Cool Principles Of Marketing images

A few nice principles of marketing images I found:

lisianto
principles of marketing
Image by Rodrigo Soldon Souza
Nome científico: Eustoma grandiflorum.
Família: Gentianaceae.
Nomes populares: lisianto, lisianthus, genciana-do-prado.
Etimologia: Lise e Anthos – flor de análise, a destruição – provavelmente associada a alguns dos princípios venenosos existentes em outras espécies da mesma família.
Origem: Estados Unidos.
Características gerais: planta herbácea bienal, de caule ereto, pouco ramificada, de 30 a 60 cm de altura. As flores são em forma de sino, simples ou dobradas e de diversas cores simples ou mistas, que ocorrem na primavera-verão. A folhagem é ereta, pouco ramificada e as folhas são oval-lanceoladas, opostas, de coloração verde acinzentada.
Condições de cultivo: devem ser cultivadas à meia-sombra, em solo fértil e enriquecido com matéria orgânica, com regas regulares. Apesar de serem plantas bienais, devem ser cultivadas como plantas anuais, pois perdem a beleza com o tempo. Exige clima mais ameno para desenvolvimento e tolera bem a geadas.
Propagação: por sementes.
Usos: comercializada como flor envasada ou flor-de-corte. Pode ser cultivada no jardim, em maciços ou bordaduras informais.
Curiosidades: pode apresentar três cores básicas: azul, rosa e branca. Há diferenças de preferência entre os mercados consumidores: o europeu prefere o azul-escuro, enquanto o japonês e o brasileiro preferem o branco com bordas azuis. As cultivares são divididas em flores simples e dobradas, sendo que o mercado europeu e o japonês preferem as flores simples, já o americano e o brasileiro, as flores dobradas. A cultivar Echo é a mais comum no Brasil.

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Scientific Name: Eustoma grandiflorum.
Family: Gentianaceae.
Popular names: lisianthus, lisianthus, gentian-the-meadow.
Etymology: Lise and Anthos – flower analysis, destruction – probably associated with some of the poisonous principle existing in other species of the same family.
Source: United States.
General Features: herbaceous biennial, erect stem, slightly branched, 30-60 cm tall. The flowers are bell-shaped, single or double and single or mixed different colors that occur in the spring-summer. The foliage is erect, little branched and the leaves are oval-lanceolate, opposite, gray-green color.
Culture conditions: they must be grown in dappled shade, in fertile soil and enriched with organic matter, with regular watering. Although they are biennial plants, must be cultivated annual plants such as beauty lost with time. Requires milder climate for the development and tolerate frost.
Propagation: by seed.
Uses: marketed as potted flower or flower cut-off. It can be grown in the garden, in solid or informal borders.
Trivia: You can have three basic colors: blue, pink and white. There are differences in preference among consumer markets: the European prefers the dark blue, while the Japanese and Brazilian prefer white with blue edges. Cultivars are divided into single and double flowers, while the European market and the Japanese prefer the simple flowers, as the U.S. and Brazil, the double flowers. The cultivar Echo is the most common in Brazil.

IMG_5094B Johan Dijkstra 1896-1978 Groningen Blauwborgje 1925 Groningen. Groninger museum
principles of marketing
Image by jean louis mazieres
Johan Dijkstra 1896-1978 Groningen
Blauwborgje 1925
Groningen. Groninger museum

Cette suite de tableaux figuratifs, mais déjà avancés sur le chemin de l’abstraction, montre bien la transition qui va s’opérer, à l’époque de l’art moderne, entre 1850 et 1930, entre l’art porteur d’une signification évidente pour tous les publics, et l’art non figuratif, abstrait qui achève sa course dans l’art du non-sens. Le non sens entendu seulement comme absence de signification clairement perceptible par le spectateur.
Elle permet aussi de mieux comprendre, la différence, mais aussi le passage à l’art contemporain, après 1950, vers l’art du non-sens devenu l’absurde, et l’art du laid, une invention qui ne s’imposera qu’après la seconde guerre mondiale. Avec cette série de tableaux nous sommes encore très loin de cet aboutissement mais il s’annonce. Cette série de 9 tableaux montre seulement le passage de l’art figuratif simplifié à l’art abstrait. Le dernier tableau porte un titre "paysage" mais c’est de l’art abstrait c’est à dire que le public ne peut plus y reconnaître un paysage si on ne le lui suggère pas.
Ce dernier tableau peut être présenté dans tous les sens que l’on voudra, la tête en bas ou la droite à la place de la gauche, personne ne verrai de différence. C’est cela le non-sens auquel conduit l’art non figuratif dit aussi abstrait.

This series of figurative paintings, but already advanced on the path of abstraction, shows the transition that will take place, in the era of modern art, between 1850 and 1930, between the art, carrying a obvious meaning for all audiences, and the art non-figurative, the abstract art, that finishes its course in the art of nonsense. The nonsense understood, only as lack of meaning clearly perceptible by the spectator.
It also helps to better understand, the difference, but also the transition to the contemporary art, after 1950, to the art of nonsense that has become the Absurd, and the art of ugly, an invention that will not be imposed until after the Second World War. With this series of paintings we are still very far from this outcome, but it is announced. This series of 9 paintings shows only the passage from simplified figurative art to abstract art. The last painting has a title "landscape" but it is abstract art, that is to say that the public can no longer recognize a landscape if it is not suggested. This last table can be presented in every direction you want, upside down or right in place of the left, no one will see any difference. This is the nonsense to which non-figurative art, also called abstract art, leads.

L’ESQUISSE ou L’ART DU FLOU

L’Art Moderne, annoncé bien avant le début du 20è siècle par les pré-impressionnistes, les impressionnistes et les post-impressionnistes, a été un facteur tout à fait remarquable de renouvellement des formes, dans la peinture européenne.
L’Art a toujours été, une manière de rêver le monde réel. Mais les nouvelles techniques de l’Art Moderne, s’éloignent toutes, de manière très intentionnelle, volontariste, de la représentation exacte du réel.
Les peintres tendent à créer un art dans lequel l’interprétation du réel l’emporte sur sa reproduction.
L’artiste moderne ne reproduit plus guère le réel, il le rêve, ou l’invente. Ces tendances ont abouti à l’art non figuratif, autrement appelé l’art abstrait.
Ce renouvellement des formes en peinture a apporté de nouvelles possibilités, très intéressantes, et très belles, d’expression artistique.
Parmi les techniques développées au cours du 19è siècle l’Esquisse a été une des meilleures expressions de l’Art du Flou.
L’Art du Flou a été pratiqué de manière géniale par Léonard de Vinci. Le "Sfumato" est, dans le cadre d’une peinture très figurative et parfaitement finie, comme la Joconde, les Vierges au rocher, ou Saint Jean Baptiste, une ébauche d’art du flou.
L’Esquisse a été dans l’histoire de la peinture un projet, une étude préparatoire, qui permettait à l’artiste de s’assurer de la cohérence et de l’équilibre de son tableau fini. Dans ce cas, le plus souvent, le flou n’est qu’une approximation, un brouillon, le témoin d’un art incomplet qui demande à être achevé.
Mais de nombreux artistes, au cours des siècles passés, ont parfaitement compris que l’esquisse pouvait, parfois, exceptionnellement, être une oeuvre achevée.
C’est à dire une oeuvre dont une grande majorité de spectateurs, experts ou non, ressentaient impérieusement que RIEN ne devait lui être ajoutée. Ce n’est pas une définition mathématique, mais c’est la meilleure.
L’esquisse n’est une oeuvre achevée que lorsqu’elle est créatrice d’une atmosphère singulière, particulièrement suggestive, porteuse d’une poésie qui lui est propre, unique. Quand il apparaît de manière évidente que plus de précision dans le dessin fermerait les portes à l’imaginaire, au mystère, et détruirait un équilibre subtile entre le rêve et la réalité.
Le dessin trop précis peut en effet fermer les portes à l’imaginaire, alors que le flou qui caractérise l’esquisse peut les ouvrir. Les photographes le savent bien aussi : Le flou peut être simplement flou, mais il peut aussi être une invitation à ressentir un mystère et à participer à une énigme. Le spectateur est invité à meubler par son imagination le flou qui lui est proposé.
Mais c’est une alchimie dont seuls les grands artistes, peuvent, exceptionnellement, pénétrer le secret.
Le grand maître de cette technique, et celui qui, le plus précocement, l’a poussé le plus loin, a été sans doute William Turner (1775-1851).
Delacroix a été aussi, un peu après Turner, un des grands précurseurs de l’art de l’esquisse. Par exemple dans la "mort de Sadarnapale" mais aussi dans bien d’autres tableaux. Mais Delacroix est aussi un exemple des limites de cette technique. Toutes les techniques rencontrent, à un moment ou à un autre, leurs limites.
L’Art de l’esquisse est redoutablement difficile, car il ne suffit pas de dessiner schématiquement un sujet pour faire une belle oeuvre. De même qu’en photographie de nos jours, il ne suffit pas de dessiner et de peindre flou pour créer une oeuvre d’art.
L’Europe a découvert avec les romantiques (Delacroix, Turner Constable) et les impressionnistes l’art de l’esquisse et ses charmes particuliers, mais nous voyons de nos jours de l’esquisse à profusion, au point que l’on peut poser la question : Et si on revenait, aussi, à de la peinture finie, comme celle des artistes du MEAM de Barcelone ? Combien d’artistes depuis les impressionnistes on fait de l’esquisse par facilité ?! En fait pour être capable de peindre une esquisse vraiment artistique, il faut être capable de peindre un tableau bien dessiné, totalement achevé et peint, et d’y ajouter une beauté indéfinissable, en ne le finissant pas ! Ce n’est pas donné à tout le monde.
Le flou peut n’être qu’une esquisse ou une approximation, dont finalement la valeur marchande ne tient qu’à la signature d’un grand nom.
Il est vrai que l’esquisse peut dégager une certaine puissance expressive, avoir une puissance évocatrice, une poésie de l’inachevé. Une force expressive que le tableau, bien fini, bien dessiné et bien peint, achevé, peut effectivement perdre. Mais la magie poétique de l’art du flou ne peut pas être systématique.
Le flou, c’est aussi beaucoup une question de mode. Une habitude du regard. Une culture.
L’esthétique de notre époque est un peu trop focalisée sur l’esquisse.
On finit par ne plus voir que des esquisses dans les galeries de peintures modernes ou contemporaines.
En réalité les artistes ne sont pas les seuls responsables de cette situation. Au 19è siècle la société occidentale est entrée dans une culture qui fait de la réussite, matérielle, économique, et de l’Argent ses valeurs principales. Dès lors des esquisses, qui ne seraient pas sorties des brouillons personnels de l’artiste, pendant les siècles précédents, sont devenues de marchandises sources de profits. Ces marchandises, se trouvent même dans les musées. Picasso avait très bien compris ce mécanisme économique.
Bien sûr cette évolution est habillée de Grands Principes : Il n’est pas question d’Argent, mais de l’Artiste, de la Liberté de Création, du Progrès des Arts, d’une "sensibilité nouvelle", de "vivre avec son temps" etc…
Cette omniprésence de l’esquisse reflète non seulement des habitudes du regard mais des valeurs éthiques. L’Art du Flou est devenu aussi l’Art de faire, vite, de l’Argent.
Valeurs morales positives ou négatives. Nous vivons dans un monde un peu trop pressé !! Pour aller où ?

THE SKETCH OR THE ART OF BLUR

Modern Art, announced well before the beginning of the 20th century by the pré-impressionnists, impressionists and post-impressionists, was a factor quite remarkable renewal forms in European painting.
Art has always been a way to dream the real world. But the new techniques of modern art, are moving away all so very intentional, deliberate, of the exact representation of reality.
The painters tend to create an art in which the interpretation of reality trumps its reproduction.
The modern artist is hardly reproduces reality, it’s dream or invent. These trends have resulted in non-figurative art, also called abstract art.
This renewal forms in painting is total. He brought new possibilities of artistic expression.
Among the techniques developed during the 19th century, the sketch was one of the best expressions of the Art of Blur.
The Art of Blur has been practiced ingeniously by Leonardo da Vinci. The "Sfumato" is in the context of a very figurative and perfectly finished painting, like the Mona Lisa, the Virgin on the rock, or John the Baptist, a draft of art of blur..
The sketch was in the history of painting, a project, a preparatory study, which allowed the artist to ensure the coherence and balance of the finished table. In this case, usually, the blur is only an approximation, a preform, a draft, witnessed an incomplete art which needs to be completed.
But many artists, over the centuries, have understood perfectly that the sketch was sometimes, exceptionally, be a finished work.
That is to say a work, of which a large majority of spectators, experts or not, imperiously felt that NOTHING was to be added to it. This is not a mathematical definition, but this is the best.
The sketch is a finished work, only when it is creative, from a singular atmosphere, particularly suggestive, carrying a single poetry. When he appears, with evidence, that more precision in drawing, closes the doors to the imagination, of the mystery, and destroy a subtle balance between dream and reality.
The tto precise drawing can, in fact, close the doors to the imagination. While the blur, characteristic of the sketch, can open these doors. The photographers also know well: The blur can be simply fuzzy, but it can also be an invitation to feel a mystery and to participate in an enigma. The viewer is invited to furnish the blur proposed to him, through his imagination.
But it is an alchemy that only great artists have exceptionally found the secret.
The great master of this technique that the earliest, pushed him, foremost, was William Turner (1775-1851).
Delacroix was also a little after Turner, one of the major precursors of the art of the sketch. For example in the "death of Sadarnapale" but also in many other paintings. But Delacroix is also an example of the limitations of this technique. All techniques meet, at one time or another, their limits.
The Art of the sketch is terribly difficult, because it is not enough to draw schematically a subject to make a beautiful work. It is not enough to draw and paint blur, or photographing blur, to create a work of art.
Europe has discovered with the Romantics (Delacroix, Turner Constable) and the Impressionists the art of sketching and its particular charms, but today we see the sketch in profusion, to the point that we can ask the question: What if we came back to finished the painting, like the artists of the MEAM from Barcelona? How many artists since the Impressionists have sketched for ease ?! In fact, to be able to paint a really artistic sketch, one must be able to paint a well-designed, completely finished and painted picture, and add an indefinable beauty to it, by not finishing it! It’s not given for everyone.
The blur can be only a sketch or an approximation, which ultimately market value is up to the signing of a big name.
It is true that the sketch can release a certain expressive power, have an evocative power, a poetry of unfinished. An expressive force that the painting, well finished, well designed and well painted, completed, can actually lose. But the poetic magic of Blur Art cannot be systematic.
It is also very much a question of fashion. A habit of look. A culture.
The aesthetics of our time is a little too focused on the sketch.
We finally see only sketches in the galleries of modern and contemporary paintings.
In fact the artists are not the solely responsibles, for this situation. In the 19th century Western society has entered a culture that makes of the success, physical, material, economic, and of money, its main values. Therefore the sketches, which would not come out of personal drafts of the artist, in previous centuries, have become merchandises, and sources of profits. These goods are found even in museums. Picasso understood very well, what economic mechanism.
Of course this evolution is dressed in Great Principles: There is no question of Money, but of the Artist, of the Freedom of Creation,of the Progress of the Arts, of a "new sensibility", "to live with her time "etc …
This omnipresence of the sketch reflects not only the look but the habits of ethical values.
positive or negative moral values. The Art of the blur has also become the Art to do, quickly, of the money.
We live in a world too pressed !! To go where ?

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Cool Guerilla Marketing images

Some cool guerilla marketing images:

Guerrilla Marketing
guerilla marketing
Image by außerirdische sind gesund
Linz, Bindermichl

Guerrilla Marketing
guerilla marketing
Image by 3D floor sticker – YeJun
Advertising can be dated back to 4000 BC where the early Egyptians used papyrus to make sales messages and wall posters. What we consider traditional advertising and marketing slowly developed over the centuries but never really boomed until the early 1900s. In 1960, campaigns focuses on heavy advertising spending in different mass media channels such as radio and print.
It was at this time that the main goal of advertisements were to educate the consumer on the product or service rather than to entertain and engage them.
Agencies struggled to make an impression on consumers and consumers were tired of being marketed to.
It was time for a change.

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Cool Market Targeting images

A few nice market targeting images I found:

San Francisco Cable Car
market targeting
Image by Christopher Chan
The San Francisco cable car system is the world’s last manually operated cable car system.The Powell-Hyde (Line 60) line runs north and steeply uphill from a terminal at Powell and Market Streets, before crossing the California Street line at the crest of the hill. (Wikipedia)

Facebook | Twitter | Google+ | Instagram

Whole Foods Market, Green Neon
market targeting
Image by Glyn Lowe Photoworks
Whole Foods Market, P Street, NW, Washington DC.

More Photos At:
www.glynlowe.com/

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Cool Social Marketing images

Check out these social marketing images:

The Art of Facebook
social marketing
Image by mkhmarketing
Please feel free to use this image under the creative commons license.

I created the graphic to drive traffic to my marketing blog as part of a buzz-building assignment for a graduate degree.

Please attribute, link, like and comment – howtostartablogonline.net

Help me explore the concept of online quid pro quo. You get great visual content and I get extra credit in my emerging media class. Or at least that’s the cunning plan…

Also, if you have an idea for a custom graphic you need for your own blog or website, please share with me at mkhmktg@yahoo.com. I’ll give it my best shot to create something for you.

James Scullion
social marketing
Image by Tyne & Wear Archives & Museums
James Scullion was sentenced to 14 days hard labour at Newcastle City Gaol for stealing clothes. After this he was sent to Market Weighton Reformatory School for 3 years.

Age (on discharge): 13
Height: 4.2
Hair: Light Brown
Eyes: Grey
Place of Birth: Newcastle
Status: Single
Occupation: Labourer

These photographs are of convicted criminals in Newcastle between 1871 – 1873.

Reference:TWAS: PR.NC/6/1/1281

(Copyright) We’re happy for you to share this digital image within the spirit of The Commons. Please cite ‘Tyne & Wear Archives & Museums’ when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you’re unsure please email archives@twmuseums.org.uk.

To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.

Christmas Lamp Post – Toronto Christmas Market 2014
social marketing
Image by Shandi-lee
pretty little street lamp from my Christmas Market visit on Sunday!

Wishing you well always!

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as always you can find me all over the Internet:

instagram @shandileee ? twitter @shandilee ? tumblr ? facebook page (personal)
 
YES! You may use this photo:
It is under a Creative Commons license: Attribution, Noncommercial, No Derivative Works. If you credit me as the author, (*link* back to this image and my name Shandi-lee Cox), use it for personal reason, (not commercially), and do not edit or alter this photo in any way (no modifications, adding text) you may use any of my images. If you wish to use any of my images commercially or to modify the image you will need my permission. You may request this via flickr mail, e-mail shandilee(at)live.ca, or contacting me through one of the social media platforms I’ve listed above. Otherwise, you don’t have to let me know you’re using my image correctly, although I do love hearing from you!.
Thank you so much! ?

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Cool Product Marketing images

Check out these product marketing images:

6 bunnies
product marketing
Image by ???P?P???™?
Think different. Create your products accordingly. Best way to approach a market is to target the emerging within a sector. Think about the market is going to be in 5 year
time frame.
Definitely, have a lovely models upfront for eye catching interest.

handmade • so.colorful
product marketing
Image by origamidon
Waitsfield, Vermont USA • Peggy Potter Bowls at the Waitsfield Farmers’ Market can be found on the Mad River Green in Waitsfield, Vermont on Saturdays from 9am to 1pm.

It runs from the middle of May to the middle of October. In 2011 the market begins on May 21st and runs through October 22nd.

You can find fresh produce, flowers, seedlings, honey, wool, eggs, meat, cheese and other farm products. In addition you can find crafts made in Vermont, baked goods, and prepared food. Every Saturday we have live entertainment provided by local musicians.

You will also find community groups such as the Vermont Festival of the Arts, Localvores, local libraries and fire departments providing information and doing fundraising.

We now have t-shirts and canvas tote bags bearing our logo! We also have Mad River Valley Greens – our new market money. They make great wedding favors! See the manager at the market for purchase.

Visitors are welcome to bring their well-behaved pets on leash.. – From their website.

Chuck vs The Footlong – SAVE CHUCK!
product marketing
Image by Cara_VSAngel
Chuck is one of the greatest shows on TV these days. Not a lot of people watch it, but its fanbase is a loyal one. The show is very heartfelt, hilarious, has great action, great soundtrack, fantastic plot, and it’s sexy without being smutty. I especially love their sly pop culture references (e.g. Reginald VelJohnson, who played Sgt. Al Powell in the original Die Hard, recurring his role as Al Powell on an episode with a Christmas hostage situation… or their constant naming bad guys after villains from classic movies). It’s been my family’s favorite show since it premiered in 2007. It’s a show that really just makes you feel good all over when you watch it. It never fails to please, and we would be devastated if it went off the air. But thanks to DVR’s (and a great chunk of Chuck viewers are technology nerds, so it’s to be expected), Nielson ratings are down, and the show IS in danger! So, Zachary Levi, star of the show, has started a campaign to save Chuck! Subway is Chuck’s biggest sponsor. They even sneak the Footlong jokes into the show whenever they can. So Zachary is asking everyone to go to Subway (biggest sponsor!!!) this Monday and order a Footlong. It’s a great, cheap, healthy lunch… so even if you’re not a fan… why not go get one? Do it for me! And while you’re there, drop a note in the suggestion box thanking Subway for sponsoring Chuck and asking them to help keep the show around! Also, if you can, please please please watch the Finale LIVE (NOT an hour later on DVR…. really, truly LIVE) this Monday night! And lastly, if you are a big fan, like me and my family, take the time to write some letters to the people in charge of it all.Now that you’ve read my summary of the situation, here are the details from www.msplinks.com/MDFodHRwOi8vemFjaGFyeS1sZXZpLmNvbS8yMDA5…:

To Participate in the Finale and Footlong campaign I’m asking that fans…
1. Get the word out on this program. Lots of people want to help
Chuck, but may not have the time or inclination to write letters, but
the network will listen closer if we’re talking dollars.
2. Still, if you can…write letters to NBC & Universal telling
them why you think Chuck is great (Ben Silverman is Co-Chairman of NBC
and Angela Bromstad is with Primetime Programming). In that letter be
sure to mention that you’re going to be supporting Subway, one of
Chuck’s key sponsors by purchasing a Footlong the evening of the
finale and that you’re spreading the word to convince more fans to do
the same…this is a way for non-Nielson fans to show their love of the
show by directly supporting one of Chuck’s key advertisers.
3. Write a thank you letter to Subway, letting them know what the fans
are trying to do here and thank them for their product placement spots
on Chuck.
4. Convert as many new fans as you can before the finale…we need the numbers.
5. On April 27th be sure to BUY A FOOTLONG from Subway
and if possible, drop a note in the comment box at the franchise
letting them know you’re participating in the Finale and Footlong
campaign to save NBC’s Chuck, of which Subway is a product placement
sponsor.

6. Watch the finale LIVE if possible.
If you do nothing else…do the last two items on the list.
Again…the intent is to let the network and their sponsor know that
we’ve received their message. This is something a Nielson box can’t
do…this is a translation of fan loyalty into real dollars that NBC
& Subway can measure. Thanks for listening.
Addresses:
Bill Schettini
Subway – Chief Marketing Officer
325 Bic Drive
Milford, CT 06461

Ben Silverman
Co-Chairman NBC/Universal
3000 W. Alameda
Admin Building
Burbank, CA 91523

Angela Bromstad
President of Primetime Series NBC
100 Universal City Plaza
Bldg 1320, 4th Floor
Universal City, CA 91608

Sample Letters can be found HERE and HERE.
Big thanks to Wendy Farrington for this campaign!

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Cool How To Advertise Your Business images

A few nice how to advertise your business images I found:

Image from page 128 of “Hardware merchandising March-June 1919” (1919)
how to advertise your business
Image by Internet Archive Book Images
Identifier: hardmerchmarjun1919toro
Title: Hardware merchandising March-June 1919
Year: 1919 (1910s)
Authors:
Subjects: Hardware industry Hardware Implements, utensils, etc Building
Publisher: Toronto :
Contributing Library: Fisher – University of Toronto
Digitizing Sponsor: Algoma University, Trent University, Lakehead University, Laurentian University, Nipissing University, Ryerson University and University of Toronto Libraries

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book

Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
ll your customers have seen the page anddouble-page advertising of Star Saws in the SaturdayEvening Post and other publications. Put Star Saws in your display case and in your win:dow, with a Saturday Evening Post opened to the lastStar ad to remind your customers of the nationaladvertising on Star Saws that they have been seeingright along. Star Hack Saw advertising has shown dealers every-where that there are far more hack saw users thanthey ever thought possible. Get after the business thatis rightfully yours. Star Saws, the largest advertised of all tools—willhelp boost your whole tool department if you will letit work for you. Our Handbook, How to Sell Tools, helps you cash in onour national advertising in your tool department. It isfull of money-making ideas and selling suggestions thatyou can use. Write for your copy to-day. MILLERS FALLS CO. Toolmaker to the Master Mechanic100 RIVER STREET MILLERS FALLS MASS., April 5, 1919 HARDWARE AND METAL—Advertising Section 13 BARCALO

Text Appearing After Image:
Wrench Service There are no frills about the Bar-calo S Wrench. Yet any mech-anic will take pride in its attractiveand business-like appearance. The primary object of the BarcaloS Wrench is to perform a specialservice for the Machinist, Engineeror Garage man. It will perform all the operationsrequired of any wrench, besideshelping the mechanic out of manya tight place where the ordinarywrench would be an impossibility. Its Claim to Usefulness—is backedby extraordinary strength, unsur-passed lasting qualities, simplicityof construction and freedom ofmanipulation. Made in 6, 8, 10, 12 and 14 sizes. We are zealous of our ability tomake good wrenches. We guarantee to replace, free, anyBarcalo Wrench proving unsatis-factory to your customer. Dealers are making a good marginof profit, through Barcalo sales. How about you? May we mail you further informa-tion? Write to-day. Barcalo Manufacturing Company BUFFALO, NEW YORKTORONTO—GEORGE H. SMITH Room 118 Stair Building MONTREAL—GEORGE L.

Note About Images
Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability – coloration and appearance of these illustrations may not perfectly resemble the original work.

Image from page 1030 of “Hardware merchandising March-June 1919” (1919)
how to advertise your business
Image by Internet Archive Book Images
Identifier: hardmerchmarjun1919toro
Title: Hardware merchandising March-June 1919
Year: 1919 (1910s)
Authors:
Subjects: Hardware industry Hardware Implements, utensils, etc Building
Publisher: Toronto :
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MontISectional, 1 lb., per 10 Olbs… .75 .00 .75.Section, % lib., per 100 lbs. .. 4.75 4.50 4.75Solid, 3 to 30 lbs., per cwt 3.25 3.25 8.25- WHEELBARROWS Navvy, steel Wheel, doz 0O Garden, steel, doz 64 25 Light garden, doz 46 80> F.o.b. Montreal, Toronto, London. WIRE PRODUCTS F.o.b. Toronto, London, HamiltonMontreal, St. John, freight equal-ized. Cut Hay Wire Per 100 lbs. No. 9 40 No. 10 6 50* No. 11 6 55 No. 12 5 65 No. 13 6 75 No. 13% 6 76- No. 14 5 9& No. 15 6 15 No. 16 6 85 Stovepipe Wire No. 18 8 25 No. 19 8 75 Fine wire, list plus 20%. Smooth Steel WireNos. 0-9 gauge, base 6 00 Extras over base sizes on smallergauges are as follows: No. 10, 6c extra; No. 11, 12c; Nb.12, 30c; No. 13, 80c; No. 14, 40e rNo. 15, 55c: No. 10, 70c extra. Extra net per 100 lbs.—Oiled wire10c; spring wire, .60; bright, softdrawn, 15c; charcoal (extra qual-ity), .25; packed in casks orcases, 15c; bagging and papering*. May 17, 1919 HARDWARE AND METAL—Advertising Section 77

Text Appearing After Image:
DOMINION TIRES ARE £OQD TIRES Dominion Tires For Your Delivery Rigs If you deliver by automobile or drive a car for pleasure, equip your carwith Dominion Tires. You probably handle other Dominion Rubber System products in yourstore—Dominion Garden Hose, Bicycle Tires, Rubber Gloves, RubberMats, perhaps Rubber Belting; and you know how satisfactory is the qualityof all these Dominion goods. You surely have worn one of the Dominion Rubber System brands of Rub-bers or Fleet Foot Shoes and know their good quality. You can count on the same high-grade quality and workmanship inDominion Tires. There are six Dominion Tires: Royal Cord Nobby ChainDominion Grooved Plain for every type of car; each designed to meet a particular need or a par-ticular condition of work, road or climate. You can get the right tire for your cars, to give you the right kind of ser-vice for business and pleasure, in Dominion Tires. You can also get DOMINION INNER TUBES of the same superiorquality as Dominion Tires

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Venice, May 2014 – 56
how to advertise your business
Image by Ed Yourdon
This is one of several photos I took during a relatively brief "private gondola" ride that we took one morning, for a somewhat outrageous price.

*************************

I’ve been to Venice once or twice for brief business trips during my life, which had the same characteristics as the business trips I described in a separate Flickr album about Paris — i.e., they basically involve flying into a busy airport at night, taking a taxi to a generic business-traveler’s hotel (a Hilton in Venice looks just like a Hilton in Cairo,except perhaps for the canal outside the main entrance), and then spending several days working in the hotel (if the purpose of the trip was a seminar or computer conference), or at a client’s office (also “generic” in most cases — you can’t even tell what floor you’re on when you get off the elevator, because every floor of “open office” layouts is the same). The trip usually ends in the late afternoon or evening of the final day, with a mad dash back to the airport to catch the last plane home to NYC. Thus, a business trip to Venice is almost indistinguishable from a business trip to Omaha. Or Albany. Or Tokyo.

But Venice is different from almost any other place in the world, and I’ve had a couple of vacation trips to experience that side of the city. But it’s been a long, long time: the first such visit was back in 1976 (which you can see here on Flickr), and the second visit was in 1983 (pictures of which do exist on Flickr, but have been restricted to family-only access, since they consist mostly of boring pictures of drooling babies and kids sticking their collective tongues out at me).

Thirty years is a long time between visits … but for a city like Venice, I doubt that very much has changed. Well, perhaps there wasn’t a McDonald’s outlet in Venice when I first came here (and I did photograph one such outlet on this current visit, which you’ll find in this album), and you can certainly guarantee that people weren’t walking around with cellphones and smartphones the way they are today. And while the tourists typically did have cameras back in the good-old-days, they were typically modest little “Instamatic” film-based gadgets, rather than the big, garish, DSLR cameras that everyone now seems to carry around with them, complete with advertising logos all over the camera-straps and bodies to remind you that they, too, can afford to buy an expensive Canon or Nikon gadget that they really don’t know how to use properly. (Sorry, I got carried away there …)

But the buildings, and the people, and the canals, and the gondolas … all of that is the same. And that’s what I’ve tried to capture in this set of photos. The tourist crowds are now so thick (even in May!) that I didn’t even bother going to the square at San Marco, and I didn’t bother taking any photos from the Rialto bridge over the Grand Canal; but you will see some photos of tourists in this album, along with photos of the local people who are still here …

I don’t expect to come back to Venice again in the next year or two … but if it turns out to be 20 or 30 years before my next return, I suspect it will all look pretty much exactly the same as it did on this trip, and in 1983, and when I first saw it in 1976.

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Cool Marketing Consultants images

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Designer freelancer working b2b business
marketing consultants
Image by homethods
Must Credit to: ‘https://homethods.com/’ not Flickr.
Copy Link Address: homethods.com/

Moscow, Tsvetnoy Central Market
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Image by Detlef Schobert
Russia, Moscow.
Tsvetnoy Boulevard.
Tsvetnoy Central Market.

Lifschutz, Davidsons, Sandilands Architects.
Ford McDonald Consultants.

Customized Stainless Steel Ceiling and Walls in Upper Floors, Manufacturer EXYD.

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IMG_1180E Robert Campin. Dit aussi le Maitre de Flémalle. 1375 1444. Nativité et Adoration des Bergers. Nativity and Adoration of the Shepherds. Dijon. Musée des Beaux Arts
direct marketing
Image by jean louis mazieres
Robert Campin. Dit aussi le Maitre de Flémalle.
1375 1444.
Nativité et Adoration des Bergers. Nativity and Adoration of the Shepherds.
Dijon. Musée des Beaux Arts
La Sage femme de dos annonce "une Vierge a enfanté".
The midwife from the back announces "a virgin has given birth".

RENAISSANCE, HUMANISME ET REFORME

Renaissance et Réforme sont, à la fois, des événements historiques, et des appellations que les historiens ont donné à ces événements. Les événements historiques sont des faits. Les appellations que leur donnent les historiens sont des interprétations de ces faits, déformées, orientées par les idéologies existant à la période à laquelle vivent les historiens.
Il faut distinguer les deux : les faits d’une part, et d’autre part leur appellation, le nom qui leur est attribué : Moyen Age, Renaissance, Temps Modernes, Réforme, Ancien Régime, Lumières, Révolution….

1° La Renaissance est un événement idéologique, culturel.
La Renaissance n’est pas un événement politique
La Renaissance n’est pas un événement économique
La Renaissance n’est pas un événement scientifique ou technique.
Idéologiquement, culturellement, la Renaissance est une redécouverte de certains idéaux de l’Antiquité Gréco-Romaine, et parallèlement, un relatif recul de l’influence des valeurs catholiques.
Cet événement concerne seulement une petite élite, intellectuelle et sociale. Le Renaissance ne concerne pas les peuples. La société européenne du temps n’en est aucunement transformée dans ses manières de vivre. Cet événement est très lent, il se déroule sur deux siècles : 15è et 16è.
Tels sont les faits.
L’appellation de "Renaissance" n’est pas neutre du tout. Elle est très positive, très laudative. Elle a été choisie pour ce motif. C’est une falsification idéologique, volontaire, des faits historiques par l’historiographie. La Renaissance est présentée comme un événement global, merveilleux, un "renouveau", profondément ressenti en Europe. Une sortie des "Âges sombres", de la barbarie et de l’obscurantisme, une fin du "Moyen Age".
"Renaissance" s’oppose à "Moyen Age", comme le beau temps s’oppose au mauvais temps !
Non, tout ceci est faux, sauf les états d’âmes de quelques lettrés du temps, vivant en bibliothèques, magnifiés par les historiens idéologues des siècles ultérieurs !

La vraie Renaissance de l’Europe, politique, sociale, économique, technique, s’est produite aux environs de l’an 1000, quand l’Europe commence à se relever de l’effondrement général de civilisation qui est résulté des invasions germaniques, slaves, asiatiques, musulmanes, scandinaves, commencées vers 400 voire vers 250.
Vers l’an 1000 il a existé, réellement, dans les faits une Renaissance de l’Europe, un Renouveau dans tous les domaines, qui est même climatique, et qui dure jusqu’à la grande peste (1348).
Ce Renouveau se produit à une époque où l’Europe est totalement dominée par les valeurs catholiques et orthodoxes.
Mais ces faits déplaisent à certaines idéologies toujours puissantes et actives en Occident. Les idéologues changent les faits, et inventent une "Renaissance" au 16è siècle.
Alors que la Renaissance n’a absolument rien changé à la vie des peuples européens.
La Renaissance est un événement purement culturel, artistique, très important certes, mais qui a concerné seulement une toute petite élite.
Ce pourquoi le nom d”Humanisme est la seule appellation correcte, c’est à dire qui correspond exactement aux faits, non déformés par les idéologies du présent.

2° La Réforme est un événement idéologique, culturel, important, comme la Renaissance. Mais la Réforme est, aussi et surtout, un événement politique.
La Réforme n’a pas de causes ou conséquences, directement, économiques, scientifiques ou techniques.
Sauf les ravages causées par les guerres de religion, surtout en France et en Allemagne.
Idéologiquement la Réforme est une remise en cause très profonde du catholicisme, un retour à l’Ancien Testament.
Les Evangiles n’ont jamais proclamé "Enrichissez vous".
Les paraboles du Christ insistent au contraire sur la damnation du riche. Alors que les pauvres seront sauvés, par cela même qu’ils sont pauvres.
L’Ancien Testament est à l’opposé : Il n’existe aucune condamnation de la richesse matérielle dans l’Ancien Testament. La seule règle impérative est la confiance en Dieu et le respect de ses commandements (Job).
Le Protestantisme adopte cette vision judaïque du monde et de l’homme..
Autre rapprochement entre le judaïsme et le protestantisme, surtout de tendances calvinistes et ses dérivés plus ou moins lointains : l’aniconisme. Le refus de la représentation imagée de Dieu, et plus généralement de toute figuration religieuse, hormis le Christ en croix. Les conséquences dans les arts, notamment la peinture, sont évidemment très importantes.
Du point de vue culturel et idéologique, la rupture avec les valeurs catholiques et orthodoxes est infiniment plus évidente à la Réforme qu’à la "Renaissance". D’ailleurs les Papes avaient été des acteurs très importants de la Renaissance.
Autre différence : La société issue de la Réforme ne s’intéresse pas à l’Antiquité grecque et romaine.. La peinture européenne, dans les Pays Bas du Nord au siècle d’Or, en est la démonstration. Les thèmes mythologiques et ceux tirés de l’histoire grecque ou romaine disparaissent de l’art, exactement comme les thèmes religieux.
L’explication de cette rupture est simple : En Europe elle suit la frontière de l’expansion romaine. La Réforme c’est une revanche de l’Europe du Nord, non colonisée par les Romains. C’est l’aspect on dira "nationaliste" de la Réforme.

La Réforme est un important événement politique : Ses motivations ne sont pas seulement idéologiques et culturelles. A la Réforme il est essentiellement question d’Argent et de Pouvoir.
Le problème, le plus important, pour les élites, Rois, Princes, Evêques, Abbés, c’est de s’emparer des biens de l’Eglise, avec toutes les conséquences sur le pouvoir politique et économique.
Quand l’évêque proclame qu’il devient protestant, il se fait aussi duc. L’évêque ou l’abbé, devient propriétaire des biens du diocèse ou du monastère, et les transmet à ses héritiers. Quant aux rois et aux princes ils agrandissent aisément leurs domaines. Quelle aubaine cette religion nouvelle pour les élites !!!
Grâce au protestantisme encore, les grands bourgeois des villes, peuvent acheter les terres d’église, mises dans le commerce, alors qu’avec le catholicisme toutes ces terres formaient une espèce d’enclave hors du commerce. Quelle chance encore !!!
C’est l’explication réaliste, réelle et principale, de la Réforme et de son succès, et de ses terribles guerres civiles et étrangères. Les idéologies sont des habillages qui ne font qu’activer et justifier les haines et les guerres. Comme toujours.
La Réforme est bien évidemment provoquée par les élites, comme la Renaissance. Mais contrairement à la Renaissance, elle concerne très directement les peuples, absolument malgré eux. Les peuples doivent adopter, qu’ils le veulent ou non, la religion de leurs gouvernants.
La Réforme, contrairement à la Renaissance, est un événement relativement court dans le temps : Il s’inscrit essentiellement entre deux dates : 1517 publication des 95 thèses de Luther, et 1579 date de la proclamation de l’indépendance des Pays Bas du Nord. On peut aller jusqu’en 1648, quand l’Espagne reconnaît cette indépendance. C’est la fin de la Guerre de Trente Ans.

L’appellation "Réforme", contrairement à celle de "Renaissance", est presque neutre. Elle globalement plutôt positive dans l’idéologie européenne et occidentale, mais cette appellation n’est pas une falsification aussi évidente des faits que celle de "Renaissance". A condition de ne pas confondre Réforme et Progrès, ce que certains idéologues font systématiquement, on peut l’appeler Réforme, puisque le mouvement s’oppose effectivement au pouvoir catholique en place et demande la réformation de ses principes et de ses actions.

RENAISSANCE HUMANISM AND REFORM

Renaissance and Reformation are, in both, historical events, and designations that historians have given to these events. Historical events are facts. The designations assigned by the historians are interpretations of these facts, distorted, guided by the existing ideologies in the period to which historians live.
We must distinguish between the two: the facts, on the one hand, and secondly, their names, the name given to them: the Middle Ages, Renaissance, Modern Times, Reform, Old Regime, Enlightenment, Revolution ….

1. The Renaissance is an event, ideological, cultural.
Renaissance is not a political event
Renaissance is not an economic event
Renaissance is not a scientific or technical event.
Ideologically, culturally, the Renaissance is a rediscovery of some ideals of of the Antiquity Greco-Roman, and in parallel, a relative decline of the influence of Catholic values.
This event concerns only a small elite, intellectual and social. The Renaissance does not concern the peoples. European society of the time is not changed in his manner of living. This event is very slow, it takes place over two centuries 15th and 16th.
These are the facts.

The appellation of "Renaissance" is not neutral at all. It is very positive, very laudatory. She was chosen for that reason. It is an ideological falsification, deliberate, of historical facts by historiography. The Renaissance is presented as a global event, wonderful, "renewal", deeply felt in Europe. An output of the "dark ages" of barbarism and obscurantism, an end of the "Middle Ages".
The "Renaissance" is opposed to the "Middle Ages" as good weather is opposed to bad weather!
No, all this is false, except the moods of some scholars of the time, living in libraries, magnified by the ideologues historians of later centuries!
In practice the true Renaissance of Europe, political, social, economic, technical, has occurred around the year 1000, when Europe begins to recover from the general collapse of civilization that is resulted from the invasions, Germanic, Slavic, Asian, Muslim, Scandinavian, begun to 400 and even to 250.
Around the year 1000 it has existed, in fact, a Renaissance of Europe, a revival in all areas, which is same in climate, and lasts until the Great Plague (1348).
This Renewal occurs at a time when Europe is totally dominated by Catholics and Orthodox values.
But these facts are displeasing to certain ideologies, still powerful and active in the West currently. The ideologues change the facts, and invent a "Renaissance" in the 16th century.
While the Renaissance has absolutely changed nothing in the life of the peoples of Europe.
The Renaissance was a purely cultural event, artistic, very important indeed, but that concerned only a tiny elite.
This why the name of Humanism is the only correct term, ie which corresponds exactly to the facts, not distorted by ideologies of the present.

2. The Reformation is an ideological event, cultural, important like the Renaissance. But the Reformation is also, and above all, a political event.
The Reform has no causes or consequences, direct, economic, scientific or technical.
Except the devastation caused by the wars of religion, especially in France and Germany.
Ideologically the Reform is a profound questionning of Catholicism and Orthodoxism, a return to the Old Testament.
The Gospels, never proclaimed : "become an wealthy"
The parables of Christ insist instead on the damnation of the rich. While the poor will be saved, for the very reason that they are poor.
The Old Testament is the opposite: There is no condemnation of material wealth in the Old Testament. The only mandatory rule is trust in God and respect His commandments (Job).
Protestantism adopts the Judaic vision of the world and of the human.
Another rapprochement between Judaism and Protestantism, especially of Calvinist tendencies and its more or less distant derivatives: The aniconism. The rejection of the pictorial representation of God, and more generally of all religious figuration, except Christ on the cross. The consequences in the arts, especially painting, are obviously very important.
Of the cultural and ideological, point of view, the break with the Catholic and Orthodox values is infinitely more obvious to the Reformation that at the "Renaissance." The Popes were very important actors of the Renaissance.
Another difference: The company resulting from the Reformation is not interested in Greek and Roman antiquity . The European painting in the Netherlands from the North in the Golden Age, is the proof. The Mythological themes and those derived from the Greek or Roman history disappear from art , just as the religious subjects.
The explanation for this break is simple: In Europe it follows the border of the Roman expansion. Reform is a revenge of the Northern Europe, not colonized by the Romans. This is the aspect we will say "nationalist" of the Reformation.
The Reform is an important political event: His motives are not only ideological and cultural. At the Reformation, the most important is the Money and Power.
The problem, most importantly, for the elites, Kings, Princes, Bishops, Abbots, is to take possession of church property, with all the consequences on the political and economic power.
When the bishop proclaims that he became a Protestant, he is also Duke. The bishop or the priest, becomes owner of the assets of the diocese or monastery, and transmits it to his heirs. As for the kings and princes, they easily expand their domains. What a boon this new religion for the elite !!!
Thanks again to Protestantism, the great bourgeois of the cities, can buy the church lands, placed on the market, whereas with Catholicism all these lands formed a sort of enclave out of the trade. How lucky again !!!
This is the realistic explanation, real and principal, of the Reform and its success, and its terrible civil and foreign wars. Ideologies are skins, that activate and justify hatred and wars. . Like always.
The Reform is obviously caused by the elites as the Renaissance. But unlike the Renaissance, it relates very directly the people, absolutely despite them. Peoples must adopt, whether they want it or not, the religion of their rulers.
The Reformation, unlike the Renaissance, is a relatively short event in time: It basically falls between two dates: 1517 publication of 95 theses of Luther, 1579 and the date of the proclamation of independence of Netherlands North. We can go until 1648, when the Spain recognized this independence. It’s the end of the Thirty Years War.
The name "Reform", unlike the name "Renaissance", is almost neutral. It is generally rather positive in the European and Western ideology, but that designation is not an obvious falsification of facts as that the "Renaissance". A condition not to confuse Reform and Progress, which some ideologues are systematically, we can call it Reform, because the movement is actually opposed to Catholic power up and demand the reformation of its principles and its actions.

BFR Series: 9 of 20
direct marketing
Image by Jef Harris
I often take for granted the ease the working relationship is between Alexandra Rodionova and I. These pictures are a direct result of that comradery. If you where an onlooker on a shoot with Alex and I you would wonder why we hardly talk when we’re right in the middle of taking pictures. Well, we don’t need to communication, "stand this way, look that way, etc". We know each others every move. Thus is the benefit of working with a muse.
Alas, these days must come to an end. After 5 years of working together Alex is going her own way. So all I have now are there archived photo shoots to share. I’m sure once in awhile we’ll team up again…
…in the mean time I guess I’m in the market for a new muse!
You can contact me at muse@chaosacademy.net.
Please include head shots and full body shots. hehe
Photo by Jef Harris.

Brian Solis, Direct Marketing Prisen, Copenhagen
direct marketing
Image by The Brian Solis
www.briansolis.com/2014/06/video-brian-solis-keynote-dire…

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The Art of Pinterest
market share
Image by mkhmarketing
Please feel free to use this image under the creative commons license.

I created the graphic to drive traffic to my marketing blog as part of a buzz-building assignment for a graduate degree.

Please attribute, link, like and comment – howtostartablogonline.net

Help me explore the concept of online quid pro quo. You get great visual content and I get extra credit in my emerging media class. Or at least that’s the cunning plan…

Also, if you have an idea for a custom graphic you need for your own blog or website, please share with me at mkhmktg@yahoo.com. I’ll give it my best shot to create something for you.

Troy N.Y. – Mercury Grand Marquis 01
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Image by Daniel Mennerich
The Mercury Grand Marquis was a full-size rear-wheel drive luxury sedan that was sold by the Lincoln-Mercury division of the Ford Motor Company; the Grand Marquis was the flagship of the Mercury lineup. The nameplate had been in use since 1975 as the premium trim level of the Mercury Marquis; the Grand Marquis became a distinct model in 1983. The car was essentially Mercury’s twin of the Ford Crown Victoria with which it shared the Panther platform along with the Lincoln Town Car. After the discontinuation of the Crown Victoria at the end of the 2007 model year, the Grand Marquis had largely taken its place as the entry-level Panther-platform model.

The Grand Marquis was manufactured at the St. Thomas Assembly Plant in Southwold, Ontario, Canada though it was also produced from 1983 to 1985 at Ford’s St. Louis, Missouri facility. With the discontinuation of the Mercury brand, the Grand Marquis ended retail production in October 2010 while production for fleet sales continued until January 2011. The last Grand Marquis, which was also the last Mercury ever produced, rolled off the assembly line on January 4, 2011.

For 2006, Mercury gave the fourth-generation Grand Marquis a facelift. From the rear, the trunk panel between the taillights was changed from red to gray. From the front, the changes became more substantial. In an effort to look like the 1988–1991 models, the rounded grilles that had been used since 1992 were replaced with a rectangular one. Fog lights became a first-time option.

Interior changes included a new instrument cluster, which featured the addition of a tachometer and digital odometer/tripmeter. The mast antenna on the right rear fender was integrated back into the rear window and new wheel designs were made available. This was the first year for the 4R75E transmission.

In 2007, the "Palm Beach" trim package became an option for LS models; it consisted primarily of special upholstery and badging. On all models, flex-fuel capability (E85) was added. Other new options included a conventional spare tire and an auto dimming rear view mirror.

For 2008, the Handling and Performance Package as well as the 5-passenger front bucket-seat option were both discontinued; both were similar to the Crown Victoria’s LX Premium Sport and Handling Package. These were the only post-1992 Grand Marquis variants produced for North America to be equipped with dual exhaust.

The Ford Crown Victoria moved exclusively to fleet sales beginning with the 2008 model year, leaving the Grand Marquis with no distinct competition (in terms of price). In Canada, the Grand Marquis (a Ford since 1999) was replaced in retail markets by the Fifth-generation Ford Taurus (formerly the Ford Five Hundred).

For 2009, the base GS trim level was dropped from the lineup; leaving 2 variants, LS Fleet and LS Retail. The LS Fleet was available for fleet purchase only in Canada and the United States, and the LS Retail was available on dealer special orders only in the United States. Also, Lincoln-Mercury dealers in the United States have a "No stock" rule in effect for the Grand Marquis, as incentives as high as 00 were becoming a requirement to remove them from dealer lots, usually after several months.[citation needed] A change made to the Grand Marquis due to federal legislation was the standardization of side-impact airbags and the addition of recessed window switches. 2010 marked the 35th year of Grand Marquis production, overtaking the Cougar as the longest-produced Mercury. Due to a government mandate, the VIN designations were changed for 2010, replacing the seventh character with a letter instead of a number. The Grand Marquis LS now carried an M7F designation, whilst the export-only GS carried an M7E designation. As the Mercury brand was phased out, a short run of 2011 Grand Marquis models were produced, with retail production ending in September; the last fleet model was produced in January, becoming the last new Mercury-brand vehicle made by Ford.

The gran bazar, Istanbul
market share
Image by Giuseppe Milo (www.pixael.com)
This is a free picture released under Creative Commons Attribution 2.0 Generic. Feel free to use and share this picture but please give me credit linking my website or my Flickr account. More info about me on www.pixael.com.

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Falcon vs. Chevy II
market segments
Image by jerbec
The Ford Falcon and Chevy’s Chevy II were competitors in the economy market segment. No economy here, as both have been reborn as high powered gassers.

Second Avenue Protected Bike Lane
market segments
Image by Seattle Department of Transportation
Seattle’s first downtown protected bike lane opened 9/8/2014 on Second Avenue between Pike Street and Yesler Way. With segments also on Pike Street between First and Second avenues and on Yesler Way between Second Avenue and Occidental Way, this new facility will more safely connect Pike Place Market to Pioneer Square for people biking.

www.seattle.gov/transportation/2ndavepbl.htm

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