Stephen Cole, Jennifer Hill, Luke Keele, Ilya Shpitser, and Dylan Small write: We wanted to provide an update on our efforts to build the Society for Causal Inference (SCI). As you may recall, we are creating the SCI as a home for causal inference research that will increase support and knowledge sharing both within the […]

In recognition of Grand Canyon National Park's 99th birthday, the National Park Service and Grand Canyon Association unveiled the logo for the park's upcoming 2019 Centennial. https://www.nps.gov/grca/learn/news/centennial-logo.htm

Have you ever wondered why Adidas, Nike, Apple, Unilever, and many others have such remarkable logotypes? What is the inner side of their success? We have an answer! These companies have followed certain rules to create meaningful and interesting logos. We analyzed their experience and chose the 5 best tips for an iconic logo design....

Your logo could easily be the most memorable component of your WordPress website—or any other form of publicity, for that matter. However, it’s imperative that your logo reflects the fundamentals of modern logo design. WordPress’s own logo, which is placed very subtly in a corner on most websites using the platform, has such a clean design that it’s hard not to notice. Yours can be like this too. In this brief article, we’ll discuss three fundamental tips or techniques for designing the best possible logo for your WordPress website. Modern Logo Design Tips Most businesses have logos, and if they

The post 3 Elements of Good Logo Design for Your WordPress Website appeared first on Photoshop Lady.

When it comes down to creating your brand you want something that is original but stands out. Here is what makes a good logo so you can stand out. More

For your information. The WordPress fonts are as follows: the old WP logo was Dante, the new one is Mrs. Eaves. You can also find the correct logo’s on WordPress.org.

The post The WordPress Logo appeared first on WPCult.

This image shows a particular optical illusion that confronts us every day. Notice the difference between the black text on a white background and the reverse. With reversed type — light text on a darker background — the strokes seem bolder.

Black text on white is very familiar, so we can be forgiven for thinking it correctly proportioned. For familiarity’s sake we can say it is, but there are two effects happening here: The white background bleeds over the black, making the strokes seem thinner. With reversed type the opposite is true: The white strokes bleed over the black, making it seem bolder.

One of the most obvious examples of this is with signs where the letters are punched into the surround then lit from inside. In his article, Designing the ultimate wayfinding typeface, Ralph Herrmann used his own Legibility Text Tool to simulate this effect for road and navigational signs.

One might say that characters are only correctly proportioned with low-contrast. Although objective reality hails that as true, it isn’t a good reason to always set type with low contrast. Type designers have invariably designed around optical illusions and the constraints of different media for us. Low-contrast text can also create legibility and accessibility problems. Fortunately, kind folks like Gez Lemon have provided us with simple tools to check.

As fascinating as optical illusions are —  the disturbing, impossible art of Escher comes to mind — we can design around reversed body type. On the Web, increasing tracking and leading are as simple as increasing the mis-named letter-spacing and line-height in CSS. However, decreasing font weight is a thornier problem. Yes, we will be able to use @font-face to select a variant with a lighter weight, but the core web fonts offer us no options, and there are only a few limited choices with system fonts like Helvetica Neue.

Reversing a logotype

For logotype there are plenty of options, but it makes me slightly uncomfortable to consider switching to a lighter font for reversed type logos. The typeface itself is not the logotype; the variant is, so switching font could be tricky. Ironically, I’d have to be very sure that that was no perceivable difference using a lighter weight font. Also, with display faces, there’s often not a lighter weight available — a problem I came across designing the Analog logo.

The logotype worked well when testing it in black on white. However, I wanted a reversed version, too. That’s when I noticed the impact of the optical illusion:

It looked bloated! Objective reality be damned; it simply wouldn’t do. After a few minutes contemplating the carnage of adjusting every control point by hand, I remembered something; eureka!

Punching the paths through a background image in Fireworks CS4 removed the illusion. (Select both the path and the background then using Modify > Combine Paths > Punch.) Is this a bug? I don’t know, but if it is, it’s a useful one for a change!

I grinned. I was happy. All was well with the world again. Lovely! Now I could go right ahead and think about colour and I wouldn’t be far from done. This is how it emerged:

A final note on logotype design & illusions

Before we even got to actual type for the Analog logo, we first had to distill what it would convey. In our case, Alan took us through a process to define the brand values and vision. What emerged were keywords and concepts that fed into the final design. The choice of type, colour, and setting were children of that process. Style is the offspring of meaning.

I always work in greyscale for the first iterations of a new logo for a few simple reasons:

1. The form has to work independently of colour — think printing in greyscale or having the logo viewed by people with a colour-impairment.
2. It allows for quick testing of various sizes — small, high contrast versions will emphasise rendering and legibility issues at screen resolutions, especially along curves.
3. I like black and white. :)

I realise that in this day and age the vast majority of logos need to perform primarily on the Web. However, call me old-fashioned, but I still think that they should work in black and white, too.

Brands and display faces emerged with consumer culture during the 19^th Century. Logotypes were displayed prominently in high streets, advertising hoardings, and on sign boards. In many instances the message would be in black and white. They were designed to be legible from a distance, at a glance, and to be instantly recognisable. Even with colour, contrast was important.

The same is true for the Web today; only the context has changed, and the popularity of logomarks and icons. We should always test any logo at low resolutions and sizes, and the brand must still have good contrast (regardless of WCAG 2.0) to be optimal. A combination of colour and form works wonders, but in a world of a million colours where only a handful are named in common parlance, having the right form still seems a smarter choice than trying to own a palette or colour.

A final word

This article was prompted by a happy accident followed by a bit of reading. There are many references to optical illusions in design and typography books. The example image at the start of this article was inspired by one found in the excellent Stop Stealing Sheep and Find Out How Type Works by Erik Spiekermann and E.M. Ginger. There’s also plenty of online material about optical or visual illusions you can dive into. There’s also more on . Oh, and don’t forget the work of M. C. Escher!

Human eyes are amazing. In two sets of watery bags we get a wide-angle lens with incredibly sharp focus and ridiculous depth of field. Apparently our brain is even clever enough to compensate for the lag in the signal getting from retina to cortex. I know next to nothing about ocular science. Spending a morning reading and thinking about optical illusions, and contemplating my own view here in the garden office is pretty awe-inspiring. If only my photographs were as good as my eyes, illusions or no.

A startup specializing in food product development and commercialization services, “Food Launcher” is a team of food scientists with over...continue reading

https://www.noupe.com/design/how-to-design-an-iconic-logo.html

https://www.underconsideration.com/brandnew/archives/new_logo_for_noise.php

We all know about the new coronavirus that has been affecting hundreds of thousands of people worldwide. And while scientists, researchers, and doctors are all working tirelessly to find a cure for this terrible disease, one thing is for sure: staying home is saving lives. The greatest tool that we have right now to help […]

Read More at Check Out These Famous Logos Practicing Social Distancing – McDonald’s, Mercedes, and More

Creating vintage style designs for company brands, T-shirts, packaging designs, book covers, window signs, and countless other graphic design project scenarios has never been easier with this huge bundle of 200 editable logo templates from Heritage Type Co. Logo Templates are ready-made designs that can be easily customised to quickly create stunning badges and emblems […]

The post All The Vintage Logo Template Designs You Could Ever Wish For! appeared first on Spoon Graphics.

At no other time in the history of the internet has it been easier to design your own logo than it is right now. You could say that the world of online logo design makers is in a perfect position to...

What would happen if the logos of famous brands suddenly wake up in the bed of another? Thats what the new tumblr blog Logo Mashups explores. It makes us think in the in the connections they share and how they are constantly appealing to our consumer mind through the commons grounds of symbology and typography.

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A method is disclosed for preparing a soft tissue site, and augmenting the soft tissue site, such as the breast(s), scar, depression, or other defect, of a subject through use of devices that exert a distractive force on the breast(s) and grafting of autologous fat tissue such as domes with sealing rims for surrounding each of the soft tissue site and a regulated pump. The method for preparing the soft tissue site, and enhancing fat graft results, entails application of the distracting force to the targeted soft tissue site at least intermittently for some period of time and preferably several weeks prior to the graft procedure. A related aspect of the invention includes following the preparation steps by transfer of fat from other areas of the subject to the subject's soft tissue site, and then reapplication of the distractive force to the soft tissue site that received the autologous fat graft. Alternatively, fat from genetically related sources may be used, and the fat may be further processed prior to injection. Substantial soft tissue augmentation, high rates of graft survival and negligible graft necrosis (data demonstrating 80% survival and only 20% necrosis is presented) or calcification result from the practice of these methods.

An Australian designer has accused Port Adelaide of ripping off a design he posted online four years ago following the football club's release of its new logo.

By definition, social business is people business. As such, it can and should value every voice, which is why IBM set out to enable more inclusive social business.

(United States Fifth Circuit) - Held that a defendant was not entitled to prevailing party attorney fees under the federal Defend Trade Secrets Act, enacted in 2016, because the plaintiff's voluntary dismissal of the case without prejudice meant no one had prevailed here. Affirmed the denial of fees.

Living in Montreal, I often have to create multi-lingual websites for clients. That means finding the right plugin for the job. I don’t always use WPML, but it’s one of…

The post Displaying Different Logos with WPML appeared first on bavotasan.com.

2019.9.19うすどうもはいるいてぃですルイティーなのかなるいティなのかなどっちでも、いいけどcircus大阪公演終えておうちただいまおおきに洗濯して寝るぞこれは富山からのバス移動での色々休憩とか続きをみる

『著作権保護のため、記事の一部のみ表示されております。』

Me: I’m back from my work trip. Do you still need those modifications to your logo files? 

Client: Hey! I was actually able to talk with my IT guy and he taught me how to use gimp to do all of that. But I will definitely let you know if I need anything else done.

Me: (WRITHING IN SYMPATHETIC PAIN FOR USING GIMP)

Major League Baseball and Fanatics will support the All-in Challenge Foundation by donating all MLB proceeds from sales.

Adenosine monophosphate-activated protein kinase (AMPK) is an obligate heterotrimer that consists of a catalytic subunit (α) and two regulatory subunits (β and ). AMPK is a key enzyme in the regulation of cellular energy homeostasis. It has been well studied and is known to function in many cellular pathways. However, the interactome of AMPK has not yet been systematically established, although protein-protein interaction is critically important for protein function and regulation. Here, we used tandem-affinity purification, coupled with mass spectrometry (TAP-MS) analysis, to determine the interactome of AMPK and its functions. We conducted a TAP-MS analysis of all seven AMPK subunits. We identified 138 candidate high-confidence interacting proteins (HCIPs) of AMPK, which allowed us to build an interaction network of AMPK complexes. Five candidate AMPK-binding proteins were experimentally validated, underlining the reliability of our data set. Furthermore, we demonstrated that AMPK acts with a strong AMPK-binding protein, Artemis, in non-homologous end joining. Collectively, our study established the first AMPK interactome and uncovered a new function of AMPK in DNA repair.

Plasma lipoprotein (a) [Lp(a)] levels are largely determined by variation in the LPA gene, which codes for apo(a). Genome-wide association studies (GWASs) have identified nonsynonymous variants in LPA that associate with low Lp(a) levels, although their effect on apo(a) function is unknown. We investigated two such variants, R990Q and R1771C, which were present in four null Lp(a) individuals, for structural and functional effects. Sequence alignments showed the R990 and R1771 residues to be highly conserved and homologous to each other and to residues associated with plasminogen deficiency. Structural modeling showed both residues to make several polar contacts with neighboring residues that would be ablated on substitution. Recombinant expression of the WT and R1771C apo(a) in liver and kidney cells showed an abundance of an immature form for both apo(a) proteins. A mature form of apo(a) was only seen with the WT protein. Imaging of the recombinant apo(a) proteins in conjunction with markers of the secretory pathway indicated a poor transit of R1771C into the Golgi. Furthermore, the R1771C mutant displayed a glycosylation pattern consistent with ER, but not Golgi, glycosylation. We conclude that R1771 and the equivalent R990 residue facilitate correct folding of the apo(a) kringle structure and mutations at these positions prevent the proper folding required for full maturation and secretion. To our knowledge, this is the first example of nonsynonymous variants in LPA being causative of a null Lp(a) phenotype.

OBJECTIVE

We conducted an open-label, phase I study using autologous umbilical cord blood (UCB) infusion to ameliorate type 1 diabetes (T1D). Having previously reported on the first 15 patients reaching 1 year of follow-up, herein we report on the complete cohort after 2 years of follow-up.

PMA, a premier full-service provider of comprehensive financial and investment advisory services to municipalities, school districts, local government pools, insurance companies and other...

(PRWeb May 04, 2020)

Read the full story at https://www.prweb.com/releases/pma_reveals_new_logo_and_brand_identity/prweb17090459.htm

The story behind the image, and its removal, led to mixed reactions from the public, including native communities

Logos Hope's Visitor Experience deck creatively engages people with the gospel as local volunteers make the language and cultural barriers obsolete.

Logos II