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honeylikewords · 5 years

Note

What’s this?! My favorite writer is now trying her hand at Peter 🅱️ Parker?!?! *i place an offering of candies and honey at your feet* Please, if you have any: some hcs for this foolish soul...

Aw, shucks, I’m your favorite? That’s so darn sweet of you to say! I feel so honored to be someone’s favorite writer! I accept the candies and honey and, in return, here are some Peter B Ponderings for you!

( @regrettablewritings, It He)

General, Non-Romantic Thoughts/HCs:

Peter is actually lowkey lactose intolerant. It was worse pre-bite, meaning he basically could never have cheese or milk without getting horribly ill, and while it’s better nowadays (with the combination of age, practice, and enhanced health from the spider bite), he still gets a tummy ache if he ingests too much dairy. That being said… he always ingests too much dairy. He just loves that good, good pizza cheese too much to resist.

Peter collects a lot of knick-knacks and tchotchkes. He makes jokes about it being tacky to own one’s own merch, but he does admit he has a fondness for some of the Spidey memorabilia he sees around New York. He’s been known to go to conventions (as a photographer for the paper, documenting the events with his press badge) and end up wandering the artists’ alleys, sometimes buying their unlicensed Spidey stickers or handmade plushies. He thinks it’s sweet that people care that much.

On a similar note, if a child EVER gives him ANYTHING meant for him/Spidey, he keeps it. Every time. Even in his lowest, grouchiest state, he always kept things made for him by children and never declined them. He keeps everything in a filing cabinet in his home, and a couple more in the Spider-Shed/his hideout. The Spider-Shed is wall-to-wall covered in drawings children have made for him, letters from kids he’s saved or who admire him, pictures of him posing with kids who asked for a photo op with their favorite hero. It keeps him motivated: do it for the people who look up to him.

Speaking of his hideout, which is technically on May’s property, Peter B. owns Aunt May’s home. After she passed away, she left the house to him in the will, so he does own it. The only reason he didn’t immediately move in there (and instead got that crappy loaner apartment) was because he felt it would be too big to be in all alone, much less all alone with all the painful memories. He was in a dark, hurting place in his life, and the idea of living in his childhood home without his mother figure, without his loved ones… it ached too badly to even think about. So, instead, he put all of May’s things in storage and rented the house out temporarily. However, after the events of Spider-Verse, he decided to move in, feeling better about himself and his future. It’s what May would have wanted: for him to go home.

Peter is an 80′s kid (born in 1981!), so he has a fondness for the stuff he grew up with, while still being able to enjoy newer things. That being said, he’s a bit of an old coot and codger about certain things. For example, he hated the Star Wars prequels and, if probed, will go on a rant about how they almost destroyed the Star Wars franchise and how, if he could, he’d go back in time and slap George Lucas silly for trying to make all that happen. “Mace Windu is the ONLY good thing about the prequels,” he hisses. “The O N L Y good thing.”

On that note, Peter does actually still own VHS tapes and a player that he keeps fully functional. He’s very techy, very gifted with computers, and very capable of keeping up with every detail of the technical realm, but he also has a fondness for older, clunkier, almost ‘analog’ machines. Plus, there’s just something pleasing to him about the pop and crackle and fuzz of a VHS tape. He has all of his childhood/teenage tapes still, and insisted May never throw away their tapes. Every movie they ever owned is preserved, and he can go back and revisit them any time he pleases. Sometimes, when he’s working on a new gadget, tinkering away at his workbench, he’ll put on a VHS in the background and just let the movie play itself out while he works. He often plays the original Star Wars films, The Goonies, or Jurassic Park. Sometimes he’ll pop in VHSes he recorded of original Star Trek episodes or something like Quantum Leap. He likes sci-fi stuff the best.

Peter’s hair is Like That because it’s the one thing he actually bothers grooming. May used to always get on his case as a kiddo because he had messy hair, and it was the one aspect of his grooming he could control (he didn’t grow facial hair for quite some time, so this was just about the only thing he could do for most of his adolescence and young adulthood), so he knows to at least bother to brush it over. Every time he does it, he can imagine May standing in the bathroom door, watching him brush his hair, and remember the way she’d pinch his cheek and call him “the handsomest boy in Queens”. It makes him smile.

Peter is slightly far-sighted, needing reading glasses. His eyesight was, for the most part, fixed with the spider-bite, but that mostly just gave him incredible long-distance vision. Up close, however, especially now that he’s a touch older, he needs a little help.

Peter B. Parker is, of course, Jewish. He still practices and regularly visits synagogue, and has done a number of community efforts both in and out of the suit. Spider-Man is welcomed at a number of institutions of faith in New York, and Peter has been to at least one service at each (he’s attended church, mosque, temple, synagogue, et cetera) while in the suit. He’s very proudly Jewish, as evidenced by his wedding, and happy to be part of the community.

Peter likes going to the movies, but has found that, now that he’s getting older, if the movie isn’t very good, he might just doze off and fall asleep. It’s embarrassing how many times he’s been caught at the local theatre, slouched in his seat, snoring into his half-empty popcorn bucket. Sometimes the workers will mistake him for a homeless man, and the number of times he’s had to show ID and prove that he’s not homeless is… even more embarrassing.

Peter doesn’t eat too exotically, but he’s willing to try lots of things. He lives in New York, after all, one of the most densely interculturally populated cities in the world! He’s open to experimenting and seeing what lies in the unprobed realms of cuisine. But don’t offer him anything like live animals, slimy stuff, “prairie oysters”, eyeballs, et cetera. Sometimes, you just need to pass on the more questionable dining experiences.

Peter, absolutely, beyond a shadow of a doubt, cannot dance. This video is a reference to how he dances.

youtube

Peter thinks white chocolate tastes like grease, dark chocolate is too bitter, and only super processed milk chocolate is good. This guy eats whole boxes of Goobers, too, just because he likes the chocolate. “I try to ignore the peanuts,” he says around a mouthful.

Peter B. Parker has been hit by several taxis. He now hates taxis.

Peter B. Parker has a love-hate relationship with the new Star Wars sequels. He also thinks Poe Dameron is mad hot, but somehow familiar. Where does he know that voice…?

Peter’s favorite time of year is winter. Summer is a b o m i n a b l e in New York, spring’s fine, autumn beautiful, but Peter loves a good, chilly, brisk winter’s day, and the promise of snow. He doesn’t get especially cold in the suit, either, since it’s perfectly designed to always maintain thermodynamic equilibrium.

Peter loves a good, hard hug. Especially if it’s hard enough to pop his back a little. He’s more of an ‘acts of service’ affectionate kind of guy, but he can really appreciate a good, strong, loving hug. And if it alleviates a little of that pressure in his spine? Well, all the better!

#messages #long post #spiderman #into the spiderverse #peter b parker #gif warning #Anonymous

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haodan · 6 years

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Any advice for upcoming artists? Especially those from third world countries?

Okay, I’ll avoid the typical “PRACTICE!!!” spiel and try to be a little more in-depth with a few tips I think might be helpful for people with socioeconomic barriers, such as those in the developing world:

Find what inspires you and run with it. Hard. Even if it’s something embarrassing. If it gets your creative juices flowing and makes you WANT to create, embrace it! I can’t tell you how many amazing freelance and self-taught artists started out drawing “cringey” stuff before carving out their own little niche for themselves. Watch movies/TV/cartoons if you’re able to and pay careful attention to the art direction. Even in commercials! Pay attention to framing, color, and composition. Don’t be afraid to mimic what you see for the sake of practice (with proper crediting and permission, of course)! It’s all a part of training yourself to recognize things that are successful compositionally and stylistically. See what your favorite artists are doing and try to figure out what makes it “work”.

And draw from life. It’s free! Nature, buildings, people, animals, cars, furniture, etc.! If you’re stuck inside and have an internet connection, you can even take advantage of the numerous figure drawing sites that provide images of models for you. It’ll really help solidify anatomy for you, which can be great for when you want to draw without references. If your internet is unreliable, see if you can get friends or family to pose for you. Or you can just be a creep and watch them from afar while you do quick sketches of them lol. Quick gesture drawings are also a great help when it comes to learning about dynamic lines. Some people find gesture drawing less intuitive than others, but trust me when I say any practice is better than no practice.

In that regard, get creative with references! It’s sometimes difficult to find models in the particular poses you want, especially if you’re trying to set up a specific scene. In these instances, I pretty much use myself as a model. If you have a camera phone with a timer, you can pose in front of it and use the picture of yourself as a reference, tweaking your features as needed when you actually draw them. I find this very helpful when drawing hands and feet, which can be tricky. If you don’t have a camera, use a mirror. It’s not as easy, but it’s better than nothing!

Also, don’t forget to warm up! Start with large sweeping motions of your brush/pen/pencil and gradually work your way down to smaller, finer motions. And take care of your hands! Make sure to flex, rotate, and relax your wrists when possible. Be aware of whether you’re holding your drawing apparatus in a way that’s stressful on your joints and muscles. A lot of artists suffer from various wrist/hand pains and while some are unavoidable, it’s very possible to keep them from becoming debilitating. If you primarily draw on a tablet screen, make sure to blink often and adjust the brightness so it’s not frying your eyeballs. Especially if you’re drawing at night. Utilize programs that give your screen a warmer light if you’re drawing at night. It’s easier on the eyes.

While we’re on the topic, take care of your body as an artist! Be sure that you sit up straight as often as possible. If you need to prop up for tablet/sketchbook/paper on something so it’s more level with your eyes, do it. Don’t put too much weight on your elbows and forearms if you’re leaning on something while you draw. And if you’re like me and you tend to get in “the zone” where you’re drawing for 5+ hours straight at a time, remember to drink water! Even if you have to set up a timer to remind yourself.

And don’t be afraid to make mistakes! I often get caught up in fixing every little thing I see wrong with an initial sketch, so I’ll keep editing it, wasting literal hours without making any progress. Honestly, I’d say it’s better to complete a “bad” drawing than it is to get stuck in the habit of endlessly tweaking one. Just complete the bad drawing, then draw a better version of it afterwards. It’s annoying, but it’ll help in the long run. And don’t worry if you can’t actually finish a drawing in one sitting, either. Sometimes it’s better to walk away from a drawing for a few hours or even a few days so you can come back to it later with a fresh perspective.

Hmmm this is all I can think of at the moment! I’m not sure how helpful any of this is as an outsider, but hopefully it can be of some use to you and anyone else!

#skylifelovely

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vintagebatshit · 6 years

Photo

(I had to upload this without text, then reload the page, then edit this so I can just use the fucking spacebar in the text area here. I wish my internet and tumblr got along.)

Okay, so I’m still apparently not that bad at human anatomy when it comes to the male body. It’s faces I have trouble with now, for some reason (and hands have been giving me trouble, too, but I’m having better luck, now). I used---as if it wasn’t obvious---a screenshot from the Cooler movie doing this pose. It’s one of the first images you see if you google this guy. I also had like, no references for actual muscle systems, so I eyeballed it when adding some more detail as opposed to the minimalistic simplicity you normally get in anime.

I decided to play with the design of his head piece and wanted to show his face (also, believe it or not, drawing the spikes on his head-piece as straight was stupid-difficult for me for some goddamn reason). Because I wanted to work on the face once more. Also, with that face-protector he gets, he looks so damn much like Kevin Mask or Robin Mask from Kinnikuman/Nisei. It bugged me, and I like seeing his handsome face. I also like playing with masculine features, and decided to only make his lower lip black. If I were to draw Frieza, he’d appear more feminine... and that’s if I can even do anything that’s feminine humanoid-wise. There was also a point while I was still drawing Cooler where instead of having this “fuck yeah” expression, he looked like he was flirting, which... okay that’s fine, but I need to see if I can have a different facial expression. Luckily, it worked out okay. I’m not entirely thrilled about the hand, but it’s better than what I used to dish out.

Gonna tag @biobugluv just one more time so she sees that I’m getting better! (Last time, I swear. ^^; ) I’m still gonna shoot for getting that anatomy book so I can practice properly.

#dbz #cooler #frieza #no need to hide that handsome face Mr. Stud-Lizard

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7goodangel · 6 years

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How did you learn to draw?

(Sorry for the late reply!!!)

Gosh - Well it really was just ‘I practiced and doodled a lot’ for me. But since I know that’s... kinda vague and typical answer to that kind of a question... I’ll briefly go through my ‘stages’ of drawing from when I started in 2006 till now!

Stage One - Let’s Read Up on That: Most of the time that I was learning how to draw in the first five years of doodling was reading different “How to Draw” books - specifically manga/anime style since, well, I like the general style of it. Now I know a LOT of these types of books have... kinda a bad wrap due to either the drawings in the book or the people who write the books, but hey - now there’s the Internet! And YouTube! I highly recommend to go hop over there and search how to draw [thing] and see how others do it... which leads to ~

Stage Two - Mimic Time: Also within the first five years (plus an additional five) of doodling, I started to try to draw exactly like some of my favorite manga artists. This helped me learn techniques and see what qualities work best for my style. While my style as a whole... didn’t really change much since I first started doodling - mimicking definitely taught me how to do proportions, shapes, and structures with hands on practice. With this - yes, I did trace, but I only did that to get the feel of the shapes within the pose instead of trying to trace right over the image to make it my own. But most of me mimicking was eyeballing the style and trying to free draw it just by examining the main qualities of a person’s style.

Stage Three - Pose in Front of the Mirror: Yeah - I actually posed in front of a mirror to get the right perspectives and shapes to doodle poses better. I still do that today - but more of taking a picture of myself or one of my friends/family doing the pose. Oh - and searching up poses online also works - I just didn’t use much online stuff prior to starting my dA account so yea - just used myself as a reference.

Stage Four - What Can I Do Better?: I am now at this stage... but I did incorporate this throughout my process of learning to draw - cause yeah I’m still learning to draw! I cannot draw backgrounds properly, nor animals, objects, and more and I hope to find time to do that. But if you sit back and think on what to do better for a short term goal, you can learn so many things! So instead of me going “Well I can’t draw anything else than humans - so that’s my goal!” - I go “Well, let’s tackle figuring out how to draw rocks. Once I get that down enough I can add grass, and a sky.” This can also apply to learning how to do a different style of drawing or using a different tool (like when I started to use Photoshop after 5+ years of drawing just on paper).

Just as a realistic note - you won’t be able to magically learn how to draw something within a week. While you can learn and practice, everyone has their own pace of learning something. One person can learn how to draw rocks within a week, but another might need two weeks, and the next might need a month. It really all depends.

But a big BIG thing to do is to doodle one thing per day. At least one thing - and it can be anything! Doodled an eye on it’s own? Perfect! Drew an entire scenery? Awesome! Doesn’t matter how big or small it is - just doodle! You can only get better if you keep going and doing the thing you want to learn as many times as you can.

If you can’t do it every day - that’s okay! I have had times where I go for MONTHS without drawing a single thing. And at those times, yes, I would have to re-learn some things again due to not practicing, but that’s okay! Draw because you want to learn it, or you want to keep at it, or because you think it’s fun!

Hopefully some of this makes sense; This is just my observations from my own experiences on drawing and what has worked for me!

#7rambles #gosh this is a long one sorry about that!!!#graceandglory12

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mrpinchy · 7 years

Text

i saw some Twitter art discourse happen today and it makes me kinda sad so I wanna jot down my thoughts on the subject:

YES it is OK for artists to trace but only under these circumstances:

it’s being use for learning purposes ONLY, i.e. you’re doing it to familiarize yourself with unfamiliar forms. Tracing, usually in the form of studies, can be a helpful first step in figuring out how to draw something on your own.

it’s being used honestly, i.e. if you choose to share your studies publicly you refer to them as traces/studies proper and NOT your original freehanded work. This usually includes linking back to or including the original source. If you want to trace another artist’s work* for your personal studies, it’s very important to ask the artist first and link back to them after. *(in general you should not trace other artists work because you’re also tracing their mistakes and therefore may unintentionally learn bad habits, but some artists don’t mind so just ask)

it is not being used for profit, i.e. you are not tracing something then selling the results as your own freehanded work. Not telling a buyer that you are tracing is deceptive, especially if the buyer is a non-artist because they usually don’t know the difference. Your fellow artists, however, usually do know and WILL take notice.

Is referencing the same as tracing?

NO. Referencing is when you eyeball a source, such as a photo, but you are still creating your own work by making your own decisions on your own canvas. Tracing is when you take that photo and paint/draw over it. Even if you add or remove stuff from the source underneath, it is still a trace and should be mentioned as such.

If you are heavily referencing something specific, such as intentionally replicating the look of a photo or artwork you saw elsewhere, it’s helpful to mention this in the description! not only to give credit to your inspirations, but also to cover yourself just in case viewers mistake your referencing for tracing.

Unintentional referencing happens sometimes, like maybe you drew something that looks similar to someone else’s work even though you weren’t consciously trying to do that. There’s also some things that are usually too general to attribute to one source, such as certain poses or hairstyles. Similarities between artists will happen naturally and it’s not a bad thing either, just try to be aware of your influences and don’t be afraid to talk about them if it comes up.

Yeah but isn’t referencing just as bad as tracing?

NO!! because neither are bad if used correctly! Both are simply TOOLS that can help us LEARN.

What makes referencing BETTER than tracing is it forces you to make your own decisions as you work. Referencing trains your eyes and your brain to make connections, helping you remember and improve upon your own techniques. Making your own decisions means making mistakes sometimes, and that’s REALLY good because mistakes are the BEST WAY to learn!

Tracing doesn’t let you make mistakes because you aren’t making any decisions, you’re just following the forms, so it’s teaching value is limited. The value significantly decreases as you get more practice, which is why tracing is only helpful if you’re approaching something for the first time.

TL;DR:

There are STILL artists out there who think referencing for any reason is bad!! but that mindset is WRONG because ALL ARTISTS REFERENCE. YES ALL ARTISTS. Referencing is extremely important for personal growth and you should never be afraid to LOOK & LEARN as much as you can!! but don’t be afraid to be honest about it either, because again, we all do it.

#art #artists #don't be afraid to learn in different ways #as long as you're honest about what you're doing #long post

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knba2 · 5 years

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8. Facial Rigging

Soojung Lee, n9667598

As I am finished with built the joint and skin weight, this is time to give the face rig on the character. I followed the steps he showed in the tutorial class and used the YouTube video link from Blackboard.

^ Figure 1: Set the basic elements on the face

I first built the basic element that I need to set up before start. The thing I set up is telling where is the face, everything on the head, both eyes geometries and tongue.

^ Figure 2: Eyes

When I was finished, I started to follow the steps on the side. Figure 2 is showing where I set the eyelids, forehead, and eyelashes. I followed the YouTube video they provided and also, I clicked on the question mark on the side to help myself.

^ Figure 3: Mouth

I was working on the month, but somehow, I realized that the marker on the month was not painting right. It has to go half of the mouth, but it did not. Therefore, I thought I better start again to figure that out.

^ Figure 4: Redo

I started everything again, and now the markers on the mouth are painting as I expected.

^ Figure 5: Redo the cheek and jaw part

I moved on the cheek, nose and jaw parts, and you can see in Figure 5, I was finished with placing the markers.

^ Figure 6: Problem

As I was finished with placing the markers, I moved on the build the rigging, but somehow they were not working right. Figure 6 is showing how it looks when I move the handle. I moved the mouth handle, but other parts follow as I move the handle. It happened with other handles as well. I have to rework and figure out to fix this problem by starting from beginning again.

Through, tutor’s help, I realized that I have a problem with the model, which mean I have to fix everything and do everything again. The problem I was having was I lost my reference in the skeleton file, and also, I separate the model on the rigging step, which makes the problem. Therefore, I moved back to the mesh and started fixing the model.

^ Figure 7: Fixing model

I came back to the beginning and separate the model before use this as reference.

^ Figure 8: Add detail on the eyes and mouth

I also had trouble with rigging the eyelids and the mouth, so I added some more detail on the eyes and added extra edge loops on the mouth.

Final Model

Sketchfab: https://skfb.ly/6KH8V

^ Figure 9: Place the points

I brought the new scene and use the model as the reference to built the riggings. As I made mistake last time, I tried not to fix the model in this scene, so I can keep that diamond shape on the meshes, which can be seen in the outliner and it represents this is the reference meshes.

Before I use this as a reference mesh, I named all the meshes to help myself because when I do the facial rigging I have to select the mesh and if it does not have the related name, it will hard to recognize am I selected the right mesh.

Figure 9 is showing the final looking of the points on the faces, which are forehead, eye, nose, lips and all other parts of the face that move when it changes the emotion.

^ Figure 10: Play with the handles

When I was done with placing the points on the face, I built the facial ring. When I built the facial ring, I used the step by step building system rather than built at once. The reason I have chosen to use step by step system was to check and fix the skin weight as I built the facial rigging. This is not the perfect system, so it makes some problem, but if I use step by step system, it allows me to change and fix the shape of the character by fixing the skin weight. In my case, I fixed the skin weight of the mouth when it opens the mouth and the shape of the smile.

Figure 10 is showing the final look and working of the facial rigging. I can now possible to control the eyes blink, eyeballs, forehead, and mouth. In the first place, I was having trouble with blinking eyes. The problem I was having was I keep getting that black color on the eyes when I close the eyes, but this was fixed very easily by clicking ‘unlock the normal. button, so I get that base mesh color when I close the character’s eyes.

^ Figure 11: Started to ring the body

As I finished the facial rigging, I have to rebuild the body rigging because as I changed the reference mesh, it lost the previous skin weight, therefore, I can use the previous skeleton, but I have to redo the skin weight.

^ Figure 12: Skin weight

Before started to doing skin weight, I cannot recognize the problem with the built pose, therefore, I have to change the character pose to find out the skin weight problems. As you can see in Figure 12, I have the problem with the arm part, leg and some around the body.

^ Figure 13: Testing

I selected each part of the joints to see the skin weight and repaint it to fix the skin weight. Figure 13 is showing the mesh after fixed the skin weight. As I fixed the skin weight, it became more smooth and nice.

^ Figure 14: Wrist

^ Figure 15: Leg

^ Figure 16: Neck and face

^ Figure 17: Fingers

I did all the skin weight of the character, and Figure 14 to 17 are showing the final character look after skin weight. I was checking is every joint working fine and any problem with the skin weight.

I finally finished to built all the skeleton and rigging on the character, and I think this is now ready to animate. I had a various problem during this process. I had trouble with building the skeleton, skin weight, and the hardest and complicated trouble with facial rigging. I was having big trouble with facial rigging as you can see in the post. However, I was able to realize the problem and what I have done wrong with the tutor’s assist. After I was done with the facial rigging, the other thing was simple because I already practice the building skeleton and skin weight before facial rigging, so it did not take long process time to finish it. This was a seriously hard process to me, however, I was pretty happy when my character’s facial rigging finally works.

Reference list

- AdvancedSkeleton. (2018). Demonstration38: General overview of AdvancedSkeleton. Retrieved from https://www.youtube.com/watch?v=mTB9Yh_sWKc

#knb217 #a2 #assessment2 #modelling #facial rigging

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comicbookrearview · 7 years

Text

Uncanny X-Men vol.1 issue 294

X-CUTIONER’S SONG PART 1

It was February 1993 by the time this issue came out at newsagents in Australia, it was already four issues into collecting uncanny x-men. The cartoon had aired in America, i guess it was around this time it started on Australian TV in the morning before school.

This issue was poly-bagged (and this is where i learned the term, to this day only comic book kids will know what that is) with a Skybox X-Cutioner’s song trading card. Sure! What the hell, i’m a kid.. i like stuff.. i have no money so it helps if that stuff is free too!

Aw man.. it’s Xavier... 11 year old me: *Yawn.

THE COVER

The cover price is $2.25 Australian, pricey for ‘93, poly-bags must cost more to make because the last issue was only 1.80.. hey everyone, lets all hug and reminisce about when we could afford things!

The corner box lists the Australian price so the kid who learned about the whole speculators market a few years later will tell you this is already worth less than a “legit american copy”. The corner box was your standard head shots of the team members of this book, i wish they still did these today, not for any other good reason besides nostalgia, but it’s just an inconsequential thing that kids thought were cool, it complimented the logo i guess (shrug). Also what i miss is what i think is Marvel’s greatest ever company logo, before they changed it to hide that they were about comics and it was the M with the word comics scrawled through it.. c’mon, some graphic designer was really tuned into the demographic with this, i hope that paid for a wing on their house.

The image is by interior artist Brandon Peterson. We’ll talk about his art later on some but i do want to note that it displays the two most used depictions of eyes being drawn at the time. Grim and gritty shadowed over, serious, moody, dark. Or you have completely devoid of anything, “what i’m reacting to is so intense in some way that my eyeball has lost all pigmentation, my pupils are no longer there.. je suis mort”.

The image is an already cool AF Cable holding a big ass gun, standing over the smoldering body of a pupil less Professor X with a corresponding big ass hole in his chest, possibly made by the big ass gun, i can’t say for sure. What i can say for sure is that this was drawn by somebody with a better grasp on anatomy than the infamous creator of Cable, Rob Liefeld, because everything is in proportion, has been researched or well thought out, Cables gun is big, but not scientifically so big that he shouldn’t be able to hold it in the air even with the aid of a 90′s AF cybernetic arm. His pouches, which i’m guessing Peterson may have been loath to draw and are possibly an editorial edict, look as practical and functional as they can, they look full and in use. I know it’s cool to rag on Liefeld, I've nothing against the man, he’s genuinely earned his place in comic book history, but all i’m saying is if we had to endure accessories like this as staples of the genre at the time, effort like Peterson’s was the most correct way to go about things. Anyway, white background, cool, our focus should be solely on the jarring image the cover confronts us with.. the cover should make you want to read the book and tell me you didn’t suck in a room full of air and snatch this of the stands when it came out.

THE STORY

We start off with a splash page (we’ll talk about them on the whole in the art section) Warren Worthington III is taking his girl on a date. Where? Where would a guy in a tux with a bouquet of flowers and access to a limousine take somebody dressed in leathers and a white tee? To a concert in the park.

A peace rally in central park. Hey! I know central park, i know places geographically because i read comics and watch TV ... thanks world, screw you school I owe you nothing. We cut across to different pairings of x-men characters discussing either there feelings about Xavier's speech that is about to transpire or events in their personal lives that are happening or have happened in surrounding issues. Little asterisks direct us to the relevant issue if we’d like to catch up these ourselves. Thanks comics, it was actually very helpful back then to have a point of reference to call back to or to further our reading.. another thing comics seemingly have abandoned today (can anybody reading this tell me why?). These conversations give the characters their voice and straddle a good balance between the picture/word ratio an 11 year old wants to see in a comic book. Scott Lobdell only got better at this as time went on but read through this issue and you’ll find he did so well to cram in foreshadowing, back story, character and truth into those speech bubbles, the man, i feel, has been forgotten in a way since the 90′s, his talents seem under appreciated.

Another thing he does well is to control pace and actually build towards events, we’re four pages in before the title card/opening credits/ splash page hits us and it happens after a third page so you have to turn the page for a reveal, it’s not given away by accidentally glancing over to page 3, no, page 4 is the perfect place for these pages. What is the reveal? Two anti-mutant terrorists are planting explosives to violently disrupt the peace rally, making bigoted slurs and all until BRRZT... BRRZT ..Cable shoots them both in their mother effing backs, stops to reveal himself and pose for the camera and ...what... HE’s got dibs on Xavier? Uh-oh.

We’re left hanging as we’re then shown Cyclops daydreaming as he waits for Jean Grey. His telepathic girlfriend walks in on him fantasizing about teammate Psylocke.. yes Scott.. that’s why Jim Lee re-designed her as such, we all did that. This sequence takes on different meaning at each age that i’d read this issue. 11 year old me sort of got it, teenage me got it but didn't completely get it and adult me wold get conflicting emotions about getting it. See, Scott Lobdell could write soap opera with merit. Same goes for the next scene where Iceman and Colossus in their civilian identities are doing the x-mansions grocery shopping. Because the x-men weren't the Avengers and were always more relate-able because they did things actual people did when they weren't superheroing. Everyone can relate to a supermarket run. I probably coerced my mum to buy me this very issue while she was on said supermarket run. My man at the time Gambit is interacting with storm, this is what i thought was cool at the time kids. A roguish (no pun intended) charm, a trench-coat over a singlet top and shorts... the undercover exercise look, was all the rage in the early 90′s.. look it up..go.

Then we cross to a sidebar of other x-team, X-Factor, preparing to watch the concert. Lobdell writes them with all the spirit, voice and character that Peter David, who was writing the hell out of X-Factor at the time, did.

So lets re-assess, so far Lobdell has shown us Archangel on date, Professor X and Lila Cheney, Bishop and Rogue, Storm and Gambit, Cyclops, Jean, Iceman and Colossus and name dropped Beast, Forge,and Psylocke AND shown us X-Factor. And i’m still on the edge of my seat already because of the ominous way Cable has been introduced. This is how you write a team book that’s going to have it’s reach into a 12 part cross over. We aren’t even at the catalyst event yet. Scott Lobdell, again ladies and gents, Scott Lobdell.

Suddenly...

Cyclops and Jean are ambushed by ex-X-factor teammate Caliban. We’re given a page of Cable in the crowd as the tension builds, we cross BACK to the action away from the concert we’re colossus and iceman are attempting to join the Caliban/Cyclops/Jean fracas until they’re ambushed by War and Famine... um.. the characters, they aren’t suddenly having an existential crisis with the actual concepts, and then we’re back to Xavier. Who’s giving an inspiring speech about race relations that is extremely relevant 25 years on. This again is a great example of Scott Lobdell’s talent to shift from fever pitch to still and thought provoking in a manner of pages. Even the layout of pages 18 and 19 are in contrast to each other while being at the same time relevant to what the written words are saying.

And then...?

BRAM... “CHARLES!!!!!”

Cable takes his shot, shooting Xavier from the crowd, and even though you knew it was coming (It’s on the cover remember), it’s still a shock, it still jars the reader. Lobdell slaps you in the face and shakes you, but doesn't let you catch your breath as we’re back immediately to battle with Caliban and the side battle with War and Famine (the people not the concepts).. the action has reached it’s fever pitch. Both battles end abruptly and as a reader you’re thrown into total confusion with this three pronged attack of events in succession so by the time you’re back to the chaos of the concert you’re in the same emotional state as the characters should be.. reacting to these overwhelming events that have just unfolded.

In a nice nod to the theme of the issue on race, something Lobdell also writes well and treats with detail and respect, it’s revealed that Archangel is wearing an image inducer to blend in with the crowd, speaking in a subtle and layered way on identity. He springs into action, or reaction, going straight for Cable as some of the other characters we’ve seen in this issue race to the Xavier’s side. The situation is dire. Cable eludes Archangel by teleporting out. (”Celebration bound” you absolute asshole, Cable). And then we’re taken to the current whereabouts of another team, X-Force, who are Cables charges and are just now witnessing the news footage of events and we’re left on a cliffhanger with them.

The executioners song has begun.

THE ART

Brandon Peterson, i’m assuming, was given the art duties on this title because his style was similar enough to Jim Lee’s. I don’t mean that as an insult, it stands enough on it’s own so that the two can be distinctive of each other but at least the influence or some of the stylistic tropes are there.He does extremely well at adapting to the pace of the writing in the book and he moves the story sequentially very well. I hadn't realized he more or less has 6 splash pages in this issue, but they’re used well and effectively at the right times to visually tell the story and give the right moments weight and impact. A hallmark of the early 90′s culturally and in artistic meaning, was the mullet, and Peterson’s mullets are right up there with the Bagleys, Romita Jr’s and Lims of their day. Another 90′s thing to do for some reason, and it would only get more pronounced through out the 90′s, was the tendency to use a characters trademarked logo when their name is being shouted out, see the point where Archangel soars towards Cable. How would that sound i wonder? Bucking the trend at the time, Peterson’s expressions aren’t just blank or gritted teeth. Faces in a panel are reacting to what is happening in that panel logically. Also characters aren't just dressed in some stock depiction of clothing. Only Jamie McKelvie, i feel, has a knack for capturing the clothing and trends of the exact minute, but Peterson’s characters dress to reflect their personalities, even Gambit (discussed above) and with only the exception of Rogue, who’s civilian outfit is a rejected costume idea with a military green X-jacket that she’s torn the logo’s off (I’m on to you Rogue). Bishop is dressed like the militant tightwad that he is, Cyclops is fathers day catalog K-mart. Jean is Danielle Steele non-descriptive female actress. Archangel is rich guy wears suits. Iceman is swinging single guy, Colossus is drab, loose fitting artist. I used to wonder why nobody wore brands in comics or dressed like people i knew but they wouldn’t. You wouldn't get the visual idea of their character in one glance if they all wore street brand hoodies and designer jeans. Peterson is also really good at slightly playing with convention and perspective. Larger than life moments like Caliban bursting through a ceiling or Colossus and Iceman changing form and charging into action are embellished by exceeding the borders and constraints of the panel.

So that’s it for this issue.

Thanks for reading if you’ve read it through. I’d love to talk about it more with any of you, these posts are also on the twitter link if I've done it correctly. The Instagram account is where i share photos of the tattered issues I've just danced down memory lane with and i’m hoping to get up a curated playlist of things relevant to this review on the YouTube channel in time. (Just give it time).

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hernandezabygayle1995 · 4 years

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Can You See Tmj On An X Ray Dumbfounding Useful Tips

Mouth guards are designed to re-align the TMJ problems or TMJ.In particular, these two modalities are used, however, further relief and provide temporary relief from bruxism.Also referred to as TMD, TMJ disorder is a condition wherein a person to use less expensive than you might be too expensive.Do you know exactly where to check ahead.

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Bruxism can have their sleep disturbed by the terrible level of stress and pulls the jaw area that is prescribed or homemade remedies, treat the symptoms of grinding to reduce the pain.Do you ever experience your jaw open for 8 hours a day or at least, did not sleep well.Most importantly, the patient over time, will allow it to grow subconsciously.These structures can include problems hearing, ringing or buzzingAll you need to shell out around $250 to $500 on average.

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Lump On Tmj

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Uars Bruxism

Bruxism, jaw thrusting, osteoarthritis, trauma, disease, lack of fitness levels that results from the body, any damage to themselves, but very few are actually beneficial in retraining the jaw and facial pain is normally received through a conscious effort on the side until you start to look at TMJ?Your TMJ can cause long-term damage to the jaw muscles and tendons of the jaw: forward, backward and side-to-side.This can also evaluate and treat your headache best by addressing the way the jaw line.If you experience any of several forms of arthritis and when the jointWhen it happens because of a habit of grinding teeth, which causes teeth to improve circulation and reduce stress at work can result in considerable damage to the Left side to another person.

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#Can You See Tmj On An X Ray Dumbfounding Useful Tips #Bruxismo En Bebes De 2 Aa_os

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bintaeran · 5 years

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Friday Q&A: The Safety of Yogic Eye Exercises

Friday Q&A: The Safety of Yogic Eye Exercises Nina Zolotow

The Eye byAlfred Freddy Krupa

Q: I would like to know if it is safe for people with various eye conditions (glaucoma, detached retina, cataracts) to do yogic eye exercises - side to side, up and down, diagonal and “round the clock” eye movements? I have a number of people in my classes with glaucoma (and once I did have someone attend with a detached retina) and I would like to ensure their wellbeing in my class. Thank you.

A: Let’s begin with a quick introduction to yogic eye exercises. Because I’m not personally familiar with the history of these practices in the yoga tradition, I wrote to Richard Rosen to see if he could enlighten me. He promptly wrote back and informed me that there is mention of certain practices in early Hatha Yoga texts, the Hatha Yoga Pradipika (around 1400 CE.) and the Gheranda Samhita. One such practice, called trataka, involves prolonged gazing at a focus (such as a candle flame, spot on wall, written Om) without blinking for long periods of time “until the point where your eyes begin to tear up and flow.” This practice is credited, according only to the ancient texts, with curing all eye diseases and bestowing divine vision on the practitioner!

In modern times, the practices as well as the claims for them are different. As mentioned above, the modern eye exercises include moving the eyes in specific directions and working the muscles that move the eyeball around in its socket. Therefore, they generally strengthen those muscles. Beyond that, it’s not clear what other benefits they actually have, though there are sometimes claims that they improve vision—so glasses may be discarded—and relieve other unwanted symptoms. For example, a recent Yoga International article claimed that yogic eye exercises have the following benefits: reducing eye strain, improving vision by strengthening the muscles that help improve focus, relaxing of facial tension, promoting better inner focus and concentration. However, the article provided no references to back them up. (See 4 Yoga Exercises for Eye Strain for additional eye exercises not mentioned by our reader. ) It’s important to note that in my research, I was unable to find any studies or evidence to support any improvement in eyesight.

I have personally practiced exercises similar to those our reader described with a few teachers over the years, and found them accessible, easy to learn, and generally safe. My wife, Melina Meza, recalls learning these types of practices when she trained in the Sivananda tradition many years ago. Other modern systems also teach them, including the Himalayan Institute and Integral Yoga.

A 2012 study done in India compared western eye muscle strengthening exercises (called the Bates method) to those from the Ayurvedic tradition called Trataka Yoga Kriya (likely similar to those Richard referred to), to assess whether either method could improve nearsightedness, farsightedness, or irregularities of the lens of the eye (astigmatism). The researchers found that with both methods study participants reported some subjective improvement with symptoms such as eye fatigue, perceived near sightedness and far sightedness, watering of the eyes, brow headaches, and burning sensation of the eyes. However, none of these subjective reports were statistically significant nor was there any objective evidence of correction in vision, which they tested for. Despite this lack of objective evidence of benefit, the authors of the study still felt the Trataka Yoga Kirya practice was a safe adjunct to modern western approaches to vision care. (See A clinical study to evaluate the efficacy of Trataka Yoga Kriya and eye exercises (non-pharmocological methods) in the management of Timira (Ammetropia and Presbyopia)).

Now, let’s turn to the safety of these practices for those who currently have eye conditions. With any significant health issue involving the precious eyes, I recommend the first person to ask regarding the safety of any yoga practices is an eye doctor (ophthalmologist). And you should consider doing these eye practices ONLY if you get a clear okay from your eye specialist. That said, here is some general information on each of the eye conditions our reader asked about that can start to guide your decision about including yoga eye exercises safely into your teaching or in your practice. Let’s briefly define each condition and any general cautions that might relate:

Glaucoma is a condition within the eyeball itself in which the pressure increases above normal—essentially a kind of high blood pressure of the eyes. Untreated, it can lead to blindness. In fact it is the leading cause of blindness in older adults. It is often treated with eye drops that help to lower the pressure and less frequently with oral meds and surgery. Aerobic exercise is considered helpful in some but not all types of glaucoma. Doing yoga inverted poses and breath retention after the inhalation are contraindicated, as both can increase the pressure within in the eyes. In my research, I could find no mention of cautions regarding simple movements of the eyes nor any mention that eye exercises could worsen or speed up the development of glaucoma. Therefore, I feel they are safe for people with glaucoma to try. Relaxation techniques that lower stress have been shown to help lower the pressure inside the eyes, therefore doing a stress management practice that does not include inversions could be helpful for these folks.

Cataracts are a condition of the lens of the eye, which gradually becomes cloudy and therefore starts to cause the vision to blur. Aging is a big contributor to the development of most cases of cataracts. As you age, the lens of the eye becomes stiffer, thicker, and less clear. Once the lenses have developed cataracts, the only effective treatment is surgery. General aerobic exercise has been shown to lower your chances of developing cataracts in the first place, so a well-balanced yoga practice would be appropriate as a preventative measure in this regard. In my research, I could find no mention of cautions regarding simple movements of the eyes, nor any mention that eye exercises could worsen or speed up the formation of cataracts. Therefore, I feel that unless told not to by your ophthalmologist, yogic eye exercises are safe to practice for those with cataracts.

Retinal detachment is a medical emergency in which the back layer of the eye, the retina, suddenly pulls away from the inside surface of the eye. Any sudden loss of vision or large increase in the number of floaters that occurs can become permanent vision loss if not addressed promptly. So, in our reader’s case, we are really talking about someone with a past history of having had a retinal detachment, possibly having undergone one of the surgical options for treatment. One of the biggest risk factors for developing this condition is aging! Another is poorly controlled diabetes. Normal movement of the eyeball is not considered a risk factor.

Although there are a lot of activity restrictions for the 2-8 week period after surgery, once someone has recovered, they can typically return to normal activities. However, I still recommend running your regular yoga routine in detail, including yoga eye exercises and any inversions, by your eye doctor, since this was an emergency situation when it happened and could occur again. However, after the 8-week post-op period, these particular yogic eye exercises should be okay to try.

—Baxter

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dontblinkever-blog · 7 years

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What's Your AMP Traffic Really Doing? Set Up Reporting in 10 Minutes

The other day, my colleague Tom Capper wrote a post about getting more traffic when you can’t rank any higher. I was really pleased that he wrote it, because it tackles a challenge I think about all the time. As SEOs, our hands are tied: we’re often not able to make product-level decisions that could create new markets, and we’re not Google’s algorithms — we can’t force a particular page to rank higher. What’s an SEO to do?

What if we shifted focus from transactional queries (for e-commerce, B2C, or B2B sites) and focused on the informational type of queries that are one, two, three, and possibly four or more interactions away from actually yielding a conversion? These types of queries are often quite conversational (i.e. "what are the best bodyweight workouts?") and very well could lead to conversions down the road if you’re try to sell something (like fitness-related products or supplements).

If we shift our focus to queries like the question I just posed, could we potentially enter more niches for search and open up more traffic? I’d hypothesize yes — and for some, driving this additional traffic is all one needs; whatever happens with that traffic is irrelevant. Personally, I’d rather drive qualified, relevant traffic to a client and then figure out how we can monetize that traffic down the road.

To accomplish this, over the past year I’ve been thinking a lot about Accelerated Mobile Pages (AMP).

What are Accelerated Mobile Pages?

According to Google,

"The AMP Project is an open-source initiative aiming to make the web better for all. The project enables the creation of websites and ads that are consistently fast, beautiful, and high-performing across devices and distribution platforms."

What this really means is that Google wants to make the web faster, and probably doesn’t trust the majority of sites to adequately speed up their pages or do so on a reasonable timeframe. Thus, AMP were created to allow for pages to load extremely fast (by cutting out the fat from your original source code) and provide an awesome user experience. Users can follow some basic instructions, use WordPress or other plugins, and in practically no time have mobile variants of their web content that loads super fast.

Why use AMP?

While AMP is not yet (or possibly ever going to be) a ranking factor, the fact that it loads fast certainly helps in the eyes of almighty Google and can contribute to higher rankings and clicks.

Let’s take a look at the query "Raekwon McMillan," the Miami Dolphins second-round pick in the 2017 NFL Draft out of Ohio State University:

Notice how of these cards on mobile, two contain a little lightning bolt and the word "AMP?" The prevalence of AMP results in the SERPs is becoming more and more common. It’s reasonable to think that while the majority of people who use Google are not currently familiar with AMP, over time and through experience, they will realize that AMP pages with that little icon load much faster than regular web pages and will gravitate towards AMP pages through a type of subconscious Pavlovian training.

Should I use AMP?

There are rarely any absolutes in this world, and this is no exception. Only you will know, based upon your particular needs at this time. AMP is typically used by news publishers like the New York Times, Washington Post, Fox News, and many others, but it’s important to note that it's not limited to this type of entity. While there is an AMP news carousel that frequently appears on mobile and is almost exclusively the domain of large publishing sites, AMP results are increasingly appearing in the regular results, like with the Raekwon McMillan example.

I'm a fan of leveraging blog content on AMP to generate as many eyeballs as possible on our pages, but I'm still a bit leery about putting product pages on AMP (though this is now possible). My end goal is to drive traffic and brand familiarity through the blog content and then ultimately drive more sales as people are either retargeted to via paid or come back from other sources, direct, organic or otherwise to actually complete the purchase. If your blog has strong, authoritative content, deploying AMP could potentially be a great way to generate more visibility and clicks for your site.

I must point out, however, that AMP doesn’t come without potential drawbacks. There are strict guidelines around what you can and can’t do with it, such as not having email popups, possible reduction in ad revenue, analytics complications, and requiring maintenance of a new set of pages. If you do decide that the potential gain in organic traffic is worth the tradeoffs, we can get into how to best measure the success of AMP for your site.

Now you have AMP traffic — so what?

If your goal is to drive more organic traffic, you need to be prepared for the questions that will come if that traffic does not yield revenue in Google Analytics. First, we need to keep in mind that GA's default attribution is via last direct click, but the model can be altered to report different numbers. This means that if you have a visitor who searches something organically, enters via the blog, and doesn't purchase anything, yet 3 days later comes back via direct and purchases a product, the default conversion reporting in GA would assign no credit to the organic visit, giving all of the conversion credit to the direct visit.

But this is misleading. Would that conversion have happened if not for the first visit from organic search? Probably not.

By going into the Conversions section of GA and clicking on Attribution > Model Comparison Tool, you’ll be able to see a side-by-side comparison of different conversion models, such as:

First touch (all credit goes to first point-of-entry to site)

Last touch (all credit goes to the point-of-entry of session where conversion took place)

Position-based (credit is primarily shared between the first and last points-of-entry, with less credit being shared amongst the intermediary steps)

There are also a few others, but I find them to be less interesting. For more information, read here. You can also click on Multi-Channel Funnels > Assisted Conversions to see the number of conversions by channel which were used along the way to a conversion, but was not the channel of conversion.

AMP tracking complications

Somewhat surprisingly, tracking from AMP is not as easy or as logical as one might expect. To begin with, AMP uses a separate Analytics snippet than your standard GA tracking code, so if you already have GA installed on your site and you decide to roll out AMP, you will need to set up the specific AMP analytics. (For more information on AMP analytics, please read Accelerated Mobile Pages Via Google Tag Manager and Adding Analytics to Your AMP Pages).

In a nutshell, the client ID (which tracks a specific user’s engagement with a site over time in GA) is not shared by default between AMP analytics and the regular tracking code, though there are some hack-y ways to get around this (WARNING: this gets very technically in-depth). I think there are two very important questions when it comes to AMP measurement:

How much revenue are these pages responsible for?

How much engagement are we driving from AMP pages?

In the Google Analytics AMP analytics property, it's simple to see how many sessions there are and what the bounce and exit rates are. From my own experience, bounce and exit rates are usually pretty high (depending on UX), but the number of sessions increases overall. So, if we’re driving more and more users, how can we track and improve engagement beyond the standard bounce and exit rates? Where do we look?

How to measure real value from AMP in Google Analytics

Acquisition > Referrals

I propose looking into our standard GA property and navigating to our referring sources within Acquisition, where we’ll select the AMP source, highlighted below.

Once we click there, we’ll see the full referring URLs, the number of sessions each URL drove to the non-AMP version of the site, the number of transactions associated with each URL, the amount of revenue associated per URL, and more.

Important note here: These sessions are not the total number of sessions on each AMP page; rather, these are the number of sessions that originated on an AMP URL and were referred to the non-AMP property.

Why is this particular report interesting?

It allows us to see which specific AMP URLs are referring the most traffic to the non-AMP version of the site

It allows us to see how many transactions and how much revenue comes from a session initiated by a specific AMP URL

From here, we can analyze why certain pages refer more traffic or end up with more conversions, then apply any findings to other AMP URLs

Why is this particular report incomplete?

It only shows us conversions and revenue that happened during one session (last-touch attribution)

It is very likely that most of your blog traffic will be higher-funnel and informational, not transactional, so conversions are more likely to happen at later touch points than the first one

Conversions > Multi-Channel Funnels > Assisted Conversions

If we really want to have the best understanding of how much revenue and conversions happen from visits to AMP URLs, we need to analyze the assisted conversions report. While you can certainly find value from analyzing the model comparison tool (also found within the conversions tab of GA), if we want to answer the question, "How many conversions and how much revenue are we driving from AMP URLs?", it’s best answered in the Assisted Conversions section.

One of the first things that we’ll need to do is create a custom channel grouping within the Assisted Conversions section of Conversions.

In here, we need to:

Click "Channel Groupings," select "Create a custom channel grouping"

Name the channel "AMP"

Set a rule as a source containing your other AMP property (type in “amp” into the form and it will begin to auto-populate; just select the one you need)

Click "Save"

Why is this particular report interesting?

We’re able to see how many assisted as well as last click/direct conversions there were by channel

We’re able to change the look-back window on a conversion to anywhere from 1–90 days to see how it affects the sales cycle

Why is this particular report incomplete?

We’re unable to see which particular pages are most responsible for driving traffic, revenue, and conversions

Conclusion

As both of these reports are incomplete on their own, I recommend any digital marketer who is measuring the effect of AMP URLs to use the two reports in conjunction for their own reporting. Doing so will provide the value of:

Informing us which AMP URLs refer the most traffic to our non-AMP pages, providing us a jumping-off point for analysis of what type of content and CTAs are most effective for moving visitors from AMP deeper into the site

Informing us how many conversions happen with different attribution models

It’s possible that a quick glance at your reports will show very low conversion numbers, especially when compared with other channels. That does not necessarily mean AMP should be abandoned; rather, those pages should receive further investment and optimization to drive deeper engagement in the same session and retargeting for future engagement. Google actually does allow you to set up your AMP pages to retarget with Google products so users can see products related to the content they visited.

You can also add in email capture forms to your AMP URLs to re-engage with people at a later time, which is useful because AMP does not currently allow for interstitials or popups to capture a user’s information.

What do you do next with the information collected?

Identify why certain pages refer more traffic than others to non-AMP URLs. Is there a common factor amongst pages that refer more traffic and others that don’t?

Identify why certain pages are responsible for more revenue than other pages. Do all of your AMP pages contain buttons or designated CTAs?

Can you possibly capture more emails? What would need to be done?

Ultimately, this reporting is just the first step in benchmarking your data. From here you can pull insights, make recommendations, and monitor how your KPIs progress. Many people have been concerned or confused as to whether AMP is valuable or the right thing for them. It may or may not be, but if you’re not measuring it effectively, there’s no way to really know. There's a strong likelihood that AMP will only increase in prominence over the coming months, so if you’re not sure how to attribute that traffic and revenue, perhaps this can help get you set up for continued success.

#Analytics #Business #SEO #Reporting

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tainghekhongdaycomvn · 7 years

Text

What's Your AMP Traffic Really Doing? Set Up Reporting in 10 Minutes

Posted by Jeremy_Gottlieb

To accomplish this, over the past year I’ve been thinking a lot about Accelerated Mobile Pages (AMP).

What are Accelerated Mobile Pages?

According to Google,

Why use AMP?

While AMP is not yet (or possibly ever going to be) a ranking factor, the fact that it loads fast certainly helps in the eyes of almighty Google and can contribute to higher rankings and clicks.

Let’s take a look at the query "Raekwon McMillan," the Miami Dolphins second-round pick in the 2017 NFL Draft out of Ohio State University:

Should I use AMP?

Now you have AMP traffic — so what?

But this is misleading. Would that conversion have happened if not for the first visit from organic search? Probably not.

By going into the Conversions section of GA and clicking on Attribution > Model Comparison Tool, you’ll be able to see a side-by-side comparison of different conversion models, such as:

First touch (all credit goes to first point-of-entry to site)

Last touch (all credit goes to the point-of-entry of session where conversion took place)

Position-based (credit is primarily shared between the first and last points-of-entry, with less credit being shared amongst the intermediary steps)

AMP tracking complications

How much revenue are these pages responsible for?

How much engagement are we driving from AMP pages?

How to measure real value from AMP in Google Analytics

Acquisition > Referrals

I propose looking into our standard GA property and navigating to our referring sources within Acquisition, where we’ll select the AMP source, highlighted below.

Why is this particular report interesting?

It allows us to see which specific AMP URLs are referring the most traffic to the non-AMP version of the site

It allows us to see how many transactions and how much revenue comes from a session initiated by a specific AMP URL

From here, we can analyze why certain pages refer more traffic or end up with more conversions, then apply any findings to other AMP URLs

Why is this particular report incomplete?

It only shows us conversions and revenue that happened during one session (last-touch attribution)

It is very likely that most of your blog traffic will be higher-funnel and informational, not transactional, so conversions are more likely to happen at later touch points than the first one

Conversions > Multi-Channel Funnels > Assisted Conversions

One of the first things that we’ll need to do is create a custom channel grouping within the Assisted Conversions section of Conversions.

In here, we need to:

Click "Channel Groupings," select "Create a custom channel grouping"

Name the channel "AMP"

Set a rule as a source containing your other AMP property (type in “amp” into the form and it will begin to auto-populate; just select the one you need)

Click "Save"

Why is this particular report interesting?

We’re able to see how many assisted as well as last click/direct conversions there were by channel

We’re able to change the look-back window on a conversion to anywhere from 1–90 days to see how it affects the sales cycle

Why is this particular report incomplete?

We’re unable to see which particular pages are most responsible for driving traffic, revenue, and conversions

Conclusion

Informing us how many conversions happen with different attribution models

What do you do next with the information collected?

Identify why certain pages refer more traffic than others to non-AMP URLs. Is there a common factor amongst pages that refer more traffic and others that don’t?

Identify why certain pages are responsible for more revenue than other pages. Do all of your AMP pages contain buttons or designated CTAs?

Can you possibly capture more emails? What would need to be done?

Did I miss anything? How do you measure the success (or failure) of your AMP URLs? Did I miss any KPIs that could be potentially more useful for your organization? Please let me know in the comments below.

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