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CONTENTS 1.0/_ BRAND OVERVIEW 2.0/_ LOGO 2.1/ Introduction 2.2/ Primary 2.3/ Secondary & texture

3.0/_ COLOR PALETTE 3.1/ Introduction 3.2/ Primary 3.3/ Secondary

4.0/_ TYPOGRAPHY 4.1/ Overview 4.2/ Typeface Introduction 4.3/ Typeface Weights

5.0/_ GRID SYSTEM 5.1/ The Grid System 5.2/ Margins & columns 5.3 Document templates

6.0/_ BRAND APLICATIONS 6.1/ Design Examples


Brand Overview

These are our brand guidelines which explain how to use our new visual identity with confidence and clarity. Our guidelines have been designed to ensure consistency within our brand, helping to create strong, recognizable and innovative communications. The following pages demonstrate the flexibility within the MADFOR identity and should be used to inspire and motivate creative expressions. Our unique identity, neutral color palette and typographic style creates a distinctive framework for our brand wich helps us stand out from our competitors.


Logo Introduction

THE MADFOR LOGO IS AN IMPORTANT ASSET TO OUR COMPANY AND SHOULDSERVE AS A A VISUAL IMAGE AND COMMUNICATION. To maintain a strong brand image it is important that the logo is always applied consistently wherever it appears. It should never be manipulated or disstorted. Its color, position and size are all specified whithin this document.


Logo Primary + Secondary


Logo Texture


Color Introduction

In this series of three posts, we’ll look at colours in R graphics produced with ggplot2: what are the available choices of colour schemes, and how to choose a colour palette most suitable for a particular graphic? In kindergarten, choosing a colour was easy, palettes were limited to a few classics. As cool kids grow older and use R, the spectrum expands to present us with overwhelming choice of millions of colours, most of them with poorly defined labels such as “#A848F2” or “lavenderblush3”. Inasmuch as scientific graphics resemble a paint-by-numbers game, R can help us design more elegant palettes with pertinent colour choices based on the data to display.


Color Primary Palette + Secondary

R: 110

G: 110

B: 110

C: 54 M: 45 Y: 42 K: 7 L: 43 A: -3 B: -8

R: 36 G : 166 B : 182 C: 74 M: 0 Y : 24 K: 0 L : 74 A: - 43 B: -1 3

R: 50 G : 80 B : 127 C: 81 M: 60 Y : 20 L: 40 A : -5 B: -3 0

R: 209 G : 210

B: 211

C: 0 M: 0 Y : 0 K: 20 L: 87 A : 0 B: -1

K :3


Typography Overwiew + Introduction

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ra Is our e typeface. availiable ariety eights.


Typography Typeface Weights

// In traditional typography, a font is a particular size, weight and style of a typeface. //

// code light

// code bold

The problem with 960gs is the gutter space and content width. Minus the margin space, the actual content area is only 940px. It worked well back then because most designs are set at 12px font size.

5.0-3 /_

The Grid System

For several years now the 960px grid system ( has been designers’ favorite pick to help structure and design web layouts. As screens and resolutions have gotten bigger, I’ve found that the 960 grid system does not always fit my needs. 20px gutters and only a 940px content area is a bit too small for the modern web. While designing Themify, I found a new grid layout that works quite well for designing in this day and age. If you’ve never heard of 960 I’ve detailed both it and this newer gird system below.

The grid that I use on Themify: 978px, 12 column @ 54px with 30px gutter space. I find it works quite well. It is still optimized for the 1024 x 768 display. I took out the left and right margins to maximize the content


Brand Applications

Brochures, bulletins, posters, newsletters, magazines, websites, video and other forms of communication should create a favorable, long-lasting impression, generating interest and support for the university.


Advertising & logo design

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