Tuesday, November 26, 2019
Lightning Warning Signs You Shouldnt Ignore
Lightning Warning Signs You Shouldnt Ignore Nothing ruins a summer cookout, dip in the pool, or camping trip like a thunderstorm. If you are outdoors when a thunderstorm rolls up, it can be tempting to stall as long as possible before going indoors. But how do you know when its time to stop what youre doing and head inside? Keep a lookout for certain signs; theyll warn you when its time to seek shelter indoors and when lightning may be about to strike. Signs of Lightning Cloud-to-ground lightning is nearby if you notice one or more of these early signs. Seek shelter immediately to reduce the risk of lightning injury or even death. A rapidly growing cumulonimbus cloud. Although cumulonimbus clouds appear bright white and form in sunny skies, dont be fooled- theyre the beginning stage of a developing thunderstorm. If you notice them growing taller and taller in the sky, you can rest assured that a storm is in the making and headed your way.Increasing winds and a darkening sky. These are telltale signs of an approaching storm.Audible thunder. Thunder is the sound created by lightning, so if thunder can be heard, lightning is near. You can determine how near (in miles) by counting the number of seconds between a flash of lightning and a thunderclap and dividing that number by five.A severe thunderstorm warning. The National Weather Service issues a severe thunderstorm warning whenever severe storms have been detected on weather radar or confirmed by storm spotters. Cloud-to-ground lightning is often the main threat of such storms. Lightning always occurs during thunderstorms, but it isnt necessary for a storm to be directly overhead for you to be in danger of a lightning strike. The threat of lightning actually starts as a thunderstorm approaches, peaks when the storm is overhead, and then gradually diminishes as the storm moves away. Where to Seek Shelter At the first sign of approaching lightning, you should quickly seek shelter, ideally in an enclosed building or other structure, away from windows. If youre at home, you may want to retreat to a central room or closet. If you cannot find shelter inside, the next best option is a vehicle with all of the windows rolled up. If for whatever reason, you are stuck outside, you should make sure to stand away from trees and other tall objects. Keep away from water and anything that is wet, as water is a strong conductor of electricity. Signs of an Immediate Strike When lightning strikes you or the area immediately nearby, you may experience one or more of these warning signs a few seconds beforehand. Hair standing on endTingling skinA metallic taste in your mouthThe smell of chlorine (this is ozone, which is produced when nitrogen oxides from lightning interact with other chemicals and sunlight)Sweaty palmsA vibrating, buzzing, or crackling sound coming from metal objects around you If you notice any of these signs, it may be too late to avoid being struck and possibly injured or killed. However, if you find that you do have time to react, you should run as fast as you can to a safer location. Running limits the amount of time that both of your feet are on the ground at any given moment, reducing the threat from ground current (lightning that travels outward from the strike point along the ground surface). Sources NOAA. NWS Lightning Safety Page.NOAA. NWS Weather Fatality, Injury, and Damage Statistics (2013, May 6).
Friday, November 22, 2019
Juan Gris, Spanish Cubist Painter
Juan Gris, Spanish Cubist Painter Juan Gris (1887-1927) was a Spanish painter who lived and worked in Paris, France, for most of his adult life. He was one of the most significant cubist artists. His work followed the development of the style through all of its stages. Fast Facts: Juan Gris Full Name: Jose Victoriano Gonzalez-PerezOccupation: PainterStyle: CubismBorn: March 23, 1887 in Madrid, SpainDied: May 11, 1927 in Paris, FranceEducation: Madrid School of Arts and SciencesSpouses: Lucie Belin, Charlotte (Josette) HerpinChild: Georges Gonzalez-GrisSelected Works: Portrait of Pablo Picasso (1912), Still Life with Checkered Tablecloth (1915), Coffee Grinder (1920)Notable Quote: You are lost the moment you know what the result will be. Early Life and Career Born in Madrid, Spain, Juan Gris studied engineering at the Madrid School of Arts and Sciences. He was an outstanding student, but his heart was not in academia. Instead, he chose to focus on the drawing skills that came naturally. In 1904, he began to study with the artist Jose Moreno Carbonero, a past instructor of Salvador Dali and Pablo Picasso. Hulton Archive / Getty Images After adopting the name Juan Gris in 1905, the artist moved to Paris, France. He would stay there for most of the rest of his life after having avoided Spanish military service. In Paris, he encountered some of the leading artists of the emerging avant-garde scene including Henri Matisse, Georges Braque, and Pablo Picasso, as well as American writer Gertrude Stein, who would become a collector of Gris work. During the period, Gris contributed satirical drawings to a wide range of Parisian journals. Cubist Painter In 1911, Juan Gris began to seriously focus on his painting. His initial works reflect the emerging cubist style. Pablo Picasso led the early development of cubism along with French artist Georges Braque. Gris considered Picasso an important mentor, but Gertrude Stein wrote that Juan Gris was the only person whom Picasso wished away. Portrait of Pablo Picasso (1912). Corbis Historical / Getty Images Gris exhibited at the Barcelona Exposicio dArt Cubista in 1912, considered the first group exhibition of cubist artists. His early cubist works are in the style of analytical cubism pioneered by Picasso and Braque. The 1912 Portrait of Picasso is an example of this approach. However, within two years, he focused on synthetic cubism, which used collage techniques extensively. The 1915 Still Life with Checkered Tablecloth illustrates the change. Crystal Cubism The outbreak of World War I in 1914 disrupted the life and work of Juan Gris. Gertrude Stein provided him with financial assistance, and he spent time at Henri Matisses studio in the south of France. In 1916, Gris signed a contract with French art dealer Leonce Rosenberg which helped solidify his financial future. Coffee Grinder (1920). Heritage Images / Getty Images Juan Gris simplification of the geometrical structure of his paintings in late 1916 is a distilled version of cubism. He also blurs the distinction between the background and the central object in the picture. This style has been called crystal cubism. Many observers see the technique as the logical extension of developments in cubism. The first major solo exhibition of the work of Juan Gris took place in Paris in 1919. He also participated in the final major exhibit of cubist painters at the Salon des Independents in Paris in 1920. Later Career In the months following the end of World War I in 1919, Juan Gris became ill from the lung disease pleurisy. He traveled to Bandol on the southeastern coast of France to recuperate. There, he met Russian ballet patron Serge Diaghilev, founder of the Ballets Russes. Juan Gris designed sets and costumes for the dance troupe from 1922 through 1924. La Liseuse (1926). Heritage Images / Getty Images More major international exhibitions followed from 1923 through 1925. During the period, Gris enjoyed the greatest fame that he would know during his lifetime. He delivered the lecture, Des possibilites de la peinture at the Sorbonne in 1924. It outlined his major aesthetic theories. Unfortunately, Gris health continued to decline. In 1925, he began to suffer from cardiac and kidney disease. Juan Gris died of kidney failure at age 40 in 1927. Legacy Still Life with Checkered Tablecloth (1915). Metropolitan Museum of Art / Wikimedia Commons / Creative Commons 1.0 While Pablo Picasso and Georges Braque are given credit for first developing the cubist style, Juan Gris is one of the most distinctive artists who devoted his career to the development of the movements theories. Artists ranging from Salvador Dali to Joseph Cornell acknowledged their debts to the innovations of Juan Gris. His use of brand logos and newspaper type anticipated the development of Pop Art a generation later. Source Green, Christopher. Juan Gris. Yale University Press, 1993.
Thursday, November 21, 2019
Describe the empirical and rationalistic arguments for the existence Essay
Describe the empirical and rationalistic arguments for the existence of God - Essay Example Using this framework, rationalists argue that although no one can claims to have ‘seen’ God, there is enough circumstantial evidence to prove his/her existence. For example, the beauty and splendor of the natural world with its own myriad of complexity and design suggests the existence of a benevolent creator. This is the argument some creationists employ to counter evolutionary biologists’ theories of random genetic mutations. The regularity of natural phenomena such as the rising of the Sun, the waxing and waning of the moon, the presence of other life-forms on earth, are all examples of the work of the omnipresent (yet unobservable) creator or God. Rationalists further argue that the tendency for higher animals to exhibit altruistic behaviour and unconditional love can be taken as more proof. At a broader level, the evil forces in the world need a countervailing positive force in the form of God. Empiricists, on the other hand, present complementary lines of th ought. According to Empiricists, some of the transcendental experiences that occur to humans, whereby the realm of consciousness if elevated to another higher level is proof enough of God’s existence. Indeed, most such transcendental experiences coincide with a religious event such as prayer or divine music, making the associations between the two quite strong. These divine experiences of God’s presence are not usually grasped through sense organs in the course of daily life, but require special dedication to the faith and divinity for the revelation to occur.
Tuesday, November 19, 2019
Analyse the steps towards cost leadership within the production Essay
Analyse the steps towards cost leadership within the production relationship of a modern firm. Be specific and offer some examples - Essay Example For other industries, it is possible to attain economies of scale when the increased volume enables the assignment of resources more efficiently. This is particularly true of costs associated with manpower specialisation, where an increase in volume allows for individuals to be assigned specialised tasks, thus streamlining production methods. This results in improving rate of production without increasing the number of workers. Thus, increasing economies of scale occurs when the marginal increase in a factor of production is less than the marginal increase in the corresponding quantity of products produced. Economies of scope is similar to economies of scale because it aims to increase production faster than the attendant increase in costs. The difference lies in the number of products by which to attain this. Economies of scope seeks to reduce per unit total cost by diversifying the products a firm makes and sells. By increasing the number of product lines and extending the use of inputs (manpower and machinery) over the alternative products, the overall cost per unit of each product line is reduced because of the sharing of fixed costs among the product lines. For instance, Dunkin Donuts’ main product line is its number of variously flavoured donuts; somewhere along the line the firm decided to produce Munchkins, the bite-sized versions of the same flavours as the donuts, they tapped a new type of market demand which preferred the smaller versions. From the production aspect, the same machines and manpower were used to make the new product, thus spreading fixed costs over two product lines. Thus, increasing economies of scope occurs when the sum of the marginal increases in the cost of producing one additional unit in all the product lines is less than the increase in the marginal cost of each product line taken
Saturday, November 16, 2019
Axia College of University of Phoenix Essay Example for Free
Axia College of University of Phoenix Essay The purpose and meaning of life, is to live it in the most meaningful way a person can. I work hard on this daily, and try to show the younger generation that life can be so beautiful in a lot of positive ways if you lead it the way you want it. My personal narrative will be away to express myself like I have not done before by using theories in my readings. I am a thirty-year-old man who is very energetic, outgoing, hard working that not only values my life, but everyone else’s as well. The past five years of my life have been a five-part movie that could have big as the Lord of the Rings series. I started school, two businesses, regular job I got promoted, and bought a new house. I have had to take a back seat on being there for all my family, and friends like I am use to, because for once I had to utilize time for myself. My meaning of life stayed the same thru out these years; I think these things have made me more mature on things, and to love myself a little more. The major thing that made me really evolve in the past 5 years I believe is starting school. Six years prior to me starting at UOP I dropped out of college, because I had no clue what I wanted to use my skills for, I was very lost, unhappy, and I was doing nothing for myself it was for everyone else. That single event by enrolling back in school changed my personality over night for the better. The next day I started weeding people out of my life that where imputing nothing but negatives in it. That was defiantly the turning point for me without a doubt. This event came at the right time also in my life since I was in a very dark place at the time, so I guess you can say it was meant to be. Then I started two business ventures that I had wanted to start which proved to me that I could do something for myself to benefit my life and stability. I now have more than enough responsibilities that I did not have before, like keeping my business in order supplies to maintaining my customer relationships. My new house has been the biggest ordeal and not in a bad way it has been extremely difficult to get it to my standards, and since I am so busy I have not taking time just for my house. These challenging changes in my life now are very hard to deal with, but I would not make any changes at all, because this is the happiest I have been. I have been hard on myself, but not to the point of stressing. Happiness proves to be an interesting window through which to view continuity and change in personality (McAdams, 2006). With that said it shows in my everyday life that no matter what I am faced with today my life is a lot better now than then. I took a lot growing up without a father from not being able to afford things I wanted to not having the self-confidence in myself to make change. When you receive that unexpected high grade on a tough assignment, you are likely to feel good, and your well-being shoots way up (McAdams, 2006). Starting my businesses, buying the house, and getting promoted where some very tough assignments in the past five years, but I feel so much better about who I am with a better well being. What roles have religion, race, culture, family, and gender played in the development of my personality, well the major thing that played a role was family. My family pushed me so much to a point where failing would not be expectable in any manner. My girlfriend has never stopped believing in me she always said I will be somebody, and no one can take that from me. My race, and religion beliefs did not have a huge factor in any part of this, but my personality got me sixty percent of what I have today. Looking back on the past seeing the transition that has taking place in my life from five years ago is something in itself to boost my ego. Five years ago without UOP I can honestly say that there is no way I would be where I am now. Life is a wonderful thing to have, we make our own destiny, and being rich or poor should not make us who we are, but being in love with life and our good talents that we possess should play a huge part of what we are. McAdams, D. (2006). The person: a new introduction to personality psychology. (4th ed. ). Hoboken, NJ: John Wiley Sons.
Thursday, November 14, 2019
costs and affects of quarrying in National Parks Essay -- essays resea
Mining and quarrying were the backbone of Britain’s economy since the start of the industrial revolution. Due to cleaner methods in energy production, which have been enforced during last 100 years and the course of developments in modern technology, Britain’s principle wealth is now governed mainly by the success of her tertiary businesses synonymous with the larger towns and cities. Nevertheless our standard of living also depends on the supply of aggregates, the most basic of building materials but most commonly used in the construction of buildings, transport networks, tunnels railroads and airports. According to Foster Yeoman (1994) the aggregates industry is five times the size of the domestic coal industry. However, such material often comes from quarries located in areas of high scenic value, which are often National Parks or Areas of Natural Beauty (AONB’s) and is raising cause for concern among environmentalists and local communities, but for different reasons. The National Parks of England and Wales were designated as such under the National Parks and Access to the Countryside Act of 1949. The purposes for which they were designated were to: ‘conserve the natural beauty, wildlife and cultural heritage of its area and to provide for the enjoyment and understanding of its special qualities by the public’ Association of National Park Authorities (ANPA 2001). Furthermore the National Park Authorities (NPAs) are also required to foster the social and economic well being of the communities within the park.’ Scotland however had a much smaller population; therefore the pressures on the land were deemed not to be as great. Consequently places of natural beauty did not warrant the designation of national park status. Nevertheless, the new Scottish Parliament is currently implementing National Park areas throughout Scotland. Described by Simmons (1974) protected landscape is a non-consumptive resource: the crop is of a visual nature and when this has been taken in by the consumer; the source remains the same and it is the aim of the management to perpetuate this attribute. It is the duty of the NPAs (and their governing body ANPA) to promote methods of sustainable development, which is commonly achieved by each NPA having a ‘balanced membership’, consisting of local people and those representing the national interest by virtue of their individual knowl... ...01 http://www.qpa.org/profile_ohme.html     02 May 2001 http://www.peakdistrict.org/Pages/Facts/fz2tour.htm     02 May 2001 http://earth.leeds.ac.uk/~visimp.htm     07 May 2001 REFERENCES Wallis E.     Geofile: UK Mines and Quarries     April 1992                     Edition 194 McGarvie M.     Foster Yeoman 75     Butler & Tanner                     A Pictorial History               1998 Simmons I.G.     The Ecology of Natural Resources     Edward Arnold                     1974 http://www.anpa.co.uk http://www.yeoman-poland.pl/e_ofirmie2.html http://www.qpa.org/profile_ohme.html
Monday, November 11, 2019
Marketing Visual Merchandising Essay
How visual merchandising helps improving sales and its effects on retailing? ABSTRACT Visual Merchandising is the way or art of displaying goods and products in a manner that is appealing to the eyes of the customer. It sets the context of the merchandise in an aesthetically pleasing fashion, presenting them in a way that would attract the attention and convert the window shoppers into prospects and ultimately buyers of the product. A creative and talented retailer can use visual merchandising to breathe in new life into his store products. Passion for design and creativity are essential and the key to be a good visual merchandiser. A perfect design process and the ability to create ideas that are different are required. Awareness of happenings in fashion world is needed so as to keep up-to-date with the dynamics of the market constantly to ensure whatever merchandise displayed make a good comeback to attract shoppers. Keyword: visual merchandising, window displays, signs, interior displays, cosmetic promotions. 1. Introduction Visual Merchandising has been gaining more importance and attention from retailer of late as part of the emerging marketing industry. Research shows most of the people who went to shopping centre did not have an idea of what to buy or which shop to go, most of them get attracted by the display inside or outside the retailer. â€Å"Seventy percent of consumers in-store purchases are unplanned, which means they came to the store to buy something else,†says Greg Smith, director of communications for the Chicago-based Point Of Purchase Advertising Institute (POPAI). The main goal of display is to showcase the products within the overall display area to attract customers to give in three to five seconds of their attention to the window display The retailer visual message should be conveyed to the customer in that short period of time. It should not be like an unsuccessful TV advertisement, where the product is forgotten altogether and only the concept of the commercial remains in the mind of the viewer. The arrangement of window display should go with the product and should not suppress them to make it discernible to the eye. According to Dolan and Thomas G (2012), It’s important to realize that no matter how much advertising you do on a particular product or brand, most shoppers can be swayed by the in-store display. It is why nowadays it had become a popular trend among retailer to apply visual merchandising in their stores and retailer outlet. 2. Consumer Emotion and Affective Response Emotion is the core factors in affective perspective. It affects an individual’s luminal and subconscious level, and serves as the internal motivator that attracts us to the things that makes us feel good or positively associate with our minds (Williamson, 2002). Individuals tend to focus on information selectively, which is consistent with one’s mood state and later, recall the information that is mood-consistent (Mattila and Wirtz, 2000). Mood-based evaluations are common in individual judgment of products or services (Schwarz, 1997). Russell and Geraldine (1980) assumed that affect is an individual’s internal state comprising of both pleasure and arousal. 3. Visual Merchandising and Consumption Visual merchandising enhances the attractiveness of a store and its perceived image from the viewpoint of customers. A positive mood serves as a contextual cue for evaluating the perceived quality, image of a product and store, and purchase intention (Bakamitsos, 2000). The impact of a pleasant store atmosphere is also positively related to customer satisfaction (Spies et al., 1997). Atmospheric stimuli which please the actual and emotional needs of consumers enhance the degree of consumer participation in a store, leading to favourable purchasing behaviours (Wright et al., 2006). In general, the store exterior and interior are the two major areas covered in Visual Merchandising and a variety of components (colour combination, product placement, lighting arrangement, layout and highlight design, mannequin and props selection, fixtures and fittings selection) are involved in creating a favourable shopping atmosphere. For instance, Babin et al. (2003) found that the combination of colours and lighting plays a critical role in influencing the purchase intention of consumers and store patronage. Intangible store elements, such as sprayed fragrance, can stimulate one’s affective state and help boost mental imagination (Fiore et al., 2000). Chebat et al. (2001) found that appropriate music can affect the cognitive activity of consumers. A positive imagery also helps in associating a better cognitive experience between consumers and products, and intensifying purchase intentions (Macinnis and Price, 1987). However, consumers’ responses can be affected by cultural difference. Chan and Tai (2001) found that Chinese Hong Kong people rely on culture values (e.g. practical realism) to evaluate store displays and less susceptible to environmental cues than American consumers. Also, Chinese cultural values had a direct relationship with store atmosphere evaluation in apparel consumption (Fok and Chong, 1996). For Vietnamese consumers, hedonic shopping motivations were directly related to store atmosphere evaluation in supermarkets (Nguyen et al., 2007). For Korean consumers, different cultural expectations were found in store environment expectations in discount stores (Park, 2005). Therefore, cultural difference is important to influence store atmosphere evaluation. 4. Visual merchandising and Sales Today, customer walks through any mall or large stand-alone store where they moves through a continuos themes promotional mix of visual merchandising. The visual campaign starts with the outside window and continues through the use of end-aisle displays, layout, fixtures, and signage, continuing to the point of purchase displays where one final push is made ( Bell and Ternus, 2002). Once considered ‘’making the store pretty,’’ visual merchandising has become its own department in larger stores. The visual merchandising process promotes sales without the need for a sales associate ( Bell and Ternus, 2002). Research confirms the importance of visual merchandising (Janiszewski, 1998; Mckinly, 2003); it has been found effective in increasing sales (Edwards and Shackley, 1992) and imperative in enchancing store image. Visual merchandising that can be effective include exterior displays, window displays (Edward and Shackley, 1992; Gubernick, 1986), in-store display as well as the separate display components of signage ( Edward and Shackley, 1992) and lighting. Given the possilities of visual marketing, one might expect that all retailers would use it. For many small business owners, however, the need to create visual displays is just one more task (Yu and Muske, 2003). Successful visual merchandising and brand delivery is all about understanding and satisfying customer needs. So the more that a company understands its consumers, brand and competitors, the better it can define and refine its own visual merchandising practice to deliver better solutions instore to improve the customer experience (Mckeever, 2007). 5. Physical In-store Environment It has frequently been suggested that â€Å"good†interior design within a store can maintain customer interest, encourage customers to lower their psychological defences and make a purchase (Kotler, 1974). In examining this potential, the physical in-store environment has been examined in relation to various elements, for example, orienting factors, signage (Bitner, 1992); spatial factors (Bitner, 1992); and ambient conditions (Bitner, 1992), which Kotler (1974) termed â€Å"atmospherics†. These elements are in many ways redolent of the facets of merchandise display identified above. This high degree of congruence between merchandise display facets and the elements identified when concerning the physicality of the in-store environment would appear to add further weight to the use of such â€Å"borrowed†approaches in this research. The work regarding the physicality of the in-store environment focuses on the â€Å"communication†of elements through cues and stimuli that the customer digests through a number of sensory modalities (visual, aural, olfactory, haptic and taste). Within the research on in-store environments it has been suggested that some people are better at â€Å"digesting†environmental stimuli than others (Bitner, 1992). Given that up to 90 per cent of the cues provided by an environment are digested through sight (Edwards and Shackley, 1992) it follows that many environmental cues in the retail context are visually communicated. The twin threads of visual communication and legibility highlighted in the environmental literature echo the sentiments raised in the definition of visual merchandising above. This then further strengthens the links between the visual merchandising and considerations of the physicality of the in-store environment. Therefore, from either perspective, understanding how to communicate product and brand images to customers through individual visual stimuli is vital. 6. Aims of Visual Merchandising They are several aim of the usage of visual merchandising. Successful way of using visual merchandising will be able to send out quality message to potential and prospective customer and also enticing them to buy from the store(Kerfoot et al., 2003). Visual merchandising not only function as a configuration of space, layout and consumer flow, but visual merchandising itself is also a powerful communication and experience enhancer for the customer(Kotler, 1974). * Generate Experience Experience generation pertains to stimulation and management of the entire domain of the consumer’s senses and managing sensuality so as well as to be congruent with the consumer’s desires Visual merchandising able to manage the visual senses whereby affect experience generation in retailing. * Maximize Sales Effective visual merchandising helps in increasing sales through facilitation of consumer sampling and exposing the best of merchandise to the consumer . * Strengthen the Brand Visual merchandising can add brand strength to the retail store brand where the experience occurs if being properly managed. For example, Apple store who use visual merchandising have been a successful icon in the technology market and been known for their merchandise being visualized in their store. * Help Expansion of Product Categories Through Optimizing Display Effective visual merchandising also packs more through optimum display of merchandise. Thereby devouring empty spaces in the retailer where it is not necessary, making it feasible to display larger number of products and product categories, enhancing higher total spending and hence contributes to the profits of the retailer. 7. Diccusion Visual Merchandising was conceptualised in the western countries around the 60s. The basic tenet was to â€Å"differentiate†the brand in question, build â€Å"tactile†attributes at the point-of-sale which will reinforce the product attributes (directly or subtly) & act as a â€Å"call for action†, for the favourably disposed customer to â€Å"touch & feel†the brand experience. By the 90s visual merchandising had scaled the status of â€Å"art†& spilled on to a scientific territory. Organised retail contributed a lot to this development, as they were open to experimenting and it was an adding to the consumer purchasing experience. Visual merchandising is the art and science of retailing. It’s the thoughtful design of the store. It’s the aisle layouts, product adjacencies and the product sets themselves. Visual merchandising understands the target customer’s needs/desires and delivering an environment that encourages spending and increases purchases. Visual Merchandising aids customers’ buying decisions by placing the product where customers expect to find it. VM provides information about the product where it can easily be seen. Seeing, Smelling, Tasting, Feeling, Selling and Merchandising is all tied together. Often time, about a 250% sales increase when retailer offer a â€Å"try before you buy†type sales process and in this condition where visual merchandising had fulfilled all the condition. In this case, visual merchandising definitely has an impact on sales and helping increasing the fortunes of retailer. 8. Conclusion This research investigates how visual merchandising plays an important role in upgrading the fortunes and sales of retailer and the relationship of it between visual merchandising and retailer. It is found that attention should be paid to the overall store displays which include in-store and out-store display to attract consumer and products should be displayed at area which could easily catch up potential and prospective consumer view. Visual merchandising is known as a very common strategies that be used in the trend nowadays as research shows that more than 70% of people who went to a mall haven’t decided what they want to buy so it is important how visual merchandising play a role in luring potential buyer to the retailer. Visual Merchandising is everything that customers sees, both interior and exterior, that creates a positive image of the business and results in attention, interest, desire and action on part of the customer. Creative and great visual merchandising attracts attention, creates interest and invites customer to the store, directly gives impact on the sales of the whole retailer. So it is important how a retailer present the interior and exterior of the store. Furthermore, a good display is also act as a silent salesperson. When salespeople are busy with other consumer or the shop is closed, a strong window display showcases spoke to the consumer itself. Visual merchandising should complement and enhance the image of your store. Combined with good lightning, strong signage and professional fixtures, visual merchandising generates excitement and of course, lead to an increasing in sales. Therefore, visual merchandising is definitely a major determinant for a customer to enter a store to spend as a consumer. REFERENCES [1] Babin, B., Hardesty, D. and Suter, T. (2003), â€Å"Color and shopping intentions: the intervening effect of price fairness and perceived effect†, Journal of Business Research, 56(7), 541-51 [2] Bakamitsos, G.A. (2000), â€Å"Mood effects on product evaluations: when and how does mood makes a difference†, doctoral dissertation, Northwestern University, Evanston and Chicago, IL. [3] Bell.J., and Ternus, K. (2002). Silent selling; Best practices and effective strategies in visual merchandising (2nd ed.), New York: Fairchild Publications. [4] Bellizzi, J.A. and Hite, R.E. (1992), â€Å"Environmental color, consumer feelings and purchase likehood†, Psychology and Marketing, 9(5), 347-63. [5] Bitner, M.J. (1992), â€Å"Servicescapes: the impact of physical surroundings on customers and employees†, Journal of Marketing, 56(2), 57-71. [6] Chan, Y.K. and Tai, S. (2001), â€Å"How do in-store environmental cues influence Chinese shoppers? A study of hypermarket customers in Hong Kong†, Journal of International Consumer Marketing, 13(4), 73-103. [7] Chebat, J.C., Chebat, C.G. and Vaillant, D. (2001), â€Å"Environmental background music and in-store selling†, Journal of Business Research, 54, 11-123. [8] Edwards, S., and Shackley, M. (1992). Measuring the effectiveness of retail window display as and element of marketing. International Jornal of Advertising, 11(3), 193-203. [9] Fiore, A.M., Yah, X. and Yoh, E. 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(1987), â€Å"The role of imagery in information processing: review and extensions†, Journal of Consumer Research, (13), 473-91. [16] Mattila, A. and Wirtz, J. (2000), â€Å"The role of preconsumption affect in postpurchase evaluation of services†, Psychology and Marketing, 17 (7), 587-605. [17] Mckeever, R. (2007). How visual merchandising can improve retail fortunes. www.Utalkmarketing.com [18] McKinley, R. (2003). For great visual messages, know the store. Marketing, 37(13), 14. [19] Nguyen, T.T.M., Nguyen, T.D. and Barrett, N.J. (2007), â€Å"Hedonic shopping motivations, supermarket attributes, and shopper loyalty in transitional markets: evidence from Vietnam†, Asia Pacific Journal of Marketing, 19(3), 227-39. [20] Park, C. (2005), â€Å"Complaints of Asian shoppers toward global retailer: a content analysis of e-complaining to Carrefour Korea†, Asia Pacific Journal of Marketing and Logistics, 17(3), 25-39. [21] Russell, J.A. and Geraldine, P. 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Saturday, November 9, 2019
Domino’s Pizza, Inc
Domino's Pizza, Inc. is an international pizza delivery corporation headquartered in Ann Arbor, Michigan, United States. Founded in 1960, Domino’s Pizza is the second-largest pizza chain in the United States. In 1960, Tom Monaghan and his brother, James, purchased DomiNick's, a small pizza store in Ypsilanti, Michigan. The deal was secured by a $75 down payment and the brothers borrowed $500 to pay for the store. Eight months later, James traded his half of the business to Tom for a used Volkswagen Beetle. As sole owner of the company, Tom Monaghan renamed the business Domino's Pizza, Inc. in 1965. In 1967, the first Domino's Pizza franchise store opened in Ypsilanti. Tom Monaghan original goal was to open three pizza delivery stores. That’s why there are three dots on Domino’s logo. Domino’s Pizza continued to grow and in 1978 opened its 200th store. Tom Monaghan launched Domino's Pizza Malaysia in September 1997. Franchising in Malaysia is still in the early stages while fast foods dominate the franchising sector with an estimated annual sales exceeding RM1. 3 billion. With the people’s growing appetite for fast food, the market outlook is good. The rapid growth of the fast-food industry brings both benefits and threats to our society. Normally, fast food restaurant is offering fried chickens, burgers, sandwiches or pizzas. Further more, there are only a few pizza chains in Malaysia like Domino’s Pizza, Pizza Hut and Shakey’s Pizza. Today, Domino’s Pizza is having more than 8,500 stores at all around the world and making a profit of USD35 billion per year. Domino's Pizza is the recognized world leader in pizza delivery operating a network of company-owned and franchise-owned stores in the United States and international markets. Domino's Pizza's vision illustrates a company of exceptional people on a mission to be the best pizza delivery company in the world.
Thursday, November 7, 2019
Ruth Handler essays
Ruth Handler essays Like all the other businesses, selling toys is just as brutal and difficult as. Not only you have to compete with other brands for top selling, you need to capture your consumers ¡Ã‚ ¯ interest before the fifteen minutes end. One season, every child in America absolutely has to have the latest battery-operated robot. Then suddenly next season, it ¡Ã‚ ¯s an action figure of a game based on a new Blockbuster hit. However, sometimes a toy outlasts fashion to become a culture classic, beloved by several generations of children. The Barbie doll is such a toy. When Barbie first appeared in 1959, many industry experts didn ¡Ã‚ ¯t think she ¡Ã‚ ¯d last for the rest of the season, much less than the rest of the century. She was a grown-up doll with grown-up clothes and a full-breasted figure. The experts thought there is no way it could make a success since little girls wanted to play at being mothers. But Ruth Handler, the woman who created Barbie and brought her to the market; said little girls wanted to play at being bigger girls. Handler ¡Ã‚ ¯s instinct was right. By the mid-1990s, sales topped $1 billion worldwide, and typical American girl between the ages of three and ten owed an average of eight Barbies. Ruth was born in Denver, Colorado, on November 4, 1916. She was the tenth and last child of Jacob and Ida Moskowicz who fled Poland to make a new life in the U.S. Ida Moskowicz was forty when Ruth was conceived. And just six months after Ruth was born, Ida had to have gallbladder surgery; she was in no condition to take care the baby. Her eldest daughter Sarah and her new husband Louie Greenwald agreed to look after young Ruth. The couple owned a drugstore across the street from Denver General Hospital. By the time Ruth was ten, she was spending most of her afternoons there, working the cash register, and serving soft drinks and sandwiches. The Greenwalds didn ¡Ã‚ ¯t force her to work, Ruth wanted to do it. And it was quite an experie...
Tuesday, November 5, 2019
Long and Short Vowel Sounds
Long and Short Vowel Sounds Vowels and consonants are two types of letters in the English alphabet. A vowel sound is created when air flows smoothly, without interruption, through the throat and mouth. Different vowel sounds are produced as a speaker changes the shape and placement of articulators (parts of the throat and mouth). In contrast, consonant sounds happen when the flow of air is obstructed or interrupted. If this sounds confusing, try making the â€Å"p†sound and the â€Å"k†sound. You will notice that in creating the sound you have manipulated your mouth and tongue to briefly interrupt airflow from your throat. Consonant sounds have a distinct beginning and end, while vowel sounds flow. The pronunciation of each vowel is determined by the position of the vowel in a syllable, and by the letters that follow it. Vowel sounds can be short, long, or silent. Short Vowels If a word contains only one vowel, and that vowel appears in the middle of the word, the vowel is usually pronounced as a short vowel. This is especially true if the word is very short. Examples of short vowels in one-syllable words include the following: AtBatMatBetWetLedRedHitFixRobLotCupBut This rule can also apply to one-syllable words that are a bit longer: RantChantSleptFledChipStripFlopChug When a short word with one vowel ends in s, l, or f, the end consonant is doubled, as in: BillSellMissPassJiffCuff If there are two vowels in a word, but the first vowel is followed by a double consonant, the vowels sound is short, such as: MatterCannonRibbonWobbleBunny If there are two vowels in a word and the vowels are separated by two or more letters, the first vowels is usually short, for example: LanternBasketTicketBucket Long Vowels The long vowel sound is the same as the name of the vowel itself. Follow these rules: Long A sound is AY as in cake.Long E sound is EE an in sheet.Long I sound is AHY as in like.Long O sound is OH as in bone.Long U sound is YOO as in human or OO as in crude. Long vowel sounds are often created when two vowels appear side by side in a syllable. When vowels work as a team to make a long vowel sound, the second vowel is silent. Examples are: RainSeizeBoatToadHeap A double â€Å"e†also makes the long vowel sound: KeepFeelMeek The vowel â€Å"i†often makes a long sound in a one-syllable word if the vowel is followed by two consonants: BlightHighMindWildPint This rule does not apply when the â€Å"i†is followed by the consonants th, ch, or sh, as in: FishWishRichWith A long vowel sound is created when a vowel is followed by a consonant and a silent â€Å"e†in a syllable, as in: StripeStakeConcedeBiteSizeRodeCute The long â€Å"u†sound can sound like yoo or oo, such as: CuteFluteLutePruneFumePerfume Most often, the letter â€Å"o†will be pronounced as a long vowel sound when it appears in a one-syllable word and is followed by two consonants, as in these examples: MostPostRollFoldSold A few exceptions occur when the â€Å"o†appears in a single syllable word that ends in th or sh: PoshGoshMoth Weird Vowel Sounds Sometimes, combinations of vowels and consonants (like Y and W) create unique sounds. The letters oi can make an OY sound when they appear in the middle of a syllable: BoilCoinOink The same sound is made with the letters â€Å"oy†when they appear at the end of a syllable: AhoyBoyAnnoySoy Similarly, the letters â€Å"ou†make a distinct sound when they appear in the middle of a syllable: CouchRoutPoutAboutAloud The same sound can be made by the letters ow when they appear at the end of a syllable: AllowPlowEndow The long â€Å"o†sound is also created by the letters â€Å"ow†when they appear at the end of a syllable: RowBlowSlowBelow The letters ay make the long â€Å"a†sound: StayPlayQuay The letter Y can make a long â€Å"i†sound if it appears at the end of a one-syllable word: ShyPlyTryFly The letters ie can make a long â€Å"e†sound (except after c): BeliefThiefFiend The letters ei can make the long â€Å"e†sound when they follow a â€Å"c†: ReceiveDeceiveReceipt The letter â€Å"y†can make a long e sound if it appears at the end of a word and it follows one or more consonants: BonyHolyRosySassyFieryToastyMostly
Saturday, November 2, 2019
American Landscape Artwork Essay Example | Topics and Well Written Essays - 250 words
American Landscape Artwork - Essay Example In particular, nature and landscape were utterly synonymous. Cole’s painting evidently depicts a picturesque image seen in the Connecticut River in the time of the romantic artist. The masterpiece clearly shows trees, shrubs, waters, and other images visible in the natural landscape. Further, the landscape painting is portrayed like a picture-postcard perfect, a characteristic of American romanticism. Church’s â€Å"The Heart of Andes†also belongs to the 19th-century American romanticism. Similar to Cole’s painting; Church’s art work depicts the panoramic view of the wilderness. â€Å"The Heart of Andes†shows the exotic of nature. In contrast to cityscape, Church’s painting evokes the untamed and virgin element found in the vast green forest. American romanticism is basically defined in terms of landscape, seascape, and other natural wonders -- what Kaufman and Macpherson (2005) call sublime and beautiful. The landscape paintings prominent in the 19th-century America are considered as part and parcel of the American romanticism. Cole’s â€Å"The Oxbow†and Church’s â€Å"The Heart of Andes†are beautiful and sublime landscape art works characterized in a romantic movement. Both paintings exhibit nature in its grandeur and exotic
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