The New School Identity Guidelines provide details on logo construction, color usage, minimum sizes, and applications for The New School university logo and individual school logos. The university logo consists of The New School mark and university descriptor held in a fixed relationship. It comes in three states for the mark and can be used in red, orange, or yellow. School logos combine the school name with The New School mark and descriptor. Logos must have clearspace and only approved artwork should be used for branding consistency across applications.
Logo evolution of Microsoft Windows and Reebok over the period of time from t...Kartik Mehta
Logo evolution of a brands such as Microsoft Windows and Reebok over the period of time from the start, helpful for Marketers to understand the significance of logo designing in a reputed brand
This document summarizes several education branding projects including:
1. A 1999 Manipal project that developed a brand identity and positioning of "Inspired By Life" to unite various Manipal institutes.
2. A 2007 WE School project that rebranded the Welingkar Institute of Management and developed a new name, identity, and culture focused on collaboration and transformation.
3. A 2008 Oakridge project that created an international school brand focused on open minds and catering to different age groups.
Carol Brandt & Rikke Toft Nørgård - More than shiny new spaces for tinkering:...Rikke Toft Noergaard
This document discusses using signature pedagogy to foster design practices and critical thinking in university makerspaces. It proposes configuring makerspaces to promote interdisciplinarity, collaboration, and problem-solving beyond just creating new things. Signature pedagogy involves surface structures like design investigations and prototypes, deep structures like design critiques, and implicit structures like developing civic responsibility. The goal is for makerspaces to become "placeful studios" that integrate university and society through tackling complex problems and developing students' and teachers' roles as "academic citizens".
Art as Experience, rather than AppreciationErin Reilly
This summary provides the key details about the document in 3 sentences or less:
The document is an article from the Journal of Children and Media that discusses how an elementary charter school in Los Angeles called Los Feliz Charter School for the Arts integrates arts across curricula to foster creative and collaborative learning experiences for students. The school requires teachers to participate in art classes alongside students, and classes fluidly combine different subjects to encourage metaphoric thinking over rote learning. The article argues this approach prepares students with new media literacies and habits of mind for an uncertain future.
The document is a branding standards manual for the University of Cincinnati that provides guidelines for using the university's logo and brand identity. It defines the university's brand essence as discovering and transforming, and establishes the brand character. It also outlines acceptable uses of the logo, including approved colors, minimum sizes, spacing requirements, and examples of incorrect executions. The manual aims to create consistency in representing the university's brand across all communications.
The document proposes the creation of an Experiential Media Institute (XMI) at Ryerson University. The XMI would be a transdisciplinary institute that brings together faculty and students from different programs to develop new curriculum and research at the intersection of experiential media and other disciplines. Through project-based learning clusters, students would develop skills like bricolage, ethnography, entrepreneurship and programming while integrating multiple disciplines. The goal is for students to graduate with hybridized skillsets and media practices embedded in traditional programs. The XMI would complement existing schools and create opportunities for interdisciplinary education, research collaboration, and innovation across the university.
1) Over the past two decades, designers have increasingly integrated ethnographic lessons and methods into their work. Under approaches like participatory, human-centered, and transformation design, the relationship between design studies and ethnography has deepened.
2) Developments in fields like anthropology, sociology, and science and technology studies have transformed understandings of both ethnographic contexts and subjects. Professional design organizations now advocate for incorporating ethnographic skills into design education and practice.
3) The author argues that all designers are "implicit ethnographers" as they routinely employ cultural analysis and documentation methods, whether formally trained in ethnography or not. Ethnographic understanding is intrinsic to design work.
Logo evolution of Microsoft Windows and Reebok over the period of time from t...Kartik Mehta
Logo evolution of a brands such as Microsoft Windows and Reebok over the period of time from the start, helpful for Marketers to understand the significance of logo designing in a reputed brand
This document summarizes several education branding projects including:
1. A 1999 Manipal project that developed a brand identity and positioning of "Inspired By Life" to unite various Manipal institutes.
2. A 2007 WE School project that rebranded the Welingkar Institute of Management and developed a new name, identity, and culture focused on collaboration and transformation.
3. A 2008 Oakridge project that created an international school brand focused on open minds and catering to different age groups.
Carol Brandt & Rikke Toft Nørgård - More than shiny new spaces for tinkering:...Rikke Toft Noergaard
This document discusses using signature pedagogy to foster design practices and critical thinking in university makerspaces. It proposes configuring makerspaces to promote interdisciplinarity, collaboration, and problem-solving beyond just creating new things. Signature pedagogy involves surface structures like design investigations and prototypes, deep structures like design critiques, and implicit structures like developing civic responsibility. The goal is for makerspaces to become "placeful studios" that integrate university and society through tackling complex problems and developing students' and teachers' roles as "academic citizens".
Art as Experience, rather than AppreciationErin Reilly
This summary provides the key details about the document in 3 sentences or less:
The document is an article from the Journal of Children and Media that discusses how an elementary charter school in Los Angeles called Los Feliz Charter School for the Arts integrates arts across curricula to foster creative and collaborative learning experiences for students. The school requires teachers to participate in art classes alongside students, and classes fluidly combine different subjects to encourage metaphoric thinking over rote learning. The article argues this approach prepares students with new media literacies and habits of mind for an uncertain future.
The document is a branding standards manual for the University of Cincinnati that provides guidelines for using the university's logo and brand identity. It defines the university's brand essence as discovering and transforming, and establishes the brand character. It also outlines acceptable uses of the logo, including approved colors, minimum sizes, spacing requirements, and examples of incorrect executions. The manual aims to create consistency in representing the university's brand across all communications.
The document proposes the creation of an Experiential Media Institute (XMI) at Ryerson University. The XMI would be a transdisciplinary institute that brings together faculty and students from different programs to develop new curriculum and research at the intersection of experiential media and other disciplines. Through project-based learning clusters, students would develop skills like bricolage, ethnography, entrepreneurship and programming while integrating multiple disciplines. The goal is for students to graduate with hybridized skillsets and media practices embedded in traditional programs. The XMI would complement existing schools and create opportunities for interdisciplinary education, research collaboration, and innovation across the university.
1) Over the past two decades, designers have increasingly integrated ethnographic lessons and methods into their work. Under approaches like participatory, human-centered, and transformation design, the relationship between design studies and ethnography has deepened.
2) Developments in fields like anthropology, sociology, and science and technology studies have transformed understandings of both ethnographic contexts and subjects. Professional design organizations now advocate for incorporating ethnographic skills into design education and practice.
3) The author argues that all designers are "implicit ethnographers" as they routinely employ cultural analysis and documentation methods, whether formally trained in ethnography or not. Ethnographic understanding is intrinsic to design work.
Social Innovation at The New School November 2015kahanem
The New School was founded in 1919 to provide an alternative to traditional education that focused on intellectual constraints. It now has over 10,000 students across 135 undergraduate and graduate programs focused on collaborative and interdisciplinary learning. The New School prepares students for changing work environments through experiential learning opportunities like labs, competitions, and social venture incubators that allow students to apply their skills to real-world problems. Signature programs include New Challenge, which provides funding for student ideas, and labs focused on design, community development, games, and more that give students hands-on experience developing solutions to issues.
The document discusses educating students for global competence. It summarizes research showing that International Studies Schools Network (ISSN) schools outperformed comparison schools in 83 out of 119 comparisons. It describes ISSN's design model for successful globally-focused schools, including elements like vision/mission/culture, curriculum/instruction/assessment, professional learning communities, partnerships, and governance. It provides examples of what globally-focused curriculum and instruction could look like in different subject areas. It also discusses developing students' global leadership skills through a Graduation Performance System that assesses student work based on core subject disciplines and domains of global leadership.
- Current research shows that students start becoming intellectually disengaged in middle school years (grades 6-8). Intellectual engagement refers to a serious emotional and cognitive investment in learning using higher-order thinking.
- The document discusses strategies for re-engaging disengaged middle school students, including focusing on learner-centered approaches, engaged learning, and developing a sense of community. It also provides examples of instructional strategies that can engage students, such as graphic organizers, cooperative learning, and project-based learning.
- The goal is to design learning experiences that allow students to build, design, and construct their own evidence of learning in order to increase engagement and prevent students from dropping out of high school due
Report for school design & Report for school designnhatty966
This document provides a design report for a new high school focused on the theme of "Living in the Moment." It includes sections describing the project, site development, formal composition to express the theme, functional arrangements and flow, use of materials like rammed earth and large windows, and considerations for natural lighting, ventilation, acoustics, and accessibility via ramps rather than elevators. The goal is to create a unique space that allows students to experience new activities and make the teaching and learning process more exciting.
Design thinking in education involves using problem solving approaches to address community issues. When instructors implement design thinking in the classroom, students can think of solutions to community problems and learn about visual learning. The document discusses design thinking, visual learning, and being an insider researcher. It provides definitions and examples of these concepts from education literature. The purpose is to understand how design thinking impacts learning at an under-resourced school.
How do we use the arts to develop students' creativity in schoolsEduSkills OECD
This document discusses using arts education to develop student creativity. It addresses common questions like how the arts can foster creative thinking skills and the right assessment strategies. The document also examines partnerships between schools and cultural institutions in Denmark. These partnerships aim to provide artistic challenges and novel perspectives to inspire student creativity. However, the document notes that intentional practice and reflection are needed for creative learning. Qualitative methods are also suggested to better understand the complexity of creativity in these partnerships. Overall, the document advocates giving students freedom to explore and find their own expertise through arts education.
This document provides details about Erika Rimes' action research project exploring how to effectively develop students' visual literacy skills in stage 3. The project was conducted with a class of 30 year 5 students from diverse backgrounds. Data was collected through observations of lessons, student work samples, reflections, and discussions. In the first cycle, students demonstrated an ability to identify and classify visual images when provided with specific examples and meta-language. Students also analyzed their own visual images, providing varied written responses. Assessment focused on students' use of higher-order skills to access information from images and texts.
Educational Spaces 21.Open up!.. Introduction
GUIDEBOOKS ON DESIGNING MODERN AND LEARNING-RICH LEARNING ENVIRONMENTS.
This publication has been elaborated as a part of the “Educational Spaces 21. Open up!”
project implemented by the Center for Citizenship Education Foundation in
cooperation with the THINK! Knowledge Society Foundation, the Gesellschaft zur
Förderung des Hanseatic Institute for Entrepreneurship and Regional Development an der Universität Rostock e.V. and Rektorsakademien Utveckling AB, and funded by the European Commission as a part of the ERASMUS+ programme.
Teachers as learning designers: using design thinking to innovate and enhance...Rikke Toft Noergaard
The document discusses using design thinking to reconfigure teaching practice for the changing university environment. It advocates that teachers adopt the role of learning designers by intentionally designing learning experiences through answering questions about vision, pedagogy, and implementation. This process moves from identifying problems and envisioning solutions, to determining pedagogical approaches and learning activities, to selecting technologies and tasks. An example learning design process is provided to illustrate moving from understanding why a new approach is needed, to determining how it will be structured, to specifying what it will involve. The goal is to help teachers intentionally create meaningful, future-oriented learning experiences for students.
This document discusses how arts integration can help transcend barriers to learning. It provides examples of how Oklahoma A+ Schools have successfully integrated the arts across disciplines through starting with concepts, passions, or art forms. Research confirms that students learn most effectively through "hard fun" - actively constructing personally meaningful artifacts. The document encourages developing schools that foster creativity, innovation, and critical thinking for 21st century learners.
The document provides an overview of evolving learning space typologies in education, workplaces and other emerging contexts. It discusses three key areas:
1) Educational spaces - Examines how educational institutions are facilitating learning through new pedagogical approaches like project-based learning, rescheduling learning periods, and widening teaching methods. Case studies of innovative schools are provided.
2) Workspaces - Explores how workplaces are designing learning spaces to support continual learning, collaboration, and knowledge sharing. Examples of co-working spaces that foster learning among solopreneurs and startups are discussed.
3) Emerging contexts - Briefly mentions unconventional learning spaces emerging outside of traditional institutions, like makers
This document introduces several school leaders who were interviewed as part of exploring leadership roles in the Learning Frontiers program. It profiles six principals who are actively involved in developing design hubs that aim to increase student engagement in learning. The profiles provide details about each leader's experience, school, and commitment to innovation, creativity, student empowerment and transforming education.
This document provides information about graduate programs at Concordia University. It highlights several graduate students and their research, including Amanda Rossi in Exercise Science, Jason Dubsky in Administration, and Desirée de Jesus in Film and Moving Image Studies. It also describes some of Concordia's research strengths like greening the aerospace industry and finding a new business model. The university offers over 100 graduate programs across two campuses in a diverse community with opportunities for international experience and professional development.
Crucial choices. Approaching school design. Vision to reality.
Lene Jensby Lang - Autens
rETHINKING eDUCATION dESIGN
ECN One Day Conference - 20 November 2019
RICS, Great George Street, London
The document outlines what an administrator should expect from a school library media specialist. It states that a library media specialist is a teacher, collaborator, and resource locator. They teach students information literacy skills, work with teachers on instruction, and help find resources to support the school. A library media specialist is also a communicator, leader, professional development provider, and innovator. They communicate about the library program, provide leadership and professional development, and look for new ways to improve. Most importantly, a successful library media program requires collaboration between the specialist, teachers, administrators, and other staff for the benefit of students.
The toolkit offers you new ways to be intentional and collaborative when you are designing new solutions for your classroom, school, and community.
It hones your skills and empowers you to create desirable solutions. In this toolkit, we have layed out a series of steps that can help you develop new, innovative solutions designed with people at the center.
The faculty at Ormondale Elementary School in California wanted to better prepare their students for the future. They used design thinking to collaboratively create an approach called "Investigative Learning" which focuses on students shaping their own knowledge rather than just receiving information. The faculty continues to evolve this approach and share it with new teachers through documenting their philosophy and methods. Their use of design thinking helped gain support from the school board and recognition for being a distinguished school.
The Design Thinking Toolkit for Educators
This toolkit contains the process and methods of design along with the Designer’s Workbook, adapted specifically for the context of K-12 education. It offers new ways to be intentional and collaborative when designing, and empowers educators to create impactful solutions.
At IDEO, we’ve been using similar processes, methods, and tools for years in tackling some dauntingly complex challenges. More often than not, we’ve experienced how Design Thinking helps to get to the next step. That’s why we are excited to see how it can impact the world of education. Teachers at Riverdale Country School are starting to use design process to address challenges in their classrooms and schools, and together we’ve created this toolkit in order to share these processes more broadly.
This is an invitation to experiment with the design process. Let it inspire you to approach challenges differently, and experience how Design Thinking adds a new perspective to your work.
The document discusses moving towards a more learner-centered approach to education. It suggests replacing subject disciplines with problems or themes, assessing students based on projects rather than tests, and having more learning take place outside the classroom. The goal is for students to create their own evidence of learning that makes a real-world difference. Learner-centeredness should be a mindset for all ages and learners. It questions how to design curriculum focusing on 21st century skills like collaboration and giving students more voice and choice in their learning. The document advocates developing a learning-centered ethos with engaged and community-focused learning.
La Unión Europea ha acordado un embargo petrolero contra Rusia en respuesta a la invasión de Ucrania. El embargo prohibirá las importaciones marítimas de petróleo ruso a la UE y pondrá fin a las entregas a través de oleoductos dentro de seis meses. Esta medida forma parte de un sexto paquete de sanciones de la UE destinadas a aumentar la presión económica sobre Moscú y privar al Kremlin de fondos para financiar su guerra.
Social Innovation at The New School November 2015kahanem
The New School was founded in 1919 to provide an alternative to traditional education that focused on intellectual constraints. It now has over 10,000 students across 135 undergraduate and graduate programs focused on collaborative and interdisciplinary learning. The New School prepares students for changing work environments through experiential learning opportunities like labs, competitions, and social venture incubators that allow students to apply their skills to real-world problems. Signature programs include New Challenge, which provides funding for student ideas, and labs focused on design, community development, games, and more that give students hands-on experience developing solutions to issues.
The document discusses educating students for global competence. It summarizes research showing that International Studies Schools Network (ISSN) schools outperformed comparison schools in 83 out of 119 comparisons. It describes ISSN's design model for successful globally-focused schools, including elements like vision/mission/culture, curriculum/instruction/assessment, professional learning communities, partnerships, and governance. It provides examples of what globally-focused curriculum and instruction could look like in different subject areas. It also discusses developing students' global leadership skills through a Graduation Performance System that assesses student work based on core subject disciplines and domains of global leadership.
- Current research shows that students start becoming intellectually disengaged in middle school years (grades 6-8). Intellectual engagement refers to a serious emotional and cognitive investment in learning using higher-order thinking.
- The document discusses strategies for re-engaging disengaged middle school students, including focusing on learner-centered approaches, engaged learning, and developing a sense of community. It also provides examples of instructional strategies that can engage students, such as graphic organizers, cooperative learning, and project-based learning.
- The goal is to design learning experiences that allow students to build, design, and construct their own evidence of learning in order to increase engagement and prevent students from dropping out of high school due
Report for school design & Report for school designnhatty966
This document provides a design report for a new high school focused on the theme of "Living in the Moment." It includes sections describing the project, site development, formal composition to express the theme, functional arrangements and flow, use of materials like rammed earth and large windows, and considerations for natural lighting, ventilation, acoustics, and accessibility via ramps rather than elevators. The goal is to create a unique space that allows students to experience new activities and make the teaching and learning process more exciting.
Design thinking in education involves using problem solving approaches to address community issues. When instructors implement design thinking in the classroom, students can think of solutions to community problems and learn about visual learning. The document discusses design thinking, visual learning, and being an insider researcher. It provides definitions and examples of these concepts from education literature. The purpose is to understand how design thinking impacts learning at an under-resourced school.
How do we use the arts to develop students' creativity in schoolsEduSkills OECD
This document discusses using arts education to develop student creativity. It addresses common questions like how the arts can foster creative thinking skills and the right assessment strategies. The document also examines partnerships between schools and cultural institutions in Denmark. These partnerships aim to provide artistic challenges and novel perspectives to inspire student creativity. However, the document notes that intentional practice and reflection are needed for creative learning. Qualitative methods are also suggested to better understand the complexity of creativity in these partnerships. Overall, the document advocates giving students freedom to explore and find their own expertise through arts education.
This document provides details about Erika Rimes' action research project exploring how to effectively develop students' visual literacy skills in stage 3. The project was conducted with a class of 30 year 5 students from diverse backgrounds. Data was collected through observations of lessons, student work samples, reflections, and discussions. In the first cycle, students demonstrated an ability to identify and classify visual images when provided with specific examples and meta-language. Students also analyzed their own visual images, providing varied written responses. Assessment focused on students' use of higher-order skills to access information from images and texts.
Educational Spaces 21.Open up!.. Introduction
GUIDEBOOKS ON DESIGNING MODERN AND LEARNING-RICH LEARNING ENVIRONMENTS.
This publication has been elaborated as a part of the “Educational Spaces 21. Open up!”
project implemented by the Center for Citizenship Education Foundation in
cooperation with the THINK! Knowledge Society Foundation, the Gesellschaft zur
Förderung des Hanseatic Institute for Entrepreneurship and Regional Development an der Universität Rostock e.V. and Rektorsakademien Utveckling AB, and funded by the European Commission as a part of the ERASMUS+ programme.
Teachers as learning designers: using design thinking to innovate and enhance...Rikke Toft Noergaard
The document discusses using design thinking to reconfigure teaching practice for the changing university environment. It advocates that teachers adopt the role of learning designers by intentionally designing learning experiences through answering questions about vision, pedagogy, and implementation. This process moves from identifying problems and envisioning solutions, to determining pedagogical approaches and learning activities, to selecting technologies and tasks. An example learning design process is provided to illustrate moving from understanding why a new approach is needed, to determining how it will be structured, to specifying what it will involve. The goal is to help teachers intentionally create meaningful, future-oriented learning experiences for students.
This document discusses how arts integration can help transcend barriers to learning. It provides examples of how Oklahoma A+ Schools have successfully integrated the arts across disciplines through starting with concepts, passions, or art forms. Research confirms that students learn most effectively through "hard fun" - actively constructing personally meaningful artifacts. The document encourages developing schools that foster creativity, innovation, and critical thinking for 21st century learners.
The document provides an overview of evolving learning space typologies in education, workplaces and other emerging contexts. It discusses three key areas:
1) Educational spaces - Examines how educational institutions are facilitating learning through new pedagogical approaches like project-based learning, rescheduling learning periods, and widening teaching methods. Case studies of innovative schools are provided.
2) Workspaces - Explores how workplaces are designing learning spaces to support continual learning, collaboration, and knowledge sharing. Examples of co-working spaces that foster learning among solopreneurs and startups are discussed.
3) Emerging contexts - Briefly mentions unconventional learning spaces emerging outside of traditional institutions, like makers
This document introduces several school leaders who were interviewed as part of exploring leadership roles in the Learning Frontiers program. It profiles six principals who are actively involved in developing design hubs that aim to increase student engagement in learning. The profiles provide details about each leader's experience, school, and commitment to innovation, creativity, student empowerment and transforming education.
This document provides information about graduate programs at Concordia University. It highlights several graduate students and their research, including Amanda Rossi in Exercise Science, Jason Dubsky in Administration, and Desirée de Jesus in Film and Moving Image Studies. It also describes some of Concordia's research strengths like greening the aerospace industry and finding a new business model. The university offers over 100 graduate programs across two campuses in a diverse community with opportunities for international experience and professional development.
Crucial choices. Approaching school design. Vision to reality.
Lene Jensby Lang - Autens
rETHINKING eDUCATION dESIGN
ECN One Day Conference - 20 November 2019
RICS, Great George Street, London
The document outlines what an administrator should expect from a school library media specialist. It states that a library media specialist is a teacher, collaborator, and resource locator. They teach students information literacy skills, work with teachers on instruction, and help find resources to support the school. A library media specialist is also a communicator, leader, professional development provider, and innovator. They communicate about the library program, provide leadership and professional development, and look for new ways to improve. Most importantly, a successful library media program requires collaboration between the specialist, teachers, administrators, and other staff for the benefit of students.
The toolkit offers you new ways to be intentional and collaborative when you are designing new solutions for your classroom, school, and community.
It hones your skills and empowers you to create desirable solutions. In this toolkit, we have layed out a series of steps that can help you develop new, innovative solutions designed with people at the center.
The faculty at Ormondale Elementary School in California wanted to better prepare their students for the future. They used design thinking to collaboratively create an approach called "Investigative Learning" which focuses on students shaping their own knowledge rather than just receiving information. The faculty continues to evolve this approach and share it with new teachers through documenting their philosophy and methods. Their use of design thinking helped gain support from the school board and recognition for being a distinguished school.
The Design Thinking Toolkit for Educators
This toolkit contains the process and methods of design along with the Designer’s Workbook, adapted specifically for the context of K-12 education. It offers new ways to be intentional and collaborative when designing, and empowers educators to create impactful solutions.
At IDEO, we’ve been using similar processes, methods, and tools for years in tackling some dauntingly complex challenges. More often than not, we’ve experienced how Design Thinking helps to get to the next step. That’s why we are excited to see how it can impact the world of education. Teachers at Riverdale Country School are starting to use design process to address challenges in their classrooms and schools, and together we’ve created this toolkit in order to share these processes more broadly.
This is an invitation to experiment with the design process. Let it inspire you to approach challenges differently, and experience how Design Thinking adds a new perspective to your work.
The document discusses moving towards a more learner-centered approach to education. It suggests replacing subject disciplines with problems or themes, assessing students based on projects rather than tests, and having more learning take place outside the classroom. The goal is for students to create their own evidence of learning that makes a real-world difference. Learner-centeredness should be a mindset for all ages and learners. It questions how to design curriculum focusing on 21st century skills like collaboration and giving students more voice and choice in their learning. The document advocates developing a learning-centered ethos with engaged and community-focused learning.
La Unión Europea ha acordado un embargo petrolero contra Rusia en respuesta a la invasión de Ucrania. El embargo prohibirá las importaciones marítimas de petróleo ruso a la UE y pondrá fin a las entregas a través de oleoductos dentro de seis meses. Esta medida forma parte de un sexto paquete de sanciones de la UE destinadas a aumentar la presión económica sobre Moscú y privar al Kremlin de fondos para financiar su guerra.
Presentación para curso Psicología del Desarrollo I. En ella se aborda una introducción al método de diseño, sus características principales y algunas consideraciones al momento de proyectar un juego.
La pandemia de COVID-19 ha tenido un impacto significativo en la economía mundial. Muchos países experimentaron fuertes caídas en el PIB y aumentos en el desempleo debido a los cierres generalizados y las restricciones a los viajes. Aunque las vacunas han permitido la reapertura de muchas economías, los efectos a largo plazo de la pandemia en sectores como el turismo y los viajes aún no están claros.
La Unión Europea ha propuesto un nuevo paquete de sanciones contra Rusia que incluye un embargo al petróleo. El embargo prohibiría las importaciones de petróleo ruso por mar y por oleoducto, aunque se concederían exenciones temporales a Hungría y Eslovaquia. El objetivo es aumentar la presión económica sobre Rusia para que ponga fin a su invasión de Ucrania.
La Unión Europea ha acordado un paquete de sanciones contra Rusia por su invasión de Ucrania. Las sanciones incluyen restricciones a las importaciones de productos rusos clave como el acero y la madera, así como medidas contra bancos y funcionarios rusos. Los líderes de la UE esperan que las sanciones aumenten la presión económica sobre Rusia y la disuadan de continuar su agresión contra Ucrania.
La Unión Europea ha acordado un paquete de sanciones contra Rusia por su invasión de Ucrania. Las sanciones incluyen restricciones a las importaciones de productos rusos clave como el acero y la madera, así como medidas contra bancos y funcionarios rusos. Los líderes de la UE esperan que las sanciones aumenten la presión económica sobre Rusia y la disuadan de continuar su agresión contra Ucrania.
La pandemia de COVID-19 ha tenido un impacto significativo en la economía mundial. Muchos países experimentaron fuertes caídas en el PIB y aumentos en el desempleo debido a los cierres generalizados y las restricciones a los viajes. Aunque las vacunas ofrecen esperanza de una recuperación económica en 2021, el camino a seguir sigue siendo incierto dado el riesgo de nuevas variantes del virus.
Este documento presenta las etapas del proceso de diseño de una presentación. Inicia con la elección del tema y el enfoque, seguido por la recolección de contenido propio a través de visitas a terreno y entrevistas, así como contenido externo de fuentes como fotografías y artículos. Luego organiza y filtra la información, la jerarquiza, establece conexiones y finalmente genera representaciones visuales utilizando paletas de colores y tipografías.
El documento presenta conceptos básicos de lenguaje audiovisual, introduciendo el elemento del tiempo y cómo se combina con otros elementos como el espacio, la imagen y la edición para crear nuevos códigos lingüísticos como el movimiento, el montaje y el ritmo. Explica conceptos como las convenciones de movimiento, la teoría soviética del montaje, y cómo factores como la composición, duración de planos y música afectan el ritmo. Incluye ejemplos como películas de Hitchcock, Eisenstein y Ang Lee para ilustrar
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help boost feelings of calmness and well-being.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
Reimagining Your Library Space: How to Increase the Vibes in Your Library No ...Diana Rendina
Librarians are leading the way in creating future-ready citizens – now we need to update our spaces to match. In this session, attendees will get inspiration for transforming their library spaces. You’ll learn how to survey students and patrons, create a focus group, and use design thinking to brainstorm ideas for your space. We’ll discuss budget friendly ways to change your space as well as how to find funding. No matter where you’re at, you’ll find ideas for reimagining your space in this session.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
2. Promise and Personality II
Activist
The New School is a lively urban university, The New School has a unique history of social
activism, progressive thinking and internationalism.
combining design and the performing arts with The New School has always strived for positive and
meaningful change.
social policy and the humanities, educating people Eclectic
who can make a difference in the world through The New School is unconventional and different,
with a constant appetite for the new and experimental.
independent, disciplined and creative expression. Open
The New School is multifaceted, diverse, and inter-
national, and it appreciates the range of ages, origins
and cultures.
Street-smart
The New School is not an insulated institution. It
is part of New York City and of the larger world.
The New School is urban, vibrant and dynamic.
Articulate
The New School fosters personal expression
and voice, challenging students to be in active
dialogue with the world around them.
Creative
The New School is made up of writers, thinkers and
artists creating their own worlds and systems of ideas.
Courageous
The New School, since its founding, has been a place
where people aren’t afraid to take a stand on what
they think is right.
3. Contents III
Identity Guidelines Visual System Guidelines Applications
1 Introduction 25 Introduction 33 Introduction
University logo 26 Color palette University stationery
2 University logo construction 28 Typography 34 Letterhead
3 University logo clearspace / bleed 29 Image style 35 Business card
4 University logo minimum size 30 Graphic elements: Running dialogue 36 Envelope and mailing label
5 University logo states 31 Graphic elements: Running school logos 37 Fax sheet
6 University logo color
School stationery
School logos 38 Letterhead
11 School logo construction 39 Business card
12 School logo clearspace 40 Envelope and mailing label
13 School logo bleed and line break 41 Fax sheet
15 School logo minimum size
16 School logo states Prototypes
17 School logo color 42 Newsletter
43 Diploma
Identity 44 Banners
22 Identity as texture 45 Environmental graphics
24 Identity as text 46 View book
47 File naming structure
48 File directory
4. Introduction 1
The New School Identity
The New School identity consists of
the university logo and the eight school
logos. The unifying component within all
the logos is The New School mark.
The New School mark showcases the
university’s dynamism and unconventional
voice by having three different “states.”
By using all three states of the mark inter-
changeably, the identity is always in active
motion. The New School Red, Orange
and Yellow is also to be used interchange-
ably within all the schools. No one color
should be used to identify any one school.
Each school needs to use all of the colors
with equal balance.
This concept of movement and change
should be embraced and reflected in all
The New School’s branding applications.
5. University logo 2
Construction
The New School university logo is made up
of two components: The New School mark
and the university descriptor. These two
components are always placed in a fixed
relationship and should never be altered,
modified or reproduced in any way.
When reproducing the logo, use File Identifier
only the artwork supplied with tns_logo
The New School mark University descriptor these guidelines. The logo must [The New School university logo]
appear clearly and in the
Example:
approved colors (see University
tns_logo_mid_O_pos.eps
logo colors, pages 8–10).
*See pages 47–49 for a complete
To ensure the consistency nec- explanation of the file naming
essary to build a recognizable structure.
identity, it is critical that
The New School logo appear
only in the colors approved in
these guidelines.
6. University logo 3
Clearspace/Bleed
To ensure its integrity and visibility,
The New School logo should be kept clear
of competing text, images and graphics. It
must be surrounded on all sides by an ade-
quate clearspace—a space equal in size to
the cap height of logo, as shown at left.
In cases where it is more visually appealing
and advantageous to bleed the logo, bleed
Clearspace
it only in the greyed areas of the “T” and
“L” in The New School mark, as shown at
bottom left.
Bleed
7. University logo 4
Minimum size
The university logo has two size versions;
an original version and a small version.
The original logo version can be sized
down to a minimum of 2". The small logo
Measurement area version can be sized down to 1.25".
If a size smaller than 1.25" is necessary,
use the mark without the descriptor line.
The mark can be sized down to a mini-
2” 2” mum of 1".
When measuring the logo, locate the clear-
est parts of the mark from the start of the
“T” to the end of the “L” as shown on the
Minimum original logo size (Color) Minimum original logo size (Black and White)
measurement area example to the left.
1.25” 1.25”
When reproducing the logo, use File Identifier
only the artwork supplied with tns_logo [orig. version]
these guidelines. The logo must Example:
appear clearly and in the tns_logo_left_R_pos.eps
Minimum small logo size (Color) Minimum small logo size (Black and White) approved colors (see University
tns_logo...small [small version]
logo colors, pages 8–10).
Example:
To ensure the consistency nec- tns_logo_R_pos_small.eps
1” 1”
essary to build a recognizable
tns_mark [mark]
identity, it is critical that
Example:
The New School logo appear
tns_mark_left_R_pos.eps
only in the colors approved in
Minimum mark size (Color) Minimum mark size (Black and White) these guidelines. *See pages 47–49 for a complete
explanation of the file naming
structure.
8. University logo 5
States
The New School mark has three states.
These states reflect the constant movement
and dynamism of The New School. All
Left state
states can be used interchangeably across
all applications and schools.
When reproducing the logo, use File Identifier
only the artwork supplied with left [left state]
these guidelines. The logo must mid [mid state]
appear clearly and in the right [right state]
approved colors (see University
Example:
logo colors, pages 8–10).
tns_logo_left_R_pos.eps
Mid state
*See pages 47–49 for a complete
explanation of the file naming
structure.
Right state
9. University logo 6
Color
The coloration of The New School
university logo is an essential element in
setting a recognizable tone and look for the
The New School Red
Positive identity. Consistent use of color enhances
the strength of the identity.
The primary colors for The New School
university logo are The New School Red,
Orange, and Yellow. All three color
variations are to be used interchangeably.
Using color variation reinforces the
activist,
The New School Orange creative and eclectic nature of the identity.
Positive
The New School Red File Identifier
Pantone® 1795 C R [red]
CMYK 0/94/100/0 O [orange]
RGB 255/19/0 Y [yellow]
The New School Orange Example:
Pantone® 158 C tns_logo_right_R_pos.eps
CMYK 0/61/97/0
*See pages 47–49 for a complete
RGB 255/99/9
explanation of the file naming
The New School Yellow structure.
The New School Yellow
Positive Pantone® 143 C
CMYK 0/35/85/0
RGB 254/166/32
The colors shown throughout this
manual have not been evaluated by
Pantone, Inc. for accuracy and may
not match the PANTONE Color
Standards. PANTONE® is a registered
trademark of Pantone, Inc.
10. University logo 7
Black
Positive
Color: alternate
When the primary colors cannot be used,
The New School university logo can be
black or silver, or reversed to white. The
use of silver is reserved for core institution
Silver
pieces only and not to be used in separate
Positive school level materials.
Black File Identifier
Pantone® Black 4 C* B [black]
CMYK 0/22/100/89 W [white]
White
RGB 28/22/1 S [silver]
Reversed
White Example:
CMYK 0/0/0/0 tns_logo_right_B_pos.eps
RGB 255/255/255 *See pages 47–49 for a complete
explanation of the file naming
Silver
structure.
Pantone® 8002 C
*100% Process Black may be substi-
tuted in restrictive printing instances.
White
Reversed
The colors shown throughout this
manual have not been evaluated by
Pantone, Inc. for accuracy and may
not match the PANTONE Color
Standards. PANTONE® is a registered
trademark of Pantone, Inc.
11. University logo 8
The New School Red
Reversed
Color: on background
The New School Orange The preferred background colors are The
Reversed
New School Red, Orange, and Yellow. The
New School university logo should always
be white when used on these backgrounds.
Black may also be used as a background color.
The New School Yellow
Reversed
When black is used, the university logos should
be used in their primary colors, as shown at
lower left.
The New School Red
White File Identifier
Positive CMYK 0/0/0/0 W_rev [white, reversed]
RGB 255/255/255 R_pos [red, positive]
O_pos [orange, positive]
The New School Red
Y_pos [yellow, positive]
Pantone® 1795 C
CMYK 0/94/100/0 Example:
RGB 255/19/0 tns_logo_right_W_rev.eps
The New School Orange
The New School Orange *See pages 47–49 for a complete
Positive
explanation of the file naming
Pantone® 158 C structure.
CMYK 0/61/97/0
RGB 255/99/9
The New School Yellow
Pantone® 143 C
The New School Yellow CMYK 0/35/85/0
Positive RGB 254/166/32
Black
The colors shown throughout this
Pantone® Black 4 C*
manual have not been evaluated by
CMYK 0/22/100/89 Pantone, Inc. for accuracy and may
RGB 28/22/1 not match the PANTONE Color
Standards. PANTONE® is a registered
*100% Process Black may be substi-
trademark of Pantone, Inc.
tuted in restrictive printing instances.
12. White University logo 9
on dark background
The New School Red
on dark background Color: on photography
On photographic background, The New
School university logo can be used in color,
black and white versions. The demonstra-
The New School Orange tions at left show which colors look best on
on dark background
dark backgrounds and which work better on
light backgrounds. Because every image is
different, be sure to choose a color with a
strong contrast to the background. Place the
The New School Yellow logo in an area of the image that is not busy
on dark background
in order to enhance legibility. (See page 10
for “don’ts”.)
Black White File Identifier
on light background
CMYK 0/0/0/0 R_pos [red, positive]
RGB 255/255/255 O_pos [orange, positive]
Y_pos [yellow, positive]
The New School Red
B_pos [black, positive]
Pantone® 1795 C
W_rev [white, reverse]
CMYK 0/94/100/0
The New School Red RGB 255/19/0 Example:
on light background
tns_logo_right_W_rev.eps
The New School Orange
Pantone® 158 C *See pages 47–49 for a complete
explanation of the file naming
CMYK 0/61/97/0
structure.
RGB 255/99/9
The colors shown throughout this
The New School Orange The New School Yellow manual have not been evaluated by
on light background Pantone® 143 C Pantone, Inc. for accuracy and may
not match the PANTONE Color
CMYK 0/35/85/0 Standards. PANTONE® is a registered
RGB 254/166/32 trademark of Pantone, Inc.
Black
Pantone® Black 4 C*
CMYK 0/22/100/89 *100% Process Black may be substi-
RGB 28/22/1 tuted in restrictive printing instances.
13. Don’t place the logo over busy, University logo 10
high-contrast imagery
Don’t place a color logo
over similarly colored
Color: don’ts
backgrounds
The New School university logo should
always be seen clearly and dramatically.
When using the logo on imagery, always
Don’t place a color logo make sure that it is positioned away from
over similarly colored
backgrounds any competing imagery and stands out
from the background color.
Don’t use a color logo
that doesn’t stand out
from the background
Don’t use a color logo
that doesn’t stand out
from the background
Don’t use a color logo
that doesn’t stand out
from the background
Don’t use different
colors for the mark and
the descriptor
14. School logos 11
PARSONS FOR DESIGN Construction
The New School school logos are made up
of the school name, The New School mark
School name The New School mark School descriptor
and the school descriptor. In cases where
there is no school name, only The New
School mark and school descriptor need
FOR GENERAL STUDIES
be used. These components are always held
in a fixed relationship and should never be
altered, modified or reproduced in any way.
FOR SOCIAL RESEARCH
When reproducing the logo, use File Identifier
only the artwork supplied with drama [drama]
MILANO FOR MANAGEMENT AND URBAN POLICY these guidelines. The logo must general [general studies]
appear clearly and in the jazz [jazz]
approved colors (see University lang [eugene lang]
logo colors, pages 8–10). mannes [mannes]
PARSONS FOR DESIGN milano [milano]
To ensure the consistency nec-
parsons [parsons]
essary to build a recognizable
social [social research]
identity, it is critical that
EUGENE LANG COLLEGE FOR LIBERAL ARTS The New School logo appear Example:
only in the colors approved in tns_parsons_right_R_pos.eps
these guidelines.
*See pages 47–49 for a complete
MANNES COLLEGE FOR MUSIC explanation of the file naming
structure.
FOR DRAMA
FOR JAZZ AND CONTEMPORARY MUSIC
15. School logos 12
Clearspace
X To ensure its integrity and visibility,
The New School logo should always be
kept clear of competing text, images and
FOR DESIGN
X
X graphics, the only exception being when
it bleeds off the page (see page 13). It must
be surrounded on all sides by an adequate
clearspace—a space equal in size to the cap
height of logo, as shown at left.
* The logo at left is truncated to get a
larger view of the measured clearspace.
16. School logos 13
PARSONS FOR DESIGN Bleed and line break
In cases where it is more visually appealing
and advantageous to bleed the logo, always
Line break/bleed areas (shown in grey) be sure to bleed it in the specified areas of
the “T” and “L” of The New School mark
(as shown on the left). Never break a logo
PARSONS X
0.5 X
in the middle of a word (see page 14).
The correct spacing relationship must be
FOR DESIGN X
applied as specified at left.
Spacing When bleeding a school logo, the two lines
must overlap vertically at some point, as
shown in examples at lower left.
* The only exception to the specifica-
PARSONS tions is when running school logos
FOR DESIGN FOR SOCIAL RESEARCH together (see page 31).
PARSONS
FOR DESIGN FOR JAZZ AND CONTEMPORARY MUSIC
Examples of vertical overlap
17. School logos 14
Bleed: don’ts
When bleeding a school logo, don’t:
PARSONS • Break the logo in the middle of the word
FOR DESIGN • Separate the top and bottom lines
outside the specifications
• Create a gap between the two parts of
the logo; they must always overlap vertically
PARSO
ONS FOR DESIGN
* Refer to page 13 for construction of
bleeding school logos.
* The only exception to the specifications
is using running school logos (see
PARSONS page 31).
FOR DESIGN
PARSONS
FOR DESIGN
18. School logos 15
Minimum size
The minimum size for the school logo is a
cap height of 0.1 inch. When measuring the
minimum size of the school logo, use the
cap height of the school name.
FOR DESIGN 0.1”
PARSONS FOR DESIGN PARSONS FOR DESIGN
Actual size (Color) Actual size (Black and White)
19. School logos 16
States
The New School mark has three states.
These states reflect the constant movement
PARSONS FOR DESIGN and dynamism of The New School. All
Left state
states can be used interchangeably across
all applications and schools.
When reproducing the logo, use File Identifier
only the artwork supplied with left [left state]
PARSONS FOR DESIGN these guidelines. The logo must
appear clearly and in the
mid [mid state]
right [right state]
approved colors (see University
Mid state Example:
logo colors, pages 8–10).
tns_parsons_left_O_pos.eps
*See pages 47–49 for a complete
explanation of the file naming
structure.
PARSONS FOR DESIGN
Right state
20. School logos 17
Color
The primary coloration of The New School
school logos is the two color positive
PARSONS FOR DESIGN version on a white background. The school
The New School Red
name and its descriptor appear in grey, and
Positive The New School mark appears in either
The New School Red, Orange, or Yellow
(see color specifications below).
No one color variation will be proprietary
PARSONS FOR DESIGN to any school. Each school must use all
three color variations of The New School
The New School Orange mark interchangeably.
Positive
The New School Red File Identifier
Pantone® 1795 C R_pos [red, positive]
CMYK 0/94/100/0 O_pos [orange, positive]
PARSONS FOR DESIGN RGB 255/19/0 Y_pos [yellow, positive]
The New School Orange Example:
The New School Yellow Pantone® 158 C tns_parsons_mid_R_pos.eps
Positive
CMYK 0/61/97/0 *See pages 47–49 for a complete
RGB 255/99/9 explanation of the file naming
structure.
The New School Yellow
Pantone® 143 C
CMYK 0/35/85/0
RGB 254/166/32
The colors shown throughout this
Grey manual have not been evaluated by
Pantone, Inc. for accuracy and may
Pantone® 404 C
not match the PANTONE Color
CMYK 0/8/22/56 Standards. PANTONE® is a registered
RGB 111/103/84 trademark of Pantone, Inc.
21. School logos 18
Color: black and white
When the primary colors cannot be used,
The New School school logos can be either
PARSONS FOR DESIGN all black or reversed to white.
100% Black 70% Black 100% Black
Black File Identifier
Pantone® Black 4 C* Btint_pos [70% black mark]
CMYK 0/22/100/89 B_pos [black, positive]
RGB 28/22/1 W_rev [white, reverse]
White Example:
PARSONS FOR DESIGN CMYK 0/0/0/0 tns_parsons_mid_B_pos.eps
RGB 255/255/255 *See pages 47–49 for a complete
Black
explanation of the file naming
*100% Process Black may be substi-
structure.
tuted in restrictive printing instances.
PARSONS FOR DESIGN
White
Reversed
22. On The New School Red School logos 19
with black mark and reversed
school name and descriptor PARSONS FOR DESIGN
file name: B_rev
On The New School Orange
with black mark and reversed
school name and descriptor
file name: B_rev
PARSONS FOR DESIGN
Color: on backgrounds
On The New School Yellow When using school logos on primary color
with black mark and reversed backgrounds—The New School Red,
school name and descriptor PARSONS FOR DESIGN
file name: B_rev Orange, and Yellow—the school names and
descriptors appear in white and the mark
On Black
with The New School Red
appears in black.
mark and reversed school PARSONS FOR DESIGN
name and descriptor When using school logos on black, the
file name: R_rev
school names and descriptors appear in
On Black white and the mark appears in The New
with The New School Orange
mark and reversed school PARSONS FOR DESIGN School Red, Orange, Yellow, white or
name and descriptor
file name: O_rev
70% black.
On Black
with The New School Yellow
mark and reversed school PARSONS FOR DESIGN The New School Red File Identifier
name and descriptor Pantone® 1795 C B_rev [black, reversed]
file name: Y_rev CMYK 0/94/100/0 R_rev [red, reversed]
On Grey RGB 255/19/0 O_rev [orange, reversed]
with reversed mark, school Y_rev [yellow, reversed]
name and descriptor The New School Orange
PARSONS FOR DESIGN W_rev [white, reversed]
file name: W_rev Pantone® 158 C
Btint_rev [70% black mark]
CMYK 0/61/97/0
On Black RGB 255/99/9 Example:
with reversed mark, school tns_parsons_mid_R_rev.eps
name and descriptor
The New School Yellow
file name: W_rev
PARSONS FOR DESIGN Pantone® 143 C *See pages 46–48 for a complete
CMYK 0/35/85/0 explanation of the file naming
structure.
RGB 254/166/32
On Black The colors shown throughout this
with 30% black mark and Grey manual have not been evaluated by
reversed school name PARSONS FOR DESIGN Pantone® 404 C Pantone, Inc. for accuracy and may
and descriptor not match the PANTONE Color
file name: Btint_rev CMYK 0/8/22/56
Standards. PANTONE® is a registered
RGB 111/103/84 trademark of Pantone, Inc.
Black
Pantone® Black 4 C* *100% Process Black may be substi-
CMYK 0/22/100/89 tuted in restrictive printing instances.
RGB 28/22/1
23. On Light Background School logos 20
with The New School Red mark and
grey school name and descriptor PARSONS FOR DESIGN
file name: R_pos
On Light Background
with The New School Orange mark and
grey school name and descriptor
file name: O_pos
PARSONS FOR DESIGN Color: on imagery
On Light Background
On imagery, The New School school logo
with The New School Yellow mark and can be used in color, black and white ver-
grey school name and descriptor
file name: Y_pos
PARSONS FOR DESIGN sions. The demonstrations at left show which
colors look best on dark backgrounds and
On Dark Background
with The New School Red mark and
which colors look best on light backgrounds.
reversed school name and descriptor PARSONS FOR DESIGN Because every image is different, be sure to
file name: R_rev
choose a color with a strong contrast to the
On Dark Background
background. Place the logo in an area of the
with The New School Orange mark and image that is not busy in order to enhance
reversed school name and descriptor PARSONS FOR DESIGN
file name: O_rev legibility. (See page 21 for don’ts.)
On Dark Background
with The New School Yellow mark and The New School Red File Identifier
reversed school name and descriptor PARSONS FOR DESIGN Pantone® 1795 C R_pos [red, positive]
file name: Y_rev
CMYK 0/94/100/0 R_rev [red, reverse]
RGB 255/19/0 O_pos [orange, positive]
On Light Background O_rev [orange, reverse]
with black mark, school name The New School Orange
and descriptor
Y_pos [yellow, positive]
PARSONS FOR DESIGN Pantone® 158 C
file name: B_pos Y_rev [yellow, reverse]
CMYK 0/61/97/0
B_pos [black, positive]
RGB 255/99/9
B_rev [black, reverse]
On Light Background
with 70% black mark and black The New School Yellow Btint_pos [70% black mark]
school name and descriptor PARSONS FOR DESIGN Pantone® 143 C Btint_rev [30% black mark]
file name: Btint_pos CMYK 0/35/85/0 W_rev [white, reverse]
RGB 254/166/32
Example:
On Dark Background
Black tns_parsons_mid_R_rev.eps
with reversed mark, school name
and descriptor Pantone® Black 4 C* *See pages 47–49 for a complete
file name: W_rev
PARSONS FOR DESIGN CMYK 0/22/100/89 explanation of the file naming
RGB 28/22/1 structure.
On Dark Background The colors shown throughout this
with black mark and reversed *100% Process Black may be substi- manual have not been evaluated by
school name and descriptor tuted in restrictive printing instances. Pantone, Inc. for accuracy and may
PARSONS FOR DESIGN
file name: B_rev not match the PANTONE Color
Standards. PANTONE® is a registered
trademark of Pantone, Inc.
24. School logos 21
Color: don’ts
Don’t place the logo over
busy, colored imagery The New School school logo should always
PARSONS FOR DESIGN be seen clearly and dramatically. When
using the logo on imagery, always make
Don’t use a color logo sure that it is positioned away from any
that doesn’t stand out from
the background competing imagery and stands out from
PARSONS FOR DESIGN
the background color.
Don’t use a color logo
that doesn’t stand out from
the background
PARSONS FOR DESIGN
Don’t use a color logo
that doesn’t stand out from
the background PARSONS FOR DESIGN
25. The New School identity 22
Identity as texture
The New School mark can be used as
a textural graphic element to add visual
interest and richness on communications
materials.
When using the mark as a textural device,
it must always be supported by a university
or school logo (see the following page for
an example).
File Identifier
tns_mark [The New School
mark]
Example:
tns_mark_left_R_pos.eps
*See pages 47–49 for a complete
explanation of the file naming
structure.
26. The New School identity 23
Identity as texture
When using the mark as a textural device,
it must always be supported by a university
or school logo. It can be tinted or
layered on top of imagery. Refer to
The New School color palette for appro-
School logo
priate colors (see page 26).
When reproducing the logo, use File Identifier
only the artwork supplied with tns_logo
these guidelines. The logo must [The New School university logo]
appear clearly and in the
Example:
approved colors (see University
tns_logo_mid_O_pos.eps
logo colors, pages 8–10).
*See pages 47–49 for a complete
To ensure the consistency nec- explanation of the file naming
essary to build a recognizable structure.
identity, it is critical that
The New School logo appear
Mark as textural device
only in the colors approved in
these guidelines.
27. The New School identity 24
Identity as text
Consistency in referring to The New Naming If the descriptor (“for Music” “for Design” “for Liberal
Arts”) is used, the whole name of the school must be used
School and its schools in text is critical When refering to The New School at a university level, in — including “The New School.” It is not acceptable to
in maintaining a strong identity. Use of the text of a document, it should always be spelled “The revert to “Parsons School of Design” for example, or
correct capitalization, style and naming all New School.” The descriptor should never be part of the “Mannes College of Music.”
name in text.
impact the identity for The New School.
For example: Capitalization
The New School When using the mixed case version of the university
name, the “T”, “N”, and “S” should be capitalized.
[University name] The New School
not
[School names] The New School When using the mixed case version of the school names,
for General Studies The New School a University the “f” in “for” and “a” in “and” should be lower case,
however the “T” in “The New School” should be capital-
The New School When refering to a school within the university the first
ized. Commas are never used.
for Social Research time in the text of a document, the entire name of the
school must be spelled out.
The New School Style
for Jazz and Contemporary Music For example:
If the name is broken into several lines, all text must be
“Milano The New School for Management and
The New School the same size, weight and typeface.
for Drama Urban Policy”
For example:
Milano In subsequent mentions, a condensed form can be used.
The New School The New School
For example:
for Management and Urban Policy for General Studies
“Parsons”
Parsons “Mannes” or “Mannes College” not
The New School “Milano”
for Design
The New School
“Lang” or “Eugene Lang College” for General Studies
Eugene Lang College The schools that begin with “The New School” cannot be
The New School shortened to “The New School.” That name is only
for Liberal Arts
reserved for the university. If the name must be
Mannes College condensed, use “General Studies”, “Social Research”,
The New School “Drama”, or “Jazz.”
for Music
28. Introduction 25
Visual System
The New School visual system is designed
to be dynamic and flexible. This section
will explain the use of color, typography,
image style and graphic elements.
The flexibility of the system requires
careful treatment and attention for all
graphic elements. The use of these guide-
lines will assure that the visual system will
reinforce and strengthen our identity.
29. Visual system 26
R1 O1 Y1 G1
Color palette
R2 O2 Y2 G2
The New School color palette consists of
a primary, secondary and supportive color
R3 O3 Y3 G3 palette. The secondary palette consists of the
entire range of tints that originate from the
R4 O4 Y4 G4 primary colors. The lighter tints were created
by screening the primary colors, and the
darker tints were created by adding black to
R5 O5 Y5 G5
Secondary
the primary colors. The tints specified in the
secondary palette are samples of this range
R O Y G of tints.
Primary
The consistent use of these colors will create
R6 O6 Y6 G6 recognition and strengthen the identity.
Secondary The New School university and school
logos must always use the primary and
R7 O7 Y7 G7
supportive color palette.
R8 O8 Y8 G8
Color specifications are on the
following page.
R9 O9 Y9 G9
R10 O10 Y10 G10
The colors shown throughout this
manual have not been evaluated by
B W S Pantone, Inc. for accuracy and may
Supportive not match the PANTONE Color
Standards. PANTONE® is a registered
trademark of Pantone, Inc.
30. Visual system: Color palette (cont’d) 27
Primary Color Palette Secondary Color Palette Supportive Color Palette
The New School Red R1 O1 Y1 G1 Black*
Pantone® 1795 C CMYK 0/6/10/0 CMYK 0/6/10/0 CMYK 0/3.5/8.5/0 CMYK 0/1/2/5.5 Pantone® Black 4 C
CMYK 0/94/100/0 RGB 254/240/223 RGB 254/240/228 RGB 255/246/229 RGB 241/238/235 CMYK 0/22/100/89
RGB 255/19/0 RGB 28/22/1
R2 O2 Y2 G2
The New School Orange CMYK 0/19/20/0 CMYK 0/12/19/0 CMYK 0/7/17/0 CMYK 0/2/4/11 White
Pantone® 158 C RGB 253/208/185 RGB 254/224/194 RGB 254/237/204 RGB 227/223/216 CMYK 0/0/0/0
CMYK 0/61/97/0 RGB 255/255/255
RGB 255/99/9
R3 O3 Y3 G3
CMYK 0/38/40/0 CMYK 0/24/39/0 CMYK 0/14/34/0 CMYK 0/3/9/22 Silver
The New School Yellow RGB 252/159/124 RGB 253/195/137 RGB 254/219/156 RGB 199/193/178 Pantone® 8002 C
Pantone® 143 C
CMYK 0/35/85/0
RGB 254/166/32 R4 O4 Y4 G4
CMYK 0/56/60/0 CMYK 0/37/58/0 CMYK 0/21/51/0 CMYK 0/5/13/37 *100% Process Black may be substi-
RGB 252/113/73 RGB 253/162/87 RGB 254/201/112 RGB 161/153/136 tuted in restrictive printing instances.
Grey
Pantone® 404 C
CMYK 0/8/22/56 R5 O5 Y5 G5
RGB 111/103/84 CMYK 0/75/80/0 CMYK 0/49/78/0 CMYK 0/26/68/0 CMYK 0/6/18/45
RGB 253/65/32 RGB 253/130/42 RGB 254/184/71 RGB 140/132/111
R6 O6 Y6 G6
CMYK 0/94/100/10 CMYK 0/61/97/10 CMYK 0/35/85/10 CMYK 0/8/22/60
RGB 230/17/0 RGB 230/89/8 RGB 229/150/29 RGB 102/94/76
R7 O7 Y7 G7
CMYK 0/94/100/25 CMYK 0/61/97/25 CMYK 0/35/85/25 CMYK 0/8/22/67
RGB 191/14/0 RGB 191/74/7 RGB 190/124/24 RGB 83/77/63
R8 O8 Y8 G8
CMYK 0/94/100/40 CMYK 0/61/97/40 CMYK 0/35/85/40 CMYK 0/8/22/74
RGB 153/11/0 RGB 153/60/5 RGB 153/100/19 RGB 65/60/49
R9 O9 Y9 G9
CMYK 0/94/100/55 CMYK 0/61/97/55 CMYK 0/35/85/55 CMYK 0/8/22/81 The colors shown throughout this
RGB 115/8/1 RGB 115/45/3 RGB 114/75/15 RGB 48/44/35 manual have not been evaluated by
Pantone, Inc. for accuracy and may
R10 O10 Y10 G10 not match the PANTONE Color
CMYK 0/94/100/70 CMYK 0/61/97/70 CMYK 0/35/85/70 CMYK 0/8/22/88 Standards. PANTONE® is a registered
RGB 77/6/0 RGB 77/30/2 RGB 77/50/10 RGB 30/28/23 trademark of Pantone, Inc.
31. Adobe Garamond Pro Visual system 28
Adobe Garamond Pro Regular
Adobe Garamond Pro Regular Italic
Adobe Garamond Pro Semibold
Adobe Garamond Pro Semibold Italic
Typography
The New School typography consists of
Adobe Garamond Pro Bold two typefaces: Adobe Garamond Pro
Adobe Garamond Pro Bold Italic (Adobe type foundary) and ITC Franklin
Gothic (ITC type foundary). Both typefaces
ITC Franklin Gothic come in a variety of weights and offer
flexibility of use. Commitment to these
ITC Franklin Gothic Book typefaces will create a consistent and
ITC Franklin Gothic Book Italic strong identity.
ITC Franklin Gothic Book Condensed
ITC Franklin Gothic Book Condensed Italic These typefaces should be
used at all times. Contact the
File Identifier
[fonts folder]
ITC Franklin Gothic Medium director of communications if
there is a specific request not
ITC Franklin Gothic Medium Italic to use the specified typefaces.
ITC Franklin Gothic Medium Condensed
ITC Franklin Gothic Medium Condensed Italic
ITC Franklin Gothic Demi
ITC Franklin Gothic Demi Italic
ITC Franklin Gothic Demi Condensed
ITC Franklin Gothic Demi Condensed Italic
ITC Franklin Gothic Heavy
ITC Franklin Gothic Heavy Italic
32. Visual system 29
Textural
Image style
Rich, layered imagery, dynamic
cropping, diverse range of media
Image style plays a critical role in develop-
and techniques ing a vivid and meaningful identity for
The New School.
The New School image style consists of
three categories: textural, conceptual and
journalistic. All imagery should support
The New School brand promise (see page
II).
Conceptual
Dynamic cropping, natural lighting, The New School Personality Image drivers
non-clichéd, not posed or con-
trived, purposeful subject matter Activist Provoke dialogue and promote
Eclectic interdisciplinary thinking.
Open
Reflect intellectual sophistication
Street-smart
and critical thinking.
Articulate
Creative Focus on that broader community
Courageous interaction and involvement.
Leverage the cultural and
intellectual richness of New
York City.
Journalistic
Natural lighting, dynamic cropping,
not staged or posed
33. Visual system graphic elements 30
Running dialogue
The running dialogue is a key element
of The New School visual system. It
supports the concept of cross-disciplinary
dialogue and thought—an important part
of the identity.
The running dialogue can be used in two
ways: as a graphic treatment or by running
school logos together.
Running dialogue treatment
The running dialogue should
always use The New School
typefaces Adobe Garamond
Pro and ITC Franklin Gothic.
Any size or weight combination
may be used (see page 28).
The running dialogue should
always use The New School
color palette. Tints and overlays
are recommended when type is
overlapping (see page 26).
34. Visual system graphic elements 31
Running school logos
The running school logos is a treatment
that holds all eight of the school logos
together. Refer to the specifications at left
for spacing. Where the running line bleeds
Sample
off on one side of a communications piece,
it should resume where it ended on the
otherside. This is the only instance where
the school logos can be cropped at any
point. The configuration of the stacking is
dependent on the size and dimensions of
the piece on which it is being applied.
X
72% of X
File Identifier
Construction
tns_running_logos
[The New School running logos]
Example:
tns_running_logos_4c_pos.eps
*See pages 47–49 for a complete
explanation of the file naming structure.
35. Visual system graphic elements 32
Colors:
4-color, positive 4-color, reverse on black
running school logos
Use only the colors specified below when
running school logos.
The New School Red, positive The New School Red, reverse on The New School Red The New School Red File Identifier
Pantone® 1795 C 4C_pos [4-color, positive]
CMYK 0/94/100/0 4C_rev [4-color, reverse]
RGB 255/19/0 B_pos [black, positive]
B_rev [black, reverse]
The New School Orange
O_pos [orange, positive]
Pantone® 158 C
O_rev [orange, reverse]
CMYK 0/61/97/0
R_pos [red, positive]
RGB 255/99/9
The New School Orange, positive The New School Orange, reverse on The New School Orange R_rev [red, reverse]
The New School Yellow S_pos [silver, positive]
Pantone® 143 C S_rev [silver, reverse]
CMYK 0/35/85/0 Y_pos [yellow, positive]
RGB 254/166/32 Y_rev [yellow, reverse]
Silver Example:
Pantone® 8002 C tns_running_logos_4c_pos.eps
The New School Yellow, positive The New School Yellow, reverse on The New School Yellow Black *See pages 47–49 for a complete
explanation of the file naming structure.
Pantone® Black 4 C*
CMYK 0/22/100/89
The colors shown throughout this
RGB 28/22/1 manual have not been evaluated by
Pantone, Inc. for accuracy and may
*100% Process Black may be substi-
not match the PANTONE Color
tuted in restrictive printing instances.
Standards. PANTONE® is a registered
trademark of Pantone, Inc.
Silver, positive The New School Silver, reverse on Silver
Black, positive Tint on Black
36. Introduction 33
Applications
The New School visual identity will come
to life on the materials we use to commu-
nicate. These include stationery, signage,
marketing materials and other media.
Correct and consistent use of the visual
system will be the determining factor for a
successful identity.
This section provides sample layouts and
mechanicals that illustrate how all of the
visual elements come together to create a
distinct New School identity.
37. 1” 2.65” 0.5”
0.25”
Application templates and demonstrations 34
FOR GENERAL STUDIES FOR SOCIAL RESEARCH MILANO FOR
MANAGEMENT AND URBAN POLICY PARSONS FOR DESIGN EUGENE LANG COLLEGE FOR LIBERAL ARTS MANNES COLLEGE FOR MUSIC
FOR DRAMA FOR JAZZ AND CONTEMPORARY MUSIC
1.25”
1.25”
66 West 12th Street New York, NY 10011
t 212.229.5656 f 212.229.5937 bkerrey@newschool.edu
www.newschool.edu
University stationery
Bob Kerrey President
Letterhead
September 2, 2004
John Smith
Street Format File Identifier
City, State ZIP Code
Country 8.5" x 11" tns_university_letterhead.eps
Shown at 65% of actual size. [The New School university
Dear John, letterhead]
Running school logos
Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod *See pages 47–49 for a complete
tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis
See page 31 for specifications.
explanation of the file naming
nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Colors: Pantone® 1795 C, structure.
Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel Pantone® 158 C, Pantone®
illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui
blandit praesent luptatum azril delenit augue duis dolore te feugait nulla facilisi. Lorem ipsum
143 C, and Pantone® 404 C.
dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut
laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud University logo
exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Color: Pantone® 404 C at 45%.
Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel Return address
illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui Typeface:
blandit praesent luptatum azril delenit augue duis dolore te feugait nulla facilisi. Nam liber
tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim Adobe Garamond Pro Regular
placerat facer possim assum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed Size: 8.5/10.5 pt
diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.
Color: Pantone® 404 C
Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl
ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate
velit esse molestie consequat. Template
Sincerely, Body Copy
Times 11/13 pt
Bob Kerrey
38. Application templates and demonstrations 35
2.65”
0.75”
University stationery
Business card
Nancy Donner
Vice President for Communications and External Affairs Format File Identifier
3.5" x 2" tns_university_businesscard.eps
55 West 13th Street, Rm 703 New York, NY 10011
Shown at 100% of actual size. [The New School university
t 212.229.5667 x3738 f 212.229.5568 donnern@newschool.edu
www.newschool.edu business card]
0.25” Front *See pages 47–49 for a complete
explanation of the file naming
University logo structure.
Color: Pantone® 158 C
0.25”
Contact information
Typeface:
Adobe Garamond Pro Regular
Size: 8.5/10.5 pt
Color: Pantone® 404 C
0.75”
Back
x Running school logos
See pages 31-32 for
specifications.
Color: gradation of Pantone®
158 C to Pantone® 143 C to
Pantone® 1795 C
39. 2.65”
Application templates and demonstrations 36
0.20” 1”
University stationery
Envelope and mailing label
0.25”
0.075” Office of Admissions and Student Services
66 West 12th Street New York, NY 10011
0.75” Envelope File Identifier
tns_university_envelope
Format
[The New School university
Number 10
envelope]
Shown at 100% of actual size.
tns_university_label
University logo
John Smith [The New School university
Street Color: Pantone® 404 C at 45%
City, State ZIP Code
mailing label]
Country Return address *See pages 47–49 for a complete
Typeface: explanation of the file naming
Adobe Garamond Pro Regular structure.
Size: 8.5/10.5 pt
Color: Pantone® 404 C
Mailing Label
Format
0.25”
66 West 12th Street New York, NY 10011 5" x 4"
0.75” Shown at 100% of actual size.
University logo
Color: Pantone® 143 C
Return address
Typeface:
John Smith Adobe Garamond Pro Regular
Street
City, State ZIP Code
Size: 8.5/10.5 pt
Country Color: Pantone® 404 C
40. 1” 2.65” 0.35”
0.35” Application templates and demonstrations 37
FOR GENERAL STUDIES FOR SOCIAL RESEARCH MILANO FOR MANAGEMENT A
AND URBAN POLICY PARSONS FOR DESIGN EUGENE LANG COLLEGE FOR LIBERAL ARTS MANNES COLLEGE FOR MUSIC
FOR DRAMA FOR JAZZ AND CONTEMPORARY MUSIC
1.35”
1.25”
66 West 12th Street New York, NY 10011
t 212.229.5656 f 212.229.5937 www.newschool.edu University stationery
1.25” Fax sheet
0.075” Date To
0.35”
Format File Identifier
Number of pages Company
0.35” 8.5" x 11" tns_university_fax.eps
0.35”
Project From Shown at 65% of actual size. [The New School university fax
sheet]
Fax number Subject Running school logos
See pages 31-32 for *See pages 47–49 for a complete
0.8”
explanation of the file naming
specifications.
Fax Color: Black
structure.
University logo
Color: Black
Return address
Typeface:
Adobe Garamond Pro Regular
Size: 8.5/10.5 pt
Color: Black
Form fields
Typeface: ITC Franklin Gothic
Book Condensed
Stroke: 0.375 pt
Size: 9/13 pt
Color: Black
Fax
Typeface: ITC Franklin Gothic
Book Condensed
Size: 18/13 pt
Color: Black