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Vodafone Visual Identity Core guidelines

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Vodafone


Vodafone Visual Identity Core guidelines

Contents Core guidelines

1 1.1 1.2 1.3 1.4

Our brand Introduction Core identity elements Protecting the icon and logo Colour overview

2 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9

04 05 06 07 08

The Rhombus Introduction Examples Positioning The grid system Icon sizes using the grid Icon size and positioning The Rhombus variants Interaction with the Rhombus Interaction with the Rhombus – exclusion zone 2.10 Obscure shapes

09 10 11 12 13 14 15 16 17

3 3.1 3.2 3.3 3.4 3.5 3.6

20 21 22 23 24 25

3.7

Typography Introduction Proportion and sizing Leading (line spacing) and tracking Positioning type inside the Rhombus Type alignment inside the Rhombus Positioning messaging outside the Rhombus Special use – badges

18 19

26 27

4 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8

Photography Introduction Black and white Colour Vibrant colour Objects Red thread Active and passive areas Background and prop styling

28 29 30 31 32 33 34 35 36

5 5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8

Illustration Introduction Primary colour usage Secondary colour usage 2D 3D Typographic Introduction to the Brushstroke Brushtroke with illustration and photography

37 38 39 40 41 42 43 44

6 6.1 6.2 6.3 6.4

Television, pre-roll and cinema end frames Introduction End frame featuring messaging End frame featuring product End frame for short time lengths

46 47 48 49 50

7 7.1 7.2

Internal communications Vodafone email signature Classifying documents

51 52 53

45

Imagery disclaimer Apart from commissioned photography, the imagery used throughout this document is intended for purposes of illustration and inspiration only and should not be reproduced or replicated in any format under any circumstances.

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Vodafone Visual Identity Core guidelines

Our brand 1.1 1.2 1.3 1.4

Sections:

Our brand

Introduction Core identity elements Protecting the icon and logo Colour overview

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05 06 07 08

04


1.1

Vodafone Visual Identity Core guidelines

Our brand Introduction One holistic visual identity system connecting every brand touchpoint.

Sections:

Our brand

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1. 1.2

Vodafone Visual Identity Core guidelines

Our brand Core identity elements

The Rhombus

Icon

Logo

Signatures

Vodafone Power to you

Vodafone typeface

Vodafone

Primary colour palette

AaBbCcDd

Brand assets You can find a full catalogue of our core identity elements here

Brushstroke

Secondary colour palette

Illustration

Photography

Sections:

Our brand

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Width of icon

Vodafone Visual Identity Core guidelines

1. 1.3

Width of icon X

Icon clear space

Our brand Protecting the icon and logo Our logo makes us one of the most recognised brands in the world. As a monobrand we have one Vodafone logo with two elements, the icon and the wordmark.

X

Width of icon

X

Width of icon

Never alter the icon or logo in any way. For maximum impact: – place the logo on a red or white background – never place the logo on full-bleed images. Only use the icon and never include the wordmark on third party communications. We only use our horizontal and stacked logo in certain situations, these include: – permanent media (such as signage) – stationery – sponsorship.

Logo variants You can find a full catalogue of icons and logos for various applications here

Horizontal logo clear space

Width of Width iconof icon

X

X

X = 25% of icon size

X

X = 50% of icon size

Width of icon

X X

X = 25% of icon sizeX = 25% of icon size

Big or small, our logo should be instantly recognisable everywhere we use it. This is why the logo never changes.

Width of icon

Logo clear space

Width of Width iconof icon X

Width of icon

X = 50% of icon sizeX = 50% of icon size

X

X

X = 25% X =of25% iconofsize icon size

Width of icon

X = 50% X =of iconofsize icon size X 50%

Width of icon Icon

X

Keep a clear space of 50% of of Width icon of icon the logo theWidth icon size around at all times.

We protect the icon with clear space. It is 25% of the icon size. In exceptional circumstances, graphic elements may infringe into the clear space.

X

Use the horizontal version when space is limited on applications such as handset screens and retail signage.

X

Icon

IconWordmark

Wordmark

X = 50% of icon sizeX = 50% of icon size Width of icon = 6mm minimum size for print

Icon Icon

Width of logo = 12.5mm minimum size for print

Wordmark Wordmark

X = 50% X =of50% iconofsize icon size

Minimum size There are set minimum sizes for print and online applications. For minimum online sizes, please see Digital guidelines.

Width of icon = 6mmWidth of icon = Width 6mm of logo = 12.5mm Width of logo = 12.5mm minimum size for print minimum size forminimum print size for print minimum size for print

Width of Width iconof = 6mm icon = 6mm minimum minimum size forsize printfor print

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Wordmark

X = 50% of icon size

Our brand

Width of Width logoof= logo 12.5mm = 12.5mm minimum minimum size forsize printfor print

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1. 1.4

Vodafone Visual Identity Core guidelines

Our brand Colour overview

Primary colour palette

The Vodafone colour palette is made up of three primary colours and a selection of secondary colours and tints. Red is at the heart of our brand. We use it intelligently to express our innate optimism and confidence.

Vodafone White C0 M0 Y0 K0 R 255 G 255 B 255 # FFFFFF

Vodafone Red Pantone® 485 C 0 M 100 Y 100 K 0 R 230 G 0 B 0 # E60000

Vodafone Grey Pantone® 425 C 20 M 10 Y 10 K 80 R 74 G 77 B 78 # 4a4d4e

Primary colour palette The strongest impression of our brand comes from our primary colour palette. Red, white and grey are the hero colours and lead our communications.

Secondary colour palette Secondary colour palette Eight colours make up the secondary palette and their role is to support the primary palette, not replace it. We use them for accents.

Tints Tints of the secondary colours may be used as a background colour as long as the primary colours remain the hero.

50%

25%

Red Violet Pantone® 253 C 50 M 90 Y 0 K 0 R 156 G 42 B 160 # 9C2AA0

50%

25%

Aubergine Pantone® 511 C 75 M 100 Y 45 K 10 R 94 G 39 B 80 # 5E2750

25%

Spring Green Pantone® 583 C 30 M 0 Y 100 K 17 R 168 G 180 B 0 # A8B400

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50%

50%

25%

Lemon Yellow Pantone® 116 C 0 M 20 Y 100 K 0 R 254 G 203 B 0 # FECB00

Our brand

50%

25%

Aqua Blue Pantone® 3125 C 83 M 0 Y 25 K 0 R 0 G 176 B 202 # 00B0CA

50%

25%

Fresh Orange Pantone® 137 C 0 M 45 Y 100 K 0 R 235 G 151 B 0 # EB9700

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25%

Turquoise Pantone® 3145 C 100 M 5 Y 40 K 20 R 0 G 124 B 146 # 007C92

50%

25%

Black C 0 M0 Y0 K 100 R0 G0 B0 # 000000

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Vodafone Visual Identity Core guidelines

The Rhombus 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9

Introduction Examples Positioning The grid system Icon sizes using the grid Icon size and positioning The Rhombus variants Interaction with the Rhombus Interaction with the Rhombus – exclusion zone 2.10 Obscure shapes

Sections:

The Rhombus

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2.1 2.

Vodafone Visual Identity Core guidelines

The Rhombus Introduction Never static, always moving and surprising, our Rhombus is a brand building device that can be used in a multitude of ways. It can: – hold our primary messaging – interact with imagery – convey momentum and a sense of direction – point to something and act as navigation – link all our communications together

The Rhombus variants Find a full catalogue of the Rhombus variants for various applications here

Sections:

The Rhombus

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2. 2.2

Vodafone Visual Identity Core guidelines

The Rhombus Examples Some of the ways the Rhombus works in communications. Vodafone Power to you

The Solid Rhombus over photography.

The Rhombus interacts with photography.

The Rhombus with illustration inside.

iPhone5 Vodafone Power to you

Vodafone Power to you

The Rhombus interacts (clipping) with a person.

The Rhombus appears as an animated sweep. Vodafone Power to you

The Rhombus enters right, featuring device.

Feel like a VIP Vodafone Power to you

Loud and clear Vodafone Power to you

The Rhombus appears from below.

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The Rhombus

The transparent Rhombus over photography. Can enter from top, bottom, left or right.

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Reversed the Rhombus on a red background.

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2. 2.3

Vodafone Visual Identity Core guidelines

The Rhombus Positioning

Primary position of the Rhombus

Always use the Rhombus asymmetrically. Never place the Rhombus centrally because it becomes static. It always bleeds off the edge of the communication.

The preferred position for the Rhombus is to the left or right of an application, never centered.

Secondary position of the Rhombus The alternative is to position the Rhombus at the top or bottom of an application.

What to avoid The Rhombus is never centered or placed equally between left and right or top and bottom.

The Rhombus variants Find a full catalogue of the Rhombus variants for various applications here

Sections:

The Rhombus

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2. 2.4

Vodafone Visual Identity Core guidelines

The Rhombus The grid system

One grid with 2 x 2 icon size.

Using an 18 x 18 grid system, the Rhombus device works proportionally with the Vodafone icon so they work in harmony on any application. The grid allows you to easily position the icon.

The lines of the Rhombus always intersect the icon at a 45° angle.

45°

Centre of icon

45°

The Rhombus variants Find a full catalogue of the Rhombus variants for various applications here

Sections:

The Rhombus

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2. 2.5

Vodafone Visual Identity Core guidelines

The Rhombus Icon sizes using the grid

Icon sizes

The 18 x 18 square grid has been constructed to determine the size of the icon in the Rhombus device. Use these examples to calculate the correct size of icon for applications except digital.

One grid equals 2 x 2 icon size. 2 x 2 icon size

Two grids equal 3 x 3 icon size.

Three grids equal 3 x 3 icon size.

Four grids equal 4 x 4 icon size.

Five grids equal 5 x 5 icon size.

Sections:

The Rhombus

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2. 2.6

Vodafone Visual Identity Core guidelines

The Rhombus Icon size and positioning

How to define your icon size and positioning

The Rhombus direction Square grid 2

Square grid 1

Grid direction

Calculate icon size

Use these three simple steps to construct your communication.

Draw a square grid to the shortest width or depth. If application fits two grids, this equals 3 x 3 icon size.

Position the Rhombus asymmetrically The icon is aligned to the grid and positioned in the best place.

Combine all elements Bring all elements together to create the final application.

iPhone 5 The thinnest, lightest iPhone ever on our award-winning network

Vodafone Power to you

The Rhombus variants Find a full catalogue of the Rhombus variants for various applications here

Sections:

The Rhombus

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2. 2.7

Vodafone Visual Identity Core guidelines

The Rhombus The Rhombus variants

Solid Rhombus

In addition to the variety of positions, the Rhombus can be used as a solid colour, transparent, or reversed out of red.

Black and white

When the Rhombus is positioned in a clear space of an image, use a solid Rhombus.

Colour

Vibrant colour

Illustration

Transparent Rhombus Images that overlap the Rhombus can use a transparent version. With colour and vibrant colour photography, use a greyscale crop of the image behind the Rhombus to increase contrast for stronger visual impact. Greyscale inside the Rhombus.

Reverse Rhombus

This version is only used on a red background.

Sections:

The Rhombus

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2. 2.8

Vodafone Visual Identity Core guidelines

The Rhombus Interaction with the Rhombus There are four ways to interact with the Rhombus, opening up lots of possibilities. We interact with the Rhombus, not the icon.

1. The Rhombus can house illustration when messaging is minimal.

2. The Rhombus edge interacts with photography.

Vodafone Business Red Endless talk and text in one simple plan

Vodafone Power to you

Vodafone Power to you Vodafone

Power to you

Important When an image is fully within the Rhombus (see examples 1 and 2), copy should be minimal and outside the Rhombus.

3. The Rhombus and image complement each other with 45ยบ angle.

Sections:

The Rhombus

4. The Rhombus is clipped by imagery (see section 2.9 for guidance).

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2. 2.9

Vodafone Visual Identity Core guidelines

The Rhombus Interaction with the Rhombus – exclusion zone

The Rhombus image exclusion zone

Devices or campaign imagery can interact with the Rhombus by clipping into it. Please respect the exclusion zone.

Image exclusion zone

x x

x

x

x

Vodafone Power to you

Campaign image should not be positioned more than 2 x icons inside the Rhombus.

Illustration should not be positioned more than 2x outside the Rhombus.

Devices can interact with the Rhombus.

Sections:

The Rhombus

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2. 2.10

Vodafone Visual Identity Core guidelines

The Rhombus Obscure shapes There may be situations where the Rhombus is applied to obscure shapes. We have provided a few examples here of how the Rhombus might be applied in these scenarios. Always try and use the Rhombus in the primary position, i.e. where it comes in from the left or the right of the application.

Sections:

The Rhombus

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Vodafone Visual Identity Core guidelines

Typography 3.1 3.2 3.3 3.4 3.5 3.6

Introduction Proportion and sizing Leading (line spacing) and tracking Positioning type inside the Rhombus Type alignment inside the Rhombus Positioning messaging outside the Rhombus 3.7 Special use – badges

Sections:

Typography

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Vodafone Visual Identity Core guidelines

3. 3.1

Typography Introduction Primary messaging

Our typeface ‘Vodafone’ is as beautiful as it is flexible. Each weight has a role to play. Please observe the relationship and hierarchy shown here.

Headlines use two lines, no full stop

All messaging ends with our signature. The Rhombus can be used to hold primary messaging, with the following information only:

Maximum of three lines of body copy. Lorem ipsum dolor sit amet, elit Donec mattis nulla convallis iaculis vestibulum.

– Headline Fast display with short dwell time (e.g. billboard) use one line

Headlines Vodafone Extra bold

Body copy Vodafone Light

Call to action

Vodafone.co.uk/call to action

Slow display with longer dwell time (e.g. press ad) use two lines, with a maximum of three – Body copy Fast display, use two lines Slow display, use up to three lines

Vodafone Power to you

Vodafone Bold

Signature Vodafone Extra Bold Vodafone Regular

– Call to action Use as required. URL must be campaign specific Maximum of one line – Vodafone ‘Power to you’ signature Always stacked except in special circumstances Use the horizontal version, as shown. Do not feature ‘Power to you’ when space is limited

Horizontal signature in application

Vodafone Power to you

Important

Important

Use the grid system to help align your type to the icon and create margins.

On communications, we no longer refer to ‘tariff(s)’. We use the term ‘plan(s)’ instead.

Typefaces You can find Vodafone typefaces here

EndEnd frame. 12. line completes signature.

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3. 3.2

Vodafone Visual Identity Core guidelines

Headline

Typography Proportion and sizing

– The cap height of the headline is recommended at 40% of the icon size. – When this is not possible, the headline can be sized in a range from 40% to 30%.

Our primary messaging has set proportions using a percentage system so type is consistent across all applications.

Body copy and signature for OOH – Body copy is 60% of the headline point size. – Signature is 65% of the headline point size.

Body copy and signature for print and collateral – Use for applications such as brochures, magazines or leaflets. – Body copy is 50% of the headline point size. – Signature is 55% of the headline point size.

Headline

Out of home

H BS B S 40%

Important Design software allows you to calculate point size automatically by typing in the percentage required in the point size field. For simplicity, point sizes can be rounded up to the nearest decimal point.

Print and collateral

Sections:

Typography

60%

65%

50%

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55%

22


3. 3.3

Typography Leading (line spacing) and tracking We use a percentage system to calculate leading for accuracy and consistency.

Vodafone Visual Identity Core guidelines

The headline leading is 95% of point size Space before is 50% of headline leading

The body copy leading is 105% of point size Space before is 100% of body copy leading

Call to action leading 105% of point size Space before call to action/bodycopy/headline is 200% of signature leading

The signature leading is 105% of point size Important Design software allows you to calculate leading automatically by typing in the percentage required in the leading field. Always make sure that the leading is the same as the point size before typing in the required percentage.

Tracking Tracking on all headlines and body copy should be set to ‘optical’.

Tracking

For simplicity, point sizes can be rounded up to the nearest decimal point.

Sections:

Typography

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3. 3.4

Vodafone Visual Identity Core guidelines

Typography Positioning type inside the Rhombus

The Rhombus internal exclusion zone

When type is positioned inside the Rhombus, please respect the two exclusion zones. This preserves the clarity and prominence of the Rhombus and messaging inside it.

½x

The inner exclusion zone is positioned along the border of the Rhombus and is calculated as half the width of the icon. This zone continues on every side of the Rhombus.

Icon exclusion zone The icon exclusion zone is a section of clear space immediately surrounding the icon. It is to the left or right of the icon, depending on the position of the Rhombus. See section 3.4.

Vodafone Power to you

Allow a full width of the icon to create the zone. The same zone applies if the Rhombus is positioned top or bottom of the application.

n er al

X

xte se bu

X

m ho

eR

X

nt si bu

m ho

eR

Icon exclusion zone

Th

lu xc le

No type should be placed in this zone or too close to the Rhombus.

e on nz sio

a rn

clu ex

The outside border of the Rhombus has an exclusion zone of one width of the icon, as shown in the grey diagonal lines.

Th

The Rhombus exterior exclusion zone

n sio e

n zo

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Typography

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3. 3.5

Vodafone Visual Identity Core guidelines

Typography Type alignment inside the Rhombus

Primary position of the Rhombus

Primary messaging is placed inside the Rhombus. Align type using the grid system to determine its relationship with the position of the icon.

Primary position of the Rhombus

Headline over two lines

The primary position for the Rhombus is to the left or right of the application. When the Rhombus appears from the left, type is ranged left. When the Rhombus appears from the right, type is ranged right.

Headline over two lines

Body copy maximum of four lines exeressin restiatendia que cum et et quata sit facit aceptas dolo

Body copy maximum of four lines exeressin restiatendia que cum ed mod mi, con nulparitiis imus et et quata sit facit aceptas dolo

Vodafone Power to you

Vodafone Power to you

These examples are for guidance only to show the flexibility of the grid system. Highlighted messaging area helps to show how alignment works.

Icon exclusion area

Icon exclusion area

Icon exclusion area

Headline Body copy maximum of four lines ed mod mi, con nulparitiis imus et et quata sit facit aceptas dolo

Vodafone Power to you

Use the grid to align type to top of icon.

Use the grid to align type centrally with icon.

Always align type to the grid system and respect the exclusion zone so that the Rhombus is asymmetrical.

Use the grid to align type to bottom of icon.

Secondary position of the Rhombus Secondary position of the Rhombus

Headline over two lines

The secondary position for the Rhombus starts from the bottom or top of the application.

Body copy maximum of four lines exeressin restiatendia que cum ed mod mi, con nulparitiis imus et et quata sit facit aceptas dolo

Icon exclusion area

Important Please follow this rule so that your type margins are always correct. When the Rhombus appears from the top half of the application, the grid should start from the top. Likewise, when the Rhombus appears in the bottom half of the application, the grid should start from the bottom.

Icon exclusion area

Vodafone Power to you

When the copy is on the left of the exclusion area, the type is aligned left to the grid. When the copy is on the right of the exclusion area, the type is aligned right to the grid.

Headline over two lines Body copy maximum of four lines exeressin restiatendia que cum ed mod mi, con nulparitiis imus et et quata sit facit aceptas dolo

Vodafone Power to you

Type aligns right.

Sections:

Type aligns left.

Typography

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3. 3.6

Vodafone Visual Identity Core guidelines

Typography Positioning messaging outside the Rhombus

Primary messaging outside of the Rhombus

Fully loaded

Get away

We’ve bundled more into our mobile Email price plan. Go to Vodafone.co.uk/priceplan

An unforgettable experience could have your name on it

Vodafone Power to you

Vodafone Power to you

When an illustration is able to interact playfully with the Rhombus or you want to keep it small, messaging can be placed outside the Rhombus. Keep it short and impactful. With illustrations, position type outside the Rhombus on a background in primary colours. Follow these rules on length for primary messaging outside the Rhombus: – Headline keep headlines short and simple, with a maximum of three lines – Body copy maximum of three lines

As photograph interacts fully within the Rhombus, message is minimal and on a primary colour background.

When the Rhombus is minimal, message needs to be outside the Rhombus on solid primary colour.

Secondary messaging below the Rhombus Below the line consumer advert

Direct response advert Primary messaging inside the Rhombus

Secondary messaging outside the Rhombus is for details of price plans and supporting information. Restrict the length to two or three short paragraphs, as shown.

Bus stop advert

Great SIM only deals from £10.50 a month Keep your phone, get more flexibility and value. Lorem ipsum dolor sit amet, consectetur adipiscing dolores elit.

Vodafone Power to you Voda fone

microSIM and nanoSIM also available

Secondary messaging outside the Rhombus

Sim only £10.50

Other plans also available £10.50 £10.50 a month

a month

300 minutes Plus 500 mins to Vodafone mobiles Unlimited texts 250MB internet 750MB BT Wi-fi

600 minutes Plus 500 mins to Vodafone mobiles Unlimited texts 500MB internet 750MB BT Wi-fi

Unlimited minutes Unlimited texts 1GB internet 750MB BT Wi-fi

a month Scan for more deals

Spread the word The thinnest lightest iPhone ever on our award winning network

Vodafone Power to you

Call 0800 000 00, or go in store Vodafone.co.uk Ga. Occus es dicae videssim ipiendam et resent. Quis volorum dest, tem escimaiorum faccatiis sitem rendanducid quam, si abo. Ut pe im id que enditat uriberr orporpo riber-

Um asperum ea adi quat dollaborrum ipsa volupta quiae rc hiliquas auta doluptatur am et voluptatur, cum sam

volupta vCipictate num voluptate velecae pores conserrovid minum reria volorup tatiusam, totat.

Important Use the grid system to help align your type to the icon and create margins.

With longer length body copy, position the secondary messaging in clear space below the Rhombus. Sections:

Secondary messaging is positioned below the Rhombus.

Typography

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3. 3.7

Vodafone Visual Identity Core guidelines

Typography Special use – badges

Badges

Badges are used to hold key information in either the Vodafone typeface or Brushstroke. Use one badge only per device. When there is a 4G badge, this can be used in addition to device badges.

Badges must be used in the primary colourways, as shown here. This allows them to appear over any illustration or photography in full clarity.

Maximum: 200% of icon size Minimum: 150% of icon size

Special Edition in store now Vodafone Power to you

£24.90

Examples may be: – prices/plans – offers – network information.

19.90 Per month

£

4G badges

Upgrade today

iPhone 5

xx minutes xx SMS xxMB downloads

£19.99

£24.90

£

19.90

Per month

Includes iPhone 5 350 minutes 350 SMS 1GB fast internet

Mono 4G badges Special Edition in store now Vodafone Power to you

Badge size

The 4G badge is 75% of the icon size.

£24.90

19.90

£

Per month

Includes iPhone 5 350 minutes 350 SMS 1GB fast internet

Minimum size: 15mm printed 43px digital

With more than one piece of key information, use the badge for the most important message, use the secondary messaging for other content.

Important Badges, icons and logos should not appear in the Rhombus.

Sections:

Typography

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Vodafone Visual Identity Core guidelines

Photography 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8

Sections:

Photography

Introduction Black and white Colour Vibrant colour Objects Red thread Active and passive areas Background and prop styling

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3. 4.1

Vodafone Visual Identity Core guidelines

Photography Introduction We use three types of photography with the focus on people, acting spontaneously in natural situations. One shot can convey multiple stories. It should be engaging, full of energy, clear in focus and high in contrast, with plenty of depth. For guidance on object photography, see section 4.5.

Black and white.

Colour.

Vibrant colour.

Objects.

Sections:

Photography

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6003406_Selects

605049


3. 4.2

Vodafone Visual Identity Core guidelines

Photography Black and white Black and white photography puts the viewer’s full focus on the dynamic energy and emotion captured within the scene. Because there is no colour to create impact, use the location, lighting, styling, model’s expression and high contrast to bring out emotion and visual interest. Black and white photography enhances the impact of our Rhombus and creates impactful communications that give us an ownable look.

Sections:

Photography

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3. 4.3

Vodafone Visual Identity Core guidelines

Photography Colour Colour photography puts the focus on the story playing out in the scene. With the use of softer, less intense colours, it’s the composition, the interaction between models and the environment as well as props that capture the viewer’s attention. This style makes use of abundant natural or artificial light. Areas of muted colour work well with the Rhombus, helping it stand out.

Sections:

Photography

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3. 4.4

Vodafone Visual Identity Core guidelines

Photography Vibrant colour Vibrant colour photography is high impact and big on emotion, feeling and energy so they stand out. Images are brightly lit with high contrast and large areas of solid colour or brightly coloured props. The composition will be less complex than our colour style. Backgrounds are free of clutter so that punchy colours can be used to add to the power of the emotion and support the story.

Sections:

Photography

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3. 4.5

Vodafone Visual Identity Core guidelines

Photography Objects The focus of the image is the object and the background is clean and free of clutter. Backgrounds can be white, grey or red. Shadows and reflections are natural, rather than computer generated.

Object on white without shadow.

Object on white with shadow.

Object on white studio environment.

Object on red studio environment. Grey can also be used.

Sections:

Photography

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3. 4.6

Vodafone Visual Identity Core guidelines

Photography Red thread Red can feature in the Rhombus, as a detail within images such as clothing, as a background and as an object. It should look a natural part of the composition, not artificially forced.

The Rhombus is red thread for black and white images.

Red thread is introduced naturally.

Bold use of red thread.

Objects are red or feature red heavily.

Sections:

Photography

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3. 4.7

Vodafone Visual Identity Core guidelines

Photography Active and passive areas P (sp assi an ace ve im d m fo a es r th ge a sa e re gin Rh as g) om . bu s

The power of the Rhombus is that it can work in endlessly different ways with photography to create something dynamic, fresh and new.

A (fo ctiv ca e im lp a oi ge nt a ). re a

Use the Rhombus to create ‘active’ and ‘passive’ areas within each image. Active areas are the focal point. Large passive areas are ideal for messaging and the Rhombus. Create the two areas in the image at the beginning and avoid placing the Rhombus over the active area.

Examples.

Sections:

Photography

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3. 4.8

Vodafone Visual Identity Core guidelines

Photography Background and prop styling Backgrounds and props should be used to add colour to the scene, enrich the story and help complete the picture without distracting from the subject. They can work as large areas of physical colour (a wall), as a subtle texture, a story-telling prop and a solid area of white or vibrant colour in a scene free of clutter.

Sections:

Photography

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Vodafone Visual Identity Core guidelines

Illustration 5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8

Sections:

Illustration

Introduction Primary colour usage Secondary colour usage 2D 3D Typographic Introduction to the Brushstroke Brushtroke with illustration and photography

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5. 5.1

Vodafone Visual Identity Core guidelines

Illustration Introduction We use four types of illustration. Use these examples as your starting point. Choose the most suitable type for your idea and adapt the style to suit your application and audience. Four types to choose from: – 2D – 3D – typographic – brushstroke 2D.

3D.

Typographic.

Brushstroke.

Sections:

Illustration

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5. 5.2

Vodafone Visual Identity Core guidelines

Illustration Primary colour usage

Use of more than one colour The three primary colours are Get Get away Getaway away

mandatory and play a dominant role. Use red, white and grey as VodafoneVodafone Vodafone solid colour and tints of grey Power to you Power to you Power to you (50% or 25%).

An An unforgettable experienceexperience Anunforgettable unforgettable experience have could havecould your on it name couldname haveyour your nameon onitit

All our illustrations should contain our primary colour palette with or without the Rhombus.

Use up to two solid secondary colours as accents.

Primary colours with secondary colours as accents.

Single colour Use our primary red as a solid for single colour illustrations and only for Vodafone owned communications.

Business plans to maximise efficiency Nias ea volor autatis iminctate net litatia dolliquatemo illabo mus exerfer itasin porest, cus et et utem id mo eaquis.

Ic tem nos diorehent quamus del in cum quae et imagnatas eum quam harumenda dissiti ssitatem fugiam quis porepta tquatur, nimolupturi offictore volorum dolor andamendae est fugia non ellenihil es as andemquas nullit et aliquiae exerrov idunt, qui di officia que voluptatius doloribus pro velectem aut alibusda quis delloreptat enim sum eum et et quianis sitaectiae modionse quatiorro imus eium evelit et el eium ditem rem. Ut ut que net inullab orerempor mincientur? Rorit, et litaspid que delibuscium fugita sit eatis ditas minctur? At explabore si rescill acererro vell ori busdae sequatios imposam res simagni omnimusda vit reperum quo te magnimo lenienest est, quiam in reria intio. andamendae est fugia non ellenihil es as andemquas nullit et aliquiae exerrov idunt, qui di officia que voluptatius doloribus pro velectem aut alibusda quis delloreptat enim sum eum et et quianis sitaectiae modionse. Runt rem architem. Evelitati doluptatio exceatur aribus id ut ulligen itatur magnihilique sequiaecatem aut am et voluptatio volupti umquat rem quiaerrum que dus id eat quis pa et, quunt et mi, alicien imintis magnihilit molorep rorio. Itaturi asperumquam sed ut et a quis acim nessit ium volore, susdaep erumquod quuntibus sequi quam inihitatem susdaestiae nis remperf erfero.

Ditiis aut esti ut rest, andant occus, ullendios et quis ium aut aut aut omniet esto dolorpo rrovidi gniscia autet.Udisim eos re, voluptat quidiciat dolorehendae iunt, est, quid que cusapienda quiatur mod magnis autasped quam fugit, odi accat es intotatum, corrum quam, nonsed quo doluptatis auditat pra et as modis iunt et qui doluptiur mi, susape repe volestio derepud ipsandam estrum faccatur? Quis restio duscil ipsusda sit aut autectur, con es maiorem. Litatium ipiciis everio consequi te non num endiosam, ametur, si dolor sum arum a dolecuptatum volupta sae nonserum alibus arcius expero il moditio nseque voluptassit, sum que volupitet vitatemporum. Pra et as modis iunt et qui doluptiur mi, susape repe volestio derepud ipsandam estrum faccatur? Quis restio duscil ipsusda sit aut autectur, con es maiorem. Litatium ipiciis everio consequi te non num endiosam, ametur, si dolor sum arum a dolecuptatum volupta sae nonserum alibus arcius expero il moditio nseque voluptassit, sum que volupitet vitatemporum.

Ic tem nos diorehent quamus del in cum quae et imagnatas eum quam harumenda dissiti ssitatem fugiam quis porepta tquatur, nimolupturi offictore volorum dolor andamendae est fugia non ellenihil es as andemquas nullit et aliquiae exerrov idunt, qui di officia que voluptatius doloribus pro velectem aut alibusda quis delloreptat enim sum eum et et quianis sitaectiae modionse quatiorro imus eium evelit et el eium ditem rem. Ut ut que net inullab orerempor mincientur? Rorit, et litaspid que delibuscium fugita sit eatis ditas minctur? At explabore si rescill acererro vell ori busdae sequatios imposam res simagni omnimusda vit reperum quo te magnimo lenienest est, quiam in reria intio. andamendae est fugia non ellenihil es as andemquas nullit et aliquiae exerrov idunt, qui di officia que voluptatius doloribus pro velectem aut alibusda quis delloreptat enim sum eum et et quianis sitaectiae modionse. Runt rem architem. Evelitati doluptatio exceatur aribus id ut ulligen itatur magnihilique sequiaecatem aut am et voluptatio volupti umquat rem quiaerrum que dus id eat quis pa et, quunt et mi, alicien imintis magnihilit molorep rorio. Itaturi asperumquam sed ut et a quis acim nessit ium volore, susdaep erumquod quuntibus sequi quam inihitatem susdaestiae nis remperf erfero.

Primary red background only for single colour illustrations.

Sections:

Illustration

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5. 5.3

Vodafone Visual Identity Core guidelines

Illustration Secondary colour usage

Use of colour led by secondary palette Use the secondary colours for backgrounds (50% or 25% tints) and as accents at 100%.

Where the Rhombus is not present, you have scope to do more with our secondary colours.

The three primary colours are used as accents at 100%. The Rhombus must never feature on this type of illustration.

Free summer roaming Stay in-touch with family whilst overseas. Ask about our roaming plans

Unlimited roaming options on Red

Secondary colours with primary colours as accents.

Business plans to maximise efficiency Nias ea volor autatis iminctate net litatia dolliquatemo illabo mus exerfer itasin porest, cus et et utem id mo eaquis.

Ic tem nos diorehent quamus del in cum quae et imagnatas eum quam harumenda dissiti ssitatem fugiam quis porepta tquatur, nimolupturi offictore volorum dolor andamendae est fugia non ellenihil es as andemquas nullit et aliquiae exerrov idunt, qui di officia que voluptatius doloribus pro velectem aut alibusda quis delloreptat enim sum eum et et quianis sitaectiae modionse quatiorro imus eium evelit et el eium ditem rem. Ut ut que net inullab orerempor mincientur? Rorit, et litaspid que delibuscium fugita sit eatis ditas minctur? At explabore si rescill acererro vell ori busdae sequatios imposam res simagni omnimusda vit reperum quo te magnimo lenienest est, quiam in reria intio. andamendae est fugia non ellenihil es as andemquas nullit et aliquiae exerrov idunt, qui di officia que voluptatius doloribus pro velectem aut alibusda quis delloreptat enim sum eum et et quianis sitaectiae modionse. Runt rem architem. Evelitati doluptatio exceatur aribus id ut ulligen itatur magnihilique sequiaecatem aut am et voluptatio volupti umquat rem quiaerrum que dus id eat quis pa et, quunt et mi, alicien imintis magnihilit molorep rorio. Itaturi asperumquam sed ut et a quis acim nessit ium volore, susdaep erumquod quuntibus sequi quam inihitatem susdaestiae nis remperf erfero.

Nam cupta sse dolup ta dol Sant et veliquosam, quassinvel ium nobis dolest accum est, iur ab iminvel itatur?

Ditiis aut esti ut rest, andant occus, ullendios et quis ium aut aut aut omniet esto dolorpo rrovidi gniscia autet.Udisim eos re, voluptat quidiciat dolorehendae iunt, est, quid que cusapienda quiatur mod magnis autasped quam fugit, odi accat es intotatum, corrum quam, nonsed quo doluptatis auditat pra et as modis iunt et qui doluptiur mi, susape repe volestio derepud ipsandam estrum faccatur? Quis restio duscil ipsusda sit aut autectur, con es maiorem. Litatium ipiciis everio consequi te non num endiosam, ametur, si dolor sum arum a dolecuptatum volupta sae nonserum alibus arcius expero il moditio nseque voluptassit, sum que volupitet vitatemporum.

Equis delloreptat enim sum eum et orerempor mincientur.

Equis delloreptat enim sum eum et orerempor mincientur.

Vodafone

On Vodafone owned communications, secondary colour tints can be used for backgrounds.

Sections:

Illustration

Secondary colours are great for visualising charts and diagrams, as shown in this enterprise brochure.

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5. 5.4

Vodafone Visual Identity Core guidelines

Illustration 2D As a general rule, 2D illustrations should be flat vector based graphics or hand drawn in a constrained style where block colour is used. The impression of depth can be introduced by use of perspective and specific tones from the secondary colour palette.

Hand drawn – Bold, simple, fun and engaging.

Implied depth – Implied through perspective and tone.

Vector graphics – Sharp, graphic, bold and simple.

Block colour – Use of secondary colour as background.

Sections:

Illustration

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5. 5.5

Vodafone Visual Identity Core guidelines

Illustration 3D Building on our 2D illustration style, introduce three-dimensions to the illustration through real objects or CGI. Use of light and shadows can be used to create depth, with flat areas of colour and calm. What constitutes correct 3D: – character modelling – CGI – 3D messaging – 3D interaction with the Rhombus Character modelling – Playful animated characters.

CGI – 3D environments.

3D messaging – Heroing key messages.

3D interaction with the Rhombus – Playful, witty, intelligent use of space.

Sections:

Illustration

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5. 5.6

Vodafone Visual Identity Core guidelines

Ilustration Typographic Typographic illustration adds personality to short messages or stories. It’s useful when the literal meaning of the words is necessary. It must be fluid and controlled and ideally two dimensional. What constitutes correct typography: – graphic type – type with illustration – decorative – brushstroke Type with illustration – Simple typography used with illustration.

Credit for Illustration is Alex Trochut @ Debut Art

Graphic type – Flat graphic shapes.

Decorative – Playful, friendly, suited to audience.

Sections:

Illustration

Brushstroke – One short, key message.

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5. 5.7

Vodafone Visual Identity Core guidelines

Illustration Introduction to the Brushstroke

Brushstroke

The Brushstroke is to be used as an illustration graphic, not a typeface and is used to illustrate a key message. Only oneor two words or a number may be used. The Brushstroke can only be used in primary colours. The Brushstroke should be positioned in clear space to maximise legibility.

Proportions Every Brushstroke graphic should have impact because that is what it is designed to do, so make it clear and prominent in the design.

Letter spacing The letter spacing for Brushstroke is the same as the spacing for the Vodafone typeface.

Brush Important

It should occupy a minimum of 12.5% of the layout. This proportion can go up to 75%, where the Brushstroke is the main feature in the application.

Colourways for Brushstroke

Each character is supplied as an individual file in Adobe Photoshop. Available in formats: Photoshop CMYK RGB 72dpi RGB png Brushstroke is always used in sentence case, never in full caps or all in lower case. Brushstroke You can find Vodafone’s Brushstroke here

Red or grey Brushstroke on white.

Sections:

White Brushstroke on red.

Illustration

White Brushstroke on grey.

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Red/grey Brushstroke on any secondary colour set at 25%.

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5. 5.8

Vodafone Visual Identity Core guidelines

Illustration Brushstroke with illustration and photography

Brushstroke with illustration

Brushstroke is a graphic that can be used in a multitude of ways. Here the examples show how it integrates with illustration and photography, used as a heading or as a badge. The most important point is that it is short and has real impact.

Brushstroke is integrated into 2D illustration to highlight a benefit.

Brushstroke complements 2D illustration.

Brushstroke may be used with other illustrated type if separated with clear space.

Brushstroke is suitable for use with 3D illustrations and with tints of secondary colours.

Brushstroke with photography Retail communications

Magazine cover

Fun and games Buy now for ultra-fast internet and the best ever streaming

Vodafone Power to you

Vodafone Falcon Out Now

Fun and games Buy now for ultra-fast internet and the best ever streaming.

Vodafone Power to you

Brushstroke alongside product photography.

Sections:

Free Vodafone Data Test Drive Ask an advisor or visit vodafone.co.uk/devices

Vodafone Power to you

Use with black and white photography and badges.

Illustration

No.1 for network coverage Vodafone Power to you

Vodafone 4G Windows Phone 8 Vodafone nearly new

Integrated into photography.

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Integrated into photography.

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Vodafone Visual Identity Core guidelines

Television, pre-roll and cinema end frames 6.1 6.2 6.3 6.4

Sections:

Television, pre-roll cinema end frames

Introduction End frame featuring messaging End frame featuring product End frame for short time lengths

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5. 6.1

Vodafone Visual Identity Core guidelines

Television, pre-roll and cinema end frames Introduction We use three end frames with the Rhombus: – end frame featuring messaging – end frame featuring product – end frame for short time lengths Vodafone URLs should not appear on end frames, unless the URL links to a specific campaign. We don’t use Facebook, Twitter and other social media icons on end frames unless they are a key channel for a campaign or used as a call to action. Likewise, phone numbers should not appear, unless they are needed as part of a direct response campaign.

Endframes You can find a full catalogue of guides for endframes here

Sections:

Television, pre-roll cinema end frames

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6. 6.2

Vodafone Visual Identity Core guidelines

Television, pre-roll and cinema end frames End frame featuring messaging This is the recommended end frame highlighting our differentiating product benefit(s). Here the example shows how a transparent Rhombus rotates to reveal a message. We use white to wipe the message and use a solid red background for the signature.

1. Red transparent Rhombus reveal.

2. Rotating the Rhombus, messaging reveals.

3. At full Rhombus position, second transparency introduced.

4. At full Rhombus position, solid is introduced.

5. As white builds, message wipes.

6. As red Rhombus rotates, white fills the screen.

7. As the Rhombus approaches full position, glare appears on icon.

8. The Rhombus in full position with signature.

9. ‘Power to you’ appears, signature complete.

Sections:

Television, pre-roll cinema end frames

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6. 6.3

Vodafone Visual Identity Core guidelines

Television, pre-roll and cinema end frames End frame featuring product Here the example shows how the Rhombus rotates to reveal a product message. We use white as the background for the device.

1. Transparent Rhombus reveal.

2. Rotating the Rhombus, message reveal.

3. At full Rhombus position, transparent white introduced.

4. White turns solid, message wipes.

5. Device reveals in full, message appears.

6. Full Rhombus position, message and device fade out.

7. Signature reveal, glare appears on icon.

8. Endline fades in, signature complete.

Copy should be kept at a minimum to allow the viewer to digest the messaging.

Sections:

Television, pre-roll cinema end frames

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6. 6.4

Vodafone Visual Identity Core guidelines

Television, pre-roll and cinema end frames End frame for short time lengths Our end frames and pre-roll sequences use the Rhombus. The Rhombus moves in a sweeping, fluid motion, expressing the dynamism and progression of our brand.

1. Solid Rhombus reveal.

2. Rotating the Rhombus, signature reveal.

3. At full Rhombus position, solid white introduced.

4. As white builds, glare appears on icon.

5. As white fills, endline fades in.

6. Signature complete.

For short time lengths only (10 seconds and 15 seconds), a solid Rhombus rotates to reveal ‘Vodafone Power to you’. Copy and imagery are revealed as the Rhombus rotates. No product or price messages are to feature in this format.

Sections:

Television, pre-roll cinema end frames

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Vodafone Visual Identity Core guidelines

Internal communications 7.1 Vodafone email signature 7.2 Classifying documents

Sections:

Internal communications

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6. 7.1

Vodafone Visual Identity Core guidelines

Internal communications Vodafone email signature

Messaging

The design of our email signature is deliberately simple so it works across multiple devices and legible and clear on the smallest of devices. The signature has a maximum width of 320 pixels. Images may not appear correctly on mobile devices so always use live text.

1. For mobile devices always use a network message, e.g. ‘Powered by Vodafone 4G’.

John Smith

2. For PCs and Macs use short, punchy brand messages with your email signature and change the message every quarter, in line with strategic messaging.

Principal Brand Operations Manager

Feature a network OR an integrated worry free message.

Powered by Vodafone 4G

Group Brand Contact No: +44 7881 310036 Email: john.smith@vodafone.com Address: One Kingdom Street, W26BY www.vodafone.com

Name Title Team Tel. no. Email Address Web address Messaging

Network example: ‘Do your thing better, faster, on 4G’. Integrated worry free example: ‘Roam this summer from 3 euros a day’.

What to avoid Don’t use internal or organisational messages. Don’t use social media icons or QR codes. John Smith

Don’t use digital banners.

Principal Brand Operations Manager Group Brand Contact No: +44 7881 310036 Email: john.smith@vodafone.com Address: One Kingdom Street, W26BY www.vodafone.com

Powered by Vodafone 4G

Important Please include a legal disclaimer in your email signature for your market.

Sections:

Internal communications

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6. 7.2

Internal communications Classifying documents We jeopardise our brand and our reputation if we don’t protect our information. Classifying documents mean that anyone reading one of our documents knows how to treat the information.

Vodafone Visual Identity Core guidelines

C1 − Unclassified / public

C2 − Vodafone restricted

C3 − Vodafone confidential

C4 − Vodafone secret

Publicly available information or information we don’t need to protect.

Routine business information that can be shared internally and (trusted) third parties.

Information which given to the wrong people (even internally) could harm our business, brand or our reputation.

Information which given to the wrong people (even internally) could cause serious damage to our financial interests and reputation.

• Our website information. • Published marketing and product material. • Company public statements. • Published company performance information. • Published job vacancies.

• Non-sensitive operational documents, minutes of department meetings and internal PowerPoint presentations. • Employee communications or internal correspondence (with no customer or personal details). • Company organisational charts.

• Information that could identify a customer or Vodafone staff (e.g payroll infomation). • Product or planning strategies. • Sales and marketing strategies. • Negotiating positions and competitor assessments. • Company financial records. • Details of live or ongoing legal proceedings or potential causes of action. • Most quarterly legal reports. • Sensitive PowerPoint presentations.

Who? How it can be shared

• Everyone (but don’t make it public without talking to the Media Relations or the Press Office first).

• Everyone (but don’t make it public without talking to the Media Relations or the Press Office first).

• Everyone (but don’t make it public without talking to the Media Relations or the Press Office first).

How? Some advice for protecting

✓ Make sure information contains any appropriate copyright statements ✓ Keep desks and offices as tidy as possible

What? Some examples

• Embargoed financial data. • Unreleased company performance data. • Details of major acquisitions, divestments and mergers. • High-level business and competitive strategy and future business plans. • Very sensitive customer, competitor, partner or contractor assessments. • Intellectual property information. • Law enforcement/government security data. • Information with the potential to influence our share price.

• Everyone (but don’t make it public without talking to the Media Relations or the Press Office first).

✓ Don’t keep unwanted or unnecessary information ✓ Securely delete or destroy information when you no longer need it

✓ Clearly label the classification level on an email or document ✓ Store out of sight outside of normal business hours

✓ To reclassify a document to C1 needs approval from a department like Media Relations or the Press Office

✓ Always use encryption to protect C3 information from getting into the wrong hands. Use tools like Oracle IRM for email encryption and TrueCrypt for USB sticks or external hard drive encryption. If you need to share an encrypted external drive (and so the encryption) send the password by SMS, not by e-mail ✓ Don’t read C3 documents on your mobile or Blackberry – wait until you can access the information from your laptop/PC. ✓ Store documents in a locked cabinet; don’t leave them unattended on your desk when you go to a meeting or for lunch ✓ Don’t use external servers (like GoogleDocs or MSN). ✓ Supervise copying and don’t leave information in the printers or copying machines. Number your copies (1 of x) and keep a record of all copies produced ✓ Deliver paper documents in a sealed envelope, by hand, to a named individual.

✓ Requirements here are quite strict. Before you handle C4 information, please read and follow Managing C4 Information on the Intranet.

Sections:

Internal communications

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Vodafone Visual Identity - core guidelines  

Brandbook for Vodafone. Visual Identity guidelines.

Vodafone Visual Identity - core guidelines  

Brandbook for Vodafone. Visual Identity guidelines.

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