Äppelkärnan brandbook

Transcription

1 Äppelkärnan brandbook

2 O2 INDEX 03/ GOALS AND MISSION LOGOTYPE 04/ principal logotype 05/ secondary logotype 06/ TYPOGRAPHY principal and secondary COLOUR 07/ CMYK,RGB, WEB 08/ colour version / colour negative version 013/ B&W negative version 014/ B&W version 015/ photograpy version 016/ CONSTRUCTION STATIONARY 017/ personal card 018/ letter 019/ american envelope 020/ DESIGNER REFLECTION

3 O3 ÄPPELKÄRNAN goals and mission When you eat an apple, you eat the fruit part of the apple, and then you throw away the core of the apple, with the apple seeds. But what happens if you put an apple seed into the earth, giving it some water and keep the weeds away? Well, it will grow, slowly slowly. First you just see a little green stick appearing in the earth, that it grows more and more, and after a number of years, it has become a big tree, producing its own apple. Our history only goes back to the summer of We are all socially conscious people, mostly with a Christian confession (but also a Muslim), who have a positive view of their fellowman, and want him/her to get established in the Swedish society with language, work and personal connection. We would like to put these immigrants into contact with serious employers, or to help them to create their own businesses. Our goal is not primarily to make money. But we want other people to be able to make money. - text extracted from the brief -

4 O4 LOGOTYPE principal logo This is the principal logotype and it will be used for almost all the formats and surfaces. Except for some occasions specified in the following pages. The logotype is composed of figure and text.

5 O5 LOGOTYPE secondary logo The secondary logotype will be used when the logotype has to be reduced in a small scale, so in these cases, the baseline (Äppelkärnan diakonalt enterprenörskap ek för) can be removed from the principal logotype. Since the incorporation of these elements can disturb the visual overview of the logo (bad legibility).

6 principal Georgia is a serif typeface designed in 1993 by Matthew Carter. Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy Georgia - Regular GEORGIA for Äppelkärnan A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Georgia - Italic Georgia - Bold a b c d e f g h i j k l m n o p q r s t u v w x y z Georgia - Bold Italic O6 TIPOGRAPHY principal and secondary A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Verdana for diakonalt entreprenörskap ekonomisk förening secondary Verdana is a humanist sans-serif typeface designed in 1996 by Thomas Rickner, Verdana has a large x-height with wider proportions and loose letter-spacing. The counters and apertures are wide, to keep strokes clearly separate from one another, and similarly-shaped letters are designed to appear clearly different to increase legibility for body text Verdana - Regular A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Verdana - Italic A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Verdana - Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Verdana - Bold Italic A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z

7 O7 COLOUR WEB_CMYK_RGB # C0 M0 Y0 K100 R0 G0 B0 #983C21 C24 M86 Y97 K18 R152 G60 B33 #A8B36C C44 M20 Y68 K4 R163 G173 B108 COLOR GRADIENT #FFFFFF C0 M0 Y0 K0 R255 G255 B255 #6E4D2B C35 M63 Y85 K44 R110 G77 B43 The colour gradient is the primary colour in the figure on the logotype together with the text represented in green. In this section, we can see the colours detailed in RGB code used for screen colours, CMYK for printed colours and Web code (#) for websites. #983C21 + #A8B36C + #6E4D2B Important: Pay special attention the colour code depending in which surface the logo will be used. For example: if we are working on the website make sure the colour font is RGB. However, if we have to print some items use CMYK. Black will be used for the text.

8 O8 COLOUR colour version

9 O9 COLOUR color negative version There are three different versions of the negative colour logo. The version can be used depending on how dark or light the background is. Despite the structure change, the shapes, colours and typography are still the same so there will be no problem to identify Äppelkärnan organisation. The variations in the logo enhance the graphic code because it breaks the monotony, and becomes a dynamic logo.

10 O10 COLOUR color negative version

11 O11 COLOUR color negative version

12 O12 COLOUR color negative version

13 w O13 COLOUR B&W negative version The white version with black background will be used in prints without colour or with backgrounds in black or grey tones. Less usual.

14 O14 COLOUR B&W version The black version of the logo will be used to print documents in black and white; for example, press cards or letters. This version is used very often due to it reduces the costs of printing.

15 O15 COLOUR photography version Version of the logo used on a photographic support. Important; the white circle must have a transparency of 90% or less.

16 O16 CONSTRUCTION principal and secondary logo Logotype composition inside a grid. Used as a guide to place the different elements (figure, text 1 and text 2)

17 O17 STATIONARY personal card 90 mm 5 mm 40 mm 6 mm 5 mm 50 mm 20 mm 73 mm real scale

18 221 mm O18 STATIONARY letter 297 mm 10 mm 10 mm 60% reduced

19 O19 STATIONARY american envelope 221 mm 110 mm 5 mm 70 mm 60% reduced

20 DESIGNER REFLECTION The logo design come from the study of the organisation and its needs. I wanted to design a logo able to express the values and the work carried out by the organisation in order to transmit a direct message to the target audience. The shape of the logo has been changing during the design proces always taking the sugestions from the Äppelkärnan teem into consideration. The logo symbolizes the birth and growth of a seed that has been sown with effort and hard work. The colours help to emphasise the concept of organically growing. The gradually thick line to a thin line gives a more dynamic composition of the logo. The circle is an inclusive shape, representing the world, which welcomes and takes care of those who are inside the circle, everyone. - Júlia Escriu Alberich -