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15 the Effect of Font Type on Screen Readability by People with Dyslexia
The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia. -
Reuters Institute Digital News Report 2020
Reuters Institute Digital News Report 2020 Reuters Institute Digital News Report 2020 Nic Newman with Richard Fletcher, Anne Schulz, Simge Andı, and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2020 4 Contents Foreword by Rasmus Kleis Nielsen 5 3.15 Netherlands 76 Methodology 6 3.16 Norway 77 Authorship and Research Acknowledgements 7 3.17 Poland 78 3.18 Portugal 79 SECTION 1 3.19 Romania 80 Executive Summary and Key Findings by Nic Newman 9 3.20 Slovakia 81 3.21 Spain 82 SECTION 2 3.22 Sweden 83 Further Analysis and International Comparison 33 3.23 Switzerland 84 2.1 How and Why People are Paying for Online News 34 3.24 Turkey 85 2.2 The Resurgence and Importance of Email Newsletters 38 AMERICAS 2.3 How Do People Want the Media to Cover Politics? 42 3.25 United States 88 2.4 Global Turmoil in the Neighbourhood: 3.26 Argentina 89 Problems Mount for Regional and Local News 47 3.27 Brazil 90 2.5 How People Access News about Climate Change 52 3.28 Canada 91 3.29 Chile 92 SECTION 3 3.30 Mexico 93 Country and Market Data 59 ASIA PACIFIC EUROPE 3.31 Australia 96 3.01 United Kingdom 62 3.32 Hong Kong 97 3.02 Austria 63 3.33 Japan 98 3.03 Belgium 64 3.34 Malaysia 99 3.04 Bulgaria 65 3.35 Philippines 100 3.05 Croatia 66 3.36 Singapore 101 3.06 Czech Republic 67 3.37 South Korea 102 3.07 Denmark 68 3.38 Taiwan 103 3.08 Finland 69 AFRICA 3.09 France 70 3.39 Kenya 106 3.10 Germany 71 3.40 South Africa 107 3.11 Greece 72 3.12 Hungary 73 SECTION 4 3.13 Ireland 74 References and Selected Publications 109 3.14 Italy 75 4 / 5 Foreword Professor Rasmus Kleis Nielsen Director, Reuters Institute for the Study of Journalism (RISJ) The coronavirus crisis is having a profound impact not just on Our main survey this year covered respondents in 40 markets, our health and our communities, but also on the news media. -
Telemarketing Guide Contents
Telemarketing guide Contents Acknowledgements 5 Introduction 6 Business practice Compliance 8 Regulation, compliance and standards 8 Regulatory enforcement 8 Industry standards 8 Verification 8 Verifiers 9 Quality assurance 10 Quality assurance tools 10 Corporate and social responsibility 12 Customer satisfaction 12 Complaints procedure 13 Complaints policy 13 Complaints process 14 Complaints reporting 14 Complaints analysis 15 Complaint-handling training 15 Customer behaviour 17 Inclusivity and vulnerable consumers 17 Human resources 19 Key principles 19 Roles 19 Recruitment 19 Contracts 20 Remuneration 21 Training 22 Supervision and support of agents 26 Ongoing competency 26 Note for agents 26 Supplier–client relationships 27 Responsibilities 27 2 Contents Campaign creation Campaign objectives 29 Questions to consider: 29 Campaign strategy 29 Key principles 29 Add value to your customer and brand 30 Conversion rates 30 Campaign planning 31 Brief your front-line staff 31 Call and after-call process 32 1. Disclosure 32 2. Structure 32 3. Summary 33 4. Post-call process 33 Data 34 Sourcing data 34 Handling data 35 Using data 38 Campaign delivery Call scheduling 41 Key considerations 41 Reasonable hours 41 Ring time 42 Call retrying 43 Retry handling 43 Nuisance calls 43 Call-backs 44 Call abandonment 45 Abandoned call handling 45 Abandoned call information message 45 Technology and testing 46 Dialler operations 46 Predictive dialling 47 Answer machine detection (AMD) 50 3 Contents Campaign response Results and ROI 53 Campaign monitoring -
Brand Credibility to Mitigate Brand Boycott Preventive Strategy of Brand Globalness and Brand Endorsement: Theoretical Perspective
Journal of Economics, Business and Management, Vol. 3, No. 7, July 2015 Brand Credibility to Mitigate Brand Boycott Preventive Strategy of Brand Globalness and Brand Endorsement: Theoretical Perspective Hesham Fazel organizers that hindered product distribution [3], boycotts Abstract—Boycott effectiveness is highly reliant upon are undesirable perceptions for marketers and managers, consumer willingness to engage or disengage in the boycott who must therefore do everything in their power to develop activities. Little research investigates possible strategies that can be applied to positively influence individuals’ perspectives and implement all possible tactics that will prevent or about the boycotted brands and perhaps increase their reduce the loss in market-share that can result from such willingness to disengage in boycott activities. This paper social actions by consumers. theoretically discusses a main relationship between brand For the most part, prior research studies on consumer credibility and willingness to dis/engagement in brand boycott boycotts have been conceptual or descriptive, with a focus movements. I propose that when consumers perceive a brand at higher level of credibility, they are less inclined to engage in on boycott organizers and targets as well as consumer boycott activities against that brand. Furthermore, this paper motivations for participating in boycott activities [4]. No discusses the idea that brand endorsement of local events and previous studies have investigated beyond the common consumers’ perception of brand globalness may moderate the relationship between firms and boycotters’ participation relationship between brand credibility and consumer willingness to dis/engage in boycotts. motivation. Little research has investigated the strategies that brands may apply protect their firm’s image and Index Terms—Brand, boycott, globalness, endorsement. -
The Long-Term Effect of Marketing Strategy on Brand Sales
Marketing Science Institute Special Report 09-213 The Long-term Effect of Marketing Strategy on Brand Sales Berk Ataman, Harald van Heerde, and Carl Mela Copyright 2009 Berk Ataman, Harald van Heerde, and Carl Mela MSI special reports are in draft form and are distributed online only for the benefit of MSI corporate and academic members. Reports are not to be reproduced or published, in any form or by any means, electronic or mechanical, without written permission. 1 The Long-term Effect of Marketing Strategy on Brand Sales M. Berk Ataman Assistant Professor of Marketing Rotterdam School of Management, Erasmus University P.O. Box 1738, 3000 DR, Rotterdam, Netherlands Phone: +31-10-408-2612 Fax: +31-10-408-9011 [email protected] Harald J. van Heerde Professor of Marketing Waikato Management School, University of Waikato Private Bag 3105, Hamilton 3240, New Zealand Phone: +64-7-838-4089 [email protected] Carl F. Mela* Professor of Marketing Fuqua School of Business, Duke University 1 Towerview Drive, Durham, NC 27708 Phone: +1-919-660-7767 Fax: +1-919-660-7790 [email protected] * The authors would like to thank IRI and TNS Media Intelligence for providing the data, Marketing Science Institute and Zyman Institute for Brand Science for research support. Ataman and Van Heerde would like to thank Netherlands Organization for Scientific Research for research support. Earlier versions of this paper benefited from valuable comments of seminar participants at Northwestern University, Yale School of Management, Erasmus University Rotterdam, University of Groningen, Catholic University Leuven, Free University Amsterdam, and Tilburg University. 2 The Long-term Effect of Marketing Strategy on Brand Sales Report Summary Few studies consider the relative role of the entire marketing mix on long-term performance of mature brands –instead emphasizing advertising and price promotion. -
Adobe Garamond Pro
Adobe Garamond Pro a® a An Adobe® Original Adobe Garamond® Pro A contemporary typeface family based on the roman types of Claude Garamond and the italic types of Robert Granjon © Adobe Systems Incorporated. All rights reserved. For more information about OpenType®, please refer to Adobe’s web site at www.adobe.com/type/opentype is document was designed to be viewed on-screen or printed duplex and assembled as a booklet Adobe® Originals Adobe Systems Incorporated introduces Adobe Garamond Pro, a new font software package in the growing library of Adobe Originals typefaces, designed specifically for today’s digital technology. Since the inception of the Adobe Originals program in , the Adobe Originals typefaces have been consistently recognized throughout the world for their quality, originality, and practicality. ey combine the power of PostScript® language software technology and the most 23 sophisticated electronic design tools with the spirit of craftsmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font software has set a standard for typographic excellence. What is OpenType? Developed jointly by Adobe and Microsoft, OpenType® is a highly versatile new font file format that represents a signifi cant advance in type functionality on Macintosh and Windows® computers. Perhaps most exciting for designers and typographers is that OpenType fonts off er extended layout features that bring an unprecedented level of sophistication and control to contemporary typography. Because an OpenType typeface can incorporate all glyphs for a specifi c style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and other related sets is elimi- nated. -
VISUAL IDENTITY GUIDELINES the IMPORTANCE of OUR IDENTITY the Following Pages Describe the Essential Elements of the Baker International Group Visual Identity
Global business solutions for CE companies VISUAL IDENTITY GUIDELINES THE IMPORTANCE OF OUR IDENTITY The following pages describe the essential elements of the Baker International Group visual identity. Proper usage of these identity assets and adherence to these guidelines ensure a refined, upscale and recognizable identity for the BIG brand wherever it is seen. Partners, dealers, employees and any party that creates material on behalf of BIG should review these visual branding guidelines to maintain the integrity of the BIG brand. The BIG Corp 2016 2 COMPANY LOGO The BIG logotype is the official signature of the BIG brand. The logotype should never be recolored or broken up. Note that the globe element may be used as a watermark on official BIG documents. The logotype should not be scaled disproportionately or reformatted in any way, shape, or form. NOTE: In the rare instance where spacing is limited, you may use an alternate version of the logo, where the words “BAKER INTERNATIONAL GROUP” are stacked next to “BIG.” Global business solutions for CE companies ALTERNATE VERSION (for use in instances where space is limited) The BIG Corp 2016 3 PADDING To ensure the clarity of the logo, always maintain at least the minimum padding space shown below. Graphic elements or the edge of an object should never encroach on this space. Global business solutions for CE companies The height of the “i” is the minimum amount of padding that should be respected around the logo. The BIG Corp 2016 4 PROPER LOGO USE Consistent logotype presentation is an important part of keeping the BIG brand reputable and sturdy. -
Underline-Text-In-Illustrator.Pdf
Underline Text In Illustrator Insolent and unvaried Millicent exhilarate some jumpiness so accidentally! Wriggly Ximenez vitalizes that trampler revictual anywhere and inhumes pruriently. Antinomical Reginauld form some fallers and raced his pessary so filthily! Illustrator team has copyright, in illustrator places in order of underline text in illustrator before you sure you would be done so? Illustrator for several hours. Illustrator problem, is can trust very frustrating, but. You may be exported or illustrator text underline in illustrator go way you know what if i learned the interpreted reading order to underline? Actually many text and eye on the left, in text i have to clipboard, i created an incredibly super cool way. Download 70 fancy themselves free vectors Choose from like a. Illustrator go the word may use rgb color change is underline in. Vector text in your designing and distortion percentages within this. You want better designed and text underline in illustrator to watch. For illustrator text. How these underline depth in CSS javatpoint. You italicize in the roman etc. Ungroup the text elements further using the same board so that each lot block distance be selected separately. Dhe kjo, nëse rezulton e vërtetë, është një fitore e prerë për këdo që kërkon të kthejë një predispozitë të caktuar të bazuar në ankth. We improve auto, text underline in illustrator will be an ad blocker turned on. People think and do not together layouts with Photoshop or Illustrator put. To edit fields in text illustrator underline pack as complex concepts and illustrator. -
Or: “How We Built Websites of Indeterminate Design for Adobe Portfolio”
Schrödinger's Website or: “How we built websites of indeterminate design for Adobe Portfolio” a talk by Jackie Balzer (@jackiebackwards) htps://en.wikipedia.org/wiki/File:Schrodinger_cat_in_box.jpg Web Development Life Cycle Adobe Portfolio Challenges • Customizations viewed in the editor must be 100% representative of the final product (WYSIWYG) • Every Thing* must be user-customizable * minus the specifics of the responsive layout • Responsive styles must look good for infinite- possible customizations Tenets • DRY • Reusable • Human writen • Responsive layout should retain the spirit of the user’s customizations WYSIWYG Challenges: Markup • The markup you see for your site inside the editor should be the same markup you see on your final published website WYSIWYG Challenges: CSS • The styles you see for your site inside the editor should be the result of the same CSS you see on your final published website 1 "header": { 2 "align": "center", 3 "color": "#222", 4 "font": { 5 "family": "ftnk", 6 "size": 30, 7 "lineHeight": 30 8 }, 9 "fontStyle": { 10 "bold": "700", 11 "italic": "normal", 12 "underline": null, 13 "strikethrough": null, 14 "uppercase": "uppercase" 15 }, 16 "padding": { 17 "bottom": 0, 18 "left": 0, 19 "right": 0, 20 "top": 0 21 } 22 } 1 $header: ( 2 align: center, 3 color: #222, 4 font: ( 5 family: ftnk, 6 size: 30, 7 lineHeight: 30 8 ), 9 fontStyle: ( 10 bold: 700, 11 italic: normal, 12 underline: null, 13 strikethrough: null, 14 uppercase: uppercase 15 ), 16 padding: ( 17 bottom: 0, 18 left: 0, 19 right: 0, 20 top: 0 21 ) 22 -
Brand Safety Policy
BRAND SAFETY POLICY National Media Group, a division of Meredith Corporation, creates brands focused on providing you with destinations you can trust and rely on for every stage of your life to connect you to great content, products, and services, and, based on your engagement with us, customize your experience with us. Our mission is to be clear and transparent. That includes our Brand Safety policies and Brand suitability, as well as the controls we offer the consumers of our content and our advertisers. What is Brand Safety? ● TAG defines “Brand Safety” as the controls that companies in the digital advertising supply chain use to protect brands against negative impacts on consumer opinion associated with specific types of content and/or related loss of return on investment. Defining Brand Safety Vs. Brand Suitability per IAB ● Brand Safety solutions enable a brand to avoid content that is generally considered to be inappropriate for any advertising, and unfit for publisher monetization regardless of the advertisement or brand. This is where the 4A’s Brand Safety Floor categorization and IAB’s taxonomy classifications come into play. ○ For example, content that contains hate speech directed at a protected class would be inappropriate for any advertising. Likewise, content that promotes or glamorizes the consumption of illegal drugs would be inappropriate for any advertising. ● Brand Suitability solutions enable a brand to determine content for an individual advertiser’s goals. Brand Suitability solutions can either: a) help a brand to avoid content that is specifically inappropriate for its unique sensitivities and values but may be appropriate for another brand, or b) allow content that is aligned with a brand based on its context, sentiment, tone, creative messaging, and other qualifying factors. -
Brand Guidelines Released 12.08.20 Contents
Brand Guidelines Released 12.08.20 Contents 01 Mark ���������������������������������������������������������������������������2 02 Clear Space ���������������������������������������������������������������� 4 03 Usage Cases ����������������������������������������������������������������5 04 Color Palette �������������������������������������������������������������� 6 05 Typography �����������������������������������������������������������������7 01 Mark PRIMARY LOGO MARK The following is the primary full-colour logo and icon. The following is the Anuket Icon. LOGOTYPE PRIMARY ICON Anuket • BRAND GUIDELINES 2 01 Mark Cont. BLACK The black version of the Anuket logo should be used when only one color is available for printing. The white or knockout version should WHITE be used over black and colored backgrounds or low-contrast images. KNOCKOUT Anuket • BRAND GUIDELINES 3 02 Clear Space Clear space is the X X minimum “breathing room” maintained around the Logo. To work out the clearspace take the height of the “A”, and divide it in half. (Clearspace = “A” Height /2) This area should be kept free of graphics, text and other marks. This space also defines the minimum distance from the mark to the edge of a border, page, screen, etc. X X Anuket • BRAND GUIDELINES 4 03 USAGE CASES The integrity of SCALE Do not play with the scale and ORIENTATION Do not change the PROPORTIONS Do not change the the Anuket logo perspective, or alter the proportions orientation of the mark by rotating it proportions of the logotype and mark. must be respected of the mark. in any way. at all times. Do not alter, recreate OR distort the mark in any way. Please use approved electronic art when reproducing the COLOR Do not reverse, change, or add EFFECTS Do not add any effects such as a MARK Do not change the layout Anuket logo. -
Brand and Advertising Awareness: a Replication and Extension of a Known Empirical Generalisation
Brand and Advertising Awareness Brand and Advertising Awareness: A Replication and Extension of a Known Empirical Generalisation Jenni Romaniuk, Byron Sharp, Samantha Paech & Carl Driesener Abstract From analysis of over 39 categories Laurent, Kapferer and Roussel (1995) found that top of mind, spontaneous and aided brand awareness measures have the same underlying structure. The difference in scores appears due to the difficulty of the measure. We have successfully replicated this work and extended it to similarly structured advertising awareness measures. However, additional analyses then revealed that while there is a good category level fit, modelling a single brand over time is less successful. Indeed, Laurent et al.’s excellent cross-sectional fit appears due to substantially different levels of salience between larger and smaller brands. This suggests that while the different types of awareness tend to vary with a brand’s overall level of salience, this does not mean that the different measures simply reflect a single underlying construct. Further, our finding challenges the previous authors’ claim that knowing the score for one measure allows the estimation of the score for another measure. Instead, the model provides useful norms against which to compare actual scores. Keywords: Brand awareness, Advertising awareness, Empirical generalisation 1. Introduction product category cue, was one of the first brand Awareness measures are used extensively in research as awareness measures to receive attention, emerging as a gauge of brand performance and marketing one of the best ‘predictors’ of choice in Axelrod’s (1968) effectiveness. The most commonly used are those longitudinal study comparing different measures. relating to brand and advertising awareness.