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Yrkesrelaterad Engelska Kompendium – KY09/GMP, VT10 This is the compiled student material for the English course that starts in January, 2010. Please refer to this booklet for articles, discussion points, templates and scheduled tasks. Ann Scott January 2010


KY09/GMP – HT2010 Ann Scott

ENG Schedule for KY09/GMP –VT10 Whatever your level of English is, please take this opportunity to update your vocabulary, freshen up your fluency and improve your confidence when using English!

Date

Class activities

Preparation work for next time

18th Jan

      

Introduction & Groups Survey: “What do we need to work on?” Course criteria Tongue twisters Descriptions “What’s in the bag?” Detailed descriptions LUNCH BREAK Fill out the gaps – design articles “If you package it, will she buy?” Question Time

Read the articles “Top 7 critical aspects of a fantastic logo design” and “’Oh no’ logo”. Look up the words you don’t know and translate them!

Compendium discussion Fill out the gaps results Discussion: “Top 7 critical aspects of a fantastic logo design” & “’Oh no’ logo” Logo alternatives LUNCH BREAK Useful words & phrases Avoiding the use of “I think” Structural ambiguity (+ Play on words?) Question Time

Go online and search for logotypes. Choose one that you like. Write a short text (about 500 words, give or take) about why you like it or don’t like it. Start by describing it, and then give your opinion on the design. Feel free to give constructive criticism on it (what would you change, and why?) and please motivate your arguments. Prepare to present your arguments in your small groups on Monday. You will hand in your written text to Ann on Monday after your group discussions.

Read the article: “Is Shepard Fairey's poster of Obama really the best design of the year?” Remember to use the vocabulary list that I have provided!

Bring your CV and personal cover letter (English or Swedish – whatever you’ve got!) Read the article “Great prints sustained” (Please remember to use the word list I have provided you with!) Read the article “Teen Millionaire”

   25th Jan

       

1st Feb

      

Logotypes discussion “Is Shepard Fairey’s poster really the best design of the year?” Fill out the gaps LUNCH BREAK Useful words & phrases Bill Gates on Life Finding a money making… & How to start living your dreams Question Time

 

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Date

Class activities

Preparation work for next time

8th Feb

   

 

   

Fill out the gaps results Discuss “Teen Millionaire” Discuss “Great prints sustained” Working with ads LUNCH BREAK Planning your correspondence Writing application letters Useful words & phrases Question Time

 15th Feb

       

22nd Feb

     

1st March

    

Groups: article presentation/discussion “Gorilla printing” Useful words & phrases Striking up a conversation: swop groups for this task! LUNCH BREAK Translate “Client Considerations” and “Packages May Take Many Forms” from The Complete Graphic Designer Preparing for an interview Role play: interviews! Question Time Oral assessment – groups Discussion: design briefs Groups: “Teach-yourself game design site” & “Teen Millionaire” Discuss “10 innovative packaging ideas” QT Questions LUNCH BREAK Written assessment Design briefs - handout Swenglish mistakes Individual feedback & grades LUNCH BREAK Course evaluation Question Time Final!

   

Finish your application letter Find an article (online or from a newspaper or magazine) that presents or discusses something within the area of graphic design. The original article can be in English or Swedish. Write a summary (in English!) where you run through the main points from the article. Add your own thoughts/opinions on the text. Bring your written text (about 500 words) to class, as well as a copy of the original article. Read “Gorilla printing” Read “The Ultimate Design Brief” Read the article “Teach-yourself game design site” Read the article “10 innovative packaging ideas” Prepare for oral & written assessment!

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 Please remember that you are expected to have a 100% attendance record for this course! 3


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RESULTS: What do we need to work on? Based on 26 responses A. Do you feel you need to improve your English writing skills?

YES 73,1%

NO 26,9%

B. Do you need more practice talking English?

YES 57,7%

NO 42,3%

C. Do you need more practice reading articles and design descriptions in English? YES 73,1%

NO 26,9%

YES 7,7 %

NO 92,3%

D. Do you have an English version of your CV?

Yes

No

1. I feel confident speaking English in a group of people.

46,1

7,8

46,1

2. I know how to express myself in English in a business meeting.

7,7

19,2

73,1

3. I would feel confident describing my own designs or project ideas in English.

19,2

19,2

61,6

4. I often read articles, instructions or news in English.

53,9

26,9

19,2

5. I feel confident reading texts in English (I usually understand the content).

76,9

7,7

15,4

6. I know how to express my opinion in different ways in English.

50,0

38,5

11,5

7. It‘s easy for me to strike up a conversation with someone in English at an event.

38,5

34,6

26,9

8. I am used to discussing design ideas with someone in English.

11,5

11,5

77,0

9. My general conversation skills in English are good.

50,0

30,8

19,2

23,1

23,1

53,8

23,1

30,8

46,1

10. I am capable of giving constructive criticism on products/packaging design ideas in English (talking about improvements/enhancements etc.). 11. I would feel confident going into a job interview where the spoken language was English.

Is there anything in particular that you would like to do within the timeframe of this course? ANSWERS: Learn more words, flexographic words, LEARN!, more graphic design vocabulary, business English, practice talking, learn new words, TALK!, Learn as much as possible! 4


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In today's competitive retail environment, for someone to try your product your packaging needs to stand out from the crowd. The fact is that most people will judge new products by their packaging, so your packaging needs to be memorable. Here are 10 ideas that will help you to create packaging that is innovative and impressive.

10 Innovative Packaging Ideas Peter Renton -- Packaging Digest, 9/8/2008 It was Peter Drucker, the leading business thinker of the 20th century, who said that business has two functions – marketing and innovation. This article is going to merge both these ideas. Packaging is ultimately a marketing function, it is the final marketing message your customers will see before purchasing your product. If you are selling at a retail store your packaging can be a major factor in determining the success of your product. Today, to break through the clutter of the hundreds of other competing products out there it pays to be different. Look at what your competition is doing, and make sure you have an innovative and unique look. Innovation in packaging will get your product noticed, it will help build your brand, and it will give your product some personality. Whether you like it or not your product is initially going to be judged by your packaging. So, how do you create innovative packaging? You can pay a packaging design firm thousands of dollars to come up with some ideas or you can create the ideas yourself. Here are ten ideas that will hopefully stimulate some packaging innovations for your own products. 1. Create a Reusable Package The boutique beverage market is mature and extremely competitive, so you might think there are few really new ideas when it comes to packaging. You would be wrong. POM Tea has created something truly different. For a start the product itself is different – it is tea infused with pomegranate juice. But it is the packaging that is remarkable; the drink is packaged in a regular tall drinking glass with a lid and a clear shrink wrap label. It says on the label: Remove the label, keep the glass. In our local Wild Oats it retails for $2.79, not that expensive for a bottled tea, and you get a free glass. No need to worry about recycling here – you get to reuse the packaging.

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2. Add a Little Extra to Your Packaging Sometimes you can have very standard packaging, but stand out from the crowd by just adding a little twist to it. Amy‘s Kitchen has done just that with their line of pasta sauces. It is a standard size jar with a standard color label that really blends in with all the other pasta sauce offerings. What sets them apart is the paper and gold bow over the lid of the jar. It looks like the way your grandmother would package it, and you can‘t go down the aisle of pasta sauces without noticing it. 3. Make Design the Focus of Your Packaging Most people think about the product first and the packaging second, but Method Products turned that equation around. They focused on packaging from the very beginning – they wanted to create packaging that was beautiful, that you didn‘t have to hide in the cupboard. They created a premium line of cleaning products with packaging that you could display in the kitchen or bathroom like a home accessory. Just stroll down the aisles of any Costco or Target and you will see this focus on design really makes Method Products stand out. 4. Create Fun Packaging Fun packaging doesn‘t just have to be for kids, after all adults like to have fun, too. The bright colors and unusual shapes that dominate kids‘ products can work in adult products, but usually a more subtle approach is better. One industry that has started to embrace a little more fun in their packaging is the wine industry. Just take a trip to the local liquor store and look at all the fun animals on wine labels these days. We have penguins, kangaroos, frogs, horses, swans and many more critters appearing on wine labels. We may not be ready for a penguin shaped wine bottle, but a colorful penguin label can add an element of fun and really stand out from the more conservative wine labels. 5. Let Your True Colors Shine Through Candle-Lite is the goliath of the candle industry with over 160 years of continuous candle making operations. Their packaging is nothing fancy, just a candle in a clear jar, but the colors they choose are striking. They use bright colors, often with multi-layered candles and they let these colors shine through with simple clear jars. And a simple label on a white background accentuates the colors in the jar. On my local supermarket shelf their candles really stood out from the dozens of other brands. 6. Extend Your Labels with Sandwich Printing If you are selling a clear liquid in a clear bottle then you have an option available to you that can give you more packaging space for very little extra cost. I am talking about printing on the back of your labels. You can‘t put regulatory information on the back of your labels, but you can run contests, tell a story about your company, or give ideas about how best to use your product. It is a simple way to give your customers more information and not detract from the presentation of your package. 7. Try the Metallic Look Most labels are printed on white or clear material, but there are many other options available to you. One look you can consider is using a metallic foil for your labels or packaging. With a good design

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the metallic look can be very striking when compared to the same design on white, and really isn‘t that much more expensive. 8. Focus Your Packaging on a Specific Target The Axe line of products from Unilever has a very specific target audience – young men aged between 18 and 35. So they built their packaging to appeal to that target. The package for the Axe Shower Gel looks like it could just as easily contain motor oil as shower gel. It is a thick molded black plastic container that has a rugged appearance that appeals directly to this demographic. Here is a product that has tailored not just the contents but also the packaging to their specific target market. 9. Merge Two Packaging Concepts Another very competitive industry is the beer business, with the big players there always looking for an edge on their competitors. Last year Anheuser Busch came out with a completely new concept in packaging that ended up winning several packaging awards. The concept was so simple it is amazing no one had done it before. We all know beer comes in glass bottles and aluminum cans. What Anheuser Busch decided to do was just combine these two concepts and they came up with the aluminum bottle. It was different, it looked classy and eye-catching, and it was 100% recyclable. 10. Look to Nature for Inspiration Nature has some amazing examples of ―innovative packaging.‖ Consider the banana, the pea-pod, the kangaroo pouch, the pine cone – these are all examples of nature creating efficient packaging. Nature‘s packaging is usually elegant and beautiful as well as efficient. There are shapes, colors and even packaging concepts that you can borrow from nature‘s example. So next time you go for a walk in the woods, take a look around you and marvel at the innovative packaging created by nature. The idea for this article is really to get you to think more about your packaging. Take one or two of these ideas and think about how they can be adapted to your product. If you focus on your packaging and create something that is unique to your company you will be more successful. Remember, your packaging not only has to contain your product, it is your final marketing message to your customers. Look at what your competition is doing and make sure you deliver a strong message with your packaging. Peter Renton is the founder of Lightning Labels, Inc., the leaders in digital label printing and custom labels. He writes regularly about the label printing and packaging industry on his blog at http://blog.lightninglabels.com. Article Source: http://EzineArticles.com/?expert=Peter_Renton

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Questions ―10 Innovative Packaging Ideas‖ Discuss & answer the following questions!

1. How does Renton describe packaging?

2. What does Renton mean by ―reusable package‖?

3. According to Renton, how can you make your package stand out? 4. What does Renton say in ―3‖, where he talks about making the design the focus of your packaging? 5. Give examples of ―fun packaging‖! 6. What is ―Sandwich Printing‖?

7. Give examples of products where the packaging design focuses on a specific target group!

8. What did Anheuser Busch do to change their packaging design (for beer)? 9. What is Renton’s suggestion in the 10th bullet point? 10. Which of Renton’s ten key ideas would you say is the most important one?

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Questions ―’Oh no’ logo‖ Discuss & answer the following questions! 1. Who is the target audience of the Olympics logo? 2. In your opinion, do you think the chosen design appeals to the target audience? Why? Why not? 3. Can you find pros and cons for this particular design? Discuss! 4. What did Sebastian Coe mean when he said ―We don’t do bland‖? 5. Take a look at a colour copy of the logo and read what it says in the article under the heading ―Colour‖. Do you agree with the designers’ reasoning behind choosing these colours (would you have ―bought‖ it if you were the customer?) 6. What is the criticism of the choice of colours? Do you agree?

7. If you had to describe the logo with one word, how would you describe it?

8. The animated version (online) of the logo changes colours. Do you think that is a good choice? (Why/why not?)

9. If you had designed this logo, would you have added any other effects to it for the animated version? 10. How would you have designed the Olympics 2012 logo differently if you were given the job? Explain!

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Expressing your opinion When you write a paper, an article or any piece of text where you express your opinion, please remember that there are many ways of saying ―I think that…‖ or ―I don‘t think that…‖. Try to use different ways of expressing yourself – it will make your text more interesting and you will develop your writing skills in the process! Here are some examples of phrases that you can use:

In my opinion…

As far as I‘m concerned…

The reason I think X is…

One reason why…

My view is that…

It seems to me that…

I would argue that…

I do not believe that…

I am unconvinced that…

I do not agree that…

Of course, many / some people argue…

It is sometimes argued…

By this I mean…

Here I'm referring to…

To be more precise…

That is to say…

My thoughts are that…

Also, whenever you express an opinion, try to also tell the reader why you have that opinion. For example: In my opinion, Sally should audition for the musical, because she can both dance and sing beautifully. Asc0710a

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Is Shepard Fairey's poster of Obama really the best design of the year? By Tom Dyckhoff March 19, 2009

"Well, what else could have won?" people keep asking me. Last night, illustrator Shepard Fairey's famous poster depicting a moody, mystical Barack Obama gazing into the great future above Chicken Soup for the Soul incantations like Hope and Progress, won the Brit Insurance Design of the Year, picked by a panel of greats and goods including Alan Yentob and Paola Antonelli, curator of architecture and design at New York's Museum of Modern Art. It was, apparently, chosen as "most innovative and forward thinking design of the past 12 months". Really? Innovative and forward thinking? Really? Sure, there's no denying the poster's impact. Hundreds of thousands have been sold in the past few months. The image has appeared both all over street corners in America and on the front cover of Esquire. Fairey reprised it for the front cover of Time magazine's Man of the Year edition and has become something of a star across the Atlantic, with a retrospective of this 31-year old's back catalogue now on at Boston's Institute of Contemporary Art. It is, says Peter Schjeldahl, art critic of The New Yorker, "the most efficacious American political illustration since Uncle Sam Wants You", credited by many with helping garner the grassroots upswell that propelled Obama into office. And it is indeed a handsome poster. Bold. Graphic. Packed, like most of Fairey's work, with allusions to Soviet revolutionary propaganda, and from the street art and graffiti culture in which Fairey's made his name since his teenage years. Though it hardly pushes the envelope in terms of posters as a type of design; while as street art Fairey's work lacks the light wit and many-layered subversion of, say, a Banksy. "Just as the presidential candidate's campaign speeches recaptured the lost art of oratory," says the jury's citation, "so this poster breathed new life into a form that had lost its purpose." This poster, they go on to say, "demonstrates the power of communicating ideas and aspirations from grass-root level." There's no denying any of this. But this is Designs of the Year. Not Poster of the Year. Or Ad Campaign of the Year. And the prize's self-defined role is to reward the most "innovative and forward thinking" design. This poster is neither innovative or forward thinking, certainly not 11


KY09/GMP – HT2010 Ann Scott

compared with last-year's winner, the bargain-basement laptop in reach of the world's poor, designed by Yves Béhar. Indeed the poster's very nostalgia - nodding to a past, and, it implies, a future, of Kennedy-sque cosy God-Bless-America certainty in which we really can believe in our Messiah-like leaders - is part of its appeal. Maybe the jury, like the rest of the western world, is still riding the wave of Obamamania, taking leave of their critical faculties. Yes the poster is bold and powerful; yes, it helped galvanise support. But it says precisely nothing about the direction in which design is going right now. It's zeitgeisty, but, unless it was single-handedly responsible for getting Obama elected, not agenda shifting. It says something about a historical moment, but not a historical epoch. Admittedly, most of the designs on the prize’s shortlist, were pretty conservative. Konstantin Grcic's MYTO chair? Nice, but just your usual chair dovetailing form and function. Italian Vogue's all-black issue? Important, but on a global scale? Snøhetta's Olslo Opera House, its walls and roofs blurring into the harbour and landscape is undeniably handsome, but, it, too, doesn’t have that global significance these awards should reward. Make magazine's website, which provides blueprints for users to make their own objects, is cute, but I've no idea why it's on the shortlist. The cable car public transport system to skylift the poor of Medellin City, Colombia from their steep-sloped favelas into the centre is a great example of idea transferal and design with a social purpose. But, if anything, the Magno Radio, which won the audience "Blog Vote", was the more deserving winner from the shortlist. Singgih S. Kartono's design for technological equipment elegant enough to easily walk off the shelves, yet made by re-skilled Indonesians in a Javanese village - thereby tapping into local craft techniques and stimulating the local economy - has far more to say about global consumerism at this critical time. Think global AND local. The longlist, though, has even more worthy winners both innovative and forward thinking. Tony Mullins Green Felt Protest Suit is a far cleverer approach to politics and design: the suit acts as a greenscreen onto which he can project any image he wants - in essence becoming a walking billboard for such spots, like Westminster, where protest is under threat. Ditto the Pet Shop Boys' video, which wittily uses barcodes to be read by camera phones, directing viewers to websites on civil liberties. Or what about the McGuffin Library project, tapping into rapid prototyping technology which allows you or I, to "print" our own customized, mass-produced objects. Or, perhaps the most boundary-pushing and challenging piece of design of all, Life Support, in which animals become the "design" - used, essentially, as pieces of medical equipment: with genetic tweaks, sheep become kidney dialysis machines. Still, maybe it's comfort and nostalgia and certainty we want right now, not challenge and provocation. In which case Fairey's poster delivers it in spades. Brit Insurance Designs of the Year exhibition runs until 14 June at the Design Museum, www.designmuseum.org Source: http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/architecture_and_design/article5940571.ece

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Vocabulary list: depict moody gaze incantation

progress curator apparently forward thinking deny impact appear reprise effacious gamer grassroots upswell propel handsome bold allusion to push the envelope lack

avbilda, skildra vresig, nyckfull blicka, stirra besvärjelse, magisk formel framsteg intendent tydligen framåttänkande

wit many-layered subversion recapture oratory aspiration self-defined reward

slagfärdighet mångfacetterad här: skildring återfångade presentationsteknik strävan, längtan självdefinierad(e) belöna, belöning

förneka effect, verkan verka göra i repris ungefär: effektfull ungefär: sätta i spel gräsrötterna (ursprunget) uppstigande, ―popularitet‖ framdriva snygg vågad hänsyftning, anspelning ungefär: att tänka utanför gränserna sakna

appeal galvanise zeitgeisty admittedly significance favelas transferral tap into wittily essentially tweaks provocation to deliver something in spades

dragningskraft hetsa, egga modern, rätt i tiden visserligen betydelse slumområden överföring ungefär: beröra smart huvudsakligen ryck, inslag provokation att leverera enormt mycket av något

Some of the other designs mentioned in Dyckhoff’s article: Konstantin Grcic’s chairs, Singgigh Kartono’s Magno Radio, and Tony Mullins Green Felt Protest Suit

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Questions ―Is Shepard Fairey's poster of Obama really the best design of the year?‖

Discuss & answer the following questions!

1. How would you describe Shepard Fairey’s poster of Obama?

2. Can you find pros and cons for this particular design? Discuss!

3. The panel of judges thought this design was forward-thinking, but Tom Dyckhoff questions this fact. What is your opinion – is it a forward-thinking design?

4. What comparison did the panel of judges make between this design and Obama’s speech strategy?

5. What are Tom Dyckhoff’s biggest points of criticism of this design?

6. Was it easy or difficult to follow Tom Dyckhoff’s train of thought in this article? (Why/Why not?)

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Structural ambiguity A word, phrase, or sentence is ambiguous if it has more than one meaning. Structural ambiguity occurs when a sentence or a phrase has more than one underlying structure. For example, the phrase “American History Teacher” can mean either 

A teacher who specializes in American history, or

A history teacher who is from America

The structural ambiguity of the phrase makes it impossible for the reader to know the actual meaning without having other information.

Please look at the following sentences and give at least two meanings (in English) for each of them: 1. As I was taking my wallet out of my bag, I dropped it.

2. Jack does not want to play chess with his brother because he always wins.

3. John enjoys painting his models nude.

4. The girl hit the boy with a book.

5. Police squad help dog bite victim. 15


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6. We saw the Eiffel Tower flying from London to Paris.

7. The police were ordered to stop drinking after midnight.

8. The chicken is ready to eat.

9. Visiting relatives can be so boring.

10. The old men and women left the room.

11. John loves his mother and so does Bill.

12. He's an unbelievable worker.

13. There is nothing you can teach a man like him.

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Play on words – structural ambiguity What’s the “play on words” in the following sentences? Example: - Those who jump off a Paris bridge are in Seine. Those who jump off a Paris bridge end up in the river Seine, but those who jump off a Paris bridge can also be seen as “insane” (pronounced the same way as “in Seine”).

- When she got married, she got a new name and a dress.

- When you've seen one shopping centre, you've seen a mall.

- She had a boyfriend with a wooden leg, but broke it off.

- If you don't pay your exorcist, you get repossessed.

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- When a clock is hungry, it goes back four seconds.

- A boiled egg in the morning is hard to beat.

- The short fortune-teller who escaped from prison was a small medium at large.

- When an actress saw her first strands of grey hair, she thought she'd dye.

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Teen Millionaire Not so long ago, teen Ashley Qualls lived in a one-bedroom apartment with her mom and sister. But with her computer and savvy business sense she made a better life for all of them. BY KEVIN SITES, TUE OCT 30, 12:11 AM PDT

Ashley Qualls doesn't sound like a typical high school student. Maybe that's because the 17-year-old is the CEO of a million-dollar business. Ashley is the head of whateverlife.com, a website she started when she was just 14 — with eight dollars borrowed from her mother. Now, just three years later, the website grosses more than $1 million a year, providing Ashley and her working class family a sense of security they had never really known. This teenage CEO bought her family a 4-bedroom house and built herself an office in the basement. It all started with capitalism 101, the law of supply and demand. Ashley became interested in graphic design just as the online social networking craze began to catch fire. When she saw her friends personalizing their MySpace pages, she began creating and giving away MySpace background designs through Whateverlife. The designs are cheery, colorful and whimsical, with lots of hearts, Ashley's favorites. She also pulled quotes from popular songs and built backgrounds around those themes. "Teenage girls love quotes," Ashley says, scrolling through some of her site's 3,000 designs, more than a third of which she made herself. Thanks to Ashley's work ethic and savvy cultivation of her peer group as a target market, Whateverlife began pulling in more teenage girls than a Justin Timberlake concert - about a million a day. With a big audience, the site attracted advertisers. Ashley's first check was for $2,700. The next was for $5,000, the third for $10,000. "OMG Robot" is one of the backgrounds designed by whateverlife.com At the time, Ashley's parents were divorced. She and her little sister, Shelby, were all crammed into her mother's one-bedroom apartment. When first the check arrived, her mother was doubtful, wondering if her daughter could really make money off a website. But Ashley was confident, telling her mother: "No, I really trust this. I think it's really gonna happen." Ashley was right. The checks kept coming and the business kept growing-to the point where she could afford to buy a brand new four-bedroom house for them to live in. Ashley also hired her mother, Linda LaBrecque, to help manage the company.

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It was and has been a bittersweet time for them both. "It's hard to be a mom and a manager," LaBrecque says. The roles clash every day, she says, but they manage by keeping a sense of humor. She's proud of Ashley. Prior to starting the business, she says, her daughter was too shy to even order a pizza by phone. Now she's making presentations to business executives. The job has also made LaBrecque's life easier, allowing her to quit her job and work from home following back surgery. But Ashley's life has become much more complicated. When her business took off, the former straight-A student quit school to concentrate on Whateverlife. "It's a busier schedule," Ashley says. "There's more to keep track of, whether its finances or employees and making sure everything is up to date and the content is secure." Ashley has created background designs for songs by popular artists like Britney Spears. This MySpace background design includes lyrics from the new Spears song "Gimme More." In addition to her mom, Ashley hired three friends to help with the business, teaching them design and then requiring them to make a minimum of 25 designs a week. Bre Newby says Ashley is a better boss than her past employers. "It's cool to have your best friend be like your boss," says Bre, "'cause she's a good boss. She's not like rude or it's not like working at McDonald's where you have like supervisors and people over you all the time." Has the price of Ashley's business success been the loss of a part of her childhood? She doesn't think so. "You know, when I'm with my friends, I'm still 17," she says. But time with friends sometimes has to take a back seat to business. On a recent afternoon, her three friends drop by to hang out with Ashley, but they have to wait for her to finish with her business advisor, internet consultant Robb Lippitt. Ashley and Robb sit on plastic chairs around a white conference table in Ashley's basement office, the walls decorated with hearts, like a Whateverlife background. The conversation includes overtures from Hollywood and a possible deal to help promote Britney Spears's new album on Jive Records. Ashley has even turned down a deal for her own reality television program. "I'm really stubborn, like my mom," she says, "So I know what I want from business. And I don't want that. I like my privacy. I like to hang out with my friends. I don't want cameras following me around."

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For his part, Lippit says he had concerns about working with a teenager, but Ashley won him over in the first meeting. "She doesn't sit there and say, ‗I did something well-that's good enough,'" says Lippit. He says Ashley knows, without being told, that she needs to keep developing her business, or it will stop growing. Unlike many adults, Ashley has not succumbed to the temptations that new wealth can bring. She pays herself a modest salary of $3,000 a month. Aside from the house, she hasn't made any other major purchases. "I don't even know how to put this," says Ashley, "But it's just kind of like the shiny feeling that when you have this money, it kind of goes away after a while. It gets old, you know. Yeah, I can go out and buy you know something really cool. But at the same time I mean I don't really need too much. I like to invest it back into the business." Despite all her success, one thing that has eluded her - something most of her friends already have - is a driver's license. "My mom does drive me. And then my friends drive me wherever we go," she says, "And I want to drive. Believe me. But it's just been kind of crazy lately." It may be the one thing about Ashley's life that reminds you she really IS still a teenager.

(HTTP://POTW.NEWS.YAHOO.COM/S/POTW/52250/TEEN-MILLIONAIRE)

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Questions ―Teen Millionaire‖ Discuss & answer the following questions!

1.

What was Ashley Quall’s original idea?

2.

Who was/is Ashley’s target market?

3.

How many designs per week do Ashley’s employees have to make?

4.

Have you ever created your own background designs that you use? What do they look like?

5.

Where do you go (on the Internet) to browse for background designs?

6.

In your opinion, what characterises a good background design? (What should a good background design have – or not have!?)

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Bill Gates On LIFE -- Primarily by Bill Gates This is an excerpt from the book "Dumbing Down our Kids" by educator Charles Sykes. It is a list of eleven things Bill Gates believes kids do not learn in school and it is directed at high school and college grads. Source: http://www.truthorfiction.com/rumors/b/billgatesspeech.htm

Rule 1: Life is not fair - get used to it. Rule 2: The world won't care about your self-esteem. The world will expect you to accomplish something BEFORE you feel good about yourself. Rule 3: You will NOT make 40 thousand dollars a year right out of high school. You won't be a vicepresident with a car phone, until you earn both. Rule 4: If you think your teacher is tough, wait until you get a boss. He doesn't have tenure. Rule 5: Flipping burgers is not beneath your dignity. Your grandparents had a different word for burger flipping - they called it opportunity. Rule 6: If you mess up, it's not your parents' fault, so don't whine about your mistakes, learn from them. Rule 7: Before you were born, your parents weren't as boring as they are now. They got that way from paying your bills, cleaning your clothes and listening to you talk about how cool you are. So, before you save the rain forest from the parasites of your parents' generation, try delousing the closet in your own room. Rule 8: Your school may have done away with winners and losers but life has not. In some schools they have abolished failing grades and they'll give you as many times as you want to get the right answer. This doesn't bear the slightest resemblance to ANYTHING in real life. Rule 9: Life is not divided into semesters. You don't get summers off and very few employers are interested in helping you find yourself. Do that on your own time. Rule 10: Television is NOT real life (nor are video games). In real life people actually have to leave the coffee shop and go to jobs. Rule 11: Be nice to nerds. Chances are you'll end up working for one.

William (Bill) H. Gates is chairman and chief software architect of Microsoft Corporation, the worldwide leader in software, services and solutions that help people and businesses realize their full potential. Microsoft employs more than 55,000 people in 85 countries and regions.

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Finding A Money Making Business Idea There are many people who really love the idea of getting into business for themselves, being called an entrepreneur, business owner, "the Boss," however one wants to put it. People are attracted by the thoughts and dreams of more independence, working for themselves, making their own decisions and more, but from theory to practice is where people get turned off. A common reason for people giving up at such an early stage is that they draw a blank when attempting to find a money making business idea. The idea stage is an important one indeed and often, it is where the "uncommitted" are filtered out. When you can come up with an idea and actually start to refine and develop it is where you get over that first little hill, which can seem like a huge mountain when standing at the bottom looking up at it. But as you start to climb that winding path and begin to discover what things you have interest and talent in the incline settles off and the momentum carries you as you become more excited and clear on what it is that you want to do. Before you know it, you have an idea in front of you and it is off to the races (or at least to the next step). Some things to consider when brainstorming for a business idea: Don't limit yourself by asking what won’t work. Look around, some of the craziest things that could ever be thought of have been turned into prosperous businesses. Go back to your basic senses and let the creativity flow. Is there something that you want or would like to have as a product or service? What do people complain about, that is a good problem that you can use to base your business idea on. Always stay on the positive side and ask yourself "How something can work?" Key in on a problem and find a creative way to solve it. That is what businesses do, they offer a "great" solution to people's problems. Whether the problems are big or small, they will pay for the solution and you can all benefit from offering the best solution you can. You are an information resource waiting to be unleashed. You have lived a life unique and your experiences are something worth writing about and sharing. Whether you have traveled the globe, or whether you are a struggling single parent, you have experiences and expertise that you can share. You could author a book on how to raise a baby by yourself, or you could write an article on how to tour Bangkok in a week and spend less than $100.00. Whatever you're an "expert" at, you will find people who want to learn from you. This is the "information age," deliver your information. Talk to people. Tell them your idea and tell them you are thinking about starting a business. By talking to people and asking them questions you may find that people will give you an idea, inspire an idea in you, or develop a partner for business. Talking to people is an important skill that you must practice to do well in business. Consider what you like or love. At this point you may be doing something that you are not happy doing, if you make the decision to start a business make sure to consider the future and if you will be happy doing this in the future? A business is a big commitment, or at least should be, and you should always

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commit to doing something that you like or love doing and will continue to be happy doing it in the future. Choose your own future and live a happy life. Understand what Commitment means. Commitment is a big word that is often misused. It is misused because people make many tentative commitments and then forget them at the first sign of trouble, ambiguity or boredom. When something doesn't go the way you wanted it to, change it so it is the way you want it to be. Stay with things until you arrive at the place you want to be, then you will realize happiness and success, only then. By: Canada-ESL.com Business English

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How To Start Living Your Dreams; Go into Business Source: Canada-ESL.com

Do you feel unfulfilled? Do you know that there is something more you could be doing, but just aren't quite sure what? Do you have dreams, but with each passing year they seem more and more unrealistic? How can you start living the life you have always wanted, doing the things you've dreamed of and not have to worry about the money? The answer is simple, make more money. You could get a job, or if you have a job, get another one and work two jobs. You could get a better job, a higher paying job. These are all things that many people want, but getting another job doesn't sound very nice does it? Getting a real high paying job would be good, but they are not as available as we all would like them to be. What many people want is to be able to start living the ideal life with the vacations, toys and luxuries with as little delay as possible. There are few people who will argue that having more than one stream of income, and preferably several, into your bank account is the way to exponentially increase the money you will have to use for what you like. The question that remains is, "Well okay genius, so how do I do this?" There are many ways to create multiple streams of income and one way is to start a small business. A small business that you can set up and run in your free time may be a good answer for you. Now the question people usually ask is, "That sounds good, but a business doing what?" Psychological tests you can find in books or on the internet can tell you what you are good at, but they don't always tell you what you would like to do, or want to do. An important reason for getting into business is because you want to. "If you don't love what you are doing, you'll always be underpaid." -Anonymous It is unfortunate that so many people feel that they have no other because lack of experience or education that they can't start something new, especially in this "information age" with so much available to learn about at our fingertips. When people start projects for the wrong reasons they don't do them with the passion required to make a success of it. If you don't have your heart in what you are doing, it will be difficult to do well at it, even if it is one of the so called, "Things you are good at." Therefore you must discover what it is you want to do, then getting good at it is easy.

options

When you are excited about something you will learn what you need to know to be good at it. Have you ever developed a new interest that turned into a hobby that you were quite good at? Have you ever had a curiosity that turned into something that you learned a lot about in a short time? The difference is, when people need to do 26


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things they do them, and often quickly, but when people want to do things they do them, they do them quickly and they do them well. So what you have to do is figure out what you want to do, and then why you must do it, create a need to do it and by leveraging these things in yourself with emotion you will see results fast. A good method is to ask yourself and imagine or visualize what you will get when you succeed at this. Now you know what it is you want to do, but a new question arises, "So, how do I do it?" This is normal as many people who get in to business do not have the education or experience and still manage to do well. What you must do is use the resources available to you. These include the libraries, magazines, internet, talk to people you know, talk to people you don't know. You have to know what information you want to know, and then go find it. Knowing what you need to know can be a bit trying at first as well. The Entrepreneurial Process has some basic steps that you should be aware of and if you complete each step successfully you will be a success and quite a bit wealthier. First, the entrepreneur has to identify a problem, see a need for something somewhere. We see problems around us every day but do not have our 'entrepreneurial analytical hats' on. If you are always thinking about how could this situation be better, or what is not right here you will start to be able to identify problems. There is no special skill required from birth, this is something we can all learn to do, and it just takes practice to get better at. Once you have identified a problem the next thing you have to do is identify a solution. Does a solution already exist, how can I make a better solution, how can I improve the existing one? Did Bill Gates invent a new product or did he just make it easier for people to access (I know what Mac users will say to that). So you have to think of a creative solution to the problem. Did Amazon.com make the first bookstore? No, they just made the first online bookstore and made it easier for people to shop and search for books. Convenience is the answer people are looking for in today's society, sell them convenience and you can't go wrong. See, you don't have to re-invent the wheel, it has already been invented, just make it roll better, or look better while rolling. Now

you have to start the business planning stage. And you ask, "Why do I need a Business Plan?" You need a business plan because if it's worth doing, it is worth doing right. Your business plan will in the least, serve as the tool which forces you to thoroughly think through your business idea. Some things you will have to consider while you are making the business plan are clearly defining your product or service, who you will sell to, how you will sell it and the income and expenses related to it. There are too many parts of a business plan to go in to great detail here, but you can get great Business Plan information at the library or on the web, you just got to search through the thick to find what you need. There is also some business plan software that helps you to generate one with your computer, some is good some may not be what you are looking for, and of course Biz Methods has a Business Planning Section in the Biz Methods Program available on our home page (Biz-Methods.com). As you progress in your entrepreneurial journey to success you will find some things that work and some things that don't. The things that don't work are some of the most important things you can analyze, when something goes wrong it is not a failure unless you fail to see the lesson it can teach 27


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you. You must ask, "Why didn't this work?" "How can I make this work?" "What can I change to make this work?" Your business plan may have to be adjusted as you progress to include these new developments and lessons you learn. There are no failures if learning is involved, these so called failures are how you know you are making progress. Those who never fail, never succeed because when you fail it means you are attempting to do something and learning a lesson along the way about what works and what doesn't work. Never be afraid of failure, just rename failure to "Learning Point" or something else that appeals to you. Once you have the business plan you have to start to initiate it, which is the next step in setting up a business, initiating or taking action. In fact you have been taking action all along, but this is the next action which is actually putting your business idea in to practice. You have to test market your product at this early stage of initiation. Test marketing means showing people what it is and getting their reaction to it. At this stage you learn what needs to be changed, what its strong points are and possible additions. This is an important stage, because if you invest the money and time into production you could learn that it needs something which will cause a setback that could have been avoided with test marketing. This can include surveying your colleagues, family, neighbors, or even strangers. Remember, when doing survey research you should offer some value to the participant for their time and feedback. Maybe offer them a free product or some other related gift for helping you. A concurrent step or even previous to test marketing, depending on your product is to organize a network of people you will need to work with on this, remember the old saying, "Two heads are better than one." It is true, when you have other people helping you with something you are more likely to have success. These people can be partners, consultants, short term advisors, whatever you want. It is also a good idea to sit down and talk together about what each person's roles, rewards and expectations are before you start and hammer out a contract, this avoids problems later, believe me! At

this

point you will have to assess your financial situation and financial needs for your business. A home based office will require much less capital than commercial office space. Whatever your business model is you must now find out if you have the money to follow through, if not you have to raise the capital, you can do this in many ways, among the common ways are a bank loan, loan from friends or family, leverage it on credit cards, meaning you use your credit available and pay back each month what is owed perhaps the monthly minimum or more, whatever your situation permits. Whatever way you choose, you must think it through carefully. For loans you will more than likely need to show your complete business plan to whoever is going to possibly give you money. If they have confidence in it, they will invest, if not, you just reached another "learning point," time to readjust, reassess, correct and move on. The best advice you can take is to be prepared for these "learning points" we mentioned and learn from them. The only way to truly fail is to give up, or stop trying. One thing that all successful business people have in common is that they didn't give up. Now it is your turn.

Glossary ―Great Print Sustained‖ 28


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English Advertising Afford Announcement Annually Attention Awareness Beyond Carbon Catalyst Challenge Championed Charge Collective Commit to Commonly Competition Compliance Conceptual Concern Conduct Conduct Conservation Consider Consume Consumers Continually Conventinally Corporate Corporation Crowd Degree of Demand Dependent on Described Determine Diminishing Disclose Disclosure Laudable Laurels Legislation Mandatory Manufacturing

Swedish Marknadsföring, reklam Ha råd med Meddelande, kungörelse Årligen Uppmärksamhet Medvetenhet Bortom Kol Katalysator Utmaning Stöttad av Ta betalt Kollektiv Engagera sig i, binda sig till

Vanligen konkurrens Samtycke, tillmötesgående Conceptuellt Oro, bekymmer Uppförande Genomföra Konservering Överväga Konsumera Konsumenter Fortlöpande Traditionellt Affärs-, företagsFöretag, business Folkmassa Grad av Efterfrågan Beroende av Beskrivet, beskrivna Bestämma, bestämmer Förminskande Avslöja Avslöjande Lovvärd, berömvärd Lager Lagstiftning Obligatorisk Tillverkning

English Discovery Efficiency Embrace Emit Emotional Energy saving Engage oneself with Ensure Environmental impact Environmental issues

Equipment Evidence Executive Expected Extent Failure Foster Founded on Framework Framework Future Gathering Global warming Government Green advertising Greenhouse gas Heightened Host Imperatives Incorporate Increasingly Industrial Ink Investor Jeapordizing Lackluster Laggard Latter Set caps for Shackles Sharply Significant Similarly

Swedish Upptäckt Effektivitet Omfamna, välkomna Släppa ut Känslomässiga Energisparande Involvera sig i Se till att Miljöpåverkan Mijöfrågor Utrustning Bevis Verkställande, chefsFörväntat, förväntade Grad Misslyckande Utveckla, ta sig an Grundat på Ramverk, ramprogram Ramar Framtid, framtida Samling, möte av folk Global uppvärmning Regering Miljövänlig marknadsföring

Växthusgas Förhöjt, ökat Värd Imperativ, grunder Innefatta, ta med Ökande, alltmer Industriella Bläck, färg Investerare Äventyra, äventyrande Glanslös, enformig Sölig, trög Senare Sätta tak för Bojor, fjättrar Skarpt Betydande Liknande

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Measures Menus Occur Organic Ostrich Outmoded Patriotic Performance Permission Pose a threat Preoccupation Pre-register Primary Principal Priorities Procurement Profit Pro-growth Proposal Publishing Purchase Purchasers Quantities Realignment Recycle Redefine Reduce Re-examine Regulatory Report Require

Åtgärder Menyer Hända Ekologiskt struts Omoderna Patriotisk Prestation, utförande Tillåtelse Utgöra ett hot främsta intresse Förboka Första, förstahandsFrämsta Prioriteringar Anskaffande Vinst Tillväxtgynnande Förslag Publicering Köpa Köpare Kvantiteter Omstrukturering Återvinna Omdefiniera Minska Omutvärdera Reglerande Rapportera Fordra

Reset

Starta om, börja från noll

Responsibility Retailer Reward Sampling Scrutinizing Secondary

Ansvar Återförsäljare belöning (Smak)prov Kritiskt granskande Andra, andrahands-

Solution Spring up Stunned Superficial Supply Supply chain Survey Sustain Sustainability Tenor Timely Topic Transcend Transform Ultimately Under scrutiny Underscore Unfamiliar with Valued Vast Waste Vendor

Lösning Poppa up Häpna, förvånade Ytlig Tillgång Leveranskedja Enkät, undersökning Bibehålla Hållbarhet Mening, innehåll Läglig, i rätt tid Ämne Överstiga, överskrida Förändra, omskapa Till sist Under granskning Understryka, framhäva Obekant med Värderad, värderade Stora, omfattande Sopor, skräp Försäljare

RFI: request for information

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Great Print Sustained The 'new green’ lets printers do the right thing for business and the planet—and look good doing it. By Don Carli, Sustainability Editor -- Graphis Arts Online, 8/1/2007 Growing concern about all things green among senior executives from Fortune 500 companies, major publishers and leading financial institutions tells us that climate change and sustainability are issues that the graphic arts industry must begin to take seriously. Indeed, hundreds of printers already have made the first steps to do so. But that means literally thousands more firms may be missing a critical opportunity—and putting their businesses at risk. Two examples underscore the tenor of these concerns among major print buyers. Organizers of a conference on so-called ―Green Advertising,‖ held in New York City in June, were delighted to see that 200 individuals had pre-registered. But AdAge magazine, which planned the conference on environmental issues in the media, was stunned when another 350 showed to sign up on site—the crowd spilling out into the busy streets of Manhattan. A few days later, a similarly themed event played to a standingroom-only crowd at a panel discussion about Advertising, Publishing and Supply Chain Sustainability organized by the Institute for Sustainable Communication and hosted by Citi Smith Barney in Manhattan. Around the country, gatherings focused on sustainable print and packaging seem to be springing up every few weeks. Why the heightened interest in green advertising? And what does it mean to printers? You might call it the ―new green.‖ The new green is not based on moral or ethical imperatives, or on purely emotional appeals. It is based on a conceptual framework called ―sustainability‖ that is being used to redefine the way business is done. Increasingly it will change the nature of demand for printing services, printing equipment and supplies. A catalyst for the popularity of these topics were the hundreds of thousands of people who have seen the documentary film, ―An Inconvenient Truth.‖ Millions more attended or viewed ―LiveEarth‖ last month, a global rock concert aimed at raising awareness of environmental issues. Business press coverage of green issues has also increased, in major publications like Business Week, Time, Fortune, Forbes, The New York Times, and, of course, Graphic Arts Monthly. In combination, these efforts are transforming awareness and helping to reset priorities of business and government, in the ways in which they design, specify, produce, purchase and manage print and other communication media. Another reason for the new focus on the sustainability of advertising, publishing, printing and packaging is that these are among the larger industrial users of energy in the world. In the U.S. they are also heavily dependent on imported petrochemicals and paper, which results in the output of vast quantities—literally tons and tons— of waste paper. And they emit tens of millions of tons of greenhouse gases annually. Not so easy being green Addressing the new green priorities of business will require that printing companies and their suppliers look beyond cost, productivity and print quality. It will mean moving a step beyond the menus of superficial measures, often used to ―green up‖ the image of a graphic arts firm in a hurry. There is increasing

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sophistication among industrial purchasers in analyzing the environmental impact of everything they do—from their own manufacturing processes to those used by their primary and secondary suppliers. It is in this latter category where printers fall, typically as ―tier two‖ suppliers. In publishing, of course, printers are ―tier one‖ sources, since they make the principal end product for their client. In both cases, printers must go well beyond ―green washing‖ and seriously incorporate sustainable manufacturing processes into everything they do. Printers and their suppliers must now rethink what they say and what they do about being green if they want to continue to win business. To avoid being viewed as laggards, falling behind those print firms who are on the vanguard of the green revolution in print, managers must move beyond the first few laudable steps of becoming FSC-certified or using soy-based ink. Being green used to mean complying with the law and ―doing the right thing‖ for the planet, whether or not it was good for business. However, the ―new green‖ is as much about doing the right things for business as it is about doing the right things for the planet. The greatest challenges the printing industry faces is to shake off outmoded ways of thinking about environmental issues and to develop new ways to identify, analyze and act on information relevant to sustainability and the challenges presented by global warming. And they must move ahead in timely and innovative ways. ―It seems that many if not most of the printers that I talk to are unfamiliar with the concept of sustainability,‖ says Professor Kenneth Macro Jr. of CalPoly‘s Graphic Communication program. ―They seem to hope that this preoccupation with climate change and things green will blow over. This is no time to be thinking like an ostrich. Instead of putting our heads in the sand, we need to be putting our heads together to take action and ensure that our industry is sustainable and that print is seen as a responsible medium.‖ Can I charge more for green? While historically being ―green‖ referred to environmental regulatory compliance, the new green goes beyond compliance. Sustainability, in print or any field, seeks to continually improve the environmental, social and economic performance of a business, a product or a service. Green products historically have been expected to cost more and to have lackluster performance. But that is no longer the case. The promise of the new green was perhaps best described by Wal-Mart CEO Lee Scott, to over 700 senior executives at a meeting of the retailer‘s Sustainable Value Networks in March. ―A working family shouldn‘t have to choose between a product that they can afford and a sustainable product,‖ Scott said. The new green being championed by companies like Wal-Mart, GE, Timberland, Bank of America, Unilever and Starbucks, among many other high-profile multinational firms, creates and delivers value for money. It is designed to actually do a better job than conventionally produced goods and services because it is produced with greater attention to detail, to supply chain and with better control. Greener printing must do the same. According to John Grant, author of the book, Green Marketing Manifesto, this new interest in green is not likely to fade because it is seen as strongly linked to a climate change agenda founded on scientific discovery. ―Sustainability is not green marketing. It is not a social program. It is not energy saving,‖ writes Michael Longhurst, senior VP business development at agency powerhouse McCann-Erickson. He is also a member

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of the United Nations Environmental Program Advertising Advisory Committee. ―It is all of these things and more. 'Sustainability‘ is a collective term for everything to do with responsibility for the world in which we live. It is an economic, social and environmental issue. It is about consuming differently and consuming efficiently. It also means sharing between the rich and poor, and protecting the global environment, while not jeopardizing the needs of future generations. …Sustainability is an issue for governments, for industry, for companies and, ultimately, for consumers.‖ Feeling a climate change? There has been a sea change in the degree to which climate change, sustainability and corporate social responsibility are on the minds of consumers and the lips of corporate CEOs, institutional investors, politicians. Pulitzer-winning author Tom Friedman recently described conservation and energy efficiency as a national security imperative. Environmentalism, says Friedman, is one of ―the most tough-minded, geostrategic, pro-growth and patriotic things we can do.‖ For printers, proactively addressing the challenges of climate change and sustainability will position your company to meet the growing demand for greener products and sustainable supply chain partners. On the other hand, failure to identify and reduce the greenhouse gas, energy and resource footprint of your business operations and supply chain may put your business at risk. Major corporations are being driven to re-examine the standards of conduct and measures of performance that determine how they do business. Demand and action frameworks for sustainable supply chain management and procurement are arising from individual companies like Wal-Mart, from industry consortia such as the Sustainable Packaging Coalition and the Sustainable Advertising Partnership, as well as from organizations such as the Institute for Supply Management and the Supply Chain Council. As a result, the world‘s largest corporations are scrutinizing the corporate social responsibility performance of their operational practices and supply chain business practices...including what they print, how they print and how print-related products and services are valued. For companies in sectors such as pharmaceuticals and automobiles, the greening of their supply chain practices began a decade ago, with a focus on so-called ―tier one‖ suppliers. Despite the fact that printing can represent 20% or more of every dollar spent by most corporations, it is not a ―tier one‖ supply chain function. As a result printing has only recently come under scrutiny now that the ―lean and green‖ sustainability initiatives directed at tier one supply chain purchases are beginning to yield diminishing returns. While there is heightened interest in familiar topics such as the use of post-consumer recycled content, two new topics are coming under scrutiny: the ―carbon footprint‖ associated with printing and print-related logistics; and the fiber source ―chain of custody‖ associated with paper and printing. While debates about the relative merits of FSC and SFI certification have been making headlines in the trade press of late, climate change, corporate social responsibility and carbon disclosure are the issues of greatest significance in the business press. Business leaders from companies like Exxon, BP, Wal-Mart, Target, General Motors, Toyota, Procter & Gamble, Kimberly Clark, The New York Times and Time Inc. are feeling growing pressure from investors, markets and regulators to address the challenges of sustainability and the impacts of climate change on business, society and the environment. For example, a coalition of 284 institutional investors with assets of more than $41 trillion, ―The Carbon Disclosure Project,‖ has called on 2,500 of the world‘s largest companies to voluntarily report on the greenhouse gasses emitted by their operational and supply chain activities.

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Some may see voluntary reporting of greenhouse gas emissions as a burden or a risk. But the process of conducting greenhouse gas inventories and transforming business processes to reduce your firm‘s carbon intensity can provide critical expertise and experience for what is likely to be a dramatically different regulatory environment in the next three to five years. The majority of Fortune 500 companies now publish voluntary corporate social responsibility or sustainability reports, in accordance with the guidelines established by the Global Reporting Initiative. These disclose their greenhouse gas emissions and other non-financial performance data. So far, few printing companies publish such reports for themselves, or are even aware of them. Congress is currently considering several bills that would establish caps on greenhouse gas emissions and then allow businesses to ―trade‖ credits to stay below those limits. In addition, the governors of five western states recently agreed that they would coordinate efforts to set caps for greenhouse gas emissions from their region this year and create a market-based, carbon-trading program within 18 months. The potential to impact all businesses, including printers, became evident in March. That‘s when a group of 50 major U.S. investors, including Merrill Lynch and the California Public Employees‘ Retirement System with over $4 trillion under management, asked Congress to enact tough federal legislation to curb carbon emissions and dramatically change national energy policies. They called for the U.S. to ―achieve sizable, sensible long-term reductions of greenhouse gas emissions‖ and recommended three policy initiatives: 1) realignment of energy policy to foster the development of clean technologies, 2) directions from the Securities & Exchange Commission (SEC) specifying what companies should disclose to investors on climate change in their financial reporting, and 3) a mandatory market-based solution to regulating greenhouse gas emissions, such as what has come to be known as ―cap-and-trade.‖ How do you spell LOHAS? In addition to investor pressure for greenhouse gas reporting, consumer attitudes toward climate change and the environment have also changed. A recent nationwide poll conducted by Knowledge Networks found 72% of Americans know some or a great deal about the ―problem of global warming or climate change due to the buildup of greenhouse gases,‖ up from 63% a year ago; 75% embrace the idea that global warming is a problem that requires action. Perhaps most interesting, when asked to ―suppose there were a survey of scientists that found that an overwhelming majority have concluded that global warming is occurring and poses a significant threat,‖ the percentage saying that they would favor taking high-cost steps increased sharply, from 34% to 56%. More evidence of this change: an estimated 63 million adults in North America are considered ―LOHAS‖ Consumers. LOHAS, for ―Lifestyles of Health and Sustainability,‖ describes a $226.8 billion U.S. marketplace for goods and services focused on health, the environment, social justice, personal development and sustainable living. Wal-Mart was able to identify sustainability as a ―game changing‖ business growth strategy by the overwhelming response it has received from consumers for organic goods and concerns by its workers for Katrina victims. As businesses wrestle with these issues, they are finding that climate change and the intensifying focus on sustainable business practices can have a significant impact on how they do business; on from whom they buy their equipment, energy and materials; on their ability to attract and retain talented and motivated employees; on markets in which they have permission to operate in and by which customers they are valued. As the world reaches consensus on the scientific understanding of climate change and the importance of striving for sustainability in the supply chains of business, companies are increasingly looking at how to

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manage sustainability‘s triple bottom lines and to navigate a ―carbon neutral‖ path and position themselves for success is an increasingly complex and carbon-constrained world. For myriad reasons a growing number of large corporations, publishers and government agencies are under pressure to manage the sustainability and climate change impacts of supply chain practices. As a result, major corporations like Wal-Mart, Nike and Bank of America are rewriting their vendor qualification scorecards, putting new environmental management and greenhouse gas emissions information requests in their RFIs and new sustainability reporting and verification provisions in their requests for proposals. The world depends on print to a far greater extent than is commonly understood. This is not a time for the graphic arts to rest on its laurels; rather it is a time for the graphic arts to redefine itself in terms of the new green and work together to identify, analyze and act on information relevant to sustainability and the challenges presented by global warming in timely and innovative ways. One of the most important ways to do this is to educate yourself as well as to engage with and support constructive nonprofit organizations committed to working across industry boundaries to create a sustainable future. Finally, share your questions and concerns, along with your successes as well as your failures, with your, with your peers. Sustainability and climate change are topics that transcend competition in many ways. Communicate your triumphs, reward progress, highlight areas where you have fallen short and demonstrate your commitment to continuous improvement and dialogue. As graphic arts industry legend Wallace Stettinius once said: ―The challenge of the situation is obvious—somehow we must throw off shackles of the past, stop managing with 'yesterdays techniques‘ and develop management skills and procedures that will sustain us as we move ahead.‖ Printers from around the U.S. have issued a steady stream of announcements about initiatives in moving toward sustainable production. Here is a sampling of reports from across the country received since Graphic Arts Monthly published a list of 200 FSC-certified printers in the March 2007 issue. Company

Location

Green Initiative

Best Press, Inc.

Addison TX

FSC and SFI certified, recycles aluminum plates and paper, www.bestpress.com

Brown Printing

Waseca, MN

FSC certified, recycles paper, consolidates shipping, www.bpc.com

Cadmus Cenveo

Charlotte, NC

FSC certified, www.cadmuswhitehall.com

Consolidated Graphics Houston, TX

FSC certified; plants trees through www.cgxforyou.com, www.cgx.com

Disc Graphics

Hauppauge, NY

FSC certified; makes eco-friendly packaging, www.discgraphics.com

Earthcolor

West Orange, NJ

Buys emission-free wind equal to 100% of its energy usage, www.earthcolor.com

FCL Graphics

Harwood Heights, FSC certified, adopts VOC-free chemistries, recycles paper, www.fclgraphics.com IL

Fry Communications

Mechanicsburg, PA

FSC certified, www.frycomm.com

Harty Integrated Solutions

New Haven, CT

Installs energy-efficient lighting system for 20% less usage, www.hartynet.com

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Company

Location

Green Initiative

IWCO Direct

Chanhassen, MN

FSC certified, uses VOC-free chemistries, www.iwco.com

Kohler Print Group

St. Louis, MO

FSC certified, www.kohlerprint.org

Mars Graphic Services Westville, NJ

FSC certified, adopts VOC-free chemistries, recycles, trims utility usage,

Martella Printing

Salinas, CA

Uses vegetable inks, urges staff to ―think green‖, www.martellaprinting.com

Money Mailer

Garden Grove, CA

FSC, VOC-free chemistries, recycles, energy efficient lights, www.moneymailer.com

O‘Neil Printing

Phoenix, AZ

FSC certified, serious about corporate responsibility, www.oneilprint.com

ONYX Graphics

Salt Lake City, UT

Uses eco-solvent inks on new MAN Roland presses, www.onyxgrx.net

RR Donnelley

Chicago, IL

FSC, OSHA VPP Star, corporate sustainability statement, www.rrdonnelley.com

Southeastern Printing

Stuart, FL

FSC certified, www.seprint.com

Ussery Printing

Irving, TX

FSC certified, www.printussery.com

Author Information Don Carli is senior research fellow with the non-profit Institute for Sustainable Communication and an Alfred P. Sloan Foundation Industry Studies Research Affiliate scholar, as well as professor in the Advertising, Design & Graphic Arts Dept. at the City University of New York City College of Technology. He is also CEO of Nima Hunter Inc., a consultancy founded in 1986 that offers strategic planning and market research.

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HOW'D THEY PRINT THAT?: Wallpaper Warp and Wrap By Shanon Lyon -- Graphic Arts Online, 1/1/2008 A handful of designers and printers are surrounding clients in creativity—literally—by printing custom wallpaper on demand and transforming spaces with repeating patterns, 3D images and warped wall coverings. In Germany, Surrealien is changing the wallpaper-surface relationship with a technique that warps existing patterns around light fixtures, doorways (shown) and windows. After the client selects any vector- or pixel-based pattern, the firm uses a customized program to distort the image according to room measurements. Although the software uses a mathematical function based on Coons theory, industrial designer Tom Hanke says the result is nonetheless individual, handling images as large as 13×10´. Custom wallpaper printer Berlin Tapete prepares digital files using its own Wallcreator software, first dividing the images into panels and then printing them onto non-woven fleece wallpaper. Hollywood sets Astek Wallcoverings, Van Nuys, CA, has found its niche creating custom walls on demand and re-creating vintage wallpapers for TV, movies and retailers, often printing a repeating pattern from a single image. Source images are scanned on an Epson 1640XL or a Colortrac 36´´ feed scanner, depending on their size, using Photoshop to create a repeating pattern. “The repeats can vary in size tremendously,” says design head Scott Pitters, from 2´´ squares to 20×10´ mural sections. Digital files are printed on a variety of materials and applied with a clear, non-staining adhesive. Pitters says the company’s new Durst Rho Pictor 600 UV-curable inkjet device can print on any of the 600 available wallpaper grounds, including faux snakeskin, black vinyl and gold foil. Back in Europe, U.K.-based Blanc Wall spent two years perfecting a technology that scans anything—from heavily textured oil paintings to photos to fabric swatches to fossils. Its IScan3D flatbed scanner, which measures 5×5´, uses a proprietary lighting system to capture texture and shadow details in 3D relief. Generating a clean color workflow was one of the biggest software challenges. “Because we’re printing unusual substrates, there’s a lot of calibration required,” says managing director Andrew Ainge. 37


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Data is processed through Photoshop; RIP software is used for final enlargements. The life-like coverings are printed on Epson wide-format inkjet printers using its UltraChrome K3 high density pigment inks. ProGraphics Network’s PhotoTex paper is applied to walls in sections. The self adhesive-backed fabric is waterproof and repositionable, with fine texture delivering up to 2540 dpi. The end result is a rich effect similar to Trompe l’oeil. By scanning a 360° panoramic image and processing the data in CAD, Blanc Wall designers can encapsulate an entire room—all four walls, ceiling and even the floor: The firm can print the same images on white carpet using solvent-based inkjet. Author Information Shanon Lyon is a Seattle-based freelance writer specializing in graphics, design and technology. If you want to read more about Surrealien, go to www.surrealien.de or “Google” the company name – they are producing some really cool wallpaper!

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Questions ―Great Print Sustained‖ Discuss & answer the following questions!

1.

What is ―green advertising‖?

2.

Why are people so interested in green advertising these days?

3.

The article mentions some reasons why it can be difficult for companies to be environmentally friendly – give some examples!

4.

What did Professor Kenneth Macro Jr say about sustainability in the article? Do you agree? (Why/Why not?)

5.

What is ―LOHAS‖? Explain – in your own words – what it means.

6.

How are some companies changing their RFI:s, and what result do you think it will have?

7.

In your opinion, whose responsibility is it to consider environmental matters?

8.

Look back at your own work experience or work placement(s). Have those companies applied any green advertising or special considerations (as far as you have seen) for the environment? If yes, what did they do and how did they do it? If no, what do you think they could or should do?

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Gorilla Printing - It’s All About Attitude! Submitted By: Frank Burgos

URL: http://www.flexoexchange.com Contact: frankb@flexoexchange.com

My co-workers and I use a certain dialect around the shop, a unique kind of language that has evolved over time. We use words or phrases that would leave most people scratching their heads, yet we understand each other perfectly. I’m sure most of you do the same thing with your co-workers. One term that’s become popular in my department is “gorilla printer”, or just “gorilla”, for short (as in, “He’s a Gorilla!”). While “gorilla” is ordinarily thought of as a noun, in my department it’s also an adjective (as in, “Now THAT’s Gorilla!”). It embodies an attitude and a work ethic that won’t take “No” for an answer and won’t settle for second best, EVER. We acknowledge the exceptional performance of our print team members by calling them “gorilla” (and we always deepen our voices and puff out our chests a little when we say it!). In our shop, being called a gorilla makes your day. It’s a well-earned badge of honor! So what in the world is a “Gorilla Printer”? The term, itself, is actually a twisted adaptation of the word “guerilla”. I had recalled from a history lesson that military organizations using conventional tactics have sometimes been unpleasantly surprised at the effectiveness of their often-outnumbered foes using guerilla tactics. The guerillas didn’t fight fair. They didn’t follow the rules. Got the job done under the most adverse conditions is what they did! They were “Gorillas”! But wait a minute: I was talking about “guerillas”. How did that evolve into “gorilla”? Well, “Gorilla” is easier to visualize, and it’s chock full of attitude. The words sound alike. It caught on in our shop before I explained that what I originally meant was “guerilla”. “Gorilla” stuck. We like it. So, that’s where the word came from. But, just what is a “Gorilla”? What is special about a gorilla printer, and why in the world would anyone want to be called a gorilla? In considering this, I thought I might try to explain what a “Gorilla” is, by comparing it to what a “Gorilla” is not; the “non-gorilla”. 

In the mind of the gorilla printer, the press he operates and the environment he operates in are his business. Company sales people sell print for him. He leases floor and storage space from the company, and pays for it with sweat equity. The purchasing, maintenance, graphics, shipping, and receiving departments see to it that he has all of the raw materials 41


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and support his operation requires. At the end of the week, he pays for his overhead and takes home the net profits. Some of his buddies call it a paycheck; to him, it’s earned profit! The non-gorilla works eight hours a day. No matter what remains to be done, he clocks in and out on the dot. He’ll apologize for not sweeping up, or wiping the plates. He ran out of time. In his mind, the company pays him for 40 hours; he gives them 40 hours. At the end of the week, he is given a paycheck. 

The gorilla pushes productivity to the limit. She can readily tell you what is limiting her current run rate. It’s on her mind, and she’s busy considering ways to eliminate the obstacle so that she can bump up the speed a notch or two. Can I get it to dry faster? Are viscosities optimum? Are my dryers balanced? She appreciates the value of every second that goes by and tries to anticipate every possible need she’ll have. She’ll make preparations so that the next roll change or plate wiping or job change will take less time than it did previously. She wants to squeeze everything she can out of every minute. She treats job changes the way a NASCAR crew treats a pit stop and she wants to best her set-up time, every time. The non-gorilla feels that no matter how hard she works, she gets paid the same every week and receives the same cost-of-living raises every year. Why should she kill herself? She’ll be able to round up all the tooling and supplies she needs for the next job change without worrying about the press, if she does it while the press is down. She feels that it’s ok to take it slow during downtime. She doesn’t have a sense of urgency about her work. She doesn’t realize or care that once a minute goes by, it’s gone forever. That there is no making up for lost time, no matter how fast and hard you run at a later time. She doesn’t make the connection between lost time and lost profits.

A gorilla strives for the perfect printed image. He can’t stand to see halos around his print, or bridging between the dots. He keeps his ink chemistry in the best balance that the resources available to him permit. He frequently checks for minimum impression. He watches for ink buildup around the images and type. He checks treat level, roll hardness, and edge wind. He wants to deliver the best quality product possible. Yet, he knows the meaning of “commercially acceptable” and is capable of striking a balance between high quality and high output. He keeps customers and helps keep the company in business. The non-gorilla sets it, and forgets it. He doesn’t keep a close watch on his quality. It’s not uncommon for him to notice after several rolls that his colors have darkened considerably, or that some letters were filled in for three rolls, or that two rolls of polyethylene printed without treatment. From time to time, he re-learns just how much scrap can be printed in so little time.

The gorilla comes in a little early to “overlap” with the printer on the previous shift. She finds out what the press has been behaving like and hits the ground running. 42


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The non-gorilla gets to her press at 7:01 AM. Hey, it takes a while to walk from the time clock! 

The gorilla is still at the press at 3:01 PM, when the non-gorilla on second shift shows up. She knows it’s important for the next operator to know what’s going on. She is well informed and communicates current status as well as what’s to come. She can recommend a course of action to the following operator. The non-gorilla is focused on stirring her coffee. 3:01 PM is morning for her. She half listens to the debriefing given to her by the gorilla. She figures she’ll find out soon enough, and is glad to see the gorilla go. She feels pressured to perform when the gorilla is around, and wants to be able to take her time to get settled in.

The gorilla is organized and tidy, yet is dressed to print. He isn’t worried about errant ink droplets or grease stains. Gorilla printing is hard work. It’s not pretty. There’s sweat, ink, grease, and skinned knuckles involved. He doesn’t go out of his way to get dirty. He’s just ready for it. The non-gorilla looks crisp and clean...too crisp and clean. He’s got his cool street clothes on. The cautious moves he makes to stay clean cost precious time. Not to worry; he gets paid by the hour.

A gorilla delivers a clean press to the operator following him, even if it wasn’t clean when he came in. Plates are wiped, cleaning solution is refreshed, rags are ready, floor is swept, paperwork is clean and neat and caught up. Raw materials are topped off and ready. Substrate is staged; ink systems are full and balanced; cores are staged. The non-gorilla often leaves the press and work area a mess. The ink chemistries are off. Viscosity too high, pH too low. There are no cores at the rewind section. He claims the place was a mess when he came in. You don’t expect him to clean it up, do you?

The gorilla works overtime when needed, and doesn’t whine about it. He takes his business seriously. Sometimes it’s not convenient, but a gorilla understands that backlog levels can fluctuate significantly. Sometimes he can go weeks with barely enough work to keep him busy, followed by weeks of more overtime than he would like to work. He does his part operate efficiently even when the backlog is low, and works to bring the backlog down when it’s high. It cuts his weekends short, sometimes, but he understands the need for flexibility. The non-gorilla resents working overtime. He gives excuses like “all the money is going to go to taxes”, or “I’ve got a life”. Yet, don’t be surprised if he’s the first to complain when the company cuts back or closes its doors due to being outdone by competition. 43


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 The gorilla is admired for the work she does, but doesn’t expect frequent praise. To a gorilla, there just is no other way to operate. She is compelled to perform, or at least make the effort. It’s within her to try. She just plain works hard and she knows every time she spends her money, that she earned it. The non-gorilla...enough said! There is no end to the list of examples we could come up with to compare the gorilla to the non-gorilla. Hopefully, you identified more with the gorillas than you did with the nongorillas! What should be clear by now, though, is that “gorilla” is an attitude. It’s a frame of mind. Any printer can be a gorilla printer. They don’t necessarily have to know how to print 4color process work, or operate a multimillion-dollar computerized press, though neither ability will disqualify them. It can be the operator that had to wrap aluminum foil around a fountain roll journal to finish a job, or the one that operates the one-color press in the corner, but gets it cranking every time. Gorilla is a work ethic; it’s heart; it’s attitude, attitude, and more attitude. Gorilla attitude is not restricted to printing. The characters John Wayne played were gorillas. Tiger Woods is a gorilla. Ever see him pump his arm after a great shot? That’s gorilla! The folks that answer questions on FlexoExchange’s bulletin board are a bunch of gorillas! They share their knowledge freely, despite having to hunt-and-peck at the keys on their keyboards to type a few lines. They love what they do enough to seek out information and share it, as well. They love flexo. They’re gorilla printers. Our business is a very technical one, and the tendency is almost always to have technical discussions. However, I think we must also be conscious of the positive impact that attitude can have on our lives and the bottom line. We can choose to have can-do, positive, work-hard attitudes, or we can choose to have sour, nocan-do attitudes. We can take pride in our work, or we can simply pass time. We can also promote “gorilla attitudes” at work and set the example for others. Trust me, it will make a difference! (Remind me to tell you the story sometime of the “Negative Free Zone”!) Be careful though, “gorilla” is highly contagious! Your pressroom may experience side effects which can include: operators pausing momentarily to beat their chests, unusual hoots and howls, and the occasional episode of name-calling amongst co-workers such as "The Big Magilla", or “Kong”, or some other kooky thing like that. No need to worry, just smile and hope that it continues. I've learned from experience and good fortune that it's great to work with a band of gorillas. http://www.flexoexchange.com/articles/gorillaprint.html

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The ultimate design brief by Shaun Crowley http://www.designertoday.com/Articles/4532/The.ultimate.design.brief.aspx

Your design can only be as good as the brief you worked from. The best projects are borne from briefs that are open enough to inspire ideas, while being specific enough to feel workable. Shaun Crowley shows how you can elicit these kinds of briefs by providing clients with briefing templates. Picture the scene. You’ve just landed a new client, who hurries a brief to you for a marketing brochure. There are a few holes in the brief, but instead of asking for constant clarification, you get to work. Later you’re told the design ―isn’t quite right‖. Before you know it, the client is refusing to pay. Familiar story? All too familiar for most freelance designers I know. Ambiguous design briefs are infuriating. What’s worse, clients who set you up to fail often go away thinking you stuffed up. So what can you do to avoid this? The only way is to formalize the briefing procedure. I say this as a client myself; when I hook up with a designer I need a formal brief at hand. It helps me turn the gobbledegook in my head into well-articulated language. And it reassures me that my designer has some pointers to refer to after we meet. Unfortunately, clients who aren’t familiar with the design process don’t see carefully-written briefs as a high priority. This may be because they don’t have time. Quite often, it’s because the client hasn’t made fundamental decisions about the objectives of their marketing collateral. By supplying your client with a briefing template and briefing tips, like the ones below, you can elicit the information you need from a few carefully crafted questions. You may even draw attention to the things your client hasn’t thought of—like ―Have I got all the artwork my designer needs?‖ or even in some cases ―Who am I targeting with this item?‖ A formal handover template gives you the opportunity to offer a few pointers, so the client learns how to get the most from your talent. It’s a frame of reference when you meet to discuss the assignment, and a point of review if your first proofs don’t pass muster. Remind your client that a formal design brief is not unnecessary red tape. It’s there to ensure your client gets value for money from your service. The trick is to educate your clients without patronizing or victimizing them. Maybe post the templates on your website and offer a link to them in your email correspondence. Make the templates subliminally accessible for your clients. Maybe then, you can make that dream design brief a reality on every project. 45


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Good things to include in your design brief:    

Title of item Delivery mechanism and marketing objectives Format Budget and schedule

What are you providing the designer with

Product shots, website screen shots, photographs, diagrams, etc. (Check these are high-resolution.) 

General description of format

Describe any formatting issues you have arranged with the printer 

Description of target audience

Occupation, gender ratio, average age, nationality/location, psychological demographic, lifestyle preferences 

Message objectives

Hierarchy of copy messages, treatment of headlines, body copy, visuals, product samples, call-toaction. 

Where to look for inspiration

Give brief examples of style / overall look you want the item to achieve. What aspects of the product or branding can be used as a starting point for the design? What feelings or metaphors reflect the spirit of your product or company? 

What not to do

Also give examples of what the design shouldn’t include and what styles to avoid

Tips for briefing a designer 1. Think about the message of the design. Offer guidance to help the designer marry the ―look‖ of the item with the ―voice‖ of the copy. 2. Don’t prescribe solutions.

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You are paying for the designer’s ideas, so avoid the temptation to tell the designer what to do. Instead, be clear about what the item needs to achieve, so the designer can explore ideas. This is where you need the designer’s expertise. It’s rarely a good idea to give a designer a mocked up layout – they will simply follow your instructions which are not necessarily making the best use of the space. 3. Do your scheduling before you brief a designer. Make sure you schedule the whole project before you brief a designer, incorporating appropriate feedback and incubation stages. Ask your designer to inform you in advance if deadlines or set budgets are unrealistic. 4. Formalize design briefing. Carefully word your brief in an email or as a front page to your copy, and use this as a reference point when you meet. Always brief designers face-to-face, or on the phone for smaller projects.

Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists, both available for instant download.

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Inside a video game developer studio The BBC News website meets the team from Climax who developed the game Ghost Rider for PlayStation 2 (PS2), PlayStation Portable (PSP) and Game Boy Advance.

1. 2. 3. 4. 5.

Technical lead Art director Lead designer Lead level design Game director

6. Lead environment artist 7. Animator 8. User interface artist 9. Lead coder 10. Lead SFX artist

TECHNICAL LEAD JAMES SHARMAN As technical lead it is my job to understand the systems we are developing for and the technologies involved in assembling all aspects of the game. I work with art, design and the rest of the programming team to set the limits they must work within to fit the capabilities of the console. With the three main development disciplines often competing for resources on the console, it is my responsibility to ensure it all fits together and updates the screen at least 30 times a second. All jobs have an upside and a downside; sometimes I feel like the bad guy who is telling art or design that they cannot have quite as many polygons, textures or enemies as they want, but at

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other points in a project I get to be the hero putting in the tech that gives a final bit of polish to everyone's work. ART DIRECTOR GLENN BRACE My main role on the game was to take responsibility for the pre-production and ensure the project got off to a good start, artistically as well as production-wise. This broke down into a number of areas, including establishing the vision with the publisher, 2K Games. We met with 2K and Marvel very regularly in order to plan out the design and visual style. We also went on location on the movie set and worked with the film's art team and directors, which helped us sync up the art style and needs for the game and movie. The game is based on a Marvel comic book series and film

Being a title heavily based on a known Marvel license, a lot of concept work was required for approval purposes, which helped serve us in the form of a heavyweight pre-production phase allowing us to preconceive and plan the games content at an early stage. Each character, for example, had to go through many iterations and approval before we even committed to the production of the game assets. Again this was a great opportunity for us to evolve the game world and art style. Working alongside the design lead was a key and integral part of the early stages of production. As soon as the design was starting to take form, the methods and pipeline for producing the required art assets had to be agreed and proven. So finalizing the pipeline and building up the full art production team was a challenge, but a large and enjoyable part of my role. Working alongside the lead artist we worked together to ensure the art quality and production milestones were being met. LEAD DESIGNER SAM BARLOW The lead designer is the equivalent of a movie director for games, but he is less glamorous and has no loudhailer or special chair with his name on it. It is my job to lead the creative direction of the title, to define its vision and to manage the team of designers who are responsible for crafting the raw stuff of the game. The storyline, the control scheme, the behaviours of the characters, the abilities and tools the player characters has - all of this is designed and documented by the design team. LEAD LEVEL DESIGNER ROB McLACHLAN I was in charge of the level designers on this project.

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The level team designed, built and populated all the environments in the game. We start as basic as you like, on paper or round a whiteboard, trying to think up a theme for the major level segment. This could be an underground military base or a demonic carnival zone with evil bomb-throwing clowns. We split these up into different arenas or zones, like a laboratory or a ghost train, and then thought about the visuals and gameplay we could use in each. We then created basic 3D versions of the zones, known as "grey boxes", which are dropped straight into the game, where we run the character (or bike) around and check that things work the way we planned. Ghost Rider is a stunt motorcyclist who gains supernatural powers

The grey boxes are eventually given to the artists, who will make them look pretty while we begin work on the game logic. After the programmers have got the features working, we implement things like cameras and enemy wave patterns. For the PSP version we got to make some fun multiplayer levels and test them by playing against each other. It is almost too tempting to add a pit full of spikes where you know everyone always takes a shortcut, then hear them howl as they pile into it. GAME DIRECTOR MARK SIMMONS I am the game director on Ghost Rider, which means I have overall responsibility for the project. I am the person ultimately responsible for the development of the game. For a game to be commercially successful for our business it needs to be developed to a fixed budget and timeframe. Any "slippage" on either of those two things will affect the budget on the development. The quality of the game is very important too as it has an influence on what we work on in the future. I create the team and manage them to develop the project. I work closely with the lead designer, lead artist, lead animator, lead programmer, and outsource manager, and together we manage all the artists, animators, designers, programmers, audio technicians, writers, quality assurance technicians, and outsource partners that create the game. I also have to liaise with the senior executives, PR, and the publisher who all have separate vested interests in the project. LEAD ENVIRONMENT ARTIST SAUL MARCHESE I was responsible for leading the game's level building team.

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I had to ensure the level designers' ideas were interpreted correctly into realistic and interesting environments and that they retained the look and feel of the game world. When you have a large group of artists working on a game it can be difficult to achieve a consistent style, so regular reviews of the levels would highlight any deviations or mistakes. I was the final quality control, replacing British street signs for American on the US highway levels, removing trees from hell and making the water flow in the right direction around the sewers. Working closely with the designers and programmers to keep the environment team on track and within technology budgets was key to getting the game looking as great as we could. The character has the power to project fire as a weapon

Many of the software tools were being used for the first time so an important part of my job was training and supporting the junior members of the team to give them a better understanding of the production processes. LEAD ANIMATOR NICK HODGSON As lead animator on the project, my job required me to make the characters move within the game in a believable fashion that also fitted the style determined by the lead artist. I have a very creative job as it was often left up to me to determine precisely how an animation would look in the game. The designers would come up with an idea for a movement and it was up to me to create that movement under some technical and artistic restrictions. For example, they may want a monster made out of rock, punch the ground, but it would need to be done in a certain number of seconds and without moving certain parts of the body. There was always a battle between animators and designers between making the animations look cool but also making it suitable for game play. USER INTERFACE ARTIST MARCUS BURDEN I was the user interface (UI) artist on the project. The UI allows the player to interact with the game, feeding them vital information, indicating buttons that can access options, menus and so forth. It is something that the player will see throughout the entire game experience and it must look slick and reflect the game's style and branding. As a UI artist I take a design created by the design team and create all the graphics needed to make it come alive on screen. I work closely with a dedicated UI coder to create everything from the front-end menu screens to heads-up display elements that include power bars, energy levels, lives and so forth that the player sees when they are playing the game. We have to

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consider the style of the game and brand in creating a user interface that is slick, effortlessly conveys information and is intuitive for the player to use. LEAD CODER DAVE OWENS My role as the lead programmer is to ensure that all programmers on the team worked within the timeframes set out in the schedule, and to ensure they were working to the game design and technical specification drawn up for the project. The main responsibility is to work with the programmers on the team to ensure they are able to work to the best of their ability. If anyone was behind on a task, due to bugs or technical problems then I worked with them to address the cause. This information is conveyed to the other leads, and the producer of the project, so that all team members are aware of the current progress of the programming tasks. Ghost Rider uses a fiery motorcycle chain as a whip

I feel very fortunate to be able to be in my chosen career. Not everyone is able to take a passionate hobby, and build it into a career. LEAD SPECIAL EFFECTS ARTIST PAUL CHRISTEY Special effects (SFX) artists are involved in creating all the cool stuff that gives the game its wow factor. We create whole range of effects to help aid and bring life to the game from creating environmental effects, sky domes and fiery torches to explosions and blowing stuff up. The SFX team were tasked to enhance the Ghost Rider character for all of his attacks such as the penance stare, link attack and upgrade attacks. Creating SFX can involve using a whole range of techniques from key animation, scrolling textures, dynamics and particles. Code support and in-house tools had to be developed to make it possible to accomplish required effects. We needed tools so we could use particles, attach effects to animations and view for instant feedback directly on the PC. For SFX to work appropriately and effectively it's really important to work well as part of a team. We frequently communicate with animators, environment artists and other members of the team to understand how the effect could work and be created. With such a talented team it was not hard to make the game look fun and enjoyable to play. Story from BBC NEWS: http://news.bbc.co.uk/go/pr/fr/-/1/hi/technology/6472467.stm Published: 2007/03/21 11:14:14 GMT Š BBC MMVIII

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Graphic Design Ads

1. Go through the ads, one at a time, and discuss in groups:  After reading the ad, what do you know about the company that is recruiting?  Why are they looking to recruit? (What are their needs?)  Who is the ad aimed at? (Give a description, in your own words, of what kind of person the ad is targeting – skills, personality etc.)  Is it clear whether the candidate would be working in a team, as an assistant or independently?  What do you know about the type of work that the job involves?  Does the job sound interesting? (Why/why not?)

2. Write an application for one of the advertised jobs.  Refer to the mind-map (―Planning your correspondence‖) before you start writing.  Make sure you have listed your key qualifications as well as personal strengths in your application.  When you have completed your application, exchange letters with a friend. Read through each other’s applications and make suggestions for changes.  Make the necessary changes and hand in your applications.

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Graphic Design Ads Brand Logo Design – Industrial Products Company We are an industrial products company looking to improve on its existing logo. Current logo is dated and does not print well in various formats. Looking for something clean and professional that conveys that we are the leading brand. I have attached a few slides that outline the project in more detail. We would prefer to see a mock-up(s) before selecting a designer, but it is not required. Logo must be original. We will likely require a few revisions but are not unreasonable, and we provide clear direction in order to have the project move smoothly. We have several other branding projects starting soon, so the successful bid will likely have an opportunity for an on-going relationship with our company for many future design projects.

Company website needs a fresh look I am hoping to locate hungry but qualified / exp web site designers interested in completing a very professional web site for Recovery America and other companies that I provide consulting services to. The web sites are less than 10 pages and require simple programming but high graphic design. All text and foundation are in place. I have many other opportunities for projects of this kind with other companies. In addition, I desire to contract with individuals capable of building Power Point templates (Custom Graphics) and other branding materials for these companies. We have an in house design manager who is simply too busy for all of the work. Immediate placement.

Graphic Designer needed for a wild upcoming international Music Tour We are looking to add a talented graphic designer to our team to help develop and design a printed Media / Sponsor kit for our next wild international music production. We have an extensively choreographed ultra high energy production featuring the industry‘s hottest music artists coupled with some of the most exciting DJs & Remixers ever to be seen in an absolute state-of-the-art environment. We have an absolutely unique Multimedia soundstage featuring the best sound, light and video components. We are essentially looking for a designer that can help us convey our dedication to state-of-the-art entertainment - to potential sponsors. A media kit that demonstrates a sense of technology blended with a music experience. An in your face, exciting and visually attractive media kit using highly detailed graphics and photography in a uniquely designed format. All text will be provided as well as basic design ideas and some main graphics to be incorporated.

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Turnaround time will be approximately 3-4 weeks Expected size will be approximately 12-15 - 8.5X11 pages at 500DPI with a few paragraphs of text on each page. Media kits to be printed on Photo Quality glossy paper and also distributed electronically as a PDF though our websites, Email and our promotional DVD. Please see our new division website listed below for information about the group of companies. We would appreciate if all questions could be directed to info@onlythehardcoresurvive.com The potential for additional work after this project exists in later contracts in the form of graphic design, Flash, 3d animation, sound and video editing. This project will ultimately be a demonstration of your abilities.

Simple dog attack Flash game We require a simple game designed for our site. It would not be point based, only animation. The game will be a simple dog attack game. You would see the target face on, and the back of a dog's head/neck. Using the keyboard, you can attack in different ways, and there will be a possibility to hit the target, and damage, that would be reflected in a typical "energy/life" meter. The target would then go through varying levels of damage. There should be some humor involved in this game. We would require a sample of previous work before awarding the project to any individual or team.

Makeup artist needs poster design I‘m a makeup artist and I need a poster designed for my business. The poster needs to be 20‖ x 30‖. I would like the poster to resemble my business card, which I can scan and send to you. Please let me know what the file type the design will be in. www.taramakeupartist.com

Flexo Press Operator Label Technology, a leader in high quality Flexographic printing for PS labels and Flexible Packaging is looking for experienced and motivated individuals to run narrow or mid web, in-line Flexographic Printing Presses. Qualified candidates must have 2 years experience in working with narrow web Flexographic Printing Presses. Ability to work OT, weekends and communicate effectively at all levels of the organization. Must be a team player. Excellent benefits and growth potential. Press operator is responsible for set up and operation of flexographic printing press. Requirements:  Must have 2 years experience on flexographic presses.  Good math skills, time management, verbal and written communication.  Ability to work all shifts and overtime.  High School Diploma required  Ability to lift 50lbs. Bending, squatting, walking and standing all day.  Ability to wear Personal Protection Equipment in a noisy and fast pace environment.  Working with a variety of chemicals during UV light curing system.

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Clothing company seeks original designs I am in search of a very talented artist or Graphic designer that can help me to design a series of original Shirts. I have a very specific niche. You need to be familiar with Tribal Design, Polynesian Cultures or symbols, Mythical symbols and concepts, and knowledge of Ancient Cultures such as Celtic and Samurai is a plus. I seek one or two talented individuals that can develop initial concepts working with me and create designs in collaboration with me. The position can be long term and potentially very rewarding. Original art will be converted to EPS or Vector for clotting reproduction. A Tattoo design Background can be very helpful in this endeavor. Initially I will pay per design once finished. My budget is $50 to $200 per design. This can be a fun and rewarding project and if successful I want us all to be rewarded. I guess I need you to show me what you are capable of and tell me what pace and compensation level you can work at. I am interested in submissions from people who have work to show me.

Fashion accessories website I'm looking for a web designer who can bring my shop website vision to life. I currently have a temporary website up but I would like something which says more about my businesses personality and me. KrappBag is a fashion accessories business owned and run by me and I really look forward to finding someone who'll be able to make my ideas reality.

Professional and attractive looking postcard for direct mail advertising purposes I am looking for an individual who can design a professional and attractive looking postcard for direct mail advertising purposes. The final cut dimensions of the postcard will be approximately 5 1/2" x 8 1/2". It will be printed in full-color with gloss on the front and semi gloss on the back. My company has the resources for printing, so all we will need is the file. I am able to provide details such as some text, what our business provides to consumers, and images (if needed). I would prefer that the designer choose the most appropriate images for the message and overall design of the card, taking into consideration what our company does and who we target. We prefer that the card be eye-catching and graphic intensive. This will be designed for a business consulting firm located in Arizona. I need someone who is easy to contact, is motivated to get the job done, and who can create the finished product in a timely manner. I also need someone who is reasonably priced and who I can form a lengthy, professional relationship with for future design work.

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I am seeking a comic book artist who can adapt the first portion of an award-winning feature film screenplay into a 22-24-page full color comic book (designed, penciled, inked, colored, and lettered into print-ready form). WHERE THE DEAD GO is an occult thriller with a hardcore horror edge -- "The Serpent And The Rainbow" for the "Saw" generation. Logline: "A by-the-book bioweapons expert is deployed to the war-torn Congo to investigate a suspicious outbreak of disease only to discover that it may be of supernatural origin.‖ This is a work-for-hire job and control of the copyright of this material will remain mine. The comic book will be sold online and at local shops and will also be used to assist in pitching the project to Hollywood studios. I am a working writer/producer living in Los Angeles, with a number of feature film credits.

Packaging for a Unique Toilet Brush/Holder Looking for a catchy package design for a unique round toilet brush and holder set. Must be practical to implement and be reflective of its name: Toilet Butler

Junior Creative Artworker Humungous, global health and fitness firm seeks junior designer for their head office, based in Middlesex. This giant of a company have a stable and busy in-house design team which covers a range of print work from brochures, booklets, catalogues, leaflets and packaging. They initially need someone to help with the artworking and typesetting overflow and to become more used to working with their corporate style. The position will lend itself to someone looking to progress within a busy studio and to bring more and more responsibility to their role. In order to be considered, we'll need to see a well-structured CV with experience of working within an artwork or creative artwork capacity. You must have used Creative Suite to a professional level and have worked either in-house or for an agency. This client needs someone who can be creative within guidelines, so this experience is a MUST. Please do also check the location of this position before applying!

Presentation Artist Our clients are suppliers and designers of show homes throughout the UK. They enjoy an enviable reputation for delivering and installing beautiful interiors to enhance the salability of homes on every development. They are currently seeking to fill a number of roles, one being that of a Presentation Artist. You will be working with the design team preparing hand drawn visuals and perspectives for client presentations, brochures and sales material. As an artist you will need excellent hand drawing, sketching and finished presentation visual skills. Computer literacy is needed but they are not seeking a digital artist. www.ifreelance.com www.careerbuilder.com www.graphicdesignfreelancejobs.com www.jobsmad.co.uk

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Planning your correspondence When you plan your writing you should consider these questions:

 Who?  Why?  What? In other words, you need to think about who you are writing to (the reader/your audience), the reason why you are writing the letter, and what your letter should contain. Before you start writing your letter, use the below table as a “mind-map” to outline the content of your correspondence. 

What is the purpose of your letter? (To apply for a job, to accept an invitation etc.)

Who is the recipient (Is it a specific person, a company etc.?) and how do you address that person/group?

What is the most important message in your letter? (What key information do you want them to have?)

What would you like the recipient to do?

How would you like the recipient to respond to you? (phone, letter, email etc.)

When would you like the recipient to respond to you?

What questions do you have for the recipient?

Should you use formal or informal English in this specific letter?

Are you enclosing any additional documents to the letter?

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Your Name Your Address Area Code and City Your Phone Number Your Email

Application letter 1

Date

Contact Name Job Title Organization Address Area Code and City Dear Mr./Ms. Last Name: I am writing to apply for the XXX position advertised on YYY. My resume is enclosed for your review. My current position is……where my responsibilities include…. I would like to highlight the following achievements so far in my career: AAAAAA BBBBBB CCCCCC DDDDDD Thank you for taking the time to review my credentials and experience. Please note that I am available for interview at any time. I can be contacted most easily on the mobile phone number given above. I look forward to meeting you. Sincerely,

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Your Name Your Address Area Code and City Your Phone Number Your Email

Application letter 2

Date Contact Name Job Title Organization Address Area Code and City

Dear Mr./Ms. Last Name: Your advertisement in the New York Times appealed to me for two reasons: XXX and YYY. Therefore, I have decided to submit my resume in application for the position of XYZ. I hope to be considered for the position. My skills are an ideal match for this position..... My relevant experience includes….. AAAAAA BBBBBB CCCCCC DDDDDDD EEEEEEEEE

I look forward to discussing opportunities at [COMPANY NAME] with you. I will call you next week to make sure you have received my resume and to set up a mutually agreeable time for us to meet. Kind regards,

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Your Name Your Address Area Code and City Your Phone Number Your Email

Application letter 3

Date Contact Name Job Title Organization Address Area Code and City

Dear Mr./Ms. Last Name: I would like to express my interest in [COMPANY NAME] and the available XXX position described on YYY. I am particularly interested in X because of… My experience in the X industry involves… AAAAAA BBBBBB CCCCCC DDDDDDD EEEEEEEEE I would very much like to discuss the job in more detail and hope you will consider me for the position. Thank you for taking the time to read this letter and the enclosed resume. I look forward to hearing from you soon. Yours truly,

Your Signature Your Typed Name

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SEPTEMBER 21, 2005 HIRING LINE By Liz Ryan

Stupid Interview Questions This may be your only crack at the job, so don't get waylaid by some of the oldest and most useless gambits around It isn't much fun being a corporate human resources person, but the job offers one treat: You get to dream up outlandish interview questions to throw at job candidates, then watch them squirm. Some of these goofy questions are time-honored -- they may not be useful, but they've become an HR tradition. Others are hot off the press. Here's a tour through the world of wacky queries -- so you'll be prepared the next time you're hit with one in an interview: Where do you see yourself in five years? This is the great-granddaddy of goofy questions, and I give you permission, if you have any misgivings about a job opportunity, to walk out the door when you hear it. It's such a time-waster that only the most hidebound interviewers will utter it, but it lives on. Here's why it's dumb. No company will guarantee you a job for five years, much less a career path. To construct such a plan for yourself, you'd have to make predictions about industries, companies, and your likes and dislikes that could only serve to constrain your choices. And in any case, why is it so all-fired important to have a dang career plan in mind? Every successful entrepreneur and many top corporate people will tell you their key to success: I did what I felt driven to do at the moment. So when you get asked this question, you can say: "I intend to be happy and productive five years from now, working at a job I love in a company that values my talents" and leave it at that. Or you can give the expected answer and say: "I hope to be three levels up the ladder, here at Happy Corp." Or you can say: "I hope to own this company," just to shake things up. But for an interviewer to ask the question at all is a bad sign. Come on, people! There are millions of thoughts in the human brain. Can we change the ones we use in job interviews every decade or so? If you were an animal/a can of soup/some other random object, which one would you be? This is a question typically asked of new grads, because it's considered cute. It's supposed to test how people think. But it's asinine. You can pretend to think about your answer for a moment (eyes to the ceiling, chin resting on hand) and then come up with something. Or stare blankly at the interviewer and say, deadpan: "Are you serious?" Or try one of these answers: (Animal) "Oh, any crepuscular animal would do well for me -- a rabbit or a bat, perhaps." (Crepuscular means most active during dawn and dusk, so you'll get to show off your extensive vocab.) (Soup) "Probably the low-sodium chicken broth." Fix the interviewer with a penetrating gaze -- she won't know whether you're mocking her imbecilic question or are deadly serious.

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What are your weaknesses? By now, such a large percentage of the job-seeking public has gotten clued in on the politically correct answer to this one -- which is, "I'm a hopeless workaholic" -- that the question's utility is limited. But it's also offensive. This is a job interview, not a psychological exam. It's one thing for an interviewer to ask you what you do particularly well. It's another thing to ask what you don't do well and expect to get a forthright answer -- in a context where it's clear to both parties that you're being weeded in or out. The most honest answer might be this: "That's for me to know and you to find out." But that won't help your chances. So if you can't bear to repeat the "workaholic" line, I'd say something that is true of yourself but also terribly common -- like the fact that you get bored easily, or prefer numbers to people or vice versa. None of these is actually a weakness, but that's O.K. What in particular interested you about our company? Now, on one level this is a reasonable question. If you say: "I'm interested in this job because it's three blocks from my apartment," you might not be the world's best candidate. But the disingenuous, and therefore offensive, aspect of this question is that it assumes that you have unlimited job opportunities and have pinpointed this one because of some dazzling aspect of the role or the company. I mean, please. Most of the job-seeking population is living on the lower two-thirds of Maslow's pyramid, where the most appealing thing about any job is that you got the darned interview. Why am I interested? Because you guys called me back. But you can't say that, so you have to rhapsodize about the company's wonderful products and services and the world-class management team and so on. Now, it's important to show that you know a lot about the company. But you have lots of ways to demonstrate that in an interview (and lots of ways for the interviewer to ask you to do so) without pretending that the company had to fight every employer in town to get an audience with you. Everybody involved knows the company is shredding 10 times the number of rĂŠsumĂŠs it's reading, so let's not pretend it was your breathtaking credentials that got you the interview. It was the fact that the company responded to your overture, unlike 90% of the employers you contacted. Below the director level or so, where it might be reasonable to assume you sought out the company for particular job-hunting attention, it's not necessary to pretend that you carefully chose it from a raft of others pursuing you. So unless you approached the outfit in the absence of a posted job opportunity, it's just silly to ask: "Why us?" Rather, the interviewer can say: "When you saw our ad on Monster.com, what made you respond?" And, of course, the logical answer is: "Because I know I can do the job that was posted." Duh. No one said job-hunting was easy. What would your past managers say about you? This is a fine question, but it's not a true interview question. It's an intelligence question. It's like the question on one of those "honesty" tests that are becoming more and more popular in the hiring process (to add insult to injury, they're often called Personality Profiles): "Do you think it's O.K. to steal from your employer?" These are intelligence questions because you have to have the intelligence to know the answer in order to be smart enough to go and get a job. The trick here is to say something sufficiently witty or pithy to make you stand out from the crowd, because the standard answers are so tired: My managers would say that I'm hard-working, loyal, reliable, and a great team

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player. Snoozeville. Why not try: My past managers would say that I was an outstanding individual contributor who also supported the team 100%. Or: My managers would say that I came up with breakthrough solutions while never losing track of the bottom line. You can probably dream up something better. The point is, this is a softball: Don't think too much about it. It says more about the interviewer (who lacks the moxie to think up unique or penetrating questions) than it ever will about you. The secret of good job interviewers is that they never ask traditional, dorky interview questions. They don't need to. They jump into a business conversation that does three powerful things in a one-hour chat: a) Gets you excited about this opportunity (or, as valuably, makes it clear that you and this job are not a good fit) b) Reveals to the interviewer how you'll fit into the role and the company, based on your background, perspective, temperament, and ideas c) Gives you a ton of new information about the job, the management, the goals, the culture, and what life at this joint would be like. If any of this doesn't happen, it's a problem. If you're lukewarm on the job when you leave the interview, or if you don't feel you've had a chance to show what you know and how you think, or -- worst of all -- if the interviewer used your time together to satisfy his need for more information about you while sharing almost nothing about the job, that's an enormous red flag. And if you get called back for a second interview while you're still information-deprived, say so. "I'm interested in learning more about the opportunity before a second interview," you can say. "Would a phone call with the hiring manager be an effective way to help me get up to speed?" That kind of suggestion respects the hiring manager's time and won't waste yours on a second, no-new-data interview. Try it. You might save yourself some aggravation -- along with some extra time you can use to work on your five-year career plan and on tackling those pesky weaknesses of yours before the next interview.

Source: http://www.businessweek.com/print/careers/content/sep2005/ca20050921_1099_ca009.htm?chan=ca

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Interview Questions 

Would you be willing to relocate in the future?

What is the most boring job you have ever done?

Describe the best company you ever worked for?

Tell me about yourself.

Tell me about your experience.

What is your most important accomplishment to date?

How would you describe your ideal job?

Why did you choose this career?

When did you decide on this career?

What goals do you have in your career?

How do you plan to achieve these goals?

How do you personally define success?

Describe a situation in which you were successful.

What do you think it takes to be successful in this career?

What accomplishments have given you the most satisfaction in your life?

If you had to live your life over again, what one thing would you change?

Would you rather work with information or with people?

Are you a team player?

What motivates you?

Why should I hire you?

Are you a goal-oriented person?

Tell me about some of your recent goals and what you did to achieve them.

What are your short-term goals?

What is your long-range objective?

Do you handle conflict well?

Have you ever had a conflict with a boss or professor? How did you resolve it?

What major problem have you had to deal with recently?

Do you handle pressure well?

What is your greatest strength?

What is your greatest weakness?

If I were to ask one of your professors (or a boss) to describe you, what would he or she say?

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Why did you choose to attend your college?

What changes would you make at your college?

How has your education prepared you for your career?

What were your favorite classes? Why?

Do you enjoy doing independent research?

Do you have any plans for further education?

How much training do you think you’ll need to become a productive employee?

What qualities do you feel a successful manager should have?

What do you know about our company?

Why are you interested in our company?

Do you have any location preferences?

How familiar are you with the community that we’re located in?

Are you willing to travel? How much?

Is money important to you?

How much money do you need to make to be happy?

What kind of salary are you looking for?

Sources: http://www.job-interview-questions.com/ http://www.collegegrad.com/jobsearch/Mastering-the-Interview/Fifty-Standard-Interview-Questions/

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…and some things you don’t really need to learn!!

Maybe you have heard the expressions ―brainstorming‖, ―split of a second‖ and ―wiped out‖? Well, here are some twists on those phrases and others that you might find amusing. You might want to add ―Gorilla‖ to them!? /Ann

BLAMESTORMING - Sitting around in a group, discussing why a deadline was missed or a project failed, and who was responsible. SEAGULL MANAGER - A manager who flies in, makes a lot of noise, craps on everything, and then leaves. CHAINSAW CONSULTANT - An outside expert brought in to reduce the employee headcount, leaving the top brass with clean hands. CUBE FARM - An office filled with cubicles. IDEA HAMSTERS - People who always seem to have their idea generators running. MOUSE POTATO - The on-line, wired generation's answer to the couch potato. PRAIRIE DOGGING - When someone yells or drops something loudly in a cube farm, and people's heads pop up over the walls to see what's going on. SQUIRT THE BIRD - To transmit a signal to a satellite. STRESS PUPPY - A person who seems to thrive on being stressed out and whiny. SWIPED OUT - An ATM or credit card that has been rendered useless because the magnetic strip is worn away from extensive use. TOURISTS - People who take training classes just to get a vacation from their jobs. "We had three serious students in the class; the rest were just tourists." TREEWARE - Hacker slang for documentation or other printed material.

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XEROX SUBSIDY - Euphemism for swiping free photocopies from one's workplace. GOING POSTAL - Euphemism for being totally stressed out, for losing it. Makes reference to the unfortunate track record of postal employees who have snapped and gone on shooting rampages. ALPHA GEEK - The most knowledgeable, technically proficient person in an office or work group. ASSMOSIS - The process by which some people seem to absorb success and advancement by kissing up to the boss rather than working hard. FLIGHT RISK - Used to describe employees who are suspected of planning to leave a company or department soon. UNINSTALLED - Euphemism for being fired. Heard on the voice-mail of a vice president at a downsizing computer firm: "You have reached the number of an Uninstalled Vice President. Please dial our main number and ask the operator for assistance. *(Syn: decruitment.) SALMON DAY - The experience of spending an entire day swimming upstream only to get screwed and die in the end. CLM - (Career Limiting Move) Used among microserfs to describe ill-advised activity. Trashing your boss while he or she is within earshot is a serious CLM. DILBERTED - To be exploited and oppressed by your boss. Derived from the experiences of Dilbert, the geek-inhell comic strip character. "I've been dilberted again. The old man revised the specs for the fourth time this week." 404 - Someone who's clueless. From the World Wide Web error message "404 Not Found," meaning that the requested document could not be located." Don't bother asking him . . . he's 404, man." GENERICA - Features of the American landscape that are exactly the same no matter where one is, such as fast food joints, strip malls, subdivisions. Used as in "We were so lost in generica that I forgot what city we were in." OHNOSECOND - That minuscule fraction of time in which you realize that you've just made a BIG mistake.

(Source: various sites on the Internet – google one of the expressions to find more of the same!)

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Preparing for your oral presentation We meet in the small groups. Your individual presentation will be 2-3 minutes long, and afterwards you will get some questions on the product/graphic you‘ve presented.

 Bring an item, product, or picture (graphic, website layout etc.) to our meeting.  Your task is to either do a ―sales pitch‖ for this item/product, where you only focus on the positive characteristics of it, or you give constructive criticism of the item/product and describe how it could be made differently. In other words, you either pretend that you are trying to ―sell‖ the concept, product, or design, or you present an alternative design that will replace the one you are showing.  First, describe what it looks like, taking into account the following: - Shape, size, colour(s), measurements, weight, material, patterns etc.(if you bring an image or something from your graphic design portfolio, you should describe what you‘ve done and why)  Then describe the function(s) of the item/product. How do you use it? Is it easy to use? What functions does the product have? (If what you have brought is a graphic/image, describe what the appeal is, what you think of the colour combination, the placement of the image in relation to the text, the size, what stands out, what kind of feedback or reaction you expect from the design etc.)  If you believe it is eco-friendly, describe why or how (if it is a product, not an image).  Who would it appeal to? (describe the market/target group)  Focus on the design and briefly talk about it, mentioning the pros and cons (if any) of the design. If it is an image, either focus on the strong points of the image or give constructive criticism on it.  Try to finish your presentation by selling your concept/new idea/criticism, focusing on your own opinion of the product/item/graphic.  Remember to stick to the set time-frame! No more than 2-3 minutes please!

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Good luck!! Ann

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