Sexy & Funny Google Logo (Pics)

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The Name Logo Comes From the Greek

The name Logo comes from the greek word logo, which means "word". In contrast

to earlier programming languages, which emphasized arithmetic computation, Logo

was designed to manipulate laguage __ words and sentences.





  Like any programming language, Logo is a general - purpose tool that can be

approached in many ways. Logo programming can be understood at different levels of sophistication. It has been taught to four years old and to college students.





Most of the books about Logo so far have been introductory books for young 

beginners , but this article is different. it's for somewhat older learners, probably

with some prior computer experience , although not neccessarily Logo experiance .





  This article was written using the berkeley Logo dialect, a version of Logo that's

available at no cost for PCs, Macintoshes , and Unix Systems. Recent Commercial 





Logo dialects have emphasized the control of real - time animation, robotics, 

and other such application areas, somewhat at the expense of more traditional 

Logo features designed to be useful in the development of larger and more complex

programs. berkeley Logo follows the traditional design, so you may miss some 

" bells and whistles " that you associate with Logo from elementary school.

In fact, we will hardly do any graphics in this article! 



   Some of the details you will have to know order to work with Logo depend on the

particular kind of computer you are using. This article assumes you already know some

things about your computer:

        1. How to turn on your computer and start Logo

        2. How to type a command, ending with the RETURN key

        3. How to use control keys to correct typing mistakes

        4. How to use a text editing program

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Best World Company Logos

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The art of pricing a web design project can be at times, an impossible task. You have multiple facets of your business to account for which can include project management, website designers, web developers, copywriting and brand development to name a few.
What happens if you need to account for revisions? or a short timescale that will require your team to work overtime, or the hiring of additional staff? These elements all come into play when quoting for your next web design project. Lets take a look at the different methods we can take when coming up with web design prices…

Pre-project estimates

An accurate proposal can be the start of a great project.

One popular method of quoting for web design work is to ensure you have discussed the project in depth with the client, and understand the scope and limitations of the project. Using your past experience (and perhaps calling on your design and development team for assistance) you can estimate the time the project will take. The advantages of this approach are obvious:

• The client is aware of the project costs up front, and the chances of any nasty surprises are reduced.
• The company can make plans for future income, and invoice for parts of the project accordingly.
• The work that goes into the project plan initially, can benefit the project in the long term.

For the majority of projects, this approach can be suitable, but relies on a thorough project proposal to be written before costs are agreed. This approach however, doesn’t lend itself to an ever-changing project and the additional functionality / costs that will inevitably arrise over the life of the project.

Charging per hour

Calculating the project on an hourly basis can give the client confidence going forward.

Giving the client a breakdown of proposed times for a project is a transparent way of educating them in how long certain tasks will take, such as design and development. It also sets a precedent from the beginning of the project, that any work you will complete will be looked at purely from a time point of view.
As long as the proposal states that additional work will be charged at an hourly rate, then the client should understand that. This approach can have its drawbacks however:

• No matter how much planning goes into a proposal, it’s almost impossible to be 100% accurate with your timing estimates. What if you hit a number of IE bugs? What if you have hardware problems, or your Internet decides to take a day off in the middle of the project? There are any number of unforseen circumstances which can add time onto your project timescales.
• Many clients can have a pre-determined idea of how much web design / a web designer is worth, so telling them your hourly charge (as opposed to a full project cost) can give them the perfect excuse to walk away. If your hourly rate is higher than your closest competitor, this may count against you, even if the overall project cost is identical.
• If you tell a client a project will take 10 days (or the equivalent in hours), a client may expect that project to be completed in that timescale i.e. 10 working days from the start date. This is achievable if you have a single project approach, but what if you have multiple projects ongoing, the chances of completing that in the clients timescale may be unlikely.

Charging per hour can ensure you’re covered for the duration of the project, however that doesn’t mean the client will be happy if they have to pay more than your original estimate. It may even be impossible to give a quote in hours, especially if the project is complex, such as an ecommerce website design.

Time tracking

A more accurate way of charging for your work, is to use time tracking software to provide an up to the minute list of the tasks you worked on / completed. This allows the client to see exactly what time has been spent on certain tasks across the project, and the charges related to these tasks.
There are a ton of different pieces of software you can use to track your time on projects:

Quoting per client

An alternative to timing projects, is to provide costs for a project without time involved i.e. what you deem to be a fair price for that client and project. This approach is suitable when you are approached by a client that has a large specification / budget in mind, and you’re confident that they may be comfortable with a cost that is a little higher than your ‘usual’.
The advantages of this are obvious, but there can be risks involved, especially if this client discovered that you were perhaps charging other clients at a lesser rate.

Conclusion

We’ve described some alternative web design pricing methods in the article above, which will suit a number of web designers ranging from small to medium businesses, to freelancers.
There is no right or wrong way to charge for web design and development, almost every single business / freelancer does it differently. You will find a method that works for you and your clients, just be prepared to make mistakes along the way!

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A shared hosting plan is typically based on “geo hosting,” meaning that you are sharing rented space on the hosting company’s physical server that is set up in a particular geographically-based location. Shared hosting is fine, up until the point that your storage and traffic needs begin to overwhelm a shared environment.
Until recently, there have been two choices available to solve this problem: virtual private server (VPS) hosting and dedicated server hosting. However, a new option has presented itself to website owners looking to improve their hosting: cloud hosting. Each of these hosting platforms has benefits and drawbacks, and each is ideal for users with very different requirements.

What Is Cloud Hosting?

The word “cloud” in this sense refers to a collection of servers that are integrated to work together, which allows them to share resources and loads. Cloud hosts are composed of several servers, usually all located in different places around the world. Cloud hosting, like shared geo hosting plans, allows several users to share the same resources. However, the resources of cloud hosting are much greater than those of a physical server. This makes it available at a lower cost than a dedicated hosting plan.
Cloud hosting is well-prepared to manage peaks in traffic and data transfer. You will typically pay a flat rate for the service during times of regular traffic, and will be charged an additional fee only during times of peak use or high resource loads. This makes it a highly scalable option, with the ability to enjoy the benefits of dedicated hosting without the high rates. You will retain the availability of the highest bandwidth you may need at any given time, but you will only pay for this service when you actually use it. Keep in mind that the per-unit cost for data transfer will typically be higher with a cloud host than with a geo host.
Cloud hosting can become extremely beneficial for users with certain situations. For example, you may be involved in a resource-intensive, large-scale app development project or something else involving high data transfer. For such an operation, cloud hosting provides a necessarily wide variety of resources.

Potential Issues With Cloud Hosting

Cloud hosting does have a few key issues to resolve before it becomes a completely viable option. Even though the shared resources are much greater than those of a shared geo hosting plan, you can expect that other users will often hit peak times as well. To balance these heavy loads, the servers will often shift data around with the other hosting clients. You could see your resources suddenly located thousands of miles away, even in another country. You will not know the actual location of the server that has been assigned to you or your users by the random “load balancing” system. If your data must travel a very long distance to reach a user, transfer can become incredibly slow.
This constant shifting of resources is quite a balancing act. It can result in a generally slower response time for all website operations. It can also pose a security threat. Cloud hosting poses a potential vulnerability in its load-balancing operations. Traditional hosting companies have well-established security protocols. With cloud hosting, no industry standard for security exists, although some larger cloud hosts are currently developing guidelines to protect against unauthorized access. Currently, cloud hosting is unable to offer the same high level of security as geo hosting options.

Cloud Hosting or Geo Hosting?

Geo hosting may be the best option for websites where connection time is very important: those that are primarily user-driven. A dedicated server will provide higher quality email service, faster page loads and a more predictable cost. If this is your situation, you need to find a geo host with a data center situated as close as possible to you and the majority of your users.
Geo hosting provides the possibility of a fairly simple transfer to a dedicated server should the need arise. This transfer will provide a solution to heavy traffic problems and provides greater stability as your business expands and your needs grow. Dedicated servers give you your own space to store vital data and perform complex operations. This means a more secure, stable environment.
Users with fairly level loads may benefit more from geo hosting services. Geo hosting also provides the possibility of scalability. While a shared hosting plan can provide only limited load balancing operations, a quality geo host can assist you in upgrading your account with no risk of security threats. Geo hosting utilizes Secure Shell (SSH), which will secure your databases during transfer. Cloud hosting does not currently offer this ability. If your website operations require the highest level of security, your best hosting option is a dedicated geo-based server plan.
Cloud hosting may be a good fit for websites that have a high level of variation in their requirements. It can also be beneficial for users who are involved in very high-resource operations such as large-scale development projects. Cloud hosting can help save money if your resource needs cause vastly fluctuating server loads on a random schedule.
Ensure that you are choosing the best option for your needs by considering your current situation in relation to your expected future growth and expansion plans. Don’t neglect to perform diligent research on the hosting company itself. You need a reliable host that offers professional technical support all day, every day. You need to know you can get the help you need right away, should some problem arise. Your users expect your website to be available always, and if it is not available, your competitor’s website will be waiting to pick up your slack.
Brian Flores is a SEO and blogger for InMotion Hosting, one of the top providers of dedicated hosting in the country. He works with a team of awesome writers to post useful tutorials on WebHostingHelpGuy. You can follow him on Twitter @WHHG_InMotion or @BrianAFlores.

Tags: Cloud, Geo, Hosting, web hosting

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The design of a logo will have a long-term impact on your business. This is m" >ainly due to the fact that the logo will be tied for a long time, to the perceived image of both your company and the products you are selling. For this reason, the logo design process should not be taken lightly.
It makes no difference whether you are designing a logo yourself or you are working with a team of professional designers. In fact, the basic rules of good logo design are definitely the same and there is little advantage in leveraging a well-known communication firm if your marketing goals are not well-defined. Fortunately, the check list for a successful design is short and the driving requirements are well-defined:

1. Originality

Originality is paramount. You really need to design a logo that is substantially different from all the logos that can be found in the same business niche / sector as your company. This is not just a matter of avoiding copyright infringement, in fact a distinctive logo will also help customers remember your company and your product.

2. Creativity

Combine different elements to build your brand. Some logos use shapes that are easy to recognize. Some others simply rely on the use of a particular font. Some very successful designs are based just on the definition of a specific color scheme. Of course, the number and the kind of elements to put in your logo strongly depend on many factors, such as the product you are selling, the market segment your company belongs to and even the appearance of the characters that make up your company name.

3. Know your Target Audience

Define an image that is coherent with your market segment. High-tech logos should include sharp shapes, as their goal is to suggest innovation, speed and accuracy. By contrast, logos of companies that are in the services segment should be based on round and neat elements, in order to communicate a creative and friendly environment. Finally, B2B companies might find it useful to blend in their image elements from both the previous examples.

4. Keep it Minimal

Your logo should be clean, memorable and be adaptable to different platforms such as stationery, social media profiles and mobile devices. You should avoid including a lot of information or small details, since they are difficult to notice and could cause a lot of unnecessary clutter both when printing it or when publishing it online. Keep in mind the logo should look great both when on a dark and on a light background. If any text is present, choose a simple, clear font. This will enhance readability and will provide a cleaner and leaner look.

5. Practicality

Your logo should be recognisable in all sizes. If possible, you should use only standard fonts and colors defined in standard palettes. Design your logo with longevity in mind and ensure it is capable of withstanding changing trends.
These 5 simple tips will help you in designing a logo that will perfectly suit the communication needs of your company.
Mike Barbre is a social media professional and technology enthusiast. When he’s not using Intermedia’s Exchange Hosting, he can be found following Intermedia on Twitter and as a fan of Intermedia on Facebook.

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Psychedelic Pop Backgrounds
A myriad of colours and shapes burst into the scene even if design classes still promote a decrease in complexity in favour of concept and essence. Again, this new development led to a no-holds barred position, putting everything out in the open, concealing nothing.
Every technological revolution inevitably gives birth to a romantic counter culture. But mixing these two by using 1960s psychedelic patterns as backgrounds for contemporary shapes is as postmodern as it can be.
What do the backgrounds whisper to us? You have a message in two parts: part 60's psychedelic, part Optical Art. The use of layering reveals Photoshop taking the vector lane. This approach is fueled by mood and emotion.
Psychedelic pop backgrounds are reminiscent of the flower power era, but they go beyond an ultra-modern, non-orthodox mindset. They are unpretentious and democratic. There is no arrogance, no snobbery.
A good majority of this year's trends do not translate well in print. Innovations in technology and the adoption of a variety of tools have made black and white printing no longer mandatory. Some clients are aware that when they choose a particular trend, they are potentially removing their logo's significant meaning and nibbling away at their appearance when transformed into black and white or when the logo is faxed. What do they get? They get powerful and colorful striking images in 90% of the other media.


Origami

The desire to go back to basics is mirrored in the Origami theme; designers used it to display their skills.

An increasing number of designers wish they have real objects to work with when executing on their projects. The art of origami is fragile, light and subtle and the digital process is the same. It closely resembles minimal geometrical forms discussed earlier but constitutes more of a sub-trend.
Origami, however, evolved as a trend in its own way, because it was a process that appealed to a broader range of designers. The trend won't last too long, for the simple reason that the results are a bit too similar.
The advantage of this trend lies in the process. Designers need experience to get some of the process segments correctly. In spite of their clarity and simplicity, the logos will make the designer's presence predominant. Origami-based logos are a good choice for corporate monograms.
This trend brings back to mind the expression, "small but beautiful". Origami is the Japanese art of folding paper, but the goal is to use small folds and creases to bring about delicate and intricate objects. This can be a challenge for logo designers and this is why they put in much time and effort to come up with a logo that respects the objective of using small amounts to produce intricacy; this is why despite meager strokes, the designer's presence is strongly felt.


Tactile Logos

What sensations are triggered when you see letter installations crafted out of a variety of materials and then photographed? Does "cool" come to mind? How about "sensual"? Tactile means relating to touch or invoking the sense of touch. But tactile does not have to translate into tactless. What can't be absorbed by touch - texture - must be compensated for by the visual.
Logo designers who like to experiment with tactile logos want to change common textures in the real world. They may work well with their preferred software, but they also have no problem with the traditional tasks of cutting, painting and pasting. Actually it does take some smart maneuvers to make tactile logos influence viewers at more than the "touch" level. The texture and quality have to transcend the feeling of touch.
The process is a huge challenge even for the most experienced graphic designers. Creating type from real materials is a unique experience. The possibilities are endless. Designers feel they are walking on almost virgin ground and every creation looks like a significant breakthrough. Type installations are supposed to create a special mood and atmosphere. The results evoque craftmanship and tangibility not often seen in logo or type design.
How designers cleverly manipulate this tangible aspect so that it makes sense to even the untrained eye is pure talent. Tactile logos never cease to stimulate logo designers; these are the very type of logos that force them to retreat into the inner sanctums of their mind, translating what resides mentally into concrete strokes, regardless of whether these strokes are on metal, paper or on other types of materials.


Arabesque

Designing a corporate identity using a beautiful tool like Arabic calligraphy may seem straightforward enough, but wait until you get to the execution process and you'll discover that it is a tricky undertaking. Why? Because this style inevitably requires heavy doses of gut instincts tempered with beauty. The designer has to make his logo echo the beautiful soul of the Middle East. The Arabesque is synonymous to majestic strokes that have to be delicately adapted to the desired corporate image.
This trend goes hand in hand with the revival of the figurative pattern that designers and non-designers have observed in the last few years: complex patterns forming perfect illustrations that express passion both on print and digital format. These beautiful creations come straight from the Middle East, but American and European designers are quickly catching up. The Arabesque solution is the answer to a designer's desire for uniqueness. The harmonious blend of ancient calligraphy and modern sans serif fonts works like a charm. What do you get? A surprisingly modern object with mass appeal; mass appeal that is far from cheap.
Logo designers who use the Arabesque style often have to be sensitive to one of the defining characteristics of Arab calligraphy: thick downstrokes and thin upstrokes with in-between gradations. There must be a fluid transition that communicates the designer's hand. No wonder then that Arabic calligraphy is considered a true art form. This means only one thing: there is no place for sloppiness and shoddiness, but there is plenty of room for harmony and connection.



Classic Modernism

In 2008 classic modernism is back in style, considered by many as a foolproof method, the "safe" way to create logo design. 2009 will take us back to its most genuine forms where everything is somber and calculated, white space is cleverly used, and everything looks like it was done with ancient methods - like the computer was never invented.
In classic modernism, we have fundamental shapes, sharp contrasts, the smart use of white space and form following function (in an era where form tends to follow passion).
The focus of modernist logos is on the essential, where the concept and the execution of that concept are first and foremost the guiding principle. It can be diluted, no doubt, but the beauty of it is there is plenty of room for interpretation. The colors and shapes are minimal and strong. Transparency and photoshop weren't invented yet. These marks transmit a sense of trust, security and pragmatism and are accomplished with minimal resources. This is the designer's way of drawing attention to himself when everyone else in the design community is promoting a "shout it out loud" attitude.
What's surprising is that the absolute simplicity of this style is embraced by the youngest generation of designers,and with good reason.
If you're not sure how consumers will react to your logo identity, modernism offers you a historically proven safe channel, one that's not fraught with conflicting messages, jarring colors and shapes.


Pictograms

Logo design must not only be an object or an image, a process or a mixture of colors and shapes, but also a problem-solving process.

We're seeing a strong trend towards integrating meaningful icons, the kind of icons that encompass the essential values of the brand, its message and its market position - in condensed form. Pictograms are the backbone of non-verbal multicultural communication. As they were taught in college, classically-designed pictograms are the perfect vehicles for companies desiring to communicate the message of "Here I am" instead of "let me tell you about my company."
This trend became pronounced after web 2.0 logos faded away from the design arena. At that time, it was more important to pay attention to the glitter and shine - the background on which the icon was mounted, instead of putting emphasis on the icon itself.
Sometimes the purpose of pictograms is to convey basic community values.
Pictograms date back many years, but they became popular at a time when service industries like aviation, urban planning and public parks had to provide citizens with important and helpful information in a language that was universal. If logo designers made use of pictograms, they had to make sure that they were just as effective.
Visual cues are key in pictograms. The logo must project itself as a natural and clear message to audiences. It should not give the impression that one needs a visual detective to de-code its elements. Pictograms put less pressure on viewers when it comes to deciphering a message; nevertheless logo designers must not neglect the aspects of aesthetics, originality and timelessness.


80's Geometry Lesson

If there is one big no-no in graphic design, it is using complex geometrical shapes with a full color spectrum to create a logo.
As to whether the capability to fax a logo is good or bad does not matter. This argument could persist through the years but one thing is certain: this complex geometry will be here for awhile.
When this 80s trend first came out, it was a way of capturing the consumer's attention. The purpose was to design something completely different, regardless of costs.
Designers will not spare any effort; they will use their turbo-charged Macs to prove that in today's over-saturated market, they have carte-blanche to attract the attention of consumers.
For years, monster-like geometrical logos have been used by aggressive and self-centered companies to shout, instead of politely introduce, their industry presence. These abominable images made their appearance a few years ago and the perception at that time was they were nothing but child's play and hence not to be taken seriously. But observant designers and brand developers began to recognize their worth and started using them.
There's a certain irony about using a full color spectrum for these creations. The 1980s geometrical logos have come back in full force to contradict minimalism, under-design, and common sense simplicity. There's also irony in the fact that it's not the emergence of a 2008 high-tech 3D geometrical design observed last year; rather it's the geometry of that ever-popular Rubik cube!
There's a chance of course that this may not thrive and be adopted widely. Maybe they'll make a splash here and there to remind people that a hint of visual pollution and the inclusion of non-essentials could be an effective way of getting the message across. They may lack some conceptual beauty but you have to agree - they are fine-tuned, visually stable, and very difficult to reproduce.

Typographic Logos
Somber and solemn? Yes. Trendy? No.
Typographic logos will never fade from the designer's sphere of vision because they deliver not only simplicity but also attractiveness - a sort of silent elegance. The powerful component of type, when used as an ornament, is highly visible.
Designing a typographic logo means combining the essence of corporate identity and the company's mission statement which have to be communicated through type only. This is not a task obviously for a debutant logo designer because a delicate balance must be achieved between corporate philosophies and the manner of projecting them with the appropriate type treatment.
No doubt there are thousands of fonts offered to designers, but a good designer will not succumb to the temptation of using pre-established fonts. The professional logo designer works from scratch, the way a patissier creates his ultimate signature mille-feuille.
Even modifying a pre-made font is not an option. This is the niche that typography enthusiasts guard with fervor. Typographic logos will consistently demonstrate manners, culture, and purity. The type selected must have the quality of adaptability, particularly when numerous applications are envisioned for the logo. Sadly, the best marks become adulterated when typographic support is not managed with skill and talent, and the rest of the graphic elements tumble down in quality.


Street Art

When you hear the words "street art" handmade graphics come to mind. Talented illustrators with street art backgrounds have artfully changed the wall painting spray with the Illustrator bezier tool.
Many people think of street art as a breath of fresh air - a welcome relief from digital computer art.
Street art logos have always been around. Indications are that they will be for a long time. They are the preferred medium for producers of extreme sports and manufacturers of sports gear and clothing. When abstracts are on the decline, but people still expect a nice story from logos, street art will regain its popularity. When designers want to create something original, they may opt for some of the trendy street art seen in recent years.
Street art speaks for the souls of designers: there may be hints of urbanism and perhaps a speck of subversion and activism.
When bold and bright street art is reflected in logo design, just let your mind travel across geographical locations: from the East Side gallery of Berlin, to the diversity of Melbourne and to the murals of Sao Paulo, Brazil, you'll discover that logos with street art are reminiscent of a place and time that have made a distinct impression on the beholder.


Puzzle Patterns

When people exclaim, "the world's gone mad!" we think that logos have also followed suit. The proliferation of brands and the thousands more that emerge everyday make it clear that their visual impact has diminished.
How does one compensate for this diminished visual impact?
One way is for brand designers to tread into uncharted territories, going to places they never dreamed would be possible. What seemed like mission impossible two years ago is now de rigueur.
These Puzzle Patterns must evoke entire sagas instead of reducing elements to the essence of the brand. Most patterns highlight nature, and bringing nature to the screen is a recurring trend for as long as logos are designed on machines, away from nature itself.
Instead of going into the elemental essence of a brand, designers are using complex vector graphics to intentionally veer away from the rules. Their mantra these days is, "design has no rules." There is an undisciplined but skilful interplay of type, patterns and images. Restraint is out of the question. Anything goes with these puzzles: animals, letters, plants, insignias or random geometric forms are given full rein. No one's worried about meaning, because this unrestrained m?lange caters to a purpose that is strictly decorative.
At present, Puzzle Patterns are the ultimate anti-corporate battle. Don't be surprised however if in the years to come, big corporations going through a face lift will decide that they definitely need something DIFFERENT and hence will go with this trend.

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