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Google Visual Assets Guidelines - Part 2 on Behance

Google Visual Assets Guidelines - Part 2 on Behance
Google’s brand is shaped in many ways; one of which is through maintaining the visual coherence of our visual assets. In January 2012, expanding on the new iconography style started by Creative Lab, we began creating this solid, yet flexible, set of guidelines that have been helping Google’s designers and vendors to produce high quality work that helps strengthen Google’s identity. What you see here is a visual summary of the guidelines, divided into two Behance projects: Part 2: User interface icons and Illustrations Google design style: Executive Creative Director: Chris WigginsGraphic Designers: Jesse Kaczmarek, Nicholas Jitkoff, Jonathan Lee, Andy Gugel, Alex Griendling, Christopher Bettig, Jefferson Cheng, Roger Oddone, Yan Yan, Zachary Gibson Guideline design: Related:  iD

What’s in a brand? Belgium’s regions put their best foot forward Date: 26/07/2013 11:05:00 All three of Belgium’s regions – Brussels, Flanders and Wallonia – have gone through a significant rebranding in the past year. As the new logos and marketing campaigns start to roll-out, the regions hope to strengthen their position both internationally, and within the borders of their own country. Brussels unveiled a new logo and marketing campaign in July 2012, while Wallonia and Flanders have followed suit in the past months. Globalization has pushed countries to engage in so-called ‘nation branding’ to help attract foreign investments. Brussels was the first to go, launching its new marketing campaign in July 2012. The lion of Flanders was kept for Flanders’s new campaign, but was completely redesigned. The English slogan ‘State of the art’ is meant to emphasize the craftsmanship and know-how of Flanders and will be used uniquely in international contexts. AmCham Belgium looks forward to continuing our strong collaboration with all levels of government.

Google Visual Assets Guidelines - Part 1 on Behance Google’s brand is shaped in many ways; one of which is through maintaining the visual coherence of our visual assets. In January 2012, expanding on the new iconography style started by Creative Lab, we began creating this solid, yet flexible, set of guidelines that have been helping Google’s designers and vendors to produce high quality work that helps strengthen Google’s identity. What you see here is a visual summary of the guidelines, divided into two Behance projects: Google design style: Executive Creative Director: Chris Wiggins Graphic Designers: Jesse Kaczmarek, Nicholas Jitkoff, Jonathan Lee, Andy Gugel, Alex Griendling, Christopher Bettig, Jefferson Cheng, Roger Oddone, Yan Yan, Zachary Gibson Guideline design: Art Director / Team Manager: Christopher BettigSenior Graphic Designer / Project lead: Roger OddoneDesigners: Alex Griendling, Christopher Bettig, Jefferson Cheng, Roger Oddone, Yan Yan, Zachary GibsonContributors: Web Studio, Brand Team, Creative Lab

BOX DEMO - .work | GMUNK Info: While collaborating with the geniuses at Bot & Dolly in beautiful San Francisco, Munkowitz was tasked to Design Direct a truly unique piece called BOX.. The piece was originally supposed to function as a Technology Demo, but Munkowitz and the team quickly realized it's visual potential and transformed it into a Design and Performance Piece… The resulting short film is a one-of-a-kind visual and technological achievement due to the very special combination of talent and gear behind the doors of the B&D facility... The piece was essentially grounded on the principles of Stage Magic, invoking five of the basic categorizations of Illusionary.. Any sufficiently advanced technology is indistinguishable from magic. The Design Approach for the film was to have the Graphics be informed by Black and White Optical Illusion Art as the primary visual catalyst.. This team was one of the best to date, and not just because of the immense talent within each members respective expertise..

La guía de estilo de Google Navegando por Behance me encontré un muy buen proyecto del diseñador brasileño Roger Oddone en el cuál nos muestra parte de la guía de estilo de Google. Es bastante interesante ver este proyecto (dividido en dos partes) para tener un excelente ejemplo de que elementos y detalles se tienen que cuidar cuando quieres uniformizar el estilo gráfico de una marca tan grande como Google y sus cientos de productos y servicios. Google Visual Assets Guidelines – Part 1 Google Visual Assets Guidelines – Part 2 Comments comments 9 | A Rare Peek At The Guidelines That Dictate Google's Graphic Design In April 2011, Larry Page took the reins as Google’s CEO. He didn’t waste any time getting down to business. On his very first day on the job, Page launched an incredibly ambitious effort to redesign the company’s main products, including search, maps, and mail. The rare glimpse into the company’s design process comes in the form of two documents--"Visual Assets guidelines"--freshly shared on Behance. The more exciting of the two covers product icons. Google encourages its designers to take a "reductive approach" to product icons. The next few parts deal with perspective. With the icon guidelines thus established, we move on to logo lockups, the icon and product name combos that serve as the "brand ambassadors" for the company’s products. The second document, in addition to showing examples of the flat, Charley Harper-esque illustrations Google’s been using in its product videos, covers iconography as it relates to UI design, spelling out details like proportion, sizing, and padding.

Reynald Drouhin | Recherches | Esquisses | Documents » Landscape Monolith 2013, série de 11 photographies modifiées, 36 x 24 cm.(Projet réalisé d’après des photographies de paysages cherchées sur Internet. D’après Steffany Jamalle, Voir aussi : The greatest Heist in Indian history..How Indian History was changed and we didn’t even notice. Part 1:The lost eon 6th Century B.C to 1174 A.D | The Kaipullai's Vetti Thoughts : The outer playground of my inner devil Remember those long-staying, TV-remote hogging, serial TV-serial watching distant relatives who used to arrive unannounced when you were a kid. And then stopped you from watching cricket in favour of their crappy TV serial. What were your feelings towards them? However, There is one thing that tops the 'I hate' list by a distance History for most of us, was always a major impediment, an obstacle, an immovable object opposing our unstoppable drive towards knowledge ( Read Maths and Science). How will this dead dude help me get ahead in my life? In our academic pecking order, Maths and Science always figured at the top, subjects that we had to master. Let me begin this by recalling a small conversation with a tenth grader relative of mine This is India’s history from that persons point of view I am not making the above stuff up. Yes IT IS Peruse that list again, in case you did not read it carefully. The Angrez No comments!! Americans America...What the hell is that? This is that chapter..

MyFocus. Digital & Physical Work Distractions-CONTROLLED by CanFocus So you know the drill...you've hunkered down at 2pm to get this critical email/report/contract done by 5pm...and its somehow 415pm and EVERYONE and EVERYTHING has been distracting your attention away from it. There are fewer and fewer barriers to the invasion of your physical space and time by colleagues. Workspace layouts are trending towards more open-concept. More noise! Is it fair that you are constantly interrupted at work and getting little done, but then have to finish this thing at 10pm every night at home? We have invented the MyFocus Solution to do just that. Your time, on your terms. Colleagues will leave you alone, and none of your electronics will badger you for attention. Here are some quick demo videos to explain how it woks with your PC and mobile devices. Hardware At present we have a fully-functioning prototype (as seen in the video), that we are currently building in small batches by hand. Software The 1-button MyFocus Solution

Colectivo de la A a la X Tunea tu Huerto es una instalación dentro del proyecto de "regalos urbanos" que propuso lagaleriamagadalena en el marco del Festival de Arquitectura y Urbanismo EME3. El sábado 30 de junio, en la calle Brosolí con Banys Vells se colocaron 100 paquetitos de semillas para que las personas los llevaran a casa y plantaran su propio huerto. Pero de ellas creceran plantas muy especiales pues todas eran semillas "tuneadas" por la gente que colaboró con sus ideas al respondernos "si tuvieras una semilla... ¿de que sería? De amor, de comprensión, de salud, de orgasmos múltiples, de teletransportación, de valor, de intuición, de funcionarios felices.... tantas cosas que quisieramos que hubiera más en este mundo! Al menos por este día, los curiosos que se acercaron pudieron ver que todos, a pesar de nuestras diferencias, compartimos los mismos deseos. Idea original: Colectivo de la A a la X Propuestas de semillas por: amigos, conocidos y gente linda que aportó su creatividad.

The Secret Law of Page Harmony “A method to produce the perfect book.” The perfect book. This is how designer-genius Jan Tschichold described this system. Not the ok book, nor the pretty good book, but the perfect book. This method existed long before the computer, the printing press and even a defined measuring unit. And you can still use it. The Secret Canon & Page Harmony Books were once a luxury only the richest could afford and would take months of work to be brought to fruition. And they were harmoniously beautiful. The bookmakers knew the secret to the perfect book. So elegant is this method of producing harmony that a few designers saw to rediscover it. They found the way to design a harmonious page. There’s a dance to all this Let’s look at this dance, shall we? And here it is with them (using the Van de Graaf Canon and Tschichold’s recommended 2:3 page-size ratio, which we’ll get into next). This is where the harmony is found. How is this dance beautiful? A module is to a grid, as a cell is to a table. The J.

Spotify Unveils A Bold New Brand Identity For a brand that fronts such a vast and eclectic array of music—a database of some 30 million songs, including the top tunes in Malta, Bulgaria, and Paraguay, among others—Spotify’s brand identity has always been surprisingly sedate: black, white, and an uninspiring green for colors; an off-the-shelf font; and a little stylized sound wave as a logo. That made for a fairly dismal array of tools for communicating with the brand’s 60 million avid fans. On Friday, at South by Southwest, all that will change. For the duration of the festival, Spotify House will be arrayed in a bold and explosively colorful new brand identity, which was the result of a year's worth of work, and many trips to the company’s Stockholm headquarters, by the New York design firm, Collins. "SXSW will be first big reveal of the program," says Leland Maschmeyer, Collins’s founding partner and executive creative director. "We’ll be pulling the sheet off the car."

Goliath David and Goliath, a colour lithograph by Osmar Schindler (c. 1888) The original purpose of the story was to show David's identity as the true king of Israel.[1] Post-Classical Jewish traditions stressed Goliath's status as the representative of paganism, in contrast to David, the champion of the God of Israel. Christian tradition gave him a distinctively Christian perspective, seeing in David's battle with Goliath the victory of God's King over the enemies of God's helpless people as a prefiguring of Jesus' victory over sin on the Cross and the Church's victory over Satan.[2] Biblical account[edit] David hoists the severed head of Goliath as illustrated by Gustave Doré (1866). David and Goliath confront each other, Goliath with his armor and shield, David with his staff and sling. David hurls a stone from his sling with all his might and hits Goliath in the center of his forehead, Goliath falls on his face to the ground, and David cuts off his head. Textual considerations[edit] Islam[edit]

Du Graphe social au Graphe de l’humeur Que ce soit Bitly avec Feelings, un système de signets permettant d’intégrer une appréciation simple et visuelle sur ceux-ci, Facebook avec le développement de la catégorisation des statuts, nombreux sont les systèmes (Path, Line, MessageMe pour n’en citer que quelques-uns de ceux qu’évoquaient Jenna Wortham pour le New York Times…) et les applications qui vous proposent d’associer de l’expressivité à ce que vous partagez, a minima via les fameuses émoticônes. Image : La catégorisation des statuts sur Facebook. Notre intelligence émotionnelle en ses limites Car changer l’interface change la conversation. Image : la classification de l’émotion du psychologue Gerrod Parrot agencée par le designer Pei-Ying Lin. Reste que la communication de nos émotions n’est pas si simple. La communication écrite est finalement moins riche en tonalité que ne peut l’être la communication en face à face. Les contraintes ne sont pas nécessairement toutes mauvaises. Du travail émotionnel à la zone de la machine

Hyperakt | A framework for student opportunity In his 2013 State of the Union Address, President Obama spoke urgently about the need for education reform to keep the United States relevant in a global economy. Many schools fall short of providing their students with the education they need to compete in today’s marketplace. Not only does this prevent students from pursuing new career opportunities in growing sectors, it will impede the US from retaining its edge. Fortunately, new models of education are being pioneered to address these shortcomings. The P-Tech program is expanding to more schools and it needed a strong visual language that would engage students, while appealing to school administrators and industry partners.

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