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Pedro Gonçalves

"Organization Markup" Supported As Non-Google+ Way To Put Logos In Knowledge Graph Box - 0 views

  • what did Google announce today? A new way to get your company logo within the Google Knowledge Graph box, if Google decides to show one for your company.
  • Google’s post today says that Schema.org organization markup can be used now as a way for publishers to tell Google what preferred logo they’d like to appear there. Google’s post didn’t make it clear that this was happening only for the Knowledge Graph box, causing us to originally write that this was going to put logos next to search listings. However, Google has since clarified that logos do not show next to search results as with authorship, but rather, in the Knowledge Graph box that sometimes shows for companies. Just using the markup doesn’t guarantee that your logo will be used. It only helps suggest this to Google, which makes the ultimate decision.
  • for most companies, doing Google+ is going to be a far more effective way to gain logo visibility than using organizational markup. But the option is there, for those who just don’t want to be on Google+.
Pedro Gonçalves

New Defaults In Web Design - How Much Has The Web Really Changed? | Smashing Magazine - 0 views

  • Many mouseover interactions are completely dysfunctional on a touch device
  • Instead of buying a state of the art monitor, buying a cheap monitor and several low-end devices to test your work on might be a better investment.
  • Hiding content and showing it on mouseover was considered to be a decent design pattern
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  • When you hover over a menu item, a submenu appears. But apart from hovering over an item, you can also simply click on it to follow the link. Now, what should happen when you tap on the item with a touch device? Should the submenus appear, or should the link activate? Or both? Or should something else happen? On iOS, something else happens. The first time you tap a link like that, the submenu appears; in other words, the hover event fires. You have to tap a second time to actually follow the link. This is confusing, and not many people will tap a second time. On Android, the submenu appears and the link is followed simultaneously. I don’t have to explain to you that this is confusing.
  • It’s very well possible to think of complex solutions11 whereby you define different interactions for different input devices. But the better solution, I think, is to make sure that the default interaction, the activate event, just works for everybody. If you really need to, you could choose to enhance this default experience for certain users.
  • The same principle that we follow for interactions — whereby we design the activate event first and enhance it later — applies to graphic design. We should start designing the things that we know everyone will see. That’s the content. No matter how big or small a screen is and no matter how minimal the feature set of a browser, it will be able to show letters.
  • rather than pollute the page with all kinds of links to get people out of there, we should really focus on that thing in the middle. Make sure it works. Make sure it looks good. Make sure it’s readable.
  • you start by designing the relationship between the different font sizes.
  • When the typography is done, you would start designing the layout for bigger screens; you can think of this as an enhancement for people with bigger screens. And after that, when the different layouts are done, you could add the paint. And by paint, I mean color, gradients, borders, etc.
  • When I say to start with typography, I don’t mean that you aren’t allowed to think about paint at the same time. Rather, I’m trying to find the things that all of these different devices, with all of their different screen sizes and all of their different features, have in common. It just seems logical to first design this shared core thoroughly. The strange thing is that this core is often overlooked: Web professionals tend to view their own creations with top-of-the-line devices with up-to-date browsers. They see only the enhancements. The shared core with the basic experience is often invisible.
  • All of the things we created first — the navigation, the widgets, the footer — they all helped the visitor to leave the page. But the visitor probably wanted to be there! That was weird.
  • To build a responsive website that works on all kinds of screens, designing for a small screen first is easiest. It forces you to focus on what’s really important: if it doesn’t fit in this small square, it is probably not terribly important. It forces you to think better about hierarchy, about the right order of components on the page.
  • Once you’re done with the content, you can start to ask yourself whether this content needs a header. Or a logo. Or subnavigation. Does it need navigation at all? And does it really need all of those widgets? The answer to that last question is “No.” I’ve never understood what those widgets are for. I have never seen a useful widget. I have never seen a widget that’s better than white space.
  • does the logo really need to be at the top16 of every page? It could very well go in the footer on many websites
  • the option to add extra luggage to a flight booking might be most effective right there in the overview of the flight, instead of in the middle of a list of links somewhere on the left of the page.
  • does the main navigation look more important than the main content? Most of the time it shouldn’t be, and I usually consider the navigation to be footer content.
Pedro Gonçalves

To Monetize Social Media, Humanize It - Amy Jo Martin - Harvard Business Review - 0 views

  • Whoever invented the term "social media" didn't do the world a favor because, while that's the accepted term now, it's completely wrong, and I believe it's part of what drives this disconnect. Social media is not really media. I think of it as a channel, more like a telephone than a TV commercial. And when's the last time a CEO asked, "How are we monetizing the telephone?" And has a CEO ever threatened to not invest in phones because the company can't make money off of them?
  • Truth is, companies monetize the telephone quite well, and if you don't think so, take away your company's phones and see what happens to your top and bottom lines. Likewise, companies can monetize social media, but they have to stop thinking about it as a way to market products and start thinking about it as a way to communicate and build a brand.
  • Formal research typically takes months and requires healthy investment and long planning cycles. Smart companies are trading in highly rigorous research for quick, nearly scientific data collected through social media platforms.
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  • Social media is not a popularity contest. Followers don't equal influence. Don't make this a volume game.
  • Social marketing is a brand-building tool first and foremost. For decades, traditional advertising media have been let off the hook when it comes to measuring direct financial ROI. You should do the same with your organization's efforts in social media.
  • Traditional branding focuses on logos. Social media branding must be focused on people. Humanize your brand is the golden rule of social media, because humans connect with humans, not logos. Traditional marketing has always approached branding as a way to control the message.
  • Controlled messages are distrusted in a world where social media can expose them so quickly. Revealing the people behind your brand builds trust. Trust is the first step to building loyalty.
Pedro Gonçalves

Digitaria | The Most Powerful Branding Tool You're Not Using: Pinterest - 0 views

  • I contend Pinterest as a service is best conceived of as a mood board for the company image. It isn’t a place to broadcast specifics or a way to run contests. It’s not that these are impossible, but Twitter and Facebook are better suited. Pinterest is a forum to communicate a brand’s identity, values, and personality. A place to build trust and affinity with consumers. Surprisingly, it might be the best single channel for communicating brand essence that exists today.
  • Opt for fewer, broadly categorized boards rather than many narrow ones. I have 5 boards total, and just one called "designed," instead of art, product design, graphic design, typography, advertising, and logos. Broad categories give your boards greater variety, and variety equals engagement.
  • In my experience, following people doesn't really get you followers on Pinterest. This is anecdotal, but I don't think many users do the auto-follow-back thing - that’s more of a Twitter phenomenon.
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  • Each pin is an impression. One that garners no re-pins or likes is a wasted opportunity.
  • Have a voice. In their pin descriptions, most users simply state in words what the image is already showing. Wasted copy! Express why you're pinning something, what you like about it, some cheeky comment. Pin something you don’t like, and say why! You want followers to get to know you, to engage with your personality and/or your brand.
  • Have a vision. A corollary to the previous tip. Your boards should reflect a consistent, unique visual identity. If they don’t, you may want to consider whether your brand does.
  • Post lots of content from outside Pinterest! The site tends to become an echo chamber, with most users finding everything on their boards from other boards. Be a source of fresh content to those people. The re-pin has it’s place (a strategic tool to grab someone’s attention). But really, 98% of your pins should be from external sources.
Pedro Gonçalves

Another Win For Flat Design As Facebook Gives Its F Logo & Other Icons A Flatter, Clean... - 0 views

  • Flat design has spread its levelling influence all over the tech industry and its interfaces in recent years
Pedro Gonçalves

The Infinite Grid · An A List Apart Article - 0 views

  • Creating a layout is like doing a jigsaw puzzle; you have a bunch of pieces and you have to figure out how they should fit together.
  • designing native layouts for the web—whatever the device—we need to shed the notion that we create layouts from a canvas in. We need to flip it on its head, and create layouts from the content out.
  • When designing from the canvas in, the canvas dimensions are the constant on which the whole grid is anchored. Everything is sized and positioned relative to them. Designing from the content out means finding a constant in your content—be it the ideal measure of a paragraph or the dimensions of an ad unit—and building your grid out from there to fill the space available.
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  • Fluid layouts are often compared to water, but water isn’t always fluid. H2O has three different states, and depending on the temperature can be a solid, liquid, or gas, transitioning seamlessly from one to another at specific points (0ºC, 100ºC). An infinite grid also has multiple states (single column, multi-column, etc.), and should transition as seamlessly as possible between them at specific breakpoints as well. For example, just as ice is an appropriate state for water when the temperature is low, a single-column layout may be the appropriate state for an infinite grid on smaller devices. Water’s state change is caused by the rearrangement of its molecules. When an infinite grid changes state, we rearrange its components.
  • Each state in a responsive layout tends to be made up of the same components, such as an image gallery or navigation menu. However, as Ethan Marcotte recently outlined, the form these components take can vary dramatically between one state and another, usually involving a change in one or more of the following attributes: Hierarchy: What’s its order and prominence in the layout? Density: How much detail do you show? Interaction: Should it be a list of links or a dropdown? A carousel or a group of images? Width: Is it fixed (a specific width), flexible (set with max-width), or fractional (set with percentages)?
  • Absolute units like pixels effectively give a layout a sell-by date, locking it to a finite resolution range in which it will “work.” Proportional units (ems, rems, and percentages) enable you to define the important relationships between elements, and are a crucial first step on the road to resolution independence.
  • Pixels size an element relative to a particular resolution Ems size an element relative to its font size; large rems size it relative to the document’s base font size Percentages size an element relative to its container VH and VW units size an element relative to the viewport
  • lets say my largest state is 75em wide (any larger and the white space starts to dwarf the content), and my smallest is 34em (any smaller and the measure is less than optimal). In the largest state it makes sense for my navigation to be a horizontal list (interaction) at the top (hierarchy), but in the smallest state it might make more sense to move it to the bottom of the layout (hierarchy), or collapse it into a show/hide list (interaction). Designing these independently of one another helps you be more objective about what is best for each state, rather than stretching a one-size-fits-all solution across every state.
  • Just like water changes to steam when its molecules get too far apart, one state should change to another when the relationships between its components begin to break down, such as when the measure is getting too wide, or the left-aligned logo is getting so far from the right-aligned menu that the visual connection between them is broken.
  • The number of states you require will depend on how much your layout changes from one extreme to the other. For example, my smallest state has a single column with a collapsed menu, and my largest state has three columns and an expanded menu. However neither state looks quite right between 34em and 53em, so I’ve added an “in-between” state which maintains the smallest state’s single column article, but expands the menu and divides the footer into three columns to make the most of the space available. This smooths out the transition from one extreme to another quite nicely.
  • With each state change, remember to reconsider the hierarchy, density, interaction, and width of each component
  • the goal is to make the most of the space available, relative to your content, to maximize readability and presentation.
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