It was always a problem for us, where to store the coffee capsules. We simply could not choose any holder version from the manufacturer, because they also needed a lot of space like simple boxes. So we decided to make our own, which can be moved out of the way after use.
For the 40cm long capsule holder we used some components of the following sets:
- 2 pcs. Grundtal single rail 40cm
- 2 pcs. Grundtal double rail 40cm
- 1 pc. Grundtal shelf (6xRails) 80cm
- 1 spring cylinder from Malm with 6 drawers (Wear a wide smile, and you can get one from the customer service )
(If you are OK with a 80cm long version, you only need the 80cm shelf, one Single rail, and the spring of course)
1. The trickiest part was to remove the unnecessary bends from the shelf frame.
2. Drill two holes for the spring as seen on the picture.
3. Assembly as usual with one little difference. At one end, attach the two short ears with longer, or double ended screws (found in the package of the single rail Grundtal).
4. Attach the spring
5. Position, and fine tune. The closer you screw the spring’s loose end to the base, the greater the angle will be when opened, and the capsules may fall out.
6. Have a well earned coffee of your choice.
Warning! Do not let it opened by the spring only! It is far too strong. Follow, and hold back the movement with your hands!
~ by Bence Fazekas
ps.: 2 sets of double rail 80cm, and 1 set of single rail 80cm for sale…
Who else feels like this should be Friday? It's been like this all week. Yesterday felt like Thursday, and Tuesday felt like Wednesday. In Slashchat with torino10154 we've been talking about how this feels like it should be the end of the week, and right afterward capitu posted saying the very same thing.
And this isn't only fandom people. I've had several people in my office say the same thing. So WTF is going on?
*contemplates theories* Are we fighting the programming? Are we about to wake up and find we're in a dystopian world? Oh, wait... What the hell, people?
The leaked ad from next month's Nakayoshi reveals that Volume 3 will be out September 13th. The limited edition will come with a new OAD, Sakura and the Two Bears. Production info below: Animation studio: Madhouse Director: Morio Asaka Script: Nanase Ohkawa Series Composition: Nanase Ohkawa Character Designer: Kunihiko Hamada
Creatives can combine images or interactive animations from different platforms to give astonishing results. And with the right tools, creativity and skill, the possibilities are near-limitless.
While 3D tools can bring tremendous depth to visual experiences, their complexity is a deterrent for many designers. However, tools are emerging – such as Adobe’s Project Felix – that promise to make creating photorealistic images easier, more accessible, and much faster. I like to refer to these tools as 3D compositing tools, because they are blurring the lines between 2D and 3D graphic designs.
So, what’s the big deal about 3D compositing? For one, it allows you to design with 3D assets without spending hours learning complex 3D tools. But it’s much more than that. Let’s take a look at four benefits to embracing 3D elements in your graphic design work...
If you render a 2D image and want to make a change, you need to recreate it entirely. However, with 3D compositing tools, you can work with a 3D model and change the parameter of a design in real time. As you see your work progressing, you can make the change, and then go back and forth in the process, saving a lot of time and opening up plenty of new options.
To add a photorealistic object to an image using 2D tools, you must imagine things like light, surface, and shadow – a difficult process that takes years of training to master. With a 3D compositing tool, you can place an object in a scene and it will do that work for you.
The physics of how light interacts with the object’s surface is automatically computed, so your scene looks realistic. The designer need only define the object, the material it’s made from, and the light source. Additionally, designers can preview live rendering, and actual rendering takes in seconds rather than hours.
Simulate real-world objects
Let’s say a furniture company is selling a chair, and wants to create marketing materials that show different views of the chair in different fabrics and colours. They would traditionally need to manufacture the chair with different fabrics and photograph each one in the setting required – a completely manual process.
However, with 3D compositing tools, designers can use the 3D file from the product design team and change any of the parameters to create the images they need. They can expand their product offerings just by adding skins of different materials and colours, and inserting that model into different settings. The light source in the setting will automatically respond to the fabric texture and colour to give realistic highlights and shadows – all without a physical prototype.
What’s more, they can create all these combinations with just a few clicks, as opposed to recreating the assets from scratch every time they want to change even a single parameter.
3D images contain more information than 2D ones. With expanded 3D information, 3D compositing tools leverage machine-learning algorithms to calculate what a shadow will look like on a curved surface or estimate the occlusion between different objects. The more information available, the greater the possibilities are for the designer.
Tools to bridge the 2D-3D divide
This evolution of photorealistic compositing – a true merging of 2D and 3D assets – is both empowering and freeing. It lets you push the limits of what was previously possible, and do so much faster and at a lower cost. By leveraging this new technology, you can explore the limits of your creativity, rather than weighing yourself down with unwieldy new steps in your workflow.
While hiking the other day, I came across a spectacular scene – the sun was setting behind a mountain peak. I took a photo of the scene because I loved the lighting. But to use it as a light source in another project, I previously would have had to manually edit 3D lights in a 3D scene, with specialised 3D software – something only designers with 3D expertise have the skills to do.
With the newest 3D-compositing tools, however, any designer can easily auto-generate the 3D lighting of a scene from a single photo. With that saved light source, I can now transfer the unique mood and feeling to my latest design project, and even add additional images that will reflect and shade light in the most realistic way.
As Austin-based video artist Devon Ko recently shared: “3D is the place you can have fun. It’s the best playground you’ve never heard of yet, where you get to explore all the things you’re familiar with – form, repetition, colour – in this whole new realm of visual problem solving.”
The possibilities in 3D compositing are endless, career-changing and again, inspiring – and what’s available now is just the tip of the iceberg.
Websites employ psychological techniques to influence the behaviour of their users. Drawing on decades of academic research that explains how our mind works and how we make decisions, designers can use subtle triggers to make users pay attention, sign up to a new service, make it more likely they buy a product, spend more, or even create a new habit.
Some sites use gaming elements to drive engagement, while others –such as Apple – use poetic techniques to make their copy more memorable. We talked to a few experts to find out how to apply psychology to create a persuasive user experience, and what to do or not to do. Here’s what they had to say:
“People love to think they are getting something others might not have access to – something exclusive. People also assume a higher value in things coming in limited quantities. It’s called the scarcity effect. People are more likely to take an action when something has limited quantities or availability. We can use this to our advantage by including design elements such as timers while making a decision."
“On an ecommerce site, show users quantities of certain items are limited, or have flash sales on items that only last a certain time," he continues. "On a content-focused website, allow users to upgrade and access exclusive premium content. Or show users a sneak preview and then ask them to commit to a subscription to view more. If you’re releasing a new product or major update, give people ‘exclusive invitations’ and let them invite a limited number of friends to have a sneak preview. We see successful digital properties from Amazon and Ebay to news sites offering exclusive content to subscribers only.”
02. Make use of social influence
Yocco also suggests implementing social elements into your product.
“People are inherently social,” he explains. “People want to use the products their friends and peers use. They also want to socialise with each other when it makes sense. We see this in the spread of social media and success of companies like Facebook and Snapchat. Adding design elements facilitating social experiences can help your product stand out and increase use.”
Here are some tips for maximising the benefit of social influence for your product that Yocco recommends:
Offer direct access to sharing content or product information from individual pages
Allow importing of friends or send invitations to use your product directly to users’ lists of friends
Show users people they know have used your product (e.g. 10 of your Facebook friends are registered for this site) and how they have used your product
Provide a newsfeed where users can see real-time updates and interact with each other
Create competition between users to facilitate greater use
“Persuasion is not a library of techniques, but a dynamic combination of stimulation, context, and behaviour. Persuasion cannot work in isolation. You can apply scarcity as a persuasive message, frame a high price as great value for money, or establish social proof to validate your product with the wisdom of the crowds. Then sit patiently and wait for the A/B results to start rolling in.
“Or you can apply persuasion strategically by mapping out the decision processes that your customers go through in their journey. Would they be loyalists or regulars? When are they accessing your website or app? Commuting in a full train car, or during the most freeing roadtrip of their lives? What are they looking to buy? What are they aspiring to as individuals?
“To use persuasion effectively, map out the three fundamental dimensions of consumer behaviour: emotion, motivation, and ability. Segment strategically in a data-driven manner, gain insight into their journey, and understand the assumptions and values that your customers are bringing into the process. Then apply persuasive techniques tactically, whether it is aiming at an impulsive click or tap, or to improve the brand perception (and re-engagement) over the course of several visits. Doing it the other way around will only alienate and infuriate your users. Or, at worst, make you seem desperate.”
04. Influence user behaviour with nudges
User experience designer Russell Parrish, currently at IBM, has come up with a catalog of UX patterns.
He explains: “Richard Thaler wrote in his book Nudge that a nudge is, ‘a small feature in an experience that attracts our attention, and influences the behaviour we make.’ User experience designers for the most part stumble across the concept of nudging. We have these powers to influence user behaviour, and have seen them in common digital experiences, but lack the resource to reference these patterns.
“At IBM we are obsessed with designing experiences that are centred on users and have created a nudge library to aid designers in making ethical nudge decisions. Right now the library is in its infancy and will continue to grow as we add visual examples of nudges in use cases. Taking a behaviour-based approach to UX design will make more compelling experiences that better fulfil the users' and business’ demands.”
According to industry analyst Horace Dediu, one of the greatest difficulties in business is determining user intentions.
“We don’t have an understanding of the causes of behaviour and are thus always guessing and misallocating our resources,” he explains. “Apart from intuition, which is hard to reproduce, the best clues I’ve been able to find have come from a process of analysis of ‘jobs to be done’ for the consumer. This is not a utilitarian view of intention or a measurement of economic value. Rather, it’s an understanding of the urges people feel that compel them to do things.
"These urges are deeper feelings and motivations that are often unstated and cannot be explained by those who have them. In order to influence behaviour it makes sense to understand what they are actually trying to achieve and offer them a way of achieving that. This provision of progress opportunities is what UX analysis and design is all about.”
“When you think about influencing user behaviour, it's tempting to think about cognitive biases (like scarcity and social proof), then do a bunch of A/B tests,” he says. “You'll get some uplifts and you'll probably feel good about yourself. Don't. This is the hallmark of a business that is comfortable in mediocrity, and that will be easily disrupted by the next big thing.
“The best way to influence user behaviour is to design a great service that fulfils user needs. Great services sell themselves.
“So, do user research. Build a deep understanding of user needs. Work on your core service design. If you build something people really want, the persuasion will be easy.”
07. Know your boundaries
UX consultant Joe Leech agrees and recommends considering the ethics of how you use your design.
“At the start of my career I worked for a major UK bank on a project to redesign a credit card application process,” he explains. “At the time interest rates were low and banks were making money on selling insurance that protected the applicant against illness and lay-off. The commercial focus on selling these products led to an awful lot of pressure on me as a designer to use psychology to influence uptake. I felt uncomfortable – so much so that I held ideas back so I didn’t feel like I was tricking people. Subsequently, the UK Government has ruled that practices of the time were unlawful.
"The lesson I learnt was it was important to know your boundaries; to not approach a project where there was the potential to use design for the wrong ends. It spurred me on to develop my own code of conduct:
Provide positive benefit
I suggest you decide on your own boundaries, ethics and limits.”
Joe Leech will give a talk about combining psychology theory with the latest in UX techniques at Pixel Pioneers Bristol on 22 June, a one-day conference covering email coding, data visualisations, automated development, web animation, presenting to clients, and more.
Has it really been 12 months since Adobe launched a preview of its prototyping tool, Adobe Experience Design? In that year, Adobe XD has established itself as a key part of Creative Cloud, with designers using the software to bring their inspiring ideas to life.
There's always room for improvement, though, and Adobe XD is no exception. Announced alongside the major updates for Project Felix beta, Adobe XD has been given a number of upgrades that make it easier to pass on feedback and enhances design capabilities for Windows 10.
So, what can users expect from the updates? Find out below and head over to the Adobe XD blog to read the full details.
Resolve comments on Shared Prototypes
Keeping on top of feedback can be difficult at the best of times. To make it easier to manage incoming feedback, the resolved comment thread moves chit-chat away from the main view and into a separate area. Users can switch between unresolved and resolved comments as they wish, and even move resolved comments back into play if needed.
Windows 10 users finally have access to the zoom tool. Simply click to zoom in and alt+click to zoom out again. Need to get a good look at something but only temporarily? They've got this covered, too. Just press and hold ctrl+space to enable the zoom tool and let go to return to your previous tool.
Copy/paste from Photoshop and Illustrator
This is the big one. Windows 10 users can now quickly copy and paste vector shapes from Adobe Photoshop CC and Ilustrator CC into Adobe XD. To do this, you need to fire up Photoshop and make a selection using the marquee tool, use the Copy Merged option to select the content from multiple layers and paste the selection as a bitmap into XD. On top of that, you can bring in SVG content by using Photoshop's Copy SVG feature.
Align to pixel grid
After you've copied and pasted everything into one design, you'll want to make sure they're rounded to the nearest whole pixel before you export the assets. To do this in Windows 10, all you have to do is launch the context menu with a right click, and select 'Align to Pixel Grid'. XD does the rest of the work and makes sure assets have the highest fidelity on output.
Lock aspect ratio
The final big announcement from the March update is the ability to easily scale paths like icons. All you have to do is select the aspect ratio lock in the property inspector in Windows 10 and hey presto! All of your resize operations are always aspect locked.
Title: Honoured Information Author:alisanne Pairing/Characters: Severus Snape/Harry Potter (eventually). Word Count: 100 x 5 Rating: PG Challenge: Written for snarry100/snarry100/snarry100's prompt #569: Honour. Warning(s): None. Part four of the Wisdom Series (LJ/IJ/DW). Beta(s):sevfan and emynn. Disclaimer: The characters contained herein are not mine. No money is being made from this fiction, which is presented for entertainment purposes only.
I'm playing this game right now, new enough to thinking that my brain operation might not be standard, where my brain occasionally tries to insert that no, really, don't be silly, my brain operation is TOTALLY normal and standard. No really. REALLY!
Yeah, no. No, brain. This doesn't fly when it takes me 20 minutes to drag my ass out of bed because I literally can't connect the dots from "turn off alarm" to "sit up". I'm not falling back asleep, I'm just laying there with my brain stuck mid way through the boot up cycle, blank screen of doom - white noise hum in my head and NOTHING, and no ability to find the damned gear shift to actually get going. At least, not until the cat jumped on me and meowed repeatedly in my face, and that finally kicked me into moving because Xena has a remarkable ability for a five pound cat to channel gravity through her paws into fiery points of heavy crushing pressure while she's standing on you, preferably on my tits. Ow. >_< Thank you, furry alarm clock.
And then I get up, stumble into the shower, and even that doesn't wake me up. I'm moving in slow motion in molasses, feeling like shit. And I vaguely remember oh, yeah, this was how every morning felt pre-adderall. Huh. Imagine that. Mostly I sit and go jfc, how did I ever get upright and functional? >_<
Now it's several hours later, I took my pills, they kicked in halfway through the commute when I started being able to string words together again, and now I feel 'normal'. But no, silly brain. NO. The actually legit 'normal' I'm feeling right now does not just spontaneously happen. 'Normal' used to be that really spectacularly sucktastic feeling I woke up with. Let's not call that normal, okay? Let's not hold that up as the standard. It sucks.
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@spaceliondad is a blessing and drew some TonyPepperRhodey for me, look at these precious children!!
@spaceliondad: I decided to draw them more 616-ish haha (in a weird timeline where Rhodey is alive and well and we completely forget Fraction’s run happened), but anyway, this was my first time drawing Pepper or Rhodey!
[Image: James Rhodes, Tony Stark, and Papper Potts standing together, arms around each other.]
Drew wrote Washington Journal, a real-time reporting journal of the Watergate saga as viewed by a journalist in Washington, which I immediately acquired after hearing this.
The podcast is an incredibly sharp and thoughtful discussion of the usefulness or otherwise of Watergate analogies, the similarities and differences, and what might happen with Trump -- Drew is firmly opposed to thinking of this as "Watergate 2.0", but she has a very Watergate-informed (as well as shrewd) perspective.
One of the things she’s strongest on is the experience of being in the story, not knowing what’s going to happen, the uncertainty and confusion and fear of everything that (in hindsight, summarized) looks like a nice linear narrative. Her point is that this isn’t Watergate 2.0; we don’t know what it is yet and we can’t see that from where we are. And she knows this not least because she lived through Watergate 1.0, and knows that nobody could see the story from inside it then.
Which is actually one reason why I’m finding all my Watergate-obsessing so mentally useful right now (other than because of pure autistic happy and because it’s an extraordinary story), because when you dive into the details you get into the mess and confusion and long-drawn-out uncertainty (for example, something I had absolutely no clue about: after the existence of the White House taping system was revealed, Nixon remained President for over a year). There are weird similarities between then and now; there are huge differences (Drew has one of the best casual precision-strike putdowns of Trump I’ve heard: “He doesn’t do concepts”).
I have no doubt that there was collusion of some kind between the Trump campaign and Russia, but I don’t know how tacit it was, and we can’t afford to pin our hopes on there being a “smoking gun” somewhere, though it’d obviously be fucking hilarious if there was. It’s risky in some ways to think “oh, this is Watergate all over again, we know how it’s going to go.”
But I think Watergate gives us, if not maps, at least some clues to orient ourselves in this territory (and I’m filling Washington Journal with bookmarks of spooky resonances). We don’t have a map to where we are, only the haziest hints of shapes, but through them we can see another map, the lines of a story that’s not the one we’re living in now, but which is one of the stories underlying it.
And there’s information there for us to raid — for example, looking at what elements have to be in place for the system to work and for a corrupt and criminal President to be impeached. Even with a Democrat-controlled House, it was the Republicans on the Judiciary Committee who were critical to its credibility, and the story of how they were won over is fascinating, and to me — surprisingly moving. Then there are the fracture points in the conspiracy, the people who would go so far but no further, or who were willing to take the fall but not alone, or the people who wouldn't volunteer information but wouldn't lie either.
It’s useful to know that we’ve been — if not here, then somewhere not totally unrelated to here before now.
1) Auction accepting offers now through April 23; bidding April 24 through May 7.
2) Sign up for the newsletter, which includes fandom news as well as Con or Bust stuff!
3) Read the annual report for 2016 and the board meeting minutes, which include my announcement that I am strongly considering not running for re-election to the Board in spring 2019 (ten! years!) and the Board's agreement that regardless, we should identify and encourage new candidates for the Board next year (and/or people who could start volunteering this year!), to bring new perspectives and to keep improving Con or Bust’s stability as an institution, not just my personal project.