The Mad Hatter Holiday Festival attracts thousands of people to the historic downtown district of Vallejo with its creative lighted and fire shooting Wonderland recreations that turns the city into a fantasy world for children and adults alike.

Kenneth M. Rice is a seasoned expert in the restaurant and franchising sector

Dayana Custer, MBA, serves as the division director at BAYADA Home Health Care

Anthony Watts retired from Banc Mortgage Financial Corp in 2004

Mr. Bohlke is a respected mentor and inspiring small business leader

Lorrainne Bilodeau, MS, honored for more than 40 years of success in her profession

Matthew Ward Stringer has excelled in diverse professional contexts, including music and marketing

Chevo one of eleven awardees of this 7-year, $1.9B BPA

A motorcyclist riding through rainy weather might coat their visor with a water repellent spray. However, they then have to travel fast enough for wind resistance to blow their visor clear. At slower speeds, their visibility remains compromised.

This Bikerguard invention, created by two engineers in Slovenia, is a remote-controlled wiper blade for motorcycle helmet visors. You do have to drive two screws through the top of your visor to attach the mounting base, and you can then pop the Bikerguard on and off as needed. A wireless remote control attaches to your bike's handlebars.

The POV demonstration does seem convincing:

The developers claim that motorcycle police bodies in Slovenia, Hungary and Germany "are in the process of evaluating BIKERGUARD for potential integration into their motorcycle fleet." In the meantime, they sell these online for €319 (USD $339) a pop. A three-pack of replacement wiper blades runs €25 (USD $27).

I wouldn't be surprised if, in the future Oakley develops a visor for runners with one of these attached.

ICE cotton futures saw a slight rebound after recent lows, capped by a stronger dollar. Traders have shifted focus to the March 2025 contract, with trading volume remaining high. Crude oil's recovery offset earlier price declines, easing polyester costs. Other agricultural commodities showed mixed trends. Traders await the USDA export sales report, with attention on Chinese demand.

The US headline business activity net balance fell to 30 per cent in October from 41 per cent in June and was the lowest for two years, an S&P Global survey found. Despite this, firms were still more optimistic than the global average net balance of 24 per cent. Inflation expectations were a bit above the global average. At 37 per cent, the manufacturing net balance was the highest for a year.

Lululemon and Disney have launched a 34-piece limited-edition collection blending Disney nostalgia with Lululemon's performance and casual styles. The 'Happily Ever Active' campaign celebrates movement with ambassadors like NBA's Jordan Clarkson and Olympian Colleen Quigley. The collection is available online and in stores worldwide, featuring items like Align Tights and the Define Jacket.

October US container imports were 2,494,635 TEUs, marking the fourth month in a row of volumes exceeding 2.4 million TEUs, a threshold that has historically strained US maritime logistics, the November Global Shipping Report by Descartes Systems Group noted. For the first ten months of 2024, volumes grew by 13.1 per cent YoY. At seven of the top 10 US ports, transit time delays rose in October.

Burberry has introduced its first virtual scarf try-on experience in its ‘Wrapped in Burberry’ holiday campaign. Partnering with AR provider WANNA, the immersive experience lets customers view iconic Burberry scarves in real-time, with over 50 styles and two classic options. Available online and in select stores, customers can share images and directly access product pages for purchases.

Valmet has expanded its IQ Quality Control System by launching four new measurements for raw material components, colour, and ash content. These innovations help optimise resource usage, reduce carbon footprints, and improve product quality. The new measurements include IQ Transmission Spectrum, IQ Reflection Spectrum, IQ Color, and IQ Total X-ray.

Web Industries will showcase its nonwoven materials solutions for medical, personal care, and home care markets at Hygienix 2024, held November 18-21 in Nashville. The company will highlight its slitting, spooling, printing, and modular converting capabilities, offering precision converting for flexible packaging, films, and medical-grade materials.

Wacoal Holdings has reported revenue of ¥90,167 million (~$586.1 million) in H1 2024, down by 5.2 per cent YoY. Gross profit fell 4.9 per cent to ¥51,056 million (~$331.86 million). Domestic revenue dipped 4.8 per cent to ¥45,006 million, while overseas revenue declined 1.4 per cent to ¥34,549 million. The company’s business profit was ¥2,304 million, down 39.6 per cent YoY in its overseas segment.

Parallels RAS Now extends the integration and delivery of applications from Azure Virtual Desktop to application delivery on Windows 365 Cloud PCs

I'm entranced by old technologies being rediscovered, repurposed, and reinvented. Just think, the term artificial intelligence (AI) entered the language in 1956 and you can trace natural language processing (NLP) back to Alan Turing's work starting in 1950. Text analytics has its antecedents in data mining. Data mining itself has a long history, all the way back to Thomas Bayes, who died in 1761, and his eponymous theorem that still informs algorithms regarding inference, probability, and predictions.

Cognitive/AI technologies for customer engagement are white hot. No wonder professionals, who had removed AI from their resumes, are scrambling to add it back in!

I am a firm believer in The 7 Habits of Highly Effective People, by Stephen Covey. If you've not read this book, it is worth the time. I mention this because my focus at BA Insight is around Covey's second habit, which is, "Begin with the end in mind." Seems simple, right? Well it is, but it's also quite rare. When approaching any enterprise search project, at any phase, I always try to come back to this idea. What is success? When are we done? What does finished look like? These are all different ways of saying, "Make sure you have goals!"

While interactive voice response systems (IVRs) have been invaluable in reducing contact center costs, we need to be honest: not many are delivering experiences that meet consumer expectations. It's no surprise given the rise of digital channels.

Enterprise search projects start with intentions to provide ?Google for our organization' but too often fail to deliver on that promise. In our experience, these projects fail due to a lack of sustained effort and governance. The commercialization of next-generation search technologies allows you to fulfill this promise if you take a systematic approach to implementation.

For decades, organizations have tried to unlock the collective knowledge contained within their people and systems. And the challenge is getting harder, since every year, massive amounts of additional information are created for people to share. We've reached a point at which individuals are unable consume, understand, or even find half the information that is available to them.

The consumer has spoken. Forrester Research asked 5,000 of them, "What created the biggest pain when you contacted a business for customer service?" They answered lack and consistency of agent knowledge, followed by the difficulty of finding relevant answers on company websites. So, what is driving this dissatisfaction?

A New York appellate court ruled that a worker injured in an accident caused by a falling pipe should have been granted summary judgment on his Labor Law claim. Case: Jara-Salazar…

The Missouri Court of Appeals upheld a determination that a worker was not entitled to underinsured motorist benefits for an on-the-job injury caused by an inattentive driver. Case: Preston v. Progressive…

The Workers Compensation Research Institute is holding a webinar on Nov. 21 to discuss findings from a recent study of the impact of attorney representation on claim payments. Bogdan Sayvch The…

New Mexico Gov. Michelle Lujan Grisham appointed Heather Jordan as the new director of the Workers' Compensation Administration, effective immediately. Heather Jordan Jordan succeeds Robert Doucette, who will serve as cabinet…

An Ohio appellate court upheld an enhanced award of benefits to an injured roofing worker for his employer’s violation of a specific safety requirement. Mauricio Rivera worked for Prime Roof Solutions…

Ganezza’s Visual Identity: A Dynamic Branding Journey

Bien-Être Simple’s Vibrant Branding and Web Design by Impulso

We have teamed up with three amazing brands, Accsoon, Saramonic, and SmallRig, to give a lucky winner a break into the filmmaking world. A complete...

The post We are giving away over $1,500 in filmmaking gear appeared first on DIY Photography.

For many of us creative folks, periods of low inspiration and creative block are inevitable. Max Kent also felt disconnected from his craft, but found...

The post From burnout to breakthrough: Five key steps to breaking the creative block appeared first on DIY Photography.

Finding power on location can be tough, especially when those locations are out in the middle of nowhere. It’s been getting a lot easier in...

The post Bluetti’s new Elite200 V2 wants to power your camera gear on location appeared first on DIY Photography.

This image shows a particular optical illusion that confronts us every day. Notice the difference between the black text on a white background and the reverse. With reversed type — light text on a darker background — the strokes seem bolder.

Black text on white is very familiar, so we can be forgiven for thinking it correctly proportioned. For familiarity’s sake we can say it is, but there are two effects happening here: The white background bleeds over the black, making the strokes seem thinner. With reversed type the opposite is true: The white strokes bleed over the black, making it seem bolder.

One of the most obvious examples of this is with signs where the letters are punched into the surround then lit from inside. In his article, Designing the ultimate wayfinding typeface, Ralph Herrmann used his own Legibility Text Tool to simulate this effect for road and navigational signs.

One might say that characters are only correctly proportioned with low-contrast. Although objective reality hails that as true, it isn’t a good reason to always set type with low contrast. Type designers have invariably designed around optical illusions and the constraints of different media for us. Low-contrast text can also create legibility and accessibility problems. Fortunately, kind folks like Gez Lemon have provided us with simple tools to check.

As fascinating as optical illusions are —  the disturbing, impossible art of Escher comes to mind — we can design around reversed body type. On the Web, increasing tracking and leading are as simple as increasing the mis-named letter-spacing and line-height in CSS. However, decreasing font weight is a thornier problem. Yes, we will be able to use @font-face to select a variant with a lighter weight, but the core web fonts offer us no options, and there are only a few limited choices with system fonts like Helvetica Neue.

Reversing a logotype

For logotype there are plenty of options, but it makes me slightly uncomfortable to consider switching to a lighter font for reversed type logos. The typeface itself is not the logotype; the variant is, so switching font could be tricky. Ironically, I’d have to be very sure that that was no perceivable difference using a lighter weight font. Also, with display faces, there’s often not a lighter weight available — a problem I came across designing the Analog logo.

The logotype worked well when testing it in black on white. However, I wanted a reversed version, too. That’s when I noticed the impact of the optical illusion:

It looked bloated! Objective reality be damned; it simply wouldn’t do. After a few minutes contemplating the carnage of adjusting every control point by hand, I remembered something; eureka!

Punching the paths through a background image in Fireworks CS4 removed the illusion. (Select both the path and the background then using Modify > Combine Paths > Punch.) Is this a bug? I don’t know, but if it is, it’s a useful one for a change!

I grinned. I was happy. All was well with the world again. Lovely! Now I could go right ahead and think about colour and I wouldn’t be far from done. This is how it emerged:

A final note on logotype design & illusions

Before we even got to actual type for the Analog logo, we first had to distill what it would convey. In our case, Alan took us through a process to define the brand values and vision. What emerged were keywords and concepts that fed into the final design. The choice of type, colour, and setting were children of that process. Style is the offspring of meaning.

I always work in greyscale for the first iterations of a new logo for a few simple reasons:

1. The form has to work independently of colour — think printing in greyscale or having the logo viewed by people with a colour-impairment.
2. It allows for quick testing of various sizes — small, high contrast versions will emphasise rendering and legibility issues at screen resolutions, especially along curves.
3. I like black and white. :)

I realise that in this day and age the vast majority of logos need to perform primarily on the Web. However, call me old-fashioned, but I still think that they should work in black and white, too.

Brands and display faces emerged with consumer culture during the 19^th Century. Logotypes were displayed prominently in high streets, advertising hoardings, and on sign boards. In many instances the message would be in black and white. They were designed to be legible from a distance, at a glance, and to be instantly recognisable. Even with colour, contrast was important.

The same is true for the Web today; only the context has changed, and the popularity of logomarks and icons. We should always test any logo at low resolutions and sizes, and the brand must still have good contrast (regardless of WCAG 2.0) to be optimal. A combination of colour and form works wonders, but in a world of a million colours where only a handful are named in common parlance, having the right form still seems a smarter choice than trying to own a palette or colour.

A final word

This article was prompted by a happy accident followed by a bit of reading. There are many references to optical illusions in design and typography books. The example image at the start of this article was inspired by one found in the excellent Stop Stealing Sheep and Find Out How Type Works by Erik Spiekermann and E.M. Ginger. There’s also plenty of online material about optical or visual illusions you can dive into. There’s also more on . Oh, and don’t forget the work of M. C. Escher!

Human eyes are amazing. In two sets of watery bags we get a wide-angle lens with incredibly sharp focus and ridiculous depth of field. Apparently our brain is even clever enough to compensate for the lag in the signal getting from retina to cortex. I know next to nothing about ocular science. Spending a morning reading and thinking about optical illusions, and contemplating my own view here in the garden office is pretty awe-inspiring. If only my photographs were as good as my eyes, illusions or no.

Stories are everywhere. When they don’t exist we make up the narrative — we join the dots. We make cognitive leaps and fill in the bits of a story that are implied or missing. The same goes for websites. We make quick judgements based on a glimpse. Then we delve deeper. The narrative unfolds, or we create one as we browse.

Mark Bernstein penned Beyond Usability and Design: The Narrative Web for A List Apart in 2001. He wrote, ‘the reader’s journey through our site is a narrative experience’. I agreed wholeheartedly: Websites are narrative spaces where stories can be enacted, or emerge.

Henry Jenkins, Director of Comparative Media Studies, and Professor of Literature at MIT, wrote Game Design as Narrative Architecture. He suggested we think of game designers, ‘less as storytellers than as narrative architects’. I agree, and I think web designers are narrative architects, too. (Along with all the multitude of other roles we assume.) Much of what Henry Jenkins wrote applies to modern web design. In particular, he describes two kinds of narratives in game design that are relevant to us:

Enacted narratives are those where:

[…] the story itself may be structured around the character’s movement through space and the features of the environment may retard or accelerate that plot trajectory.

Sites like Amazon, New Adventures, or your portfolio are enacted narrative spaces: Shops or service brochures that want the audience to move through the site towards a specific set of actions like buying something or initiating contact.

Emergent narratives are those where:

[…] spaces are designed to be rich with narrative potential, enabling the story-constructing activity of players.

Sites like Flickr, Twitter, or Dribbble are emergent narrative spaces: Web applications that encourage their audience use the tools at their disposal to tell their own story. The audience defines how they want to use the narrative space, often with surprising results.

We often build both kinds of narrative spaces. Right now, my friends and I at Analog are working on Mapalong, a new maps-based app that’s just launched into private beta. At its heart Mapalong is about telling our stories. It’s one big map with a set of tools to view the world, add places, share them, and see the places others share. The aim is to help people tell their stories. We want to use three ideas to help you do that: Space (recording places, and annotating them), data (importing stuff we create elsewhere), and time (plotting our journeys, and recording all the places, people, and memories along the way). We know that people will find novel uses for the tools in Mapalong. In fact, we want them to because it will help us refine and build better tools. We work in an agile way because that’s the only way to design an emerging narrative space. Without realising it we’ve become architects of a narrative space, and you probably are, too.

Many projects like shops or brochure sites have fixed costs and objectives. They want to guide the audience to a specific set of actions. The site needs to be an enacted narrative space. Ideally, designers would observe behaviour and iterate. Failing that, a healthy dose of empathy can serve. Every site seeks to teach, educate, or inform. So, a bit of knowledge about people’s learning styles can be useful. I once did a course in one to one and small group training with the Chartered Institute of Personnel and Development. It introduced me to Peter Honey and Alan Mumford’s model which describes four different learning styles that are useful for us to know. I paraphrase:

1. Activists like learning as they go; getting stuck in and working it out. They enjoy the here and now, and are happy to be dominated by immediate experiences. They are open-minded, not sceptical, and this tends to make them enthusiastic about anything new.
2. Reflectors like being guided with time to take it all in and perhaps return later. They like to stand back to ponder experiences and observe them from many different perspectives. They collect data, both first hand and from others, and prefer to think about it thoroughly before coming to a conclusion.
3. Theorists to understand and make logical sense of things before they leap in. They think problems through in a vertical, step-by-step logical way. They assimilate disparate facts into coherent theories.
4. Pragmatists like practical applications of ideas, experiments, and results. They like trying out ideas, theories and techniques to see if they work in practice. They positively search out new ideas and take the first opportunity to experiment with applications.

Usually people share two or more of these qualities. The weight of each can vary depending on the context. So how might learning styles manifest themselves in web browsing behaviour?

• Activists like to explore, learn as they go, and wander the site working it out. They need good in-context navigation to keep exploring. For example, signposts to related information are optimal for activists. They can just keep going, and going, and exploring until sated.
• Reflectors are patient and thoughtful. They like to ponder, read, reflect, then decide. Guided tours to orientate them in emergent sites can be a great help. Saving shopping baskets for later, and remembering sessions in enacted sites can also help them.
• Theorists want logic. Documentation. An understanding of what the site is, and what they might get from it. Clear, detailed information helps a theorist, whatever the space they’re in.
• Pragmatists get stuck in like activists, but evaluate quickly, and test their assumptions. They are quick, and can be helped by uncluttered concise information, and contextual, logical tools.

An understanding of interactive narrative types and a bit of knowledge about learning styles can be useful concepts for us to bear in mind. I also think they warrant inclusion as part of an articulate designer’s language of web design. If Henry Jenkins is right about games designers, I think he could also be right about web designers: we are narrative architects, designing spaces where stories are told.

—∞—

Wow, this has been a busy period. I’m just back from the Ampersand web typography conference in Brighton, and having a catch-up day in Mild Bunch HQ. Just before that I’ve been working flat out. First on Mapalong which was a grass-roots sponsor of Ampersand, and is going great guns. Then on an article for The Manual which is being published soon, and on 8 Faces #3 which is in progress right now. Not to mention the new talk for Ampersand which left me scratching my head and wondering if I was making any sense at all. More on that in a subsequent post.

In the meantime two previous events deserve a mention. (This is me starting more of a journalistic blog. :)

First of all, an interview with Simon Pascal Klien, the typographer and designer who’s curating the Design Festival podcast at the moment. We talked about all things web typography. Pascal cheekily left in a bit of noise from me in the prelude, and that rant pretty much sets the tone for the rest of the conversation. Thanks for your time, Pascal! If anyone reading this would care to listen in, the podcast can be downloaded or played from here:

Secondly, Daniel Bogan of The Setup sent me a few questions about my own tools. My answers are pretty clipped because of time, but you may find it interesting to compare this designer’s setup with your own:

I should note that in the meantime I’ve started writing with Writer, and discovered the great joy of keeping a journal and notes with a Midori Traveler’s Notebook. The latter is part of an on-going search I’m having to find Tools for Life. More on that, too at some point. Here’s my current list of topics I want to write about shortly:

• Ampersand, the aftermath
• Marrying a FujiFilm X100
• No-www
• Tools for life
• Paper versus pixels

There, I’ve written it!

I’ve shot at this location a few times but for some reason I’ve never seen it from the other side. Literal proof that shooting with other creatives gives you new perspective. ???? (at Toronto, Ontario)

BIG NEWS: My custom Lightroom presets are now available and 50% off for a limited time with discount code HOLIDAY50. Link in profile!

This collection includes two styles (Everyday and Clean) that I use to edit every shot on this feed. I can’t wait to see what you all do with them! Stay tuned to my upcoming tutorials on how to put the presets to good use. ???? (at Toronto, Ontario)

Thanks for all the positive support and reception to my Lightroom presets so far, especially to those who pulled the trigger and became my first customers! I’d love to hear your feedback once you try them out!
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Still time to enter the giveaway or to take advantage of the 50% sale! See my last post for full details and the link in my profile. ❤️ (at Toronto, Ontario)

This is from my favourite shoot/photoset of all time. It was spontaneous, serendipitous, and simply beautiful. ☂️
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The edit: After applying my preset (I used Clean for this one), I bumped up the exposure and desaturated the yellows/oranges a bit. As a finishing touch, I used a graduated filter to brighten the top a bit and a radial filter on @sllychn to brighten and sharpen the focal point. That’s it! ✨ (at Toronto, Ontario)