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Sables are medium sized animals that are bred and hunted for their fur. They eat berries, small animals, fruit and eggs. They are found in northern Europe.
Sis forSalamander
Scientific name: Order caudata
Salamanders are amphibians that look somewhat like lizards. They need to live in moist enviroments. Some salamanders live entirely in water, others come out of the water. Their skin is always damp as it produces mucous just like the inside of your mouth does. If you cut the leg off a salamander, it can regrow.
Scientific name: family: salmonidae
Salmon are a type of fish that migrates to breed. Salmon live in the sea but return to rivers inland to lay their eggs. Because of this, when they migrate they are a popular food for many animals that live near rivers, like bears. Salmon are a popular food with people too. Salmon is served canned, smoked, raw or cooked in a huge variety of ways. Salmon has a a distinctive pink colour.
Samoyeds are large, long-haired white dogs from Siberia. They were bred to herd reindeer, to pull sleds and to keep their owners warm at night. They are a very energetic breed and need lots of space and regular exercise or they will get bored and destructive. They are friendly dogs and don't make very good guard dogs. One of their interesting features is they don't have a 'doggy' smell and they don't shed much, so are classed as 'hypoallergenic'.
Sis forSanta Claus
Santa Claus is also known as Saint Nicholas, Father Christmas or Kris Kringle. On Christmas eve he visits all the good children of the world and brings them presents.
Scientific name: sardina pilchardus
Sardines and pilchards are a group of small, oily fish. In some places, a small pilchard is called a sardine and a large sardine is called a pilchard. They can be eaten grilled, pickled or smoked. Sardines are most commonly bought in cans. They are eaten bones and all and are an excellent source of minerals.
Scientific name: family: pectinidae
Scallops are a kind of mollusc related to clams and snails. Their shell is in two halves with a hinge joining them. Scallop shells are a very pretty fan-shape. Scallops can swim by opening and closing their shells. The muscle that holds the two halves of the shell together is the part that is commonly seen cooked for food, as you can see in the picture.
Schnauzers are dogs from Germany with a distinctive hairy moustache - 'schnauzer' is the German word for moustache. They are usually a salt-and-pepper colour, with white and black hairs mixed together. They were originally bred as a rat catcher and guard dog, but there are now three different size breeds - large, standard and miniature. They are friendly, loving dogs and are good with children. They are protective and make excellent guard dogs.
Scientific name: order: scorpiones
Video: view
Scorpions are arachnids found all over the world except for New Zealand. They live in all kinds of areas, from rainforests to deserts and can vary in size from a few centimetres to a few inches long. They are related to the spider. All scorpions are venomous, but only some scorpions are big enough and poisonous enough to kill a person.


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American cartoons were birthed in the crucible of short attention spans, and despite periodic exceptions, they've pretty much remained in that particular segment of the animation world. Turn on any contemporary animated series in the U.S., and you'll see the ongoing influence of Tex Avery, Walt Disney, and others in creating light-speed, whip-smart entertainment not meant to be lingered over so much as retroactively realizing, "Hey, that was funny," two seconds after your brain registers the fleeting images. Even as anime's contributions continue to seep into nearly every aspect of the medium to a greater or lesser degree, the dizzying "hit it and quit it" approach to humor and storytelling remains the dominant American model. It's a model of which Final Space is the latest, and deeply frantic, iteration.
Despite the adults-focused time slot and some occasional PG-13 jokes, Final Space, the new Conan O'Brien-produced animated comedy set in the galaxy-traversing future, works better as a freewheeling kids' show than one exploring the kind of mature-theme depths mined by similar series like Rick And Morty. Its sense of humor is very much the "everything and the kitchen sink" variety, as ready with wheezing Borscht-belt one-liners as it is with sight gags or wit. It's the type of show where an alien will announce his species, "I'm a Ventraxian," and the human protagonist will immediately fire back, "Well, I'm a Presbyterian, myself." You'd be forgiven for awaiting the rimshot sound effect, if the series wasn't always rushing headlong into the next dialogue, perhaps aware that wobbly material is better served as a blitz than a strategic release.
The nonstop motormouth delivery is largely provided by Gary Space (show creator Olan Rogers), a hyperkinetic braggart currently serving a prison sentence for impersonating a pilot in the Infinity Guard, the service tasked with keeping peace in the universe. (He stole a uniform to impress a young Guard member named Quinn, voiced by Ride Along and Southside With You's Tika Sumpter, and instead accidentally blew up 92 spacecraft due to being unfamiliar with ship controls.) Assigned to solitary imprisonment aboard a small ship, for the past five years Gary's only company has been the ship AI, Hue (SpongeBob SquarePants' Tom Kenny); KVN (pronounced "Kevin"), his bubbly and much-loathed Deep Space Insanity Avoidance Robot Companion (Fred Armisen); and the various droids tasked with keeping the ship in shape. He leaves daily video messages for Quinn, believing they had bonded before his imprisonment, but to get a sense of just how lonely he's become, Gary has stuck eyes and a mouth on the ship's refrigerator and named it "Beth."
The plot unsteadily lurches into motion when Gary unintentionally runs smack into a little green alien he names Mooncake (Rogers again), a lovable blob that utters only adorable gibberish noises and who resembles nothing so much as "Helium" from those old Strindberg & Helium online shorts. The unlikely pair immediately bonds, which is bad news for Gary: It turns out Mooncake is being pursued by a tiny malevolent being named Lord Commander (David Tennant), because the balloon-shaped green guy is the key to curing the commander's mortal illness, by opening a tear in the universe leading to something called "final space"—which will, of course, also be the death of nearly all other life. Joining forces with a cat-looking bounty hunter named Avocato (Coty Galloway), Gary and his shipmates will try to keep Mooncake safe, all while tracking down Avocato's missing son, Little Cato (Steven Yeun)—and, of course, eventually coming into contact with Gary's beloved Quinn.
The main problem with Final Space, unfortunately, is its hero: Gary simply isn't an engaging enough character to carry this series. More than that, he tends to be actively irritating—hyper and obnoxious in an off-putting, rather than appealing, way. His logorrhea can be entertaining at times, if a bit pedantic (in response to an insult, he sniffs, "Okay, I didn't expect that hurt-coin deposit in my sadness savings"), but more often than not his wild gesticulating and goofy patter doesn't play to the top of the audience's intelligence. Stupid has to be done smart in order to work, and with Gary, the character is often reduced to the bravado and maturity of a not particularly inspired 10-year-old.
Additionally, the show realizes it needs some emotional stakes to get viewers invested, but the ones in the first half of the season are introduced abruptly, in ways not fully earned. After three episodes of scattershot humor and some dark beats (Gary's arm is ripped off, spurting blood, at one point), the show suddenly tries to begin interjecting moments of slowed-down emotional button-pushing, scoring momentous scenes with cathartic ballads that feel out of place amid all the juvenile silliness. The last of the six episodes provided for review ends in a genuinely dark place, with life-changing consequences set to heart-tugging music, but the show hasn't created enough trust to make the choice land.
Thankfully, the upshot of a comedy throwing everything against the wall means some things are going to stick, and the hit-to-miss ratio is steady enough that the early installments remain diverting. Every time it threatens to devolve into childish nonsense, a visual gag will land, like Gary pausing mid-fleeing the ship just to go back and kick KVN when he's down, or dumb-funny wordplay like KVN turning his mandate to do nothing but fix all the holes in the ship's hull into an unintentionally foul song ("Nothing but holes, but holes, but holes"). Each episode starts with a flash-forward to Gary floating in space, only 10 minutes left of air, and each episode counts down another minute, a clever narrative device that provides an unusually effective framing tool for the entire story. Final Space needs to find a smarter path to its humor (and force its main character to grow up), but the Futurama-meets-Steven Universe premise holds promise, and with some adjustments, this series could potentially launch into hyper-speed.

subset: commoncrawl


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Tiny House in Idaho
In mid-2008, after circumstances like job loss and not getting into grad school forced them to look at the future in a real and objective way,
Keith and April Blankenship decided to stop waiting for "The Future" to live their dream of semi-retirement, simplified their lives and moved from Portland, Ore. to April's hometown in rural Idaho to build a tiny house (less than 220 sq. ft.). You can follow their continuing journey at http://agreatleapinthedark.blogspot.com.
We decided the build the smallest possible house that would still provide everything we need for a few reasons:
- It's cheaper to build something smaller and we can spend the money we do have on the important things we want, not just square footage we don't need.
- We plan to spend a lot of time outdoors (hammock under the fruit trees, working in the garden, etc.) so we basically just need a place for essential living functions: sleep, eat, shower, etc.
- We get along really well and don't mind living in close quarters.
- It's all about efficiency. Use the space we do have well and stop collecting unnecessary crap.
- Once we went to Mexico and saw how they lived we realized people don't need a lot of Things to live well.
- We choose to work part-time (or less) and so we needed to keep things small in order to pay for it as we go; we don't want to worry about working to pay a mortgage or for a huge construction project.
The small size is actually a point of pride, if you can't tell. It's kind of a statement against McMansions and the ridiculous consumer culture that's helped America reach this current state of economic crisis. It's about living within your means and trying to be as sustainable and economical as possible. Almost all of the materials (except the lumber for the framing, the plywood sheeting, and small things like screws, nails, etc.) have been salvaged, bartered, or bought at a reduced cost from friends. All of the lumber and cedar siding was purchased from a local mill. Using recycled materials is a priority.
Of course we owe a huge debt of gratitude to my parents who signed on to this crazy idea and donated a piece of their land to our house-building project.
A blueprint was drawn up to incorporate all necessary features within the smallest possible space (figured off of what would be easiest to build with the dimensional lumber we had access to). Each square in the drawing is one square foot. The design is mostly intact, with just a few small changes since building began and the details work themselves out according to what materials are on hand/found. The house is cardinally oriented for maximum solar efficiency.
Instead of a foundation: 9 posts in 3′ holes filled with concrete.
2"x10" boards make up the framing for the floor and the base of the house. The floor is insulated with formaldehyde-free fiberglass insulation and plywood sheeting and tarpaper is under the flooring.
Keith and April did all of the framing. Luckily, Keith had construction experience (and a textbook). Her parents helped raise the walls, when extra muscle was needed.
It was a family project at times, like when the weather started to turn cold and construction needed to be sped up.
One priority was to incorporate as many windows as possible to make the tiny space seem more open. Two 4'x7' triple-pane windows were acquired from a friend (free!) and a family member donated three vinyl, super-efficient windows (and the glass for the French doors). A two-way mirror is also in the bathroom providing a relaxing view from the toilet. The large window in the bathroom cracked and was recently replaced by a slightly smaller window bought at a local second-hand store for $20.
The house was ready for move in at the beginning of 2009 at a very basic level. Just a bed and a wood stove to keep warm. Bathroom and kitchen activities take place at her parents' house for now; this photo is taken from their back patio.
The interior is a work in progress as money and time allows. A wood stove bought off Craigslist provides heat (and how!). Laminate flooring was purchased from a friend for approximately $80 (retail $320+). The window wall between the stove and bed provides a visual break in the space as well as a barrier from the direct heat of the stove and the windows were salvaged (free) from a house in Missoula, Mont. Corrugated tin on the wall behind the stove provides protection from the heat and an interesting texture to the space.
These theater seats were found unexpectedly at a yard sale (3 for $5!) and provide seating in front of a 4'x7' window at the foot of the bed.
VOC-free paint was used on the OSB and plywood interior walls to help break up the space. This corner is the "bedroom" seen in the photo with the window wall.
April's dad made the B over the door as a Christmas gift. The French doors were bought at a salvaged building materials yard in Moscow, Idaho. Keith and April repaired, sanded, primed and painted them and installed the new (donated) glass. The dragonfly door knocker (a wedding gift) hangs under a shelf with a sand-filled jar with a plumber's candle topped with a stained glass shade ($1 clearance in Missoula),which serves as a porch light.
The brass door hardware was taken from an eastern Montana homestead by April's grandpa over 20 years ago. It was soaked in vinegar and hand-polished to a semi-clean state, but much of the natural patina remains and will re-establish itself over the years.
A stone path was laid in the spring to provide a less-muddy path to the house. The board and batten cedar siding will eventually weather to a silvery gray. The roof is tin and there are plans to install a "green roof" of grass on at least a 6'x8' area on the roof to increase the R-value.
The bathroom and kitchen are the two major projects remaining. Solar lights are planned for interior lighting and rain barrels have been purchased to augment water use. Check out the blog for updates! You can also view more construction photos on Flickr.
by April Blankenship
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How much does it cost?
Pricing for each of our Graphics and Video services vary according to several factors such as type of project/piece, size, detail, exposure, etc..
A base price for videos starts from $499, websites start from $599, and hourly services starts at $100/hr.
We aim to set pricing as affordable for even the most budget conscious client.
What do I get with that?
Each service has its features, and will be detailed in the written contract for each. Final artwork is delivered digitally or uploaded to delivery location.
What will it do for me?
More than if you didn't buy that service. See our Cost Justification ROI page, but any new promo is better than none. No one should promise or claim your promo will launch you to the top of Google or bring you a million dollars. It may. it could. But the actual truth is that ANY promotional efforts tend to drive in increased business and increased revenue. Not always direct response, but ALWAYS an increase.
How long does it take?
Our company is not structured or manned for small walk-in/rush tasks, but instead work by project, and it's best to allow a 1-2 weeks turn-around on most smaller projects. Of course larger projects such as some videos should allow approx. 2-3+ weeks for completion, which varies with project requirements.
Please note that production time allowed starts with any necessary domain registration process done, and all Content we need to move forward in hand. Most often it's the gathering of client's Content materials that delays most projects and takes the most time.
Updating Graphics, Website or Video Projects; Can I make changes to my own project or artwork?
Yes and No.
Graphics are generally final artwork that can only be change with the original files and specialized graphic software with knowledge of its use.
Websites are usually constructed with a Content Mgr system (namely Joomla) allowing you to make updates to pages and images, but probably not the displaying template design.
Video projects are also final artwork edited, and can ONLY be revised and updated with original content, specialized software and knowledge of its use.
So no, most of the time our team must perform this work, and cannot be done by the client. It's not a client-level resource.
Please also note that social networks such as YouTube, etc., do NOT allow the simple "replacement" of a given video, but instead ONLY allow a new upload. What this means is that a video with high subscriptions, for example, will lose its placement in rank and popularity.
What Content (verbiage and images) should I put in my Promo, Website or Video? What should I say? What do you think?
We offer Marketing Consultation and Creative Consultation at separate fees. However, it's best to define your basic company message and research other similar competitors to see how others display their information. Have some basic idea and rough Content ready for when we start your project.
Content for Promo, Website or Video; Do you write/provide or edit Content? I don't have much Content...
It's a collaboration really; Yes we offer Content Writing, Script Writing and various videography and photography services.
Many projects can be done with exclusively graphics we create, and nothing but some text Content provided to us.
However, please keep in mind, we are here to relay YOUR message. Thus, in general how it all starts, is that the client provides the basic Content materials (text, photos, etc.) for the basic message for every project. Then of course we provide video location shoot and still photography services, etc., to create the final presentation.
With that in mind, ideally, after an initial Consultation/Interview, client would gather and have ready as much of the Content materials for the project as available, and this helps prevents project delays.
Can we change Content for Video along the way? FINAL CONTENT NEEDED...
Not really. It's best for the project if we start with ALL Content materials in hand.
We gather Content, Plan then Design. Especially for video projects, after a certain phase we can't work backwards, as it's really just a do-over from the start.
Since each subsequent task of the project depends on the absolute final completion of the prior task, logically any change to a latter step required we "work backwards" to revise the prior step in order to complete the next.
For example in video editing, the Timeline of visual and effects is based on a flowing Narration, and if you alter the content or flow of that narration, then obviously the Timeline will need to be redone accordingly.
In essence this is called "double work" and inevitably costs the client added costs for the added time. Thus, as projects move forward thru these interdependent tasks, and where projects phases are completed quickly, then we want to avoid having to go back and revise things unless absolutely necessary.
SEO; What about getting listed on Search Engines?
For websites and video projects, all our projects are designed with the idea and guidelines of being well placed on Search Engines.
However, it is for this reason we offer the combination of both great website and video design, AND Search Engine Directory Placement in our Marketing Division.
Please know that Internet Marketing and Search Engine Placement is an involved subject, and though we offer these unique services, nor can we guaranty your relative placement on Search Engines above others.
Can I move my Website or Video elsewhere later?
Sure. But why?
The Website Hosting account, AND the YouTube channel are ALWAYS the account of the client. It's YOUR hosting, it's YOUR YouTube channel.
Websites can be migrated to alternate hosting services, if somewhat involved and costing some downtime.
Further, the Content Materials we are given are always the property of the client, and once fully paid, all other Content Materials (such as photo shoot originals, graphics, etc.) that we generated for the client, are then the exclusive property of the client as well.
So it's up to you. As explained above, a video with high subscriptions for example, will lose that exposure and popularity if moved.
More questions?
If you have further questions, please let us know and we'll get them answered for you.


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- Fragranced Body Spray (Deodorant)
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Oriental (Gold):
TOP: Lemony Verbena
HEART: Floral
BASE: Cedarwood, Patchouli


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How to protect your forums from malware or viruses?
I am considering to buy and install a service like ModSecurity Rules on my WHM/cPanel to keep my websites against malware or viruses. What is your experience with them? or you can share your methods to against malware or hackers for your forums/sites or blogs?
thanks in advance
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I love a good stuffed chicken dish. Since chicken is now free too, it can be stuffed with a whole host of goodies and the points still remain nice and low. The result is a dish packed with flavour that provides real satisfaction and 'value' for your overall points total.
This particular stuffing has been on my list to try for a while now and after rediscovering a jar of sundried tomatoes in my fridge, I thought it was about time I gave it a whirl. The ingredients that make up a tepenada are all so flavoursome that you really don't need that much of them to make your mouth water!
I served this with a lemony green salad (salad leaves, peeled courgette, a little grated parmesan and lemon) and butternut squash chips. It was delicious and definitely something I will be rustling up again soon!
Tepenade Stuffed Chicken
Serves 2 = 5sp each (Flex)
2 x 165g chicken breast, raw
40g sun dried tomatoes, finely chopped
10g anchovies, finely chopped
1/2 tbsp capers, finely chopped
5 stoneless black olives, finely chopped
1 x lemon
60g light mozzarella, sliced
4 x slices of prosciutto
Lemony Courgette Salad (salad leaves, peeled courgette, a little grated parmesan and lemon)
Butternut squash chips
Preheat the oven to 180c. If you are having butternut squash chips, pop these in the oven whilst you are preparing the chicken. That way they will be ready at the same time as the chicken.
Place one chicken breast into a food bag and using a meat mallet, flatten until the chicken is around 1/2cm thick. Repeat with the second chicken breast and then lay both flat on a plate.
Finely chop the sun dried tomatoes, capers, anchovies, and olives, mix together and squeeze over the juice of 1/4 lemon.
Cover a baking tray with tin foil and lay out two slices of prosciutto side by side lengthways. Repeat with the other two slices leaving a gap between the other two.
Spoon half the tepenade mixture horizontally across the chicken and top with the mozzarella.
Repeat with the other breast and the rest of the tepenade Roll the chicken so the stuffing is enclosed and then roll the chicken in the prosciutto.
Spray with low calorie spray, season and then place the stuffed chicken, seal side down on the baking tray and pop in the oven for 20-25 minutes until the chicken is cooked through.
Remove from the oven and serve with the BNS chips and courgette salad.


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This weekend Kaitlin and I presented at UBC's Student Leadership Conference. Contrary to popular belief, our presentation, which was entitled 'The Power of Dreaming', did not involve patchouli, incense or yoga poses but did involve cutting and pasting Dreams for Women postcards (we're totally bringing arts and crafts back). So, while we had a slick powerpoint, great jokes, and a well rehearsed presentation, we were totally upstaged by the work of the participants. As you can see, the postcards that were made are absolutely gorgeous, thoughtful and creative. Thank you to all the cool people who made postcards during our session! You all rock. We'll also be posting more two weeks from today, so check in. Also, we just got some great postcards from a wonderful university (will it be yours? Tune in to see!).
I would also like to remind everyone to pick up their Dreams for Women 2009 calendar! Check it out here! They are now on SALE for only $5, plus shipping and handling. Buy one for yourself, buy a bunch for your friends as gifts or buy copies to sell as a fundraiser for your non-profit organization!


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By Brenna Angel, Kentucky Public Radio
The Kentucky Division of Forestry is out with its assessment on the current status and future of wooded landscapes across the Commonwealth.
Forest health has been identified as the number one issue facing Kentucky's wooded landscapes, according to a report issued this week by the state Division of Forestry.
"As far as insect and disease threats, we have concerns with the emerald ash borer that has potential impact to cause fatality of our ash trees across over the entire state as it is introduced from the north. Also in our southeast area of Kentucky is the hemlock woolly adelgid threat," said Stewart West with the division's stewardship program.
West says based on results of an online public survey, nearly two thousand respondents named water quality, forest fragmentation, forest management, and funding as other major issues of concern. Kentucky will use the federally-mandated assessment as its forest strategy guide over the next five years.
The full report can be seen here.


text: On Sunday, April 14, 9:30am, neighborhood historian Dan Murphy will lead a leisurely two-hour tour of Curtis Park's historical hotspots as a fundraiser for the Heritage light fixture replacement project at Sierra 2 Center. Participants will meet at the bike rack near the north 24th Street entrance to the center. The cost is a $20 donation to the Sierra 2 light restoration project. Participants need to bring their own bikes. For more details, contact the Sierra 2 Center office, 452-3005, or Dan Murphy, firstname.lastname@example.com, 736-2456.


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Theatre review: Room
It has echoes of real-life stories, of course; young women taken from the street, held in basements or garden sheds, and systematically raped and abused over a period of years, stretching towards decades. Yet the most striking thing about Emma Donoghue's stage version of her award-winning novel, Room, is its intense imaginative quality, as she and director Cora Bissett '" with an outstanding creative team '" draws us into the inner world of five-year-old Jack, who lives imprisoned in a cell-like garden shed with his mother, and of his older alter ego, Big Jack, who watches and waits, and carries some of the narrative.
Dundee Rep ****
For in their five years alone together – apart from night-time visits from Old Nick, Ma's dungaree-wearing captor – Jack and his Ma have created a whole imaginative world together, with its own creation myths and legends, and moral structures; Jack came from heaven to make his mother happy, the bath, rug, chair and wardrobe are Jack's friends, while Old Nick most definitely is not.
In Lily Arnold's superb set - with lighting by David Plater and video images by Andrzej Goulding – the room whirls and swirls on a dark stage, its walls sometimes close and confining, sometimes made transparent by the sheer power of imagination.
And Kathryn Joseph's songs, co-written with Bissett, burst from the texture of the play like some heightened form of speech, created under the pressure of the situation; not only during the confinement of the show's first half, but afterwards, when Jack and Ma lose the room-world they have made together, and have, somehow, to find another.
Co-produced by the Theatre Royal Stratford East and the Abbey Theatre Dublin, in association with the National Theatre of Scotland and others, Room is shaped and driven by a superb central performance from Witney White as Ma, and a trio of wonderful boys as Little Jack. On Tuesday night at Dundee, Taye Kassim Junaid-Evans's performance was beautiful, heartbreaking, completely compelling; and Fela Lufadeju sings magnificently as Big Jack, a gentle presence looking back on their imprisonment.
The story of Room is in some ways a harrowing one, that brings many in the audience to tears. Yet it is also a tremendously beautiful, vivid and uplifting show about the power of a mother's love; to create a whole world for her child, to save his life and her own, and eventually –not without huge difficulty and pain – to bring then both through, into a brand new life.
*Dundee Rep until Saturday 17 June; Abbey Theatre, Dublin, 24 June until 22 July


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View All Calendars is the default. Choose Select a Calendar to view a specific calendar. Subscribe to calendar notifications by clicking on the Notify Me button, and you will automatically be alerted about the latest events in our community.
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For more information on the Canal Winchester Landmarks Commission, please visit the Boards & Commissions webpage. Specific meeting details can be found in the Agenda Center.


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Last Updated on February 18, 2019
No matter what stage you're at in your creative career, if you're looking for work in the design industry, you need a stellar, stand-out portfolio. Whether you're looking for creative freelance jobs or full-time employment, a design portfolio is one of the most important tools to show your creative, technical and problem solving skills.
Here are some tips for creating the best design portfolio possible, with insights from Brian Young, a lead recruiter at Creative Circle, one of the country's largest and most successful creative recruitment firms. With over twelve years of recruiting experience, Young has seen thousands of books and design portfolios from an array of candidates.
Employers Prefer a Digital Design Portfolio
First, you have to choose a format. Should your design portfolio be a printed book or a digital entity, like a website or PDF file? The choice isn't necessarily obvious. Since graphic designers work in the print and packaging world, it seems natural to opt for the tried-and-true print option. Sure, they can be beautiful and offer the viewer a tactile experience. However, they lack the immediacy of their digital counterparts. It takes time to snail mail or arrange to deliver a bound portfolio design book, while a digital version gets to a hiring manager with just a click.
While Young is personally impressed with analog portfolios, he admits there has been a shift to digital. "I'm seeing a lot of print designers create online portfolios using different content management systems and platforms that allow print designers to showcase their work," he says. More importantly, employers appear to prefer them. "I think for ease, digital is the way to go. Clients prefer quick." It's also important to remember that digital portfolios should be updated constantly, in an effort to keep track of all of your best work.
Curate Your Design Portfolio
Once you've chosen the format, it's time to create your book. It might be very tempting to include every piece you've ever contributed to or created, but editing yourself is key to building a strong design portfolio. Young recommends limiting yourself to no more than twelve items while showcasing your best, most recent work.
"Lead with your best piece and end with your second best piece," he says. He's also adamant that the materials included being no more than four years old, no matter how long your career is or how seasoned you might be. Even if you feel your best work was something that's six years old, it would be prudent to leave it out because employers want to see what you've done lately. Hopefully, your abilities have been evolving and improving with time, and you'll have excellent, recent work. Young points out that the one exception to that four-year rule is if you created a well-known brand logo. So if something like Twitter's bird or Amazon's arrow was your design, then by all means, put that in.
A freelance creative is likely to possess a whole host of diverse, exciting work – but you'll want to tailor each individual bid to prospective clients based on their industry or expertise, as Young goes on to suggest.
Tailor Your Design Portfolio
According to Young, variety is desirable in a design portfolio. "Show your depth as well as your breadth of experience," he says. However, he also adds that it's okay to curate what's inside based on a prospective employer's needs. A major advertising firm, for example, might be looking for a great diversity of work. It would have a large number of accounts to cover, so a graphic designer with a portfolio that displays design experience from several industries could edge out a more focused collection.
On the other hand, a smaller boutique agency that is focused on just a handful of clients, perhaps all from the same sector, could be more eager to find a designer who knows how to serve that sector well. This idea of being able to curate your book based on the needs of your prospective employer is, of course, easier to do if you're portfolio is digital. The malleability of that format gives you that freedom, whereas having a bound portfolio commits you to one look for some time.
A freelance creative might find the idea of updating your design portfolio for multiple clients daunting, but the reality is that doing so greatly increases your chances of landing a design job – even if it's only a temporary gig.
Brand Yourself and Your Work
Your design portfolio should create a brand for yourself. You want to strategically highlight your talents and ability to problem solve in a creative space. This book should stand out as undeniably you. Also, be sure to be informative. Don't just include images, instead guide the viewer through your work by providing well-stated summaries for each image. Include the year it was created, the client or agency, any partners you may have worked with, and a couple of sentences about your role and your specific contributions.
"Look at color choices, look at font choices, make it consistent," Young suggests.
Include Spec Work
If you're new to the graphic design world, as is often the case with students and recent grads, you won't have a trove of professional work to sort through. In that case, it is absolutely acceptable to build your design portfolio using spec work. Examples that you've developed for coursework, for practice, or to make an unsolicited bid are all perfectly acceptable design portfolio entries – the idea is that you'll give the potential employer or client a window into your design philosophy.
Don't Make These Mistakes
Don't misrepresent your skills. "Only put the pieces in there that you worked on," says Young. "Be honest about your contribution. If you're a design candidate coming out of school, and it's a collaboration project, talk about the pieces and what you contributed to. If you did the design execution, but not the ideation or conceptual blowout of it, then highlight that."
Don't include older work. Also, avoid having too few or too many images. You want to add enough to create a sufficient story without overwhelming a prospective client. Finally, poorly executed design portfolios will surely be ignored, so create a professional representation of your work. Images should be high resolution and sized appropriately. "Don't make the work too small, or too big, so that your eyes don't get it, or it's just overwhelming," Young recommends.
Ace Your Interview
If you're doing it correctly, your design portfolio will show off your talents, display your aesthetic, and speak to where your design interests lie (packaging, posters, flyers, etc). Of course, a winning design portfolio still has to be supported with a great interview. If you get the call from a hiring manager to interview for a job, be prepared to discuss the design choices that you made in the pieces included in your portfolio.
Young encourages you to be able to talk about these things. "They'll want to know, why did you choose this font? Why did you choose this color scheme?" he says. "In order to prepare for the interview, a candidate should be able to casually talk about the 'whys' of their portfolio. Why they chose this design over that, what their process was, all of those questions are fair game." With a well-planned, polished design portfolio and articulate, meaningful interview answers, the graphic or UX designer job of your dreams can become a reality.
Are you a freelance creative or full-time graphic designer looking for work? What are your top design portfolio tips? Share your comments here!
Brian is a Recruitment Manager for Creative Circle, the largest creative staffing agency in the U.S. where he implements talent acquisition and placement strategies to engage with and place top creative talent.


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PARK CITY, Utah — "Whiplash," writer-director Damien Chazelle's electrifying drama starring Miles Teller as a young jazz drummer and J.K. Simmons as his drill sergeant-like music teacher, won the grand jury prize and the audience award for U.S. dramatic features on Saturday night at the 30th annual Sundance Film Festival.
Coming on the heels of last year's double-fisted win for "Fruitvale Station" (then titled "Fruitvale"), the triumph of "Whiplash" marks the second year in a row that the top two prizes for an American narrative feature have gone to the same film.
Acquired for distribution by Sony Classics, "Whiplash" proved an early critical favorite, screening to a strong reception on the first night of the festival and immediately setting a high bar for what was generally agreed to be a middling dramatic competition. The film began its winning ways at last year's Sundance fest, where Chazelle's short of the same title won a special jury prize.
The grand jury prize for U.S. documentaries went to "Rich Hill," a close-up portrait of three underprivileged boys living in the titular Missouri town; the film was directed by cousins Tracy Droz Tragos and Andrew Droz Palermo. In the same category, Michael Rossato-Bennett's "Alive Inside: A Story of Music & Memory," about the treatment of Alzheimer's patients through music, drew the audience award.
The World Cinema grand jury prizes were awarded to "To Kill a Man," a revenge thriller from Chilean helmer Alejandro Fernandez Almendras, and "Return to Homs," Talal Derki's documentary about the effects of the civil war in Syria. The audience awards for international features went to "Difret," Zeresenay Berhane Mehari's dramatic examination of oppressed girls and women in Ethiopia, and "The Green Prince," Nadav Schirman's documentary portrait of Israeli secret-service informant Mosab Hassan Yousef.
Cutter Hodierne drew the U.S. dramatic directing award for his largely non-English-language directing debut, "Fishing Without Nets," a bleak tale of a hijacked oil tanker as seen from the perspective of one of the young Somali pirates. The Waldo Salt screenwriting award was presented to writer-director Craig Johnson for his sibling dark comedy "The Skeleton Twins," which stars Bill Hader and Kristen Wiig and was widely considered one of the dramatic competition's most commercial entries.
Christopher Blauvelt received the U.S. dramatic cinematography prize for his 35mm lensing on "Low Down," director Jeff Preiss' fictionalized account of two years in the life of jazz pianist Joe Albany. Special jury prizes were awarded to the Octopus Project, which composed the musical score for David Zellner's "Kumiko the Treasure Hunter," and to writer-director Justin Simien, named a "breakthrough talent" for his racially charged comedy "Dear White People."
In the American documentary competition, Ben Cotner and Ryan White shared the directing prize for "The Case Against 8," their inside look at the case to overturn California's same-sex marriage ban. Rachel Beth Anderson and helmer Ross Kauffman drew a cinematography prize for their dynamic lensing on "E-Team," which follows the experiences of four globe-trotting Human Rights Watch activists.
Special jury prizes for U.S. documentaries were voted to Jesse Moss' "The Overnighters," a portrait of social and economic transformation in an oil-rich region of North Dakota, for its "intuitive filmmaking"; and to "Watchers of the Sky," Edet Belzberg's multistranded look at courageous activism worldwide, for its use of animation. "Watchers of the Sky" also picked up an editing prize for Jenny Golden and Karen Sim.
The Best of Next audience award was voted to "Imperial Dreams," Malik Vitthal's directing debut about a young writer and ex-con trying to reconnect with his young son in Watts, Los Angeles.
In the World Cinema dramatic competition, Australian helmer Sophie Hyde picked up the directing prize for "52 Tuesdays," which was shot, per its title, over the course of a year, only on Tuesdays. Norwegian writer-helmer Eskil Vogt received the screenwriting prize for "Blind," his drama about a woman who has lost her sight. Hong Khaou's gay-themed grief drama "Lilting" received the cinematography prize for Ula Pontikos' lensing, and "God Help the Girl," a musical directed by Belle and Sebastian's Stuart Murdoch, received a special jury prize.
In the World Cinema documentary competition, "20,000 Days on Earth," Iain Forsyth and Jane Pollard's film about a fictitious 24 hours in the life of Nick Cave, won a pair of awards for directing and editing (by Jonathan Amos). "Happiness" drew the cinematography prize for lensers Thomas Balmes (who also directed) and Nina Bernfeld.
As announced on Friday, the $20,000 Alfred P. Sloan prize, presented annually to a film that focuses on science/technology as a theme, was given to Mike Cahill's Premieres entry "I Origins," a cerebral romantic drama about a pair of scientists studying the mysterious properties of the human eye. Cahill previously won this award for his 2011 sci-fi-themed debut, "Another Earth."
Announced earlier in the week, the Sundance Institute/NHK Award for a visionary emerging filmmaker was presented to Mark Rosenberg for his upcoming film, "Ad Inexplorata." The Sundance Institute/Mahindra Globe Filmmaking Awards for emerging international independent filmmakers were presented to Hong Khaou's "Monsoon" (Vietnam/U.K.); Tobias Lindholm's "A War" (Denmark); Ashlee Page's "Archive" (Australia); and Neeraj Ghaywan's "Fly Away Solo" (India).
The awards ceremony was co-hosted by the husband-and-wife team of Nick Offerman and Megan Mullally, who both appeared in the Premieres entry "Nick Offerman: American Ham," and who also voiced two roles in the animated film "Ernest & Celestine," which screened in the festival's inaugural Sundance Kids sidebar. The two proved to be among the saucier Sundance hosts in recent memory, kicking off the night with, among other things, some cheeky sexual innuendo about Robert Redford's face.
And the winners are:
Grand Jury Prize (Dramatic): "Whiplash"
Grand Jury Prize (Documentary): "Rich Hill"
Audience Award (Dramatic): "Whiplash"
Audience Award (Documentary): "Alive Inside: A Story of Music & Memory"
Directing (Dramatic): Cutter Hodierne, "Fishing Without Nets"
Directing (Documentary): Ben Cotner and Ryan White, "The Case Against 8"
Waldo Salt Screenwriting Award (Dramatic): Craig Johnson, "The Skeleton Twins"
Cinematography (Dramatic): Christopher Blauvelt, "Low Down"
Cinematography (Documentary): Rachel Beth Anderson and Ross Kauffman, "E-Team"
Editing (Documentary): Jenny Golden and Karen Sim, "Watchers of the Sky"
Special Jury Award for Breakthrough Talent (Dramatic): Justin Simien, "Dear White People"
Special Jury Award for Musical Score (Dramatic): The Octopus Project, "Kumiko the Treasure Hunter"
Special Jury Award (Documentary): "The Overnighters"
Special Jury Award for Use of Animation (Documentary): "Watchers of the Sky"
World Cinema Grand Jury Prize (Dramatic): "To Kill a Man"
World Cinema Grand Jury Prize (Documentary): "Return to Homs"
World Cinema Audience Award (Dramatic): "Difret"
World Cinema Audience Award (Documentary): "The Green Prince"
Best of Next Audience Award: "Imperial Dreams"
World Cinema Directing Award (Dramatic): Sophie Hyde, "52 Tuesdays"
World Cinema Directing Award (Documentary): Iain Forsyth and Jane Pollard, "20,000 Days on Earth"
World Cinema Screenwriting Award: Eskil Vogt, "Blind"
World Cinema Cinematography Award (Dramatic): Ula Pontikos, "Lilting"
World Cinema Special Jury Prize (Dramatic): "God Help the Girl"
World Cinema Editing Award (Documentary): Jonathan Amos, "20,000 Days on Earth"
World Cinema Cinematography Award (Documentary): Thomas Balmes and Nina Bernfeld, "Happiness"
World Cinema Special Jury Award (Documentary): "We Come as Friends"
Alfred P. Sloan Feature Film Prize: Mike Cahill, "I Origins"


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Through the solidarity action "Contigo, 50 y más", the pharmaceutical company Cinfa celebrates its 50th anniversary by supporting initiatives that improve the quality of life of patients and their families. Therefore, the 50 projects that receive the most support in an open vote will receive an economic contribution of 5,000 euros.
Fundació ACE has submitted to the contest to get funding to build a Virtual Caregivers' Space. The Caregiver's Spaces are face-to-face dementia training workshops for family members of people who have just been diagnosed, with the aim of providing them with information, support and resources to face a diagnosis of this type.
The aim of the online Caregivers' Space project is to broaden the scope of these training courses, giving access to this resource not just to people diagnosed in the Foundation but also to external ones, at a national and international level.


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Contact Information
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Key findings in Camp DASH report
Correction: Michele Foreman is the head of the nutrition and science department at Purdue University. The information was incorrect in a story about Camp Dash that appeared on Page 1A Thursday.
WEST LAFAYETTE — Purdue University released an internal review report Tuesday as well as its Institutional Review Board's determination that Camp DASH was to be terminated.
Camp DASH was a federally funded research study that was to examine the effect of sodium intake on adolescents' blood pressure and cholesterol. The study was suspended July 21 following allegations of sexual assault, voyeurism and distributing child pornography.
At least one administrator was concerned about how closing Camp DASH would affect the relationship with the National Institutes of Health, according to the internal report.
Michele Forman, head of the nutrition science department at Purdue, sent an email to university administrators that outlined the financial ramifications of closing down the camp early.
"There is a significant matter related (to) the Purdue name because of so many partnerships with industry on this project ... The embarrassment and potential anger by research partners is considerable and has implications for future collaborations," she wrote in an email July 3.
The study, which was a seven-week program and broken into two sections, was given the go-ahead by university administrators to continue the study with additional training and resources, but then was suspended two weeks into the second session.
The 51-page internal review report by Purdue's Vice President for Ethics and Compliance Alysa Rollock went into detail of the problems that occurred at the camp study.
On Tuesday, Provost and Executive Vice President for Academic Affairs and Diversity Jay Akridge said the outcome at Camp DASH wasn't a typical experience for a camp at Purdue.
"We've never seen an incident like this," Akridge said Tuesday. "We've had more than 300 camps involving more than 34,000 youths in the last eight years. ... It was a very unique situation."
Campers at Camp DASH, which Purdue distinguished professor Connie Weaver created and oversaw, were promised food, lodging, summer fun and $750 in exchange for their participation in the research study.
The participants were ages 11 through 15 and were recruited from Lafayette, Indianapolis, Chicago and Cincinnati,the report states.
Here are some key takeaways from the report.
Counselors were directed to report misconduct by the campers to the Camp DASH leadership. Weaver told DASH staff that she was always available, but she failed to report some incidents in a timely manner to police and to the IRB.
The IRB told Weaver on June 17 that if "another event occur(ed) prior to July 5, 2017" the study would be suspended, according to the internal report.
A head counselor informed Weaver on June 20 about the sexual harassment allegations against a camper, who was dismissed the same day. But the allegations and the dismissal weren't reported to the IRB chair until July 5 nor was it reported to Purdue Police until July 20.
Weaver sent a message to the study staff stating "because of the problems we had at the beginning of camp, we are under a microscope at the university and need to tighten our ship," according to the report.
When the camp part of the study was suspended, Weaver submitted an unanticipated problem and/or adverse event report to the IRB July 21 reporting a "breach of the confidentiality of the participants' contact information and study identification numbers with the (Purdue University Police Department) in connection with multiple police investigations," according to the report.
"It is not clear that reporting such information to the police in connection with its investigation is a violation of confidentiality," the report states.
Normally, the National Institutes of Health places a $500,000 cap for grants per year, but Weaver obtained permission in 2011 or 2012 to allow the study to exceed that amount, the report states.
When preparations began for the study this year, the budget was tight due to increased costs.
"This led to an environment of cutting costs wherever possible," the report states.
According to the report, medical insurance wasn't initially purchased to cover the campers. After it was discovered that the insurance would cost 45 cents per camper per day, Weaver authorized purchasing the insurance.
The campers' housing changed to a non-air conditioned residence hall, which saved about $25,000. A lab manager that retired wasn't replaced. Despite not having enough counselors, counselor salaries were over budget, the report states.
"The tight budget may have influenced the failure to have appropriately trained and licensed medical staff," the report states.
Code of conduct
Camp DASH participants were expected to follow the code of conduct that the camp established with disciplines — timeouts, talking with the campers and denying them camp activities.
But denial of activity wasn't effective because the campers didn't want to participate, the report reads.
"However, there was a tension between discipline and removing participants with behavioral issues from the study due to (Weaver's) stated goal to retain the maximum number of research subjects for measurements," the report states. "As a result, the participants quickly understood that there were few or no consequences for inappropriate behavior."
In an email to the Camp DASH staff, Weaver outlined protocols for campers' safety.
"When campers are becoming difficult to manage, use de-escalating tactics to redirect their energy," the email states. "Fountain runs have been very successful towards this end in past camps."
Campers to counselors
Seventy-eight campers initially attended Camp DASH, which was in its first year of the five-year study.
Weaver told the IRB that "at any one time, there are at least 16 counselors supervising the campers," which is a ratio of 1:4 to 5.
"Simply stated, this was not true," the report reads. "Staffing was very light during the overnight hours. Usually, four counselors were on duty overnight."
In notes of the report, while four overnight counselors were scheduled, at times only three were working.
A counselor resigned after a group of boy campers made sexually offensive comments and harassment to her during a "sleepover" permitted by Weaver. The counselor cited in her resignation to Weaver that she had concerns for her personal safety, the report states.
Facilities the participants used
The camp participants were housed in Tarkington Hall, an "H" shaped, 3-floor residence hall. The basement level has a backstair well that leads to a loading dock exit on the main floor.
"Participants quickly discovered that this area was not adequately monitored or supervised and that they could meet privately or exit the building without being observed by counselors," the report states.
On Purdue's campus, the campers walked to their designation — sometimes unsupervised, according to the report.
"That proved difficult for some participants," the report states. "Some participants refused to walk to other campus buildings."
When campers were taken to off-campus locations, Camp DASH used university vans.
"Frequently, the driver was the only staff member in the vehicle," the report states.
A post-doctoral researcher was driving one of the vans during one trip and slapped a camper on their leg, the report states. Another trip when Weaver drove the van back to Purdue's campus, a boy camper groped a girl camper against her will, the report states.
Medications were stored in unsecured locations during the first few days of the first session. Also, some counselors, who weren't qualified to handle medications were handing out the campers' prescriptions.
Several of the counselors working at Camp DASH believed they were qualified for their roles until the campers arrived.
But according to the report, some counselors didn't attend training and some only attended portions of it.
"... Little education or training was provided with respect to child and adolescent development or behavior until shortly before the start of session 2," the report states.
After the first session, additional counselors were hired as well as a camp manager.
"Most counselors and head counselors who were interviewed said that they felt unprepared for the challenges presented by the participants," the report states.


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Here are a few documents that may help you during your nursing education experience.
This guide will assist you in several areas of this course. Guides listed below branch out into other areas of nursing that you will be exploring.
Taken from Campaign for nursing future - Johnson & Johnson. 2016
Explore Health Careers in Nursing - this link will show you many areas of nursing you can go into.
Use the tools below to assist you in your studies.


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Ask for support related to our software "DLL-files.com Client"
Moderators: DllAdmin, DLLADMIN ONLY
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