Aim/Purpose: This study aims to develop a descriptive typology to better identify leadership toward creativity in virtual work in different types of companies. Background: The study empirically explores how leadership toward creativity occurs in virtual work and uses the theoretical lenses of creativity-conducive leadership and heterarchy to generate a typology. Methodology : A multiple qualitative case study design, interpretivist approach, and abductive analysis are applied. Data is collected by interviewing 21 leaders and employees face-to-face in four companies in the ICT sector and one business advisor company. Contribution: The empirical evidence of this study enriches the understanding of leadership toward creativity in virtual work and contributes to the limited empirical knowledge on leadership that stimulates a virtual workforce to achieve creativity. Findings: The four different types of companies in the typology utilize various transitions toward leadership creativity in virtual work. The trend in leadership in the existing virtually networked business environment is toward the “collective mind” company, which is characterized by shared values, meaningful work, collective intelligence, conscious reflection, transparency, coaching, empowering leadership by example, effective multichannel interaction, and assertiveness. The findings empirically support applying a heterarchy perspective to lead a virtual workforce toward creativity and promote leaders who are genuinely interested in people, their development, collaboration, and technology. Recommendations for Practitioners: The typology helps professionals realize the need to develop leadership, communication, interaction, learning, and growth to foster creative interaction and improve productivity and competitiveness. Recommendation for Researchers: This study enables researchers to more rigorously and creatively conceptualize the conditions and relationships in leadership that facilitate creativity in virtual work. Impact on Society : The findings highlight humanistic values for developing leadership. The study strengthens the view that collective creativity in virtual work cannot emerge without virtual and physical interaction in appropriate spaces and caring for each other. Future Research: Future studies may focus on other fields, industries, networks, roles of materialities, and employees in fostering creativity and on theory development. Longitudinal studies are advisable.

Aim/Purpose: The aim of this study was to analyze various performance metrics and approaches to their classification. The main goal of the study was to develop a new typology that will help to advance knowledge of metrics and facilitate their use in machine learning regression algorithms Background: Performance metrics (error measures) are vital components of the evaluation frameworks in various fields. A performance metric can be defined as a logical and mathematical construct designed to measure how close are the actual results from what has been expected or predicted. A vast variety of performance metrics have been described in academic literature. The most commonly mentioned metrics in research studies are Mean Absolute Error (MAE), Root Mean Squared Error (RMSE), etc. Knowledge about metrics properties needs to be systematized to simplify the design and use of the metrics. Methodology: A qualitative study was conducted to achieve the objectives of identifying related peer-reviewed research studies, literature reviews, critical thinking and inductive reasoning. Contribution: The main contribution of this paper is in ordering knowledge of performance metrics and enhancing understanding of their structure and properties by proposing a new typology, generic primary metrics mathematical formula and a visualization chart Findings: Based on the analysis of the structure of numerous performance metrics, we proposed a framework of metrics which includes four (4) categories: primary metrics, extended metrics, composite metrics, and hybrid sets of metrics. The paper identified three (3) key components (dimensions) that determine the structure and properties of primary metrics: method of determining point distance, method of normalization, method of aggregation of point distances over a data set. For each component, implementation options have been identified. The suggested new typology has been shown to cover a total of over 40 commonly used primary metrics Recommendations for Practitioners: Presented findings can be used to facilitate teaching performance metrics to university students and expedite metrics selection and implementation processes for practitioners Recommendation for Researchers: By using the proposed typology, researchers can streamline development of new metrics with predetermined properties Impact on Society: The outcomes of this study could be used for improving evaluation results in machine learning regression, forecasting and prognostics with direct or indirect positive impacts on innovation and productivity in a societal sense Future Research: Future research is needed to examine the properties of the extended metrics, composite metrics, and hybrid sets of metrics. Empirical study of the metrics is needed using R Studio or Azure Machine Learning Studio, to find associations between the properties of primary metrics and their “numerical” behavior in a wide spectrum of data characteristics and business or research requirements

Aim/Purpose: This conceptual review analyzes the designs of global health virtual communities of practice (VCoPs) programming reported in the empirical literature and proposes a new typology of their functioning. The purpose of this review is to provide clarity on VCoP learning stages of (co)evolution and insight into VCoP (re)development efforts to best meet member, organization, and network needs against an ever-evolving landscape of complexity in global health. Background: Since the COVID-19 pandemic, the field of global health has seen an uptick in the use of VCoPs to support continuous learning and improve health outcomes. However, evidence of how different combinations of programmatic designs impact opportunities for learning and development is lacking, and how VCoPs evolve as learning networks has yet to be explored. Methodology: Following an extensive search for literature in six databases, thematic analysis was conducted on 13 articles meeting the inclusion criteria. This led to the development and discussion of a new typology of VCoP phases of learning (co)evolution. Contribution: Knowledge gained from this review and the new categorization of VCoPs can support the functioning and evaluation of global health training programs. It can also provide a foundation for future research on how VCoPs influence the culture of learning organizations and networks. Findings: Synthesis of findings resulted in the categorization of global health VCoPs into five stages (slightly evolving, somewhat revolving, moderately revolving, highly revolving, and coevolving) across four design domains (network development, general member engagement before/after sessions, general member engagement during sessions, and session leadership). All global health VCoPs reviewed showed signs of adaptation and recommended future evolution. Recommendations for Practitioners: VCoP practitioners should pay close attention to how the structured flexibility of partnerships, design, and relationship development/accountability may promote or hinder VcoP’s continued evolution. Practitioners should shift perspective from short to mid- and long-term VCoP planning. Recommendation for Researchers: The new typology can stimulate further research to strengthen the clarity of language and findings related to VCoP functioning. Impact on Society: VCoPs are utilized by academic institutions, the private sector, non-profit organizations, the government, and other entities to fill gaps in adult learning at scale. The contextual implementation of findings from this study may impact VCoP design and drive improvements in opportunities for learning, global health, and well-being. Future Research: Moving forward, future research could explore how VCoP evaluations relate to different stages of learning, consider evaluation stages across the totality of VCoP programming design, and explore how best to capture VCoP (long-term) impact attributed to health outcomes and the culture of learning organizations and networks.

The report ‘EU 2010 biodiversity baseline - adapted to the MAES typology (2015)’ presents a revised overview of the EEA's EU 2010 biodiversity baseline report.

The revision is necessary because the typology of ecosystems used in the 2010 report has since been altered by a working group of biodiversity experts. The revised report provides recalculated information on the state and trends of the different biodiversity and ecosystem components, based on the new typology of ecosystems.

Find the report here.

Children's Geographies; 12/01/2021
(AN 153655052); ISSN: 14733285
Academic Search Premier

The easy and compliant way that every theme developer should know.

Typography is a core element of web design that impacts how easily people can read and engage with your content.  Your message and brand identity stand out when you have a font that draws the eye in.  When you know how to use web typography principles to grab attention, you can transform a good-looking website...

The post Mastering the Art of Web Typography: Enhancing Readability and Brand Identity appeared first on noupe.

View and Vote

Finding the right typeface for a logo is a challenge and can be a very time-consuming process that requires both creativity and a practical approach. Levi Honing provides the essential background and tools to enhance your typography journey and apply this knowledge to your logo design. Let’s dive deep to learn how to create a logo that is not only expressive but also purposeful and well-thought-out.

Brand Builders Summit 2024 wins ‘Typography Honors’ at Awwwards for outstanding typography and design, attracting 60K+ visitors globally. 2025 waitlist open!

In our ever-changing and seemingly chaotic world, the typo, that simple yet ubiquitous mistake that everyone everywhere makes occasionally, is still too often deemed as the ultimate death knell for too many potential hires, projects, and deals. 

As the dyslexic son of an English teacher and a librarian, the importance of proper grammar and spelling has been metaphorically beaten into my brain since early childhood. “Food is good . . . You do things well . . .” was an all too common saying around my eastern North Carolina childhood home. 

The older I’ve gotten and the more that I’ve tried, these pesky, frustrating, and often hilarious mistakes still manage to creep their way into literally every single thing I do. It’s both maddening and inevitable, but also nearly always funny. 

What makes us unique

Everyone has a special, unique, and key talent. Mine is inevitably inserting typos at the exact wrong point and being unable to spot them after the fact . . . until, of course, it’s too late and I’ve sent my now mortifyingly unsendable error. 

For most of my life, this has been a near-crippling fear. It’s slowed down productivity, inhibited timely responses, and very likely affected friendships and professional relationships. 

In a shocking (but obvious) sense of self-realization during a conversation about AI recently, the need for perfection—and the ever-blurring line between technology and humanity—I finally realized just how little these this actually matters in the grand scheme of things. And how these all too human mistakes show our quirks and personalities in ways that ever-evolving AI can and never will replicate. Let’s stop pretending otherwise. 

While I’m fully aware that my english teacher mother is likely looking down at me from beyond the grave unamused and shaking her head in disapproval at my self-realization, I do in fact believe that as a society we should be embracing our quirks more fully, as these are what truly make us human.  

For clarification, I’m not arguing for an age of not caring. I’m just arguing for an age of caring within reason. At the end of the day, life is far too short and there are far too many other things of higher importance that demand our attention than to needlessly worry about such things. I mean seriously . . . fukc it . . .

William Dodge is cofounder and artist at A Gang of Three and founder and design principal at p-u-b-l-i-c.

More secure and better at correcting typos on your phone, can this Swiss start-up take on Google?

Paul Kafasis returns to the show to talk about Friday Night Baseball, Rogue Amoeba’s new Audio Hijack 4 release, and a bit of speculation on WWDC.

An ongoing campaign is targeting npm developers with hundreds of typosquat versions of their legitimate counterparts in an attempt to trick them into running cross-platform malware. The attack is notable for utilizing Ethereum smart contracts for command-and-control (C2) server address distribution, according to independent findings from Checkmarx, Phylum, and Socket published over the past few

A misspelling of former President Donald Trump's name occurred on an optional ballot review screen in Virginia, prompting an unfounded claim on social media of "election fraud." The error was a typo that appeared only on the ballot review screen, not on actual ballots, and would not affect any votes, election officials said.

The post Typo in Trump’s Name on Ballot Review Screen Is Not ‘Election Fraud’ appeared first on FactCheck.org.

Rob Weychert reaches for the top notes to sing us a song of typographic scale. A little attention to scale and to the mathematics will help you to hit a high note with your designs this Christmas and beyond.

I’ve been studying music theory this year. While some of its core concepts were already familiar to me, much of their specifics were not. Or so I thought. A funny thing happened when I was learning the major scales.

While playing through a song I had written some years before, I started picking it apart to see how it correlated with the theory I was learning. I had composed the melody without any thought to what the specific notes were, but as I started to transcribe them, a pattern quickly emerged: all the B’s and E’s were flat and the rest of the notes were natural. Lo and behold, long before my music theory studies began, I had written a song in B♭ major. My ears already knew how the major scales worked even if my brain didn’t. (If you know how “do re mi fa so la ti do” is supposed to sound tonally, then your ears know, too.)

When music is composed to a scale, it sounds “right” to us. And just as our ears appreciate harmony and melody with a rational basis, our eyes can appreciate the same concepts applied to spatial relationships.

Have you ever struggled with sizing type in a design project, especially when you need more than just one or two sizes? Have you ever despaired at the number of ad-hoc type sizes on your site spiraling out of control over time? It could be that you’ve been composing the typographic equivalent of a cacophonous symphony. And the first thing any composer will tell you to do is to get that thing on a scale.

Meet the typographic scale

You don’t need to know music theory to work with a typographic scale. You only need to know that a scale is a range of values with an established mathematic relationship. For a typographic scale, that relationship is frequently a steady interval between type sizes. Depending on what you need your type to do, the interval might be fixed (e.g. each size is two pixels bigger than the size before it) or it might be proportional (e.g. each size is twice as big as the size before it). I personally rarely find fixed intervals useful, so I’ll be focusing on proportional intervals.

The most important thing to understand about proportional intervals is thankfully not complicated: The bigger the intervals are, the more drastic the size differences will be in your scale. If your layout calls for contrast, a bigger interval might be the way to go. If you’re aiming for something more nuanced, go smaller. But keep these things in mind:

• There is such a thing as too much nuance: if a size on your scale is virtually indistinguishable from the sizes adjacent to it, it defeats the purpose of using a scale.
• On the flip side, too much contrast renders the sizes’ proportional relationship moot. At a certain point, massive display type is arguably more graphic than textual.
• More is less. The more sizes you use, the less they’ll mean.

Setting up the scale variables

The quickest way to get a scale up and running when working on the web is to drop its values into some CSS variables. The naming convention I typically use begins with --scale0, which is the body text size. The size below it is --scale-1 (as in “scale minus one”), the size above it is --scale1, and so on. Keeping the names relative to each other like this helps me move around the scale intuitively as I use it. If, say, --scale4 isn’t big enough for my h1, I can move up to --scale5 or --scale6, and I always know exactly how many steps away from the body text I am. Here’s a first pass at a simple set of scale variables using an interval of 1.5:

:root {
  --scale-2: 7.1px;  /* 10.7 ÷ 1.5 */
  --scale-1: 10.7px; /* 16 ÷ 1.5   */
  --scale0: 16px;    /* body text  */
  --scale1: 24px;    /* 16 × 1.5   */
  --scale2: 36px;    /* 24 × 1.5   */
}

I can use these variables with any CSS property that accepts a numeric value, like so:

p { font-size: var(--scale0); }

Rooting around in rems

I’m off to a good start. However, those px values are a little too absolute for my liking. If I convert them to rems, it’ll give my scale more flexibility. rem stands for “root em.” 1rem is equivalent to the html element’s text size, which in most browsers defaults to 16px. Crucially, though, users can adjust that size in their browser settings, and using rems in my CSS will respect those preferences.

:root {
  --scale-2: 0.4rem;  /* 0.7rem ÷ 1.5 */
  --scale-1: 0.7rem;  /* 1rem ÷ 1.5   */
  --scale0: 1rem;     /* body text    */
  --scale1: 1.5rem;   /* 1rem × 1.5   */
  --scale2: 2.25rem;  /* 1.5rem × 1.5 */
}

Another benefit of the relative nature of rems: I tend to use larger text sizes on large viewports and smaller text sizes on small viewports. Rather than adjusting dozens or hundreds of typographic CSS declarations per breakpoint, I can shift the whole scale up or down merely by adjusting the font-size on the html element:

html { font-size: 100%; }     /* 1rem = 16px */

@media screen and (min-width: 25em) {
  html { font-size: 112.5%; } /* 1rem = 18px */
}

Calculating with calc()

My scale is coming along. Its variables’ intuitive names make it easy for me to use, and its rem values respect the user’s browser preferences and allow me to easily shift the size of the entire scale at different viewport sizes. But my setup still isn’t optimized for one very important adjustment: the interval, which is currently 1.5. If 1.5 isn’t quite working for me and I want to see how an increase or decrease will affect the scale, I need to do the math all over again for every step in the scale every time I adjust the interval. The bigger the scale, the more time that will take. It’s time to put down the abacus and get calc() involved.

:root {
  --int: 1.5;
  --scale0: 1rem;
  --scale-1: calc(var(--scale0) / var(--int));
  --scale-2: calc(var(--scale-1) / var(--int));
  --scale1: calc(var(--scale0) * var(--int));
  --scale2: calc(var(--scale1) * var(--int));
}

My interval now has its very own variable, called --int. calc() determines each scale size by multiplying the preceding size by --int. Now that every size is ultimately dependent on --scale0’s value, --scale0 must appear first in the list. Since the sizes smaller than --scale0 are going down rather than up, their values require division rather than multiplication.

Scaling the scale

I can now quickly and easily tweak my scale’s interval by adjusting --int until the proportions are just right, but if I want to add more sizes to the scale, I need to add more variables and calc() values. This isn’t too big of a deal, but if I want to double or triple the number of sizes, it’s kind of a headache. Luckily, this is the sort of thing Sass is really good at. In the following code, adjusting the first four Sass variables at the top of :root will quickly spin up a set of CSS variables like the scale above, with any interval (proportional or fixed) and any number of scale sizes:

:root {
  $interval: 1.5;    // Unitless for proportional, unit for fixed
  $body-text: 1rem;  // Must have a unit
  $scale-min: -2;    // Unitless negative integer
  $scale-max: 2;     // Unitless positive integer

  --int: #{$interval};
  --scale0: #{$body-text};

  @if $scale-min < 0 {
  // Generate scale variables smaller than the base text size
    @for $i from -1 through $scale-min {
      @if type-of($interval) == number {
        @if unitless($interval) {
          --scale#{$i}: calc(var(--scale#{$i + 1}) / var(--int));
        } @else {
          --scale#{$i}: calc(var(--scale#{$i + 1}) - var(--int));
        }
      }
    }
  }
  @if $scale-max > 0 {
    // Generate scale variables larger than the base text size
    @for $i from 1 through $scale-max {
      @if type-of($interval) == number {
        @if unitless($interval) {
          --scale#{$i}: calc(var(--scale#{$i - 1}) * var(--int));
        } @else {
          --scale#{$i}: calc(var(--scale#{$i - 1}) + var(--int));
        }
      }
    }
  }
}

Go forth and scale

Typographic scales have been an indispensable part of my work for many years, and CSS variables and calc() make setup, adjustments, and experimentation easier than ever. I hope you find these techniques as useful as I do!

About the author

Rob Weychert is a Brooklyn-based designer. He helps shape the reading experience at ProPublica and has previously helped make books at A Book Apart, games at Harmonix, and websites at Happy Cog. In his free time, he obsesses over music and film. Despite all this, he is probably best known as a competitive air guitarist.

More articles by Rob

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A figure "described inaccurately" is being blamed for an apparent dramatic cost increase on Australia's most expensive defence project in history, the $50 billion Future Submarine program.

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URLCrazy is a tool that can generate and test domain typos and variations to detect and perform typo squatting, URL hijacking, phishing, and corporate espionage. It generates 15 types of domain variants, knows over 8000 common misspellings, supports multiple keyboard layouts, can check if a typo is a valid domain, tests if domain typos are in use, and estimates the popularity of a typo.

Brookings is adopting a long-overdue policy to properly recognize the identity of Black Americans and other people of ethnic and indigenous descent in our research and writings. This update comes just as the 1619 Project is re-educating Americans about the foundational role that Black laborers played in making American capitalism and prosperity possible. Without Black…

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Hayden Library - PN1995.9.S26 A44 2018

Yelland, Jill

Müller-Brockmann, Josef, 1914-1996, author

Elam, Kimberly, 1951-

Bosshard, Hans Rudolph, 1929-

Kunz, Willi

Friedl, Friedrich

Apeloig, Philippe, 1962- artist

Heller, Steven, author

Pamental, Jason, author

Dewey Library - P217.52.R45 2019

Online Resource

Dewey Library - P271.G46 2019

Hayden Library - P270.V47 2018

Hayden Library - P325.S37999 2019

Barker Library - P204.P56 2013