DOCSLIB.ORG

Image Required Standard & Guidelines

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Image Required Standard & Guidelines IMAGE REQUIRED STANDARD & GUIDELINES FOR MARKETPLACE INDEX IMAGE REQUIRED STANDARD & GUIDELINES GENERAL IMAGE REQUIREMENTS p.3 – 7 BUNDLES p.35 - 36 . Rules . Do’s & Don’ts . Zalora Main Catalog Standard MODELS & POSES p.37 - 40 LIGHTING & COLOR p.8 - 12 . Face of Zalora . Photography Setup Option 1 – Studio . Models Requirement . Photography Setup Option 2 – White Wall . Lighting Required Standard KIDS p.41 - 45 . Dos & Don’ts . Required Standard – Ghost Mannequin . Required Standard – On Model IMMEDIATE REJECT p.13 - 15 . Do’s & Don’ts . Click Report . Immediate Don’ts PRODUCT p.46 - 60 . Photography Setup - Products APPAREL DOs vs DON’Ts p.16 – 23 . Bags . Required Standard . Shoes . Ghost Mannequin & How To . Jewelries . Dos & Don’ts . Watches . Cropping . Sunglasses UNDERWEAR & SWIMWEAR p. 24 - 33 . Female Underwear Required Standard . Sheer Underwear Dos & Don’ts . Male Underwear Required Standard 06/2015 – Image Sequence & Crop Guidelines 2 GENERAL IMAGE REQUIREMENTS ALL IMAGES MUST BE: ● portrait layout ● with plain background – Light Grey (apparel) , White (product) ● in JPEG format ● minimum 762pixel x 1100pixel and 300dpi in image size and resolution - this is to ensure image is not pixelated ● Size of file: 2MB max/ per file ● clear and not blur/pixelated - products are presented as the main focus of the image - products are presented in a neat and tidy manner ● does not contain any other brand’s logo/name ● no watermarks * Images that fail to meet these requirements will automatically be suspended 06/2015 – Image Sequence & Crop Guidelines 3 APPAREL – IDEAL CATALOG THE IDEAL CATALOG The recommended guide is to ensure good quality images and consistency throughout Zalora catalog. PRODUCT – IDEAL CATALOG THE IDEAL CATALOG The recommended guide is to ensure good quality images and consistency throughout Zalora catalog. APPAREL CLICK REPORT - BACKGROUND CLICK THROUGH RATE Report shows that images with plain background and good lighting encouraged higher click rates – crucial for sales conversion 0.65% CTR > + 0.34% > 0.99% CTR *Images and data comparison is based on the same brand APPAREL CLICK REPORT – IMAGE QUALITY CLICK THROUGH RATE Report shows that better quality images & content will strengthen average CTR – crucial for sales conversion Better quality image & content includes: Model choice, hair & makeup, photography and product content details 0.43% CTR > + 0.74% > 1.17% CTR *Images and data comparison is based on the same brand Back to Index LIGHTING & PHOTOGRAPHY 8 PHOTOGRAPHY SETUP – OPTION 1 (STUDIO) REQUIRED EQUIPMENTS CAMERA • DSLR CAMERA • 24-105mm lens • Sycn-Cord or Wireless Flash Trigger LIGHTING • 500W/s Monolight • 2400mm Air-Cushioned Light Stand BACKGROUND • 2700mm super white seamless background paper • 3600mm wide background support kit • 2x 62.5mm (or equivalent) thickness black styrofoam blockers GOOD TO HAVE • 4x 8kg sandbags for weighing down light stand and background 9 PHOTOGRAPHY SETUP – OPTION 2 (WHITE WALL) REQUIRED EQUIPMENTS CAMERA • DSLR CAMERA • 24-105mm lens BACKGROUND • Clean & plain white wall with exposure to natural sunlight • 2x 62.5mm (or equivalent) thickness black Styrofoam blockers 10 LIGHTING & COLOR – REQUIRED STANDARD Studio lighting is recommended in order for product and model to be presented professionally Example: . Product and model is bright and attractive . Overall image does not look dull. Model’s skin tone looks healthy & radiant LIGHTING & COLOR – REJECT Poorly lit images do not appeal to customers Example: . Color tone is over-saturated . Strong background color . Dull color and lack of light makes . Image looks like it is being shot . Looks over-edited and unnatural the overall image unappealing using a mobile phone camera/low quality camera. Back to Index IMMEDIATE REJECTS 13 MAIN IMAGE IMMEDIATE NO NO’S WATERMARKS TWO MODELS SELFIES DISTORTED/ LANDSCAPE STRETCHED Absolutely no One model per item Absolutely no selfies Image must be in watermarks of any (unless item is allowed Images must portrait and fits the kind is allowed reversible, multi- be hi-res and frame dimensions pack, couples wear not stretched with no white spaces See pg. 33 or around it compressed See pg. 3 when uploaded See pg. 3 MAIN IMAGE IMMEDIATE NO NO’S FACELESS MODEL BRIGHT MANNEQUIN SEXUALLY MESSY BACKGROUND SUGGESTIVE PLACEMENT Do not crop your Absolutely no IMAGES model’s head off Absolutely no bright mannequin Products must for the main image, colored backgrounds allowed for both Images must be neatly except for and walls apparel and be decent and presented bottoms See pg. 9 products (main fashionable Must be against Only shoot with image) Model must a white models that are See pg. 18 - 20 not appear too background suitable for Zalora sexy, Must be front and your brand especially facing See pg. 35 - 37 lingerie shoot Back to Index APPAREL 16 APPAREL – REQUIRED STANDARD This is the required standard for ZALORA catalog. Model and product must be presented in a clean and tidy manner on a light grey background. Presentation of the main image is very important in order to portray your products the best on main catalog. Example: 1 2 3 4 First image (Front) Second image (Back) Third image (Styling) Fourth image (Detail) . Apparel is shown clearly in . Back of apparel is shown clearly in . Suggested styling of the apparel . Detail of apparel shown clearly tidy manner tidy manner in a tidy manner APPAREL - REQUIRED STANDARD Image can be cropped to focus on the main apparel that is for sale – for bottoms only Presentation of the main image is very important in order to portray your products the best on main catalog. Example: 1 2 3 4 First image (Front) Second image (Back) Third image (Styling) Fourth image (Detail) . Apparel is shown clearly in . Back of apparel is shown clearly in . Suggested styling of the apparel . Detail of apparel shown clearly tidy manner tidy manner in a tidy manner OUTDOOR – REJECT Main Image with scenery background that is NOT acceptable. Example: . Messy and . Other people in . Dirty looking . Messy and . Dirty looking . Copy paste . Depth of field distracting objects the background background unorganized background subject on with front object background background GHOST MANNEQUIN – HOW TO Flat Lay Method should be direct top view If no suitable model is available, ghost mannequin is the recommended alternative. Main image presentation is the most important as it is shown on the catalog page. Example: + = Apparel should look as tidy and straight as possible. Messy wrinkles must be edited away. Apparel on Image of the inner part model/mannequin . Model/mannequin stand . Turn the apparel inside out if . Both side should look symmetrical straight with arms stretch needed. straight down. Remove any tags if possible or edit it away later. APPAREL – REQUIRED STANDARD This is the required standard for non-model shots on ZALORA catalog: Example of ghost mannequin . Product must be strictly on white background and well lit shot on flat lay method which . Garment’s shape must be tidy, flattering and accurately presented as to how it looks like on model is acceptable Example: 1 2 3 First image (Front) Second image (Back) Third image (Detail) . Apparel is shown clearly . Back of apparel is shown clearly in . Close up of product’s fabric and against a white background tidy manner details . Silhouette of the garment is flattering and well represented GHOST MANNEQUIN - REJECT If no suitable model is available, ghost mannequin is the recommended alternative. Main image presentation is the most important as it is shown on the catalog page. Example: Untidy Ghost Mannequin On Mannequin/ Hanger Bad placement and Missing/Cropped messy shape . Apparel is shot in an untidy . Visible mannequin and hanger is . Too much gap between the . Products should be shown in full manner not allowed sleeves and frontal . The shape of the garment is . Mannequin should be edited out . Untidy sleeves . Mannequin silhouette should be not flattering . Too much folds and crinkles straight and tidy . Garment is cropped off CROPPING – DO & DON’T Image cropping should show the main apparel in full. Example: . Too much negative and . Background crop does . Apparel is shown clearly . Apparel is cropped off, not . Model and garment unwanted space within not fit the full frame showcasing clearly what the should fill up 60-70% of the frame product is on main image the full image . Product view is being minimized Back to Index UNDERWEAR & SWIMWEAR 24 LINGERIE & SWIMWEAR – REQUIRED STANDARD . Product should be shot as ghost mannequin or flat lay – especially sheer fabric and thongs Example of other lingerie . Background must be white and clean set as ghost mannequin . Product must be neat and in good shape Example: 1 2 3 First image (Front) Second image (Back) Third image (Detail) . Background must be white . Apparel is shown clearly in . Back of apparel is shown clearly in . Detail of apparel shown clearly . Product placement must be tidy manner tidy manner in a tidy manner front facing and neat . Shape of the product is good . No decoration needed LINGERIE & SWIMWEAR – REQUIRED STANDARD Sheer lingerie/Thong image should be shown as ghost mannequin or flat lay only Example of other sheer lingerie and thong on ghost mannequin Example: 1 2 3 First image (Front) Second image (Back) Fourth image (Detail) . Extremely sexy or sheer . Apparel is shown clearly in a . Back of apparel is shown clearly in . Detail of apparel shown clearly in lingerie on model will be tidy manner a tidy manner a tidy manner rejected. Please shoot as . Shape of product is good ghost mannequin only LINGERIE & SWIMWEAR TOP – REQUIRED STANDARD . Lingerie top/bra should fit model without showing too much cleavage. Raunchy and . If product is sheer, it should be presented as ghost mannequin or flat lay. sexually suggestive Example: images will be rejected 1 2 3 4 First image (Front) Second image (Back) Third image (Styling) Fourth image (Detail) . Apparel is shown clearly in a .
Load more

Recommended publications
  • Improving Photometric Calibration of Meteor Video Camera Systems
    Improving Photometric Calibration of Meteor Video Camera Systems Steven Ehlerta, Aaron Kingeryb, and Robert Suggsc aQualis Corporation/Jacobs ESSSA Contract, NASA Meteoroid Environment Office, Marshall Space Flight Center, Huntsville, AL, USA, 35812 bERC/Jacobs ESSSA Contract, NASA Meteoroid Environment Office, Marshall Space Flight Center, Huntsville, AL, USA, 35812 cNASA Meteoroid Environment Office, Marshall Space Flight Center, Huntsville, AL, USA, 35812 Abstract We present the results of new calibration tests performed by the NASA Me- teoroid Environment Office (MEO) designed to help quantify and minimize systematic uncertainties in meteor photometry from video camera observa- tions. These systematic uncertainties can be categorized by two main sources: an imperfect understanding of the linearity correction for the MEO's Watec 902H2 Ultimate video cameras and uncertainties in meteor magnitudes aris- ing from transformations between the Watec camera's Sony EX-View HAD bandpass and the bandpasses used to determine reference star magnitudes. To address the first point, we have measured the linearity response of the MEO's standard meteor video cameras using two independent laboratory tests on eight cameras. Our empirically determined linearity correction is critical for performing accurate photometry at low camera intensity levels. With regards to the second point, we have calculated synthetic magnitudes in the EX bandpass for reference stars. These synthetic magnitudes enable direct calculations of the meteor's photometric flux within the camera band- Preprint submitted to Planetary and Space Science August 22, 2016 pass without requiring any assumptions of its spectral energy distribution. Systematic uncertainties in the synthetic magnitudes of individual reference stars are estimated at ∼ 0:20 mag, and are limited by the available spec- tral information in the reference catalogs.
    [Show full text]
  • GMG Epson Proofing to G7
    Equipment List Pre-media & Retouching Large Format Printing & Finishing Boutique luxury & fashion focused retouching studio Durst Lambda 131Plus – 2 Proofing: HP Scitex 6100 UV inkjet flatbed • GMG Epson proofing to G7 int’l standards Durst Rho 600 roll-to-roll press • Fuji Final Digital Proofing Zund Digital Flatfed cutter • HP1050C Newsprint Proofing Lambda Auto Cutter – 2 ICC Color Management Workflow 42” Graphtec Vinyl Cutter Drum and Flat bed scanners Standard substrates available: Client friendly controlled color-viewing rooms • gloss, matte, pearl, Ultraboard, gator, foam core, sintra, plexi, duratrans, indoor & outdoor vinyls Film laminates Digital Photography Complex mounting and installations Still life/fit model photography studio Professional on-site installation/assembly In house photographer and cameras Standard rentals and props available Network & Communications Webnative for customized client management of digital files Sheetfed & Digital Printing and assets 40” Heidelberg 6 color with interdeck UV • 24/7 password protected access DCC online ordering system for tailored company print offerings 40” Heidelberg 6 color with coating unit • Customizable with company logo Indigo 5500 7 color digital press Konica/Minolta LD 6500 Digital Press Additional Capabilities Mail house services Bindery (sheetfed, digital) Fulfillment services for complex print or ad campaigns Die Cutting 10k and typesetting services • Heidelberg 40” Varimatrix CD and DVD duplication/labeling • 54” Polar Digital Cutter Personal production consultation for all retouching and print projects 6 pocket Heidelberg Stitcher Stahl Folders – 2 In-line gluer/folder DCC DCC NYC DCC NJ Digital Color Concepts 42 West 39th St. 6th Floor 256 Sheffield St. dccnyc.com New York, NY 10018 Mountainside, NJ 07092 [email protected] 212 989 4888 908 264 0504.
    [Show full text]
  • Effect of Color Space on Deep Learning Algorithm for Surgical Image
    Effect of color space on deep learning algorithm for surgical image classification Author: Julien Schwerin Matriculation number: 20200541 Submitted on: 29 March 2021 A Bachelor’s Thesis submitted in partial fulfilment of the requirements for the degree of BSc (Computer Engineering) 1st referee: Dipl.-Inform. Ingo Boersch 2nd referee: Prof. Dr.-Ing. Jochen Heinsohn Supervisor: Dr.rer.nat. Florian Aspart Selbstständigkeitserklärung Hiermit erkläre ich, dass ich die vorliegende Arbeit zum Thema Effect of color space on deep learning algorithm for surgical image classification vollkommen selbstständig verfasst und keine anderen als die angegebenen Quellen und Hilfs- mittel benutzt sowie Zitate kenntlich gemacht habe. Die Arbeit wurde in dieser oder ähnlicher Form noch keiner anderen Prüfungsbehörde vorgelegt. Berlin, den 29.03.2021 Julien Schwerin i Zusammenfassung Die videoassistierte minimalinvasive Chirurgie ist dank diverser Vorteile immer dann, wenn es möglich ist die erste Wahl im Operationssaal. Durch die Verwendung einer Kamera und fil- igraner Werkzeuge entstehen daraus viele intraoperative Vorteile für den Patienten. Zusätzlich lassen sich riesige Datenmengen in Form von Bildern und Videos erzeugen. Die gewonnenen Daten sind sowohl für die Lehre als auch für die Evaluation von Operationsverläufen sehr Wertvoll. Außerdem können auch für das trainieren von Deep Learning Modellen verwendet werden. Unterstützung in der intraoperativen Entscheidungsfindung, Risikoeinschätzungen oder Beurteilungen der Performanz des Operateurs sind nur einige von unzähligen daraus re- sultierenden Möglichkeiten. Deep Learning Algorithmen arbeiten mit Bildern die meist aus drei Farbkanälen aufgebaut sind. Ob die Farbräume, die den Kanaelen zu Grunde liegen einen Einfluss auf die Performanz eines modernen Deep Learning Modells zur Klassifizierung haben ist Teil dieser Untersuchung.
    [Show full text]
  • On the Ecological Significance of Pollen Color: a Case Study in American Trout
    1 1 Running head: Pollen color variation 2 3 Title: 4 On the ecological significance of pollen color: a case study in American trout 5 lily (Erythronium americanum) 6 7 Authors 8 Emily J. Austen*1, Department of Biology, University of Ottawa, Ottawa ON Canada, and 9 Biology Department, Mount Allison University, Sackville NB Canada 10 Shang-Yao Lin2, Department of Biology, University of Ottawa, Ottawa ON Canada 11 Jessica R. K. Forrest3, Department of Biology, University of Ottawa, Ottawa ON Canada 12 13 * Author for correspondence 14 1 [email protected] 15 2 [email protected] 16 3 [email protected] 17 18 2 19 Abstract 20 Evolutionary ecologists seek to explain the processes that maintain variation within populations. 21 In plants, petal color variation can affect pollinator visitation, environmental tolerance, and 22 herbivore deterrence. Variation in sexual organs may similarly affect plant performance. Within- 23 population variation in pollen color, as occurs in the eastern North American spring ephemeral 24 Erythronium americanum, provides an excellent opportunity to investigate the maintenance of 25 variation in this trait. Although the red/yellow pollen-color polymorphism of E. americanum is 26 widely recognized, it has been poorly documented. Our goals were thus (1) to determine the 27 geographic distribution of the color morphs, and (2) to test the effects of pollen color on 28 components of pollen performance. Data provided by citizen scientists indicated that populations 29 range from monomorphic red, to polymorphic, to monomorphic yellow, but there was no 30 detectable geographic pattern in morph distribution, suggesting morph occurrence cannot be 31 explained by a broad-scale ecological cline.
    [Show full text]
  • User's Guide May 2018
    User’s Guide May 2018 2 Contents Preface 11 1 Introduction 13 1.1 The ROOT forum............................................... 13 1.2 Contact Information.............................................. 13 1.3 Conventions Used in This Book........................................ 14 1.4 The Framework................................................. 14 1.5 Installing ROOT................................................ 15 1.6 The Organization of the ROOT Framework................................. 16 1.7 How to Find More Information........................................ 21 2 Getting Started 25 2.1 Setting the Environment Variables...................................... 25 2.2 Start and Quit a ROOT Session....................................... 26 2.3 Using the GUI................................................. 27 2.4 The ROOT Command Line.......................................... 37 2.5 Conventions................................................... 39 2.6 Global Variables................................................ 41 2.7 Environment Setup............................................... 42 2.8 Converting from PAW to ROOT....................................... 44 3 Histograms 45 3.1 The Histogram Classes............................................. 45 3.2 Creating Histograms.............................................. 45 3.3 Bin Numbering................................................. 47 3.4 Filling Histograms............................................... 47 3.5 Random Numbers and Histograms...................................... 48
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the tect directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 ENHANCING ADHERENCE TO ANTIBIOTIC REGIMENS: A TEST OF PROTECTION MOTIVATION THEORY AND PERSUASIVE COMMUNICATIONS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Candace Louise Haugtvedt, M.S.
    [Show full text]
  • A Comparison of Abundance and Distribution Model Outputs Using Camera Traps and Sign Surveys for Feral Pigs
    CSIRO PUBLISHING Pacific Conservation Biology, 2021, 27, 186–194 https://doi.org/10.1071/PC20032 A comparison of abundance and distribution model outputs using camera traps and sign surveys for feral pigs Derek R. Risch A,E, Jeremy RingmaA,B, Shaya HonarvarC,D and Melissa R. Price A AUniversity of Hawai‘iatMa¯noa, 1910 East-west Road, Honolulu, HI 96822, USA. BPresent address: Royal Melbourne Institute of Technology University, GPO Box 2476V, Melbourne, Vic. 3001, Australia. CDepartment of Land and Natural Resources, Division of Forestry and Wildlife, 1151 Punchbowl Street, Honolulu, HI 96822, USA. DPresent address: University of Hawai‘iatMa¯noa, School of Life Sciences, 3190 Maile Way, Honolulu, HI 96822, USA. ECorresponding author. Email: [email protected] Abstract. Species distribution models play a central role in informing wildlife management. For models to be useful, they must be based on data that best represent the presence or abundance of the species. Data used as inputs in the development of these models can be obtained through numerous methods, each subject to different biases and limitations but, to date, few studies have examined whether these biases result in different predictive spatial models, potentially influencing conservation decisions. In this study, we compare distribution model predictions of feral pig (Sus scrofa) relative abundance using the two most common monitoring methods: detections from camera traps and visual surveys of pig sign. These data were collected during the same period using standardised methods at survey sites generated using a random stratified sampling design. We found that although site-level observed sign data were only loosely correlated with observed camera detections (R2 ¼ 0.32–0.45), predicted sign and camera counts from zero-inflated models were well correlated (R2 ¼ 0.78–0.88).
    [Show full text]
  • Arxiv:2005.05972V2 [Astro-Ph.HE] 7 Jul 2020 Emission in the Ultraviolet (UV) and Optical
    Draft version July 8, 2020 Typeset using LATEX twocolumn style in AASTeX63 The Spectacular Ultraviolet Flash From the Peculiar Type Ia Supernova 2019yvq A. A. Miller,1, 2 M. R. Magee,3 A. Polin,4 K. Maguire,3 E. Zimmerman,5 Y. Yao,6 J. Sollerman,7 S. Schulze,5 D. A. Perley,8 M. Kromer,9 S. Dhawan,10 M. Bulla,11 I. Andreoni,6 E. C. Bellm,12 K. De,6 R. Dekany,13 A. Delacroix,13 C. Fremling,6 A. Gal-Yam,5 D. A. Goldstein,6, ∗ V. Z. Golkhou,12, 14 A. Goobar,10 M. J. Graham,6 I. Irani,5 M. M. Kasliwal,6 S. Kaye,13 Y.-L. Kim,15 R. R. Laher,16 A. A. Mahabal,6, 17 F. J. Masci,16 P. E. Nugent,18, 4 E. Ofek,5 E. S. Phinney,6 S. J. Prentice,3 R. Riddle,13 M. Rigault,19 B. Rusholme,16 T. Schweyer,7 D. L. Shupe,16 M. T. Soumagnac,20, 5 G. Terreran,1 R. Walters,6, 13 L. Yan,6 J. Zolkower,13 and S. R. Kulkarni6 1Center for Interdisciplinary Exploration and Research in Astrophysics (CIERA) and Department of Physics and Astronomy, Northwestern University, 1800 Sherman Road, Evanston, IL 60201, USA 2The Adler Planetarium, Chicago, IL 60605, USA 3School of Physics, Trinity College Dublin, The University of Dublin, Dublin 2, Ireland 4Departments of Physics and Astronomy, University of California, Berkeley, Berkley, CA 94720, USA 5Department of Particle Physics and Astrophysics, Weizmann Institute of Science, 234 Herzl St, 76100 Rehovot, Israel 6Cahill Center for Astrophysics, California Institute of Technology, 1200 E.
    [Show full text]
  • RUNWAY MOMS (38 X 30') GENRE: FACTUAL ENTERTAINMENT
    RUNWAY MOMS (38 x 30') GENRE: FACTUAL ENTERTAINMENT Liza Elliott-Ramirez runs Expecting Models, the world's only agency devoted to representing professional models during their pregnancies. Each episode of Runway Moms highlights a different model mom-to-be and her unique pregnancy and birth story. Everyone deals with having a baby differently, choosing between natural vs. medicated births, midwives and doctors, doulas, waterbirths, and more. Plus, we accompany the models on sexy photo shoots and learn their prenatal secrets to staying fit and glamorous. Liza—an ex-model and mother of two—acts as both an agent and confidant to these beautiful girls as they navigate this exciting moment in their lives. Runway Moms follows dynamic women like Nynne, a Danish model preparing for life as a single mom far from home; Laura, a 39-year old model facing the health challenges of pregnancy later in life; and Mary Jane, an established photographer and model whose musician husband missed the birth of their first son and worries it may happen again. EPISODES Episode 1: Liza Elliott Ramirez runs “Expecting Models”, the only professional agency for pregnant models. An experienced agent, friend to her beautiful moms-to-be and a mother of two who has been through two painful C-sections herself, Liza knows the business and what her models go through! Lisa Rodriguez, a beautiful Latino model and actress expecting her first baby girl, looks to Liza for emotional support as she juggles her work life with being preoccupied by her mother who is battling a life threatening liver disease.
    [Show full text]
  • 2007-09 Produced By: College Relations Designed By: Pentagram Production By: Di Vision Creative Group Photography By: Matthew Septimus
    Who are you? 2007-2009 Undergraduate Catalogue Undergraduate Undergraduate Catalogue 2007-2009 Fashion Institute of Technology State University of New York Associate’s and Baccalaureate Programs Fashion Institute of Technology Non-Profit Org. Seventh Avenue at 27 Street U.S. Postage New York City 10001-5992 PAID New York, NY Permit No. 472 Academic Calendar 18 The College 20 Fashion Institute of Technology 21 FIT and New York City 21 Teaching and Learning 21 Campus and Facilities 22 Alumni of FIT 26 History and Mission 26 Admissions 28 Selection of Applicants for Associate’s Degree Programs 29 Selection of Applicants for Baccalaureate Degree Programs 35 International Students 36 Visiting Students 36 Special Assistance 37 Notification 37 Visits to the College 37 Instructional Programs 38 Curricula 39 Scholastic Standing 55 Requirements for Degree Completion 57 Dean’s List and Academic Achievement Awards 59 Expenses and Financial Aid 64 Tuition and Fees 65 Tuition and Fee Refunds 69 Financial Aid 70 The Educational Foundation for the Fashion Industries 72 Student Affairs 78 Services 79 Activities 83 Governance 85 Student Rights and Responsibilities 85 Majors 92 Degree Programs 93 Two-Year Associate’s Degree Programs 94 One-Year Associate’s Degree Programs 112 Baccalaureate Degree Programs 120 Courses 148 Directories 304 Index 340 Location and Campus Map 354 Requests for Admissions Information 356 The programs, requirements, tuition, and fees published in this catalogue are subject to change without notice, at any time, at the discretion
    [Show full text]
  • Abstract JIAJUN, LIU. Ink Limiting and Its Impact On
    Abstract JIAJUN, LIU. Ink Limiting and its Impact on Color Quality of Inkjet Printed Cotton Substrates (Under the direction of Dr. Lisa Parrillo-Chapman and Dr. Renzo Shamey). Digital printing is increasingly considered an important process in reproduction of colored substrates in the textile sector. Compared to conventional printing technologies, the advantages of digital textile printing include quick reaction time, short run capability, low waste production, high image resolution, and improved color rendering, among others. Inkjet printing technology was originally invented for paper printing, and standards and evaluation procedures are well established in this sector. To reduce ink consumption and make the production and reproduction process more sustainable and viable at a lower cost, the concept of reducing ink limiting levels was introduced. While several patents and papers about ink limiting in paper printing have been published over the last twenty years (Hewlett-Packard,1997; Zeng, 2001; Urban, 2009; Shestak, 2009; Qiao, 2012; Kirkenaer, 2013), very little research has been conducted on ink limiting for textiles. However, characteristics and application of textile fabrics are significantly different from paper media. For example, it is important to have good color fastness properties in textile printing, while this might be less important in paper printing. Color reproduction techniques in textile printing are also somewhat different from those used in paper printing. Thus, in textile printing, it is not suitable to utilize the current testing image and evaluation methods which are designed for, and used, in paper printing. A significant amount of research has been done to improve the print quality in textiles. In addition, color reproduction fidelity has been evaluated by examining various parameters such as line width, dot shape, uniformity and characteristics of prints with solid colors, as well as color mapping for transitions required between different devices, such as from digital media to printing machines.
    [Show full text]
  • CLAIRE DEBERG 5’8.5” · 34C · 26 · 36 Cherokee Clairedeberg.Com · 612-280-3684 [email protected]
    CLAIRE DEBERG 5’8.5” · 34C · 26 · 36 Cherokee clairedeberg.com · 612-280-3684 [email protected] ON-CAMERA ON-CAMERA QVC Holiday Gourmet Guest Host · Funky Chunky CoverFX “Makeup Model” ∙ EVINE NY LIFE “Job Interviewee” · Mojo Solo Sirot “Skincare Model” ∙ EVINE Be The Match “Mom of Patient” ∙ Barry Andersson Harken Health “Patient” ∙ Don’t Blink Meural “Mom + Wife” ∙ Humdinger Studios UKoalaBag “Sharp Shooter” ∙ New World Productions Cargill “Friendsgiving Hostess” ∙ David Howell Arvig “Phone Girl” ∙ Johnson Group Marketing Zanna Rassi for Target “Spring Fashion Fit-Model” ∙ Target DIY Promo “Wifey” ∙ EVINE Andersen Windows “Kissing Wife” ∙ Andersen Windows Tennant “Custodian” ∙ Instructional Video Bailey Nurseries “Wife + Hostess” ∙ Drive Thru Productions Christmas Promo “Partygoer” ∙ EVINE Nice Ride “Bicycle Girlfriend” ∙ Motivation Swimsuit Line “Live Model” ∙ Target FILM Agiliti “Registered Nurse” ∙ Words at Work Wendigo “Onida” ∙ Jared Myers Productions 3M Post-It Notes “Business CEO” ∙ Matre Productions Closure “News Anchor” ∙ Hollywood Rookies Target Lingerie “Bikini Model” ∙ Salt Studios Garbage Boy “Claire” ∙ Corban Noah Productions Ergotron for The Saline Project “Dancer + Yogi” ∙ No Ware Media Edge of Insanity “Stripper” ∙ Psychology & Horror, LTD Invicta Watches “Luxury Watch Line” ∙ EVINE Bunny & Clyde “Call Girl” ∙ Geoff Brown Consult Beaute “Anti-Aging Model” ∙ EVINE Active Argon “Skin Model” ∙ EVINE MUSIC VIDEO History Channel “Portugal Peasant” ∙ Committee Films Ageist “Baby Face” “Drank, Dancing Soccer Mom” ∙ Staggs
    [Show full text]