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But LOL is a bit of a mystery

A news columnist, Reg Henry, recently assailed what he called “the attack of the killer acronyms,” which, he said, are “serving where honest words were once employed.”

He made note of ones like “MRE” (meals, ready to eat), “LOL” (laughing out loud), and “STEM” (the educational mandate to teach science, technology, engineering, and mathematics).

If you want to be technical about it, only one of those is truly an acronym.

Strictly speaking, an “acronym” is a pronounceable word formed from the first letter of each or most of the words in the expression being shortened. “STEM” the acronym is pronounced the same as “stem” the word. “MRE,” by contrast, is pronounced as the individual letters that make it up, as in “em-are-ee.”

“LOL” falls into the hybrid category. Sometimes it’s a pronounced acronym (as in LOLcats), and sometimes it’s an initialism (“ell-oh-ell”). ( The Oxford English Dictionary , which includes “LOL,” calls for the pronunciation of “loll.”) Another example of that hybrid is “AARP”: Formerly known as the American Association of Retired Persons, it sometimes calls itself “aay-aay-are-pee,” and it sometimes calls itself “arp.” That last sounds like a puppy’s yap, but whatever.

Initialisms and acronyms are types of abbreviations, though a true abbreviation is just a shortening of a word to its opening few letters, like “Dec.” for “December” or “Corp.” for “Corporation.”

Whether all the letters in an acronym are capitalized and whether periods go between the letters in an initialism is a matter of style. Some guides allow all-capped acronyms no matter their length, like “UNESCO,” while others call for all-caps only for acronyms of four or fewer letters, allowing “NATO” and “Unicef.” The key in all of those treatments is the signal that it is a shortened form, by using at least an initial capital letter.

Some acronyms make their way into English, going all lower-case, like “scuba” (self-contained underwater breathing apparatus), first used as a word in 1957, according to the OED; “radar” (radio detecting and ranging), first use as a word (in The New York Times ) in 1941; “laser” (light amplification by stimulated emission of radiation), first used in 1960, again in The Times ; and “snafu” (situation normal, all fouled up, though another “f” word is usually used in the place of “fouled”), which traces, of course, to the military, also in 1941.

Then there are the abbreviations that take parts of the words in the expression and make a whole new word, like “motel” for “motor hotel,” or “smog” for “smoke” and “fog.” Those are called “portmanteaus,” named for the large suitcases that opened into two parts. In this case, the two parts close to make a new word.

Creating new and exciting dishes from scratch is part of the normal flow of a restaurateur’s life. Combining the right ingredients with just the right amount of TLC can develop a delicious and intriguing new menu item for your customers enjoy again and again.

But when it comes time to cook up a restaurant brand identity from scratch, how do you choose what to include? The same concepts in developing a new menu item apply. You have to measure out and combine the right design ingredients if you want to create a powerful brand identity. Fonts, colors, logos, typography treatments — the choices can be endless.

A great brand can also influence other choices you need to make for your restaurant, from Extremely For Sale Cheapest Price Cheap Online Mens ES 30922 Garda Chelsea Boots Buffalo Sneakernews Online Buy Cheap Best Wholesale Buy Cheap How Much VsN3ppb0bq
to lighting as your visual brand should be in unison with your overall restaurant concept. So whether you’re revamping your current brand identity, or looking to start a completely new restaurant concept, follow these suggested guidelines to save time, money, and frustration down the road as you build an effective and powerful visual brand for your restaurant.

Where do I start?

Initial concepting should begin long before the actual hands-on work of creating a brand identity on paper. Much like deciding what type of restaurant concept to launch, there’s a significant discovery process to help you better understand what your visual brand could look like. Most likely, you’ll need to share your vision with a graphic designer so they can hone in on specific design choices that match the style you’re seeking. Having a clear idea of what you want (with samples of similar things you like or hate) before a designer begins to bill will make for a much more efficient and productive branding process.

Step one in determining your brand is to write down three or four adjectives to describe what you would want your brand (i.e. your restaurant) to express. Draw upon the story or history of your restaurant, its menu, and the actual name of the establishment for inspiration.

These adjectives are ultimately what you would like your customers’ perception of your restaurant to be. They should have a direct influence on every aspect of your brand, including the colors, fonts — even the actual structure of the logo and other brand pieces. For instance, “My restaurant is hip and upbeat, yet modern .”

Here’s some additional questions and tips to get you started on the brand exploration process:

Get in the mood.

After establishing the premise of your brand identity, start working with a designer to bring the concept to life. The first step for your designer is likely to create mood boards, based upon their initial conversation with you and understanding of brand vision.

A mood board is essentially a collage of visuals that hopes to capture the essence of a brand. Much like an interior designer will bring swatches of tile and carpet tacked onto a physical board to their client’s home, a graphic designer will create similar boards on their computers. These boards can include a color palette, as well as visuals of other branding items such as fonts, symbols, icons, specific graphic treatments, and possibly branding from other companies similar to what you’re looking for.

Build some brand basics.

After writing out your brand description and approving your designer’s mood boards, your next steps will be to establish a logo, color scheme, and fonts. It’s important to note that not all brands actually have or need a logo. Many companies simply use a “wordmark” or “logotype,” which is simply the company name professionally set in a specific font, color, and/or graphical treatment.

But if you are going to create a logo, be thoughtful about whether it can consistently live across many mediums. A logo should be flexible enough to scale up or down depending on where it appears. An intricate logo with small design details (such as words within the logo) may look fine at a normal or large scale. But when you place the logo onto a much smaller print area, such as a business card or guest receipt template, it can quickly become illegible or skew it to the point of being unrecognizable.

When choosing a color scheme, it’s important to select colors meaningful to your brand, not just to you personally. Because people naturally associate them with emotions, the colors of your brand play as important a role as the other graphic elements.

If your concept is focused on organic offerings, uses a lot of local produce, or has a rooftop garden, colors such as green or brown may play well into your branding. Green denotes nature and freshness, and brown is a traditional earthy color often associated with food — a nod to the type of cuisine you produce. Your color palette can also include secondary color options to use as additional spot colors or to help define different services within your brand identity.

When it comes to fonts, there are millions of fonts to choose from and they come in a variety of styles — cursive, gothic, hand drawn, retro, novelty and many others. A good designer should be able help you narrow down choices and find ones that are in alignment with your brand vision. You can also have a primary and second typographic treatment as well. Like the logo, your font needs to be legible when scaled down to a very small print area.

Let me see your ID.

Once all these decisions are set down, it’s time to create the Brand ID Guide (BIG). This is a document that you can provide any vendor (sign designer, menu printer, interior decorator, uniform supplier) that will explain the rules of the road for your brand identity. This will ensure the integrity of your visual brand over time and across multiple stakeholders.

Included in the BIG are all the elements that make up your visual brand basics, including:

For example, logos need to be adapted for different uses. The BIG shows vendors multiple “lockups” that clearly show full color, reversed out, grayscale, and solid black variations. You may also need your logo to appear in spaces that won’t fit all the elements of its original design. If you have a horizontal logo — but a square print space —the BIG can help explain to the vendor how much wiggle room they have in skewing the logo’s design to fit the print area.

If you use photography consistently in your branding efforts, the BIG can also outline what type is considered “on brand.” For example, photographs may require a specific lighting, focus, or color overlay applied. Photographs aren’t your only imagery option, of course, as many brand use original illustrations as well. Just make sure you have guidelines established in your BIG for those as you would any other element.

In addition to these basics, go one step further and show how the brand will look in real-life applications. Place these final mock-ups of your menu cover, signage, uniforms, and/or advertising within the BIG. It will help vendors understand how you expect your brand to look across other communication pieces.

Creating a brand identity is not a quick process. There are multiple steps and revisions to get through before arriving at a final product. But with the right design ingredients and time —and a bit of hard work — you’ll be able to build right brand from the ground up, one that compliments your restaurant’s concept and appeals to your audience.

Now that you’ve got your new brand identity, how do you keep it consistent over time?

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The ceiling was made to the firmament.
The fifth labour seems to some great improvement in the drainage of Elis.
In this chapter we have the two beasts 2 which respectively Rome and the Roman provincial priesthood of the imperial cult.
Such characters which the idea of a thing without expressing the name of it are generally styled "ideographs" (Gr.
It consisted in shaving the whole head, leaving only a fringe of hair supposed to the crown of thorns.
Or, they the magic power of beauty, eloquence and song; hence their images are placed over the graves of beautiful women and maidens, of poets and orators (Sophocles, Isocrates).
According to some, Niobe is the goddess of snow and winter, whose children, slain by Apollo and Artemis, the ice and snow melted by the sun in spring; according to others, she is an earth-goddess, whose progeny - vegetation and the fruits of the soil - is dried up and slain every summer by the shafts of the sun-god.
Did not the Lamb of God, suspended at each knight's heart, at once the woollen fabrics to which so much of Flemish wealth and Burgundian power was owing, and the gentle humility of Christ which was ever to characterize the order?
The swan and grasshopper music and song; the hawk, raven, crow and snake have reference to his functions as the god of prophecy.
The wheels divine omniscience and control, and the whole vision represents the coming of Yahweh to take up his abode among the exiles.
This, of course, the Ascension; but meanwhile the other lamps in the church have received their light from the Paschal Candle, and so throughout the year the continued presence of the light of Christ.
By the 12th century, mitre and gloves were worn by all bishops, and in many cases they had assumed a new ornament, the rationale, a merely honorific decoration (supposed to doctrine and wisdom), sometimes of the nature of a highly ornamental broad shoulder collar with dependent lappets; sometimes closely resembling the pallium; rarely a "breast-plate" on the model of that of the Jewish high priest.'
The cherub-images, where such occur, represent to the imagination the supernatural bearers of Yahweh's throne or chariot, or the guardians of His abode; the cherub-carvings at least His presence, and communicate some degree of His sanctity.
He maintained that visual consciousness is merely a system of arbitrary signs which for us certain actual or possible tactual experience - in other words a purely conventional language.
Indeed, as the history of the higher religions shows, religion tends in the end to break away from secular government with its aristocratic traditions, and to revert to the more democratic spirit of the primitive age, having by now obtained a clearer consciousness of its purpose, yet nevertheless clinging to the inveterate forms of human ritual as still adequate to the consecration of life - the quickening of the will to face life earnestly.
If the traditional derivation is correct, the name is derived from the Welsh afal, an apple, and, as no other large fruit was well known to the races of northern Europe, is probably intended to the feasting and enjoyments of elysium.
Even if maggaba does denote the ordinary workman's hammer, and not the great smith's hammer which would more fitly the impetuosity of Judas, this is not a fatal objection.
As to the internal evidence, if the Gospel typifies various imperfect or sinful attitudes in Nicodemus, the Samaritan woman and Thomas; if even the mother appears to faithful Israel: then, profoundly spiritual and forward-looking as it is, a type of the perfect disciple, not all unlike Clement's perfect " Gnostic," could hardly be omitted by it; and the precise details of this figure may well be only ideally, mystically true.
The scorpion, attacking the genitals of the bull, is sent by Ahriman from the lower world to defeat the purpose of the sacrifice; the dog, springing towards the wound in the bull's side, was venerated by the Persians as the companion of Mithras; the serpent is the symbol of the earth being made fertile by drinking the blood of the sacrificial bull; the raven, towards which Mithras turns his face as if for direction, is the herald of the Sun-god, whose bust is near by, and who has ordered the sacrifice; various plants near the bull, and heads of wheat springing from his tail, the result of the sacrifice; the cypress is perhaps the tree of immortality.
All phenomena, moral as well as material, are contemplated by him in their relation to one great organic whole, which he acknowledges under the name of "Natura daedala rerum," and the most beneficent manifestations of which he seems to and almost to deify in the "Alma Venus," whom, in apparent contradiction to his denial of a divine interference with human affairs, he invokes with prayer in the opening lines of the poem.
Arose from the supposed resemblance of the corona to the crown of thorns, and of the other parts of the flower to the nails, or wounds, while the five sepals and five petals were taken to the ten apostles - Peter, who denied, and Judas, who betrayed, being left out of the reckoning.
In time the villages dependent on a chartered city, as they grew to be towns themselves, fotight for, and in many cases won, emancipation, which they then sought to have confirmed by the king and proceeded to by setting up their own gallows in the market-place.

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