Sample Chapter:
APPLICABILITY OF CARO, 2020
In exercise of the powers conferred by sub-section (11) of section
143 of the Companies Act, 2013 (18 of 2013 ) and in supersession
of the Companies (Auditor’s Report) Order, 2016, published in
the Gazette of India, Extraordinary, Part II, Section 3, Sub-section (ii), vide number S.O. 1228(E), dated the 29th March 2016,
except as respects things are done or omitted to be done before such supersession, the Central Government, after consultation with the National Financial Reporting Authority constituted under section 132 of the Companies Act, 2013.
About a year ago, I started feeling overwhelmed with all the changes to front-end development. I understood HTML and CSS, responsive design made sense, but then everybody started grunting and gulping, and frankly I got a little scared. Wasn't Bower the arch-enemy of Mario and Luigi?
Combine that with all the changes to Drupal 8, and it's pretty easy to feel overwhelmed. Everybody else knows what all these new things are, right? I'm the only one in the dark?
What made me most nervous was not even knowing what all these terms mean. Once I had a basic grasp of a concept, it felt a lot less intimidating.
So what I'd like to share with you is a Drupal 8 base theme I'm developing that uses some of these new techniques. I'm not going to explain to you the details of how to implement every single new technique out there, but will try to explain what some of these new tools are without making too many assumptions of what you might know. I will walk you through the structure of a Drupal 8 theme that makes use of new front end techniques, so you can see what does what and get some ideas of what you'd like to learn next.
My goal with this theme is to make use of Brad Frost's atomic design principles: essentially component based design. I'm setting up this theme to integrate with Pattern Lab, a prototyping tool that we'll also set up to work as a living style guide. Styles are managed with Sass and synced with Pattern Lab using Grunt, a task manager. The theme makes use of a number of great Sass tools like Breakpoint and the Susy grid framework. We'll also take a look at the Twig templates new to Drupal 8, as well as some of the other theme files specific to Drupal 8.
I hope that I'll learn from you too. If we have time during Q and A, you can share some modern techniques you'd like to see in a new Drupal theme. There's a good chance I'll be working on the theme during sprints, so if you'd like to help pitch in, I'd be glad for the assistance. This theme will be featured in my upcoming book: Drupal 8 Responsive Web Design.
My goal is for us all to leave the session feeling that while we may have to learn, we have a handle on what front end techniques look interesting and useful to investigate further.
When my session finishes, my goal is for attendees to leave the room more familiar with the files they are likely to see in a Drupal 8 theme, and what each of them does. Similarly, attendees should have a greater familiar with the some of the newer techniques and tools they might encounter in a Drupal 8 base theme.
Sample Chapter:
APPLICABILITY OF CARO, 2020
In exercise of the powers conferred by sub-section (11) of section
143 of the Companies Act, 2013 (18 of 2013 ) and in supersession
of the Companies (Auditor’s Report) Order, 2016, published in
the Gazette of India, Extraordinary, Part II, Section 3, Sub-section (ii), vide number S.O. 1228(E), dated the 29th March 2016,
except as respects things are done or omitted to be done before such supersession, the Central Government, after consultation with the National Financial Reporting Authority constituted under section 132 of the Companies Act, 2013.
About a year ago, I started feeling overwhelmed with all the changes to front-end development. I understood HTML and CSS, responsive design made sense, but then everybody started grunting and gulping, and frankly I got a little scared. Wasn't Bower the arch-enemy of Mario and Luigi?
Combine that with all the changes to Drupal 8, and it's pretty easy to feel overwhelmed. Everybody else knows what all these new things are, right? I'm the only one in the dark?
What made me most nervous was not even knowing what all these terms mean. Once I had a basic grasp of a concept, it felt a lot less intimidating.
So what I'd like to share with you is a Drupal 8 base theme I'm developing that uses some of these new techniques. I'm not going to explain to you the details of how to implement every single new technique out there, but will try to explain what some of these new tools are without making too many assumptions of what you might know. I will walk you through the structure of a Drupal 8 theme that makes use of new front end techniques, so you can see what does what and get some ideas of what you'd like to learn next.
My goal with this theme is to make use of Brad Frost's atomic design principles: essentially component based design. I'm setting up this theme to integrate with Pattern Lab, a prototyping tool that we'll also set up to work as a living style guide. Styles are managed with Sass and synced with Pattern Lab using Grunt, a task manager. The theme makes use of a number of great Sass tools like Breakpoint and the Susy grid framework. We'll also take a look at the Twig templates new to Drupal 8, as well as some of the other theme files specific to Drupal 8.
I hope that I'll learn from you too. If we have time during Q and A, you can share some modern techniques you'd like to see in a new Drupal theme. There's a good chance I'll be working on the theme during sprints, so if you'd like to help pitch in, I'd be glad for the assistance. This theme will be featured in my upcoming book: Drupal 8 Responsive Web Design.
My goal is for us all to leave the session feeling that while we may have to learn, we have a handle on what front end techniques look interesting and useful to investigate further.
When my session finishes, my goal is for attendees to leave the room more familiar with the files they are likely to see in a Drupal 8 theme, and what each of them does. Similarly, attendees should have a greater familiar with the some of the newer techniques and tools they might encounter in a Drupal 8 base theme.
Polytetrafluoroethylene (PTFE) market summaryTejas Shah
The Changing Dynamics of Fluoropolymers Industry (2000-2030) Strategy Report – 2017 is written to provide clients with a historical perspective and an insightful future market outlook for global and regional Fluoropolymers market during the period 2000-2030. This section (Introduction and Executive Summary) is intended to provide the client with an overview, findings and highlights of PTFE and fluoropolymer industry. In this short report we have covered strategic analysis and market dynamics from our Changing Dynamics of Fluoropolymers Industry Strategy Report that Prismane Consulting believes could have a significant impact on Fluoropolymers industry in the short and long-term forecast. Additional analysis of capacity, supply, demand, trade, prices, profitability, technology, and production costs, major application sectors and market analysis at country and regional level can be found in the Changing Dynamics of Fluoropolymers Industry (2000-2030) Strategy Report – 2017.
Prezentacja Adama Zygadlewicza z 26.marca 2009r z 3. spotkania "XRAii - Prześwietlamy Internet. W Rzeszowie" o tworzeniu start-upów z perspektywy firmy developerskiej. Podzielił się doświadczeniami w kwestiach marketingu i CRM.
2014 Online Marketing Guide for Real EstatePlacester
Our 2014 Online Marketing Guide for Real Estate details the importance of mobile optimization and content marketing, complete with strategy checklists and key phrases to enhance your 2014 marketing plan.
Mfuse - The Native vs HTML5 Debate - Whitepaper - Nov 12Mfuse Limited
This whitepaper examines both the Native and mobile web (HTML5) approaches to mobile application building - highlighting the pros and cons of each and considering, in particular, the implications for both mobile sports betting and gaming.
Polytetrafluoroethylene (PTFE) market summaryTejas Shah
The Changing Dynamics of Fluoropolymers Industry (2000-2030) Strategy Report – 2017 is written to provide clients with a historical perspective and an insightful future market outlook for global and regional Fluoropolymers market during the period 2000-2030. This section (Introduction and Executive Summary) is intended to provide the client with an overview, findings and highlights of PTFE and fluoropolymer industry. In this short report we have covered strategic analysis and market dynamics from our Changing Dynamics of Fluoropolymers Industry Strategy Report that Prismane Consulting believes could have a significant impact on Fluoropolymers industry in the short and long-term forecast. Additional analysis of capacity, supply, demand, trade, prices, profitability, technology, and production costs, major application sectors and market analysis at country and regional level can be found in the Changing Dynamics of Fluoropolymers Industry (2000-2030) Strategy Report – 2017.
Prezentacja Adama Zygadlewicza z 26.marca 2009r z 3. spotkania "XRAii - Prześwietlamy Internet. W Rzeszowie" o tworzeniu start-upów z perspektywy firmy developerskiej. Podzielił się doświadczeniami w kwestiach marketingu i CRM.
2014 Online Marketing Guide for Real EstatePlacester
Our 2014 Online Marketing Guide for Real Estate details the importance of mobile optimization and content marketing, complete with strategy checklists and key phrases to enhance your 2014 marketing plan.
Mfuse - The Native vs HTML5 Debate - Whitepaper - Nov 12Mfuse Limited
This whitepaper examines both the Native and mobile web (HTML5) approaches to mobile application building - highlighting the pros and cons of each and considering, in particular, the implications for both mobile sports betting and gaming.
Apollo 150W LED High Bay in Elite SemiconductorKinsley Feng
Using only the highest quality components, the Apollo LED High Bay(http://www.elitesemicon.com/cp02.asp?t1=116) for industrial or commercial applications where reliability and performance are Critical as the bulb maintenance is difficult or impossible, not to say the high cost.
Every component of the Apollo LED High Bay has been carefully engineered to provide the most reliable performance and bring across many benefits of utilizing solid state lighting technology in industrial applications.
1. F i l i p B e r t e
b o r n 1 9 7 6 G h e n t ( B E )
l i v e s a n d w o r k s i n G h e n t
E D U C A T I O N
1 9 9 4 – 1 9 9 9
> S i n t - L u c a s S c h o o l o f A r c h i t e c t u r e , G h e n t ( B E )
1 9 8 8 – 1 9 9 7
> R o y a l A c a d e m y o f F i n e A r t s , P a i n t i n g , G h e n t ( B E )
E X H I B I T I O N S / A C T I O N S
2 0 1 6
> W a i t i n g f o r t h e S e c r e t , L e s H a l l e s d e S t . - G é r y, B r u s s e l s ( B E )
> U n - H o m e / M o v i n g S t o n e s - W o r k i n g T i t l e Fe s t i v a l ,
W o r k s p a c e b r u s s e l s , B e u r s s c h o u w b u r g , B r u s s e l s ( B E )
> O n e M o r e Ta k e - P h o t o g r a p h s by J o h n G . Z i m m e r m a n , A b t e n h u i s
G e r a a r d s b e r g e n ( B E )
> M i r a S a n d e r s - In l a n d v o y a g e s i n a n i n l a n d v o y a g e , A r g o s C e n t r e f o r
A r t a n d M e d i a , B r u s s e l s ( B E )
> C i t a d e l ’ a r t e , C i t a d e l , D i e s t ( B E )
> S a i r d o L i v r o - S u s p e n d e d S p a c e s , C i r c u l o d e A r t e s P l a s t i c a s d o
C o i m b r a , C A P C , C o i m b r a ( P T
> S w i t c h O n ! - S u s p e n d e d S p a c e s , P a l a c i o P o m b a l , L i s b o n ( P T )
> H a c k i n g H a b i t a t - Fo r m e r P r i s o n W o l v e n p l e i n , U t r e c h t ( N L )
> O p e n C a ll ( L a u r e a t e ) - T h i n k Ta n k l a b Tr i e n n a l e , In t e r n a t i o n a l
Fe s t i v a l f o r C o n t e m p o r a r y D r a w i n g , A r tt r a k t G a l l e r y, W r o c ł a w ( P L )
2 0 1 5
> U n - H o m e , S p i e l a r t / A r t i n R e s i s t a n c e , G a s t e i g , M u n i c h ( D E )
> S u s p e n d e d S p a c e s / S o r t i r d u L i v r e , M a i n s d ’ O e u v r e s , P a r i s
S t . - O u e n ( F R )
> U n - H o m e ( C H ) , A r c a r t i s t r e s i d e n c y, R o m a i n m ô t i e r ( C H )
> B at u m i Tra n s i t u s , Fo n d at i o n B i e r m a n s - L a p ô t re , Pa r i s ( F R ) , ( s o l o s h o w )
2 0 1 4
> K u n s t V i s i t e 2 0 1 4 , C h a r i t é - C a m p u s B e n j a m i n Fr a n k l i n , B e r l i n ( D E )
> O s t r a l e 0 1 4 - A r o u n d Yo u , O s t r a g e h e g e , D r e s d e n ( D E )
> A n o n y m e Z e i c h n e r – b a s e d i n B e r l i n 2 0 1 4 , P a v i l l o n a m M i l c h h o f,
B e r l i n ( D E )
> S p o o r 9 – A n Id e a l Fo r L i v i n g – S E C O N D r o o m , Tr a ff i c # , S t a t i o n
A n t w e r p e n C e n t r a a l ( B E )
> Fr o m G e o r g i a . W i t h L o v e ? – F i l i p B e r t e , K a k h a K a k h i a n i , d e B u r e n i n
c o o p e r a t i o n w i t h B O Z A R a n d D e M a r k t e n , D e M a r k t e n , B r u s s e l s ( B E )
> Fr o m G e o r g i a . W i t h L o v e ? – L i t e r a r y e v e n i n g w i t h w r i t e r s L a s h a
B u g a d z e , D a t o Tu r a s h v i l i , Fr a n k W e s t e r m a n , J u l i e R e n i e r s , F i l i p B e r t e ,
d e B u r e n , B r u s s e l s ( B E )
B I O
2. 2 0 1 3
> F i l i p B e r t e / T h e G r a v e y a r d - c i t i e s i n t h e m a r g i n , S p i e l a r t f e s t i v a l
/ C i ty w o r k s M ü n c h e n ( D E ) , ( g r o u p s h o w )
> F i l i p B e r t e / E d w i n J a c o b s , i n t e r v i e w w i t h d i r e c t o r C e n t r a a l M u s e u m
U t r e c h t , Z ij d e b a l e n t h e a t e r, U t r e c h t ( N L )
> D o u b l e - l e c t u r e F i l i p B e r t e / O l a f Te m p e l m a n , Z ij d e b a l e n t h e a t e r,
U t r e c h t ( N L )
> H o u s e o f E u t o p i a , Z ij d e b a l e n t h e a t e r, U t r e c h t ( N L ) , ( s o l o s h o w )
> M i n i m a D o c t a - l e c t u r e : E u t o p i a a n d a r c h i t e c t u r e i n t h e m a r g i n ,
L u c a S c h o o l o f A r t s , C A M P O N i e u w p o o r t , G h e n t ( B E )
2 0 1 2
> E u t o p i a / M o b i l e O ff i c e I I I - T h e B l u e R o o m / T h e G r a v e y a r d , C B K U ,
U t r e c h t ( N L ) , ( s o l o s h o w )
> C i ty b o o k s , S u m m e r o f P h o t o g r a p hy, d e B u r e n i n c o o p e r a t i o n w i t h
B O Z A R a n d D e M a r k t e n , D e M a r k t e n , B r u s s e l ( B E ) , ( g r o u p s h o w )
> F i l i p B e r t e / T h e G r a v e y a r d - c i t i e s i n t h e m a r g i n , S TA M , G h e n t ( B E ) ,
( s o l o s h o w )
> P r o v i n c i a l P r i z e V i s u a l A r t s 2 0 1 1 , C a e r m e r s k l o o s t e r, G h e n t ( B E ) ,
( g r o u p s h o w )
> F i l i p B e r t e / T h e G r a v e y a r d , T h e a t e r h a u s G e s s n e r a l l e e , Z ü r i c h ( C H ) ,
( g r o u p s h o w )
2 0 1 1
> E u t o p i a / M o b i l e O ff i c e I I - T h e G r a v e y a r d , A t e l i e r s Va n A s c h v a n
W ij c k s k a d e , U t r e c h t ( N L ) , ( s o l o s h o w )
> F i l i p B e r t e / E u t o p i a : C o ll e c t i v e M e m o r y G a l l e r y, C C E v e r g e m ,
E v e r g e m ( B E ) , ( s o l o s h o w )
> 1 0 ye a r s 9 / 1 1 : H o w f r e e a r e w e ? , O n e D ay A r t M a n i f e s t a t i o n ,
N e u d e f l a t , U t r e c h t ( N L ) , ( g r o u p s h o w )
> S u s p e n d e d S p a c e s , a r t i s t s ’ c o l l e c t i v e w o r k s h o p , B e i r u t A r t C e n t r e ,
B e i r u t ( L B )
> C i ty B o o k s / T b i l i s i , C i ty H a ll T h e H a g u e ( N L ) , ( g r o u p s h o w )
> C i ty B o o k s / T b i l i s i , E u r o p e H o u s e , T b i l i s i ( G E ) , ( g r o u p s h o w )
> T h e G r a v e y a r d - p r i n t , K u n s t u i t l e e n , U t r e c h t ( N L )
2 0 1 0
> E u t o p i a / M o b i l e O ff i c e I - C o l l e c t i v e M e m o r y M a s s G r a v e , C B K U ,
U t r e c h t ( N L ) , ( s o l o s h o w )
> E u t o p i a / C o ll e c t i v e M e m o r y M a s s G r a v e , A R C H A T h e a t r e , P r a g u e ( C Z ) ,
( s o l o s h o w )
> E u t o p i a / P r o t e c t e d L a n d s c a p e / C o l l e c t i v e M e m o r y M a s s G r a v e ,
M a l t a - Fe s t i v a l , P o z n a n ( P L ) , ( s o l o s h o w )
> T h e D i a l o g u e A u d i t i o n ( o n e w e e k p e r f o r m a n c e ) , E u r o p e a n Fo u n d a t i o n
W e e k , L e S q u a r e , B r u s s e l s ( B E )
> S u s p e n d e d S p a c e s # 1 – c u r a t o r B r e n t K l i n k u m , M a i s o n d e
l ’ A c h i t e c t u r e , A m i e n s ( F R ) , ( g r o u p s h o w )
2 0 0 9
> Fr o m M e m o r y, O n K n o w i n g a n d f o r g e tt i n g , M u s e u m D r. G u i s l a i n ,
G h e n t ( B E ) , ( g r o u p s h o w )
> S p e e c h - a c t 1 9 8 9 , S p o k e n - W o r l d 2 0 0 9 , K a a i s t u d i o ’ s , B r u s s e l s ( B E )
> E u t o p i a / Fr a g m e n t s o f C o ll e c t i v e M e m o r y M a s s G r a v e ( v i d e o ) ,
S i n t - L u c a s S c h o o l o f A r c h i t e c t u r e , G h e n t ( B E )
> Ye s O r N o M o n o l o g u e Fo r T h e E u r o p e a n C o n s t i t u t i o n ( p e r f o r m a n c e ) ,
A d m i n i s t r a t i v e C e n t r e f o r C i v i l S e r v i c e s , B r u s s e l s ( B E )
3. > F i l i p B e r t e / E u t o p i a , K u n s t e n f e s t i v a l d e s a r t s , C e n t r a l e E l e c t r i q u e ,
B r u s s e l s ( B E ) , ( s o l o s h o w )
> F i l i p B e r t e / E u t o p i a , A r t B r u s s e l s 2 7 , C e n t r a l e E l e c t r i q u e , B r u s s e l s
( B E ) , ( s o l o s h o w )
2 0 0 8
> W a ll s & G a t e w ay s , c u r a t o r L a r a Pa n , A C E C In d u s t r i a l s i t e , G h e n t ( B E ) ,
( g r o u p s h o w )
> E x t r a M u r o s , l a b o 6 E x i s t e n t i e , c u r a t o r s S e v i e T s a m p a l l a a n d K o e n
Va n D a m m e , K o n i n k l i j k e G a a n d e r ij e n , O o s t e n d e ( B E ) , ( g r o u p s h o w )
> E u t o p i a / P r o t e c t e d L a n d s c a p e , C A M P O b o m a , G h e n t ( B E ) , ( s o l o s h o w )
2 0 0 7
> E u t o p i a / P r o t e c t e d L a n d s c a p e , D e B r a k k e G r o n d , A m s t e r d a m ( N L ) ,
( g r o u p s h o w D e B a n k )
> M o n u m e n t Fo r K o s o v o / D i s t u r b e d L a n d s c a p e , D A S A R T S , A m s t e r d a m
( N L ) , ( g r o u p s h o w D e B a n k )
2 0 0 6
> S c e n o g r a p hy f o r a p o l i t i c a l d e b a t e , N i e u w p o o r tt h e a t r e , G h e n t ( B E )
> E u t o p i a / M o b i l e E m b a s s y ( a c t i o n ) , T h e a t e r a a n Z e e , O o s t e n d e ( B E )
> S c e n o g r a p hy f o r Ka t r i n a , T h e R e s i d e n t s ( B e n B e n a o u i s s e ) , K V S ,
B r u s s e l s ( B E )
> E u t o p i a / M o b i l e E m b a s s y ( a c t i o n ) , K V S , B r u s s e l s ( B E ) , ( s o l o s h o w )
> D i s t u r b e d L a n d s c a p e / Ye s o r N o M o n o l o g u e f o r T h e E u r o p e a n
C o n s t i t u t i o n / M a s k i n g M i l o s e v i c – r e g u l a r a c t i o n s a n d
p r e s e n t a t i o n s , V i c t o r i a , G h e n t ( B E )
> S c e n o g r a p hy f o r M a n c h a ! I I ( D i t o ’ D i t o a n d J e f l a m b r e c h t s ) i n
c o o p e r a t i o n w i t h M i e t W a r l o p , K V S , B r u s s e l s ( B E )
> M o n u m e n t Fo r K o s o v o ( a c t i o n ) , V i c t o r i a , G h e n t ( B E )
R E S I D E N C I E S
2 0 1 6
> R e - i n v e n t t h e r e s i d e n c y # 3 - A r c a r t i s t r e s i d e n c y, R o m a i n m ô t i e r ( C H )
2 0 1 5
> R e - i n v e n t t h e r e s i d e n c y # 2 - A r c a r t i s t r e s i d e n c y, R o m a i n m ô t i e r ( C H )
2 0 1 5
> A r t i s t - i n - r e s i d e n c e - A r c a r t i s t r e s i d e n c y, R o m a i n m ô t i e r ( C H )
2 0 0 8 - 2 0 1 3
> a r t i s t - i n - r e s i d e n c e , C A M P O a r t s c e n t r e , G h e n t
2 0 0 9 -
> S u s p e n d e d S p a c e s a r t i s t s ’ c o l l e c t i v e ( A m i e n s - C y p r u s - B e i r u t )
2 0 0 6 - 2 0 0 7
> E x i s t e n t i e L a b o 6 , G h e n t ( B E )
2 0 0 6 – 2 0 0 8
> a r t i s t - i n - r e s i d e n c e , D e B a n k ( c o l l e c t i v e ) , C A M P O a r t s c e n t r e ,
G h e n t ( B E )
4. P U B L I C A T I O N S
2 0 1 6
> H a c k i n g H a b i t a t . A r t o f c o n t r o l , N A I 0 1 0 P u b l i s h e r s , R o tt e r d a m ( N L )
2 0 1 4
> S u s p e n d e d S p a c e s # 3 , E N S B A E d i t i o n s , P a r i s ( F R )
> K u n s t V i s i t e 2 0 1 4 , c a t a l o g u e , K u l t u r a m t S t e g l i t z Z e h l e n d o r f,
B e r l i n ( D E )
> O s t r a l e 0 1 4 , e x h i b i t i o n c a t a l o g u e , O s t r a l e D r e s d e n ( D E )
> O n s E r f d e e l - 2 0 1 4 , n r 3 , U i t g . L . D e v o l d e r e ( B E )
2 0 1 3
> C u l t u r e e l J a a r b o e k 2 0 1 2 , P r o v i n c i e O o s t - V l a a n d e r e n ( B E )
> E u r o p a J a a r b o e k 2 0 1 4 , Tw i n m e d i a p u b l i s h i n g , C u l e m b o r g ( N L )
> H o u s e o f E u t o p i a , l i m i t e d e d i t i o n , c a t a l o g u e , F i l i p B e r t e a n d C A M P O
a r t s c e n t r e , G h e n t ( B E )
> L e tt r e In t e r n a t i o n a l e # 1 0 0 , N i v e a u s a n s f r o n t i è r e s , B e r l i n ( D E )
2 0 1 2
> P r o v i n c i a l e P r ij s B e e l d e n d e K u n s t O o s t V l a a n d e r e n 2 0 1 1 , c a t a l o g u e ,
P r o v i n c i e O o s t -V l a a n d e r e n , G h e n t ( B E )
> S u s p e n d e d S p a c e s # 2 , B e i r u t , B l a c k j a c k E d i t i o n s ( F R )
2 0 1 1
> c i ty b o o k s T b i l i s i , d e B u r e n ( B E ) a n d t h e E m b a s s y o f t h e K i n g d o m o f
t h e N e t h e r l a n d s i n T b i l i s i ( G E )
> S u s p e n d e d S p a c e s # 1 , D e p u i s Fa m a g u s t a , B l a c k j a c k E d i t i o n s ( F R )
2 0 0 9
> Fr o m M e m o r y, O n k n o w i n g a n d f o r g e tt i n g , M u s e u m D r. G u i s l a i n ,
L a n n o o e d i t i o n s ( B E )
2 0 0 8
> E x t ra M u r o s , l a b o 6 E x i st e n t i e , c at a l o g u e , v z w E x i st e n t i e , G h e n t ( B E )
A W A R D S A N D H O N O R A B L E M E N T I O N S
2 0 1 6
> L a u r e a t e O p e n C a ll T h i n k Ta n k l a b Tr i e n n a l e , In t e r n a t i o n a l Fe s t i v a l
f o r C o n t e m p o r a r y D r a w i n g , W r o c ł a w ( P L )
2 0 1 2
> L a u r e a t e P r o v i n c i a l P r i z e V i s u a l A r t s , E a s t - F l a n d e r s , G h e n t ( B E )