Logo & Trademark Use Guidelines
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AMPERSAND an International Journal of General and Applied Linguistics
AMPERSAND An International Journal of General and Applied Linguistics AUTHOR INFORMATION PACK TABLE OF CONTENTS XXX . • Description p.1 • Abstracting and Indexing p.2 • Editorial Board p.2 • Guide for Authors p.4 ISSN: 2215-0390 DESCRIPTION . Serving the breadth of the general and applied linguistics communities, Ampersand offers a highly- visible, open-access home for authors. An international, peer-reviewed journal, Ampersand welcomes submissions in applied and historical linguistics, phonetics, phonology, pragmatics, semantics, sociolinguistics and syntax. Ampersand provides authors with an open-access venue to disseminate a wide range of linguistic research in an equally wide range of formats, prioritizing rapid peer review and publication so that researchers can share their work in its most current and innovative form. In response to the global thrust toward open source, open data and open access in science, Ampersand offers the opportunity for authors to make their research freely available to everyone, opening their work to a wider audience and increased readership. Ampersand caters to a comprehensive audience, ranging from language researchers, linguists, teachers, educationalists, practitioners to those with a general interest in language and linguistics. The journal aims to encourage the free exchange of information between researchers by being a forum for the constructive discussion and debate of issues in both theoretical and applied research. The journal welcomes all types of submission format: traditional 'full' research articles, short communications, opinion pieces, book reviews, case studies and literature reviews. Ampersand also offers the opportunity to publish special issues or sections to reflect current interest and research in topical or developing areas. The journal fully supports authors wanting to present their research in an innovative fashion through the use of modern multimedia in the award-winning 'article of the future' format on ScienceDirect?. -
Tilde-Arrow-Out (~→O)
Chapter 5: Derivations in Sentential Logic 181 atomic). In the next example, the disjunction is complex (its disjuncts are not atomic). Example 2 (1) (P ´ Q) → (P & Q) Pr (2) •: (P & Q) ∨ (~P & ~Q) ID (3) |~[(P & Q) ∨ (~P & ~Q)] As (4) |•: ¸ DD (5) ||~(P & Q) 3,~∨O (6) ||~(~P & ~Q) 3,~∨O (7) ||~(P ∨ Q) 1,5,→O (8) ||~P 7,~∨O (9) ||~Q 7,~∨O (10) ||~P & ~Q 8,9,&I (11) ||¸ 6,10,¸I The basic strategy is exactly like the previous problem. The only difference is that the formulas are more complex. 13. FURTHER RULES In the previous section, we added the rule ~∨O to our list of inference rules. Although it is not strictly required, it does make a number of derivations much easier. In the present section, for the sake of symmetry, we add corresponding rules for the remaining two-place connectives; specifically, we add ~&O, ~→O, and ~↔O. That way, we have a rule for handling any negated molecular formula. Also, we add one more rule that is sometimes useful, the Rule of Repetition. The additional negation rules are given as follows. Tilde-Ampersand-Out (~&O) ~(d & e) ––––––––– d → ~e Tilde-Arrow-Out (~→O) ~(d → f) –––––––––– d & ~f 182 Hardegree, Symbolic Logic Tilde-Double-Arrow-Out (~±O) ~(d ± e) –––––––––– ~d ± e The reader is urged to verify that these are all valid argument forms of sentential logic. There are other valid forms that could serve equally well as the rules in question. The choice is to a certain arbitrary. The advantage of the particular choice becomes more apparent in a later chapter on predicate logic. -
Visual Design & Branding Guidelines
Visual Design & Branding Guidelines For questions about this guide please contact: [email protected] Updated 06.03.15 Logo The Playworks logo is a key element and a valuable asset for our brand. The correct and consistent use of our logo enhances our brand recognition. Our logo consists of the Playworks mark and wordmark only. The goal of this document isn’t to stifle creativity. It’s to provide direction that will help us create materials that our audiences will come to recognize as ours. Minimum size: 1” wide VISUAL BRANDING GUIDELINES | PLAYWORKS | 2 Alternate versions Rounded square/rectangle: The logo can be rendered as a blue rounded square with the logo elements centered inside it in white. Minimum space between the edge of the shape and the wordmark should be at least x x x, where x is the height of the logotype. x = height of wordmark VISUAL BRANDING GUIDELINES | PLAYWORKS | 3 Logo white space x Give the logo room to breath and help it stand out. Never crowd the logo with other visual elements. x x The unit of measure, x, is the height of the wordmark. You must allow space one x wide around an imaginary box that fits around the logo. x x = height of wordmark VISUAL BRANDING GUIDELINES | PLAYWORKS | 4 Logo color I. PREFERRED: Bright Blue† - logomark Gray - wordmark Use this color scheme as the default choice. I. PREFERRED II. MONOTONE II. MONOTONE Bright Blue - all logo elements If you can only use one color, use the Bright Blue only. III. BLACK Black - all logo elements Use this when color option is unavailable or budget is a constraint. -
Branding Guidelines
Branding Guidelines Company: POWERHANDZ Contents: 1.0 Introduction 2.0 The Logo Design 2.1 The Logo Usage 3.0 Color Scheme 4.0 Typography 5.0 Contact Details Date: June 2014 1.0 Introduction Overview The purpose of these guidelines is to explain the use of the new brand style and to reinforce consistent application of the visual elements in all communications. This includes publications, presentations, and all other marketing materials both online and offline. Guidelines on the use of the logo are included. 1.0 Introduction Branding Guidelines - June 2014 1. Your new “identity” Your identity is the face and personality presented to the global community. It’s as important as the products and services you provide. Your identity is the total effect of your logos, products, brand names, trademarks, advertising, brochures, and presentations— everything that represents you. Because the brand cannot be compromised, we’ve created this guide to provide all the pertinent specifications you need to maintain its integrity. The guidelines set in this document are not meant to inhibit, but to improve the creative process. By following these guidelines, the materials you create will represent your company cohesively to the outside world. 1.0 Introduction Branding Guidelines - June 2014 2. 2.0 The Logo Design The company logo is an important and valued graphic element and must be used consistently and appropriately, even minor variations will undermine and compromise the image of the branding. 2.0 The Logo Design Branding Guidelines - June 2014 3. Primary vertical logo - light background Primary vertical logo - dark background 2.0 The Logo Design Branding Guidelines - June 2014 4. -
OPERAS-Design-Manual.Pdf
OPERAS | Logo Wordmark and Logo The OPERAS logo consists of a symbol logo with subline and a wordmark, which are used as a unit. The symbol consists of the opened capital letter “O” and is accentuated by a bracket, symbolizing the network/governing body. The letters are based on the font Utopia Std. The “open” letters symbolize the theme of “openness”. The OPERAS logo, depending on the use and size, can be used with or without subline minimal 6pt subline. The subline should not be smaller than 6pt. The logo can furthermore be used separately, e.g. as favicon. symbol OPERAS | Logo Wordmark and Logo The OPERAS logo can be used either with or without subline. There is a version of the logo that is completed by the ending -D (representing Design). The proportions and spacing, as well as the colour values of the logo and wordmark are not to be changed. OPERAS | Colours Red Purple OPERAS Colours The brand colours are red and purple. These colours are complemented by a pure black, which is used for the subline. A grey colour is used in the black-and-white version of the logo. Colour (printing) Colour (printing) CMYK 7/100/70/30 CMYK 50/90/0/40 Colour (web) Colour (web) sRGB 170/10/45 sRGB 105/35/ 100 Black Grey Colour (printing) Colour (printing) CMYK 0/0/0/100 CMYK 0/0/0/60 Colour (web) Colour (web) sRGB 0/0/0 sRGB 135/ 135 /135 OPERAS | Corporate Typeface Utopia Std Corporate Typeface Univers LT Pro The serif font Utopia Std and the sans serif Display font Univers LT Pro are combined for the corporate design. -
Basic Facts About Trademarks United States Patent and Trademark O Ce
Protecting Your Trademark ENHANCING YOUR RIGHTS THROUGH FEDERAL REGISTRATION Basic Facts About Trademarks United States Patent and Trademark O ce Published on February 2020 Our website resources For general information and links to Frequently trademark Asked Questions, processing timelines, the Trademark NEW [2] basics Manual of Examining Procedure (TMEP) , and FILERS the Acceptable Identification of Goods and Services Manual (ID Manual)[3]. Protecting Your Trademark Trademark Information Network (TMIN) Videos[4] Enhancing Your Rights Through Federal Registration Tools TESS Search pending and registered marks using the Trademark Electronic Search System (TESS)[5]. File applications and other documents online using the TEAS Trademark Electronic Application System (TEAS)[6]. Check the status of an application and view and TSDR download application and registration records using Trademark Status and Document Retrieval (TSDR)[7]. Transfer (assign) ownership of a mark to another ASSIGNMENTS entity or change the owner name and search the Assignments database[8]. Visit the Trademark Trial and Appeal Board (TTAB)[9] TTAB online. United States Patent and Trademark Office An Agency of the United States Department of Commerce UNITED STATES PATENT AND TRADEMARK OFFICE BASIC FACTS ABOUT TRADEMARKS CONTENTS MEET THE USPTO ������������������������������������������������������������������������������������������������������������������������������������������������������������������ 1 TRADEMARK, COPYRIGHT, OR PATENT �������������������������������������������������������������������������������������������������������������������������� -
Prohibiting Product Placement and the Use of Characters in Marketing to Children by Professor Angela J. Campbell Georgetown Univ
PROHIBITING PRODUCT PLACEMENT AND THE USE OF CHARACTERS IN MARKETING TO CHILDREN BY PROFESSOR ANGELA J. CAMPBELL1 GEORGETOWN UNIVERSITY LAW CENTER (DRAFT September 7, 2005) 1 Professor Campbell thanks Natalie Smith for her excellent research assistance, Russell Sullivan for pointing out examples of product placements, and David Vladeck, Dale Kunkel, Jennifer Prime, and Marvin Ammori for their helpful suggestions. Introduction..................................................................................................................................... 3 I. Product Placements............................................................................................................. 4 A. The Practice of Product Placement......................................................................... 4 B. The Regulation of Product Placements................................................................. 11 II. Character Marketing......................................................................................................... 16 A. The Practice of Celebrity Spokes-Character Marketing ....................................... 17 B. The Regulation of Spokes-Character Marketing .................................................. 20 1. FCC Regulation of Host-Selling............................................................... 21 2. CARU Guidelines..................................................................................... 22 3. Federal Trade Commission....................................................................... 24 -
What Specsavers Taught Brand Owners and the UKIPO
WHAT SPECSAVERS TAUGHT BRAND OWNERS AND THE UKIPO Specsavers is the largest chain of retail opticians in the UK. The real interest was in the trade mark infringement case. In its shops and promotional materials it makes much use of this Specsavers had a number of community trade marks (a) in trade mark: respect of the word mark SPECSAVERS and also (b) in respect of three device marks: Shaded Logo (“the Logo in Green”) So when Asda set about re-launching its own existing optician’s business in October 2009 under this mark: Unshaded Logo The Asda Logo Wordless Logo Specsavers predictably was not best pleased. Specsavers was equally unamused by two straplines which Asda used to promote its own in-store optician’s business: “Be a real spec saver at Asda” (the First Strap Line) “Spec savings at Asda” (the Second Strap Line) It will be noted that Specsavers did not have a registration for the Logo in Green – their device in the colour green, which they Specsavers, perhaps not unsurprisingly, sued Asda for trade actually use. mark infringement and passing off. The passing off claims failed because the trial judge at first instance held that none of the marks used by Asda either alone or cumulatively effected the required misrepresentation – the use of the Asda mark was too prominent in the logos and in the strap lines to allow for any confusion. Three Ways in Which a Trade Mark Can Be Infringed The table below illustrates the three main ways in which a trade mark, UK or Community, can be infringed:. -
Logo Use Guidelines
Logo Use Guidelines Get the ocial Plone logo in various formats from http://plone.org/logo 1 About the Logo Minimum Size Projects and companies using Plone are encouraged to use the Plone The logo must always be displayed at a size large enough to read both logo on their websites, brochures, packaging, and elsewhere. You may the logo type and the registered trademark. This will vary based on the not use the logo or its likeness as a company logo or for any other resolution of the medium it is being used in - but as a general rule the commercial purpose without permission from the Plone Foundation. logo circle should be no smaller than 1 cm (3/8”) or 36 pixels in height. User groups may use the logo in their materials, as long as they don't make any prot from it and comply with usage guidelines. The Plone logo is a worldwide registered trademark of the Plone Foundation, Clear Space which is responsible for defending against any damaging or confusing It is critical to maintain an open area surrounding the Plone logo so it uses. In general, we want the logo to be used as widely as possible to remains recognizable and does not become lost in other page promote Plone and the Plone community. Derivative versions of the elements. Clear space is dened relative to the size of the logo, not as a Plone logo are generally prohibited, as they dilute Plone's brand iden- border of a set distance (such as saying “1/4 inch”.) tity. -
Introducing Sentential Logic (SL) Part I – Syntax
Introducing Sentential Logic (SL) Part I – Syntax 1. As Aristotle noted long ago, some entailments in natural language seem to hold by dint of their “logical” form. Consider, for instance, the example of Aristotle’s being a logician above, as opposed to the “material” entailment considering the relative locations of Las Vegas and Pittsburgh. Such logical entailment provides the basic motivation for formal logic. So-called “formal” or “symbolic” logic is meant in part to provide a (perhaps idealized) model of this phenomenon. In formal logic, we develop an artificial but highly regimented language, with an eye perhaps of understanding natural language devices as approximating various operations within that formal language. 2. We’ll begin with a formal language that is commonly called either Sentential Logic (SL) or, more high- falutinly, “the propositional calculus.” You’re probably already quite familiar with it from an earlier logic course. SL is composed of Roman capital letters (and subscripted capital letters), various operators (or functors), and left and right parentheses. The standard operators for SL include the tilde (~), the ampersand (&), the wedge (v), and the arrow (→). Other operators, such as the double arrow, the stroke and the dagger, can easily be added as the need arises. The Syntax of S.L 3. A syntax for a language specifies how to construct meaningful expressions within that language. For purely formal languages such as SL, we can understand such expressions as well-formed formulas (wffs). The syntax of SL is recursive. That means that we start with basic (or atomic) wffs, and then specify how to build up more complex wffs from them. -
Mastercard ® Brand Mark Branding Requirements for Canada
Mastercard ® Brand Mark Branding requirements for Canada Version 1.0 / March 2017 Mastercard Brand Mark: Branding requirements for Canada March 2017 2 Table of contents Top five things you need to know 3 If after reading the branding requirements you still haven’t found the answer to your Brand Mark query, please contact us in one of two ways. configurations and versions 4 Acceptance Mark Email the Brand Manager configurations and versions 5 [email protected] Color specifications 6 Mastercard Brand Hotline Minimum sizes and free space 7 1-914-249-1326 Using the Mastercard name in text 8 Using with other marks 9 Card artwork 10 Use in merchant advertising 11 Use at physical merchant locations 12 Use at digital merchant locations 13 Use in digital applications 14 Use on ATMs 15 Use on contactless devices 16 Common mistakes 17 ©2017 Mastercard. All rights reserved. Mastercard®, Maestro®, and Cirrus® are registered trademarks, and the circles design is a trademark of Mastercard International Incorporated. Mastercard Brand Mark: Branding requirements for Canada March 2017 3 Top five things you need to know General requirements Brand Mark 1. There are multiple configurations and versions of the Mark. Use the correct one for your needs. See configurations Symbol Logotype and versions. Registered trademarks are available in English or French. 2. Always surround the Mark with Minimum sufficient free space, based on “x”, which free space is equal to the width of the “m” in the x x x x “mastercard” Logotype. See free space specifications x 1/2x x x 3. -
Copyrights Quick Reference Series
Copyrights Quick Reference Series Designing a t-shirt? Showing a movie on campus? Creating a website? For these things and more it is important to understand the laws and rules surrounding copyrighted material. Check out the information below to understand how copyright affects your student org. Copyright Material In the United States Code, Title 17, Section 107 of the Copyright Law allows for the “fair use” of a copyrighted work for purposes such as criticism, comment, news reporting, teaching, scholarship, or research. The Fair Use Doctrine allows for limited use of copyrighted materials without obtaining permission from the copyright holder, but the limitations are significant. The factors to be considered in determining if the copying is fair use are: The purpose and character of the use (education is more likely to be fair use and use that causes the work to be used for a new purpose is more likely to be fair use) The nature of the copyrighted work (a fact-based work is more likely to be fair use than a creative fictional work) The amount and substantiality of the copied portion compared to the work as a whole (a small portion and/or not copying the “best” portion(s) of the work is more likely to be fair use) The effect of the use on the potential market (copying that does not cause someone to not buy the whole work is more likely to be fair use) Copyright and Trademark Symbols © is the copyright symbol and signifies a creator’s exclusive rights to publish, reproduce, or sell an original work.