#The Paper and Printing Trades Journal

[uwmspeccoll]

Typography Tuesday

This week we present a few specimen pages from Volume IV, 1883, of The Printers’ International Specimen Exchange published in London for The Paper and Printing Trades Journal by Field & Tuer at “The Leadenhall Press.” The specimens shown here were printed by English and American printers.

The Exchange was conceived during the Caxton Celebration of 1877 as an expansion of the “Specimens” column appearing in the Paper & Printing Trades Journal edited by Andrew White Tuer. As an annual subscription publication for the “technical education of the working printer,” the Exchange became very influential and came out annually (with the last two volumes covering two-year periods) from 1880 to 1898. John Ruskin praised the goals of the project, and Queen Victoria accepted a copy of Volume VI, which we also hold. Our copy has the half-vellum deluxe binding side-stitched with catgut. 

View a post on Volume VI of The Printers’ International Specimen Exchange.

View more Typography Tuesday posts.

#Typography Tuesday #typetuesday #Typography Tuesday #The Printers’ International Specimen Exchange #The Paper and Printing Trades Journal #Field & Tuer #Andrew White Tuer #Leadenhall Press #type specimen books #specimen books #printers specimens #type specimens #print exchanges #19th century type

[bloodynereid]

Hey, I was wondering if you could write a warren rojas x reader one shot where the reader is apart of the six (and Italian) and suggests a song for the album and Billy just disregards it. Warren is very angry and has to comfort her. But she ends up doing the song with another singer once the band breaks up and becomes very successful in her own country and warren is a proud husband

I love your writing, thanks 💕

Innervated Love

pairing: warren rojas/rhodes x reader

a/n: hiii tysm for ur request. I kind of tried to do this request justice since I loved it sm so I hope you enjoy it as much as I loved writing it.

tw: swearing, billy is his own warning, drinking mentions

description: being a songwriter was in your blood but billy just didn't want to see it, thankfully warren was around.

for @djatsappreciationweek day one: favorite character - warren rojas my unproblematic king <3

Y/N: I loved being in the band, I would never trade that experience for the world but Billy… fuck yeah he was a real fucking asshole.

You were sitting on the floral duvet that covered the bed you shared with Warren on his boat. Somehow he had convinced you to move out of the dingy old place that was the house in Laurel Canyon to his slightly cramped houseboat… it was an easy yes. You and Warren were always a will they won’t they kind of situation until after the first tour. That tour changed everything and left you with one of the best men in the world as your boyfriend.

Currently you were working on getting some finishing touches done to an array of lyrics that had evolved into a song over the course of the past couple of weeks. Ever since you picked up your first guitar the words that wove themselves into songs had quickly followed. Not that you ever showed anyone your little creations.

That was until Warren found a few of your songwriting journals when you were unpacking boxes. And let’s just say he was incredibly excited. He eagerly became the first person to hear every single one of your new creations.

So later that night as he finished listening to the most recent piece of your little side gig, Warren grants you a huge smile before carefully taking off your guitar strap and giving you a huge hug, followed by a rather passionate kiss.

“I’m assuming you liked it then.”

“Oh you have no idea, baby.”

“Well good cause that one was written about you.”

“I will gladly be your muse for the rest of my days.”

“Aww stop it you big sap.” You say as you lightly slap his shoulder before giving him a quick peck and taking another swing of your beer.

“I think I should be calling you the sap since you wrote a song about me.”

“Most of my songs are about you.”

“You are only further proving my point.” You snorted as you settled into his arms and felt him pull you tighter against his chest as a soft breeze blew over the boat.

Warren: Y/N is a genius. She’s one of those incredibly talented people that just has that spark, you know.

You took a deep calming breath as you nervously fiddled with one of the corners of the paper where your song was carefully printed out. It was a love ballad but with obvious rock and roll influences, you had even tried to sneak in a few things you had noticed from the array of punk records you had started to collect.

It felt as if you were back in school, about to give one of those presentations that you felt would end the world if you ended up messing up. Billy wasn’t known for being one who listens to anyone other than Daisy, which was also a rare occurrence. He was bullheaded and controlling about every little detail on the album. So this was like trying to talk to a brick wall, but you were still determined to at least try.

At the sound of Billy walking into the recording room you nervously stood up and eyed Warren who gave you a reassuring thumbs up.

“Hey Billy.”

“Oh hey Y/N.”

“I was wondering if I could talk to you…”

“If this is about your bass lines, I already told you that you can change them if you want for the riff.”

“Uh no this is about well this.” You kind of shoved the paper into Billy’s hands and his eyebrows raised as he quickly skimmed over the lyrics and notes.

“What the hell is this?”

“Well since I know you were looking for something extra for the album I thought I would suggest this.”

“Yeah well, uh it’s not what we need. And I finished up a song with Dai-”

“Yeah it’s fine Billy. Whatever, I’ll start setting up.” Billy just nodded at you before walking off to the side to talk to Graham. Warren just looked at you and titled his head, you just shrugged. That was when you realized you had never really seen Warren truly angry. It was as if a secret rage suddenly brimmed in his eyes. You quickly made your way over to your boyfriend and gave him a hug.

“Hey look it’s fucking whatever okay, don’t worry about it.”

“That song was amazing mi amor, it deserves to be on the album.”

“You don’t think, I think that too.”

“I am so sorry mi amor.”

“Thanks Warren.”

“Do you want me to punch him?”

“Nah, better not cause more trouble than it’s worth.”

“Okay fuck him then.”

“Yeah fuck him.”

Warren: Y/N deserved to have that song on the album. I’m not just saying that because she’s my wife, I’m saying that because that song was a chart topper. And that is what it became, even without the addition of Daisy and Billy singing it.

Y/N: So after the band broke up, Warren convinced me to send the song around to some of my producer friends I had made through Teddy. After that it kind of blew up.

Warren: Honestly I couldn’t be more proud of what Y/N has built. I mean to be part of 2 of the most popular bands in the world has got to be some kind of record.

You let out a laugh at Warren’s choice of words as you enveloped his hand with yours as the camera zoomed out to allow you into frame.

Y/N: It was kind of crazy that people actually wanted to listen to my music. So yeah I formed a little band with a few acquaintances and I worked out of London for a few months. Our first single, the song I wrote for Warren, was an instant hit. After a few weeks the album came out and well I was suddenly catapulted to fame once again.

Daisy: Y/N deserved everything she ended up doing. We’ve even done a few features on each other’s albums.

Y/N: So yeah I ended up with my own band, the best husband in the world and two bundles of absolute joy. And I owe it all to that song. Innervated Love will always be one of my favorite songs I’ve ever written.

Warren: You are still such a sap.

Y/N: Oh you love it.

Warren: Of course I do.

missed writing for my man warren <3

taglist: @pinkdaiisies @yesshewrites1

#djatsweek #daisy jones and the six #billy dunne #graham dunne #karen sirko #daisy jones #camila dunne #daisy x billy #warren rojas #warren rhodes #eddie roundtree #taylor jenkins reid #amazon prime #warren rojas imagine #warren rojas short story #daisy jones and the six imagine #djats fanfic #warren rojas x reader #warren rhodes x reader #djats #daisy jones and the six x reader

[somethingusefulfromflorida]

I have an ambitious idea for a multi-media project

Long: details under cut

Preface:

Adam Savage is known for making meticulous replicas of the Grail Diary from Indiana Jones 3; they're printed on authentic onionskin paper, stitched together and bound with leather like a real old journal would be, stuffed with inserts like folded up drawings, maps, post cards, letters, wax rubbings, tickets from ships and blimps, receipts, to-do lists, photos made to look like they were taken with late 19th/early 20th century cameras, an old silver certificate dollar, Hitler's autograph, you name it. The ten dollar word of the day is "verisimilitude." These super high fidelity replicas are more than just props, they're meant to feel like a real lived-in historical document kept by a globetrotting adventurer from the 1890s to 1930s.

Gravity Falls Journal 3 wanted to be like this, but it's mass market, printed on glossy paper with fake weathering and fonts that look like handwriting. If Adam Savage made a Journal 3 replica, it would look and feel like a real field journal from the 1970s; it would have crinkly yellow pages with mold/water damage, the cover would have brass or gold foil inlays, each entry would be handwritten (and you would be able to tell it wasn't just a font because every letter would have realistic variability in shape and size, there would be a different number of lines per page, the margins would drift, it would be sloppy and illegible in parts)

JJ Abrams published a book that came close to this aesthetic, a nice midway point between the Grail Diary and Journal 3 in terms of quality. A collab with Doug Dorst, the book is sold under the title "S." but once you take it out of its slipcover it's a meta-fictional artifact made to look like an old cloth-bond library copy of a (fictional) novel from the 1940s called The Ship of Theseus by VM Straka. The text of the novel is inconsequential, a dry story about a sailor being Shanghaid onto a pirate crew (it's actually pretty authentic, evoking the feeling of being forced to read an overrated novel for high school English class), but the book is full of faux-handwritten notes in the margins with multiple characters trading it back and forth (with different colored pens used to show the passage of time), telling a whole new story about their attempts to crack the case of the author's mysterious disappearance/death and an academic conspiracy trying to stop them. It is VERY dense. VERY confusing. You have to work out the timeline yourself because each character has annotated the book from start to finish over multiple passes; you'll be flipping back and forth like a choose-your-own-adventure. And the icing on the cake is that there are dozens of inserts stuffed throughout the pages; newspaper clippings, posts cards, a napkin from a fictional university restaurant, old telegrams, folded notes written on loose leaf college-ruled paper, a cipher wheel, etc. It is mass market like Journal 3, but with a much closer attention to detail like Adam Savage's Grail Journals. The inserts are impressive as part of the meta-narrative, but they don't hold up to as much scrutiny. Owning the book is more interesting than the book itself.

My idea

I want to create a boxset for Dracula in which the story is separated out into its constituent parts; Jonathan Harker's illegible shorthand journal, piles and piles of letters between Mina and Lucy and Van Helsing and the suitors (each with their own recognizable handwriting), real playable wax cyllinders with Dr. Sewards voice recordings, the water-damaged journal from the captain of the Demeter, newspaper clippings about the horrible storm and the large dog and "bloofer lady" sightings, and then a big stack of typewriter carbon paper where Mina painstakingly collated it all into the manuscript for the novel itself. The novel claims to be stitched together from a hundred different sources, and this boxset would actually BE the original sources! There would be old 1890s kodak photography, Jonathan's train tickets from across the continent, maps showing the exact paths of the Demeter and Dracula's dirt shipments and the suitors' chase along the rivers back to Transylvania. Lucy and her mother's wills, stationary with Lord Godalming's letterhead, an old rosary, a crucifix, some garlic flowers, lots and lots of communion wafers, Dracula's book of train schedules, and MOST IMPORTANTLY OF ALL the paprika hendl recipe!

Dracula Daily allows us to experience the story chronologically, but I would like to experience it the way the characters themselves would have, piecing together all the disparate clues over the course of 6 months. It would be an enormous and unweidly boxset, like the special edition of a video game.

The framing narrative would be that the box itself used to belong to Bram Stoker. He was a close friend to the Harkers, and they gave him all their first-hand documents so he could eventually publish their story.

I don't even know where I'd start!

#dracula #dracula daily #art project #multimedia project #epistolary #box set #special edition #idea #bram stoker #jonathan harker #mina murray #mina harker #abraham van helsing #lucy westenra #adam savage #grail diary #journal 3 #the ship of theseus #project

[gsirvitor]

Gender and sex are different things.

Have a problem with that?

Take it up with every biologist and psychologist on earth.

The terms sex and gender have been used interchangeably since at least the fourteenth century, as they're synonyms of eachother.

Sex refers to one's biological sex, while gender refers to the social roles based on one's own sex.

The term gender had been associated with grammar for most of history and only started to move towards it being a malleable cultural construct in the 1950s and 1960s.

French Philosophers began to introduce the distinction in the 40s-50s, French Philosophers who had also argued for the legalization of pedophilia, such as Simone de Beauvoir, who's 1949 book The Second Sex has been interpreted as the beginning of the distinction between sex and gender in feminist theory.

Sexologist John Money coined the term gender role, and was the first to use it in print in a scientific trade journal. In a seminal 1955 paper he defined it as "all those things that a person says or does to disclose himself or herself as having the status of boy or man, girl or woman." He is also a known pedophile who tortured and mutilated twin boys to prove his theory, while filming them performing sex acts on one another, the twins committed suicide.

The biggest school pushing this distinction is the Kinsey Institute, named for Alfred Kinsey who founded it, he was also a known pervert who made his coworkers perform sex acts for his "research," or as it's known today, porn, he was also instrumental in inspiring John Money, and was close friends with the former French Philosophers.

These Gender Theorists who founded this distinction are immoral monsters who sought to warp society to their perverted visions, I for one will not adhere to their agenda, nor respect anyone who has chosen to base their worldview upon these flimsy foundations, sex and gender are one and the same, have been for centuries, die mad about it.

[scotianostra]

On January 14th 1815 the Scottish publisher, printer, bookseller and politician William Creech died.

William was the son of Rev William Creech, a minister in Newbattle, Midlothian and his wife, Mary Buley. His father died when he was four months old and William spent time with his mother in both Perth and Dalkeith. He was educated at Dalkeith Grammar School then studied medicine at Edinburgh University.

Despite his mother’s wishes for him to continue at the university, Creech took a position in Alexander Kincaid’s printing business. In 1773, Kincaid retired and Creech took over, continuing a shop in the ‘Luckenbooths’ where he also resided for most of his life.

The Luckenbooths or 'locked booths' were a row of 7 buildings built around 1460 next to St. Giles Cathedral on the Royal Mile. Originally, they housed only goldsmiths and jewellers but later included other trades. In the late 18th century, William Creech lived and had a shop here where he held his famous ‘levees’, or parties.

It became a favourite haunt of Edinburgh’s literati and visitors such as the poet John Gay and the author Tobias Smollett gathered there to exchange news and gossip and observe the activities around the site of the Cross beneath the window.

The Luckenbooths together with the Old Tolbooth were demolished in 1817, opening up the High Street and removing the obstructions of which so many of the visitors to the City complained.

Creech and Robert Burns had a chequered relationship. On the one hand, Creech began Burns’ career, being the first to publish the poems that would become integral to Scottish identity. On the other, Creech famously refused to pay Burns for his part of the sales and copyright. The image of the poet is from Creech’s Inventory of Books, Creech was selling multiple editions of Burns’ poems up until his death.

William Creech owned and rented other buildings within Edinburgh. The Luckenbooths were too small to house the actual publishing process and the amount of books that were being published. Several papers in the Central Library’s collection indicate that he had warehouses in Craig’s Close and the Back Stairs, both closes near the Royal Mile.

Creech's personal writing gives an indication of his character. In his travel journal, he gives a critique of the fashions of the women of Rouen:

'From that I traversed the different streets, met several of the ladies - very handsome & well lookt - draped in long robes to the feet. The head dress of the common people - that is the women is very remarkable & ugly'.

Perhaps you recall some of my posts regarding Deacon Brodie, I told you that William Creech served as a jurist on the trial, eventually writing and publishing his own musings, which I quoted passages from.

In his later years, and possibly to meet the grandeur of his status, Creech moved to the affluent New Town in November of 1804. His house, number 5 George Street, is no longer standing, hee resided there until his death.

William Creech died a bachelor in 1815 and was buried in Greyfriars Kirkyard in Edinburgh. His grave sits among the many great of Edinburgh society in Greyfriars Kirkyard. It is a rather understated, simple headstone with just his name and some of his accomplishments including his status as Lord Provost to which he was elected in 1811

#scotland #scottish #history #publisher #bookseller #politiciam

[blackrabbitcreations]

How I've Managed to Consistently Journal for the Past Three Years

As a kid and then teenager and then college student I very much wanted to keep a journal. I’m afraid of growing up and not having any record of my daily life or a way to access forgotten memories.

It’s scary when you ask an adult about a time in their life and they can’t recall any details.

Journaling is heralded as the life changing answer for mental health problems, productivity, and organization. You’re supposed to journal every day, track every place you go, everything you do, purchases, your thoughts, feelings, aspirations, blah blah blah blah.

And much of the advice and inspiration on keeping a journal seems to be productivity or aesthetic driven.

I’ve tried setting reminders to journal, (not helpful), carving out weekday slots to fill in (waste of paper), buying so many art supplies (I don’t regret this). Nothing worked and I always ended up not only feeling bad about myself, but terrified over the parts of my life that are already lost to time since I didn’t document them.

What I’ve learned is having rules around something as personal as journaling is dumb!

Your journal isn’t supposed to be weapon you wield against yourself. It’s ok to live your life and not stress over capturing it in some tangible form. Sure, you could get dementia and forget everyone you ever loved and everything you ever built, but it would be better to have no record of this life than a record you traded your peace for.

I’ve managed to consistently journal over the past few years because I stopped putting pressure on myself over it. Journaling has became something fun. It’s something I look forward to.

My best advice is to find what works for you and ignore everything else. But if you’re interested, here’s what’s currently working for me:

1. Using only notebooks I love.

I donated all the notebooks I received as gifts or bought for myself but later realized I didn’t like. I don’t use spiral bound, or ones with covers that are difficult to keep clean. The paper needs to be high quality and have lines or grids.

2.  Using one journal for everything in my life.

I use the same notebook for my personal life, creative projects, and professional work. It’s just one thing I have to keep track of and everything I could possibly need on any given day is with me.

3. Using pages in chronological order.

I don’t section out anything. This wastes paper. Instead I’ll label the top of a page or use washi tape on the edge of a page to categorize it. And I always clearly date every entry.

4. Making a monthly spread.

This can include a calendar, goals, trackers, a daily one line memory or event (that I don’t worry about entering every day). I make mine themed and adorable but it’s not necessary.

5. Allowing myself to write whatever the fuck I want.

No one should ever have access to this journal besides me. I let myself write as raw and real as I am.

I used to try sounding intelligent. Now I just put down all those idiotic thoughts and feelings. I don’t write with my future self reading it back in mind—who am I in this moment?

6. Doodling. A lot.

I doodle constantly in my journal. I sketch out project ideas. Having lines helps with accuracy and symmetry and it doesn’t feel like I’m wasting nice drawing paper therefore I’m more likely to sketch.

8. Pasting in trash.

Gluing in tickets, receipts, brochures, etc. is a wonderful way to document my life. They have preprinted dates, times, places, and events eliminating the need to write that all down.

I cut out images from museum guides and advertisements.

I don’t buy all that fake vintage crap or print things off—there’s plenty already out there that will otherwise go to waste.

Elmer’s glue sticks work great for this.

9. Taking it everywhere.

I never leave the house without my journal and a pen.

10. Never forcing anything.

I don’t write every day. I don’t keep track of my mood or hormone cycle to compare with my productivity. I don’t do anything I don’t feel like doing. If it’s not sticking it’s probably not working.

11. Brain dumping.

Sometimes there’s too much swirling around in my brain to write or create with clarity. I’ll take a page and write down everything that comes to mind—random ideas, messages I need to send, errands I need to run, stuff I want to do, stuff I’m worried about, literally everything that pops into my brain.

I free my brain from the burden of having to keep track of or process all of life’s shit. Brain dumps often include the same things as a previous brain dump. Patterns emerge and I gain insight on some of the behaviors or mind states I can increase awareness around.

Journaling consistently has not completely transformed my life—but it has improved it. Time feels a little slower. My days feel more meaningful even if all I did was sketch the moon making a weird face.

I don’t think I’ll be stopping any time soon.

#journal #journaling #creative process #art #drawing #creative #artwork #creative writing #productivity #organization #diary

[rachaelmayo]

Rachael's Art Information

The top illustration is Fields of Gold 2, one of my recent artworks and a personal favorite.

Quick info:

Commissions - closed, likely through 2024, while I work on a large project. You can always ask, though; I may be able to take on small projects here and there. My policies and prices information is posted in a journal entry on DeviantArt, and I will keep this journal up to date.

Art trades - closed.

Requests - I do not accept requests for free art.

Personal info:

I am an art hobbyist. I sell my work at SF/Fantasy conventions in the United States, but I do not make my living through my art. Art is my for-fun-and-relaxation vocation. I make my living as a systems administrator with a mainframe z/OS specialty for SS&C Technologies. I am based in the Kansas City, Missouri metropolitan area in the United States.

I like to draw dragon things, feathery things, buggy things, monstrous things, and other fantasy and SF things. I prefer design-oriented illustration over narrative illustration, and my focus tends to be on pattern and decoration. I am inspired by all kinds of creatures from the natural world, especially fish, insects, reptiles, birds, and flowers.

My artwork is comprised mostly of traditional mediums. I use ink, watercolor, and a variety of colored pencil brands, though I favor Prismacolor pencils over all others. I also use gel pens and acrylics. I like to include elements such as scrapbook paper, fancy rocks (cut/polished cabochons), acrylic rhinestones and Swarovski crystals, metal and glass decorations, and a variety of other 3D objects. Occasionally, I'll get a wild hair and break out the glitter.

I do some work in Photoshop. Usually I use the program for post-processing a hand-drawn artwork, but also I use it to perform color tests and other small projects. I would not consider Photoshop to be one of my primary creative mediums; rather, it is one of my finishing tools.

I share my artwork on a few other platforms, in combination with general short blogging. I know that some people have different platform preferences, so here are the other places I can be found:

Amazon - I have four dragon- and fantasy-themed coloring books available on Amazon. These are all original hand-drawn images that I've reworked in Photoshop to make them colorist-friendly. The current set of books are aimed at advanced colorists. I plan to publish books that are suitable for casual and young colorists soon. Here are links to the individual books:

Dragon Adventure 1 - 2nd edition coming in late 2025.

Dragon Adventure 2 - 2nd edition coming in 2027.

Dragon Adventure 3 - 2nd edition coming in 2028.

Dragon Adventure 4 - no 2nd edition planned.

DeviantArt - a chronological catalogue of artistic endeavors, moderately well-organized. I consider DA to be my "primary" art sharing website.

Print Information - This DeviantArt journal has information about my prints. I sell them ad hoc and make them with my own equipment, rather than using online print services. My prints are matted, signed, and numbered limited editions. I use archival paper and ink.

Facebook - I reveal new art here in parallel with DeviantArt. I post other information and personal achievements as well. I occasionally share music and performance videos that I like, and also terrible puns and other amusements. The vast majority of what I share is public, and SFW.

FurAffinity - I reveal new art here in parallel with DeviantArt.

Instagram - This usually parallels new work posts that are on my other websites, but the formatting may be different due to Instagram's image ratio restrictions.

Twitter/X - I am not posting artwork here any longer. I'm not as engaged on Twitter as I am elsewhere. I may not respond to DMs very quickly, but I do tend to drop by every couple of days.

Email - If you prefer to communicate via email, you are welcome to send me a DM and I will provide my email address. I do not want to post my address publicly on Tumblr.

#artists on tumblr #fantasy artist #traditional artist #dragon artist #artist information #about me #about my art #other places to find me

[xtruss]

Malicious Attacks Can't Stop My Research About Xinjiang

— Maureen Huebel, An Australian Scholar | March 23, 2023

Illustration: Liu Rui/Global Times

I first became seriously interested in studying China when I noticed the growing Australian poverty and homelessness. At the same time, my close friends in China (Shanghai, Beijing and Chengdu) were enjoying a higher standard of living which was thriving. The most outstanding GDP growth in the Chinese provinces was identified as Xinjiang. I wanted to learn more as I couldn't reconcile the fact that there was a "genocide" in Xinjiang with evidence that there was a growing population and no refugees. For example, Ukraine has had over eight million people leave the country as refugees, and the bottom has fallen out of the Ukrainian economy with public servants and teachers not being paid.

I joined Twitter to do preliminary research, but I did not expect the outrage that I would receive from Western people. A backlash blew up even before I started the project. The West is convinced that China is bad, so I couldn't be a critical thinker and say anything good about China, despite the fact that I am an established scholar in Australia and Britain with many published papers. Allegations of being a sophisticated Chinese Bot quickly emerged, but this was clearly shown to be false once I proved to the world to be a real person.

The mainstream media in the West is taken to be accurate, with very few questioning its narratives, particularly if it is produced by the ABC or the BBC. Australian mainstream media is one of the most concentrated in the Western world, with the main narrative explained through three groups: NewsCorp Australia, 9Entertainment and 7WestMedia, who control the lion's share of print, news websites and TV. Their influence is significant in shaping the narrative and opinions of the average Australian. The US media, with 90 percent of its media controlled by six corporations - AT&T, CBS, Comcast, Disney, NewsCorp and Viacom, is also highly concentrated and focused on promoting its political interests.

Australia experiences pressure from the US in every aspect of our lives. At this point in history, the US is seriously threatened by the amazing economic growth of China. China's growth trajectory is set to overtake the US economy in a few years. American hegemony, with its international power and control, is now weakening.

This loss of US power is already showing up in the US banking system. It's starting to show cracks, with international trade being transacted less in US dollars. Competing international transfer mechanisms have emerged in local currencies instead of SWIFT, the primary US international transfer mechanism. SWIFT required local currencies to be swapped into US dollars before being converted into a recipient currency. The US felt it was entitled to take a percentage of international trade by transacting in US dollars. This is now changing as international contracts are being written in local currencies rather than in US dollars, permitting economies more control over their own import and export prices.

Since I announced on Twitter that I was planning to go to Xinjiang in 2024 to research poverty alleviation, I have been hounded by trolls and people insulting me on Twitter, sometimes ganging up on me with a Twitter pile-on, these include death threats.

I started by contacting Adrian Zenz, who conducted the original research on Xinjiang and made the claim of "genocide," "forced labor" and "human rights abuses." I asked him for his field research notes and methodology and published peer-reviewed journals. He strangely took offense to this and behaved in a way I have never experienced from other scholars. He blocked me and, together with other Americans, had me indefinitely suspended from Twitter. I had to ask Monash University to write to Twitter to state that I had been associated with the University and had done research there, and my research was published. Twitter then reinstated my account.

I approached the principal of the Australian Centre on China in the World of the Australian National University (ANU) for her to be my mentor and supervisor. At first, she had a favorable approach to what I was studying.

Then, at the Canberra Press Club, the principal had heard from some researchers in Xinjiang that she knew and respected were too afraid to put their names to their research papers. The principal stated through their research that Zenz's claims may not be factually correct. She was immediately stood down on indefinite sick leave, and approved grants to study research grants on China were canceled.

When I visited China in the World at the ANU, I encountered people who were full of fear and afraid to speak to me. They had just concluded a conference on academic freedom of speech and what was happening to it.

The more opposition I got, the more determined I became to forge a path to complete my project. I was blocking trolls that did not contribute to the research, sometimes 10 at a time, who ganged up on me, to what is called a Twitter pile-on.

As poverty alleviation is critical for any economy to improve, I decided to visit Xinjiang myself. We should not leave our most vulnerable behind. I will be exploring how this has happened in China and what learnings can be for Australia. It is good for a country to have its participants be active contributors to it. It becomes a win-win situation. This will be the focus of the not-for-profit foundation which I have started in Australia.

— The Author is an Australian Scholar. She Writes in an Honorary Capacity.

#Xinjiang | China 🇨🇳 #Research #Malicious Attacks #Maureen Huebel | An Australian 🇦🇺 Scholar #Western Narrative #Xinjiang Truth #Global Times

[printbooks]

What Are The Benefits of Using Saddle Stitch Binding

In the bustling world of printed materials, where glossy magazines vie for attention and intricate hardcovers claim the spotlight, there exists a humble champion often overlooked: saddle stitch binding. Don't let its unassuming name fool you, for beneath its simple facade lies a hidden treasure trove of benefits, ready to empower your next printing project. So, let's peel back the layers and discover why saddle stitch deserves a starring role in your creative arsenal.

The Budget-Conscious Bard: Saving Stories From Financial Fiascos

Forget breaking the bank! Saddle stitch is the Robin Hood of binding methods, championing affordability with its streamlined process. No fancy adhesives, no elaborate machinery – just paper, staples, and a touch of craftsmanship. This translates to budget-friendly magic for pamphlets, brochures, magazines, and small booklets. Think cost-effective marketing materials, budget-friendly event programs, or even self-published zines, all brought to life without draining your creative coffers. Imagine capturing your audience with captivating brochures at trade shows, sharing your artistic vision through self-published booklets, or crafting stunning presentation materials for your next big pitch – all without feeling the pinch on your wallet. Saddle stitch whispers sweet nothings to your bank account, allowing your stories to shine without financial strain.

Speed Demon: Conquering Deadlines with Stitched Agility

Ticking clocks and looming deadlines? Saddle stitch swoops in like a paper-winged warrior, vanquishing time constraints with its swiftness. Its straightforward process requires minimal setup and production time, allowing projects to sprint from concept to completion in a flash. Need a presentation booklet whipped up overnight? Or a captivating portfolio ready for that last-minute interview? Saddle stitch becomes your secret weapon, making those impossible deadlines feel like a distant echo. Imagine crafting stunning reports for your boss the morning of a crucial meeting, preparing captivating portfolios for unexpected opportunities, or even printing wedding booklets just days before the big day – all thanks to the agility of saddle stitch. With this champion by your side, deadlines transform from fearsome dragons to playful kittens.

Lightweight Powerhouse: Befriending the Postal Scales

Soaring postage costs can dampen the joy of sharing your story. But fear not, for saddle stitch is the postal service's dearest friend. It adds barely a whisper of weight to your printed marvels, making them postage-friendly powerhouses. Brochures, catalogs, and even small magazines can fly through the mail without breaking the bank, thanks to this featherweight champion. Think happy recipients receiving your work without the shock of astronomical shipping fees. Imagine sending out marketing materials to potential clients across the country, sharing your self-published zine with fellow creatives around the globe, or distributing event programs to attendees without worrying about hefty postage bills – all thanks to the silent heroism of saddle stitch. With this lightweight ally, the world becomes your stage, ready to be reached without financial burden.

Design Canvas: Unleashing Artistic Freedom One Staple at a Time

While often associated with simplicity, saddle stitch harbors a secret: it's a canvas for artistic expression. It embraces a wide range of page sizes, from pocket-sized poetry collections to expansive travel journals. The choice of self-covers or separate covers unlocks a realm of design possibilities: think textured covers echoing your theme, playful transparency offering a glimpse into your narrative, or bold, vibrant colors making a statement. And then there's bleed printing, where images seamlessly flow across the centerfold, creating a visually stunning experience. Imagine crafting personalized notebooks with covers that reflect your unique style, designing brochures that capture the essence of your brand with bold colors and textures, or creating art journals with bleed printing that allows your creativity to flow freely – all thanks to the versatility of saddle stitch. With this design champion by your side, your stories become not just words on paper, but artistic expressions that come alive.

Reading Comfort: Laying Flat and Inviting Deep Dives

No more wrestling with stubborn spines! Saddle-stitched booklets lay flat with grace, inviting readers to delve into the world you've woven on paper. This makes it ideal for educational materials, workbooks, and even cookbooks, where ease of navigation is key. Whether it's flipping through a recipe or mastering a new skill, saddle stitch ensures a smooth and enjoyable reading journey. Imagine students effortlessly reading through informative booklets, children captivated by colorful storybooks that lie flat in their hands, or home cooks navigating recipes with ease – all thanks to the reader-friendly nature of saddle stitch. With this comfort champion, your stories become an immersive experience, inviting readers to lose themselves in your words.

Environmental Ally: Weaving Stories Green with Sustainability

In a world increasingly conscious of our footprint, saddle stitch emerges as a champion of sustainability. Its glue-free process minimizes waste and ensures easy recycling. Additionally, its lightweight nature reduces transportation emissions, further contributing to a greener world.

Source: Benefits of saddle stitch binding

[skreddy]

Navigating the Landscape of Journal Publications: A Comprehensive Guide

Introduction

Journal publications play a critical role in the dissemination of research findings and advancements in various fields of study. They serve as a platform for scholars, researchers, and experts to contribute their knowledge, share discoveries, and engage in academic discourse. Understanding the landscape of journal publications is essential for both aspiring and seasoned researchers. This article provides a comprehensive guide to navigating the world of journal publications, encompassing key aspects such as types of journals, the publication process, choosing the right journal, and tips for successful publication.

Types of Journals

Academic Journals:

Academic journals publications that focus on a specific discipline or field of study. They often require contributions to undergo a rigorous peer-review process to ensure the quality and validity of the research.

Open Access Journals:

Open access journals make research articles freely accessible to the public, removing financial barriers for readers. Authors may bear the publication costs, ensuring broader dissemination of their work.

Peer-Reviewed Journals:

Peer-reviewed journals publications require submitted articles to be assessed by experts in the respective field before publication. This process ensures the credibility and accuracy of the research.

Interdisciplinary Journals:

Interdisciplinary journals cover multiple fields or disciplines, providing a platform for research that spans traditional academic boundaries.

Trade Journals:

Trade journals focus on industry-specific topics and are often intended for professionals within a particular industry or trade. They provide insights, updates, and trends relevant to that industry.

The Publication Process

Submission:

Authors submit their research papers to the chosen journal. The manuscript should adhere to the journal's guidelines and formatting requirements.

Peer Review:

The submitted manuscript undergoes a rigorous peer-review process, during which experts evaluate its quality, methodology, and validity.

Revisions and Resubmission:

Based on the feedback received during the peer review, authors may need to revise and improve their manuscript before resubmitting it to the journal.

Acceptance and Proofreading:

Upon acceptance, the manuscript undergoes final editing and proofreading by the journal's editorial team.

Publication:

The research paper is published online and, in many cases, in print, making it accessible to the academic community and the public.

Choosing the Right Journal

Relevance:

Select a journal that aligns with the research topic, objectives, and methodology of your study. Ensure that your research fits within the scope of the chosen journal.

Impact Factor:

Consider the journal's impact factor, a measure of its influence within the academic community. Higher impact factor journals typically attract more attention and citations.

Audience:

Evaluate the journal's target audience to ensure your research reaches the appropriate readership for maximum impact and dissemination.

Open Access vs. Subscription-based:

Decide whether you want to publish in an open access or subscription-based journal based on your budget and the audience you want to reach.

Tips for Successful Publication

Follow Guidelines:

Adhere to the journal's submission guidelines, including formatting, word limits, and referencing styles, to enhance your chances of acceptance.

Quality Over Quantity:

Focus on producing high-quality research rather than rushing to publish numerous articles. Quality research stands the test of time and contributes significantly to your academic reputation.

Collaborate and Seek Feedback:

Collaborate with peers and mentors, and seek constructive feedback on your manuscript before submission. Multiple perspectives can enhance the quality of your research.

Persistence:

Don't get discouraged by rejections. Revise and resubmit your work to another suitable journal. Persistence is key to successful publication.

Conclusion

Navigating the landscape of journal publications requires a strategic approach, understanding the types of journals available, the publication process, choosing the right journal, and implementing effective publication strategies. By following best practices and dedicating time to producing high-quality research, aspiring authors can increase their chances of successfully contributing to their respective fields through reputable journal publications.

Hyderabad, Telangana

#Research #papers #publish

[darkishleaf]

The Value Proposition of Barron's Print and Digital Subscriptions

Barron's, a stalwart in the realm of financial journalism, presents an unparalleled value proposition through its comprehensive blend of print and digital subscriptions. For decades, Barron's has been the trusted companion of investors, executives, and individuals seeking astute insights into the dynamic world of finance and business. Seamlessly converging the traditional elegance of print with the cutting-edge convenience of digital access, Barron's transcends the confines of a mere publication, offering a gateway to a wealth of critical information, analysis, and expert perspectives. With its print edition, Barron's continues to embody the tactile allure of tangible knowledge, inviting readers to immerse themselves in its in-depth articles, market trends, and thought-provoking analyses. Simultaneously, its digital counterpart propels engagement to new heights, ensuring real-time updates, interactive tools, and an immersive multimedia experience. Whether relishing the allure of paper or navigating the digital landscape, subscribers to Barron's attain an unparalleled vantage point, enabling them to make informed decisions and navigate the intricate tapestry of global finance with confidence.

Comprehensive Financial Analysis and Insights

Barron's print and digital subscriptions offer readers a comprehensive range of financial analysis and insights that cater to both seasoned investors and newcomers to the world of finance. Through in-depth articles, market analysis, and expert opinions, barrons print and digital subscriptions empowers its subscribers with the knowledge they need to make informed investment decisions. With a focus on both macroeconomic trends and specific investment opportunities, Barron's provides a well-rounded view of the financial landscape.

Timely Market Updates and Real-Time Data

Staying updated with rapidly changing market conditions is crucial for successful investing. Barron's excels in delivering timely market updates and real-time data to its subscribers. Whether it's breaking news, stock quotes, or market indices, Barron's ensures that its readers have access to the latest information that can impact their investment strategies. This combination of timely reporting and data-driven insights sets Barron's apart as a valuable resource for investors.

Diverse Investment Strategies and Tips

Barron's recognizes that investors have varying risk tolerances and investment goals. With this in mind, the publication offers a wide range of investment strategies and tips to cater to different needs. From growth stocks to value investing, options trading to retirement planning, Barron's covers a diverse array of topics that help subscribers build and refine their investment portfolios. This diversity of content makes Barron's subscriptions a valuable tool for investors at all stages of their financial journey.

Expert Commentary and Analysis

One of the standout features of Barron's is its access to expert commentary and analysis from renowned financial professionals. Subscribers gain insights from seasoned economists, market strategists, and industry insiders, providing them with a unique perspective on market trends and events. This expert input helps subscribers navigate complex financial situations and make informed decisions based on well-informed opinions and analysis.

Educational Resources for Financial Literacy

Barron's not only caters to experienced investors but also places a strong emphasis on educating readers and promoting financial literacy. The publication offers educational resources, explainer articles, and guides that break down complex financial concepts into understandable terms. This commitment to enhancing financial literacy equips subscribers with the knowledge they need to confidently manage their investments and make sound financial choices.

Interactive Tools and Visualizations

In the digital age, interactive tools and visualizations play a crucial role in helping investors grasp complex market dynamics. Barron's digital subscription includes interactive charts, graphs, and visual aids that enhance the understanding of financial data. These tools enable subscribers to perform their own analyses, visualize trends, and develop insights that align with their investment strategies.

Convenience and Accessibility

Barron's print and digital subscriptions offer unparalleled convenience and accessibility. Subscribers can access content on their preferred devices, whether it's a physical copy of the magazine, a tablet, or a smartphone. This flexibility ensures that readers can engage with Barron's wherever they are, allowing them to stay informed and make critical investment decisions without being tethered to a specific location or platform.

Conclusion

In conclusion, Barron's print and digital subscriptions offer a compelling and multifaceted value proposition that caters to a diverse range of readers seeking reliable, insightful, and up-to-date financial information. By seamlessly combining the tangible advantages of print with the convenience and accessibility of digital platforms, Barron's delivers a comprehensive package that empowers investors, professionals, and enthusiasts to navigate the complex world of finance with confidence.

#barrons print and digital subscriptions

[cryptoonus]

Nic Carter Shoots Down Accusations Of Bitcoin Manipulation By Whales

Nic Carter denies claims of Bitcoin rally manipulation by whale collusion made by professors John Griffin and Amin Shams. Griffin and Shams believe the current Bitcoin rise mirrors 2017, caused by manipulation by a single entity. Griffin and Shams found Tether printing and manipulation to prop up Bitcoin price in a 2018 paper for the Journal of Finance. Authors discovered Bitcoin's price spike after 1-hour intervals with major Tether mints and purchases. 60%of Bitcoin's gains from '17-'18 showed a pattern of whale activity. The whale used Tether to buy Bitcoin on Bittrex/Poloniex, causing quick price changes in under an hour. Authors suspect market player collusion in unfavorable market conditions supports Bitcoin's price. Furthermore, they highlight Bitcoin's narrow trading range ($16k-$17.9k for 62/63 days) after the FTX collapse as evidence of manipulation. Griffin suggests that whales can manipulate the price of Bitcoin by coordinating to push it to $17,000 and then profiting through small sales, thus limiting its price range. Additionally, Griffin acknowledged lack of evidence for whale manipulation theory. Griffin concluded that no concrete proof exists, and potential collusion may surface through individual stories. Furthermore, VC Nic Carter rejected the manipulation claims, calling the professor stupid and the claims about Tether inaccurate. Griffin and Shams are genuinely too stupid to understand why their analysis is so wildly off baseTheir only skill is acquiring sniveling PR from credulous journalists https://t.co/m8frNt9bMw — nic carter (@nic__carter) February 2, 2023 Rise In Bitcoin's Price Due To Reduced Forced Selling And Surplus of Buyers The CFTC fined Tether $41 million for insufficient fiat reserves backing its stablecoin from 2016-2018, potentially leading to free money. Tether has since improved its holdings with higher-quality debt and liquid assets. Moreover, analysts attribute the rise in Bitcoin's price to reduced forced selling post-FTX collapse or more buyers than sellers. Thurman attributes the rise in Bitcoin's price to a surplus of buyers over sellers. The collapse of market makers, including Alameda Research, has also reduced market liquidity and the number of sellers. Related Reading | The Future Of The Metaverse: Reality Labs To Lose $13.7 Billion Shorting an asset involves borrowing it and betting its price will drop. If the price rises, the broker may liquidate, causing a flood of buy orders. This can lead to a "short squeeze" and rapid price increase if many investors are liquidated. Read the full article

[glimmerbugart]

Exciting Adult Art Classes in 2023

The weekend was abuzz with artful activities both in my studio and at Five Sparks in Harvard.

Saturday, my middle kiddo and I spent the day at a creative table at Five Sparks in the center of Harvard, sharing our artwork and meeting some fantastic new people. While I kept myself busy painting watercolors and sharing handmade Valentine tags, my daughter worked showing everyone what Artist Trading Cards and Artist Trading Coins are and helping visitors create their own. We made up little kits for purchase that several people took advantage of.

It was such a fun day and we both had a great time, being creative together as well as meeting new faces in our community.

Visitors were also given handouts (below) of classes that I will be hosting in my studio this year! Very exciting and so many creatively fun choices!

The best way to keep up to date on these classes is to join my email list or to drop me a note in my contact form to be added to the list. I don’t send out too many emails so won’t clog up your inbox at all!

This year, there will be adult art classes in my Harvard, MA art studio that focus on:

Tunnel Books

Mixed Media

Drawing

Watercolor Cards

Intro to Gouache

Learn How to Embroider

Lettering

Handmade Books/Journals

DIY Greeting Cards

Paper Crafting

Watercolor Painting

Acrylic Painting

Paper Villages

Collage

Putz Glitter Houses

Recycled Art Journals

Junk Journals

Gel Printing

Mandalas

Rock Painting

Creating Art Fodder

Art Swap School

Mixed Media Projects Club

Creative Club Meet Ups

So as you can see, lots planned for 2023! Very exciting and I hope you’ll join us for some creative fun this year!

#Adult Art Class #Craft And Chat Classes #Craft Classes #Central MA Art Classes #Art Classes in Harvard MA #Art Classes #Art Class #watercolor class Harvard MA #watercolor classes #Handmade Card Class #Adult Art Classes Harvard MA #In Person Class #adult watercolor class #Online Art Classes #Online Watercolor Class #Gelli Print Classes #beginner art classes #beginner watercolor classes #Beginner Watercolor Class #Mixed Media Art Class #beginner mixed media classes #Art Studio Littleton MA #Artist in Littleton MA #Jill Adamy #Glimmerbug #glimmerbug handmade art

[scotianostra]

On November 15th 1715 the Glasgow Courant, the city’s first newspaper, appeared for the first time.

Before this the city had been content with “news-letters” written in London, and payments had been made by the Town Council from time to time to the persons who supplied this written intelligence.The occasional broadsheet might have made it’s way from Edinburgh, but newspapers as we know them didn’t really exist.

The Courant set out to supply a demand for something more regular and comprehensive, the paper was printed by Donald Govan at Glasgow University’s printing house and it was to be issued three times a week. The period, however, was not yet ripe for the venture. Perhaps the necessary experience and equipment were lacking.

At its fourth number the name was changed to West Country Intelligence, and the venture came to an end in May 1716. It had made its bid, nevertheless, and must be taken as a token of development. A second newspaper, The Glasgow Journal, did not appear till 1741.The Glasgow Courant was later resurrected and would later become known as The Advertiser, later in 1805 it would become The Herald, as it is today.

There isn’t really a great deal more about the Courant online, I will however point out the advert which appeared in an edition of the newspaper on 28th August 1758, offering a black slave for sale.and the abhorrent trade in human beings.

For many years Scotland’s historians harboured the illusion that our nation had little to do with the slave trade or plantation slavery. We swept it under the carpet. This was remarkable in the light of Glasgow’s wealth after the act of Union in 1707 with coming from tobacco, sugar, rum and cotton, and Jamaica Streets being found in a number of Scottish towns and cities. For many years, the goods and profits from West Indian slavery were unloaded at Kingston docks in Glasgow.

#scotland #scottish #history #Glasgow #newspaper

[up846618questionofresearch]

Bibliography

Hurt, A. (2021) Vinyl vs. Digital: Which Sounds Better? DiscoverMagazine.com

McMaken, L. (2022) E-Books vs. Print Books: What’s the Difference? Investopedia.com

Corey, J. (2016) Audio production and critical listening: Technical ear training. ­Academia.edu

Association of American Publishers. (2018) AAP StatShot: Trade Book Publisher Revenue Increased by 4.6% in 2018. ­ Newsroom Publishers

Mills, C. (2009) Materiality as the Basis for the Aesthetic Experience in Contemporary Art.  University of Montana

Hurcombe, L. (2007) A Sense of Materials and Sensory Perception in Concepts of Materiality.  World Archaeology

Johnson, K. (2021) The surprising power of daily rituals. BBC.com

Gower, Lucy. (2022) How Are Daily Rituals Different from Daily Routines? Lifehack.com

Ryan, C. P., Bettelani, G. C., Ciotti, S., Parise, C., Moscatelli, A., & Bianchi, M. (2021). The interaction between motion and texture in the sense of touch. Journal of Neurophysiology, 126(4), 1375-1390.

Rogerson, M. J., Gibbs, M., & Smith, W. (2016, May). " I Love All the Bits" The Materiality of Boardgames. In Proceedings of the 2016 CHI conference on human factors in computing systems (pp. 3956-3969).

Bacci, F., & Melcher, D. (Eds.). (2011). Art and the Senses. Oxford University Press.

Hussien Ahmed, M. M., Silpasuwanchai, C., Salehzadeh Niksirat, K., & Ren, X. (2017, May). Understanding the role of human senses in interactive meditation. In Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems (pp. 4960-4965).

Kindle 8gb vs 32gb: How Many Books it Can Hold. BookSummaryClub.com

Bradley, C. (2022) How Long Does a Kindle Battery Last? DeviceTests.com

Errera, R. (2022) Paper Books vs eBooks Statistics, Trends and Facts. Tonerbuzz.com

Hutsko, J. (2009) Are E-Readers Greener Than Books? Archive.nytimes.com

 Images

Mindmap/sketchbook pages – my own work

Concrete block – Hahn, J. (2021) “We’re taking CO2 out of the system” says carbon concrete maker Carbicrete. Dezeen.com

Cloth – ThreadCurve.com

Steel – Wikipedia

Webtoon – webtoon.com

Tapas – tapas.com

E-book – easytechjunkie.com

Comic books shelves – screenrant.com

Book shelves – booksnest.com

Books sketch – my own work

Board game boxes – manny&me.com

Board games being played – nytimes.com

Dice rolling sketch – my own work

Playing cards sketch – my own work

Mp3 player – amazon.com

Stack of CDs – istock.com

Cassette tape – Wikipedia.com

Vinyl record player – amazon.com

Vinyl records – britishgq.com

Live music – cntraveller.com

Vinyl albums sketch – my own work

Vinyl album sketch – my own work

Cleaning vinyl sketch – my own work

Placing vinyl record sketch – my own work

Positioning tonearm sketch – my own work

Wine bottle sketch – my own work

Mindfulness image – mindfulbreath.sg

[phantomtutor]

SOLUTION AT Academic Writers Bay . ct io n du ep ro R or le Sa n, tio bu tri is Fo rD ot N INCLUDES: THE STANDARD FOR PROJECT MANAGEMENT ANSI/PMI 99-001-2017 A Guide to the PROJECT MANAGEMENT BODY OF KNOWLEDGE (PMBOK ® GUIDE ) Sixth Edition Library of Congress Cataloging-in-Publication Data Names: Project Management Institute, publisher. Title: A guide to the project management body of knowledge (PMBOK guide) / Project Management Institute. Other titles: PMBOK guide Description: Sixth edition. | Newtown Square, PA: Project Management Institute, 2017. | Series: PMBOK guide | Includes bibliographical references and index. Identifiers: LCCN 2017032505 (print) | LCCN 2017035597 (ebook) | ISBN 9781628253900 (ePUP) | ISBN 9781628253917 (kindle) | ISBN 9781628253924 ( Web PDF) | ISBN 9781628251845 (paperback) Subjects: LCSH: Project management. | BISAC: BUSINESS & ECONOMICS / Project Management. Classification: LCC HD69.P75 (ebook) | LCC HD69.P75 G845 2017 (print) | DDC 658.4/04–dc23 LC record available at https://lccn.loc.gov/2017032505 ISBN: 978-1-62825-184-5 Published by: Project Management Institute, Inc. 14 Campus Boulevard Newtown Square, Pennsylvania 19073-3299 USA Phone: [phone] Fax: [phone] Email: [email protected] Website: www.PMI.org ©2017 Project Management Institute, Inc. All rights reserved. Project Management Institute, Inc. content is copyright protected by U.S. intellectual property law that is recognized by most countries. To republish or reproduce PMI’s content, you must obtain our permission. Please go to http://www.pmi.org/permissions for details. To place a Trade Order or for pricing information, please contact Independent Publishers Group: Independent Publishers Group Order Department 814 North Franklin Street Chicago, IL 60610 USA Phone: [phone] Fax: [phone] Email: [email protected] (For orders only) Fo r For all other inquiries, please contact the PMI Book Service Center. PMI Book Service Center P.O. Box 932683, Atlanta, GA 31193-2683 USA Phone: [phone] (within the U.S. or Canada) or 1-770-280-4129 (globally) Fax: [phone] Email: [email protected] Printed in the United States of America. No part of this work may be reproduced or transmitted in any form or by any means, electronic, manual, photocopying, recording, or by any information storage and retrieval system, without prior written permission of the publisher. The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48—1984). PMI, the PMI logo, PMBOK, OPM3, PMP, CAPM, PgMP, PfMP, PMI-RMP, PMI-SP, PMI-ACP, PMI-PBA, PROJECT MANAGEMENT JOURNAL, PM NETWORK, PMI TODAY, PULSE OF THE PROFESSION and the slogan MAKING PROJECT MANAGEMENT INDISPENSABLE FOR BUSINESS RESULTS. are all marks of Project Management Institute, Inc. For a comprehensive list of PMI trademarks, contact the PMI Legal Department. All other trademarks, service marks, trade names, trade dress, product names and logos appearing herein are the property of their respective owners. Any rights not expressly granted herein are reserved. 10 9 8 7 6 5 4 3 2 1 N OT IC E The Project Management Institute, Inc. (PMI) standards and guideline publications, of which the document contained herein is one, are developed through a voluntary consensus standards development process. This process brings together volunteers and/or seeks out the views of persons who have an interest in the topic covered by this publication. While PMI administers the process and establishes rules to promote fairness in the development of consensus, it does not write the document and it does not independently test, evaluate, or verify the accuracy or completeness of any information or the soundness of any judgments contained in its standards and guideline publications. PMI disclaims liability for any personal injury, property or other damages of any nature whatsoever, whether special, indirect, consequential or compensatory,

directly or indirectly resulting from the publication, use of application, or reliance on this document. PMI disclaims and makes no guaranty or warranty, expressed or implied, as to the accuracy or completeness of any information published herein, and disclaims and makes no warranty that the information in this document will fulfill any of your particular purposes or needs. PMI does not undertake to guarantee the performance of any individual manufacturer or seller’s products or services by virtue of this standard or guide. In publishing and making this document available, PMI is not undertaking to render professional or other services for or on behalf of any person or entity, nor is PMI undertaking to perform any duty owed by any person or entity to someone else. Anyone using this document should rely on his or her own independent judgment or, as appropriate, seek the advice of a competent professional in determining the exercise of reasonable care in any given circumstances. Information and other standards on the topic covered by this publication may be available from other sources, which the user may wish to consult for additional views or information not covered by this publication. PMI has no power, nor does it undertake to police or enforce compliance with the contents of this document. PMI does not certify, test, or inspect products, designs, or installations for safety or health purposes. Any certification or other statement of compliance with any health or safety-related information in this document shall not be attributable to PMI and is solely the responsibility of the certifier or maker of the statement. T ABLE OF CO NTENTS PART 1. A GUIDE TO THE PROJECT MANAGEMENT BODY OF KNOWLEDGE (PMBOK® Guide) 1. INTRODUCTION …………………………………………………………………………………………………………… 1 1.1 Overview and Purpose of this Guide …………………………………………………………………….. 1 1.1.1 The Standard for Project Management ……………………………………………………… 2 1.1.2 Common Vocabulary ……………………………………………………………………………….. 3 1.1.3 Code of Ethics and Professional Conduct ………………………………………………….. 3 1.2 Foundational Elements ……………………………………………………………………………………….. 4 1.2.1 Projects ………………………………………………………………………………………………….. 4 1.2.2 The Importance of Project Management ………………………………………………….. 10 1.2.3 Relationship of Project, Program, Portfolio, and Operations Management………………………………………………………………….. 11 1.2.4 Components of the Guide……………………………………………………………………….. 17 1.2.5 Tailoring ……………………………………………………………………………………………….. 28 1.2.6 Project Management Business Documents ……………………………………………… 29 2. THE ENVIRONMENT IN WHICH PROJECTS OPERATE………………………………………………………. 37 2.1 Overview …………………………………………………………………………………………………………. 37 2.2 Enterprise Environmental Factors………………………………………………………………………. 38 2.2.1 EEFs Internal to the Organization ……………………………………………………………. 38 2.2.2 EEFs External to the Organization …………………………………………………………… 39 I 2.3 Organizational Process Assets ………………………………………………………………………….. 39 2.3.1 Processes, Policies, and Procedures ……………………………………………………….. 40 2.3.2 Organizational Knowledge Repositories ………………………………………………….. 41 2.4 Organizational Systems ……………………………………………………………………………………. 42 2.4.1 Overview ………………………………………………………………………………………………. 42 2.4.2 Organizational Governance Frameworks …………………………………………………. 43 2.4.3 Management Elements ………………………………………………………………………….. 44 2.4.4 Organizational Structure Types ………………………………………………………………. 45 3. THE ROLE OF THE PROJECT MANAGER………………………………………………………………………… 51 3.1 Overview …………………………………………………………………………………………………………. 51 3.2 Definition of a Project Manager …………………………………………………………………………. 52 3.3 The Project Manager’s Sphere of Influence ………………………………………………………… 52 3.3.1 Overview ………………………………………………………………………………………………. 52 3.3.2 The Project……………………………………………………………………………………………. 53 3.3.3 The Organization …………………………………………………………………………………… 54 3.3.4 The Industry …………………………………………………………………………………………. 55 3.3.5 Professional Discipline ………………………………………………………………………….. 56 3.3.6 Across Disciplines ………………………………………………………………………………….

56 3.4 Project Manager Competences ………………………………………………………………………….. 56 3.4.1 Overview ………………………………………………………………………………………………. 56 3.4.2 Technical Project Management Skills ……………………………………………………… 58 3.4.3 Strategic and Business Management Skills …………………………………………….. 58 3.4.4 Leadership Skills …………………………………………………………………………………… 60 3.4.5 Comparison of Leadership and Management …………………………………………… 64 3.5 Performing Integration ……………………………………………………………………………………… 66 3.5.1 Performing Integration at the Process Level…………………………………………….. 67 3.5.2 Integration at the Cognitive Level……………………………………………………………. 67 3.5.3 Integration at the Context Level ……………………………………………………………… 67 3.5.4 Integration and Complexity…………………………………………………………………….. 68 II Table of Contents 4. PROJECT INTEGRATION MANAGEMENT ……………………………………………………………………….. 69 4.1 Develop Project Charter ……………………………………………………………………………………. 75 4.1.1 Develop Project Charter: Inputs ………………………………………………………………. 77 4.1.2 Develop Project Charter: Tools and Techniques ………………………………………… 79 4.1.3 Develop Project Charter: Outputs ……………………………………………………………. 81 4.2 Develop Project Management Plan …………………………………………………………………….. 82 4.2.1 Develop Project Management Plan: Inputs ………………………………………………. 83 4.2.2 Develop Project Management Plan: Tools and Techniques ………………………… 85 4.2.3 Develop Project Management Plan: Outputs…………………………………………….. 86 4.3 Direct and Manage Project Work ……………………………………………………………………….. 90 4.3.1 Direct and Manage Project Work: Inputs …………………………………………………. 92 4.3.2 Direct and Manage Project Work: Tools and Techniques …………………………… 94 4.3.3 Direct and Manage Project Work: Outputs ……………………………………………….. 95 4.4 Manage Project Knowledge ………………………………………………………………………………. 98 4.4.1 Manage Project Knowledge: Inputs ……………………………………………………….. 100 4.4.2 Manage Project Knowledge: Tools and Techniques …………………………………. 102 4.4.3 Manage Project Knowledge: Outputs …………………………………………………….. 104 4.5 Monitor and Control Project Work ……………………………………………………………………. 105 4.5.1 Monitor and Control Project Work: Inputs ………………………………………………. 107 4.5.2 Monitor and Control Project Work: Tools and Techniques ………………………… 110 4.5.3 Monitor and Control Project Work: Outputs ……………………………………………. 112 4.6 Perform Integrated Change Control ………………………………………………………………….. 113 4.6.1 Perform Integrated Change Control: Inputs ……………………………………………. 116 4.6.2 Perform Integrated Change Control: Tools and Techniques ……………………… 118 4.6.3 Perform Integrated Change Control: Outputs ………………………………………….. 120 4.7 Close Project or Phase ……………………………………………………………………………………. 121 4.7.1 Close Project or Phase: Inputs ………………………………………………………………. 124 4.7.2 Close Project or Phase: Tools and Techniques ………………………………………… 126 4.7.3 Close Project or Phase: Outputs ……………………………………………………………. 127 III 5. PROJECT SCOPE MANAGEMENT ……………………………………………………………………………….. 129 5.1 Plan Scope Management…………………………………………………………………………………. 134 5.1.1 Plan Scope Management: Inputs …………………………………………………………… 135 5.1.2 Plan Scope Management: Tools and Techniques …………………………………….. 136 5.1.3 Plan Scope Management: Outputs ………………………………………………………… 137 5.2 Collect Requirements ……………………………………………………………………………………… 138 5.2.1 Collect Requirements: Inputs ……………………………………………………………….. 140 5.2.2 Collect Requirements: Tools and Techniques …………………………………………. 142 5.2.3 Collect Requirements: Outputs ……………………………………………………………… 147 5.3 Define Scope ………………………………………………………………………………………………….. 150 5.3.1 Define Scope: Inputs ……………………………………………………………………………. 152 5.3.2 Define Scope: Tools and Techniques ……………………………………………………… 153 5.3.3 Define Scope: Outputs………………………………………………………………………….. 154 5.4 Create WBS ……………………………………………………………………………………………………. 156 5.4.1 Create WBS: Inputs ……………………………………………………………………………… 157 5.4.2 Create WBS: Tools and Techniques ……………………………………………………….. 158 5.4.3 Create WBS: Outputs ……………………………………………………………………………. 161 5.5 Validate Scope ……………………………………………………………………………………………….. 163 5.5.1 Validate Scope: Inputs …………………………………………………………………………. 165 5.5.2 Validate Scope: Tools and Techniques …………………………………………………… 166 5.

5.3 Validate Scope: Outputs ……………………………………………………………………….. 166 5.6 Control Scope ………………………………………………………………………………………………… 167 5.6.1 Control Scope: Inputs …………………………………………………………………………… 169 5.6.2 Control Scope: Tools and Techniques …………………………………………………….. 170 5.6.3 Control Scope: Outputs ………………………………………………………………………… 170 6. PROJECT SCHEDULE MANAGEMENT………………………………………………………………………….. 173 6.1 Plan Schedule Management ……………………………………………………………………………. 179 6.1.1 Plan Schedule Management: Inputs ………………………………………………………. 180 6.1.2 Plan Schedule Management: Tools and Techniques ………………………………… 181 6.1.3 Plan Schedule Management: Outputs ……………………………………………………. 181 6.2 Define Activities……………………………………………………………………………………………… 183 6.2.1 Define Activities: Inputs ……………………………………………………………………….. 184 IV Table of Contents 6.2.2 Define Activities: Tools and Techniques …………………………………………………. 184 6.2.3 Define Activities: Outputs …………………………………………………………………….. 185 6.3 Sequence Activities ………………………………………………………………………………………… 187 6.3.1 Sequence Activities: Inputs ………………………………………………………………….. 188 6.3.2 Sequence Activities: Tools and Techniques ……………………………………………. 189 6.3.3 Sequence Activities: Outputs ………………………………………………………………… 194 6.4 Estimate Activity Durations……………………………………………………………………………… 195 6.4.1 Estimate Activity Durations: Inputs ……………………………………………………….. 198 6.4.2 Estimate Activity Durations: Tools and Techniques …………………………………. 200 6.4.3 Estimate Activity Durations: Outputs …………………………………………………….. 203 6.5 Develop Schedule …………………………………………………………………………………………… 205 6.5.1 Develop Schedule: Inputs …………………………………………………………………….. 207 6.5.2 Develop Schedule: Tools and Techniques ………………………………………………. 209 6.5.3 Develop Schedule: Outputs …………………………………………………………………… 217 6.6 Control Schedule ……………………………………………………………………………………………. 222 6.6.1 Control Schedule: Inputs………………………………………………………………………. 224 6.6.2 Control Schedule: Tools and Techniques ………………………………………………… 226 6.6.3 Control Schedule: Outputs ……………………………………………………………………. 228 7. PROJECT COST MANAGEMENT …………………………………………………………………………………. 231 7.1 Plan Cost Management …………………………………………………………………………………… 235 7.1.1 Plan Cost Management: Inputs……………………………………………………………… 236 7.1.2 Plan Cost Management: Tools and Techniques……………………………………….. 237 7.1.3 Plan Cost Management: Outputs …………………………………………………………… 238 7.2 Estimate Costs ……………………………………………………………………………………………….. 240 7.2.1 Estimate Costs: Inputs …………………………………………………………………………. 241 7.2.2 Estimate Costs: Tools and Techniques …………………………………………………… 243 7.2.3 Estimate Costs: Outputs ……………………………………………………………………….. 246 7.3 Determine Budget …………………………………………………………………………………………… 248 7.3.1 Determine Budget: Inputs …………………………………………………………………….. 250 7.3.2 Determine Budget: Tools and Techniques ………………………………………………. 252 7.3.3 Determine Budget: Outputs…………………………………………………………………… 254 V 7.4 Control Costs …………………………………………………………………………………………………. 257 7.4.1 Control Costs: Inputs ……………………………………………………………………………. 259 7.4.2 Control Costs: Tools and Techniques ……………………………………………………… 260 7.4.3 Control Costs: Outputs …………………………………………………………………………. 268 8. PROJECT QUALITY MANAGEMENT …………………………………………………………………………….. 271 8.1 Plan Quality Management ……………………………………………………………………………….. 277 8.1.1 Plan Quality Management: Inputs …………………………………………………………. 279 8.1.2 Plan Quality Management: Tools and Techniques …………………………………… 281 8.1.3 Plan Quality Management: Outputs ……………………………………………………….. 286 8.2 Manage Quality ………………………………………………………………………………………………. 288 8.2.1 Manage Quality: Inputs ………………………………………………………………………… 290 8.2.2 Manage Quality: Tools and Techniques ………………………………………………….. 292 8.2.3 Manage Quality: Outputs………………………………………………………………………. 296 8.3 Control Quality ……………………………………………………………………………………………….. 298 8.3.1 Control Quality: Inputs …………………………………………………………………………. 300 8.3.2 Control Quality: Tools and Techniques …………………………………………………… 302 8.3.3 Control Quality: Outputs ……………………………………………………………………….. 305 9. PROJECT RESOURCE MANAGEMENT …………………………………………………………………………. 307 9.

1 Plan Resource Management ……………………………………………………………………………. 312 9.1.1 Plan Resource Management: Inputs………………………………………………………. 314 9.1.2 Plan Resource Management: Tools and Techniques………………………………… 315 9.1.3 Plan Resource Management: Outputs ……………………………………………………. 318 9.2 Estimate Activity Resources ……………………………………………………………………………. 320 9.2.1 Estimate Activity Resources: Inputs ………………………………………………………. 322 9.2.2 Estimate Activity Resources: Tools and Techniques ………………………………… 324 9.2.3 Estimate Activity Resources: Outputs ……………………………………………………. 325 9.3 Acquire Resources …………………………………………………………………………………………. 328 9.3.1 Acquire Resources: Inputs ……………………………………………………………………. 330 9.3.2 Acquire Resources: Tools and Techniques ……………………………………………… 332 9.3.3 Acquire Resources: Outputs …………………………………………………………………. 333 VI Table of Contents 9.4 Develop Team…………………………………………………………………………………………………. 336 9.4.1 Develop Team: Inputs …………………………………………………………………………… 339 9.4.2 Develop Team: Tools and Techniques …………………………………………………….. 340 9.4.3 Develop Team: Outputs ………………………………………………………………………… 343 9.5 Manage Team…………………………………………………………………………………………………. 345 9.5.1 Manage Team: Inputs …………………………………………………………………………… 347 9.5.2 Manage Team: Tools and Techniques …………………………………………………….. 348 9.5.3 Manage Team: Outputs ………………………………………………………………………… 350 9.6 Control Resources ………………………………………………………………………………………….. 352 9.6.1 Control Resources: Inputs…………………………………………………………………….. 354 9.6.2 Control Resources: Tools and Techniques………………………………………………. 356 9.6.3 Control Resources: Outputs ………………………………………………………………….. 357 10. PROJECT COMMUNICATIONS MANAGEMENT ……………………………………………………………. 359 10.1 Plan Communications Management ……………………………………………………………….. 366 10.1.1 Plan Communications Management: Inputs …………………………………………. 368 10.1.2 Plan Communications Management: Tools and Techniques …………………… 369 10.1.3 Plan Communications Management: Outputs……………………………………….. 377 10.2 Manage Communications ……………………………………………………………………………… 379 10.2.1 Manage Communications: Inputs ………………………………………………………… 381 10.2.2 Manage Communications: Tools and Techniques ………………………………….. 383 10.2.3 Manage Communications: Outputs ……………………………………………………… 387 10.3 Monitor Communications ………………………………………………………………………………. 388 10.3.1 Monitor Communications: Inputs ………………………………………………………… 390 10.3.2 Monitor Communications: Tools and Techniques ………………………………….. 391 10.3.3 Monitor Communications: Outputs ………………………………………………………. 392 11. PROJECT RISK MANAGEMENT ………………………………………………………………………………… 395 11.1 Plan Risk Management …………………………………………………………………………………. 401 11.1.1 Plan Risk Management: Inputs ……………………………………………………………. 402 11.1.2 Plan Risk Management: Tools and Techniques ……………………………………… 404 11.1.3 Plan Risk Management: Outputs …………………………………………………………. 405 VII 11.2 Identify Risks ……………………………………………………………………………………………….. 409 11.2.1 Identify Risks: Inputs …………………………………………………………………………. 411 11.2.2 Identify Risks: Tools and Techniques …………………………………………………… 414 11.2.3 Identify Risks: Outputs ……………………………………………………………………….. 417 11.3 Perform Qualitative Risk Analysis ………………………………………………………………….. 419 11.3.1 Perform Qualitative Risk Analysis: Inputs …………………………………………….. 421 11.3.2 Perform Qualitative Risk Analysis: Tools and Techniques ………………………. 422 11.3.3 Perform Qualitative Risk Analysis: Outputs ………………………………………….. 427 11.4 Perform Quantitative Risk Analysis ………………………………………………………………… 428 11.4.1 Perform Quantitative Risk Analysis: Inputs ………………………………………….. 430 11.4.2 Perform Quantitative Risk Analysis: Tools and Techniques ……………………. 431 11.4.3 Perform Quantitative Risk Analysis: Outputs ………………………………………… 436 11.5 Plan Risk Responses …………………………………………………………………………………….. 437 11.5.1 Plan Risk Responses: Inputs ………………………………………………………………. 439 11.5.2 Plan Risk Responses: Tools and Techniques ………………………………………… 441 11.5.3 Plan Risk Responses: Outputs …………………………………………………………….. 447 11.6 Implement Risk Responses ……………………………………………………………………………. 449 11.6.1 Implement Risk Responses: Inputs ……………………………………………………… 450 11.

6.2 Implement Risk Responses: Tools and Techniques ……………………………….. 451 11.6.3 Implement Risk Responses: Outputs……………………………………………………. 451 11.7 Monitor Risks……………………………………………………………………………………………….. 453 11.7.1 Monitor Risks: Inputs …………………………………………………………………………. 455 11.7.2 Monitor Risks: Tools and Techniques …………………………………………………… 456 11.7.3 Monitor Risks: Outputs ………………………………………………………………………. 457 12. PROJECT PROCUREMENT MANAGEMENT …………………………………………………………………. 459 12.1 Plan Procurement Management …………………………………………………………………….. 466 12.1.1 Plan Procurement Management: Inputs……………………………………………….. 468 12.1.2 Plan Procurement Management: Tools and Techniques …………………………. 472 12.1.3 Plan Procurement Management: Outputs …………………………………………….. 475 VIII Table of Contents 12.2 Conduct Procurements ………………………………………………………………………………….. 482 12.2.1 Conduct Procurements: Inputs ……………………………………………………………. 484 12.2.2 Conduct Procurements: Tools and Techniques ……………………………………… 487 12.2.3 Conduct Procurements: Outputs………………………………………………………….. 488 12.3 Control Procurements …………………………………………………………………………………… 492 12.3.1 Control Procurements: Inputs ……………………………………………………………… 495 12.3.2 Control Procurements: Tools and Techniques ……………………………………….. 497 12.3.3 Control Procurements: Outputs …………………………………………………………… 499 13. PROJECT STAKEHOLDER MANAGEMENT ………………………………………………………………….. 503 13.1 Identify Stakeholders ……………………………………………………………………………………. 507 13.1.1 Identify Stakeholders: Inputs………………………………………………………………. 509 13.1.2 Identify Stakeholders: Tools and Techniques………………………………………… 511 13.1.3 Identify Stakeholders: Outputs ……………………………………………………………. 514 13.2 Plan Stakeholder Engagement ……………………………………………………………………….. 516 13.2.1 Plan Stakeholder Engagement: Inputs …………………………………………………. 518 13.2.2 Plan Stakeholder Engagement: Tools and Techniques …………………………… 520 13.2.3 Plan Stakeholder Engagement: Outputs……………………………………………….. 522 13.3 Manage Stakeholder Engagement ………………………………………………………………….. 523 13.3.1 Manage Stakeholder Engagement: Inputs ……………………………………………. 525 13.3.2 Manage Stakeholder Engagement: Tools and Techniques ……………………… 526 13.3.3 Manage Stakeholder Engagement: Outputs………………………………………….. 528 13.4 Monitor Stakeholder Engagement ………………………………………………………………….. 530 13.4.1 Monitor Stakeholder Engagement: Inputs…………………………………………….. 532 13.4.2 Monitor Stakeholder Engagement: Tools and Techniques………………………. 533 13.4.3 Monitor Stakeholder Engagement: Outputs ………………………………………….. 535 REFERENCES ……………………………………………………………………………………………………………… 537 IX PART 2. THE STANDARD FOR PROJECT MANAGEMENT 1. INTRODUCTION ……………………………………………………………………………………………………….. 541 1.1 Projects and Project Management……………………………………………………………………. 542 1.2 Relationships Among Portfolios, Programs, and Projects …………………………………… 543 1.3 Linking Organizational Governance and Project Governance ……………………………… 545 1.4 Project Success and Benefits Management ………………………………………………………. 546 1.5 The Project Life Cycle ……………………………………………………………………………………… 547 1.6 Project Stakeholders ………………………………………………………………………………………. 550 1.7 Role of the Project Manager…………………………………………………………………………….. 552 1.8 Project Management Knowledge Areas ……………………………………………………………. 553 1.9 Project Management Process Groups ………………………………………………………………. 554 1.10 Enterprise Environmental Factors and Organizational Process Assets ………………. 557 1.11 Tailoring the Project Artifacts ………………………………………………………………………… 558 2. INITIATING PROCESS GROUP ……………………………………………………………………………………. 561 2.1 Develop Project Charter ………………………………………………………………………………….. 563 2.2 Identify Stakeholders ……………………………………………………………………………………… 563 2.2.1 Project Management Plan Components …………………………………………………. 564 2.2.2 Project Documents Examples ……………………………………………………………….. 564 2.2.3 Project Management Plan Updates ……………………………………………………….. 564 2.2.4 Project Documents Updates …………………………………………………………………. 564 3. PLANNING PROCESS GROUP …………………………………………………………………………………….. 565 3.1 Develop Project Management Plan …………………………………………………………………… 567 3.2 Plan Scope Management………………………………………………………………………………….

567 3.2.1 Project Management Plan Components …………………………………………………. 568 3.3 Collect Requirements ……………………………………………………………………………………… 568 3.3.1 Project Management Plan Components …………………………………………………. 568 3.3.2 Project Documents Examples ……………………………………………………………….. 569 X Table of Contents 3.4 Define Scope ………………………………………………………………………………………………….. 569 3.4.1 Project Management Plan Components …………………………………………………. 569 3.4.2 Project Documents Examples ……………………………………………………………….. 569 3.4.3 Project Documents Updates ………………………��………………………………………. 570 3.5 Create WBS ……………………………………………………………………………………………………. 570 3.5.1 Project Management Plan Components …………………………………………………. 570 3.5.2 Project Documents Examples ……………………………………………………………….. 571 3.5.3 Project Documents Updates …………………………………………………………………. 571 3.6 Plan Schedule Management ……………………………………………………………………………. 571 3.6.1 Project Management Plan Components …………………………………………………. 572 3.7 Define Activities……………………………………………………………………………………………… 572 3.7.1 Project Management Plan Components …………………………………………………. 572 3.7.2 Project Management Plan Updates ……………………………………………………….. 572 3.8 Sequence Activities ………………………………………………………………………………………… 573 3.8.1 Project Management Plan Components …………………………………………………. 573 3.8.2 Project Documents Examples ……………………………………………………………….. 573 3.8.3 Project Documents Updates …………………………………………………………………. 573 3.9 Estimate Activity Durations……………………………………………………………………………… 574 3.9.1 Project Management Plan Components …………………………………………………. 574 3.9.2 Project Documents Examples ……………………………………………………………….. 574 3.9.3 Project Documents Updates …………………………………………………………………. 575 3.10 Develop Schedule …………………………………………………………………………………………. 575 3.10.1 Project Management Plan Components ……………………………………………….. 575 3.10.2 Project Documents Examples ……………………………………………………………… 576 3.10.3 Project Management Plan Updates ……………………………………………………… 576 3.10.4 Project Documents Updates ……………………………………………………………….. 576 3.11 Plan Cost Management …………………………………………………………………………………. 577 3.11.1 Project Management Plan Components ……………………………………………….. 577 XI 3.12 Estimate Costs ……………………………………………………………………………………………… 577 3.12.1 Project Management Plan Components ……………………………………………….. 578 3.12.2 Project Documents Examples ……………………………………………………………… 578 3.12.3 Project Documents Updates ……………………………………………………………….. 578 3.13 Determine Budget …………………………………………………………………………………………. 578 3.13.1 Project Management Plan Components ……………………………………………….. 579 3.13.2 Project Documents Examples ……………………………………………………………… 579 3.13.3 Project Documents Updates ……………………………………………………………….. 579 3.14 Plan Quality Management ……………………………………………………………………………… 580 3.14.1 Project Management Plan Components ……………………………………………….. 580 3.14.2 Project Documents Examples ……………………………………………………………… 580 3.14.3 Project Management Plan Updates ……………………………………………………… 581 3.14.4 Project Documents Updates ……………………………………………………………….. 581 3.15 Plan Resource Management ………………………………………………………………………….. 581 3.15.1 Project Management Plan Components ……………………………………………….. 582 3.15.2 Project Documents …………………………………………………………………………….. 582 3.15.3 Project Documents Updates ……………………………………………………………….. 582 3.16 Estimate Activity Resources ………………………………………………………………………….. 582 3.16.1 Project Management Plan Components ……………………………………………….. 583 3.16.2 Project Documents Examples ……………………………………………………………… 583 3.16.3 Project Documents Updates ……………………………………………………………….. 583 3.17 Plan Communications Management ……………………………………………………………….. 584 3.17.1 Project Management Plan Components ……………………………………………….. 584 3.17.2 Project Documents Examples ……………………………………………………………… 584 3.17.3 Project Management Plan Updates ……………………………………………………… 584 3.17.4 Project Documents Updates ……………………………………………………………….. 585 3.18 Plan Risk Management …………………………………………………………………………………. 585 3.18.1 Project Management Plan Components ……………………………………………….. 585 3.18.2 Project Documents Examples ……………………………………………………………… 585 XII Table of Contents 3.19 Identify Risks ……………………………………………………………………………………………….

. 586 3.19.1 Project Management Plan Components ……………………………………………….. 586 3.19.2 Project Documents Examples ……………………………………………………………… 587 3.19.3 Project Documents Updates ……………………………………………………………….. 587 3.20 Perform Qualitative Risk Analysis ………………………………………………………………….. 588 3.20.1 Project Management Plan Components ……………………………………………….. 588 3.20.2 Project Documents Examples ……………………………………………………………… 588 3.20.3 Project Documents Updates ……………………………………………………………….. 589 3.21 Perform Quantitative Risk Analysis ………………………………………………………………… 589 3.21.1 Project Management Plan Components ……………………………………………….. 589 3.21.2 Project Documents Examples ……………………………………………………………… 590 3.21.3 Project Documents Updates ……………………………………………………………….. 590 3.22 Plan Risk Responses …………………………………………………………………………………….. 590 3.22.1 Project Management Plan Components ……………………………………………….. 591 3.22.2 Project Documents Examples ……………………………………………………………… 591 3.22.3 Project Management Plan Updates ……………………………………………………… 591 3.22.4 Project Documents Updates ……………………………………………………………….. 592 3.23 Plan Procurement Management …………………………………………………………………….. 592 3.23.1 Project Management Plan Components ……………………………………………….. 593 3.23.2 Project Documents Examples ……………………………………………………………… 593 3.23.3 Project Documents Updates ……………………………………………………………….. 593 3.24 Plan Stakeholder Engagement ……………………………………………………………………….. 594 3.24.1 Project Management Plan Components ……………………………………………….. 594 3.24.2 Project Documents Examples ……………………………………………………………… 594 4. EXECUTING PROCESS GROUP …………………………………………………………………………………… 595 4.1 Direct and Manage Project Work ……………………………………………………………………… 597 4.1.1 Project Management Plan Components …………………………………………………. 597 4.1.2 Project Documents Examples ……………………………………………………………….. 597 4.1.3 Project Management Plan Updates ……………………………………………………….. 598 4.1.4 Project Documents Updates …………………………………………………………………. 598 XIII 4.2 Manage Project Knowledge …………………………………………………………………………….. 598 4.2.1 Project Management Plan Components …………………………………………………. 599 4.2.2 Project Documents ………………………………………………………………………………. 599 4.2.3 Project Management Plan Updates ……………………………………………………….. 599 4.3 Manage Quality ………………………………………………………………………………………………. 599 4.3.1 Project Management Plan Components …………………………………………………. 600 4.3.2 Project Documents Examples ……………………………………………………………….. 600 4.3.3 Project Management Plan Updates ……………………………………………………….. 600 4.3.4 Project Documents Updates …………………………………………………………………. 600 4.4 Acquire Resources …………………………………………………………………………………………. 601 4.4.1 Project Management Plan Components …………………………………………………. 601 4.4.2 Project Documents Examples ……………………………………………………………….. 601 4.4.3 Project Management Plan Updates ……………………………………………………….. 602 4.4.4 Project Documents Updates …………………………………………………………………. 602 4.5 Develop Team…………………………………………………………………………………………………. 602 4.5.1 Project Management Plan Components …………………………………………………. 603 4.5.2 Project Documents Examples ……………………………………………………………….. 603 4.5.3 Project Management Plan Updates ……………………………………………………….. 603 4.5.4 Project Documents Updates …………………………………………………………………. 603 4.6 Manage Team…………………………………………………………………………………………………. 604 4.6.1 Project Management Plan Components …………………………………………………. 604 4.6.2 Project Documents Examples ……………………………………………………………….. 604 4.6.3 Project Management Plan Updates ……………………………………………………….. 605 4.6.4 Project Documents Updates …………………………………………………………………. 605 4.7 Manage Communications ……………………………………………………………………………….. 605 4.7.1 Project Management Plan Components …………………………………………………. 606 4.7.2 Project Documents Example …………………………………………………………………. 606 4.7.3 Project Management Plan Updates ……………………………………………………….. 606 4.7.4 Project Documents Updates …………………………………………………………………. 606 XIV Table of Contents 4.8 Implement Risk Responses ……………………………………………………………………………… 607 4.8.1 Project Management Plan Components …………………………………………………. 607 4.8.2 Project Documents Examples ……………………………………………………………….. 607 4.8.3 Project Documents Updates ………………………………………………………………….

607 4.9 Conduct Procurements ……………………………………………………………………………………. 608 4.9.1 Project Management Plan Components …………………………………………………. 608 4.9.2 Project Documents Examples ……………………………………………………………….. 609 4.9.3 Project Management Plan Updates ……………………………………………………….. 609 4.9.4 Project Documents Updates …………………………………………………………………. 609 4.10 Manage Stakeholder Engagement ………………………………………………………………….. 610 4.10.1 Project Management Plan Components ……………………………………………….. 610 4.10.2 Project Documents Examples ……………………………………………………………… 610 4.10.3 Project Management Plan Updates ……………………………………………………… 611 4.10.4 Project Documents Updates ……………………………………………………………….. 611 5. MONITORING AND CONTROLLING PROCESS GROUP …………………………………………………… 613 5.1 Monitor and Control Project Work ……………………………………………………………………. 615 5.1.1 Project Management Plan Components …………………………………………………. 615 5.1.2 Project Documents Examples ……………………………………………………………….. 615 5.1.3 Project Management Plan Updates ……………………………………………………….. 616 5.1.4 Project Documents Updates …………………………………………………………………. 616 5.2 Perform Integrated Change Control ………………………………………………………………….. 616 5.2.1 Project Management Plan Components …………………………………………………. 617 5.2.2 Project Documents Examples ……………………………………………………………….. 617 5.2.3 Project Management Plan Updates ……………………………………………………….. 617 5.2.4 Project Documents Updates …………………………………………………………………. 617 5.3 Validate Scope ……………………………………………………………………………………………….. 618 5.3.1 Project Management Plan Components …………………………………………………. 618 5.3.2 Project Documents Examples ……………………………………………………………….. 618 5.3.3 Project Documents Updates …………………………………………………………………. 619 XV 5.4 Control Scope ………………………………………………………………………………………………… 619 5.4.1 Project Management Plan Components …………………………………………………. 619 5.4.2 Project Documents Examples …………………���………………………………………….. 620 5.4.3 Project Management Plan Updates ……………………………………………………….. 620 5.4.4 Project Documents Updates …………………………………………………………………. 620 5.5 Control Schedule ……………………………………………………………………………………………. 621 5.5.1 Project Management Plan Components …………………………………………………. 621 5.5.2 Project Documents Examples ……………………………………………………………….. 621 5.5.3 Project Management Plan Updates ……………………………………………………….. 622 5.5.4 Project Documents Updates …………………………………………………………………. 622 5.6 Control Costs …………………………………………………………………………………………………. 622 5.6.1 Project Management Plan Components …………………………………………………. 623 5.6.2 Project Documents Examples ……………………………………………………………….. 623 5.6.3 Project Management Plan Updates ……………………………………………………….. 623 5.6.4 Project Documents Updates …………………………………………………………………. 623 5.7 Control Quality ……………………………………………………………………………………………….. 624 5.7.1 Project Management Plan Components …………………………………………………. 624 5.7.2 Project Documents Examples ……………………………………………………………….. 624 5.7.3 Project Management Plan Updates ……………………………………………………….. 625 5.7.4 Project Documents Updates …………………………………………………………………. 625 5.8 Control Resources ………………………………………………………………………………………….. 625 5.8.1 Project Management Plan Components …………………………………………………. 626 5.8.2 Project Documents Examples ……………………………………………………………….. 626 5.8.3 Project Management Plan Updates ……………………………………………………….. 626 5.8.4 Project Documents Updates …………………………………………………………………. 626 5.9 Monitor Communications ………………………………………………………………………………… 627 5.9.1 Project Management Plan Components …………………………………………………. 627 5.9.2 Project Documents Examples ……………………………………………………………….. 627 5.9.3 Project Management Plan Updates ……………………………………………………….. 628 5.9.4 Project Documents Updates …………………………………………………………………. 628 XVI Table of Contents 5.10 Monitor Risks……………………………………………………………………………………………….. 628 5.10.1 Project Management Plan Components ……………………………………………….. 629 5.10.2 Project Documents Examples ……………………………………………………………… 629 5.10.3 Project Management Plan Updates ……………………………………………………… 629 5.10.4 Project Documents Updates ……………………………………………………………….. 629 5.11 Control Procurements …………………………………………………………………………………… 629 5.11.1 Project Management Plan Components ……………………………………………….

. 630 5.11.2 Project Documents Examples ……………………………………………………………… 630 5.11.3 Project Management Plan Updates ……………………………………………………… 631 5.11.4 Project Documents Updates ……………………………………………………………….. 631 5.12 Monitor Stakeholder Engagement ………………………………………………………………….. 631 5.12.1 Project Management Plan Components ……………………………………………….. 632 5.12.2 Project Documents Examples ……………………………………………………………… 632 5.12.3 Project Management Plan Updates ……………………………………………………… 632 5.12.4 Project Documents Updates ……………………………………………………………….. 632 6. CLOSING PROCESS GROUP……………………………………………………………………………………….. 633 6.1 Close Project or Phase ……………………………………………………………………………………. 634 6.1.1 Project Management Plan Components …………………………………………………. 634 6.1.2 Project Documents Examples ……………………………………………………………….. 635 6.1.3 Project Documents Updates …………………………………………………………………. 635 XVII PART 3. APPENDICES, GLOSSARY, AND INDEX APPENDIX X1 SIXTH EDITION CHANGES ……………………………………………………………………………………………. 639 APPENDIX X2 CONTRIBUTORS AND REVIEWERS OF THE PMBOK® GUIDE—SIXTH EDITION…………………….. 651 APPENDIX X3 AGILE, ITERATIVE, ADAPTIVE, AND HYBRID PROJECT ENVIRONMENTS ……………………………. 665 APPENDIX X4 SUMMARY OF KEY CONCEPTS FOR KNOWLEDGE AREAS………………………………………………… 673 APPENDIX X5 SUMMARY OF TAILORING CONSIDERATIONS FOR KNOWLEDGE AREAS ……………………………. 679 APPENDIX X6 TOOLS AND TECHNIQUES ……………………………………………………………………………………………. 685 GLOSSARY ………………………………………………………………………………………………………………… 695 XVIII Table of Contents LI ST OF TA BL ES A ND FIG U RES PART 1. A GUIDE TO THE PROJECT MANAGEMENT BODY OF KNOWLEDGE (PMBOK® Guide) Figure 1-1. Organizational State Transition via a Project …………………………………………….. 6 Figure 1-2. Project Initiation Context…………………………………………………………………………. 8 Figure 1-3. Portfolio, Programs, Projects, and Operations………………………………………….. 12 Figure 1-4. Organizational Project Management ………………………………………………………. 17 Figure 1-5. Interrelationship of PMBOK® Guide Key Components in Projects ………………. 18 Figure 1-6. Example Process: Inputs, Tools & Techniques, and Outputs………………………. 22 Figure 1-7. Project Data, Information, and Report Flow …………………………………………….. 27 Figure 1-8. Interrelationship of Needs Assessment and Critical Business/ Project Documents ……………………………………………………………………………….. 30 Figure 2-1. Project Influences …………………………………………………………………………………. 37 Figure 3-1. Example of Project Manager’s Sphere of Influence ………………………………….. 53 Figure 3-2. The PMI Talent Triangle® ……………………………………………………………………….. 57 Figure 4-1. Project Integration Management Overview ……………………………………………… 71 Figure 4-2. Develop Project Charter: Inputs, Tools & Techniques, and Outputs…………….. 75 Figure 4-3. Develop Project Charter: Data Flow Diagram …………………………………………… 76 Figure 4-4. Develop Project Management Plan: Inputs, Tools & Techniques, and Outputs………………………………………………………………………………………….. 82 XIX Figure 4-5. Develop Project Management Plan: Data Flow Diagram …………………………… 82 Figure 4-6. Direct and Manage Project Work: Inputs, Tools & Techniques, and Outputs………………………………………………………………………………………….. 90 Figure 4-7. Direct and Manage Project Work: Data Flow Diagram………………………………. 91 Figure 4-8. Manage Project Knowledge: Inputs, Tools & Techniques, and Outputs……….. 98 Figure 4-9. Manage Project Knowledge: Data Flow Diagram ……………………………………… 99 Figure 4-10. Monitor and Control Project Work: Inputs, Tools & Techniques, and Outputs………………………………………………………………………………………… 105 Figure 4-11. Monitor and Control Project Work: Data Flow Diagram …………………………… 106 Figure 4-12. Perform Integrated Change Control: Inputs, Tools & Techniques, and Outputs………………………………………………………………………………………… 113 Figure 4-13. Perform Integrated Change Control: Data Flow Diagram ………………………… 114 Figure 4-14. Close Project or Phase: Inputs, Tools & Techniques, and Outputs …………….. 121 Figure 4-15. Close Project or Phase: Data Flow Diagram …………………………………………… 122 Figure 5-1. Project Scope Management Overview …………………………………………………… 130 Figure 5-2. Plan Scope Management: Inputs, Tools & Techniques, and Outputs …………. 134 Figure 5-3.

Plan Scope Management: Data Flow Diagram ……………………………………….. 134 Figure 5-4. Collect Requirements: Inputs, Tools & Techniques, and Outputs ……………… 138 Figure 5-5. Collect Requirements: Data Flow Diagram …………………………………………….. 139 Figure 5-6. Context Diagram …………………………………………………………………………………. 146 Figure 5-7. Example of a Requirements Traceability Matrix …………………………………….. 149 Figure 5-8. Define Scope: Inputs, Tools & Techniques, and Outputs ………………………….. 150 Figure 5-9. Define Scope: Data Flow Diagram ………………………………………………………… 151 Figure 5-10. Create WBS: Inputs, Tools & Techniques, and Outputs ……………………………. 156 Figure 5-11. Create WBS: Data Flow Diagram …………………………………………………………… 156 Figure 5-12. Sample WBS Decomposed Down Through Work Packages……………………… 158 Figure 5-13. Sample WBS Organized by Phase …………………………………………………………. 159 XX List of Tables and Figures Figure 5-14. Sample WBS with Major Deliverables……………………………………………………. 160 Figure 5-15. Validate Scope: Inputs, Tools & Techniques, and Outputs ……………………….. 163 Figure 5-16. Validate Scope: Data Flow Diagram………………………………………………………. 164 Figure 5-17. Control Scope: Inputs, Tools & Techniques, and Outputs …………………………. 167 Figure 5-18. Control Scope: Data Flow Diagram ……………………………………………………….. 168 Figure 6-1. Project Schedule Management Overview ………………………………………………. 174 Figure 6-2. Scheduling Overview …………………………………………………………………………… 176 Figure 6-3. Plan Schedule Management: Inputs, Tools & Techniques, and Outputs …….. 179 Figure 6-4. Plan Schedule Management: Data Flow Diagram …………………………………… 179 Figure 6-5. Define Activities: Inputs, Tools & Techniques, and Outputs ……………………… 183 Figure 6-6. Define Activities: Data Flow Diagram ……………………………………………………. 183 Figure 6-7. Sequence Activities: Inputs, Tools & Techniques, and Outputs ………………… 187 Figure 6-8. Sequence Activities: Data Flow Diagram……………………………………………….. 187 Figure 6-9. Precedence Diagramming Method (PDM) Relationship Types …………………. 190 Figure 6-10. Examples of Lead and Lag …………………………………………………………………… 192 Figure 6-11. Project Schedule Network Diagram ………………………………………………………. 193 Figure 6-12. Estimate Activity Durations: Inputs, Tools & Techniques, and Outputs ……… 195 Figure 6-13. Estimate Activity Durations: Data Flow Diagram ……………………………………. 196 Figure 6-14. Develop Schedule: Inputs, Tools & Techniques, and Outputs …………………… 205 Figure 6-15. Develop Schedule: Data Flow Diagram ………………………………………………….. 206 Figure 6-16. Example of Critical Path Method…………………………………………………………… 211 Figure 6-17. Resource Leveling ………………………………………………………………………………. 212 Figure 6-18. Example Probability Distribution of a Target Milestone…………………………… 214 Figure 6-19. Schedule Compression Comparison ……………………………………………………… 215 Figure 6-20. Relationship Between Product Vision, Release Planning, and Iteration Planning …………………………………………………………………………. 216 XXI Figure 6-21. Project Schedule Presentations—Examples ………………………………………….. 219 Figure 6-22. Control Schedule: Inputs, Tools & Techniques, and Outputs…………………….. 222 Figure 6-23. Control Schedule: Data Flow Diagram …………………………………………………… 223 Figure 6-24. Iteration Burndown Chart …………………………………………………………………….. 226 Figure 7-1. Project Cost Management Overview ……………………………………………………… 232 Figure 7-2. Plan Cost Management: Inputs, Tools & Techniques, and Outputs……………. 235 Figure 7-3. Plan Cost Management: Data Flow Diagram ………………………………………….. 235 Figure 7-4. Estimate Costs: Inputs, Tools & Techniques, and Outputs ……………………….. 240 Figure 7-5. Estimate Costs: Data Flow Diagram ……………………………………………………… 240 Figure 7-6. Determine Budget: Inputs, Tools & Techniques, and Outputs …………………… 248 Figure 7-7. Determine Budget: Data Flow Diagram …………………………………………………. 249 Figure 7-8. Project Budget Components…………………………………………………………………. 255 Figure 7-9. Cost Baseline, Expenditures, and Funding Requirements ……………………….. 255 Figure 7-10. Control Costs: Inputs, Tools & Techniques, and Outputs………………………….. 257 Figure 7-11. Control Costs: Data Flow Diagram ………………………………………………………… 258 Figure 7-12.

Earned Value, Planned Value, and Actual Costs ……………………………………… 264 Figure 7-13. To-Complete Performance Index (TCPI) …………………………………………………. 268 Figure 8-1. Project Quality Management Overview………………………………………………….. 272 Figure 8-2. Major Project Quality Management Process Interrelations ……………………… 273 Figure 8-3. Plan Quality Management: Inputs, Tools & Techniques, and Outputs ……….. 277 Figure 8-4. Plan Quality Management: Data Flow Diagram ………………………………………. 278 Figure 8-5. Cost of Quality…………………………………………………………………………………….. 283 Figure 8-6. The SIPOC Model…………………………………………………………………………………. 285 Figure 8-7. Manage Quality: Inputs, Tools & Techniques, and Outputs ………………………. 288 Figure 8-8. Manage Quality: Data Flow Diagram …………………………………………………….. 289 Figure 8-9. Cause-and-Effect Diagram…………………………………………………………………… 294 XXII List of Tables and Figures Figure 8-10. Control Quality: Inputs, Tools & Techniques, and Outputs ……………………….. 298 Figure 8-11. Control Quality: Data Flow Diagram………………………………………………………. 299 Figure 8-12. Check Sheets ……………………………………………………………………………………… 302 Figure 9-1. Project Resource Management Overview………………………………………………. 308 Figure 9-2. Plan Resource Management: Inputs, Tools & Techniques, and Outputs ……. 312 Figure 9-3. Plan Resource Management: Data Flow Diagram …………………………………… 313 Figure 9-4. Sample RACI Chart ……………………………………………………………………………… 317 Figure 9-5. Estimate Activity Resources: Inputs, Tools & Techniques, and Outputs…….. 321 Figure 9-6. Estimate Activity Resources: Data Flow Diagram …………………………………… 321 Figure 9-7. Sample Resource Breakdown Structure………………………………………………… 327 Figure 9-8. Acquire Resources: Inputs, Tools & Techniques, and Outputs ………………….. 328 Figure 9-9. Acquire Resources: Data Flow Diagram ………………………………………………… 329 Figure 9-10. Develop Team: Inputs, Tools & Techniques, and Outputs …………………………. 336 Figure 9-11. Develop Team: Data Flow Diagram ……………………………………………………….. 337 Figure 9-12. Manage Team: Inputs, Tools & Techniques, and Outputs …………………………. 345 Figure 9-13. Manage Team: Data Flow Diagram ……………………………………………………….. 346 Figure 9-14. Control Resources: Inputs, Tools & Techniques, and Outputs…………………… 352 Figure 9-15. Control Resources: Data Flow Diagram …………………………………………………. 353 Figure 10-1. Project Communications Overview ……………………………………………………….. 360 Figure 10-2. Plan Communications Management: Inputs, Tools & Techniques, and Outputs………………………………………………………………………………………… 366 Figure 10-3. Plan Communications Management: Data Flow Diagram ……………………….. 367 Figure 10-4. Communication Model for Cross-Cultural Communication ……………………… 373 Figure 10-5. Manage Communications: Inputs, Tools & Techniques, and Outputs ………… 379 Figure 10-6. Manage Communications: Data Flow Diagram ………………………………………. 380 Figure 10-7. Monitor Communications: Inputs, Tools & Techniques, and Outputs ………… 388 XXIII Figure 10-8. Monitor Communications: Data Flow Diagram ………………………………………. 389 Figure 11-1. Project Risk Management Overview ……………………………………………………… 396 Figure 11-2. Plan Risk Management: Inputs, Tools & Techniques, and Outputs……………. 401 Figure 11-3. Plan Risk Management: Data Flow Diagram ………………………………………….. 402 Figure 11-4. Extract from Sample Risk Breakdown Structure (RBS) …………………………… 406 Figure 11-5. Example Probability and Impact Matrix with Scoring Scheme ………………… 408 Figure 11-6. Identify Risks: Inputs, Tools & Techniques, and Outputs …………………………. 409 Figure 11-7. Identify Risks: Data Flow Diagram ……………………………………………………….. 410 Figure 11-8. Perform Qualitative Risk Analysis: Inputs, Tools & Techniques, and Outputs………………………………………………………………………………………… 419 Figure 11-9. Perform Qualitative Risk Analysis: Data Flow Diagram …………………………… 420 Figure 11-10. Example Bubble Chart Showing Detectability, Proximity, and Impact Value ………………………………………………………………………………… 426 Figure 11-11. Perform Quantitative Risk Analysis: Inputs, Tools & Techniques, and Outputs………………………………………………………………………………………… 428 Figure 11-12. Perform Quantitative Risk Analysis: Data Flow Diagram ………………………….

429 Figure 11-13. Example S-Curve from Quantitative Cost Risk Analysis ………………………….. 433 Figure 11-14. Example Tornado Diagram …………………………………………………………………… 434 Figure 11-15. Example Decision Tree ………………………………………………………………………… 435 Figure 11-16. Plan Risk Responses: Inputs, Tools & Techniques, and Outputs ………………. 437 Figure 11-17. Plan Risk Responses: Data Flow Diagram……………………………………………… 438 Figure 11-18. Implement Risk Responses: Inputs, Tools & Techniques, and Outputs ……… 449 Figure 11-19. Implement Risk Responses: Data Flow Diagram ……………………………………. 449 Figure 11-20. Monitor Risks: Inputs, Tools & Techniques, and Outputs …………………………. 453 Figure 11-21. Monitor Risks: Data Flow Diagram ……………………………………………………….. 454 Figure 12-1. XXIV Project Procurement Management Overview …………………………………………. 460 List of Tables and Figures Figure 12-2. Plan Procurement Management: Inputs, Tools & Techniques, and Outputs …. 466 Figure 12-3. Plan Procurement Management: Data Flow Diagram ……………………………… 467 Figure 12-4. Conduct Procurements: Inputs, Tools & Techniques, and Outputs ……………. 482 Figure 12-5. Conduct Procurements: Data Flow Diagram ………………………………………….. 483 Figure 12-6. Control Procurements: Inputs, Tools & Techniques, and Outputs ……………… 492 Figure 12-7. Control Procurements: Data Flow Diagram ……………………………………………. 493 Figure 13-1. Project Stakeholder Management Overview ………………………………………….. 504 Figure 13-2. Identify Stakeholders: Inputs, Tools & Techniques, and Outputs………………. 507 Figure 13-3. Identify Stakeholders: Data Flow Diagram …………………………………………….. 508 Figure 13-4. Plan Stakeholder Engagement: Inputs, Tools & Techniques, and Outputs …. 516 Figure 13-5. Plan Stakeholder Engagement: Data Flow Diagram ……………………………….. 517 Figure 13-6. Stakeholder Engagement Assessment Matrix ……………………………………….. 522 Figure 13-7. Manage Stakeholder Engagement: Inputs, Tools & Techniques, and Outputs………………………………………………………………………………………… 523 Figure 13-8. Manage Stakeholder Engagement: Data Flow Diagram ………………………….. 524 Figure 13-9. Monitor Stakeholder Engagement: Inputs, Tools & Techniques, and Outputs………………………………………………………………………………………… 530 Figure 13-10. Monitor Stakeholder Engagement: Data Flow Diagram …………………………… 531 Table 1-1. Examples of Factors that Lead to the Creation of a Project ………………………… 9 Table 1-2. Comparative Overview of Portfolios, Programs, and Projects ……………………. 13 Table 1-3. Description of PMBOK® Guide Key Components ………………………………………. 18 Table 1-4. Project Management Process Group and Knowledge Area Mapping ………….. 25 Table 1-5. Project Business Documents …………………………………………………………………. 29 Table 2-1. Influences of Organizational Structures on Projects ………………………………… 47 Table 3-1. Team Management and Team Leadership Compared ……………………………….. 64 XXV Table 4-1. Project Management Plan and Project Documents…………………………………… 89 Table 5-1. Elements of the Project Charter and Project Scope Statement ………………… 155 Table 7-1. Earned Value Calculations Summary Table ……………………………………………. 267 Table 11-1. Example of Definitions for Probability and Impacts ……………………………….. 407 Table 12-1. Comparison of Procurement Documentation …………………………………………. 481 PART 2. The Standard For Project Management Figure 1-1. Example of Portfolio, Program, and Project Management Interfaces ……….. 544 Figure 1-2. Generic Depiction of a Project Life Cycle……………………………………………….. 548 Figure 1-3. Impact of Variables Over Time ……………………………………………………………… 549 Figure 1-4. Examples of Project Stakeholders ………………………………………………………… 551 Figure 1-5. Example of Process Group Interactions Within a Project or Phase …………… 555 Figure 2-1. Project Boundaries ……………………………………………………………………………… 562 Figure 2-2. Initiating Process Group ………………………………………………………………………. 562 Figure 2-3. Develop Project Charter: Inputs and Outputs …………………………………………. 563 Figure 2-4. Identify Stakeholders: Inputs and Outputs …………………………………………….. 563 Figure 3-1. Planning Process Group ………………………………………………………………………. 566 Figure 3-2. Develop Project Management Plan: Inputs and Outputs ………………………….

567 Figure 3-3. Plan Scope Management: Inputs and Outputs ……………………………………….. 567 Figure 3-4. Collect Requirements: Inputs and Outputs …………………………………………….. 568 Figure 3-5. Define Scope: Inputs and Outputs ………………………………………………………… 569 Figure 3-6. Create WBS: Inputs and Outputs …………………………………………………………… 570 Figure 3-7. Plan Schedule Management: Inputs and Outputs …………………………………… 571 Figure 3-8. Define Activities: Inputs and Outputs ……………………………………………………. 572 XXVI List of Tables and Figures Figure 3-9. Sequence Activities: Inputs and Outputs……………………………………………….. 573 Figure 3-10. Estimate Activity Durations: Inputs and Outputs ……………………………………. 574 Figure 3-11. Develop Schedule: Inputs and Outputs ………………………………………………….. 575 Figure 3-12. Plan Cost Management: Inputs and Outputs ………………………………………….. 577 Figure 3-13. Estimate Costs: Inputs and Outputs………………………………………………………. 577 Figure 3-14. Determine Budget: Inputs and Outputs …………………………………………………. 579 Figure 3-15. Plan Quality Management: Inputs and Outputs ………………………………………. 580 Figure 3-16. Plan Resource Management: Inputs and Outputs …………………………………… 581 Figure 3-17. Estimate Activity Resources: Inputs and Outputs …………………………………… 583 Figure 3-18. Plan Communications Management: Inputs and Outputs ……………………….. 584 Figure 3-19. Plan Risk Management: Inputs and Outputs ………………………………………….. 585 Figure 3-20. Identify Risks: Inputs and Outputs………………………………………………………… 586 Figure 3-21. Perform Qualitative Risk Analysis: Inputs and Outputs …………………………… 588 Figure 3-22. Perform Quantitative Risk Analysis: Inputs and Outputs …………………………. 589 Figure 3-23. Plan Risk Responses: Inputs and Outputs ……………………………………………… 590 Figure 3-24. Plan Procurement Management: Inputs and Outputs ……………………………… 592 Figure 3-25. Plan Stakeholder Engagement: Inputs and Outputs ……………………………….. 594 Figure 4-1. Executing Process Group …………………………………………………………………….. 596 Figure 4-2. Direct and Manage Project Work: Inputs and Outputs …………………………….. 597 Figure 4-3. Manage Project Knowledge: Inputs and Outputs ……………………………………. 598 Figure 4-4. Manage Quality: Inputs and Outputs …………………………………………………….. 599 Figure 4-5. Acquire Resources: Inputs and Outputs ………………………………………………… 601 Figure 4-6. Develop Team: Inputs and Outputs ……………………………………………………….. 602 Figure 4-7. Manage Team: Inputs and Outputs ……………………………………………………….. 604 Figure 4-8. Manage Communications: Inputs and Outputs ………………………………………. 605 Figure 4-9. Implement Risk Responses: Inputs and Outputs ……………………………………. 607 XXVII Figure 4-10. Conduct Procurements: Inputs and Outputs ………………………………………….. 608 Figure 4-11. Manage Stakeholder Engagement: Inputs and Outputs ………………………….. 610 Figure 5-1. Monitoring and Controlling Process Group ……………………………………………. 614 Figure 5-2. Monitor and Control Project Work: Inputs and Outputs …………………………… 615 Figure 5-3. Perform Integrated Change Control: Inputs and Outputs…………………………. 616 Figure 5-4. Validate Scope: Inputs and Outputs ………………………………………………………. 618 Figure 5-5. Control Scope: Inputs and Outputs ……………………………………………………….. 619 Figure 5-6. Control Schedule: Inputs and Outputs …………………………………………………… 621 Figure 5-7. Control Costs: Inputs and Outputs ………………………………………………………… 622 Figure 5-8. Control Quality: Inputs and Outputs ………………………………………………………. 624 Figure 5-9. Control Resources: Inputs and Outputs …………………………………………………. 625 Figure 5-10. Monitor Communications: Inputs and Outputs ………………………………………. 627 Figure 5-11. Monitor Risks: Inputs and Outputs ……………………………………………………….. 628 Figure 5-12. Control Procurements: Inputs and Outputs ……………………………………………. 630 Figure 5-13. Monitor Stakeholder Engagement: Inputs and Outputs …………………………… 631 Figure 6-1. Closing Process Group ………………………………………………………………………… 633 Figure 6-2. Close Project or Phase: Inputs and Outputs …………………………………………… 634 Table 1-1. Project Management Process Group and Knowledge Area Mapping ………… 556 Table 1-2. Project Management Plan and Project Documents…………………………………. 559 XXVIII List of Tables and Figures PART 3. APPENDICES, GLOSSARY, AND INDEX Figure X3-1.

The Continuum of Project Life Cycles ……………………………………………………. 666 Figure X3-2. Level of Effort for Process Groups across Iteration Cycles ……………………… 667 Figure X3-3. Relationship of Process Groups in Continuous Phases ……………………��…… 668 Table X1-1. Section 4 Changes ………………………………………………………………………………. 645 Table X1-2. Section 6 Changes ………………………………………………………………………………. 646 Table X1-3. Section 8 Changes ………………………………………………………………………………. 646 Table X1-4. Section 9 Changes ………………………………………………………………………………. 647 Table X1-5. Section 10 Changes …………………………………………………………………………….. 648 Table X1-6. Section 11 Changes …………………………………………………………………………….. 648 Table X1-7. Section 12 Changes …………………………………………………………………………….. 649 Table X1-8. Section 13 Changes …………………………………………………………………………….. 650 Table X6-1. Categorization and Index of Tools and Techniques …………………………………. 686 XXIX XXX Sa le or R A Guide to the Project Management Body of Knowledge ep ro du ct io n . Part 1 N ot (PMBOK ® GUIDE ) The information contained in this part is not an American National Standard (ANS) and has not been processed in accordance with ANSI’s requirements for an ANS. As such, the information in this part may contain material that has not been subjected to public review or a consensus process. In addition, it does not contain requirements necessary for conformance to an ANS standard. 1 IN T ROD U CTIO N 1.1 OVERVIEW AND PURPOSE OF THIS GUIDE Project management is not new. It has been in use for hundreds of years. Examples of project outcomes include: Pyramids of Giza, uu uu Olympic games, uu Great Wall of China, Taj Mahal, uu uu Publication of a children’s book, uu Panama Canal, Development of commercial jet airplanes, uu Polio vaccine, uu uu Human beings landing on the moon, uu Commercial software applications, Portable devices to use the global positioning system (GPS), and uu uu Placement of the International Space Station into Earth’s orbit. The outcomes of these projects were the result of leaders and managers applying project management practices, principles, processes, tools, and techniques to their work. The managers of these projects used a set of key skills and applied knowledge to satisfy their customers and other people involved in and affected by the project. By the mid-20th century, project managers began the work of seeking recognition for project management as a profession. One aspect of this work involved obtaining agreement on the content of the body of knowledge (BOK) called project management. This BOK became known as the Project Management Body of Knowledge (PMBOK). The Project Management Institute (PMI) produced a baseline of charts and glossaries for the PMBOK. Project managers soon realized that no single book could contain the entire PMBOK. Therefore, PMI developed and published A Guide to the Project Management Body of Knowledge (PMBOK® Guide). PMI defines the project management body of knowledge (PMBOK) as a term that describes the knowledge within the profession of project management. The project management body of knowledge includes proven traditional practices that are widely applied as well as innovative practices that are emerging in the profession. 1 The body of knowledge (BOK) includes both published and unpublished materials. This body of knowledge is constantly evolving. This PMBOK® Guide identifies a subset of the project management body of knowledge that is generally recognized as good practice. Generally recognized means the knowledge and practices described are applicable to most projects most of the uu time, and there is consensus about their value and usefulness. uu Good practice means there is general agreement that the application of the knowledge, skills, tools, and techniques to project management processes can enhance the chance of success over many projects in delivering the expected business values and results. The project manager works with the project team and other stakeholders to determine and use the appropriate generally recognized good practices for each project.

Determining the appropriate combination of processes, inputs, tools, techniques, outputs and life cycle phases to manage a project is referred to as “tailoring” the application of the knowledge described in this guide. This PMBOK® Guide is different from a methodology. A methodology is a system of practices, techniques, procedures, and rules used by those who work in a discipline. This PMBOK® Guide is a foundation upon which organizations can build methodologies, policies, procedures, rules, tools and techniques, and life cycle phases needed to practice project management. 1.1.1 THE STANDARD FOR PROJECT MANAGEMENT This guide is based on The Standard for Project Management [1]. A standard is a document established by an authority, custom, or general consent as a model or example. As an American National Standards Institute (ANSI) standard, The Standard for Project Management was developed using a process based on the concepts of consensus, openness, due process, and balance. The Standard for Project Management is a foundational reference for PMI’s project management professional development programs and the practice of project management. Because project management needs to be tailored to fit the needs of the project, the standard and the guide are both based on descriptive practices, rather than prescriptive practices. Therefore, the standard identifies the processes that are considered good practices on most projects, most of the time. The standard also identifies the inputs and outputs that are usually associated with those processes. The standard does not require that any particular process or practice be performed. The Standard for Project Management is included as Part II of A Guide to the Project Management Body of Knowledge (PMBOK® Guide). The PMBOK® Guide provides more detail about key concepts, emerging trends, considerations for tailoring the project management processes, and information on how tools and techniques are applied to projects. Project managers may use one or more methodologies to implement the project management processes outlined in the standard. 2 Part 1 – Guide The scope of this guide is limited to the discipline of project management, rather than the full spectrum of portfolios, programs, and projects. Portfolios and programs will be addressed only to the degree they interact with projects. PMI publishes two other standards that address the management of portfolios and programs: The Standard for Portfolio Management [2], and uu The Standard for Program Management [3]. uu 1.1.2 COMMON VOCABULARY A common vocabulary is an essential element of a professional discipline. The PMI Lexicon of Project Management Terms [4] provides the foundational professional vocabulary that can be consistently used by organizations, portfolio, program, and project managers and other project stakeholders. The Lexicon will continue to evolve over time. The glossary to this guide includes the vocabulary in the Lexicon along with additional definitions. There may be other industry-specific terms used in projects that are defined by that industry’s literature. 1.1.3 CODE OF ETHICS AND PROFESSIONAL CONDUCT PMI publishes the Code of Ethics and Professional Conduct [5] to instill confidence in the project management profession and to help an individual in making wise decisions, particularly when faced with difficult situations where the individual may be asked to compromise his or her integrity or values. The values that the global project management community defined as most important were responsibility, respect, fairness, and honesty. The Code of Ethics and Professional Conduct affirms these four values as its foundation. The Code of Ethics and Professional Conduct includes both aspirational standards and mandatory standards. The aspirational standards describe the conduct that practitioners, who are also PMI members, certification holders, or volunteers, strive to uphold. Although adherence to the aspirational standards is not

easily measured, conduct in accordance with these is an expectation for those who consider themselves to be professionals—it is not optional. The mandatory standards establish firm requirements and, in some cases, limit or prohibit practitioner behavior. Practitioners who are also PMI members, certification holders, or volunteers and who do not conduct themselves in accordance with these standards will be subject to disciplinary procedures before PMI’s Ethics Review Committee. 3 1.2 FOUNDATIONAL ELEMENTS This section describes foundational elements necessary for working in and understanding the discipline of project management. 1.2.1 PROJECTS A project is a temporary endeavor undertaken to create a unique product, service, or result. Unique product, service, or result. Projects are undertaken to fulfill objectives by producing deliverables. uu An objective is defined as an outcome toward which work is to be directed, a strategic position to be attained, a purpose to be achieved, a result to be obtained, a product to be produced, or a service to be performed. A deliverable is defined as any unique and verifiable product, result, or capability to perform a service that is required to be produced to complete a process, phase, or project. Deliverables may be tangible or intangible. Fulfillment of project objectives may produce one or more of the following deliverables: nuA unique product that can be either a component of another item, an enhancement or correction to an item, or a new end item in itself (e.g., the correction of a defect in an end item); nuA unique service or a capability to perform a service (e.g., a business function that supports production or distribution); nuA unique result, such as an outcome or document (e.g., a research project that develops knowledge that can be used to determine whether a trend exists or a new process will benefit society); and nuA unique combination of one or more products, services, or results (e.g., a software application, its associated documentation, and help desk services). Repetitive elements may be present in some project deliverables and activities. This repetition does not change the fundamental and unique characteristics of the project work. For example, office buildings can be constructed with the same or similar materials and by the same or different teams. However, each building project remains unique in key characteristics (e.g., location, design, environment, situation, people involved). Projects are undertaken at all organizational levels. A project can involve a single individual or a group. A project can involve a single organizational unit or multiple organizational units from multiple organizations. 4 Part 1 – Guide Examples of projects include but are not limited to: nuDeveloping a new pharmaceutical compound for market, nuExpanding a tour guide service, nuMerging two organizations, nuImproving a business process within an organization, nuAcquiring and installing a new computer hardware system for use in an organization, nuExploring for oil in a region, nuModifying a computer software program used in an organization, nuConducting research to develop a new manufacturing process, and nuConstructing a building. uu Temporary endeavor. The temporary nature of projects indicates that a project has a definite beginning and end. Temporary does not necessarily mean a project has a short duration. The end of the project is reached when one or more of the following is true: nuThe project’s objectives have been achieved; nuThe objectives will not or cannot be met; nuFunding is exhausted or no longer available for allocation to the project; nuThe need for the project no longer exists (e.g., the custom… CLICK HERE TO GET A PROFESSIONAL WRITER TO WORK ON THIS PAPER AND OTHER SIMILAR PAPERS CLICK THE BUTTON TO MAKE YOUR ORDER