楼梯空间利用无极限10个收纳新妙招团购

楼梯空间利用无极限 10个收纳新妙招

语：在Loft和复式房间中，楼梯是不可缺少的重要部分，但其下斜的不规则楼梯空间该怎么利用是个让不少业主头疼的难题。那么该如何契合自己的需求营造一个独特的空间呢？其实，楼梯和楼梯里的空间是用于储藏整理的好地方。在这篇文章里面我们将会展示10种解决方法，可以使你专属空间的室内功能得到最大的扩展。

楼梯空间利用无极限 10个收纳新妙招

【我们的阶梯书柜】

很少有人能换个角度看楼梯，那层层叠叠的阶梯其实与我们规规矩矩放在书房里的书柜没什么不同。牢靠的钢结构可以保证我们在使用楼梯时的安全，不会因为将楼梯踏步的下方空间掏空而出现任何安全隐患。这样一来，你起码可以省出一整面墙那么大的面积，本来打算放置书柜的空间现在可以用来干点别的什么了。

楼梯空间利用无极限 10个收纳新妙招

【不规则的扶手展示架】

摩洛哥的扶手当然好看，可是，除了好看，我们在生活里需要的似乎还有很多。对于那些楼梯有大转角的家庭来说，扶手展示架的灵秀不仅让空间更加通透，而且，让上下空间有统一的贯穿元素。展示架不仅能给人们提供支撑点，还可以将很多东西放置进去，一目了然，储物量极大，而且，极富装饰效果。

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如果您对品牌合作、内容合作、广告投坦诚且容易亲近便是吸引媒体注意到你的作品的最佳方法。（(转自游戏邦)）Five PR tips indies really needBy Leigh AlexanderThe indie scene has matured such that being independent is not necessary a raw, outlier move any more, but a viable avenue for doing business agilely, creatively and in a way that takes advantage of new, accessible platforms and funding at s why the question of whether indies need to hire PR agencies is so frequently-raised in the competitive but essential arenas of Steam, crowdfunding, and mobile, getting covered in the gaming press can be an important key to attaining the broader social media presence that helps build community and sow a potential trajectory toward popular t there are a lot of advantages for the media to working directly with indies and establishing a personal relationship. We re often kept at arm s length or worse from developers in the traditional system, rarely exposed to the fascinating trials and revelations that come with creating a game. A lot of our coverage comes from negotiating relationships with PR professionals who may want to tell a different story from the one we find most interesting, and playing by their rules can be talking with indie developers directly, games writers have a chance to learn more about game development, reveal more intimate and personal stories to our readers, and to experience the sense of discovery that comes with finding something magical but unsung, and bringing it to a wider rking with a PR person or agency can have definite benefits for indies who may be less acquainted with the media landscape. Plenty of PR people are well-established as knowledgeable evangelists, and the media notices their clients, where those developers might have been just another name in a crowded inbox t for indies that want to take their outreach into their own hands, knowing a few key things about how best to build a relationship with the gaming press can make all the difference. Here are some things to know about doing your own games PR that even public relations professionals sometimes get aren t doing you a favorWe love to champion the little guy or girl as much as anyone, and part of the joy in covering indies comes from stumbling upon an underdog story. We know this is your dream, and you ve probably sacrificed a lot and devoted yourself significantly to making it t we don t cover games to help you out, or because it s really important to you, or because you re a cool, hardworking person: We do it because you have an innovation to share, an interesting story to tell, or because you ve gained insight through your small-team process that isn t widely shared and that other developers might find neat to know. We need interesting material for our articles, and that s ny indie pitches I ve been getting these days include language like it d be great if you could help us get the word out, or could you check out this link to our Kickstarter and Tweet it if you think it s cool? The media isn t a public partner you charm into helping you promote your fact, we tend to chafe a little at requests to post your trailer on our website (especially if we work for a site that doesn t do trailer posts, as Gamasutra does not do and never has). Asking us to act like a wire service pass this along, spread the word, help us promote our game not only alienates the press, but it minimizes what you could be getting out of us: The stories we d tell or the enthusiasm we d share if we actually got to talk to you or to play your game.A lot of the time I only get coverage requests from indies who are running out of time to reach a funding goal, and they re hoping some media coverage will give them that last financial push. That s not something most of us feel comfortable doing for you (outside of rare occasions where we were rooting for you anyhow). There s little I hate more than having my job reduced to megaphone for your money-raising effort , and I suspect most of my colleagues feel the nsider that the games media is looking for cool developers to tell their readers about and interesting games to keep an eye on that s our job, not to give shout-outs or retweets or to do you a favor or to promote you or to bolster your funding ess materials aren t enoughIf my inbox these days is to be believed, lots and lots of indies especially those who are on Kickstarter do press outreach by leading with a link to the Kickstarter page, or to the YouTube trailer, or ask us to download the images or press releases you ve prepared. It s essential to include this information, but that s not the job done. Most of us have inboxes full of press releases and assets, and several deadlines during the day. We might not always have the time to do a thorough read-through of everything you ails should always be friendly, personal, succinct and catchy you have only a couple paragraphs to strike the press interest. Some things that make us pay attention are if you or your collaborators have worked on other games we might know, if you have a unique process, tool or inspiration, or if you ve tried something you don t think is widely u can do better than the old It s like [Popular Game], only with [other feature]. Sometimes it does help to have a point of reference to compare your game to, but a lot of times when I read It s like [Other Game], my first reaction is not original I ve already played or heard of the game you re mentioning, so why do I need to play and cover yours if its similarity is a main selling point?Tell us about yourself and what you think makes you and your game special. Bragging or arrogance is a turn-off, but it s not arrogant to confidently explain what you ve got to offer. If you believe in yourself, we will, too.I ve had indies pitch me by Tweeting at me and asking me to email them. I usually forget. You should make the writer do as little work as possible to get to what s exciting about you ideally you have it all ready to share in one ow who you re pitchingDo you read the games press, and can you explain in brief what differentiates the kind of games coverage one site does from another? For example, Polygon loves to profile creators with a story behind them; Gamasutra likes designers with industry perspective and design insight to articulate, and there are some kinds of PC games that you can just tell are right for a Rock Paper Shotgun Q A. I m oversimplifying, but you should have an idea in mind of the kind of coverage you want, and tailor your communication to achieve enty of developers even big ones develop a wish list of where they want to be covered ( I want my game in these three big publications! ) but don t think much about how they might appeal to those publications audiences. Start instead with the kind of story you think might best help your game stand out or that truly represents you and your work, and then think about which outlets might be a possible, get an idea of which individual writers might be most interested in your game. I write about relationship games a lot, for example, so I always appreciate when a developer writes, I know you re interested in games about relationships, so I thought my game might be your thing. Personal pitches go quite a long way, and increase the chance that you ll connect with someone who might genuinely appreciate what you re trying to do and provide enthusiastic, respectful coverage. It might seem like extra work to do research on games outlets and the people who write for them but that time is less likely to be wasted than if you carpet-bomb general information everywhere hoping that it sticks. That mass-mail probably won t even get ve something to showContrary to popular belief, most games writers aren t doing their jobs in the hopes of scamming games companies for free copies of things. Whether we get review codes or not, we re up to our eyeballs in games we need to play. We know and understand that every sale is precious to an indie, but if you want us to cover your game, you have to make it easy for us to play it.I recently received a pitch where the indie promised I would get a free copy of the game in exchange for posting about a Kickstarter that s a pretty egregious error. Games writing isn t a contract with the developer to get something, and we generally can t know whether we want to write about your game until we play s, it s possible you might give a free download to a games journalist you never hear from again, but that s a risk you have to take. We lock horns often enough with huge marketers who dangle the privilege of access to their clients in a supposed exchange for good coverage. Indies can gain the upper hand by making it easy for us to have a look at your work. Have a demo or press build or review code on hand and make it clear you re excited to share it if the journalist is your game is too early for a demo or press build, consider whether it s too early to seek press. Major games publishers have sort of trained the consumer press to a news cycle that s attuned to their announcement schedule, but the rules are different for Nintendo, Rockstar Games, or some long-anticipated AAA sequel than they are for you. A GTA V trailer is worth its own post to most big games sites; a trailer of your first game, sadly, generally isn t, no matter how cool it r indies, your game should be well enough along that it shows its strengths best, even if you have more tailoring to do or further elements to add. We see games in various states of completion all the time, so we understand how to evaluate a game in the context of where in the process it t where major publishers games will often get several events leading up to release for us to see them, usually (unless we have an existing relationship with a developer) indies only get that one shot, so consider whether your build is ready to show the core of your game at its best. If your planned public demo event would consist mostly of we ll be adding that later, maybe wait til n t imitate the big guysI ve already pointed out some ways the press cycle for an indie is going to be different than that of some huge franchise, but it s an important point to drive home: Many indies, particularly those that have worked at bigger studios in another life, operate based on a loose idea of how the industry does things , which includes teasing exclusives, issuing formally-penned press releases, or typing MEDIA ALERT in the subject headline.A few of these things are useful for when a big company is dealing with a big media organization, but most of them are odd rituals that persist because people assume they confer urgency or professionalism, and not because they re useful to the people involved. You re indie because you don t want or need n t worry about putting out a press release on time, artificially enforcing some embargo, or trying to promise an exclusive (as an indie you want all the coverage you can get, not to exclude anyone). You should absolutely only talk about what you feel confident and prepared to talk about it s fine to say we re not ready to share that now, but never distance writers who are curious about you based on an arbitrary idea about being en in doubt about what you should do, the right answer is always what works best for you and your game, not what you presume is expected or what you have seen others do. Simply being confident, candid and accessible is the best way to engage the media around your work.(source:gamasutra) 文章导航Previous Previous post: 手游和主机游戏研发应互相学习什么？下一条 Next post: 张柏芝、谢霆锋和王菲放有兴趣，请发邮件到邮箱：yehua@。