s a rare Mopar, no matter how we look at it, and it usually draws attention, especially when one pops up for sale. But strangely, there’s one example in Utah that seems to fall short of buyer’s interest, given how it’s been on the market for ten weeks, and no one bought it.v

[mostlysignssomeportents]

Proud to be a blockhead

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/12/21/blockheads-r-us/#vocational-awe

This is my last Pluralistic post of the year, and rather than round up my most successful posts of the year, I figured I'd write a little about why it's impossible for me to do that, and why that is by design, and what that says about the arts, monopolies, and creative labor markets.

I started Pluralistic nearly five years ago, and from the outset, I was adamant that I wouldn't measure my success through quantitative measures. The canonical version of Pluralistic – the one that lives at pluralistic.net – has no metrics, no analytics, no logs, and no tracking. I don't know who visits the site. I don't know how many people visit the site. I don't know which posts are most popular, and which ones are the least popular. I can't know any of that.

The other versions of Pluralistic are less ascetic, but only because there's no way for me to turn off some metrics on those channels. The Mailman service that delivers the (tracker-free) email version of Pluralistic necessarily has a system for telling me how many subscribers I have, but I have never looked at that number, and have no intention of doing so. I have turned off notifications when someone signs up for the list, or resigns from it.

The commercial, surveillance-heavy channels for Pluralistic – Tumblr, Twitter – have a lot of metrics, but again, I don't consult them. Medium and Mastodon have some metrics, and again, I just pretend they don't exist.

What do I pay attention to? The qualitative impacts of my writing. Comments. Replies. Emails. Other bloggers who discuss it, or discussions on Metafilter, Slashdot, Reddit and Hacker News. That stuff matters to me a lot because I write for two reasons, which are, in order: to work out my own thinking, and; to influence other peoples' thinking.

Writing is a cognitive prosthesis for me. Working things out on the page helps me work things out in my life. And, of course, working things out on the page helps me work more things out on the page. Writing begets writing:

https://pluralistic.net/2021/05/09/the-memex-method/

Honestly, that is sufficient. Not in the sense that writing, without being read, would make me happy or fulfilled. Being read and being part of a community and a conversation matters a lot to me. But the very act of writing is so important to me that even if no one read me, I would still write.

This is a thing that writers aren't supposed to admit. As I wrote on this blog's fourth anniversary, the most laughably false statement about writing ever uttered is Samuel Johnson's notorious "No man but a blockhead ever wrote but for money":

https://pluralistic.net/2024/02/20/fore/#synthesis

Making art is not an "economically rational" activity. Neither is attempting to persuade other people to your point of view. These activities are not merely intrinsically satisfying, they are also necessary, at least for many of us. The long, stupid fight about copyright that started in the Napster era has rarely acknowledged this, nor has it grappled with the implications of it. On the one hand, you have copyright maximalists who say totally absurd things like, "If you don't pay for art, no one will make art, and art will disappear." This is one of those radioactively false statements whose falsity is so glaring that it can be seen from orbit.

But on the other hand, you know who knows this fact very well? The corporations that pay creative workers. Movie studios, record labels, publishers, games studios: they all know that they are in possession of a workforce that has to make art, and will continue to do so, paycheck or not, until someone pokes their eyes out or breaks their fingers. People make art because it matters to them, and this trait makes workers terribly exploitable. As Fobazi Ettarh writes in her seminal paper on "vocational awe," workers who care about their jobs are at a huge disadvantage in labor markets. Teachers, librarians, nurses, and yes, artists, are all motivated by a sense of mission that often trumps their own self-interest and well-being and their bosses know it:

https://www.inthelibrarywiththeleadpipe.org/2018/vocational-awe/

One of the most important ideas in David Graeber's magisterial book Bullshit Jobs is that the ground state of labor is to do a job that you are proud of and that matters to you, but late-stage capitalist alienation has gotten so grotesque that some people will actually sneer at the idea that, say, teachers should be well compensated: "Why should you get a living wage – isn't the satisfaction of helping children payment enough?"

https://memex.craphound.com/2018/06/20/david-graebers-bullshit-jobs-why-does-the-economy-sustain-jobs-that-no-one-values/

These are the most salient facts of the copyright fight: creativity is a non-economic activity, and this makes creative workers extremely vulnerable to exploitation. People make art because they have to. As Marx was finishing Kapital, he was often stuck working from home, having pawned his trousers so he could keep writing. The fact that artists don't respond rationally to economic incentives doesn't mean they should starve to death. Art – like nursing, teaching and librarianship – is necessary for human thriving.

No, the implication of the economic irrationality of vocational awe is this: the only tool that can secure economic justice for workers who truly can't help but do their jobs is solidarity. Creative workers need to be in solidarity with one another, and with our audiences – and, often, with the other workers at the corporations who bring our work to market. We are all class allies locked in struggle with the owners of both the entertainment companies and the technology companies that sit between us and our audiences (this is the thesis of Rebecca Giblin's and my 2022 book Chokepoint Capitalism):

https://chokepointcapitalism.com/

The idea of artistic solidarity is an old and important one. Victor Hugo, creator of the first copyright treaty – the Berne Convention – wrote movingly about how the point of securing rights for creators wasn't to allow their biological children to exploit their work after their death, but rather, to ensure that the creative successors of artists could build on their forebears' accomplishments. Hugo – like any other artist who has a shred of honesty and has thought about the subject for more than ten seconds – knew that he was part of a creative community and tradition, one composed of readers and writers and critics and publishing workers, and that this was a community and a tradition worth fighting for and protecting.

One of the most important and memorable interviews Rebecca and I did for our book was with Liz Pelly, one of the sharpest critics of Spotify (our chapter about how Spotify steals from musicians is the only part of the audiobook available on Spotify itself – a "Spotify Exclusive"!):

https://open.spotify.com/show/7oLW9ANweI01CVbZUyH4Xg

Pelly has just published a major, important new book about Spotify's ripoffs, called Mood Machine:

https://www.simonandschuster.com/books/Mood-Machine/Liz-Pelly/9781668083505

A long article in Harper's unpacks one of the core mechanics at the heart of Spotify's systematic theft from creative workers: the use of "ghost artists," whose generic music is cheaper than real music, which is why Spotify crams it into their playlists:

https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/

The subject of Ghost Artists has long been shrouded in mystery and ardent – but highly selective – denials from Spotify itself. In her article – which features leaked internal chats from Spotify – Pelly gets to the heart of the matter. Ghost artists are musicians who are recruited by shadowy companies that offer flat fees for composing and performing inoffensive muzak that can fade into the background. This is wholesaled to Spotify, which crams it into wildly popular playlists of music that people put on while they're doing something else ("Deep Focus," "100% Lounge," "Bossa Nova Dinner," "Cocktail Jazz," "Deep Sleep," "Morning Stretch") and might therefore settle for an inferior product.

Spotify calls this "Perfect Fit Music" and it's the pink slime of music, an extruded, musiclike content that plugs a music-shaped hole in your life, without performing the communicative and aesthetic job that real music exists for.

After many dead-end leads with people involved in the musical pink slime industry, Pelly finally locates a musician who's willing to speak anonymously about his work (he asks for anonymity because he relies on the pittances he receives for making pink slime to survive). This jazz musician knows very little about where the music he's commissioned to produce ends up, which is by design. The musical pink slime industry, like all sleaze industries, is shrouded in the secrecy sought by bosses who know that they're running a racket they should be ashamed of.

The anonymous musician composes a stack of compositions on his couch, then goes into a studio for a series of one-take recordings. There's usually a rep from the PFC pink slime industry there, and the rep's feedback is always "play simpler." As the anonymous musician explains:

That’s definitely the thing: nothing that could be even remotely challenging or offensive, really. The goal, for sure, is to be as milquetoast as possible.

This source calls the arrangement "shameful." Another musician Pelly spoke to said "it felt unethical, like some kind of money-laundering scheme." The PFC companies say that these composers and performers are just making music, the way anyone might, and releasing it under pseudonyms in a way that "has been popular across mediums for decades." But Pelly's interview subjects told her that they don't consider their work to be art:

It feels like someone is giving you a prompt or a question, and you’re just answering it, whether it’s actually your conviction or not. Nobody I know would ever go into the studio and record music this way.

Artists who are recruited to make new pink slime are given reference links to existing pink slime and ordered to replicate it as closely as possible. The tracks produced this way that do the best are then fed to the next group of musicians to replicate, and so on. It's the musical equivalent of feeding slaughterhouse sweepings to the next generation of livestock, a version of the gag from Catch 22 where a patient in a body-cast has a catheter bag and an IV drip, and once a day a nurse comes and swaps them around.

Pelly reminds us that Spotify was supposed to be an answer to the painful question of the Napster era: how do we pay musicians for their labor? Spotify was sold as a way to bypass the "gatekeepers": the big three labels who own 70% of all recorded music, whose financial maltreatment of artists was seen as moral justification for file sharing ("Why buy the CD if the musician won't see any of the money from it?").

But the way that Spotify secured rights to all the popular music in the world was by handing over big equity stakes in its business to the Big Three labels, and giving them wildly preferential terms that made it impossible for independent musicians and labels to earn more than homeopathic fractions of a penny for each stream, even as Spotify became the one essential conduit for reaching an audience:

https://pluralistic.net/2021/03/16/wage-theft/#excessive-buyer-power

It turns out that getting fans to pay for music has no necessary connection to getting musicians paid. Vocational awe means that the fact that someone has induced a musician to make music doesn't mean that the musician is getting a fair share of what you pay for music. The same goes for every kind of art, and every field where vocational awe plays a role, from nursing to librarianship.

Chokepoint Capitalism tries very hard to grapple with this conundrum; the second half of the book is a series of detailed, shovel-ready policy prescriptions for labor, contract, and copyright reforms that will immediately and profoundly shift the share of income generated by creative labor from bosses to workers.

Which brings me back to this little publishing enterprise of mine, and the fact that I do it for free, and not only that, give it away under a Creative Commons Attribution license that allows you to share and republish it, for money, if you choose:

https://creativecommons.org/licenses/by/4.0/

I am lucky enough that I make a good living from my writing, but I'm also honest enough with myself to know just how much luck was involved with that fact, and insecure enough to live in a state of constant near-terror about what happens when my luck runs out. I came up in science fiction, and I vividly remember the writers I admired whose careers popped like soap-bubbles when Reagan deregulated the retail sector, precipitating a collapse in the grocery stores and pharmacies where "midlist" mass-market paperbacks were sold by the millions across the country:

https://pluralistic.net/2021/07/04/self-publishing/

These writers – the ones who are still alive – are living proof of the fact that you have to break our fingers to get us to stop writing. Some of them haven't had a mainstream publisher in decades, but they're still writing, and self-publishing, or publishing with small presses, and often they're doing the best work of their careers, and almost no one is seeing it, and they're still doing it.

Because we aren't engaged in economically rational activity. We're doing something essential – essential to us, first and foremost, and essential to the audiences and peers our work reaches and changes and challenges.

Pluralistic is, in part, a way for me too face the fear I wake up with every day, that some day, my luck will run out, as it has for nearly all the writers I've ever admired, and to reassure myself that the writing will go on doing what I need it to do for my psyche and my heart even if – when – my career regresses to the mean.

It's a way for me to reaffirm the solidaristic nature of artistic activity, the connection with other writers and other readers (because I am, of course, an avid, constant reader). Commercial fortunes change. Monopolies lay waste to whole sectors and swallow up the livelihoods of people who believe in what they do like a whale straining tons of plankton through its baleen. But solidarity endures. Solidarietatis longa, vita brevis.

Happy New Year folks. See you in 2025.

[omnischool]

Formation e-commerce Rabat

Formation professionnelle en ligne e-commerce, Cours de commerce sur Internet, Cours de communication digitale en ligne, Formation e-Commerce en ligne, Formation commerce électronique à distance, Cours E-commerce à distance, Prof E-commerce Rabat, Professeur de e-Commerce Rabat  

Cours SEO SEA SMO e-commerce, Apprendre le e-commerce en ligne

Apprendre le e-commerce à distance, Apprendre le e-commerce sur Internet

Cours e-commerce à domicile Rabat.

Online e-commerce professional training, Internet commerce course, Online digital communication course, Online e-Commerce training, Distance e-commerce training, Distance e-commerce course, Professor E-commerce Rabat,

التدريب المهني للتجارة الإلكترونية عبر الإنترنت ، دورة التجارة الإلكترونية ، دورة الاتصال الرقمي عبر الإنترنت ، التدريب على التجارة الإلكترونية عبر الإنترنت ، التدريب على التجارة الإلكترونية عن بعد

[linkablewritingadvice]

How much should it cost to be a writer?

It depends what route you’re taking. If you are planning to go for traditional publishing, which looks like you finishing a manuscript and then querying agents who will then take your book to publishers, you should be paying for basically nothing. One exception would be if you decide to hire an editor to get a pass over your manuscript and/or query package before sending it off, but this is not required.

If you are in the process of trying to get your manuscript traditionally published, you may be approached by a “publisher” offering to publish your manuscript for a fee. THIS IS A SCAM! An author should never be paying for “publishing services.” Anyone asking you to pay for your own printing, marketing, etc. costs is taking advantage of you. These are called vanity publishers and they will not turn you a profit, help you attract readers, or provide you the prestige of being published. 

Always check on Writer Beware - search for the name of the person or company. You can also just google that name along with the word “scam” or “reviews.” In general, don’t let yourself be blinded by dreams, or let yourself be convinced that something is a good idea because you really want it to be true. Never, ever, ever pay a publisher.

If you are going the self-publishing route, you will be paying for certain things, but none of those should be payment to be published. You are the publisher. Uploading your manuscript to Amazon or other marketplaces is free. However, you will be paying for things that a publisher typically pays for. This could include:

-Cover art - you could do this yourself, though this isn't recommended. A good cover is key to a book's success, so budget to purchase a pre-made book cover, or hire a professional cover artist.

To find pre-made book covers, you can just Google "premade book covers," or check one of these sites: BookCoverZone RockingBookCovers Beetiful

And here's a list of places to buy both custom and pre-made cover designs that's a good start. You can also check Reedsy and Etsy for people listing cover design services. If there is a self-pubbed author whose covers you love, try asking them what artist they use.

-Formatting - you could do this yourself using a formatting program like Atticus, or you could hire someone who does professional e-book formatting.

Here's an article on the turbo-DIY route. Here's a list of formatting programs you can use. To hire someone, you can simply search for book formatting services or look at places where people list such services for hire, like Reedsy, Fiverr, or certain Reddit boards.

-Ad campaigns - you may want to pay for ad campaigns on platforms like Meta or Amazon. More niche, author-specific platforms like BookBub, Book Funnel, or Book Sirens also come with certain costs. 

-Author services - you may wish to hire an expert in things like marketing, blurb copy, social media metrics, newsletter management, etc. You can find information on that here.

Be aware that scam publishers might try to pitch themselves as "author services" - you should be paying someone to help you with specific aspects of your self publishing work, NOT paying to be published.

-Software and platforms - whether it's a subscription to Duotrope, a paid Scribophile account, access to pro Canva features, etc. you may decide to pay for tools that you will use to do your work well.

-Expert advice - some people offer courses, books, or other resources on how to do specific things like write a compelling blurb or run an effective ad campaign. You may notice that a lot of the links I shared here will include upsells from people doing exactly this!

Be very cautious about this, as most of these people claim that they make tons of money on their self published books, but really, they make their money selling this stuff to people like you. Always check out a person’s free resources first, and wait to invest in this sort of thing until you have a specific question you need answered or are trying to do a very particular thing that you need granular guidance on. 

One thing you should NOT pay for is a review, feature, or interview. Self-published authors will be approached by a lot of scammers who claim that, for a nominal fee, they will share information about your book to their huge audiences. These are completely useless and a waste of money. Never spend money on this.

Always keep track of what you are spending on all of this. You may be able to deduct it from taxes you pay on your income from writing, and you will want to really understand what your profit margins look like.

[jazzisthebestformofmusic]

Hey good evening

been a follower for 13 years now and going through my blog going through nostalgia . i was about to mass download your archive then i realized you had nsfw works as well deleted. if there's any chance you happen to have the full archive of your works i will be grateful

ill pay for reasonable price lol

I never collected rips of NSFW for anything past comedic effect, a lot of it is a deep dive into underpaid employee/mandated market fetishes. What you don't want to do is go to a something 'e' something 'hentai' .org all the while not using a group tag to reference the individual game companies that have the released ""game"" you're interested in. No matter how bad the quality of the game is those types of archivists will catalogue an entire game for a 10x10p tit.

Quality and availability is mixed. It's easy to identify an automated format rip (bit errors -> wrong palette) or 50% compressed jpg. Normal browsing etiquette and I haven't given my computer anthrax while saving autistic fueled searching of defunct Japanese websites. Without emulation and sourcing it's probably the most complete way I remember for the eroge parts of the eroge.

[prosegalaxy]

Once a lowly tinkerer, he found the Scepter of the Winds. A quest unfolded, as unlikely heroes joined his cause. They braved treacherous lands and unraveled ancient secrets. Transformed by love and destiny, they became legends forever entwined in the whispers of time.

[kachmedcom]

Supports de formation complets et conformes aux référentiels RNCP et RS

Supports de formation complets et conformes aux référentiels RNCP et RS

Supports de formation complets et conformes aux référentiels RNCP et RS En tant que formateur, vous avez besoin de supports de formation complets et conformes aux référentiels RNCP et RS. Ces référentiels définissent les compétences et les connaissances que les stagiaires doivent acquérir au cours de la formation. Nos supports de formation répondent à ces exigences. Ils sont conçus par des…