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Jabra Elite 75t vs. Elite Active 75t: Is there a best option?

$ 150 at Amazon

.Pros.Fantastic sound quality.Comfy fit.Enhanced battery life.Smaller sized charging case.Much better than the AirPods.Cons.Less charges from the case compared to Elite 65t.No cordless charging.Call quality still not as great as AirPods.

Jabra makes a strong case that these are among the very best real cordless earbuds items presently readily available. With far much better battery life over the Elite 65t and a slimmer frame that nestles into ears with higher convenience, there’s a lot to like about the plan the Elite 75t provides. Strong app assistance, voice assistant combination, and a few of the very best cable-free audio quality complete an outstanding piece of set.

.Get damp.Jabra Elite Active 75t.

$ 180 at Amazon

.Pros.Water resistant construct.Fantastic sound quality.Comfy fit.Smaller sized charging case.Simply as portable as Elite 75t.Cons.No visible audio upgrade from Elite 75t.No cordless charging.No enhanced call quality.

Like the year prior to, Jabra followed up its exceptional Elite 75t real wireless earbuds with a water resistant variation that includes a little additional insurance coverage. Since they are developed to run or endure a severe exercise in the rain, Wet and sweaty conditions should not trigger any nervousness with the Elite Active 75t. Beyond that, Jabra selected not to make any other cosmetic or practical modifications, putting these 2 earbuds in a really close call.

Jabra does not like to launch whatever simultaneously, which’s why there are 2 variations of its Elite 75t real cordless earbuds that came months apart. The Danish brand name has actually staked a claim as being a major competitor for the very best in business. Part of that originates from the flexibility included. Exists even a genuine competitors in between these 2 evenly-matched options? Let’s discover.

.These might quickly pass for twins.

When it pertains to the next generation of Jabra, it’s challenging to resolve a couple of drawbacks in one fell swoop, however that’s what the Elite 75t really seem like. They are 22 percent smaller sized than the previous Elite 65t by Jabra’s count, yet they seem like a lot more was sliced off. The lighter weight does assist, however, as does the additional mobility managed by the slimmer charging case. Prior to diving in, let’s see what both designs have to use.

.Jabra Elite 75t.Jabra Elite Active 75t.Resilience.IP55.IP57.Bud battery life.7.5 hours.7.5 hours.Charging case battery life.20.5 hours.20.5 hours.Connection.Bluetooth 5.0.Bluetooth 5.0.Digital assistant assistance.Alexa, Google Assistant, Siri.Alexa, Google Assistant, Siri.Supported audio codecs.SBC, AAC.SBC, AAC.Speaker size.6mm chauffeurs.6mm chauffeurs.Active sound cancellation.No.No.

Put these 2 Elite designs beside each other in the very same color, and you might remain in risk of not understanding which is which. Jabra didn’t truly re-engineer the kind aspect or style concepts of the Elite 75t to make the Active design. The more ruggedized Elite Active 75t are genuine clones, specifically in the beginning glimpse. The essential distinction depends on resilience.

The Elite 75t have an IP55 score, which indicates they have good dust resistance, and alright water-resistance. The odd splash or drop of rain should not impact efficiency or durability, however Jabra advises not immersing them in water. The business utilized an unique finishing on the Elite Active 75t that raises the ranking to IP57, basically making those earbuds water resistant.

The finishing isn’t apparent to the eye, so you do not truly see it when dealing with the earbuds. They would be great in a meter of clear water for as much as 30 minutes, whereas anything longer runs the risk of bricking them entirely. Saltwater is likewise a guaranteed no-no, so keep them on the sandy part of the beach.

.A degree of separation.

Neither design holds any benefit in battery life since they both gain from the very same enhancements. Jabra took the Elite 65t, which typically hovered in the four-hour variety, and handled to nearly double that to 7.5 hours. You might not constantly get that number based upon volume level, however it’s still an obvious push in the best instructions.

Their particular cases are of equivalent size, shape, and weight. It’s probably most likely Jabra simply made more of the exact same Elite 75t cases and designated them to Elite Active 75t designs. They both have USB-C charging ports, though no cordless charging —– a function Jabra states is being available in a future 75t model.

What separates these 2 is where you can utilize them. The Elite 75t aren’t worthless in a fitness center or on running path, however Jabra figures it can mitigate any worries that they may pass away out by making an Active variation. For continuous exercises producing massive quantities of sweat, the Elite Active 75t are constructed to deal with that frequently. Like their basic equivalents, they do require some TLC once in awhile to wipe salt, dust, and particles.

There’s great things there to deal with; it’s simply that you do not get any intrinsic benefit, no matter which method you go.

Jabra uses the very same basic 1 year maker guarantee, plus an additional two-year restricted service warranty for both designs when signed up through the Jabra Sound+ app. It does cover damage from duplicated direct exposure to dust and water, however checked out the small print, and you will see some uncertainty there. It clearly points out covering damage from dust and sweating, however not water, liquids, food, and physical damage. Those limitations use to both designs, in spite of one being water resistant out of package.

Jabra did deviate a little on how it uses colors. The Elite 75t can be found in black , titanium black and gold beige , whereas the Elite Active 75t been available in navy , copper black , titanium black , grey, mint, and sienna.

.New functions.

Both designs have brand-new functions just recently presented in the Sound+ app. The very first is MySound, where you can produce your own individual hearing profile by listening to a series of beeps that tune your ears to whatever you listen to. The function originates from Jabra’s sis company, GN Hearing, whose deal with listening devices assisted how MySound will work.

MyControls is another desired function that will let users change the default manages for play/pause, previous and next tracks, and contacting your phone’s voice assistant. Both MyControls and MySound were presented as software application updates in June 2020.

.Which should you select?

So, which set of earbuds is much better? That depends upon how active you intend on being. There is no distinction in how the Sound+ app deals with either design, as is. The equalizer and HearThrough settings, to name a few things therein, are easily offered in any case. There’s great things there to deal with; it’s simply that you do not get any intrinsic benefit, no matter which method you go.

.When you desire to utilize them, #ppppp> The option actually comes down to top priorities. The Elite Active 75t are the much better bet if you frequently require earbuds while working out. The Elite 75t are excellent enough to negate paying the premium if you normally avoid energetic exercises and hardly break a sweat listening to tunes. Go with the Active design for the sake of covering all bases if you’re on the fence.

.For leisure.Jabra Elite 75t.

Prefers to remain cool

$ 150 at Amazon $ 180 at Best Buy

The Elite 75t are Jabra’s response to not just the competitors however likewise their own previous efforts at getting real cordless earbuds. They simply aren’t constructed to take excessive penalty.

.For activity.Jabra Elite Active 75t.

Likes perspiring

$ 180 at Amazon $ 200 at Best Buy

The Elite Active 75t are the Elite 75t with durability in mind. They provide whatever the basic design does, with additional security to boot. It’s simply an embarassment they do not forge ahead in other locations.


Read more: androidcentral.com

Cross-Cultural Design

When I first traveled
to Japan as an exchange student in 2001, I lived in northern Kyoto, a block
from the Kitayama subway station.

My first time using the train to get to my university was almost a disaster, even though it was only two subway stops away. I thought I had everything I needed to successfully make the trip. I double- and triple-checked that I had the correct change in one pocket and a computer printout of where I was supposed to go in the other. I was able to make it down into the station, but then I just stood at a ticket machine, dumbfounded, looking at all the flashing lights, buttons, and maps above my head (Fig 5.1). Everything was so impenetrable. I was overwhelmed by the architecture, the sounds, the signs, and the language.

Fig 5.1: Kyoto subway ticket machines—with many line maps and bilingual station names—can seem complicated, especially to newcomers.

My eyes craved
something familiar—and there it was. The ticket machine had a small button that
said English! I
pushed it but became even more lost: the instructions were poorly translated,
and anyway, they explained a system that I couldn’t use in the first place.

Guess what saved me?
Two little old Japanese ladies. As they bought tickets, I casually looked over
their shoulders to see how they were using the machines. First, they looked up at
the map to find their desired destination. Then, they noted the fare written next
to the station. Finally, they put some money into the machine, pushed the
button that lit up with their correct fare, and out popped the tickets! Wow! I
tried it myself after they left. And after a few tense moments, I got my ticket
and headed through the gates to the train platform.

I pride myself on
being a third-culture kid, meaning I was raised in a culture
other than the country named on my passport. But even with a cultural upbringing in both Nigeria
and the US, it was one of the first times I ever had to guess my way through a
task with no previous reference points. And I did it!

Unfortunately, the same guesswork happens online a million times a day. People visit sites that offer them no cultural mental models or visual framework to fall back on, and they end up stumbling through links and pages. Effective visual systems can help eliminate that guesswork and uncertainty by creating layered sets of cues in the design and interface. Let’s look at a few core parts of these design systems and tease out how we can make them more culturally responsive and multifaceted.


If you work on the
web, you deal with typography all the time. This isn’t a book about typography—others
have written far more eloquently and technically on the subject. What I would
like to do, however, is examine some of the ways culture and identity
influence our perception of type and what typographic choices designers can
make to help create rich cross-cultural experiences.


I came across the word
stereotypography a few years ago. Being African, I’m well aware of the way my continent is
portrayed in Western media—a dirt-poor, rural monoculture with little in the
way of technology, education, or urbanization. In the West, one of the most recognizable
graphic markers for things African, tribal, or uncivilized (and no, they are
not the same thing) is the typeface Neuland. Rob Giampietro calls it “the New
Black Face,” a clever play on words. In an essay, he asks an important

How did [Neuland and Lithos] come to signify Africans and African-Americans, regardless of how a designer uses them, and regardless of the purpose for which their creators originally intended them? (http://bkaprt.com/ccd/05-01/)

From its release in 1923 and continued use through the 1940s in African-American-focused advertising, Neuland has carried heavy connotations and stereotypes of cheapness, ugliness, tribalism, and roughness. You see this even today. Neuland is used in posters for movies like Tarzan, Jurassic Park, and Jumanji—movies that are about jungles, wildness, and scary beasts lurking in the bush, all Western symbolism for the continent of Africa. Even MyFonts’ download page for Neuland (Fig 5.2) includes tags for “Africa,” “jungle fever,” and “primitive”—tags unconnected to anything else in the product besides that racist history.

Fig 5.2: On MyFonts, the Neuland typeface is tagged with “Africa”, “jungle fever”, and “primitive”, perpetuating an old and irrelevant typographic stereotype (http://bkaprt.com/ccd/05-02/).

Don’t make, use, or
sell fonts this way. Here are some tips on how to avoid stereotypography when
defining your digital experiences:

Be immediately suspicious of any typeface that “looks like” a culture or country. For example, so-called “wonton” or “chop-suey” fonts, whose visual style is thought to express “Asianness” or to suggest Chinese calligraphy, have long appeared on food cartons, signs, campaign websites, and even Abercrombie & Fitch T-shirts with racist caricatures of Asians (http://bkaprt.com/ccd/05-03/). Monotype’s website, where you can buy a version called Mandarin Regular (US$35), cringingly describes the typeface’s story as “an interpretation of artistically drawn Asian brush calligraphy” (Fig 5.3). Whether or not you immediately know its history, run away from any typeface that purports to represent an entire culture.

Fig 5.3: Fonts.com sells a typeface called Mandarin Regular with the following description: “The stylized Asian atmosphere is not created only by the forms of the figures but also by the very name of the typeface. A mandarin was a high official of the ancient Chinese empire” (http://bkaprt.com/ccd/05-04/).

Support type designers who are from the culture you are designing for. This might seem like it’s a difficult task, but the internet is a big place. I have found that, for clients who are sensitive to cultural issues, the inclusion of type designers’ names and backgrounds can be a powerful differentiator, even making its way into their branding packages as a point of pride.

The world wide webfont

Another common design tool
you should consider is webfonts—fonts specifically designed for use on websites
and apps. One of the main selling points of webfonts is that instead of
putting text in images, clients can use live text on their sites, which is
better for SEO and accessibility. They
are simple to implement these days, a matter of adding a line of code or
checking a box on a templating engine. The easiest way to get them on your site
is by using a service like Google Fonts, Fontstand, or Adobe Fonts.

Or is it? That assumes
those services are actually available to your users.

Google Fonts (and every other service using Google’s Developer API) is blocked in mainland China, which means that any of those nice free fonts you chose would simply not load (http://bkaprt.com/ccd/05-05/). You can work around this, but it also helps to have a fallback font—that’s what they’re for.

When you’re building your design system, why not take a few extra steps to define some webfonts that are visible in places with content blocks? Justfont is one of the first services focused on offering a wide range of Chinese webfonts (http://bkaprt.com/ccd/05-06/). They have both free and paid tiers of service, similar to Western font services. After setting up an account, you can grab whatever CSS and font-family information you need.

Multiple script

When your design work
requires more than one script—for instance, a Korean typeface and a Latin
typeface—your choices get much more difficult. Designs that incorporate more
than one are called multiple script systems (multiscript systems for short). Combining them is an
interesting design challenge, one that requires extra typographic sensitivity. Luckily,
your multiscript choices will rarely appear on the same page together; you will
usually be choosing fonts that work across the brand, not that work well next
to one another visually.

Let’s take a look at an example of effective multiscript use. SurveyMonkey, an online survey and questionnaire tool, has their site localized into a variety of different languages (Fig 5.4). Take note of the headers, the structure of the text in the menu and buttons, and how both fonts feel like part of the same brand.

Fig 5.4: Compare the typographic choices in the Korean (http://bkaprt.com/ccd/05-07/) and US English (http://bkaprt.com/ccd/05-08/) versions of SurveyMonkey’s Take a Tour page. Do the header type and spacing retain the spirit of the brand while still accounting for typographic needs?

Some tips as you attempt to choose multiscript fonts for your

Inspect the overall weight and contrast level of the scripts. Take the time to examine how weight and contrast are used in the scripts you’re using. Find weights and sizes that give you a similar feel and give the page the right balance, regardless of the script. Keep an eye on awkward script features. Character x-heights, descenders, ascenders, and spacing can throw off the overall brand effect. For instance, Japanese characters are always positioned within a grid with all characters designed to fit in squares of equal height and width. Standard Japanese typefaces also contain Latin characters, called romaji. Those Latin characters will, by default, be kerned according to that same grid pattern, often leaving their spacing awkward and ill-formed. Take the extra time to find a typeface that doesn’t have features that are awkward to work with.Don’t automatically choose scripts based on superficial similarity. Initial impressions don’t always mean a typeface is the right one for your project. In an interview in the book Bi-Scriptual, Jeongmin Kwon, a typeface designer based in France, offers an example (http://bkaprt.com/ccd/05-09/). Nanum Myeongjo, a contemporary Hangul typeface, might at first glance look really similar to a seventeenth-century Latin old-style typeface—for instance, they both have angled serifs. However, Nanum Myeongjo was designed in 2008 with refined, modern strokes, whereas old-style typefaces were originally created centuries ago and echo handwritten letterforms (http://bkaprt.com/ccd/05-10/). Looking at the Google Fonts page for Nanum Myeongjo, though, none of that is clear (Fig 5.5). The page automatically generates a Latin Nn glyph in the top left of the page, instead of a more representative Hangul character sample. If I based my multiscript font choices on my initial reactions to that page, my pairings wouldn’t accurately capture the history and design of each typeface.

Fig 5.5: The Google Fonts page for Nanum Myeongjo shows a Latin character sample in the top left, rather than a more representative character sample.

Visual density

CSS can help you control
visual density—how much text, image, and other content there is relative to the
negative space on your page. As you read on, keep cultural variables in mind: different
cultures value different levels of visual density.

Let’s compare what are
commonly called CJK
(Chinese, Japanese, Korean) alphabets and Latin (English, French, Italian, etc.) alphabets. CJK alphabets
have more complex characters, with shapes that are generally squarer than Latin
letterforms. The glyphs also tend to be more detailed than Latin ones, resulting
in a higher visual density.

Your instinct might be
to create custom type sizes and line heights for each of your localized pages.
That is a perfectly acceptable option, and if you are a typophile, it may drive
you crazy not to
do it. But I’m here to tell you that­ when adding CJK languages to a design
system, you can update it to account for their visual density without ripping
out a lot of your original CSS:

Choose a font size that is slightly larger for CJK characters, because of their density. Choose a line height that gives you ample vertical space between each line of text (referred to as line-height in CSS). Look at your Latin text in the same sizes and see if it still works. Tweak them together to find a size that works well with both scripts.

The 2017 site for Typojanchi, the Korean Typography Biennale, follows this methodology (Fig 5.6). Both the English and Korean texts have a font-size of 1.25em, and a line-height of 1.5. The result? The English text takes up more space vertically, and the block of Korean text is visually denser, but both are readable and sit comfortably within the overall page design. It is useful to compare translated websites like this to see how CSS styling can be standardized across Latin and CJK pages.

Fig 5.6: The 2017 site for Typojanchi, the Korean Typography Biennale, shows differing visual density in action. It is useful to compare translated websites like this to see how CSS styling can be standardized across Latin and CJK pages (http://bkaprt.com/ccd/05-11/).

Text expansion factors

Expansion factors calculate
how long strings of text will be in different languages. They use either a
decimal (1.8) or a percentage (180%) to calculate the length of a text string
in English versus a different language. Of course, letter-spacing depends on
the actual word or phrase, but think of them as a very rough way to anticipate space
for text when it gets translated.

Using expansion factors is best when planning for microcopy, calls to action, and menus, rather than long-form content like articles or blog posts that can freely expand down the page. The Salesforce Lightning Design System offers a detailed expansion-factor table to help designers roughly calculate space requirements for other languages in a UI (Fig 5.7).

Fig 5.7: This expansion-factor table from Salesforce lets designers and developers estimate the amount of text that will exist in different languages. Though dependent on the actual words, such calculations can give you a benchmark to design with content in mind (http://bkaprt.com/ccd/05-12/).

But wait! Like
everything in cross-cultural design, nothing is ever that simple. Japanese, for
example, has three scripts: Kanji, for characters of Chinese origin,
hiragana, for words and sounds that are not represented in kanji, and katakana,
for words borrowed from other

The follow button is a core part of the Twitter experience. It has six characters in English (“Follow”) and four in Japanese (フォロー), but the Japanese version is twenty percent longer because it is in katakana, and those characters take up more space than kanji (Fig 5.8). Expansion tables can struggle to accommodate the complex diversity of human scripts and languages, so don’t look to them as a one-stop or infallible solution.

Fig 5.8: On Twitter, expansion is clearly visible: the English “Follow” button text comes in at about 47 pixels wide, while the Japanese text comes in at 60 pixels wide.

Here are a few things
you can do keep expansion factors in mind as you design:

Generate dummy text in different languages for your design comps. Of course, you should make sure your text doesn’t contain any unintentional swearwords or improper language, but tools like Foreign Ipsum are a good place to start getting your head around expansion factors (http://bkaprt.com/ccd/05-13/).Leave extra space around buttons, menu items, and other microcopy. As well as being general good practice in responsive design, this allows you to account for how text in your target languages expands.Make sure your components are expandable. Stay away from assigning a fixed width to your UI elements unless it’s unavoidable.Let longer text strings wrap to a second line. Just ensure that text is aligned correctly and is easy to scan.

Read more: feedproxy.google.com

Over one million IT employees will continue to work from home post-coronavirus-lockdown: Kris Gopalakrishnan

More than one million information technology employees are expected to continue to work from home even after the coronavirus-inflicted lockdown situation returns to normalcy, says IT industry veteran Senapathy (Kris) Gopalakrishnan.

The former President of the Confederation of Indian Industry (CII) said the IT services industry has managed to transition people to work from home during the 'stay-at-home' period.

"And that was not a trivial task. A large number of people who have to be supported with technology infrastructure to work from home; business processes will have to be changed, with client permission," the Co-founder of IT services firm Infosys Ltd said.kris GopalakrishnanAlso ReadCoronavirus: Infosys Foundation partners with Narayana Health City to open quarantine facility

"Now, I am told that 90 to 95 percent of people in many of the larger (IT) organisations are working out of home. And that transition has been smooth and done very, very quickly. They have figured that out and I think, this will now become part and parcel of the business continuity processing, planning in the future," Gopalakrishnan said.

The Chairman of early-stage startup accelerator and venture fund Axilor Ventures, also said that many of the smaller Indian startups have found that they are as effective working out of home, and are now wondering whether they require permanent office space at all.

"We (India's IT services companies) are not going back to business as usual," he said, adding, firms would do a rethink on the office space they would require, and "how we need to deliver services in the future."

Gopalakrishnan believes at least 20-30 percent of IT employees would continue to work from home even after the lockdown is lifted and the situation returns to normalcy.

That accounts for about 1.2 million people, he said, noting that four million professionals work in India's IT-Business Process Outsourcing sector as per industry body NASSCOM figures.

"Some companies will be a lot more aggressive (more people will work from home), the smaller the companies, lot more aggressive they will be so that they can save significantly in terms of rental costs."

The former CEO and Managing Director of Infosys said he does not see job losses in the IT sector, but "I don't see recruitment happening."

He indicated that salary cuts would happen in the IT sector.

"IT sector does not see large-scale layoffs, they manage to hold on to their employees but they don't recruit, they stop recruiting because growth is not there," he said.

He said a lot of people estimate that the impact of the coronavirus pandemic will be felt for 12 to 18 months which means that recruitment will be "nil or slow" for the one and half years.

"That's going to hurt people who passed out this year and maybe next year."

"Yes, that's one way you can actually avoid layoffs," he said on possible salary cuts. "Everybody takes a small salary cut. When the whole economy is in decline, we are going to see zero growth or muted GDP growth this year; so, that will have an impact on compensation and recruitment."

"Typically, in the past what has happened (in the IT industry) is at the lower levels there are no salary cuts, as we go up it will be five percent, ten percent, and at the top, it could be 20-25 percent, Gopalakrishnan said when asked about the possible range of salary cuts in the IT sector.

(Edited by Suman Singh)

How has the coronavirus outbreak disrupted your life? And how are you dealing with it? Write to us or send us a video with subject line 'Coronavirus Disruption' to editorial@yourstory.com

Read more: yourstory.com

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