Tag Archives: In The Media

OTON GLASS: turning text to speech

Post Syndicated from Alex Bate original https://www.raspberrypi.org/blog/oton-glass/

With OTON GLASS, users are able to capture text with a blink and have it read back to them in their chosen language. It’s wonderful tool for people with dyslexia or poor vision, or for travellers abroad.

OTON GLASS

A wearable device for people who have difficulty reading.

OTON GLASS

Inspired by his father’s dyslexia, Keisuke Shimakage of the Media Creation Research Department at the Institute of Advanced Media Arts and Sciences, Japan, began to develop OTON GLASS:

I was determined to develop OTON GLASS because of my father’s dyslexia experience. In 2012, my father had a brain tumor, and developed dyslexia after his operation — the catalyst for OTON GLASS. Fortunately, he recovered fully after rehabilitation. However, many people have congenital dyslexia regardless of their health.

Assembling a team of engineers and designers, Keisuke got to work.

A collage images illustrating the history of developing OTON GLASS — OTON GLASS RASPBERRY PI GLASSES FOR DYSLEXIC USERS

The OTON GLASS device includes a Raspberry Pi 3, two cameras, and an earphone. One camera on the inside of the frame tracks the user’s eyes, and when it detects the blinked trigger, the outward-facing camera captures an image of what the user is looking at. This image is then processed by the Raspberry Pi via a program that performs optical character recognition. If the Pi detects written words, it converts them to speech, which the earphone plays back for the user.

A collage of images and text explaining how OTON GLASS works — OTON GLASS RASPBERRY PI GLASSES FOR DYSLEXIC USERS

The initial prototype of OTON GLASS had a 15-second delay between capturing text and replaying audio. This was cut down to three seconds in the team’s second prototype, designed in CAD software and housed within a 3D-printed case. The makers were then able to do real-world testing of the prototype to collect feedback from dyslexic users, and continued to upgrade the device based on user opinions.

Awards buzz

OTON GLASS is on its way to public distribution this year, and is currently doing the rounds at various trade and tech shows throughout Japan. Models are also available for trial at the Japan Blind Party Association, Kobe Eye Centre, and Nippon Keihan Library. In 2016, the device was runner-up for the James Dyson Award, and it has also garnered attention at various other awards shows and in the media. We’re looking forward to getting out hands on OTON GLASS, and we can’t wait to find out where team will take this device in the future.

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EFF Urges US Copyright Office To Reject Proactive ‘Piracy’ Filters

Post Syndicated from Andy original https://torrentfreak.com/eff-urges-us-copyright-office-to-reject-proactive-piracy-filters-180213/

Faced with millions of individuals consuming unlicensed audiovisual content from a variety of sources, entertainment industry groups have been seeking solutions closer to the roots of the problem.

As widespread site-blocking attempts to tackle ‘pirate’ sites in the background, greater attention has turned to legal platforms that host both licensed and unlicensed content.

Under current legislation, these sites and services can do business relatively comfortably due to the so-called safe harbor provisions of the US Digital Millennium Copyright Act (DMCA) and the European Union Copyright Directive (EUCD).

Both sets of legislation ensure that Internet platforms can avoid being held liable for the actions of others provided they themselves address infringement when they are made aware of specific problems. If a video hosting site has a copy of an unlicensed movie uploaded by a user, for example, it must be removed within a reasonable timeframe upon request from the copyright holder.

However, in both the US and EU there is mounting pressure to make it more difficult for online services to achieve ‘safe harbor’ protections.

Entertainment industry groups believe that platforms use the law to turn a blind eye to infringing content uploaded by users, content that is often monetized before being taken down. With this in mind, copyright holders on both sides of the Atlantic are pressing for more proactive regimes, ones that will see Internet platforms install filtering mechanisms to spot and discard infringing content before it can reach the public.

While such a system would be welcomed by rightsholders, Internet companies are fearful of a future in which they could be held more liable for the infringements of others. They’re supported by the EFF, who yesterday presented a petition to the US Copyright Office urging caution over potential changes to the DMCA.

“As Internet users, website owners, and online entrepreneurs, we urge you to preserve and strengthen the Digital Millennium Copyright Act safe harbors for Internet service providers,” the EFF writes.

“The DMCA safe harbors are key to keeping the Internet open to all. They allow anyone to launch a website, app, or other service without fear of crippling liability for copyright infringement by users.”

It is clear that pressure to introduce mandatory filtering is a concern to the EFF. Filters are blunt instruments that cannot fathom the intricacies of fair use and are liable to stifle free speech and stymie innovation, they argue.

“Major media and entertainment companies and their surrogates want Congress to replace today’s DMCA with a new law that would require websites and Internet services to use automated filtering to enforce copyrights.

“Systems like these, no matter how sophisticated, cannot accurately determine the copyright status of a work, nor whether a use is licensed, a fair use, or otherwise non-infringing. Simply put, automated filters censor lawful and important speech,” the EFF warns.

While its introduction was voluntary and doesn’t affect the company’s safe harbor protections, YouTube already has its own content filtering system in place.

ContentID is able to detect the nature of some content uploaded by users and give copyright holders a chance to remove or monetize it. The company says that the majority of copyright disputes are now handled by ContentID but the system is not perfect and mistakes are regularly flagged by users and mentioned in the media.

However, ContentID was also very expensive to implement so expecting smaller companies to deploy something similar on much more limited budgets could be a burden too far, the EFF warns.

“What’s more, even deeply flawed filters are prohibitively expensive for all but the largest Internet services. Requiring all websites to implement filtering would reinforce the market power wielded by today’s large Internet services and allow them to stifle competition. We urge you to preserve effective, usable DMCA safe harbors, and encourage Congress to do the same,” the EFF notes.

The same arguments, for and against, are currently raging in Europe where the EU Commission proposed mandatory upload filtering in 2016. Since then, opposition to the proposals has been fierce, with warnings of potential human rights breaches and conflicts with existing copyright law.

Back in the US, there are additional requirements for a provider to qualify for safe harbor, including having a named designated agent tasked with receiving copyright infringement notifications. This person’s name must be listed on a platform’s website and submitted to the US Copyright Office, which maintains a centralized online directory of designated agents’ contact information.

Under new rules, agents must be re-registered with the Copyright Office every three years, despite that not being a requirement under the DMCA. The EFF is concerned that by simply failing to re-register an agent, an otherwise responsible website could lose its safe harbor protections, even if the agent’s details have remained the same.

“We’re concerned that the new requirement will particularly disadvantage small and nonprofit websites. We ask you to reconsider this rule,” the EFF concludes.

The EFF’s letter to the Copyright Office can be found here.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

Hacker House’s Zero W–powered automated gardener

Post Syndicated from Alex Bate original https://www.raspberrypi.org/blog/hacker-house-automated-gardener/

Are the plants in your home or office looking somewhat neglected? Then build an automated gardener using a Raspberry Pi Zero W, with help from the team at Hacker House.

Make a Raspberry Pi Automated Gardener

See how we built it, including our materials, code, and supplemental instructions, on Hackster.io: https://www.hackster.io/hackerhouse/automated-indoor-gardener-a90907 With how busy our lives are, it’s sometimes easy to forget to pay a little attention to your thirsty indoor plants until it’s too late and you are left with a crusty pile of yellow carcasses.

Building an automated gardener

Tired of their plants looking a little too ‘crispy’, Hacker House have created an automated gardener using a Raspberry Pi Zero W alongside some 3D-printed parts, a 5v USB grow light, and a peristaltic pump.

Hacker House Automated Gardener Raspberry Pi

They designed and 3D printed a PLA casing for the project, allowing enough space within for the Raspberry Pi Zero W, the pump, and the added electronics including soldered wiring and two N-channel power MOSFETs. The MOSFETs serve to switch the light and the pump on and off.

Hacker House Automated Gardener Raspberry Pi

Due to the amount of power the light and pump need, the team replaced the Pi’s standard micro USB power supply with a 12v switching supply.

Coding an automated gardener

All the code for the project — a fairly basic Python script —is on the Hacker House GitHub repository. To fit it to your requirements, you may need to edit a few lines of the code, and Hacker House provides information on how to do this. You can also find more details of the build on the hackster.io project page.

Hacker House Automated Gardener Raspberry Pi

While the project runs with preset timings, there’s no reason why you couldn’t upgrade it to be app-based, for example to set a watering schedule when you’re away on holiday.

To see more for the Hacker House team, be sure to follow them on YouTube. You can also check out some of their previous Raspberry Pi projects featured on our blog, such as the smartphone-connected door lock and gesture-controlled holographic visualiser.

Raspberry Pi and your home garden

Raspberry Pis make great babysitters for your favourite plants, both inside and outside your home. Here at Pi Towers, we have Bert, our Slack- and Twitter-connected potted plant who reminds us when he’s thirsty and in need of water.

Bert Plant on Twitter

I’m good. There’s plenty to drink!

And outside of the office, we’ve seen plenty of your vegetation-focused projects using Raspberry Pi for planting, monitoring or, well, commenting on social and political events within the media.

If you use a Raspberry Pi within your home gardening projects, we’d love to see how you’ve done it. So be sure to share a link with us either in the comments below, or via our social media channels.

 

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Thor:Ragnarok Director Says He “Illegally Torrented” Clips for the Showreel

Post Syndicated from Andy original https://torrentfreak.com/thorragnarok-director-says-illegally-torrented-clips-showreel-180127/

It’s not often that movies escape being pirated online but last weekend was a pretty miserable one for the people behind Thor:Ragnarok.

Just four months after the superhero movie’s theatrical debut, the Marvel hit was due to be released on disc February 26th, with digital distribution on iTunes planned for February 19th.

However, due to what appeared to be some kind of pre-order blunder, the $180 million movie was leaked online, resulting in a pirate frenzy that’s still ongoing.

But with the accidental early release of Thor:Ragnarok making waves within the torrent system and beyond, it seems ironic that its talented director actually has another relationship with piracy that most people aren’t aware of.

In an interview for ‘Q’, a show broadcast on Canada’s CBC radio, Taika Waititi noted that Thor: Ragnarok might be a “career ender” for him, something that was previously highlighted in the media.

However, the softly-spoken New Zealander also said some other things that flew completely under the radar but given recent developments, now have new significance.

Speaking with broadcaster Tom Power, Waititi revealed that when putting together his promotional showreel for Thor: Ragnarok, he obtained its source material from illegal sources.

Explaining the process used to acquire clips to create his ‘sizzle reel’ (a short video highlighting a director’s vision and tone for a proposed movie), Waititi revealed his less-than-official approach.

“I cut together little clips and shots – I basically illegally torrented and, erm, you know, ripped clips from the Internet,” Waititi said.

“Of a bunch of different things?” Power asked.

“I don’t mind saying that…erm…on the radio,” Waititi added, unconvincingly.

With Power quickly assuring the director that admitting doing something illegal was OK on air, Waititi perhaps realized it probably wasn’t.

“You can cut that out,” he suggested.

That Waititi took the ‘pirate’ approach to obtaining source material for his ‘sizzle reel’ isn’t really a surprise. Content is freely accessible online, crucially in easier to consume and edit formats than even Waititi has access to on short notice. And, since every film in memory is just a few clicks away, it’d be counter-intuitive not to use the resource in the name of creativity.

Overall then, it’s extremely unlikely that Waititi’s pirate confession will come to much. Two of his previous feature films, ‘Boy’ and ‘Hunt For The Wilderpeople’, held titles for the highest-grossing New Zealand film, the latter achieving the accolade in 2017.

Also in 2017, Waititi was named New Zealander of the Year in recognition of his “outstanding contribution to the well being of the nation.” Praise doesn’t come much higher than that.

How many torrent swarms he helped to keep healthy is destined remain a secret forever though, but as an emerging movie hero in his own right, people will forgive him that.

H/T Trioval

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AWS Media Services – Process, Store, and Monetize Cloud-Based Video

Post Syndicated from Jeff Barr original https://aws.amazon.com/blogs/aws/aws-media-services-process-store-and-monetize-cloud-based-video/

Do you remember what web video was like in the early days? Standalone players, video no larger than a postage stamp, slow & cantankerous connections, overloaded servers, and the ever-present buffering messages were the norm less than two decades ago.

Today, thanks to technological progress and a broad array of standards, things are a lot better. Video consumers are now in control. They use devices of all shapes, sizes, and vintages to enjoy live and recorded content that is broadcast, streamed, or sent over-the-top (OTT, as they say), and expect immediate access to content that captures and then holds their attention. Meeting these expectations presents a challenge for content creators and distributors. Instead of generating video in a one-size-fits-all format, they (or their media servers) must be prepared to produce video that spans a broad range of sizes, formats, and bit rates, taking care to be ready to deal with planned or unplanned surges in demand. In the face of all of this complexity, they must backstop their content with a monetization model that supports the content and the infrastructure to deliver it.

New AWS Media Services
Today we are launching an array of broadcast-quality media services, each designed to address one or more aspects of the challenge that I outlined above. You can use them together to build a complete end-to-end video solution or you can use one or more in building-block style. In true AWS fashion, you can spend more time innovating and less time setting up and running infrastructure, leaving you ready to focus on creating, delivering, and monetizing your content. The services are all elastic, allowing you to ramp up processing power, connections, and storage and giving you the ability to handle million-user (and beyond) spikes with ease.

Here are the services (all accessible from a set of interactive consoles as well as through a comprehensive set of APIs):

AWS Elemental MediaConvert – File-based transcoding for OTT, broadcast, or archiving, with support for a long list of formats and codecs. Features include multi-channel audio, graphic overlays, closed captioning, and several DRM options.

AWS Elemental MediaLive – Live encoding to deliver video streams in real time to both televisions and multiscreen devices. Allows you to deploy highly reliable live channels in minutes, with full control over encoding parameters. It supports ad insertion, multi-channel audio, graphic overlays, and closed captioning.

AWS Elemental MediaPackage – Video origination and just-in-time packaging. Starting from a single input, produces output for multiple devices representing a long list of current and legacy formats. Supports multiple monetization models, time-shifted live streaming, ad insertion, DRM, and blackout management.

AWS Elemental MediaStore – Media-optimized storage that enables high performance and low latency applications such as live streaming, while taking advantage of the scale and durability of Amazon Simple Storage Service (S3).

AWS Elemental MediaTailor – Monetization service that supports ad serving and server-side ad insertion, a broad range of devices, transcoding, and accurate reporting of server-side and client-side ad insertion.

Instead of listing out all of the features in the sections below, I’ve simply included as many screen shots as possible with the expectation that this will give you a better sense of the rich set of features, parameters, and settings that you get with this set of services.

AWS Elemental MediaConvert
MediaConvert allows you to transcode content that is stored in files. You can process individual files or entire media libraries, or anything in-between. You simply create a conversion job that specifies the content and the desired outputs, and submit it to MediaConvert. There’s no software to install or patch and the service scales to meet your needs without affecting turnaround time or performance.

The MediaConvert Console lets you manage Output presets, Job templates, Queues, and Jobs:

You can use a built-in system preset or you can make one of your own. You have full control over the settings when you make your own:

Jobs templates are named, and produce one or more output groups. You can add a new group to a template with a click:

When everything is ready to go, you create a job and make some final selections, then click on Create:

Each account starts with a default queue for jobs, where incoming work is processed in parallel using all processing resources available to the account. Adding queues does not add processing resources, but does cause them to be apportioned across queues. You can temporarily pause one queue in order to devote more resources to the others. You can submit jobs to paused queues and you can also cancel any that have yet to start.

Pricing for this service is based on the amount of video that you process and the features that you use.

AWS Elemental MediaLive
This service is for live encoding, and can be run 24×7. MediaLive channels are deployed on redundant resources distributed in two physically separated Availability Zones in order to provide the reliability expected by our customers in the broadcast industry. You can specify your inputs and define your channels in the MediaLive Console:

After you create an Input, you create a Channel and attach it to the Input:

You have full control over the settings for each channel:

 

AWS Elemental MediaPackage
This service lets you deliver video to many devices from a single source. It focuses on protection and just-in-time packaging, giving you the ability to provide your users with the desired content on the device of their choice. You simply create a channel to get started:

Then you add one or more endpoints. Once again, plenty of options and full control, including a startover window and a time delay:

You find the input URL, user name, and password for your channel and route your live video stream to it for packaging:

AWS Elemental MediaStore
MediaStore offers the performance, consistency, and latency required for live and on-demand media delivery. Objects are written and read into a new “temporal” tier of object storage for a limited amount of time, then move silently into S3 for long-lived durability. You simply create a storage container to group your media content:

The container is available within a minute or so:

Like S3 buckets, MediaStore containers have access policies and no limits on the number of objects or storage capacity.

MediaStore helps you to take full advantage of S3 by managing the object key names so as to maximize storage and retrieval throughput, in accord with the Request Rate and Performance Considerations.

AWS Elemental MediaTailor
This service takes care of server-side ad insertion while providing a broadcast-quality viewer experience by transcoding ad assets on the fly. Your customer’s video player asks MediaTailor for a playlist. MediaTailor, in turn, calls your Ad Decision Server and returns a playlist that references the origin server for your original video and the ads recommended by the Ad Decision Server. The video player makes all of its requests to a single endpoint in order to ensure that client-side ad-blocking is ineffective. You simply create a MediaTailor Configuration:

Context information is passed to the Ad Decision Server in the URL:

Despite the length of this post I have barely scratched the surface of the AWS Media Services. Once AWS re:Invent is in the rear view mirror I hope to do a deep dive and show you how to use each of these services.

Available Now
The entire set of AWS Media Services is available now and you can start using them today! Pricing varies by service, but is built around a pay-as-you-go model.

Jeff;

MPAA Lobbies US Congress on Streaming Piracy Boxes

Post Syndicated from Ernesto original https://torrentfreak.com/mpaa-lobbies-us-congress-on-streaming-piracy-boxes-171112/

As part of its quest to reduce piracy, the MPAA continues to spend money on its lobbying activities, hoping to sway lawmakers in its direction.

While the lobbying talks take place behind closed doors, quarterly disclosure reports provide some insight into the items under discussion.

The MPAA’s most recent lobbying disclosure form features several new topics that weren’t on the agenda last year.

Among other issues, the Hollywood group lobbied the U.S. Senate and the U.S. House of Representatives on set-top boxes, preloaded streaming piracy devices, and streaming piracy in general.

The details of these discussions remain behind closed doors. The only thing we know for sure is what Hollywood is lobbying on, but it doesn’t take much imagination to take an educated guess on the ‘why’ part.

Just over a year ago streaming piracy boxes were hardly mentioned in anti-piracy circles, but today they are on the top of the enforcement list. The MPAA is reporting these concerns to lawmakers, to see whether they can be of assistance in curbing this growing threat.

Some of the lobbying topics

It’s clear that pirate streaming players are a prime concern for Hollywood. MPA boss Stan McCoy recently characterized the use of these devices as “Piracy 3.0” and a coalition of industry players sued a US-based seller of streaming boxes earlier this month.

The lobbying efforts themselves are nothing new of course. Every year the MPAA spends around $4 million to influence the decisions of lawmakers, both directly and through external lobbying firms such as Covington & Burling, Capitol Tax Partners, and Sentinel Worldwide.

While piracy streaming boxes are new on the agenda this year, they are not the only topics under discussion. Other items include trade deals such as the TPP, TTIP, and NAFTA, voluntary domain name initiatives, EU digital single market proposals, and cybersecurity.

TorrentFreak reached out to the MPAA for more information on the streaming box lobbying efforts, but we have yet to hear back.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

Deep Down, Games Pirates Love Enemies Like Denuvo

Post Syndicated from Andy original https://torrentfreak.com/deep-down-games-pirates-love-enemies-like-denuvo-171022/

While there are plenty of people who just want content for free, digging through the last 35 years of piracy reveals an interesting trend. One way or another, people have always secretly admired anti-piracy systems, since they simultaneously relish the prospect of one day subverting their barriers.

In the very early 80s, when the first 8-bit home computers became more readily available, finding ways to pirate games was almost as much fun as playing them. Children, with limited pocket money, would pool their resources and buy a single copy of a cassette-based game, hoping to clone it at home with a twin-deck recorder, to share among their fellow investors.

With significant trial and error (and only pre-Internet schoolyard advice and folklore available) copying eventually became easy. Then the ‘evil’ games companies worked out what was going on and decided to do something about it.

Early protection systems, such as ‘Hyper Loaders‘, threw a wrench in the works for a while but along came software like Lerm (with full page ads in the media) to level the playing field. Anything you can do we can do better, those kids rejoiced.

Unsurprisingly, copiers like Lerm also fell victim to pirates, with all self-respecting red beards owning a copy. But then the next waves of anti-piracy systems would come along, ensuring that working out how to pirate games became a time-consuming hobby in itself. But most pirates were kids – what else did they have to do?

With a young and inexperienced mindset, however, it was sometimes easy to fear that like Denuvo a year or two ago, some things might never be copied. Take the 1983 release of International Soccer for the Commodore 64 home computer, for example. That originally came on a cartridge – who could ever copy one of those?

Of course, someone did, dumping it onto cassette tape complete with a modification that had some players sitting in wheelchairs, others on crutches, instead of running around. By today’s standards that’s both technically trivial and rather insensitive, but at the time it represented a pirate double-whammy.

A game that couldn’t be pirated getting pirated onto another format, plus a ridiculous addition that no game company would ever allow to market? To teenage pirates, that was a supremely delicious not to mention rebellious treat.

As the months and years rolled on, new consoles – such as Commodore’s Amiga – brought 3.5″ floppy disc storage and new copy protection mechanisms to the masses. And, as expected, fresh solutions to thwart them came to market. Tools such as X-Copy Pro went down in history and were universally hailed by pirates. Who immediately pirated them, of course.

Today the situation is somewhat different but somehow just the same. Copy protection mechanisms, such as the now-infamous Denuvo, are so complex that no user-operated tool is available to copy the games protected by it. Yet people, driven by a passion for subverting the system and solving technological puzzles, are dedicating thousands of hours to take them apart.

Just recently, Denuvo was well and truly dismantled. Games are now routinely getting cracked in a day, sometimes just hours, and the excitement in the air is palpable. In many ways, this is the same kind of enthusiasm expressed by the relatively naive kid pirates of the 80s. They too were frustrated by copy protection, they too screamed with glee when it fell from grace.

While gaming has always been fun, the sense of achievement – of subverting the system – has always come a close second to actually playing games for those with an enthusiastic pirate streak. Imagine a world where every game could be easily copied by just about anyone. Now compare that to a war of attrition against the dark forces behind 80s Hyper Loaders and the evil Denuvo of today.

In the end, there’s no doubt. Most dedicated pirates, provided they eventually taste victory, will take the warfare option any day, fighting to the end, fighting for victory.

Let’s be honest. Pirates absolutely need a nemesis like Denuvo. Because – quite simply – it’s only half the fun without one.

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Say Hello to the New Atlassian

Post Syndicated from Chris De Santis original https://www.anchor.com.au/blog/2017/09/hello-new-atlassian/

Who is Atlassian?

Atlassian is an Australian IT company that develops enterprise software, with its best-known products being its issue-tracking app, Jira, and team collaboration and wiki product, Confluence.

In December 2015, Atlassian went public and made their initial public offering (IPO) under the symbol TEAM, valuing them at $4.37 billion. In summary, they big.

What happened?

A facelift

It’s a nice sunny day in Sydney in mid-September of 2017, and Atlassian, after 15 years of consistency, has rebranded, changing their look and feel for a brighter and funner one, compared to the dreary previous look.New Atlassian Branding VideoIt’s a hell of a lot simpler and, as they show in the above video, it’s going to be used with a lot more creativity and flair in mind—it’s flexible in a sense that they can use it in a lot more ways than before, with a lot more colours than before.

Atlassian Logo ComparisonThe blues they’re using now work super-well with the logos on a white background, whereas the white logos on their new champion, brand colour blue can go both ways: some can see it as a bold, daring step which is quite attractive, while others can see it as off-putting and not very user-friendly.

New Atlassian Logo Versions

What’s it all mean?

Symbolism

In his announcement blog, Atlassian Co-Founder & Co-CEO, Mike Cannon-Brookes, mentions that the branding change reflects their newly-shifted focus on the concept of teamwork. He continues to explain that their previous logo depicted the sky-holding Greek titan Atlas and symbolised legendary service and support. But, while it has become renown, they’re shifting their focus on the concept of teamwork—why focus on something you’ve already done right, right?

Atlassian Logo EvolutionThe new logo contains more symbolism than meets the eye, as can be interpreted as:

  • Two people high-fiving
  • A mountain to scale
  • The letter “A” (seen as two pillars reinforcing each other)
Product logos

Atlassian has created and acquired many products in their adventure so far, and they all seemed to have a similar art style, but something always felt off about their consistency. Well, needless to say, this was addressed with Atlassian’s very own “identity system”, which is a pretty cool term for a consistent logo-look for 14+ products, to fit them under one brand.

New Atlassian Product LogosThe result is a set of unique marks that “still feel very related to each other”. Whereas, I also see a new set of “unknown” Pokémon.

Typeface

New Atlassian TypefaceTo add a cherry on top, Atlassian will be using their own custom-made typeface called Charlie Sans, specifically designed to balance legibility with personality–that’s probably the best way to describe it. Otherwise, I’d say, out of purely-constructive criticism, that there isn’t much difference between itself and any of the other staple fonts; i.e. Arial, Verdana, etc. Then again, I’m not a professional designer.

It doesn’t look as distinct as their previous typeface, but, to be fair, it does look very slick next to the new product logos.

Well…

What do you think about it all?

 

Image credits: Atlassian

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