هویت سازی بصری برند قواعد و زیرساختهای یک ارتباط روشن و شفاف

هویت سازی بصری برند قواعد و زیرساختهای یک ارتباط روشن و شفاف

‫شماره هفتم‪ ،‬بهار ‪1389‬‬
‫هویت سازی بصری برند قواعد و زیرساختهای یک ارتباط روشن و‬
‫شفاف بصری است که برند را منسجم و یکپارچه به نمایش درمی آورد‪.‬‬
‫فهرست دوره‌های آموزشی ترم بهار در مدرسه ایده‬
‫نام دوره‬
‫مارکتینگ (‪)Marketing‬‬
‫تکنیک‌های مذاکره و فروش‬
‫سازماندهی دفاتر تبلیغاتی‬
‫برنامه ریزی کمپین تبلیغاتی‬
‫اصول مدیریت تبلیغات‬
‫هویت سازی برند‬
‫نوشتن متن تبلیغات (‪)Copywriting‬‬
‫صاحب امتیاز و دبیر شورای آموزشی‪ :‬آرش سلطانعلی‬
‫صفحه آرایی‪ :‬رامین خوش نمای بهرامی‬
‫طرح روی جلد‪ :‬امیرحسین رحیمی‬
‫ایده پردازی در آگهی های تجاری‬
‫چگونه یک تیزر تلویزیونی حرفه‌ای تولید کنیم؟‬
‫آشنایی با صدا و سیما‬
‫روند پذیرش و پخش تیزرهای تلویزیونی‬
‫‪Adobe Photoshop‬‬
‫‪Adobe Illustrator‬‬
‫همکاران این شماره‪:‬‬
‫نسرین عربلو‪ ،‬سپیده غالم زاده‪،‬‬
‫مارتین رول (‪)Martin Roll‬‬
‫‪( Adobe InDesign‬پایه)‬
‫بابک بادکوبه‬
‫بابک بادکوبه‬
‫علی شمس‬
‫علی شمس‬
‫فریبرز سیامک نژاد‬
‫‪3Dmax‬‬
‫کیوان نظام آبادی‬
‫برنامه نویسی در ‪Adobe Flash‬‬
‫کسرا یوسفی‬
‫مبانی طراحی گرافیک‬
‫طاهره محبی تابان‬
‫طراحی نشانه‬
‫اسداهلل چهره پرداز‬
‫کامبیز درم‌بخش‬
‫تایپوگرافی خط فارسی‬
‫اسداهلل چهره پرداز‬
‫کارگاه طراحی‬
‫مهدی محمدی‬
‫گرافیک مطبوعاتی و صفحه آرائی‬
‫سوسن محمودی‬
‫طراحی وب‬
‫کسرا یوسفی‬
‫تصویرسازی‬
‫مدیریت رنگ‬
‫‪www.ideaschool.ir‬‬
‫پیام بلوریان کرد‬
‫آرش سلطانعلی‬
‫آرش سلطانعلی‬
‫فرشید شهیدی‬
‫اونیش امین الهی‬
‫‪( Adobe InDesign‬تخصصی)‬
‫طراحی پوستر‬
‫‪e-mail: info@ideaschool.ir‬‬
‫دکتر علیرضا صدر محمدی‬
‫بهروز افشار‬
‫پیام بلوریان کرد‬
‫فریبرز سیامک نژاد‬
‫طراحی کاریکاتور‬
‫تهران‪ ،‬خیابان خردمند شمالی‪ ،‬کوچه هجدهم‪ ،‬پالک ‪26‬‬
‫تلفن‪8830 3759-8882 3625-8882 3387 :‬‬
‫فکس‪8884 4454 :‬‬
‫نام مدرس‬
‫مهدی محمدی‬
‫حمیدرضا داوودی‬
‫سوسن محمودی‬
‫انیمیشن (‪)Animation‬‬
‫کیوان نظام آبادی‬
‫عکاسی تخصصی‬
‫حسین کیانی‬
‫طراحی و تولید بسته‌بندی‬
‫مینو واثقی‬
‫عکاسی پایه‬
‫عکاسی تبلیغاتی‬
‫اصول چاپ و نظارت بر آن‬
‫حسین کیانی‬
‫حسین کیانی‬
‫محسن محمدی‬
‫هویت‌سازی برند؛‬
‫ابزاری مؤثر در تداوم فروش‬
‫با آرش سلطانعلی‪ ،‬کارشناس تبلیغات و هویت‌سازی برند در زمینه لزوم توجه به برند‌سازی در کشور به گفتگو‬
‫نشستیم‪ .‬وی معتقد است متأسفانه موضوع برندسازی در ایران مورد توجه کافی قرار نگرفته است‪.‬‬
‫خبرگزاری موج‬
‫آرش سلطانعلي‬
‫• فارغ‌التحصيل سازمان استعدادهاي درخشان‬
‫• فارغ‌التحصيل رشته گرافيك دانشگاه آزاد‬
‫• اخذ گواهي نامه‌هاي مديريت تبليغات‪،‬‬
‫مديريت بازاريابي‪ ،‬مديريت برند‬
‫• طراح گرافیک‪ ،‬مدير هنري و مدير تبليغات‬
‫براي سازمان‌ها و شركت هاي متعدد بين المللي‬
‫• مشاور هنري جشنواره هاي مختلف‬
‫• مسئول روابط عمومي و مشاور هيات مديره‬
‫انجمن صنفي طراحان گرافيك ‪ 79‬تا ‪82‬‬
‫• عضو شوراي سياست گذاري و برگزاري‬
‫سمينارها و همايش هاي متعدد آموزشي‬
‫• عضو رسمي انجمن بين المللي تبليغات (‪)IAA‬‬
‫• عضو رسمي انجمن صنفي طراحان گرافيك‬
‫• عضو رسمي انجمن روابط عمومي ايران‬
‫• موسس و صاحب امتياز آموزشگاه ايده‬
‫• موسس و صاحب امتياز انتشارات ايده‬
‫برند در ایران چه جایگاهی دارد؟‬
‫متأسفانه در ایران اص ً‬
‫ال برند نداریم! برند به‬
‫معنی واقعی و در چارچوب استاندارد دنیا در‬
‫ایران وجود ندارد! این امر نتیجه دالیل متعددی‬
‫است که عالوه بر عدم توجه به هویت بصری‬
‫در این زمینه‪ ،‬می‌توان به کم‌توجهی‌هایی نیز‬
‫از جنبه‌های مدیریتی‪ ،‬اقتصادی و غیره اشاره‬
‫کرد که تأثیرگذار بر فعالیت بنگاه‌های اقتصادی‬
‫است‪ .‬به جرأت می‌توان گفت در ایران به معنای‬
‫حرفه‌ای برند وجود ندارد!‬
‫لزوم توجه به هویت بصری برند در‬
‫کشور چقدر احساس می‌شود؟‬
‫هویت بصری یک برند به عنوان نمادی برای‬
‫معرفی یک شرکت و یا تولیدات منحصر به آن‬
‫حائز اهمیت است و بدون توجه به هویت‌سازی‬
‫بصری برند به سختی می‌توان در تجارت‬
‫بین‌المللی و حتی تجارت داخلی حرفی برای‬
‫گفتن داشت‪.‬‬
‫اگر کشور ما به سمت هویت‌سازی برند نرود‪،‬‬
‫نمی‌توان موفقیت چندانی را در بازارهای رقابتی‬
‫انتظار داشت‪ .‬البته طی سال‌های اخیر تعداد‬
‫معدودی از سازمان‌ها و شرکت‌های ایرانی به‬
‫این امر توجهی نموده و فعالیت‌هایی را در این‬
‫زمینه انجام داده‌اند اما تا امروز هیچگونه حرکت‬
‫منسجمی از سوی سازمان‌های بزرگ صورت‬
‫نگرفته است‪ .‬این در حالی است که توجه به‬
‫هویت‌سازی برند‪ ،‬توجه به الفبای تجارت یک‬
‫سازمان است‪.‬‬
‫جذابیت بصری یک برند تا چه اندازه در‬
‫جذب مخاطب می‌تواند موفق باشد؟‬
‫تمام شرکت‌های بزرگ دنیا به جذابیت‌های‬
‫بصری برند خود بسیار توجه کرده و در این زمینه‬
‫حساسیت‌های باالئی را مدنظر قرار می‌دهند تا‬
‫انگیزه‌‌های کافی را برای جذب مخاطبین خود‬
‫ایجاد کنند‪ .‬به عنوان مثال بانک ملت‪ ،‬در گذشته‬
‫جذابیت بصری چندانی نداشت‪ ،‬اما طی چند‬
‫ماه اخیر توانست با تغییرات بنیادی در هویت‬
‫بصری برند خود بصورت یکپارچه‪ ،‬جذابیت‌های‬
‫چشمگیری را برای مخاطبین ایجاد کند‪.‬‬
‫با توجه به اینکه ایران به سمت تجاری‬
‫شدن پیش می‌رود‪ ،‬تا چه اندازه باید به‬
‫برندسازی در کشور توجه کرد؟‬
‫توجه به برندسازی در کشور یک مسئله زیربنایی‬
‫است و مدیران موفق این مسئله را مورد توجه‬
‫قرار خواهند داد‪ .‬توجه به آموزش برندسازی در‬
‫کشور می‌تواند به نوعی توجه به الفبای تجارت‬
‫در کشور باشد‪.‬‬
‫جامعة ما نیازمند فرهنگ‌سازی برای بوجود‬
‫آوردن بستر مناسبی برای آشنائی مدیران با‬
‫هویت‌سازی برند و یکپارچه‌سازی هویت بصری‬
‫برند است‪ .‬هویت‌سازی برند تأثیر بسیاری در‬
‫رونق تجارت یک شرکت دارد‪ ،‬همچنین الزم‬
‫است شرایطی فراهم شود تا آموزش برندسازی‬
‫در کشور مورد توجه قرار گیرد‪ ،‬متأسفانه متولیان‬
‫سیستم آموزش‪ ،‬دانشجویان و مدیران نیز به‬
‫اهمیت آموزش چنین موضوعی آگاهی ندارند‪.‬‬
‫این در حالی است که در سیستم‌های آموزشی‬
‫کشورهای پیشرفته همواره توجه شایانی به این‬
‫موضوع شده است‪.‬‬
‫دوره آموزشی هویت‌سازی برند‪،‬‬
‫(‪)Corporate Identity‬‬
‫‪ Background ،Hot Stamping‬های مجاز‪،‬‬
‫فواصل و فضای اطراف لوگو از صفحه‪ ،‬لی آوت‬
‫پیام و نوشته در کنار لوگو‪ ،‬لی آوت مخصوص‬
‫نمایندگی ها و شعب‪ُ ،‬مهرها (‪)Stamps‬‬
‫• استانداردسازی رنگ‌های اصلی و فرعی‬
‫مدرس‪ :‬آرش سلطانعلی‬
‫سازمانی‪ ،‬سیستم‌های ‪،Pantone Coding‬‬
‫‪CMYK ،RGB‬‬
‫هویت یا طرح جامع بصری یک سازمان (‪)CI‬‬
‫قواعد و زیر ساخت‌های یک ارتباط روشن و‬
‫شفاف بصری است که سازمان را منسجم و‬
‫یکپارچه به نمایش در‌می‌آورد‪ .‬بازتاب کاملی‬
‫است از آنچه یک سازمان دارد‪ ،‬می‌سازد‪ ،‬اجرا‬
‫می‌کند و می‌گوید‪.‬‬
‫طرح جامع بصری فقط نشانه‪ ،‬لوگو تایپ یا‬
‫امضای سازمان نیست‪ .‬بلکه عامل مشترک‬
‫بصری است که همه ارکان یک سازمان را‬
‫در بیرون و داخل آن پیوند می‌زند و هماهنگ‬
‫میکند‪.‬‬
‫هدف از ارائه هویت تصویری یکدست و‬
‫یکپارچه‪ ،‬ایجاد تصویر خاص و مثبت در ذهن‬
‫عموم و نیز حفاظت از هویت بصری سازمان‬
‫است‪.‬‬
‫طرح جامع بصری یادآور مستمر و ثابت است از‬
‫چهره یک سازمان که در همه جا قابل رویت و‬
‫انگیزه‌بخش است‪.‬‬
‫طرح جامع بصری بیان تصویری شخصیت‪،‬‬
‫اعتبار و شیوه کار یک سازمان است‪ .‬هویت‬
‫بصری کار و کسب یک سازمان و بیانگر‬
‫ارزش‌ها و نمایش حرفه‌ای بودن سازمان و تعهد‬
‫آن به باالترین استانداردهای بین‌المللی است‪.‬‬
‫هویت جامع بصری تصویری متحد و یکدست از‬
‫سازمان ایجاد می‌نماید‪ .‬از نشانه و اوراق اداری‬
‫گرفته تا تابلوها‪ ،‬از بدنه ماشین‌های توزیع کاال‬
‫تا سبک و سیاق تبلیغات همه جا آگاهی نسبت‬
‫به سازمان را افزایش می‌دهد و در نهایت کار‬
‫و کسب را رونق می‌بخشد‪ .‬هویت بصری جامع‬
‫ابزاری نیرومند است که با سرمایه‌گذاری روی‬
‫آن‪ ،‬نام تجاری سازمان یا محصول آن قدرت و‬
‫اعتبار و ارزش افزوده پیدا می‌کند‪ .‬اگر درست‬
‫طراحی و اجرا شود‪ ،‬یادآوری مستمر و ثابتی‬
‫است از چهرة سازمانی که در همه جا قابل‬
‫رؤیت است و همه سهامداران و مشتریان با‬
‫دیدن آن خرسندانه به حرکت می آیند‪.‬‬
‫در صفحاتی که در پی می آید نمونه های‬
‫متعددی از بخشی از منوال هویت جامع بصری‬
‫سازمان ها و شرکت های متعدد معتبر بین المللی‬
‫آمده است‪.‬‬
‫متقاضیان ثبت نام دوره آموزشی طرح جامع‬
‫بصری جهت هماهنگی روز و ساعت تشکیل‬
‫کالس ها بایستی با دفتر آموزشگاه تماس‬
‫حاصل نمایند‪.‬‬
‫سرفصل های درسی این دوره را‬
‫می توان در موارد زیر خالصه کرد‪:‬‬
‫• استانداردسازی نحوه استفاده نشانه‪ ،‬نقشه‬
‫معماری نشانه‪ ،‬واریاسیون‌ها‪ ،‬رنگبندی‪،‬‬
‫‪،Positive‬‬
‫‪،Negative‬‬
‫‪Scale‬‬
‫‪،Gray‬‬
‫• استانداردسازی شعار (‪ )Slogan‬و تگ الین‬
‫(‪)Tagline‬‬
‫• استانداردسازی فونت‌های مورد استفاده‬
‫• استانداردسازی و یکپارچه‌سازی مجموعه اوراق‬
‫اداری‪ ،‬سربرگ‌ها‪ ،‬اوراق فکس‪ ،‬کارت‌ها‪ ،‬فولدرها‪،‬‬
‫پاکت‌ها‪ ،‬لیبل‌ها‪ ،‬یادداشت‌ها‪ ،‬گزارش‌ها‪ ،‬تگ‌ها‪،‬‬
‫‪،Applications ،Name Badges، Greetings‬‬
‫چارت‌ها‪ ،‬جداول‪ ،‬دیاگرام‌ها و نقشه‌ها‪.....‬‬
‫• استانداردسازی و یکپارچه‌سازی ساختار‬
‫بسته‌بندی‌ها و یونیفورم ‪Packaging‬‬
‫• استانداردسازی و یکپارچه‌سازی ساختار‬
‫آگهی‌ها و تبلیغات‪ ،‬بروشورها‪ ،‬تقویم‌ها و سایر‬
‫ملزومات اداری و ‪ Reminders‬و ‪.....‬‬
‫• استانداردسازی و یکپارچه‌سازی ساختار‬
‫تبلیغات الکترونیک‪ ،‬وب‌سایت‪ ،‬مالتی‌مدیا‪،‬‬
‫بنرهای اینترنتی‪ Screen Saver ،‬و ‪....‬‬
‫• استانداردسازی و یکپارچه‌سازی ساختار‬
‫چهره محیطی‪ ،‬ساین بردها‪ ،‬استندها‪ ،‬هویت‬
‫نمایشگاهی‪ ،‬غرفه‌ها‪ ،‬اتومبیل‌ها‪ ،‬لوازم و‬
‫لباس‌های کار و پرچم‌ها و بنرها و اتومبیل ها ‪....‬‬
‫• استانداردسازی و یکپارچه سازی ساختار‬
‫هدایای تبلیغاتی و ‪ Reminder‬ها‪.‬‬
‫• استانداردسازی و یکپارچه سازی ساختار و‬
‫قواعد بصری تشریفات و دیسیپلین ها‪.‬‬
International travel grant scheme
Postgraduate and professional development
The Sir Angus Paton Bursary
Postgraduate and professional development
1.3 Exclusion zone
The logo will be more visible and have greater
impact where it is surrounded by a sufficient
amount of space. So an exclusion zone has been
created within which no type, images or other
graphics may appear. The zone is defined by
the height of the letter T as shown. Additional
space should be given wherever possible.
In print, the logo must not appear smaller than
25mm measured across its entire width. On
screen, it must not be smaller that 115 pixels
at 72dpi.
3.7 Bursary document examples
Bursary brochure and leaflet covers feature
the use of the arc in conjunction with
an appropriate full colour photographic
image. Covers should normally have black
backgrounds. The Communications
Department’s advice must be taken where
colour backgrounds are being considered. The
logo must always be consistently positioned
but its colour can change to reflect a theme
or the dominant colour of an image. The colour
A brief guide
Master reference drawn 03.09.04
Master reference drawn 03.09.04
Master reference drawn 03.09.04
The Royal Academy
of Engineering
Newsletter
Master reference drawn 03.09.04
Master reference drawn 03.09.04
Master reference drawn 03.09.04
1.2 Logo misuse
3.4 Corporate document examples
The logo must always be reproduced from
a digital master reference. It must never be
redrawn or modified nor must the relationship
between its elements be altered in any way.
Do not distort the logo. Do not use incorrect
colourways. Do not reposition the namestyle
in relation to the symbol. Do not box the logo;
all backgrounds on which it appears should
extend horizontally and/or vertically to the edges
of materials.Do not change the namestyle.
Corporate document covers must feature the
prominent use of the glow which should
normally appear on a black background. The
Communications Department’s advice must be
taken where colour backgrounds are being
Name
Company
Visiting
/
/
Date
Time in
Company
Visitor
Valid on:
Car reg.
Tom McLaughlan
Name
considered. The logo must be positioned in the
top left-hand corner of all covers. Titles and subtitles should be as short as possible.Titles should
appear in white and sub-titles in 40% black.
Visiting
Car reg.
Date
Time in
Visitors please note:
• This pass should be worn at all times during your visit
• You are the subject to the Health Safety Regulations posted in The Academy
• If the fire alarm sounds (a continuous loud bell), follow the instructions of your host
• This pass should be returned to Reception on your departure from The Academy
Fellow
Valid on:
/
/
Fellows please note:
• This pass should be worn at all times during your visit
• You are the subject to the Health Safety Regulations posted in The Academy
• If the fire alarm sounds (a continuous loud bell), follow the instructions of your host
• This pass should be returned to Reception on your departure from The Academy
Tom McLaughlan
Director of Communications
h
mit
nS
Tom McLaughlan
J oh
5.2 Placecard, badge and visitor passes
These examples show the principles behind
the use of our visual brand in the design of
staff badges, visitor passes and placecards.
Visitor passes reflect our visual brand as much
as their standard format will allow.‘Visitor’ is
clearly visible as is all statutory information.
mit
nS
h
Joh
Master reference drawn 03.09.04
5.1 Accessories
Staff badges clearly display the name of the
wearer. Placecards have been designed to be
visible from a distance. The logo occupies a
prominent position on all items. Type should
appear in Myriad and be set in upper and
lower case and ranged left.
The Royal Academy
of Engineering
29 Great Peter Street
London SW1P 3LW
The Royal Academy
of Engineering
29 Great Peter Street
London SW1P 3LW
Tel +44 (0) 20 7227 0500
Fax +44 (0) 20 7222 9075
name.name@raeng.org.uk
www.raeng.org.uk
The new visual identity specifies the use of the
original Academy monogram not as a logo but,
uniquely, as the Fellowship’s mark of distinction.
Existing Fellowship materials – such as the tie
and brooch – will, therefore, remain available.
Tel +44 (0) 20 7227 0500
Fax +44 (0) 20 7222 9075
Master reference drawn 03.09.04
www.raeng.org.uk
A N Other
Company name
Street name and number
Town or city
County
POSTCODE
Registered charity number 293074
11 October 2004
Dear Anyone
Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt
ut laore dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation
ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat.
Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore
euor feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatu
zzril delen augue duis dolore te feugait nulla facilisi. Lorem ipsum dolor sit consectetuer adipiscing elit,
sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.
Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mcerat pos
sim assum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod
un tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam quis nostrud
exerci tation ullamcorper suscipit lobortis nisl ut aliquip exea.
Yours sincerely
Master reference drawn 03.09.04
Tom McLaughlan
Director of Communications
The Royal Academy
of Engineering
29 Great Peter Street
London SW1P 3LW
Tel +44 (0) 20 7227 0500
Fax +44 (0) 20 7222 9075
tom.mclaughlan@raeng.org.uk
www.raeng.org.uk
Sender’s name
Position
The Royal Academy of Engineering
promotes excellence in the science,
art and practice of engineering
Registered charity number 293074
2.1 Letterhead, compliments slip and business card
Our stationery is business-like and professional.
With the exception of approved personalised
letterheads and compliments slips, no variation
in the design of these items is permitted.
The monogram must never be used on our
compliments slips or business cards. A range
of templates have been prepared to ensure
consistency across all typed stationery (eg
letterheads, faxes and invoices). Guidance on
the use of these templates can be obtained
from the Communications Department.
5.3 Signage and flag
All external signs must be clearly visible from
a distance. The entrance sign and flag on this
page illustrate the simple, elegant use of the
logo at the Academy’s London headquarters.
Sitting alongside these will be a new range of
Academy products that will use the logo symbol
as the core element of their design, as shown
by these examples.
of the colour must reflect the colour of the
arc. Titles and sub-titles should be as short as
possible. Titles should appear in white and
sub-titles in 40% black.
List of Fellows
2004-2005
1.0
Basic Elements
1.1
Logo
1.0
The Bayer Cross is a unifying
symbol of identity used by all companies within the Group. Applied
consistently and correctly in all
communications media, it serves
to consolidate Bayer’s corporate
and brand profile both internally
and externally. As the key element
in Bayer’s corporate design, the
Bayer Cross should always be used
in keeping with the stipulated guidelines. For applications geared to
achieving a striking logo impact,
only the Bayer Cross is used.
In all other cases, the cross must
be supplemented by the Bayer
logotype.
The size, combination and
positioning of the cross and/or the
logo are defined for each specific
medium. In order to ensure the
best possible reproduction of the
symbol, different versions of the
logo are available for the various
applications, sizes and reproduction
processes. According to the area
of application of the Bayer Cross
and the logo, the corresponding
data format should be carefully
selected, allowing for all relevant
reproduction factors.
Wherever possible, the logo
should be used in color, as a
three-dimensional symbol or
in 3-D look. It must not be
modified or redrawn. There
are corresponding file formats
for the various applications
available for downloading.
Important information on this
is contained in the relevant
read-me file. The different
versions and their areas of
application are described
below.
Start
Basic
version
Lineart color
version
Grayscale
version
Blackfill
1.6
Bayer
The data formats available for
downloading must not be
modified.
3-D lineart
version
Typeface should not be changed
No borders
Color should not be changed
Corporate names should not be added
None other than the defined color
The Bayer Cross and logo
must never be modified.
No elements, boxes or
corporate names may be
added. Type design and
colors must not be altered.
Start
Chapter
Basic Elements
1.5
With visual backgrounds, care
should be taken to ensure that
a suitable image section guaranteeing good reproduction is
selected for positioning. In dark,
structured areas, the reverse
lineart version is preferable.
Logos on Backgrounds
Light
1.0
Dark
Visual background
Basic Elements
1.8
Basic version small
Basic version small
Basic version small
PQRSTUVWXYZ
Should New Helvetica not be
available to the user or if it is
more preferable for pragmatic
reasons, the standard Helvetica
typeface may also be used.
1234567890 & ? ! : ;
45 New Helvetica
Light
This is a dummy copy
designed to illustrate
to the reader merely
the look and feel of
such elements as font
family, typeface, typestyle, character spacing, line spacing, etc.
The tonal value and
structure of the background determine which
version should be used.
Visual backgrounds must
be suitable for depiction
purposes. In case of
doubt, the reverse lineart
version should be used.
Basic version small
Basic version small
Lineart version reverse
Start
Start
Chapter
Chapter
Basic Elements
1.7
Gradation Strip
Examples of Use
Corporate Typefaces
abcdefg
hijklmno
The corporate typefaces of
Bayer are New Helvetica and
Times. These are consistently
used in corporate communications and, in combination,
produce a timeless, pragmatic
quality. New Helvetica is used
for headlines, body copy and
accentuations. There are various
typestyles available for different
applications.
For PC applications, the system
font Arial is used.
1.0
Logo Misuse
Incorrect usage of the logo
undermines the purpose of
corporate design and detracts
from the overall image of the
company. In order to guarantee
a homogeneous image, corporate design guidelines must
be applied consistently.
Chapter
1.0
Basic Elements
1.0
Basic Elements
1.9
55 New Helvetica
Roman
This is a dummy copy
designed to illustrate
to the reader merely
the look and feel of
such elements as font
family, typeface, typestyle, character spacing, line spacing,
75 New Helvetica
Bold
This is a dummy
copy designed to illustrate to the reader merely the look
and feel of such elements as font family, typeface, typestyle, character spa
New Helvetica
Times New Roman
Regular
This is a dummy copy
designed to illustrate to
the reader merely the
look and feel of such
elements as font family,
typeface, typestyle,
character spacing, line
spacing, etc. This is a
Times New Roman
Bold
This is a dummy copy
designed to illustrate
to the reader merely
the look and feel of
such elements as font
family, typeface, typestyle, character spacing, line spacing, etc.
Corporate Colors
A company’s color scheme is
the vibrant, emotive platform
which brings corporate design
to life, shaping and energizing
its identity. The primary colors
in Bayer’s color scheme are
Bayer Green and Bayer Blue,
ideally complemented by silver,
four different gray tones and
their color gradations. For the
purposes of creative execution
in communications media,
orange, red, dark green, dark
blue and blue-gray are added
to the color palette.
Bayer Green and Bayer
Blue are the predominant
colors in the primary color
scheme, supplemented by
silver and four gray tones.
These are the colors for
general use.
This is a sample
of a headline.
Pharmacy Sign
Pylon
CMYK
RGB
Pantone
HKS
RAL
Corporate Brochure
Start
Start
Chapter
Chapter
6.0
Vehicle Markings
6.2
4.0
Passenger Car
BMS_PLOTT_4C.eps
BMS_WHT.eps
Print media
green
blue
silver
gray 1
gray 2
gray 3
gray 4
65/0/100/0
0/204/0
368
67
6018
100/10 /0 /10
0/153/204
Process Blue
47
5015
–
–
8401
silver
–
0/0/0/79
36/39/44
Cool Gray 11
93
7012
0/0/0/65
85/86/97
Cool Gray 9
92
7037
0/0/0/60
153/153/153
Cool Gray 8
92
7046
0/0/0/35
197/198/201
Cool Gray 5
91
7004
4.1
Brochures without product logos
Reverse with mandatory texts
If there are economic considerations – particulary for brochures
comprising 4 to 8 pages – you
may decide to place mandatory
texts on the reverse, in a way
that is clearly recognizable and
separate.
Fonts for mandatory texts:
Meta Plus Normal
Minimum size: 6 points
The modified Bayer Cross and
lettering are now available for
digital printing – including the
“cutting line” – in a Plot Logo
version on the Corporate Design
page on the Internet.
15,0
63,5
Diameter of Bayer cross 10 mm
BMS_SM_4C.eps
Die vorstehenden Informationen und unsere anwendungstechnische Beratung in Wort, Schrift und durch
Versuche erfolgen nach bestem Wissen, gelten jedoch nur als unverbindliche Hinweise, auch in Bezug auf
etwaige Schutzrechte Dritter. Die Beratung befreit Sie nicht von einer eigenen Prüfung unserer aktuellen
Meta Plus Normal
100 % black
Bayer MaterialScience AG
51368 Leverkusen
Germany
Beratungshinweise – insbesondere unsere Sicherheitsdatenblätter und technischen Informationen – und
unserer Produkte im Hinblick auf ihre Eignung für die beabsichtigten Verfahren und Zwecke. Anwendung,
Verwendung und Verarbeitung unserer Produkte, und der aufgrund unserer anwendunstechnischen Beratung
von Ihnen hergestellten Produkte, erfolgen außerhalb unserer Kontrollmöglichkeiten und liegen daher ausschließlich in Ihrem Verantwortungsbereich. Der Verkauf unserer Produkte erfolgt nach Maßgabe unserer jewweils aktuellen Allgemeinen Verkaufs- und Lieferbedingungen.
15,0
Ausgabe: xxx.xx,
www.bayerbms.com
Bestell-Nr. xxx
Printed in Germany
Meta Plus Normal, minimum size 6 points
100 % black
Line spacing aligned with height of block
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Incorrect Uses
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(The examples on the right
illustrate incorrect color use. )
Color
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Vœ˜ÌÀ>ÃÌʈ“«>ˆÀÃÊۈÈLˆˆÌÞ°
( Do not print the wordmark
in secondary Samsung colors.)
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(Do not change the shape
of the wordmark.)
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̅iʜÛ>°
œÊ˜œÌÊV…>˜}iÊ̅iÊÅ>«iʜv
̅iʜÛ>°
œÊ˜œÌÊV…>˜}iÊ̅i
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Õiʜ˜Ê̅iʏœ}œÌÞ«i®
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ܜÀ`“>ÀŽ°
(Do not use the wordmark in
a sentence or phrase.)
,ÊÀՏiÊ\ÊÓäʳʣÈä
œÊ˜œÌÊÕÃiÊ̅iÊܜÀ`“>ÀŽÊˆ˜Ãˆ`iÊ>ÊÃi˜Ìi˜ViʜÀÊ«…À>Ãi°
œÊ˜œÌÊÕÃiÊ̅iÊܜÀ`“>ÀŽÊˆ˜Ãˆ`iÊ>ʅi>`ˆ˜i°
6
4
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œL>ÊՈ`iˆ˜iʇÊ>
7œÀ`“>ÀŽ
Format
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/…iÊ->“Ã՘}ʏˆ˜iʈÃÊ>ÊvœÀ“]ÊVÀi>Ìi`ÊLÞÊ>««Þˆ˜}Ê̅iÊVÕÀÛiʜvÊ̅iÊܜÀ`“>ÀŽÊˆ˜Ê>VVœÀ`>˜ViÊ܈̅Ê
Criteria for
using the line
ÃÊ̅iʓ>ˆ˜ÊV…>À>VÌiÀˆÃ̈VÃʜvÊ̅iÊ"Û>]Ê̅iÊÀi`Ê«œÀ̈œ˜ÊœvÊ̅iʏˆ˜iʈÕÃÌÀ>Ìi`ÊLiœÜÊ
V…>À>VÌiÀˆÃ̈VÃʜvʓi`ˆ>°
Clear Space = Logotype height 8Ê2
"LÃiÀÛiÊÃÌÀˆV̏ÞÊ̅iÊVi>ÀÊë>Viʈ˜ÊœÀ`iÀÊ̜Êi˜…>˜ViÊ̅iÊۈÃÕ>ÊivviV̈Ûi˜iÃÃʜvÊ̅iÊÃޓLœÊ“>ÀŽ°Ê
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Color Standard
Samsung Blue
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Basic Layout
Type C
Format
(Full Size : 600 x 900 mm)
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48
1.3
Construction of the positive/negative logotype
The logotype: basic elements
Compared to the negative version, the positive version of the logotype gives greater
emphasis to the individual letters in order to offset the optical effect of luminance.
Special attention must be paid to the values of the logotype as a whole when
constructing logotypes greater than 8 m or smaller than 20 mm.
The construction grids for the positive and negative versions are provided below.
1.4 Border
The logotype: basic elements
1.5 Colour
The logotype: basic elements
To avoid any form of visual interference with other graphical elements shown with the
logotype, a border equal to 10% of the length and 35% of the total height of the logotype
should always be kept.
The border ensures that the logotype is always clear and easy to read.
Use of the logotype with other trademarks or logotypes in non-institutional situations or
contexts must be authorised by the Olivetti Communications Division.
The colour of the OLIVETTI logotype is Pantone Process Blue.
In four-colour printing, this is obtained as follows:
100% cyan, 9% magenta, 61% black.
When using colour, great attention should be taken to ensure correct reproduction.
Instructions are provided for the use of colour in digital environments and on the Web.
Only the Olivetti Communications Division may authorise use of the logotype in
chromatic contexts other than those specified above.
Negative
Positive
Pantone Process Blue
Negative
CMYK
Digital
WEB
C
M
Y
K
RGB
R
0%
G
150%
B
214%
HTML Code
100%
9%
0%
6%
#0096D6
Positive
Use on dark-coloured backgrounds
1.11 Reductions and enlargements
The logotype: basic elements
The logotype may be reproduced in the company colour only if it is used against a black
background. On all other dark-coloured backgrounds, the logotype is reproduced in:
White
Black 20%
The size of the logotype may vary as long as the exact proportions between the various
elements are maintained. To ensure full legibility, reductions of less than 20 mm should
be avoided.
In reproductions larger than 8 m and smaller than 20 mm, the spacing between the
letters should be checked to ensure legibility, without modifying the formal values of the
logotype as a whole.
1.9
The logotype: basic elements
1.14 Special version – outline
The logotype: basic elements
1.13 Low enlargement ratios
The logotype: basic elements
When the logotype is reproduced on special materials with serigrahic printing, hot-press
printing, punch printing, the special outline version may be used to maintain legibility and
prevent blurring.
A more widely spaced version of the OLIVETTI logotype has been created for special
cases, such as low enlargement ratios, where the size of the logotype is less than 20
mm, dry printing, printing on porous media, production of rubber stamps or adhesive
tape and all other cases where the medium tends to become distorted.
1.15 Incorrect use of the logotype
The logotype: basic elements
The OLIVETTI logotype may never be:
• modified in any way (either lettering or composition)
• an integral part of a text or address
• used partly in positive and partly in negative
• used as a texture
• used on textured backgrounds
• used with shading or with 3D characters
• used with a frame
1.12 Minimum reduction for the Web
The logotype: basic elements
The minimum size of the OLIVETTI logotype for the Web is a base of 70 pixels.
space and size
our symbol
X
X
Clear space refers to a distance of “X”, as a unit of measurement,
The unique Symantec symbol stands for
surrounding each side of the Symantec signature. “X” equals the
balance and harmony, and our commitment
height of the letter “C” of the Symantec logotype. A minimum
to quality and wholeness. It represents our
clear space requirement has been established to ensure the promi-
tradition of integrating diverse ideas and
nence and clarity of the Symantec signature. It is essential that the
solving complex problems.
Symantec signature remains free of all graphics, taglines, identities,
The diagram to the left demonstrates the
photography, and typography.
origin of the Symantec symbol design and
X
X
X
X
Minimum size refers to the smallest size at which the Symantec
construction. It is meant as historical infor-
signature may be reproduced to ensure its legibility. The mini-
mation only, and does not imply that the
mum reproduction size of the Symantec signature is 1/8" in
symbol can in any way be manipulated.
height, based on the height of the letter “C” of the Symantec
logotype. However, when space limitations dictate the use of a
The importance of this cannot be stressed
reproduction size that is smaller than the recommended mini-
strongly enough; modification or re-treat-
mum, contact the Symantec Corporate Marketing Department for
ment of the Symantec symbol will detract
approval of those special applications. Observe the reproduction
from the integrity of the Symantec signature
size requirements of the signature to avoid poor quality or distortion.
and, more importantly, the value of the
Symantec brand.
The trademark symbol (™) is a legal component of the Symantec
.5X
signature and must always be present to protect our identity.
Special consideration should be taken with respect to the sizing
of the trademark symbol (™): when resizing the signature, please
consider the context and use your best judgement to determine
the appropriate size of the trademark symbol (™).
X
height = 1/8"
12
8
our signature colors
our signature backgrounds
The Symantec signature must always appear clearly and legibly
on its backgrounds. Always observe clear space specifications
and use high-quality vendors and reproduction methods.
The preferred color configuration of the Symantec signature in full
color should appear on a white background whenever possible.
preferred:
four colors
Proper application of the Symantec signature is essential for
business system:
two colors
four-color reproduction
promoting, maintaining, and protecting our brand. Adhere to the
The Symantec signature may also be placed on a Symantec
specifications in these standards and use high-quality vendors
yellow background. In this case, the Symantec logotype always
and reproduction methods to ensure consistent representation
appears in black.
of our brand.
The Symantec signature may also appear on black, dark-colored,
The preferred color configuration of the Symantec signature is in
and light-colored backgrounds as long as sufficient contrast is
full color and should be used whenever possible.
provided. In situations where the background color is a grayscale
somewhere between absolute black and white, please observe
Based on the applications and reproduction requirements, there
the following recommendation: when the background shifts to
are two ways to reproduce the Symantec symbol: for applications
more than 50% gray in density, the Symantec logotype must
such as packaging, the Symantec symbol reproduces in four-
appear in Symantec Yellow. A gray background density of less
color process. For applications such as stationery, the Symantec
than 50% requires the use of the black Symantec logotype.
symbol reproduces in two colors, Symantec yellow and black
When placing the signature on a background other than the
(for reproduction instructions, see diagram to the left).
two-color reproduction
ones specified in these standards, use your best judgement to
When printing the Symantec signature, always use the coated
determine whether black or yellow Symantec logotype renders
stock color specifications for the Symantec yellow.
the highest contrast.
Always ensure legibility by placing the signature in an area that
is simple and uncluttered.
yellow fill prints
symantec yellow coated
15% black fill overprints
symantec yellow
black fill prints black
16
20
our business system
our corporate colors
primary color palette
To maintain a consistent look across
all Symantec internal and external
communications, we have created a
distinct stationery system.
David M. Martin
Executive Title
Division
tel (408) 253 9600
fax (408) 446 8966
mobile (408) 957 1666
davidmartin@symantec.com
Month,
D ay, Y
Symantec Corporation
20330 Ste vens Creek Blvd.
Cupertino, CA 95014
www.symantec.com
ear
N ame
Addressee’s
s
ss a ddres
B usine
Address
S treet
Z ip C ode
City, S tate,
S incere
c Corpora
Symante
28
tion
20330 Ste
vens Creek
o, CA 95014
B lvd., Cupertin
fax (408)
Symantec yellow is unique; there is no Pantone* or other color
matching system equivalent for this color. The color chips for
the Symantec yellow provided with these standards are the color
standards that all printed materials should match.
secondary color palette
For our purposes, the common weights
The secondary color palette has been created for use in
of this font are Regular, Bold and Italic.
presentations and other corporate materials.
To find colors that are consistent with the business needs of
446 8966
www.sy
consumer, enterprise, and online applications, please refer to
symantec blue symantec orange symantec gray
symantec plum symantec green
font family, go to our Intranet site at
Pantone 5425
Pantone 144
http://syminfo.symantec.com or Extranet
Pantone
Warm Gray 6
C34 M0 Y0 K38
C0 M47 Y100 K0
C0 M9 Y11 K30
C38 M38 Y43 K0
C34 M27 Y51 K0
R116 G143 B165
R242 G127 B26
R156 G149 B145
R125 G107 B120
R147 G147 B119
HEX# 748FA5
HEX# F27F1A
HEX# 9C9591
HEX# 7D6B78
HEX# 939377
site at http://marketing.symantec.com.
253 9600
colors for print, electronic and environmental applications.
on a variety of materials.
fax, and to download the NewsGothic
mantec.
a wide range of applications.
Symantec yellow, white and black serve as our brand’s corporate
for our letterhead, news release, and
’s N ame
Color provides a strong visual link to our brand identity across
HEX# FFCCOO
To obtain Microsoft Word ® templates
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R255 G204 B000
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symantec yellow
coated: C0 M20 Y100 K0
uncoated: C0 M12 Y100 K0
Pantone 437
Pantone 451
the relevant styleguides.
To ensure consistent representation of our brand identity always
use high-quality vendors and reproduction methods.
com
* In lieu of the Symantec colors, you may use the PANTONE® colors shown here, the
14
standards for which can be found in the current edition of the PANTONE Color Formula
Guide. The colors shown in these standards have not been evaluated by Pantone, Inc.
for accuracy and may not match the PANTONE Color Standards.PANTONE® is a
registered trademark of Pantone, Inc.
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:‫نمونه بخشی از منوال هویت بصری گروه مان که توسط آژانس تبلیغات سلطانعلی طراحی و تدوین شده است‬
1. OUR IDENTITY
1. OUR IDENTITY
1. OUR IDENTITY
SYMBOL CONSTRUCTION
CORPORATE COLOURS
MARQUE VARIATION ON COLOURED BACKGROUNDS
Wherever possible, the MAAN symbol should be reproduced at its standard size of 28.2 mm x 28.2 mm.
It should never be smaller than the recommended minimum size of 14.6 mm x 14.6 mm.
The MAAN includes two colours.
Maybe in some its communications shows in Outline, Black, White, Grayscale, Gold & Silver.
The colours can be use for background in art work and etc.
English Version
Panton
1375 C
C: (cyan)
0%
M: (magenta)
40%
Y: (yellow)
100%
K: (black)
0%
R: (red)
239%
G: (green)
155%
B: (blue)
17%
Panton
425 C
C: (cyan)
10%
M: (magenta)
0%
Y: (yellow)
0%
K: (black)
80%
R: (red)
70%
G: (green)
71%
B: (blue)
71%
160 mm
Tint 90%
Black 100%
C: (cyan)
0%
M: (magenta)
40%
Y: (yellow)
100%
K: (black)
0%
C: (cyan)
0%
M: (magenta)
60%
Y: (yellow)
100%
K: (black)
0%
C: (cyan)
0%
M: (magenta)
90%
Y: (yellow)
100%
K: (black)
0%
C: (cyan)
100%
M: (magenta)
0%
Y: (yellow)
35%
K: (black)
0%
C: (cyan)
100%
M: (magenta)
20%
Y: (yellow)
30%
K: (black)
0%
C: (cyan)
100%
M: (magenta)
30%
Y: (yellow)
0%
K: (black)
0%
C: (cyan)
10%
M: (magenta)
0%
Y: (yellow)
0%
K: (black)
80%
C: (cyan)
0%
M: (magenta)
0%
Y: (yellow)
0%
K: (black)
100%
Tint 80%
Tint 70%
Tint 60%
Tint 50%
Tint40%
Tint30%
Tint20%
Tint10%
170 mm
P R O P E R TI
E S
P R O P E R TI
White Outline
28.2 mm
P R O P E R TI
Grayscale
28.2 mm
E S
P R O P E R TI
E S
P R O P E R TI
White in Dark Background
Black Outline
E S
Black in Light Background
E S
Gold
Silver
14.6 mm
14.6 mm
P R O P E R TI
E S
Standard reproduction size
28.2 mm x 28.2 mm
1.2
P R O P E R T I E S
Minimum reproduction size
14.6 mm x 14.6 mm
1.4
1.5
1. OUR IDENTITY
1. OUR IDENTITY
TYPOGRAPHY
TYPOGRAPHY
Humanist521 BT is the font that use for all of the agency’s printed material about MAAN PROPERTIES.
Helvetica use in some templates, such as letters, memos and reports destined for internal or electronic
transmission.
Mitra and Mitra (Bold) in Parvin Software are the fonts that use for all of the agency’s printed material about
MAAN PROPERTIES in Farsi version.
Humanist521 BT
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
¡!#$%/&*()_+1234567890
Humanist521 BT (BOLD)
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
¡!#$%/&*()_+1234567890
Helvetica
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
¡!#$%/&*()_+1234567890
Helvetica Narrow
Mitra
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ÿþýüûúùøõôóòñðïîíìëêéèåäãâáàßÞ
0 1 2 3 4 5 6 7 8 9 + ) ( * / % $ !
Mitra (Bold)
± ° ¯ ® ~ ¬ « ª ¨ © § ¦ ¥ ¤£ ¢ ¡ Ÿ ž  œ ¨ š ™ ˜ ÷ – • } { ’ ‘   Ž  Œ ‹ Š ‰ ˆ ‡ † „ …
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0 1 2 3 4 5 6 7 8 9 + ) ( * / % $ !
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
¡!#$%/&*()_+1234567890
Helvetica (BOLD)
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
¡!#$%/&*()_+1234567890
1.6
1.7
2. OUR STATIONERY
VISIT CARD
6 mm
2. OUR STATIONERY
2. OUR STATIONERY
5 mm
2. OUR STATIONERY
NOTE PAPER
LETTERHEAD
NOTE PAPER
Name Surname
www.maanproperties.com
Title
210 x 297 mm
P R O P E R T I E S
Tehran Office:
2nd Floor, 248 Mottahari St.
Tehran, Iran
Tel: +9821 88 30 40 79
Fax: +9821 88 82 68 36
20 mm
20 mm
210 x 297 mm
P R O P E R TI
P R O P E R TI
E S
P R O P E R TI
E S
2. OUR STATIONERY
E S
EMPLOYEE
CARD
148ID
x 210
mm
2. OUR STATIONERY
COMPLIMENT PAPER
148 x 210 mm
P R O P E R T I E S
TO
P R O P E R T I E S
O
www.maanproperties.com
P R O P E R T I E S
With Compliment
2nd Floor, 248 Mottahari St.
Tel: +9821 88 30 40 79
PH
Fax: +9821 88 82 68 36
www.maanproperties.com
Name Surname
Title
190 mm
2.4
90 mm
Tehran Office:
2nd Floor, 248 Mottahari Street
Tel: +9821 88 30 40 79
Fax: +9821 88 82 68 36
20 mm
With Compliment
2nd Floor, 248 Mottahari St.
TYPOGRAPHY
2.1
P R O P E R T I E S
Addressfont: Humanist521 BT
Size:12 pt
Colour: Maan`s Gray
Tel: +9821 88 30 40 79
Fax: +9821 88 82 68 36
www.maanproperties.com
GRAPHIC ELEMENTS
Gray band & Clouds: 210 mm x 37 mm 2.3
Colour: 8% Black
2.3
2.6
4. OUR PROMOTIONAL & DISPLAY MATERIAL
4. OUR PROMOTIONAL & DISPLAY MATERIAL
OVERALL, HAT & T-SHIRTS
STATIONARY SET, DOCUMENT BAG, BADGE
Stationary Set
Overall
Document bag
Hat
T-shirts
4.5
4.8
Badge
3. Our Presentation Material
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4. OUR PROMOTIONAL & DISPLAY MATERIAL
4. OUR PROMOTIONAL & DISPLAY MATERIAL
MUG, WINEGLASS, CUP & ASHTRAYS
MOUSEPAD, PEN & CLOCK
Mug
Mousepad
Wineglass
Cup
Clock
E
I
T
R
E
P
O
R
P
P
R
P
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O
I
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S
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Pen
4.3
4.1
5. OUR ENVIROMENTAL DESIGN
5. OUR ENVIROMENTAL DESIGN
FLAG & OUT DOOR PLAT
TRUCK & CAR
5.1
5.2
:‫نمونه بخشی از منوال هویت بصری گالری جواهرات نیکا که توسط آژانس تبلیغات سلطانعلی طراحی و تدوین شده است‬
1. OUR IDENTITY
1. OUR IDENTITY
SYMBOL CONSTRUCTION
CORPORATE COLORS
The Nika includes two colors.
Maybe in some its communications shows in Outline, Black, White, Grayscale, Gold &
Silver.
Wherever possible, the NIKA symbol should be reproduced at its standard size 29.3 mm x
18.2 mm.
It should never be smaller than the recommended minimum size 20.7 mm x 13.0 mm.
Farsi Version
C: (cyan) M: (magenta) Y: (yellow) K: (black)
100%
0%
31%
7%
R: (red) G: (green) B: (blue)
0%
160%
175%
Gold
Pantone
873 C
C: (cyan) M: (magenta) Y: (yellow) K: (black)
30%
30%
60%
10%
R: (red) G: (green) B: (blue)
168% 153%
110%
Black
100%
Black
100%
155 mm
105 mm
Pantone
320 C
White Outline
Black Outline
Grayscale
White in Dark
Background
Gold
Black in Light
Background
Silver
Standard reproduction size
29.3 mm x 18.2 mm
Minimum reproduction size
20.7 mm x 13.0 mm
NIKA JEWELRY CI 6
7 NIKA JEWELRY CI
1. OUR IDENTITY
1. OUR IDENTITY
SYMBOL CONSTRUCTION
MARQUE VARIATION ON COLORED BACKGROUNDS
Wherever possible, the NIKA symbol should be reproduced at its standard size 26.3 mm x
12.6 mm.
It should never be smaller than the recommended minimum size 18.6 mm x 8.9 mm.
The colors can be used for background in art work and etc.
Tint 90% Tint 80% Tint 70% Tint 60% Tint 50% Tint 40% Tint 30% Tint 20% Tint 10%
English Version
Pantone 320
C: (cyan) M: (magenta) Y: (yellow) K: (black)
100%
0%
31%
7%
150 mm
Pantone 319
C: (cyan) M: (magenta) Y: (yellow) K: (black)
52%
0%
19%
0%
Gold
C: (cyan) M: (magenta) Y: (yellow) K: (black)
30%
30%
60%
10%
85 mm
Pantone 295
C: (cyan) M: (magenta) Y: (yellow) K: (black)
100%
57%
0%
40%
Black
C: (cyan) M: (magenta) Y: (yellow) K: (black)
0%
0%
0%
100%
Standard reproduction size
26.3 mm x 12.6 mm
5 NIKA JEWELRY CI
Minimum reproduction size
18.6 mm x 8.9 mm
NIKA JEWELRY CI 8
2. OUR SATATIONARY
VISIT CARD
12 mm
6 mm
1. OUR IDENTITY
6 mm
6 mm
6 mm
6 mm
TYPOGRAPHY
2. OUR SATATIONARY
Mitra and Mitra (Bold) in Parvin software are the fonts that use for all of the agency’s printed
material about NIKA JEWELRY in Farsi version.
2. OUR SATATIONARY
6 mm
6 mm
Letterhead
Mitra
30 mm
20 mm
20 mm
50 mm
20 mm
COMPLIMENT PAPER
Mitra Bold
2. OUR SATATIONARY
EMPLOYEE CARD
1. OUR IDENTITY
TYPOGRAPHY
2. OUR SATATIONARY
Optima is the font that use for all the agency’s printed material about NIKA JEWELRY.
Helvetica use in some templates, such as letters, memos and reports destined for internal or
electronic transmission.
Envelopes
Optima
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
~!@#$%^&*()_+1234567890-=
NIKA JEWELRY CI 10
Optima Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
~!@#$%^&*()_+1234567890-=
20 mm
NIKA JEWELRY CI 16
TYPOGRAPHY (English)
TYPOGRAPHY (Farsi)
LOGO ELEMENTS
Address font: Optima
Size: 9 pt
Color: NIKA’s Gray
Address font: Mitra
Size: 11 pt
Color: NIKA’s Gray
Color: Pantone 320 C
& Gold
13 NIKA JEWELRY CI
9 NIKA JEWELRY CI
NIKA JEWELRY CI 18
4. OUR PROMOTIONAL & DISPLAY
HANDBAG
4. OUR PROMOTIONAL & DISPLAY
4. OUR PROMOTIONAL & DISPLAY
TAG
HANDBAG
4. OUR PROMOTIONAL & DISPLAY
TAG
17 NIKA JEWELRY CI
4. OUR PROMOTIONAL & DISPLAY 4. OUR PROMOTIONAL & DISPLAY
TAG
TAG
4. OUR PROMOTIONAL & DISPLAY
COASTER
4. OUR PROMOTIONAL & DISPLAY
COASTER
5. OUR ENVIRONMENTAL DESIGN
INDOOR PLATE
4. OUR PROMOTIONAL & DISPLAY
4. OUR PROMOTIONAL & DISPLAY
4. OUR PROMOTIONAL & DISPLAY
COASTER
COASTER
TAG
NIKA JEWELRY CI 30
5. OUR ENVIRONMENTAL DESIGN
INDOOR PLATE
NIKA JEWELRY CI 30
29 NIKA JEWELRY CI
NIKA JEWELRY CI 30
4. OUR PROMOTIONAL & DISPLAY
COASTER
29 NIKA JEWELRY CI
NIKA JEWELRY CI 30
NIKA JEWELRY CI 30
NIKA JEWELRY CI 34
NIKA JEWELRY CI 34
‫مدیریت استراتژیک برند‬
‫امروزه یکی از با ارزش‌ترین دارایی‌های بسیاری از شرکت‌ها‬
‫برندهای محصوالت و خدمات آن‌هاست‪ .‬کتاب مدیریت‬
‫استراتژیک برند که به آن لقب «انجیل برند» داده‌اند‪ ،‬کمک‬
‫می‌کند تا درک عمیق‌تری از اهداف اصلی برندسازی به دست‬
‫آورید‪ .‬یکی از ضروریات مدیریت ارشد هر سازمان ایجاد‬
‫برندهای قدرتمندی است که ضمن عمل به وعده‌ها‪ ،‬قدرت و‬
‫توانمندی خود را در طول زمان ارتقا دهند‪.‬‬
‫معرفی چشم‌اندازهای نوین در مدیریت برند‪ ،‬شناسایی و تثبیت‬
‫جایگاه و ارزش‌های برند‪ ،‬برنامه‌ریزی و پیاده‌سازی برنامه‌های‬
‫بازاریابی برند‪ ،‬از بخش‌های این کتاب هستند‪.‬‬
‫تأکید اصلی این کتاب بر درک اصول روان شناختی در سطوح‬
‫فردی و سازمانی برای بهینه‌سازی تصمیم‌گیری در خصوص‬
‫برندها‪ ،‬با تشریح بسیاری از مفاهیم به روز در حوزه‌ی مدیریت‬
‫استراتژیک برند به طور عملی به همراه مثال‌های فراوان‬
‫می‌باشد‪.‬‬
‫مهم‌ترین اهداف این کتاب عبارتند از‪:‬‬
‫‪ .1‬جست‌و‌جو و کاوش مهم‌ترین موضوعات پیرامون مباحث‬
‫برنامه‌ریزی‪ ،‬پیاده‌سازی و اجرا و ارزیابی استراتژی برند‪.‬‬
‫‪ .2‬ارائه مفاهیم‪ ،‬تئوری‌ها‪ ،‬مدل‌ها و سایر ابزارهای مناسب برای‬
‫بهبود تصمیم‌گیری در حوزة مدیریت برند‪.‬‬
‫کتاب «مدیریت استراتژیک برند» نوشتة کوین کلر‬
‫(‪ )Kevin Keller‬در ‪ 466‬صفحه وزیری با ترجمه عطیه بطحائی‬
‫و قیمت ‪ 9000‬تومان در بهار ‪ 1389‬توسط انتشارات سیته چاپ‬
‫و منتشر شده است‪.‬‬
‫‪Corporate Identity‬‬
‫‪Corporate Identity 3 is the premier forum for‬‬
‫‪excellence in Corporate Identity design. With‬‬
‫‪commentary by Massimo Vignelli of Vignelli‬‬
‫‪Associates and Richelle Huff of Larsen Design in‬‬
‫‪Minneapolis, this volume showcases outstanding‬‬
‫‪Identity design by leading international designers‬‬
‫‪completed for clients in a wide range of‬‬
‫‪industries. Featured Identities include multiple‬‬
‫‪components, including environmental graphics,‬‬
‫‪logos, letterhead, brochures, interior design,‬‬
‫‪packaging, signage, exhibit designs and more. Each‬‬
‫‪campaign is complemented by detailed credits and‬‬
‫‪captions. Indices of designers, art directors and‬‬
‫‪creative directors, photographers and illustrators,‬‬
‫‪and clients complete the volume. This book is an‬‬
‫‪indispensable reference for Identity designers and‬‬
‫‪corporations.‬‬
‫‪256 pages‬‬
‫)‪Size 8.5× 12 inches (21.59 × 30cm‬‬
‫‪More than 300 full- color images‬‬
‫‪Commentaries by Massimo Vignelli & Richelle‬‬
‫‪Huff‬‬
‫‪Complete Indices and captions‬‬
‫‪Text in English, German, and French‬‬
‫‪Published by Graphis Inc.‬‬
duties at the same time, the CEO must
be backed by a strong brand management
team of senior contributors, who can
facilitate a continuous development and
integration of the new strategy.
Build your own model as not every
model suits all. All companies have their
own specific requirements, own sets of
business values and a unique way of doing
things. Therefore, even the best and
most comprehensive branding models
have to be tailored to these needs and
requirements. Often, only a few but
important adjustments are needed to align
them with other similar business models
and strategies in the company to create
a simplified toolbox. Remember that
branding is the face of a business strategy
so these two areas must go hand in hand.
Involve your stakeholders including the
customers. Who knows more about
your company than the customers, the
employees and many other stakeholders?
This is common sense, but many companies
forget these simple and easily accessible
sources of valuable information for the
branding strategy. A simple rule is to use
5% of the marketing budget on research
and at least obtain a fair picture of the
current business landscape including the
current brand image among stakeholders,
brand positioning and also any critical
paths ahead. Simply do not forget the
valuable voice of your customers in this
process.
Advance the corporate vision. The
corporate branding strategy is an excellent
channel for advancing the corporate vision
throughout the company. It allows the
management to involve, educate and align
everyone around the corporate objectives,
values and future pathway. It provides
a guiding star and leads everyone in the
same direction. The internal efforts are at
least 50% of making a corporate branding
strategy successful.
Exploit new technology. Modern
technology should play a part of a successful
corporate branding strategy. Technology
helps to gain effectiveness and improve
the competitive edge of the corporation.
A well-designed and fully updated Intranet
is a must in today’s working environment
which has become increasingly virtual
with employees working from home,
from other locations and traveling across
the globe to name only a few factors. An
Extranet can facilitate a much more seem
less integration with strategic partners,
suppliers and customers, avoid time
consuming paper work and manual handling
of many issues. A company website is not
only a must, but rather a crucial channel
for any modern corporation regardless of
size. If the corporation is not accessible
on the Internet, it does not exist! The
more professional the website, the better
the perception among the Internet savvy
modern customer. Gone are the days
where corporations could get along with a
business card portrayed on the Internet.
Empower people to become brand
ambassadors. The most important asset
in a corporation is its people. They
do interact every day with colleagues,
customers, suppliers, competitors and
industry experts to name a few. But
they also interact with an impressive
number of people totally disconnected
to the corporation in form of family
members, friends, former colleagues
and many others. Hence they serve as
the corporations most important brand
ambassadors as the word-of-mouth can be
extremely valuable and have great impact
on the overall image of the corporate
brand image. The most effective way to
turn employees into brand ambassadors
is to train everyone adequately in the
corporate brand strategy (vision, values
and personality etc.) and making sure they
fully understand – and believe! – what
exactly the corporation aims at being in the
minds of its customers and stakeholders.
Nike is a brand which is known for their
efforts into educating and empowering
everyone employed by the company to
be strong brand ambassadors.
Create the right delivery system. The
corporate brand is the face of the business
strategy and basically it promises what
all stakeholders should expect from the
corporation. Therefore, the delivery of
the right products and services with all the
implications this entail should be carefully
scrutinized and evaluated on performance
before any corporation starts a corporate
branding project. Think of the cradle to
grave concept of a lifelong customer and
the value he/she will provide in such a time
span. Make sure he/she is handled with
outstanding care according to internal
specifications and outside expectations.
The moment of truth is when the corporate
brand promise is delivered well – and it
does not hurt if the corporation exceeds
the customer expectation. Singapore
Airlines runs a very rigid, detailed and indepth description of any customer touch
points with the corporation, and several
resources are spend on making sure it
actually does happen every time to every
customer. All employees regardless of title
and rank from Singapore Airlines spend
a not insignificant amount of workdays
being trained every year.
Communicate! Bring the corporate brand
to life through a range of well-planned,
well-executed
marketing
activities,
and make sure the overall messages
are consistent, clear and rel evant to
the target audiences. Make sure the
various messages are concise and easy to
comprehend. Do not try to communicate
every single point from the corporate
branding strategy. Instead, a selective
approach will make much more impact
using the same resources.
Measure the brand performance. A
brand is accountable and so should a
corporate brand be. How much value
does it provide to the corporation and
how instrumental is the brand in securing
competitiveness? These are some of the
questions which need to be answered and
which the CEO will automatically seek as
part of his/her commitment to run the
strategy successfully. The brand equity
consists of various individually tailor-made
key performance indicators (including the
financial brand value) and needs to be
tracked regularly. A brand score card can
help facilitating an overview of the brand
equity and the progression as the strategy
is implemented.
Adjust relentlessly and be ready to raise
your own bar all the times. The business
landscape is changing almost every day in
every industry. Hence the corporation
needs to evaluate and possibly adjust the
corporate branding strategy on a regular
basis. Obviously, a corporate brand should
stay relevant, differentiated and consistent
throughout time, so it is a crucial balance.
The basic parts of the corporate branding
strategy like vision, identity, personality
and values are not to be changed often
as they are the basic components. The
changes are rather small and involve the
thousands of daily actions and interpersonal
behaviors, which the corporations employ
as part of the brand marketing efforts.
The conclusion is that a strong CEO and
a dedicated management team are always
seeking to raise their own bars and be
change agents for their corporations.A
well-drafted and professionally managed
corporate branding strategy can be a
powerful component of the board room
work.
to Branding Excellence throughout the
corporation.
There are thousands of unique corporate
brands. Companies like Microsoft,
Intel, Singapore Airlines, Disney, CNN,
Samsung, Mercedes and many others are
good examples to think of. The global
financial powerhouses HSBC and Citibank
have both in recent years acquired a
vast number of companies across the
globe and adopted them fully under their
international corporate brands with great
success and within a surprising short
timeframe. A strong brand is about building
and maintaining strong perceptions in the
minds of customers. This takes time to
establish and many resources to keep, but
no one remember what the local banks
used to be called, and HSBC and Citibank
have managed to transfer the brand
equities from the acquired brands into
their own corporate brand equity.
An ancient and famous Indian proverb
says: “If you don’t have a goal, how can
you know when you have arrived?”. In
order to establish and grow a corporate
brand successfully, the management team
has to track and measure the strength
of the current corporate brand and the
entire brand portfolio.
Research can help understand the business
landscape in more depth and serves as a
foundation for the future corporate brand
strategy. Modern research tools have
become very sophisticated and at the
same time easy to employ. There is no
excuse for not trying to get a market and
customer driven perspective of the brand
portfolio including the corporate brand.
In the last couple of years, corporate
brands have become very strong drivers
of financial value for corporations.
Corporate brands by themselves have
become valuable assets on the company
balance sheet with market values very
often much beyond book value. The
founder of SONY, Akio Morita, once
said: “I have always believed that the
company name is the life of an enterprise.
It carries responsibility and guarantees
the quality of the product”. Therefore, a
strong and well-balanced corporate brand
orchestrated throughout the corporation
by a passionate CEO and his team can
lead to very successful and sustainable
financial results.
What are the benefits of a corporate
brand?
There are several benefits from employing
a corporate branding strategy which a
corporation can exploit. First of all, a
strong brand including a corporate brand
is no less or more than the face of the
business strategy hence portraying what
the corporation aims at doing and what
it wants to be known for in the market
place. The corporate brand is the overall
umbrella for the corporations’ activities and
encapsulates its vision, values, personality,
positioning and image among many other
dimensions. Think again of HSBC which
has successfully implemented a stringent
corporate branding strategy. They employ
the same common expression throughout
the globe with a simple advertising
strategy based on the slogan “The world’s
local bank”. This creative platform enables
the corporation to bridge between many
cultural differences, and to portray many
faces of the same strategy.
A corporate branding strategy creates
simplicity as it always will stand on top
of the brand portfolio as the ultimate
identifier of the corporation. P&G has
notoriously been known for a multi-brand
strategy and yet again, the corporate brand
P&G is still what encapsulates all activities
by the company. Depending on the
business strategy and the potential need
for more than a one-brand architecture
in the case of P&G, which markets many
different brands under their umbrella, a
corporate brand can very often assist the
corporation and the management to focus
in on the core vision and values. Once this
overall platform has been established and
implemented, it serves as a great stepping
stone for revisiting any other brands in the
corporations’ portfolio and to have a new
approach and look at their various brand
identities. This ultimately will lead to the
final brand architecture of the corporation
and set the strategy for how branding
and brands will play an important role to
achieve the corporate objectives.
When the corporation decides to
implement a corporate branding strategy,
some cost efficiencies can often be
achieved as opposed to a large multibrand
architecture where the corporate brand
plays a smaller or insignificant role. Today,
there is a general requirement for high
level of investments to maintain efficient
production capabilities and scale in many
industries (for example technology and
pharmaceutical), and to stay competitive
in R&D for new products and services.
Product life cycles are getting shorter and
shorter for many industries and products,
and corporations have to seek solutions to
recover their development and marketing
costs within the shorter life cycles. These
factors combined are forcing corporations
to evaluate their cost structure, and a
corporate branding strategy can help
the management achieve their goals by
bridging across product categories and
services as opposed to a multi-brand
strategy.
There are obvious cost efficiencies in terms
of reduced marketing and advertising
spending as the corporate brand replaces
budgets for individual product marketing
efforts. Even a combined corporate and
product branding strategy can often
enable management to reduce costs
and exploit synergies from a new and
more focused brand architecture. The
Apple brand has established a verystrong
position of being a design-driven and
innovative company offering many types
of products and services. Their corporate
brand encapsulates the body and soul of
the company, and the main messages from
the company uses the corporate Apple
brand. Various sub-brands then help to
identify the individual product lines.
But one should carefully avoid the
potential trip of stream-lining the brand
portfolio just based on a raw cost
perspective as secondary effects can play
a significant impact of the overall revenue
stream and on the stakeholders image
of the corporation. The basic guideline
is based on revenue contribution of the
various brands. If profit contribution can
be enhanced by reducing the number of
brands, the portfolio is too big. Reversely,
if the overall profit contribution can be
enhanced by adding new brands, the
portfolio is too small. Hence an individual
wish for strong corporate branding must
be evaluated carefully and all factors taken
into consideration.
10 steps for successful corporate
branding
There are 10 crucial steps on the way to
a successful corporate branding strategy,
and they can serve as a useful guide for
any corporate branding project.
The CEO needs to lead the brand
strategy work. The starting point for
corporate branding must be the board
room, which is also serving as the most
important check-point during the project.
The CEO must be personally involved in
the brand strategy work, and he/she must
be passionate and fully buy into the idea
of branding. To ensure success despite
the daily and stressful routine with many
CORPORATE
BRANDING –
A GUIDELINE
By Martin Roll
CEO, VentureRepublic
Idea School of Art & Communication
Idea Inc. Founder & President:
Arash Soltanali
Page Layout: Ramin Khoshnamai Bahrami
Cover Design: Amirhossein Rahimi
Contributers: Nasrin Arabloo,
Sepideh Gholamzadeh, Martin Roll
No. 26, 18th St.,
North Kheradmand Ave.,
Tehran, Iran
Phone: +9821 8882 3387
8882 3625
8830 3759
Fax: +9821 8884 4454
info@ideaschool.ir
www.ideaschool.ir
Martin Roll is a leading international strategic
advisor on Branding Excellence. He advices several
multinational corporations and growth-oriented
local businesses across multiple industries in Asia
and in Europe.
He delivers the combined value of an experienced
international branding strategist, a senior
advisor to boards and senior management teams
on branding strategy and an internationally
recognised guest speaker, conference chairman
and sought-after workshop leader in all parts of
the world.
Martin Roll is CEO of VentureRepublic and he
brings more than 15 years of experience from
the international advertising industry. He has
served in various management positions, focusing
especially on global marketing and branding
strategy, brand/ product advertising and corporate
communications.
He is Visiting Professor at China Europe
International Business School in Shanghai (CEIBS),
which is No. 1 Executive Education institution in
China according to Financial Times. In 2003, he
was chairman of BrandWorld China in Shanghai.
Martin Roll holds an MBA from INSEAD in France.
He is a Danish Citizen and Singapore
Permanent Resident.
The competition in the global business
environment is tough and achieving a
unique position and competitive advantage
becomes more and more difficult and
expensive. The high level of investment
necessary to maintain production
capabilities and rising cost of R&D for
product differentiation make strong
marketing capabilities and unique brands
prerequisites for modern companies to
cover these heavy investments. How can
companies and management teams catch
up?
Corporations around the world are
increasingly becoming aware of the
enhanced value which corporate branding
strategies can provide for an organisation.
Branding in the classic sense is all about
creating unique identities and positions for
products and services hence distinguishing
the offerings from competitors. Corporate
branding employs the same methodology
and toolbox used in product branding, but
it also elevates the approach a step further
into the board room, where additional
issues around stakeholder relations
(shareholders,
media,
competitors,
governments and many others) can help
the corporation benefit from a strong
and well-managed corporate branding
strategy. Not surprisingly, a strong and
comprehensive
corporate
branding
strategy requires a high level of personal
attention and commitment from the CEO
and the senior management to become
fully effective and meet the objectives.
Corporate branding is often, but wrongly,
referred to as an exercise where the
company logo, the design style and color
scheme are changed. Naturally, these
are important elements to evaluate and
potentially change at a later stage once
the strategy has been decided upon. It is
often accompanied with a new corporate
slogan, and then everyone expects results
to occur during the project. Corporate
branding is a serious undertaking which
entails more skills and activities than just
an updated glossy marketing facade with
empty jargon.
A strong corporate branding strategy can
add significant value in terms of helping the
entire corporation and the management
team to implement the long-term vision,
create unique positions in the market
place of the company and its brands, and
not the least to unlock the leadership
potential within the organisation. Hence
a corporate branding strategy can enable
the corporation to further leverage on its
tangible and non-tangible assets leading