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Influenced by the global neoliberalization of higher education, academic entrepreneurialism has become a new paradigm of university development and has brought about profound changes in various types of university discourse. Against this backdrop, this study investigates the transformations in the visual depiction of academics in the annual reports of six major universities in Hong Kong during the past two decades. Drawing on critical visual analysis, the study shows that the communicative purposes of the images have shifted from reporting the research process to promoting research outcomes. The visual identities of academics have shown clear transformations of becoming increasingly individualized, entrepreneurial and self-promotional. With a higher degree of social interaction and closer social distance with viewers, they are playing an increasingly important role in building public relations. The study enriches the social analysis of neoliberalization as a process through the quantitative and diachronic lens. It demonstrates how a visual analytical method applied to the critical analysis of identity construction and university discourse can provide an explicit understanding of the visual manifestations of neoliberalism in higher education and its diachronic change. [ABSTRACT FROM AUTHOR]

Copyright of China Forest Products Industry is the property of China Forest Products Industry Editorial Office 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.)

Video games participate effectively in the educational process due to their attractive visual features, but there are many challenges that teachers face when using them. Among these challenges is designing games to suit the goals of the educational process and respecting societal identity. Although there are many studies on educational video games, limited approaches that enhance teachers' education have been explored. The current study focuses on stimulating pre-service teachers' design thinking skills and improving the quality of their video games that have a visual identity by incorporating a design thinking approach into a makerspace. This study followed a quasi-experimental approach, in which 38 pre-service teachers from the departments of Art Education, Early Childhood Education, and Educational Technology at the College of Education at King Faisal University in Saudi Arabia participated. They designed and produced educational video games that consider visual identity and completed the design thinking scale. The results showed that there was great cooperation between participants from all disciplines in the work team, which affected the generation of creative and innovative ideas and the quality of the educational video games. This is due to the use of design thinking elements such as empathy, identification, ideation, and prototyping with different tools in the makerspace. This study calls for the use of a design thinking approach in the classroom learning space for teachers' education, discusses implications for educational practices, and recommends further research in this area. [ABSTRACT FROM AUTHOR]

The degree of ore fragmentation in mining sites is closely related to crushing efficiency, equipment safety, beneficiation efficiency, and mining costs. Aiming to address the challenges of high labour intensity and low accuracy during manual ore fragmentation measurement at the mine site, this paper proposes a method for ore fragmentation recognition based on deep learning. This method not only uses the residual neural network structure to form the backbone feature extraction network of CSPDarkNet21 under the Darknet framework but also selects the simple two-way fusion feature PANet as the feature extraction network under the condition of only needing to identify large ore. PANet is simplified from three feature layers to one feature layer, which speeds up model training and prediction. The research results show that with a 6% decrease in accuracy, the model training time is reduced by 13 times, and the model running efficiency is improved by 21.2 times, significantly shortening the model development time. At the same time, CIOU calculates the loss value to make model training more stable. After the ore identification is completed, the real size of the ore can be obtained by calculating the pixel area of the prediction frame using the ore fragmentation judgement method. [ABSTRACT FROM AUTHOR]

Objective: This study explores the symbolic aspects of brand representation and how it aligns with the entrepreneurial spirit via the lens of semiotics. Research Design & Methods: The study utilized semiotic analysis through codes represented in trademarks by painstaking examination, illuminating the complex interactions of visual components, language, and the entrepreneurial identity. Findings: The results highlight how important language and visual choices are when creating an engaging brand narrative for entrepreneurs. A semiotic understanding of branding becomes an invaluable tool for honest expression and audience engagement as entrepreneurs maneuver the competitive landscape. Implications and Recommendations: The results hold the potential to shed light on how brands function as means of articulating and encapsulating entrepreneurial identity, impacting customer attitudes and the prosperity of organizations. Contribution & Value Added: It is critical to comprehend the complex relationship between brands and entrepreneurial identity in the ever-changing world of entrepreneurial ventures.

Abstract The purpose of this research is to identify the factors influencing the creation of brand identity in the banking industry of Iran. According to its purpose, the research method is applicable, and in terms of implementation, it is qualitative and based on the case study approach. The statistical population of this research includes Iranian banking industry experts who were senior managers of Bank Mellat in Tehran. The number of 23 experts who had sufficient knowledge and expertise in the field of brand was selected by judgmental sampling and snowball method, and data collection was done using semi-structured interview tool. The interviews were continued until theoretical saturation was reached, and the text of the interviews were analyzed and coded using the MAXQDA 2018 software. Data analysis led to the identification and extraction of research findings including 130 primary codes, 33 concepts, and 10 categories. Based on the results of this research, the categories of goals and strategies, structure and processes, human resource management, organizational culture, internal branding, communication, banking services, financial power, visual identity, and verbal identity are identified as the important factors affecting the creation of identity in the banking industry of Iran. Extended Abstract Introduction One of the fundamental concepts in the field of brand is the issue of brand identity. Brand identity affects business performance, employees' recognition of the organization, and the special value of the brand (Fan, Hsu & Xiaofeng, 2023). This phenomenon is initially formed at the business level and needs to be recognized, received and accepted by customers (Liu, Hsu, Fan, 2020). Brand identity determines both the goals of the brand and the paths to be followed by the organization (Krissanya & Widyaningsih, 2023) and tells stakeholders what is unique about the brand (Sarasvuo, Liljander & Haahtela, 2023). Brand identity and brand image are two important components related to the brand; brand identity determines what the brand talks about, and brand image tells how the brand is heard by customers (Clottey, Gyampoh & Anaba, 2023). In service organizations and especially banks, employees' attitude and behavior play an important role in the bank's performance, and employees are the main link between the brand and customers by responding to customers' requests (Lee, Hsiao & Chan, 2019). Today, due to the significant increase in competition among banks in the country, most banks seek to create a unique position for their brand in order to be distinguished from other competitors. One of the most basic concepts related to branding is the creation of brand identity; therefore, having a desirable brand identity can be considered an effective differentiator. The main problem of this research is to identify the factors that influence the creation of brand identity in the banking industry of Iran. Literature The brand identity expresses the ideal characteristics that the brand intends to provide to the customers. In other words, brand identity is what the brand has promised to deliver to the market (Behrozi & Sohrabi, 2022). The visual identity of the brand includes items such as the brand logo, product and packaging, buildings, clothing and appearance of employees, and other such items. A brand logo is a sign that consists of a unique combination of letters, fonts, shapes, colors or symbols, and its purpose is to visually identify the brand (chernev, 2018). Significant increasing of competition in the business domain has led to the boost and growth in establishing, maintaining and expanding brand communication with customers has been growing. On the other hand, the widespread use of information technology in businesses has created new ways to communicate with customers (Farmani, Ghaffari & Zandi, 2020). A sustainable brand identity emerges from the actual organizational identity and the culture in which the brand concept is institutionalized (Andersen et al, 2023). Since the way employees deal with bank customers and the way they provide service to customers and even the way the employees dress and groom their appearance has an impact on how the bank's brand identity is formed (Behrozi & Sohrabi, 2022), therefore internal branding plays an important role in creating brand identity. Clottey, Gyampoh & Anaba (2023) have conducted a research on the effect of brand identity and brand image on fashion entrepreneurs. The findings of the research show that the brand name affects the purchase decision of their customers, and the brand identity increases the awareness of investors and customers and customer loyalty. Also, the effect of brand image and brand identity such as logo, symbol, color and other things significantly affects customer loyalty. Behrozi & Sohrabi (2022) in a research entitled "the role of perceived value and brand identity in improving customers' attitudinal loyalty" investigated 384 customers of Melli and Tejarat banks in Mazandaran province. The results showed that perceived value plays a mediating role in the relationship between brand identity and customers' attitudinal loyalty. Rezaeian & Asgari (2021) in a research entitled "the effect of ethical marketing on consumer repurchase intention with emphasis on the mediating role of brand identity and brand value" studied Digi Kala online store. The results showed that ethical marketing with the mediating role of brand identity variables and brand equity has a positive and significant effect on customers' repurchase intention. Research method This research is applicable in terms of its purpose, and qualitative in terms of execution method, and is a case study type. Field method was used to obtain data, and semi-structured interview tools and in-depth interview sessions were used to collect data. The statistical population of this research was the senior managers of Bank Mellat as experts in the banking industry. 23 of these experts were selected and interviewed by judgmental and snowball sampling methods. MAXQDA 2018 software was used to analyze the content of the interviews. Research findings At the beginning of the analysis, the researcher has started to code the interviews in order to obtain the effective factors on the creation of the brand identity. Primary codes with common meanings are placed together and create concepts, and a category is formed from the combination of several concepts. In the first stage of coding, 130 primary codes were identified; then these codes were categorized into 33 concepts and 10 categories. Based on the analysis, the factors affecting the creation of brand identity in the banking industry (the same categories found) are: goals and strategies, structure and processes, human resource management, organizational culture, internal branding, communication, banking services, financial strength, visual brand identity, and verbal brand identity. Discussion This research was conducted with the aim of identifying the factors influencing the creation of brand identity in the banking industry of Iran. The results of this research are aligned and somewhat consistent with the findings of researchers such as Daneshgar et al, (2020), Yazdanshenas et al, (2022), Sharma et al, (2022), Krishna & Kim (2021), and Chung & Byrom (2021). The goals and strategies that a bank undertakes directly affect the creation of its brand identity. The flexibility of banks' structure can play an important role in a bank's brand identity. The way managers interact with employees is one of the things important in the field of organizational interactions. Organizational culture is defined by concepts such as the attitude and behavior of employees as well as the attitude and behavior of managers. Internal branding activities, focusing on employees, try to introduce the main concepts, essence, values and functions of the organization's brand to them, so that employees can have a correct understanding of their organization's brand. Communication with society and customers, maintaining human values and respect for customers by branch employees, as well as close interaction with customers by managers can strengthen the bank's relationship with its customers. The diversity of banking services and the provision of innovative and high-quality services to customers can create the brand identity of a leading bank. Also, the financial ability to grant large facilities is a factor that explains the bank's brand identity in the society. The tone of the brand in direct and indirect interactions, including the types of advertisements in different media, the type of brand slogan, the way of addressing the society in different media and choosing the right words and expressions, induces the brand identity of a bank to the audience. The characteristics of a bank's buildings, from the extent and number of its branches to the beauty of the facade of the building and the signs of the branches and the interior of the branches, express the visual identity of the bank's brand. Based on the results of the research, it is suggested that banks create their desired brand identity by creating a competitive advantage via focusing on providing services needed by customers and also by improving the level of customer orientation by employees. Strategies such as cost management and the growth of Rial and foreign currency incomes, attracting low-cost bank deposits, facilitating the provision of services to customers are among the important things in creating a professional brand identity for the bank. Improving leadership qualities and knowledge of human resources in managers is also a requirement for creating brand identity in banks. Also, part of the bank's recruitment can be done with new mechanisms with the aim of attracting the country's scientific elites and using them in the direction of innovative and transformational movements in the banking industry. In the field of organizational culture, it is necessary to promote value-oriented behaviors based on concepts such as loyalty and commitment to the bank, customer-orientedness, honesty and ethics in dealing with customers and employees. Implementing various intra-organizational campaigns with the aim of disseminating brand concepts and values, causes employees to participate in brand-oriented issues and reward top employees increases the level of loyalty and belongingness of employees to their bank brand. It is necessary for banks to review their structure and remove and modify redundant parts as much as possible so that processes can be implemented more quickly and agilely. Focusing on the development of digital banking is also one thing that can be effective in creating and establishing a desirable brand identity in banks due to the promotion of issues related to digital transformation. In the field of visual identity, updating the bank's logo and font, significant change in the appearance of the branches, having an identifying color specific to a bank, and using uniforms for employees are among the important things to create a brand identity in a bank. Preparing and communicating a verbal standard for employees to communicate with customers can be effective in improving the brand's verbal identity.

Given that the identity of a successful organization is similar to humans’, it needs to be interactive, dynamic, evolving, and adapting to global changes and trends. With the advent of the Internet, social media platforms have allowed organizations and their identities to change and evolve like living creatures. The challenge that faces organizations now is to create brands that keep up with the ongoing fast-paced changes around us. When “Dynamic Branding” emerged, it gave a way to organizations in general, and cultural institutions in specific, to cope with these changes. Dynamic visual identities have several types, one of the most unique ones is interactive dynamic identities, which are identities built on interactive logos. What makes interactive dynamic visual identities that special is the level of flexibility and interaction they allow. In creating an Interactive dynamic identity, designers and users alike participate in creating several variations of a logo, which has a constant visual aspect in all variations, but every user can have their flexible input and create a different individualized variation of his own. The process of engaging the users in creating an interactive logo creates a very personal experience for the user, one that he would probably never forget. In that way, the user feels engaged, seen, and connected, to the institute in a different way, as he poured some of himself into it, he becomes a part of the institute and the institute becomes a part of him. The cultural institutions in Egypt could benefit greatly from interactive dynamic visual Identity systems as they could create an unbreakable emotional bond between the users and the Egyptian cultural institutes. A bond that would surely increase the engagement of the youth in the Egyptian cultural scene.

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication 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.)

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

This paper analyses the visual culture of the Counter-Strike loot box ecosystem, defined as the set of images, game mechanics and marketing strategies associated with it. The analysis reveals the potential risks posed by the visual culture of this ecosystem, particularly in relation to the whitewashing of problematic practices and the use of casino game mechanics in a video game that is accessible to minors. The paper concludes by demonstrating how the visual identity of a product can influence the impact of its practices on vulnerable populations. [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]

This study aimed to identify the dimensions can help develop a brand's visual identity to address digital customers' pain points. An online survey was distributed to 600 digital customers in the Kingdom of Saudi Arabia. Structural equation modeling by the partial least squares method was used for the data analysis. The current study contributed to reaching the most important dimensions of creating a distinctive and unique visual identity, which was represented in the Emotional connection, Mental positioning, Professionalism, Brand eloquence. Marketers can benefit from these results in creating a distinctive and unique visual identity that contributes to overcoming the customer's pain points, and then reaching the target customers and attracting them to the brand and linking with it, and increasing the sales and profits of the digital organization. also, can benefit from these findings when preparing the marketing strategy to match the components of the organization's unique and distinctive visual identity. [ABSTRACT FROM AUTHOR]

Analysis of the visual identity of forty contemporary art museums by observing their digital presence. Twenty-seven characteristic variables of the Se icon were identified by contrasting their visual presence on social networks and the web. The main results point to the predominant use of logos and imagotypes, rectangular archetypes and non-figurative iconicity. Black monochrome predominates. Typography is composite, with simple tracking, bold, dry stick fonts. It is concluded that there is consistency in the visual identity across the different digital platforms analysed, with slight variations in the use of negatives and chromatography. [ABSTRACT FROM AUTHOR]

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade 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.)

Background and problem of study:Design plays a vital role in highlighting the visual identity of the artwork, especially if it is linked to a well-known historical identity. It can reveal the culture of any country and re-present it in an easily assimilable way for the most significant possible number of people, as art in its various forms aims to enhance culture and find new ways to preserve history while achieving a vision for the future. The research problem appears in the existence of a large gap between the Arab recipient and his cultural identity, as well as the lack of sufficient knowledge of the role art in its various forms can play in introducing people to their cultural identity/ visual culture. Objectives: To show the possibility of elements of design arts in their various forms in Arab identity realization. Methods: The research adopted the descriptive-analytical approach. Results: The research concluded the possibility of the visual arts of design to document the Arab identity with modern tools such as digital technology, to attract the attention of recipients of different nationalities to the Arab identity in an easily attractive modern way. Conclusions (Recommendations and contributions): The study recommends working on producing innovative designs to achieve the cultural needs of the Arab youth recipient, as well as studying the visual aesthetic needs of Arab youth to apply them in various artistic and cultural fields in their countries. [ABSTRACT FROM AUTHOR]

Copyright of Grafica: Journal of Graphic Design / Documents de Disseny Gràfic is the property of Universitat Autonoma de Barcelona 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.)

In recent times, the means and channels of visual communication have evolved significantly, resulting in new needs and requirements in visual design. A variety of factors have contributed to the evolution of visual design in recent years. Starting with the diversification of communication channels between print, digital, fixed and mobile, as well as digital technologies evolving between responsive designs, virtual reality technologies and augmented reality, and ending with the evolution of the way people interact and communicate with systems, products and people.The visual identity is the cornerstone on which many of the activities of an organization are built, starting from architecture and interior design, and ending with marketing, promotion and advertising. Therefore, it was important for the corporate identity to be characterized by its diversity and dynamism, with the ability to unify the general visual character.All of this led to the need to work on the visual identity in a dynamic manner that hears its transformation to suit new means and channels of communication and at the same time preserves the general impression of its visual appearance.During this paper - Within the framework of cooperation between academic institutions and the labor market - the researcher lays the foundations and rules required to achieve the unity of visual impression in many different communication channels, through an applied project on the Sary Academy. Sary Academy is an educational institution that receives 3 categories of children: toddlers - pre-school - after school. Sary Academy is located in Alexandria, Egypt. The biggest challenge was to develop a design vision characterized by dynamism to include all the activities and requirements of the institution, the researcher dealt with the development of the general strategy for visual identity and its various applications, starting with interior design and sign systems, through publications and print applications, and ending with screen designs such as designs for social sites, website and mobile applications.

Video games participate effectively in the educational process due to their attractive visual features, but there are many challenges that teachers face when using them. Among these challenges is designing games to suit the goals of the educational process and respecting societal identity. Although there are many studies on educational video games, limited approaches that enhance teachers’ education have been explored. The current study focuses on stimulating pre-service teachers’ design thinking skills and improving the quality of their video games that have a visual identity by incorporating a design thinking approach into a makerspace. This study followed a quasi-experimental approach, in which 38 pre-service teachers from the departments of Art Education, Early Childhood Education, and Educational Technology at the College of Education at King Faisal University in Saudi Arabia participated. They designed and produced educational video games that consider visual identity and completed the design thinking scale. The results showed that there was great cooperation between participants from all disciplines in the work team, which affected the generation of creative and innovative ideas and the quality of the educational video games. This is due to the use of design thinking elements such as empathy, identification, ideation, and prototyping with different tools in the makerspace. This study calls for the use of a design thinking approach in the classroom learning space for teachers’ education, discusses implications for educational practices, and recommends further research in this area.

Historical visual identity features have been used primarily in the physical environment. Its application in the virtual world has become essential due to digitalization and digital marketing development. The Romanian coffee market is characterized by several elements, such as preferences for specific varieties of coffee, consumption patterns, and coffee's cultural significance. The authors conducted quantitative marketing research to ascertain consumer perceptions, views, and attitudes regarding the visual identity components employed by businesses in the Romanian coffee market in offline and online environments. The research's findings showed that most respondents consume coffee, with a sizable portion doing so several times daily. Investing in visual identity components may make coffee brands stand out, draw in new customers and keep existing ones. The brand is significant when deciding which coffee to drink, with quality and cost also important considerations.

The present study reveals the impact of the visual component in digital marketing in tourism and examines the relationship with the strategy for the overall unified branding and merchandising of the specific destination, using the example of Bulgaria. The fundamentals of digital marketing in tourism, its tools and how visual branding accents should be present in the main directions, based on specific examples. [ABSTRACT FROM AUTHOR]

Copyright of Investigación Bibliotecológica is the property of UNAM, Centro Universitario de Investigaciones Bibliotecologicas 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.)

Museums are an important part of the peoples’ culture, as they are the visible part of their culture, history and trends, but rather they are one of the cultural organizations that build and reflect the awareness of societies at the same time, moreover being an important part of cultural tourism linked to the culture of society.Nowadays ,the development and digital media led to the need of emphasizing the museums’ identity as a cultural organization and its extension in digital world and to find innovative communication methods as a strategic option to interact with the receiver and emphasize identity with these changes in order to ensure its existence and continuity and keep the receiver loyalty thus enrich the visual culture. Technology has given the visual identities design a great opportunity for creativity and clearness, diverse and flexibleResearch problem: What are the structural elements of dynamic identity and the methods of their application.Research objective: 1- The lack of studies about museums identity in general and dynamic identity in particular2- Applying modern design methods in building a dynamic identity for museums that reflect their value and originality and have the ability to change and adapt with traditional and modern digital mediaFor this purpose, the research follows the descriptive approach based on collecting information to build a theoretical framework based on previous and analytical studies for the visual identities of some international museums

Romania celebrated the centennial of the end of the First World War and the creation of Great Romania both nationally, as well as internationally, with public, private, or personal initiatives. Even though creating a complete account of the events of 2018 would seem rather impossible, our online research was designed to identify a common denominator among the organisers and the types of events. Our 2019 research, alongside its 2023 update, was focused on the events that had obtained the right to use the centennial’s official logo and especially on the ones endorsed by the Ministry of Culture and National Identity. We have identified eight major organisers and eight main types of events, alongside the events and projects of the Ministry of Internal Affairs and the ones of the Ministry of Defence. The presentation includes statistics, classifications, and examples for each type of event we identified, while attempting to offer an overall view of the hundreds of events that had taken place in Romania in 2018.

Abstract Ambeu Preanger Pangalengan is a community of Arabica Java Preanger coffee connoiseurs and producers, located in Pangalengan. Along with the demand for the proliferation of producers and specialty coffee shops in Pangalengan, Ambeu Preanger assists several Small-Medium Enterprises (SMEs) related to the coffee industry in Pangalengan, namely Kawitan Coffee, Nagoya Coffee, Koffie Nyalse, Pangalengan Coffee House, Oeching Salapan, Ghoz Coffee, Sucker Soul, Coffee 4 Wheels, and Himmah Coffee. Then, from the survey process and data search in the field, we obtained information that not all SMEs in the coffee industry in Pangalengan have an ideal visual identity. In fact, they need a graphic visual identity as a representative of the image that will later be displayed on a website that is proclaimed as a digital storefront for these SMEs. Therefore, Telkom University team decided to design a graphic standard manual, which can help community to strive for a visual identity that is representative of their business, and is still in line with the brand image of Ambeu Preanger Pangalengan itself. Keywords: graphic standard manual, Pangalengan coffee community, specialty coffee, visual identity Abstrak Ambeu Preanger Pangalengan adalah komunitas penggiat Kopi Arabica Java Preanger yang berlokasi di Pangalengan. Seiring dengan tuntutan menjamurnya produsen serta kedai kopi specialty di Pangalengan, Ambeu Preanger mendampingi beberapa UMKM yang terkait dengan industri kopi di Pangalengan, yaitu Kawitan Coffee, Nagoya Coffee, Koffie Nyalse, Rumah Kopi Pangalengan, Oeching Salapan, Ghoz Coffee, Sucker Soul, Coffee 4 Wheels, dan Himmah Coffee. Lalu, dari proses survey dan pencarian data di lapangan, kami memperoleh informasi bahwa belum semua UMKM industri kopi yang ada di Pangalengan memiliki identitas visual yang ideal. Padahal, identitas visual grafis diperlukan oleh mereka sebagai perwakilan citra yang kelak ditampilkan di sebuah website yang dicanangkan sebagai etalase digital dari para UMKM ini. Oleh karena itu, tim Pengabdian Masyarakat Telkom University memutuskan untuk merancang panduan standar manual grafis, yang dapat membantu para mitra untuk mengupayakan hadirnya visual yang representatif sesuai dengan identitas bisnis yang mereka usung, serta masih sejalan dengan citra dari Ambeu Preanger Pangalengan itu sendiri. Kata kunci: identitas visual, komunitas kopi Pangalengan, kopi specialty, standar manual grafis

Visual identity is a very important part of being in a company or agency. It serves as a differentiator from other companies. In addition, visual identity is also used to strengthen the image of a company or agency. Changes in visual identity include various types, ranging from changes to logos, visual elements, and other media. One way to make a product easy to recognize and remember is to create a good brand image. An image is the public’s perception of the image of an institution or company. In the literature it is also stated that an image is a person’s beliefs, ideas and impressions of something. A brand image is the perception of consumers who use the brand. The name change from MAN 3 Malang City to Man 2 Malang City would be enough to have a significant impact. In terms of the name clearly changed, it automatically also requires changes in visual form. With these changes, of course, MAN 2 Malang needs to strengthen the brand image of the school through the design of a visual identity so that it remains recognizable and also chosen by the community as one of the favorite schools among the public. When it comes to visual identity, it cannot be separated from the so-called ”LOGO”. If likened to a human being, the brand is a form of the human itself, while the logo is the face of the human self. In its later design, the new visual identity must be able to reflect the character of the school so that it can be different from other schools. [ABSTRACT FROM AUTHOR]

Dillem Wilis Agrotourism is a tourist location that is currently the focus of the development of cooperation between the State University of Malang and the Government of Trenggalek Regency. This destination focuses on using regional development to convert the region into a tourism development pilot area. Publication is a major problem that does not have a solution to the problem yet. The publication strategy is to increase public awareness through various methods, such as visual identity design. One form of branding implementation carried out by web design includes features, destination locations, and cafe marketing management in Dillem Wilis. The steps that need to be done in web design are: (1) designing the interface design for the Dilem Wilis agrotourism website, (2) designing a ready-to-access published website program, (3) integrating social media with the designed website. To create the right brand awareness, it is very much determined by a consistent visual identity. The visual identity will describe non-physical attributes such as vision and mission, tourism value, and tourism culture. This study aims to: (1) produce a website design for Dilem Wilis Agrotourism, (2) a ready-to-access website that accommodates various features and strategies for publication of tourist destinations, (3) generate brand awareness through the implementation of web design results into social media projects or promotions of Agrotourism Dilem Wilis Trenggalek. [ABSTRACT FROM AUTHOR]

Recreating our design vision in everything that surrounds us in this world, of which we are an integral part, is the basis that will determine the standards that will be measured against achieving sustainable creativity, through us humans and how we adapt to the planet, especially the ability of the designer who can through the positivity of his designs to change the world.We must know that the artistic process is a process of development and expansion of visual or verbal design, which results in a specific vision. And the artist’s relationship with his artistic medium is always one of renewal and inspiration, not one of conflict and tension. The material is not a limitation or a challenge over the long term, but data, stock and inspiration as well. Therefore, we find that modern technologies may provide the artist with different media that do not exist in nature, giving him plastic capabilities that he does not entrust and open up He has unconventional ways to bring his artwork to a new expressive value.We often see that the material is what inspires the artist and the designer, takes his hand and guides him. This means that the common element among all works of art is the style and method of organizing these materials with the artistic sense that provokes us with aesthetic emotion. Movement, and these elements cannot be separated from each other in the way they are formed,

Problem statement: Today, cities, such as products, services and events, need to design a visual urban identity in order to introduce and distinguish themselves from others. The city of Arak is one of the most prominent industrial cities of Iran and one of the important centers in the field of economy (industry) of the country, where the owners of various domestic and foreign industries and businesses constantly visit it, and it is located on the country's transportation highway. This city lacks a visual identity and according to these conditions, the basic issue of this research is the need to create a visual identity for a city with the mentioned characteristics and to identify factors and components that can be used to design a visual identity. Purpose: The present research analyzes the components of Arak city and reaching the key components for use in visual identity design is one of the most important goals of this research. Research method: In this research, the descriptive-analytical research method and the methods of reviewing texts, sources and visual documents have been used in the context of library studies. Findings: There are components of urban identity (economic components, socio-cultural components, physical-spatial components and environmental-ecological components), which we have neglected, these components guide the designer in forming the visual identity of the city. Paying attention to the index components in visual identity design is one of the findings of this research. Conclusion: Based on the findings of this research, while emphasizing the issue that visual identity design is very necessary for the city of Arak. Among the identity components, the most significant ones, which are the economic components with an emphasis on the industry category, should be selected for the design of the visual identity of Arak city, and next to it, social and cultural components (with an emphasis on celebrities such as Amir Kabir or an emphasis on the city's culture and art category) Or use physical and spatial components (with emphasis on traditional and historical buildings such as Arak Bazaar, four-season bath, etc.) for more attractiveness in pattern and color. It is possible to create a visual identity for this city by addressing these components. [ABSTRACT FROM AUTHOR]

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The interwar period is considered to be the "golden age" of the Sokol movement in Yugoslavia, when the organization enjoyed the support of the state and much of the population. One of the key elements in the process of shaping the visual identity of the Yugoslav Sokol was its purpose-built architecture, namely Sokolski dom (Sokol hall or center) and Sletište (Sokol stadium). It is estimated that there were around 280 such structures built in Yugoslavia, and a number of them are considered highlights of Yugoslav architecture. The stylistic variety of these structures demonstrated the different approaches to and interpretations and overall understanding of how Sokol's visual identity should be shaped and, more importantly, how Yugoslavism could be visually communicated through Sokol architecture. This article explores the different methods and approaches to Sokol architecture in the context of the country's post-imperial transition following the end of the Great War. It demonstrates how the relationship between Sokol societies and the state was reflected in Sokol architecture. [ABSTRACT FROM AUTHOR]

The research and application of agricultural robots is an important trend in the development of smart agriculture, and the target application robot is an important branch in the field of agricultural robots. This study summarizes the current research status and progress of domestic and international targeted spraying robots, and introduces the working principle and main technical points of targeted spraying robots. The study analyzes the current research status of key technologies for targeted spraying robots, including plant diseases and insect pests detection technology, targeted spraying technology, autonomous walking and control technology, and elaborates on the research progress and challenges of these key technologies both at home and abroad. It is pointed out that currently, most targeted spraying robots domestically and internationally can achieve the effects of saving pesticides and improving pesticide utilization rate, but their development is mostly in the laboratory stage and cannot fully meet actual production tasks. This study can provide reference and ideas for the advancement of targeted spraying robot research and the development of intelligent agriculture. [ABSTRACT FROM AUTHOR]

The essay attempts to outline the issues of the visual culture of the selfie from the perspective of “visual identity” that has referred to contemporary art. In this paper, I analyze examples of the following artworks: The Reincarnation of Saint ORLAN by the French artist ORLAN, the Bodies© INCorporated website, designed by Victoria Vesna, The Little Revenge from the Periphery by José Bedia Valdés, The Chief: He Who Sold Africa to the Colonists and Autoportraits by Samuel Fosso. In addition, this paper is focused on an analysis of the “biopower” concept which refers to Michel Foucault’s “docile bodies.” This concept is based on the neoliberal power process over the production of living beings and exercising control over them is an updating of the development of political, democratic, and economic institutions, as well as information and biocybernetic technologies. The “docile bodies” concept strengthens the conviction of the bodies must become the object of biopower interventions for the “perfect body” concept to act upon the strictly defined appearance of the body consistent with the standards and norms of “beauty” adopted by visual culture. In this situation, the selfie and photographic images produce homogeneous images, which function as “ideological texts” making our “visual identity” and self-image. This concept is given a lot of considerable space in this paper because the selfie can be regarded as an “personality identity” shaping the visual appearance of our bodies. In the essay’s conclusion, I claim that the visual culture of the selfie seems to be an aesthetic phenomenon shaped by a visual medium such as digital photography. However, photography does not is the key medium of the selfie. My analyses were aimed at showing that this role plays an “image,” no matter how it can be understood.