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Toron Metropolitan University

FCAD - Faculty of Communication and Design

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• Creative Industries
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• Graphic Design
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• Interior Design
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REIMAGINING CREATIVITY

Entering its eighth decade, FCAD is a global centre of media and creative invention. With 26 programs that are shaping the future of their fields and tight knit partnerships around the world, FCAD offers more opportunities to educate the next generation than anywhere else.

FCAD - the Futures of Creativity

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upcoming Events

• FCAD Virtual Info Session | MFA Documentary Media - November 25
• FCAD Virtual Info Session | Film + Photography Preservation and Collections Management (MA) - December 1

Visit ryerson.ca for the complete event schedule

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Varies by Program

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Past winners of the Applied Arts Student Awards

Station K, 2708 Yonge St. P.O. Box 1233 Toronto, ON M4P 3E4 Canada

416-510-0909 416-510-0909 [email protected]

Please contact us should you have any questions about Creative Futures or to learn about advertising & sponsorship opportunities.

Modules, Minors, and Specializations

This information is updated based on the 2024-2025 CI curriculum. Find more information on the Undergraduate Calendar .

Creative Content Modules

A module is defined as a sequence of five courses consisting of varying combinations of required and elective courses in a discrete subject area. As a Creative Industries student you’ll select one module at the start of 1st year and a second at the start of 2nd year. You’ll complete both modules at a rate of one course per semester. Delivered by the eight professional schools within The Creative School and one from the Ted Rogers School of Management, each module will cover the basic historical, theoretical and production aspects of a creative field while also examining how that field functions as a business. These modules will give you the opportunity to meet and participate in courses together with students specializing in each creative field. You’ll have thirteen modules to choose from, as provided below.

For details of the courses and tables below, see the  course calendar .

School of Fashion

• The Fashion Industry: Markets, Aesthetics & Creativity

School of Professional Communication

• Professional Communication

School of Image Arts

• The Art & Business of Film
• Visual Culture
• Curatorial Practices

School of Journalism

• The Business and Practice of News

School of Graphic Communications Management

• Concept to Reality: Publishing and Printing

RTA: School of Media

• The Music Industry
• Storytelling in Media
• Media Business

School of Performance

• Acting/Dance Studies

School of Interior Design

• Interior Design: Humanscale for Creative Thinkers

School of Hospitality and Tourism Management

• Events and Live Entertainment

Note: Modules are offered subject to minimum student enrolment and are normally confirmed in July of each year. Though every effort is made to offer all students the modules of their choice, space in specific modules may be limited if demand exceeds capacity.

Electives & Minors

These elective courses, required of all Toronto Metropolitan University students, are intended to broaden your education beyond your specific program of study. You will take one elective each term in your first three years. Typically students choose from a wide variety of courses offered in such areas as English, Philosophy, History, Political Science, Psychology, Sociology and Economics.

Creative Industries Electives (Core Elective Table I)

A minimum of 2 courses are to be selected from the following list in years 3 and/or 4:

• CRI 410 : Beggars, Choosers: C.I. Advocacy
• CRI 420 : Book Publishing and Marketing
• CRI 430 : Canadian Media and Entertainment Industries
• CRI 450 : Appreciating Creativity in Practice
• CRI 480 : Visual Culture Industries
• CRI 510 : Art and Business of Gaming
• CRI 520 : Design Management
• CRI 530 : Talent Management
• CRI 540 : Marketing the Creative Industries
• CRI 560 : Topics in Creative Industries
• CRI 570 : Creative Industries: International Lab
• CRI 590 : Storytelling Indigenous People
• CRI 620 : Concert and Festival Management
• CRI 630 : Advertising Theory and Practice
• CRI 670 : Music and Brands
• CRI 680 : Celebrity
• CRI 720 : Media Regulation and Communication Policy
• CRI 730 : Strategic Leadership in the Creative Industries
• CRI 740 : The Creative Negotiation
• CRI 750 : Emerging Technologies in Cyberspace
• CRI 760 : Diversity in Creative Industries
• CRI 770 : Trendwatching
• CRI 780 : Your Creative Self
• CRI 820 : Global Licensing and Distribution Agreements
• CRI 830 : Youth Cultural Production
• CRI 840 : Management of Soft Innovation
• CRI 850 : Directed Reading Course
• CRI 860 : The Big Night
• EID 100 : Digital Skills and Innovation
• FCD 222 : Coding for Creatives (FCAD Elective)
• FCD 240 : History of Art and Design: Global Survey
• FCD 551 : Digital Media and Network Cultures (FCAD Elective)
• FCD 580 : Project in Creative Technology
• FCD 815 : Design Solutions Supercourse I
• FCD 816 : Global Campus Studio Supercourse I
• FCD 825 : Design Solutions Supercourse II
• FCD 826 : Global Campus Studio Supercourse II
• FCD 962 : Interaction Design (FCAD Elective)
• THF 470 : Black Creative Practices

University Open Electives

Selecting from any discipline in 3rd and 4th years will enable you to explore areas of personal interest or to gain additional depth in areas that you think are valuable to your chosen career path. You may also elect to devote these electives to the completion of a minor.

For a complete listing of the Open Electives please consult the  Open Elective Table  of the calendar.

While pursuing your Creative Industries degree you may wish to combine it with a minor that enhances your career preparations. A minor is a grouping of six courses that will uniquely complement your degree by adding knowledge and skills in a related field.  These are among the minors available to students who wish to devote some of their open and breadth electives toward this goal:

• Entrepreneurship and Innovation
• Global Management
• Organizational Leadership
• Public Administration

For a full list of Minors and the current Minor Policy please see the Minors Policy/Minors page in the current  Academic Calendar .

Course Outlines

Course descriptions are available in the  Toronto Metropolitan University Academic Calendar . 

Detailed outlines will be available shortly after the start of term.

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Creative Industries

Toronto metropolitan university (formerly ryerson university), requirements, program summary, prerequisites.

• English (ENG4U/EAE4U preferred) 

IB and AP Requirements

• IB Admission Information
• AP Admission Information

Language Requirements

Applicants must provide proof of English language proficiency if they have completed less than 4 years of full-time study at the high school level, with English as the primary language of instruction. The following are acceptable tests and scores.

For further details, including other qualifications that will be considered to meet our English language requirements, or to determine if you are required to provide an English proficiency test score, view our English language requirements .

English Language Pathway Programs at the English Language Institute are open to academically qualified students who have achieved English proficiency test scores that do not meet Toronto Metropolitan University (TMU)’s English language requirements. Visit the English Language Institute for more information about pathway programs, requirements and how to apply.

Offers of Admission

Basic requirements for admission.

All programs at Toronto Metropolitan University (TMU) have academic requirements. Some programs require more:

• Grades-Only programs select students on the basis of academic performance.
• Grades-Plus programs select students on the basis of academic performance plus non-academic requirements, such as auditions, interviews, portfolios, essays, etc. If distance does not permit travel to our campus, selection methods may include online interviews, video auditions, questions and answers, and/or essays. Non-academic requirements are generally due by the Guaranteed Consideration Date (February 1). However, it is important that you do not submit non-academic requirements until after you have actually submitted your application for admission and have received your TMU Student Number. Your TMU Student Number must be included on all non-academic requirements you submit.

Minimum admission requirements (subject to change):

• Completion of the Ontario Secondary School Diploma (OSSD)
• 6 Grade 12 U/M courses with a minimum overall average of 70%.
• ​All programs have prerequisite subject requirements. Grades required for admission are determined on the basis of competition each year.

TMU receives more applications than spaces available. Possession of the minimum requirements, averages and/or grades does not guarantee admission. Due to  competition, admission is offered to the best-qualified candidates. Actual grade ranges required for fall 2024 admission/wait list consideration will be determined as grades  become available. Applicants educated outside of Ontario are required to present the equivalent of the Ontario requirements. TMU reserves the right to determine equivalency at its sole discretion.

TMU may use Grade 11 results in the early admission selection process. You must be enrolled in, currently completing or have completed your program’s admission requirements at the time you apply.

All fall 2024 applicants, including those given an early or conditional Offer of Admission, are required to successfully complete all admission requirements by June 30, 2024 (unless otherwise stated). In many cases, this will exclude the possibility of using summer school, night school, virtual school and/or distance education courses completed after this date to meet admission requirements. However, some TMU programs may consider extensions beyond June 30, 2024.

Read more about admission requirements .

Failed and Repeated Courses

We will calculate your overall average using the final marks from your best 6 Grade 12 U/M courses, which may include repeated/upgraded course marks.

Timing and Process for Admission Decisions

February 1, 2024 is the Guaranteed Consideration Date for all programs.

Subject to space availability in programs, applications, amendments and supporting documents may be reviewed after the Guaranteed Consideration Date for fall admission. Some part-time undergraduate programs also accept applications for the winter and spring terms. Some full-time programs may accept applications for the winter term from international students. Visit our  Application Dates page for details.

We anticipate that the majority of decisions will be made between February and the end of May 2024 based on application processing timeframes and timelines for evaluating non-academic requirements.

Admission averages presented on OUInfo are estimates only and are subject to change. Find further information in TMU's Undergraduate Calendar(s) .

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Reimagining the Future of Entertainment at The Creative School

Charles Falzon

Dean of The Creative School at Ryerson University

Louis-Etienne Dubois

Director of The Creative School’s Future of Live Entertainment Lab (FOL!E)

Dr. Kristopher Alexander

Director of Research at The Conduit and RTA Media professor of video games

Ramona Pringle

Director of The Creative School’s Innovation Studio

The Creative School at Ryerson University is a disruptor in media, design, and creative industries and is a place where students learn, transform, and reimagine creativity.

Creativity is at the heart of innovation, inspiring change, and fostering diversity. As the world emerges from the pandemic while also undergoing a social revolution, it’s a pivotal time to rethink the entertainment industry — and creativity must be at the forefront.

But what is creativity, exactly? According to Charles Falzon , Dean of The Creative School at Ryerson University, “Creativity is a mix of innovation, design thinking, entrepreneurial thinking, and the ability to make change happen. Being creative is about problem-solving.”

Creativity as a concept is multifaceted, and so is The Creative School. With its innovative and transdisciplinary approach, the faculty is equipping the next generation of leaders in entertainment and beyond.

Embracing creativity, collaboration, and lateral thinking

The Creative School is home to nine leading schools in media, communication, and design, three transdisciplinary hubs focused on innovation and entrepreneurship, and a robust international network. A leader in higher education, The Creative School prepares students for the future of work including opportunities to learn from global perspectives, entrepreneurial skills, sustainable practices, and innovative audience engagement strategies.

“The Creative School is about the future of media and creative industries in Canada,” says Falzon. “We’re bringing people from various fields together to think more boldly about the future.” As the global challenges we face are complex and multifaceted, Falzon believes that transdisciplinary and lateral thinking are critical. “The Creative School is an ecosystem of innovation and inspiration for future innovators, and the world needs that,” he says.

Creating immersive experiences through a transdisciplinary approach 

Many global organizations are drawn to The Creative School as a way to connect with its diverse hub of forward-thinking innovators. Louis-Etienne Dubois, Director of The Creative School’s Future of Live Entertainment Lab (FOL!E), focuses on developing sustainable solutions to support the future of live entertainment. This includes an innovative industry collaboration with partner Cirque du Soleil.

“From Cirque’s standpoint, partnering with us is about being able to draw from so many disciplines and expertise,” says Dubois. “There’s this unique relationship where we can pool our heads and our resources, and try to do something different.”

Dubois notes that there’s no such thing as a pure creative field. “There’s a lot of overlapping between different fields and fuzzy boundaries between different forms of art,” he says. “Innovation can be found at the interface of all those creative sectors. Together, we can push the boundaries and work on really developing immersive experiences.”

Video game storytelling, esports, and engagement

An exciting new addition to The Creative School, The Conduit , offers students access to a leading-edge esports and video games research lab and underscores the importance of transdisciplinary approaches to learning and skills development.

“There isn’t a single discipline that doesn’t connect to the video games industry,” says Dr. Kristopher Alexander, Director of Research at The Conduit and RTA Media professor of video games. “So many disciplines — from fashion, journalism, and media production to interior design, project management, and law — connect to video games.”

With 52 percent of Canadians identifying as gamers, video games and esports are booming industries. And with a growing focus on engaging live audiences — like the Travis Scott virtual concert that occurred live on popular online video game Fortnite, attracting 12.5 million viewers — and storytelling through gaming, the need for collaboration and creativity is clear.

“Everything starts and ends with creativity, from storytelling to engagement to interactivity,” says Alexander.

The future is creative

The future of entertainment is also closely connected to entrepreneurship, and The Creative School Innovation Studio is devoted to entrepreneurship and innovation in the creative industries.

“We have several discipline-focused incubator spaces made up of teams of students and industry members working on projects that push the boundaries within their respective domains,” says Ramona Pringle, Director at the Innovation Studio.

Whether it’s tackling audience engagement, sustainability, or inclusivity, The Creative School’s students are always innovating.

Pringle also notes that The Creative School has a recovery cohort, an initiative to support creators, innovators, and entrepreneurs as they rebuild the creative economy post-pandemic. “As incubators, so much of what’s magical about our spaces is that we have all this interdisciplinary talent in one space,” she says. “The recovery cohort is an incubator and accelerator focused on recovery and building back better.”

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Governance of Communications and Creative Industries | Globalization | Technology

At this moment, globalization and digital technologies are fundamentally reshaping communication industries and creative work..

Fundamental questions need to be asked about the structure and governance of contemporary communication and creative industries and the public’s interest within them. Knowledge gaps, unchallenged assumptions and misunderstandings persist, yet new politics are emerging and decisions that are shaping the future of human communication and creativity are being taken, regardless.

Founded in 2014, the Ryerson Global Communication Governance Lab (GCGL) is affiliated with Ryerson University’s School of Creative Industries and Faculty of Communication and Design . Housed in the Rogers Communications Centre, the GCGL is a hub of research, learning, and outreach that supports the work of Ryerson students and faculty.

The GCGL’s current headquarters are located inside The Catalyst , an inter-program research space in the Rogers Communications Centre.

The GCGL supports academic research on key questions related to the structure and governance of communication industries and aims to provide a platform for developing and sharing knowledge and expertise. It provides learning opportunities and physical space for certain dynamic Ryerson students to contribute to professional scholarly research.

Get In Touch

Global Communication Governance Lab

RCC 353B, Ryerson University

80 Gould St. Toronto, ON

Studying Creative Industries at Ryerson University

The creative industries, also known as the cultural industries, incorporated human creativity as the source of the industries’ goods and services for economic value and intellectual property rights. UNESCO divided the fields of the sectors into cultural and related domains. UNESCO defined the cultural domains as: “cultural and natural heritage, performance and celebration, visual arts and crafts, books and press, audio-visual and interactive media, design and creative services,” and related domains include “tourism, and sports and recreation.” Creative industries are broad, and there are plenty of career choices one can make! Many creative professionals argue that you do not need a degree to excel in a creative field. Networks and applied skills are tremendous values to be successful in these areas. However, you may still need more guidance and knowledge that higher education can offer you. 

Ryerson University offers a program called Creative Industries. It is the first program of its kind in North America. Under the Faculty of Communication and Design (FCAD), Creative Industries is an interdisciplinary program “where business savvy meets creative passion,” and it prepares students to work in the creative economy. The program allows you to choose two creative-core modules, varying from fashion, communication, acting/dance, film, visual culture, curatorial practice, journalism, publishing, music industry, media business, and interior design. In addition to creative modules, there are required business courses that include entrepreneurship, management, accounting, human resources, and many more. The program also has a required internship in the upper-year to apply their learnings in real-world situations. Alumni from the program work in various creative companies in the city and beyond, establish their own company or freelance work. 

The Bachelor of Arts program focuses more on theories and business practices within the arts. It is not as practical as the RTA School of Media programs, under the same faculty. Nonetheless, the program prepares you to have skills that can help you succeed in a professional career. The classes help you build a critical thinking process, improve your communication skills, and learn how to collaborate in a group setting.

One of the most common paths people take is to work directly in the production of your preferred field. Whether it is fashion or film, it is great to have experience working on a set. Each faculty has its career centres, and they can help you find opportunities to work on location. FCAD usually will have many student-run productions that fellow students can participate in together. Many students can also find their options outside of school through school job boards or professional networking groups. 

An internship is a requirement to graduate from the Creative Industries program. There are two types of internships you can do: unpaid and paid. Unpaid internships are allowed when it is for school credit. Paid internships are usually run in the summer during school break, where international students can work full-time off-campus. An internship can help you gain more industry connections and get you first-hand experiences working with an established creative business. Many alumni from the program were offered a job after their internship and graduation! It is essential to develop significant connections within the industry. 

After graduation, you can choose to work freelance, utilizing the knowledge and skills you have gained from school, or you can work under a company/agency to help you kickstart your creative careers. The working hours can vary from 9-5 office jobs or flexible production hours. The program’s interdisciplinary approach allows students to become multi-faceted individuals with many transferable skills! The creative industries are dynamic and vastly exciting, and sometimes unpredictable, especially with the pandemic too. It is essential for students to not only develop their hard-skills but also soft-skills as professionals. Having a deep passion for the arts is just the start! It would be best if you also built long-lasting connections and a business-mind to help sustain your career. 

There is no one-size-fits-all for a creative career, but make sure you have all the necessary skills to succeed in your chosen field! 

Source: Ryerson University – Creative Industry   UNESCO – What do we Mean by the Cultural and Creative Industries?

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635th Anti-Aircraft Missile Regiment

635-й зенитно-ракетный полк

Military Unit: 86646

Activated 1953 in Stepanshchino, Moscow Oblast - initially as the 1945th Anti-Aircraft Artillery Regiment for Special Use and from 1955 as the 635th Anti-Aircraft Missile Regiment for Special Use.

1953 to 1984 equipped with 60 S-25 (SA-1) launchers:

• Launch area: 55 15 43N, 38 32 13E (US designation: Moscow SAM site E14-1)
• Support area: 55 16 50N, 38 32 28E
• Guidance area: 55 16 31N, 38 30 38E

1984 converted to the S-300PT (SA-10) with three independent battalions:

• 1st independent Anti-Aircraft Missile Battalion (Bessonovo, Moscow Oblast) - 55 09 34N, 38 22 26E
• 2nd independent Anti-Aircraft Missile Battalion and HQ (Stepanshchino, Moscow Oblast) - 55 15 31N, 38 32 23E
• 3rd independent Anti-Aircraft Missile Battalion (Shcherbovo, Moscow Oblast) - 55 22 32N, 38 43 33E

Disbanded 1.5.98.

Subordination:

• 1st Special Air Defence Corps , 1953 - 1.6.88
• 86th Air Defence Division , 1.6.88 - 1.10.94
• 86th Air Defence Brigade , 1.10.94 - 1.10.95
• 86th Air Defence Division , 1.10.95 - 1.5.98

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• Kontinental Hockey League

Gagarin Cup Preview: Atlant vs. Salavat Yulaev

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Gagarin cup (khl) finals:  atlant moscow oblast vs. salavat yulaev ufa.

Much like the Elitserien Finals, we have a bit of an offense vs. defense match-up in this league Final.  While Ufa let their star top line of Alexander Radulov, Patrick Thoresen and Igor Grigorenko loose on the KHL's Western Conference, Mytischi played a more conservative style, relying on veterans such as former NHLers Jan Bulis, Oleg Petrov, and Jaroslav Obsut.  Just reaching the Finals is a testament to Atlant's disciplined style of play, as they had to knock off much more high profile teams from Yaroslavl and St. Petersburg to do so.  But while they did finish 8th in the league in points, they haven't seen the likes of Ufa, who finished 2nd. 

This series will be a challenge for the underdog, because unlike some of the other KHL teams, Ufa's top players are generally younger and in their prime.  Only Proshkin amongst regular blueliners is over 30, with the work being shared by Kirill Koltsov (28), Andrei Kuteikin (26), Miroslav Blatak (28), Maxim Kondratiev (28) and Dmitri Kalinin (30).  Oleg Tverdovsky hasn't played a lot in the playoffs to date.  Up front, while led by a fairly young top line (24-27), Ufa does have a lot of veterans in support roles:  Vyacheslav Kozlov , Viktor Kozlov , Vladimir Antipov, Sergei Zinovyev and Petr Schastlivy are all over 30.  In fact, the names of all their forwards are familiar to international and NHL fans:  Robert Nilsson , Alexander Svitov, Oleg Saprykin and Jakub Klepis round out the group, all former NHL players.

For Atlant, their veteran roster, with only one of their top six D under the age of 30 (and no top forwards under 30, either), this might be their one shot at a championship.  The team has never won either a Russian Superleague title or the Gagarin Cup, and for players like former NHLer Oleg Petrov, this is probably the last shot at the KHL's top prize.  The team got three extra days rest by winning their Conference Final in six games, and they probably needed to use it.  Atlant does have younger regulars on their roster, but they generally only play a few shifts per game, if that. 

The low event style of game for Atlant probably suits them well, but I don't know how they can manage to keep up against Ufa's speed, skill, and depth.  There is no advantage to be seen in goal, with Erik Ersberg and Konstantin Barulin posting almost identical numbers, and even in terms of recent playoff experience Ufa has them beat.  Luckily for Atlant, Ufa isn't that far away from the Moscow region, so travel shouldn't play a major role. 

I'm predicting that Ufa, winners of the last Superleague title back in 2008, will become the second team to win the Gagarin Cup, and will prevail in five games.  They have a seriously well built team that would honestly compete in the NHL.  They represent the potential of the league, while Atlant represents closer to the reality, as a team full of players who played themselves out of the NHL. 

• Atlant @ Ufa, Friday Apr 8 (3:00 PM CET/10:00 PM EST)
• Atlant @ Ufa, Sunday Apr 10 (1:00 PM CET/8:00 AM EST)
• Ufa @ Atlant, Tuesday Apr 12 (5:30 PM CET/12:30 PM EST)
• Ufa @ Atlant, Thursday Apr 14 (5:30 PM CET/12:30 PM EST)

Games 5-7 are as yet unscheduled, but every second day is the KHL standard, so expect Game 5 to be on Saturday, like an early start. 

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Proceedings of the 2nd International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2020)

The Academy of Construction and Architecture of the USSR: Formation of the Idea of a New Goal in the Conditions of Transition to “Industrial Rails”

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Modern Challenges and the Outline of the Future of Architecture

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hybridization in architecture, research on the similarities of morphogenesis in architecture and nature, the master’s creed: richard rogers, concepts of project forecasting in the formation of the architectural space of the future, high-rise dominants in the urban landscape of baghdad: architecture and composition, media facade as a new mean of artistic image in the space of the xxi century city, study on the application of green decoration materials in residential environment, research on implanting the sustainable design in rural revitalization: taking the qianyang village in jin’an district, fuzhou city as an example, study on the update design method of existing residential buildings in northern china: taking ji’nan as an example, analysis of light art application in the gallery exhibition, history, types and regeneration of gasholders, research significance of architectural color in modern chinese universities, research on the application of natural daylighting system in office space, research on the multi-path construction of nostalgia space in the town with beautiful rural characteristics, research on the design of elderly-oriented public activity center in rural planning and construction, the research on the optimum design strategies of the public space against the background of active aging, socio-environmental paradigm of architectural knowledge and russian strategies for urban formation, the city as an art integration space, retrospective of settlement scheme formation in coastal zone of ob-yenisei waterway in 18th and 19th centuries, academy of municipal engineering in the 1930s: the failed scientific center of urban planning, search for the principles of architectural and spatial organization of a residential quarter in the research of soviet architects in the 1930s, the research into morphogenesis patterns of residential planning units in the early 21st century, the architecture of the conflicts, technological paradigm and the social life of the metropolis (on the example of moscow), priorities for the development of large cities of the central black earth region from their foundation to the 20th century, historic “modus operandi” in the revitalization of ancient towns: japanese and polish experience, an analysis on the design of public communication space in college student apartments: taking the student apartments on the nanhu campus of wuhan textile university as an example, the historical and genetic model as a method of structuring and choice of the settlement development strategy, the matrix coupling integrated planning experiment of coastal sponge city under the framework of pressure-state-impact-respond (psir): taking xiamen as an example, the effect of memory construction of cultural landmarks on urban development, research on the inheritance and innovation of regional culture in environmental art design, suture and revival of historical blocks in the context of modernity: comprehensive planning and architectural design of the leqiao-caoqiao section in the ancient district of ganjiang road, suzhou city, a study on the revitalization of community building in taiwan based on qianyang village, research on the reconstruction and reuse of historic blocks from the perspective of urban catalysts: taking a historical district of foshan as an example, visual culture and spatial infiltration: modern traditional architecture of fuzhou from the perspective of creative city, study on the spatial morphological characteristics of traditional village settlements in nanxijiang river basin, comprehensive development and utilization of underground space and underground rail transit, research on the design of rural revitalization in remote areas of yunnan: taking wengding village of cangyuan as an example.