Saint Petersburg Graphic Identity Manual
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Brand Style Guide.Indd
California Baptist University Brand Style Guide CALIFORNIA BAPTIST UNIVERSITY BRAND STYLE GUIDE The CBU Brand A brand is the personality a consumer creates for the organizations or products he or she interacts with. Consumers attribute characteristics to organizations to help themselves understand and then engage or avoid them. Brands can be hopeful, helpful, funny, tired, aloof or cold. Consumers create and revise brand personalities every time they come into contact with the organization. These interactions leave impressions on the consumer’s memory. Visualize the impression a branding iron leaves on the backside of a cow and you begin to appreciate the value of each of your interactions with students, parents, alumni, donors and friends. Consistency is essential to building and maintaining a strong brand for two reasons. First, consumers compare each new interaction to memories of previous interactions. When each successive interaction reinforces previous interactions, brand strength is increased. When interactions conflict with each other, the consumer is left thinking the brand is confused and weak. Second, competition for the consumer’s mind is fierce with organizations competing for milliseconds of their attention through a steady barrage of commercial messages. Consistency in CBU’s message and presentation improves the viewer’s (or listener’s) comprehension and increases the likelihood he or she will understand our message in the brief moment we have to communicate it to them. This guide has been developed to help every member of the CBU workforce (1) understand that he or she IS the CBU brand, and (2) properly and consistently represent the brand in all visual and verbal communications. -
Annual Report 2017
ANNUAL REPORT 2017 10th Anniversary of IPO BANK SAINT PETERSBURG AT A GLANCE 50 000 1 930 000 Corporate customers Individual customers incl. 48 000 Internet Bank users incl. 960 000 Internet Bank users Assets Kaliningrad RUB bn 1 branch and 5 offices 607 3% of loans th 3% of deposits St. Petersburg 16 in Russia 58 offices 74% of loans 90% of deposits Moscow Novosibirsk 1 branch and 1 office Representative office Retail 24% of loans deposits 7% of deposits RUB bn 206 15th in Russia RECORD RESULTS IN THE HISTORY OF THE BANK: Revenues Net income RUB bn RUB bn 33 7.5 7% 75% BANK SAINT PETERSBURG Annual Report 2017 2 CONTENTS 04 STRATEGIC REPORT 05 Letter from the Management 07 10 years of public story 14 Strategy 2018–2020 Assets 17 FINANCIAL PERFORMANCE 18 Financial Highlights 607 23 Balance Structure 16th in Russia 27 Economic Trends 31 BUSINESS DIVISIONS 32 Corporate Banking 40 Retail Banking 43 Private Banking 44 Digital Banking 48 FROM RISK TO OPPORTUNITY 49 Risk Management 54 Development of credit risk evaluation approach 55 New horizons 56 CREATING WEALTH RESPONSIBLY 57 Customers 59 Colleagues 61 Community 64 Corporate Governance BANK SAINT PETERSBURG Annual Report 2017 3 Стратегический Финансовые Направления От рисков Корпоративная взгляд результаты бизнеса к возможностям ответственность STRATEGIC REPORT In 2017, Bank Saint Petersburg celebrated the 10th anniversary of IPO which was one of the most important events for the Bank and had a significant effect on all its subsequent history. BANK SAINT PETERSBURG Annual Report 2017 4 Стратегический Финансовые Направления От рисков Корпоративная взгляд результаты бизнеса к возможностям ответственность Strategic Financial Business From Risk Creating Wealth Report Performance Divisions to Opportunity Responsibly LETTER FROM THE MANAGEMENT Dear customers, investors and partners, We are pleased to present the annual results of Bank Saint Petersburg and development trends. -
Standard Tour of Saint Petersburg 3 Days / 2 Nights
Standard tour of Saint Petersburg 3 days / 2 nights KENT HOLIDAYS (S) PTE LTD | Tel: +65 6534 1033 | Email: [email protected] | www.kentholidays.com 1 Saint Petersburg is a cultural center of Russia and has a unique atmosphere. Founded on a swamp by Peter I, it became the most powerful and important center of the Russian Empire as Peter the Great moved the capital from Moscow to Saint Petersburg in 1712 and it was the capital of the Russian Empire for more than 200 years. The city was named after Saint Peter, the patron of Peter I. Cities visited: Saint Petersburg. Duration: 3 days / 2 nights. Day 1 - Arrival in Saint Petersburg, City Tour of Saint Petersburg • Arrival in Saint Petersburg. The guide will meet you at the airport. • City Tour of Saint Petersburg. A lot of Russian noble families intended to move to a new Northern capital, Saint Petersburg. A huge number of Palaces were built on the territory of Saint Petersburg in different architectural styles with impressive and rich interiors. During the city tour you will see the best places of our city. Peter and Paul Cathedral, the first and oldest landmark in Saint Petersburg, which houses the remains of Russian Emperors and Empresses, Church of our Saviour on the Spilled Blood which is richly decorated with mosaic (over 7,000 square meters), Saint Isaac Cathedral which is the fourth Cupola Cathedral in the world, Smolny Institute for Noble Maidens which marked the beginning of women’s education in the country, etc. • Transfer to hotel. • Check in at hotel. -
Suggested Fonts List
Suggested Fonts List This is a list of some fonts our designers have available to use when designing your book. This is only a sample of some of the most popular fonts; they have thousands of others to choose from as well. For your convenience, we have marked each font as being appropriate for body text or display text. Body Text fonts are meant for the main body text of your book—paragraphs, lists, etc. These fonts are designed to be easier on the eyes for smoother reading. Display Text fonts are meant for chapter titles, subtitles, etc. They are often “fancier” fonts, such as script or handwriting. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Last updated 6/6/2014 B = Body Text: Fonts meant for the main body text of your book. D = Display Text: Fonts meant for chapter titles, etc. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Font Name Font Styles Font Sample BD Abraham Lincoln Regular The quick brown fox jumps over the lazy dog. 1234567890 Adobe Caslon Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Garamond Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Jenson Pro Light The quick brown fox jumps over the lazy dog. -
Tracing Futura
MiraCosta College / oceanside MAT 155 Graphic Design 2 : Typography Min Choi // Fall 2017 TRACING FUTURA FUTURA— the prototype of the family of geometric sans-serif typefaces. It was designed in 1927 by Paul Renner. As opposed to earlier sans-serif designs, the strokes appear to be even weight and geometric. This seems most visible in the almost perfectly round stroke of the O but Futura is actually slightly imperfect. It is often said that Futura was directly related to the Bauhaus. Renner him- self was not associated with the Bauhaus although many of the modern principles taught at the Bauhaus are incorporated into the letterform design of Futura. Futura was developed during a competitive period in the 1920s when various foundries were developing modern san serif type faces for various lead type setting technology. It would be followed by Gill Sans by U.K. Monotype designed by Eric Gill and Metro by U.S. Linotype designed by W. A. Dwiggins. Futura was one of the most popular fonts in use in the 20th century, especially in the 1950s and 1960s, and is in use in the corporate Roman- design of Volkswagen to this day. (See classic ad at left). Check out more of Volkswagen’s iconic print advertising: http://fontsinuse. The basic letterform style so com/uses/1976/volkswagen-of-america-ads-1960-66 called because it is derived from inscriptions on Roman Futura remains an important typeface family and is used world wide on a daily basis for print and digital purposes as both a headline monuments. and text font. -
Russian Culture: Past and Present Summer 2017
Russian Culture: Past and Present Summer 2017 Moscow & St. Petersburg, Russia Study Abroad Program Guide Office of Study Abroad Programs University at Buffalo 201 Talbert Hall Buffalo, New York 14260 Tel: 716 645-3912 Fax: 716 645 6197 [email protected] www.buffalo.edu/studyabroad DESTINATION: RUSSIA MOSCOW Moscow (Russian: Москва́ , tr. Moskva) is the capital and the largest city of Russia, with 12.2 million residents within the city limits and 16.8 million within the urban area. Moscow has the status of a federal city in Russia. Moscow is a major political, economic, cultural, and scientific center of Russia and Eastern Europe, as well as the largest city entirely on the European continent. By broader definitions Moscow is among the world's largest cities. Moscow has been ranked as the ninth most expensive city in the world by Mercer and has one of the world's largest urban economies. Moscow is the northernmost and coldest megacity and metropolis on Earth. It is home to the Ostankino Tower, the tallest free standing structure in Europe; the Federation Tower, the tallest skyscraper in Europe; and the Moscow International Business Center. Moscow is situated on the Moskva River in the Central Federal District of European Russia, making it the world's most populated inland city. The city is well known for its architecture, particularly its historic buildings such as Saint Basil's Cathedral with its brightly colored domes. With over 40 percent of its territory covered by greenery, it is one of the greenest capitals and major cities in Europe and the world, having the largest forest in an urban area within its borders - more than any other major city - even before its expansion in 2012. -
AVENIR Family
An Introduction To The AVENIR Family By Stacey Chen O V E R V I E W l Avenir was designed by Adrian Frutiger. l The typeface was first released in 1988 with three weights, before being expanded to six weights. l In 2004, together with Akira Kobayashi, Frutiger reworked the Avenir family. l Avenir has now become a common font in web, print, and graphic design, etc. l Frutiger was born in Unterseen, Switzerland 1928. l At age 16, Frutiger was apprenticed as a compositor to a printer, while taking classes in woodcuts and drawing. l With his second wife, Frutiger had two daughters, who both experienced mental health problems and committed suicide as adolescents. l Frutiger spent most of his professional career working in Paris and living in France, returning to Switzerland later in life. A D R I A N F R U T I G E R l Charles Peignot of Deberny Et Peignot recruited Frutiger based on the quality of the wood- engraved illustrations of his essay. l Impressed by the success of Futura typeface, Peignot encouraged a new, geometric sans-serif type in competition. l Frutiger disliked the regimentation of Futura, and persuaded Peignot that the new sans-serif be based on the realist model. l In 1988, Frutiger completed the family Avenir. Frutiger intended the font to be a more human version of geometric sans-serif types popular in the 1930s, such as Erbar and Futura. A D R I A N F R U T I G E R “Avenir” = “Future” French English A V E N I R i s l Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. -
Rapid Transit in Toronto Levyrapidtransit.Ca TABLE of CONTENTS
The Neptis Foundation has collaborated with Edward J. Levy to publish this history of rapid transit proposals for the City of Toronto. Given Neptis’s focus on regional issues, we have supported Levy’s work because it demon- strates clearly that regional rapid transit cannot function eff ectively without a well-designed network at the core of the region. Toronto does not yet have such a network, as you will discover through the maps and historical photographs in this interactive web-book. We hope the material will contribute to ongoing debates on the need to create such a network. This web-book would not been produced without the vital eff orts of Philippa Campsie and Brent Gilliard, who have worked with Mr. Levy over two years to organize, edit, and present the volumes of text and illustrations. 1 Rapid Transit in Toronto levyrapidtransit.ca TABLE OF CONTENTS 6 INTRODUCTION 7 About this Book 9 Edward J. Levy 11 A Note from the Neptis Foundation 13 Author’s Note 16 Author’s Guiding Principle: The Need for a Network 18 Executive Summary 24 PART ONE: EARLY PLANNING FOR RAPID TRANSIT 1909 – 1945 CHAPTER 1: THE BEGINNING OF RAPID TRANSIT PLANNING IN TORONTO 25 1.0 Summary 26 1.1 The Story Begins 29 1.2 The First Subway Proposal 32 1.3 The Jacobs & Davies Report: Prescient but Premature 34 1.4 Putting the Proposal in Context CHAPTER 2: “The Rapid Transit System of the Future” and a Look Ahead, 1911 – 1913 36 2.0 Summary 37 2.1 The Evolving Vision, 1911 40 2.2 The Arnold Report: The Subway Alternative, 1912 44 2.3 Crossing the Valley CHAPTER 3: R.C. -
Hitler's Doubles
Hitler’s Doubles By Peter Fotis Kapnistos Fully-Illustrated Hitler’s Doubles Hitler’s Doubles: Fully-Illustrated By Peter Fotis Kapnistos [email protected] FOT K KAPNISTOS, ICARIAN SEA, GR, 83300 Copyright © April, 2015 – Cold War II Revision (Trump–Putin Summit) © August, 2018 Athens, Greece ISBN: 1496071468 ISBN-13: 978-1496071460 ii Hitler’s Doubles Hitler’s Doubles By Peter Fotis Kapnistos © 2015 - 2018 This is dedicated to the remote exploration initiatives of the Stargate Project from the 1970s up until now, and to my family and friends who endured hard times to help make this book available. All images and items are copyright by their respective copyright owners and are displayed only for historical, analytical, scholarship, or review purposes. Any use by this report is done so in good faith and with respect to the “Fair Use” doctrine of U.S. Copyright law. The research, opinions, and views expressed herein are the personal viewpoints of the original writers. Portions and brief quotes of this book may be reproduced in connection with reviews and for personal, educational and public non-commercial use, but you must attribute the work to the source. You are not allowed to put self-printed copies of this document up for sale. Copyright © 2015 - 2018 ALL RIGHTS RESERVED iii Hitler’s Doubles The Cold War II Revision : Trump–Putin Summit [2018] is a reworked and updated account of the original 2015 “Hitler’s Doubles” with an improved Index. Ascertaining that Hitler made use of political decoys, the chronological order of this book shows how a Shadow Government of crisis actors and fake outcomes operated through the years following Hitler’s death –– until our time, together with pop culture memes such as “Wunderwaffe” climate change weapons, Brexit Britain, and Trump’s America. -
Linotype Matrix 4.2—The Legend Continues
Mergenthaler Edition releases second issue of the new Linotype Matrix Linotype Matrix 4.2—the legend continues. Bad Homburg, 16 May 2006. Following its highly successful relaunch of Linotype Matrix in magazine format last year, Linotype’s publishing label, Mergenthaler Edition, is now releasing the second issue of the classic typographic journal. Linotype Matrix Issue 4.2 takes an exciting and informative look at typography in history – with a thematic focus on the great 20th century type designer William Addison Dwiggins. Within the 64 pages of this richly illustrated issue readers will find articles contributed by some of the best talents working in typography today. For instance, writer and typographer John D. Berry explores the legacy of the Deberny & Peignot type foundry, while the article on Dwiggins’ life and work has been penned by type designer and scholar Paul Shaw, an established Dwiggins authority. Additionally, renowned type historian Sylvia Werfel takes a look at how type systems make designing texts easier. 2006 marks the 50th anniversary of W. A. Dwiggins’ death—an appropriate moment to look back at the contributions of one of the first truly significant type designers from the U.S. As Paul Shaw is currently working on a doctoral dissertation at Columbia University about Dwiggins, he is able to offer an in- depth look at his prolific career as an illustrator, and tells us how, in his late forties, he began a second remarkable career in typeface design at Linotype. Dwiggins was, in fact, the first major type designer to work for the Mergenthaler Linotype Co. in New York and was responsible for creating many great designs, including Metro and Electra, and his most enduring typeface, Caledonia. -
Russia Follow up CAT Nov 2019 ADC Memorial POC
ADC Memorial Brussels Rue d’Edimbourg 26 1050 Ixelles, Belgium adcmemorial.org Parallel Information to the Russian Federation’s Report on Implementation of the Recommendations Contained in the Concluding Observations of the Committee Against Torture on the Basis of its Review of the Russian Federation’s Sixth Periodic Report on its Implementation of the Convention Against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment for the UN Committee Against Torture November 2019 ADC Memorial and former members of the Public Oversight Commission of Saint Petersburg (who were on the POC from 2016 to 2019) have prepared parallel information to the Russian Federation’s report on implementation of the recommendations contained in the Concluding Observations of the Committee Against Torture (CAT) on the basis of its review of the Russian Federation’s sixth periodic report on its implementation of the Convention Against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment. The Russian Federation’s report contains inaccurate information about its implementation of the Concluding Observations of UN CAT. In particular, the country continues to lack prompt, impartial and effective investigation into cases of torture and cruel treatment and dismisses such allegations during the pre-investigative stage, which does not lead to the opening of criminal cases or the prosecution of the perpetrators (para. 15(a)(b) of the observations). This report is based on materials collected by the members of Public Oversight Commission (POC) - Yana Tseplitskaya and Ekaterina Kosarevskaya - on the failure to investigate cases of torture from June 2018 to October 2019. The Investigative Committee, which, according to paragraph 15(c) of the Concluding Observations, is responsible for investigating crimes committed by law enforcement officials, continues to systematically refuse to open criminal investigation on torture. -
When Is Typography Conceptual? Steen Ejlers, the Royal Danish Academy of Fine Arts, School of Architecture
2013 | Volume III, Issue 1 | Pages 1.1-1.10 When is typography conceptual? Steen Ejlers, The Royal Danish Academy of Fine Arts, School of Architecture A conceptual artwork is not necessarily constituted the sentences disappeared in an even vertical/ by exceptional practical skill, sublime execution or horizontal pattern of letters: beautiful and orderly - whatever might otherwise regularly characterize and difficult to access. “fine art”. Instead, the effort is seated in the Both of these strategies of making stone preparatory process of thought – or as Sol Lewitt inscriptions appear strange to our eyes but once put it: “The idea becomes a machine that apparently it must have worked out. And even so! makes art” (LeWitt 1967). The conceptual work of – the everyday frequency of stone inscriptions that art typically speaks primarily to the intellect and not had to be decoded by the ancient Greeks can hardly necessarily to an aesthetic/sensual experience. be likened to the text bombardment, let alone the But what about the notion of “conceptual reading process, that we live with today. Moreover, type”? Could this be, in a way that is analogous to the Greek inscriptions, like the Roman ones of “conceptual art”, typefaces that do not necessarily the same time, consisted solely of capital letters, function by virtue of their aesthetic or functional all of which could, characteristically enough, be qualities but are interesting alone owing to the deciphered when laterally reversed. However, when foregoing idea-development process? Or is a boustrophedon was brought into practice with the typeface which, in its essential idiom, conveys a Latin alphabet’s majuscule and minuscule letters, message or an idea, conceptually? In what follows, I a number of confusing situations could arise and will try to examine these issues by invoking a series of crucial moments in the history of typeface, from antiquity up to the twenty-first century.