Professional Documents
Culture Documents
SOUNDZIPPER BRAND
GUIDELINES
2013 Soundzipper
All rights reserved
The current version of this document
has been published September 6 2013.
To download the most recent version
of these guidelines, please refer to
Soundzippers corporate website.
The Soundzipper brand and guidelines
have been designed in 2013 by
Eduardo Nunes, in collaboration with
Soundzippers inhouse design team,
under supervision from its creative
director, Tah Wei Hoon.
THE
SOUNDZIPPER
BRAND.
This document defines the major usage guidelines
for Soundzippers visual identity. It should be seen as
the ultimate resource for designers and collaborators
looking to make use of our brand, as it allows everyone
to take part in shaping the values and principles the
company exudes to its current and future partners.
All collaborators working with the Soundzipper brand
should seek to always adhere to the guidelines set forth
by this document. However, because our company is
a living thing, that we do expect to evolve, we know
this book may fail to account for all possible future
use cases. Whenever that happens, we ask that you
please refer to the last section of this document, where
instructions on how to proceed in those situations are
provided.
Because these guidelines are subject to change over
time, we also advise that you seek to download the
most up-to-date version of these guidelines from
Soundzippers website.
TABLE OF
CONTENTS.
TABLE OF CONTENTS.
READY-MADES
INTRODUCING SOUNDZIPPER.
KEEPING IT BALANCED
28
ACOUSTICS ILLUSTRATED.
30
11
ILLUSTRATION GUIDELINES
32
12
BEHAVIOR ON BACKGROUNDS 36
15
COMBINING ILLUSTRATIONS
38
COMMON VARIATIONS
16
ILLUSTRATION ARCHIVE
43
CONSTRUCTION RULES
17
SAY IT IN WRITTING.
45
20
CORPORATE FONT
46
IN GLORIOUS TECHNICOLOR.
24
26
56
58
PROTECTION AREAS
60
62
63
WHAT NOT TO DO
64
EXAMPLE APPLICATIONS
68
GETTING IN TOUCH.
80
INTRODUCING
SOUNDZIPPER.
HOW DID WE
GET HERE?
Soundzippers logo consists of an abstraction of two
different types of sound waves (a sine and a sawtooth),
which resemble, respectively, an uppercase S and a
Z (as in SoundZipper... get it?). These two shapes are
superimposed and enclosed together in an open circle.
Sine
Triangle
Square
Sawtooth
HERES TO A
BRAND NEW FACE
Its around the combination of these three elements
that Soundzippers new visual identity is built: a
strictly geometric shape, inspired by traditional visual
depictions of sound waves, that come together to form
a stencil-friendly and unique seal.
Although it uses single-width strokes, the generous
spacing on the inside allows for very flexible uses: the
strokes weight can be freely adjusted (but hey, be
reasonable!) according to the features of each specific
medium for more on how to do that, you can skip a
few pages ahead.
10
MAKING
LIFE SOUND
BETTER.
AND A MATCHING
TYPE(FACE)
Our font says just as much about our company as
our logo does. Thats why weve chosen, as our main
corporate typeface, a fresh, nocompromise, modern
sans-serif, designed by Jonathan Hoefler and Tobias
Frere-Jones, two of the worlds most renowned living
typographers.
Soundzipper, please meet the extremely charming
VERLAG FAMILY
EXTRA LIGHT
print use. Its what well be using for our logotype, titles
LIGHT
LIGHT ITALIC
BOOK
BOOK ITALIC
BOLD
BOLD ITALIC
BLACK
BLACK ITALIC
11
12
ALL TOGETHER
NOW
Because both the type and logo are essentially
geometric-based and present little to no stroke
variation, the final lock-up makes for a fairly balanced
composition. Considering how spacious the mark is,
weve decided to loosen the texts tracking quite a
13
14
BUILDING
OUR LOGO.
Right now, you should be saying thats all fine and
dandy, but how do I use this thing?. Its a good
question but, really, who says things like fine and dandy
anymore?! Fear not, though, our dear idiomatically
obsolete friend, were here to help!
We understand a good logo should stand its ground
on any occasion, regardless of medium, scale, context
and orientation. Thats why were not just offering
you logo variations for the most popular use cases, we
want to teach you how to account for those unforeseen
situations, when you just have to take matters into
your own hands. Simply follow our lead and youll
be applying the logo blindfolded in no time. Just
15
16
COMMON
VARIATIONS
Before we start, lets list the main variables we can
manipulate in our logo: these are features you can
tweak, according to the needs of each specific use case.
Although there are many more possible variations, well
just take into account the ones you can actually mess
around with. If you thought of an awesome tweak that
SCALE
STROKE WEIGHT
POSITION
TEXT SIZE
FONT WEIGHT
POSITION
TRACKING
CONSTRUCTION
RULES
5x
8y
17
18
2x
3y
8y
8y
3y
y
VERTICAL LOCK-UP
Marks diameter should be 8x the height of the
capital E;
The vertical space between mark and type should
be 3x the height of the capital E;
Both elements horizontal centers should be
aligned across a vertical axis.
19
20
MARK STROKE
WEIGHT
Although you can change the marks stroke weight, we
reccomend that you do this sparingly, and only if faced
with no other choice is firing the designer completely
out of the question? Just kidding, we can all get along!
Weve provided with you an expanded vector version
0.5pt
0.75pt
1pt
2pt
3pt
4pt
21
FONT WEIGHT
AND TRACKING
We really shouldnt be saying this, but weve met more
than twenty pages ago, so what the hell: there will be
times when youll want to trash this logo completely.
Thats just the way it is. Weve tried to think about all
potential use case scenarios, but were only human
...or are we?! Just kidding, we are... so its more than
likely that, sometimes, those large spaces in between
all of the letters just seem like a terrible idea. Like,
for example, when youre trying to cram it into a tiny
space on the bottom of some poster youre designing
were sure its turning out really nice, by the way! Well,
we wouldnt want to just go ahead and destroy your
VERLAG BOOK
120
140
TRACKING
22
160
180
200
SOUNDZIPPER
SOUNDZIPPER
SOUNDZIPPER
SOUNDZIPPER
SOUNDZIPPER
S
S
S
S
S
R
R
ER
ER
ER
VERLAG BOLD
SOUNDZIPPER
SOUNDZIPPER
SOUNDZIPPER
SOUNDZIPPER
SOUNDZIPPER
VERLAG BLACK
SOUNDZIPPER
SOUNDZIPPER
SOUNDZIPPER
SOUNDZIPPER
SOUNDZIPPER
23
24
READY-MADES
Because we dont want your head to explode everytime
you need to use our logo, weve put together a set of
readymades you can safely use in the most common
situations. Depending on where you got this document
from, youll probably find these files attached if not,
please contact us, and well be happy to send any files
HORIZONTAL
REF. HL
WHEN TO USE >
Total logo width is larger than 400px
AND the brand protection area is
at least equal to the diameter of the
circle.
REF. HS
REF. HXS
VERTICAL
SOUNDZIPPER
REF. VL
REF. VS
26
IN GLORIOUS
TECHNICOLOR.
Our brand new corporate color scheme draws
inspiration from what has long been our legacy:
brown and beige. Its worked fine for us in the past,
because it portrays us as a serious, dedicated and
very professional bunch of people. So were keeping
that. But because were also fun and easy-going, and
because we truly love what we do, weve introduced the
wonderful, bright yolky yellow youll find in the cover of
this document and made it our main corporate color.
We spent a good deal of time finding the color
combination that we believed portrays our companys
core values, so feel free to use any of these colours any
way you like, when youre working our brand. If youre
unsure, this very simple motto will help you in your
journey: if it looks good, it probably is but, when in
doubt, you can always ask around.
YOLK YELLOW
SULFUR BEIGE
PANTONE: 7548 C
HEX : #FFC600
HEX : #FFF0A6
R: 255 G: 198 B: 0
C: 0 M: 22 Y: 100 K: 0
C: 1 M: 2 Y: 43 K: 0
LIGHT IVORY
CLAY BROWN
PANTONE: 7505 C
HEX : #E3D9BA
HEX : #83603F
R: 131 G: 96 B: 63
C: 11 M: 11 Y: 28 K: 0
C: 40 M: 57 Y: 78 K: 25
PURE BLACK
PANTONE: 7533 C
HEX : #000000
HEX : #483627
R: 0 G: 0 B: 0
R: 72 G: 54 B: 39
C: 70 M: 50 Y: 30 K: 100
C: 53 M: 64 Y: 76 K: 57
27
28
KEEPING IT
BALANCED
BLACK 25%
First choice for text color and illustration stroke.
29
30
ACOUSTICS
ILLUSTRATED.
Were in the business of making rooms sound
absolutely flawless. Its something were incredibly
passionate about, and something we really know
how to do well. Unfortunately, reaching out to our
customers through sound-based communication isnt
always practical, so were going for the next best thing
illustration.
Because ours is such a complex craft, weve had our
share of hard times trying to explain it to people at
parties and family gatherings alike. So were introducing
a level of visual communication thats crisp and clear,
without getting overly technical.
Please meet Soundzippers clear, striking,
quasimetaphorical visual grammar.
31
32
ILLUSTRATION
GUIDELINES
This is fairly simple: illustrations should always be
strippeddown depictions of real objects, having to
do with whatever it is were trying to depict. The
connections established between the matter in
question and the illustrations should be clear enough as
to be immediately understood by the target audience,
but not blatantly obvious (e.g. if you need to depict
HEADPHONES
Universal symbol for studio-quality audio and a tool
under any audiophiles (i.e. our clients) belt.
34
SOUND MIXER
A nice metaphor for sound treatment and equalization.
LIGHT BULB
An acceptable (if slightly clich) metaphor for ideas and
creativity in general.
Black, mediumweight stroke,
with white fill (even on white
backgrounds).
36
BEHAVIOR ON
BACKGROUNDS
Illustrations will often be the most striking visual
feature of our brand communication, so please make
sure to only use them when its safe. And, in this case,
the rule is simple: these can only be used on white or
yolk yellow backgrounds no exceptions.
When using them over yellow backgrounds, make sure
the insides are filled with white.
37
38
COMBINING
ILLUSTRATIONS
Because sometimes one single illustration isnt enough,
you can combine various objects into one massive
illustration. We only need you to follow a couple of
rules we know, we know, all these rules are really
annoying, but please bear with us, were almost done.
1. DONT BE A SQUARE!
If youre using more than two objects in the same
illustration, try to include some with curves you
know, to balance things out. So, while the illustration
to the left is still pretty ok, wed like it better if it mixed
things up a little bit, like the one on this page.
39
40
y
41
42
interesting composition.
ILLUSTRATION
ARCHIVE
We hope these guidelines help you design your own
objects, that seamlessly match our style, whenever
you need to. However, keep in mind thats now always
going to be the case! Lets say, for example, you needed
an illustration of a microphone. Chances are someone
needed a similar one in the past, and had to design
it, so why not just reuse it? To make things easier for
in the past, to use however you see fit. You can even
43
44
SOUND
SAY IT IN
WRITTING.
Picture this: youre at a club, trying to make your way
through the dancefloor, and you stumble into this guy
dancing aimlessly in front of you. You want to ask him
to move, but the musics really loud, so its hard to get
to him. Youre not mad or anything, but youre probably
gonna have to scream right at the guys ear, if you want
him to even notice youre there. Now imagine youre in
one of our own expertly designed, acoustically perfect
rooms, and youre trying to say something to a friend
sitting across the room. Anything slightly louder than a
whisper will probably do the trick.
Moral of the story is: different conditions call for
different approaches. And thats as true for your tone
of voice, as it is for our style of writing and typefaces.
Thats why we have not one, but three different
typefaces: so our brand can scream just as much as it
can whisper.
45
46
CORPORATE
FONT
As you should know by know, Verlags our main
corporate font. Its in our logo and in most of our
printed communication (usually in the headings).
You can safely use any of these weights, whenever you
feel like they fit, as long as you make sure to match
the font weight to their purpose and media do not
use Extra Light with very small text, nor Black text for
subheadings.
As a rule of thumb, you should just stay away from
italics altogether, but there is one exception: if you want
to make one single word (or, at best, a couple) within a
heading stand out, but you cant change the font weight,
then its ok.
Crazy Fredrick
bought many very
exquisite opal jewels.
The quick brown
fox jumps over
the lazy dog.
Pack my box
with five dozen
liquor jugs.
Sphinx of black
quartz: judge
my vow.
47
48
lowercase x.
Lato Hairline
49
50
Lato Light
THIS IS A HEADING
This is a heading
51
52
This body copy looks real nifty. Its set in Lato Regular,
with 1.5x spacing (in this case, 12pt spaced at 18pt).
Grumpy wizards
make toxic brew
for the evil Queen
and Jack.
53
54
Grumpy wizards
make toxic brew
for the evil Queen
and Jack.
Grumpy wizards
make toxic brew
for the evil Queen
and Jack.
&&&
SOUNDZIPPER
Making life
sound better.
A balanced lock-up of our name and slogan. Because
the fonts have contrasting features and weights, they
complement each other nicely.
HERES SOUNDZIPPER
55
56
MAKING SENSE
OF IT ALL.
We understand all of the stuff weve covered so far
may be a bit overwhelming, so allow us to try and
make things easier on you. This section will hopefully
help you make sense of all the information weve been
bombing you with, so you can go and do amazing things
with our brand.
Besides laying out the DOs and DONTs, were going to
put the brand in context, so you can see how all of this is
actually used in real-world scenarios. Well even throw
in a couple of application examples, so you can see how
weve done it in the past. Make us proud!
57
58
SLOGANS &
SUBHEADINGS
Wed prefer it if you didnt combine slogans with our
logo, but if you really need to, you still can.
SOUNDZIPPER
59
PROTECTION
AREAS
60
LOGO
LOGO
LOGO
LOGO
61
62
MINIMUM
ACCEPTABLE SIZE
Whenever space is extremely limited, you can scale
down the logotype to its minimum acceptable size. We
reccomend, however, that you seek to use it at larger
sizes whenever possible.
SOUNDZIPPER
20mm
34mm
60px
80px
USE OVER
BACKGROUNDS
When using the logo over photo or color backgrounds,
always make sure our logos perfectly readable.
63
64
WHAT NOT
TO DO
Were fairly flexible with our brand, but theres some
stuff you simply shouldnt do.
soundzipper
soundzipper
Do not set our name in any font other than Verlag (not
even our two other official fonts) nor in lower-case.
soundzipper
66
soundzipper
soundzipper
67
68
EXAMPLE
APPLICATIONS
Seeing our logo in place, and in context, is probably
the best way to understand what all of these rules and
reccomendations amount to. Use these as inspiration,
or in case you just need that extra push to get you going.
69
70
71
72
73
74
75
76
77
78
79
80
GETTING
IN TOUCH.
If you got this far without skimming though the
document too much, you should be prepared to tackle
the challenge of using our visual identity. However,
Expert.
GENERAL ENQUIRIES
acoustics@soundzipper.com
8 Ubi Road 2
Zervex Industrial Building, #08-03
Singapore, 408538
(65) 6509 3529
GRAPHICS DEPARTMENT
Tah Wei Hoon
Soundzipper Creative Director
tahwei@soundzipper.com
Eduardo Nunes
Visual Identity Designer
helpme@eduardonunes.me
(351) 93 480 81 91
81