Write an article based on this "Begin work in the industry. Network with as many people as you can. Learn good communication skills. Submerge yourself in the fashion culture."
article: It is important to get your hands working as soon as possible to gain knowledge, practice, and skills. Apply at local jewelers to see if you can get your foot in the door in anyway possible. Even working in the front of the store as a cashier can teach you a lot. You can learn how jewelry is displayed and presented to the customer, and listen to the feedback they have about the pieces. Be sure that any jewelers you work with know the direction you are headed so that as positions open, or help is needed designing or creating jewelry, you can be considered for the job. Spending time in an art, craft, or jewelry setting, and put the word out there that you have a passion for design. This is a great way to start a meaningful relationship with designers and other people who can help you launch your career in jewelry design. Bring value to those relationship by letting people know what skills you can provide such as reliability, quality, sincerity, creativity, business and marketing knowledge, or dedication. Sell yourself and your skills so other people in the industry want to have a connection with you. Jewelers work closely with employees and customers to figure out designs and talk jewelry. You will have to communicate with your customer about what they are looking for in their piece. This will require you to have great interpersonal skills so you can build strong relationships to help you to successfully sell jewelry.  Consider taking a communications class at a local college. Remember to always be polite and friendly when talking to fellow employees and customers. Jewelry designers need to know what the latest fashions in jewelry are, as well as the history of jewelry, so they can stay current, and sell jewelry. This will require research, attention to detail, and input from other people. Regardless of the education you receive, or the skills you learn, you will not be a competitive designer unless you have creative ideas that appeal to other people.  Try to get internships with designers, or volunteer at fashion events to learn about great styles. Read as many books as you can about the history of jewelry. Great books to start with are, History Of Jewelry by Black and Georgian Jewellery 1714-1830 by Ginny Redington.

Write an article based on this "Use the Petrarchan sonnet's rhyme scheme. Use the same iambic pentameter meter as the Shakesperean sonnet. Develop content as the Petrarchan stanzaic structure demands. Write your Petrarchan sonnet."
article: While the Shakespearean sonnet always has the exact same rhyme scheme, the Petrarchan sonnet does not have a single pattern. Though the first eight lines (the octave) always follow a rhyme scheme of ABBAABBA, the closing six lines (the sestet) have some variation. There are five patterns, though, that are most common in the tradition of the Petrarchan sonnet:  CDCDCD CDDCDC CDECDE CDECED CDCEDC All lines should follow the “ta-TUM ta-TUM ta-TUM ta-TUM ta-TUM” pattern, but remember to insert metrical variation from time to time to enliven the rhythm and draw attention to key phrases. Whereas the Shakespearean sonnet has a top-heavy structure of 3 quatrains and a couplet, the Petrarchan sonnet is a little more balanced, using an eight-line octave and a six-line sestet to develop the poem's subject. As such, it's well-suited to complex issues that require a lot of room to resolve, rather than the easy, witty resolution of a Shakespearean sonnet's closing couplet. The octave introduces and presents a problem. The turn, or volta, occurs at the beginning of the sestet (Line 9); the sestet offers new insight into the dilemma presented in the octave. Consider William Wordsworth's “Nuns Fret Not at Their Convent's Narrow Room” as an example for analysis:  The octave progresses through a series of examples of creatures and people who are not bothered by restricted spaces. The progression moves from the most revered element of society to the lowliest: from nuns, to hermits, to scholars, to manual laborers, to insects. The turn in this sonnet actually occurs a line early, at the end of the octave. Although this is not purely traditional, poets throughout history have experimented with the form and manipulated it to their needs. You should feel free to do the same. In Line 8, “In truth” marks the volta or turn; now, Wordsworth will give more insight into the idea of being comfortable in restrained spaces. The sestet suggests that the formal restrictions of the sonnet — with its rhyme scheme, iambic pentameter restriction, and strict octave-sestet structure — is not a prison, but a way for the poet to free himself and “find solace.” He hopes that the reader, too, shares this feeling. The sestet provides insight that allows us to consider all the people and things in the octave with a deeper understanding. Just as you did with the Shakesperean sonnet, keep in mind the Petrarchan rhyme scheme and stanza structure, and remember to write in iambic pentameter with occasional metrical variation. Note that, just as Wordsworth did in "Nuns Fret Not at Their Convent's Narrow Cell" by moving the volta up from the traditional ninth line to the eighth, you can manipulate the form to meet the needs of the poem you're trying to write. The sonnet has changed in many ways throughout history, so make it work for you. An example of a Petrarchan sonnet that beautifully manipulates the form to make a point is Edna St. Vincent Millay's "I Will Put Chaos into Fourteen Lines," which is a sonnet about writing a sonnet. Millay employees the Petrarchan rhyme scheme and meter, but interrupts her lines with enjambments (splitting the line in the middle of a sentence or clause) and occasional disruptions of the meter to emphasize her struggle with the sonnet form itself.

Write an article based on this "Go to Facebook. Log in. View your Friends list. Open the Friends Finder page. Search for friends. Add friends."
article:
Visit the Facebook website using any web browser. Use your Facebook account and password to log in. The login fields are found on the upper right corner of the page. Click the “Log in” button to proceed. Click your name on the header toolbar, and you will be brought to your Timeline or wall. Click the Friends tab, right below your cover photo, and you will be brought to your Friends page, listing all of your friends on Facebook. On the Friends page header, click the “Find Friends” button. You will be brought to the “Friends finder” page of Facebook. Use the “Search for Friends” filters on the right panel to search for your old friends.  Finding friends by name—Enter the name, or part of the name, of the old friend you’re looking for in the Name field. Finding friends by location—Enter the city or cities of your friend’s hometown in the Hometown field to look for old friends from the previous places you’ve lived in. Finding friends by school—Enter the schools you’ve attended in the High School, High School, College or University, and University (postgraduate) fields to look for old friends you’ve met when you were in school. Finding friends by employer—Enter the employers or companies you’ve worked for in the Employer field to look for old friends from the previous companies you’ve worked for. If you find an old friend or two, click the “Add Friend” button beside his name. Your friend will be notified, and he will have to accept your request before you two become official Facebook friends.