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Encapsulating the destination’s USPs and identity in a logo with high recognition value is a challenge DMOs face. This recognisability as key to a ‘strong brand’ is particularly based on natural resources and the attractiveness of landscapes that form the basis of touristic USP in most destinations. The paper stresses the importance of the logo and that the destination’s ‘DNA’ or identity must be transposed symbolically and naturally by integrating distinctive landscape elements into the logo. Ideally, they merge authentically and harmoniously, fostering identification among locals and tourists, brand awareness and a positive image, contributing to a strong, authentic brand. A 40% presence of landscape elements (mountains prevailed by 85%) was found in the top 50 Austrian logos.

Padang is a city prone to earthquakes and tsunamis. Universitas Negeri Padang is one of the universities that focuses on public services. Therefore, it plays an active role in disaster preparedness, including by providing lecture buildings with mitigation shelters. This is done to support the government in reducing casualties due to earthquake and tsunami disasters. This research uses the Research and Development method, which produces visual branding in the form of UNPSIGAP's visual identity based on design principles and logos. So that it can build a positive brand image as an earthquake and tsunami disaster response university.

Abstract: This paper explores the design of logos in the aeronautical field, especially for the Faculty of Aerospace Engineering from Bucharest. The article aims to identify a new image for the Faculty of Aerospace Engineering in order to create a corporate identity manual to illustrate the use of the new logo in different situations and environments. The perfect candidate to represent the institution will be decided based on a survey which measures the public's receptivity to 5 proposed variants for the logo

Abstract: This paper explores the design of logos in the aeronautical field, especially for the Faculty of Aerospace Engineering from Bucharest. The article aims to identify a new image for the Faculty of Aerospace Engineering in order to create a corporate identity manual to illustrate the use of the new logo in different situations and environments. The perfect candidate to represent the institution will be decided based on a survey which measures the public's receptivity to 5 proposed variants for the logo

Methodism came to Zimbabwe in 1891. The church expanded through Eurocentric theology taught to the locals. As the mission continued to grow the indigenes became part of the Methodist ethos and theology through the contextualisation of the gospel, the localisation of worship, and the indigenisation of leadership, however, the church did not have a visible identity. When the church finally designed its logo in 1987, there was no deliberate effort to explain the meaning and significance of the insignia to its congregants. Coupled with this lack of knowledge, the logo later became the church’s trademark through kitchen utensils with the logo, clothing material, designed in different fashions of women, men, and youth regalia, billboards, and branding of different items and properties. This paper aimed to contribute to Methodist theology and scholarship by providing literature that explains the meaning and significance of the Methodist logo which is represented by a circle, the map of Zimbabwe, the cross, a scallop shell, and a dove. The paper started by presenting the methodology used to gather data. This was followed by a historical development of the logo. The paper also analysed the significance of the logo as a fundraising tool, a form of identity and a quasi-uniform in the Methodist Church in Zimbabwe. In this paper, we argued that the Methodist logo represents the indelible theological insignia that directs its congregants to a deep theology of a church located within the global Wesleyan Methodist and in particular the “connexionality” of Zimbabwe. The paper concluded by forwarding that, logo(s) remain central to the identity of any organisation and members of each organisation need to have an appreciation of their identity and the meaning of their emblems if the organisation has to be theologically impactful to its congregants.

Pizza dan kue kering merupakan salah satu usaha PA Baitur Rohmah Al-Amanah sebagai realisasi misi panti asuhan yaitu, sebagai pusat pengembangan keterampilan dan jiwa enterprenuer serta mendidik anak asuh agar dapat mandiri sejak dini. Akan tetapi, hasil produksi pizza dan kue kering belum mempunyai logo dan merek yang menarik, sehingga hasil produksi tersebut kurang dikenal masyarakat luas. Oleh karena itu, kegiatan pengabdian kepada masyarakat ditujukan untuk memberikan pengetahuan dan keterampilan dalam membuat logo dan merek. Metode pengabdian kepada masyarakat ini adalah pelatihan dan pendampingan pembuatan logo dan merek menggunakan aplikasi adobe illustrator. Hasil akhir kegiatan pengabdian kepada masyarakat ini berupa berupa logo dan merek yang dikemas jadi satu kesatuan. Pizza diberi merek Albait’s Pizza: Bukan Pizza Italy Tapi ala Santri, sedangkan merek kue kering adalah Albait’s Cookies: Nagih di Lidah, Murah Meriah. Selain itu, keterampilan mitara dalam menggunakan aplikasi adobe Illustrator meningkat. Kegiatan ini di diharapkan dapat manajemen pemasaran, terutama pemasaran online untuk memperluas jangkauan pemasaran produksi mereka serta meningkatkan hasil penjualan.

This paper explores the design of logos in the aeronautical field, especially for the Faculty of Aerospace Engineering from Bucharest. The article aims to identify a new image for the Faculty of Aerospace Engineering in order to create a corporate identity manual to illustrate the use of the new logo in different situations and environments. The perfect candidate to represent the institution will be decided based on a survey which measures the public's receptivity to 5 proposed variants for the logo.

This paper has tried to explain the importance of the general and special principles in logo design. The study was realized on a lot of logos to understand when a designer could use the principles to create wonderful graphic representations. It is about symmetry, asymmetry, proportion, rhythm and harmony, substitution, juxtaposition, using different geometric shapes, lines, curves, silhouettes and stylizations, mirror and illustrative representation and so on. We have explained how to use graphic representations in some fields of activity and to choose the best symbol for a company/university etc. And, of course, it was a significant part about the redesign working. This paper presents a few interpretations and conclusions concerning the design principles applied for logos.

This paper explores the design of logos in the aeronautical field, especially for the Faculty of Aerospace Engineering from Bucharest. The article aims to identify a new image for the Faculty of Aerospace Engineering in order to create a corporate identity manual to illustrate the use of the new logo in different situations and environments. The perfect candidate to represent the institution will be decided based on a survey which measures the public's receptivity to 5 proposed variants for the logo.

This paper has tried to explain the importance of the general and special principles in logo design. The study was realized on a lot of logos to understand when a designer could use the principles to create wonderful graphic representations. It is about symmetry, asymmetry, proportion, rhythm and harmony, substitution, juxtaposition, using different geometric shapes, lines, curves, silhouettes and stylizations, mirror and illustrative representation and so on. We have explained how to use graphic representations in some fields of activity and to choose the best symbol for a company/university etc. And, of course, it was a significant part about the redesign working. This paper presents a few interpretations and conclusions concerning the design principles applied for logos.

Entre los recursos de comunicación visual de las marcas de moda encontramos unos tropos que se han convertido en elementos estratégicos esenciales como herramientas de branding. Las figuras retóricas en cuestión se entrelazan y cooperan en la construcción de identidades gráficas inconfundibles que las emplean constantemente desde hace décadas. Entre ellas, abundan metáforas, hipérboles, metonimias, anáforas, sinécdoques y elipsis, hasta personificaciones y antonomasias. La combinación de estas herramientas clásicas de persuasión aplicadas al lenguaje gráfico, genera sistemas emergentes de signos con funciones no sólo simbólicas sino sintomáticas, capaces de denotar valores emocionales y señales de un determinado estatus.

By tracing the rhetorical ecology of an iconic protest logo created in Denmark in 1975, this article sheds light on an important part of the rhetoric of the Danish (and global) anti-nuclear power movement and how it continues to influence collective life in unpredictable and contradictory ways. Initially, the logo created a sense of community amongst anti-nuclear power activists. It was a powerful recruitment and fundraising tool, now it circulates as nostalgia, sparking both solidarity and alienation. The article builds on interviews with members of the Danish anti-nuclear power movement and a group of Danish youth today, including the founder of a current pro-nuclear power group. It relies on theories of rhetorical agency and ecology that have pinpointed the unpredictability and interconnectedness of rhetoric, and reminds us, further, of rhetoric’s potential endurance.

Animation relied in the beginning on the technical creative development to reach forms in which movement flows through optical deception to give a sense of the third dimension and move it at different speeds in order to reach a mental and visual persuasion for the audience until it accepts a movement that did not happen in reality or if it never existed but is purely a fantasy The designer. This technology has accompanied the development of computer graphics and the modern technological renaissance, so designers are using this technology with the latest interactive technological methods in moving logos, which depend on rules and stages with the aim of building a mental image of the recipient by achieving interaction between him and the animated logo, which increases its attractiveness when seeing it. The mental image that the individual forms when he sees the logo of any institution is nothing but a coherent building.It builds a set of ideas and information that the individual stores and preserves the most important characteristics to evoke them when needed. Movement in the logo aims to transform its shape, colour, movement, and others, and a certain aspect of the logo may change, such as: The direction of the icon, the position of the colours, or the entire design gets an overhaul every time the logo is presented so that the movement of the logo stands out, creating an interaction between it and the recipient. The animated logo plays a great interactive role in the formation of the mental image in social media ads and external advertisements and confirming the mental image of the announced institution, through the use of the same logo and the introduction of some influences and dimensions on it to reach the basic form after generating the studied dramatic movement of the animated logo to reach the maximum levels of persuasion for the recipient. The mind cannot keep everything it is exposed to fully all the time, but it retains symbols, images and impressions of objective reality and merely.

Egypt is one of the few countries in the world that possesses a unique cultural and visual heritage in a way that makes it difficult for its visual identity to become similar to others, However, what distinguishes the world from the melting of societies in the crucible of globalization is an important source for awakening artistic and plastic awareness, Derived from the rich heritage of the Egyptian civilization with all its components and benefit from it, and from the role of the logo in modern societies and its ability to reach easily and simply, carrying in its folds messages that confirm and root the Egyptian visual identity, and even reach global scopes to confirm itself and confirm its visual identity, Because the logo is one of the aspects of the global visual language, as it is one of the most important means of communication that depends The research problem is defined in the following main question: What is the extent of benefit from the slogan in preserving the Egyptian visual identity in the era of globalization?the most important objectives of the research:1. Benefiting from the vast visual richness of Egyptian symbols, connotations, and units in creating a contemporary logo with an Egyptian visual identity.2. Employing color to serve the formation of a logo with an Egyptian visual identity.3. Employing written fonts to enrich the composition of a logo with an Egyptian visual identity.4. Searching for new approaches to enrich and design the contemporary Egyptian logo

From a mental point of view, movement is an essential part of art and it is one of the main sources of expression, the movement is considered part of the nature of life, movement is its essence and time is the core of movement and the measure of life. Animation is one of the artistic works, which is considered a functional goal, the purpose of which is to move the eye over it and to control every artwork to produce a relationship between movement and other elements of art. Movement has laws that push us to show its features. Movement in design is subject to a fixed law, i.e. a law related to the laws of life. Therefore, the designer must struggle to create movement in the design, so we can realize certain unstable conditions and realize that change may be near. The eye always moves in the visual field through paragraphs where it stands short or long depending on the attention it attracts, and the eye can follow a system and rate of its own and can decide exactly whether the line tends in its movement up or down.Innovative thought is achieved in moving the logo through creative thought or acquired because it is a mental process controlled by the mind in one crucible through experience and making sketches and eventually reaching the new movement to attract the attention of the recipient during his vision and achieve the aesthetic value of the logo. All innovations and inventions in human history came through continuous and careful thinking to reach the innovative thought and achieve its aesthetic value. The movement in design may include two ideas: change and time, this change in the visual or mental field may occur in the process of perception of moving logos that serve companies better, so the development of these logos may occur in different forms and patterns, thus achieving aesthetic value.

يثير مفهوم تصنيف الرسوم التوضيحيه او العلامة الکثير من التعقيد في المجالات المختلفة التي يدخل في اهتمامها وليست هناک إمکانية تناول کل جوانب هذا التصنيف بالدرس والتنقيب، لکن الأمر المهم هو دراسة التصنيف الذي نعتقد انه يخدم غرض الدراسة، ولا ندعي إمکانية إهمال التصنيفات الأخرى للعلامة من حيث إمکاناتها وأهميتها وقدرتها على صياغة مفاهيم وأنماط وأسس علمية، لکن نرى ضرورة حصر المجال إلى أقصاه. إننا نعيش في عالم علامات، علامات عن علامات، وقد دفع الشعور المتنامي بهذا الواقع الإنسان الحديث إلى تغيير منظوره للحياة تغييراً عظيماً، الأمر الذي جعله يقز أن الحقيقة في هذا العالم لا تتأصل في الأشياء نفسها، بل في العلائق التي نلحظها بين الأشياء، أي أنها لا تتأصل في العناصر، بل في البنى نتيجة تغيير المنظور هذا من "الشيء" إلى العلامة يستتبعه منهجياً البحث في منظوري "العلامة" کممثل وبديل للشيء ،، إن الکشف عن هذه القواعد والتراکيب ومن ثم تفسير مبنى العلاقات الفنية،سيکون احد أهداف هذا البحث عندما يتناول تحليل العلامة في فن الرسم. "إن العلامة الصورية أو الايقونية تفترض تعبيراً وحيداً لکل دلالة، تعبيراً يرتبط بهذه الدلالة بصورة طبيعية، والرسم هو المثال المعروف لهذا النوع من العلامات، ومهما حاولنا التوغل في تاريخ الإنسانية فسنجد حتماً علامتين ثقافيتين مستقلتين ومتعادلتين هما الکلمة والرسم.التوضيحي . هنا تکون العلامة بين حامل العلامة والمدلول اتفاقية عرفية وغير معللة فلا يوجد بينهما تشابه أو صلة أو علاقة تجاور. يقول بيرس "الرمز هو علامة تحيل إلى الشيء الذي تشير إليه بفضل قانون غالباً ما يعتمد على التداعي بين أفکار عامة

Program inti PKM ini adalah rebranding Industri Rumah Tangga (IRT) Bandeng Presto Bu Djah Trimulyo milik Ibu Anis Khodijah yang berlokasi di desa Trimulyo Kecamatan Genuk, Kota Semarang yang diwujudkan ke dalam dua kegiatan, yaitu: (1) pengurusan Nomor Induk Berusaha (NIB) dan Sertifikat Standar sebagai pengganti Izin Usaha Mikro dan Kecil (IUMK) No.003788/8/16/UMK/SMG milik Ibu Anis Khodijah tertanggal 31 Agustus, 2016 yang dikeluarkan oleh Kecamatan Genuk, Pemerintah Kota Semarang dan telah berakhir pada tanggal 31/08/2021, dan (2) berupa pembuatan Tas Jinjing dari bahan kertas yang disertai Logo dan Slogan: With Oriental Flavors serta tetap mempertahankan Branding lama: “Enak dan Terjangkau”. Tas ramah lingkungan tersebut memiliki prototype yang apabila stok habis dapat diproduksi ulang. Kegiatan Rebranding produk IRT Bandeng Presto Bu Djah Trimulyo tersebut di atas dapat dikategorikan sebagai Iptek untuk keberlanjutan wirausaha di Desa Trimulyo, Kecamatan Genuk, Pemerintah Kota Semarang yang dapat meningkatkan kesejahteraan. Di samping itu, perpanjangan dan pengembangan IUMK menjadi NIB dan Sertifikat Standar merupakan jaminan aspek legal (kepastian hukum) sebuah IRT dengan dampak yang secara langsung dapat dirasakan oleh anggota keluarga dan masyarakat sekitar sehingga lebih percaya diri dalam memberikan layanan bisnis berkelanjutan. Juga diharapkan bahwa bisnis ‘Bandeng Presto Bu Djah Trimulyo’ akan dapat bersaing dengan kompetitor sejenis.

The Presence of Law no. 33 of 2014 concerning Halal Product Assurance mandated by Badan Penyelenggara Jaminan Produk Halal (BPJPH) has an impact on changing the halal logo in Indonesia. Now the Indonesian halal logo consists of a logogram and logotype. Using semiotic analysis from Roland Barthes, researchers try to examine the signs, connotations, and myths on the Indonesian halal logo. The use of kufi calligraphy in logotypes is inseparable from its history, that kufi khat has been used since the time of Rasulullah SAW. Furthermore, in its application, logogram and logotype cannot be separated. The researcher analyzed the use of white as the background in the logo, representing that BPJPH wants to show a new beginning based on the values of purity, sincerity, simplicity, and independence. The purple color in the logogram and logotype is believed to represent faith, piety, and high imagination. Historically, purple has represented courage. Apart from purple, this logo also has turquoise as its secondary color. Toska is considered to represent wisdom, calm, and stability.

As a metropolitan city, Depok City strives to improve the comfort of its city in accordance with its new nickname, a friendly city. This study aims to determinethe symbols, meanings, and how the symbols contained in the “Depok Friendy City” logo could construct the “city branding” of Depok City as a “friendly city”. This study used a qualitative method with Charles Sanders Perice's semiotic analysis. The data collection techniques used were media text analysis, interview, documentation, and literature study. The results of this study indicate that there is a value to be given to the community, it is Depok as a “Friendly City". All symbols contained in the Depok Friendly City logo can construct according to what the Government wants to achieve through City Branding “Depok as a friendly city” by embracing the community, then there is no discrimination through race or gender, and upholding tolerance in social life sothat all of residents could be feel safe and secure in all aspects of life in Depok City.

Starbucks is among the most recognizable coffee shops in Indonesia. People will recognize Starbucks by looking at the logo on the cup. The logo is essential in conveying the company's image and impression to customers. A brand's logo represents its identity. This study aims to analyze the idea behind the Starbucks logo. This research utilizes a qualitative approach. To assist researchers with their analysis, the Semiotics method and the Representation theory from Stuart Hall are implemented in this research. The result indicates that Starbucks logo reminds us to be good to people and the world.

The logo is a graphic element that can take the form of a letter, text, image, or even combinations of all these elements. It is used to identify a brand, product, organization or event. Any business, regardless of its size, must have a logo to define it. Nowadays, communication has become dominated by its visual composition. The world in which the rhythm is increasingly accelerated, communication strategies must emphasize what is possible to transmit instantly, with minimal effort, to the person who is looking. Starting from this premise, in this paper, we will present why it is good to create your own logo and what are the aspects to be taken into account when doing so. Well, our goal is to find a logo that has positive connotations for the business we want to promote. In this paper, a list of quality logo services and tips has been created to help people while creating an original logo for a business. Finally, we have written an idea on how to start creating a logo for a business that provides credibility in interacting with potential customers. We need a professional logo, colorful, versatile, that has positive visual impact, but at the same time it is affordable, and can be purchased by any small creative workshop.

Advertising is one of the commonly visible elements of the urban landscape (real and virtual). It also does not require proof that advertisements of cities as such are also part of their “cityscape.” Since at least the nineteenth century, cities have advertised themselves as attractive places to live, visit, or do business. Therefore, the following research question can be asked: How do Polish cities present themselves in advertisements one can find in the landscape? The study assumes that each advertisement should clearly identify the sender and indicate its specific characteristics, distinguishing itself from its competitors. Polish cities began to use logos and slogans as a mecha­nism of description and distinction after 1990, when socioeconomic changes started. There are quite a few studies on this activity, but most of them are single case studies. Therefore, the authors decided to examine a relatively large sample of Polish cities, which allows for statistical analysis. Analysis of the logo and slogan content allows the authors to examine the desired image or the projected identity of Polish cities. The methods were chosen because they admit qualitative and quantitative analysis, especially when there is a sufficiently large sample. Therefore, the survey covered all towns and cities with more than 20,000 inhabitants in Poland. There are 218 such towns in total. The analysis was carried out in the first half of 2021. In conclusion, the authors find that the advertising of Polish cities is embedded in the past, promotes resources (substance), sometimes geographical location, but rarely refers to famous characters and human potential. And such a picture of these cities one may find on outdoor advertisements, which sometimes produce dissonance when accompanying modern buildings or new transport solutions in the city.

The random noise signal is widely used as a test signal to identify a physical or biological system. In particular, the Gaussian distributed white noise signal (Gaussian White Noise) is popularly used to simulate environmental noise in telecommunications system testing, input noise in testing ADC (Analog to Digital Converter) devices, and testing other digital systems. Random noise signal generation can be done using resistors or diodes. The weakness of the noise generator system using physical components is the statistical distribution. An alternative solution is to use a Pseudo-Random System that can be adjusted for distribution and other statistical parameters. In this study, the implementation of the Gaussian distributed pseudo noise generation algorithm based on the Enhanced Box-Muller method is described. Prototype of noise generation system using a minimum system board based on Cortex Microcontroller or MCU-STM32F4. The test results found that the Enhanced Box-Muller (E Box-Muller) method can be applied to the MCU-STM32F4 efficiently, producing signal noise with Gaussian distribution. The resulting noise signal has an amplitude of ±1Volt, is Gaussian distributed, and has a relatively broad frequency spectrum. The noise signal can be used as a jamming device in a particular frequency band using an Analog modulator.

This article highlights increasing multimodality of online communication, in particular, multimodal alteration of Google logo known as Google Doodle. Doodles are interesting in terms of multimodal communication, semiotic landscape, encoding and decoding information, meaning-making, visual storytelling and visual communication in the globalized world, which remains multilingual, multicultural, multiracial, multiethnic and prone to conflicts. Despite the problems of aberrant decoding Umberto Eco described, visual communication proves to be the economical and effective means of informing the global audience. Google Doodles progressed from simple pictorial elements added to the Google verbal logo to intricate images with complicated multi-tier historical and cultural background, animated, interactive, hyper-linked, AI-based, video doodles, puzzles and even diverse games. Doodles followed and mirrored ICT and visual design evolution, developed in parallel with digital design and digital multimodality. Google used the chance to implement and demonstrate digital design potential in modern communication. Google Doodles became bright examples of infotainment, edutainment and gamification as every doodle was to inform, to educate, to astonish, to trigger WOW effect while celebrating some remarkable personality or event. Every Doodle is the result of thorough research into the issue, of sophisticated visual and digital design, of unique imaginativeness and high creativeness of the world best mind what makes it possible to squeeze an elaborate story into a picture or a short video. This study suggests that Google Doodles tend to become unique samples of multimodal storytelling, highly complicated semiotically and cognitively. Doodlers make great fun for many people, they send them googling to track down amazing stories, to discover intriguing details, and broaden knowledge horizon. Support of Doodle 4 Google competition among kids promotes multiliteracy and digital culture what is crucial to keep young generations future-proof.

Görsel kimlik, kurumların tanınması ve farklılaşması için çeşitli tasarım öğelerinin bir bütün halinde değerlendirilmesi gereken çalışmalardır ve logo da bu öğelerden biridir. Logo, kurumların diğer kurumlardan görsel açıdan ayırt edilmesine yarayan, kurumu hedef kitleye görsel olarak tanıtan ve hedef kitleyle duygusal bağ kurulmasına yardımcı olan önemli bir görsel kimlik aracıdır. Logolar, markaların güçlü oldukları yönleri vurgulayan ve markaların tanınmasında etkili olan özel tasarım ürünleridir. Bu çalışmada, Türkiye’de tiyatro ve sinema alanında birçok projenin gerçekleşmesine, sanatın-kültürel hayatın gelişmesine katkı sağlayan, sinema alanında son yıllarda en çok film üreten ve hasılat elde eden yapım şirketi olan Beşiktaş Kültür Merkezi’nin (BKM) kurumsal logosu, görsel kimlik açısından 01.05.2021-15.05.2021 tarihleri arasında analiz edilmiş, BKM’nin logosunu nasıl kullandığı, şekillendirdiği, logonun çağrışımları ve markaya katkısı logonun temel öğeleri bağlamında değerlendirilmiştir. Araştırma sonunda BKM logosunun, gerek tipografi gerek renk kullanımı ve gerek uygulama alanları bağlamında üzerinde düşünülmüş profesyonel bir çalışma ürünü olduğu saptanmıştır. BKM logosu görsel kimliği tamamlayıcı, markayı ön plana çıkartan ve her yerde temsil edebilecek bir tasarıma sahiptir. BKM logosu, Türk yapım şirketlerinin görsel kimlik çalışmalarında örnek alması gereken bir kurumsal kimlik materyali olarak dikkat çekmekte, görsel temsiliyet bağlamında sorunlar yaşayan yapım şirketleri için önemli çözüm önerileri sunmaktadır.

Today's changing socio-economic conditions and increasing food related disorders provide social awareness and consumers to be more sensitive when purchasing food. The aim of this research is to determine the consumer sensitivity towards the label information and logos on the packages, which have a significant impact on the consumers' food purchasing decision. The research material consists of the data obtained from the surveys conducted with 384 consumers residing in the urban area of Samsun. The results showed that expiration date (4.50), packaging durability (4.11) and brand name (3.92) were the subjects that consumers pay the most attention when purchasing food. TSE (Turkish Standards Institution) (31.8%), halal food (26.6%) and recyclable packaging (25.3%) are the most known logos on food packaging by consumers. Label information and logos on food packages are the most easily accessible information tools for consumers in their purchasing decisions. For this reason, label information and logos must be accurately understandable by the general consumer. Mass media, which are widely used today, can be used intensively in raising awareness of consumers in this regard. In addition, taking into account the power provided by the wide communication network among consumers and determining a marketing approach focused on consumer expectations will provide a significant competitive advantage to food manufacturers.

La relación logo-marca se ha estudiado desde perspectivas parciales que no han profundizado en la capacidad asociativa del diseño logosimbólico. La marca se conforma como una realidad bidimensional en la que convergen aspectos sensibles (tangibles) y conceptuales (intangibles) que quedan depositados en el logo que la representa. El objetivo de esta investigación es analizar las posibilidades simbólico-asociativas del diseño de los logos de algunas de las grandes marcas españolas, con el propósito de explicar las relaciones más determinantes en la configuración de ese concepto corporativo estereotipado (marca). Se propone una triangulación metodológica apoyada en un focus group de ocho personas y una prueba de asociación realizada por 332 sujetos, a quienes se somete a una muestra de los logos de las 10 marcas españolas más valoradas según Interbrand (2019) que encabezan sectores competitivos diferentes. Los resultados indican que estos emblemas se conectan a imágenes sensibles (tangibles), vinculadas a los productos y/o servicios de las marcas estudiadas. Si bien, la asociación del diseño del logo a los elementos visuales que lo componen es muy inferior a la que, a priori, cabría esperar, lo que indica el alto grado de proyección simbólica de estos signos visuales. Además, los 10 logos de la muestra se asocian a imágenes conceptuales (intangibles), relacionadas con los valores que definen la personalidad de las marcas que refieren. Se concluye que los logos se constituyen como estandartes corporativos que hacen confluir, en la complejidad simbólica de su aparente simplicidad estética, múltiples asociaciones entre su expresión visual y su proyección conceptual.

Verbal-pictorial hybrids are peculiar semiotic entities where the components of the verbal and pictorial sign systems are blended in such a way that they form an indissoluble entity and, thus, double their functional yield. Verbal-pictorial hybrids are kinds of сreolized (polycode) texts in which the convergence between verbal and pictorial components becomes the strongest and their formation is conditioned by the use of the same visual information transfer channel which is shared between both the written speech and images. The category in question includes calligrams, ASCIIart, pictorial puzzles, graphemic emoticons, specific forms of the graphic metaphor, marketing communication products (advertisements, logos) and all these give rise to a new unique category in the linguistic and semiotic studies. Verbal-pictorial hybrids belong to different discourses and genres and can be classified in accordance with their innate properties: antecedence/ subordinance of verbal and pictorial elements and, also, in accordance with the extent to which one of the semiotic dimensions loses its properties after becoming part of the hybrid entity.

This study aims to investigate the influence of wine-bottle design and the position of labels on consumers’ visual attention in digital contexts. Two within-subjects experiments combined with implicit eye-tracking measures were implemented in Italy. The visual attention of twenty-four participants was measured using areas of interest metrics while being asked to view two differently shaped bottles in three orientations. Subsequently, four examples of each bottle type were displayed, positioning an organic logo in different areas. Attention and interest measures were captured and analysed using a factorial repeated-measures ANOVA. The results show that the shoulder is the bottle’s first and most fixated part. Significant differences in participants’ attention and interest were found according to the interaction of bottle type and bottle part, as well as bottle part and orientation. Furthermore, exploring the inclusion of an organic logo on different bottle parts provided consistent results. Wine producers and marketers could benefit from bottle anatomy and morphology to identify the best place to display essential information to capture the consumer’s visual attention and interest.

Signboards are important location landmarks that provide services to a local community. Non-disabled people can easily understand the meaning of a signboard based on its special shape; however, visually impaired people who need an assistive system to guide them to destinations or to help them understand their surroundings cannot. Currently, designing accurate assistive systems remain a challenge. Computer vision struggles to recognize signboards due to the diverse designs that combine text and images. Moreover, there is a lack of datasets to train the best model and reach good results. In this paper, we propose a novel framework that can automatically detect and recognize signboard logos. In addition, we utilize Google Street View to collect signboard images from Taiwan’s streets. The proposed framework consists of a domain adaptation that not only reduces the loss function between source-target datasets, but also represents important source features adopted by the target dataset. In our model, we add nonlocal blocks and attention mechanisms called deep attention networks to achieve the best final result. We perform extensive experiments on both our dataset and public datasets to demonstrate the superior performance and effectiveness of our proposed method. The experimental results show that our proposed method outperforms state-of-the-art methods across all evaluation metrics.

This paper presents the importance of colors, i.e. their adequate choice when designing the logotype of companies and their products and/or services. Many researches, primarily in the field of psychology, agree that colors can positively or negatively affect the emotions of consumers. Companies often suffer great losses due to inadequate approach to this problem, by not adapting the colors of their logotypes to consumer needs. Colors, logotypes, signs and company name are integral elements of the corporate identity of one company, and as such, they make first contact with consumers. They communicate with them, primarily by influencing their senses, in the first place to the sense of sight. By adequate communication, an emotional relationship is established between the company and the consumer, which is the main precondition for creating emotional connections. The result of such relationships creates a sincere relationship, confidence-building and ultimately long-term consumer loyalty. By neglecting, above all, graphic elements of corporate identity, companies come into a situation not to achieve the recognition and uniqueness of their brands, and thus the chances of surviving, with strong competition on the market, are reduced to a minimum.

The logo is one of the most important elements of the company’s visual promoting strategy. Even so, the creation of a logo which fulfils all the specific criteria of an ideal logo can be a tough process given the fact that the market and trends are changing continuously. The actual paperwork focus on the study of graphics, on its influence in logo designing process but also it focuses on the analysis of existent brands and their possible redesigns with implications over population’s opinion.

This study generates a new perspective on the subject of branding in higher education and it is based on a large number of research studies from different countries on several continents. The aim of the study is to look at the Romanian university’s image as the outcome of their branding efforts, and to assess differentiation and positioning strategies deployed by high education institutions in our country. The study focuses on the most important components of universities’ brands, logos and straplines (tagline), welcome addresses and how they present their own academic performance. We have taken a sample of Romanian universities and looked at the colours of their logos and the content and style of their straplines or welcome addresses. Based on Searle’s Speech Act Theory (1969, 1979), three types of speech acts have been identified in the context of Romanian higher education branding: assertives, directives and commissives. We have analysed some other components of the university brand, which were identified in previous studies: the social identity of the university, the placement of the educational institution, the employability of its graduates and its general climate. Reputation, extracurricular activities, sports and social facilities, learning environment, courses offered and community links were also assumed to represent important factors of a university's brand. Higher education institutions can obtain responses to questions of how they should represent their image in the public perception and how they can build a strong brand. We have found that Romanian universities have similar brands and our conclusion is that a better differentiation and positioning is required in higher education.

Bu çalışmanın amacı; farklı sektörlerde yer alan markaların tasarımlarını analiz etmektir. Bu doğrultuda elektrik ve elektronik sektöründe yer alan Apple markasına ait logonun değişim süreci incelenmiş, yeni bir logo tasarımı yapılmış, tüketicilerin algıları ölçümlenmiş ve bu sayede tasarımda etkenlerin saptanması ve daha doğru tasarımlar yapılması hedeflenmiştir. Yöntem olarak; öncelikle literatür taraması yapılmış ve doküman analizleri gerçekleştirilmiştir. Birincil ve ikincil veriler toplanarak değerlendirilmiş, kıyaslama yöntemi kullanılarak olgusal ve algısal çözümlemeler yapılmıştır. Elde edilen bilgi ve bulgular doğrultusunda Apple markasına ait yeni bir logo tasarım uygulaması yapılmış ve anket yöntemi kullanılarak tüketici algısı ölçümlenmiştir. Bulgular; ilk olarak 1976 yılında tasarlanmış Apple logosunun değişim süreçleri ve tasarım anlayışlarının logoya ne denli etkili olduğu bulgularıyla karşılaşılmıştır. Ayrıca markanın tasarım anlayışı ve günümüz tasarım trendlerini göz önünde bulundurarak yapmış olduğumuz logo tasarımını ise tüketicilerin sadece %29,7’i tercih etmiştir. Sonuç olarak; Apple logo tasarımının tüm bu değişim süreçlerinde, sembolünün değiştirilmemesi ve sadeliğin ön planda olması tüketicinin zihninde daha fazla kalıcı olmasını sağlamıştır. Bu tür logo tasarımlarının sembolik olarak değiştirilmemesi, oluşturulan yeni ürünlere ve güncel trendlere göre yazı tipi, geometrik şekil ve renk gibi unsurlarda değişime gidilmemesi de tüketici algısında kırılmalar yaşanmasının önüne geçecektir.

This paper presents stereometry (prism) using the software “FMSLogo”, as well as its application and implementation in mathematics teaching. The introductory section describes how to approach mathematical problems according to George Polya. The following describes the creation, installation and use of the “FMSLog” software. At the very end of the paper are the research settings and its results, which through the empirical model shows the current state of affairs and therefore provides recommendations for its improvement.

Summary: Non-coding DNA variants (NCVs) impact gene expression by altering binding sites for regulatory complexes. New high-throughput methods are needed to characterize the impact of NCVs on regulatory complexes. We developed CASCADE (Customizable Approach to Survey Complex Assembly at DNA Elements), an array-based high-throughput method to profile cofactor (COF) recruitment. CASCADE identifies DNA-bound transcription factor-cofactor (TF-COF) complexes in nuclear extracts and quantifies the impact of NCVs on their binding. We demonstrate CASCADE sensitivity in characterizing condition-specific recruitment of COFs p300 and RBBP5 (MLL subunit) to the CXCL10 promoter in lipopolysaccharide (LPS)-stimulated human macrophages and quantify the impact of all possible NCVs. To demonstrate applicability to NCV screens, we profile TF-COF binding to ∼1,700 single-nucleotide polymorphism quantitative trait loci (SNP-QTLs) in human macrophages and identify perturbed ETS domain-containing complexes. CASCADE will facilitate high-throughput testing of molecular mechanisms of NCVs for diverse biological applications.

Background: Symbols play a very crucial role in the culture of a society, and the medical society is not an exception to this. In the world of Orthodox medicine, the Rod of Asclepius is regarded as the true symbol of medicine. However, there exists to be an issue of interchange of the correct medical symbol (i.e. Rod of Asclepius) with another similar symbol (i.e. the Caduceus). This study aims to explore medical students’ knowledge and opinion on the appropriate symbol of medicine.

Makista is endogenous to Macau and belongs to the Asian group of Portuguese-lexified creoles. Academic works have highlighted several close similarities to the Malacca Portuguese Creole (Kristang), and Batavia and Tugu Portuguese Creole, as well as differences which stem from the effect of a continued co-existence with its European lexifier, as much as with its Cantonese and English adstrates. In this article, we revisit earlier descriptions of the form logo in Makista, confronting those descriptions with new evidence from a broader semantic and functional scope, which may be understood as reflecting the specificities of the creole’s continuum itself.

Studying on sales of products that have Halal Logo are very attractive in Indonesia, putting Halal Logo on products are expected to improve consumers purchase intention. This study examines the effect of religiosity moderation to halal logo increasing purchase intention especially in Muslims consumer. From the results of several previous studies on the concept of halal and Muslim ways, there are three proposed variables, namely halal logo, religiosity and purchase intention. Where products with a halal logo which is moderated by religiosity will increase purchase intention of Muslims consumer. The data in this study were collected through online surveys using a google form questionnaire with a total of 120 Muslim consumers living in Jakarta with ages ranging from seventeen to forty years. The study was conducted in November 2018 using a research method that is moderate with a comparative approach of two groups of data samples to see the relationships between variables. Data analysis method use in this study is Univariate Analysis of Variance (Univariate ANOVA). The results of this study indicate that products with Halal Logo which is moderated by intrinsic religiosity will increase purchase intention but in the other hand Halal Logo which is moderated by extrinsic Religiosity does not increase purchase intention.

Traditional methods of conducting consumer behavior do not provide enough detailed information and therefore the paper aimed to demonstrate the use of consumer neuroscience when examining a selected product policy tool by using biometric methods to identify emotions and subjective consumer preferences. Consumer neuroscience tools provide valuable information to decide on the success of the company in the future, so we consider it as essential to inform entrepreneurs and subjects alike about this modern way of studying consumer behavior. The subject of the research was the original logo of the selected company and the design of three new logo variants that were created using the online graphical tool. Primary data collection was realized under laboratory conditions using the Eye Tracker and Face Reader. Overall, based on the results of our research, we rated the proposal no. 1 as the best one because it kept the views of respondents for the longest time and each respondent looked back at this color combination. The same results were confirmed as well by heat maps. The new logo found for the selected company, however, is recommended for further testing, such as AB testing involving consumer neuroscience tools, to verify the validity of the research undertaken.

Vovinam is a type of Vietnamese martial arts. Vovinam is practiced with and without weapons. It is based on the principle of harmony between hard and soft. It includes training of the body as well as the mind. It uses force and reaction of the opponent. The name is a portmanteau of Vo (Võ): meaning "Martial Arts" and Vinam standing for "Vietnam". The VOVINAM Vięt Vo Dao is a martial discipline which must be understood as one of the fundamental components of the human culture. The VOVINAM Vięt Vo Dao proclaims indeed, the physical and mental training of the individual who symbolizes ideal, perfection, kindness and progress, having the welfare of the society for an object.

The discussion is focused on the questions relating to creation of Irkutsk’s brand, including the team work on the logo of the city. The external and internal, negative and positive images are differentiated. The slogans promoting the images of different cities are compared. The participants of the discussion highlight the significance of architectural iconic buildings and monumental sculptures for the image of the city.

In recent years, we at FormAkademisk have taken a certain approach to changing our graphic profile. Now that we have also changed the article template, which is the last piece of a puzzle that Tore André Ringvold began when he started working for FormAkademisk in 2016. He is a trained industrial designer from England and has extensive experience with graphic design and marketing communication in the advertising industry. The work began with a new logo and a new cover image for each issue. The idea behind the new graphic profile was that it should better reflect both the role and function of the journal. We have strived for the logo to be classic in terms of form, and at the same time contemporary. Each year will have its own colour, and each issue will have its own design. In the current, new template, all articles will now contain a cover image in the left corner corresponding to the number to which the article belongs. This also helps to create wholeness in the ‘system’.

The purpose of this article is to present, through a bibliographical study, the history of Educational Robotics (RE), from the point of view of Seymour Papert's Constructionist (1928-2016) and the interpretations of José Armando Valente (1948, -). To do so, first, an approach is made about how two book works - LOGO: computers and children and a children's machine: rethinking a school in the computer age. Following is a rereading of Valente on Constructionism - contextualized constructionism and a learning spiral. Following, it sought to understand the process of creation and development of a scientific order proposed by Papert himself, a Cybernetics, today called RE. Finally, we present projects, studies and events that make up the history of RE in Brazil and that we present ourselves as the evolutionary components, from the first studies with LOGO in the 1970s to the present day.

Growing consumer awareness about the environmental impact of their food purchase decisions means having to create labels that better communicate sustainability aspects. The aim of this study is to explore consumers’ responses to “sustainable irrigation” (SI)-labeled wine. To this end, the effect of two label factors, SI claims (no SI info, logo, and text), and their position (front- vs. back-labels) on consumer choice, reasons for choice, perceived sustainability, and willingness-to-pay is determined. Moreover, we determine, for the first time, for SI claims, the relationship between consumer choice and paid attention. Our results reveal that almost 90% of the 408 consumers participating in this study show an interest in the SI-labeled wines. The main reason for choosing the SI-labeled wines rather than the control (no SI info-label) was the following: ‘I think it’s more environmentally friendly’, with an increase of two points on a nine-point sustainability perception scale. Consumers prefer the logo-label to the text-label, mainly because they find it more attractive, and a close relationship between paid attention and product choice probability is determined. The vast majority of consumers are willing to pay an extra cost of 15% or more for SI-labeled wine vs. the control. These results have relevant implications for the industry because they show that the SI logo is a useful way to draw consumers’ attention to the sustainability of irrigation practices and positively affect their choice. Our findings indicate that this way of differentiating the product in the market can contribute to compensating the economic cost of implanting SI practices.

This study aimed to evaluate the influence of origin information on Pinot Noir wine labels using eye-tracking and its associations with purchase intent, and hedonic and subconscious emotional responses. Two studies were carried out on untrained university staff and students aged 20–60 years old. Study 1 was conducted to assess consumers’ (n = 55; 55% males, and 45% females) self-reported and subconscious responses towards four design labels (with and without New Zealand origin name/script or origin logo) using eye-tracking and video analysis to evaluate emotions of participants. In study 2, participants (n = 72, 56% males, and 44% females) blind-tasted the same wine sample from different labels while recording their self-reported responses. In study 1, no significant differences were found in fixations between origin name/script and origin logo. However, participants paid more attention to the image and the brand name on the wine labels. In study 2, no significant effects on emotional responses were found with or without the origin name/script or logo. Nonetheless, a multiple factor analysis showed either negative or no associations between the baseline (wine with no label) and the samples showing the different labels, even though the taste of the wine samples was the same, which confirmed an influence of the label on the wine appreciation. Among results from studies 1 and 2, origin information affected the purchase intent and hedonic responses marginally. These findings can be used to design wine labels for e-commerce.

Analyzing the semiotic dimension of Fico, an agri-food park near Bologna, we can see a structure of the space that makes a large use of branding strategies. Fico takes up and amplifies some trends already present in unconventional restaurants; so it is necessary to go back at least to McDonald's to reconstruct its genealogy. Having overcome the opposition between fast and slow food, after Eataly and Expo 2015 Fico tries to put on display the entire agri-food chain, but only partially succeeds. Rather than brand niche products, Fico explicitly opens up to the world of large-scale food distribution. The semiotic analysis of space provides useful demonstrations in this regard.

The aim of this study is to analyze the designs of brands in different sectors. Accordingly, the process of changing the logo of the Apple brand in the electrical and electronics industry has been examined, a new logo design has been made, the perceptions of consumers have been measured, and thus it was aimed to determine the factors in the design and to make more accurate designs. As a method, firstly, literature surveys were conducted and document analyses were carried out. Primary and secondary data were collected and evaluated and factual and perceptual analyses were made using the benchmarking method. In line with the information and findings obtained, a new logo design application was made for the Apple brand and consumer perception was measured using the survey method. Findings; the findings of the change processes and design concepts of the Apple logo, which was first designed in 1976, have been found to have an effect on the logo. In addition, only 29.8% of consumers preferred the logo design, which we have done considering the brand's design concept and current design trends. As a result; In all these processes of change of the Apple logo design, the fact that its symbol is not changed and the simplicity is at the forefront made the consumer more permanent in his mind. This type of logo designs are not changed symbolically and to not change the elements such as font, geometric shape and color according to the new products and current trends will also prevent the breaking of consumer perception.

Starting from Logorama, an animated short film entirely made out of logos, the paper investigates induced meaning productions. From a pragmaticist point of view, combining semiopragmatic, artwork sociology and Peirce’s semiotic, enunciation traces are examined in order to rebuild the actual semiotizations in this particular case of use and this readjustement of advertising artefacts, and to determine their singularity.

This case study wishes to highlight the use of the quality management systems in the scenario of a design company that has the mission to create a logo associated with an oil company. With the help of the quality management systems, the designer will be able to highlight the main points the logo wishes to meet, clarify doubts in case of managing a team, and also avoid the failure that could lead to the loss of customers in the future. The quality management systems that are used to ease the work of a designer in order to satisfy the customer can also be used as a logical example in order to achieve success in different domains that may or may not be related to logo design.