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No Summary Judgment for Worker Struck by Falling Materials

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Trial Court Did Not Abuse Discretion in Considering New Evidence, Remanding Case

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WCIRB Actuarial Committee Meets Tuesday

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Lightheadedness may be a symptom of atrial fibrillation, cardiomyopathy or stroke




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Grant Teaff recibe el premio a la trayectoria Paul “Bear” Bryant

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Arial is everywhere

Arial, a contemporary sans serif typeface by Robin Nicholas and Patricia Saunders designed for Monotype in 1982. If you are familiar with a computer you must know Arial, one the most used “standard” typefaces for “normal” computer usage.

Arial

Most professional designers and typophiles think of Arial as a copied typeface from Helvetica and while reading the The Scourge of Arial by Mark Simonson Studio I have realized this is in fact a true story.

The typeface became free with the release of Windows 3.1, which was a sales hit and Arial quickly gained spread around the globe. The main reason why Microsoft chose Arial as standard typeface is because of the license fee from the original Helvectia typeface by the Haas Foundry was too high. Missed change to educate the world about the wonderful Grotesk family.

Arial vs Helvetica

There are several glyps of the typefaces similar and some of them are different. Due the similarity Arial is often (unfortunately) mistaken for Helvetica, the differences between these two typefaces is explained in an article on iLT, both typefaces are shown next to each other making it easier to recognize.

Today Arial belongs to Monotype:

Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Arial is everywhere!

Passing by an advertisement by a Dutch website about flight tickets, noticed the Arial Black at the top, when visiting the website also all other text is designed using Arial.

Advertisement sign

Driving on the highway when I spotted the Arial here in this advertisement, it seems to be an German clothing company using Arial for their logo, the payoff of Gerry Weber seems to be in a Futura.

Thai cuisine

Love the Thai cuisine and went to this small restaurant in Amsterdam, the window signs and menu is done using the type Arial Black.

Highway truck

Another highway shot taking while driving… Here is a clear usage of Arial Black italic for the logo and text.

Mirabeau*

A large Dutch internet company is using Arial for the illuminated signs, at first I was mislead, Mirabeau* using Arial? I only really recognized it by the letter “R”, visiting the website it seems they have changed the typeface of the logo.

Clearing out the garage

Throwing away old stuff… And found a small travel raincoat. Used typeface Arial Black.

Swarzkopf

Say again… Swarzkopf is using Arial? My wife bought something to color hair and while brushing my teeth I couldn’t believe my eyes. Quickly went to the store and yes… Swarzkopf is using Arial!

Tommy Hillfiger

Yet another large company is using Arial, this time I found a print on my wife her shoebox all lettering is using the typeface Arial.

Kaldi Koffie

This is actually one of the few brand where they consistently use Arial for all their visual communications. This Dutch Coffee shop uses Arial for their logo, text and shopping branding.

Vehicle signage

Waiting for the light to turn green, just had enough time to take this photo. This van has some lettering done using typeface Arial.

Hotel signs

Went skiing about two weeks ago and never have I seen that much usage of Arial. Here the hotel used Arial for the name of the hotel and the text.

Getting up the mountains

Most of the ski lift in this area (Ischl, Austria) uses Arial as typeface for the name of the ski lift.

Sun terras

Unfortunately we didn’t have a sunny weather, but when there is you can visit the sun terras. On the doors is placed with etch foil the text “Sonnenterrasse” in German language.

Ski rental

This shop used Arial for all the visual communication, not to mention that in this small village there where three of these shops… Arial is everywhere!

DigiD

Getting back and filling out some forms for the government, in Holland there are ways to fill out forms using a digital signature, called DigiD. I noticed the usage of Arial at the top of this letter. Hopefully this will change towards to new brand identity of the Dutch government.

UPS

The packages send using UPS are using Arial on their sticker, all information is printed using Arial.

For sale sign

Due the credit crisis many houses are for sale in Amsterdam, the broker puts op V-shape signs with the information “For Sale”, this broker also uses Arial Black for their name.

Design shop

Everyday I drive pass by this furniture shop in Amsterdam, the sell luxury design furniture, but all the typeface use is Arial Black.

Plummer company

This is a large pluming company is Amsterdam, they use Arial Black for their logo and other forms of visual communication.

Bike bag

Walking down the streets and spotted this printed bike bag which they use to distribute flyers, typeface used Arial.

License plate holder

Spotted this one many, many, many times. A license plate holder for Dutch cars, most of them use Arial to display the name of the garage.

Vehicle signs

This plummer company uses Arial for their logo and text, designed with icons.

Local coffee bar

This local cafe uses Arial Black for their logo on the window, also the opening hours and other text is displayed in Arial.

Arial is everywhere

Look around and you'll spot Arial around you! Arial is everyyyyyyywhere!!




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Photoshop Pencil Sketch Effect Tutorial

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What Drugmakers Did Not Tell Volunteers in Alzheimer’s Trials

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Introducing Metadata Variables in Auphonic

We've listened to your feedback and are excited to announce the introduction of metadata variables in Auphonic for more advanced use of our Basic and Extended Metadata.
This new feature allows you to use metadata fields from your input files to automate workflows. You can easily reference any field by using { curly brackets } and typing the field name, such as {title}, {artist}, {album}, {track}, and more.
To get started, take a look at our Formatting Examples and the Table of all Variables to see all the available options.

Whether you are using the Auphonic Web Service or our API, metadata variables can be applied whenever metadata values are set. They are particularly helpful when working with Presets, Batch Productions, or Watch Folders!

For instance, consider the left column of the following table as input ending up in the metadata as shown in the right column:

Field Input Output
Album MyPodcast MyPodcast
Track 25 25
Title Episode No. {track} of {album}! Episode No. 25 of MyPodcast!

Note:
Please mind that fields can not refer to each other in cycles (e.g., if {title} refers to {album}, {album} may not refer to {title}). While the input form will not show any errors, the metadata will most likely not be correct and the production will generate a warning.

Formatting Examples

1. Generating Output File Basenames

With metadata variables you can automatically generate your output file basename based on the input filename and podcast metadata, like album, track, and title.
If you have, for example, a podcast preset or input file with the album name "The Placeholder Podcast", you can automatically name your episode title like your input filename. By combining the metadata variables "album" name and your generated episode "title" with any text patterns, like "denoised" in this case, you can create your individual output file basename:

Field Input Output
Album The Placeholder Podcast The Placeholder Podcast
Title {input_filename} interview_jane_doe.wav
Output File Basename {album}-{title}-denoised The Placeholder Podcast-interview_jane_doe.wav-denoised

The next example shows how you can create truly unique output file basenames with timestamps. Here, a track number is, together with the input file basename, added up as episode title. So, your unique output file basename could be a combination of this generated episode title with the time and date, when your Auphonic production was started:

Field Input Output
Input File
Basename
interview_jane_doe interview_jane_doe
Track 25 25
Title {track}{input_basename} 25interview_jane_doe
Output File Basename {title}_{production_created_at:%H:%M_%m/%d} 25interview_jane_doe_19-05_01-30

See example 3 for more time formatting examples, and this table for the full list of symbols that can be used for formatting dates.

2. Deriving "Title" and "Summary" from Podcast Metadata

If the input file metadata contains a track number (alternatively, provided by API or web form), it can be referenced in other fields. Along with the name of the podcast, stored in the "album" field, a value for the title can be created as well as a value for a summary containing all the information:

Field Input Output
Track 25 25
Album The Placeholder Podcast The Placeholder Podcast
Tags Anniversary Anniversary
Title {album}, Episode No. {track} The Placeholder Podcast, Episode No. 25
Summary {title} - {tags.0} The Placeholder Podcast, Episode No. 25 - Anniversary

3. Adding Time and Date

The following time and date example outputs would be possible for a production created at 7:05 pm on Saturday, January 30th in 1999:

Field Input Output
(any) example-{production_created_at} example-1999-01-30
(any) podcast-{production_created_at:%H:%M-%m/%d/%Y} podcast-19:05-01/30/1999
(any) output-{production_created_at:%I:%M%p-%m%d%y} output-7:05PM-013099
(any) record-{production_created_at:%a-%Y-%b-%d} record-Sat-1999-Jan-30

See this table for the full list of symbols that can be used for formatting dates.

4. Using List Field "Outputfiles"

For the list fields "tags", "chapters", "outputfiles", and multitrack "input_filename/basename", you need to reference every value separately by adding .N to your variable – Where N stands for ascending ordinal numbers starting from 0.
Combined with the .N you can refer to the format, bitrate, suffix, and ending of every selected output file, for example {outputfiles.0.format} refers to the format of the first output file in your list of outputfiles:

  • Output File 1 – format: WAV 16-bit PCM, bitrate: optimal, suffix: lossless, ending: wav
  • Output File 2 – format: MP3, bitrate: 112 kbps, suffix: lossy, ending: mp3

Field Input Output
(any) file1-{outputfiles.0.suffix}-{outputfiles.0.ending} file1-lossless-wav
(any) file2-{outputfiles.1.format}-{outputfiles.1.bitrate}kbps file2-lossy-mp3-112kbps
(any) file2-bitrate-{outputfiles.1.bitrate:04} file2-bitrate-0112
The bitrate output of the last row is formatted with 4 digits, defined by the suffix :04 attached to the variable.

For all available options, please see the Table of List Variables.

All Metadata Variables

The following variables are available:

Variable Referring to Field
{input_filename} Full filename of the input file in a singletrack production
{input_basename} Basename of the input file in a singletrack production
(inputfile.wav becomes inputfile)
{title} Title
{artist} Artist
{album} Album
{track} Track
{genre} Genre
{year} Year
{subtitle} Subtitle
{publisher} Publisher
{url} URL
{license} License (Copyright)
{license_url} License URL
{summary} Summary (Description)
{output_basename} Output File Basename
{production_created_at} Time and date of production creation
{production_modified_at} Time and date of production modification

List Variables Referring to List Field
{input_filename.N} Full filename of the input file of N-th track in a multitrack production
{input_basename.N} Basename of the input file of N-th track in a multitrack production
(inputfile.wav becomes inputfile)
{tags.N} N-th Element in Tags
{chapters.N.start} Start time of N-th Chapter
{chapters.N.title} Title of N-th Chapter
{chapters.N.url} URL of N-th Chapter
{chapters.N.image} Image file name of N-th Chapter
{outputfiles.N.format} Format of N-th Output File
{outputfiles.N.bitrate} Bitrate of N-th Output File
{outputfiles.N.suffix} Suffix of N-th Output File
{outputfiles.N.ending} Format ending of N-th Output File

For detailed use, please see Formatting Examples.

Conclusion

Metadata Variables are a powerful tool for organizing your productions whenever metadata values are set. Those field references are very convenient when distinguishing between different files at a glance, particularly when working with Presets, Batch Productions, or Watch Folders.

Please do not hesitate to contact us if you have any questions or feedback!








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The post Prospective Marriage Visa v Partner Visa appeared first on Australian Visa Experts.




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Branding and Packaging Design for Di Ligúria: Italian Roots with Brazilian Flair

Branding and Packaging Design for Di Ligúria: Italian Roots with Brazilian Flair

abduzeedo

Discover the branding and packaging design of Di Ligúria, a Brazilian pizzeria, blending Italian heritage with Brazilian charm.

When two Brazilian entrepreneurs with Italian heritage set out to create Di Ligúria, a pizzeria in Belo Horizonte, they wanted more than just a menu of pizzas. They sought a brand that paid homage to the flavors, traditions, and warmth of Italian culture while embodying the lively spirit of Brazilian dining. Designer Danilo Akan took on this challenge, developing a branding and packaging design that bridges these cultural elements seamlessly.

Di Ligúria’s brand identity is grounded in a love for Italian cuisine, inspired by the founders’ Genoese roots and the culinary culture of the Liguria region. Akan crafted a visual concept that honors this Italian foundation while infusing a relaxed Brazilian vibe. The name “Di Ligúria” itself is a tribute to Italy’s Liguria region, signaling an immediate connection to Italian authenticity.

Akan’s design approach captures this dual identity, focusing on simplicity, elegance, and a playful touch. Using negative space and bold typographic elements, Akan brings the essence of Italian tradition forward, yet retains a fresh, contemporary look that appeals to a wide audience. His design balances modern aesthetics with nostalgic elements of Italian dining, creating a memorable brand that invites customers to savor the Italian experience.

The most striking element of Di Ligúria’s brand identity is its innovative typography. Akan developed a typographic style that incorporates subtle nods to pizza and pasta, the core offerings of Di Ligúria. By using negative space within the letterforms, particularly in the letter “G,” Akan brings visual references to pizza slices and pasta strands. This clever use of negative space allows the brand to visually communicate its primary products in an understated yet effective way.

The logo’s typeface is both modern and classic, giving a nod to Italian design’s timeless elegance. This typographic style doesn’t just serve as a brand marker but becomes an integral part of the visual experience, subtly reinforcing the restaurant’s Italian roots while remaining approachable.

Packaging that Enhances the Experience

In addition to branding, the packaging design plays a significant role in delivering Di Ligúria’s identity. Packaging is designed not just for functionality but as an extension of the dining experience. By integrating graphic patterns inspired by Italian motifs, Akan’s design makes every pizza box, pasta container, and salad package an experience in itself.

The patterns, echoing Italian ceramic tiles and Mediterranean styles, contribute to the visual storytelling of Di Ligúria. They evoke the charm of Italy and the idea of gathering around a table with family and friends. With packaging that feels thoughtful and distinctive, customers are reminded of the quality and heritage behind each meal.

From the moment a customer sees the logo to when they unbox a fresh pizza, Di Ligúria’s branding and packaging tell a story. Each design choice reflects the founders’ desire to create a brand that goes beyond fast food and into a cultural experience, filled with Italian warmth and Brazilian vitality. Akan’s thoughtful use of typography, graphic patterns, and packaging demonstrates how design can capture a brand’s essence and elevate the customer’s experience.

For anyone looking to explore Akan’s creative process and Di Ligúria’s full brand story, more details are available on his website.

Di Ligúria’s branding and packaging design provide an excellent example of how design can connect cultural roots with a fresh perspective. Akan’s work successfully weaves Italian traditions into a Brazilian setting, delivering a design that’s as inviting as the food it represents.

Branding and visual identity artifacts




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Exploring Editorial Design in ‘EN TORNO A LA MATERNIDAD’

Exploring Editorial Design in ‘EN TORNO A LA MATERNIDAD’

abduzeedo

Dive into the thoughtful editorial design of ‘EN TORNO A LA MATERNIDAD,’ crafted to resonate with themes of motherhood.

Pau Marín’s project, EN TORNO A LA MATERNIDAD, explores the essence of motherhood through a refined editorial design that merges visual storytelling with emotive impact. The design embodies the themes of care, strength, and the cycle of life, delivering a visual experience that’s as insightful as it is aesthetically appealing.

Design Approach and Concept

At the heart of this project lies a narrative-driven approach. Marín carefully crafted the layout to reflect the nuances of motherhood, using visual metaphors and deliberate design choices. The typographic elements are minimal yet impactful, guiding the reader’s eye through the content seamlessly. Serif and sans-serif typefaces interplay to emphasize the transitions between vulnerability and empowerment that define the maternal experience.

Photography plays a crucial role in this work, capturing tender moments that resonate with authenticity. Each image, strategically placed, adds layers of meaning, complementing the textual narrative. Marín’s ability to weave text and imagery together in a harmonious flow highlights the power of good editorial design to evoke emotions.

Layout and Visual Hierarchy

Marín’s layout decisions ensure readability while also inviting reflection. White space is used masterfully, giving the design room to breathe and allowing the reader to absorb the emotional weight of the content. The flow from one spread to the next feels intentional, never rushed, mirroring the natural rhythms of life.

The visual hierarchy emphasizes important sections, using bold headings and thoughtful subheadings. This structure not only aids in navigation but also underscores key messages without overwhelming the viewer. The balance between text, imagery, and negative space is a testament to Marín’s understanding of editorial design principles.

Thematic Consistency and Visual Metaphors

Colors in the project echo themes of nature and nurture, employing soft pastels and earth tones. These choices create a calming yet evocative palette that enhances the emotional resonance of the design. Visual metaphors, like the cyclical patterns in layouts, symbolize the never-ending cycles of care and love associated with motherhood.

For designers and illustrators, EN TORNO A LA MATERNIDAD serves as an inspiring example of how editorial design can amplify storytelling. The project encapsulates the emotional and cultural dimensions of its subject matter, offering a blueprint for blending design and narrative seamlessly.

Discover more about this project and Pau Marín’s impressive portfolio on Behance at behance.net/paumarn1.

Editorial design artifacts

Credits and thanks

  • Fina Perelló Andreu
  • Maria José Fuentes Perelló
  • Nuria Fuentes Perelló
  • Nuria Marín Fuentes
  • Claudia Marín Penella
  • Pablo Lázaro Ballester
  • Diane Gello
  • Irene Martinez De La Vega
  • Andrea Peregrín Moreno
  • Coribel Zubillaga García




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