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Welcome to the brand guidelines document. The following pages are designed to guide you through some of the identity elements such as logo, typeface & colour, as well as providing some general rules for applyping these elements. This document will assist you in producing both creative and flexible communications, whilst maintaining a consistent tone of voice.


Logo Colour Typography Patterns Brand Application Graphic Devices Tone of Voice

Sizes Correct Usage Spacing Colour Palets How to use colour Printing tips Primary Typeface Secondary Typeface

Usage Colours Product Patterns Applying the Brand Example Objects

Advertisements Charts & Graphs

Who are we? What do we do? What do we stand for?


OUR BRAND IN A NUTSHELL


Logo

Message

THE WALLED GARDENS

Typeface

RESTORING THE UNIVERS CONDENSED FUTURE

MARISTOW

GEOSANSLIGHT

There are four core elements that make up any piece of our branded communication as shown here. The following pages guide you through these elements. They will

assist you in designing and producing compelling communications with a high degree of creative flexibility.

Colours


1.LOGO


Our logo is clean, simple and bold. It has been designed using shapes from The Walled Gardens, which gives our brand a unique and distinctive character.

The colour of our logo is a deep grey. Where possible, this should be used when designing communications. This is supported by the core colour palette, for messaging and more.


Use on Imagery Whenever the logo is placed on either a flat colour other than white, or another type of imagery, the logo should be used in white or a colour that contrasts enough to allow the logo to be read clearly.

When selecting imagery choose images that show materials found only in nature and contain a consistent colour throughout e.g. wood (brown), slate (grey)


THE LUDLOW GARDEN MARISTOW

THE LOPES GARDEN MARISTOW

THE WALLED GARDENS MARISTOW

THE FRANCO GARDEN MARISTOW

Our Logo with Messaging The logo is used to communicate different messages, which can be tailored for each piece of branded communication.

The text is always centred in relation to the logo and the typesize of the messaging should be kept in proportion to the logo.


THE WALLED GARDENS MARISTOW

Exclusion Zone To protect the clarity and visual integrity of the logo, it has an exclusion zone. We recommend leaving a minimum clear area around the logotype. The logo should be allowed to breathe in order to keep the design looking clean and modern.

Minimum Size The logo has a recommended minimum size for use. Logo without text - 10mm Minimum text size - 10pt - MARISTOW (Remember to keep the logo in proportion to the text)


THE WALLED GARDENS

S N E RD

THE WALLED GARDENS MARISTOW

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THE WALLED GARDENS MARISTOW

THE WALLED GARDENS

THE WALLED GARDENS

MARISTOW

MARISTOW

THE WALLED GARDENS

MARISTOW

Incorrect Logo Use The examples on this page show incorrect usage of our logo. Please ensure you do not use the logo as per any of these examples.

Inconsistency with our logo can create confusion and the sense that a brand is unsure of itself.

THE WALLED GARDENS

THE WALLED GARDENS

MARISTOW

MARISTOW


2.COLOUR


Colour has the power to inspire confidence and express emotion, yet when used poorly, can render text illegible. Choosing the right colour is a vital part of the communications process. We have set up a core colour palette, but we also recognise the need for flexibility, so the palette is a starting point and not obligatory.

The colour palette was inspired by colours found in The Walled Gardens. The colours compliment each other and have come from the same origin.


The international standard for producing colours was developed by Pantone速. Four-colour process printing, known as CMYK, uses up to four component colours to create a standard Pantone速 colourmatch. These components are: C for Cyan M for Magenta Y for Yellow K for Key or Black Four-colour process printing will generally produce a less vivid colour than the standard Pantone速 special colour. Our core colour palette has been chosen so that, when printed in four- colour process, the Pantone速 equivalent is very similar. When printing in one colour only, it is best to use Slate. Otherwise, use any other colour from the core colour palette which will enable the text to read well on white paper.

You can use the colours within the core colour palette as solid colours or as tints. Palette tints bring greater breadth and flexibility to our range of colours. They are particularly useful when producing diagrams and charts, and allow for more creativity with one and two-colour communications. The logo must NEVER appear as a tint. For digital communications, the colours are defined by RGB values. These components are: R for Red G for Green B for Blue


Using more than one colour

Beware! Colour difference from screen to print

To successfully communicate your message, consider how many colours you use, and try to limit the amount used to just two. The fewer colours you use, the clearer your message can be.

The colour codes for each colour in our core palette have been chosen to work consistently across reproduction media. However, please be aware that there is a chance that colours may not reproduce consistently as different media reproduce colour differently.

Overlaying printed colour For professionally printed documents, two colours can be overlaid to produce a third colour. This is an economic way of incorporating an extra colour into your work.


3.TYPOGRAPHY


Primary Typeface

should be used for titling, and in CAPITALS where possible. The logo is set in this weight and so any messaging to go with the logo should be set in this weight too. No tracking is required.

Secondary Typeface should be used for writing large amounts of text at a small size. This lightest weight allows for maximum legibility when printed at a small size.

UNIVERS CONDENSED abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 !@£$%^&*()_+{}:”|<>?[]’;\/,.

GeosansLight abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 !@£$%^&*()_+{}:”|<>?[]’;\/,.


4.PATTERNS


Patterns can be used across a wide range of promotional materials to add colour and intregue. Careful consideration needs to be taken when using patterns. They SHOULD NOT obstruct important information and SHOULD NOT be used as a background.

Patterns can fill space that would have otherwise been left blank. Patterns are all made using the shapes from The Walled Gardens that have been organised to look like vegetables etc. Patterns should replicate something found at The Walled Gardens.


Carrot

Mushroom

The patterns on this page show you exactly what can be created. These patterns would look great on product packaging or

promotional material to advertise the purchase of products at The Walled Gardens.

Beetroot

Egg


5.BRAND APPLICATION


Branding needs to be consistent throughout all applications for the brand to feel solid and professional. When applying the brand please ALWAYS refer back to this brand guidelines handbook for clarity.

Stationary Set


Letterheads


MEMBERSHIP CARD You are helping to grow your own future by volunteering at The Walled Gardens. This membership card is a good way of keeping track of the different activities your have participated in on site.

Name: Date Joined:

= clearing out

= fresh produce

= feeding animals

= planting

= bee keeping

= dirty work

Membership Card

Business Card

WA TER YL

AN

E

MARISTOW HOUSE

JENNY PRICE

PROJECT MANAGER T 01752 69 62 65 M 0780 151 7257 jtpmaristow@gmail.com

Product Bag


Garden Signage


Brochures Gardening Tools


6.GRAPHIC DEVICES


Graphic devices are used to promote a product or service. They can be anything from posters to online advertisements to graphs and charts. â&#x20AC;&#x2DC;Restoring the Futureâ&#x20AC;&#x2122; is an important slogan to include when

creating promotional material for the Walled Gardens and must be included in most pieces of promitional material. Material must be kept minimal and in line with the brand guidelines and keep with our tone of voice.


When considering photograhy for graphic devices choose images that provoke thought about The Walled Gardens and that demonstrate some of the activities that take place at The Walled Gardens.

These images are good for on the websites and for material such as postcards. This image policy should also be replicated in brochures.


WA TE

RY L

MARISTOW HOUSE

Access to The Walled Gardens is important so this map should be used where felt appropriate on material so that people are able to find the site.

The map can be used on material as small as business cards but consideration does need to be taken into account for smaller material.

AN

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7. TONE OF VOICE


Knowledge

Outreach

Maristow

Revenue

These are our four strategy corners of The Walled Gardens. Each one of these aspects is key for the success of The Walled gardens.

These four aspects all link together and it is key that these aspects be considered when putting together any material for The Walled Gardens.

Awareness


RESTORING THE FUTURE Not

SAVING THE WALLED GARDENS We might just be a Walled Garden but our Tone of Voice is very important because we want to achieve something big. We are never going to save the world but our Tone of Voice is â&#x20AC;&#x2DC;Restoring the futureâ&#x20AC;&#x2122; which is meant to be used in a positive way to encourage people to grow

their own produce and rely less on having produce ready to buy. We want to encourage volunteers to learn new skill sets and spread the word. We are not just saving a Walled Garden, we are promoting people to learn in the Walled Garden and use their skills elsewhere.


CONTACTS Justin Bovington Head of Wonder Room Plymouth University Drake Circus, Plymouth Devon PL4 8AA United Kingdom M +44(0) 7748 786136 E justin.bovington@plymouth.ac.uk T @justinbovington W www.wonderroom.com

Eva Dage M 07519869054 E eva.dage@student.plymouth.ac.uk T @_vucha_ Bradley Freeman M 07427635035 E bradley.freeman@students.plymouth.ac.uk Sebastian Jacques M 07595513489 E sebastian.jacques@students.plymouth.ac.uk T @sebjacques_DSGN W www.sebjacques92.wix.com/sebjacquesdesign Paul Oâ&#x20AC;&#x2122;Brien M 07713461753 E paul.obrien@students.plymouth.ac.uk T @PaulOBrien20 W www.pa-obrien.wix.com/paulanthonyobrien


Brand Guidelines Booklet