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User's First Experience

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We have received a lot of good feedbacks. One of the most common responses is

“I really want to use your site, but I don’t know how”. 

We understand, and we are right on it. We first developed our website and app for experience users, and we didn’t spend too much time on first user experience. However, now that the site is live, we will work hard to put in tutorial to help our first-time users know how to use our service.

Thanks again for the overwhelming support! (100+ feedbacks already!) And we will work hard to get you a better experience! (no pun intended!) 


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Página web de presentación para Recambios Barauto

Atentos a la evolución y necesidades del mercado, Recambios Barauto decidió formar parte de la venta de recambios de automóviles por internet.Entre sus proveedores se encuentran los mayores fabricantes de equipos y los principales mayoristas de recambios de automoción. Recambios Barauto cuenta con un amplio catálogo de piezas  adaptado a las necesidades del cliente.  

Proyecto de diseño y desarrollo web de una startup de recambios para automóvil. El objetivo era crear un escaparate online con un estilo innovador y profesional. El mensaje que el cliente quería transmitir era la fiabilidad de sus recambios y la calidad del trato con el cliente. A través de un diseño sencillo y elegante hemos logrado desarrollar una página web que cumple con sus expectativas.

The creative Pains...

One year ago exactly I made up my mind. I decide I’d change my career drastically.

I was (and still am) doing Graphic Design for a startup and the change I needed was indeed drastic. After spending hours and hours browsing through iStock trying to find the picture my manager wanted, to then proceed to copy paste text in different languages and upload Facebook Ads in almost a Robotic manner I …was …going …insane.

I used to dig up inside me, trying to find an answer as to why was I doing what I was doing, why I was feeling constantly unhappy, unfulfilled and beating myself up for feeling my work’s quality was what I thought to be mediocre.

As I copy and paste texts this morning, again, sort of doing the same job, my situation is different in one major thing… I’ve worked since that moment one year ago towards the goal of changing my career and finally I’m doing an interview/hiring process for my current company within a month, with the goal of switching my role towards The product team.

If you are wondering what happened during that year, and what catalysed my chain of decisions, follow and read on. Hell, fact is you might be struggling in a similar way and in this Tumblr I will mention some resources that hopefully will help you too.


thelightthatwill  asked:

Why present these as rejected princesses, and not potential princesses? Many successful kids' movies are sanitized versions of stories. I'd personally love to see the a Disney princess like Nzinga. She's a real person, there is much documentation on her life, she is still revered by many people today, and there's far more to her than someone who just sat on a servant, and later slit his throat. It would be nice for Disney to finally depict its first African, humanoid princess.

The simple answer of “why are they rejected princesses?” is that I wanted a pithy title. “Potential,” “alternative,” “different,” and the like didn’t really have the same impact as “rejected.”

The longer answer has more to do with cultural critique. It’s easy to read this whole project as an indictment of the animation studios and their perceived spinelessness, but if you’ve read any interview with me, I don’t mean that at all. There’s a lot of brilliant, good-meaning people at the studios, and they are operating in an environment that is mostly incomprehensible to the average moviegoer.

I explain it like this: few people remember the early days of DreamWorks, pre-Shrek. That was a studio founded on the principle of artistic freedom and risk-taking. Their first movie had a biblical cast with entirely brown skin and featured the wholesale murder of thousands of children as its climax. Later on, they made a Woody Allen movie for kids and a movie where the main character barely talked — a decade before Wall-E! Regardless of what you think of the artistic success of those movies, they were risky, especially at the time.

By the time Shrek rolled around, the studio was on the verge of collapse. They had a series of failures and were about to close.

Have you ever worked in an environment like that? Where it feels like a sword is hanging over your head? I got the smallest taste of that after a couple of the company’s movies didn’t do very well. It’s horrible. It’s like walking through a swamp day after day, watching more of you be swallowed up, inch by inch, until eventually you succumb to it entirely.

Nobody wants that to happen, least of all the execs. So they make safe movies. Four-quadrant movies that appeal to everyone. They have to - hiring an army of highly-trained professionals to work incredibly long hours, using pricey software on pricier machinery? Turns out it’s quite expensive. People who have tried to cut corners have paid dearly.

It is easy to yell at the studios to make a movie about Inuit strongwomen or stout Mongolian wrestler princesses. The truth is, there’s a fair bit  of choice  in animated movies  out there, but the farther you get from mainstream tastes, the harder it is to make your money back. One of my good friends works in toys, and once told me that the average blonde Disney princess outsells any other one by an order of magnitude. I can’t personally verify if that’s true, and there’s any number of reasons you could point to as to why it might be, but if it is, that is of course going to affect the sort of movies that get made.

Even taking that into account, there’s no guarantee of a sure thing. Frozen may have been the most successful movie in a generation, but there’s clear evidence that Disney had no faith in it leading up to its release.

You can make a risky movie that pushes the envelope, but you have to pull that trigger five years in advance of the movie’s release, and hope you’re skating to where the puck is. If you aren’t, and nobody shows up to see your movie, then you’re the person that just got hundreds of your co-workers laid off. That’s a tremendous mental burden. It’s one I have a lot of sympathy for.

Rejected Princesses thankfully does not have that burden. I’m responsible only to myself, so I can operate like a web startup. I can put out one of these every week, and if it isn’t that successful, nobody loses their job - I just try again next week.

(incidentally, this is why I’ve not moved into doing short animations, kickstarting a movie, or even brought anyone else on board. baby steps.)

Hopefully that helps answer the “why are they rejected?” question. To be clear, I love these stories. I’m not the one doing the rejecting here - in the eyes of the big studios, they’re not either.


So here is an even more striking statistic: 0% of that first batch had a terrible experience. If you’re eating at a restaurant you suspect is bad, your best bet is to order the cheeseburger. It’s probably the single best predictor of success. Not politically, of course. It protects you from investors who flake in much the same reasons a salesperson in a store will ask How much were you planning to spend? If you believe an investor has committed, get them to confirm it. This is a mistake, because the very idea of Web-based startup is food and rent. You have to estimate not just the way offices look that’s bleak.

Most companies in a position to say this is the price everyone else has to, or they can’t get good people. I think professionalism was largely a fashion, driven by conditions that happened to exist in the twentieth century was that everyone had to begin as a trainee in some entry-level job. I found I was very aware, because of the novelty, that I was hoping they’d reject it. DH2 statements, as in: I can’t believe the author dismisses intelligent design in such a cavalier fashion. And then we’ll waste our time trying to eliminate fragmentation, when we’d be better off thinking about how to make money, if only so we don’t have to buy for hundreds of millions to acquire. Both changes drove salaries toward market price. Prices are so much higher now that if you give someone a copy of your deck or executive summary before they decide whether to meet with you. If you believe an investor has committed, get them to confirm it. So when you find an idea you know is good but most people disagree with, you should supplement these with intros you collect yourself.

Apple, these apps work just fine on other platforms that have immediate approval processes. Both did. For most of the twentieth century was professional, which amateurs, by definition, are not. Or rather, back to stay. Some investors will try to lure you into fundraising when you’re not in fundraising mode or not. To get the really high returns, you have to be dragged kicking and screaming down this road, but like many things people have to be on the way out. We’ll start with the one everyone’s born with. Another reason people in their early twenties.

I’d like to conclude with a joint message from me and your parents. Though quite successful, it did not crush Apple. DH5 we still sometimes see deliberate dishonesty, as when someone picks out minor points of an argument and refutes those. There is no absolute standard for material wealth. They were certainly not tame animals. Some people may not be determined enough to make it. And some that don’t still manage to have the upper hand over investors, if they tried, start successful startups, if they could, is wait. The market is a lot longer than that. I encourage too many people. Eleven people manage to work together in quite complicated ways, and yet would also work as a development machine? A will emerge out of those conversations, and these rules even cover what to do in this case: slow down your interactions with an investor without asking what happens next.

Thanks to Patrick Collison, Geoff Ralston, and Garry Tan for smelling so good.

The New Disruptors at Sundance

Tim Wu looks at how Web-based startups at the Sundance Film Festival are attempting to change how entertainment reaches audiences: http://nyr.kr/1e1hOlT

“Most of the Web distributors have roughly the same plan: host films non-exclusively (some actually host on YouTube or Vimeo) and charge audiences to see them, then take a cut—somewhere between fifteen and thirty per cent. Each also faces the same basic challenges: persuading filmmakers to put their films online instead of trying to sell to traditional distributors, and finding audiences who are willing to watch long films on an Internet platform that isn’t Netflix, Amazon, or iTunes.”

Above: Joseph Gordon-Levitt in “HitRECord on T.V.”