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Background Results Conclusion This study investigates to what extent the presence of the EU organic (EU‑O) logo and a sustainable irrigation (SI) logo on extra virgin olive oil (EVOO) labels affects (i) consumers expectations and purchase intention based on label information and (ii) acceptance of olive oil when tasted under informed versus blind conditions. A panel of 94 consumers took part in the study. Attention paid to label components during the task designed to evaluate the logos’ effect on expectations was recorded by means of an eye‐tracker.Compared with the control (without logos), the presence of EU‑O and SI logos on the EVOO label significantly influenced participants' associations (i.e. price, sustainability, consumption occasions, etc.). A halo effect was detected, so that both logos led consumers to anticipate higher expected liking compared with the control. A synergic effect between both logos was detected. Eye‐tracker data revealed that participants whose liking expectations were improved by the EU‑O logo paid more attention to it than those whose expectations did not improve. This relation between attention and expectation improvement was not observed with the SI logo, likely because participants were unfamiliar with it. Beyond expectations, the presence of logos on labels significantly increased the liking scores given by the participants when EVOOs were tasted, which resulted in a higher percentage of participants’ willingness to purchase.Consumers perceived added value for the sustainable labeled food, which positively affected their liking and purchase intentions. This may encourage food production companies to adopt more sustainable practices. © 2024 Society of Chemical Industry. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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.

Logos are part of a brand's identity, responsible for its recognizability and what it stands for. Research showed that buying products easily recognizable by others is associated with status and/or conspicuous consumption. This research aimed to determine the reasons behind consumers wearing logo clothes. Building on existing literature, it investigated how status, conspicuousness, self-monitors, self-esteem, materialism, brand loyalty, opinion seekers and leaders, and gender influenced wearing visually branded clothing. A conceptual model was developed combining these constructs. An online questionnaire was conducted amongst 206 individuals, and the model was tested using PLS-SEM. Results indicated that materialism, conspicuous consumers, and brand loyalty affected the decision to wear logo clothes, whereas status consumers, self-monitors, self-esteem, and opinion seekers and leaders were not significant in explaining the dependent variable. Future research could expand the research to different countries and age groups. [ABSTRACT FROM AUTHOR]

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 FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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

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.

The definitions and conceptual framework of the following terms are studied: brand, mark, sign and definitions. The research was conducted on the basis of definitions and approaches of these Western marketing «gurus» and practitioners of well-known Western experts in marketing, advertising, management, and psychology, as well as our domestic experts and scientists. Such definitions for a brand include trade, commercial, commodity, brand and others. The analysis of the literature showed that these definitions are identical, and in the Ukrainian case, it is necessary to focus on the legislative framework. The author also studied the definition of a trademark with the following definitions: trade, commercial, commodity, brand and others. These definitions and their conceptual framework were also found to be identical. In addition, the definition and conceptual framework of «brand» were also studied. The main synonyms for the brand in their definitions can be quality, image, memory, positive impressions, psychological effect, advertising and positioning. In the Ukrainian market, consumers and even experts often equate the concepts of a trademark, a trade mark and even a brand. However, this is not correct. I support this understanding of Western and domestic scientists that these are three consecutive steps. If to explain briefly, TS is a sign of indication of goods and services issued in the state according to its legislation. TM is a sign or logo under which the seller sells his goods and which is known to buyers. TM may be identical to the TS, and may not be identical to it. A brand, in turn, can be a well-promoted TM or it can be promoted without TM. In the West, TM and brand are practically the same thing, because there is basically an oligopoly market where several powerful firms operate with a not very developed product market. The terms TS, TM, and brand came to us from the West. The first two in the West were introduced around 20–40 years of the last century, and the brand around 60–70 years of the last century. The brand in the West went through four strategies from commodity to corporate. The basis for the definitions was the goal and historical facts and opportunities. Due to the change in these two factors, we have given a new definition of the brand. This definition is based on the UN resolutions on the exhaustion of the Earth's resources and their inconsistency with the ability to meet the needs of modern man and the right and responsible attitude. That is, we can interpret it as «green» marketing. [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explains the concept of “image”. The most important aspects of university image are examined. The structure of the university image is defined and interpreted, including: educational programs, scientific activity, qualifications and international activity, the role and significance of the university rector, etc. The style of the university is also analyzed – logo, motto, visual appearance, etc. [ABSTRACT FROM AUTHOR]

Previous research on logo design indicated that colour and shape can both influence people’s perception of a logo and brand values. Thus, the purpose of this study was to test the hypothesis that colour hue, typeface style, and shape design may impact the perceived qualities of a new and unknown brand in digital art. Three visual design concepts, three colour hues, and two typeface styles (bold versus light) were used as independent variables in the logo designs which served as prototypes for the final graphic solution. They were presented to 56 participants (between 21 and 44 years of age) using an online questionnaire. A seven-point Likert scale was used for data collection. The results indicated that, among all the variables, only the colour influenced the participants’ responses. The red versions of the logo were preferred over the yellow ones. Although the bold typeface was rated better than the light typeface, the difference was not statistically significant. These findings support the notion that colour could be used as an effective visual attribute in logo design. In a broader sense, they also suggest that the testing stage should not be neglected in a successful process of logo development. [ABSTRACT FROM AUTHOR]

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 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.

This study focuses on the role of visual resources in constructing the brand identity of Chinese universities. By drawing on the theoretical concept of corporate visual identity (CVI), this study analyzed universities' logos and typography of names from the social semiotic approach. Nine elite Chinese universities were selected as the corpus to qualitatively investigate how the institutions' logos and typography of their names are designed and utilized for corporate branding. The analysis shows that both the logos and names are graphically and typographically designed as effective visual elements and semiotic resources with meaning potentials to signify the Chinese universities' brand identity. [ABSTRACT FROM AUTHOR]

This article examines the design of baseball team logos, specifically focusing on the corporate identity of teams in the United States, China, and Ukraine. The logos typically incorporate elements related to baseball, cultural heritage, and the team's name or monogram. American and Chinese baseball team logos have distinct features in terms of shape, iconography, and color scheme. The article also explores the development of a baseball club's corporate identity, including the logo, branded colors, and font. The logo of the Fireball baseball club, for example, combines a monogram, text, and symbolic element to represent the team's connection to baseball, strength, and speed. The chosen colors of blue and orange create contrast and showcase the club's energy. Overall, the logo design aims to be competitive, modern, and representative of the club's spirit. The article's analysis of baseball team logos provides insights for designers when developing the corporate identity of a sports club. [Extracted from the article]

Copyright of Res Rhetorica is the property of Polish Rhetoric Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

McDonald’s continues its conquest of the world. The hamburger is not, contrary to what is often claimed, an American diet for adolescents. It represents the first food that undermines all culinary cultures and destroys traditional ways of eating. It plays on the crisis of social and family institutions. It is also a prototype of modernist business which, under the guise of psychologizing the work relationship, disqualifies men as much as customers or food. McDonalds represents the most famous brand in the world after Coca-Cola. McDonald’s with 80,000 billion hamburgers sold worldwide and its presence in more than 80 countries still stands out. McDonald’s is also my marketing strategy. Technical management represents all power. It is not only the sum of particular standards of manufacturing and marketing of products. It represents a conception of life in business and society. McDonald's marketing is above all unforgettable names like Big Mac, Potatoes, Caramel Sunday, Happy Meal, Mac Flurry... These few words resonate with millions of people around the world and prove to what extent McDonald's marketing is well thought out. In this article, we will see how McDonald’s marketing strategy works and how it has evolved. McDonald's has been a pioneer in fast food marketing, from its early days, when clowns like Ronald McDonald's were used to attract children to more sophisticated strategies like working with influencers, social media campaigns, or numerous product placements. Its main objective is to increase sales by targeting specific audiences, a classic in marketing, but we will see all of that in detail in this article. [ABSTRACT FROM AUTHOR]

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The considerable fluctuation of the stock market caused by COVID-19 tends to have a tremendous and long-lasting adverse impact on the economy. In this work, we propose a novel methodology to investigate this impact on the Chinese medical stock market. We examine changes in the stock network structure using the Triangulated Maximally Filtered Graph (TMFG), which is computationally faster and more adaptable to enormous datasets. Additionally, we develop the LoGo model, which combines a local-global approach in its construction, to predict the stock prices of the Chinese medical stock market. In addition to traditional predictors, we incorporate daily new infected numbers as an additional predictor to reflect the impact of COVID-19. We select data from the 2019-2020 period and divide it into two datasets: one for the period during COVID-19 and another for the period before COVID-19. Firstly, we compute the grey correlation coefficients between stocks instead of standard correlation coefficients. We use these coefficients to build the TMFG, enabling us to identify which stocks played the leading roles. Subsequently, we choose six stocks to build the price prediction models. Compared with the LSTM and SVR models, the LoGo models demonstrates higher accuracy, achieving an average accuracy of 71.67 percent. Furthermore, the execution time of the Logo models is 200 times faster than that of the SVR models and 50 times faster than that of the LSTM models. [ABSTRACT FROM AUTHOR]

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While much research has examined the influence of well-known brands on preferences, the current studies focus on the equally important but less-examined topic of brand-knowledge formation as brands are first encountered. Zeroing in on the process of learning and associating a brand's name and logo, the authors posit and demonstrate that consumers are more likely to accurately recall a newly-encountered brand's logo when cued by its name than the converse (recalling the name when cued with the logo). Importantly, this cued-recall asymmetry is shown to not be a mere artifact of logos being more easily recalled. The asymmetry holds when the target logos and names are equally independently memorable, and logos are not more accurately recalled than names when both are cued by other associations (e.g., color). The concept-based theory of word meaning helps explain these results. [ABSTRACT FROM AUTHOR]

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.

A logo is an important part of brand image and a key visual element that has an impact on cognitive, emotional and behavioural reactions. This article examines how often tourists consciously pay attention to the logos of online travel agencies and brand name types in the context of their demographic characteristics and tourism behaviour. There were a total of 170 participants in the study. Empirical data was collected using two research techniques: a survey questionnaire and click tracking. Data analysis was carried out in two stages. In the first stage, it was assessed whether there is a relationship between the demographic characteristics and tourism behaviour of the respondents and their perception of the logos of online travel agencies. In the second stage, correspondence analysis (CA) was performed to obtain information on the relationship between the frequency with which the respondents pay attention to logos and their preferred type of logo. The study showed that the frequency with which the respondents pay attention to the logos of online travel agencies varies with their education, tourism expenditure, and the number of tourism trips they make in a year. The perception of logos as regards the type of brand name they include varies depending on the frequency of tourism trips and the preferred type of travel arrangements. This study provides important guidance on the design of logos and visual communication strategies, thus helping to facilitate the brand value creation process. [ABSTRACT FROM AUTHOR]

One of the most powerful ideas behind the potential of computer technology is that it could revolutionize education. To understand this idea historically, this article brings together computer science researchers with theories of education and childhood development. These researchers—Seymour Papert at MIT and Alan Kay and Adele Goldberg at Xerox's Palo Alto Research Center—drew on a group of mid-twentieth-century education theorists. These cases offer a window into how computer researchers have read and interpreted scientific theories about education and childhood development that then make their way into computer technology or fail to do so entirely. [ABSTRACT FROM AUTHOR]

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.

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Cities reveal a unique character with their natural and human characteristics. This character, which represents cities as having a distinct identity from others, is expressed with certain symbols. The most known among these symbols are the logos used by municipalities operating in cities. In the logos that represent the visual identity of cities, symbols that reflect the human characteristics of the city, such as architectural structures, historical artifacts, and agricultural products are included, as well as physical elements such as mountains, lakes, streams, plains, and vegetation. In this research, the logos of 12 district municipalities within the province of Tokat have been examined in the context of physical and human geographical elements. The level of reflection of the identity and functions of the cities in the district municipality logos has been discussed. The research data were accessed from the official web page of the district municipalities in the province of Tokat. In the analysis of the data, the descriptive analysis processes were followed by the opinions of the experts from the district municipality. As a result of the research, in addition to physical features such as rivers, mountains, plains, and vegetation reflecting the character of the city, human geography elements such as mosques, towers, dams, and agricultural products were also encountered in the municipality logos. [ABSTRACT FROM AUTHOR]

Bali Province is a very popular tourist island in Indonesia. Everyone around the world can recognize Bali because of its distinctiveness that is easily recognizable, it becomes Bali's identity. Bali with its uniqueness makes Bali with a province that has many visual identities, these identities are important as the promotion of culture. It is also stated in the Regional Regulation of Bali Province that the utilization of cultural promotion objects can be carried out through socio-economic activities. One of these utilizations is using Balinese identity on elements in the social and economic fields. As a place of tourism, there are many souvenir shops in Bali. The souvenir shop companies in Bali Province use logos as their corporate identity, but whether Balinese identity is used on the logos of souvenir shop companies. based on this, this study aims to examine the visual elements in the logos of souvenir shop companies in Bali Province, to find Balinese identity. This research uses a qualitative method. The data sources used in this research are observation, literature study and interviews. Observations were made of the logos of souvenir shop companies in Bali Province. Based on data analysis, the logos have Balinese identity, including the name Bali, Balinese color, Jepun Flower, Udeng, Temple, and Legong Dance. The results of this research are expected to add and develop knowledge and serve as a reference for research on logos. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Brands, as humans, may be different when it comes to their personality. Among the several traits building brand personality, brand color is one of the most critical ones and is one of the most controversial and discussed aspects of marketing. We cannot denied that a color, depending on visual impression, can be transformed into a spectrum of feelings, which, in turn, allow consumers to form a perception of a brand. Simultaneously, a logo is seen as a business card of a brand, representing its core and values. Combining the two vital components, color and logo, the paper aims to investigate whether color affects consumers' perceptions of brand personality and whether consumers will use the conventional color associations used in a brand logo. To explain the behavior of consumers towards the brand and how they perceive the brand personality, the theory of anthropomorphism is used. An online survey was conducted on a random sample to test the hypothesis of the study. The results indicate that the defined hypothesis is partially supported. According to the results, color plays a significant role in the way consumers perceive a brand's personality. Findings indicate that consumers will attribute personality traits to brands through the use of color in the logo. [ABSTRACT FROM AUTHOR]

Logo is more than a programming language. It is a learning environment where children explore mathematical ideas and create projects of their own design. Logo, the first computer language explicitly designed for children, was invented by Seymour Papert, Wallace Feurzeig, Daniel Bobrow, and Cynthia Solomon in 1966 at Bolt, Beranek and Newman, Inc. (BBN). Logo's design drew upon two theoretical frameworks: Jean Piaget's constructivism and Marvin Minsky's artificial intelligence research at MIT. One of Logo's foundational ideas was that children should have a powerful programming environment. Early Lisp served as a model with its symbolic computation, recursive functions, operations on linked lists, and dynamic scoping of variables. Logo became a symbol for change in elementary mathematics education and in the nature of school itself. The search for harnessing the computer's potential to provide new ways of teaching and learning became a central focus and guiding principle in the Logo language development as it encompassed a widening scope that included natural language, music, graphics, animation, story telling, turtle geometry, robots, and other physical devices.

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.