Branding Guidelines Version 1.0

Total Page:16

File Type:pdf, Size:1020Kb

Branding Guidelines Version 1.0 Branding Guidelines Version 1.0 The purpose of these guidelines is to show the preferred uses and variations of our new logo and masthead. This is intended to be a strong guideline, but as this is new to everyone, we expect there will be changes and adaptations. We are aware that we have a strong-willed and highly creative community. We ask that the spirit of this document be respected and that any suggestions be tendered to Comm Comm (the Communication Committee) for consideration. Resources All art referred to in this guide, as well as future examples as they become available, will be posted online in the members only area for the convenience of staff, committee chairs, and other relevant parties. Our Logo The branding task force (Richard Bird, Anna Belle Leiserson, Dariel Mayer, and Trigg) determined that the design of a church logo would emulate Frank Lloyd Wright. In the spring of 2009, Anna Belle visited Wright’s “Robie House” and noticed the living room lighting fixtures were a simple design that looked somewhat like a chalice. In time, this became the logo that we are using in this guide. Branding Guidelines v1.0 [9/27/2009] Page 1 of 8 Color Four primary color versions are available: Full Color CMYK Grayscale 1 Line Art (or RGB Derivative) Placement The logo can be placed: • In any corner of a page • In the center of a page • It can be left justified • It can be right justified • In short if it looks right . it is right . Use common sense and good taste in logo placement. Unless the logo itself is being referenced then it is recommended that only one instance of the logo be used per page. In fact a single logo on the first page or coversheet of a document is sufficient. The only exception to this when the logo is being used as a bullet as seen here in the above list. For print, i.e. anything that is created for the sole purpose of being put to paper, the Grayscale 1 logo should be used for bullets. Branding Guidelines v1.0 [9/27/2009] Page 2 of 8 Font and Positioning of Text/Masthead The official logo font for the full church name and acronym appearing isCasablanca URW condensed. All art requiring Casablanca will be created and distributed as rasterized text. The Casablanca font is not intended to be used for any other type and will not need to be installed on local machines for these graphics to be used. Recommended fonts for other uses are any easy-to-read serif or sans-serif font such as Verdana, Garamond, Myriad, Times, or Palatino. These are common fonts already present on most computers. It is not recommended that a script or other highly decorative display type fonts be used. Also, be careful of using too many different fonts in the same document. Below are some examples of the text layouts. Branding Guidelines v1.0 [9/27/2009] Page 3 of 8 FUUN Logo Examples Below you will find a few examples that can be used as guidelines. Envelopes Letterhead Branding Guidelines v1.0 [9/27/2009] Page 4 of 8 Business Cards Badges Room Signs Branding Guidelines v1.0 [9/27/2009] Page 5 of 8 Order of Service/Event programs Other applications bulletin boards promotional materials certificates or plaques t-shirts, ball caps, etc. Branding Guidelines v1.0 [9/27/2009] Page 6 of 8 Creating Logo Variations for Internal FUUN Use Due to the nature of the logo, there is an opportunity to create a variety of logos that keep the same basic DNA/family resemblance while allowing the events, committees, etc., to have a unique symbol to help publicize themselves and their activities. Below are some examples: Appropriate Uses and Responsibilities As you can see here you can have a lot of creative freedom. With that freedom comes some responsibility. Always look at the existing logos so that you do not create a logo that is too similar to one that already exists and refer to Restrictions on Logo Creation on the next page. Please be sure to submit your final versions to Comm Comm so we can maintain an online archive of logo variations. Branding Guidelines v1.0 [9/27/2009] Page 7 of 8 Restrictions on Logo Creation Variations are not to be created as a replacement for the church logo. Variations should be created only for special events or initiatives sponsored by a church committee or approved by the board. Variations should never be created for non-church events or groups. Variations of the logo should be primarily for internal use unless approved by the Communication Committee. A Photoshop file, PSD, will be provided as a template for the creation of the variations. The file will have all the different components of the logo separated into layers. All variations need to be built with this file at the resolution of the file. There is no exception to this rule. The bottom hemisphere is open game as long as the basic spherical shape of the logo is left intact. Variations may be made in color, graphical elements, or photographs. The top hemisphere should be left intact with only minor encroachments. MINOR! The entire logo can be stroked but it should be done lightly/lovingly. There are no restrictions on the type font or placement of fonts as long as it does not conflict with the other variation guidelines. It is highly recommended that the design be kept simple and pretty broad so that it is easy to ‘get’ and does not lose its meaning or legibility when scaled to a small size. Always exercise good judgment of the elements in your design. Even if this is being used for internal communication it represents its own little part of our community. If in doubt, always feel free to contact Comm Comm. Have Fun! Branding Guidelines v1.0 [9/27/2009] Page 8 of 8.
Recommended publications
  • 15 the Effect of Font Type on Screen Readability by People with Dyslexia
    The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia.
    [Show full text]
  • Adobe Garamond Pro
    Adobe Garamond Pro a® a An Adobe® Original Adobe Garamond® Pro A contemporary typeface family based on the roman types of Claude Garamond and the italic types of Robert Granjon © Adobe Systems Incorporated. All rights reserved. For more information about OpenType®, please refer to Adobe’s web site at www.adobe.com/type/opentype is document was designed to be viewed on-screen or printed duplex and assembled as a booklet Adobe® Originals Adobe Systems Incorporated introduces Adobe Garamond Pro, a new font software package in the growing library of Adobe Originals typefaces, designed specifically for today’s digital technology. Since the inception of the Adobe Originals program in , the Adobe Originals typefaces have been consistently recognized throughout the world for their quality, originality, and practicality. ey combine the power of PostScript® language software technology and the most 23 sophisticated electronic design tools with the spirit of craftsmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font software has set a standard for typographic excellence. What is OpenType? Developed jointly by Adobe and Microsoft, OpenType® is a highly versatile new font file format that represents a signifi cant advance in type functionality on Macintosh and Windows® computers. Perhaps most exciting for designers and typographers is that OpenType fonts off er extended layout features that bring an unprecedented level of sophistication and control to contemporary typography. Because an OpenType typeface can incorporate all glyphs for a specifi c style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and other related sets is elimi- nated.
    [Show full text]
  • VISUAL IDENTITY GUIDELINES the IMPORTANCE of OUR IDENTITY the Following Pages Describe the Essential Elements of the Baker International Group Visual Identity
    Global business solutions for CE companies VISUAL IDENTITY GUIDELINES THE IMPORTANCE OF OUR IDENTITY The following pages describe the essential elements of the Baker International Group visual identity. Proper usage of these identity assets and adherence to these guidelines ensure a refined, upscale and recognizable identity for the BIG brand wherever it is seen. Partners, dealers, employees and any party that creates material on behalf of BIG should review these visual branding guidelines to maintain the integrity of the BIG brand. The BIG Corp 2016 2 COMPANY LOGO The BIG logotype is the official signature of the BIG brand. The logotype should never be recolored or broken up. Note that the globe element may be used as a watermark on official BIG documents. The logotype should not be scaled disproportionately or reformatted in any way, shape, or form. NOTE: In the rare instance where spacing is limited, you may use an alternate version of the logo, where the words “BAKER INTERNATIONAL GROUP” are stacked next to “BIG.” Global business solutions for CE companies ALTERNATE VERSION (for use in instances where space is limited) The BIG Corp 2016 3 PADDING To ensure the clarity of the logo, always maintain at least the minimum padding space shown below. Graphic elements or the edge of an object should never encroach on this space. Global business solutions for CE companies The height of the “i” is the minimum amount of padding that should be respected around the logo. The BIG Corp 2016 4 PROPER LOGO USE Consistent logotype presentation is an important part of keeping the BIG brand reputable and sturdy.
    [Show full text]
  • Standard Fonts List Used for Poster Creation
    Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster. These are the standard fonts. Failure to comply with using a standard font, will result in your poster not printing correctly. 13 Misa Arial Rounded MT Bold Bodoni MT 2 Tech Arial Unicode MS Bodoni MT Black 39 Smooth Arno Pro Bodoni MT Condensed 4 My Lover Arno Pro Caption Bodoni Poster MT Poster Compressed Abadi Condensed Light Arno Pro Display Book Antiqua ABCTech Bodoni Cactus Arno Pro Light Display Bookman Old Style ABSOLOM Arno Pro Smdb Bookshelf Symbol 7 Adobe Calson Pro Arno Pro Smdb Caption Bradley Hand ITC Adobe Calson Pro Bold Arno Pro Smdb Display Britannic Bold Adobe Fangsong Std R Arno Pro Smdb SmText Broadway Adobe Garamond Pro Arno Pro Smdb Subhead Brush Script MT Adobe Garamond Pro Bold Arno Pro SmTest Brush Script Std Adobe Heiti Std R Arno Pro Subhead Calibri Adobe Kaiti Std R Baskerville Old Face Californian FB Adobe Ming Std L Bauhous 93 Calisto MT Adobe Myungjo Std M Bell Gothic Std Black Cambria Adobe Song Std L Bell Gothic Std Light Cambria Math Agency FB Bell MT Candara Albertus Extra Bold Berlin Sans FB Castellar Albertus Medium Berlin Sans FB Demi Centaur Algerian Bernard MT Condensed Century AlphabetTrain Bickham Script Pro Regular Century Gothic Antique Olive Bickham Script Pro Semibold Century Schoolbook Arial Birch Std CG Omega Arial Black Blackadder ITC CG Times Arial Narrow Blackoak Std 1 Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster.
    [Show full text]
  • Font Management Basic Terminology ∞ I
    CS 175.21 Windsor Green Spring 2010 Font Management Basic Terminology ∞ I. Font Definition∞ A. Strictly speaking the contents of the two cases - upper and lower - in metal type (for one size) B. Nowadays, the word font means all the glyphs (symbols) for a font in all sizes. Examples; Century, Fritz Quadrata, Myriad, , Giddyup, Gill Sans Ultra Bold Bickham Script C. The term typeface is interchangeable with font in today’s modern computer world A. Myriad Italic D. All the variations for a font is called a font family — B. Myria Regular this includes different weights (thicknesses like bold and light) and glyph widths (condensed and extended). C. Myriad Light II. Acquiring Fonts D. Myriad Bold A. Computer fonts: postscript, True type and Open Type E. Myriad SemiboldCondesed B. Font foundries: companies that create fonts F. Myriad Semibold Italic C. Special system fonts: Microsoft has special TT fonts used in the Windows OS Apple has special TT fonts used in their OS and dfonts. D. Application fonts: Microsoft auto installs numerous True type fonts during Office installation Adobe auto installs numerous OpenType fonts during Adobe CS installation E. Purchased fonts 1. Adobe (no longer creates new PostScript fonts but supports them — the focus is now on Open Type fonts) 2. High end fonts for home use and professional printing: OpenType and PostScript 3. Be careful buying fonts! The same typeface is sometimes available from different foundries. 4. Some websites where you can purchase fonts and where foundries are listed. fonts.com myfonts.com philsfonts.com Page 1 5. Some Foundries linotype.com itcfonts.com bertholdtype.com adobe.com/type Licensing agreements for purchased fonts — how can you legally use a font? 6.
    [Show full text]
  • Graphic Standards
    Graphic Standards www.reed.edu/public_affairs/tools/standards.html Reed College Graphic Standards Reed College Logo: The Wordmark Reed’s logo is its wordmark. The font in the wordmark is Reed New Roman; it was created for the college and is based on Times New Roman. The word- mark’s letters and spacing between were designed to look exactly as they are below. Substituting Times New Roman or other typefaces will not reproduce Reed’s logo. You can download an approved Reed wordmark at www.reed.edu /public_affairs/tools/logos.html. If the version available for download does not meet your needs, contact the office of public affairs. 1 Wordmark Size Requirements Consistency in size of the wordmark will help to ensure the visibility and integ- rity of Reed’s identity. The recommended length of the wordmark is 2.25 inches on printed publications that are 8.5 x 11 inches or smaller. RECOMMENDED PRINT SIZE 2.25” MINIMUM PRINT SIZE 1.75” Positioning the Wordmark Reed’s wordmark should not be crowded by other text or images. As a general rule, keep a space equal to or greater than the height and width of the capital R in Reed surrounding the wordmark. R 2 Wordmark Background Guidelines Background colors and images can easily obscure the Reed wordmark. The pre- ferred treatment is to place the wordmark on white or a light solid color. It can also be placed in white, or “reversed out,” on a darkly colored background. When placing the wordmark over an image, use caution and good judgment; place it over an image only if there is sufficient contrast to distinguish the logo from the background.
    [Show full text]
  • Download the CAPS Graphics Standards Guide
    Th ese guidelines may only be modifi ed for special circumstances. Th e marketing department has the fi nal authority. THE LOGO: Primary Version By transforming the logo into The new CAPS word mark uses a a more unifi ed design, customized arrangement of the font it refl ects CAPS’s continual Adobe Garamond. improvement of safety The Center’s name is a through technological customized combination of advancements. the fonts Optima and Goudy Oldstyle Italic. These fonts have s a universal quality that makes them appropriate for many applications, and it is equally successful in text and display work. 1 THE LOGO: Primary Version The CAPS primary logo is the vertical arrangement. Wherever possible the primary version should be used. The design of the logo has been considered carefully and should not be altered or rearranged in any way. Minimum Size Requirements No smaller than 1” wide .25 Area of Isolation .25 The clear space must remain free of any other .25 element, copy, graphic or tint. .25 Reversing the Logo This example shows a proper use of the CAPS logo when it is “reversed out” on a dark-colored background. 2 Primary Version: Improper Logo Usage DO NOT break the relationship between the graphic and the type. For example: do not move the type above the graphic as shown. DO NOT distort the shape of the logo. It is extremely important that when placing the logo in a document and then resizing it, the height and width remain constrained in the proper aspect ratio (proportion). For example, when placing the logo in a Word document and then reducing it, click and drag on a corner of the picture box.
    [Show full text]
  • Communications Guide
    Communications Guide The Alma Mater Society of Queen’s University (AMS) believes that the creation of a strong, consistent brand is integral to the communication and promotion of AMS initiatives, opportunities, and services within the Queen’s University and Kingston communities. It is the Society’s belief that a positive experience at a clearly identifiable AMS event or service will encourage individuals to take advantage of other AMS opportunities. As such, the aim of the AMS Communications Guide is to create and enforce a consistent AMS brand across the Society to encourage a strong and recognizable AMS. This guide is written for the benefit of those who may utilize the AMS brand in understanding its values and how to get the most out of it. What is the Alma Mater Society? Mission Statement: To serve and represent the diversity of students at Queen’s. Mandate: To represent Queen’s University students within the university 1 and externally by working to further the best interests of the members of the AMS, giving concern to representation on issues related to education. To provide services and activities to students, as well as to act 2 in a facilitation role for services and activities as appropriate. To cultivate a sense of social awareness and responsibility in its 3 membership. 4 To serve as a liaison between the various affiliated student societies. But What is it Really? Elevator Pitch: As Canada’s oldest student The elevator pitch is a short government, the AMS represents over summary that we use to describe 18,500 students and seeks to enhance what the AMS does on a broad level.
    [Show full text]
  • Choosing a Typeface for Reading
    Simplification Technical paper 9 centre Choosing a typeface for reading Rob Waller April 2011 Acknowledgements We quite often find ourselves answering a question Thanks to various about information design that we’ve been asked colleagues for their before. Sometimes these questions are prompted helpful comments on earlier drafts of this by the need for organisations to comply with the document: Martin Evans, Karen Stanbridge, Paul Equality Act. Stiff, Myra Thiessen, Michael Twyman, Sue Is sans serif type more legible than seriffed? Does the Walker. incidence of colour blindness mean we shouldn’t use colour? We’ve heard that white space is a good thing, but why? Or, alternatively: our designer has left all this white space, but customers complain it is a waste of money. So we are putting together some simple guides that summarise the advice we usually give. This one is about typefaces (fonts). www.simplificationcentre.org.uk Some common seriffed The purpose of this guide typefaces are: There are many typography textbooks and websites where typefaces Calisto are discussed in detail – this guide does not attempt to replace Garamond Georgia them, but is intended as an introduction for organisations who Palatino need to establish a standard or set a policy for typeface choice, and Times who would like that standard to be based on sound reasoning or Some common sans serif evidence. typefaces are: In this guide we discuss the choice of typeface for text that is Calibri Frutiger designed for continuous reading. This is quite a different situation Gill Sans from, say, signage or packaging, where words are usually read Helvetica in short glances and where the main goal is typically to attract Verdana attention, or differentiate from competitors.
    [Show full text]
  • Free Myriad Fonts Download Myriad Roman Font Download
    free myriad fonts download Myriad Roman Font Download. Myriad Roman Font is a clean and classy typeface for widows and mac. It possesses elegant glimpses and splendid features. Its clear text forms and versatile presentation captivates readers for sure. Carol Twombly and Robert Slimbach took the charge for designing it and released it by Adobe Originals for the first time. This sans serif typeface is suitable for any textual arrangement. Collectively myriad font family possesses almost 40 styles and each style speaks about the dedication of the designer’s team working on it. Its characters showcase a unique glimpse very few typefaces own. The myriad roman font is also known as the myriad regular font. It comprises 229 glyphs count in number and many of the designers are seeking for it. Myriad Roman Font. As we discuss collectively this sans serif font family includes around 40 unique styles so it will be very accessible for a better font pairing. With this much variety of fonts from the same class must yield a better text matching. Many brands are still using this font for their branding as per its high-grade legibility and elegant appearance. The George Washington University are using myriad roman, myriad italic, and myriad headline as their primary typeface. The Order of St John also updated their logo typeface with this font family in the meanwhile. We here at GD Fonts are providing this font for free in OTF and TTF script format. If we analyze the whole texture of this splendid font then we will come up with a concept of supremacy of type designs.
    [Show full text]
  • Brand Identity Guide 2018–2019 CONTENTS
    ® Brand Identity Guide 2018–2019 CONTENTS Why Our Brand Guide Is Essential 3 Our Logos 5 Greek Letters 6 Appropriate Configurations 7 Proper Placement 8 Don’t Use Me 10 Eliminating Outdated Logos 11 Join PSI CHI Today and Make Us Your First Professional Organization. Psi Chi is the world’s largest student psychological organization with over three-quarters of a million members inducted since 1929. We welcome enthusiastic and dedicated students with Central Office Seal 12 diverse perspectives and a broad representation of social identities and cultural backgrounds. Members receive the following: • international recognition for academic excellence • lifetime membership that can be included on your resumé • a personalized certificate Tagline 13 • access to $400,000+ in awards, grants, and scholarships • online resources for Diversity, Careers, Grad School, and Research • opportunities to develop leadership and networking skills John Smith • access to thousands of psychology-related job openings Chapter President Psi Chi University • cross-cultural research opportunities Colors 14 651 East 4th Street, Suite 600 • a subscription to Eye on Psi Chi magazine Chattanooga, TN 37403 • ability to publish in Psi Chi Journal of Psychological Research Home: (123) 123-4567 Find out today how you can become a part of PSI CHI. Mobile: (123) 123-4567 Typography 16 [email protected] Contact: PsiChiCentralOffice PsiChiHonor PsiChiHonor | www.psichi.org Visit www.psichi.org/JoinToday A. Primary Typeface 17 B. Secondary Typeface 18 C. Substitute Typeface 19 Stationery 20 A. Letterhead 20 B. Envelope and Mailing Label 20 C. Business Cards 21 Professional Correspondence 22 Photography 23 Contact Us 24 2 PSI CHI, THE INTERNATIONAL HONOR SOCIETY IN PSYCHOLOGY ©2018–19 SECTIONWHY OUR BRAND TITLEGUIDE IS ESSENTIAL A brand identity is the overall unique visual appearance associated with an organization.
    [Show full text]
  • Ultimate++ Forum
    Subject: Re: It's suspected to be an issue with Font. Posted by Lance on Sat, 07 May 2011 15:39:12 GMT View Forum Message <> Reply to Message Sorry but it's getting more complicated than we had expected. I did test on another Windows XP machine. Here is the font replacement table: struct sRFace { const char *name; dword l, h; } sFontReplacements[] = { { "sans-serif", 0xffee0008, 0xdc000801 }, { "Arial", 0xfffe0000, 0x09c00080 }, {"\346\226\260\345\256\213\344\275\223", 0xfd800000, 0x09ffff00 },//SimSun (or New Song Ti) {"\345\256\213\344\275\223", 0xfd800000, 0x09ffff00 }, // Song Ti {"\345\276\256\350\275\257\351\233\205\351\273\221", 0xfd800000, 0x09ffff00 }, //MS Ya Hei {"\351\273\221\344\275\223", 0xfd800000, 0x09ffff00 }, // Hei Ti { "Arial Unicode MS", 0xfffc3fef, 0xfa7ff7e7 }, { "SimSun", 0xfd800000, 0x09ffff00 }, { "MS UI Gothic", 0xffc01008, 0x0fffff00 }, { "MS Mincho", 0xffc01008, 0x0fffff00 }, { "WenQuanYi Zen Hei Mono", 0xfd800000, 0x0ae7ff7e }, { "WenQuanYi Zen Hei", 0xfd800000, 0x0ae7ff7e }, { "VL Gothic", 0xfd800000, 0x09a7ff80 }, { "VL PGothic", 0xffe00008, 0x0de7ff80 }, { "UnDotum", 0xe5800000, 0x0aa7ff7e }, { "UnBatang", 0xe5800000, 0x0aa7ff7e }, { "DejaVu Sans Mono", 0xffec0004, 0x0fc00080 }, { "DejaVu Sans", 0xfffd000c, 0x0fc40080 }, { "AlArabiyaFreeSerif", 0xffdc0008, 0xd8000007 }, { "Kochi Mincho", 0xffdc0008, 0xd8000007 }, { "Kochi Gothic", 0xffdc0008, 0xd8000007 }, { "Sazanami Mincho", 0xffdc0008, 0xd8000007 }, { "Sazanami Gothic", 0xffdc0008, 0xd8000007 }, { "Gulim", 0xf7c00000, 0x0ba7ff7e }, { "PMingLiU", 0xff800000,
    [Show full text]