#if you need advice in terms of protective styles in particular i can add that on
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bright-chld · 2 years ago
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MY NATURAL HAIR CARE ROUTINE/TIPS
Okay so @zakofalltrades asked for my hair care routine and I am too long winded so I figured Id just make a post about it.
I'll just say for anyone who wants to approach their hair in this way, I just ask that you be patient with your hair. I think you have to be willing to open your mind to how you've typically thought and approached your hair. Seeing improvements to your hair is a gradual thing so just stick with it! This seems like alot but I hope from this you can take away that hair care for tight curled naturals doesn't have to be and shouldn't be complicated.
ROUTINE
How often should you wash your hair?
It's recommended you wash your hair every 5-10 days but capitalism still exist so my goal is to not exceed 2 weeks but pls do what your best and work from there. The way I understand it is that the longer you go without washing your hair the more time your hair spends in a dehydrated state. So washing your often just minimizes how long your hair spends in a dehydrated state. And we all know more dehydration = breakage
And when it comes to hydration, just know that WATER IS THE ONLY THING THAT CAN HYDRATE/ADD MOISTURE YOUR HAIR. I like to think of it like this: if your thirsty you don't drink oil or eat yogurt. You drink water.
Links
https://www.instagram.com/p/CmehGcoONoN/?igshid=Yzg5MTU1MDY=
Hair Cuts
I suggest you get your hair professionally cut. For me I think this is one of the first things to prioritize if you haven't gotten one recently or at all. Cutting your hair by yourself imo just doesn't get the job done in terms of ridding split ends and achieving a nice shape (if you care abt that)
Now hair cuts at salons usually fall under 2 types of cuts curly cuts (sometimes you'll specific types like deva curl cuts, rezo cuts etc) or blow out cut. A curly cut is when the hair is cut in it's curly state, typically when your hair is dry and in a wash 'n go (but ultimately depends on salon). For a blow out cut, the hair is cut when it is blow dried. One isn't better than the other its just a preference thing. Unless you wear your hair in it's curly state 90% of the time, a blow out cut should be sufficient. Plus I've found it's usually a bit cheaper.
In terms of frequency, this is something I feel is ultimately based on the state of your hair specifically. I've heard different things but if you need a starting point maybe try every 4 months and go from there.
Links
https://www.instagram.com/reel/CilJq-zv_MD/?igshid=Yzg5MTU1MDY=
Finding products
I don't have a lot to say here because I feel you can use a good amount of the any of the products you can get your hands on but the most important thing for me when it comes to looking for products is definitely to find products without oils/butters within the first 4-5 ingredients.
WASH DAY
Shampoo
There are different types (hydrating, clarifying, etc). I am still learning about all of them so I won't go into too much detail
The only thing I'll say is that if you have been using oils or butters I'll recommend a clarifying shampoo to start washing your hair with for a couple wash days just to reset your hair and then transition to using a regular shampoo (i.e hydrating shampoo)
Clarifying shampoos I know of: Kinky Curly Come Clean Shampoo (I use this one), EDEN Peppermint Tea Tree Clarifying Shampoo
Links
https://www.instagram.com/reel/CezRBJtADbs/?igshid=Yzg5MTU1MDY=
https://www.instagram.com/reel/CjZOV6mtGTJ/?igshid=Yzg5MTU1MDY=
Conditioning
Now i know we've all been accustomed to the idea that natural hair requires deep conditioner/hair masks, but I'm here to tell it's not the case. It's not so much that deep conditioners/hair masks are bad for you it's more so that it's not necessary unless you have a particular issue with your hair (and most people don't).
But if this is something that is hard for you to depart with just yet, I say continue using those for now and perhaps when you get more accustomed to the routine you can swap out for regular conditioners.
Okay now for the practical tips/important techniques for detangling
I say always detangle in section unless your just a boss like that
First rub the product in your hands so that it's equally spread out on your whole hand. This ensures even coverage.
You want your hair to be SOAKING wet when your adding conditioner. Here's a good video that explains why this makes more sense then conditioning on dry hair: https://www.tiktok.com/t/ZTRbmfkHD/
Apply the conditioner to the ends first and work your way up
Always detangle starting from the ends and work your way up
If you use a detangling brush (i.e felicia leatherwood, tangle teaser etc) hold the brush in a vertical position and comb your hair downwards. (this was a game changer for me)
If you notice the section your detangling is losing water and is no longer soaking wet, just add more water along the way.
Links
https://www.instagram.com/reel/CjZUNpag2_0/?igshid=Yzg5MTU1MDY=
https://www.instagram.com/reel/Ce84ICHAD2d/?igshid=Yzg5MTU1MDY=
STYLING
So when it comes to products imo I think most styles will revolve around two products: foam and/or gel. Which one of these products you'll use depends on what hairstyle you're trying to achieve.
Also when it comes to using creams/leave ins, I have personally phased these out of my styling process because they don't have great hold for the styles that I'm trying to achieve. And when it comes to styling you want to use a product that will hold your hair/curls in place so that your style can last.
When it comes to leave ins specifically, again not a necessary part of the styling process since you would have already conditioned your hair previously. So its not bad if you feel the need to use it, just more so redundant.
Wash 'n go's
Personally I don't do a lot of wash 'n go's, but here's a little bit of what I can say abt them
I think using a foam first and a gel on top is probably a good place to start if you want to do wash 'n go's
I've also seen some people that can use just a foam to do wash 'n go's. Usually a foam with a strong hold is best to achieve this but some people may need something with a stronger hold to set their curls (i.e. foam + gel) which is okay too. You'll probably have to see what works best for your hair.
Links
https://www.instagram.com/reel/CbOiXexgfzd/?igshid=Yzg5MTU1MDY=
https://www.instagram.com/reel/Chur08fgq_H/?igshid=Yzg5MTU1MDY=
Technique specific
https://www.instagram.com/reel/Ce8k5MtApsk/?igshid=Yzg5MTU1MDY=
https://www.tiktok.com/t/ZTRbmVoEG/
Twisting & Twist Outs/Braiding & Braid Outs
To my understanding, it seems like just a foam should be sufficient
In terms of getting the style to look how you want I think technique is usually the thing that will make or break you in these cases.
Flat twisting tips
https://www.instagram.com/reel/Ci1MU9SgeTt/?igshid=Yzg5MTU1MDY=
https://www.instagram.com/reel/CcrStB-AaBH/?igshid=Yzg5MTU1MDY=
General styling tips
This applies to wash 'n go's, twisting/twist outs braiding/ braid outs is to use indirect heat to "set" the style in place
To my understanding these the best methods to do that: hooded dryer>diffuser>air drying
Air drying isn't really recommended for a neat finish because it typically allows your hair to frizz up and doesn't allow the style to set in place. But if a bit of frizz doesn't bother you (which is perfectly ok too) use what ever works best for you. Pls don't take this to say that you should buy a hooded dryer, use whatever is in your means.
Also, I've found that its best to have your hair to be drenched in water when styling (unless your style involves a fluffy look). Not damp, but soaking wet. The more water, the better.
Links
https://www.instagram.com/p/Cky6oiDOZtI/?igshid=Yzg5MTU1MDY=
Hopefully this makes sense? I'm still learning alot about my hair and hair care in general so pls also do your own research as well. Here are some people that I have found helpful in the process:
https://instagram.com/iamblackgirlcurls?igshid=Yzg5MTU1MDY=
https://instagram.com/protectedbylisahh_?igshid=Yzg5MTU1MDY=
https://www.tiktok.com/@itsthecurlsforme?_t=8YhRljGvbRq&_r=1
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amimons · 4 years ago
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Miraculous Sweet-ember (Sept. 13th)
September 13th: Origins (Ladybug & Chat Noir Stoneheart)
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Ladybug & Chat Noir is part one of the origin episode of how Paris’ superheroes came to be. And as far as origin episodes go, this is a pretty solid. We all know how Ladybug and Chat Noir came to be, they were chosen by Master Fu the guardian of the miraculous box creating a super duo with the power of creativity and destruction. It all started at the first day back to school and get some insight of how different things were in a time before the miraculous. 
Marinette was more reserved and insecure girl who was feeling reluctant to go back to school because of the whole Chloe situation. Luckily she instantly meets and befriends the new girl Alya. But Alya isn’t the only new student to Collège Françoise Dupont. Adrien a famous model of the prodigious Paris fashion designer Gabriel Agreste was on a mission to attend public school after being homeschool his whole life. His only friend growing up was Chloe until Nino offered his friendship. Too bad for Adrien his first attempt of going to school was unsuccessful after he got caught by Nathalie and the Gorilla after he decided to help and old man (aka Master Fu) who appeared to have fallen on the ground. 
Something else was new to the city of Paris which was the threat of akumas created by Hawkmoth. With the very first Akuma was Stoneheart (caused by Chloe of course). After Fu successfully planted the miraculous and Paris started getting terrorized by a new stone beast our two heroes meet their Kwamis, both reacting differently to that introduction (they are opposites after all.) Adrien was excited and eager, willing to leap right into this new role. So eager in fact that he didn’t let Plagg finish explaining what exactly this all meant. Marinette on the other hand was frighten and doubtful that she could fulfill such a role. 
Although hesitant, she was able to observe the situation more and form a plan rather than fighting blindly. It’s a perfect introduction to our two main heroes fighting styles and demonstrating what their strengths and weaknesses would be and how their partnership would help balance that out. I’m so happy we got to see Ladynoir meeting each other and how they adjusted to their partnership (which wasn’t hard they naturally got along it was just figuring out the ropes that was the tougher part.) But although they worked together perfectly, they were still new to the role and Ladybug forgot a crucial step in akuma battles; purifying the akuma.  
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Stoneheart returns in part two...actually many stonehearts make an apperance due to the result of releasing an unpurified akuka back in Paris. After making the mistake Marinette questions if she really has what it takes to be Ladybug and believes her new friend Alya would suit the role better. Even though she renounces her new role, this doesn’t stop Marinette from trying to fix the situation as civilian self by trying to talk to Ivan and console him by giving him advice. After talking to Ivan and slipping the earrings into Alya’s bag Marinette enters the classroom only to see none other than Adrien Agreste bending over poking at some gum at her seat. 
I gotta say our Adrienette introduction was a big surprise to me, I wasn’t expecting Marinette to actually dislike Adrien at first. This was all due to a misunderstanding of the gum on her chair. And I love this. Because of this we get to see Marinette as the type of person she is, someone who stands up for herself and others. And poor Adrien desperate to make a good impression he wants to stay on good terms with Chloe, so he doesn’t stand up for himself. Adrien’s upbringing makes him someone who needs to stay in line not someone who rocks the boat. This makes Adrien a very unconfrontational guy. Something that Marinette can help Adrien approve upon in the future. 
In the meanwhile Ivan tried Marinette’s advice and even though it had the best intentions, it ended up failing creating Stoneheart once again and awakening the other Stonehearts. Alya, excited to capture footage of the situation rushes out without her bag leaving the Miraculous with Marinette once again. Determine to give the her friend the earrings, Marinette rushes after her only to find Alya in serious trouble. In a moment of concern for her friend and the determination to save her, Marinette comes back around and using the earrings to transform back into Ladybug. This is one of the most important and defining moments for Marinette in the whole series. Although she sometimes has her doubts her willingest to help others and fix problems is what makes Marinette a true hero. 
She joins up with Chat Noir once again saving him from a group of Stonehearts. They immediately go attack the heart of the problem, Ivan. After feeling discourage when the police officers call her a failure, Chat Noir informs Ladybug that that is untrue. This a is pinnacle role that Chat Noir plays into in his partnership Ladybug. Whenever Ladybug gets too overwhelmed with doubt, Chat Noir is always here to ground her and help her focus. This needed encouragement gave Ladybug the boast she needed to take on Stoneheart and to tell Hawkmoth off. 
Which leads us into how our heroes fell in love with each other. It was in this moment of Chat seeing Ladybug as her authentic self; someone full of strength, determination, and bravery. She is an amazing person that vows to protects others who is always willing to help those who needs it. Both in and out of costume, Marinette has the making of a true hero. As for Adrien, he has a situation of his own that he needs to fix. After the school day ends, Marinette stops at the top of the stairs to stay dry from the rain. Adrien greets her and although Marinette is standoffish with him, he tells her that he is sorry for the misunderstandings. He opens up about being new to school and new to making friends. He extends his umbrella out to her as a symbol of friendship and understanding. It is when Marinette sees as Adrien for his authentic self when she develops (deep) feelings for him. Someone who kind hearted and full of good intentions. Adrien wants the best for those in his life and he wants to protect those he cares by being there for them. Seeing why our heroes fell in love with one another showed us that their love isn’t swallow. Although their secret identities get in the way of knowing more about each other, they earnestly revealed to one another who they are deep inside.   
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About Sweet-ember:
For the month of September I wanted to spread some positivity and praise Miraculous Ladybug on the things I’ve appreciated/enjoyed from the show.
Everyday I’m going to select one particular moment, event, theme, etc. from an episode of Miraculous and shared what I liked from that episode. Each post will discuss 2-3 episodes (from season 1-3; 78 episodes in total).
Whether its something big or small there is something positive that I can take away from every single episode of Miraculous.
Please feel free to add a moment from these particular episodes that you loved to this post as well!
Salt towards the show, characters, ships will not be tolerated!
Sweet-ember posts
[1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14] [15] [16] [17]
[18] [19] [20] [21] [22] [23] [24] [25] [26] [27] [28] [29] [30] [31]
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scripttorture · 4 years ago
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Do you have advice on portraying mental disorders to the public in a way that makes sense? How does one portray multiple disorders at once while making it clear they’re the result of torture? Do you usually name them in the story? I can portray disorders + symptoms that come with mental health problems resulting from torture, but I feel like I’m battling public ignorance before even getting to debunking myths about torture. I have the information, but I don’t know how to portray it organically.
I can tell you what I do, but I think that whether that will work for you or not partly depends on how you approach writing.
 If what I say doesn’t fit with your writing style that isn’t a failing and it doesn’t mean you’re ‘doing it wrong’. I don’t think there is one sure fire way to write a complex topic well. And honestly the fact that you’re putting in the time to research and practice is probably more important then any advice I have to give.
 I don’t always name mental health problems in my stories. I appreciate that some people think you always should. Usually because they say if you name a disorder the readers can’t deny it or pretend it’s something else.
 I have a friend in one of my writing groups. He’s writing a wonderful adventure story with a Deaf protagonist. He repeatedly describes the character as Deaf and all of her communication is in sign language.
 He has still had feedback from people six chapters into the story saying they did not realise the character was Deaf.
 Here’s my take away from this: While it is important to try your best with anything you portray it is also important to accept that some people just Will Not Get It despite your best efforts.
 Shout out to the person who thought I was discussing trans people when I spoke about historical pre-pubertal eunuchs.
 Start by thinking about who you’re writing for. What does your ideal reader look like? Whose feedback do you hope for?
 Because I think there’s a big difference in how we approach the story/conversation when we’re expecting to talk to people with experience vs people without.
 Most of the time I’m writing for trauma survivors. I hope I’m writing stories that other people will enjoy. But I accept in the writing that a lot of people without experience of these things might not… quite connect the dots.
 It sounds like you want to write for people who aren’t survivors. To educate. That is just as valid and valuable. It’s a very different approach though.
 When I think about naming a mental health problem I think about how that name fits into the story. The main character in my current story is about 11-13. She’s spent a fair amount of time with two adult survivors. But I’m not sure if she has the knowledge or vocabulary to label what she’s seeing and I’m not sure if anyone else would say it to her.
 So I put those mental health problems in to the way these characters behave and the way their daughter talks to her friend about her parents.
 That approach may not work if the majority of your intended audience have no knowledge about mental health.
 And for me in this story that’s part of the point. I expect that a lot of readers will be taken aback when they find out what these characters have lived through and realise that what they’ve seen up to now are symptoms not ‘quirky character flaws’. I expect that to prompt some thought and questioning*.
 Linking these illnesses to torture was easy in this particular set of stories because the readers will (eventually) see the characters before and after torture. The change happens in front of them.
 Generally I think that’s a good way of establishing the link: explicitly showing the character before and after trauma and highlighting the changes. That can be directly as part of the story, but it can also be done through other characters talking about the past (which can help establish relationships and characters) and by having the survivors themselves reminisce about ‘before’.
 It’s also important to remember that you can show symptoms developing without showing torture itself. There’s nothing wrong with choosing to show quiet moments with the character in a cell, even if we’re told they’re cliché. Use every moment that you can make powerful.
 There’s also nothing wrong with jumping around in the time line and telling a story in a non-linear fashion. My general point here is that there are a lot of ways you can bring up the character’s past and how they’ve changed.
 You can also have a character explicitly state that these symptoms are expected, normal responses to a horrendous situation. Any characters who are doctors, mental health professionals or some types of social workers would be good fits for that. Depending on how you structure the story religious figures (who may be involved in anti-torture work or helping survivors) could work.
 If there are other survivor characters then having a discussion between them about what it changed could be a good organic way to bring that up while bringing the characters closer together.
 Circling back to writing mental health problems- I do think sometimes a lack of an explicit label can help communicate the experience. I think sometimes people get so caught up on the diagnosis and what they think it means that they don’t engage with anything that goes against that preconceived notion. But… whenever you don’t make something explicit in the text you’re leaving it up to the reader to decide how to interpret it. You’re taking a risk to trust this stranger who picked up your story.
 I get the feeling the main thing here is writing it all organically and the fear of messing up.
 That’s understandable. Any writing already asks that we juggle. Adding in torture and mental health problems and committing to doing them well adds a lot more implements into the air.
 And I guarantee that practice will help. It always does.
 Personally I’ve been writing mental health problems for so long that a lot of it has become instinctual. It’s an ingrained part of how I write (for better or worse). Making symptoms an organic part of the character is about making them a part of every aspect of a character’s life.
 Which sounds harder then it is. It’s about thinking things through and filtering them through the character’s personality/motivations.
 Because as much as we can hope to get a message across primarily we are telling stories. And everything needs to serve that.
 Let’s have some examples. I’m going to use two characters from two different stories, Kibwe and Ilāra. Kibwe made a full physical recover from torture. Ilāra ended up with a single below knee amputation. And while there is some overlap in the symptoms I chose for them they’re very different people.
 Kibwe’s long term symptoms are memory loss, intrusive memories, hypervigilance and chronic pain and I’m toying with the idea of adding in inaccurate memories as well.
 His memory problems are an integral part of his character arc and motivation through the stories he’s in. Despite knowing intellectually that they are a normal response to trauma Kibwe sees them as a personal failing. They made it impossible for him to bring charges and that fed into feelings of guilt and self-blame.
 Which is what drives him to stand up for other people.
 Every heroic action he takes in the story, every time he puts himself between someone else and harm, is coming out of his own experience of memory loss and possibly inaccurate memories. It’s all because trying to do the sensible thing and report what happened to the police left him feeling useless, powerless.
 His intrusive memories feed into this as well. They serve as constant reminders that strengthen his resolve.
 In the parts of the story from his perspective all of these memory problems and the effect they have are obvious and there inclusion is natural. Because they colour every single thing he does.
 In the parts of the story that are from other perspectives it’s less obvious what the problem is but there is still clearly A Problem.
 His intrusive memories are pauses in the middle of doing or saying something. They’re the moments when he screws his eyes shut and breathes deep and has to ask the other characters to repeat themselves. They’re the way he flinches at ordinary things and the way he flies off the handle anytime someone brings beer into his workplace.
 His chronic pain is in the days when he can’t do his job. When his hands shake and he snaps. When he takes his frustrations out with the wrong words to the wrong people. And in the distant, awkward way he tries to make amends afterwards.
 Internally he barely acknowledges his hypervigilance. But externally he always positions himself so that he can clearly see anyone else in the room. He can always see the exits. He twitches, he turns his head a lot to keep other people in view. And if he can’t see everyone, can’t see a way out then his speech starts to get biting, his anger leaks through.
 In contrast Ilāra is very very aware of their own hypervigilance.
 They track the people around them and the terrain and rationalise it as sensible. As a precaution. As keeping themselves and others safe. So a portion of any part of the narrative from their perspective is about that: Ilāra's internal paranoid risk assessments.
 They also have learning difficulties, which are more obvious from outside perspectives. Because Ilāra has a proud streak; they’re not stupid, they can get by just fine. They’re just letting their friends/found-family help out because it makes them happy. Ilāra does not actually need help.
 Contrast with the perspectives of the other characters who are very aware that Ilāra can’t manage a budget. Without help they really can’t manage their own money well enough to keep themselves fed, housed and clothed. Because they never learnt how.
 And again this comes up organically because it’s a big part of Ilāra's relationships. There’s a strange push-pull: Ilāra's hypervigilance internally rationalised as protecting these few valued people and those same people stepping in to do the things Ilāra can’t.
 They also experience chronic pain. Though I’m unsure whether this is primarily because of torture or because they lost a limb. And in a way the distinction doesn’t matter. Regardless of the cause it is there.
 They’re actually a lot better at dealing with it then Kibwe, because they’re much better at lying, acting and disguising their own distress.
 Ilāra's other symptoms are less immediately obvious in the narrative but again, they underpin everything.
 Ilāra struggles to relate to people, to really value them as people and they are incredibly socially isolated. Their entire social circle is essentially their family and their work colleagues and there is a lot of overlap in that Venn diagram.
 They don’t know how to honestly relate to other people. They play parts, putting on masks to get by.
 And this comes into the story with every interaction they have. It’s the contrast between their attempts at calculation around outsiders (and how often they’re rejected/dismissed) and their incredibly intense attachment to this small circle of people.
 I’m not sure what the end point of Ilāra's character arc is yet. But one of the things that keeps coming up is the question of who they are away from this small circle of valued people. And whether they can value their own life when they can’t ‘protect’ the people they love.
 Writing all of this out has made me realise something: it’s a lot easier to bring up symptoms organically when those symptoms become an intrinsic part of the character.
 And that can be difficult to grasp at the first attempt. Or the tenth. Or the hundredth.
 We are taught to assume health, be it mental or physical. That people have two legs and functional pancreases and don’t relive violent attacks every time they smell beer.
 Part of writing these things organically (for me anyway) is breaking that internal image. It’s… building a mind that’s a different shape.
 For both of these characters their symptoms are tied to important parts of the long term plot as well as their everyday experience.
 Kibwe would be a different person without his memory problems. They inform what he values, how he acts and the ethical lines he draws for himself. His intrusive memories impact his daily life and so does his chronic pain and hypervigilance. And this in turn impacts his relationships with the other characters, some of whom are more forgiving/understanding of his ‘moods’ then others.
 Ilāra is driven by their isolation and struggle to connect to others. It leads to them putting incredible weight and value on the few relationships they do have. And that drives them to act, to take risks. Fundamentally they fear loss and however calculating and cunning they can be that fear makes them do some idiotic things. Things that effect the plot and every other character.
 Hypervigilance and learning difficulties are their everyday experience. The tension they feel in crowds. The way they assess unfamiliar environments. The way they’ll hand over their pay check to a daughter-figure with a joke and tell themselves that she’s just fussing. The way they’ll get up in the middle of the night and count every item of food in the house.
 Writing mental health problems in an understandable way is like writing any other disability. It’s making it part of the character without it being the whole of the character. It’s recognising how any condition limits a character and having a clear view of when those limits are internal (ie the condition itself) versus external (societal, behavioural expectations, other people etc.)
 Including these things naturally means constructing scenes that are working at multiple levels. If symptoms impact how the characters relate to each other then they fit naturally into any important relationship moments. If symptoms impact the character’s everyday life then it’s natural for the character to consider them before taking an important action.
 When symptoms are related to a character’s long term motivation then it doesn’t feel jarring that they’d come up over and over again. In the same way that bringing up a character’s big-brother figure feels right when you’ve established they have an important, character defining bond.
 It takes practice. Writing is work and it takes a lot of skill to make it look effortless.
 Right now I think the most important thing to take away is this: keep trying. Write and write and write. Don’t let the fear of getting things wrong stop you from getting better.
 I hope that helps. :)
Available on Wordpress.
Disclaimer
*Yes I expect a lot from my readers.
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valiantchopshopharmony · 4 years ago
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8. A canvas backdrop of minimum 7-9 foot along with the background colours should be navy or white as minimal requirements to begin using; a well-branded studio lighting system like that of Norman & Speedtron; accredited picture manipulation applications like Photoshop, Corel Paint Shop, etc..
Is there a demand for establishing a cosmetics studio as a portion of your photograph studio?
9. Makeup and photography frequently go together. Wherever cosmetics is involved it can be known as trick photography since cosmetics is capable of entirely changing somebody's character, and at times significance to some product in the event of advertising photography.
What type of photo-editing applications available on the industry?
10. Photo-editing applications by which particular effects and total adjustments to a photograph are possible and may also frequently save the demand for a shoot.
11.
Is storage and therapy of photos crucial in building photographs company?
12. Never embrace laxity whilst archiving or handling photos. You may regret it afterwards. Storage and accessibility efficiency will improve or enhance your working atmosphere. Often elderly photographs become more precious with time.
How can be photos be stored readily aside from the traditional method?
13. Today's cameras are exceptionally versatile and enables transfers and downloads from exceptionally surprising devices such as your cellphone but images may also be saved onto a CD's, USB's and DVD's too.
O picking a Camera
14. Stick to w ell recognized manufacturer. The degree of mega pixel provided and high quality of this zooming facility has to be looked into carefully.
15. The majority of the cameras are compatible with all printers and computers and because we use memory sticks, so we're free to work invisibly.
O what type of a site does one person must get?
16. Your assortment of photos have to be correctly categorized under different categories. Visual look of your site will work amazing things for your company so consider establishing one with semi automatic automation in which the upkeep and challenging work is done for you enjoy photostockplus.
17. Don't forget to continuously update and maintain your site so that every time people encounter your site, they will discover nice something fresh and intriguing.
18. Copyright is the right protects the individual who owns who shot the photos. A smart exercise if you're seeking to utilize some inventory homes for business purposes.
O What's a company card useful?
19. In each company, visiting cards are all useful. It's very helpful in for folks to get in touch with you after your initial meeting. It has to include all of your contact details. If you are a photographer, a smart impressive graphic or an image of yourself along with your gear is greatest. Your telephone number or email has to be simple to read. I've seen cards which have big names and graphics and the telephone numbers are so small they're hard to read. Ridiculous! Make your telephone number the most significant thing about the card that's what most folks will use it to get.
O Which things have to be considered as you intend to construct a wedding photography company?
20. Wedding Photography is another artwork unto itself. There are various things to consider for a really prosperous wedding shoot. I've prepared another guide to manage this in more detail and it is about --Wedding Photography. --
O Benefit of mission photography
21. Assignment photography is that division of photography in which a individual has been engaged or consigned to catch pictures of something striking and extraordinary, including in the case of advertisements or portrait photography; this can supply you a steady income once you have learned the principles.
O Benefit of stock photography
22. This is sometimes a slow haul but when your photos are nicely thought out, it may be the origin of a continuing income. --My favourite is istockphotos--.
O Other areas where you are able to sell your photographic series?
23. Art displays are the ideal platform from wherever your imagination and work will probably be really appreciated because in these areas you will get some niche clients which have a sharp eye for actual talent. Such areas are proven to attract immediate fame.
24.
O Costs to be billed from the customers
25. At the first phases of your organization, do not attempt to charge exorbitant sums otherwise it'll give the incorrect impression and you'll possibly lose a precious long-term customer. Tread slowly. Ring other research and photographers. Five telephone calls must perform it.
Advertising Your photography company
26. You have to attempt to advertise your work at important areas. Pictures may also be printed on the net. Book over the net will boost customer enquiry. Do not forget to hunt for appropriate regional markets and find the snaps published in a local journal or paper and constantly exhibit your contact number carefully - consistently!
27. Placing and popularizing a company is a difficult call but should you embrace a correct marketing plan. Nowadays, Advertising is just one of the most well-known mediums of marketing. Advertising can be placed on sites, online phone directories, magazines and papers, etc.. Find out more about the ideal mediums until you rush into. Occasionally fantastic prices get in the method of recognizing the ideal advertising car.
28. You are able to create a site of your own to efficiently market your photography company but something that has to be considered is never neglect to add a testimonial segment and assess the reaction of the folks going to the site. Enable them to make remarks.
29. People interested in putting together a photography company can start their career by turning into a photo journalist. Appealing and unconventional photos can be provided to papers, magazines, sites and also the photography business is flourishing to this extent that international media organizations will provide you with great money in exchange for infrequent and high quality photos.
30. There are several more jobs also linked to photography than that there was formerly and as a result of the diversity and versatility of digital photography, even more respect was connected to the profession.
Proceed and make yourself a hot drink and a have a long think about where you are likely to begin, in other words, in case you have not already begun.
This guide has been provided courtesy of Roy Barker. Roy has provided further detail about the aforementioned subject matter at starting a photography company and is devoted to training you on how to begin your own photography business. You might even acquire photography tips, help (mainly free) or just a Digital Photography.
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hardlyfatal · 5 years ago
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gary’s writing workshop: lesson 1: kintsugi, or how to make all criticism constructive
The tough thing about writing is that you have to be bold enough to think your work is worth reading by the public, and also have the humility to accept criticism so that you can improve and be better. You need to be strong enough not to crumple like a used tissue when you receive negative feedback.
The primary, inescapable truth about writing: you won't get better until you acknowledge and accept that you need to get better. That's it. If you think your writing is flawless, you're wrong. If you think you've done a perfect job, you're wrong. If you think there's no way it can possibly be improved, you're wrong.
That's not to say it's bad. Just that it's not perfect, that there is always going to be more you can do to tweak it closer to the ideal. To get there, you have to think critically about your work, instead of through a veil of trembling sensitivity and frail ego. You can't be defensive, but approach it with the knowledge that, despite the discomfort or even pain, the process will make you stronger and better. Kintsugi!
There are two kinds of negative feedback, and two classes of people you’ll get it from. The first kind is when something is factually, empirically wrong. Problems with your SPAG1, anachronisms, and continuity fall into this category – there’s no arguing with “you spelled something wrong” and “people in the Middle Ages didn’t say ‘okay’ “ and “in chapter 1 you said X but in chapter 2 you said Y”. Either it happened or it didn’t.
These are valid criticisms and must be considered and addressed. Yes, even if the person saying them is a complete dick and puts it in the cruelest possible terms. Just because they're a cruel dick doesn't mean they're a WRONG cruel dick. The only thing you can do is correct it. I personally tend to thank them, because even if they’ve been dicks, they still did me a favor in pointing out an error. I improved because of them. That’s worthy of thanks. Kintsugi!
The second kind of feedback is subjective, because you’ve failed to satisfy the reviewer’s expectations in some way. Maybe the story’s premise doesn't do it for them. Maybe they hate the trope you've modeled the plot around, or how you're presenting the characters. They think your pacing is too slow and things need to be snappier. Your dialogue is stilted. Maybe they simply don't like your style.
Where things are matters of opinion – and choices of trope, issues of awful dialogue, and dragging plots are opinion – you need to really, honestly look hard at them, without a veil of ego and self-protection keeping you from seeing what's going on. Why would the reviewer say the dialogue is awful, or that the plot drags?2
It could be that what they consider a lagging pace is merely their impatience to get to the payload; they want to see the fight/smut/revelation scene and all the world-building or slow burn romance is no more than dawdling on the way to the fun stuff. OR it could be that you’re rehashing the same shit three times and need a kick in the pants to see that it only needs saying once.3
Regardless of what conclusion you arrive at, you���re going to have aha! moments, bursts of clarity for issues that you couldn’t perceive on your own but needed someone else to present them, or different wording or metaphors or whatever, in order to see what the problem is. These epiphanies can be hard to cope with. You might feel chagrin, disappointment, irritation, even anger. They’re all valid emotions, and you’re allowed to feel them. Just don’t drown in them. Give them a few minutes to run their course, and then move on to address the situation. You don’t have time to mope forever, you’ve got more chapters and stories to write.
On to the classes of reviewers you’ll have. One class is that of your readers. It can be frustrating to receive valuable feedback after you publish. If it’s a SPAG issue or something likewise easily dealt with, it’s NBD – you just make your correction and hope no one else noticed. If it’s something stylistic, you shrug and move on, as not everyone will appreciate your writing ‘personality’.
If it’s structural, however, it can be devastating, because the entire story can hinge on something you have now learned is problematic. It can even kill your inspiration and motivation to continue the story. That happened to me about eight years ago-- someone pointed out a major issue that I had somehow just… missed. I was over 70,000 words into that story and I just couldn’t manage another word of it, after that. Talk about disheartening.
This type of thing is what makes the second class of reviewer, the beta, so incredibly valuable. You should always take seriously any feedback and advice provided by a beta. If you’re lucky, you’ve found someone who isn’t afraid to really give you the business. You want to root out as many problems as possible before you publish. A good beta is worth their weight in smut.
But it’s one thing to cope with the embarrassment you might feel to have a reader point out an error, and coping with that from someone with whom you’ll be having an ongoing relationship. With a reader, you can just take their criticism and apply it and move on; your contact with them will always be somewhat limited so your discomfort is fleeting.
A beta, however, is someone you have to speak to again, at length, after they’re pointed out what a dolt you are (though probably in far nicer language). It can be daunting to continue dealing with someone who has caught you with your pants down, so to speak. Writing can be very self-revelatory, and when we put it out there and it gets pooped on, we can feel vulnerable and rejected.
But… we are not our writing! We are not our plot holes, or our wonky grasp of SPAG, or our tendency to tell rather than show, or our aversion to ‘said’ as a speech tag, or any of the other million problems we can have as writers. When our betas tell us something is wrong with any of these, fortunately, it’s not a statement on our quality as people.
And, just like who we are as people, nothing we write is over and done forever. Everything can be fixed, tweaked, improved. In this digital age, even after publishing, the story isn’t set in stone. We can always nip in there after the fact and tidy up, twitch it into position, repair what isn’t working. Kintsugi! So what is Kintsugi, anyway? And why does it pertain to us? It’s the Japanese art of repairing broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. Philosophically used, it treats breakage and repair as part of the history of an object instead of a method of disguising it. The cracks and dings become beauty marks instead of flaws, because of the story they tell.
In terms that mean something to us in particular, it’s Jaime’s stump and/or gold hand. As people who love him in a particular pairing, and are fans of his character in particular, we see the stump and/or prosthesis as a symbol of the agonizing redemption process he has undergone, and how he had to break before he could be fixed.
Similarly, we can approach our flaws with an open heart, as opportunities for growth. We can be eager to find them, because we know we’re going to conquer them and improve because of it. We can breathe through the discomfort and embarrassment knowing we’ll come through it stronger, both as writers and as people.
Example:
Just today, one of my betas, the unsinkable Mikki, came at me with a contention that I was writing Brienne OOC.
(Note: She was her usual lovely self, not hostile at all – this is just a timely example of dealing with subjective criticism and how to consider and absorb it. But do keep in mind the “sometimes even assholes are right” thing from above.)
At first, I thought, “She’s expecting Brienne to be different, but I’m choosing to adapt her for a modern setting, so of course the character won’t be identical to her canonical self.” So I replied that I was writing her differently because, in the modern AU I’m writing, Brienne hasn’t had the same life experiences that, in canon, resulted in her being far more humorless, touchy, self-ashamed, etc.
Mikki replied with a very insightful analysis of how Brienne’s personality was formed, and how those core characteristics can come through in modern-day!Brienne, albeit in a softened format according to the gentler treatment she’s had in my story. I saw immediately that, put this way, Mikki was entirely correct, and that I’d been going about it without enough depth and consistency.
I don’t need to revamp anything drastically, but to add details here and there – mostly just introspective bits that will add to the characterization in the end, and make her feel more Briennelike. These bits won’t be obvious or attention-grabbing, they won’t change the story significantly, but they’ll contribute to the overall quality.
The upshot of this is that Mikki knows she can tell me when she perceives a problem because I'll take her seriously and won't freak out on her. And I feel comfortable not only receiving her critique but also entering into a discussion about it instead of just blindly accepting her advice and accepting when I'm shown the error of my ways.
Homework:
Think about past incidents of negative feedback. If you’ve had criticism given, even in a hostile way, consider that at length. Are you able to brush off the dross and see the gem hidden beneath? Can you discard the rudeness and find the message hidden within it? Focus on the message, not the delivery.
Once you find it, examine it. Is it pointing out a factual error, or is it subjective? If it’s subjective, is it just because you’ve disappointed their expectations, or because there is valid criticism? Write your response out, if you feel that will be helpful to clarifying your thoughts. 
Endnotes:
1 - SPAG = Spelling, Grammar, And Punctuation.
2 - In future lessons, we’ll be going over many topics – among them natural-feeling dialogue and the matter of pacing – in hopes that you’ll have something to compare their criticism to, gaining the ability to discern whether or not you do have problems with these issues or the reviewer is just a crackpot.
3 - Academic writing is nothing like fiction. Many nonfiction writers have problems with this transition, because they’re used to writing an intro to the premise of their article/paper, then describing the subject at length, then summarizing it all into a tidy package. If you’re coming from academic writing, and someone is telling you your pacing needs work, there’s a strong chance the reason is because you’re trying to write persuasively, when your focus as a fiction writer is to write descriptively. You don’t have to persuade the reader of anything, here, just paint a word-picture for them.
© 2019 to me
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sylvaetria · 7 years ago
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Hey Richtor, did you ever post anything in your resources about tips for storing and organizing spells and supplies?
Yo anon.
Most of what I have for storing spells is all about grimoires and the like - compiling them in books or folders or digital archives, etc. I talk about that (how one might organize spells for a grimoire) specifically in [this post].
I’ll try to throw together a quick list of tips for things for you, though, because yeah, don’t see a lot of that.
For spells:
Firstly, decide if it matters to you. Because for some people, they’re happy to flip through their stuff looking for things, but me, I like being able to find what I need when I need it super fast. If you don’t wanna put any time into organization like that, that’s fine, it doesn’t need to be that way; your grimoire, you do you. So decide, first of all, if you care about spells being in a particular order or categorized or whatever, and then go from there.
Me, personally, I try to keep things grouped by intent. So, I try to keep all the protection spells together, followed by cleansing, then banishing, etc. I do it in a order of importance that I find significant; the more “frivolous” spells go in the back of the book, and curses at the very very back. But that’s just my personal preference; you sort (or not sort) however your magical heart desires.
If you want to be able to arrange your spells exactly as you want, a three-ring binder is a good choice; if you want aesthetics for your grimoire, they may not seem the obvious one, but they’re wonderful for their ability to allow the moving of pages to wherever you deem necessary, and also discreet if you need that. There are also those binders that kinda look like sweet magical textbooks, I think they’re on Etsy, if you’ve got a bit of extra budget to spend on something like that. Otherwise, Sharpies and sigils can go a long way to making any book look magical, but that’s an entire other post lmao.
Another good system for storage is loose leaf paper in those accordion folder things. Whatever they’re called. These mother fuckers:
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Again, not exactly the best for aesthetic, but super great for easy labelling to find exactly what is where. You can rearrange things at a whim, and not worry about having to tear a page out of a fifty dollar leather-bound book because you misspelled a single word. (Me, I cry.)
For most other books, it could be useful to keep a table of contents somewhere at the front or back, or wherever you can, if you happen to add spells in whatever order you find them in, and not section them off based off intent or purpose. I see a lot of bullet journal style grimoires with a theme much like this, so if that piques your interest, I’d suggest doing a search on bullet journals. Particularly, I believe I have a post about bullet journaling, magic-styles, somewhere... Boom, [here].
We haven’t even started on digital grimoires yet. Probably the easiest to organize and maintain, in my personal opinion in any case. It can be online or off, in a blogging platform or on a cloud, saved as a word document on your phone or PC, broken up into separate files and folders... Almost endless options for this one. And the best part? Password protection. (I’m a tech kid.) I could honestly go on and on forever about this particular point, but there are so many options, feel free to try some yourself if you’re looking for a discreet, easy-access and organized way to sort your spells.
If it helps anyone, I have four binders, like four or five notebooks, a blog, a OneNote, and folders on my computer all dedicated to witchcraft. This blog literally acts as a digital grimoire for me - it’s also why I spend so much time tagging and hating it, so when I need to find something for my own reference, I have that easy access. I have a huge list of herb correspondences in its own cute little notebook, just because it would take up so much damn space in a binder on its own anyway. My tarot spreads have their own notebook, as do a set of very detailed interpretations for the card meanings, because some of my books are, super lacking to say the least. 
So, like, it’s clear I put a lot of time into my witchy notes and how I keep them, but that is just me. If it sounds like too much work and you don’t wanna bother, honestly don’t. I do it because it satisfies me, because I feel it adds to my craft, because I enjoy it. That’s what it should be like for all y’all too. So, again, if you don’t feel like having your stuff in any particular order or manner is relevant to how you do your magic-y biz, seriously don’t bother - your grimoire is no less a grimoire (or whatever term you use to call a book of magic) because it’s not organized, or doesn’t look witchy, or you just write the notes and not bother with designs. I will say it as many times as it takes to run it into the ground - you do you in your own magic.
For supplies:
This one I might have less to say on, because my stuff is, heh, not so organized lmao. 
I guess mostly, again, it comes down to what works for you, or whatever keeps your supplies safe from harm.
Some people keep boxes for their supplies - I’ve painted a shoe box and kept witchy biz in it. If you want to line it or not to keep things safe, probably depends on you or what you plan to put it in.
Sometimes things don’t need to be stored - if you have space and you are able, you can leave them out on a shelf or even tucked into a drawer. Seriously, wherever you can put them, wherever they will be safe, I think that’s mostly what matters for that.
Crystals might need the most special treatment, especially more fragile specimens. I know, when I moved, I had to wrap all my crystals into shirts and socks to make sure nothing damaged them on the way. And, quite frankly, they’re still all like that. Mostly because I don’t have a lot of other place to put them right now, but it really is keeping them protected too. So while it may not look the most witchy, it’s pretty damn functional.
Labels are helpful, particularly with herbs that look veeery similar. 
On the topic of herb containers, as long as the herbs are dry, they are safe to store in whatever container you want to put them in. I have herbs in a mixture of glass jars, plastic containers, and sandwich bags. So yeah.
Like I said, not really so much experience on supplies - most of my stuff is practical, not necessarily done because it looks good but because it works. And a lot of my more important supplies are just, chilling on a shelf. I know not everyone has the ability to be so open with their craft, but based on my scope of perspective and experience, I can only talk about things that I have done or encountered, and so I may not be able to give accurate advice for every situation. You know? 
Regardless, I hope that helps you anon! If you have any more questions about more specific things I may have mentioned here, feel free to shoot more asks. Hopefully I will be on a bit more frequently here, now that I can see again, though my PC is still, so, so slow. Good luck!
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schmidtchristmasmarket · 4 years ago
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With even local trails getting clogged, our editor has some advice for you that he hoped he’d never have to give.
We can’t help ourselves: A hiker’s gonna hike. Hiking is good for your body and soul, and both need nourishment now more than ever.
But this isn’t about you, it’s about the health of others and the bandwidth of first responders, and it’s time to stay home. I know that’s a tough pill to swallow because I feel it, too.
Overflowing trailheads with minimal regard for social distancing isn’t what we need right now. I support the parks and trail systems that have chosen to close because that’s the only way to keep folks at home. And that’s the only way to ensure we’re protecting vulnerable populations and not unnecessarily taxing the limited infrastructure most small outdoor towns have.
I live in a town of about 2,000 in the foothills in between Boulder and Estes Park, Colorado. I moved here for one trail in particular, my favorite mountain bike trail. It doesn’t hurt that there’s a couple trout-filled rivers nearby as well as a few lifetimes of rock climbing. Naturally, it’s a popular weekend destination. It’s now seeing peak summer levels of traffic and taxing local law enforcement and first responders (I’m a volunteer firefighter, and I see it every time I work a shift).
For now, I’m not hiking or biking area trails. I’m turning to home-based stuff like the below. I urge you to do so, too. Frankly, it’s been pretty fun.
Work Out
I love training, and it’s benefits are endless. Stronger bod and lungs are up there, as are fun and camaraderie, but most pertinent right now, in my opinion? Stress relief. An hour in my driveway or garage working up a sweat while blasting Beastie Boys is an hour out of my house and out of my head. Here’s a sample workout from my friends at Boulder Athletics that you can do at home.
Put some weight in a day pack (15 to 20 pounds), then:
5 Rounds for time of
20 Backpack lifts from ground to overhead
15 Burpees, jumping over backpack
4 Rounds for time of
40 Backpack Russian twists
30 Second plank hold
Need a little motivation? Follow along with our recording of a live workout with coach and athlete Jason Antin. Heck, you might just come out of this thing stronger. Train hard now, hike easy later.
Zen Out
Take a few minutes to clear your mind and appreciate where you are and what you’ve got. You can do it on your own simply by sitting quietly with your eyes closed for 10 minutes and focusing on your breathing. Or you can download any of a host of apps. I’ve used Headspace for years and love it. We’re hosting our own guided meditation for our Basecamp membership program.
Read
To learn. To escape. To grow. To travel the world while not moving an inch. We have a few lists of our staff’s favorites here. I turned to Gretel Erlich’s Solace of Open Spaces and am cracking Peter Heller’s The Dog Stars next.
Write a Letter to a Hiking Partner
Take a minute to thank an old friend for an amazing trip, to reminisce about that one time it all came together perfectly, and you hiked with ease, ate well, didn’t see another soul, did see a moose or a griz or the biggest shooting star of your life, and enjoyed it all amidst golden weather. Or commemorate the hard times, that trip you toughed it out together and staggered back to the car grinning. I remember a late summer trip to West Virginia’s Cranberry Wilderness with my college roommate Glen. It was a little of both: We had torrential rain, and Glen had somehow forgotten his shell. I’d decided to forgo my canister stove for an alcohol stove I'd made from a Coors can. Our progress was slow, but that afforded us time to shoot the shit and solve all the world’s problems while drinking just the right amount of Jim Beam. Handwritten is the way to go for style, but email works too.
Address Your Maintenance Backlogs
My favorite sleeping pad, an old Therm-a-Rest NeoAir XLight, has a slow leak, which I’ve learned the hard way at least three times. But after each of those trips, I shoved the pad back in my gear closet bleary-eyed without fixing it. Today’s the day. I’m also going to wash my most-used sleeping bags, refresh waterproofing on my boots and gloves, and address long term inattention my cooking and water purification kits have suffered. Might even unbend some tent stakes, if it comes to that.
Video Chat Someone for Fun
Yes, I said fun. You may already be swimming in a sea of video-conferencing. Even my kid has Zoom meetings. But add one to your week with people you’re dying to see, that you miss. Toast to their health. Have a campfire. Human connection, even with a device in between, will do you good. A phone call works too.
Get Hooked on a Podcast
We’re biased for sure, but we have a brand new story from our Out Alive series that’s just dying to explore your headphones. It’s armchair entertainment and educational at the same time.
Learn Something New
If you don’t come out of quarantine with a new hobby, skill, or side-hustle it’s not for lack of time but for lack of desire. Just chillin’ is fine too, if that’s what you need, but make that a conscious decision. But if you and your family are well, consider this unstructured time the rare chance to learn the banjo, practice your conversational Spanish, or master your camp chef skills. And we’re giving this Essential Knots course away free. Grab some cord and show us a bowline or a taut line hitch.
Plan Your Next Trip
This pandemic grounded trips I had on the calendar for the country of Georgia, Colombia, and Oregon. It cancelled a few conferences I was stoked to attend. It closed the ski resorts and climbing gyms. It closed Rocky Mountain National Park. You get it, and I’m sure you have your own unfulfilled list you wish to realize. Use this downtime to plan (or replan) your next great escape. I have some pent up energy and can’t stop thinking about fly fishing and pack-rafting in Alaska, biking a section of the Great Divide, maybe finally hiking the JMT, or climbing in the Wind Rivers. As my friend and 2013 National Geographic Adventurer of the Year Mike Libecki says (cheesily, yet guilelessly), “Dream big, and climb those dreams!”
Written by Shannon Davis for Backpacker and legally licensed through the Matcha publisher network. Please direct all licensing questions to [email protected].
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pierrehardy · 4 years ago
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Police in America
In recent weeks, the death of one man in America sparked a protest all over the country and the whole world. You know it’s bad when people are forced to protest despite a pandemic. So it’s worth taking a closer look at what happened and studying ways to move forward strategically.
This write up will cover what happened and how we can move forward for the better. I will highlight three questions: how to protest smart, how Trump can exploit this for the upcoming elections, and how to fix America’s police. For most, we use history as our guide.
TL;DR
Honestly, if you’re not too into reading, watching John Oliver’s previous episode covers the essentials.
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So we have a pandemic going on, as well as an upcoming election. We also sent astronauts to space, but that feat of engineering was overshadowed by racially motivated mass protests and riots. Eerily, I’m describing 1968 (flu pandemic, Nixon vs. Johnson election, Apollo 8, and MLK’s assassination) but also 2020 (COVID-19, Trump vs. Biden, SpaceX’s Crew Dragon, George Floyd’s murder). Why does this keep happening over and over? 
This is a lot to unpack, and I can’t cover it all in this blog. But know that things have barely changed in the United States: black Americans are still overrepresented in jail and they still live in districts with the worst healthcare, jobs, and schools. Racism in the US is deep and systemic and discouraging in scale, but this is no time to wallow in that. Let’s see what America can do and what same advice can be applied to our own countries.
How to protest
One thing is sure: rioting is  not the way. I understand rioting; it is the natural result of refusing to hear an angry voice that deserves to be heard. But any argument that rioting is necessary is just a fancy academic exercise that justifies unlawful stealing. A bit of rioting can be effective to be heard, sure, but it should never be excessive. Rioting can hurt businesses that are especially fragile due to the pandemic and harm the livelihoods of many people. There are three main reasons against rioting.
The first and most compelling argument against looting and rioting is history: the rioting after the assassination of MLK made predominantly black districts suffer (Figure 1). The establishments that burned down never came back. Those who can leave (which are the relatively wealthy and usually more educated), left. Shops didn’t reopen, meaning jobs also left. The home values also went down.
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Figure 1 [1]
Such declines in a district will lead to more poverty, then to more violent crimes that will eventually lead to more violent policing. Excessive rioting hurts the very people the movement is trying to fight for and would put everything back to square one.
Second, any movement relies on the majority of the public opinion being in favor of the cause. If you set a city on fire, people will be too busy putting out the flames to care about what you were fighting for in the first place. Chaos also sells better in the news, so its focus will be overblown. Therefore you must protest peacefully, document it, and blast that everywhere. If the police escalate, don’t bite but keep documenting. Due to documenting, people were able to see the brutality of the police and how they are prone to escalate otherwise peaceful situations. This adds fuel and legitimacy to the protests. 
Third, excessive violence from rioting can cause a sense of fear and anarchy to the people. When people are afraid, idealism is thrown away, and restoring order will be prioritized over change. This will be an opportunity for Trump to take notes from 1968 and copy Nixon’s law-and-order platform. That leads us to the next question.
Can Trump copy Nixon?
In the 1960s, America was in the middle of the unpopular and hopeless Vietnam War, wherein Lyndon Johnson succeeded JFK after being assassinated. The protests over the Vietnam War and MLK’s assassination led to chaos that Nixon used as an opportunity to campaign that he can restore order, which worked. Today in 2020, the script is set too perfectly for Trump.
It is also worth noting that due to gerrymandering, Republicans have an advantage in the electoral college, meaning that Trump needs only a bit less than the majority vote to win. [2] This is especially concerning when you consider that Trump’s approval rating is also just slightly less than 50%. [3]
However, this is not a guarantee for Trump’s reelection. If we go back to Nixon’s victory, it was a Republican nominee defeating a Democrat president whose riots were sparked under his leadership. This time, the protests started during Trump. People are not that stupid, and they will recognize when the president is the cause of the trouble. Add the fact that people disapproved of his handling of the COVID-19 pandemic. [4] There is still a chance to avoid another Trump term, if only Biden can muster up enough charisma.
Policing in America today
Before delving into what can be done to ameliorate policing in America, let’s establish the current landscape. 
One reason why managing the police departments in America is difficult is because, unlike in other wealthy countries, they’re not unified. In America, there’s the federal police, state police, county police, municipal, Puerto Rico, and others. In total, there are 18,000 separate departments, each with their own rules. [5]
That being said, not all police departments are corrupted. There’s one particular department that is doing the right thing (well, okay, not perfect, but better than most) and can be used as an example or model on how to reform America’s police. This is the Camden county police department in New Jersey. I’ll dedicate a whole section on this later.
The lack of gun control in America is well known. Figure 2 shows that America is the most heavily armed rich country in the world. An armed population is an unsafe population that’s more difficult to police. This contributes to the justification that “warrior” style training is necessary for police officers. 
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Figure 2
The police are doing too much to the extent that people have forgotten what the police are for. People call 911 for things that cops are not equipped to handle but can’t refuse. Here are some examples.
Police are assigned to patrol schools. [6] This should not be the job of the police but of a security agency instead. 
Police are dispatched when people call in a person acting erratically due to mental illness. [7] The police are simply not trained to deal with this. This is the job of medical professionals. 
Police are dispatched when people call in matters involving drug overdoses. [8] Like the last point, this is a job for the paramedics, not the police. 
The key is to remember that the police’s function is (supposedly) to serve and protect civilians using force while respecting their rights. In short, summoning the police anywhere should be the last resort. America seems to be trigger happy with the dispatch button. Clearly, the system is broken: the police are too deadly and has almost no accountability (Figure 3)
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Figure 3 (Visualized using R; Pierre Hardy)
Ways to fix America’s police
From my research, I found nine promising solutions to fix and improve America’s police. Let’s start with the most popular one. 
Defund the police. As I mentioned, the police are doing too much. However, police unions are biting down and refusing to let go of the budget and responsibility that is too large for them to chew. Defunding is about reallocating the resources to other institutions so that they can take some work away from the police. For example, reallocate some of the funding to dedicated drug or mental illness responders, or to community initiatives. 
Bolster police accountability. Prosecutors are supposed to keep the police accountable. However, since prosecutors need convictions to climb the ladder, and the fact that police departments can hinder an investigation, the incentive to uphold justice is low. Read figure 4 for more information.
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Figure 4 [11]
Limit union power. Typically, unions are underpowered these days, to the demise of laborers. It’s the opposite for police unions. They’ve been too powerful, too stubborn and too protective of their workers, making police departments more like university fraternities than agencies to serve the people. They defy politicians’ directives to fire violent officers and stop hostile “warrior” style training. They prevent the reform the police need.
Demilitarize the police. The Pentagon has been giving the police some surplus military equipment since the ’40s. [9] This is counter-productive as it fails to reduce crime and only worsens police reputation (Figure 5). The military is meant to win wars by killing their enemies. The police shouldn’t have the same tools used for that objective.
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Figure 5 [10]
Fix “Qualified Immunity” loopholes. Qualified Immunity is a law that protects officers from liability for actions they did during their official capacity unless they break a “clearly established” federal law. [12] The “clearly established” loophole has been abused, like a case where cops who stole $225,000 during a search warrant had legal immunity. [13] Read the full story for more details. 
Legislate. In this case for politicians, they need to have an honest willingness to do good, since the incentive to legislate about this is tilted. So far, the main antagonists to progress are police unions and prosecutors. Meanwhile, the main benefactors would be the low-income group, which is usually politically disconnected and doesn’t vote. This is where the protests contribute the most: by pushing politicians to act. But how can the government govern a police system as disconnected as America’s? Refer to Obama’s efforts from 2014. [14]
Issue recommendations to police departments on how to modernize their police forces. 
Increase funding to Community Oriented Policing Services (COPS). They help shift police tactics away from the “predator-prey” point-of-view of warrior-style training into a more community-oriented one. 
Be more active in launching federal investigations on police misconduct. These investigations usually lead to consent decrees between the police departments and the DOJ that’s useful in making departments actually improve their policing. 
Implicit bias training. The trouble with an institution that’s so deeply and systematically racist is that cops usually do not regard themselves as racists. They genuinely do not believe that they are. So any effort at pointing out their implicit biases is taken with resistance because they think it’s a reflection of their character. Nonetheless, these kinds of training should be required more and should need re-training.
Data? Being educated in business intelligence, there’s always this faux-truism that data can enhance literally anything. Can it also be in this case? Maybe. There are two main problems on why data is not sure to be effective in this case.
Data gathering through CompStat (the data software that the police use) is unreliable and unequal across different departments. [15] 
The main difficulty is that in this particular case, establishing causality is important and difficult. There are correlations everywhere, but we can’t pin the right reasons. Like, if arrests are higher than usual in a particular neighborhood, is the problem that there are too many cops in a certain neighborhood, or is crime naturally higher there? Are minorities arrested more because they do more crimes (which tends to happen if they live in a discriminative society), or it’s because the officers are racist? Or if you go deeper, is it the officers that are biased, or is it the 911 callers that are racists? [16][17]
Camden County Police Department
Camden is widely regarded as the role model for police reform. Frankly, they’re not a flawless department, and copying them entirely doesn’t guarantee the police reforms America needs. But it’s worth noting some of the policies they do that undeniably turned the department around. First, a bit of history. [18][19][20] (The whole section weaves between the 3 sources)
2012. Camden (the city) was a dangerous place, placing 5th high in the country’s murder rate. 
2013. The Camden City Police was disbanded and turned into a county police department that rehired most of the laid-off officers due to corruption. Though this time, pay and benefits were lower. 
2014. It started on a rough start. During this time, 65 excessive force complaints were filed, and crime rates were still up. 
Today. During 2019, the number of excessive force complaints went down to 3, and the murder rate was reduced by two thirds. 
With calls to disband the Minneapolis police department growing louder and Camden showing improvement, it’s worth learning from their experience. Here are some changes they did that stood out for me.
Use-of-force policy. Every Camden cop wears a body camera, and each time they use force, the footage is reviewed by four people. Every footage is seen by the watch commander and internal affairs officer, including the policeman who owned the footage and his senior officer. Sitting down and watching events unfold again helps cops change their perspectives and receive feedback from their seniors on how they could’ve handled the situation better. 
“Warrior” to “guardian.” When Camden was rebuilt, they shifted their focus to a more community-oriented policing. This shifts how the police see themselves against the citizens. They are not warriors at war with the people they serve, but rather they are the keepers of peace and protector or citizens and their rights. Their job is to build a community that’s safe, not eliminate the rot. 
Training. Camden officers are trained and re-trained again every year, in matters of de-escalation and implicit bias training. 
I believe these policy changes have profoundly contributed to the turning of Camden’s police force and are worth taking notes from to improve the way you are policed wherever you live.
George Floyd’s life
Before I finish my blog, I wanted to share what I learned about the life of George Floyd. A little obituary, in a way. I wanted to know the man’s life too, and not just his death. 
Mr. Floyd was not a perfect man, but he was not a bad man that deserved the disgrace of having his life choked out of him, face on the asphalt with a knee to his neck. Mr. Floyd grew up in Houston, in a less than ideal neighborhood. With his height reaching until six-feet-six, it was natural that he was in the Yates football team (Figure 6) and then the South Florida State’s basketball team (Figure 7). He was also into the music scene, known as Big Floyd (check out his discography at [24]), which backed DJ Screw (Figure 8).
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Figure 6 (Second one from the left, upper most)
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Figure 7 (leftmost)
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Figure 8
As lively as his life was, he wasn’t able to escape his circumstances being on the bad side of town. During his 20s, Mr. Floyd has been arrested multiple times with armed theft and cocaine possession. It wasn’t done out of desire but of need. Struggling for a job and with a menacing figure, he was too easily drawn to it, as in 2007, when he was arrested for breaking and entering a house. 
After spending five years in prison, he aimed to be better, and he did. He devoted himself to being a better father, being more active in church, and moved to Minneapolis. Using his height and muscular figure, he worked as a bouncer in a club popular among the Latinos. His reputation as a gentle giant shone here as he was good at de-escalating trouble and greeting regulars with a hug. 
The same cannot be said regarding the previous bouncer of the club. He was a white man with jittery eyes and was an off-duty police officer that was quite trigger happy with the pepper spray while on bouncer duty. 
Unfortunately, Mr. Floyd was not spared by the COVID-19 and lost his job as a bouncer. On May 25th, he went to a store to buy cigarettes and was told that the $20 bill he used to pay for it was counterfeit. Mr. Floyd refused to return the cigarettes, and the clerk called 911 on him. What happens next is all too known, as videos circulating around of the white man with jittery eyes kneeling on the neck of a man crying for his mama as he was being suffocated. The police officer that worked in the same club as Mr. Floyd was the same man kneeling on his neck while staring directly at the video recording him, without fear in his eyes that he was going to get in trouble for what he was doing. 
[21][22][23] (The whole section weaves between the 3 sources)
References
[1] Collins, W. J., & Margo, R. A. (2004). The labor market effects of the 1960s riots (No. w10243). National Bureau of Economic Research.
[2]https://www.vox.com/policy-and-politics/2019/9/17/20868790/republicans-lose-popular-vote-win-electoral-college 
[3]https://fivethirtyeight.com/features/trumps-approval-rating-has-dropped-how-much-does-that-matter/ 
[4]https://www.brookings.edu/blog/fixgov/2020/06/09/presidential-job-approval-trumps-re-election-prospects-look-bleak/ 
[5]https://www.chathamhouse.org/publications/twt/race-problem-black-and-white  
[6]https://www.washingtonpost.com/education/2020/06/12/schools-police-george-floyd-protests/ 
[7]https://www.governing.com/topics/public-justice-safety/gov-mental-health-crisis-training-police.html 
[8]https://eu.freep.com/story/news/local/michigan/2016/05/01/lawmakers-say-some-police-ill-equipped-overdoses/83789462/ 
[9]https://www.autoblog.com/2020/06/08/surplus-military-vehicles-weapons-police-departments/?guccounter=1 
[10] Mummolo, J. (2018). Militarization fails to enhance police safety or reduce crime but may harm police reputation. Proceedings of the national academy of sciences, 115(37), 9181-9186.
[11] Trivedi, S., & Gonzalez Van Cleve, N. (2020). To Serve and Protect Each Other: How Police-Prosecutor Codependence Enables Police Misconduct.
[12]https://en.wikipedia.org/wiki/Qualified_immunity
[13]https://www.forbes.com/sites/nicksibilla/2019/09/17/federal-court-cops-accused-of-stealing-over-225000-have-legal-immunity/ 
[14]https://en.wikipedia.org/wiki/President%27s_Task_Force_on_21st_Century_Policing 
[15]https://en.wikipedia.org/wiki/CompStat#Critique 
[16] Goff, P. A., & Kahn, K. B. (2012). Racial bias in policing: Why we know less than we should. Social Issues and Policy Review, 6, 177–210.
[17]https://www.latimes.com/opinion/story/2020-06-03/svitlana-flom-amy-cooper-george-floyd-police-racism 
[18]https://www.economist.com/united-states/2020/06/04/how-to-fix-american-policing 
[19]https://en.wikipedia.org/wiki/Camden_County_Police_Department 
[20]https://edition.cnn.com/2020/06/09/us/disband-police-camden-new-jersey-trnd/index.html 
[21]https://www.economist.com/obituary/2020/06/04/george-floyd-was-killed-on-may-25th 
[22]https://www.kwtx.com/content/news/George-Floyds-former-teammate-wants-him-remembered-as-more-than-a-news-story-570889511.html 
[23]https://theundefeated.com/features/george-floyd-lasting-impact-as-a-two-sport-athlete-in-houston/ 
[24]https://www.discogs.com/artist/2002742-Big-Floyd 
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vanaam-123 · 4 years ago
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Script To Screen
Storytelling
Examining the aesthetic style of TWO animation styles, that influenced me.
When finding the inspirations for this task, I mainly set out to looking for generic superhero /action story heroes, where the character tends to have a tragedy or conflict occurring before they’re able to make the decision of them becoming that hero, to try and protect others, so that the same or similar re-occurrences, don’t happen again. I thought of a 2D superhero animation, (to no-one's surprise, was obviously going to be superhero based): Spectacular Spider-Man. Yes, I did pick it after some back and forth with another Spider-Man animation, but this one appealed to me differently, when in comparison to the others. I love this version differently, due to an array of factors.  
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Firstly, it’s simplicity. Just in general with the characters and the wardrobe decisions, little to nothing, in terms of clothing details, seems excessive in terms of trying to replicate it, either drawing it out, physically or digitally, or trying to create it physically in terms of costume design, as they really need to.
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Moreover, this helps out further with my animatic and story boarding because I can include the small details of certain aspects, if it has a unique symbolism or is used as a particular prop, like ‘Curt Connors’, for example, he has a robotic arm, and you can tell because it’s a different colour to his other hand and has certain ‘robotic’ outlines, but it also doesn’t necessarily need the motors and functions of what the hand could do. Similarly, with his badge, he doesn’t excessive detail like his name and occupation (unless the scene needed it, like him in a 1 shot and close up). But attempting to try and keep a certain element of a small detail in every drawing / frame, may become tedious and time consuming, especially if it doesn’t need to be there and/or if the detail goes un-noticed anyways, then it may seem like a waste of effort and time, which wouldn’t have to occur and if you missed out a certain detail but only a few amount of people were able to spot it out, it may also ruin, if not spoil, the continuity of the animatic. The wardrobe designs for the characters in the ‘Spectacular Spider-Man', are basic, easy to spot and recognise and don’t need any other unnecessary, excess details in their clothing / outfits, if they don’t need to be. However, this only changes if something like another force or action is added on top of it, such as spilling water on the clothes, which would result in the colour of the clothing, to change, usually becoming darker, but only to a certain spread of the clothes too. Too much or too little may seem unrealistic to the scenario given, which also may ruin the visuals for the animation / animatic.  
Additionally, a similar point can be said about the environmental design too. For Example, during this scene:
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excessive details to the background or anything that isn’t a part of the primary or secondary focus of this scene, doesn’t need to have any extra details that may divert your attention at those specific focuses. In this case, the primary focuses are Kraven the Hunter and Mysterio. Secondary focuses are the hostage’s elf and santa, where less but still recognizable details can be seen, such as the sadness in the elf’s facial expression, but not so much with the Santa. Anything else, such as the Raindeer and buliding in the background, don’t require more details, which may distract you and ruin the continuity of the scene, presumably, during this particular scene, where Kraven is fighting Spider-Man.
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The second style of animation that influenced me was: Stickpage Animation.
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It’s one of the easiest recognized animations styles that anyone can draw, no matter how much they may say that they can’t draw. It is basically a bunch of stickmen doing some actions that resemble something you want them to do. It starts off as an initial design and then can be developed with more characters, audio, a narrative, camera angles and shot types etc. Full drawn animations have been made, from the simple idea of a stickman, which has influenced the ideas of many different scenarios and situations, leading to different opinions and idealistic thoughts, based on one event. It became slightly hard for me to attempt drawing, but to have a narrative, a thought that a character could do something without facial expression, speech or body language, could be enough to convey a small meaning or message across, depending on the event in question, so coming up with a story and some smaller ideas like a problem, background, resolve, characters, props etc. Could be enough to show off what the intention of the idea, being dreamt of, could do and become, inspiring other to adapt and vary what their beliefs and ideas could be, resulting in animations shown. Early on youtube videos on animation have been conveyed this way and many small games have been produced. The Main inspirational site I’ve come across is “Stickpage.com”, which shows many of the games, video, forums, advice on anything and everything stickman related.
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Even just the character itself has helped animators, especially 2D animators get a feel of what the key skeleton may look like and how a certain character or object should pose like. Then from there character background stories, personalities, apperances etc. Get developed, but initially it serves like a base model to what something could look like on a flat background. Once narratives have been set, further developments such as voiceovers, audio, sound, feelings, emotions, physics, camera shots and angles, can be added in, presumably creating a result of 2D animation.
I wanted to see If there was a way I could create something in this kind of spectrum, where I was able to show certain elements of a character, like personality and appearance, with the use of colour and extra on top drawings like clothing, to distinguish elements of people, whilst keeping appendages simple as a line figure but also add some emotions and feelings, which would be shown as I draw the faces and the range of emotions and body language that comes along with it. This could then be shown as the stick figure bending or being in a pose, rather than sticking to the rigid skeleton, such as itself. Bends and twists, would help add more of an element to the animation, alongside the aid of some sound effects, primary and secondary obtained audio, possibly a voiceover (mainly this one could help my animation skills, as I would have to focus on how to animate a certain word coming out and sounding, as well as what it may sound like if each syllable and letter were sounded / said out, plus with how slow or fast it may be said, so it either sounds like a blur or enunciated.
So, hopefully, I am able to create some form of an animatic, that includes both these types of animation style, using both kinds of techniques and resources. Firstly, I would start off with some concept art and experimentation of what the character could look like and possibly develop some further ideas like skin tones and personalities later on.
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sarahvera13 · 5 years ago
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Research
Co-design is known as research that develops process such as creative practice which is well-established in the public sector. Philosophy is professional designers, who are empowered and encourage, help their users to promote product, service and making decisions solutions for themselves. It has a background in participatory design techniques made in Scandinavia in the 1970s. Co-designs can be used in different terms such as participatory, open design processes and got a breakthrough from Prahalad and Ramaswamy's Co-creation concept which is a big part. Co-creation involves breaking away from a company and product-centric from them to forces on the value towards the customer experience-centric view.
Reading more about co-design I see that it reflects a major change in the traditional designer-client relationship. Co-design has access to allow a lot of people to build a creative improvement in the management and solution of the problem. The way they took this situation went above "consultation by building and deepening equal collaboration between citizens affected by, or attempting to, resolve a particular challenge" The main tenet of co-design is that user is known as experts of the own knowledge for them to become central to the design movement. There is a range of tools and techniques are available to support co-design project, that can "help participants create user personas, storyboards and user journeys”.
Reference
https://www.mbabrief.com/what_is_co_design.asp
http://designforeurope.eu/what-co-design
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Design Culture is known as having lots of terms and rarely understood. Different companies think they are embrace design culture but you can see if there is different meaning on the term so it is hard to know what it exactly. I feel like this term is difficult to explain because everyone has our opinion especially designer they will have stronger opinions. Companies are informed to understand and respect the value of design. Design is sometimes mistaken on just being created to be for things to look nice. "When the design isn’t properly understood or respected, it often plays second fiddle too engineering and business decisions, resulting in poorer outcomes." With the design culture, the full team and non-designers accept that design is a holistic and process-driven discipline that should be integrated throughout the organisation. "Design culture hinges on an understanding that decisions should be made intentionally. Even the smallest details can add up to produce a massive impact, so a design-centric organisation is biased against leaving anything up to chance.”
Reference
https://www.invisionapp.com/inside-design/what-is-a-design-culture/\
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Design Thinking is known to be "a human-centred approach to innovation that draws from the designer's toolkit to integrate the needs of people, the possibilities of technology, and the requirements for business success.” This was said by Tim Brown CEO OF IDEO.
It's known to allow individuals to make plans for future customers and what they need or want. It awaits on intuition, shows patterns and builds up ideas that are both functional and emotionally meaningful. Now design thinking has been acceptable in the same way as the scientific method and being the big adopted approach. It is well known and here to stay. For example, the Honey and Mumford learning styles are built upon Kolb’s work and is used to help individuals recognise their skills and how to apply them to work to their best ability.
One of the most popular methods of design thinking in design communication, using mind maps to develop ideas. Which is an efficient method of organising thoughts and ideas to find creative? In the design industry, it can be used for cross-fertilisation of ideas for new ones. This can happen by combining thoughts into one, or by taking inspiration from other disciplines.
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ENVIRONMENT UNDER STRESS
Humanity has actively reshaped the plant by our appetite for natural resources and large scale industrial activity and disrupting the global climate balance on an extraordinary scale. Lending us entering a new geological period (Anthropocene) In history, it's been known that the environment that has shaped us but now its humanity that is shaping our environment. There have been lots of early warning signs like the one "In the 1920s the palaeontologist and realist philosopher Pierre Teilhard de Chardin forecast the increasing complexity of the present-day society that would inevitably lead to shock in evolution.
"The report from the Intergovernmental Panel for Biodiversity and Ecosystem Services (IPBES) says that their 7-year study on Natural World change shows that that is habit loss, climate change and pollution and exploitation is the greatest threat to the plant's biodiversity.”
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Thinking Differently About Fashion - The Future Of Fashion
Fashion is known to be the seventh-largest global economic sector, this shows that fashion can keep up with the fast-evolving pace of the modern world. Fashion is something we deal with every day no matter if you don’t care about it. With fashion dependent on individuals with various and ever-changing flavours, it may be driven and enabled into wearable technology. Wearable technology hopes to provide easy to use, comfort and innovative materials and designs. It hopes to create a user-friendly product that goes hand in hand with the users wearable and fashionable needs. Nanotechnology enables this to come to life by allowing new ways to make or create new materials and fabrics.
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Seeing design differently
When it comes to the future, designing can be difficult so that why people look at different angles so they can reach their goals and make better places for the future. When we looking at technology we see that it has started to involve in design though fashion. Doing more research I see that more information on the garment. When ur creating and design the garment you have to make sure it was comfortable and protected. What I think the design is to the future is you should be able to make different ways to grow things with smart material and advanced computing devices.
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Critical design is a theory-based concept this used with design fiction and speculative design proposals is a tool to create ideas, not objects. The principal foregrounds the ethics of design practice and can be quite controversial at times as it is often negative. What I think it does is that it makes us think again about design and not to move relevant to technological, economic and social changes, the critical design comes with a satire approach. For example, The ‘Victimless leather’ is the design that on takes speculative design proposals within the critical design in which immortalised cells. Critical design is modern and futuristic meaning it has it advantage however everything faces critique which in this case is that light condition exists in poor countries and can be studied to have come from an elitist perspective. It can only occur in institutions and museums and highlights issues however none acts on them that most people don’t agree with. Even though being criticised, the critical design goes on to show a big part in the design.
Reference
http://dunneandraby.co.uk/content/bydandr/13/0
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Experience Design is a way of thinking its works by an individual identifies that worth of the product and service. The design shows the customer with purposeful and realistic experiences. This can be done through the interactive design, which is a practice of designing interactive digital products, environments and services. This will lead to making an identity for the band, the design should fit with the business ambition. The skill that the experience designers have is they are the most creative fields. Looking at what Interaction design is, it's a process in which the designers stay on making engaging web interfaces with logical and over the behaviours and actions. The interactive design has an outstanding result on the use of technology and principles of good advice to create desired user experiences.
Reference
https://www.wired.com/insights/2014/03/experience-design-innovation-isnt-enough/
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araeph · 7 years ago
Note
P1: Aang had many teachers or guides. The contact of Aang with his adult teachers (Pathik, Jeong Jeong, etc.) tended to last less than two episodes, in contrast with the case of his younger teachers (Toph, Katara, Zuko), who travelled with him on Appa's back. A discrete flux of learning and knowledge from his Adult Teachers (mostly male), while having a constant interaction with his Young Teachers (mostly female).
P2: If I am correct, do you think this ‘diversity of teachers’ was designed in order to make a contrast with the pair Iroh-Zuko (one teacher-one disciple)? Was this diversity of teachers good for Aang?
P3: Having read “Would you use energybending?” and your proposal for character development, do you think it would’ve been better to have a more lasting influence from one adult guide over Aang (e.g. Aang interacting more with Guru Pathik in the Second Season) or more frequent dialogues with the previous Avatars?, in addition to an earlier encounter with the Lion Turtle.
I don’tnecessarily think that Aang should have had a more constant mentor, but ratherthat his loss of the mentor who died should have been more pronounced in theshow. He certainly would have benefited from a constant mentor, and the fact that he doesn’t (and to some extent, can’t) is OK, if it is framed in such a way in the narrative.
Mentorcharacters are difficult to weave into the fabric of a story without feeling likea deus ex machina or cardboard cutout. Roku didn’t need that much characterdevelopment, being dead, but even he got a backstory with Firelord Sozin toflesh him out a little. They held him back for when Aang most needed him, whichI think is the correct approach, because Roku popping up in every episode wouldseem a bit contrived. It also makes sense that Aang would not be able to stickwith one mentor for the duration of the series, because it would feel lessnecessary to visit the homelands of each type of bending with an adult rightthere to explain everything about a particular culture.
There’ssomething else to consider: having an adult in the group would radically changethe gAang dynamics. It wouldn’t make sense for the kids take part in the actionwhen the adult would be trying to protect them and keep them out of danger. Itwas different with Iroh and Zuko because Zuko was an older teen and actuallyoutranked his uncle. But a middle-aged mentor saying, “Yes, let’s go intodeadly danger together!” to a 12-year-old is not going to come off well.(*cough* Batman and Robin *cough*) It would also prevent the GAang from beingan equal team of kids. Scenes like this:
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Would besoooo awkward with an adult in them!
Rather thanintroduce a long-term teacher and interfere with the GAang, it might be better to have had moreflashbacks or allusions to Monk Gyatso. There would be times when Aang wouldask Gyatso for advice, forgetting he wasn’t there, and maybe he could stumbleacross Air Nomad traditions or practices that he didn’t know about. (He’s 12;he couldn’t be expected to be an expert on every facet of Air Nomad society).This would add weight to Aang’s loss of the Air Nomads and serve as a reminderof an entire culture being extinguished at the hands of imperialism.
As afinal note, yes, I would definitely be on board with more female old masters!Why the White Lotus didn’t have any women is beyond me.  But I do think the diversity of teachers we get helps Aang greatly in mastering the elements, because he can combine different techniques with different teaching styles to possess not only a bigger arsenal, but a deeper understanding of the world around him. Making connections with all the Four Nations is paramount in being an Avatar, and coming to that knowledge from a place of humility (i.e. as a student) is one of the best ways to do it.
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ourmrmel · 6 years ago
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Guidelines for Assembling Your Real Estate Investing Team
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Guidelines for Assembling Your Real Estate Investing Team
Mel Feller, MPA, MHR with Offices in Texas and Utah
Mel Feller Seminars, Coaching For Success 360 Inc. /Mel Feller Coaching          
See www.melfellersuccessstories.com and www.melfeller.com
 Why Have A Team?
It can be quite a daunting task, when you are starting out, to consider hiring accountants, lawyers and other professionals. Not only is the expense a concern but knowing who to consider and how to make a decision about who to utilize puts many people off. In addition, it is for these reasons that many would-be investors try to do it all themselves.
However, you will find that the short term benefits of doing it all yourself will very quickly be dwarfed by the cost of lost opportunities, bad deals, and a simple lack of manpower turning just a few deals into a full-time job. So instead, let us discuss some effective selection techniques and ways to minimize costs in the early days.
 At this stage, do not worry too much, about how you will afford to have these professionals “on your team”. There are definitely going to be some costs in getting started but initially you will be calling on these people far less frequently than the phrase “on your team” might suggest.
 Who To Include On Your Team
Business Team
 If you look at the general process for successful real estate investing you will see some important early steps involve legal and accounting advice so it follows that a lawyer and accountant are key members of your team. Your lawyer and accountant should jointly help you with structuring your business for optimal legal protection and tax purposes. Your lawyer will also need to help in creating appropriate contracts for the deals that you do. Similarly, your accountant should give case-by-case tax advice.
 Your primary selection criteria for these professionals should be that they are real estate investors themselves. “How do I find that out?” you may wonder. Just ask them. But be warned; they will know why you are asking so they may give you a positive reply on the basis that they own their own home and maybe a vacation property or two. Therefore, you may want to ask if they generate a substantial income from investment real estate.
 The reason this is your greatest concern with accountants and lawyers is that if they are investors themselves they will have much more of a “can-do” attitude rather than constantly putting a negative spin on things. They will understand where you are coming from and have a keen interest in finding answers to your questions. If you get active investors on your team, it will make life so much easier.
 Property Acquisition Team
 In addition to these professionals, some other key people to include in your team are a real estate agent or broker, a property manager, and a lender or mortgage broker.
 When selecting these members of your team it is not so important that they are investors themselves but you really, want to narrow your search to people that work with investors on a daily basis. You will find that in each of the professions there are specialists who focus on investors and these are the people you want to work with.
 For example, to find a good real estate broker you could walk in or phone and simply ask who their best investment broker is. If they really have to think about who that is, they may not really be an investment specialist so you might want to try a different firm. But if you get a confident reply that “Bob looks after most of the investors!” then you can ask Bob a couple of questions to make sure he knows what he’s talking about.
 Two key questions to ask the nominated investment broker are:
 What are the top couple of investment properties on your books right now? And
Why are they your best? What makes them good?
Obviously, if this person does not have an opinion about the best deals on his books he will struggle to help you out. Moreover, their answer to the second question will agree with your concept of what a good investment property is. If you are unsure at this stage, they should generally be talking about the returns and the upside of the location first and particulars about the property second. Unlike a homebuyer, you are not so interested in the lovely drapes, the white picket fence, or whether you like the color of the bathroom. The property numbers are the most important thing along with the factors that make those numbers attractive.
 About selecting a property manager, it is best in most cases if you manage a property or two on your own when you are starting out. That way you will understand many of the issues that must be dealt with and will be in a far stronger position to quiz prospective managers. Some issues to consider are collections, late payments, inspections, maintenance, marketing, minimizing vacancies, etc.
 In your search, you obviously need to find out how your property would be managed: if keys are handed out, how enquiries are handled, if you receive reports after routine inspections. Do not go on management and letting fees alone. It is important that the people managing your property look after you, your tenant and your property. A wise thing to do would be to contact a few customers and see what they have to say; ask the company for testimonials.
 Other Team Members
 Here are some other people that you will need along the way:
 Bookkeeper – you should consider a bookkeeper an essential team member as they can help keep your finances in order for a fraction of the price of an accountant. Involve your accountant in strategic decisions but find a good bookkeeper for day-to-day operations.
Appraiser – many people try to save maybe $700 and it ends up costing them a whole lot more than that because they do not know the true value of a property.
Bird dogs – why not offer a reward to people who can bring you a motivated seller. People who know an area such as delivery people, house sitters, or movers can be a great source of wholesale property. If you offer $500-$1,000 for each property you complete on then it does not cost you anything (just a very small percentage of your profits).
Insurance agent – you simply must insure your properties so make sure you get the right cover at a good price.
General contractor – some of the properties you find will need some work done to them and if you have a person, whom you give regular work to he may come and look at properties for you before you buy.
Building and pest inspectors – it just makes sense to have a good relationship with someone so you get great service and good prices.
 Win-Win Partnerships
I mentioned earlier that there are ways you can minimize costs when dealing with your team members. The best method I have found is very well known but not very well practiced. Establishing win-win partnerships does a lot more for you than minimize your costs; it strengthens your business relationships and multiplies your business because you are helping other people rather than just thinking about how you can get something out of someone else.
 An example of this would be to bring business to your real estate broker. If you come across properties that are not listed and do not suit your investing strategies it is a great idea to forward the details to your broker. If you can help, your broker get a couple of listings each month he will very much appreciate it. It should then come as no surprise if that broker starts to come to you with properties before he tells anyone else about them. He will suddenly become more interested in your business and go out of his way to help. He may even spend time doing MLS searches for you on properties that he does not even have on his books.
 There are many clichés for this principle of reciprocity because it is timeless and it works.
 This same principle can be applied to just about any business relationship. Just start to think about it from the other person’s perspective – what is in it for them?
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Mel Feller a Texas /Utah Personal Development, Business, Real Estate, Realtor Trainer, Branding, Business Funding and Finance Coach.  In addition, Mel Feller has served in a variety of executive leadership roles for medium and large organizations, including multiple Fortune 500’s.  He is a charismatic leader who has facilitated change and growth in all sized organizations, including non-profit and Board development.  Mel Feller has successfully led organizations in the areas business development, marketing, real estate and Realtors, sales, team building, operations, and the like. Mel Feller is in Texas and Utah with offices, staff and investments in both states.
 Mel Feller is committed to serving.  In the Texas / Utah community, he chairs several organizations.  Mel Feller volunteers his leadership at two churches in a variety of ways, including serving on council, bible study facilitator, and more.
 Mel Feller has been a featured speaker for career professional is groups, business leaders and continuing education sessions, and aspiring business startups.
 When he is not coaching, you can find Mel Feller reading, listening to podcasts, exercising, fishing, or with his kids and grandkids exploring the greatness God has gifted us all.
 Mel Feller states, “An effective coach is someone who tells you what you may not want to hear, helps you navigate around your blind spots, and helps you identify opportunities…so that you can be who you’ve always known you can be” Mel Feller
 Mel Feller’s purpose is to add tremendous value to those business owners/entrepreneurs by helping them reach their potential.
 Mel Feller is an effective, charismatic and powerful speaker, corporate advisor, and best-selling author. In 1998, Mel founded Coaching for Success 360 to help professionals worldwide design subtle changes in their presentation, attitude and leadership style that increases their personal and professional effectiveness and subsequently their financial status.  This also includes both real estate as an agent and/or investor.  See www.melfeller.com  and www.melfellersuccessstories.com .  Now with offices both in Texas and Utah.
 As a business, executive, personal development, and real estate coach, I work with a wide range of professionals and offer a highly personalized approach tailored to each individual in concert with the organizational environment.  In a supportive atmosphere, I work to build trust and support the professional in the attainment of goals and measurable outcomes.  
 Mel Feller offers sessions, both in-person and virtual.   We will start with an initial assessment to clearly define your short and long-term goals, everything from communication skills to personal acceptance. We will use these goals as a foundation to create a strategy and build the path for attaining these objectives. Change is typically a major component of reaching goals and sustainable change becomes more likely in a coaching partnership.  
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