This is the first collection of cartoons by Nick Birch from his comic "little life lines". Showcasing his unique and outrageous humour, Birch's debut features a slew of charming, quirky and disturbing characters in a random series of sarcasm, depravity, horror and delight.

Essay from the year 2014 in the subject Design (Industry, Graphics, Fashion), grade: 1.1, Central Queensland University, course: Brand Image Design, language: English, comment: Grade has been converted from Australian (29/30) to German (1.1), abstract: Aesthetics are an integral part of marketing communications, influencing the design of logos, advertising, atmospherics and package design. The strategic management of brand image design is essential to developing and implementing a corporate or brand identity. According to Simonson & Schmitt (1997), aesthetics can create tangible value for an organization because: aesthetics creates consumer loyalty aesthetics allows for premium pricing aesthetics cuts through information clutter, increasing the memorability of the visual marks of the company, which in turn increases its chance of selection at the point of purchase aesthetics affords protection from competitive attacks aesthetics can save costs and increase productivity, as employees and outside suppliers need to spend less time in creating new layouts and messages David Garvin's (1987) book, the Eight Dimensions of Product Quality, consists of performance, features, reliability, conformance, durability, serviceability, aesthetics and perceived quality. The concept defines aesthetics as 'the subjective dimension indicating the kind of response a user has to a product. It represents the individual's personal preference' (Karch, 2008). Aesthetics management should begin with a thorough status quo analysis of every aspect of a company or brand's visual and sensory identity. The objective of this analysis is to get a clear understanding of the identity that the organisation wants to project for itself and its brands in its aesthetic output (its corporate expressions) and how customers perceive the organisation's current aesthetic output (customer impressions). (Simonson & Schmitt, 1997, p.45.) Brand Identity focuses on the following attributes of aesthet"

Research Paper from the year 2011 in the subject Communications - Miscellaneous, grade: 1.5, Central Queensland University, course: Creative Arts Administration, language: English, comment: Grade has been converted from Australian (33/40) to German (1.5), abstract: Digitization has impacted the creative arts since its inception and has even driven most sectors to where they stand today. Digitization is the conversion of information to a digital or binary format so that it may be processed by a computing device, making it easier to access, share and preserve (Whatis, N/A). The digitization of information enriches its quality, has made it possible to store in compact forms and enables it to be shared instantly. Advertising can more easily reach the masses and digital selves borderline immortality. Advancements in technology have seen the entertainment industry thrive in spite of also causing damage to sales. Computer Generated Imagery (CGI) has ushered in a new era of deception, warping reality and even creating new ones. In filmmaking, the line between imagination and reality has all but disappeared. Advertising can at times create controversy over what is an acceptable level of illusion. Even when informed, however, our vulnerability to accepting distorted realities seems to endure.

Essay from the year 2011 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 1.2, Central Queensland University, course: Creative Arts Administration, language: English, comment: Grade has been converted from Australia (28/30) to German (1.2), abstract: The American Marketing Association (AMA) defines a brand as a 'name, term, sign, symbol or design' intended to identify and differentiate them from competitors (Lake, N/A). Walter Landor, one of the greats of the advertising industry, said "simply put, a brand is a promise. By identifying and authenticating a product or service it delivers a pledge of satisfaction and quality" (Nelson, 2008). Bates (N/A) believes that the best definition is that a 'brand is a collection of perceptions in the mind of the consumer'. This definition clearly distinguishes that a brand is very different from a product or service. A brand is intangible and exists in the mind of the consumer (Bates, N/A). Social media has turned the ways in which the brand interacts with the customer on its head. With close to 2 billion internet users worldwide, 126 million blogs, 12 billion videos viewed per month in the US alone, (Thomas, 2009), 2 billion tweets on Twitter per month and 500 million people on Facebook (Van Grove, 2010), the face of the consumer may remain essentially the same but the way in which they interact with brands has changed dramatically. It seems brands are now impacted by the creative arts, the ones more specifically known as social media sites, blogging and user-content creation leading to direct consumer participation in the modification of brand identity. The creative arts and technology have allowed the consumer to have their say heard by an audience, to rapidly share information and empowered brand-users to gain control over how a brand is perceived, their reputation, product quality control and even direction. Amidst the impact of these creative arts, brands now ignore their c

Essay from the year 2014 in the subject Design (Industry, Graphics, Fashion), grade: 1.1, Central Queensland University, course: Brand Image Design, language: English, comment: Grade has been converted from Australian (29/30) to German (1.1), abstract: All aspects of a brand image should resonate with its target audience in order to create a meaningful relationship. Before a brand can improve the lives of those who use it, the identity of both needs to be clearly understood by the other. Once this is established, a relationship can be forged and nurtured much like a relationship between two people. Like a relationship, the parties need to bond, to listen, to grow, to be authentic and to stay that way. When Interbrand (2014), the world's largest brand consultancy, released their 2007 Brand Marketers Report, the following five top aspects of successful branding were revealed (Airey, 2007): 1.Consistency 2.Understanding of Customer/Target 3.Message/Communication 4.Creative/Design/Brand ID 5.Relevance Many other aspects were of course discovered in the survey, but the best practises may be found under these top five - the first beating the second by twice the percentage (Airey, 2007). When implemented successfully, valuable brand equity can be attained, attracting a responsive audience and relevant target customers.

Research Paper from the year 2009 in the subject Economics - Innovation economics, grade: 1.5, Central Queensland University, course: Creative Industries, language: English, comment: Grade has been converted from Australian (33/40) to German (1.5), abstract: Innovation is defined as the 'introduction of new things or methods' (Dictionary.com, 2009). It is also used by creative industries to create novel and exciting product and it is also a technique employed by creative sectors to improve interaction with audiences, consumers as well as each other sectors across all industries. The ways in which innovation enhance and sometimes limit the creative industries were discussed at length at the Creative Capital Conference, held in Amsterdam in 2005. This event was organised by an initiative known as Knowledgeland, a 'network of government, private sector, knowledge institutions and civil society to think about the consequences of the knowledge economy and how to respond to it as a society' (Kennisland, n.d). Four main thematic areas were analysed at length, each representing focus points on how aspects of creative industry operations contribute to Creative Capital: Creative Crossovers, Creative Clusters, Creative Cities and Creative Public Domain. Using these four areas as a basis of analysis, it is the objective of this paper to demonstrate through examples how innovation is used to advance Creative Capital across the globe. Firstly, it is fundamental to clearly define what innovation means to the creative industries and what exactly Creative Capital is.

Essay from the year 2009 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 1.2, Central Queensland University, course: Media Relations in Arts Administration, language: English, comment: Grade has been converted from Australian (28/30) to German (1.2), abstract: Mobile phones are a product that are easy to sell as they are intrinsic to our modern lives, however at the same time it is increasingly difficult to sell one particular handset due to the complete and utter saturation of handsets already on the market. For any kind of handset to procure a foothold, let alone a decent market share, is an enormous challenge for any manufacturer. Apple's campaign to introduce the iPhone, which is a device that combines a mobile phone, iPod, email and internet browsing capabilities, may be the most successful marketing effort ever (Koeppel, 2007). The ongoing campaign to market the iPhone may be measured by theoretical marketing tools such as AIDA and Maslow's model of Human Motivation to observe and understand its varying successes. The real success however, lies in Apple's customer knowledge and manipulation of social media to allow others to do the work for them.

Essay from the year 2009 in the subject Sociology - Media, Art, Music, grade: 1.1, Central Queensland University, course: Media Relations in Arts Administration, language: English, comment: Grade has been converted from Australian (29/30) to German (1.1), abstract: It can be quite difficult to source examples of effective crisis strategies in creative enterprise. Companies may be small, they may not have product that if defective could bring harm to the masses, inciting a recall, or even if a crisis occurred, would necessarily lead to financial ruin or impact enough jobs as to be considered newsworthy. Essentially, being portrayed negatively in the media is what is considered a 'crisis' rather than whatever was at fault in the first instance. This is undoubtedly due to the unpredictability of what character-revealing hue the media may taint their brush with when presented the opportunity to paint a picture of whatever business has managed the misfortune of unintentionally wandering into the spotlight. Even though being in the spotlight can be very good for business, a crisis is when a business finds itself in there for the wrong reasons. The biggest business there is in creative enterprise is of course actors. Their sheer bankability provides millions of dollars and hundreds of jobs for each movie they secure, so much can be at stake if their reputation goes down and at the wrong time. When analysing public image and crisis management strategies, the business of being one person follows the same principles of those strategies being employed by companies and corporations because they are in themselves a brand. If a celebrity does not behave accordingly when a crisis occurs, especially when it is usually their behaviour that has caused the crisis, devastating consequences can ensue. They employ publicists just as companies procure PR personnel - for the management of crises and to nudge their image in the right direction, or at times, drag it kicking and screaming.

Research Paper from the year 2014 in the subject Communications - Media and Politics, Politic Communications, grade: 1.4, Central Queensland University, course: Applied Communication Arts, language: English, comment: Grade has been converted from Australian (35/40) to German (1.4), abstract: Mass Communication is a primary contributor to the construction and maintenance of culture. The precise relation of culture to mass communication and its function in our lives has long been debated (Baran, 2010). Because of the power mass communication has in shaping culture, it presents us with both opportunities and responsibilities. Media industries must operate ethically or risk negatively influencing the culture in which they exist. Consumers likewise have the responsibility to critically examine media messages (Baran, 2010). Both technology and money shape the mass communication process. Innovations in technology bring about new forms of media, or make older forms more accessible. As profit-making entities, the media must respond to the wishes of both advertisers and audience. Ultimately, though, the consumers choose which forms of media they support and how they react to the messages that face them. Technological and economic factors such as convergence and globalization will influence the evolution of mass communication (Baran, 2010). N]ewspapers are downsizing, consolidating to survive, or closing all together; radio is struggling to stay alive in the digital age; and magazine circulation is decreasing and becoming increasingly more focused on microaudiences. The information function of the news has been criticized and called "infotainment," and rather than bringing people together, the media has been cited as causing polarization and a decline in civility. (Charles et al. 2009)

"This book provides a decent overview of recent advances in biopesticides and other biological options for insect management with an easy-to-follow format and content...a good resource for students, educators, researchers, regulators, agricultural partners and IPM implementors interested in sustainable agriculture." (Society for Invertebrate Pathology Newsletter) With increasing concern about the environmental impact of synthetic pesticide use, including their impact on beneficial insects, the problem of insect resistance and the lack of new products, there has been an increasing interest in developing alternative biopesticides to control insects and other pests. This collection reviews the wealth of research on identifying, developing, assessing and improving the growing range of biopesticides. Part 1 of this collection reviews research on developing new biopesticides in such areas as screening new compounds, ways of assessing effectiveness in the field and improving regulatory approval processes. Part 2 summarises advances in different types of entomopathogenic biopesticide including entomopathogenic fungi and nematodes and the use of Bt genes in insect-resistant crops. Part 3 assesses the use of semiochemicals such as pheromones and allelochemicals, peptide-based and other natural substance-based biopesticides.